(to 15.30)

(to 18.00)

Relayed from The Cathedral, Bristol

Order of Service
Hymn 172 (A. and M.) (Tune, 'Richmond')
Short Exhortation
Lord's Prayer and Versicles
Psalm 119, Verses 105-112 (inclusive)
Lesson (St. Luke xxiv, Verses 13-31)
Nunc Dimittis
Prayers
Hymn 531 (Tune, 'Southwell')
Address by the Rev. T. W. Pym, D.S.O., M.A., Canon of Bristol Cathedral, Chaplain to H.M. The King
Hymn 31 (Tune, 'Ellers')
Collect for Second Sunday in Advent

An Appeal on behalf of The Lord Mayor of Bristol's Christmas Dinner Fund by The Lord Mayor of Bristol.
Relayed from The Colston Hall, Bristol

Relayed from The Park Hall, Cardiff
National Orchestra of Wales
(Cerddorfa Genedlaethol Cymru)
(Leader, Louis Levitus)
Conducted by Sir Thomas Beecham

Although counted as the first of his works in this form, Don Juan was actually written after Macbeth which bears a later opus number. Don Juan was first performed in 1889 at Weimar, while its composer was conductor of the Court Orchestra there, and was enthusiastically received. The most obviously melodious, and the most easily understood of all Strauss' Symphonic poems, it has long ago won its way to the affections of music lovers all over the world; not even the older school, with their insistence upon form and even formality, can be indifferent to the lyrical beauty of its themes, and their brilliant presentation. In its design it adheres pretty closely to the Rondo of the classical Sonatas and Symphonies, and in the varied forms in which the chief themes return, we can follow the adventures of the Don in his crazy search for his ideal of incarnate womanhood. There are four principal themes heard at the outset, all glowing with the youthful ardour of the quest. These are set forth and developed at some length, to form the first section of the work.
The second section of the poem which is quoted in the score, tells of disillusionment. That is set before us in the music no less vividly then the zest and youthful vigour of the first part, of which the principal theme reappears anon. It introduces the closing section, representing the tragedy with which Lenau's poem comes to an end-Don Juan's death and his despair in realizing that life has lost its charm for him, that nothing is left but 'the cold and dark ash-strewn hearth.'

(to 23.00)