Conducted by Lieut. B. WALTON O'Donnell,
R.M.
HAROLD Williams (Baritone)
MARGARET FAIRLESS (Violin).
OBERON was Weber's last opera. It was written for performance at Covent Garden (1826). Its brilliant and romantic overture was actually written in London, where the composer died a couple of months later. It conveys no suggestion of its being, as it was, the work of a man who sadly realized that life was ending.
In the slow Introduction (quite short) we hear
— (1) The magic horn of Obercn, the King of the Fairies. (2) A light-fcoted passage suggesting the movements of his subjects. (3) A March passage and then a loud chord which ends the Introduction and ushers in the main body of tho Overture.
The pace now changes and, at a very rapid speed, we hear (4) the First Main Tune, of the Overture (quick and fieiy). It is taken from a quartet in the Opera (Over the Dark Blue Waters).
(5) Soon comes another call upon Oberon.s
Horn, followed by the light Fairy Music, and then the Second Main Tune. This is one oi tho melodies sung by Oberon.
(6) Immediately after this comes a. beautiful tune, taken from the well-known song in the Opera, Ocean, Thou Mighty Monster.
All this constitutes the chief material of the Overture, and, these tunes identified, the rest of its course will be clear to the listener.
The whole piece is full of fairy romance and of the open-air spirit.
PARIS, the gay city,' could hardly have gayer music than the favourite picture of eamival-time, by the Norwegian composer, Svend Sen. We imagine some such jollification as the Shrove Tuesday procession, with its decorated cars, grotesque figures, masquers, and happy crowds of holiday -making spectators.
SPANISH Dance rhythms have attracted several Russian composers. This Caprice consists of a string of short Movements in various Spanish styles, which follow one another without pause.
The first is an Alborndo, or morning serenade-a vigorous waking-up ' piece.
Next we have a tiny set of Variations on a theme. Then the Alborado is repeated, with varied orchestration.
A Scene and Gipsy Song follows, and the last dance is a Fandango (originally a dance to the accompaniment of guitar and castanets).
Dance of the Camorrists ; Valse Intermezzo
BORODIN (1834-1887), Doctor of Medicine and Professor of Chemistry, became one of the leading ' Nationalist ' Composers in nineteenth century Russia. He wrote this ' Sketch ' in 1880. A ' programme ' is printed on the title-page of his score. It may be freely translated as fottows:—
' In the silence of the sandy steppes of Central
Asia ring the first notes of a peaceful Russian song. One hears, too, the melancholy strains of songs of the Orient ; one hears the tramp of horses and camels as they come. A caravan, escorted by Russian soldiers, crosses the vast desert, fearlessly pursuing its long journey, trusting wholly in its Russian warrior-guard.
Ceaselessly the caravan advances. The Russian songs and the native songs mingle in one harmony ; their strains are long heard over the desert, and at last are lost in the distance.'
Borodin aims at suggesting the great spaces of his plains by high, held notes which continue almost unbroken throughout.
The Russian song is heard at the opening. A few moments later comes the Oriental song.