THE WIRELESS MILITARY BAND
Conductor: Lieut. B.WALTON O'DONNELL, R.M.
FREDERICK GRISEWOOD (Baritone)
CECIL BAUMER (Pianoforte)
THE theme of Wagner's opera is the conflict between the higher life and the sensual side of man's nature, and the Overture is an rpitome of the hero's temptation and salvation. First is heard the solemn statement of the Pilgrims' Song. accompanied by the throbbing ' pulses of life that leap for joy in this song of salvation,' as Wagner put it.
The procession approaches and passes.
Evening comes on, and the enchanting sound of music from the Hill of Venus is heard. The theme curves upward and the dances of the Queen of Love's attendants ensue. Tannhauser enters, and, drawn by the seductive influences, sings his Love Song-a bold, exultant, leaping theme. The allurements enfold him, and Venus herself appears. Tannhauser hymns her again, and the music grows ever wilder as his senses become intoxicated. Finally the mists clear away, the evil influences depart, and the song of the pilgrims rises triumphant.
PART of Lalo's work was originally written for
Violin and Orchestra, under the title of Norwegian Fantasia, and was played by Sarasate, (whom Lalo greatly admired, and for whom he wrote his Spanish Symphony).
Later, the piece was arranged for Orchestra alone, and. still later. Lalo added another section to it, completing the Rhapsody.
To-day we are to hear an arrangement of the piece for Wind Band.'
It begins with a two-bar ' call to attention.' and an Introduction. Then begins - a lively section, the opening tune of which is gaudily set out, with percussion instruments cheering it along. This, like most of the other tunes in the work, is not an actual folk melody, but is modelled in the style of Norwegian airs.
The Second Main Tune of this-section is force. fully given out by the deeper-toned instruments. The first part of the work is built upon these two melodies.
The second part, in a minor key, contains several other themes. It begins with one of which Grieg made use in an album of Ms Piano pieces, depicting Norwegian life. It is there called ' In the Mountains.' fpHERE is nothing in the fragments of dance music which Gounod wrote in his Opera, The Queen of Sheba, to suggest an improper approach to sacred matters. Yet this Opera was banned in England as being too Biblical. All that London was allowed to know of it in the 'sixties (it came out in 1862) was loarnt from a concert performance at the Crystal Palace, under the title of Irene, with all the Biblical references removed.

The Story of Rebecca-Genesis xxiv.
IN to-day's instalment of this series of stories from the Old Testament, listeners will hear one of the most famous episodes in the Pentateuch ; how Abraham, in his old age, sent his servant to find a wife for his son Isaac, and the servant met Rebecca at the well outside the city of Nahor, in Mesopotamia, and brought her back. This incident, by the way, is one that has appealed especially to painters of Biblical subjects; there have been countless famous pictures depicting Rebecca at the Well.

FROM the LIVERPOOL STUDIO
Address by His GRACE the ARCHBISHOP
OF LIVERPOOL.
DR. KEATING has been Roman Catholie
Archbishop of Liverpool since 1921. Before that he had been Bishop of Northampton for fourteen years.

Appeal by Sir Gerald du Maurier

GWLADYS NAISH (Soprano)
FRANK MERRICK (Pianoforte)
THE WIRELESS ORCHESTRA, conducted by JOHN ANSELL