Winifred Davis (Mezzo-Soprano)
Norman Williams (Bass)
The Wireless Military Band
Conducted by B. Walton O'Donnell

Himself no sea-farer, Wagner yet contrives, in The Flying Dutchman, to present a very vivid picture of the sea and ships. He had read Heine's version of the old story of Vanderdecken and was already scheming to write an opera on the subject, when he made the acquaintance of the North Sea in one of its grim and angry moods. He has recorded his own impressions of the journey: 'I shall never forget the voyage; it lasted three weeks and a half..... The legend of the Flying Dutchman was confirmed by the sailors, and the circumstances gave it a definite and characteristic colour in my mind.'

In its original form, the opera was 'A Dramatic Ballad,' to be performed without a break. On its first performance, however, at Dresden, in 1843, it was divided, in accordance with convention, into throe acts, and for many years was always played in that form. The restoration to its original design is due to the late Sir Charles Stanford and the pupils of the Royal College, who performed it at tho Lyceum Theatre in London as Wagner originally intended. The result was so entirely successful that Bayreuth adopted it for performance there in 1901, and again in 1902, on the lines originally laid down by its composer.

The overture, forming, as it does, a concise epitome of the drama, is really an expansion of Senta's Ballad, which, in itself, embodies the whole germ of the story. It opens with the wild theme of the Dutchman's dread destiny, and storm and angry seas are vividly presented; the beautiful subject which portrays Senta, announced by the Cor Anglais, is also unmistakable.

Although we remember him best as a composer for the stage, and one who understood his own musical public as very few composers have done, Massenet left some purely orchestral music which is hardly less popular than his operas. And among them this Suite has always hold a favourite place. Though popular in the best sense, the music is thoroughly sound in workmanship, and full of that sensitive grace which makes French music so easy to enjoy. The claim which he makes in the name of these Scenes is no idle one; if any music was ever picturesque, it certainly is. The names of the four movements are sufficient clue to the scenes they would set before us.

PAUL OF TARSus-X
' Back to Jerusalem'
Acts xxi, 1-39

Conducted by The Rev. Canon C. S. WOODWARD
Relayed from St. John's, Westminster
Order of Service :
Hymn, ' Jesu, good above all other' (English
Hymnal, 59S)
Confession
Lord's Prayer Psalm 146
LesBon : St. Luke 4, 38-44 Creed
Prayers
Hymn, ' He who would valiant be' (English
Hymnal, 402)
Address by Canon WOODWARD Hymn , Thou to whom the sick and dying'
(English Hymnal, 527)
The Blessing

' AuS TIEFER NOTH SCHREI ICH ZU DIR' (' From depths of woe I call on Thee ')
Relayed from the Guildhall School of Music
The Singers
MARY HAMLIN (Soprano) Doris OWENS (Contralto) JOHN ARMSTRONG (Tenor)
STANLEY RILEY (Bass)
THE WIRELESS CHORUS
The Players
AMBROSE GAUNTLETT (Violoncello)
Continuo EUGENE CRUFT (Bass)
LESLIE WOODGATE (Organ) THE WIRELESS ORCHESTRA
(Oboes, Trumpet, Trombones and Strings)
Conducted by STANFORD ROBINSON
(For the words of the Cantata see below)

Relayed from Pembroke Terrace Presbyterian Church of Wales
TREFN Y GWASANAETH ,
Intrada. ' Dyfod mae yr awr ' Emyn 112,
Gloucester Darlleniad o'r Hen Destament
Salmdon 5, ' Yr Arglwydd yw fy Mugail' Darlleniad o'r Testament Newydd Emyn 331,
Amsterdam Gweddi a chanu Gweddi'r Arglwydd Anthem 19, ' Gwynnach na'r eira ' IVcgeth
Gweddi Emyn 376, Caerllvngoed Y Gendith
Defnyddir Llyfr Newydd y Methodistiaid
Calfinaidd a Wesleaidd

From the Studio
Hymn, 'Praise to the Holiest' (Westminster
Hymnal 66), Ancient and Modern, 172
Reading from the Gospel for the Day; St.
Matthew xxii, 15-21
Prayer
Address by The Rev. Father C. C. MARTINDALE,
S.J. Hymn , 'Crown Him with Many Crowns (Westminster Hymnal, 64) (Ancient and Modern, 340)
Prayers
Hymn, 'Soul of my Savour' (Westminster
Hymnal, 74)

Appeal on behalf of the Royal National Mission to Deep Sea Fishermen by Lieutenant-Commander R. G. STUDD, D.S.O., R.N., Retired.
Donations should be sent to[address removed]
THE ROYAL NATIONAL MISSION TO DEEP SEA
FISHERMEN is the only Mission solely devoted to helping those gallant men who, winter and summer, supply us with fish. The life is one of incredible hardship, afloat in small craft winter and summer, following the most dangerous of all our National industries. The Mission, in addition to its spiritual work, provides the only means of rendering first aid to the men hundreds of miles from land—over 10,000 cases were dealt with last year alone--and provides for the men warm clothing to mitigate the hardships of winter. To do this, four Mission ships are constantly at sea, ministering to these men. Tonight's appeal is made by the Chairman of the Mission, Commander R. G. Studd , D.S.O.
(son of the Lord Mayor of London), who had a number of fishermen serving under him during the War in the Dover Patrol.

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

Lotte LEHMANN (Soprano)
The WIRELESS Symphony ORCHESTRA
(Leader, S. KNEALE KELLEY )
Conducted by PERCY PITT
This Overture by the Viennese composer Goldmark is not the prelude to any bigger work ; it is almost in the nature of a symphonic poem, and is founded on an old Eastern tale which goes back centuries before the Christian era. The story tells how a great King fell in love with the maid Sakuntala, whom he met while hunting in a sacred grove, and how he gave her a ring. But the king is enchanted by evil spirits, and forgets her, while she loses the ring, and is disowned by the King when she presents herself before him. After much unhappiness, a fisherman finds the ring and restores it to the King, who immediately remembers the maid and at once makes war on the evil spirits, overcoming them and rescuing Sakuntala, so that all ends well.
ALTHOUGH discovered only comparatively recently, the MS. of this Symphony bears just as good evidence of being genuine Beethoven as one or two other early works which are universally accepted as his, and from internal evidence, in the music itself,, its genuineness is practically certain. There are several striking passages which almost any Beethoven enthusiast would recognize as undoubtedly tho work of the master; even the listener who hears it for the first time is certain to discover these for himself.
It must of course be the work of a very youthful Beethoven,but is none the less interesting on that account; that he was planning a Symphony even before the one which we know as the first sheds a new light on his early years. No orchestra score was found, only the parts in MS. ; these were among the papers of the Music Academy in Jena, a very old society closely bound up with the University there. The score had to be compiled from the instrumental parts, and the task was full of difficulties as there were obvious errors in many places.
There are four movements, a lighthearted
Allegro, a melodious slow movement, the Minuet and Trio (Beethoven had not yet substituted the Scherzo for the minuet), and another brisk Allegro.

ORCHESTRA Overture, ' Sakuntala ' - Goldmark
Prelude ' Romantique - d'Erlanger
9.30 Lotte LEHMANN and Orchestra Aria, (' The Taming of the Shrow ') - Hermann Goetz
9.38 ORCHESTRA Symphony in C (Jena) I, Adagio-Allegro vivace; II, Adagio cantabile ; III, Menuettoâ??Maestoso ; IV, Finale, Allegro - Beethoven
10.5 Lotte LEHMANN and Pianoforte Zueignung (Dedication) - Strauss
Wiegenlied (Cradle Song) - Strauss
Standchen (Serenade) - Strauss
10.15 ORCHESTRA Balkanaphonia - Slavensky

'HIS LOVE'