'timber tbe 1p a tr on age of tbeir Egcettencies tbe (3orernor.3enerat & %ab Ehtbler. nub Ihfs Ercellencv the %tate Governor & labr Gibson Caritticbitel, Marsbalkball Orchestral concert Season 1909. 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. Ztxtb & finat concert of the Season being the 95th since their inception, town bait, Melbourne, 44 Saturbay, afternoon, %ept. 18, 3 p.m. .pt .0t Orchestra of 71 artiste. Conbuctor: Prof. G. Iltft. L. (Parsbailoibali. vocalist: fflabame cellist: Mr. L. ibattenbach. 3. Sutton Crow, Occlusive glflonager. [ID. Vbilip Sox, Pon. &creep, pool Insurance glnithings, 414 Collins Street. prices of Elbmission : Valcoup nub liteservet) Chairs 5/- 13oOr of lball 3/- Brea 2/- Vox plan at Ellan's. C 6•,k1ENS. 6 r.
Transcript
'timber tbe 1p a tr on age of tbeir Egcettencies tbe (3orernor.3enerat & %ab Ehtbler.
nub Ihfs Ercellencv the %tate Governor & labr Gibson Caritticbitel,
Marsbalkball Orchestral concert
Season 1909. 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.
Ztxtb & finat concert of the Season being the 95th since their inception,
town bait, Melbourne, 44
Saturbay, afternoon, %ept. 18, 3 p.m. .pt .0t
Orchestra of 71 artiste. Conbuctor: Prof. G. Iltft. L. (Parsbailoibali.
vocalist: fflabame cellist: Mr. L. ibattenbach.
3. Sutton Crow, Occlusive glflonager.
[ID. Vbilip Sox, Pon. &creep,
pool Insurance glnithings, 414 Collins Street.
prices of Elbmission : Valcoup nub liteservet) Chairs 5/- 13oOr of lball 3/- Brea 2/-
Vox plan at Ellan's.
C 6•,k1ENS. 6 r.
11 rog ra m me.
1. %vmpbolip in B Minor (No. 6) Tschaikowsky. (The Pathetic)
INTRODUCTION.
In the opening bars, the key to the whole is placed in our hands. Listen, and sink out of the sunlight, down through the gloom of those sombre strains until you stand alone in a valley filled with whispering shadows. Fix firmly in your mind the keynote of gloom which hums like an organ-point far below the music's most feverish and most beautiful measures ; for every phrase and sentence of the symphony must have this dark sorrow for its commentary.
A wild and bewildering haste ; one tragic event treading on the heels of another; cries of grief wrung from the heart, now hysterical, now sad and passionate ; and finally a benumbed resignation to suffering—these are the impressions of the first movement on my mind. The thing bursts suddenly upon you after the slumbrous lament of the introduction, and in the very first subject, the tearing of the strings, followed by the chill chattering of the upper wind, strikes dismay into the heart. There is press and hurry, but it is all outside you ; if you were in the bustle it would not be half so bad ; there you stand while this commotion of terror boils round you. After the tragic bustle comes the less terrible, more tearful second subject (Andante): and the supplemental theme, with its sweetly running flute and bassoon duet, is more sane still ; it is like a flowering patch of happiness watered by tears of former grief. But even on it is cast the shadow of foreboding which robs it of its delight. Amid any other surroundings the theme would suggest simple and unalloyed happiness ; here it is like a glimpse into some Paradise which we may not enter, and the memory of it embitters the strife which so soon bursts out again with a thunder-clap.
Once more the mood is one of gloomy dignity, melting more and more towards the end ; the bitter clouds break into tears, a fountain rises in the stony heart, and grief sighs itself into forgetfulness, as a child falls asleep weeping.
II There is a morning after every night of anguish, when a man must rise and face
the dreary day. Most people know what it is to look forth after some night of heavy trouble, and see, with a kind of amazement, that a new day is breaking, that birds are beginning to chirp in the thickets, that husbandmen are setting out to their work. The opening of the second movement, fresh with a morning melody, suggests such an awakening ; Nature has not been arrested in her courses ; still the sun can rise, the tide ebb, and the wind sing in the grass. This ignorance by Nature of his deepest grief may comfort the sane man ; but to him with whom we are concerned, it comes as an added insult, a new tragedy. He, drinking his bitter cup, looks forth on the earth dressed for a summer morning, and feels how utterly alone he must be, when the very skies and trees are heedless of his sorrow.
Naturally enough the second part of the Allegro con grazia is an actual lament, to which the hollow throbbing of the drum adds an impression of physical pain. This lament, to which the 5-4 rhythm is so well adapted, throbs itself away, like the first movement, into quietness ; but it is not the oblivion of sleep so much as the silence of exhaustion that enfolds it at the end.
III On a March afternoon, after a day of rain and gloom, the wind sometimes
springs up to half a gale and blows freshly into the sunset. The slanting rays cannot warm it as it whips your face, but they gild it with faint glory, and the day departs with dignity. The third period of the Pathetic Symphony is heroic in a similar way ; after bitter sighs and tears, a gale of genuine strife sweeps into it here and blows away gloom. The very hopelessness that darkened other things, gilds this ; there is a glorious insanity in the abandonment to battle ; the clouds that formerly wept rain and dew yield here lightnings and thunder. And yet there is something in this march that would make it sadly out of place at a wedding feast, and strangely appropriate at a defeated warrior's funeral. The subconscious-ness that the whole fight is useless, that victory is impossible, that Death is creeping nearer, would rob the most strenuous endeaVours of their flavour ; and even while you listen to these glorious, exalted strains, you feel that the fight is already over, the day lost. Now, if your thoughts fly back to the first bars of the symphony, to the cruel commotion that followed, to the heavy sighs, the poor, fugitive joys, the bitter tears, the hundred deaths that were suffered, it becomes plain wherein the tragedy of this work consists.
IV And now the sunset gun has sounded, the bunting that flickered so bravely in
the sunlight has been hauled down, and the evening mists are rising. The last movement opens with the very touch of Death's chill hand ; and no living man knows what that touch means to the hopeless heart. The melody of the second subject, so like some of the earlier themes, recapitulates all the tones of suffering that have formerly been heard ; it expresses every kind of heartache known to men and women : the sighs of lovers at parting, the lingering death of hope, the foul murder of trust ; the benumbing sense of failure, the bitter knowledge of happiness passed by, the memory of priceless gifts rejected ; and, most bitter of all, sorrows of years ago which might have been joys. These rise like a mirage before the fading sight and then dissolve away ; the hour is at hand. There is one short, mad struggle, one last protest, a sinking and , waning of the heart's energy, a failing at the wells of life, and then—darkness.
(" Mastersingers," Filson Young.
interval.
2. 'Recitative anb Bria " Der Freischtitz "
inabarne 1Roll. G. M. von Weber.
3. Concerto, ID !Oaf or, for Cello & Orcbestra L. Hattenbach. Allegro. Adagio. Allegro moderato.
(FIRST PERFORMANCE).
%out lbattenbacb.
4. OverturC ... "Die Meistersinger " ... Richard Wagner.
No sooner do the first few bars of this masterly comedy sound, than stern Time seems to flag, falter, turn tail, and run back a few centuries, and, like the worthy golosh-clad councillor of Hans Andersen, we wake up to find ourselves a hundred or two years younger, sauntering through the queer old streets of Nurnberg, in the company of those famous master-singers of whose quaint costumes we have so often read. We seem to see it all—the various guilds in procession with banners flying ! the impetuous, passionate idealist Walther, head-over-ears in love with Master Goldsmith Pogner's daughter; tender little Eva, who shyly returns his passion the frolicsome apprentices, mimicking the somewhat pompous airs of their masters ; and, scenes the most diverse succeed one another without incongruity, conjured up by the spell of the music.
The Board of Management desire to acknowledge the generous offer of the Pianola Company to provide the full Scores and Orchestral parts of the Symphony in A Flat Major, by Elgar, and of the Overture, " Die Verkaufte Braut," by Smetana. Both works will be performed during the Season of 1910. The Symphony has just been completed, and its initial performances in London and elsewhere have proved most interesting.
Wie nahte mir der Schlummer, bevor ich ihn geseh'n ?
Ja, Liebe pflegt mit Kummer stets Hand in Hand zu geh'n !
Ob Mond auf seinem Pfad wohl lacht ? Welch schone Nacht !
Leise, leise, fromme Weise ! Sch wing' dich auf zum Sternenkreise ! Lied, erschalle ! feiernd walle Mein Gebet zur Himmels Halle !
Oh wie hell die gold'nen Sterne, mit wie reinem Glanz sie !
Nur dort in der Berge Ferne scheint ein Wetter aufzuziehn !
Dort am Wald auch schwebt ein Heer diist'rer Wolken, dumpf und schwer,
Zu dir wende ich die Halide, Herr ohn' Anfang und ohn' Ende Vor Gefahren uns zu wahren, Sende deine Engel Schaaren !
Alles pflegt schon langst der Ruh' ; Trauter Freund ! was weilest du ? Ob mein Ohr auch angstlich lauscht, Nur der Tannen Wipfel rauscht.
Nur das Birkenlaub im Hain Flustert durch die bange Stille Nur die Nachtigall und Grille Scheint der Nachtluft sich zu freu'n.
Doch wie ? tauscht mich nicht mein Ohr? Dort klingt's wie Schritte Dort aus der Tannen Mitte kommt was
hervor. Er ist's Die Flagge der Liebe mag weh'n Dein Madchen wacht noch in der Nacht.
Er scheint mich noch nicht zu seh'n Gott ! tauscht das Licht des Mondes nicht So schmUckt ein Blumenstrausz den Hut, Gewisz er hat den besten Schusz gethan !
Das kiindet Gluck far Morgen an I 0 siisze Hoffnung ! neu belebter Muth ! All' meine Pulse schlagen, und das Herz
wallt ungestilm, Stisz entziickt ehtgegen ihm
Konnt 'ich das zu hoffen wagen, Ja, es wandte sich das Gliick zu dem
theuren Freund zuriick Will sich morgen treu bewahren! Ist's nicht Tauschung ? ist's nicht Wahn? Himmel, nimm des Danke Zahren fur
dies Pfand der Hoffnung an I
Before my eyes beheld him sleep never was my foe,
But hand in hand with sorrow love e'er is wont to go
The moon displays her silv'ry light ; Oh ! lovely night !
Softly sighs the voice of ev'ning Stealing thro' yon willow grove ; While the stars, like guardian spirits, Set their nightly watch above !
Through the dark blue vault of ether silence reigns with soothing pow'r,
But a storm o'er yonder mountain darkly brooding seems to low'r !
And along yon forest's side clouds of dark-ness slowly glide,
Oh what terrors fills my bosom ! Where my Rodolph, dost thou rove? Oh may heav'n's protection shelter Him my heart must ever love 1
Earth has lull'd her cares to rest ; What delays my loit'ring love ? Fondly beats my anxious breast : Where, my Rodolph dost thou rove ?
Scarce the night wind's whisper'd vows Make a murmur 'mong the boughs! Now the widow'd nightingale Softly tells her piteous tale !
But hark ! a sound I hear in yonder grove ! Hark I Hark ! 'tis Rodolph's step ; it is my Again my heart shall prove [love ! The bliss that springs from anxious love I The moonbeam is shining bright I Oh, Heav'n ! does it mock my sight ?
With flow'ry wreaths his hat is bound ! Success ! success my Rodolph's hopes has
crown'd ! Oh, bliss ! thine Agnes then shall see
The victor's chaplet, giv'n, mylove, to thee. Hope again is waking, lulling in my anxious
breast Ev'ry doubting fear to rest, Joy once more is o'er me breaking.
Chasing, with her heav'nly light sorrow's dark and dreary night.
Hope now whispers that to-morrow sees my wishes fondly blest !
Is't illusion ! do I now dream ? Hence, then, ev'ry thought of sorrow Joy is now my bosom's guest,
Marshall-Hall Orchestra. Saturday Afternoon, September 18.
Cellos. Mr. Hattenbach „ Argenzio „ Cleaver „ Fox „ *Levy „ Montague, Snr. „ Montague, Jnr.
Miss Baker
Basses : Mr. Briese
„ Jochimsen „ Saran „ Tappe
flUtef.5 : Mr. Amadio, J. „ Russell „ Ricco
Oboes : Mr. Williams
„ Gill
Clarionets : Mr. Mortimer
„ Tipping
Bassoons : Mr. Lupton
„ Briginshaw
*Kindly give their services,
'bans : Mr. Kuhr
„ Wood „ White „ Finlay
trumpets :
Mr. Stoneham „ Code „ Holloway
trombones :
Mr. Code „ Rowe „ Mossman
tuba :
Mr. Vick
timpani
Mr. Munyard
Oran. Cassa, etc. *Mr. Crow
„ Haydon
The following Contributions have been received :- 1908.
£50 0 0 Henry M. Collins
1,000 0 0 J. S. Peterson ..
100 0 0 Anonymous (per Dr. Barrett)
100 0 0 Mrs. E. Yencken
100 0 0 Mrs. Joseph Archibald ..
50 0 0 Mrs. D. Hunter ..
25 0 0 Mrs. Robt. Harper
25 0 0 Mrs. Blanch ..
10 10 0 W. J. Schutt ..
10 0 0 E. Hartung ..
6 0 0 Edwd. Northcote
5 5 0 Mrs. S. Staughton
5 0 0 Mrs. A. B. Joshua
5 0 0 Dr. Charles Smith
5 0 0 H. Crossley ..
5 0 0 A. M. Lee
5 0 0 Pianola Coy.
5 0 0 A. Ford..
5 0 0 "Medico's Mite" 3 3 0
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 Yeneken .. .. Professor H. Laurie .. Dr. R. R. Stamen Mrs. A. McMurtrie Mrs. Henry G. Turner Dr. Percy Webster M. Philip Fox .. Mrs. Maudsley ..
Madame Melba, Gift of a complete set of Wood Wind, and Brass Instruments.
Allan & Co. Pty. Ltd. .. .. £50 0 Mrs. Edward Miller .. .. 10 10
L.J.L. .. .. •• Dr. A. L. Kenny (2nd instalment) 5 5 Arthur Patten .. .. .. 3 3 Mrs. John Sanderson .. .. 2 '2 C. H. E. Boese .. .. 10 is Frederic Beard .. 5 5
Total to date
1909.
Mrs. George Dickson 1/r. & Mrs. W. F. Orr
O Rev. E. H. Sugden O II. Sumner Martin O Madame V. Pett O Miss Lily McNaught O Miss E. Hookins O Alfred Nott • Mrs. A. McMurtrie (sec() 0
#flt ImigSmitioloo ointanott Cithottia trust *titi 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
DR. J. W. BARRETT, MR.EDWARD FITZGERALD,
Chairman. Hon. Treasurer.
Ma. M. P. Fox, Hon. Sec. DR. W. F. ORR
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
MR. S. G. PIRANI
PROF. HARRISON MOORE
MR. C. L. PINSCHOF
DR. HAMILTON RUSSELL
Library Digitised Collections
Title:
Program of the Marshall-Hall concert, 18/9/1909
Date:
1909
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Program of the Marshall-Hall concert, 18/9/1909
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