From page 33 of 'New Every Morning'

for Farmers and Shipping

The Pasquier Trio : Divertimento in E flat (K. 563) (Mozart) - 1
Allegro. 2 Adagio. 3 Minuet (No. 1) Allegretto. 4 Andante. 5 Minuet
(No. 2) Allegretto. 6 Allegro (Finale)

Led by Harold Jones
Conducted by Alfred Barker

Leader, Charles Vorzanger
Directed by Harry Davidson from the Commodore Theatre,
Hammersmith

The Berlin State Opera Orchestra conducted by Richard Strauss : Tone Poem, Don Juan , Op 20 (Richard Strauss )

Conductor, Lawrance Collingwood
Producer, Clive Carey
Chorus Master, Geoffrey Corbett from Sadler's Wells Theatre
Aida is one of the most melodious and genial of Verdi's operas. It was commissioned by the Khedive of Egypt who wanted an opera of exceptional splendour to display the resources of his fine theatre at Cairo. Thus Verdi chose a subject that centred round Pharaoh's brilliant court, which was carried out by three collaborators.
In Act I Ramphis, High Priest of the Egyptians, tells Radames that it is decreed that he shall lead the army against the Ethiopians. Radames is deeply in love with Aida, daughter of the Ethiopian king, Amonsaro, but now captive at the Egyptian Court. Amneris, the Egyptian Princess, also loves Radames, and finding him indifferent towards her, watches him and Aida. The rest of the act is concerned with the investiture and consecration of Radames as Commander.

with Diana Clare

Leader, J. Mouland Begbie
Conductor, Guy Warrack
Though Dvorak's three overtures ' Carneval ' ' In der Natur ', and ' Othello ' bear different opus numbers, they were conceived in the summer of 1891 as a single work: a ' cycle of overtures ' to be entitled ‘Nature, Life, and Love '. The first two were written almost at once and were dedicated to the Universities of Cambridge and Prague respectively, which had just conferred honorary degrees on the composer. The ' Othello' Overture was composed a little later after Dvorak's visit to England in October of the same year.
The brilliant ' Carneval ' Overture must be well known to listeners by this time, but ' In der Natur ' is less familiar, while the passionate, rather sombre ' Othello ' is heard very seldom.

by Jane Austen read by Sheila Borrett

including Weather Forecast

Sir Robert Witt, C.B.E., D.Litt., F.S.A.
Sir Robert Witt is one of the founders and Chairman of the National Art-Collections Fund. He was a trustee of the National Gallery from 1916 to 1923, and from 1924 to 1931, and of the Tate Gallery from 1916 to 1931. Among his publications is 'A Nation and its Art Treasures'.
He has some exciting stories to tell of how some of our art treasures were acquired, and he will point out that while collectors are often accused of selfishness, inasmuch as they collect treasures for themselves, no such accusations can be brought against collectors of treasures for the nation, for these treasures are in the public galleries for all to see. Many listeners may think that not the least interesting observation in his talk is that though the fund was started to save rare pictures and objets d'art from being bought by Americans for America, yet Americans have come over here and bought many a rare picture for the British nation-a fact that is often overlooked.

Fifth Season)
132nd Edition
Edited by A. W. Hanson
Once again the most popular Variety series ever given on the air is coming into the weekly programmes. There is something exciting about Eric Coates 's ' Knightsbridge ' ; the voice holding up the traffic leads one to expect-and the opinion of listeners seems invariably to be that they are not disappointed.
This is the fifth season of ' In
Town Tonight' and the 132nd edition. It will introduce certain innovations but will retain all its original flavour. It may perhaps be more topical ; will introduce more visitors to London from overseas. It may occasionally borrow a Regional microphone in order to overhear and pass on something worth while, but it will take an outside broadcast only if it seems to be an 'In Town Tonight ' item.

by Richard Elwes

Season 1937-8
Second Concert from the Queen's Hall, London
(Sole Lessees, Messrs. Chappelland Co. Ltd.)

Brahms
Isobel Baillie (soprano)
Alexander Sved (baritone)
The BBC Chorus
(Chorus Master, Leslie Woodgate)
The BBC Symphony Orchestra
(Leader, Paul Beard)
Conducted by Arturo Toscanini
Tragic Overture
'Requiem' for Soloists, Chorus, and Orchestra (Op. 45)
The words selected from the Holy Scriptures
1 Selig sind, die da Leid tragen (Blessed are they that mourn) (Chorus)
2 Denn alles Fleisch es ist wie Gras (Behold all flesh is as the grass) (Chorus)
3 Herr, lehre doch mich, dass ein Ende (Lord, make me to know the treasure of my days on earth) (Baritone and Chorus)
4 Wie lieblich sind deine Wohnungen (How lovely is Thy dwelling place) (Chorus)
5 Ihr habt nun Traurigkeit (Ye now are sorrowful) (Soprano and Chorus)
6 Denn wir haben hier keine bleibende Statt (Here on earth have we no continuing place) (Baritone and Chorus)
7 Selig sind die Toten (Blessed are the dead) (Chorus)

Brahms began to sketch out his Requiem in 1866 and in the following year finished the entire work all except the fifth number, 'Ye now are sorrowful', which appears to have been an afterthought written in 1868 at Bonn. As Ralph Hill points out in his article on page 15, 'Brahms said that when he wrote the work he had the whole of humanity in mind and that he selected his text from those parts of the Bible and the Apocrypha that would best serve his particular musical and philosophic purposes'. The actual sources of the text are as follows: Section 1: Matthew v, 4; Psalm cxxvi, 5, 6, Section 2: I. Peter i, 24, 25; James v, 7; Isaiah xxxv, 10. Section 3: Psalm xxxix, 4-8; Wisdom iii, 1. Section 4: Psalm lxxxiv, 1, 2, 4. Section 5: John xvi, 22; Ecclesiasticus li, 27; Isaiah lxvi, 13. Section 6; Hebrews xiii, 14 ; I. Corinthians xv, 51-55; Revelation iv, 11. Section 7: Revelation xiv, 13.

including Weather Forecast and Forecast for Shipping
SPORT, TOPICAL TALKS

from the Cafe de Paris

including Weather Forecast