@ From page 96 of ' When Two or Three
Artur Schnabel (pianoforte): Sonata in F minor, Op. 57 (Appassionata) (Beethovell)—I. Allegro assai; 2. Andante con moto ; 3. Allegro ma non troppo
Tracing History Backwards
Government, Now and Then-9
' The Civil Service-Now'
Commander STEPHEN KING-HALL
2.25 Interval
2.30 Biology
How Life is Lived-9
' Food and how the Body deals with it WINIFRED C. CULLIS , C.B.E., D.Sc... Professor of Physiology, London (Royal Free Hospital) School of Medicine for
Women
2.50 Interval
Speeches by General the Rt. Hon.
J. C. SMUTS , C.H., K.C. and Major the Hon. J. J. ASTOR , M.P.,
President of the Empire Press Union, on the eve of the departure from South Africa of the overseas delegates to the Conference, preceded by a descriptive commentary from
Cape Point Lighthouse
Relayed from
Cape Town, South Africa, in co-operation with The Africar
Broadcasting Company, Limited
by PHILIP TAYLOR
Relayed from
The Town Hall, Cheltenham
including Weather Forecast and Bulletin for Farmers
Contemporaries of Bach and Handel
2-Vocal Music
GWENN KNIGHT (soprano)
ANDRÉ MANGEOT (violin)
ANNE MACNAGHTEN (violin)
ERNEST LUSH (harpsichord)
Cantata for Soprano, Guardati (Beware)
Agostino Staffani (1653-1728)
Aria, Guardati (Beware)
Recit. and Arioso, Da quei begli occhi arcieri (From those beautiful eyes)
Arietta, Fugga pur l'impero (Let love's empire vanish)
Aria, Sono i frutti d'amor (These are the fruits of love)
Aria, Amor sempr'e avezzo (Love is always enchanting) (Serenata a 3 con stromenti)
Alessandro Stradella (1645-1681)
MAX KROEAIER
'Wheat '
J. W. F. RowE
Romantic Pot-pourri
Devised and arranged by G. WALTER
The Singers
NORAH GRUHN (soprano) MICHAEL COLE (baritone)
Cast
At the pianofortes :
HENRY BRONKHURST and ALAN PAUL
MANTOVANI and his TIPICA ORCHESTRA
THE WIRELESS CHORUS (SECTION C) and THE B.B.C. THEATRE ORCHESTRA conducted by STANFORD ROBINSON
' The Story of the Waltz' was broadcast in the Regional programme last night
. CECIL DAY LEWIS
The young man to look ahead this I evening is Cecil Day Lewis , a poet of the modem school, who believes that developments in literature cannot be divorced from social life. Lewis is a schoolmaster at Cheltenham and a really modern thinker. Examples of his work are to be found in ' Transitional Poem ', 'From Feathers to Iron ', and ' The Magnetic Mountain '. A one-volume edition of his ' Collected Poems ', was published by the Hogarth Press this month.
by SARA STEIN
including Weather Forecast and Forecast for Shipping
Conducted by The Rev. W. H. ELLIOTT
Relayed from
St. Michael's, Chester Square
(born Eisenach, March 21, 1685)
G. D. CUNNINGHAM (organ)
ISOBEL BAILLIE (soprano)
ARTHUR CATTERALL (violin)
THE WIRELESS CHORUS
(Section A)
Conductor,
LESLIE WOODGATE
G. D. CUNNINGHAM
Toccata and Fugue in D minor
CHORUS
Come, Jesu, come (unaccompanied
Motet)
ISOBEL BAILLIE, ARTHUR CATTERALL
(violin obbligato) and G. D. CUNNINGHAM
Laudamus Te (Mass in B minor)
G. D. CUNNINGHAM
Choral Preludes
I. Nun komm' der Heiden Heiland
(Come, Thou Saviour of the Gentiles)
2. Nun freut euch, licben Christen g'mein (Rejoice now, all ye Christian men)
' The lexicon of Bach's musical language ' is what one devotee calls the Choral Preludes. Thoughtful listeners have no doubt realised that they are really symphonic poems, very much in the sense in which that name is used by modern composers. Bach's method is almost always the same. As a rule he takes the choral melody, in its original shape, and without breaking it up, giving it to the highest part. Round it he weaves counter-melodies, almost always made up of a motive which is not derived from the tune of the choral itself, but which was suggested to his thought by the text.
He is thus illustrating in his music the poetry and imagery of the words, as well as elaborating the melody, and the result is as wholly satisfactory as it was when new.
It is still new in this way, that no later master has ever achieved it with anything like such simple means. Their significance not only in relation to Bach's music, but as an actual landmark in music itself, was not fully understood until long after his day.
Mendelssohn, who did so much to revive interest in the great Bach, was one of the first to realise the beauty and value of these Choral Preludes, and Schumann, whom Mendelssohn initiated, was not less enthusiastic.
It was Mendelssohn who said of one of the Choral Preludes that if life should ever deprive him of hope and faith, this music alone would restore it to him fully.
CHORUS
Be not afraid (unaccompanied Motet)
G. D. CUNNINGHAM
Fantasia and Fugue in G minor
THE B.B.C. DANCE ORCHESTRA
DIRECTED BY HENRY HALL
