ITIntler tbe ipatronage of ilbeir Egcettenctes tbe (3opertiO1•43eneral anb labp MuMeg',

RHO EgceUtter the State Governor R 1Lab Gibson Carmichael.

Marsballzball Orchestral concert

%eason 1910.

" 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 recollection by the pangs of self-reproach."

T. H. HURLEY.

Seconb Concert of the s eason, being the 97th since their Inception,

town lball, flbelbourne, .0g

Saturbap afternoon, flap 14, 3 p.m

Orchestra of 67 artists. Conductor :

Prof. 0. Ilta. L. .fflarsbaitolbait.

pianist: (111)rs. sheath. Vocalist: (Or. Ossipoff.

3.. sutton Crow, Orchestral itlanager, atlarn Street

03race Vark, lijalothorn.

.nr. 11)bitip lox, Mon. 6trtetarr, loyal ansnrance *uilDings,

414 Collins 6trtet.

prices of Eltnnission: Malconp anb 1Reserreb Cbairs 5/.= ISoop of tau = :--- 3/= area :-. ., ,.--. -- 2/=

Bog iplan at titan's.

J. 0 .11..14 FnO. PRIMi..1411..1111711 .......

Prooramine. 4. toreabor's Zong (Carmen) ...

(H)r. Ozsipoff. Bizet.

1.Meab March in %ant ... Handel.

2. Zpinhhonp No. 2, D Major Haydn.

Adagio. 2. Andante. Allegro.

3. 3 Menuetto. 4. Allegro spiritoso. Trio.

After the dignified gravity of the Introduction this Symphony sparkles with a merry-hearted delight in the joyous things of life, which Haydn was fortunate to preserve even in his old age. The last movement is a masterpiece, and its second subject introduces a touch of profound feeling prophetic of the coming Beethoven, who nine years after, in 1804, was in his Sinfonia Eroica, to unveil a new world, and a new ideal of life, far distant from the grace, charm, and innocence of that one loved, and inimitably poetised, by the " Father of the Symphony."

Interval.

3. Concerto for pianoforte anb Orchestra, in E Flat Major (The Emperor)

Beethoven.

Allegro.

Adagio un poco mosso.

Rondo. Allegro ma non troppo.

lbeatb. Beethoven composed five pianoforte Concerti, of which three, No. 3 in C Minor,

No. 4 in G Major, and No. 5 in E flat are well known to all who attend orchestral concerts. The latter work bears the inscription " The Emperor," and is now to be performed. It dates from 1809, and Beethoven, when composing it in Vienna, was greatly disturbed by the distant thunders of Aspern-Eusling and Wagram, and was obliged to retreat to a cellar. The master had long ceased to regard Napoleon as a hero, and the title of the concerto, far from being in honour of the Corsican, is an expression of loyalty to Germany and the house of Hapsburg. The work itself is not, however, any such expression, but is a purely spontaneous tone-poem—a complete and inspired work of art. Together with the C Minor and " Pastoral " symphonies, it marks the central and culminating point of Beethoven's middle period.

I.

The soloist calls attention to the nature of the work, after which the principal themes are stated and fully developed by the orchestra. These are of the simplest possible character, but upon the re-entry of the soloist are treated to considerable elaboration. In this re-entry one will note the exquisite delicacy of Beethoven's scoring, and in all the further treatment his perfect sense of proportion, a quality so often sought for in vain in the scores of more recent works of the same class.

II.

The slow movement of the " Emperor " Concerto consists of music of a most idyllic nature. It appeals to the spiritual rather than the animal or mental part of our being—finds its haven in the temperament rather than in the instinct or the judgment. Its message is truly one of love, but in the widest sense of that term. Such is the feeling which this music inspires, that the listener, could it only be

retained, would be a saint for the rest of his days.

In the transition form the slow movement to the rondo one is afforded a good example of dramatic feeling in music. The bridge-passage suggesting the main theme of the rondo seems to herald a new atmosphere of joy and elation. This is now introduced by the soloist in a forcible and triumphant manner. Beethoven's mind must by this time have wandered far from the scenes of waste and carnage in

which fate had enveloped him. " La Joie de Vivre " had seized him and placed him self-centred in the realm of his art, as yet free from the menace of physical infirmity.

A.L.

Sirs ! Your toast, a courteous answer claiming, I lift my glass to soldiers gay and bold ;

Torreos, like you, with courage flaming, Thrill with joy when they combats behold !

See ! the Arena thronged with crowds of people, The seats are filled above, below,

Loud bells ring out from every steeple, And all the world has come to the show.

Hark what shouting, what frenzied voices, When the bull flies out with angry roar !

Ah ! 'tis then the Torreo rejoices, Sure of honour wheit the fight is o'er.

Look out ! Beware ! Ah Toreador now guard thee, Toreador, Toreador.

Bear thou in mind, when combat thee elates, Two bright eyes fondly regard ;

For thee a fond heart waits. Suddenly there comes a silence,

Ah ! what has happened now ? All hearts are beating high !

'Tis a mighty bull comes rushing out of the Toril ! See he flies, his foe he reaches,

Down goes a gallant horse ! with him a picador ! Ah ! bravo, Toro ! shout out the people ;

On goes the bull, now here, now there, raging he flies ! And maddened by the Banderilleros, in frenzy wild now fights,

The Arena streams with gore ! Many, see, for safety climb the fences,

And then, Toreador ! 'Tis time, Prepare ! Beware ! Ah !

Toreador, now guard thee, &c.

5. Overture "Ruy Bias " Mendelssohn. This spirited overture is full of vivacity and adventure, and not the least remark-

able point in it is the way in which the solemn opening chords mockingly convert themselves into the unconcerned cheerfulness of the second theme, a piece of subtle tragic psychology unexampled in Mendelssohn's works.

The Management have to acknowledge with thanks,the 'loan of Orchestral Scores and Parts from Mr. Charles Levy, Mr. Rebottaro, and Mr. North.

The THIRD CONCERT of the Season WILL BE GIVEN IN THE

Town Hall, Melbourne, ON THE

Afternoon of SATURDAY, JUNE 11, At 3 p.m.

(This day Four Weeks).

PROGRAMME.

1. Symphony, in F Major, No. 8

Beethoven.

2. Concertstuck for Flute and Orchestra ... Hofman. (Dr liniabio.

3. Vocal Number Zichforb.

4. Valse Triste

Sibelius.

5. Hungarian Rhapsody, No. I

Liszt. *First Performance in Australia.

•••

Clarionets : Mr. Tipping

„ Mohr

ZassoonS : Mr. Briginshaw „ Chapman

thorns : Mr. Kuhr

„ Hingott „ Lucas „ Milton

trumpets : Mr. Levey

„ Code

trombones : Mr. Code

„ Fletcher „ Mossman

tympani : M r1 Cr,,,,,

Side Drum : Mr. Roper

Marshall-Hall Orchestra. Saturday Afternoon, May 14.

: Mr. Dierich

North Briglia Haydon Hume

„ Leon Lambert'' „ Le Plat „ Parkes

Mrs. Brookes' „ Manby

Miss Archibald Aicken Baker Campbell Clark Cuddon Gray Healey Macarthur Pearce Stanford Sugden Trenerry Walters

Violas : Mr. Dawson

T

V Y illiams Miss Baker

Cook Martin McMahon Metters

Mr. Hattenbach „ Hore „ McLeod „ Schellenber0r*

Mrs. Wischer* Miss Baker „ Bear

Fink"

Zasses : Mr. Roubaudi

„ Ackfield Dodge

„ Tappe

Mutes : Mr. Amadio

„ Russell

Oboes

Mr. Taylor Dr. Rudall*

*Kindly give their services.

Cellos :

Conductor : Professor G. W. L. MARSHALLHALL. Assistant Conductor : MR. F. DIERICH.

Chamber Music Concerts. Under the Artistic Direction of Professor G. W. L. MARSHALL-HALL.

The First Chamber Music Concert Will be given in the

MASON IC HALL, On FRIDAY, JUNE 17th, at 8 p.m.

programme. 1. Quartet in A Major ... Beethoven.

2. Vocal Number ...

3. Concerto for Flute and Pianoforte Mozart. Andante. Allegro Vivace.

MR. AMADIO.

4. Quintet for Pianoforte and Strings Schumann. Quartet—Messrs. LE PLAT, NORTH, DAWSON, and HATTENBACH.

Pianist—Miss JESSIE MASSON.

Season tickets admitting to reserved seats at the three Concerts may be obtained at Allan's, price 12/-, or to holders of season tickets for the present series of Orchestral Concerts, 10/-. Admission to single Concert, 5/- and 2/6.

Library Digitised Collections

Title:Program of the Marshall-Hall concert, 14/5/1910

Date:1910

Persistent Link:http://hdl.handle.net/11343/23604

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