Overture, Iphigenie in Aulis (arr. Wagner): Berlin Symphony Orchestra, conducted by Abendroth Diane impitoyable (Iphigenie in Aulis); 0 toi, l'objet le plus aimable (Iphigenie in Aulis): Emil Schipper and orchestra
Unis des ma plus tendre enfance (Iphigenie en Tauride): Georges Thill and orchestra, conducted by Bigot
O malheureuse Iphigenie (Iphigenie en Tauride) (arr. d'Indy): Suzanne Balguerle and orchestra, conducted by Albert Wolff
Scene of Orpheus and the Furies (Orphee): Paris Symphony Orchestra, conducted by Henri Tomasi. with the Vlassoff Russian Choir and Alice Raveau
Scene in the Elysian Fields (Orphee): Paris Symphony Orchestra, conducted by Henri Tomasi , with Jany Delille and the Vlassoff Russian Choir, and Alice Raveau
Fortune ennemie: Je goutais les charmes (Orphee): Germaine Heraldy , Alice Raveau and the Paris Symphony Orchestra, conducted by Henri omasi
J'ai perdu mon Euridice (Orphee): Kathleen Ferrier and the London Symphony Orchestra, conducted by Malcolm Sargent on gramophone records

A selective survey in six parts, by W. L. Hanchant , of the poetry of the U.S.A. from its beginnings to the present day
6 — ' Towards American Poetry '
Readers. Guy Kingsley-Poynter and Ellinore Stuart. Produced by Patric Dickinson

London Philharmonic Orchestra
(Leader, Andrew Cooper )
Conducted by the Composer
John Shineboume (cello)
Prelude: When lilacs last Cello Concerto (1940) Symphonia serena
(First performance in England)

An anthology of verse in Scots, Gaelic, and English. Chosen and introduced by Maurice Lindsay

Part 2
Symphony: ' Mathis der Maler'
This Symphony is an arrangement of three excerpts from Hindemith's opera, Mathis the Painter. The subject and principal character of the opera is the sixteenth-century German painter. Mathis (or Mathias) Griinewald, and the movements which make up the Symphony were inspired by three of his paintings, ' Angels' Concert,' ' The Entombment,' and ' The Temptation of St. Anthony.'
The first picture is of angels kneeling before an altar, playing on stringed instruments. In the introduction to the movement there is heard an old German cradle song, ' Three angels were singing sweetly. The second movement portrays the Entombment of Christ. The third movement. ' The Temptation of St. Anthony,' opens with St. Anthony's ;cry of agony. Later we seem to hear alternately the Saint's prayer and the assault of his adversaries. Gradually the power of evil subsides and the hymn, ' Lauda Sion Salvatorem,' is heard.—HAROLD RUTLAND

Talk by Emile Cammaerts
Emile Cammaerts was a close personal friend of G.K.C., and has written a study of him called ' The Laughing Prophet'

by Musica Antiqua :
Johannes Feltkamp (flute), Nicholas Roth (violin), Carel van Leeuwen Boomkamp (viola da gamba), Hans Brandts Buys (harpsichord)

' The Fitzwilliam Virginal Book '
(c. 1610)
The first of three illustrated talks by Harold and Antony Craxton on the music of the Elizabethan period