:
'Cello Solos by Gershom Parkington ; Cap o'Rushes,' told by Marjorie Allen; ' Positive Percy and Little Lizzie,' an Original Story by E. Le Bieton Martin

TIME SIGNAL, GREEN
WICH

The idea behind the National Baby Week movement is that, if we want the next generation to grow up healthy and efficient, we must start work on it now. Dr. Saleeby is known as a leader of the campaign for more healthy conditions for children, and he can with particular fitness give this talk. In it he will refer to the work of the National Baby Week Council, of 117, Piccadilly, W.1.

The Sonatas of Beethoven

THE BRITISH VOCAL QUARTET : DOROTHY BEN
NETT, ESTHER COLEMAN , ERIC GBEENE ,
DALE SMITH. THE WIRELESS ORCHESTRA, conducted by STANFORD ROBINSON
(Picture on page 14.)
NEXT Monday will be the anniversary of the birth of Liza Lehmann (1862-1918), one of the comparatively few British women to win fame by musical composition. Madame Lehmann was a Binger and therefore knew how to write effectively for the voice, as will be amply proved in the course of tonight's programme.
DOROTHY BENNETT , ESTHER COLEMAN ,
ERIC GREENE and Orchestra
Trio : ' New Leaves show Green on the Almond
Tree ' from ' The Golden Threshold'
DALE SMITH and Orchestra
Scene from ' The Vicar of Wakefield ' : ' The Mad
Dog'
DOROTHY BENNETT (with Piano)
Daddy's Sweetheart
Good Morning, Brother Sunshine
ESTHER COLEMAN and DALE SMITH (with Piano)
Four Cautionary Tales and a Moral :
Rebecca, who slammed doors for fun and perished miserably
Jim, who ran away from his nurse and was eaten by a lion
Matilda, who told lies and was burned to death Henry King , who -chewed little bits of string, and was early cut off in dreadful agonies
Moral : Charles Augustus Forteseue , who always did what was right and so accumulated an immense fortune
DOROTHY BENNETT and ERIC GREENE and Orchestra
Love Scene from 'The Vicar of Wakefield'
Song Cycle, ' 'THE DAISY CHAIN'
QUARTET : 'Foreign Children '
ESTHER COLEMAN : ' Fairy Chimes '
DALE SMITH : 'Marching Song '
DOROTHY BENNETT : 'If no one ever marries . me '
ERIC GREENE : Stars '
QUARTET: Seeing the World '
ESTHER COLEMAN : ' My Shadow '
DOROTHY BENNETT : 'The Swing '
DALE SMITH : 'Mustard and Cress '
ERIC GREENE : 'The Moon '
QUARTET: 'Thank you very much indeed'
QUARTET : ' Blind Man's Buff '

Relayed from York Minster.
S.B. from Leeds
Full Choir composed of YORK MINSTER CHOIR, YORK MUSICAL SOCIETY, LEEDS PHILHARMONIC SOCIETY
Full orchestra composed of members of THE HALLE and LEEDS SYMPHONY ORCHESTRAS and others
Conducted by Dr. E. C. BAIRSTOW
Soloists:
ELSIE SUDDABY (Soprano)
MURIEL BRUNSKILL (Contralto)
STEUART WILSON (Tenor)
GEORGE PARKER (Bass)

TUHERE The Messiah stands in the esteem of the musical public Bach's Mass in B Minor stands in the esteem of musicians. It is held in veneration that is by no means distant, for a performance of this mighty, complicated and 'intellectual 'work is looked upon as something to be enjoyed, in spite of the arduous effort of listening that it entails.
The Mass was written, and is always sung, to Latin words. It has five principal sections, known by the opening words of each.: Kyrie, Gloria, Credo, Sanctus and Agnus Dei. Strictly speaking, there is no division into Part I and Part II, but in most performances a break is made after the Gloria, and 'Part II' begins with the Credo.
CREDO.
This has nine movements:-
Credo in unum Deum (I believe in one God). This is chorus founded on a Gregorian I line that passes from voice to voice and forms a continuous backbone to the music.
Patrem omnipotentem (The Father Almighty). A chorus of great vigour.
Et in unum Dominum Jesu Christum (And in one Lord Jesus Christ). A duet of soprano and alto soloists.
El incarnatus est de Spiritu Sancto (And was incarnate by the Holy Ghost). A chorus of quiet, tender, mysterious phrases.
Crucifixus (And was crucified). A chorus, the music of which seems to remove itself still further into mysteries beyond human ken. 'One of the supreme utterances of music,' says an authority, summing up what cannot be explained.
Et resurrexit tertia die (And the third day He rose again).
A jubilant chorus.
Et in Spiritum sanctum (And [I believe] in the Holy Ghost). A solo for bass, in a gently swinging rhythm.
Confiteor unum baptisma (I acknowledge one Baptism). A chorus, very 'learned' in style, from which an old Plain Chant tune emerges now in one voice, now in another.
SANCTUS.
Sanctus, sanctus, sanctus (Holy, holy, holy).
A chorus, quite beyond description. While the upper voices, in long, undulating phrases, depict the Seraphim that 'cried unto another,' the lower voices sing a motive in mighty octaves that 'arches heaven.'
Osanna in excelsis (Hosanna to the highest).
Yet another chorus; an outburst of joyful adoration, in a quick, urgent rhythm.
Benedictus qui renit (Blessed is he that cometh).
A tenor solo, accompanied by many sinuous phrases in the instrumental part.
AGNUS DEI.
Agnus Dei , qui tollis peccata mundi (O Lamb of God, that taketh away the sins of the world).
An alto solo, one of the most melodious movements in the Mass.
Dona nobis pacem (Grant us [Thy] peace).
A chorus constructed out of one of the finest melodies in music and bringing the work to its end in a mood of confidence and devotion.
(One or more of the movements described above may be omitted for this evening's performance.)

PAUL and LASCELLES in Harmony
HARRY HOPEWELL (Baritone)
RUSSIAN CORPS DE BALALAIKA