Review of the 26th concert

The 26th concert under the auspices of the York Symphony Orchestra, which was held in the Exhibition Buildings, York, last night, was of special interest in view of the fact that Mr. T. Tertius Noble, the hon. conductor, who formed the orchestra some years ago, made his final appearance prior to his departure for America next month. The hall was well filled when the concert commenced, but the audience was not nearly so large as might have been anticipated under the special circumstances. This was doubtless due to the fact that the concert was held so soon after the Easter holidays.

Mr. Noble, on taking his stand, at the conductor's desk received a great ovation, and bowed his acknowledgements. The programme was a varied and excellently chosen one. It contained selections from the works of Beethoven, Wieniawski, Grainger, Balfour Gardiner, Mozart, Max Bruch, and the final march by Mr. Noble himself.

The programme opened with Beethoven's Overture to "Coriolan," which describes the career of a Roman soldier who rose to the position of commander of a great army by his success in battle; but was afterwards murdered. The work was admirably rendered by the orchestra, and at the close there was a hearty burst of well-deserved applause.

In Wieniawski's Concerto No. 2 in D Minor, Op. 22, for violin and orchestra, the solo part was taken by Leila Willoughby, a talented young violinist. Wieniawski's playing was always impetuous, warm, and tender, and it is easy to understand how a man with these attributes composed this concerto. It has a peculiarity in common with the modern concerto, in that the three movements are more or less linked together. The last movement, it may be mentioned, is written in gipsy style. Miss Willoughby had a heavy task, but she acquitted herself with credit, and at the close was presented with no less than three bouquets.

One of the most popular pieces on the programme was "Mock Morris," by Percy A. Grainger, for strings only. The "band" was divided into three separate sections of "fiddles," one of violas, called in the score "middle fiddles," two lots of 'cellos called lst and 2nd "bass-fiddles," and one of double basses. The first fiddles open the dance, and, but for a short interruption from the 'cellos, continue for two bars. At the thirty-third, the 2nd [???] of the crisp energy of the 1st, is of a smooth and melodious character. After a few bars, however, they merge once more with the 1st fiddles, who have been going undisturbed on their way. At the 53rd bar the violas introduce a third subject, massive and strong, accompanied by rugged chords. This subject is taken up shortly afterwards by the 3rd fiddles, to be followed by the violas and 'cellos. Later on, the violas enter muted with the 2nd subject, while the rest of the band accompany them in pizzicato. A few later they make room for the lst 'cellos, who give a fragment of the lst subject, which brings the piece to a close.

The last item of the first part of the programme was Balfour Gardiner's "Shepherd Fennel's Dance," which is founded on Thomas Hardy's Wessex story, "Three Strangers." The selection opened in slow time, the wind and strings playing alternately, but the rapid rhythm of the dance was soon observable. The middle section reflects the simplicity and bonhomie of the shepherd and his wife, and is an effective relief and contrast to the prevailing mood of the boisterous and careless gaiety in the earlier parts.

The only selection of Mozart's given was the symphony on G minor, which is one of the most beautiful of Mozart's works. There is a sad and plaintive mood prevailing throughout the whole of this piece, but it is nevertheless beautiful and graceful, and it deeded only be said that the orchestra gave a very fine rendering of the work.

Miss Leila Willoughby made her second appearance in Max Bruch's Romance in A minor, Op. 42, and she gave a sympathetic rendering of the work of one of the most prominent of the modern German composers. At the close there were loud calls for an encore, but time would not permit.

The concert concluded with Mr. T. Tertius Noble's "March" (from orchestra] suite). It was very prominent in the York historic pageant, and is well-known in York, so that it is not necessary to refer to it at any length.

At the close Mr. Noble had to bow his acknowledgements again and again. From an artistic point of view the concert was a great success, and it was to be regretted that the audience was not as large as the excellent programme presented merited.