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: GEMS OF ORATORIO

EMILIE WALDRON (Soprano), NORAH TARRANT (Contralto). CHARLES HILL (Tenor), HARRY DOWNING (Bass). THE STATION ORCHESTRA, conducted by JOSEPH LEWIS
THE Prelude to the Oratorio gives an epitome of the work. In it the leading themes associated with the chief emotional events are presented. The succession of the chief of these as follows : first the theme of Judgment ; then that of Fear, in Muted Strings, quickly vanishing ; to be followed by the Prayer theme (Woodwind). Some repetition brings us to a change of time (three in a bar), and to the Sleep motif (Viola and Horn. to an undulating accompaniment). A climax is made at a theme associated with the words of the dying man. ' 0 Josu, help ; pray for me. Mary ! (Cor Anglais and 'Cellos, to a trembling accompaniment). After a little. the Committal theme comes in, more gently, and is repeated, in bolder style. Some repetition of certain of these themes follows, and that of Judgment, which opened the Prelude, concludes it.
ROSSINIS Stabat Mater is a setting for
Chorus. Soprano. Tenor and Bass soloists and Orchestra of the thirteenth-century Latin hvmn. constituting a meditation on the doath of Christ.
"Cujus animam is the second Air in the work.
The first speaks of the sorrowing Mother who stands, plunged in grief, at the foot of the Cross. A condensed version of the words of the Second Air runs thus:-
Through her soul . . .
Sorrow like a sword had gone.
0, how sad and afflicted was the blessed maiden, the Mother of God,
Trembling, weeping, as she saw tho death of her immortal Son.
EMILIE WALDRON , NORAH TARRANT, Chorus and Orchestra
THIS is one of the passages reflecting upon the story of Christ's last days and associating the incidents with personal repentance, which are interspersed throughout the work.
The incident of the woman's pouring the precious ointment on Christ's head has been followed by the disciples' protest. On these things the soloist, as an onlooker, meditates, and . prays ' Still grant ... that I with ever-flowing tears may water Thy head.'
Then follows this Air, 'Grief for sin rends the guilty heart..... May the tears shed for Thee, 0 Lord, be a pleasing sacrifice.'
THE Hymn of Praise was written in 1839-40 -L for the celebration of the fourth centenary of Gutenberg's invention of printing.
It consists of three Movements of a Symphony, followed by a short Cantata.
The Second Movement is based upon two
Main Tunes, one in a Minor key and the other a Major-key ' chorale ' or hymn-tune, the lines of which are connected by a leading theme ' that several times recurs throughout the work, and by bits of the Movement's First Main Tune.
EMILIE WALDRON. NORAH TARRANT, CHARLES
Hill, HARRY DOWNING , and Orchestra
Quartet, ' 0 Come. Everyone That Thirsteth ' . (Elijah) ..... Mendelssohn
THE giant Harapha, having heard of the wonderful deeds of strength performed by Samson, comes to see him. desiring a contest. When, however, he finds that Samson is blind, he declines to fight, declaring that ' Honour and arms scorn such a foe.'

Contributors

Soprano: Emilie Waldron
Conducted By: Joseph Lewis
Unknown: Rossinis Stabat Mater
Unknown: Emilie Waldron
Unknown: Harry Downing








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