Zealots 1904.
Marshall =ball
Orchestral Concert.
Tirst Concert of the Season
being the 540) OM their inception
town hail, Melbourne,
Saturday Afternoon, April 3011)
3 p.111. *
it itOrchestra of Sixty=three Artists hon. e Olt dila 0 I' * *
Prof. 6. W. E. Marshall...hall Vocalist : 'Piss Elsie Davits
Prices of *Omission :
;balcony an0 liZontvc0 Cbair6 :WM? of Vali =
%outb Oallery an0 Brea
= 2/,---
113og Plait at /Ulan's.
C. 1)0Phi11:3, Crebe5tral Manager.
b
iDbiliP Sox, 472 Cbancar tam:,ZcevetarN!.
5. (a) Dance of Sylphs
(b) Hungarian March ••• Berlioz
MISS ELSIE DAVIES is leaving for Europe shortly and will give a FAREWELL CONCERT on MAY 14th.
4 • Programme . .
1. overture " Land of the Mountain and the Flood"
Parts kindly lent by Mr. C. Levy.
Hamish Mac Gunn
This work seems to embody in the most naive manner not only the characteristics of Highland scenery, but also something of the romantic enthusiastic chivalry which still exists among the Highland clans, to one of which the author belongs. The peculiarly Scotch atmosphere of the music is due not so much to the use of the particular scale on which the melody is built, as to the spirit in which this melody is conceived. The animation and boldness of the first theme seem to suggest something of the proud fear- lessness of the mountaineer amid the wild scenery of his native soil, just as the weird episode which follows gives a touch of the mystic legends attached to almost every rock and lake of the Highlands. How suggestive is this hoarse trombone voice, and the plaintive; fearful utterance of the clarinet, followed by semi-silences interrupted with short, sharp chords. Then what could be more charming than the tender romance of the second theme, rising gradually to impassioned bold eloquence. What heroic love-story is this clinging yet to these rugged untamed crags and secret mysterious waters ?
(Silva anterral to allow %ate Comoro to be seateb.)
ible to verbal description than that of other instrumental works, by reason of the lofty idealization which the feeling they express derives from the severity of the form which
,expresses it. There is a legend which tells us of a city of marvels that lies sunk beneath the sea ; the sound of bells comes up from the depths, and when the surface is calm, houses and streets are visible through the clear water, with all the stir and turmoil of busy, eager, human life—but it is infinitely far down, and every attempt to clutch the vision only troubles the waters and distorts the picture.—We feel the same thing as we listen to this music. All that stirred the soul of the composer—love and hatred, joy and sorrow, with their fortuitous and transient impulses—lie deep below the surface : faintly, remotely, we hear their echoes, and as we gaze through the crystal flood of sound, we see the living soul within, and perceive that it suffered or was gay, even like ourselves, only what it was that stirred it we may not see. But each of us can recognise with kindred feelings the experience of his own life . . ."
.4. Overture ••• " Liebesfrahling " Georg Schumann
The vivacity and brightness of this little orchestral love-lyric are easily to be appreciated. Those who still have the good fortune to have been born young will need no verbal assistance to understand the impulsive eagerness, rising at times to youthful passion, that pervades this sparkling music, which is a true lover's sermon preached to
,Goethe's text :
"Und ach, welch' gliick geliebt zit werden ! Und lieben, Glitter ! welch' em Gliick !"
2. 'Recitative ant) /Aria "Der Freischutz" C. M. von Weber
Mtge £19ie Tavie9. 3nterval.
Wie nahte mir der Schluminer, bevor ich ihn geselfn ?
Ja, Liebe pflegt mit Kummer stets Hand in Hand in geh'n !
Ob Mond auf seinem Pf ad wohl lacht ? Welch schiine Nacht !
Leise, leise, fromme Weise !
Sch wing' dich auf zum Sternenkreise ! Lied, erschalle ! feierud walle Mein Gebet zur Himmels Halle !
Oh wie hell die gold'nen Sterne, mit wie reinem Glanz sie gliih'n !
Nur dort in der Berge Ferne scheint ein Wetter aufzuziehn !
Dort am Wald auch schwebt ein Heer diist'rer Wolken, dnmpf und schwer.
Zu dir wende ich die Hfinde, Herr ohn' A nfang und ohn' Ende ! Vor Gefahreu uns zu wahren, Sende deine Engel Schaaren ! Alles pflegt schon lfingst der Ruh';
Trauter Freund ! was weilest du ? Ob mein Ohr finch kigstlich lauscht, Nur der Tannen Wipfel rauscht.
Nur das Birkenlaub im Hain Fliistert durch die bange Stille Nur die Nachtigall und Grille Scheint der Nachtluft sich zu freu'n.
Doch wie tfinscht 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 Macichen wacht noch in der Nacht.
Er scheint mich noch nicht zu seh'n Gott ! tiitischt das Licht des Mondes nicht So schmiickt eM Blumenstrausz den Hut, Gewisz er hat den besten Schusz gethan Das ktindet Gliick fiir Morgen an ! 0 siisze Hoffnung ! nen belebter Muth ! All' meine Pulse schlagen, und das Herz
wallt ungestiim, Siisz entziickt entgegen ihm ! Konnt 'ich das zn hoffen wagen,
Ja, es wandte sich das Gliick zu dem theuren Freund zuriick ;
Will sich mo•gen treu bewahren ! Ist's nicht Tauschiing. ? ist's nicht Wolin ? Himmel nimm des Dankes Zfihren fiir dies
Pfand der tioffnung an !
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' you 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 you 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 ! 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 ! Hark ! 'tis Rodolph's step ; it is my Again my heart shall prove [love ! The bliss that springs from anxious love ! The moonbeam is shining bright ! 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, my love, 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.
J. S. Bach
Bourrkle Gigue
Allegro Allegro vivaee
3. Suite ••• D major
Overture Air Gavotte (I.) Gavotte (II.)
Grave Lento Allegro Allegro
Vivace Grave
Nothing could form a saner relief to the strain of hysteria which infects the greater part of modern music, than the noble dignified atmosphere which breathes in the works of J. S. Bach. Although, with the exception of the Sublime'Air
'
which is widely known, this Suite does not aim at depicting those grander touches of human passion of which Bach was so profound a master ; it is full of energy, grace, and tenderness. With regard to the understanding of Bach's instrumental music nothing can be truer or better said than Spitta's eloquent summing up : "Their character as a whole is even more inaccess-
5. 5. ■ 111111)1101W C major
I. II.
Sostenuto assai Scherzo. Allegro vivace.
Allegro, ma non troppo Trio (1) Scherzo Trio (2) Scherzo
The solemn grandeur of the Introduction of this Symphony, never fails to make a deep and enduring impression on the mind analagous to that produced by the first sight of the ocean, or of mountains. It re-occurs, by a happy stroke of fancy, in the Coda of the last movement, but in modified form, and, like a transient flash of memory, is gone almost are we realize what it is, and whence.
The following movements are all simple, and lyrical in character, and expressive of the less complex fluctuations of joy and grief, unmixed with those deeper currents and mightier forces of which Beethoven is so unsurpassable an exponent. Nor do they even passingly touch on the underlying tragedy of life, but without being superficial are so naive and ingenuous as to be readily understood and enjoyed even at a first hearing.
THE
SECOND CONCERT of the Season
WILL BE GIVEN
On Saturday Afternoon, MAY 28th.
Programme.
1. Overture "Faust" ••• Wagner 2. Symphony E Flat Major Marshall-Hall 3. Overture "Academic" ... Brahms 4. Aria . ... "Fidelio" ... Beethoven
MISS MARGUERITE HENDERSON.
The Managers of the Concerts desire to acknow- ledge, with thanks, the purchase of music for use at these Concerts. Mr. L. L. Lewis has provided the Overture (1812) of Tschaikowsky, and Mr. Watkins the Tragic Symphony of Schubert. Both these works will be performed during the Season of 1905.
••• ... R. Schumann
Ill. IV.
Adagio expressivo Allegro molto vivace
Orchestra.
4
VOU119 :
/tr. 3Dtericb, %caber
„ Mains /Wes Ercbibalb
Misbop ,9 16renneche ,, Cop
Gollmich
„ lbornibge ., bunter
• aoacbfineen
flutes:
111Sr. lb. Stonebant Emabto VCCOIO :
111Sr. litarigbt Oboes:
111Sr. littlillianw ,, Gill
1
9, /11Sortimer Clarionets:
„ JulSumfort'
„ 'Port!) 111Sr. E. tpon6
„ parttes ,, %vow-
„ ScbiebItcb
„ Stevens 111SU313 Stanforb
,, ZugDen
%utcb 1111allenstein 1llS0511tAbitlep
„ lb. 'Weinberg
„ g. Iltleinberg
„ Zelman ,, Zeptin Violas:
111Sr. Dawoon /11Sr. lb. Va. %tonebant
111Sioe Cbarge „ lbollowap
111Sr.
lbws,, UUlilson
„ Zcbraber
„ ltiliebeinann 'trombones :
„ Zelman /11Sr. Dawson
'Cellos: „ lbingott
BISr. lbattenbacb „ 12Ubl
Cleaver
„ booths tuba:
„ illSontague 1115r. 1Rowc
„ 112oubanbi
Vrown
„ lftowe ,, %arm'
„
The Managers desire to thank Mr. J. C. Williamson, Mr. Wm. Anderson, and Mr. H. Rickards for their kindness in permitting members of the orchestra to attend rehearsals.
