From page 72 of ' When Two or Three'

German Dialogue
' Das Schuljubiläum'
OTTO G. LEWALD and MARGOT BERGER

by A. M. HENDERSON
Relayed from
St. Mary's Cathedral, Edinburgh

Rudolf Bockelmann (bass-baritone):
Tom der Reimer (Tom the Rhymer) (Loewe) ; Der Heilige Franziskus (The Holy Franziskus) (Loeive) ; Henrich der Vogler (Henry the Fowler) (Lonce)
Madeleine de Valmalete (pianoforte) :
Le Tombeau de Couperin (Couperin's Tomb) (Ravel)--I. Prelude ; 2. Fugue; 3. Rigaudon ; 4. Menuet; 5. Forlane ; 6. Toccata
Dora Labbette (soprano) : (i) Cradle
Song, (2) The Nightingale, (3) Evening Voices (Twilight Fancies) (Delius)

Leader, Alfred Cave
Conducted by H. FOSTER CLARK

The Practice and Science of Gardening—3
' The Seed '
B. A. KEEN , D.Se.

Rhoda POWER
Today Schools are to hear the first dramatic interlude of the term by Miss Rhoda Power. It concerns one of the barbarian rulers referred to by Professor Eileen Power last week, who between them conquered the old civilisations-China and Rome.
Charlemagne, or Charles the Great, was the ruler of the Franks, who had set up a kingdom on the ruins of the Roman Empire. He conquered a large realm and ruled it well, and he was a great supporter of the Church. Pope Leo III crowned him Emperor in Rome on Christmas Day, A.D. 800, and so there was once more an Empire in the West.
The scene is laid in the house of a Frank at Aachen (the capital of Charlemagne's empire) on the morning of Charlemagne's death, on January 28, A.n. 814.
Old Grimwald, his son, Adelbert,
Adelbert's wife, and their little boy, discuss their own affairs, and then the Emperor's life and death. Adelbert thinks the fame of Charlemagne will last for ever.

Early Stages in German
. Lesson 3
A. H. WINTER, assisted by M.-E.
GILBERT

Conductor, HERBERT BENNETT

Directed by HENRY HALL

including Weather Forecast and Bulletin for Farmers

A. S. RUSSELL , M.C., D.Sc.

S. R. LITTLEWOOD

Handel Celebration
Under the direction of EDWARD J. DENT , Mus.B. (University Professor of Music at Cambridge)
Oratorio Choruses sung by THE WIRELESS CHORUS
(Section C)
Conductor, LESLIE WOODGATE
At the organ, BERKELEY MASON
Choruses from Deborah (1733)
I. Immortal Lord of Earth and Skies 2. Lord of Eternity, plead Thy just cause
3. Doleful tidings
4. Let our glad songs to Hcav'n ascend
0 celebrate His sacred name Allelujah

Eric NEWTON : 'Style, Choice of Medium, and Craftsmanship'

Another Pageant of Popular Music during the past fifteen years
GERALDO
AND HIS ORCHESTRA
with WYNNE AJELLO
EVE BECKE
MONTE REY
PETER BERNARD and THE REVUE CHORUS

The speaker tonight has had a distinguished academic career. He was a scholar of Winchester College, where he became 'Prefect of Hall', or head of the school. He won a scholarship to New College, Oxford, and took a 1st in Mods, and a 1st in Greats. He is now a Fellow and Tutor of New College.
Richard Crossman has made frequent visits to Germany since the Hitler regime, and is chiefly known to listeners for various topical broadcast talks on Germany. Since February last year these have included: German Labour Camps, Germany-the Time Conflict, Conditions in Germany (relayed from Berlin), The German Scene, Church Conflict in Germany, To Unemployed Clubs - the Industrial and Unemployment Situation in Germany.

by CECIL DixoN

including) Weather Forecast, Forecast for Shipping and (at 9.50 app.) the Weekly Commentary on Foreign Affairs

TONIGHT'S CONCERT OF SPANISH MUSIC
Edwin Evans introduces
To most people the mention of Spanish music suggests the castanet rhythms of the South, the fandango, bolero, and the rest of the dances of sunny Andalusia, in which there is a marked Oriental strain inherited from the Moors and kept alive by the gipsies. At most they might think of the Jota, of which every Spanish province produces its own variety. But Catalonia has lived a different life. It has had but little contact with such music. The bonds that unite to other European lands of the Mediterranean have never been seriously affected by Oriental infiltration. The picturesque annals of the Troubadours abound in distinguished Catalonian names, and from their day to ours the popular poetry and song of the country have always preserved their individual character. Gaspar Cassado is a true Catalonian. He comes before the public mostly as a 'cellist, and is a pupil of Pau Casals, hut he is also an eminent composer and has had works performed at international Festivals. His 'Rapsodia Catalana' is, as the title indicates, a fantasy on Catalonian folktunes, scored with brilliant orchestral effect. The first performance was given on November 8, 1928, at Carnegie Hall, New York, under Dr. Mengelberg, but this will be the first performance in England.

Turina is an Andalusian, born at Seville fifty-two years ago. The full title of the work by which he is represented in this programme is ' Poem in the form of Songs ', and it consists of four vocal pieces preceded by an introduction-he calls it Dedicatory-in which some of the themes of the songs are anticipated. The words are by Campoamor, the inventor of a kind of brief epigrammatic poem, a few lines in length, for which he adopted the general description Doloras. These and Cantares (songs) are the most characteristic of his poems. Of these four pieces the first and fourth are doloras, the second and third cantares. The first is typical : 'Now that my end is near, before I render my account to God, I will make my last confession. I forgive with all my heart even those whom I have always hated, but you whom I have loved so much I cannot forgive'. The second combines two simple love songs, but the third is more characteristic of the type. It is called 'The Two Fears'. 'At dusk she said: "Why so near me? I am afraid of thee " - At dawn she said: “Why so far from me, I am afraid without thee".' The concluding song is an appeal to Venus. 'I would love thee long, goddess, if thou wouldst moderate thy ardour', to which Venus replies that 'though a goddess, like all women she prefers mad ardour though it be brief'.
Granados, who was drowned nineteen years ago at the torpedoing of the Sussex, was a Catalonian but, in his devotion to folklore, like his fellow countrymen Pedrell and Albeniz he made all Spain his province. He is best known by his 'Goyescas' and his Spanish Dances. The latter, twelve in number, are published in four books. Five of them, Nos. 4, 5, 6, 10, and 12, have been frequently heard at Queen's Hall in an orchestral version by Sir Henry Wood.

J. Lamote de Grignon, another Catalonian composer, founder and conductor of the Barcelona Symphony Orchestra, has also orchestrated three of them, Nos. 2, 5, and 6, under the titles Oriental, Andaluza, Rondalla Aragonesa, the third of which is to be performed on this occasion. Its main portion consists of a three-four measure which quickens gradually to Presto, but there is a quieter, more languorous middle section, when the dance is interrupted for a song entrusted to a muted trumpet.
Manuel de Falla, the foremost figure in contemporary Spanish music, is represented in this programme by the two concluding episodes of his gitaneria (gypsy play) El Amor Brujo (Love the Magician). These are the Danza del Juego de Amor and Las Campanas del Amancccr, the latter the joyous bells of the morning which greet the release of the haunted lovers, Candelas and Carmelo, from the malignant pursuit of the Spectre.

SYDNEY KYTEand his BAND
Relayed from The Piccadilly Hotel