'Mothers' and Daughters' Coats and Dresses,' by Miss V. Brand
Relayed from the Free Trade Hall Relayed to Daventry Experimental
' THE KINGDOM '
An Oratorio by Sir EDWARD ELGAR
DOROTHY SILK (Soprano)
MURIEL BRUNSKILL (Contralto)
JOHN COATES (Tenor)
HAROLD WILLIAMS (Baritone)
THE HALLÉ CHORUS: Chorus Master, HAROLD
THE HALLÉ ORCHESTRA, conducted by Sm HAMILTON HARTY
THE KINGDOM (1906) may be called a sequel to The Apostles, in which Elgar took up the story of the calling, teaching and mission of the apostles. Certain motifs used in the earlier work are heard again in the later. As in The Apostles, tho orchestral part is as significant as the vocal parts, and the whole texture is woven out of leading motifs, short phrases that stand for people or ideas in the scheme of the work. The first vigorous bars of the Prelude, for instance, stand for the Gospel (the strong theme in the treble) and the mission of the Apostles as preachers.
The sections of the work are these. The names of the characters are given in the order of their singing :—
I. IN THE UPPER ROOM.
The Disciples and the Holy Women (Chorus),
Peter (Bass), Mary (Soprano), Mary Magdalene (Contralto) and John (Tenor).
The remembrance of the Saviour's dwelling with His disciples, and of His Holy Communion. The choosing of Matthias in place of Judas the traitor.
II. AT THE BEAUTIFUL GATE.
The Morn of Pentecost. Mary and Mary Magdalene give alms to the blind man, and speak of Jesus' compassion, before going into the House of the Lord.
In the Upper Boom. Tenor Recitative, the Disciples, and Mystic Chorus (Soprano and Contralto).
The promise that the spirit of the Lord shall descend, and its fulfilment in the rushing of a mighty wind ' from heaven.
In Solomon's Porch. The People, John, and Peter. The marvel of the gift of tongues, which Peter interprets as the sign from heaven that Christ, whom the multitude crucified, is lifted up on high. The People, penitent, cry out, ' What shall wo do ? ' and Peter bids them repent and be baptized. At his word they seek the spirit of grace.
IV. THE SIGN OF HEALING.
At the Beautiful Gate. Contralto Recitative,
Peter, the People, and John.
The lame man is healed by Peter, who, with John, tells the wondering people that faith, through Christ, has wrought the miracle.
The Arrest. Contralto Recitative, and Mary. The Priests and Sadducees arrest the disciples.
Mary sings of the blessing of them that are persecuted for righteousness' sake, and meditates on the wonders of Christ, and the preaching of His gospel in the whole world.
V. THE UPPER ROOM.
In Fellowship. The Disciples and the Holy
Women, with John and Peter.
These rejoice in the power of the name of Jesus Christ. Peter tells how the priests ordered him and John not to speak or teach, but in vain ; and how; nothing being chargeable against them, they were released.
The Breaking of Bread. The Disciples and Holy Women, Peter, John, Mary, and Mary Magdalene.
The celebration of the Holy Communion.
The Prayers. The Lord's Prayer. The final thought—' Thou, 0 Lord, art our Father, our Redeemer, and we are Thine.'
Socrates' Speech to the Athenians after being condemned to Death
Relayed to Daventry Experimental
Followed by Relayed to Daventry Experimental
A Short Recital from the Works of Arensky
Bigarrure Medley, Op. 20, Nos. I and 2 Consolation in D Study in G Flat Mazurka, Op. 53, No. 4
Elegy in G Minor Caprice in B Scherzo in A
Gavotte, Op. 69, No. 7
, relayed from