Town Hall, Melbourne, SATURDAY AFTERNOON, - JUNE 3, 1911, AT 3 P.M. -

THIRD CONCERT .. of the Season.. .

Marsball=ball e e rt. Orchestral

ANALYTICAL PROGRAMME

Prof. G. W. L. Marshall-Hall.

... PRICE . . . 6d. ...

STIPHINS PTY - LTD,, PRINT.

Under the Patronage of THEIR EXCELLENCIES THE GOVERNOR-GENERAL & LADY DUDLEY

and HIS EXCELLENCY THE STATE GOVERNOR & LADY FULLER.

Third Concert of the Season, ... being the 104th since its inception....

TOWN HALL, MELBOURNE, Saturday Afternoon, June 3, 1911, at 3 p.m.

MARSHALL-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 91 ARTISTS.

Solo Viola : MR. DAWSON.

Conductor :

Prof. G. W. L. Marshall-Hall.

J. C. STEPHENS PTY. LTD., ROYAL ARCADE, MELBOURNE.

11

PROGRAMME.

1. SYMPHONY

Adagio Allegro.

Allegretto (March of Pilgrims singing their evening Prayer).

Allegro assai—Allegretto (Mountaineers' Serenade).

Finale. Allegro frenetico (Orgie of Brigands with Souvenirs of preceding scenes).

INTERVAL.

2. INTRODUCTION TO THE FIFTH ACT OF MANFRED Reinicke.

3. OVERTURE

" Ruy Blas "

Mendelssohn.

" Harold in Italy " Berlioz.

Conductor :

Prof. G. W. L. Marshall-Hall.

4. PRELUDE " Lohengrin " Wagner.

EPITHALAMIUM

Marshall-Hall Orchestra. SATURDAY AFTERNOON, JUNE 3rd.

Conductor: Professor G. W. L. MARSHA LL-HALL.

Violins : Mr. Toy

„ North „ Briglia „ Di Gilio „ Haydon „ Hume „ MacLeod „ Parkes „ Schuster „ Trevena

Mrs. Brookes „ Manby

Miss Aitken Archibald

ft Baker 77 Cuddon

Campbell Crozier Clark Conacher Easton Gray Healy Hart

/7 Hansford Kiddie Lines Macarthur

77 Nanson 77 Pearce 71 Stanford 21 Sugden

Trenerry 11 Vogt 1) Walters

Whitley

Violas : Mr. Dawson

„ Lamble „ Williams

Miss Baker 7/ Cook // Metters

McMah

Cellos : Mr. Hattenbach

„ Levy „ Schellenberger „ MacLeod „ Meldrum

Mrs. Wischer Miss Baker

„ Hume Black

Mass : Mr. Roubaudi

)1 Acfield /1 Oliver 11 Tappe /1 Thatcher

lbarp • Mr. Nigro „ Vita

flutes : Mr. Amadio

„ Russell „ Pett

Oboes : Mr. Taylor „ Cober „ Hurst

Cot Einglais : Mr. Hurst

Clarinets : Mr. Mortimer

„ Mohr „ Parris

Mass Clarinet : Mr. Brodribb

Vassoons: Mr. P. Briginshaw

„ Chapman „ R. Briginshaw

lborns : Mr. Kuhr

„ Hingott „ Wood „ Finlay

rumpets : Mr. Levey „ Osborne

Ryder „ Smith

trombone : Mr. Code

„ Fletcher „ Holley „ Mossman

tuba : Mr. Rule

tpmpani : Mr. Munyard

triangle, Cvmbals, eitc. :

Mr. E. Crow „ H. Marshall Hall

Orchestral Manager :

J. SUTTON CROW,

Tel. 1155. Glen's, Collins Street.

1/1

The Fourth Concert of the Season WILL BE GIVEN IN THE

Town Hall, Melbourne,

5

ON THE

Afternoon of Saturday, June 24, at 3 p.m. (This day Three Weeks).

PROGRAMME.

1. Symphony, No. 1 ...

2. Concerto for Violin & Orchestra illSiss flame lbooN

3. °L'Apres midi d'un Faune

4. Overture, " Oberon " *First performance.

Beethoven.

Brahins.

Debussy.

Weber.

NOTES

by

G. W. L. MARSHALL-HALL.

The FINAL CHAMBER MUSIC CONCERT WILL BE GIVEN IN

THE CATHEDRAL HALL, Brunswick St., Fitzroy on the Evening of Tuesday, June 13, at 8 p.m.

!Programme. ••• ••• •••

Miss Una Bourne.

• • • • • • • • •

Mozart.

Schubert. Mr. Henry Thomas.

... ••• ••• ••• ... ... Schumann. Pianoforte—Miss Una Bourne.

The Cathedral Hall is situated just beyond St. Patrick's Cathedral, and is best reached by taking in Collins Street the Fitzroy (Yellow) Tram which passes the door of the Hall.

M. PHILIP FOX, Hon. Sec.,

414 Collins Street.

%Kimpbonp "liparolb in 3talv" ... H. Berlioz. 1. Harold in the mountains.

Scenes of melancholy, happiness, and joy. 2. Procession of pilgrims singing the evening hymn. 3. Serenade of an Abruzzi mountaineer to his sweetheart. 4. Orgy of brigands, and reminiscences of former scenes.

Viola Zolo: 3obit ti)awon. Of this beautiful work Berlioz writes in his memoirs :

" Without troubling myself any further as to how the solo part should be brought into brilliant relief, I conceived the idea of writing a series of scenes for the Orchestra, in which the Viola should find itself mixed up, like a person more or less in action, always preserving his own individuality. The background I formed from my recollections of my wanderings in the Abruzzi, introducing the Viola as a sort of melancholy dreamer, in the style of Byron's Childe Harold . . . One principal theme (the first strain of the Viola) is reproduced throughout the work . Harold's melody is superadded to the other orchestral strains, with which it contrasts both in movement and character, without hindering their develop. ment."

1. Quartet, G Major

2. Piano Solo

3. Vocal Numbers

4. Piano Quintet

mma la Ag - c. --,. ..•••■■41■ 1■MAM=1•1.4-....1■- gr,m m ■411.111

/1=1, a.,M.B. Alf =14•■■■•••11 4/4.4=0144 ■14■MM...■111■4!

tc.

No 2 M■11110•1.-..=11•1■1

h

6

A spirit of restless aspiration seems to haunt the first Allegro movement of this Symphony. Sometimes it presses eagerly towards some will-o'-the wisp happiness, by which it is continually eluded. At others it finds momentary satisfaction in some transient lovely form, such as that of his second subject (No. 4) which flashes across the mind for a moment, to disappear, and be recaptured only in scattered fragmentary glimpses. As the pursuit continues it grows more eager and passionate, and is un-interrupted by those impas-sioned soul-searchings of which Beethoven is so profound a delineator. The temperament depicted by Berlioz is that of one of whom no failure, no disillusionment, can damp the ardour. Even the typical " Childe Harold " motif (No. 2) which wanders pen-sively through all the movements, seems rather to receive their colour, than to impart its own ; save in the momentary pause of the turbulent Finale, where from the midst of the commotion and riot of life, a hasty and cursory backward glance is thrown towards the sweeter and more gracious oases of the past. In the two middle movements the beauty and delight of the actual objective surround-ings ease the soul of its self-tormenting proclivities. The procession of pilgrims moving along the picturesque mountain-path, uplifting their pious chaunts, banishes more personal thoughts. And the mountaineer wooing his sweetheart beneath the glowing moon, with quaint idyllic melodies fragrant with the beauty and danger of the wild desolate Alp-land, puts distance between the entranced listener and the heart-troublings begot of over-complex civilization. It is characteristic of Berlioz' French nature that he attempts no solution of the insoluble, but merely deals with life as he has found it,—and he has found it charming, picturesque, beautiful ; even wild and ferocious ; above all, always full of interest. He plunges into it, tastes, and enjoys it ; and in so doing realizes that his own insatiable individuality is, after all, a very small matter, even to himself !

FIRST MOVEMENT.

The Symphony opens with a melancholy movement of the Basses, which is taken up in fugato style by the other Strings, accompanied by an expressive chromatic passage first on the Bassoon, then, successively on the Oboi, and Clarinet and Horn.

7

Against a continuation of this rhythm, carried on on the Basses, the wood-wind enter with the pensive melody representative of Harold.

This, after a shortened repetition of No. 1, is taken up in G Major by the Solo instrument, accompanied by the harp ; and afterwards is heard in canon between the Viola and the Wood-wind, amid delicate whisperings of the divided Strings, leading to the Allegro where a new subject appears:

No 3

It is continued by No. lb in altered form. This, later on, plays an important part in the movement. After a short impas-sioned climax, the Solo Viola repeats this first subject, and con-joins the various figures of which it is composed, and which have hitherto been heard separately, into a flowing theme of sensitive beauty.

mon■ woom■nri■amiliwim■••■ •vmam.maa■an..■■•■■ (6)

N o 3" • LW' =4.•INIMI■•••■•••• u -.44.1•4111••••. 1.= 1••■••■•■••■•11,7.4•1■ 111Wr BIM ,=/..■101= ••••..i. 111. MI

YIN ■16,M.10•1,•■•■■•■• /11•101■1■ 1111■Al.M.....,=1

..••■•••

1/4•• ,M.INNINE■ MIIIIM•1111 —71=0■7[7•01=1 • =1•11MOM•11.••■■■•••■•••1.■ ••■

-.../1■MilM=M41■ IMII•INEP.II•M•11■11.4•11.

• mr-a.s mir ■,...=•■■■ "a=mns■amultm

•

Then the Orchestra takes it up, and shares it with the Soloist, until the second subject enters, in F Major then in B Flat and D. It is of a less restless character, but still tinged with the secret fire of one that " feeds his course with expectation's breath."

Fag. Ste. "r■A•IMINI• M1441•■•••■■••• ■•■I

MIrIMMINM-■••■ •••••.,.77. 171■•••• 111,■ MINI■111. 1l--a" 1131.••• ■ ••■

•

A development of this theme leads to the Repetition, after which a wonderfully novel, clearly defined Fantasia follows, wherein No. 3 wanders upwards from key to key till it culminates in the Recapitulation, when both subjects are repeated in quite a

novel aspect, but in the original key, G Major. Then follows

le Svc..

etc

No 4 etc

No 8

IIM.■•■ MN MINM,M1•/..■ IMMINMEIMIMIMMIIIMP•SM =1.71■■.111•■ •■ ••■111■71..M1..11MOW M..011111■ •■•

•■•■•1. MOM ■•■■-■ :YMIIMI■MMIIM,NONC■' 11...■■•-■ 11.111•■••••••■■••11

.1111.1• = ■••■1 ■ •■•••■■ MI.

No 11 etc.

No 18

etc.

8

astonishing Coda, wherein the Harold theme (No. 2) commences PP in the Bass ∎ , and is taken up by the other Strings, and finally by the Wood-wind, accompanied first by fragments of No. 4, then by No. 3 and No. 1 b reaching a wild climax, and so to the end of a splendid and poetical movement, the conventional form of which is deftly concealed beneath the brilliancy and variety of the musical development.

SECOND MOVEMENT. After a few quiet introductory chords of the horns, the melody

of the pilgrim's march is heard in the far distance.

NO 5

This melody, interrupted by a piquant passage for the Wood-wind, and a sustained note on the Horns echoed by Flute and Oboi, representing the monastery Bells, is repeated no less than 16 times, and each time with some exquisite change in the harmony or melodic contour. It comes from the distance, draws nearer, and dies away again. At its fifth' occurrence the motif of Harold No. 2, given out by the Viola, Horn, and Clarinet, mingles with it. A sort of Trio follows, consisting of a sustained hymn on the Wood-wind, against arpeggios of the Solo instrument, leading back into a shortened repetition of the first part, which dies away amid the most fascinating orchestral colouring.

THIRD MOVEMENT. A quaint tune on the Oboi and Piccolo, to a re-iterated

characteristic rhythm of the Violas, is heard : Oboi a Piccolo

No 6

etc.

It is followed by a charmingly naïve melody on the Anglais :

No 7

This develops into a long and charming strain, during the course of which the Harold motif (No. 2) steals in, first on the Viola solo, then on the upper Strings. After several ingeniously beautiful repetitions of No. 7, with ever varying surroundings, No. 6 is heard again, and lastly its rhythm, given out by the Violas, mixes with the united melodies of the Flute (No. 2) and of the Viola (No. 7) to form a singularly peaceful and picturesque ending.

9

FOURTH MOVEMENT. This opens with a wild and rugged rhythm, which forms a sort

of oft-recurring Rondo-subject :

Between the various repetitions of this subject appear, epi-sodically, as reminiscences, the opening Adagio (No. 1) ; the Pilgrim's March (No. 5); the Serenade (No. 7) ; the opening Allegro theme (No. 3) ; the Harold motif (No. 2), the last in a particularly beautiful Adagio. Finally the orgy drowns all else in its turbulent uproar. Besides No. 8, the following figures also continually occur, and develop into important phrases:

No etc.

No 10[ ' etc.

A second subject follows, consisting of three main rhythmical figures:

and leads into a delicate passage for the Violins :

111•11TIM1110= .■ MI= MI=

MI••••• F.:711717 '..■••••••1M,01.1110,1=1117N1.1...... ==.1•M=

111,....7•••••■■: WL,11- 111WIIIM MEM 1f 1m1,1•011Y.,M

which is an ingeniously novel and beautiful form of No. 9. This leads to a Repetition, in Berlioz' varied manfier;_ and then to a

Cor

etc.

No 14

10

tremendous Coda, in which No. 11 and No. 12 play the principal part ; at their most ferocious climax there is a sudden hush, and the Pilgrim's March is heard in the far distance. Then the orgy re-sumes more furiously than ever, and reels to its uproarious close.

Berlioz is essentially the poet of the Picturesque. He is re-proached with being a " programme-composer," because he indicates the source of his musical inspiration. But his music needs no explana-tion to be intelligible, and his forms are developed on purely musical lines. The introspective psychology characteristic of northern com-posers does not occupy him so much as the feelings aroused in him by an objective sympathy for natural objects and scenery. Students will find much interesting light thrown on his methods, and especially on this work, in his memoirs of travels in Italy. His music is full of original charm and beauty. His numerous modern imitators have bor-rowed from him many extrinsic effects, without being able to reproduce the intrinsic quality of his exquisite melody which these effects merely colour and intensify.

]Entr'acte "'king fliianfreD Reinecke.

This suave and pleasing little melody for Strings might have (and indeed often has) been written by Mendelssohn himself. After a few introductory bars the 1st Violins take up the melody, the effect of which is greatly enhanced by the use of mutes.

IIIIN■ZINE■- 1.11■•■ ,M11■1 .•■■7■• ■ IMr 1■11MIMIr 1•11. .MIMf I.• • NEM■Mar .0■41:1■=1.1=1

Overture "lRuv ISlas " F. Mendelssohn Bartholdy.

This spirited emanation of Mendelssohn's brilliant youth was written in 1839 for the play by Victor Hugo. It opens with au impressive theme on Wind and Brass :

Late /7\

11

Both are repeated ; No. 1 a third time, even more impressively, a threatening roll of the Tinnfiani being added. Then out of No. 2 arises the main theme of the Allegro :

No 3 mr dwo ••■- ...memo- mt•esmeset■ •Nnommw molower■•••••■•■=m'aemia.. • ....teme•eumonlamm■mmemmeme: ertmommelimmenesememer me m:mew rem II 11111..MIIMIIIIMMMIll it, 'PIM., .71/.1174■1!M 1/..MMIZIMIMMIS MNI...1•,:r■-=. M,M1■1■■IM .1.10111•1•MIM ....11=IMNI IMI

--", .1111 IM•■■•

which sweeps along for some wild 32 bars, till it is joined by another not less drastic figure :

No 4

This culminates, by a rushing passage of strings across Wood Wind, in the solemn Trombone tones of No. 1. A modification, subtle and ingenious, of the last three notes of this, builds up the Second Subject in E Flat, which occurs first on the Strings, in a piquant staccato fiianissimo ; and then as a legato melody on Celli, Fagotti, and Clarinetti :

No 5 etc

Its continuation is taken up by the Violins, and is followed by a delicious sprightly little figure :

which works up to a brilliant climax at the point where a spirited development of No. 4 opens the Fantasia section. Stormy fragments of No. 3 succeed, and die away in a fine reminiscence of No. 3 and No. 4 combined ; a passionate phrase taken from the second subject now mingles with the others :

No 7

No 6 etc. etc.

No 1

This is followed by a rapid figure on the Violins :

No 2

etc.

and mounts towards the Recapitulation where No. 3 sweeps in on a fortissimo of the full orchestra. The glittering Coda commences with a re-entry of No. 3, the first five notes of which whirl their giddy way over the woodwind chords to where No. 6 with a last fine burst brings the overture to a close.

No 2

etc.

13

EPttbaIalllit1111;

This glorious Prelude is cast in a form analagous to that of the Minuet and 'Frio. The first magnificent subject is repeated with a modulating cadence :

Bye.

laIN./••■"l7.• •■■• • 01•• • •■■-•il.MINI

1■1 •11•••1■■•■•■■• •••■ 11■1■■■111•M Not • •IMIIMIN•■■•■•■■•■ 1.1,, ,M.•••■■•••■■■

■■■ •■=b11/ 1111.,■■■ ri=•111■61■1111■IMMI

-.•• ■•■■■

etc.

.16 It leads into another theme of amazing vitality and splendour, first heard on the Horns, and then on Trombones :

No 2

ete.

After which No. 1 is repeated, suddenly vanishing into what takes the place of the Trio, a very charming melody on the Wood-wind :

No 3 eft.

After this has been heard twice in G Major, and also with modifica-tions, in E Major, the first section (corresponding to the Minuet) is heard again.

12

"lobengrin " R. Wagner,

Vretube. "At the beginning, the clear blue air of heaven seems to con-

dense to a mysterious vision ... holding the enraptured gaze with magic spell. In soft outline, growing gradually more distinct, appear the host of angels, descending slowly from ethereal heights, bearing in their midst the sacred vessel. As the vision hovers down towards earth, the sweetest fragrance wells from it : entrancing vapours stream in golden clouds, usurping every sense with hal-lowed awe ... At last the Cup itself is bared in all its marvel, and set before the gaze of the elect . . . every heart is set a-quiver with its radiance . . . all sink to their knees in worship... Finally, in the clearest light of heaven's wther the radiant host melts into distance as it came." (From Richard Wagner's Proseworks. Ashton Ellis).

This Prelude is an Air with Variations. The mystical atmosphere which Wagner has conjured up, and which distinguishes this music from every other conception of the human mind, is owing to the singular orchestration of the wonderfully calm melody, which seems to he formed of wreaths of floating vapour continually form-ing and dissolving. This melody is first heard in the upper octave of the fourfold divided Strings :

After a short episode it is taken up by the Wood-wind, in E Major, while the Strings continue to enweave amazing meshes of filmy sound around it. A second episode, being an enheightened development of the first, leads to the third entry of the theme on Horns and Celli, again in A Major, while all the other instruments continue to surround it with their wavy aerial movements. Yet another, still more highly coloured variation of the episode, and with a crescendo, different to all other crescendi that ever were, the theme once more re-enters on the full Brass ; the Violins sweep up to the heights ; while the Cymbals clash like a flash of blinding sunlight. Then, from the extreme altitudes of the Coda, the Strings slowly hover downwards, while great splashes of purple mist seem to open out to receive them, and recede again.

Vretube Epitbalantium

p

14

THE FORM OF A SYMPHONY

by

G. W. L. MARSHALL-HALL.

SYNOPSIS. (a) Symphonic form in general. (b) The sensuous and poetical elements in music. (c) Organic structure : repetition with variation. (d) Analogy between physical form and movement, and musical

form and rhythm. (e) The Dance in its relation to the Symphcny. (f) The ancient Dance as a mode of expression ; its sensuous and

poetical elements. (g) Development of the Dance accompaniment. (h) Degeneration of the Dance ; idealization of its accompaniment. (i) The four movements of the Symphony represent four phases of

man's emotional life. (j, The musical expression of inanimate nature.

A Symphony is a piece of orchestral music, properly in four movements, each movement having special characteristics of its own, and a special relation to the rest. Moreover, these characteristics and relationships are not capricious, nor the result of an act of momentary happy inspiration on the part of an individual artist, but have been gradually developed through a long course of evolution from those primitive emotions, and from that primitive instinct to give expression to emotion, which is common to peoples of all times, savage or civilised. In a word, the Symphony is the most complete attempt of man to give lyrical expression to his emotional life.

Now, there are two elements in Music, which save perhaps in the lowest forms 'of Art, have always persisted, side by side—the sensuous, or purely musical, and the poetical. The first consists of those limitless combinations of melody and harmony from which the musician delights in building up sound-patterns, lovely to the ear ; the second is the selection and co-ordination of these tone-pat-terns in such a way that the emotions they arouse form a mental experience running parallel to the sequence of emotions generated by life itself. Could we subtract from some interesting phase of existence the external causes of emotional consciousness; could we leave the generated feelings intact, while remaining oblivious of the incidents from which they arose, we should find that these

15

emotions had a logical sequence, which corresponded to the sequence of experience, though separated from it. When such a sequence of emotion, originally derived from the actual cause and effect of life, forms the substance and pattern of the artist's musical creation, we have the most perfect combination of the poetical and sensuous elements.

The musician is one in whom the infinite sensations and emotions of life generate melody. Melodic forms arouse in him conditions of mind parallel to those aroused in the rest of mankind by material forms, and their inter-action. For him the world of musical sounds is as real and intelligible a world as that whose air you breathe. What the delicious curve of a spray of blossom is to you, is to him the delicate fall and rise of a melody. The mortal cry of anguish which from the lips of a Lear, or an Othello, makes you shudder, he hears in that violin-tone palpitating over its dark abysm of harmony. Tone and rhythm are for him as much entities as Matter and Force. The happenings in his world of sounds are as full of meaning and interest as the happenings of the actual world. The myriad, sometimes infinitesimal fluctuations of pleasure and pain which accompany every phase of mental life, and are a part of consciousness, express themselves in the felicitous turns of his melody and harmony, become materialised in musical form, and per-sist long after their creator has ceased to think or feel.

The laws then which regulate the sequence of musical sounds, with the consequent play of emotion these sounds arouse, may be, but are not necessarily the same as those which, as cause and effect, ordinate the phenomena of life. When they are so, the poetical element of music asserts itself ; when not, music develops according to a logic of its own.

Our next point, then, is the examination of this logic, which we shall again find is only an application to a new set of circum-stances, of that logic upon which rests the intelligibility of all the phenomena of life. The construction of a piece of music is similar to the construction of any other organic form, and carries out the universal principle of repetition with variation. Just as, in the material world, one cell gives forth another, the second having a modified resemblance to the first ; and just as this eternally repeated process results in the seemingly widely divergent animal and vegetable growths around us ; so the tone-cell, or as we technically name it, the musical figure, recognisable by its characteristic rhythm and melo-dic contour, repeats itself continually with delicately graduated modifi-cations, building up structures which finally present something so unexpected and imposing, that the simple system of its organisation seems 'incredible. The whole superb introduction of Schubert's Symphony in C major, and the greater part of the splendid animated Allegro movement which succeeds it, are nothing but a development of the first two bars of the Symphony, six notes in all, and of even these six notes the last three are but a modification of the first three.

16

Most of us have made the fascinating study of this particular instance of musical cell-growth, and have seen how it results in a magnificently extended movement, every part of which is organic in structure. At present, I wish only to direct your attention to the elementary principles which underlie musical composition. Sub-stitute for the musical figure, with its contour and rhythm, the natural cell, with its form and movement ; consider the similarity in principle of their ,development into comprehensive complicated organisms, and with a little stretch of imagination you will surely obtain a glimmering of the why and wherefore of my former con-tention, that the phenomena of life have, in the mind of the musi-cian, their ideal counterpart in the phenomena of musical sounds ; without, nevertheless, there being any actual similarity between physical form, physical movement, and musical form and rhythm. The limits of time prevent my following the analogy further.

We must now proceed to consider how it comes about that the tone-cell, the musical figure, develops into that particular organism known as Symphony ; and why the movements of the latter are properly four in number, consisting, as you are aware, of an opening Allegro, sometimes with Introduction ; a Slow movement ; Scherzo and Finale ; and what connection these have with one another.

This leads us back to perhaps the first artistic vehicle by which man, even in his savage state, attempted to give expression to what he felt about life—the Dance. The Dance seems to have been the common origin of our religious and festive ceremonies, and included, in its primitive forms, not only rhythmical movements of the body, which are its sensuous basic element, but also, as its poetic element, all forms of pantomime. In the ancient dance the lover wooed, waxed jealous, and was appeased or tormented by his mistress ; the sportsman bragged his feats, the warrior his prowess, and the priest, witch-doctor, or medicine man, adjured his god. What we are especially concerned with is the fact of there being a plurality of dance-forms, each with its special character derived from the class of emotions to which it afforded an outlet, and which it was adapted to portray and perpetuate. In all dance-forms the co-ordinating element is rhythm, which is variously enforced : in early stages by the clapping of hands, the beating of sticks, or, later on in musical development, by the striking of drums, the sound of pipes, or the vibration of strings. And this much, at all events, is notable with regard to such primitive musical efforts, that even if we go back as far as the Australian Blacks, we find the general constructive principle of repetition at work, though without, or with a minimum of, variation. Apparently, nevertheless, the char-acter of the rhythm varies according to the character of the dance.

It is only natural that in time the accompaniment to the Dance should have fallen to the part of the more musically gifted. And that, then, step by step, the primitive musician should have en-deavoured after greater sensuous beauty. Hence, as we have seen, the resonant drum took the place of hand-clapping; and to the

17

drum pipes were added; to the pipes, various forms of stringed instruments. Meanwhile the original bare rhythm was expanding into melody. Up to this point, it is plain that the sensuous element predominated. With each mechanical difficulty overcome, the artist must have found sufficient delight in the mere playing with sound, and the fashioning of the simplest tone-embroideries. These would naturally tend to assimilate their structure to that of the dance which they decorated. But the structure of the dance itself was dependent upon the purely human emotion which it illustrated. So that the sense of architectural proportion in music has also been unconsciously developing from times immemorial, and, which is a thing to be more insisted upon, since nowadave it seems to be often ignored, musical architectonics are thus closeiy allied to, and have their derivation in, human sentiment pure and simple, and not, as is sometimes taken for granted, in the fantastic caprice of the irresponsible artist. Here already, then, we begin to perceive the influence of the poetical element on music, and as musical technique improved, and facility of expression, we see that the musician, no longer content with his first simple tone-play, began to formulate more expressive melodies, having a distinct relation to the senti-ments portrayed by the pantomime of the dancers. The following beautiful description by D'Annunzio illustrates this :—"It lived again wondrously beneath her fingers, the eighteenth-century music, so melancholy in its dance-tunes—tunes that might have been com-posed to be danced, on languid afternoons of some St. Martin's summer, in a deserted park, among hushed fountains and pedestals without their statues, over carpets of dead roses, by pairs of lovers soon to love no more." Here we have a poet's description of the effect left on his mind by the delicate emotional colouring of dance-music detached altogether from the dance, the refined melancholy of which it had caught and reflected.

(To be Continued in next Programme).

18

oiltipiott P.eininteitt tr,t1!$ttlit ro$t Stitt

1911. Madame Melha (2nd instalment) .. 100 0 0 Dr. and Mrs. J. W. Barrett .. 100 0 0 Dr. A. L. Kenny (4th instalment) 5 5 C

Total to date £2,440 14 0

Mr. & Mrs. Herbert Brookes Mrs. V. Wischer

Donations of Music and Instruments to the Management. From the Lady Northcote, C.I.-

Full Score and Orchestral Parts of - (i.) Symphony in E Minor Brahms.

(ii.) Romeo & Juliet Berlioz. (iii.) Overture—In the South Elyar. (iv.) Overture— Romeo &Juliet Tschaikowsky. (v.) Set of four Concerti Gtossi Handel.

From Madame Melba— A complete set of Wood Wind and Brass

Instruments. From Miss Buckley—

£15 for the purchase of Scores and Parts. From the Piat.ola Co.—

Score and Parts of Symphony —Harold in Italy Berlioz.

Overture—Die Verkaufte Braut Smetana.

From Mr. A. E. J. Lee -

Fantasia Overture —Hamlet Tschaikowsky

e;

L'Apres midi dim Famine Debussy. Sywpho ic Poems, "La Ten)ret

Capriccio Italics schaikowskl/.

Symphonic Poem, "Les Djinn "

Variatic ns Symphoniques Ccesar Franck.

Symphony in D Minor

From Mr. S. G. Pirani Overture-1812 Concertstiick

••

Tschaikowsky. Weber.

19

ORIadg Established May, 1908.

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.

Objects. To promote the study, practice, knowledge and appreciation of music in Mel-

bourne or elsewhere, and in particular— (a) The establishment and maintenance of a permanent Orchestra in Melbourne (b) The purchase of musical instruments, music, and copyrights. (c) Giving, arranging and aiding concerts, operas, musical entertainments and

productions in Melbourne, or elsewhere, and (d) Doing all such other things as the Board may consider are incidental or con-

ducive to the attainment of the above objects or any of them.

Trustees : THE EQUITY TRUSTEES EXECUTORS AND AGENCY CO. LTD.

Allan & Co. Pty. Ltd. .. Mrs. Edward Miller ..

Dr. A. L. Kenny (2nd instalment) Arthur Patten .. Mrs John Sanderson .. C. H Iloese Frederic Beard .. Mrs. George Dickson .. Mrs. John Simeon .. Dr. & Mrs. W. F. Orr

The Lady Northcote, C.I. The Hon. Alfred Deakin Mrs. W. J Buchanan The Hon. W. L. Baillieu.. The Hon. G. Swinburne Dr. A. L. Kenny (3rd instalment) Mrs. Burner Mrs. T. a'B. Weigall Miss Elsie Kozminsky Mrs. S. J. Staughton N. Maine Madame Melba (1st instalment) Dr. and Mrs. J. W. Barrett Mrs. Edward A. Petherick Dr. J. Smyth ..

1909.

It Rev. E. H. Sugden H. Sumner Martin Madame V Pett Miss Lily MeNaught Miss E. flookins A lfred Nott Mrs. A MoMurtrie (second donation .1. A. Levey .. Percival Serie .. Miss Alice Yencken

1910.

£60 0 0 John G. Addison (1st instalment)

10 10 0 Stewart S Lang .. ..

10 0 0 " H.W.M. " .. ..

60 0 0 Miss Elsie Kozminsky (2nd instalment)

100 0 0 Mrs. S. Hale .. .. ..

5 5 0 Joel Fox .. .

3 3 0 G. C. Nicholson .. .

.

2 2 0 Jno Hindson .

..

0 10 6 Miss Alice Yencken

2 2 0 Professor and Mrs. Harrison Moore

5 0 0 Anonymous (per .1.W.B.) ..

100 0 0 Dr. and Mrs. Smith

100 0 0 George Fairbairn, M.H.R.

5 5 0 Mrs. Alice Patten .. 8 3 0

£50 0 10 10

2 2 5 6 3 3 2 2

10 10 5 5 2 2 1 0 21 0

I 1 5 5 5 5 0 10 1 0 1 1 5 0 2 2 2 2 5 0

6 5 0 2 2 0 1 1 0 0 10 6 0 10 0 5 5 0 1 1 0 1 1 It 5 0 0 5 5 0 1 L 0 3 3 0 1 1 0 2 2 0

All moneys donated to this Fund will, in accordance with the Trust Deed which has been lodged at the Office of the Registrar-General, be invested by the Company in investments authorised by law for Trustees. The income will be banded to the Board of Management appointed by the Trust Deed, who will expend it upon the objects referred to.

Board of Management. MRS. ALBERT MILLER

MRS. ALFRED DEAKIN

MRS. T. A'B. WEIGALL

DR. J. W. BARRETT, MR. EDWARD FITZGERALD, MR. S. G. PIRANI Chairman. Hon. Treasurer. PROF. HARRISON MOORE

MR. M. P. Fox, Hon. Sec. DR. W. F. ORR

MR. C. L. PINSCHOF. MR. C. BEAUCHAMP, JUN. DR. HAMILTON RUSSEL.

The Public are invited to make donations to the Fund which may be forwarded to the Hon. Treasurer, Mr. Edward Fitzgerald, Imperial Chambers, Bank Place. Bequests by Will in favour of the Fund may be made as follows : " I give and bequeath to the Treasurer of The Lady Northcote Permanent Orchestra Trust Fund in aid of that fund the sum of

The following Contributions have been received :-

The Lady Northcote, C.I. A. E. J. Lee .. Mrs. Albert Miller .. Dr. & Mrs. J. W. Barrett Hugo Wertheim .. W. Drummond .. .. .. Mr. & Mrs. R. J. Larking .. Ernest II. Connell .. .. Dr. James Jackson .. .. A. E. J. Lee (second donation) .. Professor and Mrs. Masson .. Dr. A. L. Kenny (1st instalment) .. Mies Alice Yencken .. .. Professor H. Laurie .•.. .. Dr. R. ft. Stowell .. Mrs. A. McMurtrie .. .. Mrs. Henry G. Turner Dr. Percy Webster .. M. Philip Fox .. Mrs. Maudsley ..

£50 1,000

100 100 100

5 2 2 1 1

1

1908. Henry M. Collins .. J S. Peterson .. .. Anonymous (per Dr. Barrett) Mrs. E. Yencken • Mrs. Joseph Archibald • • Mrs. D. Hunter .. • • Mrs. Robt. Harper Mrs. Blanch .. • • W. J. Schutt .. E Hartung .. Edwd. Northcote Mrs. S. Staughton Mrs. A. B. Joshua Dr. Charles Smith H. Crossley .. A. M. Lee .. Pianola Coy. .. A. Ford.. .. "Medico's Mite"

• •

• • •

•

• •

•

• •

• •

• •

3 3 3 3 3 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 0 1 1 1 1 1 1 0 10

10 0 26 0

1 1 2 2

25 0 0 1 1 0

Ask for Art Oatalogue No. 3. tI

STECK PIANOS — In Art Cases. —

(Sheraton Design.)

STECK

The conventional piano is unsuited for the Salon or Music-room, where everything else is carefully planned for artistic effect. A most conspicuous object in the furnishing of any room where it is placed, the piano deserves even greater attention from an artistic standpoint than almost any other article that enters the home.

Recognising this need in modern homes of elegance, we make a specialty of designing piano exteriors of the highest order of artistic merit. In our London and New York houses we main-tain a Special Art Department, and command the best talent that is employed in this field of artistic endeavour.

So carefully are our art designs planned and executed, that the purchaser of any of our special " Period Pianos" may rely upon its being absolutely correct in every line and detail.

Full information will be furnished upon request.

THE PIANOLA COMPANY, 252 Collins-St., (On the Block) MELBOURNE.

;41/azz, ••

GRAMOPHONES ARE UNEQUALLED AS

EDUCATORS and

ENTERTAINERS.

Prof. Marshall=Hall recommends them.

HE SAYS :

The state of perfection to which the Gramophone has been brought in its re-production of the human voice, renders it of the highest importance to musical educa-tion—Vocal Methods, Pronunciation, the Dramatic and Lyric styles, the most delicate shades of artistic interpretation, are all to be studied from this miraculous machine."

You are cordially invited to call in and hear these valuable machines, and judge for yourself.

Zifiaszezi& 99

egIN9999=000° MONO DEPOT, 300 LITTLE COLLINS-ST., MELBOURNE

ALSO AT

BENDIGO GEELONG ADELAIDE.

Library Digitised Collections

Title:Program of the Marshall-Hall concert, 3/6/1911 booklet

Date:1911

Persistent Link:http://hdl.handle.net/11343/23613

Terms and Conditions:The University of Melbourne believes this material to be out of copyright and has madethe material publicly available with this in mind. The University of Melbourne Library hadmade all attempts to ensure that this is the case and that no copyright is being infringed asa result. If you believe that copyright still exists in this material, please contact the UniversityCopyright Office to discuss: copyright-office@unimelb.edu.au;Although, the University ofMelbourne does not claim any copyright in the digital version of this material , we would begrateful if you could acknowledge the University of Melbourne Library as the source of thismaterial.