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of WORKS BY RHEINBERGER
By Rev. CYRIL JACKSON
(Succentor of Southwark Cathedral)
VIOLET PUSEY (Violin) FLORENCE BASS (Cello)
(From the London Ladies' Trio)
Relayed from Southwark Cathedral
Rev. CYRIL JACKSON
Prelude Arioso
Canzonetta
VIOLET PUSEY , FLORENCE Bass , and Organ
Suite
With motion ; Theme and Variations ; Sarabande; Finale.
Sonata in F Minor
Prelude ; Andante ; Finalo

IN the middle of the fourteenth century
.England was ravaged by a pestilence so deadly that chroniclers called it ' The Black Death.' Men died like flies, and generations passed before the effects of the scourge ceased to be felt.- In her talk this afternoon Miss Rhoda Power will describe the history of the plague from tho time when it broke out during the siege of a city in the Crimea, to tho time when it struck England in the summer of 1348.

BACH'S'THE ART OF FUGUE'
Played by JAMES CHING
Canons 1, 2, 3 and 4 CANONS of the Church used to (perhaps, still do) live by strict rule. So do Canons in music.
The rule in a Canon is that whatever tune is led off by one part must be strictly imitated all through by the other voices taking part.
The four Canons included in Bach's Art of Fugue (with which, continuing from last Saturday, we now proceed) are in two voices only.
The first takes our basic theme and fills in some of the intervals, making a strongly-stepping tune, well varied rhythmically.
After four bars the other voice enters, singing the tune upside down, and in notes of twice the length. The two voices then go their ways, the one necessarily getting further and further behind the other, but pegging away quite happily and surely. In the middle, for fairness, the Bass gets what the upper part had before, and goes gaily off, the Treble having to be content to tread more soberly. So the curious couple (Mr. Bultitude and Dick from'Vice Versa,' if you will) arrive in good order at their journey's end.
The Second Canon is very frisky. Here the Bass is satisfied to copy the Treble, four bars behind and an octave below. The theme is a varied (filled-up) version of the inverted basic tune.
In the Third Canon the rhythm of the original tune (but upside down) is oddly disguised by a syncopation, so that one would not at first realise that there are four beats in a bar. Soon this is made clear, as the second voice enters. It is, and throughout remains, ten notes higher than tho first voice, and in shape
'goes up where the first went down, whilst the first voice goes on in a rippling rhythm of three-notes-to-a-beat. It gets still livelier later,'fitting in as many as twenty-four notes to a bar, in quick time. A few bars in slow time round off the Canon.
The last of the Canons also keeps the General shape of the basic tune, but fills up its intervals. Noie the two rhythms in the theme-that of three-to-a-beat (in the opening bar) and that of two-to-a-bcat.

BEAM wireless is one of the most important developments of the new science, and everyone wants to know more about it. Professor Appleton, who is Professor of Physics at London University, and an outstanding authority on wireless telegraphy (he was one of the experts who advised the B.B.C. on the Regional Scheme), is the best possible person to explain this development, because ho has the gift of making these things intelligible to the non-scientific listener.

2LO London

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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