HMS 18


HMS 18

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HUDDERSFIELD MUSIC CLUB. CONCERTS FOR THE EIGHTEENTH SEASON 1935-36 TO BE GIVEN IN HIGHFIELD ASSEMBLY HALL (NEW NORTH ROAD) WEDNESDAYS, OCT. 16, NOV. 20, DEC. 11, 1935. WEDNESDAYS, JAN. 15, FEB. 19, MAR. 11, 1936. At 7-45 p.m. R Mrs. A. E. Everest. Mrs. A. E. Hull, F.R.C.O. Miss Alison Shaw, L.R.A.M. Percy Ainley. W. Clifford Crook. A. G. Crowther. Hon. Secretary Hon. Treasurer - President: A. L. WOODHEAD, M.A., J.P. J. Stancliffe Ellis. Irving Silverwood. F. W. Thornton, M.R.C.S., L.R.C.P. Frederick Whiteley. D. R. H. Williams. 6 Committee: ALBERT LUNN, 7, West Avenue, Daisy Lea Lane. - F. W. GADSBY, 1, Longley Road Mrs. H. Ainley. Miss Boden. Mrs. W. F. Clayton. Miss D. Donaldson. Miss K. M. Evans. Mrs. A. E. Everest. Miss Freeman, J.P. Mrs. D. H. Hirst. 8 Ladies' Committee: Mrs. A. E. Horsfall. Mrs. A. E. Hull. Mrs. R. Stewart Park. Miss A. Shaw. Mrs. I. Silverwood. Miss E. Spikes. Miss E. Whitwam. Miss W. Willans. THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE SERIES OF SIX CONCERTS IS 21/- payable to the Hon. Treasurer. (Town Office, Miss L. North, 14, Cloth Hall Street, 'Phone Hudd. 2137).

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WEDNESDAY, 16th OCTOBER, 1935. THE NEW ENGLISH SINGERS. DAVID BRYNLEY. NORMAN NOTLEY. CUTHBERT KELLY. DOROTHY SILK. NELLIE CARSON. MARY MORRIS. "A revelation of beauties before unknown." "They have proved that great music can be great fun." WEDNESDAY, 20th NOVEMBER, 1935. EGON PETRI. THE GREAT DUTCH PIANIST. "One of the great pianists of the day." Head and shoulders above other living pianists." WEDNESDAY, 11th DECEMBER, 1935. Daily Telegraph. New York Times. QUARTET. (VIENNA) Times. Constant Lambert. KOLISH STRING "The very perfection of quartet playing." Times. "The Kolish Quartet are a remarkable group of musicians who play and even rehearse without music. The result is an extraordinary intimacy of ensemble." Sunday Referee.

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Huddersfield Music Club. DEAR SIR OR MADAM, I have pleasure in enclosing the prospectus of concerts arranged for the coming season. The Committee consider that the programme completely main- tains the standard of excellence of the preceding seasons, and that the Club is deserving of the fullest and widest support. The Club, indeed, occupies a unique position in the artistic and cultural life of the town by bringing to it artists of world-wide eminence. The Committee therefore hope that your support will be continued and, if possible, increased. It is absolutely essential for the continuance of these concerts that the membership should be increased, and the Committee venture to suggest that each member should endeavour to obtain at least one new member. The Committee are happy to announce that they have been able to reduce the member's subscription to one guinea. They trust that this may bring the Music Club into the reach of many more music lovers. Single tickets at 5/- are obtainable, but the Committee would like to point out the considerably greater relative cheapness of the season ticket. Students' single season tickets (7/6) will again be issued (for complete season, no reduction after the first concert) to bona- fide music students. Student's single tickets (2/-) may be obtained not later than 2 days before the concert (none sold at the doors). Application for these tickets must be made to Mrs. Hull, 48 New North Road. The Hall has been reseated, and the Committee hope that the comfort of members will be increased thereby. Cars may be parked in the vicinity. The Ladies' Committee are arranging to hold a Bridge Drive, the date to be announced later. In 1936 they are again organizing a concert by the Hallé Orchestra. Members will be given priority of booking at a special rate. Unless I am informed to the contrary before October 1st,...... ticket........ will be forwarded to you as before, and I shall be pleased to send additional tickets, information or prospectuses to you, or to any other names at your request. Tickets not desired must be returned before the first concert. If you are not a member and wish to become one, will you kindly fill up the accompanying form and return it to me at your earliest convenience. Forms may also be left with Mrs. Hull, or Miss Lottie North, The Music Shop, 14 Cloth Hall Street. Yours truly, F. W. GADSBY, HON. TREASURER.

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Huddersfield Music Club. F. W. GADSBY, Esq., Hon. Treasurer, SEASON 1935-36. 1 Longley Road, Name (Title) Address. 口 Please forward. tickets (21/- each) for Season 1935-36, for which I enclose Cheque. Postal Order. Huddersfield. (Cheques and Postal Orders should be made payable to the Hon. Treasurer, Huddersfield Music Club.) ...... Please send prospectus to

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WEDNESDAY, 15th JANUARY, 1936. HENRY HOLST. THE EMINENT DANISH VIOLINIST. AT THE PIANO: JOHN WILLS. "A violinist of uncommon gifts. WEDNESDAY, 19th FEBRUARY, 1936. Manchester Guardian. EDITH WALTON. THE BRILLIANT ENGLISH PIANIST. "Must now be reckoned amongst the most accomplished pianists of her day." Daily Telegraph. "A pianist of rare skill and refinement." "An inspiration of art touches all her playing." WEDNESDAY, 11th MARCH, 1936. The Globe. Berlin Vossiche Zeitung. LENER STRING QUARTET. (BUDAPEST) The Perfect Ensemble and certainly the World's Greatest String Quartet.

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HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, OCTOBER 16, 1935 AT 7-45 NEW ENGLISH SINGERS DOROTHY SILK NELLIE CARSON MARY MORRIS PROGRAMME THE Hon. Secretary Hon. Treasurer DAVID BRYNLEY NORMAN NOTLEY CUTHBERT KELLY PRICE THREEPENCE ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield F. W. GADSBY, 1, Longley Road, Huddersfield

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MOTETS PROGRAMME Haec Dies Jesu dulcis memoria Gaudete omnes FOLK SONGS MADRIGALS AND BALLET About the Maypole Hark! Alleluia The Nightingale All creatures now are merry-minded William Byrd (1543-1623) Tomás Luis de Victoria (1535-1611) Jan Pieterszoon Sweelinck (1562-1621) The Farmer's Daughters I sowed the seeds of love Peggy Ramsay DUETS AND FOLK SONG Fowles in the Firth The Angler's Song Low down in the broom INTERVAL. Elegy on the death of Queen Mary Thomas Morley (1538-1603) MADRIGALS AND BALLET Have I found her? Come away, sweet love Draw on, sweet Night 99 Thomas Bateson (c.1600) John Bennet (c.1600) arr. Gerrard Williams arr. Gustav Holst arr. Gerrard Williams Henry Purcell (1658-1695) (13th Century) Henry Lawes (1595-1662) arr. Vaughan Williams Thomas Bateson (c.1600) Thomas Greaves (c.1600) John Wilbye (1574-1638) Antique Table and Chairs kindly lent by Arnold Mellor, Esq.

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1935 WED. 20 NOV. WED, 11 DEC. 1936 WED. 15 JAN. WED. 19 FEB. EGON PETRI (Piano Recital) KOLISH STRING QUARTET HENRY HOLST (Violin Recital) EDITH WALTON (Piano Recital) WED. 11 MAR. LENER STRING QUARTET TOWN HALL, FRIDAY, 27 MAR., 1936, HALLÉ ORCHESTRA (special concessions to Music Club members) THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING FIVE CONCERTS IS 18/- PAYABLE TO THE HON. TREASURER, TO MRS. HULL, 48, NEW NORTH ROAD, TEL. HUDD. 1094; OR TO LOTTIE NORTH, c/o MESSRS. KENNETH LEVELL LTD., MARKET STREET. TEL. HUDD. 2294. SINGLE TICKETS (5/-) FOR ANY CONCERT MAY BE OBTAINED FROM THE ABOVE, OR AT THE DOOR,

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HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, NOVEMBER 20, 1935 AT 7-45 EGON PETRI STEINWAY PIANO PROGRAMME Hon. Secretary Hon. Treasurer PRICE THREEPENCE ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield F. W. GADSBY, 1, Longley Road, Huddersfield

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PROGRAMME I Toccata in D minor. Nun komm' der Heiden Heiland (Choral Prelude). Prelude and Fugue in E flat major (St. Anne's). Sonata in E major, Op. 109. The first of these three works is the only one originally to be written for the clavier. Of the piano transcriptions Schweitzer writes: "There is more to be said for the transcription of organ works for the piano than for the reverse proceeding, since the piano, as Liszt said, is to music what engraving is to painting; it serves to multiply and desseminate works of art. When masters like Liszt and Busoni undertake to arrange Bach's organ works for the pianoforte, the intelligent player has not only the advantage of learning works from which he would otherwise be barred, but the aesthetic pleasure of finding organ effects cleverly realized on the piano. Bach, who was himself passionately devoted to the art of transcription, would have been delighted with the pianoforte apostles of his organ gospel." (E. Newman's translation). II Bach-Busoni Beethoven (1770-1827) Vivace ma non troppo Adagio espressivo Prestissimo Theme (Andante molto cantabile ed espressivo) and Variations This Sonata, a type of Fantasia-Sonata, was written in 1820. It is one of the three final Sonatas; all works of unusual design, rich in mellow beauty and deep philosophic thought, INTERVAL. The first movement opens with a theme woven amongst ascending and de- scending arabesques, which is twice interrupted by a short adagio passage. The movement dies away, only to be awakened by the fiery, restless Prestissimo with its rising melody and stamping basses. The mood quietens, but the passion breaks out again and presses towards the end with forward urging chords. The third (and final) movement consists of a theme with six variations. This melody, marked "songfull with intense emotion," is certainly one of Beethoven's most lovely inspirations, expressive of absolute happiness and peace. The Variations are a series of bright and varied images; the final one sinks tenderly into a repetition of the original theme.

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III Prelude, Choral and Fugue. César Franck (1822-1890) This work was first heard in 1885. Franck started with the intention of writing a Prelude and Fugue in the style of Bach; later he linked the movements together with a Choral. The themes are certainly Bach-like, but the work as a whole is entirely characteristic of Franck in its thematic development and polyphony, and especially in the way in which a single theme, or its shadow, is heard throughout the work, emerging gradually into its complete form. The Prelude is written in the usual form of the Prelude of the classical suite, but as early as the eighth bar the germ of the Fugue subject is heard. The Choral has two elements; an expressive phrase preparing the way for the subject of the Fugue, and the Choral itself, which is thrown up in relief from a troubled background. An interlude leads to the Fugue proper, which then passes through the usual stages of the exposition, after which the figure and rhythm of the Prelude return once more. The same rhythm continues through a restatement of the theme of the Choral. Soon the Fugue subject is heard again in the tonic key, and finally the three main themes of the work are combined to form a striking conclusion to one of the most notable contributions to piano literature. IV Six Studies after the Caprices of Paganini. Tremolo Andantino capriccoso La Campanella Arpeggio La Chasse Tema con Variazioni Liszt (1811-1886) Paganini's 24 Capricci for the violin were published about 1830. In 1831 Liszt first heard Paganini play, and apparently at once set about transferring his technical experiments and effects from the violin to the piano. The first version of the Grand Fantasie sur la Clochette de Paganini appeared in 1834, but it was soon withdrawn, probably on account of its almost insuperable difficulties. Twelve studies on the Caprices were originally announced, but an early version of these six studies (including a new arrangement of La Campanella) was published in 1838. They did not appear in their final form till 1851, and no more were added to their number. Schumann also used the Paganini Caprices as a basis for some studies, and Brahms wrote his Paganini Variations upon a theme from one of them. The Liszt studies themselves require no further comment. Tremolo and Arpeggio explain themselves. La Campanella (Bells) is perhaps the best known of all. La Chasse has delightful hunting-horn effects. The Tema has eleven variations. In all, they contain marvellous examples of piano effects allied to superb musical skill and charm, which call for the highest virtuosity and brilliance. The Studies have again been transcribed by Busoni, so that in their final version they bear the names of the three greatest virtuosi of music-Paganini, Liszt and Busoni.

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1935 WED, 11 DEC. KOLISCH STRING QUARTET Quartet in D major (K.575) Quartet in G minor, Op. 10, No.1 Quartet in B flat major, Op. 130, with the Grosse Fugue (First time at these Concerts) Mozart Debussy Beethoven 1936 WED. 15 JAN. HENRY HOLST (Violin Recital) WED. 19 FEB. EDITH WALTON (Piano Recital) WED. 11 MAR. LENER STRING QUARTET TOWN HALL, FRIDAY, 27 MAR., 1936, HALLÉ ORCHESTRA (special concessions to Music Club members) THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING FOUR CONCERTS IS 15/- PAYABLE TO THE HON. TREASURER; TO MRS. HULL, 48, NEW NORTH ROAD, TEL. HUDD. 1094; OR TO LOTTIE NORTH, c/o MESSRS. KENNETH LEVELL LTD., MARKET STREET. TEL. HUDD. 2294. SINGLE TICKETS (5/-) FOR ANY CONCERT MAY BE OBTAINED FROM THE ABOVE, OR AT THE DOOR, The Ladies Committee BRIDGE DRIVE (organized by the Ladies' in Whiteley's Café / by kind permission of F. whitely Sq). Tickets 3 Tues. 4 Feb. 1936 3/b.

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HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, DECEMBER 11, 1935 AT 7-45 INTERNATIONAL STRING QUARTET ANDRÉ MANGEOT WALTER PRICE UG Hon. Secretary Hon. Treasurer PROGRAMME MAX GILBERT BERNARD RICHARDS STEINWAY PIANO PRICE THREEPENCE ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield F. W. GADSBY, 1, Longley Road, Huddersfield

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THE COMMITTEE REGRETS THAT OWING TO ILLNESS THE KOLISCH QUARTET IS UNABLE TO APPEAR THIS EVENING. THEIR PLACE IS BEING TAKEN BY THE INTERNATIONAL STRING QUARTET.

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PROGRAMME Quartet in D minor (K. 421) I Allegro Andante Menuetto, Allegretto Allegro ma non troppo *Quartet No. 6 in G major II Fantaisia Minuet Air Sarabande *Two Fantaisies in four parts, No. 4 and No. 9 Mozart (1756-1791) Matthew Locke (1630-1677) III Purcell (1658-1695) *Transcribed by Peter Warlock and edited by André Mangeot INTERVAL OF TEN MINUTES. Dohnanyi (b. 1877) Quartet in D flat major, Op. 15 Andante e Allegro Presto acciacato Molto adagio-Animato, molto pui mosso

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1936 WED. 15 JAN. WED. 19 FEB. HENRY HOLST (Violin Recital) EDITH WALTON (Piano Recital) WED. 11 MAR. LENER STRING QUARTET TOWN HALL, FRIDAY, 27 MAR., 1936, HALLÉ ORCHESTRA (special concessions to Music Club members) THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING THREE CONCERTS IS 12/- PAYABLE TO THE HON. TREASURER; TO MRS. HULL, 48, NEW NORTH ROAD, TEL. HUDD. 1094; OR TO LOTTIE NORTH, c/o MESSRS. KENNETH LEVELL LTD., MARKET STREET. TEL. HUDD. 2294. SINGLE TICKETS (5/-) FOR ANY CONCERT MAY BE OBTAINED FROM THE ABOVE, OR AT THE DOOR. BRIDGE DRIVE (organized by the Ladies' Committee) Tuesday, 4 February, 1936, in Whiteley's Café (by kind permission of F. Whiteley, Esq.) Tickets 3/6.

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HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, JANUARY 15, 1936 HENRY HOLST At the Piano PROGRAMME AT 7-45 Hon. Secretary Hon. Treasurer JOHN WILLS (By courtesy of the B.B.C.) PRICE THREEPENCE ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield F. W. GADSBY, 1, Longley Road, Huddersfield

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Sonata in G major PROGRAMME I Andante Allegro Presto assai Tartini lived and worked almost entirely in Italy; in spite of most tempting offers to appear in London and Paris, nothing could induce him to visit these cities. As well as being a superb virtuoso, he wrote much music for his instrument; he also founded an important school of violin playing in Padua, and he introduced certain improvements in the construction of the bow. II Fantasia in C major for Piano and Violin, Op, 159 Four Pieces for Violin and Piano Tartini (1692-1770) Andante molto Allegretto Andantino con variazione Allegro vivace (a) Quasi Ballata (b) Appassionato (c) Un poco triste (d) Burleska Schubert (1797-1828) Josef Suk (1874-1934) Suk, who was widely known as a leading Czeck composer, visited the Music Club in 1920 as the second violin player in the Bohemian (Czeck) String Quartet. As a young man he became Dvorak's favourite pupil and later married his daughter. In 1924 he was elected director of the Prague Conservatiore. Suk writes with a deep understanding of stringed instruments; his style is poetic and melodious. INTERVAL OF TEN MINUTES.

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Sonatina Op. 80 Romanza Sibelius, the great Finnish composer, is possibly the finest symphony writer of the present time. His works for the violin include an outstandingly fine concerto, this Sonatina, a few smaller pieces for violin and piano, and one string quartet. Zephir Tango IV La fille aux cheveux de lin Lento Allegro Andantino Allegretto Scherzo Tarantelle Hubay (b. 1858) Fitelberg (b. 1879) Fitelberg became well-known as a conductor of the Warsaw Philharmonic Concerts in 1908. As a composer, he has been influential in the foundation of the Polish national movement, of which Szymanowski is the leader. Sibelius (b. 1865) V Sibelius (b. 1865) Debussy (1862-1918) Wieniawsky (1835-1880)

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1936 WED. 19 FEB. WED. 11 MAR. EDITH WALTON The programme will include Sonata in B minor by Chopin, and works by Scarlatti, Schumann, Beethoven and Liszt. LENER STRING QUARTET HALLÉ ORCHESTRA TOWN HALL, 7-30 p.m., TUESDAY, MARCH 24, 1936 Conductor: SIR HAMILTON HARTY Violinist: HENRY HOLST (special concessions to Music Club members) THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING TWO CONCERTS IS 8/6 PAYABLE TO THE HON. TREASURER; TO MRS. HULL, 48, NEW NORTH ROAD, TEL. HUDD. 1094; OR TO LOTTIE NORTH, c/o MESSRS. KENNETH LEVELL LTD., MARKET STREET. TEL. HUDD. 2294. SINGLE TICKETS (5/-) FOR ANY CONCERT MAY BE OBTAINED FROM THE ABOVE, OR AT THE DOOR. BRIDGE DRIVE (organized by the Ladies' Committee) Tuesday, 4 February, 1936, in Whiteley's Café (by kind permission of F. Whiteley, Esq.), at 7-30. Tickets 3/6, may be obtained from the Ladies' Committee. It is hoped that members will support this effort.

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HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, FEBRUARY 19, 1936 EDITH WALTON AT 7-45 BLÜTHNER CONCERT GRAND PROGRAMME Hon. Secretary Hon. Treasurer PRICE THREEPENCE ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield F. W. GADSBY, 222, Almondbury Bank, Huddersfield

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Pastorale Allegro in G major PROGRAMME I 32 Variations in C minor Beethoven (1770-1827) 1806 was a very fruitful year in Beethoven's life; in it he produced the 32 Variations, the piano Concerto in G, the violin Concerto in D, the fourth Symphony in B flat and the Leonora Overture No. 3. Beethoven frequently used the variation form; it was a style of composition which appealed strongly to his type of mind, with its power of grasping the various aspects of a theme, and his instinct for thematic development. In these Variations, however, Beethoven employs an older structural principal; so that the work is really a type of Chaconne, though it is not so entitled. The bass of the theme moves with the strong steps of the ground-bass, and the theme itself is in Chaconne time. It is true that the melody is used several times in the course of the variations, but the majority of these are founded upon the harmonic basis. The twelfth variation is the first one in the major key, and the four that follow it are variations upon that variation, the five together forming the major section of the work. Papillons Op. 2. Sonata in B minor, Op. 58 Scarlatti (1685-1757) Schumann (1810-1856) The work consists of an Introduction of six bars and twelve short dance-like pieces. The Finale is based upon an old tune (Grandfather's dance), combined with the theme of No. 1. Then the noise of the carneval dies away and the tower clock strikes six. Part of a letter from Schumann helps to explain the title, "Butterflies." He writes, "The air is so sweet and heavenly that I can wish for nothing but a carriage made of roses for an army of butterflies to draw home with gold and silver threads. Then I should say to them, 'Carry off the Papillons to Therese, Rosalie and Emilie,'" (his three sisters to whom he dedicated the work) Scherzo in E minor II Allegro maestoso Scherzo: molto vivace Mendelssohn (1809-1847) Chopin (1810-1849) Largo Finale: presto non tanto In the opinion of many critics the Sonata in B minor is a much finer work than the Sonata in B flat, written three years previously. To complaints of looseness of construction and lack of continuity, one may reply by pointing to Chopin's musical independence and unconventionality, his poetic genius and the richness of his imagination. The first movement of the Sonata is the most important. After a rich and brilliant opening, the second subject, a Cantilene in D, follows. The form of the remainder of the movement is easy to understand, and the conclusion is triumphant.

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The Scherzo has been described as "vivacious, charming and light as a harebell in a soft breeze." The Trio forms an effective contrast. The third movement is like a Nocturne, full of the tranquil beauty of the night; in the long middle section the composer meditates and dreams. In the Finale, after a vigorous introduction, the principal melody, marked agitato, is heard. It is accompanied by quavers, first in groups of three and then of four; finally these become groups of six semiquavers as the exuberance increases. Between the appearances of the principal subject are passages of sparkling brilliancy; and the whole is completed by a virtuoso-like Coda. INTERVAL OF TEN MINUTES. Variations on an original theme Pastorale (Angelus) III Theme-Arabeske-Capriccietto-Aria-Ballabile-Nocturne Tarantella (in double sixths) Mazurka-Petite Etude All Ungheresa (souvenir to Johannes Brahms)-Finale con Intermezzi. Gnomenreigen Hungarian Rhapsody Moriz Rosenthal (b. 1862) IV Corelli-Godowsky Liszt (1811-1886) Liszt, a Hungarian himself, had always been deeply interested in the art of his native land, particularly in that of Tzigane music. The result of this interest was seen in his Hungarian Rhapsodies, which appeared in their final form between 1851 and 1854. Much later Liszt added four more to the set, and a final one, the twentieth, remains still in manuscript. These works would possibly be more correctly named Gipsy Rhapsodies; all the authorities on Hungarian music from Bartalus down to Bartok and Kodaly have indignantly protested against the native folk-music being confused with the Gipsy music. In the Rhapsodies, however, Liszt reproduces with electrifying results the effects of a Tzigane band; the cymbalon taps and rattles, while the violins accompany the fantastic solos of their leader. All the pieces consist of two parts, the lassu, "a slow melody full of restless notes followed by long pauses;" and the friss, rhythmical and vigorous, becoming a wild orgy of sound and emotion.

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1936 WED. 11 MAR. LENER STRING QUARTET Quartet, Op. 76, No. 2. Quartet in C minor, Op. 2. Quartet, Op. 41, No. 3. (subject to alteration) Haydn Kodaly Schumann HALLE ORCHESTRA TOWN HALL, 7-30 p.m., TUESDAY, MARCH 24, 1936 Conductor: SIR HAMILTON HARTY Violinist: HENRY HOLST Music Club members may book at Messrs. K. Levell, Ltd., (Lottie North) Market Street, between Feb. 19th and March 2nd, (when the plan opens to the general public) on production of card. THE CLUB IS OPEN TO ALL. SINGLE TICKETS (5/-) FOR REMAINING CONCERT MAY BE OBTAINED FROM THE HON. TREASURER; FROM MRS. HULL, 48, NEW NORTH ROAD, TEL. HUDD. 1094; OR FROM MESSRS. KENNETH LEVELL LTD., (LOTTIE NORTH), MARKET STREET. TEL. HUDD. 2294.

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HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, MARCH 11, 1936 LÉNER QUARTET JENO LÉNER JOSEPH SMILOVITS PROGRAMME Hon. Secretary Hon. Treasurer AT 7-45 4 SANDOR ROTH IMRE HARTMAN PRICE THREEPENCE ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield F. W. GADSBY, 222, Almondbury Bank, Huddersfield

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PROGRAMME I Quartet in D major, Op. 76, No. 5 Allegretto-Allegro Largo, cantabile e mesto Menuetto and Trio Finale-Presto Quartet No. 1 in C minor, Op. 2 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." And in his quartets Haydn shows all his qualities of lucidity, perfect finish, inexhaustible invention, humour and freshness. His themes are often shorter and more pithy than Mozart's, and have a greater rhythmic elasticity. He was, indeed, the inventor of the rhetorical pause. He divided the musical interest more equally between the four instruments, thus foreshadowing the polyphony of the modern quartet. This quartet is the fifth of a set of six, dedicated to Count Erdödy, and written after Haydn's second visit to London. The first movement has a light-hearted dance theme, which proceeds through a series of variations. In the second movement, the first violin opens with a slow, singing melody in the key of F sharp major; this is one of the great melodies of music, full of emotion and beauty. It is developed at length and in its course is twice reduced to an almost completely static state. The theme of the Menuetto is clearly derived from that of the slow movement; the Trio, in a contrasting minor key, has an important cello part. The Finale is founded upon a folk dance, the Kolo, which comes from Bosnia and Dalmatia. It makes a bright and happy ending to one of Haydn's finest quartets. II Haydn (1732-1809) Andante poco rubato- Allegro Lento assai, tranquillo Presto Allegro Kodály (b. 1882) Zoltán Kodály and Bela Bartok, the two leaders of modern Hungarian music, have done much valuable research into Hungarian folk-song. They have collected the music from the peasants themselves, the Kodály collection itself numbering almost 4000 specimens. Both of them have founded their works upon the national idiom, each reacting to it in his own individual way. Kodály's output is small; he has no lack of invention, but he applies a keen and unsparing criticism to everything he produces. His work has a striking individuality, though, through a closer study of it, one finds traces of the influence of the modern French school. "He does not abandon tonality and the accepted forms, but creates a new music of astonishing vitality within their limits." (Grove). Perhaps his best-known work in England is the "Psalmus Hungaricus," a choral work of great power and beauty. This quartet (the first of his two quartets) was written in 1908. The style, as in most of his string writing, is mainly contrapuntal. INTERVAL OF TEN MINUTES.

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III Quartet in A minor, Op. 41, No. 1 Andante espressivo-Allegro Presto Adagio Presto Schumann (1810-1856) The year 1842 was in Schumann's life one rich in the composition of chamber music. In the Spring he devoted himself to an intensive study of the quartets of Mozart and Haydn. The following June and July he composed the three quartets which form Op. 41, his first attempt in that form excepting for an early quartet which never appeared. Schumann dedicated these works "to his friend Mendelssohn," and all three were enthusiastically received. They are, however, not examples of fine string writing, (Schumann himself played no stringed instrument); they have traces of a piano style, which in itself has led to many new and lovely effects in them. Many consider that this quartet (A minor) is the most original and beautiful of the three, full of richness and poetry. The first movement opens with an expressive introduction (originally intended to be played con sordini). The Allegro in 6/8 time is vigorous with strongly marked accents. A lively Scherzo has for its middle section a smooth, sustained Intermezzo. A rich and melodic Adagio is followed by a final Presto. It is hoped to continue these Concerts next season, but increased public support is essential. The Committee would welcome any suggestions from members.

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THE LENER STRINO CUARTET RECORD Home Entertainment to Perfection by the LÉNER QUARTET (Léner, Smilovits, Roth and Hartman) Columbia Records MAGIC NOTES TRADE MARK HAYDN QUARTET ("The Emperor ") Four Records, LX451-4 (6s. each). In Album, 24s. RAVEL QUARTET in F Four Records, LX270-3 (6s. each) In Album, 24s. BRAHMS QUARTET in C MINOR 4 Records, LX228-31 16s. each) In Album, 24S. DVORAK QUARTET ("Nigger") LX183-5 (6s. each'. Three Three Records, MOZART QUARTET in B FLAT Three Records, L2261-3 (6s. each). DEBUSSY QUARTET in G MINOR L2141-4 (6s. each) In Album, 24s. ANDANTE CANTABILE (From Tchaikowsky Quartet No. 1) Two sides, LX393 (6s.) On sale at your Local Dealers Four Records, BEETHOVEN QUARTETS-Nos. 1, 2, 3, etc. to No. 16 and GROSSE FUGE, Op. 133, have been recorded by this famous Ensemble. Complete details and particulars of other Léner Quartet Recordings sent post free: Columbia, Clerkenwell Road, London, E.C.I. Columbia EXCLUSIVELY FOR COLUMBIA RECORDS Complete List of their Records from Columbia, 98-108, Clerkenwell Road, London, E.C.1.

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beberaberdeperder 11 moso HALLÉ ORCHESTRA Tuesday, March 24th, 1936 at 7-30 p.m. in the Town Hall Conductor - Sir Hamilton Harty Violinist Henry Holst Programme Sixpence MRS. H. AINLEY MISS BODEN, M.A. MRS. W. F. CLAYTON MISS D. DONALDSON Miss K. M. EVANS, B.A. MRS. A. E. EVEREST, Hon. Treas. Promoted by the Ladies' Committee, Huddersfield Music Club Committee: pornoideidebe serderderderderderd MISS FREEMAN, J.P. MRS. D. H. HIRST MRS. A. E HORSFALL MRS. A. W. KAYE MRS. R. STEWART PARK MRS. I. SILVERWOOD bordon ender MRS. A. E. HULL, F.R.C.O.) Hon. MISS A. SHAW, L.R.A.M. Secs. MIS; E. SPIKES MISS E. WHITWAM, L.R.A.M. MISS W. K. WILLANS groo bemerereine.ceperanonendi

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Contentment of Every hour of every day some thoughtful man or woman is making the happy choice the choice of security, independence and happiness in a home of their own. Let the "Halifax" assist you to buy your House, you can obtain a generous advance with easy repayments. ASK FOR THE LATEST BOOKLET DRITTO of Home ***** SHOHOY 20 20 HALIFAX BUILDING SOCIETY General Manager Sir Enoch till THE LARGEST IN THE WORLD HUDDERSFIELD BRANCHES-CLOTH HALL STREET & 8, MARKET PLACE lead Ofices

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YOU MUST HAVE QUALITY WALLACES for High Class GROCERIES & PROVISIONS Central Stores . 8 King Street 'Phone 502 HUDDERSFIELD 'Phone 3772 Do you enjoy your Sunday Evenings? or are your "hours of rest" haunted by the shadow of Monday's wash? Take the rub-a-dub-tub horror out of your week. The Huddersfield Sanitary Laundry will do the work better than the best of home washing, and cheaper too. We will call for and deliver your work. Most careful laundering at lowest prices. At this season you will be well advised to consult us regarding the care of your Evening Wear Huddersfield Sanitary Laundry, Dyers and Cleaners, Wiggan Lane, Sheepridge Telephone: Hudds. 384

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Telephone 898 to .... BLACKBURN'S 12 Victoria Lane, (our only address) The GEORGE HOTEL Huddersfield Proprietor H. A DUCKSBURY For all your floral requirements and garden necessities FIRST-CLASS COMMERCIAL HOTEL ADJOINING THE RAILWAY STATION Large and Well-Lighted STOCK ROOMS PRIVATE SUITES H. AND C. 56 ROOMS SPECIAL BED COMFORT SUPPERS AFTER THE CONCERT Telephone Nos. 3271, 3272 & 3282 Telegrams "GEORGE HOTEL"

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SIR HAMILTON HARTY AND THE LONDON SYMPHONY ORCHESTRA RECORD EXCLUSIVELY FOR DECCA SIR HAMILTON HARTY conducting the LONDON SYMPHONY ORCHESTRA. Leader GEORGE STRATTON. WILLIAM WALTON SYMPHONY X108- X113 Complete in Album with descriptive Leaflet by EDWIN EVANS. 30s. K792 KING LEAR, Overture-Parts 1 and 2 (Berlioz) K793 KING LEAR, Overture MARCH TROYENNE part 3. (Berlioz) K795 INTRODUCTION (Handel, Trans. Hamilton Harty). (a) RIGAUDON (b) POLONAISE K796 ARIETTA. (Handel, Trans. Hamilton Harty) PASSACAGLIA 10" 2/6 each DECCA 1 THE MUSIC LOVERS RECORD Supplied by Miss LOTTIE NORTH AT KENNETH LEVELL, Ltd. THE HOME OF LIGHT & MUSIC MARKET STREET, HUDDERSFIELD PHONE 2294

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Programme GOD SAVE THE KING Smetana (1824-1884) Smetana, one of the greatest of Bohemian composers, first appeared as a pianist and later (1866-1874) became the conductor of the National Theatre of Prague. He had to resign from this appointment on account of his increasing deafness Mental disease followed ; one note, sounding incessantly in his head, finally caused insanity. He wrote eight operas. "The Bartered Bride," founded upon a village idyll, simple and merry, was produced in 1866. Overture "The Bartered Bride" The Overture begins with a spirited passage for strings and wood-wind, which is continued by strings only, and finally the violins alone. A fugato follows, and leads to a smoother and quieter second subject. Two further themes are heard, one in the oboes and another in the violins. The development follows the usual course. A Coda, based on the first theme, has vivid alternations of fortissimo and piano. Concerto for Violin and Orchestra, No. 3 in G major. (K.216) Allegro Adagio Rondeau-Allegro HENRY HOLST Mozart (1756-1791) Mozart wrote five violin concertos in 1775. These works are fine examples of his "gallant" style at that period. Possibly they were partly written for his own use. His father was most anxious that his son should continue his violin studies. He writes: "You have no idea how well you play the violin... you would be the first violin player of Europe." This Concerto is scored for strings, oboes and horns; in the slow move- ment flutes are added. The first movement opens with the usual lengthy tutti before the entry of the solo instrument. The construction is perfectly regular, and the general effect is one of gaiety and grace. The second movement has the principal theme in the muted violins; which theme the solo instrument, on its entry, repeats an octave higher. The flutes play the second subject, again repeated and ornamented by the solo violin. The delicate charm of this move- ment is enchanting. The Finale (Mozart himself spells Rondeau in the French fashion, a clue to the French form and style of the music) opens with a theme in 3/8 time. This is interrupted by a short Andante in the minor key, followed by an Allegro in the major and again by the Rondo itself. The Coda is given to oboes and horns. Chasse Royale Funeral March for "Hamlet" Overture "Beatrice and Benedict" Berlioz (1803-1869)

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I. This famous Symphonic Entr'acte-The Royal Hunt-is taken from the second part of "The Trojans," an opera of immense magnitude foundedupon Virgil's "Aeneid," which Berlioz completed in 1856. The scene is laid in a forest near Carthage. Naiads appear dancing and sporting in the clear waters of the pool. The notes of a horn are heard in the distance; the noise of the hunt comes nearer and huntsmen cross the stage. As they pass, the storm gathers and increases in fury. Dido and Aeneas appear; they are lost in the storm. Gradually the violence subsides, and the sound of the horn dies away in the distance. Only the dancing Nymphs and Fauns are left on the stage. As a piece of descriptive writing, this Entr'act has never been surpassed. The flourishes of the brass instruments and the crash of the storm are almost overwhelming in their effect. II. The Funeral March for the last scene of "Hamlet " was written in 1848. It is one of Berlioz's most ambitious efforts as an illustrator. It is little known and very seldom performed. We are indeed fortunate in hearing it for the first time under the direction of so eminent an interpreter of Berlioz. One may note in passing that just as Dante and Goethe were Liszt's two great literary inspirations, so Shakespeare and Virgil were Berlioz's. III. "Beatrice and Benedict " was first performed at the opening of the new theatre at Baden in 1862. (Its first performance in this country takes place in Glasgow this week). It is based upon Shakespeare's "Much Ado about Nothing." The Overture begins, Allegro scherzando, with a charming, lilting theme in triplets. A slower section, Andante un poco sostenuto, follows, but the first Allegro soon returns. A joyously rhythmic theme, and a smoothly flowing melody in the violins form the remainder of the material. The triplet figure of the opening theme is heard almost continually, giving to the Overture a delightful gaiety and sparkle. INTERVAL OF TEN MINUTES Symphony No. 4 in E minor Allegro ma non troppo Andante con moto Allegro giocoso Finale-Allegro energico e passionato Brahms (1833-1897) Brahms's fourth Symphony was first performed at Meiningen in 1886, and the following year in London. It was for a long time not fully understood, partly, no doubt, because it is the most profound and personal of all his works. The choice of the key of E minor is unusual, and Riemann has pointed out a strong resemblance between the principal subject of the first move- ment and the melody of "Behold and see if there be any sorrow" from Handel's Messiah. Tovey remarks that this Symphony is one of the rarest things in classical music, a Symphony which ends tragically. He is, of course, referring to the famous Passacaglia-a Finale whose form is unique in symphonic construction, and, though a technical tour de force, one which has a range so vast and a power so tremendous that the listener forgets the problems of its construc- tion in the mighty sweep of its span. I. The first movement opens at once with the principal subject, a boldly stepping melody, in the violins with a harp-like accompaniment. After some repetition and elaboration, a spirited triplet and staccato episode, principally in the wood-wind, leads to the smoother and more tender second subject. A resumption of the first subject, again in the violins, opens the development section with its many changes of key and use of fragments of the themes. A regular recapitulation follows; and the final section builds up a great climax of massive power. (continued overleaf)

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D II. The Andante begins with a heroic unison call in the horns, to which. the wood-wind are added. In the fourth bar the principal theme, which continues the same steady movement, is heard on the clarinet with a pizzicato accompaniment. After some working, a staccato triplet figure breaks out, but the movement quickly subsides and then a new subject, a smooth cello melody, enters with a rich accompaniment in the strings. Further repetitions of these themes make up the remainder of the material. Six bars from the end, the horns repeat their first call, their accompaning harmony being in the Phrygian mode. III. The Scherzo, perhaps the greatest ever written since Beethoven's, has a mood of almost rustic and blustering energy, with its powerfully marked accents. A graceful theme for the violins gives the necessary contrast. The remainder of this very compact movement is based on these two themes or on fragments of them, tossed from instrument to instrument. Added colour is given by the use of the piccolo, the double-bassoon and the triangle, the last being employed with most unusual freedom. IV. The Finale is a Passacaglia-a series of thirty-one variations with a Coda upon a theme of eight notes (E. F sharp, G, A, A sharp, B, B, E). This theme is boldly stated by the trombones, supported by the other wind instruments, as the melody of a short passage of eight bars (one note to each bar). Thereafter the theme appears first in one part, now in another with perfect regularity; but the variety, freedom and range of its expression is immense. Detailed analysis of all the variations is impossible. The listener need not trouble if he is not always able to trace the theme through the complexities of sound. The whole forms one gigantic, unified mass, which moves forward to an impressive and tragic conclusion. Advertising and General Printers in Black and White or Colour Netherwood, Dalton and Company Limited Caxton Works, Bradley Mills Huddersfield 'Phone 401

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HUDDERSFIELD Building Society House Purchase Exceptional facilities are offered to those desirous of purchasing house property. Liberal loans are granted at low rates of interest with the most advantageous terms of repayment. Investments The regular saver will find that the Investing Share Department is the ideal medium for the investment of his saving. Compound interest at 3% is allowed to- gether with an annual bonus. An investment of 10/- per lunar month with interest becomes £100 in 12 years 9 months. In the Deposit Department sums from £1 to £5000 may be invested at interest of 21% income tax paid. Head Office : Britannia Buildings, Huddersfield