LINDA SEYMOUR (Contralto)
WALTER GLYNNE (Tenor)
THE GERSHOM PARKINGTON QUINTET
Selection, Mendelssohn's Songs Without Words
THESE pieces of Mendelssohn's, written originally for pianoforte solo, are so aptly described by the name which he gave them that it is difficult to understand why the original English edition fought shy of the title. On their first appearance in this country they were called Instrumental Lieder for Klavier, or Songs for the Pianoforte Alone. In 1832 the first set appeared in London as Original Melodies for the Pianoforte, and only some years later did the original German title, and eventually the English translation of it which is now so universally known, make their appearance. Another astonishing thing about them, in view of the way in which they have since made themselves at home throughout this country, is that very few copies were sold in the first years after their publication here.
Mendelssohn himself regarded them as rather trifling works, and on one occasion spoke of them as ' Animalculse ' ; none the less, they do embody many of his freshest melodic ideas, and are clearly destined to keep the strong hold which they have on the affections, not only of pianists, but of those who like them in the many arrangements which have been made of them. 4.8 QUINTET Selection of Chopin's Preludes (For 4.55—5.30 Programmes see opposite page)

Conducted by the Dean of Westminster The Very Reverend W. Foxley Norris, D.D.
Relayed from the Cenotaph, Whitehall
Hymn, 'O God, our help in ages past'
Prayers
Collects
Hymn. 'All people that on earth do dwell'
The Benediction
Drummers will Take Post
The Placing of the Legion Wreath The Last Post
Reveille
THE NATIONAL ANTHEM

'Death's Duel' or A Consolation to the Soul
Against
The Dying Life and Living Death of the Body
THE planet among preachers, Lancelot Andrewes, went out in 1626. In the subsequent five years he was succeeded and surpassed in public estimation by that angel preaching from a cloud-John Donne.
Chronologically, Andrewes and Donne were contemporaries. As preachers, the former was Elizabethan, the latter Jacobean. As men, it has been said that Andrewes was of the born spiritual, while Donne, even in death, had not done with earth. The contrast is reflected in the quality of their eloquence. The brilliant imperfection of Donne's is more interesting but less exemplary than Andrewes.
In the early days of Charles I, Donne's sermons provided the most brilliant public entertainment London had to offer. The last of them, ' Death's Duel,' was the prologue to the most spectacular death of the time. For Donne, like Webster, was ' much possessed with death.' The portrait reproduced above was one of the preparations he made for his final rendezvous with the skeleton and scythe; in T. S. Eliot 's words
' He knew the anguish of the marrow,
The Ague of the skeleton,
No contact possible to flesh, Allayed the fever of the bone.'

Relayed from the Guildhall School of Music

'O Ewiges Feuer, O Ursprung der Liebe'
(O Light Everlasting, O Love never failing)

Doris Owens (Contralto)
Tom Purvis (Tenor)
Stanley Riley (Bass)
Leslie Woodgate (Organ)
The Wireless Chorus and The Wireless Orchestra (Trumpets, Tympani, Flutes, Oboes and Strings)
Conducted by Stanford Robinson

We know from a set of older parts in existence, that this Cantata must be founded on another with the same title.

The music, besides, for the alto aria hardly seems to be born from its present text in the way that Bach leads us to expect. But it is a splendidly impressive work, and the opening chorus, in aria form, is on a very big scale. The German text means Eternal Fire rather than Light, and the vivid leaping figures in the orchestral Introduction and the accompaniment to the first great chorus suggest the tongues of flame that are to set the worshippers' hearts on fire. The whole of the first chorus is worked out with lavish adornment and was clearly one on which Bach worked with enthusiasm.

There are two short recitatives, one for Tenor and one for Bass, and between them is a beautiful aria for Alto in which the music, both for the voice and the orchestra has a wonderful sense of peace and soothing. Instead of the usual simple chorale, there is another big imposing chorus, fully accompanied, and with an orchestral Interlude in the middle of it, to close the Cantata. Big though it is, Schweitzer assumes that this last chorus bas been cut down from a fuller original form.

The orchestra used is a larger one than in many of the Cantatas: 2 flutes, 2 oboes, 3 trumpets and drums are all called on, besides the usual strings and continuo.

The text is reprinted from the Novello edition by permission of Messrs. Novello and Co., Ltd.

I. - Chorus:
O Light everlasting, O Love never failing,
Our darkness illumine and draw us to Thee.
May we from Thy spirit receive inspiration
And grant us, most Highest, Thy temple to be.
In Thee may our souls find their peace and salvation.

II. - Recitative (Tenor):
Lord, in our inmost hearts we hold Thy word the truth to be.
With as Thou dost vouchsafe to dwell;
O knit our hearts to Thee: Lord, ever near us be! If Thou within us but abide, we need not aught beside.

III. - Aria (Alto):
Rejoice, ye souls, elect and holy,
Whom God His dwelling deigns to make.
He doth His great salvation send us,
And all from God's own hand we take.
Unnumbered mercies still attend us.

IV. - Recitative (Bass):
The Lord doth choose a holy dwelling, whereon to shed His peace: His boundless grace our lips would fail in telling: how He to bless His chosen doth not cease. It is our Father's everlasting will to bless His children still.

V. - Chorus:
Peace be unto Israel.
Thank the Lord whose love attends us,
Thank Him who on us hath thought.
Yea, His love this grace hath brought.
Peace and rest our Saviour sends us,
Peace be unto Israel.

(to 6.15 app)

From Lincoln Cathedral
CATHEDRAL BELLS

Hymn, ' '0 Holy Spirit, Lord of Grace ' (English Hymnal, No. 453, A. and M., No. 208)
Psalm 46
Lesson, Galatians, eh. v, w. 16 to end
Magnificat—Wood in F (Double
Chorus)
Sermon by The Very Reverend the DEAN of LINCOLN
Hymn, ' Praise to the Holiest in the Height ' (English Hymnal, No. 471 (A. and M., No. 172)
The Blessing. (Dresden Amen)

Appeal on behalf of Kingsley Hall, by Miss MURIEL LESTER
TTINGSLEY HALL, which was started in J-V. 1915, housed in a dilapidated building, shaken to pieces by a Zeppelin bomb, and subsequently re-housed last autumn, is the only place of its kind in England. It is entirely at the service of the neighbourhood-a local centre of fellowship, organized by ' Tom, Dick, and Harry,' and their womenfolk. It allows men and women to meet on an equal footing, organize their sport, their dancing, and their culture, and run their own canteen ; and it closes each evening with a period of silent prayer. Nothing has yet been paid for cooking, gardening, cleaning, etc., all of which is done by the men and women themselves. Though the club itself is self-supporting, the help of the general public is required for rates, taxes, light, heat, insurance, and the maintenance of the community. The new building cost about £14,000, and carries a debt of some £3,300.
Subscriptions should be sent to
Miss Muriel Lester , at [address removed]

Local Announcements; (Daventry only) Shipping Forecast

NOEL EADIE (Soprano)
Roy HENDERSON (Baritone)
THE WIRELESS MILITARY BAND
Conducted by B. WALTON O'DONNELL

Overture, ' The Sapphire Necklace ' - Sullivan
9.18 NOEL EADIE Ah fors e lui ('Tis he of whom I dreamed) (La Traviata ') - Verdi
9.25 BAND Sea Pieces To the Sea ; Starlight ; Nautilus - MacDowell
9.38 Roy HENDERSON King Charles (Cavalier Song) - Maud Valerie White
The Fighting Temeraire - Pascal
9.45 NOEL EADIE Whene'er a snowflake leaves the sky - Liza Lehmann
At Dawning - Cadinan
Where the Bee sucks - Sullivan
9.52 BAND Rhapsody, No. 2 - Liszt
10.5 Roy HENDERSON The Traveller - Godard
At Tankerton Inn - Howard Fisher
10.12 BAND The Londonderry Air - arr. O'Connor Morris
Introduction, Act III, and Bridal Chorus, ' Lohengrin' - Wagner

'Preserve, O Lord, to our use the kindly fruits of the Earth'
(For details of this week's Epilogue see page 379);