[
    {
        "id": 211781,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1989",
        "page_number": 196,
        "title": "RAS-1989",
        "content_text": "171\n\nLocal amateur musicians\n\nThe resident amateurs, about whom \"Philharmonic\" was so full of praise, generally performed in combination with a professional artist — although there were exceptions. Thus, there was the amateur concert in aid of the Lancashire Relief Fund, mentioned earlier, on April 17, 1863, at which among others Beethoven's \"Egmont\" and Weber's \"Freischütz\" overtures were played on the pianoforte; furthermore, glees and songs were sung by a small choir of gentlemen. In November 1864, another charity concert was given, this time in aid of the repairs fund of the \"Hongque Free Episcopal Church\", organised by the \"Shanghai Vocal Quartette Club\".\n\nBut it was far more usual that a professional artist sought the assistance of some local amateurs in order to diversify the evening somewhat. Otherwise the chance was great that the public would be bored — despite the alleged love of Shanghailanders for music witness the remark in the Herald of October 1, 1864: \"people here hardly care to sit for two hours to listen to a performance on the violin, however well the instrument is handled; some variety is required\". So the instrumental recitals were alternated with vocal exertions by the amateurs, as e.g. on February 22, 1859, when the critic was dissatisfied with the main interpreter, Prof. Shonbrun, but on which occasion the amateur tenor solos were thought to be given \"with taste and feeling\". At a following performance of the same pianist he was again surrounded by singers one of whom even ventured to tackle the great tenor aria from Donizetti's Lucia di Lammermoor.\n\n62\n\nThe Germans, despite their small number (about 200 in 1865), were generally active in the cultural field. Even before they had their own Club, a Singverein \"Germania\" had been established as early as before 1859 although the regularity of the organisation may be doubted for, at one time, there was not even a conductor, resulting in an \"evident want of confidence and decision by which the general effect was much impaired\". Little was heard of it in subsequent years, but it may have been the fore-runners of the German \"Liedertafel\" which existed in the early seventies and which was then led by Mr. Hogquist.65\n\nGarrison music\n\nThe concerts that were given by the bands of the several military forces",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    },
    {
        "id": 211821,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1989",
        "page_number": 236,
        "title": "RAS-1989",
        "content_text": "211\n\non any stage with ease and aptitude. And the part of the soubrette was acted \"in a manner for which we had not given the young lady who sustained it credit\" (NCH 17.3.1860).\n\n10.5.1860 (Thur)\n\nJ. COURTNEY: “Time Tries All\" (1848)\n\nT: Drama (2 acts)\n\nJ.M. MORTON: “To Paris and back for £5\" (1853)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Music by the Germania Singing Club and the band of the 101st regiment\n\nTh: N.N. (1)\n\nN: Third and last performance of the season\n\nR: Time Tries All was a revival from 1858 and in it some of the old familiar faces could be admired again. This time Mr. TINTINNBULUM personified Matthew Bates and he \"threw an amount of grace and feeling into his acting that make us well regret his absence in the two former representations“. Mrs NESRIT gave a repeat of her Laura Leeson. One of the newcomers, Mr. ADOLPHE, “has assumed the character of negative instead of the positive villain of the last representation and almost succeeded in making us gape, so natural was his representation of that peculiar because catching disease\". Phunago BRUSHWOOD reappeared in To Paris and back for £5 and this farce offered **full scope to his laughter moving capabilities, both as to acting and costume\". There was music too, by the Germania Singverein – which reminded the critic “of their own charming Soirées Musicales\" (not recorded). However, the construction of the theatre was \"such as to mar to a considerable extent the effect of their well chosen and well executed pieces“ (NCH 12.5.1860).\n\n17.3.1861 (Sunday)\n\nConcert by the band of the French 101st regiment, conducted by Mr. Dumas. Programme:\n\nG. DONIZETTI: \"La Favorita\", D.F.E. AUBER: \"La Part du Diable\", overture, **Haydée” (an opéra-comique), fantaisie, George BOUSQUET (1818-1854); “Hélène” (waltz), DENEAUX: Mazurka.\n\nLocation: Headquarters of General De Montauban at Messrs. Rémi, Schmidt & Co French Concession. (NCH 16.3.1861).\n\n24.3.1861 (Sunday)\n\nConcert by the band of the French 101st regiment, conducted by Mr. Dumas. Programme:\n\nGURTNER: Pas redoublé, DUMAS: Ronde tyrolienne. D.F.E. AUBER: \"La Muette de Portici\", overture, G. ROSSINI: **[Il Barbiere di Siviglia” fantasia, D.F.E. AUBER: **Les Diamants de la Couronne\", overture, “La Brise”.\n\nLocation: as on 17.3.1861 (NCH 23.3.1861).\n\n31.3.1861 (Sunday)\n\nConcert by the band of the French 101st regiment, conducted by Mr. Dumas.\n\nProgramme:\n\nBOSCH: Pas redoublé. C.W. VON GLUCK: \"Armide\", F.M.V. MASSE: \"La Chanteuse Voilée\", overture, G. ROSSINI: \"Mosè in Egitto”, chorus **Valse allemande“. GURTNER: \"France\" (polka).\n\nLocation: as on 17.3.1861 (NCH 30.3.1861)\n\nNovember 1861\n\nConcert by Signor Robbio.",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    }
]