Relayed from the Convention Tent at
Chairman, R. H. STEPHENS -
Order of Service
Psalm xxiii. Tune, Orlington
Prayer, Rev. Canon J. W. COOKE
Scripture Reading, St. Mark x, 17-22 Hymn, Like a river glorious (P.C.H.
Address by the Rev. ALEXANDER FRAZER , of Aberdeen
Hymn, When I survey the wondrous
Cross (P.C.H. 106)
Praise led by UNITED CHURCH CHOIR, conducted by J. DONNAN. At the pianoforte, Mrs. T. G. HENDERSON
The great tent from which tonight's service will be relayed at Portstewart seats a congregation of 2,000. It is 140 feet long and 70 feet wide, and has been used for each Convention for some years past.
Rev. Canon J. W.
Mrs. T. G.
MAY TURTLE (soprano)
NANCIE LORD (violin)
THE B B C NORTHERN IRELAND
Leader, PHILIP WHITEWAY
Conducted by THE COMPOSER NANCIE LORD AND ORCHESTRA
Concerto for violin and orchestra
Dreaming A Lullaby
Grace for Light
A Comedy Overture
Sir Hamilton Harty began his musical ! career as an organist. In 1900 he came to London and soon made a ! great reputation as an accompanist, and also as a composer of considerable gifts and individuality. During recent years Sir Hamilton Harry has been so occupied with conducting that he has had little time for composition. His ' Comedy Overture was first performed at a Promenade Concert in 1907 and ! was repeated by the Philharmonic Society and at The Crystal Palace. The composer has said that he drew some poetic inspiration from Browning, but which poems we have not been told. The Violin Concerto in D minor was first performed in 1909 by Szigeti with the New Symphony Orchestra at Queen's Hall. It was rewritten in 1920. It is divided into the usual three movements and the general treatment shows a thorough grasp of the increased resources of modern technique. The first movement is vigorous and healthy in character. After a short introduction, the solo instrument enters with the first subject and continues, also giving us the second tune (and, indeed, most of the development, too) until a short cadenza heralds in the return. A like device also gives us the recapitulation of the second subject, which works to a climax and finishes the movement with a brilliant statement of this vigorous material. The slow movement is just a beautiful tune for the solo instrument, accompanied in a sympathetic fashion by the orchestra. The Finale betrays the country, of the composer's birth. Starting somewhat originally with a cadenza (marked ' Burlescamente '), it soon rushes into a semi humorous Irish affair, which just bubbles along merrily, except for a respite in the way of a Pastoral-like second subject, until the brilliant end is reached.
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