Phonograph Monthly Review, Vol. 1, No. 8 (1927-05)

The Phonograph Monthly Review 335 va n . ■ 1 ■■ Orchestra under Sir Hamilton's guidance to the organization it is today, considered by us as by many British critics the leading orchestra in Great Britain. It has been a pleasure lately at the Studio to read the program booklets of the Halle Concerts, sent in for the “Recorded Symphony Programs" feature. Some mention of them was made in that column in the April issue, but it should be repeated here again that for appearance and help- fulness to concert-goers they can hardly be sur- passed. The notes themselves are direct and simple, illustrated with thematic quotations; the approximate time each composition takes is printed in the margin; and the convenience of the audience is taken so much into consideration that a timetable of Manchester trains is included! Through these program books, the Halle re- cordings, and the very pleasant correspondence we have had on various occasions with the So- ciety's Secretary, Miss Olive A. Baguley, we in the Studio have come to feel a real friendship towards this organization, a friendship that is, of course, intensified by the admiration which every successive recording invariably earns. Before going on to the records, it will be well to give a brief account of the famous Halle orch- estra and its founder. Charles Halle, the founder of the Halle Orch- estra, was born on April 11th, 1819, at Hagen in Westphalia. His father was organist at the prin- cipal (Lutheran) church, and, as “Musik Direc- tor," in charge of all musical activities of the place. From his earliest youth Halle devoted himself to music, and at four years of age he played a “little sonata," composed by his father, at a local concert. After studying music at Darmstadt, he went to Paris in 1836, first as a student, and after- wards as a teacher of the pianoforte. His suc- cess was rapid, and he soon became a member of a brilliant society, which brought him into con- tact with such men as Chopin, Wagner, Berlioz, Heller, Liszt, Cherubini, Paganini. In 1841 Halle married Desiree Smith de Rilieu, and his house became the resort of many famous people. He was in the full tide of success when the revolution shattered all his plans. Lamartine, on behalf of the Provisional Government, offered him the posi- tion of Ambassador of the French Republic to the German Diet at Frankfort, but Halle refused it, and came to England. After a short stay in London he settled in Manchester, guided by the fact that there was here an influential and musical German colony. In 1865 Manchester began to prepare for the Art Treasures Exhibition, which was to be held in the following year, and Halle was entrusted with the musical arrangements. He formed a first-rate orchestra which he conducted; and so successful were the performances that Halle de- cided to continue the Concerts as the Halle Con- certs. The first of the series (which were main- tained uninterruptedly until his death in 1895) was given on January 30th, 1858, under the title: — ■ 1 -Si - 1 “Mr. Charles Halle's Orchestral Concerts." On various occasions he discussed the future of his concerts; he was most anxious that his musical work in Manchester should be worthily continued. He wished to avoid the calamity of the concerts falling into the hands of an impressario, whose chief object would be to exploit the undertaking for his pecuniary benefit. This would inevitably tend to lower the high standard of music which Halle desired at all all hazards to maintain. The Halle Concerts continued to be the absolute property of Sir Charles Halle and under his sole management until his death on October 25th, 1895, (having completed his 37th annual series of weekly orchestral concerts—20 each season). Halle died suddenly a few days before the first concert of the 1895-6 Season. Fortunately for orchestral music in the north of England a committee of three public minded citizens deter- mined to carry on Halle's work, and the Halle Concerts Society was formed. This society is a limited company, and as such is registered at Somerset House, with guarantors instead of shareholders. Each guarantee is for one hundred pounds, the liability of which is terminated by the death of the guarantor. Calls are made only in case of loss, and by the vote of a majority of the guarantors. By this unique scheme the Society has at call a considerable sum of money, the list of guarantors being kept up to about 200. During the thirty years which have passed since Halle's death in 1895 the concerts have gone through periods of difficulty and anxiety to those entrusted with their management. It is satisfac- tory that today this old institution is now firmly established, with the promise of future success, in the spirit of its founder. Following the death of Sir Charles Halle, the concerts were at first conducted by Guest Con- ductors: Sir Arthur Sullivan, Sir Charles Stan- ford, Sir Joseph Barnby, Sir Frederick Bridge, Sir Frederick Cowen, Sir Alexander Mackenzie, Dr. Brodsky and Sir George Henschel. During 1896-1899 Sir Frederick Cowen con- ducted, after which Dr. Hans Ritcher was ap- pointed resident conductor, and remained in charge eleven years, retiring eventually in 1911 owing to ill health. During Richter's regime the orchestra attained a high pitch of perfection, and a reputation which travelled far afield. Richter's successor was Michael Balling, who remained until the outbreak of war in 1914. Another sea- son of Guest Conductors followed and in 1915 Sir Thomas Beecham became artistic adviser and Conductor. Sir Thomas was succeeded by Hamil- ton Harty as permanent conductor in 1920. Sir Hamilton's concerts with the L. S. O. had already proved him to be one of the most brilliant conductors in England, but since his appointment as permanent conductor of the Halle Orchestra he has done much to bring himself into the very front rank of European conductors. He is a musician born and bred, his father having been a well-known organist in the North of Ireland, and his mother in her girlhood a more than cap-