JEANNE DUSSEAU (Soprano)
THE BROSA STRING QUARTET
ONE of the great Purcell's most important predecessors, Matthew Locke , beginning his musical career as a chorister in Exeter Cathedral, soon made a name for himself as a composer of music for stage pieces. It was he who wrote the music for the procession of Charles II through the city the day before his coronation, and that won him the appointment of ' Composer in Ordinary' to the King. His masques, and anthems for the Chapel Royal, arc much better known than the few pieces for strings which ho left, and it is supposed that these were specially written for his own pupils. At that early date, of course, they were not written for the string quartet as we know it now, but for a ' Consort of Viols.' He was a man of strong character and enterprise and there is a good deal of originality in his music; ho was one of the very first, if not the first, to compose a piece descriptive of a storm. It occurs in music which he wrote for Shadwell's version of The Tempest.
This quartet is one of six which Mozart dedicated to Haydn, with a preface in which he says that they were the fruits of long and arduous toil. That is one of the things which is very difficult to believe; they all sound in their spontaneous flow of gracious happy melody as if they must have been written down just as they occurred to his fertile mind. The dedication was partly the outcome of a warm-hearted testimonial of Mozart's great gifts which Haydn gave to Mozart's father, assuring him that his son was the greatest composer ho knew, either personally or by reputation. But Mozart always considered that it was from Haydn ho first learned to compose string quartets, so that the dedication of these fine works to the older man was, in Mozart's own words, only his due.'
BORODIN, a brilliant Doctor of Medicine and Professor of Chemistry, in both of which faculties he made a lasting mark, used to say that the only time ho had for music was when he was too ill to do his medical work. None of his music sounds as though that were true ; it is all strong, healthy music, with nothing morbid or unwholesome in it, although he could express tragic moods when he wished. In his chamber music he is less obviously a Russian than in such well-known things as the dances from Prince Igor, and this quartet suggests that Schumann's chamber music was quite well known to him. Melodious and graceful throughout, it has something of the warmth and fervour we associate with what is called ' tho Romantic School.'.
Conducted by Canon T. Guy ROGERS
Relayed from St. Martin's Parish Church,
Birmingham THE BELLS
Hymn, ' 0 beautiful my Country ' (191, Songa of Praise)
Hymn, ' He who would valiant bo ' (255, Songs of Praise); Lesson, St. Luke ix-51-62
Hymn, ' Pioneers' (Walt Whitman)
Address; Hymn, ' Soldiers of Christ, arise ' (353,
Songs of Praise)
All the past we leave behind
Wo take up the task eternal, and The burden, and the lesson,
Conquering, holding, daring, venturing,
So wo go the unknown ways,
Pioneers! 0 Pioneers
Not for delectations sweet,
Not the riches safe and palling,
Not for us the tame enjoyment ;
Never must you be divided, in our
Ranks you move united, Pioneers! O Pioneers!
All the pulses of the World,
All the joyous, all the sorrowing,
These are of us, they are with us;
We today's procession heading, we The route for travel clearing, Pioneers! 0 Pioneers!
On and on the compact ranks,
With accessions ever waiting, we Must never yield or falter,
Through the Battle, through defeat, Moving yet and never stopping, Pioneers! OPioneers!
Canon T. Guy
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