Page:A Dictionary of Music and Musicians vol 4.djvu/221

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and wind, the quartet being all professionals. In the next few years the Society made steady progress, the most notable performances being Mozart's Requiem ; Bach's Concerto for 3 PF.s ; Beethoven's Ruins of Athens ; ' the 'Antigone ' again ; a selection from Gluck's 'Iphigenia in Au- lis' ; Beethoven's Mass in C and Choral Fantasia ; and a concert in memory of Spohr (Dec. 7, 1 859).

In 1860 the Society gave its first chamber con- cert (Feb. 21). In the following year the Society gave a performance of the ' GGdipus ' in the Hall of King's College, the dialogue being read by the Public Orator, the Rev. W. G. Clark. At a subsequent performance of the ' Antigone ' in the Hall of Caius College (May 20, 1861) the verses were read by the Rev. Charles Kingsley. On March 9, 1862, the name of Schumann occurs for the first time to the beautiful Andante and Variations for two pianofortes (op. 46). In the following year the Society produced for the first time in England the same composer's Pianoforte Concerto (op. 54), played by Mr. J. R. Lunn. Other achievements worth mentioning were the performance in 1 863 of the Finale to Act I. of 'Tannhauser,' of Schumann's Adagio and Allegro (op. 70) for PF. and horn, his Fest-overture (op. 123, first time in England), and of the march and chorus from ' Tannhauser.'

The concerts of the next nine years continued to keep up the previous reputation of the Society, and many standard works were during this period added to the repertory.

In 1870 Mr. Charles Villiers Stanford (then an undergraduate at Queen's) made his first appear- ance at a concert on Nov. 30, when he played a Nachtstiick of Schumann's, and a Waltz of Heller's. In 1873 he succeeded Dr. Hopkins as conductor, and one of his first steps was to admit ladies to the chorus as associates. This was effected by amalgamating the C.U.M.S. with the Fitzwilliam Musical Society, a body which had existed since 1858. The first concert in which the newly-formed chorus took part was given on May 27, 1873, when Sterndale Bennett con- ducted The May Queen,' and the ' Tannhauser ' march and chorus was repeated. In the follow- ing year the Society performed Schumann's 'Paradise and the Peri' (June 3, 1874), and on May 2, 1875, hi 8 music to 'Faust' (Part III) for the first time in England. The custom of engaging an orchestra, consisting mainly of Lon- don professionals, now began, and enabled the C.U.M.S. to perform larger works than before. The number of concerts had gradually been diminished, and the whole efforts of the chorus were devoted to the practice of important com- positions. By this means the Society has acquired a reputation as a pioneer amongst English musical societies, and within the last few years has pro- duced many new and important compositions, besides reviving works which, like Handel's 'Se- mele' and 'Hercules,' or Purcell's 'Yorkshire Feast Song,' had fallen into undeserved oblivion. A glance at the summary of compositions per- formed, at the end of this article, will show the good work which it is doing for music in England.


In 1876 a series of Wednesday Popular Con- certs was started, and has been continued without intermission in every Michaelmas and Lent Term to the present time. These are given in the small room of the Guildhall, and generally consist of one or two instrumental quartets or trios, one instrumental solo, and two or three songs. The performers consist of both amateur and profes- sional instrumentalists. More important chamber concerts are also given in the Lent and Easter Terms ; and to these, Professor Joachim an honorary member of the Society has often given his services. The Society, as at present (Nov. 1 8 84) constituted, consists of a patron (the Duke of Devonshire), 16 vice-patrons, a president (the Rev. A. Austen Leigh), three vice-presidents, secretary, treasurer, librarian, committee of eight members, ladies' committee of six associates, con- ductor (Dr. C. V. Stanford), 280 performing, 130 non-performing members and associates, and 20 honorary members. The subscription is 215. a year, or los. a term. Besides the popular con- certs once a week in Michaelmas and Lent Terms, there is usually a choral concert every Term, and in Lent and Easter Terms a chamber concert of importance, and choral and instrumental prac- tices once a week.

The following is a list of the most important works produced and performed by the C.U.M.S. Numerous overtures and symphonies and much chamber music, by Haydn, Mozart, Beethoven, Schubert, Brahms, Bennett, etc., have been omitted for want of space. The works marked with an asterisk were performed by the Society for the first time in England.

��Astorga. Stabat Mater.

Bach, C. P. E. Symphony, No. I.

Bach, J. S. Concerto for 3 Pianos ; Concerto for 2 Pianos ; Suite for Orchestra. B minor ; ' My

��spirit was in heaviness'; Vio- Mozart. Jupiter Symphony ; Re-

��lin Concerto ; ' Now shall the

Grace ' ; *Halt im GedSchtniss. Beethoven. Buins of Athens ;

Mass in C; Choral Fantasia;

Meeresstille und gliickliche

Fahrt ; Choral Symphony. Bennett. Exhibition Ode; The

May Queen ; The Woman of


��quiem ; Mass, No. I ; Mass, No. XII ; *Minuets for 2 Vio- lins and Violoncello.

Palestrina. Hodie Christus; Se- lection, Missa Papae Marcelli.

Parry, C. H. H. Scenes from Pro- metheus Unbound ; Sym- phony in F; PF. Trio in E mi.; PF. Quartet in A minor.

��Brahms. Requiem ; Song of Des- Purcell. Yorkshire Feast Song.

��tiny ; *Symphony, No. I ; Lie

beslieder; Rhapsodie, op. 53 ;

Es ist das Heil ; Concerto, Vio-

lin, op. 77 ; Tragic Overture,

op. 81.

Cherubinl. Marche Religieuse. Garrett. The Triumph of Love ;

The Shunammite. Gluck. Selection from Iphigenia

in Aulis. Goetz. *Sonata for Piano (4

��4 hands.

Handel. Selection from The Mes- siah ; Ode on St. Cecilia's Day; Dettingen Te Deum; Selection from Samson ; Funeral An- them ; Coronation Do. ; Selec- tion from Alexander's Feast ; Acis and Galatea ; Semele ; Israel in Egypt; Hercules Concerto G minor.

Haydn. Mass. No. I.

Joachim. Elegiac Overture Theme and Variations for Vio- lin and Orchestra.

Kiel. *Requiem.

Leo. I)ixit Dominus.

Mendelssohn. Selection from Eli jab; Music to Antigone

��Music to Oedipus ; Psalm XLII , Psalm CXV ; ' To the Sons of Art ' ; Lauda Sion ; Violin Concerto ; Walpui'gis Night ; St. Paul.

��Romberg. Lay of the Bell.

Schumann. Andante and Varia- tions, op. 46; PF. Concerto, op. 5i; Adagio and Allegro, op. 70; *Fest Ouverture, op. 123 ; Paradise and the Peri ; Faust (Part III); The Pil- grimage of the Rose.

Spohr. Selection from The Last Judgment; Selection from Calvary; ' God Thou art great.'

��hands); 'Ne"nia'; PF. Sonata, Stanford. Pianoforte Concerto ;

��Trio, Piano and Strings ; Re- surrection Hymn ; *Sonata. Piano and Violin ; Psalm xlvi ; Elegiac Symphony; ' Awake, my heart.'

Steggall. Festival Anthem.

Stewart. Echo and the Lovers.

Volkmann. "Serenade for Strings, p. 63.

Wagner. Finale, Act I of Tann- hauser ; March and Chorus, Do.; Kaiser-Marsch ; Prelude to Die Meistersinger ; Sieg- fried-Idyll.

Walmisley. Trk>, 'The Mer- maids ' ; *Duet - Concertante, Oboe and Flute.


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