The Station Orchestra
Conductor Joseph Lewis
This, one of the most sanguinary of Operas (for all the chief characters are killed off), was commissioned for the Imperial Theatre at St. Petersburg, and produced in 1862.
MARGARET ABLETHORPE (Solo Pianoforte) and ORCHESTRA
SAINT-SAENS died four years ago, at the age of eighty-seven. He first appeared in public at the age of five (as pianist in a Beethoven Violin and Piano Sonata), so he had been active as a performer for about eighty-two years - probably a record.
At ten he gave a recital of his own, including compositions of Bach, Handel, Mozart, and Beethoven. Somebody present reproached his mother: 'If he plays Beethoven at his early age, what music will he play when he is twenty?' 'His own,' was the reply.
As a matter of fact, his age was still three years short of twenty when he won his first real success as a composer. His First Symphony was performed at one of the concerts of the St. Cecilia Society, and the Conductor, Leghers, fearing that the Composer's youth would prejudice the committee against him, had to pretend that the score was one that had been sent to him anonymously from Germany.
For nearly twenty years (1858-1877) Saint-Saens was Organist of the Madeleine in Paris, and he wrote some very good musical criticism; but his fame is that of a very productive composer. Such works as the Opera Samson and Delilah and the Piano Concerto now played have made him very popular.
Concerning this Concerto it is said that Rubinstein the great pianist, suggested that Saint-Saens and he should together appear in a concert as soloist and conductor respectively. There were three weeks before the event was due, and the Composer promised to write a new concerto for the occasion. He did it easily, with several days to spare, and, as ever, played his work brilliantly.
This Concerto is in three distinct movements,
The FIRST MOVEMENT, beginning with a slowish introduction, goes on to the discussion of themes in turn impassioned and calm.
The SECOND MOVEMENT, Quick and playful. is a dainty piece of work. The opening (plucked strings, to an undercurrent of drum rhythm) is a charming way of launching a movement. In a moment the piano sets its capricious dance going, and we know we are in for a jolly time.
The THIRD MOVEMENT (the Finale) is also a very lively piece, in the style of the excitable Tarantella dance.
Introduction and Song to the Irish Hills; The Dance of Eily; Lament on the Death of an Irish Chieftain; Reel.
(Conducted by the Composer)
MR. O'CONNOR MORRIS, born in Switzerland, in 1886, of Irish parents, is a. musician who is well known in more than one capacity. He has made a name for himself as Solo Pianist, Accompanist, Conductor to the Carl Rosa Company, and Composer.
He has written several works having an Irish background, one of the most recent being this set of Four Sketches, the titles of which are: Introduction and Song to the Irish Hills, The Dance of Eily, Lament on the Death of an Irish Chieftain, and Reel.
