Before the days of gas and electricity the daily tending of the lamp was a serious affair. Woe betide the housewife whose store of oil failed and whose wick was not tended. Lamps are still used in very remote parts of the country, but this talk will deal with the different lamps used throughout the centuries. Many of the finest mediaeval craftsmen designed stands which were made in precious metals.

Cerdd - Ddarlith
Fer Ar Alawon Gwerin Cymru-I
Caneuon Y Mor Gan: Gwladys Howell
Cenir Gan: Margaret Owen
A Short Lecture - Recital of Welsh Folk Songs - I: Songs of the Sea
by Gwladys Howell
Singer, Margaret Owen

Mair Jones (Soprano)
Mair Jones hails from Carmarthenshire and is well-known in London-Welsh circles. One of her songs tonight, 'Paham Y Ceni?' ('Why dost thou sing?') is dedicated to her by the composer - D. Tawe Jones.

Emlyn Bebb (Tenor)
Emlyn Bebb will sing songs written in the Cywydd metre by D. Vaughan Thomas. These songs are a typical illustration of this particular experiment in song compositions.

Chloe Curtis-Morgan (Entertainer)
Chloe Curtis-Morgan, as Mrs. Jones of Wales, brings to character whom we all recognize to the microphone. Mrs. Jones has made her bow at Swansea on many occasions and she has been hall-marked.

National Orchestra of Wales
(Cerddorfa Genedlaethol Cymru)
Conducted by Warwick Braithwaite
Although German's music for the theatre is no doubt the most popular of all his work, he has given us purely instrumental and vocal music of which his Welsh Rhapsody is probably the best known piece. It was specially written for the Cardiff Festival of 1904 and produced there, and is built up on four traditional Welsh tunes. The last section of it is a rousing March on the splendid tune, 'The Men of Harlech,' which is known and enjoyed not merely by Welsh listeners but by music lovers the wide world over.

Chloe Curtis-Morgan
In 'Scenes from Welsh Life'

Sir Frederic Cowen cannot be sure himself whether it was he who called this Symphony 'Welsh,' although a very happy holiday in Wales was in his mind while he composed it. He says of it himself: 'It had a certain amount of Celtic flavour about it, and I expect its composition was not unconnected with the recollections of my rambles, my broken-down old piano, the hymn-singing, and the honeymooners of two years before.'
The slow movement begins with a big sweeping tune played by the strings and horns together; there is another rather more vivacious tune begun by clarinets, and on these the melodious movement is built up.
The Scherzo is in the usual form. It begins with a sturdy phrase on the strings which flutes and clarinets answer, and these are the basis of the opening section, which comes again at the end. The 'Trio' or middle section is much slower and softer; it begins with a gently moving little tune on the woodwinds.

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