TONY CLOSE (Violoncello)
THE WIRELESS Symphony ORCHESTRA
Conducted by BASIL CAMERON
THE sacred name ' Fatherland' probably means more to a Frenchman than to any other in the world, more even than to the German who uses the name in his own native Teuton ; in 1870 after the disastrous Prussian War, it had a specially deep significance for every son of France. It was then that Bizet composed this Overture, which is still regarded as a really national possession. Ho was quite a young man, and though as a music student he had won the highest award which a Frenchman may, he had not been successful with his first two operas, The Pearl Fishers and The Fair Maid of Perth. Even Carmen, now and for generations past among the most popular of all operas, met with no real success until after Bizet's death at the early age of thirty-seven...
The Overture, scored for full orchestra, with resonant brass and percussion, begins at once with a stirring theme played by the whole strength of the orchestra. After this is expanded and the opening has returned, there is a new tune played by Violoncellos and woodwind against a triplet figure on the higher strings. Trombones break in forcefully and the opening is heard again. Then. the time becomes manimated, and a new tune is played by violas and woodwinds, with the lower strings accompanying. This is worked out at some length and leads to a strenuous climax, and again the time changes, now to a slower movement. Violas, and Violoncellos together have then a fine rich tune accompanied by detached chords on the brass, with expressive little phrases on English horn andflarinet breaking in. Once more there is a change of time, and with it a change of key, and violas and woodwinds have a soft, delicate melody which muted violins accompany. On these materials the Overture is built up, coming to an end with a broad and forceful figure baaed chiefly on the second time. It closes the Overture with a sense of real triumph.
Tony CLOSE and Orchestra
THIS comparatively slight work is in one continuous movement, although tho time and the mood change more than once. The solo instrument begins at once with the first principal tune, an impetuous running figure, and this forms the foundation for most of tho first section. There follows a delicate tune in a sort of tripping waltz rhythm which the solo instrument accompanies with a counter melody in slower time. It gives way anon to the real slow movement of the Concerto. an unusual movement in which the soloist begins each successive phrase of the tune solemnly, gathering speed to reach a series of climaxes. It leads straight into the impetuous closing section, which finishes the short work in a mood of brilliance and onergy.

of Old and Modern French Songs by MIRIAM LICETTE (Soprano)
THE name of Weckerlin appears frequently on programmes as having ' arranged ' old French songs. In his case, as in a good many, the word ' arranged' covers a great deal of enthusiastic work. He spent many years in the collection and editing of old French folk songs, often furnishing them with accompaniments charmingly suited to the airs; ho has done more than any other French musician in rescuing from oblivion, tunes which were in danger of being lost.
(For 5.15-8.45 Programmes see opposite page)

DR. STANLEY JONES 'S 'The
Christ of the Indian Road ' is to be numbered among the most widely read of all recent books on religion. Dr. Jones is an American who has spent thirty years in India interpreting the Christian message there. He has been three times elected bishop by the American Methodist Episcopal Church, but has consistently refused in order to continue in his evangelistic work. He is spending a few days in England on his way back to India.

Belshazzar's Feast
Daniel v, 1-31
BELSHAZZAR, son of Nebuchadnezzar, gave a great feast to a thousand of his lords. And at the feast he sent for the gold and silver vessels which had been captured from the temple in Jerusalem, in order that his wives and his princes might drink thereform. And they drank wine and praised the gods of gold, and silver, of brass, of iron, of wood, and of stone.*
And as they drank there appeared on the wall the fingers of a man's hand-writing.
Then was the king terrified and sent for the astrologers, the Chaldeans and the soothsayers, to explain to him this mystery ; but they could not read the writing, neither could they interpret it.
The Queen, .however, bethought her of Daniel the Jew, called Belteshazzar, who had been deposed on the death of Nebuchadnezzar.and Belshazzar sent for him.
And when he came into the presence of the King, Daniel rebuked him for ' lifting himself up against the Lord of Heaven' and refusing to worship the true God.
He then interpreted the writing, which, he said, had come as a warning from Jehovah. Now once again was Daniel given high office in the kingdom.
And that night, according to the interpretation of the writing, Belshazzar the King was slain and Darius the Median took the Kingdom.

' GOTTES ZEIT IST DIE ALLERBESTE ZEIT '
(God's Time is Best)
Relayed from the Guildhall School of Music
SYBIL EVERS (Soprano)
Dobis OWENS (Contralto)
Tom Purvis (Tenor)
KEITH FALKNER (Bass)
RUDOLPH DOLMETSCH and MILLICENT WHEATON (Viola da Gamba)
LESLIE WOODGATE (Organ)
The WIRELESS CHORUS and The WIRELESS ORCHESTRA (Flutes and Strings)
Conducted by STANFORD ROBINSON
Composed, so far as we can tell, at the end of the great Bach's twentieth year, this was no doubt specially written for someone's funeral, though we do not know whose. The text is as beautiful as the music itself. It is taken from Scripture and the contrast between the Old Testament idea of death as dreadful, and the New Testament's welcome of eternal life, is nobly set forth.
The Cantata begins with a little Sonatina as Prelude, for two flutes, two viole da gamba, and the usual continuo (figured bass) and organ; it is built up on one of the motives of transfigured grief which listeners have heard in many of the Cantatas, and the small orchestra is used with wonderful effect.
After the first sentence of the opening chorus, solemn and Impressive, there is a joyous fugue to the words ' In Him live we' ; it gives way to solemnity again at the end, 'and in Him we die.' A little tenor aria follows, and then the bass announces with great vigour 'Set in order thine house' (from 'Isaiah'), the chorus joining with 'It Is the old decree.' The soprano voices break in with beautiful effect. ' Yea come, Lord Jesus,' and the orchestra, in the accompanying figure, plays the fine old chorale, 'I have cast-my burden on the Lord.' The next part is a dialogue between alto and bass, with words from the Gospel, and the two voices join at the end, the alto singing ' In joy and peace I pass away,' to the notes of a splendid old chorale, The finale chorale, fully accompanied, is based on the old hymn tune, 'In Thee, O Lord, Is my hope.'The last line is worked out into a big choral fantasia, and the attentive listener will hear the orchestra playing the voices' theme in notes of twice their length.
The text is reprinted from the Novello Edition by courtesy of Messrs. Novello and Co., Ltd.
I. - Chorus.
God's own time is ever best of all. In Him live we, move and have our being as long as He wills. And in Him we die at His good time, when He wills.
II. - Tenor.
0 Lord, incline us to consider that our days are number'd. Make us apply, our hearts unto wisdom.
III. - Bass.
Set in order thine house, for thou shalt die, and not remain among the living.
IV. - Chorus.
It is the old decree, Man, thon art mortal. Yea, come, Lord Jesus, come.
V. - Alto.
Into Thy hands my spirit I commend, for Thou hast redeemed me, 0 Lord, Thou God of truth;
VI. - Barns-Alto.
Thou shalt be with me today in Paradise. In joy and peace I pass away, whene'er
God willeth.
The fears that vex my anxious soul,
His love stilleth.
Trusting in His promise sure,
In death I sleep calm and secure.
VII. - Chorale.
All glory, praise, and majesty, To Father,
Son and Spirit be,
The holy, blessed, Trinity, whose power to us give victory.
Through Jesus Christ, Amen.

From St. Martin-in-the-Fields
The Bells
Order of Service:
Hymn, 'The strife is o'er' (Ancient and Modern, No. 135)
Confession and Thanksgiving Psalm 150-Deus misereatus
Prayers
Hymn, 'O worship the King' (verses 1, 2, 3, and last)
Address by the Rev. H. R. Mackintosh, D.D.
Hymn, 'Jesus lives' (Ancient and Modern No. 140)
Blessing

(For 8.45-10.30 Programmes see opposite page)

Appeal on behalf of the Hoxton Girls' Hostel
Fund by Lady AMHERST or HACKNEY
DOWN in Hoxton, where life is a serious matter
-L' at the best of times, and often a very hard grind, there is now being built a Hostel for the Girls' Guild of Good Life. It has many purposes ; primarily, of course, to provide accommodation for some fifty girls of the Guild, both factory and domestic workers, who have either no homes or homes unfit or unsafe for them to stay in. How much good it can do in giving these girls a secure and happy background, keeping them out of danger and out of that constant, insidious drift towards the streets, only the girls themselves, and the workers who share the Hostel with them, can know. It has taken many years to collect the necessary money, and £4,000 is still required. -
Contributions should be sent to [address removed]

and The Grand Hotel,
Eastbourne, Orchestra
From the Grand Hotel,
Eastbourne
THELMA TUSON (Soprano) ORCHESTRA Selection of the works of Schubert

' THE HEALER'

(Daventry only)
S.B. from Cardiff