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Orchestral concert.
s eason, 1907.
00_
jfiftb Concert of the Zeason,
being the 7Stb since their inception.
'own ball, flbetbourne,
%aturbap afternoon, ang. 3,
3 p.m. .,
J1 I,orchestra of 79 Litti6ts.
ConNictor:
Prof. 0. U.11.11d.flbarsban,lbatt.
Vocalist :
(Ihabani ittiba %man.
Prices of Admission
3Balcony anb Veserneb Chairs 5/0.
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a rea ...- ..-. = 2/=-.
Vog plan at Ellan's.
%utton Crow,
Orelustre ,fRanager.AS. iphaip fox, 472 Chancery Zane,
wort. ,ecretarg.
I.C.OTEP S.PAINT[11.1 ,14 LOIACITX 11711.r.Programme.
1. Svmpboity• in E Minor, No. 4 Bra h ins.
1. Allegro non trofifio. E Minor.
2. Andante moderato. E Major.
3. Allegro giocoso. C Major.
4. Allegro energico e fiassionato. E Minor.
Those for whom change of frivolity rather than of thought alone constitutes amusement, find them- selves equally out of place before a Shakesperian drama ; a fresco of, say, Leonardo ; or a symphony of Brahms ; or indeed before any work in which a large mind has sincerely embodied the impression made upon it by some particular aspect of life. The enthusiastic warmth with which the three former noble symphonies of the great German tone-poet were received in this building, sufficiently shows that no such misapprehension exists among the audience assembled to-day to enjoy the last and greatest, even if the sternest, of Brahma' orchestral masterpieces. It is indeed the work of one whose outlook on life is not circumscribed by any mere personal aspect, but rather reaches out over human and extra-human existence in the broadest historical sense. Who is there, after all, - that has lived sufficiently long to be able to weigh with some accuracy the proportion betwixt the doings and sufferings of sentient beings, but must share something of the austere melancholy of this powerful poem ? Of its deep understanding sympathy, so far removed from plebeian hysteria ? Its grand fatalism which impersonally and unappalled depicts, as a profoundly interesting spectacle, the move- ment of those forces of whose action and counter-action we acting, thinking, feeling creatures, with our aspirations, failures, heroisms, tragedies, are but insignificant episodes ? For evermore man bruises himself against the inevitable ; it is the history of our race, which the poet has realised for us in immortal passioning tones.
I.
The first movement is the necessary antecedent to the last, and is opposed to it as the sentient suffering element to that which is unconsciously active, as man to destiny. Or, since these two elements occur in both, it should rather be said that in the one the first preponderates and creates the general emotional atmosphere, in the other the second. The first subject is of a haunting pathos, which ever seems about to flame into passionate utterance, but is repressed. An immense sadness pervades the movement, which not even the energy of the second subject, with its conflicting duple and triple rhythms, can prevail against. Yet there is a power of will, of resistance, which unflaggingly exerts itself with ever greater force till it culminates in the outburst of the last indignant phrases : leaving an impression if of heavy-heartedness, yet of virile strength, to be crushed, not conquered.
There is an indescribably gentle gravity in the melody which succeeds the opening tones, with its strange beautiful harmonic fragrance. How many exquisite fancies does this little characteristic rhythmic figure give rise to in the course of its tonal life. Cell gives out cell, till the whole blossom stands miraculously before us, with all its infinite variations of form, and texture, and colour. The melancholy of the previous movement is here also reflected, but less intensely, as a pale delicate dream;
nor is the forceful element absent, but how different in its presentment ! It is life re-experienced through meditation, its rudeness softened in the quiet evening light of memory.
III.
This Scherzo forms a startling contrast by reason of its general humour and gaiety. All too serious thoughts are banished, conviviality and jollity reign supreme. only with here and there a gentler, but still cheerful, touch. It represents one of the most characteristic and delightful phases of the great Master, and there is something in its jollity so large, so vivacious, so Elizabethan, that far from being out of place in so grave a work, it sets its other qualities the better off. Indeed in life itself there is no strain so enduring but will have its hour of relaxation. Atlas himself was by the clown Hercules relieved for a moment of his monstrous burthen.
IV.
Is there any work, r utside of one or two of the sublime Organ preludes and fugues of J. S. Bach, which so grandly and objectively depicts power and activity as this stupendous Finale. It is a passacaglia, the 8 bar theme of which, given out by the full wind-orchestra at first, repeats itself no less than 37 times in succession underneath the wonderful melodies which build themselves up over it in inexhaustible profusion, and melt away--forgotten worlds ! The changing moods are too distinctly characterised to need comment. Especial attention may, hoe ever, be drawn to the exquisite pathos of the Solo Flute, following closely after those marvellous breathless interchanges of chords between the Strings and Wood-wind ; to the change into E Major with its entrancing colloquy between the Clarinet, Oboi, and Flute ; to the never-to-be-forgotten solemnity of the Trombones, wherein the Un- speakable itself is revealed to us ; and finally to that unearthly, awful, intonation of the Horns and Trumpets, answered by the dire shout of the Orchestra. But in truth the mind searches the world of experience in vain for forms by which to convey verbally some faint impression of the vast emotional profundities of this sublime music ; before which the paltry sensualities, and hysterical self-pity of latter-day art, seems tawdry and vacuous. It is riot our nerves but our minds that are stirred. Exist- ence in its grandest aspect is presented to us ; in the words of the sober scientist, dormant sentiments are aroused of which we do not know the meaning ; we are told of things we have not seen arid shall
not see.
interval.
2. Ouvertureofantatste " Romeo and Juliet " Tschaikowsky.
To this singularly passionate and beautiful work, which must he reckoned among its author's rarest masterpieces, Tschaikowsky affixed the title otiverture-fantaisie to indicate that it was a musical expression of the whole general effect left on his mind by the Engiisn Dram dist'e tragedy, rather than a prelude, or an attempt to pursue the tragic sequence of its incidents. With singular felicity he has preserved the balance of his original between the disastrous overshadowieg passions of the social and political world, and the incidental loves of the young couple on whose happiness and lives such havoc was wrought. The introductory bars are full of a deeply melancholy foreboding which cannot be better described than by the words of Romeo as with his friends he is about to enter 'Captilet's house on the night of the festival :
" My mind misgives Some consequence, yet hanging in the stars, Shall bitterly begin his fearful date
With this night's revels ; and expire the term Of a despised life, clos'd in my breast,
some vile forfeit of untimely death."
The Clarinets and Bassoons give out a solemn and sombre theme, which afterwards permeates the Or- chestra like the thread of fate. A mournful brooding passage on the Strings succeeds, and is taken up in intensified form by the Hautboys and Clarinets against melancholy descending Cellos. It culminates in a remarkably beautiful and original harmonic progression, whose dark and characteristic colour is accentuated by slow mounting Harp-chords, thrice-repeated. This whole section, with alterations in instrumentation, and accompanied by a pizzicato
figure
on the Strings, is given over again a semitone lower, and leads to an Agitate in which the sense of coming tragedy is wonderfully suggested. The threatening thunder of the tympani breaks the passage off. Once more the melancholy chords of the Strings oppress the heart, and, echoed by the Wood-wind, grow imperceptibly into the wild and pas- sionate theme of the Allegro, the agitated syncopations and spasmodic energy of which hold the mind in breathless suspense, and form a marvellous counterpart to that conflict of anger, hate, death, love, doubt and desperation which Shakespeare has conveyed by the immortal scenes of Mercutio's and Tybalt's death ; the rage of old Capulet and Montague with their fierce factions ; the woe of Juliet, and the despair of Romeo. A short episode follows, continuously increasing in excitement, wherein.this Allegro theme in quite a novel form is angrily tossed between the Basses and the Wood- wind to a whirling figure of the Violins, which accelerates into a wild unison rush of the united Strings, stabbed, as it were, by furious chords of the wind in strangely syncopated rhythm, whose pauses are full of terror. Then once again, with the fall fury of the Orchestra, this theme is given out in its original form. In the second episode which follows the storm sinks away, and with a marvellously thrilling change of key a love-theme of entrancing loveliness enters on the English Horn and muted Violas. In this speaking, passionate melody, Tschaikowsky surpasses himself. Utterly free as it is from morbid sentimentality, it yet conveys the impression of the heart's outpouring between two lovers who hurriedly meet at fearful peril, to part under the frown of a doubtful future, and who are fain to concentrate in a few dis- tracted moments the whole wealth of happiness of their life-times. Another theme, on muted strings, succeeds, full of tender
languor,
expressed in exquisitely sensitive harmonic shades, so original and peculiar that it would be impossible to mistake their author for a moment. Again the love theme enters, responded to by an expressive figure on the Horn. It rises to ever more im- passioned heights, and culminates in a dreamy amorous nocturne full of insonciant tenderness.In a masterly way these elements are mingledtogether, interrupt and defy one another, and carry the -dramatic development forward with ever increasing excitement and tension, which is quite Beethovian in its terribilith. In the midst of them, like the approaching footsteps of Fate, creeps ever onward with increasing distinctness and power, the theme of the introduction. A tremendous climax is reached at the point where the love-theme, given out by the whole body of strings, seems to defy the world and destiny itself. But in vain. The antagonistic forces hurl together in irresistible fury, which sweeps everything before it. One last sob of despair on the Cellos, and all seems to be over. An echo of love soars heavenward on the violins, as it were the united spirits of the lovers triumphant over death.
Fierce syncopated chords, the last clamour of turbulent life, close the tragedy.
The Full Score and Orchestral Parts of this Overture have been kindly presented to the Managers by Her Excellency The Lady Northcote. After the per-
formance in accordance with the usual practice they will be handed to the University so that theymay be available for general use.
3. Vocal Slumber "Elsa's Dream " (Lohengrin) Wagner.
ftbatmm HUN loman.
Einsam in triiben Tagen hab' ich zu Gott gelleht, Mit zhchtigsm Gebahren gab TrOstung er mir ern ; Des Herzens tiefstes Klagen ergoss ich inn Gebet : Des Hitters will ich wahren, er soll mein Streiter Da drang aus meinem Stohnen ern Laut so sein !
klagevoll Er soli mein Streiter sein
Der zu gewalt' gem Toner, weft in die Ltift
erschwoll ; Des Bitters will ich wahren, er soil mein Streiter Ich Mist' ihn fern hin hallen, bis kaum mein Ohr sein !
er traf ; Hort, was dem Gottgesandten ich biete far
Mein Aug' ist zugefallen, ich sank in siissen Gewahr—
Schlaf. In meines Vaters Landen, die Krone trage er,
In lichter Waffen ScheMe sin Ritter nahte da, Mich gliicklich soil ich preisen, nimmt er mein So tugendlicher Reins ich keinen noch ersah winGeurtGdeainhaihni
mich heissen, geb' ich ihm, was EM golden Horn zur Htiften, gelehnet auf sein
Schwert,— ich bin 1
So trat er aus den Ltiften zu mir, der Recke werth ;
4. Overture Tannhauser " Wagner.
At the commencement the Orchestra represents the song of Pilgrims, which, as it approaches grows louder and louder, but at length recedes. It is twilight ; the last strain of the pilgrim's song is heard. As night comes on magical phenomena present themselves ; a roseate hued and fragrant mist arises, wafting voluptuous shouts of joy to our ear. We are aware of the dizzy motion of a horrible wanton dance. These are the seductive magic spells of the " Venusberg," which at the hour of night reveal themselves to those whose breasts are inflamed with unholy desire. Attracted by these enticing phenomena, a tall, manly figure approaches ; it is Tannhauser, the Meistersinger. Proudly exulting, he trolls forth his jubilant love-song, as if to challenge the wanton magic crew to turn their attention to himself. Wild shouts respond to his call ; the roseate cloud surrounds him more closely ; its enraptur- ing fragrance overwhelming and intoxicating his brain. He perceives in the dim seductive light spread out before him an unspeakably lovely female figure ; he hears a voice which, with a tremulous sweetness, sounds like the call of a siren, promising to the brave the fulfilment of his wildest wishes.
It is Venus herself. Bacchantes run hither and thither in their drunken revels, and dragging Tann- hauser into their giddy dance, deliver him over to the love-warm arms of the goddess. The wild throng then disperses, and their commotion ceases ; a voluptuous plaintive whirring alone now stirs the air, and a horrible murmur now pervades the spots where the enrapturing magic spell had shown itself, and which now again is over-shadowed by darkness. Day at length begins to dawn, and the song of the returning pilgrims is heard in the distance. This divine song represents to us the shout of joy
at
his release from the curse of the unholiness of the " Venusberg." Thus all the pulses of life palpitate and leap for joy in this song of deliverance ; and the two divided elements—spirit and mind, Godand Nature—embrace
each other in the holy uniting kiss of love.It was the intention of the Management to have included Handel's Largo for Organ, Harp and Strings in the programme of to-day's Concert. They have, however, been deterred from doing so by reason of the expense incurred in its production, including a fee of R5151- for the use of the Organ. It will be given in its original vocal form at the next Concert.
The SIXTH CONCERT of the Season
WILL BE GIVEN IN THE
Town Hall, Melbourne,
On the Afternoon of
SATURDAY, AUG. 24th, at 3 p.m.
(This day Three Weeks).
This Concert will be noted for the performance for the first time in Australia of the Symphonic Poem, " Don Juan," by Richard Strauss.
This magnificent work represents the composer in his most vivacious mood. The gorgeous colouring and impressive general effect is pro- duced at the expense of immense technical difficulty.
'Programme.
1. Symphony, B Flat Major (No. 4)
2. Vocal Number, Aria " Ombra mai Fu" The Largo)
With Orchestra.
Miss Carmen Pinothof.
3. Pianoforte Concerto ... Saint Saens.
(Dr. $cbart.
4. Vocal Number - . " Memnon " Schubert.
With Orchestra.
flDloc.3 CarItIcit Piiiscbof.
5. Tone Poem "Don Juan" R. Strauss.
The Managers desire to thank Messrs. J. C. Wil iamson & Co. and Bland Holt for their k.ndaess in giving facilities to members of the Orchestra.
Beethoven.
Handel.
• • •
Marshall-Hall Orchestra, 3rd Aug., 1907.
Conductor : Professor G. W. L. MARSHALL-HALL.
Assistant Conductors :
MR. F. DIERICH, MR. H. SCHRADER, MR. A. ZELMAN, Junr.
1st Violins :
Mr. Dierich
„ North
„ Adams
„ Brennecke
„ Connolly
„ Coy
„ Curcio
„ Parkes
„ Schieblich
„ Solomon
„ Zeplin
Tharp :
Mr. Barker
Mutes :
Mr. Stoneham
„ Amadio
„ Ricco
Oboes :
Mr. Hunter
„ Thomson
Clarionets :
Miss Trenerry
„ Whitley
2RO Violins:
Mr. Zelman
„ Gollmick
„ Briglia
„ Hume
„ Hunter
„ Nichoff
„ F. Weinberg Mrs. Brookes *
Miss Cuddon
„ Gillbanks
„ Heffernan
„ Stanford
„ Sugden
„ Archibald
Violas :
Mr. Dawson
„ Dechow
„ Hess
„ Josephi
„ Schrader
„ Zelman Miss Charge
„ McMahon
Cellos :
Mr. Hattenbach
„ Cleaver
„ Hopkins
„ Roubaudi
„ Argenzio
„ Montagu Miss Reid
„ Bear
13asses :
Mr. Briese
„ Jochimsen
• Phillips
„ Rowe
„ Sarau ,. Williams
„ Graham
M r. Mortimer
„ Griffin
Bassoons :
Mr. Lupton
„ Carolane
Contra 13assoon :
Mr. Luttich
Vass Clarinet :
Mr. Tipping*
Cor Englais :
Dr. Rudall*
lborns :
Mr. White
„ Hingott
„ Wood
„ Finlay
-
Crumpets :
Mr. Stoneham
„ Holloway
„ Jones
trombones :
Mr. Lawson
„ Hore
„ Burns
tuba :
Mr. Lelliot
tympani :
Mr. Munyard
Cpmbals
Mr. Canna
tambourine, Sc.:
Mr. Clay
„ Crow' `
1Librarian :
Mr. R. C. Carolane
* Kindly give their services.
A Chamber Music Concert
Will be given by
