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Marshall = hail Orchestral concert.

Zeconb concert of the %mon ot being the 55th since their inception.

town bait, Metbourne, „,4

Zaturbav Afternoon, Map 28th

Orchestra of ZevenQ artists

bon. ConDuctor: Prot. G. ta IL. Maroattolbatt

Vocatiet:

inissibargueritelbenberson

prices of EItniEitoii:

Malcom? an6 112 eserveb Chairs 5/.= 3i3o0p of ball = = 3/:= South Oalferp anO Brea = 2/-

Vox Van at Bilan's

la. C. 1bOPItill£5, Orchestral eanager.

flbtttp fox, 472 Cbancerp Zane, 13on. 3trretan2.

- C. 87011[1.111 PRINT“ 146 tLIZASETH

•

.. Programme . . 1. Eine Faust Otwertke

Richard Wagner

"faust in tier Einsainheit." PARTS KINDLY LENT BY MR. C. LEVY.

rills remarkable overture was originally intended as the first movement of a " Faust ' Symphony, and represents, Wagner says, " Faust in solitude," e.g. the utter dissatisfaction, disappointment, and unrest of the man who has " abstained, renounced," who has put aside the " joy of life," in order to achieve the ideal of his soul by profound and sustained study, and who at last wakes to perceive that in striving towards the unrealizable, he has missed also the practicable purport of life.

Acutely and powerfully Wagner has analysed for us the psychology of the Scholar full of genius, enthusiasm, high purposes, and passionate endeavour,—a man of other, more intensely vital days than our modern mediocre tepid man-o'-the street ones.

There are four main motive forces in the overture, each represented by a musical figure. The first, with which it opens, seems to indicate the gloomy, passionate brooding of a mind .which has long sought, and never found. It ultimately enters as the main theme of the Allegro, and combines a certain expectant eagerness, as of one on the very point of touching the near-distant truth-of-truths, with burning disappointment and despair. It is followed at once by two short semiquaver figures (that permeate the whole movement), the first of which mounts questioningly, and seems to be partly elucidated by Faust, when he says :

Where seize thee, 0 Infinity of nature ? Where, 0 ye Breasts ?—Ye Sources of all Life, Whereon the very Earth and Heaven hang,—Thither the withered bosom strains,—

and the answering figure rushes passionately down, as if inspired by the cry of the final line :

Ye flow, ye feed,—and yearn I thus in vain ? The fourth theme is a most exquisite and'Intangible melody given out by the Wind, and accompanied by an inspiring upward-soaring movement of the Strings. This theme so far from representing "Gretchen," seems to depict the vague, mystic, super-sensuous ideal of the melancholy dreamer, to whom woman and the joys of love are things unregarded, unknown. Like a lovely phantom of ex-quisite beauty, this mysterious melody mounts higher and higher, followed by the breathless ecstasy of the violin-passage, till with a crash it shatters on the ice-cold barrier of reality. Of its wonderful after development there is only space to hint that a process of bitter disillusionment seems to take place. The simple ethereal harmony is replaced by ever more discordant progressions, the ideal is coarsened, transformed, lost, in the hard material light of living fact, and with a thousand-fold bitter-ness and passion, the first three motives wildly intermingle.

There is one other highly important mood which occurs shortly after the opening of the Allegro (as 2nd subject), to which Wagner has applied the following words of Faust :—

" A sweet uncomprehended yearning Drove forth my feet through woods and meadows free, And while a thousand tears were burning, I felt a world arise for me." (Bayard Taylor.)

This, too, is given out by the Wood-wind, and its indefinable relation to the " Ideal" motive is most delicately conveyed, emphasising the astounding psychological insight which obtains throughout the whole work, which Wagner prefaces with Faust's famous lines :—

The God that dwells within my breast Can stir me to my inmost source; Yet he, the tyrant over all my powers, Externally can nothing move : And thus existence is to me a load, Death wished for, and my life a thing accursed !

(Short Interval to allow Late Corners to be seated).

2. Spinpbonp E Flat Major .– G. W. Z. Marshall -Hall I. Vivace.

IL Largamente. III. Allegro con spirito.

This Symphony belongs rather to the naive spontaneous, than to the introspective, analytical, school. It represents in purely lyrical form the manifold impressions of various life upon an ardent, active temperament. Scenes, impressions, passions, activities continuously succeed each other as in life itself, and in their sum constitute a joyous strenuous individtiality, perhaps more akin to the spirit of the ancients than to our modern self-conscious, ultra-subjective tendency ;—

" Bliss was it in that dawn to be alive, But to be young was very heaven ! "

The second movement, solemn and contemplative, suggests a mind in repose amid the grander forms of Nature, the infinity of ocean, mountain, and sky, whose lasting beauty vaguely seems to imply the evanescent destiny of things human—" Allen Schtine mussterben." It is in the spirit of Wordsworth when he says, addressing the clouds-

" And clear and bright And vacant doth the region which they thronged Appear ; a calm descent of sky conducting Down to the unapproachable abyss, Down to that hidden gulf from which they rose To vanish—fleet as days and months and years, Fleet as the generations of mankind, Power, glory, empire, as the world itseV, The lingering world, when time hath ceased to be."

The final movement hurries along from one scene, activity, life-impulse, to another. The opening cry of the hautboys and horns, which has in it something of bewilderment, of anguish, changes rapidly from doubt to resolution. Boisterous mirth succeeds swiftly to tenderness, realism to romanticism, action to thought. Every tendency towards subjective sentimentalism is brusquely brushed aside by the strengthening joyousness of triumphant rhythm. Life is good ! the world is good ! " The World," as Wordsworth once more sings, " Wherein we find our happiness or not at all !"

Music, it is true, affords no philosophical maxims. But it is able to give birth to feelings and impulses which affect us often infinitely more than such philosophical maxims. This English symphony will have produced its intended effect if it re-awakens in its hearers those emotions of beauty, joy, and courage, from which it sprang.

inte rval.

3• Ethabemiscbe fest Onyertiire

Joh. Brahms The University of Breslau conferred its Doctorate on Brahms. This 01 erture was written in

commemoration of that event, and was intended as a prelude to the festive convivialities of the German student. He utilised the themes of the principal choruses which are invariably sung at these occasions. There are the jolly rhythms of "Was kommt dort von der LIM' ?" by which the Fachse (foxes, freshmen) astride on chairs and led by the Fuchs- Major, file through the hall, to receive their baptism, and attain the beatic state of full-grown Burschen. Then there is the vow of allegiance to the Fatherland : "Ich hab' mich ergeben mit Herz und mit Hand," and there are the solemn strains of the Landesvater : "Altos' schweige, jeder neige," when the rapiers are bared, and the caps ceremoniously pierced. And there is finally the academic anthem : " Gandeamus igitur," the grand and vigorous melody of which effectively concludes a fine work, and classical example of the poetisation of popular customs.

4• Veit. an aria "Abscheulicher ! wo eilst du hin ?" (Fidelio) Beethoven

Miss Marguerite benberson. German VaorDs—"It6elto" Arta. Znoltsb 11111orbs—"Iftbelio" Britt.

iReett. Abscheulicher ! Wo sulfa du bin ? Was hast du vor? Was hast du vor in wildem Grimme ?

Des Mitleids Ruf, der Menscheit Stimme, Riihrt nicht mehr deinen Tieger— sinn I Doch toben auch wie Meeres-wogen Dir in der Seele Zorn und Wuth, So leuchet niir ein Farbenbogen Dei hell auf dunkeln Wolken ruht, Der blickt so still, so friedlich nieder, Derspiegelt alte Zeiten wieder, Und neu besanftigt wallt mein Blut.

arta. Komm Hoffnung, lass, den letzten Stern Per Miiden nicht erbleichen, 0 komm, erhell gihr Ziel sei's noch so fern, Die Liebe, sic wird's erreichen. Komm, 0 Hoffnung, Lass den letzten Stern, Per Miiden nicht erbleichen ! Erhell ihr Ziel sei's noch so fern Die Liebe, wird's erreichen. Ich folg' dem innern Triebe, ich wanke nicht, Mich starkt die Pflicht der treuen Gattenliebe. Oh du, fiir den ich alles trug, KOnnt ich zur Stella dringen, Wo Bosheit dich in Fesseln schlug, Und siiesen Trost dir bringen !

5. Vance be Spipbes ilbarcbe lbongrotse J "'

The dance of the Sylphes, with its piquant accompaniment on the strings, harps, flutes, and clarinets, conveys an impression of sensuous grace which requires no deeper analysis. The same may be said of the brilliantly arranged' and scored Racoceky March, which Berlioz has borrowed and adorned from the Hungarians.

At the close of the Concert, members of the audience are respectfully requested to keep their seats until the Vice-Regal Party have left the Building.

THE

THIRD CONCERT of the Season WILL BE GIVEN

On Saturday Afternoon, JUNE 25th. programme.

I. Overture ... " Meistersinger " Wagner

2. Resit• and Aria, from " Figaro " Dove Sono Mozart MISS EILEEN O'BRIEN.

3. *Orchestral Suite " L'Arlesienne " Bizet

4. *Symphony (No. 3) F Major Brahms

* These works have not been performed in Melbourne for more than 15 years.

Weir. Monster ! Whither dost thou haste ? What hatcheet thou in evil rage? The call of pity, Nature's voice, No more can move thy tiger's mind ! But though like stormy ocean's billows Revenge and wrath surge in thy soul, O'er me a rainbow faintly hovers And brightly gleams on the dark clouds. It glimmers down so still, so peaceful, Re-mirroring times long past by, And reassured my heart beats firm.

Britt. Come, Hope, nor let the last dim star Fail to my o'erborne heart. Shine on my goal ! Far though it be Love, Love, shall yet attain it.

I waver not. An inward power compels me. And my wife's love confirms my wifely duty. 0 thou for whom I all have borne, Could I but reach the dungeon Where cruel malice hath enchained thee, And bring thee consolation !

It Faust" Berlioz

Stanford „ E. Sugden trUMpets: „ Whitley Mr. H W. Stoneham

Violas : f t Hollaway „ Oppenheim

Mr. Dawson „ Wilson „ Hess „ Hornidge trombones : „ Wiedemann Mr. R;11.1 „ V. Zelman ,, Lawson

Miss Charge ,, W. Hingott

Piccolo : Mr Dierich ( Leader) Mr. Russell

„ Adams Oboes : „ Bishop Mr. T. Hunter „ Brennecke „ Williams

Connolly „ Coy Cot EngIais : „ Gollmick Mr. D. E. Williams „ Hume Clarionets : „ L. Hunter

Mr. Mortimer „ Joachimsen • Mumford „ Burgess ., North Vass Clarionet: „ Parkes Mr. E. Lyons „ Schieblich „ Stevens Vassoons : „ Stitch Mr. Lupton „ Taylor „ Ingamells „ H. Weinberg „ Carolane „ F. Weinberg Thorns „ A. Zelman Mr. J. Hingott ,. G. Zeplin „ Wood

Miss Archibald Cesari „ Gillbanks „ Thomson

Orchestra.

Cellos: Mr. Hattenbach

„ Cleaver „ Hopkins „ Montague

Miss Bear

kasses: Mr. Briese „ Brown „ Rowe „ Sarau ,, L. Williams

IbarP Miss Barclay

Mutes : Mr. H. Stoneham

„ Amadio

tuba: Mr. Lelliott

Cornets: Mr. Oppenheim ,, Wilson

tpinpani : Mr Ramage

Orosse Caisse ant Cpmbals:

Mr. Downes

tambour ant triangles :

Mr. Canna

librarian : Mr. Ingamells

The Managers desire to thank Mr. J. C. Williamson, Mr. Wm. Anderson, and Mr. H. Rickards for their kindness in permitting members of the Orchestra to attend Rehearsals.

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Program of the Marshall-Hall concert, 28/5/1904

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1904

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