Her Majesty's Theatre, Melbourne,
SATURDAY AFTERNOON,
— SEPT. 7, 1912, at 3 P.M. —
FOURTH CONCERT . . . of the Season .. .
Marshall:shall
Orchestral
Concert.
ANALYTICAL PROGRAMME
Prof. G. W. L. Marshall-Hall
1
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THEIR EXCELLENCIES THE GOVERNOR-GENERAL l- LADY DENMAN, HIS EXCELLENCY THE STATE GOVERNOR & LADY FULLER.
1912:
Fourth Concert of the Season,
... being the 110th since its inception....
HER MAJESTY'S THEATRE, MELBOURNE, Saturday Afternoon, Sept. 7th, 1912, at 3 p.m.
NIARSI--IALL-HALL ORCHESTRAL CONCERT
" 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 recollections by the pangs of self-reproach."
—T. H. HUXLEY.
Solo Pianist - HERR EDUARD SCHARF.
ORCHESTRA OF 66 ARTISTS.
Conductor:
Professor G. W. L. Marshall-Hall.
2
Marshall-Hall Orchestra.
SATURDAY AFTERNOON, SEPT. 7, 1912.Conductor : Professor G. W. L. MARSHALL-HALL.
Violins :
Mr. Ernest Toy
(Leader)
„ North
„ Briglia
„ Di Gilio
„ Hume
„ H.Marshall-Hall
„ Parkes
„ Schuster
„ Schoknecht
„ Trevena Mrs. Brookes
„ Ewart
„ Manby Miss Aitkin
Archibald Baker Carruthers Campbell Crozier Gray Healy Hart Hansford Marks Nanson Trenerry Walters
Violas :
Mr. Dawson
„ Williams Miss Baker
Metters
If McMahon
Cellos :
Mr. Hattenbach
„ E. Crow
„ Hennesey
„ MacLeod
„ Meldrum Miss Baker
„ Hume Black
Masses :
Mr. Thatcher Acfield Dodge Oliver Tappe
flutes:
Mr. Amadio
„ Russell
Oboes :
Mr. Brogden
„ Cober
Tel. 1155.
Clarinets :
Mr. Edmeston
„ Mohr
Vassoons :
Mr. P. Briginshaw
„ Chapman
bouts :
Mr. Kuhr Levey Wood Finlay
trumpets
: Mr. Percy Jones„ Osborne
trombones :
Mr. Fletcher
„ Bowker
11 Mossman
tuba :
Mr. Coram
Irpmpani :
Mr. Crow
40
Forte Flakes.
Toasted Maize
(Malted).
GRAIN FOODS
which enter so largely into the diets of all Nations, supply to the system what is required for the development (under healthy conditions), of Brain and Muscle. For centuries the grains have been ground, sifted and cooked, sodden with water. In this condition the food so valuable in itself, often produces Flatulence, and is quite indigestible to many people. With the advent of scientific research into the matter of Food production, the old time porridges must give way to the Foods prepared with greater skill.
In the Preparation of our
40
FORTE FLAKES
the whole of the nutriment is retained, the grain being subject to a cooking process by superheated steam and then rolled and toasted ready for food in the form of
delicious, crisp nutritious flakes.
960
Fortiz. Flakes
can be had from your Grocer.
Don't Forget ; it is WIIAT YOU WANT.
V
Orchestral Manager:
J. SUTTON CROW, Glen's, Collins Street.
AFTERNOON TEA may be obtained in the Dress Circle Lounge during the Interval.
5
PROGRAMME.
1. SYMPHONY,
"The Clock," No. 4, in D Major
1. Adagio. Presto.
2. Andante.
3. Menuetto.
4. Vivace. Finale.
Haydn.
2. TRAGIC OVERTURE
Brahms.
INTERVAL.
3. SYMPHONIC VARIATIONS -
Caesar Franck.
Pianoforte
-1Derr Ebuar %d'art
4. OVERTURE,
"Der Freischutz " Weber.
The Conservatorium of Music,
Melbourne, 12th December, 1911.
The Wertheim Australian Piano which I used pro- fessionally during the period of one year, for hours every day, has stood this severe test so remarkably well that it shows practically no sign of wear. Such durability is to me the most convincing evidence of the excellent quality of the material used, and the honest workmanship and skill bestowed on the construction of these instru- ments—the very points of which the uninitiated buyer of a piano is naturally unable to make sure of at the time of purchase.
Taking into consideration the other more obvious good points—full, rich and brilliant tone, even action and ele- gant appearance of the case—I can understand that the Wertheim Australian Piano begins to find the general recognition which it deserves.
(Sgd.) EDUARD SCHARF.
We have many other Voluntary Tributes from various
sources—
copies on request.
Australian PIANOS'
•
Read these Letters in
Praise of the Wertheim.
Tone-Quality, Workmanship and Case Designs
Never fail to elicit the Praise of
Competent Critics.The Conservatorium of Music, Melbourne, 26th February, 1912.
Gentlemen,
I have much pleasure in stating that I have found the Upright Grand Wertheim Australian Piano supplied to me in all respects excellent. Its tone is good and of a distinctive colour. The touch is elastic, and the Silky Oak Case one of the most beautiful designs to be seen any- where.
I hope your model factory will proceed to fill the world with instruments as fine in construction and sound as the one which possess. I congratulate you heartily on the remarkable success of your great undertaking, and wish you all prosperity for the future.
I remain, very truly yours,
(Sgd.) G. W. L. MARSHALL-HALL.
WERTHEIM CENTRAL SHOWROOMS,
294-6 BOURKE ST., MELBOURNE.
Conductor :
Prof, G. W. L. Marshall-Hall.
M. PHILIP FOX, Hon. Sec.,
41 4 Collins Street.
The Management desires to announce an extra Concert which the Conductor and Orchestra have arranged as a Compli- mentary Concert for the benefit of certain members of the Orchestra who have suffered and still suffer serious pecuniary loss by reason of their continuing to play at these Concerts. The success of the Concerts during the last three seasons has been largely due to the loyal support of the Orchestra, and it is hoped that the Patrons of the Concerts and the public generally will avail themselves of this opportunity to show their appreciation.
The programme, which will be announced shortly, will be of exceptional interest, and will comprise a selection of the most
popular
works recently performed.
7
Fifth Orchestral Concert of the Season
will be given at
HER MAJESTY'S THEATRE, Saturday Afternoon, Oct. 5th, at i p.m.
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1. SYMPHONY, No.
7 Beethoven.
2. L'APRES MIDI D'UN FAUNE
Debussy.
3. CONCERTO, PIANOFORTE AND ORCHESTRA, A Minor, Op. 54
Schumann.
Pianoforte
Miss iRita ibope.
4. OVERTURE, No. 4, " Flying Dutchman " -
Wagner.
Third Chamber Music Concert,
CHAPTER HOUSE,
Rear of St. Paul's Cathedral,
Tuesday Evening, 10th Sept., at 8 p.m.
programme.
1. QUARTETT in E Flat, Op. 51
Dvorak.
2. SONGS
Schumann.
Mrs. Patten.
3. SONATA PIANO & FLUTE -
Bach.
Piano—MSS
'Rita lbope•
Elute— /Br.3obn Zimabto.
4. QUARTETT FOR PIANOFORTE & STRINGS, G Minor, No. 1
Mozart.
Piano —fibr. Elvins.
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Sympbonv
in D - " The Clock " -Josebh Haydn.
" In little exquisite surprises
Bubbling deliciousness of thee arises From sudden places,
Under the common traces
Of my most lethargied and customed paces."
—FRANCIS THOMPSON.
These words by a little known but great English poet aptly suggest the ever-fresh and vernal charm of Haydn's music. In modern days, when our ears are ringing with the complex and occasionally strident tones of a more fully developed art—an art that has arrived at its inheritance of those maturer joys and sorrows that come with manhood—it is well for us to turn aside, and, as it were, make holiday awhile in those green lanes and pleasant places where the deeper notes of a struggling humanity only reach us in faint fat away echoes.
The "Clock" Symphony is one of the "Salomon" set ; and appears in the London Philharmonic Society's Catalogue (179'- 1795) as the eleventh of this series of twelve symphonies. It is called the "Clock" by reason of a persistent accompanying figure that appears in the second movement, and which distinctly sug- gests the "tick-tack, tick-tack" of such a clock as Longfellow wrote of.
It was composed in the year 1794, and is as fresh and sparkling now as it was more than one hundred and twenty years ago. Haydn possessed the very elixir of youth, and the morning dew seems to be-jewel much of his work as sweetly to- day as it did when it was newly created. Thoughts of spring, sunshine and innocent child-like gaiety are inseparable from our idea of Haydn. Even his courtliness and grace of utterance (which were in some measure the result of his long years of official duties in the service of some Grand Duke, whose name is now re- membered solely in its connection with Haydn's own !) were never such as obscured the genial peasant ; who, with his unfailing rustic charm, remained a child of nature to the end of his life. All these qualities are to be found in the "Clock" Symphony, and if we but open our hearts and ears to "Papa" Haydn we shall hear the very song of youth and spring.
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10
FIRST MOVEMENT.
Adagio.
An introductory Adagio in D Minor of great beauty, suggest- ing the "heaviness that may endure for a night" but with hints of the advent of morning joy, commences as follows :—
And although there are only 23 bars before the Presto appears (with which the first movement, proper, begins) this introduction is a delicious litle tone-poem--significant not merely by reason of its own beauty, but as a germ that was to develop, in the works of later composers, into an organism of great importance and vitality.
Presto.
With a change of key to D Major, and an upward-springing scale of the violins, the light-hearted first subject dances into being :—
4
to be followed, after various formalities, by the second subject:—
ea4
with this charming continuation :--
In the days before Beethoven had evolved the principles of contrast in the selection of thematic material, we find that "first"
and "second" subjects are frequently of similar type—one a varia- tion of the other. This is more marked with Haydn than Mozart.
Hadow, comparing the methods of these contemporaries, says, in the Oxford History of Music:—`"Haydn wrote with fewer strands. In his quartette writing he is often content with a single chief melody ; even in his Paris Symphonies his second subject is more frequently -a series of inter-connected phrases than an or- ganised melodic stanza. When he writes a great tune it touches a deeper emotion than any of Mozart's, but he does so more rarely, and with a more sparing hand."
11
This " inter-connection" is clearly marked in this Symphony :---
The Fantasia opens with a merry discussion of the second subject by the second violins, over which a little wisp of a five- note figure dances on the first violins.
4
Later, in the recapitulation section, Haydn reproduces this treatment, though, of course, in D instead of A, when this theme re-appears. After twenty-seven bars we are plunged, in a truly Beethoven-ish manner, into the key of C, and held there while a vigorous "hag" expends itself on the inversion of the principal
subject (Ex. 2). Soon the way is prepared for the recapitulation, which runs a vivacious course until, after the flute, oboe, and bassoon have echoed the strings in Ex. 2, Haydn "presents arms,"
and the movement ends.
SECOND MOVEMENT.
Andante.
After one bar of introduction, in which is heard the charac- teristic figure of accompaniment (before mentioned as responsible for the name given to this Symphony) the violins have the follow- ing gracious melody :—
S.,
with the continuation :—
sLJ
•
The second part of the Andante (which though, roughly, in Ternary form, in reality consists of a series of variations) corn-
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12
mences with a surprising "forte" in G Minor and a treatment of Ex. 7 (A). From the return of the major key to the close of the movement the variations are crystal-clear ; commencing with a delightful passage, in which the first violins play the melody accom- panied by the Flute, Oboe, and Bassoon. It will be observed that the Clarinet, so beloved of later composers, has no solo work to do. In the days in which this Symphony was written the clarinet was still on its trial, so to speak, as a permanent member of the orchestra.
THIRD MOVEMENT.
Menuetto.
Although Haydn is known to have prayed for
a
man who would invent a new form of minuet (a prayer to be answered in the Scherzi of Beethoven), we have in this movement (more especially in its Trio) a greater suggestion of the new order of things than he was probably aware of. It starts off with a passage of strong contrast :—'9
Trio
The repeated pianissimo chords of the strings, over which the flute plays a charming little rustic melody, usher in the Trio :—
.ft7
F
It suggests a popular country tune played at a fair ; and it requires no great stretch of the imagination to identify the inter- rupting "tutti " of four bars as the boisterous chorus of approval sung by the onlookers. After an interchange of ideas on the parts of flute and bassoon (heartily endorsed by the full orchestra) a return is made, at no great length, to the minuet.
FOURTH MOVEMENT.
Vivace.
Finale.
A typical folk-song tune after Haydn's own heart, scored for strings alone, commences the Rondo which forms the finale :—
" Shave "
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The delicate poise of the oboe holding-note, before it allows itself to join the violins, reveals the master-hand, and is one of a hundred points of beauty, exquisite in their very simplicity, with which the score abounds. After the second appearance of the Rondo theme a graceful piece of writing (a development of Ex.
II (B) ) leads to the second episode :—
Again we find evidence of the "inter-connection" of thematic material :—
I
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"Hie final section, on the return of the major key, commences fugally, with an irresistible counterpoint accompanying the Rondo theme :—
This runs its light-hearted path until the full orchestra bursts into the peroration ; allowing the strings, however, eleven bars' peace for their own last version of the subject matter, before the Symphony is brought to a conclusion.
Haydn's music (to quote from Hadow again) "is all suffused with a sense of mellowness and maturity, of long experience and old age honourably won ; it is too serene for passion, too wise for sadness, too single-hearted for regret ; it has learned the lesson
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A lovely, passionate melody (second subject) enters on the Violins.
16
of life and will question its fate no further. When the French attacked Vienna, in i8og, a shot fell near his house, and his ser- vants in terror fled to his room for protection. 'Children,' he said, 'there is no need to be frightened : no harm can happen to you while Haydn is by.' It is not a fantasy of interpretation which bids us find in his music the quiet unquestioning confidence of one who, throughout his seven and seventy years, remained 'in wit a man, in simplicity a child.' "
FRITZ HART.
Overture "
Tragic " - joh. Brahms.This tone-poem which, for want of a better name, Brahms has classed as an "overture," is of a sombre, energetic character.
Although, in spite of its suggestive title, it is not founded on any actual story, the feelings which it excites are not unlike those of some of our fine old border-ballads of
"Far-off, old, unhappy things, and battles long ago."
After two pregnant opening chords the first theme appears on the strings :
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An important figure mingles with the foregoing.
17
is inverted by the Basses, and leads to a syncopated passage, which has its origin in No. 1, bar 5.
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With that subtlety of workmanship peculiar to Brahms, the first theme now becomes disintegrated, and its various component parts develop an individual existence, becoming full of unexpected meaning and beauty. The two opening chords reappear in ex- tended form on solemn trombones, amid the hushed soughing of the Strings.
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It is succeeded by a figure of energetic rhythm.
the counter-subject to which, in the Basses, goes through a series of ever more interesting metamorphoses, until it finally merges into the following splendidly strenuous definite shape.
In the course of the general development a striking effect is made by the slowing down of the rhythm, while the dotted quaver figure in bars 5 and 6 of the first subject (No. t) are used as an entirely new starting point both for the poetic intent, and the musical treatment.
The beautiful episodical elaboration of the first subject, in- stead of the conventional recapitulation, is an interesting point.
But the wonderful construction of a work of art of this nature, while it is an entertaining and highly instructive study for the studio, if indulged in in the concert hall, during the performance of the work in question, can only distract attention from the message which the composer is endeavouring to convey to the higher mind in us. The ingenuities and beauties of Form are but means to an end, and although doubtless the study of these means greatly helps us towards attaining the end, yet if it divert our attention from the latter, even for a single moment, it is study mis-applied, and actually prevents what it should help to attain.
Indeed it were well if all programme-writers were consumed in the flames of their own programmes, as a burnt offering to the Manes of the composer.
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21
Vartattons Zpnwhontques for piano any Orchestra
Pianoforte
-lherr Ebuarb SebaC
r asar f e Franck.
We have here a new, serious, undoubted art work, direct and simple in its message, for all its modernly surprising harmonies.
A work free in form, French, fine in delicate workmanship, and, above all, possessing that indefinable provocation to our nerves—
the national
"esprit"
Notwithstanding this "allure" (in which Franck is French enough certainly), he belongs, I think, to that group of modern Frenchmen whose musical ancestry is more Teutonic than Gallic. Take the first exposure of the theme after the introduction; how Teutonic—the simple, broad treatment of it—what a Teutonic sentiment in the theme itself ! And to press nearer still, the introduction, beautiful as it is, surely could never be heard newly, without the memory of its inevitable prototype (conscious or unconscious) in our ears—the slow movement of the
"Beethoven G Major Piano Concerto."
The work begins with a strongly contrasted duologue of the two elements, orchestra and piano. The orchestra opening the discussion, challenging, sternly remote.
Ree■ItZ ip-o
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The piano answers, wistfully—a tentative, pleading subject :
MEI E7 t
Again, and again, the same spirit, in question and answer, each modifying only within its character. The orchestra, aloof, and stern, the piano still pleading, till in a monologue, almost a recitative, the piano foreshadows the theme that will follow, leading back, through some hard questionings, to its complete expression—a broad, simple, lovely theme :
A
S in the case of M. Debussy, so ri with many other distinguished musicians, the Metrostyle was one of the chief factors in winning recognition for the PIANOLA.One of Grieg's last tasks before his death was the Metrostyling of his most popular compositions for the PIANOLA.
Strauss gave a letter to the Pianola Company in which he said " If I had not heard it myself, it would have ap- peared as incredible that it should render the very playing of the artist as if he were sitting personally at the instru- ment."
Josef Hofmann says " The Metro- style places the PIANOLA beyond all competitors."
In the words of Humperdinck " the Metrostyle is almost as valuable as the PIANOLA itself."
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The Standard Piano-Player of the World.
Important Recognition of the PIANOLA From M. Debussy
F E417 Composers of the Present day are so much talked of in advanced musical circles as Claude Debussy, composer of
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It therefore happens that he is one of the last of prominent musicians to interest himself in the PIANO LA. M. Debussy was finally persuaded to call at the Pianola Co's. Paris branch, and make a thorough investigation of the instrument. Having convinced himself that the PIANOLA is essentially artistic, he not only gave the Pianola Company an autograph letter in which he declared that "recognition of the PIANOLA is assured from all true artists," but he also consented to Metrostyle his own compositions.
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The debonair, charming S
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swinging like a bird on a bough.
And an episodical one, new in thought, rhythmical and vigorous :
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22
After which a new spirit enters the discussion, as if the dis- closures of the theme had brought both elements, somehow, to the one level of wistfulness. A delicately sensitive dialogue hap- pens, the most beautiful moment of the work, perhaps :
Through the variations that follow (unlike most modern varia- tion works) the theme alters its character inappreciably.
The orchestra, for the most part, points the essential frag- ments of the melody, and the piano garnitures and embroiders an accompaniment, or spins a gossamer to cover it with many subtle harmonic devices, however; merging gradually to a formal de- velopment the sensitive, wistful theme, deepening in character, till the complete resignation of the sorrowful duet between the 'cellos and piano calls for a reaction, and the naturally contrasting mood of the final variation answers :—
Here three merry figures jostle and alternate one with the other.
The initial little pleading piano figure of the introduction, now out for "carnival," having taken "more than heart" :
JJ AtZyn,
And so, hot paced to the close—a breathless close—for at whiles the orchestra threatens to be left behind, so conspicuously late are its entries. However, they do finish together, and in much glee .
0 . S .
23
Overture
" Der Freischutz "C. v. Weber.
This famous overture is one of the first works of its kind in which an attempt has been made to impress definite ideas on musical form, and is really as much programme-music as anything of Richard Strauss. It opens with a rural scene unmistakeably depicted by the lovely horn-passage which follows on the impres- sive octaves that introduce the overture :—
111111211111 0111Mall
Equally clear and beautiful is the weirdly suggestive phrase descriptive of the powers of darkness : a diminished chord, a tremolo of the Strings, two low notes of the clarionet, the
" pizzicato " of the Basses, and two dim taps of the drum, and the whole mysterious underworld of our fears and our superstitions is called up.
Then this sigh of the 'Cellos, of what human grief and doubt does it not speak ! These are not mere musical phrases ; they are aural pictures, which ever since their creation have appealed to the imagination of every listener. There is no missing the picturesque wildness of the first theme of the Allegro :—
T
r
The rugged sweep of the Strings by which it is followed :—
and the strident passage for the Brass :
ZO M MIIIER WZME3
1912 1820
A LONG STRIDE
JOHN WALKER & SONS, LTD, SCOTCH WHISKY DISTILLER., KILMAENo, SYDNEY AND IVIELDOLIVE.
24
evoke nature scenes equivalent to the storm-beaten glen through which the spectre-huntsmen wildly ride in the actual opera. Nor needs the plaintive cry of the clarionet, heard above the quiver- ing Strings, so inadequate an interpreter as the pedantic word, to make its meaning clear to our heart. Could anything dissuade us of the consoling grace of the melody thus evoked, and given out on the Violins and Flute?
Is it not as certain as our belief in the ultimate triumph of goodness, that this divinely transcendant theme, after the inevit- able conflict of all these gathered forces, must wing its victorious way to the heights, bearing all things before it. And so it happens, in one of the most inspired "codas" ever dreamt of by poet. Whether we look on Weber's overture as a "piece of music," or a novel with a "happy ending," the fact remains that it evokes scenes from the world in which we live, and, arouses in us purely human sympathies, and yet remains, from The ex- clusively musical point of view, a perfect piece of art. To the gods all things are possible.
Au&
ULM The Queen
uses a
Spencer Piano.
Mdlle. Janotha, Pianist to German Imperial Court ; Dr.
Frederick H. Cowen, Conductor of the Philharmonic So- ciety, London ; Mme. Albani ; Mr. Francesco Berger, Prof.
at Royal Academy of Music ; Signor L. Denza, the Eminent Composer, and many other modern musicians speak highly
of the SPENCER PIANO.
British Built.
The Queen's Model Spencer is over- strung with check repeater action, extended iron frame and handsome walnut case. The SPENCER is ill use on over 80 British warships, and so sound is its construction that its mellowness of tone and original sweet- ness increase as the years go by. . . .
Prices X5
from
0.
DRESSLER PIANOS.—These are high-class German instruments that give the greatest satisfaction. Price 251.
Each of the above Pianos is a Perfect instru- ment in its class. The tone is clear, and of magnificent quality, the action responds quickly to the touch and the case designs are particu- larly handsome.
Musical Instruments.—We carry large stocks by well- known makers.
The Pathephone.—Music-lovers should hear the Grand Opera Records of leading artists on the Pathephone. The Orchestral Selections are particularly fine, and are by the leading orchestras of the world.
Call on Us or Write.
MACROW'S
"THE CENTREWAY,"261 Collins Street, Melbourne.
tit atly 004(113'4
27
41httilestitit riot MI
Established May, 1908.
The initiation of this fund was due to the generous action of Mr. A. E. J. Lee 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 referred to.
MRS. ALBERT MILLER MRS. ALFRED DEAKIN MRS. MAUDSLEY DR. J. W. BARRETT,
Chairman.
Board of Management.
Me. M. P. Fox, Hon. Sec.
MR. C. BEAUCHAMP, JUN.
MR. EDWARD FITZGERALD, Hon. Treasurer.
DR. W. F. ORR
MR. S. G. PIRANI PROF. HARRISON MOORE MR. C. L. PINSCHOF.
DR. HAMILTON RUSSEL.
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 L'
The following Contributions have been received :—
'908.
The Lady Northeote, C.I.
A. E. J. Lee 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 (second donation) ..
Professor and Mrs. Masson Dr. A. L. Kenny (1st instalment) ..
Miss Alice Yeneken Professor H. Laurie Dr. R. R. Stawell Mrs. A. McMurtrie Mrs. Henry G. Turner Dr. Percy Webster M. Philip Fox ..
Mrs. Maudsley
£50 1,000 100 100 100 50 26 26 10 1 10
5 5 5 5 5 5 6 5 5 3
Henry M. Collins
J. S. Peterson .. .. ..
Anonymous (per Dr. Barrett) ..
Mrs. E. Yeneken .. ..
Mrs. Joseph Archibald .. ..
Mrs. D. limiter .. .. ..
Mrs. Robt. Harper ..
Mrs. Blanch ..
W. J. Schutt ..
E Hartung ..
Edwd. Northeote Mrs. S. Staughton Mrs. A. B. Joshua Dr. Charles Smith H. Crossley ..
A. M. Lee ..
Pianola Coy. ..
A. Ford.. ..
"Medico's Mite"
3 3 3 3 3 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 0 1 1 1 1 1 1 0 10 10 0 26 0 1 I 2 2
RONISCH PIANOS
28
1909.
£50 0 0 Rev. E. H. Sugden 1 1
10 10 H. Sumner Martin 5 5
2 2 Madame V Pett 6 6
6 Miss Lily MoNaught 0 10
3 3 Miss K. Hookins 1 0
2 2 Alfred Nott 1 1
10 10 Mrs. A. McMurtrie (second donation) 5 0
5 5 J. A. Levey .. 2 2
2 2 Percival Serle 2 2
1 0 Miss Alice Yencken 5 0
21 0
910.
£50 John G. Addison (let instalment) 5 5
10 1 Stewart S. Lang 2 2
10 " H.W.M. 1 1
60 Miss Elsie Kozminsky (2nd instalment) 0 10
100 Mrs. S. Hale .. 0 10
5 Joel Fox 5 5
3 G. C. Nicholson 1 1.
2 Jno. Hindson 1 1
01 Miss Alice Yencken 5 0
2 Professor and Mrs. Harrison Moore 5 6
5 Anonymous (per J. W.B.) 1 1
100 Dr. and Mrs. Smith . 3 3
100 George Fairbairn, 1 1
5 Mrs Alice Patten 2 2
3
1911.
100 0 0 Mr. & Mrs. F. C. Courtney 10 0 0
100 0 0 W. F. Steele .. 1 1 0
5 5 C Mrs. Hale 0 10 0
25 0 0 Miss Alice Yencken 5 0 C
1 1 0 Mrs. Lewis Kiddle.. 6 0 0
5 5 0 Dr. & Mrs. W. F. Orr 5 5 0 1912.
1 1 0 Dr. A. L. Kenny (5th instalment) .. 5 6 0
5 5 0 J. Cuthbert Trail! 25 0 0
100 0 0 Madame V. Pett (2nd donation) 2 2 0 100 0 0
Allan & Co. Pty Ltd. .. ..
Mrs. Edward Miller .. ..
L.G.J. .. .. .. ..
Dr. A. L. Kenny (2nd instalment) Arthur Patten .. ..
Mrs. John Sanderson ..
C H. E. Boese .. ..
Frederic Beard .. ..
Mrs. George Dickson ..
Mrs. John Simeon ..
Dr. & Mrs. W. F. Orr ..
The Lady Northcote, C.I.
The Hon. Alfred Deakin Mrs. W. J Buchanan ..
The Hon. W. L. Baillieu..
The Hon. G. Swinburne.
Dr. A. L. Kenny (3rd instalment) Mrs. Burner
Mrs. T. a'B. Weigall Miss Elsie Kozminsky Mrs. S. J. Staughton N. Maine
Madame Melba (1st instalment) Dr. and Mrs. J. W. Barrett Mrs. Edward A. Petherick Dr. J, Smyth ..
Madame Melba (2nd instalment) Dr. and Mrs. J. W. Barrett Dr. A. L. Kenny (4th instalment) Mr. & Mrs. Herbert Brookes ..
Mrs. V. Wischer
John G. Addison (2nd instalment) Mrs. T. a'B. Weigall
Mrs. E. Glen Saunders
Madame Melba (3rd instalment) ..
Dr. & Mrs. J. W. Barrett..
Total to date £2,711 8 6
Donations of Instruments to the Management.
Madame Melba donated a complete set of Wood-wind and Brass instruments of Continental pitch.
THE FAMOUS
Roniscb
YEA X .2111.1\T CIO •
Admitted to be " Incomparable " New Models in Elegant and Chaste Designs. OVER 49,000 SOLD,
improve year by year as the famous firm grows older. The fine and durable workmanship and magnificent tone—capable of all shades of expression and force—give full satisfaction to amateur and artist alike. Recommended
by
Leading Musicians.Terms Arranged to Suit Customers.
SOLE AGENTS
:
Carnegie and Sons,
106 ELIZABETH STREET.
itonisch Pianos, Gors & Kallmann Pianos, Brinsmead Pianos, Schwechten Pianos, Angelus Pianos, and the Wonderful Angelus Piano Player ; also, the Mellow toned Bell Organs.
A fair value allowed for your old Piano in exchange.
The elaviola
Piano Player
Is the Perfection of the Piano Builders' Art.
and is endorsed by-
MELBA
ADA CROSSLEY E. H. LEMARE CLARA BUTT JAN KUBELIK BACKHAUS
CALVE CARRENO SC HWARENCKA
EUGEN D'ALBERT WIENIAWSKI HAROLD BAUER
SEND FOR ILLUSTRATED DESCRIPTIVE BOOKLET C.
lodihria
to1114011
=11■
10"Sole Agents
