From Birmingham
The Orpheus Military Band, conducted by Joseph Lewis
A Religious Service
including The Week's Good Cause
(From London)
From Birmingham
A Programme of Excerpts from Oratorios composed for the Birmingham Triennial Festivals, and a new work by a Birmingham Composer.
The Birmingham Studio Augmented Orchestra (Leader, Frank Cantell). Conducted by Joseph Lewis
Emilie Waldron (Soprano); Alice Vaughan (Contralto); Geoffrey Dams (Tenor); James Howell (Bass)
I. The Dream of Gerontius (1900) Elgar
Prelude
Tenor Solo, 'Jesu Maria' Chorus, 'Kyrie Kleison'
Tenor Solo, 'Rouse thee, my fainting soul' Chorus, 'Be merciful, be gracious' Tenor Solo, 'Sanctus fortis'
In 1865, Cardinal Newman wrote the poem, The Dream of Gerontius, inspired by his thoughts as he sat by the death-bed of a friend. It pictures the dream of a dying man, as he anticipates what lies beyond.
Elgar, himself of the same faith as Newman, long afterwards set the poem to music, and his setting had its first performance in 1900, .at the Birmingham Festival.
The Prelude to the Oratorio gives an epitome of the work. and the vocal passages we are to hear come at the beginning of the work.
Duet, 'What have I to do with thee ?' : Chorus, ' Blessed are the men '
Quartet. 'O Come, everyone that thirsteth'
Elijah was first performed in Birmingham Town Hall, the Composer himself conducting.
The first extract is the scene between Elijah and the widow of Zarepath, at whose entreaty' he intercedes with God for the life of her son, and restores him.
Immediately, in the Oratorio, follows the Chorus 'Blessed are the men who fear Him: they ever walk in the ways of peace...'
The Quartet comes almost at the end of the work: 'O come every one that thirsteth, O come to the water: O come unto Him. O hear, and your souls shall live for ever.'
Contralto Solo, 'I dreamt I was in Heaven'
Quartet, Honour and Glory ' Chorus, ' Damascus '
Costa's introduction to Birmingham was marked by an extraordinary circumstance.
In 1829, when he was twenty-one, his master in Italy, Zingarclli. sent him to Birmingham to conduct a Cantata of his. Somehow, instead of figuring as the conductor, young Costa appeared as a tenor soloist in the work.
He settled in England, and had considerable fame in the theatre and concert hall, and conducted the Birmingham Festival from 1849 to 1882, composing for it both the works by which ho is now remembered, Eli and Naaman.
Chorus, ' Unfold, ye portals everlasting '
In his later years Gounod produced several large-scale sacred works. The Redemption was begun in 1868, but not completed until the year before it was performed at the Birmingham Festival.
This Chorus concludes the Second Part of the work. Jesus ascends into Heaven. Above, celestial voices resound, with harps and trumpets, and sing, 'But who is He, the King of Glory?' whilst on earth the choir sings the praises of Him ' who death overcame, the Lord in battle mighty.'
For Four Solo Voices, Chorus and Orchestra
(Conducted by the Composer)
The Psalm of Praise consists of the following numbers:-
1. Chorus: 'Sing unto the Lord a new song.' 2. Recitative and Solo (Tenor): 'Thus the heavens and earth were finished.'
3. Solo (Bass): 'Thus saith the Lord, your God.'
4. Chorus: 'The Lord is my light.'
5. Solo (Soprano): 'I will praise Thee, O God.'
6. Solo (Contrallo): 'Hear me when I call.'
7. Recitative (Bass) and Quartet: 'Beloved, now are we the sons of God.'
8. Chorus: 'The earth is the Lord's.'
From Birmingham
