from page 45 of 'New Every Morning'
New Mayfair Orchestra: Selection, Streamline (Ellis)
Frances Day: Artificial Flowers (Floodlight) (Nichols)
Frances Day and John Mills: A Little White Room (Floodlight) (Nichols)
Arthur Wood and his Orchestra: Overture, The Arcadians (Monckton and Talbot, arr. Arthur Wood)
Reg Grant: My Motter (The Arcadians) (Wimperis, Talbot)
Winnie Melville: Pipes of Pan (The Arcadians) (Monckton)
Jack Hylton and his Orchestra: With you and me here (Nice Goings On) (Schwartz, Eyton). Best Things in life are free (Good News) (de Sylva Broicn, and Henderson)
Arthur Fear: The Memory of a Kiss (Casanova) (Johann Strauss)
Anni Frind and Chorus: Nuns Chorus (Casanova) (Johann Strauss)
Conductor, Ivan Huckerby from the Hippodrome Theatre,
Aston, Birmingham
An inter-schools contest from the television studio at Radiolympia
Surrey v. Lancashire and Sussex v. Yorkshire
Commentaries on the play by E. W. Swanton from Kennington Oval, and P. G. H. Fender from the County
Ground, Hove
The Hales:
Robert Hale , Binnie Hale ,
Sonnie Hale , Jessie Matthews
Binnie Hale : You're Blase (Bow
Bells) (Sievier, Hamilton). Nice Cup of Tea (Herbert, Sullivan)
Sonnie Hale and Jessie Matthews :
Hold my Hand (Elwin, Graham, Gay)
Jessie Matthews : Jessie Matthews
Memories, introducing: One Little Kiss. Let me give my happiness to you. When you've got a little Springtime in your heart. Over my Shoulder. Everything's in Rhythm. Got to dance my way to Heaven. I can wiggle my ears. I nearly let love go slipping through my fingers
Binnie Hale : Spread a little happiness (Mr. Cinders)
Jessie Matthews : Your heart skips a beat ; and My River (Sailing Along)
Lyons Mixed Chorus conducted by Leon Vietti: Three Songs (Ravel) - l Nicolette. 2 Ronde. 3 Trois beaux Oiseaux de Paradis (Three lovely Birds of Paradise)
Cossacks Choir conducted by Serge Jaroff: Old Pachon; Cossack's Song (Russian Folk Songs)
(From Midland)
Roy Henderson (baritone)
(From Midland)
Leader, Harold Fairhurst
Conductor, Richard Austin
Solo violin, Frederick Grinke from the Pavilion, Bournemouth The genesis of Tchaikovsky's Fourth
Symphony is romantic to a degree. It was composed during the year of Tchaikovsky's unhappy marriage, which within three months resulted in a final separation and in Tchaikovsky's nearly losing his reason. Through the financial help of his strange friend, Nadejda von Meek (whom he never met), he was enabled to go to Italy, where at Venice he completed the F minor Symphony, which is based on an elaborate programme. The central idea of the whole work is Fate which is represented by a recurring theme that is heard on the bassoons and horns at the outset. The main body of the first movement, in particular, expresses this overpowering force and man's submission and his grief. The sense of despair grows in strength and poignancy until the writer turns from reality to lose himself in dreams. But the theme of Fate from the beginning is heard again, and the music means that life is, after all, but a continual struggle between the bitterness of truth and the fugitive dreams of happiness.
Ania Dorfmann (pianoforte) :
Rondo favori in E flat (Hummel)
Ignaz Friedman (pianoforte):
Song without Words in G minor (Barcarolle) (Mendelssohn)
Eileen Joyce (pianoforte): Serenade (Richard Strauss , arr. Gieseking)
Igor Stravinsky (pianoforte) :
Piano Rag-Music (Stravinsky)
Surrey v. Lancashire and Sussex v. Yorkshire
Commentaries on the play by E. W. Swanton from Kennington Oval, and P. G. H. Fender from the County
Ground, Hove
including Weather Forecast
The BBC Singers (B):
Conductor, Leslie Woodgate
Tears
I loved a lass
A Litany
Andy Battle Cradle Song
Keith of Ravelston Songs of Childhood
1 Down-adown-derry. 2 Reverie. 3 Captain Lean. 4 The Sleeping Beauty *
Venetian in origin, Mantovani came to England at the age of four. At eighteen young Mantovani directed the Salon Orchestra at the Metropole Hotel ; three years later he formed his famous Tipica Orchestra. He has been broadcasting since 1932.
from Queen's Hall, London
(Sole Lessees, Messrs. Chappell and Co. Ltd.)
Part 1
Norman Walker (baritone)
Harriet Cohen (pianoforte)
The BBC Symphony Orchestra (ninety players)
Leader, Paul Beard
Conducted by Sir Henry J. Wood
Bax's Symphonic Variations were composed specially for Harriet Cohen while she was one of the students of the Royal Academy of Music. Although only half-way through her teens, she gave the work its first performance at a Promenade Concert in 1920. Since that time the composer has revised and shortened the work considerably. The Variations, though based on the theme which can be heard in one form or another throughout, are treated with much freedom and each has a definite mood of its own. The first, 'Nocturne', is for the most part dreamy arid quiet. It leads quite suddenly to No. 2, 'Strife', which is violent and dramatic as its title suggests. No.3, entitled 'The Temple', is slow and solemn in character. Variation 4, 'Play', forms a striking contrast with the third, and an Intermezzo, 'Enchantment' that follows, is again in a very different atmosphere. The fifth and last variation is called 'Triumph'. Towards the end the whole orchestra gives us the original theme once more, and the piece comes to a jubilant close. Tickets can be obtained from the British Broadcasting Corporation, Broadcasting House, Portland Place, W.1, Messrs. Chappell's Box Office, Queen's Hall, Langham Place, W.1, and the usual Agents. Prices: 7s. 6d., 6s., 5s. (reserved); 3s. (unreserved), Promenade (payment at doors only), 2s.
including Weather Forecast and Forecast for Shipping
Conducted by the Rev. E. N. Porter Goff
Organist, Reginald Goss-Custard from St. Michael's, Chester Square
with Jack Plant , Helen McKay ,
Stanley Flaum
A reading of Chaucer, by H. D. C. Pepler and Sally Perry
In that remarkable gallery of fourteenth-century English portraits which Chaucer has given us in ' The Canterbury Tales' none is more vivid, more robustly alive than the Wife of Bath:
' Bold was her face, and fair, and red of hue.
She was a worthy woman all her life,
Husbands at church-e door she had-e five '
A much-travelled lady-she had been three times to Jerusalem and appears to have ' done ' Western Europe as thoroughly as any modern tourist-and (more to the point) ' In fellowship well could she laugh and chat', as her long and racy prologue to her tale well proves.
Her tale itself, unlike those of most of her companions, has no known original.
on gramophone records
