JOAN COXON (Soprano)
TOM KINNIBURGH (Bass)
THE CRESWELL COLLIERY BAND Conducted by DAVID ASPINALL
IN the first act of Verdi's Rigoletto, the handsome and dissolute Duke has been making love to Gilda, the daughter of his Court Jester, Rigoletto. The Duke has not revealed his identity, calling himself simply a student. Here, Gilda, left alone, has her innocent mind full of his image, and sings in soliloquy that his name is carved on her heart. The air is one of Verdi's brilliant show pieces which has been sung by all the most famous Coloratura singers since it was composed ; there are few indeed of Verdi's melodies so universally popular.
A NEPHEW of the French marshal who lost his life at the Battle of Leipzig, Prince Poniatowski found time, amid the affairs of State to which his station in the world called him, to become a thoroughly equipped musician. His was by no means the usual amateur's equipment. After the disaster to the French arms in the Franco-Prussian War he came with his Emperor to London, and took an important place in its music, producing more than one of his big works in the London theatres. Most of his operas and other music on a big scale is already wellnigh forgotten, and he is remembered almost solely by this one breezy and wholesome song.

by Solomon gives a pianoforte recital from London and Daventry this afternoon between 5.0 and 5.30.
THE great Brahms began his career as a pianist, and his first compositions were for his own instrument. It used to be said that he gave them rather a poor chance by playing them himself, and there is not much doubt that his first pianoforte Concerto suffered a good deal when he introduced it, by the impression which his own playing of it gave. He was inclined to concern himself more with the breadth and bigness of his ideas than with fineness of detail, or even accuracy in the mere notes, and it was only after other people, notably Madame Schumann , his staunch friend, had shown the world how much beauty and poetry there was in his music that it began to take its own rightful place.
This Intermezzo belongs to a later stage in his career; it is taken from the last group of works which rounded off his composing for the pianoforte, and is a splendid example of his mature style.
Studies is apt to have a rather stern and forbidding sound, and, of course, many of the thousands of pieces for pianoforte and other instruments which have that name, are intended merely to help the student to overcome one or other of the difficulties of his instrument. But there are many others which have besides a really musical or poetic idea welded into their fabric. Chopin's and Liszt's are no doubt the best known, as they are, in their own way, among the best.
They never lose sight of the particular obstacle which they are meant to help the aspirant to surmount, so that each one is evolved from a single motive which determines its character. But, so successfully does Chopin contrive to invest his studies with a real musical interest, that the listener need hardly be concerned with the educative intention at all.

Paul of Tarsus—VII
'Corinth.' Acts xviii, 1-28

'Es Erhub Sich Ein Streit'
('Then a tumult arose')
Relayed from the Guildhall School of Music
The Singers:
NOEL EADIE (Soprano)
STEWART WILSON (Tenor)
STANLEY RILEY (Bass)
THE WIRELESS CHORUS
The Players:
AMBROSE GAUNTLET (Violoncello) Continuo
EUGENE CROFT (Bass) Continuo
LESLIE WOODGATE (Organ) Continuo
THE WIRELESS ORCHESTRA (Trumpets, Tympani, Oboes, Oboe d'Amore, Bassoons and Strings)
(Conducted by STANFORD ROBINSON)

COMPOSED for Michaelmas, probably in 1726, this Cantata begins with an opening chorus whose strength and vigour are hardly ever excelled anywhere in Bach's music. It sets forth the battle of the hosts of Evil against the Archangel Michael, and the strife and tumult are illustrated with the most picturesque vividness. The text speaks of serpents and dragons assailing the gates of Heaven, and Bach makes great use of a writhing motive in the accompaniment; as the battle begins, it rises always upwards, but when we reach the point where Michael and his Angels prevail, the same motive is used in an upside down form, dropping down to the very lowest depths, to typify the overthrow of the Evil ones. It is a device which in less skilful hands might well be childish; here it is used with real mastery.
The beautiful and tender soprano aria is finely accompanied, and in the song, 'Bide ye angels.' the angel theme, like that of the Pastoral Symphony in the Christmas Oratorio, is effectively used. The trumpet plays the old chorale, 'Ach, Gott, lass dein leib' Engelein' ('O God, let thy dear angels'), and the effect is more striking than in some of the trumpet obbligatos which Bach wrote later. The final chorale is impressively accompanied with three trumpets and drums among the orchestral instruments.

I. - Chorus:
Then a tumult arose.
The hosts of the Evil one, Hell's angry legions
In fury assailed the Heavenly Regions. But the Angel Michael's sword
Drove them out before the Lord, Satan quail'd beneath its blows.
II. - Recitative (Bass):
Praise God I The Fiend is fled.
Th' unconquerable Michael's arm to victory his
Angel host hath led;
In chains did bind the Evil one and unto darkness throw him,
And Satan's place before the Lord no more in Heav'n shall know him.
Now have we nought to fear from him, Yea. though his awful voice affright us, The angels guard our heart, our soul. He can no more despite us.
III. - Aria (Soprano):
God sends His angels to our aid; Nor ever can they fail us.
So may we go still unafraid, Though enemies assail us.
About us aye with shield and sword Are gather'd Angels of the Lord, Ev'n as a mighty army.
IV. - Recitative (Tenor):
How poor and weak is man, a sinful child ! A worm, his way is lowly.
See, how all merciful, the Saviour mild With loving care His children tendeth. His guardian angels holy
The seraphim's bright host,
When mankind needeth succour most To be his shield, He sendeth.
V. - Aria (Tenor):
Bide ye Angels, by me stay t
Guide me still, though weak and humble, That my foot no more may stumble. Guide me, too, that I alway,
Songs of thankfulness may bring Him, Ev'n as angels ever sing Him.
VI. - Recitative. (Soprano) :
So with the Angel's tender care about us ever Be it our care that evil thoughts and evil deeds affright them never,
So, shall we, when at God's behest, Our earthly life is ended, Unto our heav'nly Rest
By angel hosts be tended.

English Text by D. Millar Craig.
Copyright B.B.C., 1929.

Cantatas for the next four Sundays are:-
October 6. No. 6 - 'Wo soll ich fliehen hin?' ('Whither shall I flee?')
October 13. No. 180 - 'Schmticke dich, o liebe Seele. ('Rise, O Soul.')
October 20. No. 38 - 'Aus tiefer Noth schrei ich zu dir' ('From depths of woe.')
October 27. No. 89 - 'Was soll ich aus dir machen Ephraim?' ('What shall I make of thee, O Ephraim')

at St. Giles' Church, Stoke Poges

Bells
Processional Hymn, 'Come, ye thankful people, come' (Ancient and Modern, No. 382)
Evensong
Psalms 65 and 150
1st Lesson - Deut. viii, 7 to end Magnificat
2nd Lesson - Rev. xiv, 14 to 19
Creed and Prayers
Anthem, 'O Lord, how manifold are Thy works'
Harvest Thanksgivings
Hymn, 'We plough the fields and scatter' (Ancient and Modern, No. 383)
Sermon, The Rev. Mervyn Clare, M.A. (Vicar of Stoke Poges)
Hymn, 'Now thank we all our God' (Ancient and Modern, No. 379)
The Blessing
Recessional Hymn, 'All people that on earth do dwell' (Ancient and Modern, No. 166)

From Manchester Cathedral
S.B. from Manchester
Address by His Grace the Most
Reverend WILLIAM TEMPLE, D.D., Archbishop of York
THE CATHEDRAL BELLS
8.5 The Service
Hymn, ' To Thee, 0 Lord, our hearts we raise ' (A. and M., No. 384)
Lord's Prayer and Versicles Magnificat
Reading from Scripture Nunc Dimittis
Prayers
Hymn, ' Love Divine, all loves excelling' (A. and M., No. 520)
Address by the ARCHBISHOP OF
YORK
Hymn, ' Glory to Thee, my God, this night' (A. and M., No. 23)
The Blessing
(For 8.45-10.30 Programmes see opposite page)

Appeal on behalf of the London Federation of Working Boys' Clubs and Institutes by Wing. Commander Louis GRIEG , C.V.O.
Boys' Clubs are situated in all the poorer parts of London, and the Clubs affiliated to the L.F.B.C. influence the lives of at least 8,000 boys of the critical ages of fourteen to eighteen. Listeners with sons of their own will sympathize with boys who at fourteen or fifteen are thrown into a hard world to help support their families. In the life of the working lad in a great city the few short hours between work and sleep are vital ones, and largely determine what sort of man he will become. The clubs are out to fill those hours in the right way. A bright, cheery place to meet his friends; good comradeship and healthy influences. Well-organized recreation. The ' team-spirit' which places others first, self last. A workable religion-these the clubs of the London Federation have striven to give their
_ members for more than a generation. With more men and more money, the work could be extended four-fold. Donations should be addressed to [address removed]

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