Pierre Fournier (cello)
Ernest Lush (piano)

Readings from the works of great preachers from 1500 to the present day
3--Jeremy Taylor 's sermon ' Of the Spirit of Grace,' preached at Whitsuntide
Read by Basil Taylcr
Jeremy Taylor. the son of a Cambridge barber, was born in 1613 and took Holy Orders before he was twenty-one. At once he attracted the attention of Archbishop Laud and was made one of his chaplains, and then chaplain-in-ordinary to Charles I. This attachment to Laud and the Royalist cause had serious consequences for him after the King's defeat; and he was forced into temporary retirement as chaplain to Richard Vaughan. Earl of Carbery. It was during this period that Jeremy Taylor wrote his best-known books. ' Holy Living ' and ' Holy Dying': and preached the series of sermons from one of which this reading is taken. It was printed with others In 1651. After the Restoration Jeremy Taylor was consecrated Bishop of Down and Connor, and he died in 1667

Liederkreis, Op. 39
(settings of poems by Eichendorff) In der Fremde; Intermezzo: Waldesgesprach; Die Stille: Mondnacht; Schone Fremde ; Auf einer Burg ; In der Fremde; Wehmut; Zwielicht; Im Walde; Frlihlingsnacht sung by Elisabeth Schumann (soprano) with Gerald Moore (piano)

Opera by Wagner
Act 3
Cast, in order o/ singing
(Continued in next column)
Augmented Tonhalle Orchestra
Conductor. Hans Knappertsbusch
(Relayed from ZUrich by courtesy of Societe Suisse de Radiodiffusion)
Scene: In the ruined castle-yard of Kareol. Tristan's property in Brittany (Acts 1 and 2 were broadcast from Zurich on June 5)

by Roy Pascal
The two-hundredth anniversary of Goethe's birth occurs in 1949. Each succeeding generation has interpreted his major works to suit its own preoccupations and prejudices. Tonight Roy Pascal. Professor of German at Birmingham University, presents his own interpretation

Chamber Concerto, for violin, piano, and thirteen wind instruments played by Frederick Grinke (violin)
Kendall Taylor (piano) Arthur Gleghorn (flute) Arthur Ackroyd (piccolo)
Alec Whittaker (oboe)
Donald Bridger (cor anglais)
Reginald Kell (clarinet)
Frank Hughes (E flat clarinet)
Mendelssohn Draper (bass clarinet) John Alexandra and Vernon Elliott
(bassoons)
Roy White and Frank Probyn (horns)
Harold Jackson (trumpet)
Anthony Thorpe (trombone) Conducted by Edward Clark
The limit of musical ingenuity would appear to be reached in this Chamber Concerto, written in 1924 for Schonberg's fiftieth birthday. The work begins with a motto introducing the musical notes in the names of Schonberg on the piano. Webern on the violin. and Berg on the horn. The motto does not appear as a theme in the body of the work. but as the basis of the rhythms. The first movement. Thema scherzoso con variasione, is for piano and wind ensemble, and although it consists of variations it is also in sonata form. The theme serves as a complete sonata exposition and the first variation, allotted to the piano, is similar to a repeat of the exposition, which is usual in classical music. Variations two, three, and four comprise the development section, while the fifth variation takes the place of the recapitulation. (Incidentally, the second variation is the theme played backwards, the third is an inversion of the theme, and in the fourth the theme is both inverted and played backwards.) The second movement. Adagio, is for violin and wind ensemble, and is in two parts, in the second of which much of the opening material is inverted and played backwards. It is. however, in the finale that the most astounding things happen. It is described as a Rondo ritmico con introduzione, and is for piano, violin, and wind ensemble. In it. both the first and second movements are heard again, played simultaneously. The introduction to the movement takes the form of a cadenza, based on material heard earlier in the work.-
HAROLD RUTLAND

A passage from ' Le Morte d'Arthur,' by Sir Thomas Malory
Read by Alvar Lidell