A thought for today

Morning physical exercises for men

on gramophone records

and a short summary of the day's programmes

at the organ

Conducted by Gideon Fagan

with Renee Barr , Robert Keys , Pat O'Regan , Peter Valerio from the Continental Restaurant, Bournemouth

from page 81 of ' New Every Morning'

A Mid-Morning Variety Mixture with the following ingredients:
Davy Burnaby, Michael North, Emmie Joyce, Maurice Denham, Jack Train, Margaret Eaves, Sam Costa

This rendezvous is getting popular not only with artists but with members of the orchestra, and today we find among those present members of the Revue Orchestra.

11.0 Music and Movement for Juniors (Ages 7-9)
Ann Driver

11.20 Current Affairs (Ages 13 and over)
'Finland'

11.40 For Home Listening (Ages 9-12)
Mr. Cobbett and the Indians
by E. Arnot Robertson and Hannah Berry
'Mr. Cobbett sets out'

Sonata in A, Op. 69
1. Allegro ma non tanto
2. Scherzo
3. Adagio cantabile - Allegro vivace
played by Vivian Joseph (violoncello) and Margaret Chamberlain (pianoforte)

Conductor, Leslie Bridgewater

at the organ of the Granada, Welling

Half-an-hour of music and song
Devised by Keith Ayling
with Wynne Ajello, C. Denier Warren, John Rorke, Gwen Lewis, and Dudley Rolph
At the pianos, Alan Paul and Ivor Dennis

2.0 Music-Making (Ages 9-15)
'Can you keep time?'
Sir Walford Davies

2.15 Interlude

2.20 Biology (Ages 11-15)
Our Daily Life
'Seasonal Sleep', by A.D. Peacock, D.Sc.

2.35 Interlude

2.40 Junior English (Ages 9-12)
Plays and Stories: A Korean folk story
'The Mirror that Made Trouble'
arranged for broadcasting by Jean Sutcliffe

Lionel Hale

with Peter Fielding and his Hawaiian Quintet

Leader, Norris Stanley
Conductor, Johan Hock

Arabian Nights stories adapted for the radio by Muriel Levy, with music specially composed by Norman Fulton
No. 1 - 'The Enchanted Horse'

Conductor, P. S. G. O'Donnell

F.H. Grisewood brings to the microphone people in the news, people talking about the news, and interesting visitors to Britain

followed at not earlier than 7.10 by Scottish and Northern Ireland Announcements

Leader, J. Mouland Begbie
Conductor, Ian Whyte
Ireen McLaren (pianoforte)
(Solo pianoforte, Ireen McLaren)

Written and arranged by Mungo Dewar
Come and join the 'Funny Men' aboard H.M.S. St. George, not forgetting Shorty, Lofty, Pincher, Nobby, the Sergeant, and the Ship's Band
The BBC Male Voice Chorus and the BBC Variety Orchestra, conducted by Charles Shadwell
Chorus arrangements by Doris Arnold.
Orchestrations by Wally Wallond
Produced by the 'Old Salt', Harry S. Pepper

Because Mungo Dewar is an ex-Naval man, served during the last war on the North Atlantic Patrol, learned a sailor's love for a melody, old and new, and met the originals of Shorty and Lofty, and of most of the other characters who appear in Eight Bells, this jolly, rollicking show exudes the genuine atmosphere of a happy ship.
It was broadcast three times to Northern Ireland in 1932, and first appeared in the National programmes on April 16, three years later. That night Studio BA positively smelt of the briny, with the company dressed up in sailor hats, and the producer, Harry S. Pepper, resplendent in a captain's.
It is not surprising that Styx Gibling - the brilliant drummer of the BBC Variety Orchestra - is so good as Telegraphist William Jenkins, for he served in the Navy as a wireless operator from 1916 to 1923.

Leader, Tate Gilder
Conductor, Stanford Robinson

Reconstructed from the original documents of 1701, by Beatrice Gilbert and Priscilla Schryver.
The trial takes place at the Old Bailey, London, in May, 1701.

String Quartet, in C (K.465)
1. Adagio - Allegro
2. Andante cantabile
3. Minuetto (Allegretto)
4. Molto allegro
played by the Blech String Quartet: Harry Blech (violin), Edward Silverman (violin), Douglas Thomson (viola), William Pleeth (violoncello)

Mozart's Quartet in C major (K.465) was finished in January, 1785 - the last of six quartets which Mozart dedicated to Haydn as a mark of his esteem and affection. The opening slow introduction has caused a great deal of controversy up to modern times, owing to certain 'false relations' that early commentators considered to be either a mistake on the part of the composer or an oversight in proof-reading. Today, however, we are less 'clever' in correcting Mozart and are prepared to believe that he knew what he was doing. The effect of these discords lends a certain poignancy to the music, which from the allegro onwards reflects the happiest of moods throughout the four movements.