Ken Beaumont and his Sextet

and forecast for farmers and shipping

Jack Coles and his Orchestre Moderne

Reading from the Gospels, with comment, concerning the cost of discipleship

and forecast for farmers and shipping

and his Sextet

Contrasts in music for violin played by Harold Fairhurst

and his Orchestra

Our Blest Redeemer (A. and M. 207;
S.P. 182)
New Every Morning (revised) 44 Psalm 86 (Broadcast Psalter) Acts 15, vv. 1-21 (selected)
Thine arm, 0 Lord, in days of old was strong (A. and M. 369; S.P. 287)

WHILE YOU WORK
Band of the Coldstream Guards
Conducted by Captain Douglas A. Pope
Director of Music

by Elizabeth Countess von Arnim (author of ' Elizabeth and her German Garden ').
Abridged by Hilton Brown
Read by Frank Duncan
Part 1
In which Princess Priscilla of Lothen-Kunitz, being now twenty-one years of age, revolts against Prince Charming and the Grand Ducal Palace, and decides to try the Simple Life in England.

Gordon Parfitt (bass)
Jan Sedivka (violin)
Ernest Lush (accompanist)

BBC Variety Orchestra Conductor, Rae Jenkins with Lee Lawrence

Hughie Green as Master of Opportunities presents five new discoveries assisted by Pat McGrath

and forecast for farmers and shipping

Report on the Fourth Test Match

Harry Davidson and his Orchestra with Parry Jones
Master of Ceremonies,
A. J. Latimer
Script by Freddy Grisewood
Introduced by Frederick Allen

Lunchtime scoreboard

at the BBC theatre organ

Alfred Hepworth (tenor)
Kyla Greenbaum (piano)
Ernest Lush (accompanist)

Boyd Neel's Musical Ride

and forecast for farmers and shipping

Jerry Desmonde introduces
Barbara Leigh and David Williams
Harry Rabinowitz
Eva Beynon
Cal McCord
Stanley Black and the Dance Orchestra
Script by Roy Bradford
Produced by Eric Spear

Ida Haendel (violin)
BBC Symphony Orchestra
(Leader, Paul Beard)
Conducted by Sir Malcolm Sargent
Sibelius Concert
Violin Concerto in D minor Symphony No. 5, in E flat
From the Royal Albert Hall , London Sibelius is one of the most original minds in twentieth-century music. His originality lies not in the invention of a new vocabulary, but in the new use he makes of the old, and in his individual approach to problems of symphonic construction and design as shown in his later symphonies and tone poems.
Sibelius' Symphony No. 1 (1899) and Symphony No. 2 (1902) and Violin Concerto (1903, revised in 1905) show their romantic inheritance as well as their composer's strong personal idiom. The Violin Concerto is a typical nineteenth-century romantic concerto. In short, it is a first-class show-piece for the violin, full of expressive, lyrical tunes and passages of bravura all set in a colourful and imposing orchestral texture.
The first movement is grand and impassioned in style; the slow movement, which is based on a long, singing melody, is deeply appealing in its emotional warmth; the finale exploits dance rhythms of a striking and vigorous character.
Among the dozen or so violin, concertos that have survived the vagdries of the concert world Sibelius' Concerto deserves a high place for its sincerity of feeling and brilliance of execution.
From his Symphony No. 3 (1907) onwards
Sibelius created for himself a distinctive and highly original symphonic style, which is remarkable for its economy of notes, conciseness of expression, and organic cohesion of structure. Sibelius' last five symphonies do not make easy listening for those who are not prepared to concentrate. Symphony No. 5 is perhaps the most accessible and is comparatively simple, straightforward, and. genial.
It certainly cost the composer a considerable amount of thought and labour. He began to think about the material and shape of the work in the autumn of 1914, he completed the actual composition in 1915, he revised it in 1916, and then, finally in 1919 largely re-wrote it.
There are three movements, of which the first consists of a subtle fusion of a freely constructed first movement and a scherzo. The opening horn theme is an important generator of other ideas and is also used as a kind of binding agent. The slow movement is virtually a set of simple variations superimposed on the recurring rhythmic phrase first heard pizzicato on violas and cellos. The powerful finale opens with a moto perpetuo theme which is kept going for some time until strings and horns introduce an important bell-like theme that is made to dominate the rest of the movement. Ralph Hill

England v. New Zealand
Thomas Woodrooffe on the Fourth Test Match

A dramatic version by E. J. King Bull of the novel by Anthony Quayle
Also taking part: Donald Gray and Michael Hitchman
Production by E. J. King Bull
(A new production of the play originally broadcast in the Third Programme on August 29. 1947)
(Rupert Davies broadcasts by permission of London Film Productions, Ltd.)
'The most singular thing about Palleria is that it exists as an island at all; it might never have done so..... ' One calm morning, several hundred thousand years ago, the earth's crust twitched a little, and through the waters of the great sea which men would one day call the Mediterranean there slowly rose ... the black shoulders of the submerged mountain peak.
'Throughout recorded time ... no comparable piece of rock has inspired such excesses of pride and hatred, has evoked such prodigies of valour in its attack and defence.'