KATE WINTER (Soprano) ; FOSTER RICHARDSON
(Bass)
THE WIRELESS MILITARY BAND, Conducted by B. WALTON O'DONNELL

by Edward Isaacs

Speech on the Employment of Indian Troops by the Rt. Hon. William Pitt , Earl of Chatham. Delivered in the House of Lords on November 20, 1777, during the course of the Debate on the Address.
THE Grand Cham of literature and the Great
Commoner were contemporaries ; but their eloquence was exercised in different arenas. Johnson expressed his powerful mind in private ; Pitt displayed in public that splendour of character which once illuminated the kingdom, then dazzled and afterwards inflamed it.
As statesman William Pitt , first Earl, of Chatham, is famous as the architect of the first British Empire ; as orator for an eloquence which fascinated his supporters and terrified his opponents.
The speech on the employment of Indian troops was the second of Chatham's great efforts to stop the war with the American colonies. He was no longer a Minister, but a dying man, just able to ' crawl to the House of Lords,' attended by his son William. His appearance caused consternation mingled with joy among those who looked to him as the saviour of the country.
' Sage he stood
With Atlantean shoulders, fit to bear
The weight of mightiest monarchies ; his look Drew audience and attention still as night.'
He was still concerned with ' measures, not men.' He tried to convince the corrupt assembly of ' King's Men' that facts should take precedence over party. ' My Lords, this is not merely the cold opinion of my understanding, but the glowing expression of what I feel. It is my heart that speaks.' Thrice more he spoke on the same subject, before ' single, imperious, proud, enthusiastic,' he was silenced by that seizure portrayed in Copley's picture.

S.B. from Manchester
'Die Elenden Sollen Essen'
(He that hung'reth shall be filled)

Gladys Sweeney (Soprano)
Constance Felpts (Contralto)
Arthur Wilkes (Tenor)
Reginald Whitehead (Bass)
The St. Ann's Church Choir
The Northern Wireless Orchestra, conducted by T.H. Morrison
George Pritchard at the Organ

THIS Cantata has the special Interest for us that it is the one with which the great Bach introduced himself to the congregation of the Thomaskirche on his first Sunday as their cantor and organist; that was on Slay 30, 1723. We know from contemporary records that they received it with the warmest approval. Its text is based on the Gospel for that Sunday - the passage In St. Luke which tills the story of Dives and Lazarus. It is a long Cantata, In two parts, but its structure is quite simple, and no doubt intentionally so. Bach probably did not wish to begin his new task by making any startling innovation on what the good Leipzigers were used to.

The first chorus, as in at least one other Cantata which has already been broadcast, is in the form of the customary French overture of that age, beginning with a slow section and passing to one in fugal style. The words are taken from a Psalm, one in which the German version is different from ours. 'Die Elenden' means 'the wretched ones,' and in our version the corresponding word is 'the meek.' The first part of the opening chorus elaborates the German idea of the sorrowful ones in a very serious strain, and the joyous movement Illustrates the words which correspond to the English 'Your heart shall live for ever.'

Each part of the Cantata is concluded with the same chorale, both times fitted with a beautiful orchestral accompaniment, elaborated from the first line of the choral melody, and the sinfonia with which the second part begins is a fantasia on the same tune. It is the only case in which Bach makes such an orchestral fantasia out of a chorale.

Several of the solo numbers are beautiful and expressive, particularly the bass air 'My heart is glad,' which has a splendid trumpet part in the accompaniment.

English text by D. Millar Craig, copyright B.B.C., 1929.

I.- Chorus:
He that hung'reth shall be filled, and the meek be glad.
They that seek the Lord truly, shall ever praise Him.
Evermore your heart shall be joyful.

II.- Recitative (Bass):
Of what avail is majesty, for it must pass ? Of what avail thy plenteous store ?
For mortal riches vanish, and are no more. And what avails it sin to cherish
When ev'n thy mortal frame must perish ? All unaware, shall we be stricken.
And riches, pleasures, pride, the Spirit shall destroy.

III.- Aria (Tenor):
My Jesus still my all shall be.
For me His precious blood did flow, So His compassion did He shew,
And of His love the radiant glow, For me the wine of life shall be.

IV.- Recitative (Tenor):
God ord'reth and commandeth Time and Eternity!
Whoso on earth seeks Heav'n to know, to death shall go.
But whoso here the might of Hell withstandeth, shall blessed be.

V.- Aria (Soprano):
Then gladly my sorrows upon me I take, Who Lazarus' grieving endureth, believing On him shall a wondrous light break.

VI.- Recitative (Soprano):
God gave to man his understanding, that so the Christian's life on earth be pass'd in gladness and contentment. Yea, though he come through bitter need to death, yet at the last God leadeth him to rest.

VII.- Chorale:
What God doth, that is wise and right t Yea, though the cup appal me, No terror shall my soul affright, No evil can befall me ;
For at the last when life is past, I know, in Him believing,
There shall be no more grieving.

VIII.- Sinfonia.

IX.- Recitative (Alto):
One fear alone the faithful spirit grieveth: when he bethinks how poor and weak his faith. He still in God believeth, Who made the heav'ns and earth, yet mourns he still the dearth of fruit His vineyard sheweth no plenteous harvest His, he knoweth.

X.- Aria (Alto):
Jesu gives me wealth untold,
With His breath my life inspireth, Nought beside my heart desireth. So His grace doth me enfold.

XI.- Recitative (Bass):
Whoso to Jesu clings, and sacrifices brings, and in God's love remaineth, and earth disdaineth, when death all earthly chains unbindeth, himself and God he findeth.

XII.- Aria (Base):
My heart is glad and lives
In Jesu's love, that, glowing, O'er all my soul is flowing ;
And, bounteous grace bestowing, To me Himself He gives.

XIII.- Recitative (Tenor):
Ye needy, ye are rich indeed
When heart and spirit from worldly thought are freed,
And Jesus only reigns Instead.
Ev'n so His own to God are led I
Grant, God, that we Thy grace inherit.

XIV.- Chorale (Same as So. VII).

THE BELLS

Hymn, ' All people that on earth do dwell '
Confessions and Thanksgivings Psalm 47
Lesson
Magnificat Prayers
Hymn, ' Be Thou my Guardian and my Guide'
Address, Mr. SHERIFF JAMESON
Hymn, ' All hail the power of Jesu's
Name'
Blessing
(For 8.15-10.30 Programmes see, opposite page)

(London only)
Appeal on behalf of the Central Association for Mental Welfare by the Rt. Hon. Sir LESLIE SCOTT ,
K.C., President of the Association
THE Central Association for Mental Welfare is the largest non-official body in the country concerned with the care of mentally defective and sub-normal persons. Since its foundation in 1914, close on 40,000 defectives have been assisted by the Central and Local Associations and a large proportion of these are cases who cannot, for technical reasons, be helped by any statutory authority and are therefore dependent upon voluntary effort for care and training. Donations and subscriptions are badly needed to meet the ever-increasing cost of the Association's work and to wipe off an accumulated deficit. They should be sent to [address removed], marked ' Broadcast Appeal.'

WEATHER FORECAST, GENERAL NEWS BULLETIN; Local Announcements; (Daventry only)
Shipping Forecast

REGINALD PAUL (Pianoforte)
THE WIRELESS SYMPHONY Orchestra ; Leader,
S. KNEALE KELLEY
Conducted by THE COMPOSER
Overture, ' Carnival '
THE Carnival Overture, which was produced in 1894, fulfils the promise of its title in so joyous a spirit that very little analysis of it can be required. It begins at once with a vigorous tune on the whole strength of the orchestra, hurrying along on swift feet. A broader melody played first by woodwinds and strings, breaks in on the first tune, but very soon the bustling measure of the opening returns. Again a more slowly moving melody breaks in on it, this time in very quiet mood, but it also gives way quite soon to the carnival spirit of the opening. Then there is a new section at a more moderate speed, in which there is an organ part, to be replaced at need by the orchestral instruments. But the merriment of the beginning returns finally to wind up the Overture in the most boisterous good spirits. REGINALD PAUL
Prelude and Fugue, Op. 62
ORCHESTRA
Suite, 'The Seasons'
This Suite of orchestral pieces is made up of music originally written for a ballet. Glazounov has more than once deserted the realm of purely symphonic music to compose ballets, and this is the best known of them. Melodious and graceful throughout, it is all happily descriptive of the scenes set before us-Winter, with its four variations of Hoar-Frost, Ice, Hail, and Snow ; the Spring comes next, and in her train are Zephyrs, Birds, and Flowers, which group themselves, in the ballet, affectionately about her. There is a dance of roses, and little solo dances for Spring herself, for a Bird, but at the approach of the warmth and of Summer, all the attendants of Spring vanish.
The third scene is Summer, a cornfield waving under a soft breath of wind. There is a waltz of Poppies and Cornflowers and then naiads appear, holding veils which represent Water; their dance is a flowing Barcarolle, and Summer comes to an end with a variation presenting the Htrs of Corn. It is interrupted for a moment by the sound of open-air music, and at the end Fauns and Satyrs appear playing rustic pipes. They engage in a battle for the Grain, but it is rescued by the Zephyr. The last movement begins with a Bacchanale of Autumn in which all the Seasons take part. It is a merry and vigorous movement in which first Winter, then Spring, and Summer, have dances of their own before a little slow movement presents something of the wistfulness of Autumn. Then a Satyr has a variation, and a merry dance of Fauns and Satyrs under a rain of dead leaves leads to the short apotheosis which closes the ballet.
REGINALD PAUL
Gavotte, Op. 49, No. 3 Idylle, Op. 103
Etude in E Minor, Op. 31, No. 2
ORCHESTRA
Poeme Lyrique, Op. 12

THE new series of ten Epilogues begins based on Galatians v, verses 22 and 23. The title of the series is ' The Fruit of the Spirit,' or 'The Christian Virtues.' The series will begin with 'The Fruit of the Spirit,' and continue with ' Love, Joy, Peace,' etc.
(Daventry only)

S.U. from Cardiff