(Daventry only)

HILDA BLAKE (Soprano)
MILDRED DILLING (Harp)
THE GERSHOM PARKINGTON QUINTET

FROM such opportunities as they have had of hearing Prokofieff's orchestral music, listeners have learned something of his apparent disregard for old rules and conventions. It was as a breaker of new paths, and a daringly original one, that he first made his name. Nevertheless, his music is clearly influenced by genuine interest in the old classical forms, and he has a preference for terse and vigorous expression rather than for any emotional or romantic effects. He apparently cares very little whether or not he wins the affection of his hearers; he certainly commands their interest in no uncertain way. There is some modern music to which one need not listen, but with his it is impossible to be indifferent, and, whether one likes it or no, it certainly has a very exhilarating and tonic effect.

A brilliant pupil of Rimsky-Korsakov's, he is naturally most surely at home in dealing with the orchestra, but even in so slight and comparatively simple a piece as this for harp, something of his very striking originality can be heard.

by PAUL ROBESON
(For 5.30-8.45 Programmes, see opposite page)

PAUL OF TARSUS-VI
Athens and tho Unknown God,
Acts xvii, 1-34

'Ach Lieben Christen, Seid Getrost'
('Ye Christian people, weep no more')

Relayed from the Guildhall School of Music
The Singers
DORIS OWENS (Contralto)
TOM PICKERING (Tenor)
STANLEY RILEY (Bass)
THE WIRELESS CHORUS
The Players
Frank Almgill (Flute) John Field (Oboe) Ambrose Gauntlett (Violoncello)
Continuo - Eugene Cruft (Bass)
Leslie Woodgate
The Wireless Orchestra (Trumpet, Oboe, and Strings)
Conducted by Stanford Robinson

Among the later Cantatas in date of composition - about 1740 - this is also among the finest. The opening chorus on the chorale is truly magnificent-no lesser word will do The sense of comfort ('getrost') is set before us with exuberant happiness ; yet, side by side with the soaring, joyous motive - short ascending phrases-we hear ever and anon a faltering, hesitating theme. Bach no doubt had in mind the line of the text which recalls transgressions and well-merited punishment.
The Tenor aria, 'Wo wird in diesem Jammerthale?' ('How may I pass this vale of Sorrow? ') Is a specially effective one, with an interesting contrast in its hurrying middle section, and the chorale, sung by Soprano voice alone, with a beautiful accompaniment, makes a striking effect. There is one phrase which Schweitzer takes as illustrating the sweep of the sower's arm as he scatters the seed.
The text of the Alto aria is rather commonplace, but Bach's music, using the first line of the chorale in a very happy way, makes it into a fine expression of the redeemed soul's gladness.
The final chorale is nobly harmonized.

English text by D. Millar Craig. Copyright by the B.B.C., 1928.
I- Chorus:
Ye Christian people, weep no more, now all mankind rejoices.
For that the Lord hath chosen us, praise
Him with joyful voices.
Tho' we have all transgressed more, our sins, our sorrows Jesus bore,
Nor shall the sinner perish.
II.- Aria (Tenor): 'How may I pass this vale of sorrow?
Where shall my soul a refuge find?
The hand of God alone shall guide me; beneath His wing my God shall hide me
And lead me ev'n as I were blind.
III.- Recitative (Bass):
Thou, sinner, patiently must bear what thyself didst prepare by thine own evil-doing;
Of evil hast thou eaten, evil thou didst drink
Thy sins are like a waterflood wherein thou shalt be lost, o'erwhelmed thou shalt sink
As Adam in his pride did eat forbidden fruit
God's wisdom seeking;
Ev'n so thy pride hath been thy vain and boastful speaking ;
So now full iow brought down thou art, 0 man, so purify thy heart,
To meet thy death be not afraid ;
Repent thy sin and know salvation, from all thy woes find consolation,
And one at last with Him be made.
IV.- Chorale (Soprano):
No fruit the wind-blown seed brings forth on stony ground that falleth;
So to itself, our mortal flesh the .earth again recalleth,
And we to Paradise may win, where Thou,
Lord Jesus, lead'st us in to stand before the Father.
V.- Aria (Alto):
No more, O death, by fear my heart is shaken, For 'tis by thee my soul to peace is taken. It is decreed that all mankind must die.
With Simeon shall peace alone betide mr. My Saviour through this vale of tears shall guide me
And rail me home unto Himself on high.
VI.- Recitative (Tenor):
Today bethink thee of thy spirit, and yield thee to the Saviour blest,
Thy body consecrate to God alone, He hath made thee in His image.
He watcheth thee that so His love and care may be
In death and life made manifest.
VII. - Chorale:
We nil are His own children still, in waking hours and sleeping.
Our way He guideth by His will, our son, front Satan keeping.
For as in Adam all must die, so Jesus raiseth man on high,
To God he praise and glory.
Tire Cantata for next Sunday, Sept. 29, will be:-No. 10-
'Es erhub sich ein Streit.' ('A strife arose.')

(IN WELSH)
Relayed from the Parish Church, Ystradyfodwg, Rhondda
(Eglwys- Y Plwyf, Ystradytodwg, Rhondda)
S.B. from Cardiff
Trefn Y
Owasanaeth Emyn (Ton, ' Joanna ') (Llyl-Emynau, No. 260) .
Salmau 100 a 101 Llith Gyntaf. Jer. xviii, 1-17 Magnificat
Ail Litli. Ephos. vi, 10 Nunc Dimittis
TJnawd. George Voyle
Anthem, ' Cenwch i Dduw'r Cyn haeaf ' (T. Price)
Geiriau-Glynjab Gweddiau
Emyn (Ton, ' Diadom ') (Llyfr Emynau 244)
Y Bregeth , Y Parch D. SPENSER JONES, B.A. (Ficer)
Emyn (Ton, ' Crugybar (Liyfr Emynau 326); Y Fendith
(Daventry only)

From the Studio
Conducted by Dr. RUFUS M. JONES,
D.D.
Hymn, ' 0 God our help in Agos
Past' (A. and M., 165)
Prayers; Bible Reading-I Corin thians, XIII (Moffat's Translation)
Hymn, ' Immortal Love for ever full' (Church Hymnary, 141)
Address, Dr. RUFUS M. JONES, D.D. Hymn, Dear Lord and Father of mankind ' (Church Hymnary, 245)
Benediction
DR. RUFUS M. JONES is a leading
American Quaker. He is Professor of Philosophy at Haverford College, Pennsylvania, and author of ' Studies in Mystical Religion,' nnd other works. During and after the War he was Chairman of the American Friends Service Cornmittee, which, conjointly with the Friends' War Victims' Relief Committee in this country, was ro sponaible for the Quaker Civilian Relief Work, first in France, Belgium, Serbia, etc., and afterwards in Austria and Germany.
(For 8-45-10.30 Programmes see opposite page.)

Appeal on behalf of the General Lying-in Hospital, by the Rt. Hon. THE COUNTESS OF BIRKENHEAD
As long ago as 1765 the General Lying-in Hospital began its fine work south of the Thames, and since then has carried on without getting into debt or appealing to the general public. Now the Nurses' Home and the Out-Patients' section of the Hospital must be re-built, and these premises (formerly the Lambeth Public Baths) are old and dilapidated and quite unsuited to present-day needs. The appeal tonight is for contributions towards these expenses : £22,000 has already been promised or given, but another £18,000 is stiH needed. The work of the Hospital, however, is not confined, within its four walls ;
Lady Birkenhead will toll of the help it gives in many ways in the poorer parts of London. This appeal has the approval of the King Edward's Hospital Fund for London, and donations should be sent to [address removed]

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

ETHEL FENTON (Contralto) ANATOLE MELZAK (Violin)
THE WIRELESS MILITARY BAND
Conducted by B. WALTON O'DONNELL
THE melody which forms the chief tune of the Overture Fingal's Cave, sometimes called The Hebrides, was written down immediately after a visit which Mendelssohn paid to Staffa and Iona, off the west coast of Scotland, and sent home in one of his delightful letters, describing the visit with all his own buoyant enthusiasm.
The Overture begins with lower strings and bassoons, presenting a theme which depicts the long rolling Atlantic breakers, and later the same instruments give us the second chief tune. The Overture is built up on these singly and together; a very beautiful instance of their use in combination is heard near the end, where flute and horns join to play them very softly.
INTENDED by his parents to be a lawyer, and for some time a Civil Servant, Chabrier had no regular instruction in music, and the brilliance of his work is regarded as inspired by a really natural genius. He had his own fair share of the hardships and misfortunes which so often attend on genius, and was only fifty-three when he died.
This sparkling piece was composed after a journey in Spain, and is based on the national dance tunes. There is an introductory section in which the tunes are hinted at, and then we hear the first, a Jota, and a Fandango, both brilliantly set forth with full orchestration. The next two tunes are smoother and more easily flowing, and the fourth is again livelier. The fifth, the most obviously Spanish of the themes, has since become very widely known apart from its use in this Rhapsody. The whole work is straightforward and clear and conceived in the gayest spirit.
TCHAIKOVSKY'S Overture,' 1812 ' was not originally intended for concert performance. In Moscow they built an imposing church to commemorate the turning back of Napoleon's armies from before the city, and for its consecration this Overture was specially composed. It was meant to be played in the open square in front of the church, and at each corner of the big force of musicians engaged, there were to be real cannon fired off at the emphatic moments in the music. That performance never actually took place, but the piece has since been played, not only in Russia, but elsewhere, in accordance with Tchaikovsky's original idea, with real cannon obeying the conductor's baton just as the players do. Although its patriotic significance is its strongest claim to our interest, it is, of itself, a stirring piece of festival music.

'BOYHOOD'