15th April, 1910
If the audience at last evening's York concert considerably below the average in numbers, it was because the programme was uninteresting, but more probably because it was not modern enough for public taste. There was, indeed, one contemporary piece, the "Valse Triste" of Sibelius, but it is one of those simple, inoffensive little things which, save for details of colouring and the like, might pass muster for almost any time - otherwise Beethoven's "Egmont" Overture was the most modern orchestral piece in a programme the main features of which were by Bach, Handel, and Haydn. Of the last-named composer we had the Symphony in D from the Salomon set, one of his most characteristic and advanced works. It breathes the spirit of folk-song - one knows, indeed, that the finale is based on a traditional Croatian Volkslied, and this movement is perhaps the finest of the four, charmingly fresh in conception and masterly in workmanship. In the Minuet one misses the courtly grace of Mozart, it is bourgeois by comparison, but the whole work is delightful, full of naive "surprises" which we, alas, are too sophisticated to be surprised at, and charming in its beautiful construction. It was very well played by Mr. Noble's orchestra; he inclined to make the Andante perhaps a shade too serious, otherwise the spirit was happily caught. The orchestra responded to his beat, and the worst fault one could find was a certain lack of fulness of tone, attributable in a great measure to a concert hasll which dissipates force, and hinders any concentration. One of Handel's concertos for three solo strings and orchestra, with a pianoforte that simply fills in the humble "continuo," was very enjoyable. It is music which makes no pretence at human emotion, it affords simply a charming pattern of sound, but this it does most happily, and there is a wholesome flavour about the music that is very pleasant. The solo string parts were artistically played by Miss Knocker, Miss Willoughby, and Mr. Groves, and the pianist was Miss Ethel Page, who had a greater opportunity of distinction in a Chopin Scherzo, which she played with considerable dash, inclining rather to ignore the sentiment of which it is susceptible. Sarasate's "Zigeunerweisen" was played by Miss Leila Willoughby, and an orchestral version of. the accompaniment Slight as is its structure, and brilliant as are some of its passages, it is true music, full of pure, fresh me1ody, and its expressive quality was appreciated by the soloist, who played with a nice technique and real artistic feeling. She took the fiery finale at considerable less than the usual break-neck pace, but it cannot be said that the music lost much by this.
15th April, 1910.
The last concert for the season of the York Symphony Orchestra took place in the Large Hall of the Exhibition last night, but unfortunately the patronage bestowed upon it was in no way commensurate with the excellent programme which Mr. T. T. Noble, the energetic honorary conductor, had provided. There is no doubt that the large number of empty seats spells loss to the promoters, a fact that is to be deeply regretted, when it is considered what these concerts have done in the direction of fostering a taste for high class music in the city.
The programme opened with Haydn's "Symphony in D." Throughout the work there is a melodic charm which at once attracts attention. It is only under such a commander as Mr. Noble and with such an army of instrumentalists that he has to command that these beauties can be adequately brought out. The tone produced last night was of the richest quality. The colouring in the first three movements was delightful in all its shades, the ensembles exhibiting great breadth. The "menuetto" and "allegro spirituoso" might be said to have been conceived by the composer when he was in a joyous mood, some of the passages in the former bordering on the eccentric, a characteristic, however, which the genius of Haydn has clothed with a peculiar charm, and which were performed by the orchestra with a thorough appreciation of what was demanded of them. Handel's concerto for piano and strings with soli for Miss Knocker and Miss Willoughby (violins), Mr. J. Groves ('cello), and Miss Ethel page (piano), was characterised by great expression and splendid tone, the soloists playing with consummate skill. Miss Ethel page, of Newcastle, was the solo pianiste, and she gave a vigorous reading of Chopin's "Scherzo Op. 31," brilliancy of execution being a very noticeable feature of her playing. She also played a concerto with strings by Bach, which tested her abilities to the utmost, but she came triumphantly through the ordeal, and the orchestra again displayed their skill as artistic tone colourists. The "Valse Triste," by the Finnish composer Sibelius, is a very beautiful composition, but entirely different to any composition which one associates with the name of valse. It opens with a weird, wailing movement, as if the steps of the dancers were clogged with some heavy sorrow. A change comes as if they wished to shake off the depression which has seized them, but the movement never assumes the joyous rhythm of the waltz. The whole work is weirdly beautiful, the strain of sadness adding a peculiar charm to the melody. It was played with great delicacy and refinement, and the audience listened with rapt attention. Beethoven's "Egmont" overture was another contribution by the orchestra, in which they demonstrated their great skill.
We are glad to note that Miss Leila Willoughby has determined to enlist in the army of professional violinists. Such talent as she possesses ought not to be "cribbed, cabined, and confined" within the ranks of local amateurs; the musical world at large should have opportunities of listening to her performances, which are undoubtedly destined to place her amongst the leading instrumentalists of the day. She played last night Sarasate's "Zigeunerweisen," which is full of difficulties which only the master of technique can surmount. Miss Willoughby scored a veritable triumph. Her tone production is of the very finest quality and her expression that of a perfect artiste. Nothing could excel the sweetness and purity of the harmonies, and the exquisite passage for muted strings was played with the utmost delicacy and refinement, and the brilliant passages for alternate open notes and pizzicato executed as only a thorough executant could. A loud and prolonged burst of applause resounded through the hall at the close, and it did not cease until Miss Willoughby came forward and it was seen she was going to comply with the demand for a repetition. The played the last two movements as an encore. A word of unqualified praise must be given to the orchestra for the manner in which they performed the subdued accompaniment.
Mr. T. T. Noble conducted throughout the evening, and it is not necessary to say more than that he performed his duties with that ability which enables him to obtain such splendid results whether from a band of instrumentalists or a chorus of vocalists