Sydney Gustard at the BBC theatre organ

and forecast for farmers and shipping

featuring Jack Collings

A talk by Hugh Redwood

and forecast for farmers and shipping

by a doctor

Margot Andersen (soprano)
Max Gilbert (viola)
Frederick Stone (piano)

2—‛ On Not Listening to Strangers'

TCHAIKOVSKY
Records of his Fantasy-Overture ' Romeo and Juliet,' and movements from his ' Casse-Noisette ' Suite

Primo Scala and his Accordion Band

Southern Serenade Orchestra directed by Lou Whiteson

Vivian Joseph (cello)
Joseph Cooper (piano)

from a canteen in Poole
with Eric Barker
Cherry Lind
The Peterson Brothers
Freddie Carle at the piano
Presented by Duncan Wood

and forecast for farmers and shipping

An adaptation by Winifred Carey of ' The Thirty-Nine Steps ' and ' Mr. Standfast' by John Buchan
3—' The Thirty-Nine Steps '

BBC Opera Orchestra (Leader, John Sharpe )
Conductor, Stanford Robinson

A story of General Mark Clark

A musical entertainment
Edric Connor with Troise and his Banjoliers

'Heidi'
A serial story adapted for radio by Beryl M. Jones from the book by Johanna M. Spyri
4—‛ Happy Ever After '
Produced by Lorraine Davies
Homesick little Heidi gets a wonderful welcome from her grandfather and Peter and all her friends when she returns home from Frankfort. She spends the winter teaching Peter to read, but she is impatient for spring to come when Dr. Classen has given permission for Klara Sesemann , her little crippled friend, to spend a holiday with her on the Great Aim. At last the great day arrives and Mrs. Sesemann leaves Klara in the care of the Aim Uncle and Heidi to spend the most wonderful holiday she has ever had.
' The Way You Say It ’ : fourth and last of a series of talks by David Lloyd James on dialects and accents

and forecast for farmers and shipping

The Cherokeys
Bill O'Connor
Sam Costa
Stanley Black and the Augmented Dance Orchestra
Introduced by Felix Deetoank
Produced by Dennis Main Wilson

James Gibb (piano)
BBC Symphony Orchestra
(Leader, Paul Beard )
Conductor, Sir Malcolm Sargent
Beethoven
Overture: Egmont
7.42 app. Piano Concerto No. 1, in C
8.19 app. Symphony No 7, in A
From the Royal Albert Hall, London
Goethe's drama Egmont deals with an early ' resistance ' movement in the Netherlands. Count Egmont was a Netherlands patriot who led a rebellion against the Spanish occupation forces in the sixteenth century. When the Spanish Duke of Alva condemned him to death, trumpeters were ordered to sound a fanfare during the execution, lest Egmont's dying words might inflame his countrymen to further resistance. Beethoven has seized on this incident to provide a musical peroration to his overture, which portrays Egmont's struggle against tyranny and oppression, and the hero's final martyrdom in the cause of freedom.
Beethoven's later symphonies all have one point in common-they aU exploit to the full the rhythmic potentialities of each fragment of their principal themes. From the initial ‛ motto ’ theme of the Fifth Symphony (used as the ' resistance ' signal during the last war) to the cosmic opening of the ' Choral ' we observe this typically Beethovenian form of development, but never was it carried to a greater pitch of intensity than in the Seventh Symphony. It was probably this factor of rhythmic intensity that caused Wagner to describe the work as ' the apotheosis of the dance,' particularly since Beethoven does not here concern himself with a battle against fate or with pastoral scenes, but revels exultantly in a physically exuberant joy of life. The grim atmosphere of the second movement provides a contrast to the rest of the symphony. Beethoven originally marked it Allegretto, considered changing this direction to Andante, and finally decided on a speed between the two.
Julian Herbage

with Sam Costa , Maurice Denham
Diana Morrison , Barbara Leigh
The Dance Orchestra
Conducted by Stanley Black
Script by Richard Murdoch and Kenneth Horne
Produced by Leslie Bridgmont