PROFESSIONAL ORCHESTRA.

Dominion, Volume 7, Issue 1885, 20 October 1913, Page 10

PROFESSIONAL ORCHESTRA.

A big, audience patronised the last-of-the-season concerts of tlio Wellington Professional Orchestra, which was given in tho Town Hall last night. Besides being tho last, tho concert was an extra ono, and thero will not bo - another till -March next. Mr. Christian and in the absence of Mr. D. Gillies (who is away in Dune-din), Mr. E, Gilchrist led. The opening item was the march "Tann- - hauser" (Wagner). Gillett's "Loin du Bal," for string only, went nicely; tho 'cello (Mr. y. Johnstone) stood out well. "Tho Banks of Allan Water" (Horn) ■ was played with excellent combination by tho trombone quartet, Messrs. H. B. Oakcs, E. P. Andrews, H. Cummins, ' and H. Weston, The overture, "Ruy Bias" (Mendelssohn), which tho orchestra included in a previous programme was rendeced with good effect; aild success attended the rendition of the reverie, "Linbcstraumo" (Von Blon), Tho chief number was the overture Solenelle "1812" (Tschaikovsky), of which the following programme noto is sufficiently expalantory:—"ln 1812 Napoleon Bonaparte received tho first check in his contemplated 'conquest .of theworld.' Ho led his army into Moscow, on September-15, and the following day tho inhabitants set. 'lire to the tpwn, Tho next month saw tho groat Napoleon commencing the disastrous retreat which was the beginning of his end. In 1880 a' church was crected in Moscow to commemorate the stirring events of 1812. Tschaikovsky was asked to writo a 'piece d'occasion' for tho consecration of this church, and lie succeeded in his task far more satisfactorily than " is usual when composers are, called upon ' to 'write to order.' The work opens with a Greek hymn tune given out by a sextet of strings, reinforced later by tho wood-wind instruments. This is i the prayer of tho Russians for tho doliverance of their country. This works up, and broadens ou£ until the first , shot is heard, and all is alivo and moving in preparation for war. A quiet j andante movement, very military in ! character, follows, indicating the gatli- i ering of the Russian troops for tho dc- j fence of their Fatherland. This works up to an allegro descriptive of bat-tie, which grows more mid more terrific and ] exciting, and depicts the fighting in j real earnest. Now through tho tur- | moil is heard a few bars of tho "Mar- | sellaiso" on tho trumpets, representing 3 tho attacking army. ' At this point | comes a charming little Cossack na- j tional song in antagonism to tho 'Mar- ] seillaise,' but the roar of battle over- | powers it, and"once more tho trumpets, j give out tho French national song. 1 Tho Cossaek snng onco more asserts it- jj self, and is again overpowered by the I din of fighting. Now comes tho turn- j ing of the tide. The Russians are gain- j ing the victory, and tho music as- | sumcs a sequence of descending pas- 1 sages on four notes of the scale, and, | adroitly changing the tempo back to that of the opening movement, the • clamour suddenly culminates in the j? prayer theme with which the overture j opened, and which is now thundored forth by orchestra and brass band in the form of a joyous thanksgiving/ The j andante, which before signified the gathering of tho Russian army, now follows as a triumphal march, and from j the bass instruments we hear tho first strain of the Russian National Anthem, and amidst shouts and clamour of church bells the overture ends in a blazo of Russian triumph. The whole work is almost ghastly in its orthology, and is looked upon as one of tho most Jj marvellous pieces of orchestration over Ig, written." ■ p ] ol