MILLICENT RUSSELL (Contralto)
HUGHES MACKLIN (Tenor)
THE WIRELESS ORCHESTRA
Conducted by JOHN ANSELL
FROM a very early age Tchaikovsky was strongly attracted by Italian opera, and its melodious influence probably has a good deal to do with the fact that his music is in some ways less obviously Russian than that of his compatriots. He made more than one visit to Italy, and this piece, among the gayest and most care-free of all his music, was composed during a trip in 1880, most of which he spent in Rome. Writing from there to Madame von Meek, the good friend who enjoyed so much of his confidence, he says, ' I am working at an Italian Fantasia based on folk songs. Thanks to the charming themes, some of which I have taken from collections, and others which I have heard in the streets, this work will be effective.'
SAINT-SAENS' opera on the subject of Henry VIII centres round the King and Anne Boleyn. The Ballet, that inevitable feature of a French opera, is part of the wedding festivities, and in this concert arrangement consists of four movements. The first is called ' Entry of the Clans,' and is intended to have a Scottish character. It begins with a tune with something of a Scots lilt and there follows a march which oboes and trumpets play first, the whole orchestra taking it up later.
The second movement is also Scottish in character. Strings, with the woodwinds responding, begin it and then the oboe plays a tune meant to be reminiscent of the bagpipes, with the harp and violoncellos imitating the drone. There are two other tunes in the movement, one played first by the violins and the other, bringing the piece to an end, of a gayer, brisker nature.
The third movement is a vivacious gipsy dance.
The drum here is prominent with a rhythmic figure, and the boisterous dance tune is presented first by the violins and English horn.
Only in the last movement is there the suggestion of England which the name of the opera would lead one to expect. It is a Jig, violins and then woodwinds playing the merry tune. There is a middle section with a new melody for the woodwinds and another, quieter, for violins, and then the Suite comes to an end with a really exhilarating Finale.

The Rev. H. E. HYDE : A Bush
Padre in Western Australia.' B.B. from Manchester
MR. HYDE, who is a missionary of the S.P.G., has spent practically the whole of his life in Australia. Since the close of the war he has worked among the British ex-soldiers and other settlers who have gone out to Western Australia.
(For 5.38-5.45 Programme see opposite page)

The Convict's Address to his Unhappy Brethren, written for Dr. WILLIAM DODD by SAMUEL JOHNSON and delivered by the former in the Chapel of Newgate, on Friday, June 6, 1777.
JEREMY TAYLOR died in 1667. Samuel John son wrote the Convict's Address in 1777. The century that intervened was not devoid of voices eloquent in English ; but there is a pedestrian quality in the accents of Tillotson, Barrow, South, and Stillingfleet, which falls below the highest level of oratorical expression. From their sermons the lyrical fervour of Taylor, on the one hand, and the rude vigour of Johnson on the other, are equally absent.
As an exponent of English eloquence,
Samuel Johnson occupies an intermediate position. He was a combination of the preacher and the politician, a sort of super-journalist whose moral judgments and the power of their expression were generally revered.
The Convict's Address is one of the few of Johnson's compositions known to have been delivered in public. It represents his efforts on behalf of Dr. Dodd, a popular preacher, who had been tried and condemned to death for forgery. To be asked to write it was a contemporary tribute to his reputation. To have written it for a man whom he pitied, but knew to be guilty, was an example of his humane benevolence. Its existence is a monument to the force of his eloquence.

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 has 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 us 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.

From St. Nicholas Cathedral, Newcastle-on-Tyne
S.B. from Newcastle

Hymn, 'Bright the Vision that delighted' (English Hymnal, No. 372)
Lesson
Anthem, 'O Thou, the central orb' Charles Wood
Prayers
Hymn, 'Firmly I believe and truly' (No. 390)
Address by the Rev. Canon Bateman Champain, D.D., Vicar of Newcastle
Hymn, 'Saviour, again to Thy dear name we raise' (No. 273)

and His Orchestra
From the Hotel Victoria
MAVIS BENNETT (Mezzo-Soprano)