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REBixov spent a very active life in the cause of music, as pianist, composer, and as conductor of musical societies in parts of Russia where music had been sadly neglected before. He used to be called ' the father of Russian modernism,' no doubt because of his innovations in form and harmony. He was among the very first composers to make use of the whole tone scale (that is a scale in which the octave is divided into six equal intervals instead of the customary seven, which include two half tones). He is best known to British listeners by his melodious and picturesque 'Christmas Tree Suite.'
LIKE many of his colleagues in the Russian school of composers, Cui was an amateur. His actual job in life was soldiering, and he was for a number of years Professor of Military Engineering at one of the Army training schools. But his adoption as a member of the Russian school has this special interest that he was really a Frenchman, or at any rate half French, by descent. His father was one of Napoleon's officers who was left in Russia during the disastrous retreat from Moscow. He settled down there, and married a Lithuanian lady, adopting as his home the , country which his Emperor had failed to conquer.
Rimsky-Korsakov's fantastic opera, Coq d'Or
(The Golden Cockerel) was broadcast at the end of last January, so that listeners will need only a brief reminder of the point in the action where this splendid hymn occurs. The scene is a rocky gorge, in the second Act. The dead from a battle of the day before, among them King Dodon's two sons, lie on the hillside, and in the distance can be heard the approaching army of the King. They appear two by two and after them the King arrives and finds the bodies of his sons. As he mourns over them, day begins to break, and the morning sun shows a bright tent on the mountain side, ornamented with many-coloured brocade. As. the soldiers are about to fire on the tent, it is seen to move, and a beautiful maiden comes out with light, yet queenly, step. Four slaves follow her, carrying Eastern musical instruments. She herself wears a white turban with a tall feather, and a long robe of red silk with rich gold embroideries. Oblivious of those about her, she raises her hands, as though praying, and sings this Hymn to the Sun.
In an arrangement, such as this, for instruments, the music is hardly less effective than in its original operatic version.

Speech on Negotiations at Vienna
Delivered in the House of Commons on February 23,1855, by JOHN BRIGHT, M.P.
THE peace and plenty prevailing in England during the later part of Queen Victoria's reign tend to obscure the memory of the people's misery at her accession. The fact that, by the end of her reign, the Victorian era had become a synonym for social and economic progress was largely due to the historic partnership in agitation between Richard Cobden and John Bright. They were responsible for at least two great reforms, the repeal of the Corn Laws and the extension of the Franchise.
John Bright , on being consulted about his biography, once said, ' My life is in my speeches.' They were not only his greatest political weapon, but also his one perfect form of achievement.
The speech on the negotiations at Vienna was delivered during the Crimean War, which he had,
(For 5.45-8.45 Programmes see opposite page) almost alone, opposed from the beginning. But when, in 1855, there was a possibility of making peace, he changed his tone of denunciation for one of conciliatory appeal. In this speech occurs one of the most famous phrases ever uttered by an English orator—(the ' Angel of Death ' figure). Disracli said afterwards, ' Bright, I would give all that I ever had to have made that speech you made just now. Bright, replied, ' 'Well, you might have made it if you had been honest.'

(Bide with us)
Belayed from the Guildhall School of Music
Doris, OWENS (Contralto)
(Violoncello Piccolo)
Continuo Edward CRUFT (Bass)
(Oboes and Strings)
THE most impressive part of this
Cantata is the opening chorus; it is always regarded as among the most noble and poetic of all the great Bach's conceptions. It. sets the words of the disciples, ' Abide with us,' with a wonderful sense of their affection, blended with their pleading. And in both the German and the English versions, an impressive effect is made by the way in which the accent falls first on the word bide,' next on. 'with' and the third time on 'us.'
Then where the text tells of evening drawing nigh, the voices sink down as though oppressed by the coming of night, and the music of the accompaniment suggests an anxious trembling.
There is a middle section where the time changes to four-in-the-bar, and the cry is still more insistent, and at the end the opening mood of pleading returns.
The final close is in major, with a wonderful effect of gladness as though the watchers suddenly knew that their prayer was heard.
The second number is a very beautiful alto aria with an obbligato for oboe da caccia, usually replaced now by the English Horn, and then there follows a Chorale for the treble voices with a full and expressive orchestral accompaniment. It has an obbligato for .the old violoncello piccolo, now usually replaced either by the violoncello, or shared between the violoncello and viola.
The tenor aria, number five, lying very high and difficult to sing, is instinct with tenderness. It is finely accompanied by the strings and continuo alone. In the final Chorale, dignified and simple, all the instruments, two oboes, oboe da caccia, strings and continuo. reinforce the voices.
Bide with us. for eve is drawing onward, and the day is now declining.
II.—Aria (Alto) :
Thon, whose praises never end.
Son of God. vouchsafe to hear us: While before Thy throne we bend, Let Thy favour still be near us. Grant, 0 grant us needful light, Thro' the coming hours of night.
III.— Chorale (Treble) :
0 bide with us, Thou Saviour dear, Forsake us not when eve is near.
Thy sacred word. clear guiding light, 0 grant it ne'er be quenched in night. In this our last and weakest hour
Inspire us. Lord. with steadfast pow'r. That undefil'd Thy faith we keep, Until in death secure we sleep.
IV.— Recitative (Bass) !
Behold, around us, on ev'ry side, to darkness still increasing. And if we ask whence comes this darkness. heuce It comes. 'Tis that, from the least to the greatest. scarce one in righteousness before his God is walking, and in the works the Saviour loves abounding; And thus instead of light there is but darkness.
Y.-Aria (Tenor) :
Lord, to us Thyself be showing
That no more we in ways of sin be going. May the light of Thy word on men be shining
All to trust in Thee inclining.
VI.— Chorale :
Lord, Jesus Christ, Thy pow'r display Thou, Lord, whom other lords obey. Thy servants with Thy grace de. end. That so their thanks may never end.
The text is reprinted by courtesy of Messrs.
Novello and Co., Ltd.
The Cantata for Sunday, July 21, is
No. 136 Erforsche mich Gott,
(' Thou knowest me God

Appeal on behalf of St.
Martin's Summer Holiday Fund, by the Rev. PAT McCORMICK
LIKE the Christmas Fund, also run by St. Martin-in-the-Fields, this Summer Holiday Fund has two peculiar characteristics. There are no administrative expenses whatever, and the grants go to those who do not expect them. Centrally placed as it is, the church has every opportunity for coming into contact with deserving people up and down the country, and the Fund is administered personally by the Vicar himself.
Contributions should be addressed to [address removed].

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