Scheherazade - Rimsky-Korsakov

CECIL LUCAS (Contralto)
EDGAR Thomas (Tenor)
DAVID SISSERMAN (Violin)

arranged by Mr. CHRISTOPHER STONE

From Westminster Abbey

THE MADALENE MOONEY Quartet
ANNIE PIMBLOTT (Soprano)
JOHN PENNER Williams (Baritone)

'Skeering the Crows', and other songs, sung by Frederick Chester

'Old Jock,' the Story of a Swan (H. Mortimer Batten)
5: 'You may sit down, children' -

Leslie G. Mainland resumes his Zoo Talks

SCHUBERT'S PIANOFORTE DUETS
Played by Isobel GRAY and CLAUDE POLLARD

IN this, the second talk of histories, Major Gordon Home describes the military life and organization of the garrisons in Britain under the Roman occupation. There were three main legionary bases, with York as the headquarters of the northern military area. Well known, of course, are the two great frontier walls, whose garrison life and military purpose come into the scope of this talk. Major Home describes the different nationalities and religions, drawn from all parts of the Empire, to be found in the ranks of the guarding legions, and he further mentions the organization of various isolated fortresses and temporary camps, and the naval bases and forts along the 'Saxon Shore.'

CONCERT FROM LEEDS TRIENNIAL MUSICAL Festival, RELAYED FROM TOWN HALL, LEEDS
LONDON SYMPHONY ORCHESTRA
Conducted by Sir THOMAS BEECHAM
THIS Symphony is called the ' Rhenish ' because Schumann used to say that the first impulse towards its composition came from his first sight of the Cathedral of Cologne, and that this impulse was strengthened by his presence there at the grand ceremonial of the installation of the Archbishop as Cardinal.
There are, unusually, five Movements.
FIRST MOVEMENT. (Lively.) This is even fiery in places. The two main tunes are the Vigorous one with which the piece begins and a charming quiet one, a little later, introduced by the Woodwind and some of the lower Strings.
SECOND MOVEMENT. (In moderate time.) A kind of Minuet, with, at the opening, the tune in some of the bass instruments ; this is varied in different ways, and then, for a change, we have another Minuet, followed by the first one again.
THIRD MOVEMENT. A dreamy sort of ' song without words.'
FOURTH MOVEMENT. This solemn Movement represents the impressions made upon the mind of the composer by the cathedral ceremony mentioned above. The full orchestra is used. all the more effectively after the reduction of the last Movement, and the solemn Trombones enter for the first time in the Symphony.
FIFTH MOVEMENT. (Lively.) The spirit here embodied is that of a Rhenish popular festival.

(Continued)
BRAHMS here uses the title Requiem not for a setting of the Mass for the Dead, but as descriptive of a work consisting of seven Movements, each a setting of passages from the German Bible. It was written as a memorial to the composer's mother.
1. Blessed are they that mourn.'
2. ' Behold all flesh is as the grass.' This has the character of a massive Funeral March. The middle part is an outburst of joyful anticipation.
3. Lord, make me to know the measure of my days.' The first part of this is a Baritone Solo.
4. ' How lovely is thy dwelling place.'
5. 'Ye now are sorrowful : howbeit ye shall again behold Me.' This movement, a delicate, ethereal Soprano Solo, was written after the rest of the Requiem had already had its first performance.
6. ' Here on earth we have no continuing place.' This is a dramatic movement, divided between the Baritone Soloist and the Chorus.
7. ' Blessed are the dead which die in the Lord.'
Brahms follows tradition in closing his Requiem with a subdued serene movement.