BIRMINGHAM PARISH CHURCH
Service arranged by the Rev. F. H. PERKINS
Address by CANON Guy ROGERS
THE RECTOR or BIRMINGHAM
Organist, Mr, RiCHARD WASSELL
Rev. F. H.
ESTHER COLEMAN (Contralto) ; JAMES HOWELL
(Bass) ; THE STATION ORCHESTRA and CHORUS
ORCHESTRA and CHORUS
Easter Hymn. Christ the Lord is Risen Today '
Since by Man came Death
By Man came also the Resurrection of the Dead For as in Adam all Die
Even so in Christ shall all be Made Alive
WHEN St. Paul was first produced at Dusseldorf some ninety years ago, England, the country of choral singing, was not slow to note its success. In fact, there was some competition for the honour of introducing it to the English public. Manchester wanted to give some of it at a festival, within two months of Its first German performance, but the project seems to have failed.
Still, only five months passed before the work was heard as a whole at Liverpool, in St. Peter's
' Church. From that time until now St. Paul has never lost any of its popularity with the English public.
The Overture opens with a quiet statement of the Chorale (or hymn-tune), Sleepers, Wake, a Voice is Calling, which is sung as a Chorus in the Oratorio. To this succeeds a fugst passage, a minor-key melody given out by Violas and Bassoons being taken up in turn by various instrumente. This is worked up. and then a running String accompaniment enters, in the midst of which, now above, now below, phrases of the Chorale theme stand out. The time quickens, and the fugal melody is further discussed, the Chorale increasingly dominating it; the last line of this tune rounds off the Overture.
It is interesting to note that we find in the score a part for the old Serpent-the curiously curved, leather-covered wooden instrument (so named because it is very like a coiled serpent), which used to be heard in the bands that played in village churches.
THIS is a fine declamatory psean celebrating the might of Jehovah, who rides upon the storm, and whose power is shown as wonderfully in the tiniest flower as in the star- bespangled Heavens.
THIS is the fifth of the six Violin
Concertos that Mozart wrote when, a young man of about twenty, he was living at Salzburg.
His father had a great opinion of his son's capacity aa a Violinist, an4 urged him to practise. You have no idea how well you play the violin,' he wrote to him. ' If you would only do yourself justice and play with boldness, spirit and fire, you would be the first violinist in Europe.'
To please his father Mozart worked away at the fiddle, and these Concertos were an outcome of his interest in the instrument.
He wrote for a typical Orchestra of the time, consisting of Strings, with two Oboes and two Horns.
The Concerto in A (numbered K. 219 in the list of Mozart's compositions) is in three Movement*.
There is a Slow Introduction leading to * vivacious Movement, then an expressive Slow Movement, and lastly a piece in the character of a Minuet. A strong and rather startling contrast in the middle of this Minuet is the appearance of a section in the style of Turkish Military Music.