with DON CARLOS (tenor)

Conductor, E. GODFREY BROWN
CARYS DAVIES (contralto) -
NANCIE LORD (violin)

Verdi (No. 2)
Well-known Arias and Concerted
Numbers
The Milan Symphony Orchestra
(Members of La Scala Orchestra) : Overture, The Sicilian Vespers
Giuseppina Zinetti (contralto) and Chorus of La Scala , Milan, with the Milan Symphony Orchestra : Anvil Chorus and Azucena's Aria, Fierce rage the Hames (II Trovatore)
Bianca Scacciati (soprano) and Francesco Merli (tenor) with Chorus of La Scala , Milan, and Milan Symphony Orchestra : Miserere (II Trovatore)
Anna Rozsa (soprano) and Alessandro Ziliani (tenor) with Chorus and Orchestra of La Scala, Milan, conducted by Carlo Sabajno : Brindisi (A toast, fill your glasses) (La Traviata)
Duke of Mantua : Alessandro Granda
(tenor). Rigoletto : Carlo Galeffi (baritone). Gilda : Maria Gentile (soprano). Maddalena : Ebe Stignani (contralto) : Excerpts from Rigoletto-Prelude ; La Donna e mobile ; Bella Figlia del amore
Enrico Caruso (tenor) : Celesta Aïda
(Aifda)
Soloists, Chorus and Orchestra of La Scala, Milan, conducted by Carlo Sabajno : Inaffla 1'ugola (Then let the canakin clink) (Otello)

Conductor, Lieut. F. Vivian Dunn
Antonia Butler (violoncello)
Relayed from The Guildhall, Portsmouth

Of Saint-Saens' two 'cello concertos, this one in A minor is the favourite. It is played throughout without a break, though the time and character of the sections change as in a concerto with detached movements. The impetuous figure with which the soloist opens the work forms the chief motif of the first section. It is followed by a tripping waltz rhythm. which again is succeeded by a slow movement constructed, somewhat un- j usually, out of a series of passages each leading to a climax. A brilliant and virile section in quick time closes the concerto.

(Harp, Marjorie Buckle)

These pieces for chromatic harp and strings were commissioned for certain competitions held at the Brussels Conservatoire, where a class had been formed for the study ot the ancient harp in a modernised form. The music is comparatively simple and the harmonic scheme is a pleasant one.
There is, too, characteristic use of ancient modes.

After its first performance at the Concerts Colonne in Paris in 1904, the critics, for whom Debussy was still something of an enigma, labelled the work 'dissonant', and complained that Debussy's work continued to have no architectural quality and that it was vague, disturbing and almost morbid. They appeared to agree that some people might like Debussy, for it was a question of taste - either one chose to like it or found it bitter. It would be difficult today to find a critic who would commit himself to an opinion so reactionary.

by MELSA

'The Work of Christian Missions :
What the Roman Catholic Church is Doing'. By the Rt. Rev. Mgr. BASIL GUDGEON , National Director of the Pontifical Mission Aid Societies
Owing to the unavoidable absence abroad of Father Martindale, who was announced in ' The New Christendom ' booklet as giving this talk, his place is being taken by Monseigneur Gudgeon, National Director of the Pontifical Mission Aid Societies, who will describe the work of the Roman Catholic Church in the foreign missionary sphere.

By the Rev. D. 0. SOPER, Ph.D.

Joseph Slater (flute) ; Jean Pougnet
(violin); Rebecca Clarke (viola)
ANGUS MORRISON (pianoforte)
HERTA GLUCKMANN (contralto)
This Serenade is Opus 25 .in the list of Beethoven's compositions, and was published in 1802, that is in Beethoven's early Vienna days. A year later it was revised by the composer and issued as a work for pianoforte and flute or violin. The reason for this is not very clear, but, no doubt, it was to fulfil a commission. It is light-hearted in character, and was written to fulfil the same purpose as the Serenades of Mozart and the eighteenth century-merely to give entertainment. This is the first published example of the many chamber music works composed by Arnold Bax. It dates from 1906, and its publication was through that useful and enterprising instrument of the British ' Renaissance then in process of flowering, the Avison Edition'. The music, though scarely representative of the later Bax, is, on its merits, a work of interest.

An Account of the response to the 'Time to Spare' talks by Councillor J. RITSON , J.P. (from Newcastle), the Rev. CECIL NORTHCOTT (from Manchester), RICHARD CLEMENTS (from Birmingham), and GEORGE M. L. DAVIES (from Cardiff)
In this early summer a series of talks was given by unemployed men and women under the title of ' Time to Spare '. They were poignant because they were human stories and all the more tragic because they were simply told.
They brought to listeners a clear picture of the almost unbelievable hardships which those out of work over a prolonged period have to endure. A practical response from many thousands of listeners was immediate.
This evening those who handled this response will say something of the practical help that came, and is still coming, from all parts of the country as a result of the sympathy and goodwill that these talks have aroused.

ARTHUR CRANMER
(baritone)
ROSANSKA
(pianoforte)

Relayed from The Chapel of the College of St. Nicolas, Chislehurst
Order of Service
Prayers
Psalm 46
Lesson, Haggai ii, 1-9 Magnificat
Lesson, St. Luke xv, 11-24 Nunc Dimittis
Creed and Prayers
Anthem, 0 God the Maker of all things Address by the Right Rev. THE BISHOP
OF KENSINGTON
Hymn, Praise to the Lord, the Almighty
(A. and M., 657 ; E.H., 536)

An Appeal on behalf of THE PROFESSIONAL CLASSES AID COUNCIL, by The Lady CYNTHIA COLVILLE
The Professional Classes Aid Council exists for the relief of distress among professional people. It was founded as a ' War Relief Council' in the autumn of 1914, and reconstituted on a peace basis after the War.
Nearly all the great professional bodies are represented on the Council, which works in close touch with their benevolent funds and institutions. The object is to help professional men and women in time of need ; to assist their widows and dependants; to give a helping hand when necessary to complete the education and training of their children.
In giving a donation the professional man in luck will be helping a man of his own position whose luck has left him, and many, in giving, will remember the service and sacrifice of doctors and nurses in hospitals, the officers of the Merchant Service who go down with their ships, the scientist who loses his sight in the service of mankind.
Contributions will be gratefully acknowledged and should be addressed to The Lady Cynthia Colville , [address removed]

including Weather Forecast

DALE SMITH (baritone)
Relayed from The Park Lane Hotel
(At the pianoforte, J. BYFIELD )

with BRIAN LAWRENCE
(All items arranged by Fred Hartley )