(g) for Farmers and Shipping

Leader, Alfred Cave
Conducted by REGINALD BURSTON

@ ROBERT by SOETENS

Excerpts from
'DER FREISCHUTZ'
(The Marksman) by Weber
The BBC Symphony Orchestra, conductor, Adrian Boult : Overture
Act I
Alexander Kipnis (bass) with the Berlin State Opera Orchestra, conducted by Clemens Schmalstich : Caspar's Drinking Song-Hier im ird'schen Jammerthal (In this earthly vale of woe)
Act II
Irene Eisinger (soprano): Kommt ein schlanker Bursch (Here comes a gallant youth)
Lotte Lehmann (soprano) : Agatha's
Aria, Leise, Leise (Softly sighing)
Kate Heidersbach (soprano),
Irene Eisinger (soprano), Erik Wirl (tenor), with Orchestra of the Berlin State Opera, conducted by Clemens Schmal stich : Trio-Wie ? Was ? Entsetzen ! (Where ? What ? Oh Terror)
Act III
Margarete Teschemacher (soprano), with Orchestra conducted by Hans Miiller : Agatha's Prayer, Und ob die Wolke sie verhiille (Although a cloud o'erspreads the earth)
Friedrich Schorr (baritone), with the New Symphony Orchestra, conducted by Albert Coates : Hermit's Air-Leicht kann des Frommen Herz ? (What sinful man is free ?)
Chorus and Orchestra of the Berlin
State Opera, conducted by Dr. Leo Blech : Bridal Chorus, Wir winden dir den Jungfernkranz (We bind the bridal wreath} (soloist, Genia Guszalewicz , soprano) ; Huntsmen's Chorus
The story of Der Freischutz (The Marksman), Weber's most successful opera, is adapted from the mediaeval legend relating how the devil tempted huntsmen to sell their souls in return for magic bullets that never failed to hit their mark. In the opera Max is the huntsman ; he must shoot straight to win a contest, and the hand of Agatha. He is persuaded to make a contract with the devil for some magic bullets, and in the course of the contest nearly kills Agatha with one of them. All ends well, however, and the opera is not tragic. On the other hand, it is heavily streaked with that vivid romanticism popular in opera of that period, and even now to be found frequently in a certain type of film drama. But there is no evidence in the robust and genuinely dramatic music that Weber was seriously handicapped by the occasionally ridiculous and bombastic text. It is, indeed, the music of a great master who deeply influenced those who came after him.
Weber was a contemporary of Beethoven, and shares with him the responsibility for moulding the musical nucleus of the romantic nineteenth century.

Hindrances to the Kingdom
' Sheep's Clothing'
Order of Service
Hymn, 0 God of truth (S.P. 597)
Hymn, Now in life's breezy morning
(S.P. 591)
Carol, The Bell Carol (O.B.C. 162) Doxology, From all that (S.P. 408)

' Workers Together'
' The New Age of Co-operation'
By the Rev. Canon STACY WADDY
The speaker this afternoon is Secretary of the Society for the Propagation of the Gospel.
Canon Waddy, after being a rector and head master in Australia (his birth-place) and Chaplain to the Forces during the War, was Canon of St. George's Cathedral in Jerusalem and Archdeacon of Palestine for some years. He has taken an active part in the cooperative work of the Conference of British Missionary Societies, of which he has been chairman, and he has recently made a tour of the Far East and India on behalf of his society.

Conductor,
B. WALTON O'DONNELL
JOHN MOREL (baritone)

Leader, MONTAGUE BREARLEY
Conductor,
STANFORD ROBINSON
ERNEST BUTCHER
(baritone)

From The Studio
Order of Service
Hymn, The strife is o'er, the battle done (M.H.B. 215 ; S.P. 147)
Lesson, St. John xxi Prayers
Hymn, Hark, my soul! it is the Lord
(M.H.B. 432. Tune, St. Bees, S.P. 510)
Address by the Rev. A. W. HARRISON ,
M.C., B.Sc., D.D. Hymn, Saviour, Prince of Israel's race
(M.H.B. 348, vv. 1, 2, 3, 5. Tune, Redhead)

An Appeal on behalf of THE ROYAL ASSOCIATION IN AID OF THE DEAF AND DUMB, by the Rev. Prebendary W. G. PENNYMAN
Nearly a hundred years ago some deaf and dumb people, tired of attending services they could not understand, held services for themselves in a room in Regent Street, London.
From this humble beginning arose the Royal Association in Aid of the Deaf and Dumb with its seven churches and institutes working throughout London, Middlesex, Surrey, and Essex, amongst more than 6,000 deaf and dumb.
The deaf and dumb are a lonely and handicapped people, and the objtct of the Association is to help them, irrespective of creed. It aims at giving them companionship, work, and happiness instead of isolaton, unemployment, and despair.
Contributions will be gratefully acknowledged, and should be addressed to [address removed]

including Weather Forecast

When Galsworthy died in 1933, he enjoyed such widespread, even international, fame both as novelist and dramatist that it is difficult to believe he was almost unknown till he was nearly forty. Even 'The Island Pharisees', the first book he published under his own name, attracted little attention for some time. That was in 1904. But two years later Galsworthy scored two resounding triumphs with his first play The Silver Box, and with 'The Man of Property' (the first part of 'The Forsyte Saga' - though the rest of the 'Saga' had to wait sixteen years or so before he took up the threads again).

After that, Galsworthy's career was an affair of 'roses, roses all the way', despite his self-chosen role of thorn in the side of ' the social conscience'. He goaded the influential middle-class public, but not as Shaw and others have done. His criticism always so obviously came from 'one of the family' that it was met with tolerance - and even heeded, as in the case of Justice (1910) which actually led to mitigation of the cruelty of solitary confinement.

Justice was written at a time when Galsworthy was still in open revolt against the smugness and self-righteousness he perceived in his own class and environment. Towards the end of his life he became more aware of the virtues latent in that class and Soames Forsyte gradually changed from almost-villain to hero.

(An appreciation, by Leon M. Lion, of 'Justice' and its author will be found on page 7.)