HUDDERSFIELD MUSIC CLUB. A. L. WOODHEAD, Esq., M.A., J.P. 45454 PRESIDENT FYYYYY CONCERTS FOR THE SEVENTEENTH SEASON 1934-35 TO BE GIVEN IN THE 459 J. Stancliffe Ellis. W. Tuke Robson. Irving Silverwood, HIGHFIELD ASSEMBLY HALL (NEW NORTH ROAD) at 7-45 p.m. Ä Committee: Mrs. A. Eaglefield Hull, F.R.C.O. Miss Alison Shaw, L.R.A.M. W. Clifford Crook. Hon Secretary Hon. Treasurer - 5959 ● Mrs. H. Ainley. Miss Boden. Mrs. W. F. Clayton. Mrs. W. C. Crook. Mrs. A. E. Everest. Mrs. E. L. Fisher. Miss Freeman, J.P. Mrs. G. C. Hirst. Mrs. A. E. Horsfall. 95959 F. W. Thornton, M.R.C.S., L.R.C.P. Frederick Whiteley. D. R. H. Williams. ALBERT LUNN, 7, West Avenue, Daisy Lea Lane. - F. W. GADSBY, 1, Longley Road. Ladies' Committee: Mrs. A. E. Hull. Mrs. R. Stewart Park. Mrs. H. Rothery. Mrs. A. E. Rushworth, Miss A. Shaw. Mrs. Silverwood. Miss E. Spikes. Mrs. F. Whiteley. Miss E. Whitwam. THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE SERIES OF SIX CONCERTS IS 20/10 (plus 4/2 tax) payable to the Hon. Treasurer. Members' Tickets and Single Tickets (5/9 including tax) may also be obtained from Miss Lottie North, The Music Shop, 14, Cloth Hall Street, or from Mrs. Hull, 48, New North Road.

WEDNESDAY, 17th OCTOBER, 1934. VLADIMIR ROSING. THE CELEBRATED RUSSIAN TENOR. "Chaliapine and Rosing are the two greatest dramatic singers of this epoch." G. Bernard Shaw. WEDNESDAY, 7th NOVEMBER, 1934. 1 LE QUINTETTE INSTRUMENTAL DE PARIS. (FLUTE, HARP, VIOLIN, VIOLA and 'CELLO). A unique combination of admirable artists. "In listening to the Quintette I experienced a rare joy as I felt they reached perfection." Aloys Moser. WEDNESDAY, 28th NOVEMBER, 1934. JOSEF HOFMANN. THE FAMOUS POLISH PIANIST. To what pianistic generation Hofman may belong, he remains one of the complete masters of the keyboard. His position among the greatest pianists in the world is unassailable.

WEDNESDAY, 23rd JANUARY, 1935. THE GRILLER STRING QUARTET (OF LONDON). "The Griller Quartet have mastered the secrets of quartet playing. Their balance is impeccable.' Daily Telegraph. WEDNESDAY, 13th FEBRUARY, 1935. EDITH WALTON. THE BRILLIANT ENGLISH PIANIST. "Edith Walton must now be reckoned among the most accomplished pianists of the day." Daily Telegraph. "A pianist of rare skill and refinement." "An inspiration of art touches all her playing." WEDNESDAY, 6th MARCH, 1935. The Globe. Vossiche Zeitung, Berlin. EMANUEL FEUERMANN. A GREAT VIOLONCELLIST. "......with the exception of Pablo Casals, no cellist has delighted me so much in recent years." Daily Telegraph. "Feuermann proved at his recital that he is in the front rank of violoncellists. He is a fine musician." The Times

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, OCTOBER 17, 1934 VLADIMIR ROSING At the Piano PROGRAMME AT 7-45 - CHARLES WEBER PRICE THREEPENCE Hon. Secretary ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield Hon. Treasurer F. W. GADSBY, 1, Longley Road, Huddersfield

PROGRAMME SAVISHNA SOUTHERN NIGHT ON THE VOLGA SNOWFLAKES THE ROSE AND THE NIGHTINGALE CHANSON TRISTE CLAIRE DE LUNE SERENADE DANSE MACABRE LORD RENDAL FAMINE LULLABY I (Sung in Russian) ARENSKY (1861-1906) GRETCHANINOV (b. 1864) MUSSORGSKY (1839-1881) RIMSKY-KORSAKOF (1844-1908) II THE DRUNKEN MILLER OH GIVE ME THIS NIGHT SONG OF THE FLEA (Sung in French) III O MEN FROM THE FIELDS HERBERT HUGHES (b. 1882) MY FATHER HAS FINE SHEEP INVOCATION TO LOVE RIMSKY-KORSAKOF (1844-1908) DUPARC (b. 1848) FAURÉ (1845-1924) BRAHMS (1833-1897) SAINT-SAENS (1835-1921) IV (Sung in English) 99 99 CYRIL SCOTT (b. 1879) C. SHARPE (1859-1924) CÉSAR CUI (1835-1918) TCHAIKOVSKY (1840-1893) DARGOMIJSKY (1813-1869) BAGRINOVSKY MUSSORGSKY (1839-1881)

1934. WED. 7 NOV. WED. 28 NOV. 1935 WED. 23 JAN. WED. 13 FEB. WED. 6 MAR. THE INSTRUMENTAL QUINTETTE OF 1934 MON. 3 DEC. PARIS JOSEF HOFMANN (Piano Recital) THE GRILLER STRING QUARTET EDITH WALTON (Piano Recital) EMANUEL FEUERMANN (Cello Recital) THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING FIVE CONCERTS IS 21s. 8d. (INCLUDING TAX) PAYABLE TO THE TREASURER. SINGLE TICKETS FOR EACH CONCERT 5s. 9d. (INCLUDING TAX) CAN BE OBTAINED AT THE DOOR. BRIDGE DRIVE (organised by the Ladies' Committee) 1935 Concert by the HALLE ORCHESTRA in the Town Hall. Conductor, Sir Henry Wood. Soloist to be announced later. Music Club members have priority of booking at special prices.

The Instrumental Quintette of Paris 4 5 RENÉ LE ROY PIERRE JAMET RENÉ BAS PIERRE GROUT ROGER BOULMÉ PROGRAMME 1 Conversation galante et amusante entre une flute, un violon, un violoncello et une harpe L. G. Guillemain 2 Divertimento in E flat (K563) 3 Variations libres et Finale Flute Harp Violin Viola 'Cello (Dedicated to the Quintette) Sonata for flute, viola and harp Suite en parties (Op. 91) Dedicated to René Le Roy and the Quintette Mozart Pierne Debussy d'Indy A unique combination of admirable artists. "In listening to the Quintette I experienced a rare joy as I felt they reached perfection." Aloys Moser.

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, NOVEMBER 7, 1934 AT 7-45 LE QUINTETTE INSTRUMENTAL DE PARIS RENÉ LE ROY, Flute RENÉ BAS, Violin PIERRE GROUT, Viola ROGER BOULMÉ, Cello PROGRAMME PIERRE JAMET, Harp Hon. Secretary Hon. Treasurer PRICE THREEPENCE ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield F. W. GADSBY, 1, Longley Road, Huddersfield

PROGRAMME I Conversation galante et amusante entre une flute, un violon, un violoncelle et une harpe Allegro moderato Aria Allegro ma non presto Guillemain was a musician at the Court of Versailles. A violinist of great distinction, he wrote pieces of such difficulty that he was said to be the only player capable of performing them. His work has much of Rameau's grace and charm. Divertimento in E flat (K.563) for violin, viola and cello II Allegro Adagio Minuetto Allegro L. G. Guillemain (1705-1770) III Variations libres et Finale, Op. 51 for flute, violin, viola, cello and harp Mozart wrote 22 Divertimenti. These pieces, which form really a kind of Suite, have usually six or seven movements though some have four and one has ten; some are Trios, other are Quartets, either for strings alone or with the addition of wind instruments. The particular Divertimento was written in 1788 and dedicated to Puchberg, the Vienese merchant, who gave assistance to Mozart during the last years of his life. W. A. Mozart (1756-1791) INTERVAL Gabriel Pierné (b. 1863) These Variations were written in 1932 for the Paris Quintette to whom they are dedicated. The work opens with a simple theme played by the flute with a viola and harp accompaniment. The music continues rather in the style of an improvisation, changing in mood and fantasy. A slow waltz, syncopated rhythms and an expressive aria for the cello lead to a brilliant Finale.

Sonata for flute, viola and harp IV Pastorale Interlude Finale Towards the end of his life Debussy was engaged in writing a set of six works for various instruments. He only lived to complete three of these-a violin sonata, a cello sonata and this present work. All three are written on a small scale and might well be called Sonatinas. They are all very free in form. The Pastorale opens lento dolce rubato. All the themes are short and almost fragmentary. A middle section in quicker tempo with a more animated theme for the viola, leads to a return of the first section in a slightly more extended form. The interlude has as a sub-title "tempo di minuetto." First comes a graceful theme on the flute and then on the viola. A second section-poco piu animato-has long held notes with a gentle harp accompaniment. The first theme returns, then the animato section, and finally a reminiscence of the first theme is heard. The Finale allegro moderato ma resoluto has a bizarre gaiety. Over a drone-bass the viola has a leaping figure which is followed by a capricious flourish for the flute. The speed increases; a fresh melody is heard from the flute. Then the first section is freely recapitulated and a few bars of the Interlude are introduced before the end. V. Claude Debussy (1862-1918) Suite en parties, Op. 91. for flute, violin, viola, cello and harp Entrée en Sonate Air désuet Sarabande Farandole variée en Rondeau Vincent d'Indy (1851-1931) This Suite was also specially written for Monsieur Le Roy and the Quintette. The first movement is in sonata-form. The two principal themes are very important as they are used as the basis upon which the whole work is constructed. The theme and the second movement is a kind of a popular song, based upon the first theme of the first movement. It is treated with great contrapuntal ingenuity. This is followed by a Sarabande (a stately dance in triple time) with two variations. In this movement the composer has made an interesting study of three aspects of flute colour. In the Sarabande itself the flute part is written to show the sad and grave colouring of the instrument. In the first variation the medium register is employed; in the second, the highest register plays in a mood of delirious revelry. The fourth movement is a Farandole-a national Provencal dance, which is danced at the great festivals through the streets of the towns by a long string of young men and women, holding one another by the hand or by ribbons or kerchiefs, and led in fantastic procession by a bachelor and his musicians. The composer uses rondo form for this dance movement.

WED. 28 NOV. JOSEF HOFMANN Prelude and Fugue in A minor Scherzo in E minor Op. 16, No. 2 Fantasy in C major, Op. 17 Barcarolle 1935 WED. 23 JAN. WED. 13 FEB. WED. 6 MAR. (One of the greatest pianists in the world) PROGRAMME Nocturne in F maj. Op. 15, No. 1 Mazurka in F sharp Min. Op. 59, No. 3 Andante Spianato and Grande Polonaise Sonata in F sharp major, No. 4 March, Op. 12, No. 1 Don Juan Fantasy 1934 MON. 3 DEC. Bach-Liszt Mendelssohn Schumann Chopin Scriabine Prokofieff Liszt THE GRILLER STRING QUARTET EDITH WALTON (Piano Recital) EMANUEL FEUERMANN (Cello Recital) The Club is open to all. The subscription for the remaining Four Concerts is 17s. 6d. (including tax) payable to the Treasurer. Single Tickets for each Concert 5s. 9d. (including tax) can be obtained at the Door. BRIDGE DRIVE (organised by the Ladies' Committee) in Whiteley's Café (by kind permission of F. Whiteley, Esq.) Tickets are now on Sale. 1935 WED. 20 MAR. Concert by the HALLE ORCHESTRA in the Town Hall. Conductor, Sir Henry Wood. Pianist, Moriz Rosenthal. Music Club members have priority of booking at special prices.

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, NOVEMBER 28, 1934 AT 7-45 JOSEF HOFMANN PROGRAMME Hon. Secretary Hon. Treasurer y TETT PRICE THREEPENCE ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield F. W. GADSBY, 1, Longley Road, Huddersfield

PROGRAMME lude and Fugue in A minor Scherzo in E minor, Op. 16, No. 2 Fantasy in C major, Op. 17 I 99 Durch alle Töne tönet Im bunten Erdentraum Ein leiser Ton gezogen Für den, der heimlich lauschet. F. Schlegel (Through all the tones in earth's many-coloured dream, there sounds one soft, long-drawn note for the secret listener). Bach-Lisz Mendelssohn (1809-1847) Schumann (1810-1856) In 1835 an appeal was made for contributions toward a Beethoven memorial in Bonn. Schumann proposed to contribute a composition, this was the origin of the work now known as the Fantasy in C major. Originally the three move- ments were intended to bear the respective inscriptions of "Ruins," "Triumphal Arch" and "The Starry Crown," and although the work underwent many changes and transformations, these titles give a clearer insight into the composer's mind. Finally the original intention was abandoned, and the work appeared in 1838 as a Fantasy, dedicated to Liszt, with the Schleger motto. Schumann wrote to his wife: "I have finished a Fantasy in three movements... I do not think I ever wrote anything more impassioned than the first movement; it is a profound lament about you. And later: "Tell me what you think on hearing the first piece of the Fantasy. Does it not call up pictures to you?...Don't you think the "note" in the motto is you? I almost believe it." As regards its form, the piece is very free, and it is marked to be played "fantastically and passionately throughout." II Barcarolle Nocturne in C minor, Op. 48, No. 1 Mazurka in F sharp minor, Op. 59, No. 3 Andante Spianato and Grande Polonaise Chopin (1810-1849) INTERVAL OF TEN MINUTES

Sonata in F sharp major, No. 4 III Scriabine (1872-1915) Scriabine was an exceptionally gifted pianist as well as a composer of great interest. His early works clearly show the influence of Chopin; but later he developed much individuality and involved a new idiom based on a harmonic system of his own. He was greatly influenced by theosophical ideas, which he endeavoured to express in his music. At the time of his death he was experimenting on a union of Light and Sound. March, Op. 12, No. 1 Don Juan Fantasy The fourth Sonata belongs to his transitional period. In it Scriabine is still working upon the older methods of harmony while striving toward new forms. The Sonata has two movements-an Andante and a Prestissimo-which, how- ever, are not separated. Both are full of happy radiant feeling. It has been said to portray the "joy of the exercise of imaginative flight liberated from human trammels,"-but it is probably better to listen to its winged, ecstatic qualities than to read into it abstruse and fantastic meanings. Prokofieff (b. 1891) Liszt (1811-1886) "The Don Juan Fantasy partakes both of the character of a fantasy upon motives from the Opera and a series of Variations. The whole work is in Liszt's richest and most splendid style, full of transcendental technical problems . . . . full of things that astonish and delight, with their clairvoyant prescience of developments that were not to come to full fruition till three-quarters of a century afterwards. The amazing power and typically Lisztian fiery impetuosity of the Introduction lead on to "La ci darem," superbly treated with whimsical grace and charm, full of subtle and elegant harmonic and pianistic details. The two variations are musically and technically of the highest interest, by reason of the way in which they foreshadow the elaborate and complex forms variation is later to take in the Works of Strauss and Reger. The work as a whole is more like a symphonic poem by reason of the bigness and spaciousness of its treatment, its extensive proportions, and the remarkable way in which the whole is interlocked into a compact entity." (Around Music. K. Sorabji).

1935 WED. 23 JAN. 1935 WED. 13 FEB. THE GRILLER STRING QUARTET Haydn Quartet Op. 3, No. 5 Mozart Quartet in C major (K 465) Hugo Wolf Italian Serenade Brahms Quartet in B flat Op. 67 1934 MON. 3 DEC. EDITH WALTON (Piano Recital) WED. 6 MAR. EMANUEL FEUERMANN (Cello Recital) The Club is open to all. The subscription for the remaining Three Concerts is 14s. 6d. (including tax) payable to the Treasurer. Single Tickets for each Concert 5s. 9d. (including tax) can be obtained at the Door. BRIDGE DRIVE (organised by the Ladies' Committee) in Whiteley's Café (by kind permission of F. Whiteley, Esq.) at 7 p.m. Tickets are now on Sale. 1935 WED. 20 MAR. Concert by the HALLE ORCHESTRA in the Town Hall. Conductor, Sir Henry Wood. Pianist, Moriz Rosenthal. Music Club members have priority of booking at special prices.

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, JANUARY 23, 1935 AT 7-45 GRILLER QUARTET SYDNEY GRILLER JACK O'BRIEN PROGRAMME PHILIP BURTON COLIN HAMPTON PRICE THREEPENCE Hon. Secretary ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield Hon. Treasurer F. W. GADSBY, 1, Longley Road, Huddersfield

PROGRAMME I Quartet in F major, Op. 3, No. 5. Presto Andante cantabile Menuetto Scherzando Haydn brought the form of the string quartet to perfection. "It was from Haydn" said Mozart, "that I first learnt the true way to compose quartets." In his quartets Haydn shows all his qualities of lucidity, perfect finish, inexhaustible invention, humour and freshness. His themes are often shorter and pithy than those of Mozart's, and have a greater rhythmic elasticity. Haydn was, indeed, the inventor of the rhetorical pause; he divided the musical interest more equally between the instruments, thus foreshadowing the polyphony of modern string quartets. Quartet in C major (K. 465) Haydn (1732-1809) This quartet, together with the eighteen others which form Opp. 1-3, were all written during a lengthy visit to the house of Karl Joseph Edlen von Fürnburg at Weinzirl, near Melk, and first played there by the usual "country house" orchestra of that time. In Op. 3, Haydn began to establish the four movement plan, which since then has been traditional in chamber music. The Andante cantabile is the well-known Serenade. II Mozart (1756-1791) Adagio Allegro Andante cantabile Minuet and Trio Allegro molto The Quartet in C is the last of a set of six written between 1782-85 and dedicated to Haydn, the whole forming one of the finest monuments which one composer has ever erected to the honour of another. This quartet is the only one of the six which opens with a slow introduction. The so-called "disson- ances in it were considered on its appearance to be so peculiar that one princely amateur tore up the parts in a fury at the outrage, and the copies were returned from Italy to the printers for corrections. We now realize that these discords are the outcome of Mozart's deep contrapuntal studies, and that the ugliness is part of the beauty and therefore aesthetically right. Apart from the unusual introduction, there is little in the quartet which requires comment. The general effect is "a noble, manly cheerfulness rising in the Andante to an almost super- human serenity, the kind of cheerfulness which in life or art appears only as the result of previous pain or strife" (Jahn). INTERVAL OF TEN MINUTES.

III Italian Serenade Wolf (1860-1903) It is as a writer of songs that Hugo Wolf is best known; a power of creating an exquisite union between poetry and music constituted his unique genius. His only instrumental works are an early symphonic poem Penthesilia,' a still earlier string quartet, and this Italian Serenade, a wholly beautiful little piece, which was originally written for string quartet and later arranged for string orchestra. It dates from 1893-4, the period of Wolf's finest creative activity; and it shows all his love for Italy, which meant to him a southern land of sunlight, colour, fragrance and charm. Quartet in B flat, Op. 67 IV Brahms (1833-1897) Vivace Andante Agitato (Allegretto non troppo) Finale. Poco allegretto con variazione This quartet was completed in 1876 and dedicated to his friend Englemann, a professor in Utrecht, and himself a capable cello player. It is a work of close- knit texture. The opening movement, with its horn-like first theme, has many changes of rhythm, with swift and frequent transitions between the major and minor modes. In contrast, a smooth theme is heard twice in the development section. The second movement opens with a slow, broad and stately melody, which is interrupted by a bolder and more agitated section. The viola has the most important part in the third movement, the other strings being muted. It must be remembered that the viola was one of Brahms' favourite instruments, and that he wrote for it with unusual understanding and affection. This movement ends with the quietest of codas. The Finale consists of a short theme of four and six bars with variations on it; again the viola is immediately given much prominence. A later variation (Doppio movimento) is important because the horn theme of the first movement is introduced into it.

1935 WED. 13 FEB. Beethoven Schumann Mendelssohn EDITH WALTON (Piano Recital) Chopin Moriz Rosenthal Corelli-Godowsky Liszt Thirty-two Variations in C minor Papillons Op. 2 Capriccio in E minor Sonata in B minor Op. 58 Variations on an Original Theme (first performance of new version) Pastorale (Angelus) (Gnomenreigen Hungarian Rhapsodie WED. 6 MAR. EMANUEL FEUERMANN (Cello Recital) The Club is open to all. The subscription for the remaining Two Concerts is 11s. 6d. payable to the Treasurer. Single Tickets for each Concert 5s. 9d. can be obtained at the Door. Concert by the HALLÉ ORCHESTRA in the Town Hall, Wed., 20th March, at 7-30. Conductor, Sir Henry Wood. Pianist, Moriz Rosenthal, (his only appearance in the provinces). Organized by the Ladies' Committee, from whom further information may be obtained.

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, FEBRUARY 13, 1935 NICOLAS ORLOFF PROGRAMME AT 7-45 PRICE THREEPENCE BLÜTHNER PIANOFORTE Hon. Secretary ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield Hon. Treasurer F. W. GADSBY, 1, Longley Road, Huddersfield

Two Sonatas PROGRAMME I Scarlatti (1685-1757) The Sonatas of Scarlatti are very slight and graceful affairs compared with the more modern works in that genre. They are, in reality, lovely little pieces in one movement, almost all in quick tempo, requiring great skill and neatness in execution, and full of a brilliance and gaiety of spirit which, at the period when they were written, was a new and astonishing innovation. Scarlatti was in many respects the founder of modern piano playing; he was the originator of many new effects, notably in the use he made of crossing hands on the keyboard. Schumann (1810-1856) Etudes Symphoniques, Op. 13. Schumann treated the variation form freely and fancifully with all the powers of his genius and his depth of feeling. The Etudes Symphoniques are his most splendid achievement in this form; the work is remarkable not only for his individual treatment of the piano-rising to great heights in the bravura style of execution-but also for the boldness of treatment and richness of invention. The theme was sent to Schumann by an amateur, Hauptmann von Fricken, who had himself written a set of variations for flute upon it Schumann was attracted by the theme, found in it "character and feeling," and was in turn inspired to write variations upon it. He dedicated the work to his friend Sterndale Bennett. In the Finale (which in fact has nothing in common with a variation, the first two bars only of the theme being employed, and these only occasionally in the "working-out section") Schumann, as a delicate reference to his English friend, begins with a rousing melody from "Der Templer und die Judin" based on the air "Who is the highly-honoured knight?" (an allusion to Richard-Coeur-de-Lion) and "Rejoice, proud England." 7

Ballade in F major Four Etudes, Op. 10 II A flat major E flat minor F minor C sharp minor Scherzo in B minor Chopin wrote four Ballades, of which this one in F major is the second (it begins in the key of F major but ends in A minor). He is said himself to have told Schumann that the inspiration of all the four was to be found in the poems of his fellow countryman, Mickiewiez. The second Ballade opens with a lovely barcarolle melody, with a delicious rocking movement in the harmony. A wild and stormy mood breaks out, and after a section of great impetuosity and majesty, the piece breaks off abruptly with a tender return to the first subject. Two Mazurkas Jeux d'eaux Two Visions Fugitives Toccata "There is nothing more beautiful in the whole realm of pianoforte music than these Ballades, and nothing more securely maintains the height of romantic and marvellous legend." (Langford) } Chopin (1810-1849) INTERVAL OF TEN MINUTES. III Szymanowski (b. 1882) Ravel (b. 1875) Prokofieff (b. 1891)

1935 WED. 6 MAR. EMANUEL FEUERMANN (Cello Recital) .......with the exception of Pablo Casals, no cellist has delighted me so much in recent years." Daily Telegraph. "Feuermann proved at his recital that he is in the front rank of violoncellists. fine musician." He is a The Times. The Club is open to all. Single tickets for the remaining Concert 5/9 can be obtained from the Treasurer, or Miss Lottie North's, 14 Cloth Hall Street, or at the door. MON. 25 FEB. DOROTHY DONALDSON (mezzo-soprano). CHARLES ELLAM (piano) At the piano : ALISON SHAW Highfield Hall at 7-45. Tickets 2/4 and 1/2 (including Tax) from Messrs J. Wood & Sons, New Street. Concert by the HALLÉ ORCHESTRA in the Town Hall, Wed., 20th March, at 7-30. Conductor, Sir Henry Wood. Pianist, Moriz Rosenthal, (his only appearance in the provinces). Organized by the Ladies' Committee, from whom further information may be obtained.

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, MARCH 6, 1935 AT 7-45 EMANUEL FEUERMANN At the Piano: PROGRAMME Hon. Secretary Hon. Treasurer GEORGE REEVES PRICE THREEPENCE STEINWAY PIANOFORTE ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield F. W. GADSBY, 1, Longley Road, Huddersfield

Andante and Allegro Sonata PROGRAMME I II Boccherini (1743-1805) INTERVAL. Breval (1756-1825) Suite in C Major for 'Cello Solo Max Reger (1873-1916) Reger wrote many works for violin, viola and 'cello alone-a type of composition which has been little attempted since Bach. It has been said, indeed, that Reger translated Bach into contemporary idiom. Reger's ideas are essentially polyphonic in conception; and on this contrapuntal basis he constructed vast works of the greatest power and interest. His highest reputation, perhaps, lies in his organ compositions; and though a writer of originality, his work shows the influence of Brahms and even of Liszt, as well as of his chief inspiration Bach. Reger never abandoned logic and tonality, though he explored all possible effects, both ancient and modern. His life was one of unremitting toil and study, and he died at the early age of 43.

Baal Schem Ernest Bloch (b. 1880) Bloch was born in Geneva, where he studied under Jacques Dalcroze, and later in Brussels (with Ysaye), in Frankfort and Munich. After teaching and conducting, chiefly in Switzerland, he went to America in 1915, where he has since remained. He has written two operas (the first, Macbeth, was produced in Paris in 1910) and many works for orchestra and chamber music. His music shows strong racial tendencies; and though he does not rely for their expression upon the use of actual Hebrew or Oriental themes, the sombre and dignified spirit of Judaism is felt throughout his work, as well as an almost eastern chromaticism and rhythmic freedom. III Variations on a Rococo Theme, Op. 33 Tchaikovski (1840-1893) This work was written in 1877, and consists of a short Introduction, seven variations and a brilliant Coda. Slavischer Tanz Liebesleid Spinnlied Gopak IV Dvorak (1841-1904) Kreisler (b. 1875) Popper (1876-1913) Mussorgsky (1839-1881) THESE CONCERTS WILL BE CONTINUED NEXT SEASON, when the Committee hope that the previous high standard of music will be fully maintained. The Committee earnestly request that members will do everything possible to increase the membership of the Club. It is also hoped that the rate of subscription may be reduced. Mrs. Hull, 48, New North Road, would be glad to receive any suggestions from members.

HALLE CONCERT TOWN HALL, WEDNESDAY, MARCH 20th, at 7-30 p.m. Conductor: Sir Henry Wood Pianist: Moriz Rosenthal (His only appearance this season in the Provinces) Tickets, 7/6, 5/-, 3/- 2/-, 1/-, from Miss Lottie North, 14, Cloth Hall Street, from whom programmes may be obtained after March 16th. SYMPHONY No. 1 CONCERTO IN E MINOR MEISTERSINGER OVERTURE MON. APRIL 1. Programme includes SIBELIUS CHOPIN WAGNER DOROTHY DONALDSON (mezzo-soprano). CHARLES ELLAM (piano) Highfield Hall at 7-45. Tickets 2/4 and 1/2 (including Tax) from Messrs J. Wood & Sons, New Street.

Ballé Orchestra Wednesday, March 20th, 1935, at 7-30 p.m. in the Town Hall Conductor Pianist Bösendorfer Piano = Mrs. H. Ainley Miss Boden, M.A. Mrs. W. F. Clayton Mrs. W. C. Crook Mrs. E: L. Fisher Miss Freeman, J.P. Sir Henry Wood Moriz Rosenthal Programme Sixpence Promoted by the Ladies' Committee, Huddersfield Music Club Committee: Mrs. G. C. Hirst Mrs. A. E. Horsfall Mrs. R. Stewart Park Mrs. H. Rothery Mrs. I. Silverwood Miss E. Spikes Miss. E. Whitwam, L.R.A.M. Mrs. A. E. Hull, F.R.C.O. ) Hon. Miss Alison Shaw, L.R.A.M. Secs. Mrs. A. E. Everest, Hon. Treas.

Life is a game, wherein the prizes inevitably go to those people who look ahead. A prudent move to-day ensures an advantage to-morrow; there must be a straight well- planned deal behind it. . . such as buying your own house. The Huddersfield Building Society is not just an onlooker in the game of Life... it represents a very real and active force behind the home-buyer who enlists its help. More than that, the Huddersfield is ever his friend and counsellor. And if you read the immensely valuable little book 'I want a house of my own' which tells you how very simple and advantageous buying a home can be . . . then it's quite on the cards you will place your confidence with the Huddersfield! Send a postcard for it to-day to HUDDERSFIELD Building Society 11 HEAD OFFICE BRITANNIA BUILDINGS, HUDDERSFIELD. ANDREW STEWART, C.A., General Manager.

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YOUR ATTENTION PLEASE! It's odds on that you are attending this Concert because you are a Music Lover. CHALLE We are advertising on this page because we are a Music House, having supplied the musical needs of Huddersfield and District for nearly 60 years. Whilst waiting for the concert to begin we hope you will glance below and observe the many Departments of our business, each being in the charge of a specialist in that particular branch. TUNING, PIANOS, POLISHING, REPAIRING. RADIOS, INSTALLING, MAINTENANCE, REPAIRS. RECORDS, GRAMOPHONES, GRAM. REPAIRS. ELECTRIC LAMPS, WIRING AND REPAIRS. PERSONAL MOTION PICTURES AND FURNITURE. We are also agents for Messrs. Keith Prowse & Co. Ltd. You can obtain seats for all London Theatres and big Musical, Social and Sporting Events at our Ticket Office. We want the pleasure of your custom and in return endeavour to offer you a COURTEOUS AND EFFICIENT SERVICE. WHITFIELDS LIMITED Telephone 140 Ramsden Street Huddersfield

MORIZ ROSENTHAL AT HIS BEST IN- Chopin's First Piano Concerto (in E minor) HAL and in other works on Parlophone Records: CHOPIN PIANOFORTE CONCERTO No. I IN E MINOR First Movement-Allegro R902-4 maestoso. Three Records) 2/6 each Second Movement- Ell113 4/- Romanza. Two Parts Third Movement-Rondo Vivace. Two Parts | EIII14 J 4/- ETUDE IN C (Op. 10, No. 1); and MAZURKA IN G (Op. 67, No. 1). (Chopin) ETUDE IN G FLAT (Op. 10 No. 5) (Black Keys); and MAZ- URKA IN C SHARP MINOR (Op. 63). (Chopin) VALSE IN C SHARP MINOR (Chopin) VALSE IN E MINOR (Chopin) VIENNA CARNIVAL (Rosenthal) Two Parts .. El 1161 4/- El1043 4/- El 1079 4/- TABATIERE A MUSIQUE (Liadow)) (Musical Snuff-Box); and El1145 PRELUDE (Liadow) 4/- REFLETS DANS L'EAU (Debussy). Don't be without the Parlophone Catalogue. 1935 Edition now is- sued and obtainable from your local dealer, or if desired post free from the Parlophone Co., 102, Clerkenwell Road, London, E.C.I. PARLOPHONE RECORDS On Sale at Your Dealers Patrons. His Worship the Mayor (Alderman A. Hirst, J.P.) Mr. A. L. Woodhead, M.A., J.P. (President, Huddersfield Music Club) Mrs. Herbert Ainley Mr. Herbert Ainley Coun. Percy Ainley Anonymous Mrs. Beaumont Mr. G. K. Brierly Mrs. J. Calvert Mr. A. G. Crowther Miss C. M. Crowther Mrs. Philip D. Crowther Mrs. R. H. Crowther Mrs. C. Earnshaw Mrs. & Miss Evans Dr. & Mrs. Everest Mr. A. Fieldhouse Mrs. E. L. Fisher Lady Fisher-Smith, J.P. Mrs. D. Hall Mrs. F. C. Hirst Dr. J. Walker Hirst Mrs. Holroyd Mrs. A. E. Horsfall Mrs. and Miss Hull Mr. H. J. K. Inman Dr. Kahn Mrs. C. H. Kaye Mrs. Leitch Mr. Wilkinson Lockwood, J.P. Mrs. W. M. Lydall Mr. Godfrey Mellor Mrs. H. E. Moorhouse Mrs. M. K. Moorhouse Miss M. S. Murray Mrs. Gilbert P. Norton Mrs. Osborn Dr. Pye-Smith Mrs. R. Stewart Park Mrs. L. Radcliffe Miss J. Reid Mrs. H. Rothery Mrs. Irving Silverwood Miss E. Spikes Miss Alison Shaw Mrs. G. W. Shaw Mr. J. W. Shaw Mr. A. G. Sugden Mr. G. Tankard Mrs. F. W. Taylor Mr. & Mrs. A. Turner Mr. C. A. Waddington Mrs. E. L. Walker Mr. & Mrs. J. Walker Mrs. H. S. Walker Miss E. Whitwam Mr. E. Whitwam Mr. D. R. H. Williams Mr. E. Woodhead, M.A., J.P.

Programme. GOD SAVE THE KING Overture to "Bernice" Handel (1685-1759) The Opera "Bernice" dates from 1737; it was therefore one of the last operas written by Handel before he devoted himself to the oratorio form. It was produced at the King's Theatre (Haymarket) among a group of operas which Handel hastily wrote and produced in a vain effort to keep his theatre against the fierce opposition of his rivals. None of these operas succeeded in public favour; but in spite of their lack of success, amongst them is found a real and indubitable expression of Handel's character and genius. "Bernice," in particular, with its charming minuet and the haunting elusive melody of its songs, should not be allowed to be forgotten completely. Two Aubades Piece for Small Orchestra Andante Allegretto Lalo was born at Lille of a family of Spanish origin long since settled in Flanders; he studied, lived and died in Paris. He was a prolific composer in many forms-opera, songs, orchestral, chamber and ballet music. His best known work is probably the Symphonie Espagnole for violin and orchestra. As a composer Lalo was one of the pioneers in the use of modern orchestral colouring; his music has great rhythmic vitality and much poetic imagination, with suppleness and clarity of expression. Delius (1863-1934) I. II. Lalo (1823-1892) "On Hearing the First Cuckoo in Spring" This short piece was written in 1911 and first performed in 1914. It is scored only for strings, 2 flutes, I oboe, 2 clarinets, 2 bassoons and 2 horns. Together with "Summer Night on the River," it ranks amongst Delius's very finest orchestral achievements as a work of consummate beauty. It is based on a twofold melody. The first part, softly swaying and echoing, is original; later, fragments are heard which resolve themselves into a Norwegian Folk-song "I Ola dalom" (In Ola Valley). The music flows gently along in melting harmonies, which are only occasionally broken by the wood-wind in distant cuckoo calls. Spring comes to Delius in a mood of quiet contemplation, in tender loveliness and immanent beauty. Rondino in E flat for Wood-wind, Op. 103 Beethoven (1770-1827) In Beethoven's day every instrument then in use served both for orchestral and chamber music, thus offering wide possibilities of combination. The main divisions were wind instruments (with or without strings or piano), strings and piano, and strings alone. Beethoven cultivated all three, and discarded the first two in that order. The first group ended about 1800, this Rondino, together with an Octet, being published posthumously as Op. 103. It is possible that Beethoven found this first combination useful in introducing his early works to a social circle, as, for instance, the Elector Max Franz was particularly partial to being entertained at table by a wind ensemble. This Rondino is scored for 2 oboes, 2 clarinets, 2 horns and 2 bassoons; it is cheerful in character and ornamented with various instrumental effects. Concerto for Piano and Orchestra, in E minor, Op. II Chopin (1810-1849) MORIZ ROSENTHAL Allegro maestoso Romanza: Larghetto Rondo : Vivace This Concerto in E minor, Op. 11, was written in Warsaw in 1830 (when Chopin was only twenty) and was first performed in that same year. I. The work opens with a long orchestral introduction in which both the principal themes are heard. At the 139th bar the piano enters with a powerful, but brief, reference to the

principal subject. This leads, through a gracious, expressive melody, which is worked up to a passionate pitch, to the second subject in E major, also expressive and melodic. On this section the composer dwells for some time, treating the theme with many exquisite variations of harmony and rhythm; a vigorous piano passage leads to an orchestral tutti and to the working-out section. The first subject returns in the tonic key, the second in G major. After the completion of the solo part, the orchestra ends with a reference to the opening theme. II. Of the slow movement Chopin himself wrote that it is "of a romantic, calm and partly melancholy character. It is intended to convey the impression which one receives when the eye rests on a beloved landscape that calls up in one's soul beautiful memories-for instance, on a fine moonlit Spring night." The movement opens with a quiet passage for strings, leading to the piano entry. An agitated middle section wakens the delicate, enchanted dream- world; but the emotion soon subsides and the Romanza ends in the same exquisite, perfumed atmosphere of the opening. III. The last movement is a Rondo, full of sparkling gaiety, life and grace. The form is quite regular and easy to follow. Towards the end, the composer makes full use of every device of dazzling virtuoso art and pyrotechnics. Although it is true to say that in this concerto, even more than in most, the piano is by far the principal consideration, it is not the case that the orchestral writing is weak and unimportant. Chopin definitely intended a delicacy of instrumentation; making, as it were, a fresh and original balance between the solo instrument and the orchestra. INTERVAL OF TEN MINUTES Symphony in E minor, No. I I. Andante: Allegro energetico II. Andante (ma non troppo) III. Scherzo: Allegro IV. Finale: Quasi una Fantasia Sibelius (b. 1865) This first Symphony dates from 1899 (when Sibelius was 34 years old). It employs an orchestra of moderate size, with an important part for the harp, and throughout the scoring is masterly in its economy. Although the work is not entirely free from earlier influences, particularly Russian, it already possesses all the composer's characteristics of bare statement, economy of theme and arresting transitions. I. The work opens with a short introduction (Andante), in which the clarinet plays a melody over a faint drum-roll accompaniment. This would seem to be the "motto" of the Symphony, for the theme is not heard again until the introduction to the Finale. The principal subject appears first in the strings and then the full orchestra. The sound dies down into a pianissimo passage for tremolo strings and harp, which leads to a tranquil second subject in the wood-wind. A pulsing accompaniment in the strings, with agitated snatches of melody in the wood-wind, ends with a few pizzicato notes; then the development section follows. Later, strange chromatic scales lead to a restatement of the principal subjects. The coda is short: a masterly arrangement of brass chords, accompanied by the drums, bassoons and strings, and two final pizzicato chords. II. The melody of the Andante is played by muted violins and celli with a horn accompaniment. An unusual fugato for wood-wind follows and leads to the middle section-a picture, it would seem, of a quiet woodland with echoing bird-calls. The tempo quickens and the scene becomes agitated. Suddenly the first calm harmonies return. III. A lively theme is heard over thrummed chords in the violas and celli; it is tossed about from one instrument to another. The trio section, in slower tempo, is a kind of fantasia based upon the theme of the slow movement. IV. The strings give out the theme of the introduction to the first movement, largamente ed appassionata, supported by chords in the brass. Some phrases in the lower strings and wood- wind lead to an Allegro molto, which, in turn, changes to Andante Assai. Here a long, imposing theme spreads gradually through the whole orchestra. The Allegro molto is resumed and developed to a climax of grandeur, only again to return to a majestic repetition of the Andante. The final bars repeat the mood of the introduction. Continued Overleaf

Programme-continued Piano Solos (a) Chant Polonaise No. 1 I (b) "Papillons" (Butterflies) (c) New Vienese Carneval on themes by Joh. Strauss Telephone 898 to . . . "Liszt's exquisite settings for piano of six of Chopin's 'Chants Polonaises.' Coming out in 1860, some years after the publication of all Chopin's complete and posthumous works, they make a sort of supplement in which his traits of character are resumed and given expression. No one could have done this better than Liszt. These small trifles are of absolutely perfect work- manship, unsurpassable in their delicacy."-(Sacheverell Sitwell.) "Meistersinger" Overture Wagner (1813-1883) After completing "Tannhauser" in 1845, Wagner considered the idea of a comic opera. This opera was not, however, completed until 1867 and first performed until 1868. For it Wagner chose Nuremberg and the Mastersingers-the guilds of poet-musicians who flourished in different towns of Germany between the 14th and 16th centuries. Hans Sachs is the leader of the guild, typifying the productive spirit of the people, as opposed to Beckmesser, who represents pedanticism and artificiality. Wagner has woven into the Overture the themes which represent the Mastersingers themselves, grave and dignified men; the apprentices are a kind of parody on their elders; and the young lovers Eva and Walther. The Overture culminates in a mass of glorious colour and sound. Blackburn's 12, Victoria Lane (OUR ONLY ADDRESS) 26 Chopin-Liszt Moriz Rosenthal For all your Floral requirements and garden necessities Moriz Rosenthal A Lottie North's 14, Cloth Hall St. For the Latest Records & Music

THRIFT D ASSETS NOW £100,000,000 From small beginnings the Halifax Building Society has risen to a position of pre-eminence in the Building Society movement. For over 20 years the Society has had the distinction of being the largest institution of its kind in the World, but at no time has predominance in size been the objective: rather has the aim of the Directors been to progress steadily and safely upon the principles laid down by the founders of the Society over 82 years ago. This landmark in the Society's history may be regarded not merely in point of magnitude, but rather as an inspiration for the future. To further the cause of Home-ownership; to assist more and more Home-buyers; and to provide a safe repository for savings - these are the homely virtues that have made the real greatness of the Halifax Building Society. ASK FOR THE LATEST PROSPECTUS HALIFAX THE WORLD'S LARGEST BUILDING SOCIETY GENERAL MANAGER - Sir ENOCH HILL, F.C.I.S. HEAD OFFICES HALIFAX ● LOCAL BRANCHES CLOTH HALL STREET and 8, MARKET PLACE, HUDDERSFIELD

Newest Styles for SPRING! F you have not yet decided what to choose for Spring come along and look round our Showrooms and see the gorgeous new Styles now on show. In the Tailoring Department you will be charmed with the smart new Tailor-made Costumes and Three-piece Suits, at the novel designs and effects in the cloth. You must see also the delightful show of Cruising Wear for those who are fortunate enough to be able to sail from these cold days to the warmer southern climes. And in Furs for Spring Wear the Silver Fox again holds premier place. Our show of these beautiful Furs is now completed and should not be missed. Nor should you miss the display of Fur Capes-these will be very fashionable for Spring Wear. You are invited to call and look round our Showrooms at any time without the slightest obligation. Why not call? FUR RENOVATIONS AND REPAIRS. All work is done on the premises under strict personal supervision. May we quote for cleaning, renovating or entire remodelling of your Furs and Fur Coat? IRVIN BROOK 27, JOHN WILLIAM ST., HUDDERSFIELD 'Phone 505 LTD.

Advertising and General Printers 'Phone 401 in Black and White or Colour Netherwood, Dalton and Company, Limited Huddersfield Printed salesmanship to be effective calls for specialised treatment. You may plan your printing individually, or in conjunction with the advert- ising agent, but it is the craftsmanship of the printer that produces the final impression. A good printer, with the capacity to draft and execute work that has a definite appeal, is a valuable acquisition to any business.

The Music People Best Enjoy - that which they choose themselves MAGIC NOTES TRADE MARK There is delightful home-enter- tainment here for you among favourite recordings by- SIR St HENRY J. WOOD GOTTERDAMMERUNG-Song of the Rhine Daughters (Wagner); and WALKURE-Ride of the Valkyrie (Wagner). Two Records. LI993-4 (6s. each) FINLANDIA, Tone Poem (Sibelius). Two Sides. 9655 (4s.) HAYDN SYMPHONY NO. 45 ("Farewell"). Three Records. LX323-5 (6s. each) Also in Coupling-Records at Standard Prices. DON GIOVANNI-Overture (Mozart). Two Sides. DX587 (4s.) SCHUBERT SYMPHONY NO. 8 ("Unfinish- ed"). Three Records. DX551-3 (4s. each) Also in Coupling-Records at Standard Prices. BEETHOVEN SYMPHONY NO. 3 ("Eroica"). Seven Records. LI868-74 (6/- each) (In album complete 42s.) There is a further splendid selection of recorded works by Sir Henry detailed in the complete catalogue. You can obtain this from your dealer or post free from Columbia, 98-108, Clerkenwell Road, London, E.C.1. Records of to-day's Music- ON HEARING THE THE FIRST CUCKOO IN SPRING. Sir Thomas Beecham con. Royal Phil. Orch. L2096 (6s.) SIBELIUS SYMPHONY IN E MINOR. Robert Kajanus con. Sym. Orch. In Album complete (30s.) MEISTERSINGER Overture. Bruno Walter con. Sym. Orch. DX86 (4s.) ON SALE EVERYWHERE Columbia Columbia Entertains the World at Home! HUDDERSFIELD MUSIC CLUB HIGHFIELD HALL On Wednesdays, at 7-45 p.m. A Series of Six Concerts is given by the most eminent artists and string quartets THE CLUB IS OPEN TO ALL The Hall has been re-seated and Sub- scriptions for the Season 1935-6 reduced Intending New Members and all interested in Music are invited to communicate with Mrs. A. E. HULL, 48, New North Road, or Miss ALISON SHAW, Botham Hall, Huddersfield (Hon. Secs., Ladies' Committee) Name (Title). Address Recital by Dorothy Donaldson (Mezzo-soprano) Charles Ellam (Piano) Songs by-Schubert Brahms Liszt Peter Warlock Armstrong Gibbs Sonata Op. 111-Beethoven Fantasie Op. 49-Chopin At the Piano: ALISON SHAW Highfield Hall, April 1st, at 7-45 Tickets 2/4 and 1/2 (incl. tax) from Messrs. J. Wood & Sons, New Street