(Church of England) from St. Gregory's Church, Horfield,
9.30 Order of Service
Hymn, Jesus shall reign where'er the sun (A. and M. 220 ; S.P. 545)
Confession and Absolution Versicles and Responses Psalm xcv
Lesson, Matthew xviii , 21-end Psalm lxxxiv
Hymn, Gracious Spirit, Holy Ghost
(A. and M. 210 ; S.P. 507)
Address by Rev. IVOR S. WATKINS
Hymn, 0 praise ye the Lord! (A. and M. 308 ; S.P. 351)
Organist and Choirmaster,
L. R. Harford
Rev. Ivor S.
(All arrangements by Guy Fletcher and Jack Beaver )
C. H. Middleton
' Every garden will grow something, but don't force it to grow plants which are quite unsuited to it.' ... ' Never kill the birds. Taking them all round, they do more good than harm.' ... ' If you have a greenhouse, do not make up a roaring fire at the first sign of frost.' Such hints as these will form the matter of C. H. Middleton 's broadcast today. They are culled from the popular little red leather diary (now in its second edition, covering 1938, and obtainable through all booksellers and stationers), which is generously endowed with Middleton's hints, a guide to seed sowing, monthly reminders, and so on. Among the many things Middleton will discuss today is the object lesson to be drawn from the flower show he opened recently at Worplesdon , which began m a small way as a gardeners' club, with membership confined to a few local ladies, and has now grown into an annual affair, already in its third year. Why can't other local ladies get together, Middleton wonders, and do the same thing?
The Milan Symphony Orchestra, conducted by Lorenzo Molajoli : Overture, Norma (Bellini)
Rosa Ponselle (soprano) and Chorus: Casta Diva (Bellini)
Georges Thill (tenor): 0 Nature pleine de grace (Werther) (Massenet). Etincelante (Le Cid) (Massenet)
New Symphony Orchestra, conducted by Eugene Goossens : Aubade (Ballet Music, Le Cid) (Massenet)
Lily Pons (soprano) and Enrico di
Mazzei (tenor): T'amo (Duet, Act 2, Rigoletto) (Verdi)
Galli-Curci (soprano), Homer
(contralto), Gigli (tenor), De Luca (baritone): Bella figlia dell' amore (Act 3)
Leader, Harry Lipman
Arthur Wayne (pianoforte) from the Town Hall, Worthing
A Practising Medical Psychologist
(All arrangements by Arthur Dulay )
The Rev. Donald 0. Soper, Ph.D.
The Stratton String Quartet:
George Stratton (violin)
Carl Taylor (violin)
Watson Forbes (viola)
John Moore (violoncello)
In the spring of 1875 Brahms worked at, among other works, the B flat Quartet, Op. 67, which is the most gracious of his three works in this form. Walter Niemann calls it Brahms's ' Pastoral Quartet', for everything about the music proclaims it to be pastoral: first, the character of the themes which are ' brief nature-motifs of a pastorally idyllic, naive, and comically humorous kind, as, for instance, in the lively " horn-calls in triplets " of the principal subject in the first movement '. Nevertheless, like the C minor Quartet, Op. 59, No. 1, there is a definitely tragi,' quality about the music, but, as Sir Donald Tovey points out, it ' has abundance of relief, the second subject of the first movement being one of the mo'st attractive and graceful passages Brahms ever wrote '.
F. Andrew Rice
This evening is the first occasion for some considerable time that Albert Sandier has appeared with his orchestra before the microphone. Born in London in 1905, he began to study the violin at the age of nine, and three years later made his debut in public. At the age of seventeen he was appointed one of the leaders at the Trocadero Restaurant, where he made a great success. Then he went to the Grand Hotel, Eastbourne, and in 1928 became musical director of the Park Lane Hotel. Since that time Mr. Sandier has appeared as a soloist all over the country, and during the last year or two has achieved great popularity with his trio.
P. S. G. O'Donnell
Thorpe Bates (baritone) 1 The Lord Zouche's March. 2 A Jigg, Dr. Bull's Myself. 3 The
Earl of Salisbury's Pavan. 4 Spagnioletta. 5 Corranto. 6 Tower Hill
Beethoven wrote four overtures to his single opera Fidelio, which was first produced in Vienna on November 20, 1805. The overtures are known as ' Leonora ' Nos. 1, 2, and 3 and ' Fidelio'. 'Leonora' No. 2 was written for the first production. No. 3 for the revival in March, 1806, and No. 1 for a performance at Prague which never materialised. They take their names from the fact that the original title of the opera was ' Leonore, ou l'arnour conjugal The book, written by Bovilly, was adapted for the purposes of Fidelio by Sonnleithner.
' Leonora ' No. 3 is considered to be not only the best of the Fidelio overtures, but one of the finest of all Beethoven's overtures. The music is highly dramatic and is based on some of the most outstanding tunes in the opera.
Vaughan Williams 's enthusiastic interest in English folk tunes is known to everybody. It has influenced his own composition in a striking way, lending it much of its distinctively English character.
In this Suite the tunes are presented quite simply and tell their own story with no other added interest than that of effective accompaniment and instrumentation.
The first movement is on the tune ' Seventeen Come Sunday ; the second, which the composer has called ' Intermezzo ' is ' My Bonny Boy ', with a short, merry section in the middle of the movement ; the third is a March built up on folk songs from Somerset — an effective and vigorous march with an alternative section in six-eight time.
P. S. G.
(Church of Scotland) from Wellington Church, Glasgow
Order of Service
Metrical Psalm cxlviii , The Lord of Heav'n confess
Prayer and The Lord's Prayer
Hymn, Ye servants of the Lord (Rv.
C.H. 156 ; A. and M. 268)
Lesson, John x, 1-18
Hymn, Souls of men! why will ye scatter (Rv. C.H. 395 ; A. and M. 634)
Address by the Rev. ERNEST D. JARVIS
Hymn, Behold! the mountain of the Lord (Rv. C.H. 365)
Organist, John Rankin
Rev. Ernest D.
An appeal on behalf of THE PROFESSIONAL CLASSES
AID COUNCIL by The Rt. Hon. the Lord HEWART,
Lord Chief Justice of England
The Professional Classes Aid Council was founded as The Professional
Classes War Relief Council ' in October, 1914, and reconstituted on a peace basis in 1921. There is one thing in common with most professional men and women: when their health goes, their income goes with it. The policy and endeavour of the Council is to tide them over difficulties and provide help during long illness and convalescence both for themselves and for their children, who may be still at school. Nearly all the great professional bodies are represented on the Council, which works in close touch with their benevolent funds and institutions.
Contributions will be gratefully acknowledged, and should be addressed to [address removed]
including Weather Forecast
A Programme of Songs and Duets from
Famous Operettas with Hella Langdon (soprano)
Webster Booth (tenor) and The BBC Theatre Orchestra
The programme arranged and conducted by Stanford Robinson
Maggie Teyte (soprano)
Maggie Teyte was born at Wolverhampton. When only thirteen her father sent her to study the piano at the Royal College of Music. Then she was sent to study singing in Paris under Jean de Reszke. Within three years she made her debut at a Sunday night concert at Monte Carlo with Paderewski. Since that time she has appeared in opera in most parts of Europe and America. One of Miss Teyte's most important rôles was Melisande in Debussy's Pelleas and Melisande. It may be remembered that Debussy himself selected Miss Teyte as the successor to Mary Garden , who first appeared in the title role.
(For details, see page 48)