MARY OGDEN (Contralto) JOHN THORNE (Baritone)
THE WIRELESS MILITARY BAND
Conducted by B. WALTON O'DONNELL IN Bach s day there were a number of little Courts in Europe, many of which maintained their own bodies of musicians. The servants in a Royal Household were often capable of taking part in orchestral or chamber music and, with one or two more highly skilled players, formed an orchestra which could deal with most of the music of the day. At the Court of Meiningen, long celebrated as a centre where the best music was zealously cultivated, the Director of Music was a member of Bach's family, and on one occasion when the great Johann Sebastian was visiting him, the Mnrkgraf Christien Ludwig of Brandenburg was there as a guest of the Court. Like the Meiningcn family, the Branden burgs were warm admirers of Bach's music and it is thought that this meeting was the occasion for the composition of the six Concertos which Bach afterwards dedicated to the Markgraf. The third has only two movements, the first a big and energetic Allegro and the other also hurrying along at great speed and with the same sense of bustling cheerfulness and good humour. WHEN Grieg cast his instrumental music to Ibsen's play of Peer Gynt in the form of two Suites, he furnished a little summary of the story to show which were the points in it which the several movements illustrate. The movements do not follow one another in the order in which they appear in the play, and the first Suite takes us to several parts of the world. Two of the movements in the First Suite are set in Morocco, where Peer found himself in his wanderings; the first, called ' Morning,' is his awaking on the shore, and the third is a dance performed for him by the Arabian girl, Anitra. The second depicts his mother's death. Peer has escaped from the realm of the mountain king, and makes his way home to find his mother dying. The last movement in the first Suite is the Dance of the people of the mountain king where Peer is held captive.
Missionary Talk. S.B. from Manchester
'PAUL or TARSUS '-VIII
' Ephesus,' Acts xix, 1-41
'Wo Soll Ich Fliehen Hin?'
('Whither shall I flee?')
(Relayed from The Midland Institute, Birmingham)
DORIS VANE (Soprano)
ESTHER COLEMAN (Contralto)
ROGER CLAYSON (Tenor)
ARTHUR CRANMER (Bass)
G. D. CUNNINGHAM (Continuo)
THE BIRMINGHAM STUDIO CHORUS and ORCHESTRA
Conducted by JOSEPH LEWIS
THE orchestral accompaniment to the opening chorus is largely built up of figures which Bach uses to illustrate the haste of the fleeing soul in the text. Many phases of the chorale can be heard too, both in the voices and in the instruments. To the tenor aria there is a beautiful obbligato for solo viola. flowing gently and quietly almost all the way through, in illustration of the stream or fountain of the text. The bass has a splendidly dramatic aria, and the final chorale is very simple in its devout spirit.
I. - Chorus :
Where shall I flee for aid
Bow'd down and sore afraid Amid my evil nation?
How shall I find salvation? In all the world around me.
No comfort have I found me.
Not stain'd alone is all my life by sin.
My very soul and heart are black within. Such sinners from His grace must God have driven
But that the Saviour's precious blood, Ev'n as a cleansing flood.
Redeem'd me ; so am I forgiven. His Grace is boundless like a sea.
Wherein I cast my sin. my grieving ;
And when to Him t lift mine eyes, believing, He makes me white and takes my sin from me.
O blood of the Saviour, flow over my spirit,
Thou fountain of purity, make Thou me whole.
Through Thee cometh Help and all sorrow is banish'd.
In Thy boundless love hath my weariness vanish'd,
Thou washest all evil, all sin from my soul.
IV.- Recitative (Alto):
My Saviour hath me comforted;
For that He bled and died to save me, Redemption so He gave me ;
Though my transgressions many be, From sin He set me free.
Who finds the refuge Jesu ne'er refuseth, Nor pain nor woe through life shall ever know,
And every fear he loseth:
Men's holiest joy and purest gem
The blood that Jesu shed for them;
He is their Shield 'gainst Satan, from damnation
Alone is He salvation.
Be silent, Hall's array, thy powr can nought avail.
The Cross alone I shew thee, Its might can overthrow thee, God's Truth shall aye prevail.
VI. - Recitative (Soprano) :
The least of all His lowly creatures, I Unsham'd may stand before His Face,
Redeemed by His Grace and rais'd on high ; His precious blood, yea ev'n a very drop The whole wide world can purify from evil. So may it cleanse my heart, my inmost spirit,
That I may worthy be a place In Heaven to Inherit.
At last my soul shall be United, Lord, with Thee;
Let nought of ill betide me,
Nor sin from Thee divide me; Unto Thyself. Lord, take me, Nor evermore forsake me.
English Text by D. Millar Craig
Copyright B.B.C., 1929.
Cantatas for the next four Sundays are:-
October 13. No. 180-
Schmuke dich, 'O liebe Seele.' ('Rise, O Soul.')
October 20. No. 38,
'Aus tiefer Koth schrei ich zu dir ('From depths of woe.')
October 27. No. 89-
'Was soll ich aus dir machen. Ephraim? (' What shall I make of thee, O Ephraim?')
November 3. No. 139 -
'Wohl dem, der sich auf seinen Gott.' ('Blessed he that trusteth in his God.')
Union Sunday-October 6, 1929
A Service of Praise and Thanksgiving
Relayed from Glasgow Cathedral
S.B. from Glasgow
Conducted by the Rev. LAUCHLAN MAcLEAN WATT , D.D., Minister of Glasgow
Psalm 100, ' 'All people that on earth do dwell' (Ancient and Modem, No. 316; English Hymnal, No. 365)
Call to Prayer
Prayers of Thanksgiving The Lord's Prayer
Hymn, 'Now thank we all our God'
(R.C.H., No. 29; Ancient and Modern, No. 506; English Hymnal, No. 533 )
Scripture Reading, Romans xii The Apostles' Creed
Prayers of Intercession Te Deum Laudamus
Address by the Very Rev. DONALD FRASER , D.D.
Hymn, ' Jesus shall reign ' (R.C.H.,
No. 388 ; Ancient and Modern, No. 373; English Hymnal, No. 420)
(For 8.45-10.30 Programmes see opposite page)
Appeal on behalf of the Royal National Hospital for Consumption, Vontnor, by Mr. W. H. GARRATT , the Secretary of the Hospital.
THE Royal National Hospital for Consumption was the pioneer of the open-air system of treatment for consumption-a system now universally adopted by aU Hospitals and Sanatoria which treat this disease, one of the most fatal scourges in this country. The Hospital was founded at Ventnor, Isle of Wight, in 1867, so that sufferers who live in the larger cities of Great Britain could have the best possible chance of recovery in the pure air of Undercliff. Nearly fifty per cent. of the patients come from London, but because the Hospital is outside the prescribed radius (eleven miles from St. Paul's Cathedral), King Edward's Hospital Fund for London cannot help financially. By adding surgery to the treatment and, more recently, by making use of ' Sanocrysin,' the working costs of the Hospital, which is in debt to its bankeps, have increased enormously. Other expenses, which have mounted up, are the cost of repairs to the buildings and a heavy outlay in the steam and heating plant. Altogether the Hospital requires £5,000 to set it on its feet.
Donations should be addressed to[address removed]
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A Symphonic Cantata
Composed by MENDELSSOHN
(English Version by J. ALFRED NOVELLO )
' I would gladly see all the arts, especially Music, serving Him who has given them, and made them what they be '
ISOBEL BAILLIE (Soprano) FRANK TITTERTON (Tenor)
THE WIRELESS CHORUS
THE WIRELESS ORCHESTRA (Leader, S. KNEA.LE KELLEY)
Conducted by STANFORD ROBLNSON
MENDELSSOHN furnished his setting of the fifty-fifth Psalm with a full-sized orchestral prelude in the manner of the symphonies which stand at the head of older oratorios. It begins with a slow, majestic introduction, trombones alone announcing the theme which is in some sense a motto to the whole work, the same tune to which the voices afterwards sing the words, ' All that has life and breath, sing to the Lord.' This introduction leads without a break into the first chief movement of the symphony, a bold, quick movement in which the first leaping theme is heard at once. The motto theme has a large say in the course of it, and the second main tune is of a calmer character, like one of Mendelssolm's songs. It comes to an end with a brief return of the majestic opening, and then there is a dainty allegretto with the violoncellos beginning the tune. The flow of the movement is interrupted by a little emphatic section, and after a return of the first flowing tune, a solemn religious movement follows, in which the strings have the melody first. It is a joyous movement, although cast in a dignified and imposing mould. As Mendelssohn wrote it, the Symphony leads without a real break into the first big chorus, but is of itself quite long and important enough to stand alone as a separate piece.