[
    {
        "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": 211782,
        "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": 197,
        "title": "RAS-1989",
        "content_text": "172\n\nstationed in Shanghai during the 1860s were nearly always open air ones. But sometimes a theatrical company co-operated with one of the bands, like the Amateur Burlesque Company on June 29, 1864. Otherwise, performances took place on the Bund, or Embankment, along the river, which was the favourite promenade of the foreigners as well as the most prestigious section of the Settlement. Records have come down to us of concerts by the French 101st regiment in March 1861 (“By permission of Colonel Pouget [who was the commanding officer of the regiment JH] we are authorised to state that the band of the 101st regiment will perform every Sunday and Thursday (weather permitting) before the headquarters of General De Montauban at Messrs Rémi, Schmidt & Co. [this was in the French Concession JH] between the hours of 3 and 4”*. Further concerts by the Rhenish Band and the band of the 67th regiment in June and July 1864 provided entertainment which “the residents evidently appreciated (...) large numbers (...) congregating during the performances”.67\n\nProfessional musicians\n\nFrom time to time professional musical artists visited Shanghai, and, as with the travelling dramatic companies, 1864 and 1865 were a golden age for the public. In the first decades of the twentieth century Shanghai was honoured with recitals by, to name just a few, Feodor Chaliapine, John MacCormack, Fritz Kreisler and Amelita Galli-Curci, but during the fifties and sixties it was only the lesser gods that came to the city. In fact, hardly any one of the artists in this period can be traced in contemporary reference works. This does not mean, of course, that they could not have been capable musicians able to provide enjoyment during an evening. That such was not always the case, though, has already been shown by the criticism drawn by the performance of Prof. Shonbrun, which led the Herald to state that \"in this remote place we have so few opportunities of hearing really good music that we hunger for it and can ill brook disappointment\".68 But then there were Messrs Desvachez and Grossi whose concert in February 1865 had \"called for favourable comment at the hands of our music critic\".69\n\nYet, bearing in mind the conditions of travel in the 19th century, it is amazing enough that European musicians were at all willing to undertake an Asian tour with only very uncertain financial prospects.\n\n\"The first public concert (properly so called) that has ever been given",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    },
    {
        "id": 211818,
        "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": 233,
        "title": "RAS-1989",
        "content_text": "208\n\n12.10.1858 (Tue)\n\nConcert by Mr. Martin Simonsen\n\nN: No review was published.\n\nMr. Simonsen had also visited Hong Kong; there he had given his last recital on September 20, 1858 (CM 23.9.1858).\n\n16.2.1859 (Wedn)\n\nT: Comedy (2 acts)\n\nJ.M. MORTON: \"Whitebait at Greenwich\" (1853)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Music by the band of H.M.S. Highflyer\n\nTh: Theatre Royal (E)\n\nR: For the first night of the amateur season \"a very numerous audience was collected and the presence of nearly all the beauty and fashion (we allude to the eccentricities [what may these have been? - JH] of masculine as well as to the elegancies of feminine costumes) of Shanghai imparted to the front benches a very brilliant appearance, which was further enlivened by the smiling faces of two or three laughing cherubs whom we detected nestling under the maternal wing\". For the occasion the drop pictured \"a very faithful (our travels in Italy enable us to state) representation of a most romantic spot on the banks of the Lago Maggiore\". Sink or Swim was found to be a \"dull plagiarism upon our old favourite 'Used Up'\" but it passed off with the utmost special due to the talents and exertions of the actors\", among whom \"Mr. PETREL's Mr. Scampley struck us as well conceived, a swindling roué's impertinence dashed by a sense of uneasiness\", Mr. FARREN (again a stage name after a London actor: William Farren, 1786-1861) sustained Lord Yawnley \"admirably\" and Mr. PICKWICK displayed as Adam Stirling all \"the quaint humour of his immortal ancestor\". Miss WALTERS, however, was thought to have been less fit for the part of Mrs. Stirling. She did not upon all occasions evince that grave decorum which usually characterises the British matron\". Morton's Whitebait at Greenwich was, as on January 23, 1856, a hit. This time Mr. PICKWICK took the part of Benjamin Buzzard in a \"quiet and most natural style of acting\". Mr. Phunago BRUSHWOOD - \"an actor of the Keeley-Robinson school, possessing a racy humour of his own\" played John Small and it was \"a gem of low comedy\". Of course there was Mrs. NESBIT, as well as Miss WALTERS whose portrayal of the servant maid came off much better than her Mrs. Stirling: \"we do not wonder at Mr. Buzzard's having been caught by her saucy face and bright complexion\" (NCH 19.2.1859). (Robert Keeley, 1793-1869, and Frederick Robson, 1821-1864, were both well known low comedians in Britain).\n\n22.2.1859 (Tue)\n\nConcert by Prof. Shonbrun, piano, and some local amateurs.\n\nTh: Theatre Royal (E)\n\n+\n\nR: The concert was given in the (New) Theatre Royal of the amateur dramatic corps, but acoustically it was not very satisfactory. No wonder that many of Mr. SHONBRUN's best efforts and most brilliant passages did not fully reach the audience\", an audience which was not very numerous in the first place, which too has its influence on the sound. For the following concert it was foreseen that \"a small scene will be erected and the wings closed in\".\n\nFor the time being the critic refrained from any strictures on the soloist, except that he hoped that \"on the next occasion Mr. Shonbrun will lead us to a higher class of pianoforte music than that put forward on Tuesday last\". It will come as no surprise that there was a eulogy on the amateurs who participated: \"the tenor solos were given with taste and genuine voice and the recall with which he was unanimously favoured was well merited\". (NCH 26.2.1859).\n\nT",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    },
    {
        "id": 211819,
        "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": 234,
        "title": "RAS-1989",
        "content_text": "209\n\n1.3.1859 (Mon)\n\nConcert by Prof. Shonbrun, piano, and some local amateurs (i.a. the Germania Singing Club) Programme:\n\nNo piano works were mentioned, with the exception of \"Monastery Bells\".\n\nVocal works: Sir Henry BISHOP: \"The Pilgrim of Love\", Wilhelm SPEYER (1790-1878) a bass aria, G. DONIZETTI: \"The great tenor aria from 'Lucia di Lammermoor\" (presumably \"Tombe degli avi miei – Fra poco a me ricovero\" from act III). Th: (New) Theatre Royal (E)\n\nR Were Shanghailanders music lovers or not? One wonders for again \"we were sorry to find so small an audience assembled on the occasion\", but the wretchedly wet state of the weather had no doubt much to do with this\". As it turned out the efforts of Mr. SHONBRUN were disappointing (at least in the ears of one critic — and how they may differ in opinion everyone knows). In this case the skill and artistic feeling which would be highly respectable in an amateur reflect no especial credit on a professional player and though Mr. SHONBRUN performed several pieces pleasingly we missed that precision, that brilliant crisp fingering and particularly that general careful finish which should characterize the true master of his instrument\". The amateurs were more appreciated and the tenor singer even had to repeat his Lucia aria. For the first time the “Germania Singing Club\" is mentioned, although there must have been earlier performances as the Herald says \"the number of the singers on Tuesday was much smaller than on former occasions\". Obviously it was in a somewhat precarious state for even a conductor was missing and the reviewer was \"constrained to say, without wishing to be too critical on the performers of amateur music, that the Association has not kept up to the standard which it established for itself by former deeds\" (NCH 12.3.1859).\n\n2.6.1859 (Thur)\n\nM. BARNETT: \"The Serious Family\" (1849)\n\nT: Comedy (3 acts)\n\nJ.M. MORTON: \"Grimshaw, Bagshaw and Bradshaw (1851)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nTh: (New) Theatre Royal (E)\n\nR: Very late in the season the last amateur night went off. And although the review was by no means scathing, the editor of the Herald thought it wise to add that \"the heat at the theatre was extremely oppressive and this may have much to do with the lukewarm manner in which our critic speaks of the performances\". The Serious Family was described as \"an admirable satire upon that morbid and mistaken feeling of piety which regards a smile as wantonness, condemns gaiety as sin and backsliding”, nevertheless **as a scenic representation it smacks too much of dullness\". The leading parts were put on the stage by Miss Minnie O'NETTE, who acted Lady Sowerly Creamly \"to the life\"; and Mr. TINTINNABULUM upon whom \"the action of the Comedy seemed chiefly to rest. His stage bearing is admirable and his intonation excellent, but we may perhaps be permitted to take exception to his brogue which, however good as an assumption, scarcely denoted one to the manner born\". Mr. PICKWICK exerted \"to the utmost his undoubted talents for light comedy as Charles Torrens; on the other hand darling Mrs. NESBIT \"scarcely found opportunity in the part of Mrs. Torrens for the display of that vivacity which forms her chief merit\". Mr. BRUSHWOOD (00 lacked something in the role of Aminadab Sleck, viz \"that racy appreciation of his part which usually characterizes him and the hat and garb of the puritan did not sit easily upon that comical little figure which has on previous occasions so often convulsed us with merriment\". In contrast Miss WALTERS “looked and acted extremely well, causing us much regret that a drama more adapted to the exigencies of the Corps did not form the chief attraction of the evening. About the second piece, Grimshaw,",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
        "rank": 0
    }
]