lanOer the 'patronage ant) in the presence of
their Zgcellencies the (13overnor4enerat & 9/abp 114ortbcote,
ant) unOer the patronage of
Ibis lercettencr the %tate (overnor & Twabto Zalbot.
Complimentary Concert
Irenbereb to
Prof.6.W.E.Marshall=ball
1Bv the Managers ant) Members of the Orchestra on the occasion of bis heparture for Europe.
Zown bait, flbetbourne, ..$4 Zaturbap .Afternoon, Aug. 25,
3 p.m. .4 .44 .14 ,ac
Orchestra of 85 Eirtists.
Conbuctor :
Prof. 0. Wt. L. flbarsbau ,lbau.
Vocalist:
Mine. Elise Wiebermaiiit flbr. f. Dierich.
111,11. 3.. iboptuns, Orchestral *tanager.
/US. !Phil* ffog, 472 Cbancerr Zane,
ion. *erretarp.
d. C. 61,11.8 PRINTER IN ELINRETN ST.
'Programme.
1. ... No. 5, in C Minor Beethoven.
1. Allegro con brio. j 3. Allegro.
2. Andante con moto. (4. Allegro.
As we gaze into the dimmed mirror of history, wherein, through the intricate web of motive and action, human character reveals itself to us in its largest, most complete and significant aspect, we are frequently struck with the fact that the most important and far-reacning crises in the fate of nations have been faced and solved by men who, far from being of an ambitious temperament, or from having premeditated what they afterwards accomplished, have rather been involuntarily compelled by the force of circumstances, by their destiny, towards the most hazardous and glorious enterprises. More- over it would seem that such great spirits, whom Necessity, for the achievement of her purposes, forced to wade through blood and terror with all their monstrous concomitants, under other and less tragic circumstances would have been content to remain kindly, humane, private citizens. In modern English history at once the names of Cromwell and Washington occur. But whoever is able to pene- trate the surface of things will become aware that this grievous conflict of Will and Fate has preluded most important world-events ; that, on an infinitely smaller scale, an analogous struggle takes place at some period or other in the lives of most individuals, and constitutes a tragedy in miniature by which they learn to understand those more tremendous issues of the greater world, on which the weal and woe not of one but of millions depend. Do we not see to-day, in our very midst, some such colossal catastrophe impending on the Russian peoples? With awe, and with deep sympathy we await the issue,—we expect the hero. Within the soul of a man of heroic stamp a double tragedy is fought out, There is the outer apparent one, and another, namely the inner strife of the spirit with itse.f ; the conflict between the would " and the " must " of life, which arises from the doubtful issue of all direci, action. In this Symphony of Beethoven is portrayed such a conflict, and such a hero stands before us in his majesty, his weakness, his spiritual strife, his hope, despair, determination, endur- ance, in his w hole humanity.
I.
" Fate knocks at the door !" cried Beethoven as he let these terrible introductory notes thunder forth their awe-inspiring fiat. The crisis is there. The hero-to-be is rudely shaken from his innocent dream of life. The supreme moment is upon hint—he is called ! In the depths of his soul the awful conviction trembles and palpitates. Is this so ? Must this be ? cries the Hamlet within him ; note that extraordinary questioning pause of the Violins :
"Say, why is this? wherefore? What should we do ?"
But the dumbfounding importunity of the answer leaves no room for hesitation ; • it is no doubtful ghost he is confronted with, but the sternest most palpable of facts. Events crowd thickly upon one another sweeping us irresistibly along with them towards some dreadful conclusion. An abyss opens before us. One shrinks back at this frightful moment of silence. A colossal figure seems to rise, fin- moveable, with finger outstretched. The mere moment of time, by the extraordinary significance of this musical phrase, is transformed to an eternity. The notes have petrified into statuary. It sinks.
The human being alune remains, in all his futile tenderness, his Prumethean susceptibility to pain.
We behold revealed to us tnat pathetic spectacle natural to human weakness, of the spirit which shrinks within itself from the act which the hand must commit ; toe war between the active and passive ; necessity and conscious nature. Dimly beneath the plaintive melody is heard the urgent impassive re-iteration of the fate-motive, even as-the weird subterranean admonition of the ghost in Hamlet. Again we are driven furiously along, but in tones which gather boldness and certainty as they proceed. Words suffice not to trace out in detail the wonderfully subtle progress of this struggle betwixt the objective and subjective consciousness, which continues throughout the movement in a thousand breathlessly engrossing forms, and finds its central point in those thrilling questioning chords of the Wood-wind, which are followed to the last retreats of the shrinking soul by the cruel in- flexible response of the Strings ; and remorselessly brushed aside by the initial theme harshly thundered out by the whole orchestra--whenever before or since has one heard such monstrous naked fifths ? 0 wondrous daring of this poet of poets ! wherein face to face x ith the supreme Force of the Universe, man's soul boldly puts forth that deepest question of all, and is answered -awfully and ter- ribly answered? As the /nighty Coda begins, everything becomes sterner, more inflexible, more fatal in its movement. Like the gathering avalanche, slow, irresistible ; like the will of an aroused people, an accelerating force beyond individual control ; like the inevitable eternal sequence M cause and effect, which untouched by pity, indifferent to results, acts, this stern sublime strenuous music marches to its tremendous close.
H.
A singular intensity of feeling unites the second movement to the first. The dramatic tension is for the moment relaxed by this most lovely episode, whose gracious, elevated, humane atmosphere relieves the mind of its almost too great emotional strain, and prepares it for what is to follow. It is the occasional oasis in which, even in actual life, the stormy spirit seeks momentarily peace and re- cuperation. We seem to behold the very spirit of love and beauty manifesting itself under a thousand different harmonious forms, linking together all Nature. Entrancing is the little quasi episodical figure which stands betwixt the two chief melodies, given out first on the Wood-wind, then, exquisitely enhanced, on the Strings. It occurs four times at intervals, and the last time with a slight alteration which intensifies its expression beyond conception. Of this New World, which the rapt and visionary genius of Beethoven has caught and opened out to us, it can only be said that it stands unequalled, unapproached by anything we have before experienced :
"A sense sublime Of something far more deeply interfused, Whose dwelling is the light of setting stills, And the round ocean, and the living air, And the blue sky, and in the mind of man, A motion and a spirit, that impels
All thinking things, all objects of all thought, And rolls through all things."
What mysterious ominous voice is this that mutters at our ear, destroying peace and consolation ? Doubt and fear make us again their prey. Full of meaning is that connection between the falling tones of the Strings and Wind with those of the Oboi solo in the plaintive Cadenza of the first move- ment. Now again, in a more definite shape, the tremendous fate-rhythm enters on the Horns, and is taken up by the whole Orchestra, with totally new and unexpected effect. It seems here like a force outside of ourselves, unconscious of our existence, full of menace, whose operations we are permitted to contemplate. It pursues its way regardless of us, and is succeeded by a weird fantastic figure given out by the Basses, and taken up by the other instruments one after the other. There is some- thing monstrous in this uncouth gambolling of these huge nameless antediluvian powers among them- selves, in which mingles a sort of grim ponderous Minot's. Surely a stranger more inhuman scene was never conceived. It fades away like a dream, only to give place to another infinitely more spectral. No artist has ever approached Beethoven in his power of producing an effect of prolonged suspense, and in the bars which follow he has surpassed himself. We are in an electrically surcharged atmosphere. We feel that something terrible is about to happen, but how ? when ? what ? It ap- approaches nearer and ever nearer, till, with the cessation of all movement save the dull monotony of the 'Tympani, we hold breath,—paralyzed. The supreme-crisis has come—horror, death, madness, loom before us in one agonised moment of suspense :—a sudden immense crescendo and—
V.
Victory rolls on us in deafening irresistible tones. A triumphant pan uplifts itself from earth to heaven ; a song of deliverance, of hope, of joy, of brotherhood, of proud and sober triumph. That which in the nature of things is unrealizable the poet here convincingly realizes for us: the victory of good over ill ; of happiness over misery ; of righteous power over weakness and ineptitude. Listen- ing to these strains our human frailties drop from us, we become heroes, gods. Trampling the powers of darkness under foot we stride in illustrious procession to our everlasting Walhalla.-0 miraculous vision of poet 0 splendid illusion ! Alas ! alas !
" That bitter fate o'er thee should have such power And all-devouring time thee, even thee devour !"
jittervat.
Presentation of a Testimonial. to Professor Marshall-Hall by The Hon. J. E. Mackey on behalf of the Subscribers.
2. Violin-Concerto ... E Major ... J. S. Bach.
%010iSt-111Sr. fran3 Mterfcb•
1.6Allegro.
2. Adagio.
3. Allegro assai.
3. VellUSbCr() MaCCballat (Tannhduser) Wagner.
The glorious sensuous coloring of this wild and wonderful scene enthrals the ear. Nothing more splendidly voluptuous has ever been created, and the gorgeous tone-colours are massed as in some resplendent fresco of Tintoretto. The Ballet which it accompanies is on the same grandly imaginative scale, comprising as it does all those elements which the Greeks poetically symbolized as coming under the sway of the ever-powerful goddess Venus Aphrodite.
4. %cena Study on Tennyson's " Maud " G. W. L. Marshall-Hall.
111Sabame Elise Vatebermann.
'Tis a morning pure and sweet And a dewy splendour falls On the little flower that clings To the turrets and the walls.
'Tis a morning pure and sweet, And the light and shadow fleet ; She is walking o'er the meadows, And the woodland echo rings ; In a moment we shall meet! She is singing in the meadows, And the rivulet at her feet Ripples on in light and shadow To the ballad that she sings In a moment ! . . Ah ! . . Always I long to creep Into some still cavern deep, There to weep, and weep, and weep, My whole soul out to thee !
5. lEalhprentitt (Die Walkiire) Wagner.
At a breath we are carried into a wild region of ice and snow and mountain peaks, of hurtling clouds, and screaming storm winds. Through the air rush wide-limbed snorting steeds ; upon them sit the keen-eyed war-maidens—the Valkyrie, whose fierce laughter shudders through the tempest.
And each on her saddle bow supports the pale corse of a slain hero.
Wolfgang Amadeus Mozart was born in Salzburg on January 27th, 1756, and the Present year 1906 is therefore the 150th since his birth.
In most musical centres this 150th anniversary has been celebrated in various ways, and the Managers of these Concerts are unwilling to let the year close without some recognition in Melbourne. They had accordingly arranged with the Conductor to give a Mozart Commemora- tion Concert before he leaves Australia.
It had been fixed for Saturday, September 8th. After rehearsals had actively progressed it was discovered that one of the theatres will be open on that afternoon, and the Orchestra in consequence impossible.
The Managers regret therefore that the Concert must be .postponed until the Conductor returns in 1907.
Until from some source L-500 to L. 1,000 a year is available, and Melbourne is enabled to possess a permanent Orchestra, troubles of the kind will arise from time to time.
The only solution of the difficulty is the retention of the services of the Soloists in the Orchestra by proper business means.
The' following was the Programme arranged :—
1. Symphony in G Minor •" • • • • • • Mozart.
2. Vocal Sextett, with Orchestra "Don Juan" Mozart.
3. Pianoforte Concerto ... Mozart.
111Jr9. lbeatb.
4. Vocal Duet, with Orchestra Figaro " • • • Mozart.
5. Tone Poem ... " Don Juan " ... R. Strauss.
NOTICES.
The Prospectus and Programmes for the Season of 19o7 will be issued early in the New Year.
Intending Shareholders in the Australasian Grand Opera Co. Ltd. are reminded that the list should be closed shortly, as definite arrangements for the performances
are now being made.
Attention is drawn to a Concert which is being given in Glen's Hall on Monday, September loth, by Miss Florence Hood (prior to her departure for Europe) and Mr. Eduard Scharf. Box Plan open at Glen's on Saturday, September 1st, at 10.3o a m.
A Farewell Opera performance is being tendered to Mr. Hal Cohen on Saturday afternoon, September isth, Prof. Marshall-Hall Conductor.
O that 'twere possible, After long grief and pain, To feel the arms of my true love Round me once again.
•
When I was wont to meet her In the silent woody places By the home that gave me birth, We stood tranced in long embraces Mixed with kisses sweeter Than anything on earth ! A shadow flits before me, Not thou, but like to thee ; Ah! Christ ! that it were possible For one short hour to see The souls we loved, that they might
tell us
What and where they be !
Marshall-Hall Orchestra,
August 25th, 1906.
Conductor : Professor G. W. L. MARSHALL-HALL, Assistant Conductors:
M r. F. DIERICH, Mr. HERMANN SCHRADER. Mr. A. ZELMAN, Junr.
11,1011118:
Mr. Dierich A. Zelman
tt
Adams
ft
Brennecke Coy
ft
Curcio
ft
Gollmick
ft
Hume
tt
L. Hunter
ft
H. Jochimsen
ft
North
ft
Paans
ft
Parkes
,,
Strauss
„ Sutch
„ Wallenstein
„ H. Weinberg
„ F. Weinberg
„ Zeplin Mrs. Brookes Miss Archibald
„ Cuddon
„ Gillbank
„ Heffernan
„ Hood
„ Mercer
„ Stanford
„ Su gden
„ Whitley Ultol as
Mr. Dawson Dechow Hess Hornidge Josephi
„ Schrader
„ V. Zelman Miss Charge.
Cellos:
Mr. Hattenbach
„ Argenzio
„ Cleaver
„ Hailes
„ Hopkins
„ Johnstone
„ Montague
„ Roubaudi :Sasses :
Mr. Briese
„ Brown ., A. Jochimsen
„ Rowe ,, Williams.
„ Sarau
lbarp
Mr. Barker flutes:
Mr. H. L. Stoneham
„ Amadio INCCOIOS
Mr. Bolingbroke
„ Ricco Oboes :
Mr. T. Hunter
„ Thomson
„ Williams
Cot :
Dr. Rudall Clarionets:
Mr. Mortimer ,, Griffin
„ Mohr Vass Clarionet :
Mr. Tipping
1134ssoo11s :
Mr. Rudall
„ Carolane
„ Lupton bans:
Mr. Kuhr
„ J. Hingott ,, Wood
„ Cesari
„ Levey trumpets :
Mr. W. Stoneham
„ Holloway
„ Jones 'Crontbones:
Mr. Hopkins
„ Lawson.
„ Downes
„ Hore tuba:
Mr. Lelliott :
Mr. H. Ramage Munyard
ft
)rtittis, &c.:
Mr. Canna Elvins tp Crowe
ff
ILibrartan:
Mr H. Ramage
ft ft ff
