111ntier the ipatronage of their Egcellencies the 3orernot--C3eneral zC labr li)tibler.

anh lhts Egcellencr the State C3orernor & iabr Gibson Carmichael.

Marshall:tall Orchestral Concert

%aeon 1000. " We possess in literary or artistic culture a never failing source of

Pleasures, which are neither withered by age, nor staled' by custom, nor embittered in the recollection by the pangs of self-reproach."

T. H. HUXLEY.

'bird concert of the Season,

being the 92rib since their inception,

town bati, flbewourne,

Zaturbap, afternoon, Anne 19, 3 1).111. .4 .at

Orchestra of 70 Eixtists.

Contictor: Prof. 0. tut. 1L. Maroattolbait.

pianist : tIbis6 aeSSie Masson.

iprice6 of Eibmission: 13alconp atih iteserveh Chairs

18oOp of ball %utton Crow, Orchestral Alaimo er.

fox, Ajcrn. Secretary, Brea glop! Insurance §iiilDings, 113og Plan at Brian's. 414 Collins Street.

5Q56 J.C•STEI 6.IRiNTE R.I. ELILABETX ST9ES,

2

Programme.

1. .Sivmpbotir

No. 1, C Minor Brahms.

I. Poco Sostenuto (C Minor). Allegro.

Poco Sostenuto.

II. Andante Sostenuto (B Major).

III. Un fioco Allegretto e grazioso (A Flat Major).

(Do., quasi Trio) (B Major).

IV. Adagio (C Minor). Piu Andante (C Major).

Allegro non troOe ma con brio.

There is a period in the evolution of every deeply-thinking intrinsically serious mind when the discord of human existence assumes preponderating and menacing proportions ; when a man asks himself, why this wrong, this confusion, this injustice, this pain? when neither philosophy nor religion can answer his burning questionings ; when the clue to existence for him seems lost, and he stands alone twixt two eternities, at war with that which is without and within himself. Vainly, but with ardent yearning in all directions he seeks for some ray of truth which may enlighten his heart, and reveal to him law and order, a sublime harmony, in the midst of seeming chaos. The opening movement of the Symphony seems to reveal to us the mood of a mind at this peculiar crisis. At the very outset of the austere yet passionate Introduction some such vast problem looms before us, grand and terrible, and the self-same themes, assuming a subjective, passionately fiery character, form in combination the main motive of the Allegro which follows, full of pain, of indignation, of unrest, and of stern resolve. How grand are these huge progressions of chords which trample upon the soul at the commencement of the development section ; and the pathos and beauty of the coda makes vibrate the noblest and most masculine fibres of our nature. This music is stern and strong, and to an effeminate mind must ever remain repellent. There is in it something uncompro-mising, audacious, not to be put off—it will master and seize truth in the very teeth of Fate.

The Andante is of a tender pensive character. The charming naivete of the second subject, which is sung first by the Oboe, and afterwards by the Clarionet, to be taken up by the Basses and finally by an unison of the Strings, cannot fail to charm away those dangerous thoughts beyond the reaches of our souls. And then the dreamy melody of the Horn towards the close, round which the Solo Violin beats delicate wings, taking up the same phrase in diminution, and weaving from it new unexpected beauties,—all this is full of quiet, peace, and consolation.

III.

In the third movement we begin to recognise more certainly the special characteristics of Brahms. Beethoven's countenance, which hitherto has seemed to have been dimly peering over his shoulder, fades away. The genial grace of this Allegretto makes itself felt at once in the delicate and entrancing repetitions of the Clarionet, followed by the tender gaity of the descending thirds of the Flutes and Bassoons over the murmurs of the Strings which toss rippling little arpeggios from one to the other. Equally full of charm are the vacillating majors and minors of the Trio, in which Woodwind and Strings baffle and elude one another captivatingly.

3

IV.

The Finale to this Symphony is one of the great masterpieces of the German Renaissance. It opens in solemn awe-inspiring grandeur, but after a breathless moment which seems to open up tragic depths beneath our very feet, a marvellous change succeeds ; the air palpitates, and in a majestic major Nature seems to reveal herself to us in all her splendour and dignity, hushing our petty self-questionings and doubts, obliterating everything within us but the feeling of all-sufficing power, serene and eternal. But it is futile to endeavour to paint with colourless words the glowing majesty of this music, with its tidal ebb and flow, its ocean-like infinity, its stately calm, —its immortality ! Nor is it necessary to more than allude to the unmistakeable glories of the Allegro, which opens with a broad theme full of noble confidence, and developes into unsurpassed splendour of active energy, maintained in a myriad forms throughout the movement. Our too acute subject-ivity, sense of self, is swept away in this rush of world-movement which suddenly like a whirlpool encircles and inveigles us. We are made part of the greater world, the world of action ; we create, we destroy ; we feel within ourselves the joy of infinite power ; we march triumphantly along the path of destiny, as an army, careless of individual hap or mishap, moves to victory. This Finale is the embodied will of an heroic nation.

3nterral.

2. 3ntrobuction to the tbirb act, Mance of tbe apprentices aub carp of tbe flbeistersingers Wagner.

The opening presents to us the poet-shoemaker Hans Sachs, as he sits at his work, philosophizing, and enjoying the quiet of the evening, through which is borne the refrain of the Easter hymn.

To this scene succeeds one of frolic and merriment. It is a holiday festival, and all the town has issued forth to witness the annual ceremony of the Master-singers. The apprentices enter first, and dance on the greensward with their lasses. Then the townspeople enter, and the procession of the Mastersingers. All join in the Easter hymn. Finally the scene closes again as it began with Hans Sachs at the door of his workshop, working and thinking.

" Oberon "

C. M. von Weber.

(By general request).

our Shakespeare's " Midsummer Night's Dream." Weber has here succeeded in the impossible feat of painting the lily, and from the romantic opening call of Oberon's dawn-announcing horn, which summons the drowsy elves and sprites

As its name suggests, this inimitable overture breathes the atmosphere of

from their mushroom slumbers, to the delicate ethereal gaiety of the final theme, there is never a moment in which the music ceases to lift us above all things of the earth, earthy.

Strict age and sour severity, With their grave saws, in slumber lie. We, that are of purer fire, Imitate the starry quire, Who, in their nightly watchful spheres, Lead in swift round the months and years, The sounds and seas, with all their finny drove, Now to the moon in wavering morrice move ; And, on the tawny sands and shelves, Trip the pert faeries and the dapper elves, By dimpled brook and fountain-brim, The wood-nymphs, decked with daisies trim. Their merry wakes and pastimes keep ; What hath night to do with sleep ? "

■

3.Overture • • •

11,

4. rantaiste be Concert, Op. 56, Major, for 'pianoforte anb Orchestra ••• Tschaikowsky.

I. Quasi Rondo, (Andante mosso);

II. Contrastes. (Andante cantabile. Molto vivace).

Miss 3essie Masson.

The Fantaisie de Concert for Piano and Orchestra is one of Tschaikowsky's most brilliant works. It abounds in glittering orchestral effects such as he revels in, and one of its most piquant features is the transition from the Melancholy Andante to the lively Finale. In the midst of one of those great sweeping octave passages for Violins which are a peculiarity of Tschaikowsky, the lively rhythm of a Russian dance is heard on Clarionets and Bassoons, but without interrupting the passionate flow of the Andante melody. An immense climax is reached through which the dance rhythm penetrates with ever greater distinctness until it usurps the whole attention. This poetic fusion of two opposite emotions constitutes a most fascinating novelty in form.

Later on the melody of the Andante is given out by the Horn accompanied by a wavy figure on the Violins, and then, by a master-stroke of ingenuity, by the vivacious theme of the Finale. Tschaikowsky has entitled this combination of different movements " Contrastes."

There are a number of delightfully melodious musical figures scattered all over the work, as well as a long and splendid Cadenza for the solo-instrument in the composer's most characteristic vein. His piquant rhythms for Wood-wind and Brass, and rushing passages for Strings remind one here and there of the " Pathetic " symyhony ; while the delightful second part of the theme of the Andante in B Flat, with its poetic figure for Horns is somewhat in the vein of the beautiful love-theme in the overture to " Romeo and Juliet." The whole work is more like a symphonic poem with pianoforte obligato than the ordinary Concerto.

The FOURTH CONCERT of the Season WILL BE GIVEN IN THE

Town Hall, Melbourne, UN

SATURDAY, JULY 17, at 3 p.m. (This day Four Weeks).

PROGRAMME.

1. Symphony, No. 9 (The Choral) ... First three movements.

2. Aria, "'Memnon "

(Dr. li4itt5thke. 3. Concerto in G Major (No. 4)

4. Recit• and Aria (Tannhauser)

flDr. iR. 14it:c1)11e.

5. Air with Variations, from Suite in G Major (No. 3)

The Bechstein Grand Piano used at this Concert is kindly lent by Allan & Co. Proprietary Ltd.

Beethoven.

Schubert.

Beethoven.

W agner.

Tschaikowsky.

#fitIiitigSinitiott *opinion rr iitritati a tru$ t *old Established May, 1908.

The initiation of this fund was due to the generous action of a citizen who presented Professor Marshall-Hall with £1000 for the purpose of assisting the development of the Orchestra,

Objects. To promote the study, practice, knowledge and appreciation of music in Mel-

bourne or elsewhere, and in particular-- (a) The establishment and maintenance of a permanent Orchestra in Melbourne. (b) The purchase of musical instruments, music, and copyrights. (c) Giving, arranging and aiding concerts, operas, musical entertainments and

productions in Melbourne, or elsewhere, and (d) Doing all such other things as the Board may consider are incidental or con-

ducive to the attainment of the above objects or any of them,

Trustees. THE EQUITY TRUSTEES EXECUTORS AND AGENCY CO. LTD.

All moneys donated to this Fund will, in accordance with the Trust Deed which has been lodged at the Office of the Registrar-General, be invested by the Company in investments authorised by law for Trustees. The income will be handed to the Board of Management appointed by the Trust Deed, who will expend it upon the objects above referred to.

Board of Management. MRS. ALBERT MILLER MRS. R. J. LARKING MR. S. G. PIRANI DR. J. W. BARRETT, MR.EDWARD FITZGERALD, PROF. HARRISON MOORE

Chairman. Hon. Treasurer. MR. C. L. PINSCHOF MR. M. P. Fox, Hon. Sec. DR. W. F. ORR DR. HAMILTON RUSSELL MR. A. E. J. LEE

The Public are invited to make donations to the Fund which may be forwarded to the Hon. Treasurer, Mr. Edward Fitzgerald, Imperial Chambers, Bank Place. Bequests by Will in favour of the Fund may be made as follows : " I give and bequeath to the Treasurer of The Lady Northcote Permanent Orchestra Trust Fund in aid of that fund the sum of 11

following Contributions have been received :— 4908.

£50 000111 Henry M. Collins

1,000 0 J. S. Peterson

100 0 Anonymous (per Dr. Barrett)

100 0 Mrs. E. Yencken

100 0 Mrs. Joseph Archibald

50 0 Mrs. D. Hunter ..

25 0 Mrs. Robt. Harper

26 0 Mrs. Blanch .. 10 10 0

10 0

6 0

5 0

5 0

5 0

5 0

5 0

5 0

5 0

5 0

S 0

loop.

Gift of a complete set of Wood Wind, and Brass Instruments (MADAME MELBA).

The

The Lady Northcote, C.I. Anonymous Donor .. Mrs. Albert Miller Dr. & Mrs. J. W. Barrett Hugo Wertheim W. Drummond .. Mr. & Mrs. R. J. Larking Ernest H. Connell Dr. James Jackson .. A. E. J. Lee .. Professor and Mrs. Masson Dr. A. L. Kenny (1st instalment) .. Miss Alice Yencken Professor H. Laurie • • Dr. R. R. Stawell Mrs. A. McMurtrie Mrs. Henry G. Turner • • Dr. Percy Webster M. Philip Fox .. Mrs. Maudeley ..

W. J. Schutt E. Hartung .. Edwd. Northcote Mrs. S. Staughton Mrs. A. B. Joshua Dr. Charles Smith H. Crossley .. A. M. Lee Pianola Coy. .. A. Ford.. "Medico's Mite"

3 3 0 3 3 0 3 0 0 2 2 0 2 2 0 2 2 0 2 2 0 2 2 0 2 2 0 2 2 0 2 0 0 1 1 0 1 1 0 1 1 0 0 10 6

10 0 0 25 0 0 1 1 0 2 2 0

Allan & Co. Pty. Ltd. .. .. £50 0 0 Mrs. Edward Miller

10 10 0 L.J.L. 2 2 0 Dr. A. L. Kenny (2nd instalment)

5 5 0

Arthur Patten .. 3 3 0

Total to date

Mrs. John Sanderson C. H. E. Boese.. Frederic Beard .. Mrs. George Dickson Dr. & Mrs. W. F. Orr

£1,698 13 6

2 2 0 10 10 0 6 6 0 2 2 0

21 0 0

Cellos. Mr. Hattenbach

„ Argenzio „ Cleaver „ Fox „ Hailes „ *Levy „ Montague, Snr. „ Montague, Jnr.

JBasses : Mr. Briese

„ Haigh „ Jochimsen „ Sarau

flutes : Mr. Amadio, J. „ Russell „ Amadio, A.

Oboes : *Dr. Rudall Mr. Taylor

Clarionets Mr. Mortimer „ Tipping

Bassoons : Mr. Lupton

„ Briginshaw

Contra Bassoon : Mr. Luttich

Thorns Mr. Kuhr

„ Wood „ White „ Finlay

"Crumpets : Mr. Stoneham „ Levey „ Holloway

trombones : Mr. Code

„ Rowe „ Fletcher

tuba : Mr. Vick

tpmpani : Mr. Munyard

Olockenspiel : *Miss Queree

Oran. Cassa, etc. *Mr. Crow

„ Haydon

Marshall-Hall Orchestra. Saturday Afternoon, June 19.

Conductor : Professor G. W. L. MARSHALL-HALL.

Assistant Conductors :

MR. F. DIERICH & MR. H. SCHRADER.

Violins : Mr. Dierich

f Zelman Brennecke

If Bobsien Coy

f f Connolly f f Curcio ,, Gollmick If Hunter If Montague 99 North f Parkes

Weinberg Zeplin

*Mrs. Brookes „ Manby

Miss Archibald Croucher Cuddon Gray Sugden Stanford Trenerry Walters Whitley

Violas : Mr. Dawson

Dechow Hornidge N. Oliver Schrader Zelman

*Kindly give their services,

Library Digitised Collections

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Program of the Marshall-Hall concert, 19/6/1909

Date:

1909

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Program of the Marshall-Hall concert, 19/6/1909

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