NORMAN WILLIAMS (Baritone)
THE B.B.C. ORCHESTRA
(Led by MARIE WILSON )
Conducted by JOSEPH LEWIS
THESE famous verses, The Song of the Flea, have been often set, Beethoven's and Mussorgsky's versions being the best known. They belong to a song sung in Auerbach's cellar in Leipzig, where Mephistopheles has brought Faust to join a number of convivial German students, and occur in the first part of Goethe's Fuust. The song tells of how a king made a pet of a flea, dressed it up in fine clothes, made it a minister, and permitted it to bring all its poor relations to court. The courtiers thought a good deal less of this strange pet than did the king, for naturally the fleas soon began to bite all the ladies and became a pest at court. As set by Mussorgsky, it is racy, sardonic, and completely in tune with Goethe's biting humour.
The Reverend P. CARNEGIE Simpson , D.D. :
' Christ and Immortality '
Reverend P. Carnegie
Order of Service :
8.0 Hymn, Lead us, Heavenly Father, lead us
(St. Martin's Hymn Book, No. 555 ; St. Martin's Old Hymn Book, No. 189 ; Ancient and Modern, No. 281)
Confession and Thanksgivings Psalm 8 Lesson
Hymn, Thou. Whose almightviWord (St. Martin's
Hymn Book, No. 303 ; St. Martin's Old Hymn Book, No. 371 ; Ancient and Modern, No. 360)
Address by the Reverend P. McCormick , D.S.O. Hymn, God is working His purpose out (St.
Martin's Hvmn Book, No. 300 ; St. Martin's Old Hymn Book, No. 108)
At the Organ, ARNOLD GOLDSBROUGH
(Daventry National Programme)
An Appeal on behalf of THE HAIG Homes by the Rt. Hon. The Viscount LEE OF FAREHAM, P.C., G.C.B., G.C.S.I., Chairman of the Council of Trustees
Contributions will bo gratefully received by [address removed]
(Daventry National Programme)
WEATHER FORECAST, GENERAL NEWS BULLETIN
MARGUERITE NATALIA (Soprano)
SCHUMANN'S Children's Pieces were written in the first place quite independently of the programme or meaning later attached to them. Schumann had too much regard for the intelligence of the child to do what most composers do-invent a subject and write a piece of music upon it. He went about it in quite another way. He first wrote the music and then thought of the title for it, which, after all, is just what the child would do; so that when he calls a piece ' the h united spot in a wood,' for example, it is the music that tells the tale, and not the tale that wags the music, as is the case with a great deal of so-called programme music. mHE title of Milhaud's work can be translated as ' Memories of' or Longings for '
Brazil. It was composed after Darius Milhaud had served for some years in the French Legation in Brazil. Of the thirteen numbers contained in the work one is an overture and the others represent impressions of life in Rio de Janeiro, each number being headed with the name of one of the suburbs of the city, suburbs of widely different social status. Quite briefly, for the numbers average less than two minutes in performance, Milhaud has recorded his impressions of Brazilian sights and scenes as i-epresented by the various localities named. The piece Tijuca, which is in tonight's programme, is therefore an impression of life in that part of the city of Rio so named.