MARYAN ELMAR (Soprano). THE WIRELESS
ORCHESTRA, conducted by JOHN ANSELL
THE Composer of this Overture spent much
-L of his childhood at sea, and passed his youth among ships and seamen. Wo are told that the work ' 'doals with seamen rather than the sea. and is in some measure a tribute to one particular ship's company, of happy memory.' It ' owes something to their courage, good humour and love of sentiment ' ; and at the close there is a memory of their gallant death, in the war.
The Overture treats a number of soa songs— the halliards shanty Blow the inan down (on tho Horns, as the .second tune of the piece), tho fore-sheet shanty Haul away, Joe (Violins in octaves, Foon after this), a traditional sea song, The Maid of Amsterdam (Oboe and other Woodwind, very softly), then Admiral Benbow (four Horns), and the well-known Shenandoah ('Cellos). After the development of these ideas, the music takes on a note of foreboding and then rises to :t menace. The last mood is that of a requiem, and the work ends with a last hint of Shenandoah.
THIS is one of Tchaikovsky's early works
(written in 1869, when he was twenty-nine years old). It is called a ' Fantasy-Overture,' but is really a. ' Tone Poem,' an attempt to reproduce in music some of the emotions of Shakespeare's play.
, The opening (Clarinet and Bassoon) is a sort of church chant, suggesting Friar Lawrence and the marriage solemnity in his cell. A little later comes some vigorous music suggestive of the fight between the Montagues and Capulcts, and then a graceful, attractive tune (Cor Anglais, with accompaniment for muted Violas) that obviously represents the element of love.
These are three of the main tunes out of which the piece is inade. The Composer did not label them, as has been done here, but the interpretations given are reasonable, and will probably be approved by most hearers.
Note that tho work does not make any attempt to tell the story of the play, but merely strives to represent its spirit.

Words taken from the Poem by Alfred Noyes
A Choral Work by Dr. Thomas Wood
Roy Henderson (Baritone) and The Chorus of The Oxford Harmonic Society conducted by Reginald Jacques

This is a setting of Alfred Noyes 's jovial tale about the wild and wondrous adventures of ' forty singing seamen in an old black barque,' who voyaged 'across the seas of Wonderland to Mogadore,' and there fell in with all manner of marvels. They came upon a fountain 'not of water, but of jewels, like a spray of leaping fire,' and a crystal palace 'in an emerald glade beneath a golden mountain.' Here a troop of ghosts gathered round them (the music, to the tune of What shall we do with a drunken sailor? delicately hints at a possible reason for the stars 'seeing ghosts).
Then an awesome figure wearing a golden crown, came upon them. It was the owner of the palace, who received them royally in it, and told them that he had the secret of living for ever. (Prester John has a characteristic jaunty march, on Bassoons). His specific lay in drinking the water of 'a little silver river' in the forest. The seamen went to seek it, but leopards, lions and unicorns chased them away, and they made off on their old black barque, sailing home to London, and wondering if they had dreamt it all.

The Story of Balaam — Numbers, Chapters xxiixxiv

AFTER at Eton, Cambridge, and St.
Thomas's Hospital. Dr. Watney was for a time associated with tho Cambridge. Medical Mission in Bermondsey. He then went from darkest London to darkest Africa—the Mankoya district, of Barotseland, where he has been doing pioneering, medical and educational work on behalf of the South Africa General Mission for several years. His station is situated in the great sandy tracks of country on the west of Northern Rhodesia, near the Angola border.

From the Studio

Hymn, 'Who is this with garments gory?'
(Tune: 'Ebenezer')
Reading from the Old Testament
Psalm 51
Reading from the New Testament
Hymn, 'Saviour when in dust to Thee' (Tune: 'Aberystwyth')
Address by the Rev. the Hon. Edward Lyttelton, D.D.

To the general public Dr. Lyttelton is still best known as the Head-master of Eton - a position that he occupied from 1905 to 1916. Before that time he was Head-master of Haileybury, and ho is now Dean of Whitelands College, Chelsea. In addition to several noteworthy books on education, he is the author of 'Memories and Hopes,' a most interesting volume of reminiscences published in 1925.

Anthem, 'God so loved the world ' (Slainer)
Prayer
Hymn, 'When I Survey the Wondrous Cross' (Tune: 'Rockingham')
The Lord's Prayer
Sevenfold Amen

RELAYED THE RUDOLF STEINER HALL

The music of Cesar Franck, great musician and great mystic, made way very slowly. Just a little band of pupils and disciples believed in it. Then came the catastrophe - an omnibus knocked him down and injured him, and from this injury he died.
And now everybody reveres him, and the great Symphony, and this String Quartet, which we are about to hear (the only Quartet he wrote) are beloved of musicians everywhere.
The work, which he began to sketch out when he was sixty seven (in the year before his death), is in four Movements.

The FIRST MOVEMENT is built on somewhat uncommon lines. The opening slow theme is, as it were, a germ of the whole work. After the first section we have, in quick time, an exposition of the usual two Main Tunes, one in a minor key, and the other, in the major, beginning sweetly and softly in the First Violin, some little time afterwards. These ideas are joined together by a 'Cello theme which is accompanied by the other Strings in a tremolo. This 'Cello 'link' comes again in the last Movement.
After these two Main Tunes have been thus expounded, the theme of the opening slow section reappears (on the Viola), and is treated in fugal style. Then the quicker speed is resumed for a time, and the two Main Tunes are developed a little, and re-stated; the opening slow theme of the Movement brings it to an end in perfect restfulness.
The SECOND MOVEMENT is a Scherzo, of great delicacy and fine imagination, played on muted Strings
The THIRD MOVEMENT (Slowish) is in the Composer's favourite key of B, and has all his elevation and nobility of feeling
The FOURTH MOVEMENT brings in at the beginning, themes heard earlier in the work.
Of the two Main Tunes of the Movement one, heard on the Viola against a very soft accompaniment, is derived from the theme with which the Quartet began, and the Second is in several sections, one part of which has affinity with the 'Cello 'link' between the First Movement's two Tunes.
Near the end of the work Franck recalls first the rhythm of the Scherzo and then (in a broadened form on the First Violin) the lovely melody of the Slow Movement.

EDITH FURMEDGE (Contralto)
SYDNEY COLTHAM (Tonor)
KATHLEEN LONG (Pianoforte)