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Relayed from Southwark Cathedral
(a) Come Now, Saviour of the Gentles
(b) Lord, our strength and Tower
(c) Thou, of God tho Father the true Eternal Son
(d) To God wo render thanks and praiso

EDGAR T. COOK Sonata No. 20 in F Praeludium ; Intermezzo ; Pasto rale; Finale - Rheinberger
DOREEN BRISTOLL Aria, ' Hear yo Israel' (' Elijah ') - Mendelssohn
EDOAR T. COOK Advent Choral Preludes from Little Organ Book - Bach
EDGAR T. COOK Second Suite Pastorale Prelude ; Allegretto con moto ; Andantino ; Finale ; March Finale from First Symphony - Vierne

Grosse (Great) Sonata in B Flat (First Movement)
THE complete list of Schubert's works include no fewer than twenty-one Sonatas for pianoforte, of which some eighteen are well known to pianists, though not to music-lovers as a whole.
The first movement of the big Sonata in B Flat is of itself a long piece. In a calm, serene, mood, throughout, it offers no contrast between its two subjects. The first begins at the outset, a long, flowing melody, grave in character, and thoughtful. It is set forth at considerable length before the second main tune is heard, and when it appears it grows so naturally out of the first as to seem almost a continuation of it.

THE recent series of talks on Tendencies in Industry Today has covered most of the outstanding problems with which industrial Britain is faced. This evening Mr. Hyda will discuss a subject of fundamental importance to almost every aspect of the industrial situation—the relation of employer to employed, with special reference to such amenities as industrial welfare work and works magazine.

Including a Pianoforte Recital by EUGEN D'ALBERT
BRAHMS' two sextets for two violins, two violas and two 'celli are among the most melodious and easy to understand of all his chamber music. The second, in G major, begins with a waving figure on the first viola which is maintained throughout the statement of the first chief theme, given at the outset to the first violin. The second main tune begins in a curious way, very softly, on first violin and first 'cello, three octaves apart, the first viola reinforcing them in the middle. On these two the movement is built up, both of them appearing often in fragmentary form.
The second movement is an ener. getic scherzo, two in the bar, beginning with a capricious tuno which the first violin plays at the outset. The alternative section, corresponding to the conventional Trio, is a very quick three in the bar, and the return of the first part is slightly altered from its first appearance. A short and animated Coda finishes tho movement.
The slow movement begins with a broad, song-like melody played by the first violin, and there is a more animated section in the middle, after which there is a form o f variation of the first tune.
The last movement openp with a prelude made up of quickly reiterated notes, after which first violin and first 'cello play the principal melody, a flowing tuno in 9/8 time. Tho first 'cello announces the second chief tuno and the movement is in the ordinary first movement form with a coda at brisker speed.

5XX Daventry

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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