Ibis Marsbalkball Orchestral concert.

111nber the !patronage of "(Their Excellencies the C3orernor.03eneral UN) llortbcote,

anD Ibis Excellency the %tate Governor A ILatT tatbot.

Marsbalkball Orchestral concert.

season, 1007.

Zeventb cofinat Concert of tbe %cries being the SOtb since their inception.

town bait, Melbourne, .4

Zaturoap afternoon, %ept. 7, 3 p.m. ot

orchestra of 80 artists. Conottctor : Prof. 0. 11,t11. L. (lbareibaitolbati. Cellist : 11)i. lbattenbach, pianists: Miss Emily E)yason

anb

fIbr. lbarolb Etvins.

Prices of Bonn:4E4ton Malconp anb 1Reserneb Cbatrs 5/:= 113obp of Vali , . .--- 3/--r-- Area , - -.. 2A----

130x Van at Ellan's.

g. Sutton Crow, Orchestral *tanager.

/lb. I)blttp fox, 472 Cbancerp Zane, Mort. 5scretarp..

1.0.87.14, 04. ■ 111n7..144 VIM%

■—_

Programme. 1. Concerto Grosso, No 7, C Major ... Handel.

1. Allegro—C Major. 2. Largo—A Minor. 3. Allegro—C Maior. 4. Gavotte, Double—C Major.

Soloists : Violin, lberr 3ran3 1Diericb, Abr. Alberto Zelman, Jun. Violoncello, lberr louts lbattenbacb.

This fine work is in reality a triple Concerto. It is scored for :

Concertino-2 Solo Violins, 1 Solo Violoncello. 4 Oboe. 2 Fagotti.

Concerto Grosso—(6) Violins I. (6) Violins II. (4) Viola (4) Violoncello. (2) Contra Basso.

Cembalo principale. Cembalo ripieno. Instead of the old Cembali, pianofortes have nowadays to be used ; one in conjunction with the

Principals, the other with the Orchestra. This music is in flandel's broad and simple style. The large harmonic outlines and massive construction render it easy to follow the development of the many slender and charming melodic figures which are mainly confined to the solo instruments.

2. Inagio, Violoncello R Orcbestra " Kol Nidrei " Max Bruch.

bevy louts lbattenbacb. This interesting work is an Adagio for 'Cello and Orchestra. The work is based

on Hebrew Melodies.

jnteLpal.

3. ]Entry of the Oobs into lEalbatla " Rheingold" Wagner. The Castle Walhalla, the future residence of the Gods, has been built. Donner and Froh

are engaged in constructing a rainbow bridge from the mists, so that the Gods can enter their castle. Suddenly the clonds disperse ; Donner and Froh become visible, from their feet stretches in blinding radiance a rainbow bridge over the valley to the castle, which now gleams in the light of the setting BUD.

Froh (pointing to the bridge with his outstretched hand as the way over the valley to the Gods): This bridge home will bring you, light but hardy of hold, so tread undaunted its terrorless height.

( Wotan and the other gods are speechless with astonishment at the glorious sight). Wotan: See how at eve tire eye of suinig,ht with glorious touch gilds turret and tow'r ! In the morning glamour manful and glad, it bided masterless, mildly beck' ning to me. From morning through mighty ills, I won no way to its marvels ! The night is nigh ; from all

annoy shelter it sinews us now. (As (f inspired with a grand idea, very firmly). So, hailed be the

fort ; sorrow and fear it heals ! (tie turns solemnly to Fricka). W.nd with me, wife ! Iu Valhall

vast we will dwell. Fricha : Why so dost thou name it ? Ne'er such a title was known of. Wotan : What might 'gainst our fears my mind may have found, if proved a success, soon shall

explain the name. ( He grasps Fricka by the hand and paces with her slowly towards the bridge. Froh, Freia, and Donner.follow).

Loge (remaining behind in the foreground and looking after the gods): To their end they even now haste, while esteeming their strength overwhelming. Ashamed am I their acts to have sh med in ; a feverish fancy doth woo me to wander forth in flickering fire : to burn and waste them who bound me erewhile, rather than be thus blindly engulfed e'en were they of gods the most godlike I There

seems sense in the scheme ! I'll study on it ! Who asks what 1 do ? (He goes up with assumed care-lessness to join the Gods).

The three Rhine nymphs (below in valley, invisible) Woglinde, Wellgunde, and Flosshilda :

Rhinegold Rhinegold I rarest gold ! How wondrously bright once didst thou beam on us ! Wotan (in the act of setting foot on the bridge, pauses and turns round) What mournful sounds

do I hear ? Woglinde, Wellgunde, and Flosshilda : For thee, our plaything, now implore we. Give ua our

gold, give us our gold 1 0 give us our glory again. Loge(looking down the valley): The rivermaidens who mourn of their gold bereaved. Wotan : Accursed vixies I Quell their clamorous noise !

Loge (calling down into the valley): Ye in the water ! Why worry us yet? Hear what Wotan

doth wish 1 Gleams no more on you maidens the gold, in the gods' augmented grandeur henceforth happily bask. (The gods laugh, and during the following cross the bridge).

Woglinde, Wellgunde, and Flosshilda Rhinegold, Rhinegold, rarest gold ! 0 might but again—in

the wave thy pure magic awake ! What is of worth dwells but in the water, base and bad those who are throned above ! (While the gods are crossing the bridge towards the castle the curtain falls).

4. 1Love %cene

Berlioz.

Symphony No. 4, " Romeoand Juliet." 1. Adagio. Allegro Agitato. Adagio.

The Symphony from which these movements are taken is written for double-chorus, solo-voices, and orchestra. It follows the general outline of Shakespeare's Tragedy, the scenes on the stage being replaced by a purely musical delineation according to Emile Deschamps' adaptation.

(1). The music of the love-scene is one continuous flow of lovely expressive melody ; now tender and dreamy, now expansive and passionate, but always ideally poetic. Over this beautiful melon the Orchestra hovers like a continuous sunset of delicately varied hues. Yet it cannot be said of the great originator of the modern realistic school, that he either oversteps the peculiar limits of the musical art, or allows the poetic idea, that is to say the purely melodic expression, to be swamped and lost amid the gorgeous harmonic and orchestral c flouring, by which, on the contrary it is supported and heightened in its effect.

The Adagio opens with a dreamy theme on the Violas, interspersed with broken phrases of the English Horn and Clarinet, suggestive of Juliet ; replying to which the Horn and Violoncello utter another equally lovely, more impassioned, melody, in keeping with the eager amorousness of Romeo. These lead into one another by a little agitated episodical figure. The dialogue repeats, but with greatly enhanced effects, becoming more vehement and agitated. Then follows a short Allegro

agitato in the form of a quasi recitative between the blended voices of the Flute and Oboi, repre-senting the agitation of Juliet, and the 'Celli who again personify Romeo, who evidently pleads with his mistress ;

" 0 ! wilt thou leave me so unsatisfied?" These agitated phrases melt again into the Adagio, and the second of the previous melodies becomes metamorphosed into a new and equally beautiful strain. The pulsating chords of the Violas and Celli give a feeling of fragrant darkness, and the semiquavers of the Double Basses creep under them like deep shadows. The Flute and English Horn again whisper Juliet-like above, and are answered after a while by a wonderful phrase of the Violins. No less than five times, but with exquisite varia-tion, is this last melody repeated, while in between occur episodes of the greatest passion and elo-quence, each one of which is a little poem of itself, and a worthy commentary on the supreme original which it illustrates. The final parting is beautifully conceived, with its interrupted broken phrases of the previous melody, and its dying "good-night, good-night parting is such sweet sorrow that I shall say good-night till it be morrow."

The Full Score and Orchestral parts of this Symphony and of the Handel Concerto Grosso have been kindly presented to the Managers by Her Excellency The Lady Northcote. After the performance in accordance with the usual Practice they will be handed to the University so that they may be available for general use.

The Managers regret having to postpone the performance of the Queen Mab Scherzo as sufficient rehearsals could not be obtained. In its place the following number will be performed:—

5. 3ntrobuction 3rb V.ct 9Lobengrin

Wagner.

6. Cbarfreitags.Zauber " Parsifal "

Wagner.

In the drama the dialogue thus accompanies and describes the orchestral:music :•--

(Parsifal turns round and gazes in gentle ecstasy on the woods and plains, which are gleaming in the morning light.)

Pare/al.

Many a magic flow'r I've seen,

These tendrils bursting with blossom,

flow fair the fields and meadows seem to-day !

Which strove to clasp me in its baneful twining. ; But none I've seen so sweet as here,

All earthly creatures in delight At the Redeemer's trace so bright

To see Him on the Cross they have no power

Who, feeling freed, with dread no more doth

Uplift their pray'rs of duty.

And so they smile upon redeemed man,

Whose scent recalls my childhood days Cower, Through God's love sacrifice made clean and And speaks to me of loving trust.

pure: Gurnemanz. And now each blade and meadow-flower That is Good Friday's magic, master !

perceives Parsifal. That mortal foot to-day it need not dread ; Alas ! that day of agony ! For as the Lord in pity man did spare, How surely everything that thrives, And in His mercy for him bled That breathes, lives, and lives again, All men in pious care to-day Should only mourn and sorrow ?

Will step with tender tread. , Gurnemanz.

Its thanks then all creation makes Thou seest, that is not so. With all that &twee and fast goes hence, The sad, repentant tears of sinners That trespass-pardoned Nature wakes Have here with holy rain Now to her day of innocence. Besprinkled field and plain

And make them glow with beauty.

7. 3ntrobuction ant' Closing Scene—"Tristan & Isolde" Wagner. An old, old tale, exhaustless in its variations, and ever sung anew in all the languages of medieval

Europe, tells us of Tristan and Isolde. For his king the trusty vassal had wooed a maid he durst not tell himself he loved, Isolde ; as his Master's bride she followed him, for, powerless, she needs must do the wooer's bidding. Love's Goddess, jealous of her downtrod rights, avenged herself : the love-drink destined by the careful mother for the partners in this merely political marriage, in accordance with the customs of the age,. the Goddess foists on the youthful pair through a blunder diversely accounted for ; fired by its draught, their love leapssuddenly to vivid flame, and each avows to each that they belong to none save one another. Henceforth no end to the yearning, longing, bliss and misery of love—world, power, fame, splendour, honour, knighthood, loyalty and friendship, all scattered like a baseless dream, one thing alone left living ; desire, desire unquenchable, longing forever re-bearing itself,—a fevered craving ; one sole redemption—death, surcease of being, the sleep that knows no waking !

Here, in Music's own most unrestricted element, the musician who chose this theme as introduction to his love-drama could have but one care : how to restrain himself, since exhaustion of the theme is quite impossible. So in one long breath he let that unelaked longing swell from first avowal of the gentlest tremor of attraction, through half-heaved sighs, through hopes and fears, laments and wishes, joy and torment, to the mightiest onset, most resolute attempt to find the breach unbarring to the heart a path into the sea of endless love's delight. In vain ! Its power spent, the heart sinks back to pine of its desire— desire without attainment : for each fruition sows the seeds of fresh desire, till in its final lassitude the breasing eye beholds a glimmer of the highest bliss ; it is the bliss of quitting life, of being no more, of last redemption into that wondrous realm from winch we stray the farthest when we strive to enter it by fiercest force. Shall we call it Death? Or is it not Night's wonder-world, whence—as the story says—an ivy and a vine sprang up in lockt embrace o'er Tristan and Isolde's grave.

From the Paris Concerts, 1860. RICHARD WAONER.

And with light lips yet full of their swift smile. And hands that wist not though they dug a grave, Undid the hasps of gold, and drank, and gave, And he drank after, a deep glad kingly draught ; And all their life changed in them, for they quaffed Death ; if it be death so to drink, and fare As men who change and are what these twain were. And shuddering with eyes full of fear and fire Aud heart-stung with a serpentine desire He turned and saw the terror in her eyes That yearned upon him shining in such wise As a star midway in the midnight fixed.

Nor other hand there needed, nor sweet speech To lure their lips together ; each on each

The Managers having received many requests that the Concerts should be given in the evening, instead of the afternoon, have organised an Orchestra for this purpose, and the First Evening Concert will be given on Monday, October 7th, in the Town Hall, Mel-bourne, at 8 p.m., in the presence of Her Excellency the Lady Northcote, who has generously supported the movement. If the attendance of the public shows that the desire is a general one, it is the intention of the Management in the future to give both Afternoon and Evening Concerts so as to meet the wishes of all classes of music lovers.

For this opening Concert, the following magnificent programme has been prepared :—

1. Symphony in C Minor, No. 5 Beethoven. 2. Waldweben, Siegfried Wagner.

3. Overture, Fantasia, Romeo and Juliet Tschaikowsky. 4. Vocal Number ... 5. Overture, Meistersinger Wagner.

The Managers desire to thank Messrs. J. C. Williamson & Co. and Bland Holt for their kindness in giving facilities to members of the Orchestra.

-The Bechstein Piano has been kindly lent by Allan's, and the Erard by Wertheim's.

Hung with strange eyes and hovered as a bird Wounded, and each mouth trembled for a word ; Their heads neared, and their hands wire dramM

in one, And they saw dark, though still the uneunken sun Far through fine ram shot fire into the south ; And their four lips became one burning mouth.

And ere her ear might hear her heart had heard, Nor sought she sign for witness of the word ; But came and stood above him newly dead, And felt his death upon her ; and her head Bowed, as to reach the spring that slakes all drouth And their four lips became one silent mouth.

"Tristram of Lyonesse." A. C. SWINBURNR.

Marshall-Hall Orchestra, 7th Sept., .1907._

Conductor : Professor G. W. L. MARSHALL-HALL. Assistant Conductors :

MR. F. DIERICH, MR. H. SCHRADER, MR. A. ZELMAN, Junr_

Violins : Mr. Dierich

Zelman North Adams Brennecke Coy Curcio Parkes Schieblich Solomon

„ Zeplin Miss Trenerry

Whitley Walters

Gollmick Hume Hunter Nichoff

„ F. Weinberg Mrs. Brookes' Miss Cuddon

Gillbanks Heffernan Stanford Sugden Archibald

lbarp : Mr. Barker

flutes : Mr. Stoneham „ Amadio „ Ricco

Oboes : Mr. Hunter

Thomson Dr. Rudall* Mr. Taylor*

Cor Zinglais : Dr. Rudall"

Clarionets : Mr. Mortimer „ Griffin

Mohr

Mass Clarinet : Mr. Tipping'

Massoons : Mr. Lupton „ Carolane „ Ingamells

Violas : Mr. Dawson

bouts : Mr. White

„ Dechow „ Hingott „ Hess „ Wood „ Josephi „ Finlay

„ Schrader Zelinan trumpets :

Miss Charge „ McMahon

Cellos : Mr. Hattenbach „ Cleaver „ Hopkins „ Roubaudi • Argenzio

Montague Miss Reid

„ Bear

Mr. Stoneham „ Holloway „ Jones

rombones : Mr. Lawson „ Hore „ Burns

tuba : Mr. Vic:t

tympani :

Masses: Mr. Briese

Mr. Munyard

Cpmbals, „ Jochimsen Mr. Canna „ Phillips „ Crow' „ Rowe „ Sarau Librarian : „ Graham Mr. R. C. Carolane

"Kindly give their services.

Library Digitised Collections

Title:

Program of the Marshall-Hall concert, 7/9/1907

Date:

1907

Persistent Link:

http://hdl.handle.net/11343/23583

File Description:

Program of the Marshall-Hall concert, 7/9/1907

Terms and Conditions:

The University of Melbourne believes this material to be out of copyright and has made the

material publicly available with this in mind. The University of Melbourne Library had made all

attempts to ensure that this is the case and that no copyright is being infringed as a result. If

you believe that copyright still exists in this material, please contact the University Copyright

Office to discuss: [email protected]

Terms and Conditions:

Although, the University of Melbourne does not claim any copyright in the digital version of

this material , we would be grateful if you could acknowledge the University of Melbourne

Library as the source of this material.