HILDA BLAKE (Soprano)
THE WIRELESS MILITARY BAND
Conducted by B. WALTON O'DONNELL

by BOROVSKY
(For 5.0-6.15 and 8.0-8.45 Programmes see opposite page)

Prelude in E Flat - Bach
Prelude in C - Bach
32 Variations in C Minor - Beethoven
Prelude in C - Beethoven
Fairy Tale of an Old Grandmother - Prokofteff
Gavotte in F Sharp Minor - Prokofteff
Prelude in E Flat, Op. 15 - Scriabin
Etude Pathetique, Op. 8 - Scriabin
Etude in A Flat, Op. 25 - Chopin
Etude in F Minor, Op. 25 - Chopin
Etude in G Flat, Op. 10 - Chopin

Daniel in the Lions' Den
Daniel vi, 1-28

Conducted by the Rev. Canon C. S. WOODWARD
From St. John's, Smith Square
Hymn,' Praise the Lord, ye Heavens adore Him ' (English Hymnal, No. 535) (Ancient and Modern, No- 292)
Prayers
Psalm 148
Lesson, 1 Peter 5, 5-11 Prayers
Hymn, ' He would valiant be '
'(English Hymnal, No. 402)
Address
Hymn, ' Stand up, stand up for
Jesus ' (English Hymnal No. 581) (Ancient and Modern No. 542)

From St. Ann's Church, Manchester
S.B. from Manchester
'Was GOTT THUT DAS IST WOHL GETHAN'
('What God doth, that is surely right')
GLADYS SWEENEY (Soprano)
CONSTANCE FELPTS (Contralto)
ARTHUR WILKES (Tenor)
REGINALD WHITEHEAD (Bass)
THE ST. ANN'S CHURCH CHOIR
THE NORTHERN WIRELESS ORCHESTRA
Conducted by T. H. MORRISON
GEORGE PRITCHARD at the Organ
BACH left three Cantatas on this text, designed for different Sundays in the Church year. All three belong to a group of fifteen composed between 1728 and 1734, and though all are cast in a similar form - simple chorale cantata - each has its own individual character. That is true even of those which are based on the same text. In the opening chorus the melody of the chorale is sung by the soprano voices, accompanied by the others, and by independent instrumental parts. In No. 98, the melody of the Chorale, Bung at the end in its simple form, is changed in the first chorus into a triple rhythm.
The instruments used In the accompaniment are two oboes and taille (the now obsolete tenor oboe, usually replaced by cor anglais), along with the usual strings and organ. There is a melodious oboe obbligato to the soprano aria. and all the violins in unison accompany the fifth number, a bass aria. Elsewhere the winds are used merely to reinforce the voices...
The Chorale. sung at the end. is borrowed from Cantata No. 100. the third for which. Bach used the same hymn. As he left No. 98, it came to an end with the bass aria, an unusual and unsatisfactory close.
The text is reprinted from Professor Sandford Terry's 'J.S. Bach Cantata Texts, Sacred and Secular,' by kind permission of Messrs. Constable and Co., Ltd.
I. - Chorus.
What God doth, surely that is right, His Word's a rock and bideth.
Where'er He guideth, day and night, My heart in Him confideth. He is my God,
Doth help afford
When foes are on me pressing. So evermore I'll trust Him.
II. - Recitative (Tenor).
My God. when wilt Thou rescue me from this world's misery. my anxious fears allaying ? How long here must I, day and night, to Thee kneel crying Is rescue not at hand The Lord of Hosts doth by them stand who in His might and loving heart are trustful. My hopes now therefore will I stake on One 80 sure and faithful ; for ne'er will He His own forsake.
III. - Aria (Soprano).
Cease, sad eyelids, cease your mourning Lo, I bear
Undismayed my yoke of caret God our Father liveth e'er,
Ne'er forgetting, loved ones blessing.
IV. - Recitative (Alia).
God hath a heart that still with pity overflows, and when to Him the soul tormented cries to ease Its ailing smart. He loving to the call replies. Cod softened his heart. His mercy and His care no limit know. He gives His word : who knocketh firm in faith, to him the door stands wide. lie sure our voice is heard when in our direct need we raise it, and beg of God His strength to stay it.
V. - Aria (Bats).
Never Jesus will I leave
Till He shall upon me breathe
Words of comfort and His blessing.
. He alone
As my Saviour will I own
'Gainst all foes my peace molesting.
VI. - Chorale. ?-..., What God doth, that alone is right; Therewith will I content me.
Though trouble's ever in my sight And pain and death are sent me. My Father's care
is ever near. His strong right arm doth shield me. To Him I trusting yield me.

Relayed from Tabernacle, Morriston
S.B. from Swansea
Eglwys Annibynnol y Tabemacl
Treforis
Trefvn y
Gwasanaeth Gweddi.
Emyn 744, 0 Iesu, maddau fod y drws yng nghau'
Emyn 713, ' Yn Eden, cofiaf hynny byth '
Pregeth—Y Parch J. J. WILLIAMES Cyhoeddi a Chasglu
Emyn 654, ' Pwy welaf o Edom yn dod'
Y Fendith Apostolaid Hwyr weddi 1178

(Daventry only)

From the Studio
Address by the Rev. Henry Gow. M.A., D.D., of Manchester College, Oxford
Collect
Hymn, 'Dear Lord and Father of Mankind' (English Hymnal, No 383)
Lesson Prayer
Hymn, 'O Thou in all thy might so far ' (English Hymnal, No. 463
Address
Hymn, 'Nearer, my God, to Thee' (English Hymnal', No. 444)
The Lord's Prayer
Benediction
(For 8.45 1038 Programmes, see opposite page)

Appeal on behalf of Pearson's Fresh Air F.und by Lady PEARSON (Miss GLADYS COOPER). THIS Fund, started in 1892 for the purpose of giving a day's holiday to poor London children, now operates in forty of the largest cities and towns in the British Isles. Since its inauguration, over five million children have benefited to the extent of a day's holiday in the country, whilst, since 1908, when the scheme was enlarged to provide fortnightly holidays as well, nearly a hundred thousand children have enjoyed two weeks by the sea or in the country. One shilling and threepence pays for a day in the country ; one pound pays for a fortnight's holiday ; and thirteen pounds pays for a party of two hundred with attendants.
The Honorary Treasurer is [address removed].

HAROLD SAMUEL (Pianoforte)
THE WIRELESS SYMPHONY ORCHESTRA
Leader, S. KNEALE KELLEY
Conducted by SIR HEXRY WOOD
THIS Suite, when selected by the Carnegie adjudicators for publication under their scheme, was spoken of as ' a striking piece of tone-painting.' It was performed at the Proms in 1912, and has since been repeated there; for the programme on these occasions the composer has had the following notes included in the programme with his approval.
The first movement, he tells us, is a Seascape which paints the sea on a summer morning. From high cliffs is seen a great expanse of waters lying in the sunlight. Warm breezes play over the surface.
The second movement is Sea Foam, which
* froths among the low-lying rocks and pools on the shore-playfully, not stormily.
The third movement is Moonlight. A calm sea at night. First the moonbeams are struggling to pierce through dark clouds, which at last pass over, leaving the sea shimmering in full moonlight.
The fourth movement is a raging Storm. Wind, rain, and tempestuous seas. With the lulling of the storm, an allusion to the first movement is heard.
Very little further guidance is necessary for the listener. After a sustained E Major chord, Mr. Bridge's own instrument, the viola, begins the first movement with a flowing figure, which forms the principal first subject. It is elaborated at some length, and a good deal of use is made of another theme which appears at first interwoven with it, emerging at last in its complete form on the whole orchestra.
Flutes and bassoons, in turn, have the beginnings of the second movement, and a little later the strings have a shimmering figure which carries on the playfu! mood of the piece. There is a more suave section in the middle, like the conventional trio of a scherzo, and the opening returns in an altered form.
In the third movement it is again the flutes which have the main theme over an accompaniment of strings and harp; the same theme appears later on the strings.
These three movements are all short, but the fourth is worked out at greater length. An angry rhythmic figure on the winds is answered by rushing semi-quavers on the strings, and the horns have an impressive and forceful theme which is largely used throughout the movement. But the explanatory note quoted above is all that the listener needs for an appreciation of the movement.
MORE than most of the modern Russian school,
Arensky may be said to have carried on the Tchaikovsky tradition, though without so rich a share of poetic ideas and without Tchaikovsky's gift of dramatic strength. He was a warm admirer of his older fellow-countryman, and this piece is in some sense a tribute. It has always been the most popular of his purely orchestral music-a set of seven melodious and graceful variations on the song which Tchaikovsky calls ' A Legend,' and which begins, in English, ' Christ had a garden.'
THERE is a story of Beethoven's having once said to Cramer, when they had just heard a pianoforte concerto of Mozart's, ' We shall never be able to write anything like that.' This early work-although known as No. 2, there is no doubt that it is the first in order of composition of Beethoven's five Pianoforte Concertos-reminds the hearer constantly of Mozart's light-hearted charm and delicate grace. After its first performance, Beethoven revised the pianoforte part considerably, although he left the simple orchestration pretty much in its original shape. There are three movements— the first in the usual form with two main tunes or subjects; the second a broad melodious slow movement, and the last a merry Rondo.

'ROCK or Aces '