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: An Orchestral Concert

TONY CLOSE (Violoncello)
CHERUBINI'S long life overlapped those of the groat Bach's sons and of Tchaikovsky, thus linking up nearly two centuries of music. His own work covered almost as wide a field as that long period suggests and it is all immensely dignified and sincere, singularly free from any mannerisms or of pandering to the popular taste of his ago. Anacreon was an Opera Ballet in two Acts, produced at the Paris Opera in October, 1803. Only the splendid Overture is now known, but it is likely to retain its place for all time among the great masterpieces.
BOCCHERINI, in his own day in the very front rank of violoncello players, was also a composer of immense industry. It used to be said of him that ho was a fountain of which it was only necessary to turn on the tap to produce a stream of music. Ho left no fewer than 467 instrumental works, including twenty symphonies, all of them marked by simple natural melodiousness, and by a dignified and courtly style. Ho and Haydn lind a great mutual regard, and the relation of Bocchcrini's music to that of the more famous master was characterised in the saying that ' Boccherini was the wife of Haydn.'
Much of his music for the violoncello demands technical skill of such an order that the present-day violoncellists realise very well how high a pitch of art Boccherini himself must have reached. It is sad to have to record that his last years were spent in something very like penury and distress. It was an age when Royal or noble patronage was almost necessary if a musician was to flourish, and though at one time Boccherini might truly call himself a friend of Princes, he realised in his latter years that one may not always count on friendships such as theirs enduring.
ALTHOUGH superlatives are as dangerous in music us in any other direction, no one has ever quarrelled with the bold assertion that Frescobaldi was the most distinguished organist of the seventeenth century. Like many another, even in our own age, who won fame as an all-round musician, ho began his career as a singer, and while still a boy had a singularly beautiful voice. For a good many years he was known both as singer and as organist and for a great part of his life he held tho post of Organist at St. Peter's, Home. His first appearance there, if older records are to be believed, drew an audience of no fewer than 30,000.
Most of his own compositions were for organ, nnd they are still justly treasured for their dignity and real beauty.
Cassado, who has arranged this Toccata for violoncello with pianoforte accompaniment, is known to listeners as a distinguished performer himself.


by OLGA HALEY (Contralto)


' Roman and Pharisee '
Acts xxi, 39, to xxii, 30, to xxiii, 10

: Church Cantata No. 89 (Bach) - S.B. from Manchester

"Was soll ich aus dim machem, Ephraim?"
("How shall I give thee up, Ephraim")
Relayed from St. Ann's Church, Manchester

Gladys Sweeney (Soprano)
Constance Felpts (Contralto)
Reginald Whitehead (Bass)
The St. Ann's Church Choir
The Northern Wireless Orchestra
Conducted by T.H. Morrison
George Pritchard at the Organ

This Cantata for three solo voices, soprano, Alto and Bass, with the customary chorale at the end, in four parts, is based on a passage from Hosea. It sets forth the Old Testament God perplexed and bewildered as to what He shall do with Israel; in our Bible it runs: -€
"How shall I give thee up, Ephraim? How shall I deliver thee, Israel? How shall I make thee as Admah? How shall I set thee as Zeboim? Mine heart is turned within me; my repentings are kindled together".
Admah and Zeboim were cities which shared the dread fate of Sodom.
Bach's setting of the German makes it impossible to use our English version of the Holy Writ, but the ideas are so vividly presented in the music that of itself it can convey the meaning of the text quite forcefully. The Bible words are given to the bass voice, and three different themes are used in the accompaniment, the first, a stormy figure in the bass meaning God's anger, the second a wailing melody for the oboes, His grief; and third a violin figure which hurries upward with a downward drop at the end of each phrase, symbolising the sorrowful question which disturbs His heart. Those three themes are interwoven in a way which suggests that no answer to the question can be found.
The alto follows with a recitative and aria, meditating on God's anger and righteous vengeance, and then the soprano sings of forgiveness through Jesu's grace, the final chorale rounding off the Cantata happily with confident faith.

English Text by D. Millar Craig.
Copyright B.B.C., 1929.

I. - Aria (Bass):
How shall I thee deliver, Ephraim?
Shall I deliver Israel?
How shall I even as Adamah surely make thee,
And how shall I set thee as Zeboim?
For now mine heart is turn'd within me,
And my repentings all flame together.

II. -€Recitative (Alto):
At last the wrath of God o'er evil mankind breaketh,
And them that have blasphem'd, His vengeance overtaketh.
All we have evil done beyond man's telling:
Though God forgiveth o'er and o'er,
In foolish pride man evermore contendeth
Against the grace lie sendeth,
And with his brother striveth sore,
The righteous wrath of God compelling

III. ‚- €Aria (Alto):
No mercy shalt thou know nor pity,
When thou art judg'd for all thy sin.
For vengeance falleth first on them
Who, pitiless, their own condemn;
Destroying them like Sodom's evil city.

IV. - €Recitative (Soprano):
Henceforth from out my heart all bitterness I cast;
I shall be meek, my neighbour aye forgiving,
E'en so how shall the Lord forget my evil living,
Before Him when I stand at last ?
Yet In my need shall Jesu intercede.
To Him I look who will forsake me never, Believing ever.

V. - €Aria (Soprano):
In Thy Just scales when I am weigh'd,
Then let my Saviour stand beside me,
Nor from Ills blessed love divide me.
So shall I no more be afraid.
Yea, whoso Jesu's grace enfoldeth,
No more as evil God beholdeth.

Vl. - €Choral:
Though poor my faith and weak,
Yet grace that I would seek
Through Jesu's intercession,
Despite my sore transgression,
Is giv'n for my salvation
'Gainst Satan and damnation.

Cantatas for the next four Sundays are:€
November 3. No. 139 -
"Wohl dem, der sieh auf seinen Gott". ("Blessed he that trusteth in his God".)
November 10. No. 80 -
"Ein' feste Burg" ("A stronghold sure")
November 17. No. 111 - €
!Was mein Gott will, das g'scheh allzelt". ("What my God wills, that be done always".)
November 24. No. 110-
"Wachet auf, ruft uns die Stimme". ("Sleepers, wake!")


Soprano: Gladys Sweeney
Contralto: Constance Felpts
Bass: Reginald Whitehead
Singers: St Ann's Church Choir
Musicians: The Northern Wireless Orchestra
Conductor: T.H. Morrison
Organist: George Pritchard


Relayed from GREAT ST. MARY'S
Order of Service
Hymn, 425 (English Hymnal),
' Lead us Heavenly Father, lead us' (with Descant)
Exhortation, Gei.:ral Confession and Responses
Psalm 132 Lesson
Magnificat (Brewer in D) Creed and Responses Prayers to Grace
Hymn, 519 (English Hymnal), ' Ye
Watchers and Ye Holy ones '
Address by the Rev. P. N. WAGGETT Hymn, 393 (English Hymnal),
' Glorious things of Thee are spoken '
Choirmaster :.nd Organist,

: The Week's Good Cause

Appeal on behalf of the Samaritan Free Hospital by Lady GEORGE HAMILTON
THE SAMARITAN FREE HOSPITAL FOR WOMEN, for which an Appeal is to be made this evening, was founded in 1847. It was of lowly origin and would perhaps have remained in obscurity but for the fact that in 1854 it annexed a moribund Institution called the Marylebone Dispensary and with it acquired the services of a young surgeon named T. Spencer Wells. In 1858 he performed his first successful abdominal operation, the first for 10 years in any London Hospital. That was the beginning of a long series of successful operations which startled the surgical world and brought doctors from all parts of the Globe to learn his technique. No longer, fortunately, has the Samaritan Free Hospital a monopoly of success in these operations, but it still remains in the van, for in December, 1927, the Chief Medical Officer of the Ministry of Health reported to the Rt. Hon. Neville Chamberlain that ' it is gratifying to be able to state that, in the group of records examined relating to nearly 900 patients treated at the Samaritan Free Hospital for Women during the period 1901 to 1920, the results obtained by operative methods were at least as good as, and in respect of operative- mortality better than, the average of those obtained by massing the experience of all surgeons at home and abroad who have published their results.'
Donations should be sent to [address removed].
(London only)

: ' The News'


: Tom Jones

and The Grand Hotel, Eastbourne, Orchestra
Relayed from
BIZET, known and loved the wide world over as the composer of Carmen had, among his many great gifts, a particularly happy knack of lending his music what is called ' local colour.' The warm, sensuous Southern atmosphere which pervades Carmen unmistakably, can be felt no less surely in the music which he wrote for Daudet's play L'Arlesienne, music which, in the form of two Suites, is now letter known than the play itself.
The Suites are scored for a very big orchestra, and it is interesting in these days when the Saxophone is familiar to most listeners as the provider of unpleasant noises, to note that Bizet introduced it here and gave it some prominent and beautiful passages to play.
AH fors e lui' is one of the best known and most universally popular of all the Verdi arias and is sung in the first Act of La Traviata by the heroine Violetta.
Guests have been in her salon, making merry, and Alfred, in whose arms she dies at the end of the opera, after all the obstacles to their wedding have been overcome too late, has sung a merry drinking song. Meditating on the love which he has declared for her, she repeats the melody of his song, and then, suddenly changing, as though doubtful whether so true an affection can come to one like her, she dashes into the brilliant, ' Ever free shall I still hasten madly on from pleasure to pleasure.' ORCHESTRA :
Selection of the Music of Schubert TOM JONES and J. ALLEN BYFIELD :

: Epilogue

' Lord, What is Man '

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