THE HEINICKE ORCHESTRA

PERMANENT ASSET FOR ADELAIDE

PROSPECTS AND AMBITIONS

If the citizens of Adelaide were not so isolated from the great educational and artistic centres of the world they would possibly realize with more earnestness than they do the importance of a permanent civic orchestra. In their efforts to establish for all time such an educational organization in this city, Mr Heinicke and the enthusiastic amateurs associated with him are not animated by the desire to secure financial benefit; that is, personally. They do, however realize that the only foundation on which they may hope to create a permanent high-grade orchestra is that of financial soundness. Their object is to found a trust fund on the certain interest of which to build. Only thus can they procure the best and the newest of the world’s works; only thus can they secure the finest instruments (replacing old ones with new and adding additional features); and only along such lines can they advance towards perfection. That is why the Heinicke Orchestra is seeking, and confidently anticipating, spirited public support throughout its winter concert series, which will be inaugurated on Saturday night.

-Trust Fund Inaugurated.-

Already the project for a trust fund has taken shape. Several hundreds sterling are in hand. The first ₤100 of this nucleus came from Mr C. H. Angas, who has public-spiritedly promised further assistance. Concerning the actual work of the orchestra itself, Mr Heinicke is more sanguine than ever – and more busy, and proportionately more burdened with honorary responsibilities, by-the-way. Towards the close of last winter, that had begun to mould his forces into somewhat of the cohesion and general finesse which his artistic soul demanded; but already this year, as the result of keen rehearsal, he has his orchestra in happier vein than at any stage. Several reason contribute to that fact. First his instrumentalists are more numerous; second, they are better equipped and balanced; third, and most important, they comprise finer individual talent then ever.

-The personnel-

Mr Heinicke expects to have under his baton for the season between 60 and 70 first-class performers. They will be distributed thus; -Strings- 14 first violins (Mr Eugene Alderman, Leader of orchestra); 12 second violins (like the firsts, every one of them a thoroughly furnished ensemble player); six violas (a remarkably gifted section, with Miss Nora Kyffin Thomas at the head); four cellos (including Mr Harold Parsons, Mus Bac., recently returned from Europe); five double basses (with Mr Harold Pank fortunately available this year). It would be difficult indeed to improve upon the string section from all the amateur talent available in the State. Among the woodwinds the will be three flutes, two piccolos, two oboes, two clarinets and two bassoons (to be sustained on the American organ). The brasses will comprise four cornets, four horns (a very good section this season), three trombones, and brass tuba; and four men will be engaged upon the timpani) and the various special effects.

-Notable Novelties-

My Heinicke is justly proud of the individual components and collective quality of the orchestra. One of the most ardent wishes is to bring up to complete standard every compartment. For example, with the help of a trust fund he would set about securing bassoons and training first-rank musicians to cultivate that effective instrument, for future seasons. Then he would draw upon the world’s markets for his productions. Mr Heinicke informed a reporter on Tuesday that two consignments of superb new music had already come to hand; several of the works would be presented almost immediately. On Saturday night, he would treat the audience at the Exhibition Building to Littolff’s “Robespierre” overture – a graphic and exciting composition which is one of the finest examples of instrumentation extant. It would be the object of his committee to give scope to the best of Adelaide’s artists, vocal and instrumental in works of calibre, and associated with the orchestra. It was intended that Madame Delmar Hall should appear at the first concert, in “Elizabeth’s greeting” (“Tannhauser”), which promised superb effects with its orchestral backing. Other features of the season would be Percy Grainger’s “Mock Morris” dances and several additional writings of the clever young Australian; The Peer Gynt” suite, No.2 by Greig; the whole of the incidental music to “A midsummer night’s dream;” the great Tschaikowsky 1812 overture; portions of the music from Wagner’s “Parsifal” including “Liebestot,;” from “Tristan and Isolde”; Lizst’s “Mazeppa” and a selection of delightful new waltzes and marches, with the addition of high favourites from last year’s programme.

-Success Depends on Support-

The one great essential to the achievement of a permanent orchestra for Adelaide, Mr Heinicke pointed out, in conclusion, was practical public sympathy. If the people desired the boon of musical culture and entertainment in its highest development, their course lay along the paths of patronage for the concert series and financial assistance for the trust fund.

Register, May 27, 1914