The Musical World
, March 15, 1906.
York Symphony Orchestra
Nothing is more pleasant for those who have assisted at the founding and
establishment of a successful society than to recall the early days of
struggle, the days of mingled hopes and disappointment, when apparently the
very stars fought against anything approaching a successful issue. Sometimes
such reminiscences not only give pleasure to those in immediate touch with the
undertaking, but are of value as supplying an incentive for others like-minded
to go and do likewise. Very often it is found that national institutions grew
up quite simply and naturally from very minute beginnings, and the example of
the York Symphony Orchestra might be followed with advantage by many towns in
Great Britain. A report of a concert in another column will testify to the
interesting nature and the exceptional value of the work being done. Not only
does this York Orchestra make keen musicians of the members: it provides
opportunity for the hearing of good works in the district - works that could
not be heard were it not for such an institution. Moreover - and this is not
the least important function of an orchestral society - it gives a chance to
young composers of hearing a performance of their works. Without such an
orchestra in York it is doubtful whether Mr. Noble's delightful work could have
been heard in his own city, possibly for years - and certainly it could not
have achieved so excellent a rendering: for a scratch band cannot so enter into
the spirit of a work as is possible with an orchestra of which the majority
rehearse together week by week. One of the prominent features of the Y.S.O. (as
it is affectionately called in York) is the whole-hearted enthusiasm of its
members, and this can rarely be infused into a band the members whereof are in
an irritable state owing to the unsatisfactory conditions of a single
rehearsal, with a single performance succeeded by a rush for trains! This, to a
large extent - for the Y.S.O. only "import" certain of their wind and
brass players - is obviated by the presence of a really good amateur orchestral
society in a town. The Y.S.O. started its career in 1898, the members meeting
every week for a rehearsal of an hour-and-a-half under the tuition of their
conductor, Mr. T. Tertius Noble, organist and choirmaster at York Minster. At
its first concert in April, 1899, it had a membership of thirty-five, of which
four were professional players. The aim of the Society was exemplified in its
programme, which included a Haydn symphony, the Overture to 'The Wasps' by Mr.
Noble, Elgar's Serenade for Strings, and the overture to 'The Marriage of
Figaro.' Since then, emboldened by success and the friendly attitude of the
critics, the Society has given two concerts each year, and the membership has
gradually increased until it now stands at seventy-seven. A high standard is
demanded of the players, and to be received into membership is regarded as an
honour in the locality. A glance at the programme of the last concert reveals a
surprising number of ladies at the head of their departments: Miss E. G.
Knocker is leader of the orchestra, Miss Jalland the leader of the second
violins, Miss Groves of the violas; there are several lady 'cellists, two lady
double-bass players, and - strange to relate - a lady bassoonist! It is said
that at least twenty young violinists in the district are hoping to pass the
membership test next year. What an incentive such a society provides for the
study of other instruments than the piano, violin and 'cello! The Y.S.O. was
requisitioned to supply the music in York Minster on "Military
Sunday" while the garrison troops were absent at the Boer War.
The Y.S.O. and its Methods
Strange to say, the financial support of the York Symphony Orchestra has not
been, up to the present, what it might have been. It has relied solely upon
tickets for admission: there are no subscribers' tickets. The hall in which the
concerts are held is the immense Exhibition Hall, and at each concert from five
hundred to a thousand seats are available at the nominal price of one penny
each! This will give some idea of the desire to extend the hearing of good
music to all who have ears to hear. The pernicious practice of attracting
crowds by the advertising of "star" instrumentalists or vocalists has
never been instituted. Good soloists are engaged who can perform worthily music
that will not clash with the rest of the programme; artistic excellence is
always deemed by the Y.S.O. a surer basis for sound musical education than
showy performers. Much of the success of this undertaking is due to the fact
that the conductor, Mr. Noble, has had the loyal support of many professionals
in and around York: to Miss Knocker and to the late Mr. Groves (four members of
whose family appear in the list) special thanks are due from all those who love
music no less because they can find it at their own doors than if they had to
procure it abroad. Mr, Groves was actually the prime mover in this activity,
since (before the arrival of Mr. Noble upon the scene) he first nourished the
germ of musicianship of many who later became honoured members of the orchestra.
But the real base upon which the whole erection stands is Mr. T. Tertius Noble,
to whose untiring energy and never-failing sacrifice of time and power, the
present position of the orchestra is really due. To see him conduct a
rehearsal, pouring out stores of his own vital force, infusing the members of
the orchestra with his own enthusiasm, is to know the secret of the beautiful
tone of the strings, the keen insight into new works, the unerring taste and
judgement that characterise the performance of this orchestra. Mr. Noble adds
to his sound musicianship a magnanimity all too uncommon among musicians; he
has wide sympathies, and does not find it necessary because of his devotion to
one composer, to curtail his liking for another. The reason of the failure of
many orchestral societies to achieve success is to be found in the fact of an
amateur conductor. Those contemplating the founding of such a society would be
well advised to consider whether they would not do best to choose for their
conductor a professional musician; but in any case he ought to have that
magnetic temperament which draws out from the players all that they have to
give. Also, where possible, there should be a solid substratum of professional
help within the ranks of the players. York has been fortunate in both these
respects, for Mr. Noble has ever had the competent assistant of Miss E. G.
Knocker, who has raised violin-playing in the district to a remarkable state of
proficiency. The example of the Y.S.O. should serve as a stimulus to many towns
where such an orchestra would be of inestimable value.
