including How Not To, How They Used To, and How You Must. Special Double Number for the Third Programme by Stephen Potter, with selected examples, by Joyce Grenfell, of Third Class Listening. The whole demonstrated for this exclusive occasion by especially selected members of the 'How' Repertory Company.
'Goldberg Variations' played by Lucille Wallace (harpsichord)
An address by Field-Marshal The Rt. Hon. J.C. Smuts, C.H., F.R.S., K.C., Prime Minister of the Union of South Africa
Field-Marshal The Rt. Hon. J.C. Smuts, C.H., F.R.S.,
BBC Symphony Orchestra (Leader, Paul Beard)
Conductor, Sir Adrian Boult
Guest Conductor, Arthur Bliss
BBC Choral Society
BBC Chorus (Chorus-Master, Leslie Woodgate)
Soloists: Isobel Baillie (soprano), Astra Desmond (contralto), Bradbridge White (tenor), Alfred Deller (counter-tenor), Charles Whitehead (counter-tenor), Harold Williams (baritone)
God Save The King
8.2 Festival overture...Britten
(Specially composed for the opening of the Third Programme)
8.11 Music for the Royal Fireworks...Handel
8.32 Cantata: Come Ye Sons of Art...Purcell
Isobel Baillie, Alfred Deller, Charles Whitehead, and Harold Williams
An introductory talk by Sir William Haley, K.C.M.G., Director-General of the BBC.
post that mentions
9.15 Serenade to Music...Vaughan Williams
Isobel Baillie, Astra Desmond, Bradbridge White, Harold Williams, and BBC Chorus
9.31 Music for Strings...Bliss
(Conducted by the composer)
9.54 Blest Pair of Sirens (for chorus and orchestra)...Parry
Conductor (Music for Strings):
First of two new programmes in this series, in which ordinary people discuss issues of current interest as well as recurrent abstract problems.
A discussion between ex-Service men and others.
Gramophone records made under the direction of Nadia Boulanger.
Week by week the Third Programme will let listeners hear again the best talks of past years. This evening you can hear one of the most distinguished of all
Sir Max Beerbohm on 'London Revisited' first broadcast on December 29, 1935
All that 'Max' said about London in 1935 is as interesting, entertaining, and valid as ever. But since then, from 1940 to 1945, London has been the target for more than wit, and this creates between 'Max' and his listeners a tension that was absent eleven years ago. It is as though a powerful, silent answer were returned to him by the ugly stones and girders of his firm distaste; 'in the quiet magic of the dawn.' more than the inaesthetic bulk of Regent Street has seemed especially nasty.'
Readings from the Bible, and organ music.