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by HARRIET COHEN (Pianoforte)


Appreciation of Mr. Gladstone delivered in the House of Lords on May 20, 1898, by his successor in Office, the Rt. Hon. ARCHIBALD PRIMROSE ,Earlof Rosebery , Prime Minister, 1894-95
THE celebrated William Johnson Cory said of his pupil at Eton, the late Earl of Rosebery : ' He will be an orator, and if not a poet, such a man as poets delight in.' The prophecy was triumphantly fulfilled. None of Lord Rosebery's achievements as a statesman, historian, sportsman, or littérateur, received a greater tribute in his recent obituary notices than the eloquence of his oratory.
As a speaker, it has been said that he had dignity, art, a musical voice with a great range of modulation, wit and a rare power of persuasion. He brought back British Parliamentary eloquence to the great traditions of Fox and Pitt. In spirit and in speech, he was a nineteenth-century representative of the eighteenth-century type of statesman, who was also a scholar and often a man of letters.
The appreciation of JMr. Gladstone is one of the most famous of his addresses. Nobody was better fitted than Lord Rosebery to pay a tribute to the memory of a man whom he not only succeeded in the leadership of the Liberal Party and in the office of Prime Minister, but also esteemed highly as a great personal friend.
(For 5.45-8.45 Programmes see opposite page)


Relayed from the Guildhall School of Music
ALICE MoxoN (Soprano) Doris OWENS (Contralto)
TOM Purvis (Tenor)
Continuo EUGENE CRUFT (Bass)
(Trumpet, Oboes and Strings)
THIS Cantata has a striking and impressive opening chorus in which the vocal parts arc simple and straightforward, while the instrumental accompaniments illustrate, in the most vivid way, the images which the text calls up. Schweitzer hears, in this first chorus, the- anxious trembling, the sighing and groaning, of the reluctant sinner as he comes before the Judgment Seat.
In the same picturesque way, the words ' zittern und wanken' (trembling and reeling) in the third number, are vivified by the oboe figure above the quavering of the strings. The hint of death in the bass recitative which follows, gives Bach an opportunity of suggesting funeral bells in the orchestra-bells which have something of gladness in their tone ; this sense of joy grows in the tenor aria, ' If my Lord Jesus only deigns to love me,' to one of real gaiety, voicing the soul's release. The Chorale at the end has a full and interesting orchestral accompaniment, eloquent of the spirit's passing into peace.
More than many of the other
Cantatas, it has a sense of unity : though composed in separate numbers, it forms a compact and complete whole.
* Lord, enter not into wrath with Thy servant ; for shall no man in Thy sight be justified’ (Psalm cxliii, 2).
II—Recit. (Atlo) :
0 God, do not condemn when in Thy presence awful I bow, humbly with reverent mien to Thee I I know how just Thy wrath, how great my trespass is; that Thou hast right whene'er Thou chastenest, and that Thy judgment faultless is. I offer Thee a full confession here ; nor would Thine anger I desire my sore offences hiding, my trespass false denying.
III.—Aria (Soprano) :
Thoughts. fearful and. haunting, The sinner are daunting.
Mark how one the other's fault bitter condemneth
And see, too, how eager each t'other arraigneth I
Thus conscience is vexed and tormented, And by deep misgiving is daunted.
IV.—Recit, (Bass) :
But happy he who his Redeemer knows, and all his reckoning payeth Clean shall his sinning be expunged when Jesus with His Blood it washeth. Himself He nails it fast, to His own Cross. Thyself, thy goods, thy body soul, and spirit, He wHi, when Death's dread belfry tolls, present unto the Father through His merit. Then, when thy body's dead and earth upon it falls, to dust from dust returning, thy Lord will call thee hence to bliss in heaven.
V.-Aria (Tenor) :
If My Lord Jesus only deigns to love me. I count vain Mammon nothing worth. They're dross to me, the joys of earth,
Vain empty trifles all They nought can allure me.
VI.— Chorale :
Now I know that Thou art loving, And hast moved my load of sin.
Lord, Thy promise sure is coming. It doth ease my heart within. Through this life's long weary journey
None is e'er forgotten by Thee. ' Who on Thee in faith believes Blest-joy in heaven receives.
(The words are taken from' Bachg Cantata Tertt, Sacred and Secular,' by C. Sanford Terry ;) by permission of Constable and Co.)
Cantatas for the next four Sundays are :—
August 4. No. 101—
'Nimm von uns Herr, du treuer Gott.'
‘O take from us, thou righteous
August 11. No. 179—
' Siehe zu, dass deine Gottesfurcht nicht Heuchelei sei.'
' Take thou hoed, thy praise of God be not a false and vain thing.'
August 18. No. 137—
' Lobe den Herren, den mach. tigen Konig cfer Ehren.'
'Praise Him the Father.'
August 25. No. 95-
' Christus der ist mein Leben.’
' 0 Christ my all.'


From the Holy Trinity Church,
Hymp 292
Lord's Prayer
Versicles and Responses
Psalm XV
Anthem, ' Shepherd of Souls' Jones
Sermon by the Rev. R. J. CAMPBELL
, D.D.
Hymn 477
(For 8.45-10.30 Programmes see opposite page)

: The Week's Good Cause

(London only)
Appeal on behalf of the Children's Seaside Convalescent Home, Clacton, by Lord MARKS of Woolwich
THE National Sunday Schools Union Children's
Convalescent Home at Clacton-on-Sea is specially designed to be available for children requiring * fresh air and care to avert either illness or incurable infirmity and for children convalescent after illness. The Home has now given 29 years of service, benefiting some 30,000 to 40,000 children. About 800 children benefit every year. They have been years of hard wear and : tear, with the result that the Union are compelled ] now to re-construct and increase the sanitary accommodation and to make other much-needed improvements in the Home. The work is now being carried out, and it is estimated that the approximate cost will be £3,000.
Donations should be sent to [address removed]

: ' The News'

Local Announcements ; (Daventry' only) Shipping Forecast

: An Orchestral Concert

Conducted by STANFORD ROBINSON Mrs. NORMAN O'NEILL (Pianoforte)
MOZART'S first Concerto was written while he was still the merest child, and yet the work was so difficult that no one in the family's circle of acquaintance could be found to play it.
Without counting that precocious effort, there are some forty-five Concertos from his hand, most of them for pianoforte. This one in A opens with a ' Tutti' in which both the principal themes of the movement are announced.
A plaintive Andante in six-eight time follows the first Allegro. This movement is one of the most pleasing of Mozart's slow movements.
The joyous mood of the ' Presto' in Rondo form, is an admirable contrast to the pensive melancholy of the second movement.
The Cadenza to be played on this occasion is by Reinecke.

: Epilogue

(For detail* of this week's Epilogue see page 195)

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