HUDDERSFIELD MUSIC CLUB. CONCERTS FOR THE NINETEENTH SEASON 1936-37 TO BE GIVEN IN HIGHFIELD ASSEMBLY HALL (NEW NORTH ROAD) WEDNESDAYS, OCT. 28, NOV. 11, DEC. 9, 1936. WEDNESDAY, JAN. 13, MONDAY, FEB. 1, WEDNESDAY, MARCH 10, 1937. At 7-45 p.m. (Please note change of day of fifth concert) PA Mrs. A. E. Everest. Mrs. A. E. Hull, F.R.C.O. Miss A. Shaw, L.R.A.M. Percy Ainley. W. Clifford Crook. A. G. Crowther. Hon Secretary Hon. Treasurer - ww Committee: President: A. L. WOODHEAD, M.A., J.P. J. Stancliffe Ellis. Mrs. H. Ainley.- Miss B. Armitage, L.R.A.M. Mrs. W. F. Clayton. Miss D. Donaldson. Mrs. C. Earnshaw. Miss K. M. Evans, B.A. Mrs. A. E. Everest. Miss Freeman, J.P. Mrs. Denys H. Hirst. Mrs. A. E. Horsfall. Irving Silverwood. F. W. Thornton, M.R.C.S., L.R.C.P. Fredrick Whiteley. D. R. H. Williams. ALBERT LUNN, 7, West Avenue, Daisy Lea Lane. F. W. GADSBY, 222, Almondbury Bank Tel. 2763. Ladies' Committee: Mrs. A. E. Hull, F.R.C.O. Mrs. G. G. Jarmain. Mrs. A. W. Kaye. Mrs. R. Stewart Park. Miss A. Shaw, L.R.A.M. Mrs. I. Silverwood. Miss E. Spikes. +Miss E. Whitwam, L.R.A.M. Miss W. K. 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, Messrs. K. Levell, Ltd., Market Street. Tel. Hudd. 2294).

WEDNESDAY, 28th OCTOBER, 1936. MORIZ ROSENTHAL. THE MASTER PIANIST OF THE DAY. "Rosenthal is the perfect pianist.... In him a whole school of poetry, not only of piano playing, comes to that focus where the greatest number of vital forces unite in their purest energy. Let us cherish the master while we may; we shall not look upon his like again." N.C., Manchester Guardian. "The consummate artist." Daily Telegraph WEDNESDAY, 11th NOVEMBER, 1936. WEISS ** STRING QUARTET. "Quartet playing at its best.' Berlin-Allgemeine Musikzeitung. "Such playing is rare; it has been one of the discoveries of the present season. London-Daily Telegraph. "Certainly a quartet of unique qualities." Amsterdam-Algemeen Handelsblad. (VIENNA) WEDNESDAY, 9th DECEMBER, 1936. KEITH FALKNER. THE FAMOUS ENGLISH SINGER. "Keith Falkner is a great singer and a great artist." London-The Star. "Not only the possessor of a voice of great natural beauty but also a musician and interpreter of a high order." New York Times.

WEDNESDAY, 13th JANUARY, 1937. POUGNET-MORRISON- PINI TRIO. JEAN POUGNET (VIOLIN). ANTHONY PINI ('CELLO). ANGUS MORRISON (PIANO). "A Trio of fine talent." "Ensemble playing of a remarkably finished quality." MONDAY, 1st FEBRUARY, 1937. (Please note change of day) Observer. Morning Post. GIESEKING. First appearance in Huddersfield of this brilliant interpreter of modern music. WEDNESDAY, 10th MARCH, 1937. KOLISCH STRING QUARTET. "The very perfection of quartet playing." The Times. "The Kolisch Quartet are a remarkable group of musicians who play and even rehearse without music. The result is an extraordinary intimacy of ensemble,' Sunday Referee. Paul Stefan. The Toscanini among all the quartets in the world."

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, OCTOBER 28, 1936 LOUIS KENTNER AT 7-45 STEINWAY CONCERT GRAND PROGRAMME Hon. Secretary Hon. Treasurer PRICE THREEPENCE ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield F. W. GADSBY, 222, Almond bury Bank, Huddersfield

PROGRAMME I Variations on "Weinen, Klagen, Sorgen, Zagen." Liszt (1811-1886) As July 31st, 1936 was the fiftieth anniversary of the death of Liszt-the incomparable virtuoso of the piano, a composer now realized to be far in advance of his time, and the friend of musicians--it is very suitable that we should begin this season with a concert in which so many of Liszt's works will be heard; and fortunate, too, that they should be interpreted by a pianist of the same nationality as that to which Liszt himself belonged and held so dear. We are now appreciating the great influence Liszt has had upon the composers who have succeeded him. A careful study of Wagner's music reveals an amazing number of instances in which his indebtedness is seen to Liszt's harmonic invention. The French impressionistic composers have only followed the lead which Liszt gave to them in such works as "Les jeux d'eaux à la Villa d'Este"; the modern one-movement sonata-form (abandoned since the works of Scarlatti) is clearly derived from Liszt's examples; while pieces like "Nuages gris" point unmistak- ably to the writings of Bartok. Liszt's symphonic poems are the forerunners of the works by Strauss, and even the writings of Franck have clear traces of this powerful influence. Apart from this, it is hardly necessary to point out the enormous part Liszt took in the development of the art of writing for the piano and of piano technique. These Variations are founded upon the descending chromatic bass from the Crucifixus of Bach's Mass in B minor, which theme in its turn was taken from an earlier Cantata, "Weinen, Klagen, Sorgen, Zagen" ("Weeping, wailing, grieving, despairing"). This is a work of great harmonic boldness and of a deeply spiritual and dramatic nature. Opening quietly, it develops a climax of much power, after which the Choral "Was Gott tut, das ist wohlgetan” (“What God does is right and good") is heard. Mr. Sitwell compares this work to a Gothic structure encrusted, so to speak, with Baroque decorations. Sonata in C major Op. 53 II Allegro con brio Introduzione (Adagio molto) Beethoven (1770-1827) Rondo (Allegro moderato) This Sonata is dedicated to Beethoven's friend and patron, Count Waldstein. Its form is unusual. A first movement, rhythmic and colour- ful, is followed by a romantic Adagio molto, which leads without a break to the final vivacious Rondo with its fine Coda. Beethoven originally intended the well-known Andante in F to form the slow movement, but he later discarded the idea in favour of the present slow Introduction.

Ballade in G minor Op 23 Ballade in A flat major Op. 47 Chopin (1811-1849) (a) In none of Chopin's compositions does he surpass the beauty, fire and nobility of conception which are to be found in the four Ballades. The title is, indeed, a little misleading, for the scope of these works is much wider than that of the traditional ballad of literature. Schumann called this first Ballade in G minor "one of his wildest and most individual compositions," and added that Chopin himself told him that for all the Ballades he drew his inspiration from the poems of Mickiewicz, the Polish patriot and poet. This Ballade is full of the most poetic and intense inspiration; alternating moods of calm and agitation lead to a mad concluding climax. (6) The third Ballade is the popular one in A flat major. It is not so deeply emotional in feeling, but it contains melodies of great nobility and charm, which again rise to a noble climax. (a) (b) Au bord d'une source (c) Nuages gris III INTERVAL OF TEN MINUTES. IV (d) Feux Follets (e) (f) Bénédiction de Dieu dans la solitude La Leggierezza Rákóczy March Liszt (1811-1856) (a) This piece is No. 3 of the "Harmonies poetiques and religieuses," which owe their inspiration to the poems of Lamartine. Prefixed to this piece as its motto are lines in which the poet asks from whence comes this heavenly peace and faith to his troubled, restless, searching heart, by the power of which he feels himself reborn. It is a rhapsody-like piece of exquisite beauty. (b) At the whispering of Dawn Nature, awakening, Begins once more her play Schiller. There are three sets of pieces collected under the title of Années de Pélerinage (Years of Pilgrimage). Of these the first book, of which this is the fourth piece, deals with Swiss scenes. This is one of the outstandingly fine pieces of the entire work, completely original in conception and successful in effect. It is actually a descriptive tone-poem for the piano, representing the poetry of an Alpine stream. (c) "Nuages Cris" is one of Liszt's latest piano pieces, and only recently published for the first time. Although short, it shows an amazing modernity both in its harmony (which has been compared to that of Bartok and Schönberg) and in the exceeding starkness of its style, making a most interesting contrast with the earlier works. (d) This piece ("Will o' the Wisp") is the fifth of the tre- mendous Transcendental Studies. It is also an impressionistic picture; and the interpretation of its lightness, grace and rapidity calls for an extremely high order of virtuosity. (e) "La Legierezza" is the name scmetimes given to the second of a set of three concert studies which date from 1849. That is the year of Chopin's death; is it too fanciful to trace the influence of Chopin's delicate, fairy-like melodic movement in the passage-work of this piece. (f) The Rakoczy March is based upon the well-known Hungarian melody. It is wild and stirring to an amazing degree. It forms another instance of the tribute always paid to Hungary by her great son.

1936 WED. 11 NOV. WED. 9 DEC. WEISS STRING QUARTET KEITH FAULKNER 1937 WED. 13 JAN. POUGNET-MORRISON-PINI TRIO MON. 1 FEB. WALTER GIESEKING WED. 10 MAR. KOLISCH STRING QUARTET THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING FIVE CONCERTS IS 18/- PAYABLE TO THE HON. TREASURER. SINGLE TICKETS, 5/-, MAY BE OBTAINED FROM THE HON. TREASURER, FROM MESSRS. KENNETH LEVELL LTD, (LOTTIE NORTH), MARKET STREET, FROM MRS. HULL, 48, NEW NORTH ROAD. OR AT THE DOOR.

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, NOVEMBER 11, 1936 AT 7-45 WEISS STRING QUARTET LILY WEISS LOTTE SELKA FRIEDA KRAUSE PROGRAMME EDITH STEINBAUER Hon. Secretary Hon. Treasurer PRICE THREEPENCE ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield F. W. GADSBY, 222, Almondbury Bank, Huddersfield

PROGRAMME I Quartet in G major, Op. 77, No. 1 Quartet in F major Allegro con spirito Adagio sostenuto Presto (Menuet and Trio) Allegro ma non troppo Among the wealth of music which Haydn's genius poured out there are known to be 77 string quartets, 104 symphonies, 52 sonatas for the piano, and at least 87 works in a similar form for other combinations of instruments. Sonata-form (which, of course, includes quartets and symphonies as well as the Sonata as we generally understand the term) was brought to its modern perfection by Haydn, who indeed used that form, as we have seen, so extensively that it was said that "Haydn thinks in Sonatas." But it spite of this great volume of music, Haydn's inspiration never seems to falter; each work possesses its own individuality and charm to an amazing extent. This quartet is the first of a set of six, dedicated to Count Erdödy and written shortly after Haydn's second visit to London in 1795, After three vigorous chords, the first movement opens with a fugato-like passage; a unison passage leads to the more gentle second subject. The development and re- capitulation are clear and easy to follow. The Adagio is quiet and songful, with passages of delicate figuration. The Menuet and Trio are simple and playful; in the latter, the violin melody is throughout accompanied by pizzicato chords. The Finale opens with a strong unison passage, and, except for some quieter episodes, keeps up the cheerful bustling triplet rhythm. Haydn (1732-1809) II Allegro moderato Assez vif, très rythmé Très lent Vif et agité Ravel (b.1875) Although Ravel is one of the most important modern French composers, he is not of purely French origin; his father came of a French-Swiss family while his mother was Basque. It is from the latter that he inherits so many

of the Spanish traits which are to be found in his music-the gay outlook on life, the feeling for light and colour and his use of the complex rhythms of Spain. But added to these qualities are found the virtues of French culture-craftsmanship, restraint, fastidiousness, intelligence, wit, purity of form and style, and unerring taste and balance. His output is relatively not large; he has only written one work for string quartet; this, in its delicacy and clarity and the finish of its sound-texture, has been called the "best-sounding" quartet ever written. It is dedicated to his master Gabriel Fauré, and the first movement opens in an almost Fauré-like manner; soon it developes its own character and style, with many changes of colour and tempo. The second movement is really an original. form of a Scherzo, with a contrasting section of much melodic charm. The slow movement is complex in style, with fleeting references in it to the first movement ; it ends with a wonderful raising of all four instruments to their highest registers. The final movement (in 5/8 time) is gay and rhythmical, INTERVAL OF TEN MINUTES. Quartet in D minor, Op..posth. III Schubert (1797-1828) Allegro Andante con moto Scherzo and Trio (Allegro molto) Presto Schubert wrote, in all, fifteen quartets; of these, the finest examples are the quartets in A minor, D minor and G major. This work (the Quartet in D minor) dates from 1826 but was not published before Schubert's death. It was written during a period of illness and depression. It opens with a dramatic motive, which reminds the listener vividly of the motive of "Fate knocking at the door" from Beethoven's Symphony in C minor. This is followed by a long- drawn melody on the violin, As a whole this movement is less lyrical and more dramatic than much of Schubert's chamber music style. The Variations of the second movement deal with the thought of death; they are founded upon the theme of Schubert's famous song "Death and the Maiden." The Scherzo is a return to life, with its sharply-pointed rhythms; the Trio is gentler and more flowing. The Finale opens with a vigorous unison passage, and, throughout, the movement is full of rhythm and life.

1936 WED. 9 DEC. KEITH FALKNER Songs by John Blow, Handel, Schubert, Toye, Stanford, Parry, Goossens and Armstrong Gibbs 1937 POUGNET-MORRISON-PINI TRIO WED. 13 JAN. MON. 1 FEB. WALTER GIESEKING WED. 10 MAR. KOLISCH STRING QUARTET THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING FOUR CONCERTS IS 17/6 PAYABLE TO THE HON. TREASURER. SINGLE TICKETS, 5/-, MAY BE OBTAINED FROM THE HON. TREASURER, FROM MESSRS. KENNETH LEVELL LTD, (LOTTIE NORTH), MARKET STREET, FROM MRS. HULL, 48, NEW NORTH ROAD. OR AT THE DOOR. WED. 2 DEC. Musical Evening in Highfield Hall at 7-45 p.m. Concert by members of the Music Club. Coffee. Any member not having received an invitation is asked to communicate at once with Mrs. Hull, 48 New North Road, to whom all replies (with applications for cards of admittance) should be addressed. PRELIMINARY NOTICE. HOLME VALLEY MALE VOICE CHOIR CONCERT TOWN HALL, HUDDERSFIELD, SATURDAY, DECEMBER 5th at 7-30 p.m. Artistes : GARDA HALL Soprano Violinist Tickets available at J. Wood & Sons, Ltd., New Street, Huddersfield, in due course MAURICE CLARE

The Committee begs to announce that owing to indisposition KEITH FALKNER is unable to appear to-night. His place will be taken by ASTRA DESMOND. PROGRAMME. 1. Dank sei Dir. There in Myrtle shades. (from Hercules/ 3 Ich Liebe dich. Wonne der Wehmuth. Der Zwerg. II. Gesegnet sei das Grun Wo find ich trost. Auf einer Wanderung. Bedeckt mich. Frühling übers Jahr. III Rustle Sedges Forget-me-nots. A Spring Song. Rock 0 Wave. The Way of the World. The First Meeting. Thanks for Thy Warning IV INTERVAL of 15 MINUTES Rondel. Evening. Sweet Venevil. Seagull of the land under Wave Hebridean Sea Reivers. Handel. Accompanist. Beethoven. Schubert. Hugo Wolf. Sibelius. Kilpinen. Grieg. Elgar. Bantock. Delius. Kennedy Fraser. Norman Franklin.

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, DECEMBER 9, 1936 KEITH FALKNER AT THE PIANO PROGRAMME Hon. Secretary Hon. Treasurer AT 7-45 M.P MICHAEL MULLINAR PRICE THREEPENCE ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield F. W. GADSBY, 222, Almondhury Bank, Huddersfield

Important Announcement Town Hall, Huddersfield Friday, Feb. 5th, 1937 THE HALLÉ ORCHESTRA Conductor: Sir Hamilton Harty Pianist: Egon Petri Plan will be open at Messrs. Kenneth Levell (Lottie North) Market Street, on Monday, Jan. 18th

1 Zum neuen Jahr Im Grab Nachtstück PROGRAMME Vittoria, Vittoria Self banished Revenge Timotheus cries (Alexander's Feast) Litanei Freude der Kinderjahre Nay but you who do not love her The Chapel on the hill } The bold unbiddable child When we two parted To Althea from prison I II Pious Celinda When Arthur first in Court began INTERVAL OF FIFTEEN MINUTES III IV Dear Heart, why will you use me so? Cool is the valley now I hear the noise of many waters Mönch von Salzburg (14th Cent.) arr. Paumgartner } Carissimi (1604-1674) John Blow (1648-1708) Handel (1685-1759) Schubert (1797-1828) Toye (b. 1883) Stanford (1852-1924) Parry (1848-1919) Goossens (5. 1893) "from Chamber Music " words by Jaines Joyce Armstrong Gibbs (b. 1889)

1937 WED. 13 JAN. POUGNET-MORRISON-PINI TRIO Trio in E flat, Op. 40 Trio in A minor Trio in B Flat, Op. 97 MON. 1 FEB. WALTER GIESEKING WED.. 10 MAR. KOLISCH STRING QUARTET Brahms Ravel Beethoven THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING THREE CONCERTS IS 12/- PAYABLE TO THE HON. TREASURER. SINGLE TICKETS, 5/-, MAY BE OBTAINED FROM THE HON. TREASURER, FROM MESSRS. KENNETH LEVELL LTD, (LOTTIE NORTH), MARKET STREET, FROM MRS. HULL, 48, NEW NORTH ROAD, OR AT THE DOOR.

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, JANUARY 13, 1937 THE POUGNET-MORRISON-PINI TRIO JEAN POUGNET (Violin) AT 7-45 ANGUS MORRISON (Piano) PROGRAMME ANTHONY PINI (Cello) PRICE THREEPENCE Hon. Secretary ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield F. W. GADSBY, 222, Almondbury Bank, Huddersfield Hon. Treasurer

PROGRAMME Trio in E flat major, Op. 40 Trio in A minor I Andante: Poco piu animato Scherzo. Allegro: molto meno allegro Adagio mesto Finale. Allegro con brio. This Trio was originally written for piano, violin and horn; and though in performance the viola or cello is frequently substituted for the horn, it is really unfortunate that a work, whose conception and colouring are so completely based upon the characteristics of that instrument so beloved by Brahms, should not be heard in its original form. In the Spring of 1865 Brahms's mother, to whom he was deeply and tenderly devoted, died. From his grief two works emerged-the German Requiem (which, Kalkbeck states, was first suggested to his mind by the shock of Schumann's death a few years earlier) and the Horn Trio, which has been called a "miniature requiem." Whatever may have been the inspiration, the first, second and third movements of the Trio are sombre in colouring and not until the fourth move- ment does any real joy enter into it. It has also been called "an Eichendorff romance in four parts, each a German woodland song that wakes old legends." Out of these green shades the fresh flourishes of the huntsman's horn, at the opening of the last movement, rouses the hearer abruptly. The first movement is particularly original. It opens with an Andante, which is twice interrupted by a more agitated episodic section. For the first and only time Brahms abandoned the Sonata form for his opening movement. The themes are short and incisive. There is no attempt at development; a broadly varied repitition suffices, which all the more deepens the impression of woodland voices singing. The second movement, with its regular beat, takes us past the forest smithy; for the Trio the postillion plays his old-world folk-tune. The eighty-six bar Adagio is a complete contrast. Even Brahms rarely wrote such moving and heart-felt music. At the sixty-third bar a hint of the theme of the final movement is heard. This theme is entirely inspired by the music of the hunting horn, and the whole movement is vigorous and lively. Brahms (1833-1897) II Modéré Pantoum : assez vij Passacaille : très large Finale: animé Ravel (b. 1875) Since the death of Debussy, Ravel is the leading composer of France. But his output is relatively small. An experimentalist, he does not allow a work to appear until his acute and fastidious critical faculty is satisfied. He is not a polyphonist, as Debussy, to a large extent, was. His harmony is bold though restrained. His rhythms are striking, and these, as well as his vivid clean colourings, probably come to him through his Basque (Spanish) ancestry.

The Trio in A minor (1915), though based on a well-used combination of instru- ments, is, however, full of freshness of idea and treatment. As in the Quartet, the first movement is of "aphoristic compression, yet is faithful to the spirit of the classic plan." The first theme has a striking rhythmic effect in the division of the 4/4 measure into groups of three and five quavers. The second movement "Pantoum," an Eastern dance, is a fantastic scherzo. The "Passacaille" (an old dance founded on a ground bass) is less interesting, but the Finale, in 5/4 and 7/4 time, has brilliancy and vigour which lead to a striking climax. Throughout, the piano part is written with great skill and understanding, but part of the originality of the work lies in the way in which the strings are treated with equal authority and power. INTERVAL OF TEN MINUTES Trio in B Flat major, Op. 97 III Beethoven (1770-1827) Allegro moderato Sherzo: Allegro Andante cantabile ma pero con moto Allegro moderato The Trio in B major was written in 1811. It came almost at the end of a long period of great chamber compositions. The work is typical of Beethoven's happiest period; the problems of his young manhood were solved, while those of the later years had not yet appeared. The Trio was shortly followed by the very original Symphony in A, No. 7; so that during the composition of the first work the dormant impulse toward symphonic composition was re-awakening. It also marks the end of Beethoven's use of the piano as the centre of a chamber music ensemble. He must then have realized that the piano, though complete in itself to attempt the expression of his deepest thoughts, was unsuitable, in combina- tion, for that type of chamber music by which he sought to convey the absolute abstraction of his last chamber works for strings alone. The Trio opens with the calm, resolute first subject announced by the piano. The strings enter at the sixth bar. This eventually leads to the second subject in the key of G major. A striking pizzicato passage (with the piano playing staccato thirds) leads through long shakes to the recapitulation. The movements end with a vigorous coda. The Scherzo is highly original; it begins with a tripping figure played by the cello and echoed by the violin and the piano. A strange chromatic theme in B flat minor opens the trio section. The slow movement is one of the most profound and beautiful ever written by Beethoven. As was so often the case, the form is that of a theme with variations. The theme is announced by the piano alone, and it is not difficult to follow its course through the variations till the music fades away into silence. The final movement, which breaks abruptly into the Andante, is in Rondo form, and ends with a magnificent Presto founded on the first theme, in 6/8 time.

1937 MON. 1 FEB. WALTER GIESEKING-Piano Recital Works by Schumann, Casella, Debussy, Liszt Kolisch String Quartet WED. 10 MAR. coscoscascos cascoscoscoscos cascos cascoscoscasion concion con con concoscoscoscosion cosion concoscon con cascoscosson Town Hall. Huddersfield Friday, Feb. 5th, 1937 at 7-30 p.m, THE HALLÉ ORCHESTRA Conductor: Albert Coates Pianist Egon Petri Tickets, 8/6 6/- Area, 5/- 3/6 2/6 (reserved) 1/- (unreserved) Plan opens at Messrs. Kenneth Levell (Lottie North) Market Street, on Monday, Jan. 18th coscoscoscos cascoscascascascascasion canon canon cascascoscoscos con cosesscasion concoscose coscascoscos cascos THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING TWO CONCERTS IS 8/6 PAYABLE TO THE HON. TREASURER. SINGLE TICKETS, 5/-, MAY BE OBTAINED FROM THE HON. TREASURER, FROM MESSRS. KENNETH LEVELL LTD, (LOTTIE NORTH), MARKET STREET, FROM MRS. HULL, 48, NEW NORTH ROAD, OR AT THE DOOR.

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD MONDAY, FEBRUARY 1, 1937 WALTER GIESEKING AT 7-45 GROTRIAN-STEINWEG CONCERT GRAND PROGRAMME Hon. Secretary Hon. Treasurer PRICE THREEPENCE ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield F. W. GADSBY, 222, Almondhury Bank, Huddersfield

PROGRAMME I Davidsbündlertnäze, Op. 6 Schumann (1810-1856) The Davidsbündlertänze consists of eighteen short dance-like pieces, which were composed in 1837, published in 1838, and issued in their final form in 1850. They are, therefore, among the first of Schumann's mature works, and are in every way typical of the "Romantic" school of composers. Schumann, after surmounting many difficulties, finally married Clara Wieck in 1840. Of the Davidsbündler he writes to her in 1838" There are many marriage thoughts in the dances - they originated in the most joyful excitement I can ever remember - I will explain them to you sometime." And later, " . . ... But my Clara will discover what is in the dances which are dedicated to her more than anything else of mine the story is a whole Polterabend (Festivities on the eve of a marriage), and now you can picture to yourself the beginning and the end. If ever I was happy at the piano it was when I was composing these. .. An old German saying appears on the title page: Aye hand in hand go weal and woe, In weal be good, in woe thy courage show. "" The works open with a two-bar motto by C. W. (Clara Wieck), continued by Schumann for two bars. The dances themselves have no separate titles, but the tempo and other indications (2. With expression; 3. With humour; 4. Impatiently; 10. In Ballade style; 13. Wild and merry; 15. As if from the distance) reveal their characteristics clearly. Another clue to their meaning is given by the initial F or E, or both, which Schumann adds at the end of each piece. These stand for Florestan and Eusebius, and are connected with Schumann's mysterious Davidsbündler (David's League). This was a kind of secret association, existing chiefly in Schumann's imagination though there were some real characters in it, which was to unite those artists, or friends of art, who held views in common, against their opponents, the Philistines. Through the mouths of these personages Schumann expressed many of his critical opinions. Florestan and Eusebius are used to denote two different aspects of Schumann's own personality - the former being the fiery enthusiast and the latter the gentle dreamer. Symphonia Arioso e Toccata, Op. 59 Casella (b 1883) (First provincial performance in England) Casella was born in Turin, but studied piano with Diemer and composition with Fauré at the Paris Corservatoire. There he won the Premier Prix. Casella has led a busy life as a performer, composer, conductor, and writer on musical subjects. In 1917 he founded the society that has since become the Societa Italiana di musica moderna. He has written two symphonies, two orchestral suites, quartets and a number of smaller piano and orchestral works. He is himself an accomplished pianist and knows how to write for his instrument with skill and understanding. The most able of modern Italian composers, he is able to express wit with great effect. The Symphonia was written in 1936. INTERVAL OF TEN OF TEN MINUTES

Hommage à Rameau Masques Cloches à travers les feuilles k Mouvement HETH= TI Perhaps Debussy's finest and most individual work was his piano compositions. He follows Chopin and Liszt as the creator of another new and original style both of piano playing and composition. His exquisitely sensitive ear enabled him to translate into sound the almost inexpressible vibrations of light, colour and shadows in a way which had never before been achieved. Technically, he demands from his interpreters a new subtlety of finger (and foot), and a completely fresh rhythmical conception. Jeux d'eaux de la Villa d'Este Sonetto 104 del Petrarca Bénédiction de Dieu dans la Solitude. "Hommage à Rameau" (Debussy's tribute to a great French predecessor), "Mouvement" and "Cloches a travers les feuilles" (a piece of Impressionistic music painting) all belong to the two sets of "Images", published in 1905 and 1907. "Masques" dating from 1904, of considerable technical difficulty and abounding in rhythmic subtleties, portrays a fantastic and wayward mood. Debussy (1862-1918) WEDNESDAY, MAR. 10 III It is most interesting to hear Liszt's "Jeux d' eaux de la Villa d' Este" after the impressionistic pieces of Debussy, for then it is easy to realise the great influence that Liszt has had over later composers, and how he himself is the real originator of modern tone painting. Liszt (1811-1886) The "Jeux d' eaux", one of the pieces forming the third volume of the Années de Pélerinage, is" an evocation of the fountains and noise of waters" in that lovely garden in Italy where Liszt loved to be. "Sonetto 104 del Petrarca" is taken from the second volume of the Années de Pélerinage (Italie). In this volume there are three Petrarch sonnets, all of which were originally songs, and only were arranged as piano pieces for inclusion in this Italian group. "Bénédiction de Dieu" is No. 3 of the "Harmonies poetiques et religeuses," which owe their inspiration to the poems of Lamartine. Prefixed to it as a motto are lines in which the poet asks from whence comes this heavenly peace and faith to his restless, troubled heart. FRIDAY, FEB. 5 HALLÉ ORCHESTRA X TOWN HALL at 7-30 p.m. Conductor: ALBERT COATES Pianist: EGON PETRI KOLISCH STRING QUARTET

-P MAGIC NOTES TRAOR MARK WALTER ORDER THESE RECORDS FOR YOUR LIBRARY OF RECORDED "TREASURES" GIESEKING in his superb pianoforte artistry on Columbia Records. Have such enjoyment for the brightness of your leisure hours at home- ON SALE EVERYWHERE Mozart Concerto in E flat (K271) } ₁ LX559-62 In eight parts. Four records (6s. each) Supplied in Art Album (free). COMPLETE 24s. (Also in Auto. Coupling Records, price as above) (a) Moment Musical in F minor (Schubert) (b) Intermezzo in C (Brahms) (a) Waltz in D flat (Chopin): (b) Prelude in F (Chopin) Alla Turca (Allegretto, from Mozart K331 Sonata in A) Harmonious Blacksmith (Handel) La Cathedrale Engloutie (Debussy)-LB30 Reflets dans l'Eau (Debussy) Soiree dans Grenade (Debussy) ● Liszt Concerto No. 1 in E flat. In four parts. Two records (6s. each) ● LB31 (4s.) (4s.) } LX342-6 Beethoven "Emperor" Concerto, No. 5 In nine parts. Five records (6s. each) Supplied in Art Album (free). COMPLETE, 30s. (Also in Auto. Coupling Records, price as above) LX514 (6s.) LX480 (6s.) LX181-2 Symphonic Variations (Franck). In four 1 LX192-3 parts. Two records (6s. each). Columbia catalogue on request from Columbia, Clerkenwell Road, London, E.C.1., gives further recordings by GIESEKING, Send P.C. for copy ! Columbia RECORDS MAGIS NATES TRADEMARK

HALLÉ ORCHESTRA TOWN HALL HUDDERSFIELD Friday, February 5th, 1937 at 7-30 p.m. Under the patronage of His Worship the Mayor (Councillor J. Barlow, J.P.) and A. L. Woodhead, Esq., M.A., J.P. (President Huddersfield Music Club). basin Coronation Festival Concert Conductor: Albert Coates Pianist Egon Petri - TICKETS 8/6, 6/-, 5/-, 3/6, 2/- (reserved), 1/- (unreserved) From Messrs. K. LEVELL (Lottie North) Market Street, Tel. Hudd. 2294 or from members of the Committee Programme Price Sixpence Berl Buch Promoted by the Ladies Committee Huddersfield Music Club Committee: Mrs. H. Ainley Miss B. Armitage, L.R.A.M. Mrs. W. F. Clayton Miss D. Donaldson Mrs. C. Earnshaw Miss K. M. Evans, B.A. Miss Freeman, J. P. Mrs. Denys H. Hirst Mrs. A. E. Horsfall Mrs. G. G. Jarmain Mrs. A. W. Kaye Mrs. R. Stewart Park Mrs. I. Silverwood Miss E. Spikes Miss E. Whitwam, L.R.A.M. Miss W. K. Willans Hon. Secretaries : Mrs. A. E. Hull, F.R.C.O. Miss A. Shaw, L.R.A.M. Hon. Treasurer: Mrs. A. E. Everest

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The new standard of Columbia Pianoforte Recordings by Egon Petri provides incomparable entertainment for pianoforte lovers. Here is a selection from which to choose, all recorded by the great artist you are hearing to-day 月 MACIC NOTES LI AUT MAI Columbie Records EGON PETRI Beethoven Sonata in F sharp (Op. 78). LX576 In two parts. Record, 6s. Beethoven Sonata in E minor } LX544-5 (Op. 90). Two records, 6s. each LX520 FAUST-Waltz (Gounod-trans. Liszt). In two parts. Record, 6s. ORPHEE-Melodie (Gluck-arr. Sgambati) Menuet (Bach-Petri). Record 6s. LX508 Beethoven Sonata in C minor (Op. III). Three records, 6s. each LX491-3 (Auto. Coupling Records, LX8240-2, price as standard recording above) Mazeppa (Lisst). In two parts. Record, 6s. ● Soiree de Vienne (Schubert-arr. Liszt) In two parts. Record, 6s. Carmen Fantasie (Liszt-Busoni). In two parts. Record, 6s. LX483 LX469 LX462 The Columbia complete catalogue and latest supplement offer you your best guide to all that is most appreciated in the field of recorded music. Whether you want masterworks of the great composers, operas, music of a lighter nature, popular music, whatever it is to construct your own home-programmes, you'll find the Columbia lists your best help. Ask your dealer for a copy, or latest issue will be forwarded post free on request from Columbia, 98-108, Clerkenwell Road, London, E.C.I. Columbia YOUR LOCAL DEALER WILL GLADLY LET YOU HEAR THE LATEST COLUMBIA RECORDS.

Coronation March, Op. 65 Programme GOD SAVE THE KING (Written for the Coronation of King George V and Queen Mary in 1911) Elgar (1857-1934) Overture "Midsummer Night's Dream" Mendelssohn (1809-1847) The Overture was written in 1826, when the composer was only 17 years of age. It is an amazing feat of composition for so young a man-astonishing both in the maturity of its conception and the sureness of its execution. It must also be remembered that it was com- pleted only a year before the great Classical school came to an end with the death of Beethoven. It is, therefore, one of the earliest examples of the new school of composers, who sought their inspiration in a world of fairies and romance. The work opens with five long-held chords for wood-wind and two for strings; thus the stage is set for the entry of the delicate tripping theme for strings, so well depicting the flitting feet of fairies, which forms the first subject. A rhythmic descending-scale theme represents the coming of Theseus and Hippolyta; and a return of the fairy music leads to the tender and beautiful second subject-the loves of Lysander and Hermia. Another theme of boisterous humour (representing Bottom and his companions) has in it the drop of a ninth, which without doubt is a reference to the ass into which poor Bottom was transformed. These themes make up the material upon which the Overture is constructed. Ultimately, the fairy world fades away into the moonlit air. Concerto for Piano and Orchesta, No. 5, in E flat, Op. 73 (The Emperor) Beethoven (1770-1827) EGON PETRI I. Allegro II. Adagio un poco mosso Rondo. Allegro III. The title of "Emperor" was not, of course, given to the Concerto by Beethoven himself; and, however much one may deprecate the addition of such unauthorised labels, in this case it is undoubtedly a natural and spontaneous tribute to a work of great nobility and grandeur. In all, Beethoven wrote five piano concertos (two early examples remain in an incomplete form). Although this concerto in E flat was written in his thirty-ninth year (1809), it remained a form which Beethoven never again attempted. Of all the piano concertos, this fifth, and last, is the noblest and most majestic; it ranks very high among the superb works of Beethoven's "middle period." In it one may clearly see the many innovations which Beethoven introduced into that form: the rhapsodic introduction; the linking together of the last two movements; the omission of a cadenza (in the old sense of the term); and finally, and most important of all, the creating of a new "symphonic concerto" form, in which the solo instrument and the orchestra are of equal importance. I. Allegro. The Introduction is very original. The orchestra sounds the chord of E flat fortissimo, into which the piano breaks with brilliant arpeggio and cadenza-like passages. Three times this is repeated, but finally the piano leads quietly up to the firm and powerful entry of the principal subject in the orchestra. This now is the opening of the regular tutti- that orchestral opening of the work which serves to introduce the main themes before the real entry of the solo instrument. The principal subject is bold and rhythmic; the second subject is a lighter stacato theme, heard in the violins. The general plan of the movement is :- (a) Introduction. (b) Opening tutti, principally in the tonic key. (c) Entry of the piano (with a chromatic scale) in a restatement of the themes, this time more freely. (d) Development, in which much use is made of the rhythmic possibilities of the first subject. The piano passages are particularly telling and brilliant. (e) Return of the Introduction and regular recapitulation. (f) The Coda. Here Beethoven forbids the player to introduce his own cadenza, and supplies instead a short cadenza-like passage, followed by a shortened recapitulation of the first tutti.

II. Adagio un poco mosso. The B major Adagio is in complete contrast. It has two main themes: (a) a serene and beautiful melody first heard in the strings (which is the basis of the movement); (b) a meditative descending theme, almost like an improvisation, with which the piano part opens. After a series of trills, the piano has the first theme in a decorated form. The same theme is recaptured by the wood-wind, while the piano has a waving accompaniment beneath it and the strings a light figure on the off-beat. Then comes one of the great moments of genius in music. After a bare octave, against a horn note, the piano, in the remote key of E flat, suggests a new theme. It is played slowly and reflexively; suddenly, as if in a blaze of light and colour, this theme is transformed into the joyous sparkling theme of the Rondo itself. III. Rondo. This movement follows without a break. The theme is twice repeated, and followed in turn by two other themes. These constitute the material of the movement, which is easy to follow. Tovey rightly calls it the "most spacious and triumphant of concerto Rondos." Towards the end the excitement flags. Over a drum-beat, the piano gradually slackens its pace and then stops. But after a rapid scale passage, the orchestra burst again into the radiant first subject, and the work comes to its triumphant ending. INTERVAL OF TEN MINUTES Symphony No. 2 in D Major, Op. 43 I. Allegretto II. Tempo Andante, ma rubato Scherzo-Vivacissimo III. IV. Finale-Allegro moderato Finale. Sibelius (b. 1865) Sibelius is now probably the most important symphony writer alive at the present time. He has written, so far, seven works in this form (this second one dates from 1902), as well as symphonic poems, piano and vocal works, a violin concerto, a string quartet and smaller pieces. Although he writes in the conventional forms, the works themselves are obviously the creation of a powerful and original mind. The colourings are often harsh and gloomy, and the style compact and pithy, if sometimes abrupt. He uses short motives rather than elaborate themes, which he does not attempt to develop according to the recognised plan; everything which is not essential is ruthlessly eliminated. The first symphony was not entirely individual in style, but in the second one, written three years later, Sibelius has produced a completely original and personal work-the beginning of a new and revolutionary era. I. Allegretto. In the first movement Sibelius completely reverses the earlier process of symphonic construction; that is to say, instead of choosing a theme which in itself is capable of development, and from it constructing a whole movement, he begins with fragmentary themes, or motives so short that they cannot be called themes. These, in the later sections, he builds up into coherant themes, or melodies, only to dissolve them back again into their original embryonic state. It is impressive to hear how he takes these apparently meaningless and disconnected figures and moulds them into alive and glowing phrases. The movement opens with one of Sibelius' favourite 6/4 rhythms (first heard in the strings), and a second fragment follows in the wood-wind. Repetition of these lead to a powerful theme in the violins in unison. Two further short phrases, heard in the wood-wind, make up the material out of which Sibelius creates the movement. II. Andante. This begins in 3/8 time, the basses pizzicato having the figure which soon The becomes the accompaniment (with a drum-roll added) to a theme in the bassoons. tempo increases, and a powerful climax follows. A second quiet theme enters, accompanied by flowing wood-wind passages. The vigorous section reappears-and thus the two moods alternate, ending with a final powerful coda. III. Vivacissimo. The Scherzo is of simpler construction. The violins have a vivacious theme, followed later by a quieter subject for the flute and bassoon. A strange passage (five In it, overheld taps on the drum, diminuendo, with lengthy pauses) leads to the trio section. chords in the horns and bassoons, the oboe has a typical Sibelius theme in 12/4 time-it begins with nine repetitions of the same note! The Scherzo returns in conventional fashion, but with a slowing-up of the tempo, it leads without a pause into the last movement. IV. Allegro moderato. The powerful opening theme has some relation to the theme of the scherzo. It is followed by a wood-wind phrase. Over rushing violin passages, the wind instruments speak to each other, and a final rhythmic figure in the brass completes the material. The work rises to a mighty climax; and the whole effect is one of triumph and power. Continued overleaf

Piano Solo Programme-continued Venezia e Napoli I. Gondoliera II. Canzone III. Tarantella EGON PETRI The set of pieces forms the last part of the second volume of Années de Pélerinage (Italie). They are all more or less founded upon popular Italian melodies, which Liszt noted down during his sojourns in that country. The Tarantella makes a most brilliant climax, and technically its difficulties are so appalling that its performance is impossible to all but the finest of artists. Danses Polovtsiennes (Prince Igor) I. Introduction (Andantino) Allegro vivo (Dance of the Savage Men) Allegro II. III. Presto-allegro con spirito SHISH Borodin was one of the famous group of five whose influence upon Russian music was so great. He held the post of Professor of Chemistry at the University of St. Petersburg, and wrote his music in his leisure time. Both as a scientist and as a musician he attained great distinction. "Prince Igor" is his only opera; it deals with the war between the Russians and the Polovtsi (a Tartar tribe)-an episode almost corresponding in significance in Russian history to our Arthurian legends. The dances occur in the second Act of the opera, during a banquet given by the Khan Konchak in honour of his captives, Prince Igor and his son, Vladimir. Please give your patronage to firms advertising in the programme HARRY TAYLOR Liszt (1811-1886) High-Class Beef and Pork Butcher 40 Dudley Road Marsh also New Hey Road Borodin (1834-1887) SIK For Plumbing Work of Distinction J. Bamforth & Son SPECIALISTS IN MODERN BATHROOM CONSTRUCTION 11 8 13 Station Road Slaithwaite Tel: Slaithwaite 15 Suggestions and Estimates Free kas கூரமைகளு

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HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, MARCH 10, 1937 KOLISCH QUARTET RUDOLF KOLISCH h FELIX KHUNER PROGRAMME AT 7-45 EUGEN LEHNER BENAR HEIFITZ PRICE THREEPENCE Hon. Secretary ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield Hon. Treasurer F. W. GADSBY, 222, Almondhury Bank, Huddersfield

PROGRAMME I 20 mins. Quartet in D major, No. 8. K. 575 Allegretto Andante Allegretto (Menuet and Trio) Allegro Next in importance to Mozart's Symphonies come his string quartets. In this form Haydn was the pioneer but it fell to Mozart to produce the first really great and perfect examples. 25 mins. Quartet in G minor Op. 10, No. 1 This is the first of three quartets dedicated to the King of Prussia and in these quartets the Cello is more than usually prominent as it was the King's favourite instrument. The quartet is in the usual form and simple to follow. The last movement is considered to be one of Mozart's most masterly quartet movements. Mozart (1756-1791). II Claude Debussy (1862-1918) Animé ét très décidé Assez vif et bien rythmé Andantino doucement expressif Très modéré This is Debussy's only string quartet, written in 1893 and dedicated to the Ysayet Quartet. Debussy was the real founder of "Impressionism" in music and the quartet is full of the elusive atmosphere which is the Frenchman's greatest charm. It is full of poetry, suggestions, mysteries; everything - harmony, rhythm, tonequality is used for that alone. The gay and rhythmic Allegro opens with the motto of the whole work. The second movement is pure fantasie. A dreamy nocturne shews the influence of Borodin and the finale is a summary as well as a piece in itself. INTERVAL OF FIFTEEN MINUTES

35 mins. Quartet in B flat major. Op. 130 ) 20 mins. with the Grosse Fugue Op. 133 J III Beethoven (1770-1827) Adagio ma non troppo-Allegro Presto Andante con moto ma non troppo Alla danza tedesca-Allegro assai Cavatina-Adagio molto espressivo Finale-Allegro This is one of the last six quartets of Beethoven, each of them a masterpiece. Begun in 1825, dedicated to Prince Nicolas of Galitzin, it is considered by many to be his finest quartet, although it was written under most distressing circumstances of poverty, illness and complete deafness. The opening movement carries its Adagio introduction through all the appearances of the Allegro subject and the second subject is of wonderful beauty. The Presto is humourous and bright and the subtle Andante half playful, half tender. A German country dance provides the rhythm of the fourth movement and the theme is varied on its reappearance. The Cavatina is the emotional climax of the work and is one of the most supreme things in all music, full of the most noble expressiveness and an almost unearthly serenity which the short minor episode only serves to intensify. So full of humour and buoyancy is the last movement that it is difficult to believe that it could have been written by a man already stricken with a fatal illness. This is the last piece that Beethoven finished. Beethoven originally ended this quartet with the "Grosse Fugue" but so complicated is this movement, so long and almost ungrateful, that his friends besought him to have it published separately. It was thought that interest would be added to this programme by the inclusion of the original ending of the quartet as it is so seldom heard. There are two fugue subjects, one gently melancholy and the other exuberant in its gaiety. Each fugue subject is given out at the beginning, they are worked out together and separately and the combination of the two subjects forms the conclusion. IT IS HOPED TO CONTINUE THESE CONCERTS NEXT SEASON BUT INCREASED PUBLIC SUPPORT IS ESSENTIAL. THE COMMITTEE WOULD WELCOME ANY SUGGESTIONS AND CRITICISMS FROM MEMBERS.

The Kolisch Quartet in their contributions to recorded music on Columbia records, provide incomparable brilliance of entertainment for the music lover. Here is a selection from which to choose, all recorded by the Quartet you are hearing to-day The KOLISCH Columbia Records QUARTET MAGIC NOTES TRADE MARK Schubert Quartet No. 15 in G (Op. 161). Four records (6s. each). In free Art Album with Descriptive Notes, complete 24s. (Also in Automatic Coupling-Records, Nos. LX8142 to LX8145, price as standard recording above) LX357 to LX360 THIS is the first recording of what may be classed the most delightful quartet ever written. It is the acme of melodiousness and in the recording of it the Kolisch Quartet register a perfect triumph. Mozart Quartet No. 21-in D (K.575). LX337 and Two records (6s. each). LX338 HE Kolisch Quartet give an inspired performance of this Mozart masterpiece. Truly it should be included in your library of recorded treasures. THE Schubert Quartet in A minor (Op. 29). In seven parts. Schubert Quartet in C minor (Quartet Satz)-Allegro Assai. Four records (6s. each). In free Art Album with Descriptive Notes, complete 24s. (Also in Automatic Coupling-Records, Nos. LX8087 to LX8090, price as standard recording above). The KOLISCH QUARTET on COLUMBIA LX286 to LX289 IN N the records of this work, you have the first recordings by the Kolisch Quartet. The work itself, is Schubert in typical form, influenced by the Hungarian environment in which the composer wrote it. T YOUR selection of home entertainment is best made from the Columbia catalogue. Copy post free request: Columbia Clerkenwell Road, London, E.C.1. ● on Columbia YOUR LOCAL DEALER WILL GLADLY LET YOU HEAR THE LATEST COLUMBIA RECORDS