1!)aUt * <l&rcbestra (Le a der : LAURANCE TURNER)

Conductor

SIR JOHN BARBIROLLI Solo Oboe

EVELYN ROTHWELL

FREE TRADE HALL. MANCHESTER Wednesday. 2nd May. 1956 at 7-30 p.m.

Thursday. 3rd May. 1956 at 7-0 p.m.

Halle Concerts Society Souvenir Programme Ninety-eighth Season Price 1/ ­

, THE HALLE CONCERTS SOCIETY

PATRON:

HER ROYAL HIGHNESS THE PRINCESS ROYAL

MUSICAL DIRECTOR:

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I

THE HALLE ORCHESTRA The Halle Concerts Society is in association with the Arts Council of Great Britain

First Violins Laurance Turner. Leader Arthur Percival

Sub-Leader Eric Davis

Deputy Sub-Leader Adam Smeaton Maude Gold Audrey Napier-Smith Elizabeth G. Richardson Roy Evans Rose Roth David Llewellyn Daisy Richards Jean Carr Joseph Segal Davina Hart

Second Violins Sydney Partington,

Principal Norah Winstanley.

Sub-Principal Phyllis Greenhalgh Gertrude Barker Bernard Quinn Bridget McKeown Joy Kershaw Peter Hall Cecily Holliday Marion Hillier Jack Atherton Noel T. Broome

Violas "Sydney Errington.

Principal William Huddart.

Sub-Principal Margaret Hunt Harold Budworth Donald Shepherd Frederick Crawshaw Rachel Godlee Malcolm Tillis Ludmilla Navratil Antony Cullen

Violoncellos __

Oliver Vella. Principal Gladys Yates

Sub-Principal *Sydney Wright ·Alexander Ferrier John Dow Joseph Richmond Wenceslas Konopasek Norah Sandeman Christopher Lebon

Double Basses *Arthur H. Shaw

Principal Richard Tildesley.

Sub-Principal John Sullivan Norman Mason Peter Leah Alan Foreman Peter Moore "'Wallace H. Jones

Flutes Oliver Bannister.

Principal John Braddock William Morris

Piccolo William Morris

Oboes Michael Winfield.

Principal Anne Somervail Roger Winfield

Cor Anglais Roger Winfield

Clarinets *Pat Ryan. Principal Leonard Foster *W. Leonard Regan

Bass Clarinet *W. Leonard Regan

Bassoons Charles W .. Cracknell.

Principal William Greenleees Herbert Mitton

Double Bassoon Herbert Mitton

Horns Maurice Handford.

Principal Kenneth Shaw Arthur Bevan David Wise Enid Roper

Trumpets William Lang. Principal Arthur Butterworth Sydney King Joseph Lee

Cornets Sydney King, Principal Joseph Lee

Trombones David Want. Principal Paul Lawrence

Bass Trombone Terence Nagle

Tuba *Wallace H, Jones

Timpani Joyce Aldous. Principal Tom Cheetham

Percussion Jack Gledhill. Principal Tom Cheetham Rayson Whalley

Harp Jean Bell Celeste Rayson Whalley

Pianoforte Rayson Whalley

Organ Eric B. Chadwick

Librarian Tom Cheetham Orchestra Manager *Wallace H. Jones

• Holder 01 the 20 years' Service Medal

3

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ANALYTICAL NOTES (Copyrie ht)

GOD SAVE THE QUEEN

.\ Overture, .. La Clemenza di Tito .. Mozart (1756-91)

(Thirteenth time at these Concerts: last perrormed 4th February, 1948)

Mozart, ill and financially worried, in the early months of 1791, received a commission to compose a new opera for the ceremonial occasion of a coronation in Prague. Eighteen days were all that remained for composition and rehearsal-a compliment to the com­poser's genius, no doubt, but the kind of compliment that no creative artist desires: like wine, ideas must ferment before full maturity is attained.

There is every internal indication that the overture was written last: an air of finality exudes from it-and a due regard for the ceremonious requirements of the occasion. Starkly and uncom­promisingly in the key of C major, the whole orchestra bursts out in a stately but rather pompous flourish, an imperious gesture and an acknowledgment both of the importance and the incidental cause of the work's creation. But out of this drops a soft detached phrase on the fiddles; a phrase destined to playa considerable part in the pro­gress of the piece, though at the moment it is brusquely pushed aside (twice) by a short harmonic extension of the flourish and then super­ceded by vigorous scale passages. A pause introduces the second main theme, a tune on the flute and oboe that begins broadly but

; immediately changes its trend to vivaciousness. Shortly, the' detached phrase' returns and is developed contrapuntally, at one point with a brief chattering tune on the fiddles. Although there is very consider­able ingenuity in the treatment of this phrase it all sounds spontaneous, carefree and happy. For the final section there is a reversal of the usual order of things: Mozart brings his second theme back first and then uses the main theme to wind up the work-presumably to again salute the king with a ceremonial flourish.

Concerto inC for Oboe and Orchestra (K.314) - Mozart ( 1756-91) (Third time at these Concerts: last perrormed 20th May, 1951) .

In 1777 Mozart wrote an Oboe concerto for Giuseppe Ferlendis, oboist in the Salzburg Concert Orchestra. He frequently referred to

5

.C

it in his correspondence, but all traces of the work had apparently disappeared. It now seems certain that the original oboe concerto was transposed and adapted for the flute the following year when de Jean (or Deschamps), a wealthy patron whom Mozart called a

true philanthropist, the Indian Dutchman," commissioned two concertos for the Flute. There was apparently snme urgency in the matter-hence Mozart's adaptation instead of an entirely r.ew work. It eventually became widely known as the Second Flute concerto. Now here it is, back into something like its original shape, the parts having been discovered recently in Vienna.

The general character of the work is light and cheerful, a mood that is at once apparent in the principal theme of the opening move­ment, an allegro aperto, as it springs briskly from the violins with the horns sustaining the tonic and the oboes filling out the inner harmonies. A momentray lapse into delicacy is brushed aside by another bustling theme. Before the solo instrument runs in, with an upward scale, seemingly the treatment was tending towards instru­ • mental individualisation, but almost at once the orchestra settles back into contentment with a light accompaniment, although a tutti on a new thematic fragment appears to urge the lower strings towards emulation for a moment.

The second movement, Andante ma non troppo, begins with a string theme of the forceful yet placid variety that gains character by rhythmic plasticity: towards the end tonal ambiguity creeps in but does not really disturb the mood. The soloist enters with a variant and then runs an idiosyncratic course, being rarely silent afterwards and rounding off the melodic cursiveness with a fairly elaborate cadenza. However, it is the orchestra that takes the final bow, with a modifi­cation of the opening theme.

There is something magical in the light touch of the flnale-a rondo built round the tune that the oboe pipes out at the commence­ment. Notice how deftly the strings support the solo instrument and how light and airy the tune seems before the orchestra takes it up and gives it more C body.' Then, from oboes and horns, comes a little phrase that is answered by the soloist and strings, and ends lustily on the orchestra before the strings carryon with another little tune chirped out by the first violins, imitated by the second violins, and then by the violas-it may be seen to be a cunningly altered version of the main theme. As the soloist, out of this, picks up a more sustained melody, this also will be seen to owe something to the principal tune, particularly in its decorative and much elaborated cc tail." The next section begins with some waving figures on the oboe with syncopated chords on the strings in the accompaniment, but develops into a blithe running tune. From this point there is comparatively lirtle new material, although sometimes it is not easy to recognise the old tunes because of the fascinatingly ingenious way of dealing with them. Just before the movement finishes there is a short Gadenr,a. The end is as light-hearted as the beginning.

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------

Symphony in D minor k. Vaughan Williams (1872) (Dedicated to Sir John Barbirolli)

(First Performance

Cop),right notes by the Composer, reprinted by his kind permission and that of the Oxford University Press.

There are four movements: I. V ARIAZIONI SENZA TEMA

2.. SCHERZO ALLA MARCIA (per stromenti a fiato). 3. CAVATINA (per stromenti ad arco).

4. TOCCATA.•

The symphony is scored for what is known as the' Schubert' orchestra: with the addition of a harp. Also there is a large supply of extra percussion, including all the 'phones and 'spiels known to the composer.

The first movement, as its title suggests, has been nicknamed' seven variations in search of a theme.' There is indeed no definite theme. The opening section contains only a few isolated figures which are developed later, but that is all: here is a list of them.

a..:J T....... for v;~_ t .. -'--I::::::t<izz ¥H1l~ ... =j )­- l' ~

\1) FI..tart U V-G ~ --­~; ff ~~+ t I ~

" C) St(;".~s _ _ _ _ _ _ _ _

~~~~~

; The second section is played presto, and (a), (b), and (c) are juggled with alternately by wind and strings.

In the third section a choral-like melody appears on the strings and harp which proves to be a descant of (a).

d) sr,; "~5;;.----- .....-­ ...... : ....

- :-t -~:--

«(,,";... p....... ts "..;t"# t..,) ...--~ ,1&."-- -0

7

This leads to a cantabile phrase for oboe and solo violoncello which seems to be another variation of (a).

There is also another phrase suggested by (c).

The fourth section, Allegretto ~, also starts with a variation of (a).

This gives way to still another variant of (a).

There is also a reference to (c).

The fifth section consists chiefly of the lengthening out of (a), starting with the violoncello and harp, the other instruments gradually joining in.

~) Celli ,...-- __ --... Cl ....;~

~1=~=P~~~ with another suggestion of (c).

'9 I'! Viflins

§6 f f li~t=i ke 15fii

We return to quick tempo in the sixth section which is chiefly occupied with (a) and a perversion of (b).

I) 8M'''. t . '"'\Ii. &.ssi .

m r b, ~tEer=¢W?Efit,-

8

first section may be called the first

as its two

for wind

three

The and last section is a on a and more ,F;'-, .... H.J.1C."C; scale of the third section' starting softly, music rises to a climax and then sinks down to and the whole movement finishes with a reference to the

I understand that some hearers have their withers wrung by a work called a symphony first movement does not correspond to usual symphonic form. It may be __ that by a little verbal this movement may be referred to the conventional scheme. subject; the section can become the' the third may be described as the Sections four and five we call the the allegro will be the reprise of the first subject, though this, will be over rather thin ice: but there will be no difficulty referring final section to the recaoltulation and coda. Thus all wounds will be healed and honour

The second movement (Scherzo) is, instruments only, namely, flute, piccolo, three bassoons (third ad. lib.), two trombones.

Under an accompaniment of chords the bassoons have a tune, startine- thus:

This is nute and while the bassoons have occasional scales. leads to another tune, on the trumpet:

with a sequel played by the wind instruments.

tlo.A ",i.~

A figure out of this section which is started by the bassoons and carried on with such as stretto, al!gment­

etc., bv the rest of the band.

ea~S"K$

9

'There is a short trio in six/eight time.

~ &-.s'••~s .......----.... . ....--.....

':5; .,' 1 r r ' r I J ; Bl) I J. 1

There is no complete recapitulation of the scherzo, its place being taken by a short stretto and a few bars of coda. I think I may claim precedence for this idea of the truncated recapitulation in the third movement of Brahms' Clarinet Quintet.

In the third movement (Cavatina) the strings take over, thus giving the wind a well-earned rest. The violoncellos start off with a cantilena twelve bars long, which begins thus:

This leads to a short episode of which we shall hear more later.

It) I~ Vi,li~s ___

.i4. , :r IbidEt· cr- .r..

Then the violins take up (a) again, with occasional pizzicato scales in the bass: this leads to an important second section in triple time.

A development follows founded on this figure.

d) I'} Vi.lins m Of fiJll:p tl\·t i' ~~

This development also contains a cadenza-like passage for the solo violin. Then comes the orthodox recapitulation of the opening theme, this time given to violas, cellos and basses, which leads to a shortened version of (c), and an arpeggio figure, based on (d), for a solo violoncello ends the movement.

The fourth movemmt, Toccata, besides full strings and wind, commandeers all the available hitting instruments which can make definite notes, including glockenspiel, celesta, xylophone, vibraphone, tubular bells and tunable gongs. These last are ad. lib.: according to the score they are ' not absolutely essential but highly desirable.'

10

After a shorl , rather sinister exordium,

11.)

P: ~~~ .& 11' J .m~. i:?4

the trumpet gives out the principal theme, surrounded by all the tunable percussion.

IY 1Ir-.:lLl't;t;ljbw jj

1r

ii&i e}

4* EEf1t1 G¥t it I r II i ¥ I d .-;:::H-

There are thus two sections, each of which is repeated by full orchestra. Then comes another tune, given to strings and horns .

d)'!t V;.,JioS ~ c....t.&i!& t'7'

ijJ l I j.ijr.. ~ I ~ -H ·r ==t:::itri::::­t..~ Ff?FfSi4 ­This returns us safely to the principal theme: indeed, we shall soon discover that this movement is a modified rondo. Music (b) and (c) recur at intervals, surrounded by episodes. The first episode is built up on this theme.

~

I bfiJ it i F£3l5 ....::::. ::::­

The second is characterized by the voice of the xylophone, and the third episode introduces vibraphone and celesta. The fourth episode consists of a resumption of (d) accompanied by glissandi on all the available percussion instruments. This leads to a final, and perhaps rather portentous statement of (b) and (c)-the symphony ends with a reference to the sinister exordium.

The picture on the front cover ofthis programme shows Dr. 0­Mrs. Ralph Vatlghan Williams discussing the score ofthe D minor Sympho'!} with Sir Tohn Barbirolli, during rehearsals at the Free Trade Hall.

[Picture-DAILY MAIL]

JJ

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12

INTERVAL

During the interval copies of the Current issue of

dUuJ a magazine for the music lover

may be obtained from Halle Club members, price 1/­

Symphony No.4, in E minor, Op. 98 Brahms (1833-97) (Thirty·fourth time at these Concerts: last performed 3rd April, 1955)

1. ALLEGRO MA NON TROPPO.

II. ANDANTE MODERATO.

III. ALLEGRO GIOCOSO.

IV. FINALE: ALLEGRO ENERGICO E PASSIONATO.

Probably no modern composer has been subject to more criticism than Brahms. In the first place he had to live up to Schumann's eulogistic description of his early work and that led musicians to anticipate an ultra-romantic tendency which he did not choose to .develop; in the second he was acclaimed by the anti-Wagnerites .as their ideal, a position that resulted in the adherents of Wagner finding little good in Brahms.

He came to the symphony late in life, mainly because of an inherent modesty which made him doubt his ability to handle the -orchestra with complete facility. It must have been the problem of -orchestral writing that deterred him for he had been a confident wielder of the form itself-the sonata form-since his first published composition, and Schumann had referred to his pianoforte sonatas as "veiled symphonies." .

Wagner had written on Beethoven's symphonies as the veritable .climax, the ne plus ultra, of symphonic art, and this view was held by many critics. Brahms proved that the symphony could still be used as the vehicle of a new and personal expression, that it was plastic and adaptable to the artistic needs, while in the hands of a master it did not fetter the imagination.

The Fourth Symphony was first performed in 1886 and came to England, at a Halle Concert, in January of the following year.

The first movement opens at once with the principal tune, a :roignant melody in detached phrases over long-held chords on the

13

horns, off-beat chords on the wood-wind and arpeggios in the lower strings. The resemblance of this melody to " Behold and see" from the " Messiah" was pointed out by Dr. Riemann: not to be taken too literally--a comment on mood rather than notes. Mter the eighth bar it flows more evenly and repetition in an altered form follows. It is developed to some considerable degree and then the wood-wind and horns break across with a subsidiary tune in a totally opposed rhythm and mood. A passage of pizzicato octaves on the strings, alternating with staccato octaves on the wood-wind, lead into the second principal tune, the first part of which is heard in double notes on the wood-wind and then carried on intensely by the violins. The wood-wind and horns add a little commentary and that virtually completes the thematic material on which the movement is built. Brahms proceeds to work it out with the utmost fertility of inventive ingenuity in which intellect is adequately balanced by emotion.

The slow movement is in the key of E major but there is nothing in the opening impressive phrase on the horn to suggest major tonality and it is not until the clarinet takes up the theme, in more sustained form, that the accompaniment on the other instruments gives a harmonic clue. The movement strides along with great dignity until a triplet figure is flung across the face of the orchestra and brings a little excitement. This, however, is only a prelude to .the stately gracious melody now sung by the cellos. On these themes the rest of the movement is based and sinks to a quiet close with a final reference to the horn theme of the opening.

The third movement is an amazing contrast with what has gone before. It is in the true scherzo vein and opens with a jocular tune which is almost bucolic in its roughness. The triangle is occasionally introduced to heighten the festival effect. Another swinging, but rather more graceful, melody is heard on the violins with an accom­paniment in a rhythm that recalls the opening theme of the Symphony. From this point the movement is concerned with modifications and extensions of the themes already heard.

The Finale is a set of thirty-two colossal variations on the pregnant theme that is so fatefully thundered out by the wind instruments. Only eight notes, but what significance they attain. No useful purpose would be served by an attempt to analyse this movement variation by variation, but it may be pointed that sometimes the theme is in the bass, sometimes it shifts to the treble, and then it may be discerned in the inner parts. The whole is immensely powerful, a veritable "Song of Fate."

14

NEXT CONCERT AT THE FREE TRADE HALL

SL']\;l)AY, 6TH MAY, 1956, AT 7 P.\!.

H 1\ L LEO R C H EST R A

COI'!DUCTOR

SIR JOHN BARBIROLLI

TCHAIKOVSKY PROGRA\[\!E

1--hrche Slave TchaikollskJI

Symphony No.6 in B minor Tcbaiko!)JkJ'

Serenade for Strings TcbaikolJskJ'

Overture 1812 (with Brass Bands) TcbaikovskJl

FREE TRADE HALL, MANCHESTER

THuRSDAY, 17TH MAY, 1956, AT 7 P.~r.

"-\NNUAL PENSION FUND CONCERT

HALLE ORCHESTRA

CONDUCTOR

GEORGE WELDON

PROGRA~!\!E

Overture, William Tell Rossini

Violin Concerto in D Beethoven

Serenade, The Fair Maid of Perth . Bizet

Nessun Dorma, Turandot Puccini

Eine Kleine Nachtmusik. -,Iozart

Overture, Tannhauser. If i'agner

ENDRE WOLF, Solo Violin

RICHARD LEWIS, Solo Tenor

Tickets may be obtained from The Halle Booking Office. 8. St. Peter's Square, Manchester. 2, Forsyth Bros. Ltd., Deansgate, Lewis's Ltd., Market Street, Manchester, or at the Hall on the night of the Concert

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