(For 3.0 and 3.30 Programmes see opposite page.)

(No. in) BACH
' Was MEIN GOTT WILL, DAS G'SCHEH
ALL-ZEIT
(' WHAT MY GOD WILLS, THAT BE
DONE ALWAY') ')
Relayed from THE MIDLAND
INSTITUTE, Birmingham KATE WINTER (Soprano)
DOROTHY D'ORSAY (Contralto)
TOM PICKERING (Tenor)
ARTHUR CRANMER (Bass)
G. D. CUNNINGHAM (Continuo)
THE BIRMINGHAM STUDIO CHORUS and ORCHESTRA
Conducted by JOSEPH LEWIS
THE text of this Cantata is on a similar motive to ono which
Bach composed no fewer than three times—' What God doth is right and wise.' But the joyous way in which the first chorus is laid out makes it clear that he had in mind no mere resigned submission to the Divine will, but a confident faith in its beneficence. The Chorale itself is a beautiful one and is set forth eloquently by one voice, with the others imitating it closely ; there is a real sense of jubilation in the orchestral accompaniment, the violin part running about on a spirited version of a joyous motive which can often be heard in the Cantatas.
The same spirit of happiness rather than resignation continues in the following bass aria, gracious in its melody, and then, after the alto recitative, there is a fine duet for alto and tenor. In keeping with the words, which tell of the Spirit's gladness in going onwards, the music has something of the character of a joyous, although stately, march. Again the violins have a part which illustrates this sense of happiness.
The chorale at the end, the one which is the real basis of the Cantata, is very beautifully and simply harmonized. I.—Chorus :
What my God wills is right and wise. His Will be done for ever ;
God helpeth him who on Him cries. Whose faith hath falter’d never.
Our woe. our need, He still doth heed, He loveth whom He ehast'neth ;
With God who 'bides, no ill betides, For to his help God hast’neth.
II.—Aria (Bass) :
Oh fear not thou my trusting heart, From out His sight canst not depart, Alway He watche’h o'er thee.
Yea, what His Wisdom hath ordain'd. Despite the world, shall be sustain'd. And sin shall flee before thee.
III.—Recitative (Alto):
Thon foolish man 1 from God thou canst not fly ;
Ev'n Jonah might not hide his sin before th'
All-seeing Eye:
Thy very heart to Him is opened,
Yea, ev’n upon thy head thy hair He numb’reth. Then yield to Him that never slumb’reth, Thyself and all thy going,
Believing in His Word thy hope, thy light, thy refuge knowing.
IV.—Duet (Alto, Tenor) :
Then gladly shall I still go onward.
E'en though to death He lcadetb me. The number of my days He knoweth : His Hand. that o'er me still shall be,
The cruel foeman, Death, o'erthroweth.
V.—Recitative (Soprano) :
Yea, ev'n though Death, relentless. came
To tear my soul from out this mortal frame Receive it. God, into Thy tender keeping; Though Satan. Death, and evil me assail, Yea, tho' my dying pillow Must be a raging billow,
So grant that still my faith In Thee prevail. 0 blessed death. 0 peaceful sleeping 1
VI.—Chorale :
One pray’r, 0 Lord, to Thee I raise, In mercy, Father,. hear me ;
When darkness falls about my ways.
Let still Thy light be near me 1
My shield and sword art Thou, 0 Lord, Thy glory passeth never.
Who prays to Thee, Thy grace shall see, And worship Thee for ever.
(English Text by D. Millar Craig. Copyright
B.B.C., 1929.)

ANGUS MORRISON
THE WIRELESS SYMPHONY ORCHESTRA
(Leader, S. KNEALE KELLEY )
Conducted by JOHN BARDIROLLI
AMONG the best, and best-known, of Haydn's many
Symphonies,, there are twelve which bear the name of Salomon-all commissioned by that eminent violinist and produced by him in London. He had long cherished the project of bringing the great master to this country, and succeeded eventually in 1791, Haydn crossing on New Year's Day from Calais to Dover, a nine hours' sea passage in those days. Haydn stayed with us till the middle of 1792, feted and honoured in every way that enthusiasm and affection could devise. He saw a good deal of English life, of the Court and Society world, and made friends everywhere. He used to say that it was not until he had been in England that he became famous in Germany, meaning, of course, that the homage and rewards which came to him here were on a. much more generous scale than anything accorded to him at home.
Oxford gave its name to one of the twelve— the one which was played there when the University gave Haydn its honorary degree of Doctor of Music ; its neighbour, which has always been known as ' The London,' probably owes its name to the tact that it was chosen for performance at the Salomon Concert which was specially given for Haydn's own benefit.
Full of Haydn's inimitable good humour and cheerfulness, it begins with a slow introduction, which seems at first as though it would be a mere flourish of trumpets, but a more melodious section follows. It is in minor. The main quick part of the movement changes to the major, and the first merry tune is given out at once. The Symphony has the unusual feature of making use of the same main tune twice over in its first movement, instead of giving us a new one ; there is another tune, but it is not used in the way in which a main second theme usually is.
The slow movement is Haydn at his very best; it is made up very simply of a fine melody which is not really developed, but simply presented in various guises.
The third movement is at once dainty and vivacious, with a hint of mischief in its emphatic third beat of the bar at the outset, and the Trio, in minor, has only the slightest suggestion of the wistfulness that the minor mode can so often mean.
The last movement is almost boisterous in its good spirits. It begins at once with the chief melody, irresistible in its gaiety, and though to the student the movement is a model of skill and compactness, the effect is one of real simplicity and oven of lighthearted fun.
WHEN Brahms first produced this Pianoforte
Concerto it was, in his own words to his friend Joachim, ' a brilliant failure.' Critics and public alike failed to realize anything of the fine qualities in which it is so rich. Brahms accepted the failure with wonderful good humour and laid the work aside for a good many years. When he played it again, after Mme. Schumann had also done her part in making it known, his position in the world of music was much more firmly established, and the Concerto was more warmly welcomed.
At first it was called rather scathingly, ' a Symphony with pianoforte obbligato,' but it is quite possible that Brahms' own playing had something to do with its lack of success ; he was always more concerned with the breadth and bigness of his conceptions than with fineness, or even mere accuracy, in detail. The work has long ago won so sure a place in music lovers' affections that that early failure is difficult to believe.
(For 5.15 to 8.45 Programmes see opposite page.)

! Conducted by The Rev. Canon GuY ROGERS
Relayed from ST. Martin's CHURCH,
Birmingham
Order of Service
The Approach, ' 0 dearest Lord, by all adored ' (Songs of Praise, No. 464)
Hymn, ' Jesu, good above all others'
(Songs of Praise, No. 429)
Prayers; Lesson
Anthem, ' The Holy Child ' (Martin
Luther's Cradle Hymn)
Address
Hymn, ' Ho who would valiant be '
(Songs of Praiso, No. 255)
Prayer
BENEDICTION
(For 3.45 to 5.15 Programme see opposite page.)

PAUL OF TARSUS—XIV
‘ FESTUS ’
Acts xxv, 1-27

(In Welsh)
Relayed from
EGLWYS ANNIBYNNOL y TABERNACL,
Treforis
(Tabernacle, Morriston)
S.B. from Swansea. Trefn y
Gwasanaeth Gweddi
Emyn 203, ' Fy enaid clyw, a gwrando'n awr ’
Darilen
Gweddi
Anthem 28, Yr Arghwydd yw fy
Mugail ' ... Dr. Caradog Huberts
Emyn, 621, ' Yr Arglwydd a reddwl am danaf '
Pregeth, Y Parch J. J. WILLIAMS Cyhoeddi a Chasglu
Emyn 920, ' Beth sydd imi vn y byd '
Y Fendith Apostolaidd
Hwyr Weddi 1178, 'Yn Nhywyll oriau'r nos '
Organydd ac Arweinydd,
E. H. HUGHSON

From the Studio
"The Presence"
Hymn, Praise, my soul, the King of Heaven' (A. and M., No. 298;
The Hallowing Introduction The Thanksgiving
Canticle, The Magnificat Lesson I, John iv, 7-16 6
A Prayer from Scripture The Petitions
Hymn, 'The King of Love my Shepherd is' (A. and M., No. 197)
Address by the Rev. J. Scott Lidgett, D.D.
Hymn, 'God moves in a mysterious way' (A. and M., No. 373)
The Evening Prayer; A Blessing
(For 8.45 to 10.30 Programme see opposite page.)

Appeal on behalf of THE NATIONAL INDUSTRIAL Home FOR CRIPPLED Boys by Field-Marshal the Viscount ALLENBY, G.C.B., G.C.M.G., K.C.B., C.B.
HERE is an appeal on behalf of a Home (of over sixty years' standing) which takes in poor crippled boys from all parts of the United Kingdom, clothes and feeds them, gives them a thorough training in tailoring or boot-making, and, after three years, procures them places at full trade wages. Although a small annual payment is made by those who send boys to the Home, this is not by any means sufficient to meet the expenses incurred. Funds are therefore keenly needed. The Home has no endowments, and the committee find difficulty in carrying on. Donations should be sent to [address removed]

WEATHER FORECAST, GENERAL News BULLETIN ;
' Local News; (Daventry only) Shipping Forecast

and The Park Lane Hotel Orchestra
From THE PARK LANE HOTEL
GEORGE BAKER (Baritone)

Overture, ' Ruy Blas â?? - Mendelssohn
GEORGE BAKER 0 that it were so - Frank Bridge
Fill a glass with golden wine - Quilter
ORCHESTRA Fantasie, ' Rigoletto ' - Verdi
ALBERT SANDLER Violin Solo, Havanaise ' - Saint-Saëns
GEORGE BAKER A Banjo Song - Sidney Homer
Onaway, awake ! - Cowen
ORCHESTRA Selection, ' L'Enfant Prodigue ' (' The Prodigal Son') - Wormser

LORD, WHAT IS MAN ? ’
‘ ASPIRATION ’