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Scan 878
Grove's dictionary of music and musicians, 1916
20 lines. Read by computer on 6 September 2026. Printed page 798. See the scan on archive.org.
1pieces of special interest; such as the MS. works of Schubert, and of Mendelssohn; Beethoven's arrangement of his Violin Concerto for the piano, and his Overture, 'Leonora No. 2'; an alternative Andante written by Mozart for his Parisian Symphony; the first version of Mendelssohn's 'Hebrides' Overture, and other rare treasures of the same nature.
3The performances were of that exceptional quality which might be inferred from the ability, energy, and devotion of the conductor, and from the fact that owing to the wind and a portion of the strings of the orchestra being the permanent band of the Crystal Palace, Manns had opportunities for rehearsal which were at that time enjoyed by no other conductor in London.
5G.
7The establishment of the RICHTER CONCERTS in 1879 was the next event in the history of symphony concerts in London. For these see ante, pp. 93-94.
9The history of the first series called LONDON SYMPHONY CONCERTS has been related under the heading HENSCHEL, vol. ii. p. 381. The concerts were founded in 1886, and brought to an end with a notable performance of the 'Matthew-Passion' on April 1, 1897.
11The opening of the Queen's Hall in 1893 was followed by the formation of the Queen's Hall Choral Society, and in 1895 the experiment was tried of reviving public interest in Promenade Concerts, which had for some seasons languished in London. Mr. Henry J. Wood tried the bold experiment of giving the public at large an opportunity of hearing the great masterpieces of music, and the result showed that the attempt was surprisingly successful. Although symphonies were given regularly at these concerts, not at first on every occasion, the regular series of SATURDAY SYMPHONY CONCERTS began on Jan. 30, 1897, and have been carried on ever since. They were at first given weekly (subsequently fortnightly) up to the end of May, and their influence was less important on British music than on that of the contemporary Russian school, the chief representatives of which obtained frequent hearings for their works. The 'Pathetic' symphony of Tchaikovsky, though introduced at a Philharmonic Concert, acquired its great popularity under Mr. Wood, and for some years its continual performances stood in the way of more interesting work being done; but in due time the views of the authorities have become broader, and the programmes have shown a more catholic taste, as well as giving opportunities, more or less frequent, to the younger English composers. It must not be forgotten that the question of Sunday concerts was importantly affected by the series of Sunday Afternoon Orchestral Concerts founded in Oct. 1895, with Mr. Randegger as conductor. Mr. Wood became the regular conductor in the third season, 1897-98; in Nov. 1898 a dispute as to the legality of Sunday concerts, and licensing questions, made it imperative to close the hall on Sunday, Nov. 27, 1898, and led to the formation of a Sunday Concert Society, by means of which it was found possible to continue the concerts without transgressing the existing laws. The Sunday, as well as the Promenade Concerts, and the Saturday Afternoon Symphony Concerts, are still flourishing.
13In 1902 a large number of the orchestra, who had acquired under Mr. Wood a very remarkable degree of excellence, particularly in accompaniment, refused to re-engage themselves to the Queen's Hall managers, owing to differences of opinion as to the right to employ deputies, and other points into which it is not necessary to enter. In course of time a new body of players was formed by Mr. Wood, and the malcontents organised themselves into the LONDON SYMPHONY ORCHESTRA, an institution whose internal economy differs from that of other English bodies of the kind. It is run at the joint risk of the members, who share in the profits and have a voice in the direction of the affairs. No permanent conductor is engaged, but various distinguished English conductors have appeared from time to time, and certain illustrious foreign conductors have also directed them. The Richter Concerts have been virtually transferred to this orchestra, a great part of whose concerts are now directed by that great conductor. Excellent work has been done in regard to performances and programmes by this body, so that the breach with the older institution has brought about nothing but artistic good.
15Of Mr. Thomas Beecham's NEW SYMPHONY ORCHESTRA it is perhaps rather early to speak, as its organisation is scarcely as yet finally settled. In several seasons very interesting programmes have been given, the conductor being a man of wide musical reading, who has adopted the wise plan of reviving the older works written for a small orchestra under the original conditions. For the Symphony Concerts given in London by the various amateur bodies of players' societies, see ROYAL AMATEUR ORCHESTRAL SOCIETY (ante, p. 172); STOCK EXCHANGE ORCHESTRAL AND CHORAL SOCIETY (ante, p. 698); and STROLLING PLAYERS' ORCHESTRAL SOCIETY (ante, p. 728).
17BOURNEMOUTH.
19In 1893 Mr. Dan Godfrey was engaged to provide a military band of thirty performers for the summer season; gradually, as in the case of the Crystal Palace Concerts, the authorities ventured upon classical concerts, and in 1895 a series of Symphony Concerts was organised and given in the Winter Gardens with full orchestra. These were so successful
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