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DAME ETHEL SMYTH 'S Opera, The Wreckers, produced in Leipzig in 1906. and in London in 1909, is about the wild Cornish coast-dwellers of the eighteenth century.
The Composer has herself given a description of the background of the story and of the music, thus :—
Thirza, the beautiful young wife of the elderly headman of a Cornish village in the eighteenth century, is detested by the community, which she in turn abhors. She has a lover, Mark, whom she has persuaded to light warning beacons down the coast on stormy nights, when it is the habit of the wreckers to extinguish the lighthouse lantern in order that ships may founder on the rocks. Having gathered (in Act I) that suspicion is rife, Thirza steals forth in the night to warn her lover, who she knows will be lighting a beacon in a distant creek. A great love-scene ensues, in which she consents to fly with him, and, as a final act of defiance, kindles the bonfire with her own hands, while both sing the melody ' Flame of Love,' on which this Prelude is based. Its purport is a summary of their love story.
In the end, the lovers are imprisoned by the sea in a cave, and are united only in death.
AMONG those few leading Composers of the day who have turned their attention to the Military Band is Holst, who has written two delightful, tuneful Suites for this medium.
The one now to be heard is made up of four separate pieces. Most of the tunes in them are old English.
The first piece is a lively, swinging March.
Two old tunes appear in this—those of Swansea Town and Claudy Banks.
The Second is a pensive Song without Words.
The tune is I'll love my love.
The Third is the bluff Song of the Blacksmith. The anvil is very aggressive.
The Fourth is an exhilarating Fantasia on The Dargason, and introduces the fine old tune Greensleeves.
THE Opritchnik were the Soldiers who formed the bodyguard of Czar Ivan n the Terrible.
In this Opera, written when he was just over thirty, the Composer used up part of the material of his first work in this form. The Voyevode.
Though The Opritchnik was well received, and obtained for Tchaikovsky a share in a fund for the encouragement of young Russian composers, he was not satisfied with his work, which he soon came to dislike and then to hate.


Hilda Blake
Dame Ethel Smyth
Claudy Banks.

Hymn, ' Ho leadeth me, 0 blessed thought'
(Tune : ' He leadeth me')
Bibje Reading Psalm 114
Hymn, ' '0 love that wilt not let me go ' (Tune,
'St. Margaret ')
Address by the Rev. E. L. SHILLITO , of Buckhurst
Hill Congregational Church
THE REV. EDWARD SHILLITO , minister of Buckhurst Hill Congregational Church, and Literary Superintendent of the London Missionary Society, was for some years assistant to Dr. R. F. Horton at Hampstead.
Hymn, Now thank we all our God ' (Tune,
' Wittenburg ')
Blessing Vesper


Rev. E. L. Shillito
Rev. Edward Shillito
Dr. R. F. Horton

BACH'S half-dozen Motets are practically anthems, for double or single choir. Most of the works are shorter than the Cantatas, and contain no solo portions. The orchestral part, where there is one, is less independent than in the Cantatas. Generally the Motets can be effectively performed unaccompanied.
Of Come. Jesu, come there is no history to relate.
Of all the Motets it is the only one containing non-Biblical words. The author of these is not known.

THE training ship for which Captain
Sir Arthur Wellosley Clarke will appeal tonight is the eighth ship run by the Marine Society, which instituted the first training ship in the world in 1756. Since then it has trained, equipped, and embarked upon the honourable career of the sea (either in the Royal Navy or in the Merchant Service) nearly 70,000 boys. The present Warspite, which was inaugurated by the Prince of Wales in July, 1923, has accommodation for 300 boys, but there are now only 200 on board, in consequence of the shortage of funds.
Sir Arthur Wellesley Clarke , who is Chairman of the Marine Society, is known to listeners by his recent talk on lighthouses and his Christmas Eve appeal for wireless for the lighthouse and lightship men.
Contributions should be addressed to [address removed]


Sir Arthur Wellosley Clarke
Sir Arthur Wellesley Clarke

Conducted by PERCY PITT
Overture, 'In Autumn'
First Spring (for Strings)
Norwegian Wedding Procession
IN the Overture, which developed from the theme of one of the Composer's songs, we have an impression of scenes and moods at the fall of the year in Norway, Grieg's native country. The music is richly coloured, and its rhythms are often exhilarating.
There is a slow Introduction in which Strings and Woodwind call to each other, the tune having a. characteristically Griegian shape. This leads into a quick and agitated portion, Strings and Wind having a dozen bars of urgent minor music, that brings us to a still more furious pace and to the First Main Tune, with its insistent prancing rhythm.
A quiet bit leads to the Second Main Tune, which Clarinet and Horns share. This is a graceful, rising theme, with a cheery lilt at the end of it. A naive, folk-song-like Tune in the Strings, that soon follows, is a sort of subsidiary theme.
On this material, with many dainty little episodes, the work is built up.
Solveig's Song (' Peer Gynt LESLIE ENGLAND, with ORCHESTRA
Pianoforte Concerto

THIS is perhaps the most popular of Grieg's larger works. It was written in 1868, when the composer was twenty-five years old. There are three Movements. FIRST MOVEMENT (Moderately quick).-After a preliminary flourish on the Piano, the First Main Tune, vigorous and romantic, is at once given out. It consists chiefly of a little curt phrase in Woodwind, and a more suave phrase, which is at first given to Clarinet and Bassoon, and then repeated at great length and more fully orchestrated. This whole (fairly long) Tune is repeated on the Piano (lightly accompanied by Strings). Soon after there is something of a climax, and then comes the beautiful Second Main Tune, a tranquil phrase given to 'Cellos, which is immediately taken up by the Piano, and eloquently elaborated. SECOND MOVEMENT (Slow).—This is a brief, highly expressive Movement. It opens with a long Tune given to Muted Strings. At the end of this the Piano enters with a long, rhapsodical passage (lightly accompanied). Eventually Flute and Clarinet quietly suggest the Tune with which the Movement opened, and this the Piano then declaims at full length. THIRD MOVEMENT (Quick and emphatic). A few soft, detached chords in the Orchestra, a very loud Piano flourish, and one loud chord (Full Orchestra), and we are plunged into what is, in effect, a lively Norwegian Dance.
Two Brown Eyes (Hans Andersen ) A Waterlily (Ibsen)
Papillons (Butterflies) On the Mountains
Lyric Suite
The Shepherd Boy ; Norwegian Peasant March; Nocturne ; March of the Dwarfs


Leslie England
Kneale Kelley
Conducted By:
Percy Pitt
Hans Andersen
Leslie England

2LO London

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About this data

This data is drawn from the Radio Times magazine between 1923 and 2009. It shows what was scheduled to be broadcast, meaning it was subject to change and may not be accurate. More