RISPAH GOODACRE (Contralto)
DALE SMITH (Baritone)
THE WIRELESS MILITARY BAND
Conducted by B. WALTON O'DONNELL
SEVERAL, of the modern
Russian composers have been happily at home in subjects of an Eastern character-none more so than Rimsky-Korsakov. He knew the East himself at first hand, and his first work was actually written during a tour of duty with the navy in Eastern waters. Listeners will remember that he was still a naval officer when he began to make his name as a composer. This piece is the third movement of Scheherezade--a Suite based on the Arabian Nights, to which the composer has furnished the following preface :
' The Sultan Schahriar , convinced of the infidelity of the whole race of women, has sworn to send each of his wives to death after only one bridal night. But Scheherezade saves her life by interesting him in tales which she recounts one after another for one thousand and one nights. Impelled by curiosity, the Sultan puts off from day to day the fate of the lady, and ends, as all the world knows, by renouncing his bloodthirsty intention.'

by EGON PETRI
(For 5.30-8.45 Programmes see opposite page)

' Paul of Tarsus,' IV
' The Parting of Paul and Barnabus.' Acts xv.
1-41

Relayed from the Guildhall School of Music ‘ Was GOTT THUT, DAS 1ST WOHLGETHAN' (WHAT GOD DOTH, THAT IS RIGHT AND WISE)
The Singers
ISOBEL BAILLIE (Soprano)
ETHEL BARKER (Contralto)
TOM Purvis (Tenor)
KEITH FALKNER (Bass)
* THE WIRELESS CHORUS
The Players
A GLEGHORN (Flute)
J. MCDONACH (Oboe d'Amore)
(F. J. ROBINSON (Violoncello)
Continuo: VICTÓR WATSON (Bass)
LESLIE WOODGATE (Organ)
ORCHESTRA
(Horns, Tympani, Flute, Oboe d'Amore, and Strings)
Conducted by STANFORD ROBINSON
[HE text of this Cantata appealed to Bach so strongly that he set It three times. The opening choruses in the second and third settings are the same, but otherwise the Cantatas are quite different. All three belong to that group of fifteen Chorale Cantatas to which reference has often been made in these notes ; the first two probably belong to somewhere near the beginning of the period 1728-1734, while the third Is a good deal later. It may very likely have been composed as a Cantata for some important wedding. It is one of the most joyous of the Cantatas, and In the accompaniment. particularly in the brilliant solo flute part. more than one of ncara.
In the first chorus. the Chorale is given to the sopra voice with fine accompaniment from the others and t orchestra. The duet for alto and tenor, which follows, in canon form. a very effective example of it. The tex of the elaborate soprano aria. and of the splendid bass numb which come next. are not fitted to the music, it must confessed, in Bach's happiest way : both are difficult for t voices. On the other hand. the alto aria is a splendid exam] of the wedding of words and music, and the accompaniment to the final Chorale is one of the most effective in all t Cantatas. It is an expansion of the Chorale from Canto No. 75. which has already been broadcast this year.
English text by D. Millar Craig , Copyright B.B.C. 1929.
1. Chorus:
What God doth. that is right and wise, His Truth alway remaineth; In Him alone my safety ties, My spirit He sustaineth.
My God. to Thee for help I flee, Thou wilt forsake me never : Thy will be done for ever.
II. Duel (Alto, Tenor) :
What God doth. that is wise and right, In Him have I confided ;
He leadeth me by day and night, And hath for me provided ;
With him I go, therefore I know, 'Tis He that comfort sendeth, And from all ill defendeth.
III. Aria (Soprano) :
What God doth, that is right and wise. He h&th me in His keeping;
He healeth me, my tears He dries, Before His face all weeping
To joy shall yield: God is my shield, In Him have I confided
Who hath my footsteps guided.
IV. Aria (Bass) :
What God doth. that is wise and right, His shelt'ring hand is o'er me; Aft evil flies before that light Of God that shines before me
Thro' weal and woe ! And I shall know When He at last appeareth, That Love no evil feareth.
V. Ana (Atto) : no What God doth. that is wise and right he The cup of woe Thou sendest is With bitter draught, shall not affright
The soul that Thou defendest, er, For at the last, when life is past, be With Thee all pain shall vanish, he All sorrow shalt Thou banish. ple VI. Choral:
"t What God doth, that is right amd wise, the His Truth sball never fail me ;
Cantata Tho' rough the way before mo lies,
Tho' death and woe assail me.
29. The Father's care shall guard me e'er,
His arm shall alway shield me: To God then shall I yield me.
The Cantata for next Sunday is No. 95
Christus der ist mein Leben. ' O Christ my alL'

Hymn, ' How sweet the name of Jesus sounds ' Confession and Thanksgiving Psalm 15
Lesson
Nunc Dimittis Prayers
Hymn, ' He who would valiant be '
Address by the Reverend Canon W. H. ELLIOTT
(of St. Paul's)
Hymn, ' Saviour, again to Thy dear name we raise' Blessing
{For 8.45-10.30 Programmes see opposite page)

(London only)
Appeal on behalf of the Connaught Hospital by Captain MALCOLM CAMPBELL
THE Connaught Hospital, which started in 1878 as a small cottage home for sick children, has steadily increased until, today, it contains 100 beds for in-patients and serves a population of at least 330,000 people. The latest addition to the Hospital includes two large wards, a new Nurses' Home, new Casualty and X-ray Departments, and quarters for three resident doctors. These were built at a cost of over £50,000, and were opened by Their Royal Highnesses the Duke and Duchess of York. Although the local inhabitants responded nobly, nearly f7,000 remains to be found. Moreover, to keep pace with the progress of medical science, further improvements are constantly demanded; but these cannot be supplied until the existing debt has been paid off. In spite of the fact that all the wards were not open last year for the whole twelve months, 1,151 in-patients were treated, and out-patients made over 41,700 attendances.
Donations, etc., should be sent to [address removed]

Weather Forecast, General News Bulletin; Local Announcements; (Daventry only) Shipping Forecast

PARRY JONES (Tenor)
THE LONDON WIND QUINTET: ROBERT MURCHIE (Flute) ; LEON, GOOSSENS (Oboe); - HAYDN DRAPER (Clarinet) ; EDMUND CHAPMAN (Horn) ;
FRED Wood (Bassoon)
REGINALD PAUL (Pianoforte)
‘WENN DU ZU DEN BLUMEN GEHST’ is from Wolf's
' Spanisches Liederbuch (Spanish Song Book). With a dainty running accompaniment all the way through, it reminds one of some of Schubert's happiest songs, and has all the grace and charm which its slight and rather -sentimental poem demands. ' Would'st thou cull the fairest flower,' so it goes in English, thou thine own sweet self must gather.' The first strain is repeated at the end with a slightly altered close.
‘ AN EINE AEOLSHARFE.' (To an Æolian Harp).-
This is one of the many poems by Edward Morike which Wolf set to music. It is an address to an old Æolian Harp, in which the poet bids it play once more and recall all the memories of sorrow and of gladness which once it sang. In Wolf's setting the ideal of the harp is beautifully carried out in the accompaniment, and although the same idea persists throughout, he contrives to lend a wonderful variety to his music. It is one of his most expressive songs.
‘ GANYMED ’ is a setting of a poem by Goethe, a song in praise of Spring. Beginning simply and delicately, the music grows, again and again, to a climax, sinking always to a mood of quiet tenderness, and fading away at the end very softly.
SCHUBERT'S ‘Litany ’ is a simple, reverent song for the Feast of All Souls' Day. The several verses are sung to the same tune, and one after another they set forth the souls for whom peace is asked-maidens, youths, martyrs, sad and happy ones, those who knew no peace on earth, and those who won through striving here on earth.
‘ SEI MIR GEGRUSST.'—To a poem by Ermin, this joyous song of Schubert's is a finely lyrical greeting to Spring and the flowery month of May. In only one stanza, it is meant to bo sung twice, the composer having marked it with a. repeat.
'MORGEN.'-' Tomorrow the sun will shine again,' so runs this song, which looks forward to a meeting of two who have been parted. The poem and the music dwell quietly, rather than exultantly, on the happiness which tomorrow has in store, and at the end the silence of bliss which is to fall upon the two when they are reunited is beautifully illustrated.
' STÄNDCHEN. '-As its name implies, this happy song of Strauss is a Serenade in which a lover bids his mistress steal out softly to meet him in the dusk.
In this country listeners hear it much more often sung by a woman than by a man, although ' Serenade ' indicates, obviously, that it is a man's song. But. the composer asks a good deal of flexibility and neatness of technique from the singer who is to perform it, and it is by no means every man, in this age of superficiality, who knows his job well enough to be able to surmount the difficulties of the song.

' PROSPERITY '

(Daventry only)
S.B. from Cardiff