TOUR? N a11, Thelbour9e.

SATURDAY, 21st JULY, 1894, AT 3 O'CLOCK.

LAST

Orchestral * Co9eert.

Oref2estra of 63 Artists. bon. Conbuctor:

Professor G. W. L. MARSHALL-HALL.

'Dom Vocalist: MADAME ELISE WIEDERMANN

HERR RUDOLF HIMMER HERR ERNST HARTUNG

HERR LOUIS FLEISSNER.

Committee: Herr F. DIERICH

Sig. A. CESCHINA

Mr. J. R. MAIR

Mr. BERNHARD SMITH (Hon. Secretaiy).

Mr. E. MOFFITT

Mr. B. SMITH

Mr. W. STONEHAM.

Mr. ERNEST MOFFITT (Orchestral Secretary).

TICKETS, 31- (Balcony and Reserued Chairs), 2/-, and 11-

BOX PLAN AT ALLAN'S.

MASON, FIRTH & SMCLITCHEON, PRINTERS.

rograntme.

Overture "Land of the Mountain and the Flood" Hanish MacCunn (THE PARTS HAVE BEEN KINDLY LENT BY Ms. CHARLES LEVY.)

This work seems to embody in the most naïve manner not only the characteristics of Highland scenery, but also something of the romantic enthusiastic chivalry which still exist.; among the Highland clans, to one of which the author belongs. The peculiarly Scotch atmosphere of the music is due not so much to the use of the particular scale on which the melody is built, as to the spirit in which this melody is conceived. The animation and boldness of the first theme seem to suggest something of the proud fear-lessness of the mountaineer amid the wild scenery of his native soil, just as the weird episode which follows give a touch of the mystic legends attached to almost every rock and lake of the Highlands. How suggestive is this hoarse trombone-voice, and the plaintive, fearful utterance of the clarinet, followed by semi-silences interrupted with short, sharp chords. Then what could be more charming than the tender romance of the second theme, rising gradually to impassioned bold eloquence. What heroic love-story is this clinging yet to these rugged untamed crags and secret mysterious waters ?

Bet "Fidelio" Beethoven

Fidelio (Leonore) - MADAME ELISE WIEDERMANN.

Rocco - HERR HARTUNG.

Pizzarro HERR FLEISSNER.

Florestan HERR HIMMER.

3-ntrobuction. Scene )HL

Scene EE E. Scene )l r.

FIDELIO, ROCCO.

FIDELIO, ROCCO, FLORESTAN.

FIDELIO, ROCCO, FLORESTAN, PIZZARRO.

ID ramatic 113alaab—"La Belle Dame sans Merci" G. W. L. Marshall-Hall

MADAME ELISE WIEDERMANN.

This wonderful poem represents in an ideal form the overpowering fascination which it is in the power of some women to exert over certain men—a fascination which makes or mars life. This the poets have pictured in " Anthony and Cleopatra," " Launcelot and Guinevere," "Tristan and Isolde." The music is an attempt to realise the weird despair of the scene, and the strange irresistible magic of the love which ursurps the man's whole being, with all its tender, dreamy delight, of which the eighth stanza is the most marked instance, where the strange harmonic progressions seem to typify the "love-sleep" from which his life long he may never more awaken.

7• She found me roots of relish sweet,

And honey wild, and manna dew ; And sure in language strange she said,

I love thee true.

This wonderful Act opens with the scene in the dungeon where Florestan is confined ; Rocco the gaoler, and Florestan's wife, Leonore, who, disguised as a man:under the name of Fidelio, acts as Rocco's assistant, descend to dig his grave. This very day has been fixed by his enemy, the governor of the gaol, Pizzarro, for his death, lest he should escape his vengeance in the general amnesty granted to political prisoners on the coming to the throne of a new Emperor. Florestan, exhausted by captivity and starvation, lies on the floor of the dungeon in a swoon. Rocco and Fidelio commence digging the grave, the latter, however, wondering whether this wretched prisoner may by any chance be her husband. Florestan asks for a drink of water, and after much entreaty Rocco permits Fidelio to give him one. She recognises her husband, but he does not know her in her disguise. He blesses her for her pity. Pizzarro enters, and proclaims that the hour of vengeance is come ; as he approaches Florestan to stab him, Fidelio throws herself between them, declaring herself as Florestan's wife, to the astonishment of all. Pizzarro, furious, nevertheless is determined to kill Florestan, when she draws a pistol and threatens to shoot Pizzarro. At that moment from outside the trumpet is heard, which announces the approach of the Emperor's Envoy with a general pardon. The Act ends with Pizzarro having to retire, his vengeance thwarted, while the husband and wife, re-united, fall into each other's arms. It has not been possible to produce this . last scene. Ah what can all thee, wretched wight,

Alone and palely loitering ; The sedge is withered from the lake,

And no birds sing.

2.

Ah I what can all thee, wretched wight, So haggard and so woe-begone ?

The squirrel's granary is full, And the harvest's done.

3• I see a lily on thy brow,

With anguish moist and fever dew ; And on thy cheek a fading rose

Fast withereth, too.

I met a lady in the meads, Full beautiful—a faery's child ;

Her hair was long, her foot was light, And her eyes were wild.

5• I set her on my pacing steed,

And nothing else saw all day long ; For sideways would she lean, and sing

A faery's song.

6.

I made a garland for her head, And bracelets, too, and fragrant zone ;

She looked at me as she did love, And made sweet moan.

She took me to her elfin grot, And there she gazed and sighed deep,

And there I shut her wild, sad eyes—So kissed to sleep.

9• And there we slumbered on the moss,

And there I dreamed, ah, woe betide! The latest dream I ever dreamed,

On the cold hillside.

io. I saw pale kings, and princes, too,

Pale warriors—death-pale were they all—Who cried—" La Belle Dame sans Merci

Hath thee in thrall."

II. I saw their starv'd lips in the gloom

With horrid warning gaped wide, And I awoke, and found me here,

On the cold hillside.

/2. And this is why I sojourn here

Alone and palely loitering, i Though the sedge is withered from the lake,

And no birds sing. (Keats.)

INTERV7ztu Or TEN wviNCJTES.

Zympbonv "No. 5, C Minor" .. Beethoven

ALLEGRO CON BRIO—ANDANTE CON MOTO-

ALLEGRO 4—ALLEGRO —PRESTO.

Beethoven, when asked what he meant by the remarkable phrase which opens this Symphony, replied—" Fate knocks at the door." Throughout the first movement there seems to be a conflict between the human element and that mysterious force which overshadows it—we are reminded of the hapless Odysseus of Homer driven to and fro, ever striving towards the land of his hopes. The second movement seems to be " an outburst of love divine," not unmingled with sorrow and doubt ; especially is the " sehnsuchtvoll " theme of the wind, which follows on the melody of the 'cellos, to by noted. The third movement partakes more of the nature of the opening, and may be likened to the wanderer in his restless and fruitless search for the desired goal, interrupted only for a moment by the strange scene opened out by the Trio, which speedily is covered from sight as by the falling of a mist. The former mood is resumed, and leads into the triumphant finale, in which, as Balzac said, "we are held in the grasp of our most sacred hopes, which are realised for an instant as we listen."

Contra Bass Tuba—

MR. LiITTICH Basses—

MR. CESCHINA „ BRIESE „ BROWN, W. „ BROWN, W. A. „ HORE „ KILLIAN „ WEST

Tympani—

MR. MUNYARD

Cymbals, Triangle--

MR. CORBETT

ORCHeSTRR.-

Violins—

MR. DIERICH (Leader) „ BOWMAN „ CONNOLLY „ GOLLMICK „ HUNTER „ HUME „ JOACHIMSEN „ KEESING „ NIEHOFF „ PHILLIPS „ RAWLINS „ SCHACHT „ SCHRADER „ STEVENS „ SILVESTER „ SUTCH „ WALLENSTEIN „ WEINBERG, H. „ WEINBERG, jnr. „ WRIGHT, J. „ ZELMAN „ ZEPLIN, THOS. „ ZEPLIN, GEO.

Violas—

MR. RICE „ EDWARDS „ HERMANN „ HESS „ WIEDERMANN „ ZEPLIN, A.

'Cellos—

MR. HARRISON „ CLUTSAM „ FRAYLING „ HOPKINS „ KILLINGREN

Harp—

MR. BARKER

Flutes—

MR. STONEHAM, H. „ SMITH

Picolo-

MR. WRIGHT, G.

Oboes—

MR. THOMPSON „ BROWN

Clarionets-

MR. LYONS „ CAMPBELL

Bassoons —

MR. LUPTON „ MOFFITT

Horns—

MR. WHITE „ PECHOTSCH „ KiiHR „ HINGOTT

Trumpets—

MR. HOLLOWAY „ WILSON

Trombones—

MR. SINNOTTE „ HINGOTT „ STONEHAM, W.

ERNEST E. MOFFITT, Orchestral Sec.

•

Library Digitised Collections

Title:Program of the Marshall-Hall concert, 21/7/1894

Date:1894

Persistent Link:http://hdl.handle.net/11343/23504

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