THE WIRELESS ORCHESTRA
Conducted by STANFORD ROBINSON
ALICE Moxon (Soprano) WILLIAM BARRAND (Bass)
Speech on Conciliation with the Colonies, delivered in the House of Commons on March 22, 1775, by the Rt. Hon. Edmund Burke , M.P. for Bristol.
THE dying Chatham expended his latest eloquence upon the subject which inspired Edmund Burke at the zenith of his powers. Upon this, the troubles and the war with the American Colonies, they were at one. ' My proposition is peace,' said Burke; change the pronoun to ' our ' and the statement can be shared by Chatham. Yet, what might have been achieved, in this respect, by their united forces was hindered by their fundamental differences.
Chatham, a great statesman, was an opportunist, drawing ' from the cabinet of his own sagacious mind,' inspiration for his treatment of conditions ho found existing; while Burke was a great political philosopher, elaborating an unchanging theory of government applicable to all circumstances. The former, a Demosthenes of Parliament, seductively urged measures and strove to persuade his audience; the latter, a Bossuet of politics, stated his premises ' wound into his subject like a serpent,' and relied upon out-arguing his opponents.
The trouble with the American colonies was the first great subject which inspired Burke; the third was the French Revolution. On the former, his oratory is conspicuous for reason, judgment, and lucidity, which, on the latter, are largely replaced by declamation and passion. The second subject was the impeachment of Warren Hastings. An example of the eloquence occasioned by it will be presented next Sunday in the famous Begum Speech by Sheridan.
(For 5.15-8.45 Programmes see opposite page)
From St. John's, Westminster
Order of Service
Hymn, ' In our work and in our play.' E.H. 590.
Prayers
Psalm 148
Lesson, St. Matthew, vii, 7-12 Pravers
Hymn. 'Fight the Good Fight.'
E.H. 389, A. and M. 540
Address
Hymn, ' Praise My Soul the King of Heaven.' E.H. 470. A.andM.298.
The Blessing
'Ich Hatte Viel Bekummerniss'
(My Spirit was in heaviness)
Relayed from the Guildhall School of Music
Elsie Suddaby (Soprano); Doris Owens (Contralto); Tom Pickering (Tenor); William Barrand (Bass); The Wireless Chorus; John Field (Oboe); Continuo: Ambrose Gauntlett (Violoncello); Eugene Cruft (Double Bass); Leslie Woodgate (Organ); The Wireless Orchestra (Oboe, Bassoon, Trumpets, Trombones, Tympani and Strings), Conducted by Stanford Robinson
The text is reprinted by courtesy of Messrs. Novello and Co., Ltd.
1. Sinfonia.
2. Chorus:
Lord, my God, my spirit was in heaviness and deep affliction; but, Lord, Thy consolations have my soul restored.
3. Aria (Soprano):
Sighing, weeping, sorrow, need. anxious longing, fear of death, rend my troubled heart in twain; I am torn by grief and pain.
4. Recitative (Tenor):
Why hast Thou then, O God, in this my need. in this my fear and anguish. thus quite forsaken me? Ah ! knowest Thou not Thy child ? Ah ! hear'st Thou not the mourning of those who to Thyself in faith and truth are bound ? Thou hast been my delight, and now I see Thee not. I seek for Thee in every place, I call, I cry to Thee alone, my grief and woe are full, when Thou, 0 God, regardest not.
5. Aria (Tenor):
Fast my bitter tears are flowing, Find I none to comfort me.
Waves and storms are o'er me going. All this dark and troubled sea O'er my fainting spirit rolleth, Mine affliction none consoleth.
Floods of sorrow close me round,
Where can light and help be found?
6. Chorus:
Wherefore grievest thon, O my spirit, and art so unquiet in me?
Hope thou in God; for to Him I will give thanks.
For He is the help of my countenance, and He is my God.
7. Recitative (Soprano and Bass)
Lord Jesus, my repose, my light, where art Thou gone?
Behold, O Spirit, I am with thee. With me? but here is only night!
I am thy faithful friend that watcheth in the night, when evil is abroad.
Then comfort with Thy light and radiance enter in! The hour is coming soon when, all thy conflicts o'er, thou shalt a sweet reward secure.
8. Duet (Soprano and Bass):
Come, my Saviour, and restore me.
Tea, I will come and will restore thee. Shed Thy grace and gladness o'er me. Shed my grace and gladness o'er thee. O'er this spirit that shall perish-Yea, thy spirit I will cherish,
That shall its continual sorrow never vanquish,
Nor beneath continual sorrow shalt thou languish.
Yea. ah, yea, I am rejected, Thou hatest me.
Nay, ah, nay, thou art elected, I care for thee.
Lord Jesus, Thou bringest me joy and salvation.
Soon thou for thy sorrow shalt find consolation.
Come, my Saviour.... Yes, I come....
9. Chorus:
Now again be thou joyful. 0 my spirit. Of what avail our hitter sorrow? of what avail our pain and grief ?
Of what avail that each new morrow still finds our woe beyond relief?
Now again....
Thy reward is of God.
Think not, when high thy trouble swelleth.
That He in distant darkness dwelleth. That Thou by God forsaken art,
Who fills with joy thy waiting heart. Thy reward is of God....
1.0. Aria (Tenor) :
Rejoice, O my spirit, in thy consolation, For now from thy sorrow thou findest salvation.
The water of grief God hath chang'd into wine,
All sadness is over and gladness is mine. Within me there burneth and shineth the pure light of love, and of comfort in spirit and heart, for Jesus doth my consolation impart.
Rejoice my spirit....
11. Chorus:
The Lamb that was slain for us is worthy to have all pow'r, and riches, and wisdom, and strength, and honour, and glory, and praise.
Praise, and honour, and glory, and power be to our God, for evermore and evermore. Hallelujah. Amen.
In Welsh
Relayed from Englwys Annibynnol
Y Tabernad, Treforis
(Tabernacle, Morriston)
S.B.from Swansea
Trefn Y
Gwasanaelh Gweddi. Emyn 573, 'Arglwydd Iesu , arwain f'enaid.' Darllen. Emyn 487, ' I dawel lwybrau gweddi.' Gweddi. Anthem, ' Dyn a aned o wraig' (D. C. Williams.) Emyn 1089, ' Iesu Dyrchafedig.' Prcgeth —YParch J. J. WILLIAMS. Cyhoeddi a Chasglu. Emyn 1002, Bendithia ni, Iaehnwdwr hael.' Y Fcndith Apostolaidd. Hwyr Weddi , 1064, ' Arglwydd, mae yn nosi.' Organydd ae Arweinydd-E. H. HUGHSON
In connection with the Annual Conference of the Primitive Methodist Church
Relayed from the Woodall Memorial Church, Burslem
S.B. from Stoke
Hymn, 'Crown Him with many crowns' (Primitive Methodist Hymnal, No. 129)
Prayer
Hymn, 'The King of Love my Shepherd is' (P.M.H. Supplement, No. 134)
Reading from Scripture - John x, vv. 1-16, by Mr. W.H. Hawthorne, Vice-President of the Conference
Anthem, 'Come unto Him'...Gounod
Sung by the Pitts Hill Primitive Methodist Choir
Address by the Rev. James H. Saxton, President of the Conference
Hymn, 'Jesus, Thou Joy of loving hearts' (P.M.H. Supplement, No. 57)
Benediction
(For 8.45-10.30 Programmes see opposite page)
Appeal on behalf of the National Council of Girls' Clubs by the Hon. ELEANOR PLUMER
THE National Council of Girls' Clubs is the central body working for all girls' clubs throughout the country, irrespective of creed or society. Conditions in our cities are often such that it is in their clubs alone that many girls can obtain guidance, friendship, healthy recreation, and opportunities for further education. Both in city and in village it becomes increasingly difficult for the isolated efforts of individual clubs to meet all that is required of them. It is to provide this necessary additional source of opportunities that the National Council, acting for the Girls' Club movement as a whole, exists.
Miss Plumer, who is the Vice-President of the National Council, has been for eleven years leader of the Eleanor Club, St. Pancras.
(Donations should be sent to [address removed])
WEATHER FORECAST, GENERAL NEWS BULLETIN; Local Announcements; (Daventry only) Shipping Forecast
MARIA BASILIDES (Soprano)
THE POLTRONIERI STRING QUARTET: ALBERTO POLTRONIERI (Violin); FIORENZO MORA (Violin); GUIDO FERRARI (Viola); ANTONIO VALISI (Violoncello)
THE INTERNATIONAL STRING QUARTET: ANDRE MANGEOT (Violin); BORIS PECKER (Violin); FRANK HOWARD (Viola); HERBERT WITHERS (Violoncello)
THERE are only a few first-rate pieces of music in existence for the team which listeners are to hear in this programme-a double string quartet with 4 violins, 2 violas, and 2 violoncellos. And the performance is being made possible by the union of two string quartets, both of which listeners have already heard playing that happiest of all friendly and intimate music. The Poltronieri Quartet comes from Milan and is one of the most distinguished quartets not merely in Italy, but in present-day Europe; the International Quartet, although making its headquarters in London, has played with conspicuous success in many countries of the world.
POLTRONIERI and INTERNATIONAL STRING QUARTETS
This is an even more youthful work of Mendelssohn's than the Midsummer Night's Dream Overture. It was composed when he was only sixteen. It has all the freshness and vitality which one expects from youth, but it is masterly in its command of the instruments, and in the skill with which the whole team of eight is used. In every way it betrays the hand of one who was already a master of his job; like the Midsummer Night's Dream Overture, it is music which any of the great masters might have been glad to claim as a mature work. Mendelssohn evidently had some special affection for it himself; a good many years later than its first composition he rescored the second movement, the Scherzo, for full orchestra, and when he was conducting at one of the Philharmonic Concerts in London in 1829, he had it played in his first Symphony, instead of the Minuet movement.
The Octet is in four movements. The first is bold and vigorous, the second, the slow movement, is in essence a Romance, rich with Mendelssohn's graceful melody; the Scherzo is in something like the same light-hearted measure as the Midsummer Night's Dream music, recalling its fairies, and the last is in fugal form. A theme from the Scherzo reappears in it; Mendelssohn was among the first of the great masters to make use of this device of recalling an earlier movement in the course of a later one.
THE first song is the lament of a maid, coldly deserted by her love. The second is a whimsical little song which asks why a maiden's heart is soft as butter. In the third, the singer prays that the waters might rise and bear him to his father's threshold; and the fourth tells of Winter's going and the coming of Spring.
THE first of the Transylvanian songs is of three sad little orphans and their prayer that the Lord may take them under His care. In each verse of the second one, the singer tells of going to market and buying now a Rooster and now a Turkey, and so on, although he had only one groat to spend. The third is a tale of a heartless wife who danced while her husband was dying, although her daughter called her home. The fourth is a sad song of the Weeping Willow, and the fifth is a merry air, rather like a Nursery Rhyme, about one, Longnose, who comes and eats everything in the larder.Ã
POLTRONIERI and INTERNATIONAL STRING QUARTETS
AT this end of Europe we know very little of Roumanian music; that we know anything of it at all is chiefly due to Georges Enesco. Born in 1881, he studied in Paris and in Vienna, but that insight into the more conventional music of Western Europe has not in any way modified his enthusiasm for the folk songs of his own country. Many of these tunes sound to us very like the Hungarian national music with which such great people as Liszt and Brahms have made us familiar; as in most music of Slav origin, strong bold rhythm is the feature which strikes the listener chiefly.
Enesco's own music, whether or not it is making actual use of folk tunes, is Roumanian in the sense that it embodies something of their spirit, in the very same way in which much of the modern music of ces own country is definitely English.
