From page 33 of ' New Every Morning '
Regional Variations (2)
at the Organ of the Ritz Cinema,
German for Sixth Forms
Die Deutsche Jugendbewegung
Lionel Tertis (viola): Four Songs without Words (Mendelssohn) — Andante con moto, Op. 19, No. 1. 2 Allegro non troppo in E flat, Op. 53, No. 2. 3 Venetian Gondola Song, No. 1. 4 Duetto
(From the Acts of the Apostles to the Reformation)
11—' The Church and the Goths '
, E. F. Jacob , D.Phil., F.R.Hist.S.,
Professor of Mediaeval History,
University of Manchester
Led by Harold Jones
Conducted by Alfred Barker
Elizabeth Hill is a great traveller and linguist-she speaks at least one foreign language as easily as her native tongue. Central Europe today, particularly Czechoslovakia, about which Miss Hill is going to talk, is often in the news and a favourite resort for British visitors.
She speaks from a human, unofficial point of view, of a people she knows well.
by Herbert Dawson from St. Margaret's, Westminster
Science and Gardening
How Plants obtain Food, Water, and Air
B. A. KEEN
Revision and Pupils' Tunes
THOMAS ARMSTRONG , D .Mus.
from Claridge's Hotel
A. H. WINTER and others
A vest-pocket vaudeville
Produced by Ernest Longstaffe with Wynne Ajello
Elsie Winsor and Reg Lever and Warden and West
Accompanied by Rae Jenkins (violin and viola)
Fred Alexander ( cello and guitar)
Ivor Dennis at the piano
Compere, Walter Hix
Arthur Rubinstein (pianoforte) and The London Symphony Orchestra, conducted by John Barbirolli : Concerto No. 23, in A (K.488) (Mozart) -1 Allegro. 2 Andante. 3 Presto
Regional Variations (2)
Raymonde Collignon (diseuse)
including Weather Forecast
Leader, J. Mouland Begbie
Conductor, Guy Warrack
Hamish MacCunn (1868-1916), one of the most gifted composers that
Scotland has produced, studied at the Royal College under Sir Hubert Parry until 1886. In the following year he came into real prominence as a composer with his concert overture ' Land of the Mountain and the Flood '. The poetic basis of the music is the passage from Scott's * Lay of the Last Minstrel ', which begins:
0 Caledonia! stern and wild, Meet nurse for a poetic child!
Land of brown heath and shaggy wood!
Land of the mountain and the flood!
Land of my sires! what mortal hand
Can e'er untie the filial band
That knits me to thy rugged strand?
1 To a Wild Rose. 2 Will o' the Wisp. 3 At an Old Trysting Place. 4 In Autumn. 5 From an Indian Lodge. 6 To a Water-Lily. 7 From Uncle Remus. 8 A Deserted Farm. 9 By a Meadow Brook. 10 Told at Sunset
Hungarian March..................... Berlioz
Presented by Harry S. Pepper and Douglas Moodie
Singing Commere, Judy Shirley
- 1 Frances Maddux
2 ' Inspector Hornleigh
Investigates' with S. J. Warmington as Inspector
No. 18, Twenty Thousand Under
Suspicion ' by Hans W. Priwin
3 This Stopped the Show devised by Robert Ellison
4 Antony Holles and Ivan Samson in ' The Lugubrian Abroad ', No. 1 by Spike Hughes
5 Phyllis Monkman
The BBC Variety Orchestra conducted by Charles Shadwell
The ninth episode in the tale of Mr. Augustus Plum and Family by Sonny Miller and Max Kester
10—' Places of Work '
A weekly half-hour of American
Variety with Freddy Rich and his Orchestra
including Weather Forecast and Forecast for Shipping
Utrecht Jubilate by Handel
Rispah Goodacre (contralto)
Percy Manchester (tenor)
Booth Unwin (baritone)
The Choir of the Blackburn Music Society
The BBC Northern Orchestra
Leader, Alfred Barker
Conducted by Herman Brearley
The Te Deum and Jubilate, composed to celebrate the Peace of Utrecht, are among the earliest of Handel's English choral works. The success of the opera Rinaldo in 1711 had given the young composer a position in fashionable London circles to which no native musician could aspire. In 1713 Queen Anne had chosen Handel to write the Ode in celebration of her birthday, and the Utrecht Te Deum and Jubilate were first performed in St. Paul's in July of the following year, and resulted in the composer receiving a royal pension of £200.
The whole of the Jubilate, from the brilliant opening trumpet passages to the magnificent Gloria, beginning with a double chorus and ending with a five-part fugue, breathes a spirit of strength and triumph.
TAKE YOUR CHOICE
A Scene from ' Twelfth Night ' in modem and in Elizabethan speech
Shakespearean pronunciation by F. G. Blandford
Act 1, Scene 5
When London Calling A.D. 1600, broadcast in April, 1936, was discussed between the producer, M. H. Allen , and the author, Herbert Farjeon , the latter happened to mention that he had seen F. G. Blandford 's production of Twelfth Night, Act I, Scene 5, in Elizabethan English at the Festival Theatre, Cambridge. It was decided to ask Mr. Blandford to do a scene for this broadcast, and he came up from Cambridge and took the rehearsals. It was one of the most effective things in London Calling, which conjectured what listeners might have heard had broadcasting been invented in the reign of Queen Elizabeth.
Now Miss Allen and Miss Burnham are going to produce part of Act 1, Scene 5, first in modem English pronunciation and then in Elizabethan pronunciation, the scene which Mr. Blandford gave at Cambridge. The producers believe that, spoken in this way, Shakespeare has a music and rhythm which Edith Evans , almost alone among actresses, gives it today. In the Elizabethan version the girls' parts will be played by boys as they were played in Shakespeare's day.
Harold Reese , who broadcasts as Viola, took that part in London Calling.
Stanley Axham , who broadcasts as Olivia, played Isaac in Miss Allen's production of Abraham and Isaac last July and again in the revival on November 28.
(All arrangements by Serge Krish )
from the Piccadilly Hotel