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Town Hall, Melbourne, SATURDAY AFTERNOON,
- AUGUST 5, 1911, AT 3 P.M. -
FINAL CONCERT .. of the Season.. .
Illarsball-ball Orchestral
ANALYTICAL PROGRAMME
Prof. G. W. L. Marshall-Hall.
... PRICE ... 6d. ...
STEPIIIINII PTY. LTIN ► 1116,
II
Under the Patronage of
HIS EXCELLENCY THE STATE GOVERNOR LADY FULLER.
Final Concert of the Season, ••. being the 106th since its inception....
TOWN HALL, MELBOURNE, Saturday Afternoon, August 5, 1911, at 3 p.m.
YARSHALL-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.
ORCHESTRA OF 81 ARTISTS.
Pianist : HERR EDUARD SCHARF.
Conductor :
Prof. G. W. L. Marshall-Hall.
J. C. STEPHENS PTY. LTD., ROYAL ARCADE, MELBOURNE.
"" -NY.' •
Marshall-Hall Orchestra, SATURDAY AFTERNOON, AUGUST 5th.
4•- - -
Masses / Roubaudi
Acfield „ Oliver „ Tappe „ Thatcher
- ' tarps
Miss BarelayiLi l'y Mr: Vit"A.
Mutes : Mr. Amadio „ Russell
Pett I )
t, Miss
7/
M. PHILIP FOX, Hon. Sec.,
414 Collins Street.
9% .5
PROGRAMME. Violins :
Mr. Toy (Leader) „ North „ Briglia „ Di Gilio „ „ Hume „ MacLeod „ Parkes „ Schuster „ Trevena
10 Mrs. Brookes Manby Ail*/$1/Pfl•- Archibald Baker Cuddon Campbell Crozier Clark Conacher Easton Gray v Healy 1-itift-- Hansford Macarthur McDermott Nanson Noske
„ Peapee „ Sugden „ Trenerry
Walters „ Whitley.
—41,4111.-
Violas : / Mr. Dawson
„ Lamble „ Williams
Miss Baker -.Cook=
„ Metters „ McMahon
Cellos I Mr. Hattenbach
Clarence Levy „ Hore
Sehellerrberger MacLeod
„ Meldrum Miss Baker
„ _ Hume Black
Cor anglais Dr. Rudall
ClarineW, e ,.. Mr. iiimoitig „ Mohr
liassoons : Mr. P. Briginshaw
„ Cpaisprourr
lborns : Mr. Kuhr
„ Hingott „ Wood „ Finlay
trumpets : Mr. Levey „ Sulmet1118* „ Ryder
trombones : Mr. Code ,, -cHettller „ Holley „ Mossman
'tuba : Mr. Rule
'tympani : Mr..6"*.w
antique' Cymbals : Mr. E. Crow
„ H. Marshall-Hall
1. SPRING SYMPHONY No. 2, Op. 73 (D Major) Brahms.
1. Allegro non troppo. 2. Adagio non trot*. 3. 3 Allegretto grazioso (Quasi Andantino).
Presto ma non assai. 4. Allegro con spirit°.
INTERVAL.
2. PRELUDE A L'APRES-MIDI D'UN FAUNE
3. CONCERT() FOR PIANOFORTE AND ORCHESTRA
Allegro mcderato. Adagio. Allegro marcato.
'Derr Ebtiarb Scbarf.
Conductor :
Prof. G. W. L. Marshall-Hall.
Conductor: Professor G. W. L. MARSHALL-HALL.
Tel. 1155.
Oboes : Mr. Evireeiee:
Cober
Orchestral Manager :
J. SUTTON CROW, Glen's, Collins Street.
4. OVERTURE
Meistersinger "
Debussy.
A Minor Grieg.
Wagner.
at the TOWN HALL on the following dates:—
Tuesday Evening, August 15th, CHAMBER MUSIC CONCERT, PROGRAMME.
Piano Quartett, G Minor - Brahms. Ballade, Ab Nocturne, C Minor Etude, A Minor Piano Quintett, Eb - Schumann.
Assisted by Mr. Ernest Toy, Mr. Joseph North, Mr. J. W. Dawson, and Herr Louis Hattenbach,.
Chopin.
SPECIAL ANNOUNCEMENT. Messrs. J. & N. TAIT have pleasure in announcing that
MR. LEONARD BORWICK, THE FAMOUS PIANIST,
will return to Melbourne prior to his departure for America for
iI
Cwo farewell Concerts
Saturday Afternoon, August 19th, GRAND ORCHESTRAL CONCERT. Under the direction of Professor G. W. L. Marshall-Hall.
PROGRAMME. 1. Overture, " 1phigenia " - - Gluck. 2. Piano Concerto, A Major Mozart. 3. Sigfried Idyll - - - Wagner.
INTERVAL. 4. Piano Concerto, " Emperor" - - Beethoven.
ERTAINLY the biggest event that the music world of Australia has ever known will be the Season of Grand Opera, with MADAME MELBA at the head of a Company of the finest Artists procurable, which the
enterprise of J. C. Williamson Ltd. has made possible. The Season, which will commence in Sydney in September, and in Melbourne on October 28th, will be devoted to a repertoire of Twelve Opel as :—
LA TRAVIATA (En which Melba will launch the Season), LUCIA DI LAMMERMOOR, RIGOLETTO, FAUST, MADAM BUTTERFLY, LA BOHEME, LA TOSCA, OTHELLO, CARMEN, ROMEO AND JULIET, LOHENGRIN, and SAMSON AND DELILAH.
The Artists who will support Madame Melba, include Mesdames Giannina Wayda and Marie Axarine (Soprani), Mesdames Eleanora di Cisneros and Marie Voluntas Ranzenberg (Contralti), Messrs. John McCormick, Francisco Zeni, Giulio Ciccolini and Albert Quesnel (Tenors), Messrs. Cristiani and Scandiani (Baritones), Messrs. Edmund Burke, Vito Dammaco, and Albert Kaufmann (Bassi). The conductor will be Signor Anglini, who has been Madame Melba's most trusted conductor at the Metropolitan Opera House, New York.
Arrangements have been made for Lohengrin to be produced under the direction of Professor Marshall- Hall on a complete scale.
NOTES by
G. W. L. MARSHALL-HALL.
S12111PF)011P No. 2, Op. 73 (D Major) joh. Brahms. 1. Allegro non troppo.
2. Adagio non troppo.
3. .1 Allegretto grazioso (Quasi Andantino). I Presto ma non assai.
4. Allegro con sfiirito.
It is thirty-four years since the world became the richer by the birth of this beautiful creation of Brahms. It is one of the works most characteristic of his special outlook on life, and is a veritable garden of lovely melodies, which spring up and burst into blossom before our very eyes, enriching the air with their subtle harmonic fragrance. Those who are not satisfied without giving the unname-able a local habitation and a name, have variously dubbed this the " Spring," and the " Pastoral " Symphony. Indeed Wordsworth's fine lines, better than anything else, attune the mind to a fitting receptive mood :—
"I have felt A presence that disturbs me with the joy Of elevated thoughts ; a sense sublime Of something far more deeply interfused, Whose dwelling in the light of setting suns, 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."
6
FIRST MOVEMENT.
The Basses, with a characteristic figure, Fig. 1 (a), introduce a peaceful theme on the Horns (b), continued by the Wood-wind (c)
(b)Horns.
(a) Basset
J
con 8va.
&c.
7
more brilliantly tinted development introduces a succession of superb figures, Figs. 5 ; 6. To live through the amazingly poetical de-
&c.
Fig. 5
Fig. 6
Quietly as these charmingly unobtrusive figures enter, they contain within them the germs of infinitely expanding melodies, which amaze by their beautiful variety, colouring, and intricacy. The Violins hover round the Wood-wind, catch up the Bass figure (a) and curling it round like a wreath of dissOlving mist, descend into the deep blue glacier gulfs of Trombone-chords, above which, for a moment, Flutes, Clarinets, and Oboes, successively purple for a moment—a dying gleam of colour—melt away in the wonderful spring breeze which wafts by on the Strings (Fig. 2), and which is
—2 •
..e...,................. ....... ...■1= Fig. 2
....11Melli■ MINIIIIMIMMIMINIII■I ----.1 G=am
nimorw--- Viollts.
&C.
but a new-birth of Fig. 1 (a) as though the spirit of corporeal form had metamorphosed itself into moving air. How entrancing is the superb rhythmical swing of this melody, as it is caught up by one instrument after another ! It seizes and uplifts us to the moun-
tain heights and huge precipices of the ensuing forte. Fig. 3. This
& c. Fig. 3
Ova.
splendid vision suddenly vanishes, and is echoed in miniature in a no less fascinating episode for the Oboi and Wood-wind, bringing in a luscious mellow duet of the Violas and Cellos—Fig. 4, whose ever
-
Celli '—
Fig. 4 .0.0111M=a.,
a C.
velopment which succeeds, is to participate in the most intimate revelations of nature ; and the Coda, introduced by a fragrant utterance of the Horn, is one of the most delicious things in music. The Violins build up an entrancing melody over Fig 1 (a) of the Basses, Fig. 7, then, on the Oboi, the same figure twitters, hippy as
Vln.
Fig. 7
Basses.
a bird on a twig of sunshine ; and the other instruments rro.:eed to mould it into all sorts of delightful fancies.
SECOND MOVEMENT. This is one of 13rahms' most abstruse moods, and its evident
purpose is to set off the bright movements which surround it. It is remarkable for its strange harmonic conflicts, and alternations of rugged forbidding forces, with those expressing a sort of tender melancholy. It opens on the Cellos thus :—
EC _0=1___EI
The Horn introduces a new development of the first notes of the third bar of this theme :-
Horn.
-.-
Then with a change to V time, a more gracious melody floats along on the Wood-wind :—
Fig. 10
7.1•11t.
V WC.
Fig. 8 LT-IL
Fig. 9 g
Fig. 17 J J P Fig. 13 r", IDs= . Presto
AMMON=
111INIM■1111 vinn INW
11=11r 2•111111111Nr,MP■ & c. reirai■ /•••••■••• I=MW
8
A new important little motif announces itself tenderly on the Violins :—
Fig. 11
But presently it has to suffer the wrathful persecution of the Stringed Orchestra, who strive to crush it with their inquisitorial counterpoint. A weird dungeon-like passage of the Trombones beneath the tremolo of the Strings tragically ends the struggle, and re-introduces the first subject again, and so to the end, which is full of vindictive gloom.
THIRD MOVEMENT. A most deliciously piquant melody for the Oboi, Clarinet and
Fag. accompanied by Cellos fiizz. opens :- Andantino Ob.
Fig. 12
& o.
Delightful interchanges of the Wood-wind bring in a sort of Trio, which consists of an ingenious and happy quickening of the theme ; Presto :—
FOURTH MOVEMENT. The Finales of all Brahms' Symphonies are imposingly original,
and fraught with finest thought. In a mysterious unison of the Strings the chief theme enters sotto voce
Allegretto
Fig. 15 (44.....— Aveluira.m.— Strings in 4 fives.
& o.
It is echoed by the Wood-wind, and dies out, like a ray of light. Then suddenly it rushes in on a forte of the whole Orchestra, and assumes a character of joyous energy ; upon its rhythm the Wood-wind, one after another build up a charming episode :—
Fig. 18
The second subject is broad and massive in build :—
stt
After its reappearance in its original form, it once more undergoes a Protean transformation into time, Presto ma non assai, com-mencing cunningly thus :—
Fig. 14
&o.
Thereupon the Allegretto is repeated in a beautifully varied manner, with a delicious codetta, which remains ever after in the mind among things fragile, lovely, and evanescent—the rose-petal flesh under a woman's finger nail,—a drop of dew ensnared in a spider's web,—the lingering feet of Sunset on a wet pavement—the beautiful indefinite memory of a face whose features are forgotten.
It leads to a series of magnificent climaxes, and to another joyously brilliant figure :—
8va. • alf2HVM■11 MNINNW1Mi•IN • 41•SW■MMI ./011.9■Mwr 1••■••■=1 114 •116" IM1/111111•1 • Alln••■
.3M
The Fantasia section is full of new and splendid surprises, not the least of which is the sudden transformation of the first sub-ject (a) into the following dainty triplet (b) :—
(a) (b) -.----1-. 3 ....\, Str8n 1111/ IMIN111•11■ •••11111111•11112141 —7mm,.--- --amffE
11=3■161==1■10 .11,'WW
1 Alf .1110,/ ..winimm_
W.W. I 1 1 1
Fig, 18
Fig. 19
IN
10
The Coda is splendid and sonorous, and full of that masculine sanity which always distinguishes the great from the little masters.
" But oh ! what transports, what sublime reward, Won from the world of mind, dost thou prepare For philosophic Sage ; or high-souled bard Who, for thy service trained in lonely woods, Hath fed on pageants floating through the air, Or calentured in depth of limpid floods ; Nor grieves—tho' doomed thro' silent night to bear The domination of his glorious themes, Or struggle in the net-work of thy dreams !"
Vretube a l'aprese-mibi b'un faune Claude Debussy.
Mallarme's luscious impressionistic nature-poem has suggested the exquisite tone-picture which has made Debussy's name famous through the world of Art. Without a doubt, this is the most original musical creation of our times, and the fascination it exerts on the mind is not due to any far - fetched bizarrerie of manipula-tion, as is so often the case, but to genuine poetical inspiration, expressing itself, as always, through new types of melody, and amazingly subtle revelations of unsuspected harmonic relations, the unusual character of which soon lose their strangeness, and capti-vate with their languid beauty. Debussy discards entirely the noisy obstreperous modern orchestra. He requires from his listener a sort of mystical rapture of•hearing, capable of being thrilled by the faintest suggestion of pulsation in his sensitive tone-web. The upward or downward movement of a single semitone at times strains us with exquisite agony. We have to surrender ourselves to the mesmeric trance into which he lures us, and where we become, body and soul, as it were, all ears. We listen through every pore of the skin—fearful lest one thrill of the evanescent sounds should escape us. Yet, in spite of the supreme sensuous beauty per-vading every bar of the tone-poem, the line of melody is drawn with a firm, clear touch. It melts, without losing itself, into the har- monic shadows which continually gather and disperse. There is no tentative ambiguity in the form, which builds itself up organically and in definite intelligible steps,' if not according to accepted con-ventions, yet under a master-hand. It is a triumph of the per-spicacious French genius to have treated without obscurity, some of the most obscure phrases of human sensibility.
The French of Mallarme, being a play with word-sounds, is absolutely untranslateable, but Swinburne's genius offers a some-what parallel attempt to render a special, intense, moment of nature-consciousness :
" Sleep lies not heavier on eyes that have watched all night Than hangs the heat of noon on the hills and the trees. Why now should the haze not open, and yield to sight
A fairer secret than hope or slumber sees ? I seek not heaven with submission of lips and knees,
With worship and prayer for a sign till it leap to light : I gaze on the gods about me. and call on these.
11
" I call on the gods hard by, the divine dim powers Whose likeness is here at hand, in the breathless air,
In the pulseless peace of the fervid and silent flowers, In the faint sweet speech of the waters that whisper there. Ah, what should darkness do in a world so fair ?
The bent grass heaves not, the couch-grass quails not or cowers ;
The wind's kiss frets not the rowan's or aspen's hair.
But the silence trembles with passion of sound suppressed, And the twilight quivers and yearns to the sunward, wrung
With love as with pain ; and the wide wood's motionless breast Is thrilled with a dumb desire that would fain find tongue And palpitates, tongueless as she whom a man-snake stung,
Whose heart now heaves in the nightingale, never at rest Nor satiated ever with song till her last be sung.
To every musician the fashioning of Debussy's masterpiece presents a fascinating study, of which a brief outline is all that is here possible. The Flute alone gives out the chief theme, with its interesting suggestion of a whole-tone scale, and its subtly elusive substitution of G Natural for G Sharp, which subsequently brings about most astonishingly novel chord relations :
No
0 — ---. ea;=:ff-r....., ••••••••:7■1•J1.1• MP 110.W
I I..1•1111■ IMMI■NELAIr Ji•• W•11r7.11.11•4/•••■••••■■••■•■••■••••••■•••••■•• • kW ■S"-•••••••••■•■: ••••"-M•
_••••••---.--
This theme, in whole or in part, repeats itself seven times, with infinitely cunning distinctions, and between each repetition it throws off, in its pseudo-cadences, some novel feature which assumes on its own account organic form, akin to that " variation of specie," which, in Darwin's immortal work, poetised the world anew. The third repetition gives birth to an accompanying triplet of the Celli of the greatest importance :
etC•
No 2
.
call.
(Fie. c)
. Oe
_IN•■■•••Me MIIPNIMENN.-Me•IWeell./111.M1l AWN etc.
Wig. 01
pizz. q pie-,.
A new melody enters on the Hautboy, No. 5, consisting of three separately characterised figures :
No 5 (Fix..)
Nol (a)
which is continued by another no less taking theme Clar.Fag. in fives.
Nol (b)
12
It is heard, two bars later, in diminution, and with altered contour, mingling in the Flute-phrase ; then, after another four bars, on the same instrument, but in a new form :
No 3 et
The next cadence is too choice not to quote :
It is taken up by the Violins, the Orchestra is stirred to its depths, and palpitates as though dream-smitten by some sudden gust of passion. It subsides all as suddenly, and a rich melody sweeps in on the Wood-wind, against the slow throbbings of the Strings :
••••■... Ne -,■•■••■.'.■= NM .INIM" INIM /1••■■•11••••• ■MM OM ..1-4.01•1== IM ■ INIMINNI/Me rl Jele:17•■•••••10MI■OeM len. =MMII•■■••■■•■ •=11•11.211 MI .MIAl. wiiMte 11=PM •■■ MII MINIM .M P. .1.11
The physiognomy of its Cadence is that of No. 3, which, by a Protean transformation, again takes the shape of the triplet figure of the Wood-wind, which accompany the melody (No. 6), now lan-guorously swept out by the united Strings. After this broad middle section, an infinitely varied version of the first part is heard, wherein nothing is exactly repeated, but every harmony, every cadence, every detail undergoes transmutation, through all of which the original " personality " of the musical figures remains distinctly recognis-
13
able. The end of this remarkable piece of tone-painting is in itself a little masterpiece :
No 7
kW 1111—.. ----I-5
Qiiiii wtmlimmminuimem r-
Me.
. . . here is my sense fulfilled of the joys of earth,
Light, silence, bloom, shade, murmur of leaves that meet."
Concerto for Pianoforte & Orchestra A Minor
Edvard Grieg. lherr Ebtiarb %cbarf.
1. Allegro moderato. 2. Adagio. 3. Allegro marcato.
This delightful work of the Romantic School must be reckoned among the most happy of the composer's larger creations. It is full of beautiful expressive melodies, which are singularly spon-taneous in their ceaseless flow, even if lacking that organic con-nection which in the works of the greatest masters adds the perfec-tion of largeness andicomprehensiveness of design to other forms of inspiration.
FIRST MOVEMENT. After a few important introductory bars of the Pianoforte, the
Wood-wind give out the exquisitely original chief subject,— w.w.
No 6 etc.
et.
J J J
14
After a repetition of these by the Solo instrument, two new characteristic figures follow :—
No2
NO3
A slackening of the temjio introduces on the Celli a new fas-cinatingly harmonized melody :—
15
The delicate cadence, with its romantic Horn echo, is especially captivating. The solo Pianoforte enters with a dreamy theme, redolent of fjord and forest-ravines :
No6
Preserving always a like intensity of poetic mood, but with ever-varying hues of light and shade, the movement dreams itself out, and is succeeded, without break, by the Finale.
THIRD MOVEMENT.
A staccato rhythm of Clarinets and Bassoons, followed by a brilliant dash of the Solo P.F., bring in the first subject :—
N0 7 N04
1111111111,11•11. 111=11■■
NNE
FI.CeClar.
This is soulfully carried on to a climax by the Pianoforte, and, after a brilliant ornamental passage, brings in the second of the group of themes belonging to the second subject ; on the full Orchestra :- No. 4 (a)
Fl.Clar. C Vlns fives.
&c.
The subsequent development of these themes can easily be followed, since they do not so much transmute themselves into new forms, in the manner of Beethoven and Brahms, as present themselves, like Wagner's leit-motifs, amid ever new attractive sur-roundings, while retaining all their original characteristics. A climax is reached in the splendid cadenza, after which a spirited passage, in which the opening figure of the Pianoforte re-appears, brings the movement to an end.
SECOND MOVEMENT.
This deliciously dreamy idyl opens with a melody of " linked sweetness long drawn out " on muted strings, commencing :--
N 5
This is carried on with splendid vivacity and spirit by soloist and Orchestra ; suddenly there is a complete change of mood, and in quite a new form the same subject continues :—
P.F. -a-0.1,.., .=.......r..............:_.,...;; iir. =1•••= on.. •
•
Fag Fag. &C.
-I-
Two new figures succeed :—
N010
and lead to what is really a transmigration of soul of No. 7, which now takes another form on the Strings and Wood-wind, successively, underneath the arpeggio-spray of the Pianoforte.
Noll [6 After a short but brilliant cadenza, shared between Soloist and
Orchestra, an exquisite melody, full of deep poetic feeling enters :- Flute. 8va.
No12
Miff 111■1111=1111111iffill111111
Celli.
N08)
•
1111111IMMI IMIP. II /WI
"ar AMIN
&e. entpre f.
-e
Trumpets & Harp.
N 02
NO3
&c.
N 04•
16
This beautiful inspiration leads to a repetition of the first subject-group, and to another brilliant cadenza. Finally the tembo alters to Quasi Presto, and a most inspired coda ends the movement: A new delightful version of No. 1 is heard, and a veritable apotheosis of No. 12. There is a glorious flush of splendour over this Finale which arouses our sense of the picturesque in a remark-able degree. It resembles a triumphant scene of nature gazed on in a mood of great spiritual exaltation.
010Crt " Meistersinger" Wagner. (By E. Dannreuther).
It would be difficult to point at a more striking specimen of Wagner's various and inexhaustible fertility than this work. He has shown hirnself capable, in every new drama, of remodelling both the style and the character of his music in accordance with the poetical subject-matter.
In the Overture to Tannhduser, the flesh and the spirit—earthly and heavenly aspirations and passions—wrestle with one another, and find their final equation. In the introduction to Lohengrin the smooth harmonious strain of scarcely perceptible rhythmical changes, mystically undulating from the faintest vision to the fullest ,glory, presents the ethereal character of the " Holy Grail." The introduction to Die Meistersinger offers a strong contrast to these. It is throughout a realistic picture, executed in robust colours, full of bold antitheses and surprising combinations ; a vivid delineation of mediaeval German life drawn with exuberant fancy and inimitable humour. We see a festive throng moving gaily to and fro. Nurnberg's honest and honourable burghers parading the insignia of the Master-singers' Guild—a large banner with King David upon it—the popular hero Hans Sachs, whom the people greet with his own glorious songs, at their head. We hear the voice of longing, and the sighs of love, almost stifled by the tumultuous multitude. Eva, the Goldsmith's daughter, and the young knight Walther, the poet and singer, seek and find one another, and are quickly parted again by groups of riotous apprentices. Hans Sachs has heard Walther's songs and recognised their value. Helpfully he joins the poet and the maiden ; and the festive gathering is transformed into a general rejoicing at their union.
It is a hopeless task to give in words a satisfactory account of such a complicated piece of music. To one who hears it for the first time in its proper place as an introduction to the musical drama which is to follow, it will give a vivid series of impressions of festive pomp and warm passion, of open joyous humour, which are about to receive their due amplification in the coming play ; and vice versa, to one who knows the play, and afterwards hears the introduction in a concert-room, it will recall numerous striking and individual pictures which he has witnessed upon the stage.
r7 First—The worshipful Guild of the Master-singers of Nurnberg
—with Hans Sachs by way of central figure—somewhat pompous, yet broad, warm, and hearty withal.
Second—Their pert apprentices, diminutive Philistines, with no small spirit and humour of their own.
Third—Love at first sight, and hasty clandestine declaration—a young poet and'a loving maiden, ill at ease in that atmosphere of solid Burgherdom.
Fourth—The people of quaint old Nurnberg.
The main themes of the Introduction might be designated as follows :—
-r- r- No 1
4
18
The following outline shews the ingenious combination of three of the above themes :—
No5
No 3
No 2
No
&c.
19
THE ORCHESTRA.
By
G. W. L. MARSHALL-HALL.
The Greeks of old, with deep insight into the inner nature of life, associated with all earthly phenomena, organic and inorganic, spiritual symbols, to signify their comprehension of the fact that the same forces underlie all that exists, human and non-human. The living spirit of Ocean was embodied in their Oceanides or Nymphs ; the Naiades were the soul of their rivers and lakes ; Oreades of grottoes; Dryads and Hamadryads of trees, whose life and death they shared. This humanisation of Nature is perpetuated among us moderns in the orchestra, the various instruments of which, in the vital imagination of the musician, utter the joy and woe which human sympathy attributes to extra-human existence. The four main groups into which the orchestra naturally divides itself exemplify this. There are the Percussion, the Brass, the Wood-wind, and the Stringed instruments.
THE . PERCUSSION. The Percussion represent for us the spirits of caves and grot-
toes, and of the whole vague underworld. They are resonant space. Sometimes they murmur like the wind through hollow vaults; or they roar as under-earth cataracts ; or they threaten and dismay us with their thunder. Or perhaps they dimly vibrate beneath the other instruments like the faint noises heard amid the silence of a sunlit forest. The effects they can produce are as many and as varied as those of Nature herself, whom the composer in his creative act thus compels to his service. The Percussion are, together with the Brass, the objective, non-human element of the orchestra, pro-ducing on the mind a feeling of the presence of unknown powers, different to ourselves, and often hostile and menacing.
THE BRASS: Under the heading of "Brass" are included tubas, trombones, and
trumpets. They are formed of the metal dug out from the very bowels of the earth, and a pre-human soul is attached to them—that of swarthy cave giants and their underlings, the dwarfs and gnomes. Nay, through these grand and lofty tones the voices of the gods may be distinguished, solemn and awe-inspiring. There is something primeval in them, apart from our life and our sentiments. They speak of things veiled from our understandings, and at times terrify
21 20
us with their dreadful and hostile clangour. The horns also come under this heading, but possess quite other characteristics. There is often something dreamily remote in the wonderful unearthly tone of the horn; it is haunted with memories and wrapped in the wistful langour of twilight landscape. At times, too, it can be the very opposite of all this, and assumes almost the grandeur of the trom-bone.
THE WOOD-WIND. With the wood-wind we approach nearer to mortality. They are
formed from living, growing organisms, and are responsive to joy and woe as we are. Moreover, the individual difference between members of this group is more palpable. Animals hardly differ more from one another in their physiognomy than the carolling magpie flute from the plaintive reedy obi, or from the passionate warmth of the clarionet. Then there is that strange wood-haunting faun, the bassoon, with its tone wavering betwixt whimsicalness and tears.
STRINGED INSTRUMENTS. Finally, come the purely human family of stringed instruments
—the violin, viola, violoncello, and double bass. Neither from the spaces of earth, from its substance, nor from the vegetation which sprouts from it, but from actual animal tissue, are woven the live strings, whose singing rivals the human voice itself. There is no form of purely human emotion which the violin is not capable of catching and reproducing, till at times it is hard to believe that the sounds we hear are mechanical.
The composer mingles and contrasts these masses of tone as a painter his colours. He animates the separate instruments with the gladness or sadness of his rhythms. Like human beings, they laugh or weep at his bidding. He energises or tranquillises them
; lets them clash one against the other, or melt into harmony. He invents passages which display their special characters just as a dramatist puts a speech in the mouth of one of his personages ; or they all join together in a multi-coloured ensemble to produce a continual varying series of poetic effects. Their union is the union of nature, follows the same laws, and produces similar effects on the mind.
THE FLUTE. This is, perhaps, the best known of all wind instruments.
The flute has a large range of expressiveness, but its peculiarity consists in the bird-like naivete of its tone. It can laugh and mourn, but always in innocent child-like accents, in which no introspective, self-conscious element enters. Who can ever forget the wonderful passage in the opening of the second act of "Tristan," when, above the dark, threatening low notes of bassoons, clarionets, and horns, and the weird tremelo of the lower strings, the flutes flash down in a passage of entrancing beauty, like the falling of a star through the blackness of night. Debussy, in his "L'Apres midi d'un Faune," has made marvellous use of rapid-curling low notes, which convey a weird expression of low-singing forest winds, mingled with
the sighs of some fear-haunted wild animal. But never is it more impressive than when in its simple unconscious manner it re-echoes the pain-fraught melody of the violins, or other of the wind-instru-ment group. It then becomes an innocent soul-being that suffers, yet scarcely knows what or why. There are times when it par-ticipates in the guilt and crime of its companion ;nstruments, as un-knowingly as a little child among lawless desperadoes. But never is it more delightful than when its pure clear tones restore peace to the troubled soul, and speaks of joy and beauty eternally new-welling.
THE OBOI. This tender, delicate instrument, is the most difficult of the whole
orchestra to master. Its tone is a striving after an ideal, a com-mixture of many strange things in nature, and can only be com-pared to those delicate, intangible sea-sounds which the fancy detects within the labyrinth of a shell. It is a dream of tone, in which the purling of streamlets, the soughing of winds are mingled somehow with the fading gold of the last streak of 3unset. The Oboi cannot speak loud; it is incapable of anger or violence of any kind. It seems always lost in pensive introspection. It speaks not of things, but of dreams, visions, shadows of things. Yet the delicate pathos which pervades it never extends beyond gentle complaint, and when rejoices it is as one unused to joy ; and joy itself acquires under its influence an impassionate, contemplative character. It accompanies, rather than blends with, its companions of the orchestra, and even in the most forcible tutti retains its quality of isolation and loneliness. Never is the Oboi more happy than when it is allowed to listen apart to the grave or animated conver-sation of the rest, and comments to itself, in its own quiet, melan-cholic way, on what passes, or catches up a phrase that takes its fancy, and dreams over it. In the slow movement of the D , major Symphony of Beethoven, we have the most delicious examples of these peculiarities. Many will remember the pitiful inco-herent stammerings of the Oboi, as it unconsciously mimics the delirious utterances of the unfortunate Florestan (in Beethoven's "Fidelio"), much as Edgar and the Fool join in the madness of Lear. But perhaps the most poetical phrase in existence is the open-ing of "Tristan and Isolde," where the tragic and terrible passion of human longing seizes us in the first opening chord, and is pro-longed in the mysterious, incomplete, yearning tone of the solo-oboi, over harmonies which seem to derive their fluctuant sighings from the inmost nature of the Oboi-voice. It is a miracle of psychology.
THE CLARINET. The Clarionet shares something of the bubbling gaiety of the
Flute with the romantic mystery of the Oboi. It is more human than either, and has a touch of mortal passion in it which brings it nearer to us. Moreover, its different registers possess quite indi-vidual qualities. The lowest is rich, sonorous, full of colour ; the
■
22
middle is thin, delicate, reedy, and refined ; the upper is sensuous and passionate. As the Flute, the Clarinet is capable of curling and twirling round the melody, which its notes embroider like the spray of a fountain. Instead of the innocence of the Flute, its tones possess the sensuous maturity of a woman's voice. There is no form of expression denied to it. It can shriek with demoniacal passion; it can sob with anguish; or speak in elegiac tones of great and noble achievements; it can purl and bubble like a brook; and from its lowest register it can emit weird threatening sounds which send .a chill through the heart. Never, perhaps, is it more winning than when it breathes out a gracious tender human melody. The dual character of its clear, yet reedy tone, enables it to associate itself with all its comrades, and to bind them together in compact harmony. It was the favourite instrument of Weber, and possesses hardly a poetic possibility which he has not discovered in his scores. There is the "fountain-passage" in the overture to "Oberon," and the lovely melody in the allegro; the weird chords which accompany Zamiel in "Der Freischutz" ; and the desperate cry above the tremolo of the strings later on. The Clarinet lives in the orchestra like a fully-developed soul among those whose development is only partial or one-sided—yet it is the soul untamed by thought, which therefore has not attained to self-consciousness, and, without being human, touches the verge of humanity.
THE BASSOON. This is a rare and choice spirit, elder bass-brother to the Oboi,
capable of infinite pathos and fantastic tricks—a very Faun, and companion of Pan. On his magnificent low-tones, Atlas-like, he supports the whole world of the wood-wind; while his middle notes have caught something of the desolation of rocky ravines and the fear-fraught silences of vast deserts. He is a sensitive, highly-strung temperament, passing easily from tears to laughter, froin solemn repose to the queerest antics—always fascinating, always charac-teristic. He does not share the loneliness of the Oboi, but loves to mix in the activity of his woodland associates, and the under-tones of his voice are constantly heard joining in their melodies, suffering as they suffer. He is infatuated with the strange noises of the forest-wild, and imitates them, adding a semi-human pathos of his own. He will mimic, with his resonant staccato, the croaking of the bullfrogs, and leap in mockery of the awkward movements of the rustic clown. You will detect him behind the slim trunk of a tree, pulling odd grimaces at you; or perchance bending over a brook, weeping sadly and softly to himself. There is no knowing what he will be up to next, scampering along with the double-basses, or piping a love ditty to the flute. He is all variableness and flexi• bility, full of whimsical fancies, and yet, withal, capable of entran-cing tenderness and affability. He is the darling of the orchestra, and there is no instrument but loves to blend its voice with his, or pour itself forth over his sympathetic, long-sustaining tones.
23
THE ENGLISH HORN (COR ANGLAIS). This is the half-sister of the Oboi and Bassoon, being, in fact,
a sort of Alto-oboi. A far-off, tender melancholy is her chief charac-teristic, which has been immortalised by Wagner in his opening to the third act of "Tristan." Nothing more poetic or more absolutely characteristic of, all the possibilities of an instrument can be con-ceived. If seas and winds and other existences can behold the fatal tragedies which happen among mankind, and can in any way sym-pathetically participate in them, this music and this instrument ex-presses for them what and how they feel about us. Or is it merely the illusory, transitory nature of individual existence which finds sent in these wistful tones?
THE HORN. From what rare spirit-world came originally these unearthly
sounds—to be imprisoned, as Ariel in the fork of a tree, in walls of brass? They take us far from all mortal experience, and trans-port us to a magical realm, where dwell the obscure forces of life, which we feel within and about us, but cannot with our limited means analyse and know. The Horns are the link which bind all the other branches of the orchestra together. They enable the brass to unite with the wood-wind, and both of these with the strings. They lurk behind all orchestral phenomena, as their prototypes behind all the phenomena of earth. Most often their influence is present ae a blending force, yet unperceived, and when they step into • promin-ence, it is like the advent of a supernatural power. Sometimes, as Schumann says, they glide, spirit-like, about the orchestra. Some-times, as demons from the nether world, they call to us in tones which awaken terror; we know not why. Again, they seem to echo the deepest sentiments of our hearts, but, as in a ravishing dream, far from all reality, all fulfilment. Or, perchance, they open before us the vast abysm of eternity, into which we gaze in awe-struck silence (as in the trio of the "Eroica" symphony). Then, too, they can breathe into us the quieting peace of woodland scenery. The hunting strains, for which they are commonly employed, are a sacri-lege. These should be rather represented by the gaudy fanfare of trumpets. The one exception is the passage which opens the first scene of the second act of "Tristan." The glorious genius of Wagner has been able to combine a hunting fanfare with an indescrib-ably haunting feeling of imminent tragedy, of something grievous and terrible about to happen. The Horns are the genii of the orchestra. They glimmer faintly out of its mysterious depths of sound, like the phosphorescence of midnight waters.
TROMBONES AND TUBAS. These god-like, impassive instruments rule over the rest from
their distant, lofty Valhalla, and only in the most exultant moments condescend to share in mortal sentiment. They threaten, terrify, admonish and command. But, sometimes, far beneath the fluctuant passions of the earth-borne tones, their dim, mysterious pianissimo
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is heard, surrounding us with eternity, and filling us with the presence of other worlds and other lives than ours. Often at the very climax of some terrible sweep of human tragedy, a fierce burst of Trombones shatters us, and reduces our petty fuss and fume to impotence and nothingness. Or, like the smiting hand of a god, impatient at our vexed mundane importunity, they crush us to silence, and with a vast, sustained chord restore the universe to forgetful tranquillity.
STRINGS.
The violin family represent the purely human element, and thus naturally form the basis on which the whole art of orchestration is built. The other groups are used in combination, or in contrast according to the effect required. The possible combinations of in struments are limitless, for each instrument acquires a different tone-effect, according to the harmony, melody, and rhythm in which it takes part.
To the composer, the instruments which he employs are no mere technical mechanical means of producing sound; they are persoi alities, alive, and sentient, which respond to every effort of his imagination. They converse with each other; • love, hate, pursue, fly, combine, separate, suffer, and act, just as human
beings. They constitute a world which is the spiritual counterpart of the world in which he lives. And he himself is as a god among them, inform-ing them with passions, creating and destroying. The scoring of a well-designed work is for the musician, the greatest felicity which life affords; and the descent from this spirit-world to the dis-illusionment of ordinary every-day commonplaceness is one of the dreariest experiences which a man may make. To discover an artist who is able to bring out of an instrument the tones, that is to say, the ideas, which the composer has put into its soul, is a rare delight. Such men are few and far between, and in civilised countries are treasured as national possessions. But since such artists have a monetary value in proportion to their scarceness, a good orchestra becomes very expensive, and can never, under any circumstances, earn sufficient of itself to adequately remunerate its members. It can only be kept together by public or private endowment. All the first-class orchestras of the world are supported by public or private subscriptions. A beginning in this direction has been made in Melbourne, and deserves the enthusiastic support of every music-lover. Amid the many beneficent patrons who support our librari( s and schools of painting, is there not one who will assist the noble and elevated art of music, thereby not only giving
2 highly-educative pleasure to thousands of his fellow-citizens, but offering direct em-ployment to a great number of specially gifted men, and raising our city to an equality with the great cities of the old world ?
—Reprinted by the Vail peroVxsoon of the "Aryue."
26 27
1909.
Rev. E. H. Sugden H. Sumner Martin Madame V Pett Miss Lily MeNaught Miss E. Hookins Alfred Nott Airs. A. McMurtrie (second donation J. A. Levey .. Percival Serle .. Miss Alice Yencken
otit (plot If oint mot tilt riot Established May, 1908.
£50 0 10 10 2 2 5 5 3 3 2 2
10 10 5 5 2 2 1 0 21 0
11 5 5 5 5 0 10 1 0 1 1 5 0 2 2 2 2 5 U
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 Simson Dr. & Mrs. W. F. Orr ..
1910. John G. Addison (1st instalment) Stewart S. Lang .. .. " H.W.M. " .. .. .. Miss Elsie Kozminsky (2nd instalment) Mos. S. Hale .. .. .. Joel Fox .. •• •• G. C. Nicholson .. .. .. Jno. Hindson .. .. .. Miss Alice Yencken .. Professor and Mrs. Harrison Moore
O Anonymous (per J.W.B.) ..
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6 5 2 2 1 1 0 10 0 10
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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.
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a
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Music donated to or purchased by the Management : — SYMPHONIES. COMPOSER. PRESENTED SY.
The Lady Northeote E Minor, No. 4 C Minor, No. 1 E Minor, No. 5 .. Romeo and Juliet Harold in Italy .. D Minor Phantastisehe D Major, No. 2 .. Symphony
OVERTURES. Aeademische Fest Liebesfriihling In the South . Romeo and Juliet King Lear Libussa Die Verkaufte Braut Hamlet .. 1812 Flute and Strings, B Minor Tragic ..
SUITES. Jeux d'enfants Legende Scheherazade Suite No. 3 Suite No. 1
• ' • •
SYMPHONIC POEMS & RHAPSODIES. Heldenleben Don Juan Phaeton .. La Tempfte Les Djinn
Three Concerti Grossi .. Concerto Grosso, B Minor.. Piano Concerto, Op. 44 .. Konzert, Flute and Harp ..
Violin Concerto .. ..
Violin Concerto .. ..
Serenade, Op. 16 .. .. Serenade, Op. 11 .. Variations Prelude and Angel's Farewell . Variations . ..
Serenade for Strings ..
Serenade .... .. Rheinfahrt .. .. Venusberg .. .. .. Prelude to Act III. (Tannhauser) .. .. Einzug der Glitter in Walhall (Rheingold) .. Charfreitag's Zauber (Parsifal) .. .. Klingsor's Zaubergarten and die Blumen-
matcher] . .. .. .. Prelude Act III , Meistersinger .. .. Introduction Act III., Tristan and Isolde .. Verwandlung Musik, Act I (Parsifal) Bridal Chorus (Lohengrin).. Song of Rhine Maidens (Rheingold) Ballet (Rienzi) . .. .. Serenade.. .. .. Danes des Sylphes .. L'Apres n idi d'un Faune .. Capriccio Hallett .. . Variations Symphoniques .. Concertstiick .. .. Variations .. Valse Triste .. .. Romance in C for Strings ..
Brahma
Ts. h'a ikowsky Berlioz
Cescer Frank Berlioz Brahms Elgar
The Lady Northeote The Pianola Co. Mr. A K. J. Lee
Brahms G. Schumann Elgar Tschaikowsky Weingartner Smetana
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Bizet Dvorak Rimski Korsakow . Tschaikowsky
The Lady Northeote
The Pianola Co. Mr. A E. J. Lee Mr. S. G. Pirani
The Pianola Co.
Handel
St. gaens Mozart Tschaikowsky Joachim Brahms
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Su ins Tschaikowsky Ceaer Franck
Mr. A. E. J. Lee
The Lady Northeote
GRAMOPHONES ARE UNEQUALLED AS
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Prof. Marshall.Hall
recommends them.
HE SAYS : " The state of perfection to which the
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Title:
Program of the Marshall-Hall concert, 5/8/1911 booklet
Date:
1911
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Program of the Marshall-Hall concert, 5/8/1911 booklet
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