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Regional Variations (2)

National Programme

National Programme Scotland

' Bee Keeping on a Canadian Prairie '
MARY LUTY
At one time or another Mary Luty seems to have been engaged in housekeeping in adventure in most corners of the globe. Last autumn she described how she cooked her way round the world; today she will tell more fully of life in a caboose, or caravan, on a Canadian prairie, complete with oil lamp and that symbol of a Canad.an home-a rocking chair. She had an acre of land, and had to fell trees to clear the ground for her bee-hnes.
From October to April the ground was white with snow. Potatoes would freeze ; she wore breeches and sheepskin mocassins, and with a short coat over her warm blouse, had, to go half a mile or more every day to her ne.ghbours for water. She will describe how she made the hives herself, and how at the end of April her bees arrived from the southern states of America She will describe the short but not unprofitable season and the marketing of the honey. A likeable life, if a lonely one, in which she learned to talk to herself.

Frank Titterton (tenor) : The Rose of Tralee (Glover, Spencer) ; Mexican Serenade (Teresse)
Essie Ackland (contralto) : 0 dry those tears (del Riego)
Keith Falkner (bass-baritone): Port of many ships, Mother Cary, Trade Winds (Salt Water Ballads) (Keel)
Hulda Lashanska (soprano) : Ma curly-headed baby (Plantation Song); The sweetest Story ever told (Stultz)

Leader, BERTRAM LEWIS
Conductor, RICHARD AUSTIN
Solo pianoforte, ARTHUR DE GREEF from the Pavilion, Bournemouth
The history of Borodin's Second Symphony is closely linked with that of his opera, Prince Igor. The first ideas for the Symphony occurred to him early in 1869, hut in April of that year Stassov suggested the opera subject to him, and for a time he devoted all his energies to Igor. Then he decided (temporarily) that the subject was unsuitable. 'Don't worry about it', lie wrote to Stassov. ' The material won't be wasted. It will all go into my Second Symphony '. Accordingly the first movement of the Symphony was written in 1871. During the period 1874-76 he was working at both opera and Symphony, and the last two movements of the Symphony were based on themes originally intended for an epilogue to Prince Igor. (Soloist, ARTHUR DE GREEF>)

Contributors

Leader:
Bertram Lewis

Hugo Wolf
Eichendorff Lieder sung by HERBERT HEYNER (baritone)
Eichendorff Lieder (concluded)
17. Seemanns Abschied (Sailor's Farewell) ; 18. Erwarrung (Expectation) ; 19. Die Nacht (The Night) ; 20. Waldmadchen (Forest Nymph)
Wie glanzt der helle Mond (Bright shines the silver moon) (from ' Sechs Gedichte', ', by Keller)

Contributors

Unknown:
Hugo Wolf
Unknown:
Eichendorff Lieder
Baritone:
Herbert Heyner

'Understanding Your Car's Complaints '-I
JOHN ADAMS
As the spring approaches, thoughts turn from the house to the open air, and in many cases in the first place to the garage and the car which many a listener has laid up all the winter and will now be taking on the road again.
This evening Mr. Adams, who gave a talk this month in ' Topics in the Air ' on ' Taking out the Car ', is to give the first of two talks continuing his story, and describing with the assistance of gramophone records the noises a car makes and what they mean. Mr. Adams has had the co-operation of the A.A. and the R.A.C., and will give his second talk next Wednesday, April 8.

The scenarios and decor of Stravinsky's Rite of Spring, and the descriptive sub-titles, were suggested by Nicholas Roerich , painter, archaeologist and ethnographer. Roerich had been in charge of important excavations in the Novgorod Province, which had brought to light numerous treasures of neolithic art, and no one was better fittted to devise an artistic re-creation of the spring fertility rites of the pagan Slavs.
The work is divided into two parts : a ceremony of earth-worship and the sacrifice of a chosen maiden. After a slow introduction based on a Lithuanian folk-melody, come the ' auguries of spring ' (' stamping ' chords) ; the young beauties of the tribe dance, and there is a mock ' marriage by capture ' (a swift scherzo). Then come ' spring rounds ' (opened and closed by a lovely clarinet melody) and ' the gamea of rival communities '. Presently a Wise Elder appears ; he kisses the earth in adoration, and the first part ends with ' the winning of the earth by dancing '. After a gloomy introduction, the maidens begin the sacrifice, moving mysteriously in circles. There is a wild dance glorifying the chosen victim ; the shades of the tribal ancestors are evoked and worshipped ; and the work ends with a wild sacrificial dance.
An article on this work, by Edwin Evans , appears on page 14.
Tickets may be obtained from [address removed] Prices :
2S. to 10s. (including Tax)

Contributors

Unknown:
Nicholas Roerich
Unknown:
Edwin Evans

Incidents from the lives of Richard Nash and his Court
Taken from Edith Sitwell 's ' Bath', Oliver Goldsmith 's ' Life of Nash ', and other sources
(By permission of Gilbert Miller )
Victor Fawkes , Carleton Hobbs , Stanley Lathbury , Charles Mortimer , Ivor Maddox , Gladys Young , Joan Matheson , Guy Pelham Boulton , Cherry Cottrell , Agnes Lauchlan ,
Grenville Eves , Charles Mason
Arranged and produced by M. H. Allen

Contributors

Unknown:
Richard Nash
Unknown:
Edith Sitwell
Unknown:
Oliver Goldsmith
Unknown:
Gilbert Miller
Unknown:
Victor Fawkes
Unknown:
Carleton Hobbs
Unknown:
Stanley Lathbury
Unknown:
Charles Mortimer
Unknown:
Ivor Maddox
Unknown:
Gladys Young
Unknown:
Joan Matheson
Unknown:
Guy Pelham Boulton
Unknown:
Cherry Cottrell
Unknown:
Agnes Lauchlan
Unknown:
Grenville Eves
Unknown:
Charles Mason
Produced By:
M. H. Allen
Narrator:
Viola Lyel'
Beau Nash:
Baliol Holloway
John Wesley:
John Cheade

National Programme Daventry

About National Programme

National Programme is a radio channel that started transmitting on the 9th March 1930 and ended on the 9th September 1939. It was replaced by BBC Home Service.

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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