HUDDERSFIELD MUSIC CLUB. 45954 PRESIDENT 19595959 Hon. Secretary E. J. BRUCE, Esq., J.P. 54545454545 CONCERTS Hon. Treasurer W. Clifford Crook. G. Fleming. J. Stancliffe Ellis. W. Tuke Robson. - 4545 FOR THE THIRTEENTH SEASON 1930-31 TO BE GIVEN IN HIGHFIELD ASSEMBLY HALL (NEW NORTH ROAD) WEDNESDAYS, OCT. 15, NOV. 26, DEC. 10, 1930, WEDNESDAYS, JAN. 28, FEB. 11, MARCH 11, 1931. At 7-45 p.m. * 4595! Committee: Mrs. A. Eaglefield Hull. 54545 F. W. Thornton, F.R.C.S. Frederick Whiteley. D. R. H. Williams. A. L. Woodhead, M.A., J.P. ALBERT LUNN, Banney Close, Edgerton. - F. W. GADSBY, National Provincial Bank Ltd., King Street, Huddersfield. THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE SERIES OF SIX CONCERTS IS 25/- (including tax) payable to the Treasurer.

WEDNESDY, 15th OCTOBER, 1930. M. NICOLAS ORLOFF. THE NEW RUSSIAN PIANIST. "Some preliminary accounts of the fine quality of this young Russian's playing had reached us; the source was authoritative, and we were not disappointed. Not indeed since-- -was here, has a foreign pianist of the younger generation made so deep an impression, for instances of a rich and glowing imagination allied to physical exuberance and a superb technique are exceedingly rare. performances throughout were those of a musician pur sang, without affectations or stunts, and the experience was refreshing." Daily Telegraph, His WEDNESDAY, 26th NOVEMBER, 1930. QUINTETTE INSTRUMENTAL DE PARIS. Flute: René LE ROY. Harp: Pierre JAMET. Violin: René BAS. Viola: Pierre GROUT. 'Cello: Roger BOULMÉ. This Quintette has made a brilliant reputation on the Continent. This is their first visit to England, and their performance is anticipated with enthusiasm. WEDNESDAY, 10th DECEMBER, 1930. ANNE THURSFIELD. SONG RECITAL. Miss ANNE THURSFIELD was born in the U.S.A. Her father was a 'southerner'. Both her mother and grandmother, having been noted singers, it is perhaps natural Miss THURSFIELD should herself become one. At the age of 12, Miss THURSFIELD came to live in England-she is a British subject. Her first concert was in 1918, since when she has sung in France, Italy, Germany, Austria, and in the U.S. A. "ANNE THURSFIELD is one of those singers who are as welcome as they are rare, the singers who expend real thought and research upon their programmes. She sang so sympathetically and with so appealing a tenderness and so fresh a humour that her recital was a real delight. The Daily Telegraph.

WE NESDAY, 28th JANUARY, 1931. JOSEPH SZIGETI. VIOLIN RECITAL. "I find it difficult to write of this great violinist without appearing to be indulging extravagantly in the superlatives of criticism. Yet, the truth is, that it is nearly impossible to set his attainment higher than it actually is in the scale of virtuosity. Morning Post. WEDNESDAY, 11th FEBRUARY, 1931. LENER QUARTET. The Perfect Ensemble and certainly the World's Greatest String Quartette. WEDNESDAY, 11th MARCH, 1931. KEITH FALKNER AND DOROTHY HESSE. SONG RECITAL. KEITH FALKNER was born near Cambridge in 1900. He studied under Plunket Greene and with Lierhammer in Vienna, has sung at many Festivals and given recitals in Prague, Vienna and elsewhere. "Mr. KEITH FALKNER's singing was one of the best pieces of work we have had in the concert-room for a long time. The intellectual understanding and the musical phrasing were perfect. E.N.-Sunday Times, Miss HESSE has appeared for many of the Leading Societies in Great Britain- at London Promenade Concerts the Leeds Musical Festival, at Edinboro'- meeting with outstanding success throughout. Her name is also well-known on the Continent.

HUDDERSFIELD MUSIC CLUB E. J. BRUCE, Esq., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, OCTOBER 15, 1930 AT 7-45 NICOLAS ORLOFF PIANOFORTE RECITAL BLUTHNER CONCERT GRAND PIANOFORTE PROGRAMME PRICE THREEPENCE Hon. Secretary, ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield

SONATA in F MINOR Op. 5 THREE ETUDES FANTASIA in F MINOR FOUR STUDIES PROGRAMME Allegro maestoso Andante espressivo Scherzo-Allegro energico Intermezzo (Retrospect) Finale. Allegro moderato ma rubato E Major C Sharp Minor D Flat Major D Sharp Minor (a) C Sharp Minor Op. IO (b) E Flat Major Op. 10 (c) F Major Op. 10 VALSE in A FLAT MAJOR POLONAISE in F SHARP MINOR TOCCATA I. REFLECTS DANS L'EAU FEUX D'ARTIFICES II. III. IV. BRAHMS (1833-1897) CHOPIN (1810-1849) SCRIABIN (1872-1915) DEBUSSY (1862--1918)

1930 WED. 26 NOV. WED. 10 DEC. 1931 WED. 28 JAN. WED. 11 FEB. WED. 11 MAR. QUINTETTE INSTRUMENTAL DE PARIS ANNE THURSFIELD JOSEPH SZIGETI LENER QUARTET KEITH FALKNER and DOROTHY HESSE THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING FIVE CONCERTS IS 21s. (INCLUDING TAX) PAYABLE TO THE TREASURER. HIGHFIELD ASSEMBLY HALL TUESDAY, NOV. 4, 1930 AT 7-45 SONG RECITAL BY DOROTHY DONALDSON AT THE PIANO ALISON SHAW TICKETS 3/6 and 2/4 FROM J. WOOD & SONS, 67, NEW STREET

HUDDERSFIELD MUSIC CLUB E. J. BRUCE, Esq., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, NOVEMBER 26, 1930 AT 7-45 QUINTETTE INSTRUMENTAL DE PARIS Flute RENÉ LE ROY Harp MICHELINE KAHN Violin RENÉ BAS Viola PIERRE GROUT Violoncello ROGER BOULMÉ PROGRAMME PRICE SIXPENCE Hon. Secretary, ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield

PROGRAMME I TRIOS for flute, 'cello and harp (a) La Livri (b) (c) (d) La Marais L'Indiscrète Tambourins Rameau was born at Dijon on September 25th, 1683, and devoted himself to music from a very early age. He held various small organist posts by which he was able to support himself until La Pouplinière (the musician, poet and artist) became interested in him in 1727, and Rameau then was assured of a sufficient livelihood. Rameau composed a number of works for the theatre (Hippolyte et Aricie, Les Indes Galantes, Dardanus, etc.) and much chamber music written in an eminently French style. RAMEAU (1683-1764) II TRIO in C minor Op. 9, No. 3 for violin, viola and 'cello Allegro con spirito Adagio con espressione Scherzo Finale QUARTET in D major, No. 28 BEETHOVEN (1770-1827) Beethoven seems to have been reluctant to approach the composition of string quartets, but in 1795 Count Apponyi commissioned him to write one, and Beethoven wrote the String Trios op. 3 and op. 9, which were possibly the result of an attempt at a string quartet. Of these Trios, the one in which the mind of Beethoven is most clearly revealed, is without doubt the Trio in C minor, which was written in 1795 and dedicated to Count von Browne. First there is the initial theme, sombre and grave, soon interrupted by chords and sharp accents; then follows the Adagio with its moving depths; next the Scherzo and the Finale (Presto) with its rapid and lively movement, which reveals all the characteristics and aspects of Beethoven's genius. III Allegro Adagio Rondo for flute, violin, viola and 'cello. MOZART (1756-1791) During his stay at Mannheim in 1777, Mozart received a request for some concertos and quartets for flute from a Dutch amateur named de Jean, who had a great liking for that instrument. These quartets, in which the flute is combined with the violin, viola and 'cello, are all written in a very different style from anything that Mozart had produced up to that time, and they resemble more closely the French quartets of Gossec, Devienne and others (no doubt proposed as models to de Jean), but with a variety and instrumental colouring quite unique especially with regard to the flute.

SONATA for flute, viola and harp IV Pastorale Interlude Finale This Sonata, written in 1915-16, was one of Debussy's last works; it is the second of a set of six sonatas which he intended to write for different instruments and which he was not able to complete. The Pastorale opens lento dolce rubato, the flute leading in delicate arabesques, supported by the viola and harp. The movement ends in the same mood, with a contrasting middle section in a lively and joyous style dominated by the viola. DEBUSSY (1862-1918) The Interlude has the slow and stately movement of a minuet; the principal theme returns throughout the movement, divided in turn between the three instruments. CONCERT A CINQ. Op. 71 The Finale (allegro moderato ma risoluto) is remarkable for its strangeness and its rhythmic style, which is largely inspired by modern Russian compositions. The general effect of the combination of the three instruments in this Sonata constitutes one of the rarest jewels in contemporary French music. V Décidé Calme Très décidé JOSEPH JONGEN (1873) for flute, violin, viola, 'cello and harp. (Dedicated to the Quintette Instrumental de Paris). This work is one of the most recent compositions (1923) of this Belgian writer. Written in a free cyclic form, it uses in the three movements and under varied forms, the generic theme: F. E flat. F. A flat. F. The first movement, which is the most richly developed and is classic in form, has a fiery energy which rises into a ferment. The second movement is a reverie in which the composer has made full use of the characteristic colouring of the instruments. The third movement is remarkable for the vivacity of its rhythm and its melodic freshness, features which are, indeed, the main characteristics of this work. It is dedicated to the Quintette Instrumental de Paris, by whom the first performance was given in Paris on December 3rd, 1923.

1930 WED. 10 DEC. 1931 WED. 28 JAN. WED. 11 FEB. WED. 11 MAR. ANNE THURSFIELD JOSEPH SZIGETI LENER QUARTET KEITH FALKNER and DOROTHY HESSE THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING FOUR CONCERTS IS 17s. (INCLUDING TAX) PAYABLE TO THE TREASURER.

PUSL RSFIELD MUSIC CLUB E. J. BRUCE, Esq., J.P. HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, DECEMBER 10, 1930 AT 7-45 ANNE THURSFIELD SONG RECITAL AT THE PIANO ADRIAN HOLLAND PROGRAMME PRICE SIXPENCE ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Secretary, Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield

AIR D'ELISA Parlez, échos des bois; Et vous, brises voyageuses; M'a-t'il gardé sa foi, L'amant que j'attends toujours. Oh, dites! Oh, dites ! Parlez, échos et brises; Celui que tant, je pleure, Est-il encore à moi ? LA VIOLETTE Rugiadose, odorose, Violette graziose, Voi vi state vergognose. Mezzo ascose fra le foglie, E sgridate le mie voglie Che son troppo ambiziose. WIEGENLIED PROGRAM. Schlafe, mein Prinzchen, schlaf' ein, Schäfchen ruhn und Vögelein. Garten und Wiese verstummt, Auch nicht ein Bienchen mehr summt, Luna mit silbernem Schein Gucket zum Fenster herein, Schlafe beim silbernen Schein. Schlafe, mein Prinzchen, schlaf' ein. Alles im Schlosse schon liegt, Alles in Schlummer gewiegt, Reget kein Mäuschen sich mehr, Keller und Küche sind leer, Nur in der Zofe Gemach Tönet ein schmachtendes Ach! Was für ein Ach mag dies sein? Schlafe, mein Prinzchen, schlaf' ein. Wer ist beglückter als du? Nichts als Vergnügen und Ruh' Spielwerk und Zucker vollauf Und noch Karossen im Lauf, Alles besorgt und bereit, Das nur mein Prinzchen nicht schreit, Was wird da künftig erst sein ? Schlafe, mein Prinzchen, schlaf' ein. ON A TIME On a time, the amorous Silvy Said to her shepherd: "Sweet, how do you? Kiss me this once, and then God be with you My sweetest dear! For now the morning draweth near." I Vers lui je tends les bras De mes nuits le rêve fuit à jamais. O charme de sa voix ! O chaine de sa caresse ! Ses yeux regnaient en moi. Parlez échos et brises, Apaisez un triste cœur en émoi. L'amant par qui je meurs, Est-il encore à moi ? In your dewy, scented bower, Little violet, modest flower, From the world you shyly cower, 'Mid your foliage almost hidden Thus are chidden all my wishes, Too ambitious in their power. SCARLATTI HAND. Sleep, then, my little prince, sleep; Rest like the birds and the sheep; Silent are garden and lawn, Last little bee homeward gone. Luna, in silvery light, Peeps through the window to-night. Rest while the moonbeams still peep; Sleep, then, my little prince, sleep. Who than thyself is more blest? Nothing but pleasure and rest, Lollies and toys beyond count, Coaches and horses to mount; Everything done so that my Little prince may not need cry. What may the dark future keep? Sleep, then, my little prince, sleep. Inside the castle walls high, Cradled in slumber all lie; No little mouse out its nest, Cellars and kitchen at rest. But from the maids' room below Comes up a long-drawn, tired "Oh!" What means that sigh, long and deep? Sleep, then, my little prince, sleep. With that he waked from sleeping, And spying where the day was peeping, He said: "Now take my soul in keeping, My sweetest dear! MOZART Kiss me, and take my soul in keeping, Since I must go, now day is near." With that, her fair bosom showing, Opening her lips, rich perfume blowing, She said: "Now kiss me and be going My sweetest dear! For now the morning draweth near." ATTEY

LILAC e away, and play, L oliday; ease and happy love, music, to dancing, and to poetry. Your flocks may now securely rest, Whilst you express your jollity. Morning skies are aglow While the lilac-trees blow. And I breathe of the fresh morning wind; By the shadowy pool, Where it's dewy and cool, I must see if my fortune I'll find. DISSONANCE LA FLÛTE ENCHANTÉE L'ombre est douce, et mon maître dort, Coiffé d'un bonnet conique de soie. Et son long nex jaune en sa barbe blanche. Mais, moi, je suis éveillée encor Et j'écoute au dehors une chanson de flûte Où s'épanche tour à tour la tristesse ou la joie. Un air tour à tour langoureux où frivole Que mon amoureux chéri joue. Et quand je m'approche de la croisée, Il me semble que chaque note s'envole De ma flûte vers ma joue Comme un mysterieux baiser. II sur les vers de Tristan Klingsor Beloved, you tell me you love me, Yet, in the tone of your voice A discordant note is sounding, It rings in your words-in your heart, And you yourself know it-alas! Marie Rosing Nymphs and shepherds pipe and play, Tune a song, a festal lay, For this is Flora's holiday. Lightly we tread o'er all the ground With music, with dancing, and with poetry. Thus trip we round with merry sound And pass the day with jollity. Ah, of luck there's scant dole, Yet it's everyone's goal, JE TREMBLE EN VOYANT TON VISAGE PURCELL And my own lies out there in the dell; Hidden there all around Clustered lilacs are found, And my own little fortune, as well. RACHMANINOF RAVEL In the pleasant shade my master sleeps, his conical silk cap on his head, and his long yellow nose in his white beard. H. P. Chapman But I am still awake, and I listen to the music of a flute, by turns sad and gay. Je tremble en voyant ton image Flotter avec mes désirs, Tant j'ai peur que mes soupirs, Ne lui-fassent faire naufrage De crainte de cette aventure Ne commets pas si librement A cet infidèle élément Tous les trésors de la Nature. Veux-tu, par un doux privilège Me mettre audessus des humains ? Fais-moi boire au creux de tes mains, Si l'eau n'en dissout point la neige. BORODIN An air languorous now joyous, that my lover is playing. Tristan Lhermite And when I draw near to the casement, it seems that each note flies from the flute to my cheek, like a mysterious kiss. DEBUSSY

DANSONS LA GIGUE Dansons la gigue ! J'aimais surtout ses jolis yeux Plus clairs que l'étoile des cieux, J'aimais ses yeux malicieux. Dansons la gigue ! Elle avait des façons vraiment De désoler un pauvre amant, Que c'en était vraiment charmant ! Dansons la gigue ! Mais je trouve encore meilleur Le baiser de sa bouche en fleur, Depuis qu'elle est morte à mon coeur. Dansons la gigue ! Je me souviens, je me souviens, Des heures et des entretiens, Et c'est le meilleur de mes biens. Dansons la gigue ! WIE MELODIEN ZIEHT ES Wie Melodien zieht es Mir leise durch den Sinn; Wie Frühlingsblumen blüht es, Und schwebt wie Duft dahin. Doch kommt das Wort und fasst es, Und führt es vor das Aug', Wie Nebelgrau erblasst es, Und schwindet wie ein Hauch. Und dennoch ruht im Reime, Verborgen wohl ein Duft, Den mild aus stillem Keime, Ein feuchtes Auge ruft. BOTSCHAFT Klaus Groth Wehe, Lüftchen, lind und lieblich Um die Wange der Geliebten, Spiele zart in ihrer Locke, Eile nicht, hinweg zu flieh'n! Thut sie dann vielleicht die Frage, Wie es um mich Armen stehe, Sprich: "Unendlich war sein Wehe, Höchst bedenklich seine Lage; Aber jetzo kann er hoffen, Wieder herrlich aufzuleben, Denn du, Holde, denkst an ihn." DU BIST SO JUNG Nach Hafis von Fr. Daumer Du bist so jung, du bist so lieb, du bist wie ein kleines Frühlingslied, du bist wie Maitags Sonnenschein, so jung und lieb. und ich, O Gott! ich bin so stein, ich bin so kalt, so alt, so müd! Above all I lov the stars, I loved h She has ways of distressing really charming! INTERVAL III Du bist so jung, du bist so lieb, du bist wie ein kleines Frühlingslied. Best of all I loved the kiss of her flower-like since she is dead to my heart. I remember happy hours and meeting, my most valuable possession ! Let us dance the jig! Du kommst und bringst mir lauter Rosen und sagst : nicht danken, nein, nein, nein! ich möchte dich nur fröhlich machen! Du bist so still und so allein. Du kommst und gibst mir beide Hände und bittest leis': auch wenn du schiltst, da nimm! nimm mich und meine Rosen! und mach mit uns, was du nur willst! Like melting tones it rises, And soft my heart doth sway; Like flow'rs of spring rejoices, And floats as balm away. But when the word would seize it, And hold it 'fore the eye, Like misty shadows flees it, To vanish like a sigh. And yet from rhyme there welleth A hidded balm withal, That mildly whence it dwelleth A tearful eye may call You are so young, you are so dear- So like a little song of spring- Like sunshine on a May morning- So fresh and charming. Whilst I, oh God, I am so worn- So cold and old and weary. BRAHMS Gentle zephyrs, wanton softly On my fair one's cheek of roses ; When ye toy among her tresses Rest awhile, nor fly away. Then, if she perchance should ask ye How I bear my lot of sorrow, Say: "With tears he greets the morrow, And the pangs of absence rend him ; But if thou a message send him, Joy within his heart will waken When he knows it comes from thee." Mrs. Macfarren and Mrs. Morgan ERICH WOLF And yet you come and bring to me These dewy roses freshly culled, And listen to no word of thanks. "I only wish to give you joy; For you are friendless and alone." BRAHMS You come and place your hands in mine, And whispering low, you plead with me: "Although you chide me, you must take me! You must take me and my roses, And do with us what you will." You are so young and so beloved So like a little song of spring. Translation by Agnes H. Wilson

4, ich nie die Welt n solchem Glanz geseh'n; Die Sonne nicht und nicht das Meer, Und nicht die Erde um uns her! Und wenn wir so durch die Wiesen geh'n. Und wenn wir oben am Berghang steh'n, In Hochsommer goldener Fülle Das ganze Land in Aehren seh'n : O, ich möchte niederknieen Und die Erde küssen, Und die Arme breiten Auf zur Sonne und auf's Meer Hinausjubeln ! Du Meer, so gross du bist, Ich hab' dich lieb. Alle Dinge haben Sprache, Seit du da bist, Und mir ist, Als hätt' ich nie die Welt In solchem Glanz geseh'n. ELFENLIED 7 INVOCATION Cäsar Flaischlen Bei Nacht im Dorf der Wächter rief; "Elfe!" Ein ganz kleines Elfchen im Walde schlief Wohl um die Elfe ! Und meint, es rief ihm aus dem Tal Bei seinem Nomen die Nachtigall. Oder Silpelit hätt ihm gerufen. Reibt sich der Elf' die Augen aus, Begibt sich vor sein Schneckenhaus Und ist wie ein trunken Mann, Sein Schläfchen war nicht voll getan. Und humpelt also, tippe tapp Durchs Haselholz ins Tal hinab, Schlupft an der Mauer hin so dicht, Da sitzt der Glühwurm Licht an Licht. "Was sind das helle Fensterlein ? Da drin wird eine Hochzeit sein: Die Kleinen sitzen beim Mahle, Und treiben' in dem Saale. Da guck' ich wohl ein wenig 'nein!" Pfui, stösst den Kopf an harten Stein! Elfe, gelt, du hast genug? Gukuk! Mörike IV All things in the world have speech Since thou camest; And it seems to me as if the earth So fair had ne'er appeared, The sun so gold, the sapphire sea, Nor all the world round thee and me! And when we two through the meadows roam, And when we two on the mountains stand. In midsummer's golden fullness, In harvest glows the land below. O! I long to humbly kneel And the dear earth kiss, And my arms outstretch To the sun! And my joy cry out To the sea! O! sea, so great thou art, Thee I adore ! ERICH WOLF All things in the world have speech Since thou camest; And it seems to me as if the world so fair had ne'er appeared. Love, love, thou wilt forgive Our starved and pallid forms, Thy cloak of lambs'-wool warms our shoulders: Let us live! Let us live! By night the watchman cries aloud: "Midnight!" Asleep in the woods quite a wee elf lies- he jumps with fright, He knew not whence that loud call came, He thought the nightingale called his name, Or that Silpelit might have required him. The little elf then rubs his eyes, And from his couch he doth arise ; He goes about quite drunk with sleep And hardly can his balance keep: He wanders softly on tip-toe Through brushwood to the vale below, Then gently to a wall he creeps, And at the glow-worm there he peeps. "Their windows shine so clear and bright, It seem's a wedding's there to-night: I hear the children are singing, With mirth their voices are ringing, Suppose I have a peep inside? Oh, knocks his head against a stone! Elfin, hie, you have enough. Cuckoo! We are kneeling with our hands together pressed, We can feel thy fragrant breath, We are too young for death; Love, love, lift us with the rest! Margaret Maitland Radford Gertrude Norman HUGO WOLF CYRIL SCOTT

ISOBEL What is the sorrow of the wind, Isobel? What is the darkness of the blind, Isobel? What is the night within the mind, Isobel? The sorrow of the wind is love's farewell. The darkness of the blind I will not tell, Until the night within my mind Is turned to light and Isobel; To light and love and Isobel. O COOL IS THE VALLEY FIVE EYES JAPANESE DEATH SONG O cool is the valley now and there, love, will we go For many a choir is singing now where Love did sometime go, And hear you not the thrushes calling, calling us away? O cool and pleasant is the valley and there, love, will we stay. Seaweed and sinking sands Willow-wood in mourning bands, Whose is the voice so high, Calling? EUGENE GOOSSENS (1930) White hands that beckon me, I kiss my hands to Thee, I know Thy voice, O Death, Calling. Grey sky and greyer clouds, Grey ghosts in snowy shrouds, It is the seagull's cry, Calling? EARL CRANSTON SHARP H.K.S. In Hans' old mill his three black cats Watch the bins for the thieving rats. Whisker and claw they crouch in the night, Their five eyes smouldering green and bright; Squeaks from the flour sack, squeaks from where The cold wind stirs on the empty stair, Squeaking and scamp'ring, everywhere. Then down they pounce, now in, now out. At whisking tail, and snuffing snout; While lean old Hans he snores away Till peep of light at break of day. Then up he climbs to his creaking mill, Out come his cats all grey with meal- Jekke, and Jessup, and one-eyed Jill. Walter De La Mare ARMSTRONG GIBBS

c. 11 FEB. WED. 11 MAR. JOSEPH SZIGETI, LENER QUARTET KEITH FALKNER and DOROTHY HESSE THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING THREE CONCERTS IS 14s. (INCLUDING TAX) PAYABLE TO THE TREASURER.

HUDDERSFIELD MUSIC CLUB E. J. BRUCE, Esq., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, JANUARY 28, 1931 AT 7-45 JOSEPH SZIGETI VIOLIN RECITAL AT THE PIANO NIKITA MAGALOFF PROGRAMME PRICE THREEPENCE ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Secretary, Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield

1931 WED. 11 FEB. WED. 11 MAR. LENER QUARTET KEITH FALKNER and DOROTHY HESSE THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING TWO CONCERTS IS 9s. (INCLUDING TAX) PAYABLE TO THE TREASURER.

CONCERTO in D MINOR LARGO RONDO PROGRAMME CHANT DE ROXANE SLAVONIC DANCE SPANISH DANCE 1. II. INTERVAL SONATA in A MAJOR ("Kreutzer") III. IV. BACH VERACINI MOZART BEETHOVEN SZYMANOWSKI DVORAK-KREISLER DE FALLA

HEAR TO-DAYS ARTIST ONLY ON AGAIN Write for free Cata- logue of Columbia New Process" Columbia Records The World Famous Violinist SZIGETI Records-COLUMBIA, MAGIC NOTES TRADE MARK IN RECENT RECORDED SUCCESSES. LARGO (Veracini) : and TIJUCA-"Saudades do SLAVONIC DANCE in G minor (Dvorak). Record (12-inch) No. L2097. (6s, 6d.) SLAVONIC DANCE in E minor (Dvorak): and LE PRINTEMPS (Milhaud). Record (12-inch) No. L1963. (6s. 6d.) ROUMANIAN FOLK DANCES (Bela Bartok) (with the Composer at the Piano). In Two Parts. Record (10-inch) No. LB6 (4s. 6d.) 98-108, Clerkenwell Road, London, E.C.I. Columbia News RECORDS Brazil" (Brazilian Dance): and BOURREE in B minor (Bach), Record (10-inch) No. D1633. (4s. 6d.) SONATA in G major (Tartini). In Three Parts: and SONATA in G (Beethoven). Record (10-inch) No. D1630. (4s. 6d.) NIGUN (Improvisation). In Two Parts: Record (10-ineh) No. D1557. (4s. 6d.) MUSIC IN THE PROGRAMME ON COLUMBIA: BACH CONCERTO in D minor. (Violin Duet). Played by Anton Witek, and Alma Rosengren- Witek with String Orchestra. In Four Parts. Two Records (12-inch) No. 9681 and 9682 (4/6 each). A Descriptive Leaflet is given with Record No. 9681. KREUTZER SONATA (Beethoven). Played by BRONISLAW HUBERMAN (Violin) and IGNAZ FRIEDMAN (Pianoforte). In Eight Parts. Four Records (12-inch) Nos. LX72 to LX75 (6s. 6d, each). In Art Album free with Descriptive Notes. Complete 26s. ON SALE AT ALL DEALERS. Columbia THE WORLD'S BEST RECORDS OF RECORDED MUSIC

HUDDERSFIELD MUSIC CLUB E. J. BRUCE, Esq., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, FEBRUARY 11, 1931 AT 7-45 LÉNER STRING QUARTET JÉNO LÉNER, 1st Violin JOSEPH SMILOVITS, 2nd Violin SANDOR ROTH, Viola IMRE HARTMAN, Cello PROGRAMME 41170) M.P PRICE SIXPENCE Hon. Secretary, ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield

PROGRAMME QUARTET in F MAJOR, Op 59, No. 1 -5. BEETHOVEN (1770-1827) (composed in 1806) Allegro Allegro vivace e scherzando Adagio molto e mesto Allegro (Russian theme with variations). Three of Beethoven's favourite string quartets are known as the "Razumovsky set," because they were written for Count Razumovsky, the Russian Ambassador at Vienna. He maintained a string quartet party in his own mansion. Beethoven paid him a national compliment by working a Russian folk-tune into each of these three quartets. In the quartet for to-night's programme; the folk-tune is found in the last movement. al This folk-song occurs frequently in Russian collections, and it is easy to see that Beethoven had little idea of the orginal words. In the Russian, it has a sad, melancholy nature, and the first line would read "Oh, is this my fate, and such a fate!" but Beethoven makes a fast, jolly tune of it. QUARTET in F SHARP MINOR, Op 13 EFE etc. LEO WEINER (b. 1885) Lento-Allegro appassionato Molto Vivace Andante Allegro con animo Leo Weiner is a Hungarian composer, born in Budapest, and has made a name for himself by the enterprising nature of his chamber music. He has written two string quartets, a trio and orchestral and piano music. The Quartet in F Sharp Minor is his second string quartet, and in 1922 it won the prize of a thousand dollars offered annually for chamber music by Mrs. Coolidge, of Pittsfield, Massachusetts. It has been much played abroad by the Budapest String Quartet.

QUARTET in F MAJOR, Op. 3, No. 5 Presto Andante Cantabile Menuetto 1931 WED. 11 MAR. Scherzando JOSEPH HAYDN (1732-1809) Haydn was born at Rohrau, in Croatia, which is now part of Jugo-Slavia, and his music is founded very largely on the wonderful wealth of Croatian folk songs. Broadly speaking, he was the inventor of the string quartet, and brought the quartet form to perfection. It seems to have been his natural mode of expressing his feelings. "It was from Haydn," said Mozart, "that I first learned the true way to compose quartets." The Quartet in F Major, Op. 3, No. 5, was written in 1755, while staying at the house of Karl Joseph Edlen von Furnberg, who was accustomed to invite parties of musicians to his country house at Weinzirl, near Melk. The Andante is the well-known Serenade. KEITH FALKNER and DOROTHY HESSE Song and Piano Recital THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING CONCERT IS 5s. 9d. (INCLUDING TAX) PAYABLE TO THE TREASURER.

The LÉNER STRING QUARTET A Selection of the Latest Recording Triumphs by this Perfect Ensemble ONLY ON-New D PRELUDE No. 6, op. 28 (Schubert) (Chopin) (a) PRELUDE No. 4, op. 28 (b) ETUDE in C Major, op. 10 (Chopin) Five Beautiful Transcriptions: MOMENT MUSICAL No. 3 (Schubert) MINUET (from) Sonata in G (Schubert) GROSSE FUGE, op. 133 (Beethoven) Two Records Columbia process RECORDS Record No. DB360 (3/-) OTHER NEW ISSUES INCLUDE: In Four Parts (6/6 each) Nos. LXI03 and LXI04 A descriptive leaflet is given free with Record LX103 Record No. DB290 (3/-) Nos. LX6I to LX64 In Eight Parts (6/6 each) QUINTET in G Minor, K516 (Mozart) Four Records Also supplied in (free) Art Album with Descriptive Notes Complete £1 6s. For other Records by the Léner Quar- tet, see Columbia Catalogue-a copy of which will be sent post free on request -Columbia, 98-108, Clerkenwell Road, London, E.C.1. Nos. 9658 and 9659 QUARTET in F Major No. 5, op. 3 (Haydn) In Four Parts Two Records (4/6 each) QUARTET in G Major, K 387 (Mozart) In Four Records Nos. LX24 to LX27 Also supplied in (free) Art Album with Notes Eight Parts (6/6 each) Complete 26s. Descriptive QUARTET in B Flat, op. 67 (Brahms) Five Records Nos. L2357 to L2361 In Ten Parts 6/6 each Also supplied in (free) Art Album with Descriptive Notes Complete 32s. 6d. QUARTET in B Flat Major (Mozart) Three Records 0 In Six Parts 6/6 each Nos, L2261 to L2263 A descriptive leaflet is given free with Record L2261 D ON SALE EVERYWHERE. Columbia Columbia Records MAGIC NOTES TRADE MARK

HUDDERSFIELD MUSIC CLUB E. J. BRUCE, Esq., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, MARCH 11, 1931 AT 7-45 DOROTHY HESSE KEITH FALKNER PIANOFORTE AND AND SONG RECITAL At the Piano PROGRAMME MICHAEL MULLINAR BECHSTEIN CONCERT GRAND PIANOFORTE PRICE SIXPENCE Hon. Secretary, ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield

SICILIANO BOIS EPAIS CHROMATIC FANTASIA AND FUGUE Tu ne peux trop cacher Mon malheureux amour. Bois épais, redouble ton ombre; Tu ne saurais être assez sombre, Je sens un désespoir Dont l'horreur est extrême PROGRAMME SWEET KATE Je ne dois plus voir ce que j'aime- Je ne veux plus souffrir le jour! I. PIANOFORTE DICHTERLIEBE Ach, wie vergigt wär so mein Ende! Es drückten deine lieben Hände Nur die getreten Augen zu. SONATA in D, Op. 10, No. 3 HOW JOVIAL IS MY LAUGHTER Presto II. SONGS Quinault. Im wunderschönen Monat Mai, Als alle Knospen sprangen, Da ist in meinem Herzen Die Liebe aufgegangen. Im wunderschönen Monat Mai, Als alle Vögel sangen, Da hab' ich ihr gestanden Mein Sehnen und Verlangen. BIST DU BEI MIR (from Anna Magdalena's Book) Bist du bei mir, If thou are near Geh' ich mit Freuden I'll go with gladness Zum Sterben und zu meiner Ruh. To death and my eternal peace. JOHN SEBASTIAN BACH (1685-1750) FRIEDEMANN BACH (1710-1784) Largo III. PIANOFORTE Sombre woods! ye glades dark and lonely! Where midnight gloom enters only. Oh! hide my slighted love In your unbounded night. If now this broken heart Never more may enfold her, If no more these eyes may behold her, Then evermore I hate the light. LULLY (1639-1687) Menuetto IV. SONGS ROBERT JONES (1597-1617) Ah! how serene Would even death be, If with Thy hands Thou would'st caress me, And thus my soul from toil release. Translation by Bernard Jackson. (All rights reserved). IM WUNDERSCHÖNEN MONAT MAI Theo. Marzials. Rondo BACH (1685-1750) BEETHOVEN (1770-1827) BACH SCHUMANN (1810-1856) The wondrous beauty of the May Was quick on every tree, And in my heart did love unfold One tender bud for thee. The wondrous songsters of the May In every bush were thronging, When in thine ear I poured my tale Of passion and of longing.

AUS MEINEN THRANEN SPRIESSEN Aus meinen Thränen spriessen Viel blühende Blumen hervor, Und meine Seufzer werden Ein Nachtigallenchor. Und wenn du mich lieb hast, Kindchen, Schenk'ich dir die Blumen all', Und vor deinem Fenster soll klingen Das Lied der Nachtigall. Die Rose, die Lilie, die Taube, die Sonne, Die liebt'ich einst alle in Liebeswonne. Ich lieb' sie nicht mehr, ich liebe alleine Die Kleine, die Feine, die Reine, die Eine; Sie selber, aller Liebe Wonne, ist Rose und Lilie und Taube und Sonne. DIE ROSE, DIE LILIE, DIE TAUBE Ich liebe alleine die Kleine, die Feine, die Reine, die Eine. Wenn ich in deine Augen seh', So schwindet all' mein Leid und Weh'; Doch wenn ich küsse deinen Mund, So werd'ich ganz und gar gesund. Wenn ich mich lehn' an deine Brust, Kommt's über mich wie Himmelslust; Doch wenn du sprichst: Ich liebe dich ! So muss ich weinen bitterlich. See! where my tears have fallen, Spring blossoms, sweet and frail; And every sigh that leaves me, Becomes a nightingale. Ah, child! if you'll only love me, You shall have all the flowers, And at your window the nightingales Shall warble hours and hours.. Ich will meine Seele tauchen in den Kelch der Lilie hinein ; WENN ICH IN DEINE AUGEN SEH' The rose and the lily, the sun and the dove, I've sighed for them all with the fervour of love, I love them no more; my love is all given ICH WILL MEINE SEELE TAUCHEN Mit seinem grossen Dome, das grosse heilige Cöln. Im Dom da steht ein Bildnis, auf goldenem Leder gemalt; In meines Lebens Wildnis hat's freundlich hinein gestrahlt. Es schweben Blumen und Eng'lein um unsre liebe Frau; Die Augen, die Lippen, die Wänglein, die gleichen der Liebsten genau. To the fairest, the rarest, the dearest 'neath heaven For only she is the fountain of love, My sun and my lily, my rose and my dove! When I gaze into thine eyes, All my living sorrow dies. When I kiss those lips of thine, All my blood is turned to wine. When my head is on thy breast, I am lapped in heaven's own rest, But when thou sayest, "I love thee so ! " Then the wretched tears must flow. Die Lilie soll klingend hauchen ein Lied von der Liebsten mein. Das Lied soll schauern und beben wie der Kuss von ihrem Mund, Den sie mir einst gegeben in wunderbar süsser Stund'. Im Rhein, im heiligen Strome, da spiegelt sich in den Well'n, IM RHEIN, IM HEILIGEN ICH GROLLE NICHT Ich grolle nicht, und wenn das Herz auch bricht, Ewig verlor'nes Lieb, ich grolle nicht. Wie du auch strahlst in Diamantenpracht; Es fällt kein Strahl in deines Herzens Nacht. Das weiss ich längst-ich sah dich ja im Traume, Und sah die Nacht in deines Herzens Raume, Und sah die Schlang' die dir am Herzen frisst; Ich sah, mein Lieb, wie sehr du elend bist. INTERVAL. I'd take my soul and hide it In the lily's golden bell; Up from its sweet recesses My song of love would well. Its tender notes would falter And tremble like the kiss That once my darling gave me In an hour of wondrous bliss. STROME Where the Rhine, the holy river, Flows by the town of Cologne, The spires of the vast cathedral In the mighty stream are shown. Within there hangs a picture; You see, on a golden ground, A head of the Holy Mother, With angels and flowers round. A light in my hour of darkness, Streams from Our Lady of Grace: The eyes, the cheeks, the smiling lips, Are so like my darling's face. I blame thee not, love that art lost to me, Although my heart should break, I blame thee not. Though thy rich jewels flash for all to see, I know the darkness of thy secret lot. I've known it long, in dreams thou cam'st to me; I've seen the night that falleth on thy heart, I've seen the serpent gnawing hungrily, I know not one more wretched than thou art.

INTERMEZZO, Op. 116, No. 6 RHAPSODY, Op. 79, No. 2 REFLETS DANS L'EAU" NOCTURNE, in F SHARP MAJOR TARANTELLE V. PIANOFORTE LORD RENDAL (Somerset Folk Song) VI. SONGS THE REJECTED LOVER (Appalacian Folk Song) FALSE PHILLIS SHEPHERD S THY HORSE'S FOAMING MANE (Hungarian National Song) WHEN DULL CARE (Old English Melodies) HUDDERSFIELD. 99 BRAHMS (1833-1897) 99 DEBUSSY (1862-1918) Arranged by CECIL SHARPE 99 CHOPIN (1810-1849) 99 CECIL SHARPE THE CLUB IS OPEN TO ALL. INTENDING NEW MEMBERS SHOULD SEND THEIR NAMES AND ADDRESSES AT ONCE TO F. W. GADSBY. ESQ., NATIONAL PROVINCIAL BANK, LTD., KING STREET, KORBAY LANE WILSON