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VALSE TmsTE, probably the best known piece by Sibelius, is taken from music which he wrote for a drama called Kuolema, by his brother-in-law Jarnefelt, not the Jarnefelt whoso name also appears here as composer. In the drama, the moment which the waltz accompanies is far more deeply tragic than the word ' triste ' conveys, so hopelessly sad, indeed, that Jistoners had better not know of it, had better listen to this famous waltz tune and regard it as merely touched with a deep melancholy.

The Armistice with Germany. An Address delivered to Congress on November 11, 1918, by Woodrow Wilson , President of the United States of America, 1913-21.
I AN example of eloquence occasioned by the outbreak of the War was presented in this series last Sunday. This Sunday, a speech made on the occasion of the signing of the Armistice, forms the last in the series of eloquence in English, The one was delivered by a Prime Minister of England on account of a catastrophe, the deliverance from which is announced in the other by a President of the United States of America. Yet although the feelings animating them are so different, both these speeches display much the same qualities of style.
Of their authors, H. H. Asquith was a great classic, while Woodrow Wilson was the first avowed scholar to occupy the Presidency. They both provide examples of the same tradition of English public speaking. In the history of style, therefore, the announcement of the beginning of the War and of its end are scarcely differentiated. On November 11, 1918,President Wilson spoke with the fine words to which he had been accustomed all his life.
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Relayed from St. Ann's Church, Manchester
S.B. from Manchester
' SlEHE ZU DASS DEINE GOTTES FURCHT NICHT HEUCHELEI SEI ' ('Take thou heed thy praise of God be not a false and vain thing')
Conducted by T. H. MORRISON
DURING his first eighteen months as Cantor of the Thomaskirche in Leipzig, Bach wrote more than twenty Cantatas which have come down to us. This one was composed for the eleventh Sunday after Trinity. For the majority of his texts he turned to Picander, partly, no doubt, because the poet boasted some knowledge of music. But many of his texts are quite astonishingly bad, and this is one of the worst. More than one number is, in the original, the merest doggerel. Bach's music, none the less, possibly all the more, is full of interest and brilliance, and the first chorus of No. 179, a Motet in form. is a splendid Fugue for the voices.
The next three numbers for the men's voices are wonderfully expressive, when one has in mind the poor material on which Bach had to work, and in the soprano aria, the voice and the two oboes along with the bass in the accompaniment, are treated like the four voices of a quartet in the most interesting way.
The setting of the final Chorale is a very beautiful one with bold and impressive harmonies.
I.—Chorus :
Take thou heed thy praise of God be not a false and vain thing,
And serve the Lord not with lies- and evil.
II.—Recitative (Tenor):
Today all Christendom thro' sin is brought to shame :
For many call upon His Name,
Who empty temples only raise Him
And with their voice alone they praise
Him. like Pharisees, their ways are holy,
They bow their heads with humble mien and lowly ;
Yet all their heart is full of vanity and pride;
Into the house of God they go.
With outward show, tho' all their works belie Him ;
Not truly Christians they who worship so: Nay for their evil hearts deny Him.
III.—Aria (Tenor) :
Falsehood, vain and nought thou art, And to Sodom's doom thou goest, As a tree with canker'd heart,
Though a foliage fair thou showest ;
Falsehood, know thine outward grace, Cannot stand before His Face.
IV.—Recitative (Bast) : Whose heart is pure ev'n as his words profess.
Doth truly God confess. So, in the temple he believed Who beat in sorrow on his breast Repenting all his sins, and 60 receiving grace; Ev'n that example take. 0 man, thyself no more deceiving.
And all thy sins forsake : thou dost no murder, nay. nor stealest, Kor with thy neighbour falsely dealest : Yet, evil thoughts thy heart doth know, Not sinless thou nor white as snow. fato the Lord In- all Hiy sin confessed So shalt thou by His Grace be blessed.
V.—Aria (Soprano) : God of love. Thy pity show. Shed Thy grace. Thy peace around me! Sin and sorrow do I know. As tho' cruel chains had bound me ; Help me, Jesu, he thou nigh. Without Thee I faint and die.
VX—Chorale: A sinner I. asham'd and weeping. Alone at God's tribunal stand.
0 Father, have me in Thy keeping.
0 spare my guilt and stay Thy hand. Have merry. Lord, mine anguish see, 0 God. my Saviour, pity me ! (English Text by D. Millar Craig. Copyright B.B.C. 1929.)
Cantatas for the next four Sundays are:-
Aug. 18. ' Lobe den Herren. den machtigen Konig drr Ehren' (' Praise thou the Father ')-
Aug. 25. ' Christus der ist mein Leben' (' 0 Christ my all ').
Sept. 1. ' Jesu, der du meine Seele ' (' Jesus, thou who art Salvation ').
Sept. 8. ' Was Gott tut, das ist wohlgetan' (' What God doth, that is wise and right ').

Appeal on behalf of the Surgical Supply Depot by Mr. E. F. FLADE , J.P.
This Society makes many kinds of surgical appliances for those wounded in the War, for Children's Clinics, for Hospitals, and for the poor, and much of the work is done by purely voluntary workers. The Society's aim is to make, at the lowest possible cost, the necessary surgical appliances for those who otherwise would either have to go without altogether or else wait an injuriously long time. In juvenile cases, especially, splints are wanted promptly and cheaply. In a number of cases of real hardship, appliances are given free. Since 1921, work has been done for 262 different hospitals, and for innumerable private cases. Money and work are wanted, also the active interest and scientific co-operation of the medical profession, hospitals, and health workers all over the country. New premises must be acquired and equipped next year, owing to the expiration of the present lease, and for this also funds are urgently required.
Donations should be sent to [address removed],

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