Reviews of the 28th Concert

Yorkshire Herald , 17th March, 1914.

At the Exhibition Buildings last evening the York Symphony Orchestra gave the second of the concerts of the 1913-14 season. It was attended by an audience which was both numerous and representative in its composition, and extremely generous but uniformly discriminating in its appreciation. It was, indeed, an assembly worthy of an occasion so rich in tokens of high technical accomplishments, and also so manifestly inspired by a sustained, steady enthusiasm for the advancement of the best in musical art. The concert was the twenty-eighth given under the auspices of the Symphony Orchestra, and glancing hurriedly over the classified record of past achievements one is agreeably as well as profoundly impressed, not only by the range of compositions covered but also be the number of ambitious works attempted. One will not begin a necessarily wearisome and perplexing task of enumerating these individually, but one may say this of them collectively: They constitute a wealth of activity which must inevitably have been a dominant factor in cultivating and enlarging the present generation's knowledge and appreciation of much of the music of what, for the sake of contrast and demarcation, are termed the modern and classical masters. Regarded, therefore, as an educative force alone, the Orchestra has done a service which merits the completest recognition. By that simply and solely, it is entitled to claim to have accomplished a work of a permanent good, a work much more important than the superficially immediate one of providing periodically an hour or two of pleasure and recreation.

Last evening's programme was an extremely interesting one, being as follows:- Overture, "The Bartered Bride"' (Smetana); aria, "Si tra i ceppi" ("Berenice") (Handel), Mr. Campbell McInnes; symphony No. 2 in D (Beethoven); "Romance in C" (Sibelius); "a la Balalaika" (Kotchetoff) songs (a) "Silent Noon" (Vaughan Williams), (b) "D'Une Prison" (Reynaldo Hahn), (c) "Von Ewiger Liebe" (Brahms), Mr. Campbell McInnes; Slavonic dances (Dvorak).

Excluding, perhaps, the symphony, the orchestral programme did not impose an unduly severe strain upon the audience. All of the pieces could be appreciated, and followed without either a previous acquaintance with them or an explanation of the circumstances an moments they interpreted. A partial exception might be made in the case of the Romance of Sibelius, a rather blase, indefinite piece of music, written exclusively for strings, and expressing a mood which may be mysticism, or on the other hand may be merely melancholy. It had, however, the inherent interest of being composed by one who has so faithfully voiced the spirit and sentiments of a people living in the perpetual shadow of a great menace, the Finns. Whether by coincidence or by design, the programme opened with the overture of the Bohemian composer Smetana, and closed with the "Slavonic Dances" of a still more eminent Bohemian, Dvorak. Without being too pedantic, one may remark the curious similarity of method and feeling in the music of the two composers. In each the characteristics are very much alike, though in the one instance they are more fully developed and emphatic. There is the same picturesqueness and vigorous "colour," the same delightful vivacity and facile tripping from the grave to the gay, and the same violent contrasts which are never harsh and bizarre, however incongruous they may appear. Dvorak is the greater of the two; he encompasses in its fulness what Smetana seemed only to conceive. These "Slavonic Dances" are among the rarest of artistic treasures, rich in ornamentation almost to the extent of extravagance, and of irresistible beauty. Kotchetoff's "A la Balalaika" is an attractive novelty, interesting as an original and extraordinarily successful adventure in musical realism. It is in imitation of the old folk music of Russia performed on the Balalaika, the primitive instrument of wandering minstrels; and last evening the effects produced by the members of the orchestra dispensing in part with their bows and striking the strings of their violins with their fingers instead, was charming in a way quite unique. Of Beethoven's Symphony it is unnecessary to write, except to say that it remains for all time a wondrous piece of artistry, golden in its beauty, and expressing a veritable song of the soul through a technical construction of amazing intricacy.

To the orchestra the evening brought a triumph, unqualified and unsullied. Rarely has one listened to playing which, throughout a difficult and long programme, maintained so high degree of proficiency. It was, indeed, intensely pleasing to feel that York possesses a combination of musicians having in such complete measure the executive ability necessary for the rendering of, say, Beethoven's Symphony, or Dvorak's Dances. The playing in the former was brilliant. There was everywhere a certainty of touch and a sureness of insight. In the development of the delightful second subject the delicate shades of feeling were a notable achievement, while in the scherzo the spirit of lightness and joy was splendidly interpreted. One can speak with no less commendation of the rendering of the "Dances," the finale of which left the audience enrapt by its massing of musical power. The "Romance" of Sibelius was memorably done, a great success with a difficult composition; the Smetana "Overture" was a thing of rippling laughter and irrepressible gaiety. The fine rendering of "A la Balalaika" has already been mentioned. Congratulations are extended to every member of the orchestra for these high achievements, and, in particular, to the conductors, Dr. E. C. Bairstow and Miss E. G. Knocker. The thought of Miss Knocker's quiet command over the orchestra and the effects she obtained will not readily pass from memory. She took the Sibelius, Kotchetoff and the Smetana pieces and Dr. Bairstow the two larger works.

The vocalist was Mr. Campbell McInnes. York audiences are familiar with his careful art, and cherish very highly the pleasure of listening to him impart charm to words and music. It is, therefore, enough to state that his voice retains its expressiveness and richness, and that he manipulates it as only a consummate artist can. The Handel aria was a beautiful performance. In his subsequent songs he was accompanied at the piano by Dr. Bairstow, and was deservedly encored. The audience paid Miss Knocker an equally well merited compliment, there being much applause as a bouquet was handed to her. In many respects the concert will stand out as notable, even in the long record of notable successes gained by the York Symphony Orchestra.

Yorkshire Post , 17th March, 1914

Beethoven's Second Symphony, which was the central feature in last evening's programme is, in many respects, exceedingly well suited to an orchestra which, while largely amateur in its composition, entertains some artistic ambitions. It has the clear straightforwardness of the earlier symphonies of Mozart and Haydn, together with some of the warmer, more romantic feeling which Beethoven added to symphonic music. The excessive clarity of Mozart is itself rather a snare, for it demands the utmost finish of execution, whereas in later, music an appreciation of the mood may go far to atone for an occasional lapse from technical perfection. Not that there were any conspicuous lapses in the very careful and spirited performance which Dr. Bairstow conducted. His beat has a clear outline and a nervous energy that makes it easy to follow, and inspiring to the players, and if the volume of string tone was not large in proportion to their number, the degree of precision attained was more than creditable. The first subject of the lovely Larghetto demanded a smoother and richer cantabile than was secured, but was otherwise very nicely played, the Scherzo, was quite a smart performance, and the characteristic abruptness of the Finale, in which we have a foreshadowing of the peculiar humour that Beethoven developed more strongly in the finales of the seventh and eighth symphonies, was to a considerable extent realised.

The lighter pieces in the programme were all of interest. It began with Smetana's bustling overture, "Die Verkaufte Braut," which was played at top speed, yet with as much clearness of effect as the rather bewildering acoustics of the Exhibition Building would allow. Two delightful little pieces were grouped together, a beautiful Romance by Sibelius, for strings alone, and making the most of their capacity for a rich sonority being followed by a movement "A la Balalaika" from a suite by a contemporary Russian composer, Kotchetoff, who it seems combines in himself critical and creative faculties that are not very often found together. This is a most effective piece, in which the quaint and sombre me1ody is accompanied by the pizzicato of a gradually increasing body of strings after the fashion of the primitive peasants' instrument which gives the piece its name. These were all conducted by Miss Knocker, whose beat is sensitive and clear, and whose readings showed sympathy for the music and an instinctive feeling for rhythm which with greater confidence, and the broader style that result therefrom, should make her an orchestral conductor of more than common ability. The vocalist was that clever artist Mr. Campbell McInnes, who sang the air "Si tra i ceppi" from Handel's opera "Berenice" with great point and spirit, and was also heard in some modern songs.

Yorkshire Chronicle , 19th March, 1914

The second of the York Symphony Orchestra concerts for the present season took place on Monday evening at the Exhibition. There was a good attendance of subscribers and the general public, and the programme, to which we referred last week, was executed a manner reflecting the highest credit upon the members of the orchestra and the conductors - Dr. Bairstow and Miss Knocker. The vocalist was Mr. Campbell McInnes, who had a good reception, and justified the applause with which his songs were rewarded.

Among the numbers of an excellent programme which were highly appreciated, were Beethoven's Second Symphony in D; Dvorak's "Slavonic Dances"; the overture to Smetana's "The Bartered Bride"; and Kotchetoff's "à la Balalaika." The general feeling is that building upon Mr. Noble's foundation, Dr. Bairstow is carrying the orchestra forward to still greater efficiency, and it is already one of the best amateur orchestras in the kingdom.

Yorkshire Gazette , 1914.

For the second concert of the season, which took place in the large hall of the Exhibition on Monday evening, the Committee of the York Symphony Orchestra provided an exceedingly interesting and attractive programme. From the musical point of view it was one of the most interesting that has been held; but, unfortunately, the audience, numerically speaking, was in no way commensurate with the merits of the instrumental treat provided. The lack of support can, undoubtedly, be attributed to the fact that it was midway through the season of Lent.

The same careful rehearsals of the works selected has been gone through as those which preceded the first concert, Dr. Bairstow and Miss Knocker, the co-conductors, being unsparing in their efforts to bring the performers to as high a state of perfection as possible. That those efforts were successful there cannot be two opinions.

The programme, though it may not be placed under the heading of "popular," can be characterised as being free from any sombre tints. The chief work was Beethoven's Symphony No. 2 in D, which, though it cannot be placed amongst the master's most stupendous efforts, will ever be a favourite because of the richness of its melodic charms. Dr. Bairstow conducted, and his clear and incisive beat and artistic reading of the work resulted in a really fine performance. It was a tonal picture of the richest colouring. Never too garish or too subdued, the lights and shades were put ion with consummate skill. The crescendos and diminuendos were beautiful.

The Larghetto, with its almost ceaseless repetitions, has for its theme an exquisite melody, the opening bars of which are strangely reminiscent of the commencement of a melody in "Germany," from Moskowski's "Foreign Parts" although I do not wish for one moment to charge the Russian composer with plagiarism. The scherzo, trio, and finale are pulsating with vitality, and replete with grace and delightful rhythm.

There was a large number of absentees from the strings, but the performers who put in an appearance produced exceptionally good tone, and the wood wind and brass were praiseworthy in the highest degree.

To Miss Knocker was entrusted the baton to conduct the orchestra in the next important work, "Die Verkaufte Braut" ("The Bartered Bride.") This opera was written by Frederick Smetana, who had to yield the palm of being the greatest Bohemian composer to Dvorak. Nothing is known of the opera in England beyond the overture, which has also been produced under the name of "Lustspiel." It is taken prestissimo all through, and Miss Knocker never allowed the pace to slacken. She gave a highly sympathetic and intellectual reading of the work, and with a strong and convincing beat carried the work along with a splendid swing. The strings were well up to their work, and never sacrificed tone to tempo. It was an admirable performance.

She also conducted a performance for strings only, of the beautiful Romance in C by Sibelius, the Finnish patriotic composer. He evidently burns with love for his country, for all his compositions breathe of his nationality. But they are always welcome for their innate charm. The Romance was admirably played.

The vocalist was Mr. J. Campbell McInnes, a baritone, who has a very resonant and rich voice combined with an artistic temperament. he must, however, forgive me for saying that he was not up to concert pitch on Monday night. At certain times there was a slight huskiness apparent, and in one song, "D'une prison," a rather lugubrious effort of Reginald Hahn's, he was distinctly flat. His most successful contribution was Brahms' "Von ewiger liebe." He gave it with verve and declamatory force, and it being his last song his voice had recovered and there was nothing to mar an altogether satisfying piece of vocalism. He was unanimously encored, and sang "It is not that I love you less." Earlier in the evening he sang the aria "Si tra I ceppi" from Handel's opera "Berenice," and "Silent noon" from Vaughan Williams's cycle of "The house of life."

G. E. D.