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MARGARET BALFOUR (Contralto)
LEONARD GOWINGS (Tenor)
THE WIRELESS MILITARY BAND
Conducted by B. WALTON O'DONNELL 3.50 MARGARET BALFOUR Songs4.22 MARGARET BALFOUR Songs

Overture, 'Di Ballo ' ('The Ball') - Sullivan
3.42 LEONARD GOWINGS Aubade (' Lo Roi d'Ys ') (' The King of Ys ') - Lalo
How fair this spot! - Rachmaninov
The Serenade - Brahms
3.58 BAND Selection, ' ' Hérodiade ' - Massenet
4.15 LEONARD GOWINGS Ave Maria - Percy Kahn
Murmuring Breezes - Jensen
4.30 BAND Hungarian Rhapsody - Reindel
Overture, ' The Rival Poets ' - German, arr. Gerrard Williams

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2LO London
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'WOHL OEM, DEB SICH AUF SEINEN GOTT '
('Blessed he that trusteth in his God')
Relayed from the Guildhall School of Music
The Singers
MARY HAMLIN (Soprano)
DORIS OWENS (Contralto)
TOM PICKERING (Tenor)
STUART ROBERTSON (Bass)
THE WIRELESS CHORUS
The Players
S. KNEALE KELLEY (Solo Violin)
LESLIE WOODGATE (Organ)
THE WIRELESS ORCHESTRA
(Oboe d'Amore, Trumpet and Strings)
Conducted by STANFORD ROBINSON

FOUNDED on a hymn by Johann Christoph Ruben, which Bach uses as the text of his opening chorus, this Cantata makes use in a very beautiful way also, of the old chorale - 'Mach's mit mir Gott, nach deiner Gut' (Use me, Lord, according to Thy mercy). In the first chorus the tune of the chorale is given throughout to the soprano, while the other voices and the orchestra furnish melodious and beautiful commentaries on it. There is an orchestral introduction and more than one interlude for the instruments.
In the tenor aria which follows, the chorale melody can be hoard running through the accompaniment, and it appears again in the immense bass aria which is number four. It is unusual in form as well as being of very big proportions, and there are frequent changes of movement. One very striking change is where the voice sings for the first time of the light that shines about him from afar. Oboe and solo violin have beautiful parts in the accompaniment, and the orchestra provides not only an introduction, but an interlude before the opening part is repeated at the end. Three contrasted themes are used in building up this great piece, first n twining figure which illustrates the heavy bonds about the spirit; second an upward rising theme which depicts the Saviour's helping hand; and last a theme, familiar in many of the Cantatas, which Bach uses as descriptive of the Celestial Light.
It is this last which is used in the orchestral prelude to the aria again as its conclusion.
The chorale, which has been the basis of these three great numbers, is heard in its full and simple form at the end.
I. - Chorus:
How blest that man who sets his faith Upon the Rock of Ages 1
He fears not evil, strife nor death; Tho' loud the tempest rages,
Him alway peace shall compass round, Whoso with God hath refuge found.
II - Aria (Tenor) :
God is my Rock; in vain the raging. The strife that evil foes are waging From spite and hate my way is freed. You speakers of untruth I hear not; Your lying words I shall not heed,
Your malice, your despite I fear not.
III. - Recitative(Alto) :
The Saviour sendeth His anointed 'Mid cruet rav'ning wolves to lie About me evildoers flocking,
Blaspheming Hint and mocking, Lay snares for me ;
Yet thru' the Word, His saving help Is nigh, Unbarm'd my spirit still shall be.
IV. - Aria (Bass) :
The cruel world to grief had bound me, And to a weary burden, chain'd.
I look to my Saviour whose Hand hath sustain'd,
Whose Light doth alway shine around me. 1 know then surely none beside la man's true Comforter and Guide.
V. - Recitative (Soprano):
My toad of sin, mine own most grievous foe, Within my body liveth ;
Yet mine the peace the Saviour giveth.
I yield to God what is His own, the spirit
He awaketh,
That to Himself He taketh; so is my sin cast forth
And Satan overthrown.
VI. - Choral:
So can I bid thee. Satan, flee 1 No more shall death appal me I
And from the world am I set free, No ovil shall bofall me I
God is my Itock, mine Aid, my Shield : How blest are they to Him that yield.
(English text by D. Millar Craig, Copyright B.B.C., 1029.)
Cantatas for the next four Sundays are:-November 10. No. 140-
Wachet auf. ruft uns die Stimme (Sleepers wake.)
November 17. No. Ill
'Was mein Gott will, das g'scheh allzeit (What my God wills, that be done always)
November 24. No. 26
Ach wie Fluchtig, ach wie nightig (Ah, how fleeting, ..h, how worthless)
(December 1. No. 62 - Nun komm, der Heiden Heiland (Come Thou Saviour of the heathen).)

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Appeal on behalf of Disabled Ex-Service Men's Factories by Lieutenant-General Sir WILLIAM FURSE , K.C.B., D.S.O.
For the past two years an Annual Exhibition has been held, in co-operation with the British Legion, of goods made by war-disabled men. Arrangements for the Exhibition have been made by Lieutenant-General Sir William Furse , K.C.B., D.S.O., and this year it is to be held at the Imperial Institute, South Kensington, the dates being November 5 to 16, inclusive. H.M. the King has been most interested in these Exhibitions and, when on a visit to one of them, said : 'I hope that many hundreds of people will visit the Imperial Institute and give practical help to the disabled soldiers by purchasing their Christmas presents at the Exhibitions.'
The following is a list of institutions where war-disabled men's goods are made :—
Ashtead Potters, Ltd.
British Legion Village.
British Legion Pappy Factory.
Cambrian Factory (British Legion).
Disabled Sailors and Soldiers Workshops (Bournemouth). Disabled Soldiers Workshops (Cambridge).
Disabled Soldiers Workshops (Church .4rmy). Disabled Soldiers Embroidery Industry. Enham industries.
Ex-Service Men's Valeting Company. llorsham Co-Operative Weaving Industry. Hospital Ward Industries.
King's Roll Clerks' Association.
Lord Roberts' Memorial Workshops. Milton Home Industries. O.F.l.A.
Painted Fabrics, Ltd., Sheffield. Papworth Industries.
Princess Alice Home (Slough). Spero leather Workers. Spero Firewood Factory.
Sailors and Soldiers Home (Eastbourne). St. Dunstans.
Vocal Therapy Society. War Service Legion.
Willesden Handicrafts Centre.

Source: Radio Times
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MARGOT HINNENBERG-LEFEBRE (Soprano)
THE KUTCHER TRIO: SAMUEL KUTCHER (Violin) CEDRIC SHARPE (Violoncello) REGINALD PAUL (Pianoforte)

ALTHOUGH in one movement, the Trio is full of varied interest, and many changes of rhythm as well as of sentiment. It begins slowly with a theme which the violoncello has alone at first, and with which the violin answers him, and soon there is a much livelier section with a good deal of independence in the different instruments. It reaches a sturdy climax, and then we are led back to a return of the opening which is now made the basis of a new and melodious section. Again there is a moment of serenity, and all the instruments sink to a very soft tone, but the close is full of energy and emphasis, all the instruments joining at the very end to present a powerful version of one of the themes already heard.
Auch Heine Dinge (Even little things) :
ONE of the songs in the book of Italian lyrics, thia tells, with wonderful tenderness and charm, how even the little things of the world may be full of beauty and happiness. Most of the way through there is a melody in the left hand of the pianoforte part along with the one for the voice, while the right hand has a gently rippling figure.
Nun lass uns Frieden schliessen (Let us now make peace) :
ANOTHER of the Italian lyrics, this song, flowing with a very suave and quiet rhythm, as its subject demands, is a lover's plea for peace after a long and bitter cloud of misunderstanding.
Du denkst mit einem Fädchen (Thou'ldst hold me with a thread):
ALSO from the Italian lyrics, this song, in slow measure with a wayward and capricious accompaniment to its simple and melodious setting of the words, has something ironic alike in its music and its text, which it would be unfair to the singer to give away before the effective last line is heard. It begins 'Thou'ldst hold me with a slender thread and make me captive with a look.'
Ich hab'in Penna einen Liebsten wohnen (I have a sweetheart, lives in Penna):
Tms merry song, dancing along on swift steps, tells of one who has many sweethearts in different places. It is rounded off by a brilliant little postlude for the pianoforte alone.
ALTHOUGH nobody, considering the question in cold detachment, could be quite sure which of the two splendid Trios by Schubert is his favourite, most people are quite certain, while actually hearing one or other, that it is not only the finer of the two, but among the best chamber music in existence. In the present age of hurry, when nobody has time to spare, it is sometimes criticized as being too long, and too full of repetitions. But all of it is so splendidly melodious, so full of all the grace and charm which Schubert, almost more than any other master, knows how to give us, that few would wish to have it shortened.

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This data is drawn from the Radio Times magazine between 1923 and 2009. It shows what was scheduled to be broadcast, meaning it was subject to change and may not be accurate. More