S.B. from Manchester
The TUDOR SINGERS
Directed by Dr. J. E. WALLACE
GLADYS FOSTER ; HETTY RODGERS ;
ELYSABETH DYSON ; J. R. ABRAHAMS ; S. R. MAHER
From Liverpool
THE ECCLES BOROUGH BAND
Conducted by JAMES Dow
From Manchester

Paul of Tarsus-V
The Second Journey, 'Come Over into Macedonia'
Acts xvi, 1-40

Arranged by THE CHILDREN'S SPECIAL SERVICE MISSION
From the Studio
Hymn, 'Golden 'Bells' (C.S.S.M., No. 559)
Prayer
C.S.S.M. Choruses Nos. 68, 143,
269, 235, 165, 155, 147
Scripture Reading, I Samuel iii, 1-10
Chorus: 'Master Speak'
Address by the Rev. GUY H. KING, Vicar of St. Matthias, Upper Tulse Hill, London
Vesper Solo, 'The Sweet Story of old,' by Mr. JACQUES Hopkins
(Music conducted by Mr. JACQUES E. HOPKINS)

VISITORS to the seaside during the summer may have noticed on the sands a crowd of young people assembled in a miniature sand cathedral, singing choruses and listening to addresses by speakers often garbed in most unclerical attire. This is one side of the work of the Children's Special Service Mission, which exists to show children that religion is no gloomy 'wet blanket' business, but the best way in the world of getting real happiness.

(No. 95) BACH
'CHRISTUS DER 1ST MEIN LEBEN
(' 0 CHRIST My ALL') ')
Relayed from the Midland Institute,
Birmingham
DORIS VANE (Soprano)
TOM PICKERING (Tenor)
JOSEPH FARRINGTON (Bass)
CYRIL CHRISTOPHER (Continue)
THE BIRMINGHAM STUDIO CHORUS and ORCHESTRA
Conducted by JOSEPH Lewis *
The text is reprinted by courtesy of Mcssrr.
Novello & Co., Ltd
I. C orus :
0 Christ, my all in living, Dying brings me reward
What joy to end the striving, And come to Thee, my Lord I
Tenor Solo:
With joyful, O yea, with joyful heart I make me ready to be departing, And if God call to me today,
Content and glad am I to go ;
My weary limbs, my frail and wasted body. My feeble mortal frame,
To earth again do I willingly surrender. My dying song hath long been made; If only the hour had come to sing it I
Chorus :
In peace and joy from life I part, As God ordaineth,
And sweet content is o'er my heart. Soft and tender;
Now, as God foretold to me,
Is death made one with slumbei n. Recitative end Chorale, Soprano :
Oh, sinful world, now have I done with thee for evermore !
My mansion is prepared, where sweeter rest is mine
Than when I was with thee, and tasted at thy bidding
The bitterness of idle pleasures. The vain delight of empty joys, The deadly fruit of disenchantment.
No, no I Now can I say, with calm. untroubled spirit:
Content am I to leave thee, 0 world of sin and pain,
For all I now surrender I count not loss but gain.
In Heav'n is joy eternal. And love beyond all worth.
For there the Saints are gathered, Whr served their Lord on earth.
III. Recitative, Tenor :
0 would the hour were close at hand for me !
If only death the end 01 all my pain, Ere long would claim me for its own I
How eagerly would I prepare to give it welcome,
And count the hours until its coming I
IV. Air, Tenor:
Ah, toll for me soon, bell most holy, Thou most desired and welcome bell !
Come, I give to thee my hand in greeting. Come, end for me my pain and sorrow, Thou long awaited day of death I
V. Recitative, Bass
For this I know and sure is my belief, that I shall soon arise from the grave and go unto my heav'nly Father's dwelling. My death is but a sleep that eaUeth me to rest from weariness and sorrow of earthly labour... -
Doth not a shepherd seek his sheep ast ray, and will not Jesus seek until He find me ? He is my head, and am I not His limbs ? On one sure hope my faith is builded that I shall rise again-My Saviour's loving mercy.
VI Chorale :
Since Thou hast risen from the grave, My soul to Thee ascendeth,
The pledge Thy loving mercy gave New strength and courage lendeth. "Where'er Thou art I come to Theo, For there alone is found for me A joy that never endeth I
Cantatas for the nest four Sundays are :—
September 22. No. 114-
' Ach lieben Christen, seid getrost.'
' Ye Christian people, weep no more.'
September 29. No. 19—
Es erhub sich ein Streit.'
' A strife arose.'
October 6. No. 5—
' Wo soil ich fliehen hin ' Whither shall. I flee ? '
October 13. No. 180—
' Schmucke dich, o liebe Seele." ' Rise, 0 Soul.'

THE WIRELESS CHOIR
Conducted by STANFORD ROBINSON
At the Organ, LESLIE WOODGATE
Relayed from the Guildhall School of Music
THE Anthem, as a musical style, is one which
England may quite fairly claim as its own. More than any other part of the Church music, it lends to the English Cathedral service its own distinctive character.
Known in this country from a very early age, the Anthem is mentioned already by Bede. Chaucer refers to it too, as well as some of the other early English authors, and though there is no actual provision for it in the Prayer Book of Edward VI nor of Queen Elizabeth, by her reign it was at any rato sanctioned, if not ordained as part of the church service. It was called, at that date, ' a hymn or such like song in churches.' That is, in fact, the definition of an Anthem to this day-a a piece of concerted music for voices, which is not actually part of the prescribed Liturgy.
By the time State prayers were added to the Prayer Book, the Anthem was officially included --' in quires and places where they sing, here followeth the Anthem.' In post- Reformation days its popularity was obviously due to the desire of the Reformers for music in a ' tonguo understanded by the people,' but many of our early English composers wrote Anthems which could be used either in the Reformed or in the Roman Church. Some of them, indeed, have alternative English and Latin words.
In the latter part of the sixteenth century, when the composers of Anthems nourished, Byrd was one of the first to introduce short sqJo passages for one or other of the voices, usually with an independent accompaniment for the organ. Gibbons, who followed him, advanced still further along the same lines and many of his Anthems have passages which may be accompanied either by the organ or by viols. In the Restoration period the names of Blow and Purcell stand out, and in the early Georgian era Handel's Anthems, though often beyond the limits of the ordinary Cathedral service, were fine examples of his choral music.
It is a style which has attracted composers right down to the present day, and the daily Cathedral service calls for a constant supply of short Anthems-a supply to which the demand has always been fully equal.

Appeal on behalf of the Royal Dental Hospital, by the Hon. Sir WILLIAM Goschen , K.B.E., Chairman of the Royal Dental Hospital of London.
THE Royal Dental Hospital of London and its
School of Dental Surgery was first opened on November 1, 1858. It is the Senior Dental Hospital of the world. In 70 years its work has extended enormously amongst the necessitous poor. The Out-Patient attendances last year were 57,813. Amongst other thoroughly equipped Departments it also possesses a wonderful section for children. This alone would make its existence more than worth while. The Hospital is entirely supported by voluntary contributions, and it becomes increasingly difficult to carry on its valuable activities, more especially as it has now become essential to open a Department for In-Patients. This will cost an additional £2,000 a year. The Hospital is facing the most anxious time, and funds are most urgently needed.
Contributions will be most gratefully received by the Chairman, [address removed]

WEATHER FORECAST, GENERAL NEWS BULLETIN ;
Local Announcements; (Daventry only) Shipping Forecast

HORACE STEVENS (Baritone)
THE WIRELESS ORCHESTRA
Conducted by JOHN ANSELL
Homage March is the third movement of a Suite which Grieg made from the music he composed for the drama by Bjernson, Sigurd Jorsalfar , an old Norse tale of the Crusades. Two Kings, brothers, reigned over different parts of Norway in bitter rivalry and enmity with one another. But at the end they become reconciled and together make their way in solemn procession to the Temple of Law-Giving, to dedicate themselves to the service of their country, and their passing is acclaimed by the joyous shouts of the people. This march is the music which, in the play, accompanics their procession.
MASSENET, whose fund of fresh, flowing melody was apparently inexhaustible, could afford to be lavish with his tuneful ideas. He certainly never gives his hearers the impression, as some composers do, that, having had an inspiration, they wish to mdke the utmost use of it before leaving it and turning to something else. Where many composers would be content to give us repetitions or variations, Massenet, with generous hand, throws us ever new, and always fresh, tunes.
That is as true of this sparkling divertissement for orchestra as of many of his better-known works for the stage and for the concert platform. It begins with a vigorous introduction which makes way soon for a flowing tune on the violins. Charming and delicate, it forms an admirable foil to the energy of the opening with which it is more than once interchanged before the clarinet gives us another and no less melodious theme. Woodwinds and strings together have the next broad melody, to be played, as Massenet often directs, ' Bien chante,' (finely sung). It is as apt a description as could well be devised of the qualities which make his tunes so popular as they are.
The piece is in one continuous movement and in the same metre—three in the bar, until at the very end a swift two in the bar brings it to its brilliant close.

' POVERTY '