Shakespeare Tercentenary Commemoration Programme; concert; Ellen Terry recitation of Portia's speech.
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1616 – 1916 Shakespeare Tercentenary Commemoration. East London College (University of London) May 19, 1916.
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Shakespeare Festival Programme. East London College May 1916.
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East London College (University of London) Chairman of Council: Sir Cornelius Neale Dalton, K.C.M.G., C.B., D.C.L. Organizing Committee for the Shakespeare Commemoration: His Honour Judge William Denman Benson, LL.D., Deputy Chairman of Council. John Leigh Smeathman Hatton Principal of the College. Sir Sidney Lee, D. Litt., LL.D., Professor of English. Ernest Henry Pooley, Treasurer of the College. The Council warmly thanks the Actors, Actresses, and Musicians for generously giving their services on the occasion of this Festival. Non Sans Droict. Drama. The Performers: Miss Ellen Terry, Mr. H. B. Irving, Mr Henry Ainley, Miss Kate Rorke, Mr. Otho Stuart, Mr. Ben Greet and others. Music. Director of the Music: Sir Frederick Bridge, C.V.O., M.A., Mus.D. Vocalists: Miss Coral Peachey, Mr. Harold Wilde, Mr. Graham Smart. At the Pianoforte: Mrs. Harold Potter. Choral Societies: The People's Palace Choral Society. Conductor: Mr. Frank Idle , A.R.A.M. The Bishopsgate Institute Choral Society. Conductor: Mr. E. Stanley Roper, B.A., Mus.B., Cantab., F.R.C.O.
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Shakespeare Tercentenary Festival Programme. From 4 p.m. to 4.30 p.m. Organ Recital by Mr. E. Stanley Roper. Overture "Merry Wives of Windsor" – Nicolai, Thanksgiving Hymn – "Henry VIII" – Edward German, (a) Morris Dance (b) Shepherds Dance (c) Torch Dance –"Henry VIII" – Edward German. At 4.30 p.m. I. Prelude for Organ – Sire Frederick Bridge. Founded on the ancient tune of "Bowe-Bells." Sir Frederick Bridge, C.V.O., Mus.D. This version of the ancient tune, which dates from the time of Queen Elizabeth is translated from the Old Tablature for the Viola da Gamba, in a manuscript volume (circa 1650) belonging to the Corporation of Manchester. 2. Songs (a) "O mistress mine" – Thomas Morley, (b) "Sigh no more, ladies" R. J. S. Stevens. Mr. Harold Wilde. O Mistress Mine. Mistress mine, where are you roaming? O' stay and hear; your true love's coming. That can sing both high and low; trip no further, pretty sweeting; Journey's end in lovers' meeting. Every wise man's son doth know. What is love? ‘tis not hereafter; present mirth hath present laughter; What's to come is still unsure: in delay there lies no plenty; then come kiss me, sweet-and-twenty, Youth's a stuff will not endure. "Twelfth Night," ii, 3. This music was first published in Thomas Morley's "First Booke of Consort Lessons," 1599. Sigh no more, ladies. Sigh no more, ladies, sigh no more; Men were deceivers ever; one foot in sea and one on shore; to one thing constant never. Then sigh not so, but let them go, and be you blithe and bonny, converting all your sounds of woe into, Hey nonny, nonny. Sing no more ditties, ladies, sing no more of dumps so dull and heavy; the fraud of men was ever so, since summer first was leavy. Then sigh not so, &c. "Much Ado," ii.3.
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3. The Closet Scene from "Hamlet" Act III, scene iv. Hamlet – Mr. H. B. Irving, Polonius – Mr. Tom Reynolds, Ghost – Mr. Henry Vibart, Queen – Miss Kate Rorke. 4. Portia's Plea for Mercy "Merchant of Venice." Act IV, scene i. Miss Ellen Terry. 5. Songs with (a) "You spotted snakes" (b) "Through the house" – Mendelssohn – Miss Coral Peachey. You Spotted Snakes. You spotted snakes, with double tongue, Thorny hedge-hogs, be not seen; Newts, and blind-worms, do no wrong; come out near our fairy queen. Chorus: Philomel, with melody sing in our sweet lullaby; Lulla, lulla, lullaby, lulla, lulla, lullaby: Never harm, nor spell nor charm, come our lovely lady nigh: so, good-night, with lullaby. Weaving spiders, come not here; hence, you long-legg'd spinners, hence; beetles black, approach not near; worm, nor snail, do no offence. Chorus: Philomel, with melody, &c. "Midsummers Night's Dream," ii,3. Through the House. Through the house give glimmering light by the dead and drowsy fire; every elf, and fairy sprite, hop as light as bird from brier; and this ditty, after me, sing and dance it trippingly. First, rehearse your song by rote, to each word a warbling note: hand in hand, with fairy grace, will we sing, and bless this place… trip away, make no stay; meet me all by break of day "Midsummer Night's Dream," v, 2. 6. Air and chorus "Full fathom five" – Henry Purcell – Mr. Graham Stuart. Full Fathom Five. Full Fathom five thy father lies; of his bones are coral made; those are pearls that were his eyes: nothing of him that doth fade but doth suffer a sea-change into something rich and strange. Sea-nymphs hourly ring his knell: Hark! Now I hear them, - ding-dong, bell. "The Tempest," I, 2. From Purcell's music for "The Tempest," published in 1673.
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7. Songs (a) "O willow" – Traditional (b) "Where the bee sucks" – Sir A. Sullivan – Miss Coral Peachey. O Willow. The poor soul sat sighing by a sycamore tree; sing all a green willow; her hand on her bosom, her head on her knee; sing willow, willow, willow: The fresh streams ran by her, and her murmur'd her moans; sing willow, willow, willow; her salt tears fell from her, and soften'd the stones; sing willow, willow, willow. "Othellom" iv. 3. This music is from a sixteenth century manuscript. Where the bee sucks. Where the bee sucks, there suck I; in a cowslip's bell I lie; there I couch when owls do cry. On the bat's back I do fly after summer merrily. Merrily, merrily, shall I live now, under the blossom that hangs on the bough. "The Tempest." V, I. 8. Motet "O God of Battles! God of Battles! Steel our soldiers' hearts; possess them not with fear; take from them now. The sense of reckoning, if the opposed numbers pluck their hearts from them. Not to-day, O'Lord! O! not to-day, think upon our faults. "Henry V," iv, I. These words have been adapted by Sir Frederick Bridge to the music written for a motet for six voices by a composer who was Shakespeare's contemporary. 9. Songs (a) "Take, O! take those lips away" John Wilson (b) "When that I was" – Traditional. Mr Graham Smart. Take O! Take Those Lips Way. Take, O! take those lips away, that so sweetly were forsworn; and those eyes, the break of day; lights that do mislead the morn: but my kisses bring again. Seals of love, but seal'd in vain. "Measure for Measure," iv, I. This music os from Dr. John Wilson's "Cheerful Ayres or Ballads" published at Oxford in 1659. When that I was. When that I was and a little tiny boy, with hey, ho, the wind and the rain; a foolish thing was but a toy, for the rain it raineth every day/ With a hey, ho, the wind and the rain; for the rain it raineth every day. But when I came to man's estate, with hey, ho, the wind and the rain, ‘Gainst wind and thieves men shut their gate, for the rain it raineth every day. With a hey, ho, etc. But when I came, alas! To wive, with hey, ho, the wind and the rain, by swaggering could I never thrive, for the rain it raineth every day…. A great while ago the world begun, with hey, ho, the wind and the rain, but that's all one, our play is done, and we'll strive to please you every day. "Twelfth Night," v, I. This music was first published in Playford's "Select Airs" 1659.
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10. Pyramus and Thisbe. Three scenes from "A Midsummer Night's Dream," by Mr. Ben Greet and Members of the Royal Victorian Hall Shakespearian Company. Quince, a carpenter – Mr. Robert Atkings, Snug, a joiner – Mr. Herbert Burge, Snout, a tinker – Mr. Victor Lewisohn, Starveling, a tailor – Mr. A. Corney Grain, Flute, a bellows-mender – Mr. W. R. Staveley, Bottom, a weaver – Mr. Ben Greet, Scene I. Casting the play, Scene 2. Rehearsing the play, Scene 3. Acting the play. The Dresses are lent by Messrs. H. and M. Rayne. 11. The Tent Scene from "Julius Caesar." Act IV, scene iii. Brutus – Mr. Otho Stuart, Cassius – Mr. Henry Ainley, 12. Part Song – "Blow, blow, thou winter wind". R. J. S. Stevens. Madrigal – "It was a lover" – Thomas Morley. Blow, blow, thou winter wind. Blow, blow, blow thou winter wind, thou art not so unkind as man's ingratitude; thy tooth is not so keen, because thou art not seen, although they breath be rude. Heigh-ho! Sing heigh-ho! Unto the green holly; most friendship is feigning, most loving mere folly. Then, heigh-ho, the holly! Ths life is most jolly. Freeze, freeze, thou bitter sky, thou dost not bite so nigh as benefits forgot; though thou the waters warp, thy sting is not so sharp as friend remember'd not. Heigh-ho! Sing heigh-ho! Etc. "As You Like It,! ii.7. It was a Lover. It was a lover and his lass, with a hey, and a ho, and a hey nonino, that o'er the green corn-field did pass in the spring time, the only pretty ring time, when birds do sing, hey ding a ding, ding; sweet lovers love the spring. Between the acres of the rye, with a hey, and a ho, and a hey nonino, these pretty country folks would like, in spring time, etc. This carol they began that hour, with a hey, and a ho, and a hey nonino, how that a life was but a flower, in spring time, etc. and therefore take the present time, with a hey, and a ho, and a hey nonino; for love is crowned with the prime, in spring time, etc. "As You Like It," v.3. This music, here arranged by Sir Frederick Bridge, was first published in Morley's "First Book of Ayres," 1600. 13. Hymn – "God's goodness hath been great" Sir Frederick Bridge. God's Goodness hath been great. God's goodness hath been great to thee: let never day nor night unhallow'd pass, but still remember what the Lord hath done. 2 "Henry VI, ii, I. 14. God Save the King.
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A small collection of Shakespeariana and of Tercentenary Commemoration publications is on exhibition in the Arts Library of the College. Sir Sidney Lee will be happy to meet in the Library visitors who desire to inspect the exhibition, after the conclusion of the programme. This Tercentenary Programme has been printed by Geo. W. Jones, at "The Sign of the Dolphin," near to Dr. Johnson's House in Gough Square, off Fleet Street, London. The type, "Venezia" which is used for the Book is as nearly as possible the type of Caesar's Commentaries, printed at Venice about 1470 by Nicolas Jenson. The designs are by Fred Richards, A.R.E., and were specially prepared for the Official Schools Tercentenary Programme.
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Did you know?
Ellen Terry published a book on The Russian Ballet (1913).
