HUDDERSFIELD CONCERTS FOR THE TWENTIETH SEASON 1937-38 TO BE GIVEN IN HIGHFIELD ASSEMBLY HALL (NEW NORTH ROAD) MONDAY, OCTOBER 25th, WEDNESDAYS, NOVEMBER 10, DECEMBER 8, 1937- WEDNESDAYS, JANUARY 19, FEBRUARY 16 MARCH 9, 1938 at 7-45 pm, (Please note change of day of first concert) MF.R.A.C. Mrs. A. E. Everest Mrs. A. E. Hull, F.R.C.O.. 1 Miss A. Shaw, L.R.A.M. Percy Ainley Hon Secretary Hon. Treasurer - W. Clifford Crook, A. G. Crowther- Committee: President: A. L. WOODHEAD, M.A., J.P. J. Stancliffe Ellis The H. S. itayy MUSIC CLUB 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 Hon. Secretaries ALBERT LUNN, 7, West Avenue, Daisy Lea Lane F. W. GADSBY, 222, Almondbury Bank Tel. 2763 Ladies Committee:. Hon. Treasurer 1 Irving Silverwood F. W. Thornton, M.R.C.S., L.R.C.P. Frederick Whiteley D. R. H. Williams Mrs. A. E. Horsfall Mrs. G. G. Jarmain Mrs. A. W. Kaye Mrs. R. Stewart Park Mrs. Irving Silverwood Mrs. N. M. Sayer Miss E. Whitwam, L.R.A.M. Miss E. Wormald Mrs. A. E. HULL, F.R.C.O. Miss A. SHAW, L.R.A.M. Mrs. A. E. EVEREST THE CLUB IS OPEN TO ALL. The Subscription for the series, of SIX CONCERTS is 21/- payable to the Hon. Treasurer, F. W. Gadsby. Single Tickets, 5/-. (Town Office, Miss L. North, Messrs. K. Levell Ltd., Market Street. Tel. Hudd. 2294).

MONDAY, 25th OCTOBER, 1937 (Please note change of day) 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 Daily Telegraph "The consummate artist." WEDNESDAY, 10th NOVEMBER, 1937 ROTH STRING QUARTET (BUDAPEST) "The conviction grows with each performance that they are now among the finest quartets before the public." Musical Times "It is a rare experience to hear ensemble playing of such consummate musicianship." Morning Post WEDNESDAY, 8th DECEMBER, 1937 ENGEL LUND At the Piano DR. FERDINAND RAUTER Lieder and Folk Songs "Engel Lund uses no movement, no gesture, no change of costume, but by the sung word alone she creates living characters." "Engel Lund is supreme." Daily Telegraph

WEDNESDAY, 19th JANUARY, 1938 SIMON BARER First appearance in Huddersfield of this brilliant Pianist "An artist of the very first order." "Who has not heard Barer has missed the greatest piano playing of these days." Pester Lloyd, Budapest WEDNESDAY, 16th FEBRUARY, 1938 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." "The Toscanini among all quartets of the world." Sunday Referee Paul Stefan WEDNESDAY, 9th MARCH, 1938 ANTONIA BUTLER GEORGE REEVES A Recital of works for Cello and Piano "Antonia Butler gave a profound impression of her excellent talents." De Telegraaf, Amsterdam ... were finely played by Antonia Butler and George Reeves." The Times "Two Sonatas ..

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Or HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD MONDAY, OCTOBER 25, 1937 AT 7-45 MORIZ ROSENTHAL BÖSENDORFER CONCERT GRAND PROGRAMME PRICE FOURPENCE Hon. Secretary ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield Hon. Treasurer F. W. GADSBY, 222, Almondhury Bank, Huddersfield

PROGRAMME I Sonata Op. 106 in B flat major Allegro Scherzo-Assai vivace Beethoven (1770-1827) Adagio sostenuto Largo e Fuga a tre voci, con alcune licenze (First time at these concerts) Late in 1817, Broadwood of London, sent Beethoven one of his new concert grand pianos. Of the three "grands" which Beethoven possessed, we know that this one became his favourite, and that he was very greatly impressed by its qualities, and especially by the new richness of its bass- notes. Beethoven, when writing to thank Broadwood for the instrument, said, "I regard it as an altar on which I will lay the finest offerings of my spirit to the divine Apollo." It is not too fantastic to imagine that the gift of the instrument may have been the means by which Beethoven's dying interest in piano composition was fanned again into a living flame- or to claim that some minute share in the inspiration of this most noble work may thus have been drawn from an English source. - But although it may have been partially inspired by this new type of instrument, this Sonata goes far beyond the bounds of mechanical ingenuity and invention. It is actually written with an instrument in mind which never has existed, and never will exist. In it Beethoven plays not with sounds, but with the conception of sounds, using the language of the piano symbolically. Already, owing to his increasing deafness, Beethoven must listen to his creations with the inner ear. The Sonata was written in 1818-19, after a period of a couple of years during which Beethoven had written comparatively little. It is by far the longest of all the Sonatas, and it is in no way easy to understand. It has been likened to a soaring Gothic structure; titanic emotions arise in it and oppose each other. Its seven- It is constructed on the regular four-movement symphonic plan. The heroic Allegro opens with a powerfully rhythmic chord-figure; a more pleading answer follows, but the agitation soon returns. A new and strongly defined subject appears; it, too, dies away and the opening chords break out again. A modulation to G major follows, and so the struggle goes on. The Scherzo is fantastic in the extreme. bar phrases in restless, hurrying rhythms, the strange prestos, the mourn- ful trio, the shifting harmonies, all combine to create an unusual movement. The Adagio is one of the sublimest things in music. It has been called the apotheosis of pain; not a dramatic outpouring of grief, but deep and restrained sorrow. It has almost the mystic, disembodied feeling of the Mass. A remarkable bridge-passage of 24 bars leads to the final fugue. This most difficult specimen of fugal art can only with difficulty be clearly followed through its many changes and intricacies to its final conclusion. It contains all the formal devices of stretto, inversion, augmentation and the like, all used with the utmost daring and power. Possibly, in the excitement of its many voices, its restlessly-flowing movement, its changing colours, its obedience to the laws of polyphony may be found an allegory of human existence.

Four Preludes Op. 28 Two Mazurkas F sharp major B major F major E flat major Scherzo Op. 31 in B flat minor Chant Polonaise Op. 63 in B major Op. 33 in D major II Chopin created an entirely new form with his four Scherzi. They certainly bear no relation whatever to Beethoven's. But whereas the latter's certainly possess a boisterous, if sometimes a somewhat bitter, humour, those of Chopin's are far removed from any such feeling. They are rather a kind of dramatic or romantic legend. Schumann compared this second Scherzo to a poem of Byron's, "so tender, so bold, as full of love as of scorn." Valse Oubliée in F sharp major INTERVAL OF TEN MINUTES Transcendental Study in F minor Chopin (1810-1849) III Chopin-Liszt One of a set of three Valses oubliées, written between 1879-86 Papillons Fantasy on themes from Gounod's Faust (First performance in England) Liszt (1811-1886) This is No. 10 of the set of 12 Transcendental Studies. These form one of the most important, and unsurpassed, contributions to the art of piano virtuosity ever written. Stupendously difficult to play, when they are interpreted by a great artist the listener is tempted to overlook the hardships and to concentrate exclusively on their beauty and music. Moriz Rosenthal

1937 WED. 10 NOV. WED. 8 DEC. 1938 WED. 19 JAN. WED. 16 FEB. WED. 9 MAR. ROTH STRING QUARTET Quartet in A major K. 464 Preludio Ninna-Nanna Mozart Casella Valse Ridicule Quartet in A minor Op. 51 No. 2 Brahms ENGEL LUND. LIEDER and FOLK SONGS SIMON BARER (First appearance at these concerts of this famous pianist) KOLISCH STRING QUARTET ANTONIA BUTLER and GEORGE REEVES, CELLO and PIANO RECITAL The Club is open to all. The Subscription for the remaining five concerts is 18/-, payable to the Hon. Treasurer. Single tickets (5/-) can be obtained from the Hon. Treasurer; from Messrs. K. Levell Ltd., (Miss L. North) Market Street; from Mrs. Hull, 48 New North Road; or at the door. The Committee earnestly beg members to do all in their power to increase the membership of the Society. CONCERT and AMERICAN TEA Organized by the Ladies' Committee, on WEDNESDAY, 17th NOVEMBER, from 3 to 6 p.m. in the Huddersfield Women's Conservative and Unionist Association Rooms, Standard House, Half Moon Street.

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, NOVEMBER 10, 1937, AT 7-45 ROTH QUARTET FERI ROTH JENO ANTAL PROGRAMME Hon. Secretary Hon. Treasurer 2 FERENC MOLNAR JANOS SCHOLZ PRICE FOURPENCE ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield F. W. GADSBY, 222, Almondhury Bank, Huddersfield

PROGRAMME Quartet in A major. (K. 464) I Allegro Andante Menuetto Allegro ma non troppo Mozart (1756-1791) Mozart began to write the series of 6 quartets, which he subsequently dedicated to Haydn, in 1773. For nearly ten years this had been a form of composition which Mozart had entirely neglected; but during that period we know that he had deeply studied the art of counterpoint, as well as the works of his immediate predecessors, all of which must have lead him towards this sudden outpouring of a wonderful series of chamber music. It is difficult for us to understand how 'advanced' these quartets sounded at the time of their first appearance. They were subjected to violent criticism, and the 'eccentricities' of their harmonies were even described as 'printer's errors'. It was after hearing a performance of the last three of the series that Haydn exclaimed to Mozart's father, "I declare to you before God as a man of honour, that your son is the greatest composer that I know." The quartet to be played to-night is the fifth of the set, and it was written in Vienna in 1785. It is perhaps more serious in mood. Like Beethoven, Mozart was fond of using the variation as a means of expressing some of his finest thoughts. In this case the slow movement is in variation-form. The Minuet and Trio are of the usual type, whilst the final movement is coloured by chromatic passages. II Preludio Ninna-Nanna Valse Ridicule Alfredo Casello is one of the leading figures in modern Italian music. Born in Turin, he studied in the Paris Conservatoire, where he was awarded the Premier Prix. In those early years he came much under the influence of Debussy. He is a man of great versatility. An accomplished pianist, he writes Casella (b. 1883) 1 1

for that instrument with skill and understanding. He has had wide experience as a conductor and has written much on musical subjects. His music is the reverse of sentimental; he is able to express wit and a sense of the grotesque with great effect. His technical powers are very considerable, and he now appears to be developing from modernism and virtuosity towards a greater depth and individuality. The three pieces are taken from a set of five which were published in 1921. The first is marked to be played "vivace e barbaro"; it has a continual accompani- ment of double-stopping. "Ninna-nanna" is a gently-flowing berceuse, muted and remote. "Valse Ridicule" is modern and witty. INTERVAL OF TEN MINUTES Quartet in A minor, Op. 51, No. 2 Allegro non troppo Andante moderato III Brahms (1833-1897) Quasi Minuetto moderato-Allegretto vivace Finale. Allegro non assai Both the quartets which form Op. 51 are dedicated to Dr. Billroth. He has been described as "the master surgeon and tyrannical music enthusiast." Whether the description is true or not, the fact remains that in the music-room of Billroth's house in Vienna nearly all the rehearsals of Brahm's new chamber works took place, and there, too, all musical and scientific Vienna used to gather. Billroth himself was a fine pianist and endeavoured to become a violinist in order himself to take part in this chamber music. The two men-Brahms and Billroth -were devoted friends, and they form another example of that curious and intimate link-as yet psychologically unexplained-between music and medicine. This quartet has been called "a pearl in the diadem of chamber music." Those who care for such descriptions may be interested in Becker's "a work that might be written by a Schubert who has read and painfully experienced Schopenhauer." A tender melancholy is the prevailing mood of the first movement; it has none of Brahms's harshness; everything is gentle and caressing. The Andante continues the dream mood, but this time it is interrupted by sudden and violent accents, which hammer out a canon between the violin and cello. The Minuet is in short, hurrying sections; the Trio breaks in with flying, dance- like staccato notes. The Finale is typical Brahms, strong and spirited.

1937 WED. 8 DEC. 1938 WED. 19 JAN. WED. 16 FEB. WED. 9 MAR. ENGEL LUND. LIEDER and FOLK SONGS SIMON BARER (First appearance at these concerts of this famous pianist) KOLISCH STRING QUARTET ANTONIA BUTLER and GEORGE REEVES, CELLO and PIANO RECITAL The Club is open to all. The Subscription for the remaining four concerts is 15/-, payable to the Hon. Treasurer. Single tickets (5/-) can be obtained from the Hon. Treasurer; from Messrs. K. Levell Ltd., (Miss L. North) Market Street; from Mrs. Hull, 48 New North Road; or at the door. The Committee earnestly beg members to do all in their power to increase the membership of the Society. CONCERT and AMERICAN TEA Organized by the Ladies' Committee, on WEDNESDAY, 17th NOVEMBER, from 3 to 6 p.m. in the Huddersfield Women's Conservative and Unionist Association Rooms, Standard House, Half Moon Street. ENTRANCE, TEA and CONCERT 1/3 (Will any member not having received an invitation please communicate with Mrs. Hull.)

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, DECEMBER 8, 1937, AT 7-45 ENGEL LUND AT THE PIANO - Dr. FERDINAND RAUTER PROGRAMME Hon. Secretary Hon. Treasurer PRICE FOURPENCE ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield F. W. GADSBY, 222, Almondhury Bank, Huddersfield 25

FOLK SONGS OF MANY LANDS ICELAND Ein sit eg uti a steini (I sat alone on the Rock) Fifilbrekka (The Bank of Dandelion) Bi bi og blaka (Cradle Song) Thad er svo margt (Feasting Song) GERMANY PROGRAMME Marienrosen (The Roses of Mary) Die Vögelhochzeit (The Birds' Wedding) CZECHOSLOVAKIA Az ja pojedu (Love Song) Ciaze je to rolicka (Peasant Song) FRANCE Pierre et sa Mie (Ballad) La Cigale et la Fourmi (The Cricket and the Ant YIDDISH Diregelt (The Rent) Du solst nit gein (Love Song) Hamawdil (Prayer of a Jewish Woman) Der rebe Eli Melech (Dancing Song) Arranged by S. Einarsson Sveinbjoernsson P. Kickstat Ferdinand Rauter Ferdinand Rauter Vitezslav Novak Julien Tierosot Roskin Ferdinand Rauter Felix de Nobel Felix de Nobel

IRELAND Must I go bound and you go free Next Market Day } ENGLAND All round my hat I will wear a Green Willow Sterling Maclinlay Soldier Boy (Nursery Rhyme from the Apallachian Mountains) Cecil Sharp SWEDEN NORWAY Jeg heter Anne Knutsdatter (I am called Anne Knut's Daughter) Rauter Far truska (Herdmaid's Song) Sparre Olsen Herbert Hughes Trollkjaerringas locklaat (The Witch's Call for her Animals Brudstassen (Wedding Song) DENMARK Roselil eg hendes Moder (Roselil and her Mother) De tolv hellige Ting (The Twelve Holy Things) Ferdinand Rauter Ferdinand Rauter

1938 WED. 19 JAN. Two Chorales, G minor, G major Sonata, B minor Etude for left hand alone SIMON BARER (First appearance at these concerts of this famous pianist) PROGRAMME Islamey (Oriental Two Etudes, C sharp minor, D sharp minor Nocturne in D flat major, Scherzo in C sharp minor, Polonaise in WED. 16 FEB. WED. 9 MAR. A flat major Fantasy) KOLISCH STRING QUARTET Blumenfeld Scriabin Bach Liszt ANTONIA BUTLER and GEORGE REEVES, CELLO and PIANO RECITAL Chopin Balakireff The Club is open to all. The Subscription for the remaining three concerts is 12/-, payable to the Hon. Treasurer. Single tickets (5/-) can be obtained from the Hon. Treasurer; from Messrs. K. Levell Ltd., (Miss L. North) Market Street; from Mrs. Hull, 48 New North Road; or at the door. TOWN HALL HUDDERSFIELD Friday, January 28th, 1938, at 7-30 p.m. The Committee earnestly beg members to do all in their power to increase the membership of the Society. THE HALLE HALLE ORCHESTRA Conductor - Sir THOMAS BEECHAM, Bart. Tickets 8/6, 6/- 5/- 3/6 2/6 (reserved) 1/- unreserved Plan opens at Messrs. Kenneth Levell (Lottie North) Market Street on Wednesday January 1st. Coupons can be obtained now from members of the Ladies' Committee

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, JANUARY 19, 1938. SIMON BARER PROGRAMME AT 7-45 |||| STEINWAY CONCERT GRAND Hon. Secretary Hon. Treasurer PRICE FOURPENCE ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield F. W. GADSBY, 222, Almondbury Bank, Huddersfield

Two Choral Preludes (1) G minor) (II) G major) Sonata in B minor PROGRAMME & Bach (1685-1750) Liszt (1811-1886) Lento assai - Allegro energico - Andante sostenuto - Allegro energico Stretta quasi Presto - Allegro moderato. "If we wished to describe Liszt's Sonata in a word we should say "Dramatic."... There is not a figure, not a phase, which is not derived from one of the principal motives. If similar thematic labour were the work of a Beethoven or a Schumann we would speak of it only in tones of breathless admiration. This man who toiled so magnificently for music and for his instrument, here presents us with the first example of a Sonata in one movement, an idea destined to inspire so many succeeding composers. From the expressive point of view I see in its symphonic unfolding an illustration of Goethe's Faust. Liszt has summed up all the feelings of Faust in this Sonata- despair, ardour, enthusiasm, reverie, tenderness and irony." These short extracts from Cortot's writings express in a few words the general impression of the Sonata and its historical importance. After The Sonata was composed in 1853, during the period when Liszt was engaged in the production of his symphonic poems. It is planned in one movement, but the successive changes of tempo correspond roughly to the regular sonata-form, without breaking the continuity. The Introduction consists of seven bars, in which a descending motif is heard, becoming a kind of motto-theme to the work. The Allegro has two themes, one in leaping octaves, the second, a Lisztian version of "Fate knocking at the door." development, another entry of the motto-theme leads to an expressive second subject, cantando espressivo. A big climax eompletes the first section. The tempo changes to Andante sostenuto; here three subjects appear, one in F sharp being new. The Motto-theme again introduces the Allegro. A fugato follows; again, the Allegro; then a Stretta which quickens to Prestissimo. A few bars of Andante introduce the epilogue; the "Knocking theme" with chords above it. Last of all the motto-theme, now quiet and peaceful.

Etude for the left hand alone. Two Etudes (I) C sharp minor) (II) D sharp minor) II Blumenfeld (b. 1863) Scriabin is one of the most remarkable of modern Russian composers. He was a pupil of Taneiev (composition) and Safonov (piano). Later he became a teacher in the Moscow Conservatoire but soon retired in order to devote him- self entirely to composition. Nocturne in D flat major, Op. 27 Scherzo in C sharp minor, Op. 39 Polonaise in A flat major, Op. 53 Scriabin (1871-1915) His works may be divided into three periods; in the first (Opp. 1-40) his compositions show very clearly the influence of Chopin, even to his use of the characteristic Chopin titles, prelude, study, mazurka, etc. Even in the earliest examples he shows an amazing mastery of subtle keyboard effect, which some- times equals, and later surpasses, that of Chopin's. But Scriabin's work has an erotic, morbid, almost poisonous quality, very different from the older master. The second period (up to Op. 52) shows his art becoming more complex as he discovered new emotional and harmonic effects. In the third period, he became obsessed with the expression in music of theosophical ideas; in the latest works of all he reaches a pitch of obscurity which even his most fervent admirers find difficult to comprehend. INTERVAL OF TEN MINUTES III Chopin (1810-1849) Islamey (Oriental Fantasy) Balakirev (1836-1910) Balakirev was the composer and teacher to whom the nationalist school of Russian music in the nineteenth century owed its formation. Born at Nijny- Novgorod, he came as a young man to St. Petersburg, where Glinka, the father of modern Russian music, was much impressed with him and hailed him as his successor. Later he became the leader of the group of "Five"-Balakirev, Cui, Mussorgsky, Rimsky-Korsakov and Borodin. In 1869 he was appointed conductor of the Imperial Russian Musical Society, and thus he was able to introduce new works, both native and foreign, of the greatest importance. He was also a fine pianist. The number of his compositions is not very great, but all of them show the exquisite and finished quality of his inspiration and work- manship. The fascination of the East is to be found in this Fantasy "Islamey," as well as piano composition of great technical brilliancy and delight.

1938 WED. 16 FEB. KOLISCH STRING QUARTET Quartet in B flat major, Op. 76 No. 4 (The Sunrise) Haydn Quartet in G major Op. 161 Schubert Quartet in F major, Op. 96 (Nigger) Dvorak WED. 9 MAR. ANTONIA BUTLER and GEORGE REEVES, CELLO and PIANO RECITAL The Club is open to all. The Subscription for the remaining two concerts is 8/6, payable to the Hon. Treasurer. Single tickets (5/-) can be obtained from the Hon. Treasurer; from Messrs. K. Levell Ltd., (Miss L. North) Market Street; from Mrs. Hull, 48 New North Road; or at the door. The Committee earnestly beg members to do all in their power to increase the membership of the Society. TOWN HALL HUDDERSFIELD Friday, January 28th, 1938, at 7-30 p.m. THE HALLÉ HALLE ORCHESTRA Conductor - Sir THOMAS BEECHAM, Bart. Overture "The Hebrides" Introduction and Allegro for Strings, Op. 47 Symphony No. 2 in D major, Op. 36 Symphony No. 2 in D major, Op. 73 Mendelssohn Elgar Beethoven Brahms Tickets 8/6, 6/- 5/- 3/6 2/6 (reserved) 1/- (unreserved) from Messrs. Kenneth Levell (Lottie North) Market Street. Tel. Huddersfield 2294.

The Huddersfield TOWN HALL, HUDDERSFIELD HALLÉ ORCHESTRA Under the patronage of His Worship the Mayor (Alderman Alfred Willis, J.P.) and A. L. Woodhead, Esq., M.A., J.P. (President, Huddersfield Music Club) Music Club CONCERT Conductor: Sir Thomas Beecham, Bart. 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. Friday, January 28th, 1938, at 7-30 p.m. Promoted by the Ladies' Committee Huddersfield Music Club Committee: Mrs. Denys H. Hirst Mrs. A. E. Horsfall Mrs. G. G. Jarmain Mrs. A. W. Kaye Mrs. R. Stewart Park Mrs. N. M. Sayer Mrs. I. Silverwood Programme I Miss E. Whitwam, L.R.A.M. Miss E. Wormald Hon. Secretaries : Mrs. A. E. Hull, F.R.C.O. Miss A. Shaw, L.R.A.M. Hon Treasurer: Mrs. A. E. Everest Price Sixpence N D. & CO., HUDD.

HOUSE PURCHASE IN approved cases the Society will advance a liberal part of the purchase price, with interest at 41%. The loan is repaid over a term of years suitable to the borrower and may vary from 5 to 21 and in certain cases 23 years. HUDDERSFIELD BUILDING SOCIETY ANDREW STEWART, C.A., Managing Director HEAD OFFICE : BRITANNIA BUILDINGS, HUDDERSFIELD And Branches throughout the Country

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55 5 5 The GEORGE HOTEL (Huddersfiela) Ltd. Managing Director - H. A. DUCKSBURY F ANNUAL ADJOINING THE RAILWAY STATION PRIVATE SUITES, H. & C., 56 ROOMS SPECIAL BED COMFORTS : PRIVATE PARTIES CATERED FOR DINNERS DANCES WEDDING RECEPTIONS, ETC. - SUPPER AFTER ― THE CONCERT ASSOCIATION O LARGE AND WELL LIGHTED SHOW ROOMS HUDDERSFIELD WOMEN'S CONSERVATIVE and UNIONIST Telephone Nos. 3271, 3272 & 3282 Telegrams GEORGE HOTEL 1 66 PROGRAMME: Leave Huddersfield app. II a.m. Conducted Motor Tour, 80 mls. Visit Gretna Green, Dumfries, Ecclefechan, Castle Milek, Lockerbie, etc. OUTING 1ST JUNE, 1938 TO CARLISLE & A HALF-DAY IN BONNY SCOTLAND A complete Half-day's Outing, ALL MEALS, which will cost you approximately 22/6 including LATE BUSES home. Non-Members 23/6 EARLY BOOKINGS ARE ADVISABLE Bookings for the above Outing may be made and weekly Subscription Cards can be obtained from the Organiser, Miss L. J. Herdman, 30, Standard House, Half Moon Street. Also special office hours on Friday evenings from 7 p.m. to 9 p.m., for accepting monies and making reservations for the Excursion. Deposit of 2/6 must be paid for reservation. "9

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193 8 DESIGNS Z O W { SHOWING Programme GOD SAVE THE KING Overture The Hebrides (Fingal's Cave) Op. 26 Mendelssohn (1809-1847) In the summer of 1829 Mendelssohn, with his friend Klingemann, set out on a tour of Scotland. They first visited Edinburgh, where in Holyroodhouse, seeing the traditional scene of the murder of Rizzio and the chapel with the altar at which Mary was crowned standing open to the sky, ruined and decayed, Mendelssohn said "I think there I found the beginning of my Scotch Symphony." Continuing their journey, they later visited Fingal's Cave, and writing "on one of the Hebrides" on August 7th, Mendelssohn gives 20 bars of music "to show how extraordinarily the place affected me." Those twenty bars, compressed into ten, are almost identical with the opening of the "Hebrides" Overture. The work was not, however, completed at once. Probably much of it was written during a tour of Italy which Mendelssohn undertook a year later, for the first version of the score is signed Rome, December 16th, 1830. Mendelssohn was not yet satisfied with his work, and after a performance of it at a Royal Philharmonic Society concert, in 1832, he revised the score and the final version is dated London, 1832. Mendelssohn is a strange figure in musical history. An almost idolatrous worship of his art during the early-Victorian period was followed by a violent reaction against it. Now the tide is turning again in his favour, but a more careful discrimination is made between his works of pure genius and those which are of a less high quality. It must not be forgotten that he died at the early age of 38; it is impossible to tell in what directions his great genius would have developed. The "Hebrides" Overture is definitely to be numbered among Mendelssohn's inspired works. It has been called "a masterpiece of delicate and polished orchestration"; Wagner surely understated its worth when he said it was an acquarelle by a great landscape-painter. Although Mendelssohn was always strongly attracted towards "Programme" music (each Symphony and Overture has its title), he never sought to attempt too literal a painting; he tries rather to suggest landscape, colouring, impression or mood. Here, surely, is "Hebridean scenery, the roar of the waves rolling into the cavern, the cries of the sea-birds, and perhaps almost more than anything else, the radiant and telescopic clearness of the air when the mist is completely dissolved or not yet formed." (Tovey) The Overture opens with a charming, and often repeated, little theme (the theme which was quoted in the letter); the impression given is that of gently-moving water. Soon the cellos sing a cantabile second subject; this is repeated, and after a lovely cadence, the first little theme returns; further development follows. A new theme is heard in the wood-wind over tremolo strings. The working-out section becomes more stormy, rising to a climax, both of speed and intensity, in the final section. Five bars from the close, the clarinet enters again with the first theme and the piece ends with the calm of the opening. The whole work forms a remarkable and beautiful piece of impressionistic sound-painting. (cont.) "The Home of LIGHT MUSIC Light and Music" A particularly attractive_display of Lamp Shades, Standards and Electrical Fittings are always on view. To say that they are beautiful is inadequate, and yet the prices will be found to be most reasonable. With Light goes Music . . . and so it is appropriate that we are able to offer an unbeatable selection of the most dependable Radio Gramophones. H.M.V., Marconiphone, Philips and Pye... Our RECORD Department has always in stock the very latest issues of all the leading makes . . . His Master's Voice, Columbia, Parlophone, Decca and Brunswick. KENNETH LEVELL LTD. MARKET STREET, HUDDERSFIELD Phone 2294

Introduction and Allegro for Strings, Op. 47 Elgar (1857-1934) QUARTET AND ORCHESTRA This work was first performed by the London Symphony Orchestra in 1905. The composer himself has stated that the idea of the piece came to him in Cardiganshire. Whilst on a cliff there, thinking out his theme, he heard some singing in which he noticed what he considered to be a Welsh melodic characteristic-the fall of a third; upon this formula he based one of the principal tunes of the work. Later, a somewhat similar melody heard in the Wye Valley completed the material. The piece is written for solo quartet (two violins, viola and cello) in conjunction with the usual string orchestra, all divisi; so that there are actually nine orchestral parts. Elgar, himself an experienced violinist with a consummate knowledge of the capabilities of stringed instruments, has used to the full every effect of colour, variety and sonority that such a combination could suggest. It is almost impossible without musical illustrations to give anything but a slight idea of the form of the work. The Introduction is marked moderato and opens with a boldly-stepping theme, fortissimo, for orchestra and quartet. After five bars the chief theme (now Allegretto) is heard; soon the solo viola plays the so-called "Welsh tune." Further treatment of this material leads to the Allegro proper (the Allegretto theme now expanded and transposed to the major); the second subject, first given out by the solo quartet, is in staccato semiquavers. For the working-out section Elgar uses a lively Fugato based on an elaborate theme. The first section then reappears, followed by the "Welsh tune," this time in its most complete form. The Allegro ends with fragments of the chief theme (Allegro). Symphony No. 2 in D Major, Op. 36 I. Adagio-Allegro con brio II. Largetto RALPH CUTHBERT Beethoven's second Symphony appears to have been completed towards the end of 1802. He had spent the summer at Heiligenstadt, and he was already greatly troubled by his increasing deafness. October 6th of that year is the date of his despairing letter to his brothers, usually known as "Beethoven's Will," in which, in tragic fashion, he bewails his infirmity and reveals the depths of his depression. With joy I hasten to meet death face to face . . . as the autumn leaves fall and wither, so have my hopes withered." But, in spite of this inward distress and suffering, no such feeling is to be found in this Symphony. "It breathes throughout the spirit of absolute confidence and content." (Grove.) (continued) LIMITED Beethoven (1770-1827) The Modern Chemists for everything medical III. Scherzo and Trio IV. Allegro molto DISPENSING INVALID REQUISITES TABLE WATERS TOILET PREPARATIONS PHOTOGRAPHICS Telephone 2746 10 and 12 WESTGATE, Huddersfield

1 The first performance took place at the Theater an der Wien, in Vienna, on April 5th, 1803. This was an important concert, being the first performance of his Oratorio, "The Mount of Olives," the second Symphony and the Piano Concerto in C minor, Beethoven himself playing the solo part. The Symphony was not as well received as the first one had been. To us it is incomprehensible that its hearers should have found it "advanced." They termed the first movement "grand" and "colossal"; the beautiful Largetto made little impression, while the Finale puzzled everyone with its oddness and harshness, and the players complained that it was exceedingly difficult to perform. Grove considers that this work is the culminating point in the world of music, as Haydn and Mozart understood the term; "it was the farthest point to which Beethoven could go before he burst into that new region into which no man had before penetrated, of which no man had even dreamed, but which is now one of our dearest possessions, and will always be known by his immortal name." I. The Introduction (Adagio) opens with a unison D for full orchestra; this is followed by a passage in four-part harmony for oboes and bassoons, which is later repeated by the strings. There is a modulation into the key of B flat, followed by imitative passages between the treble and bass. Some bars of delicate figures over a pedal A lead into the Allegro, which is again in D major. The principal subject is strong, spirited and rhythmic, lightened with flashing violin passages. The second subject, for clarinets, bassoons and horns, has an almost military character. It is, in fact, in the presentation of these two subjects and their immediate development that we are reminded of the pre-Beethoven symphony writers. The type of the melody, the regular transition passages, the orthodox key changes are all an inheritance from the past; but already a new breath of life is changing and transforming them. After some development, a Codetta ends the exposition and the usual repeat follows. The further course of the movement is perfectly clear, normal and easy to follow; what is noteworthy in it, historically speaking, is its brilliance and energy, qualities quite unprecedented to such an extent in the orchestral music of that period. II. The extensive Largetto is rich in thematic material. The opening melody, first for strings and then for clarinets and bassoons, was turned into a well-known hymn-tune by Sir John Goss. Another, more rhythmic, theme follows, again for clarinets and bassoons. (One of the historically important points about this movement is the new and unusual freedom and flexibility of the clarinet parts.) The second theme proper is in the key of E major; two further themes are noteworthy in this section; the second one, with its contrasted legato and staccato, is particularly graceful. The working-out section follows, and the ornamentation grows more and more rich and fanciful. Of this movement Tovey remarks that "to many a musical child, or child in musical matters, this movement has brought about the first awakening to a sense of beauty in music." Grove speaks of its "elegant, indolent beauty." The Largetto is certainly lengthy, yet we never feel that it is too long drawn-out. (continued) ARTINYATOKAN Telephone 89 8 to.. BLACKBURN'S 12 Victoria Lane (our only address) FOR ALL YOUR FLORAL REQUIRE- MENTS AND GARDEN NECESSITIES oooti

III. The short Scherzo, with its typical alternations of forte and piano, is full of humour and delight, particularly in the quick repartees between instruments or groups of instruments. The Trio modulates freakishly from D major into F sharp major. The usual Scherzo repeat follows. IV. The Finale is in a kind of Rondo form. This was the movement which the listeners found so odd and puzzling! It starts abruptly and very quickly; a quieter episode introduces the second main theme, a steady melody for wood-wind, with livelier string figures to accompany it. This is repeated in the minor key. The regular working-out and return of the main subject follow. Later comes a long and very original Coda. After a surprising modulation to F sharp, the rhythm changes; the bass descends; a reference to the opening theme is heard; then comes a new and lovely melody for oboes and bassoons, accompanied in notes of equal value by the basses, with a three-octave Pedal in the violins and horns. This is possibly the most original passage in the whole work. A short, but brilliant, conclusion follows. INTERVAL OF FIFTEEN MINUTES III. IV. Symphony No. 2 in D Major, Op. 73 I. Allegro non troppo II. Adagio non troppo Allegretto grazioso, quasi Andantino. Presto ma non assai Allegro con spirito Brahms (1833-1897) A curious coincidence that the second Symphonies of the two great masters should both be written in the key of D major! Both, too, were written in the summer in the Austrian country- side this one on the shores of Lake Wörth-but there all resemblance between the two works ends. We know that Brahms was particularly attached to this sunny work; it pleased and amused him to make little mysteries about it to his friends, describing it to them as gloomy and awesome, and always to be played by musicians wearing mourning bands round their sleeves. He was delighted at their surprise when they first heard this happy, cheerful work. I. The movement opens with two characteristic Brahms touches: a short motto-theme (of three notes in the bass), and a principal theme founded almost wholly upon the notes of a common chord (in this case, the chord of D). A subsidiary, and more flowing, theme follows in the violins. This leads to the second subject, almost folk-song in character, which is played by the cellos over a viola accompaniment. A springing theme for strings follows, which becomes more and more strongly rhythmical; an imitative passage, followed in its turn by a reappearance of the second subject in the major key in the violas with a triplet accompaniment for the flutes, completes the first section. The remainder of the movement presents no difficulties; the material being used again with many ingenious modifications and transformations. We should, however, note a lovely, reflexive horn solo which leads to the short Coda. This movement has been described as a poem of ripening cornfield, fresh lakeland breezes and young care-free love. II. The Adagio is much more dark and brooding in character; it indeed demands a very close and attentive hearing. The harmonies are restrained and the rhythms complex. When it was first heard, this movement was considered obscure and difficult; now the obscurity is less apparent and we recognize its depth and originality. The principal melody is heard at once in the cellos; a new and graceful theme follows for the wood-wind; a third, more sombre, is played by the strings. This completes the material from which the movement is constructed. III. The third movement is almost pastoral in character. It opens with a delightful little wood-wind melody, accompanied by strings pizzicato. A Presto in duple time, of light staccato notes, the theme being directly derived from the pastoral tune, interrupts. The Allegretto returns, only to be again interrupted almost at once by another Presto, this time in triple rhythm. On these themes the remainder of the movement is based. IV. The Finale opens sotto voce with a theme in the strings; soon the wood-wind add a subsidiary theme to it. Brahms makes great use of these two subjects, both as a whole and in fragmentary sections of them, with the greatest ingenuity and inspiration. A largamente violin passage introduces the low-pitched second subject. The development of this material is quite regular. Towards the end, the second subject is heard triumphantly in the brass, and thus the Symphony ends joyously, with a brilliant climax. THE LADIES' COMMITTEE WOULD BE VERY GRATEFUL IF YOU WOULD GIVE YOUR PATRONAGE TO THE FIRMS ADVERTISING IN THIS PROGRAMME. HUDDERSFIELD PHILHARMONIC SOCIETY-See page 18.

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Important and Majestic Columbia Recordings of recent issue by Sir Thomas Beecham Conducting The London Philharmonic Orchestra Some Recordings on Columbia by the HALLE ORCHESTRA conducted by Sir Hamilton Harty BEETHOVEN SYMPHONY No. 2 in D. Four records, LX586-9. In Album complete, 24s. BRAHMS SYMPHONY No. 2 in D. Five records, LX515-9. In Album com- plete, 30s. (Both above in today's programme.) The latest Columbia Catalogue, 'al- ways a useful reference to the best in recorded music, will guide you in the selection of complete recordings by Sir Thomas Beecham. Other works by the Halle Orchestra are also in- cluded in the Catalogue. SCHUBERT 'Unfinished' SYMPHONY. Three records, LX666-8. Complete 18s. SUMMER NIGHT ON THE RIVER (Delius). In two parts. Record LB44 (4s.). MOZART SYMPHONY No. 40 in G Minor (K.550). Three records, LX656-8. Complete 18s. TRAGIC OVERTURE (Brahms Op. 81). In three parts; and MARRIAGE OF FIGARO-Overture (Mozart). Two records, LX638-9. Complete 12s. DER FREISCHUTZ-Overture (Weber) In two parts. Record LX601 (6s.). emce MERRY WIVES OF WINDSOR - Overture (Nicolai). In two parts. Record LX596. (6s.). LE CARNIVAL ROMAIN Overture In two parts. Record (Berlioz). LX570 (6s.). MENDELSSOHN "Italian" SYMPHONY. Three records, DX342-4. Complete 128. ENIGMA VARIATIONS (Elgar Op. 36). In seven parts; and DREAM CHILDREN (Elgar Op 43). Four records, DX322-5. In Album complete, 20s. THE ROYAL HUNT AND STORM-Descriptive Symphony (Berlioz). In two parts. Record DX291 (4s.). Com 191 Record. MAGIC NOTES TRA MARK These Records are on sale at all dealers Columbia Copy post free from Columbia, Clerkenwell Rd., London, E.C.1. Sir THOMAS BEECHAM with the L.P.O. records exclusively for COLUMBIA

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, MARCH 9, 1938. ANTONIA BUTLER GEORGE REEVES AT 7-45 and PROGRAMME BLUTHNER CONCERT GRAND PRICE FOURPENCE Hon. Secretary ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield F. W. GADSBY, 222, Almondhury Bank, Huddersfield Hon. Treasurer

PROGRAMME I Sonata in E minor, Op. 38 for Cello and Piano. Allegro quasi Menuetto Allegro Allegro non troppo Brahms (1833-1897) ANTONIA BUTLER and GEORGE REEVES Brahms in the course of his whole career composed only two Sonatas fore cello and piano. The first two movements of this earlier work, together with an Adagio movement, which was subsequently discarded, were written in 1862. The present Finale dates from June 1865. Much important music had already been written by Brahms, including the Piano Concerto in D minor, the Variations on a Theme by Handel, the Paganini Variations, two Sextets for strings, and three Quintets for piano and strings, as well as other smaller works. Dr. Geiringer considers this Sonata, in spite of its prevailing tenderness, to be in a certain sense an act of homage to Bach. He bases this theory on the fact that the main theme of the first movement is closely related to the "Contrapunctus III" from Bach's Art of Fugue, while the subject of the Finale is astonishingly like the "Contrapunctus XIII" from the same work. In the first two movements the cello is treated with much assurance, its tone being brought into strong relief. If any fault can be found, it is that Brahms makes very little use of the upper compass of the instrument, and throughout the whole work, indeed, he uses no very high notes at all. He seems rather to have a preference for the sombre colouring of the two lower strings, and very frequently the cello is used as a bass instrument below the piano part. The first movement opens with one of the strong 'bass' themes. The form is very concise and a Coda in the major key completes the movement. The second movement-in A minor-is in 3/4 time, and the whole has an effect of waltz rhythm. It opens with a short motto-like introduction of four notes, which plays an important part throughout, especially in the Trio section. The Allegretto is then repeated. The third movement-again in E minor-is in the style of a Fugue. The piano opens with the running triplet subject in the bass; it is answered by the cello entry, and the third voice is heard in the treble of the piano. The brilliance of the piano part is so great that the solo instrument can scarcely hold its own against it. Again an increasingly brilliant coda makes a fine conclusion to a work of undoubted power and interest.

Sonata for Cello and Piano. II Prologue Sérénade et Finale ANTONIA BUTLER and GEORGE REEVES The personality of Debussy dominated the whole history of music, not only in France, but in Europe for quarter of a century. A musician of extraordinary powers, he regenerated every form of musical art: symphony, lyrical drama, song, chamber-music and pianoforte composition. One may differ from this great composer in musical ideals, but it is impossible to deny his stupendous originality.' Thus writes Henry Prunières; and although one may think his estimate of his fellow-countryman a trifle exaggerated, one is forced to admit that, in the main, it is true. There is a whole world of difference, both in conception and mode of expression, between the two Sonatas that are to be played to-night. This Sonata is one of Debussy's last works. In his latter years he had planned "Six Sonates pour divers instruments, par Claud Debussy, musicien francais.' He did not live to complete the set. Of these this Sonata (1915), one for flute viola and harp (1916) and one for violin and piano (1916-17) were published. For some years before he died, Debussy had suffered from a painful and terrible malady; and possibly, added to their creative inspiration and originality, one may feel in these latest works some of the weariness and sickness which had oppressed him. As André Suarès wrote, it is often 'la douleur qui parle.' Song Without Words No. 25 Scherzo in E minor Elegy Melodie The Sonata really consists of two movements the Sérénade and Finale have no break between them. The Prologue is free and rhapsodical in style. The Sérénade is light and delicate, full of staccato, plucked effects; the Finale is marked to be played vivace, the piano part being particularly graceful. INTERVAL OF TEN MINUTES III Study for the Pedal Piano in Canon form, in A flat arranged by Clara Schumann Grillen 'Vogel als Prophet' Roumanian Dance Capriccio Debussy (1862-1918) M GEORGE REEVES IV ANTONIA BUTLER Schumann (1810-1856) Mendelssohn (1809-1847) Delius (1863-1934) Frank Bridge (b. 1879) Alfano (b. 1876) Hindemith (b. 1895)

These Concerts will be continued next season. An increased membership is, however, essential, and the Committee would welcome any suggestions from members.

ܕ , HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, FEBRUARY 16, 1938. AT 7-45 KOLISCH STRING QUARTET RODOLF KOLISCH FELIX KHUNER PROGRAMME Hon. Secretary Hon. Treasurer EUGEN LEHNER BENAR HEIFITZ PRICE FOURPENCE ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield F. W. GADSBY. 222, Almondbury Bank, Huddersfield

PROGRAMME I Quartet in B flat major, Op. 76 No. 4 (The Sunrise) Haydn (1732-1809) Allegro con spirito Adagio Menuetto. Allegro Finale. Allegro ma non troppo The six quartets comprising Op. 76 belong to what is generally known as Haydn's second period. They were written in Vienna in 1799, following the "Creation" and immediately preceding "The Seasons. The fourth, a very short one it lasts 8 minutes), though not so well known as the " Emperor, the third, is Hadyn at his best, particularly in the last movement. ,, 99 The first movement starts immediately with the principal subject over a long sustained chord in the other three strings. There is no second subject proper, the whole of the movement being derived from this phrase. The second movement is in ternary form with a short coda, the three appearances of the subject being separated by two episodes of a rather more agitated character. The minuet and trio are quite straightforward and stand in no need of analysis, but the finale is rather unusual. It is in three distinct sections. The first contains the principal subject given out by the first violin; the second is an excursion into the minor key and leads into the third, a recapitulation of the first. The coda gradually increases in speed and brings the work to a brilliant finish. Quartet in G major, Op. 161. II Allegro molto moderato Andante un poco moto Scherzo. Allegro vivace Allegro assai Schubert (1797-1828) This quartet, written two years before his death, was the last quartet that Schubert wrote, and is different in style from all the others A noteworthy feature of the work is the frequent use of tremolo bowing, a device more usual in orchestral than in solo string writing. The work as a whole seems to have a certain homogeneity, a quality often lacking in his earlier quartets, and which makes this one perhaps the finest of them all. The first movement is in normal sonata form, the quiet placidity of the second subject being in marked contrast to the vigour and broken rhythm of the first subject which is announced without any introduction, and occupies most of the development. The slow movement is in ternary form. The song-like principal subject is given to the cello the first time, the first violin the second time, and the third time again to the cello followed by the first violin. These three sections are separated by rather more violent episodes. The scherzo is a lighthearted and playful movement with a contrasting lyrical trio in which the cello again has the principal role, while the finale is a gay and spirited rondo in 6/8 time working up to a brilliant finish in an exciting coda.

INTERVAL OF TEN MINUTES III Quartet in F major, Op. 96 (Nigger). Allegro ma non troppo Lento Molto vivace Finale. Vivace ma non troppo Dvorak (1841-1904) The so-called "Nigger" quartet is a result of Dvorak's visit to America where he stayed with a colony of his country men who had emigrated to Spillville. The title is based on the erroneous idea that Dvorak used traditional negro melodies in the work, though actually he only adopted the idiom, all the melodies being his own. The importance generally attached to this misconception has rather tended to overshadow the nostalgic feeling with which the work abounds. Dvorak's name is often coupled with Schubert's, and comparison of the two works to be played to-night somewhat justifies this. They both had a feeling for lyrical melody which makes their quartets so attractive, and which has made this quartet one of the most popular in all chamber music. The first movement is in normal sonata form, the principal subject being entrusted to the viola, and later the first violin, which, after a rather stormy bridge passage, also announces the poignantly beautiful second subject. Development ensues until a fugato passage, starting in the second violin, ushers in the recapitulation. The slow movement is a staightforward development of a rather plaintive melody, first announced by the first violin and taken up by the cello immediately afterwards. The Scherzo is based on a subject with a peculiar restless sort of rhythm given out by the second violin and cello in octaves. Great play is made of this rhythm until a pause on the tonic ushers in the trio. The subject-matter of this consists of two rather sing-song melodies announced together in the two violins in the minor key. After the return to the scherzo there is a repeat of the trio and then of the scherzo again, a device of which Dvorak was very fond. The finale is a rondo, the chief subject of which, given out by the first violin, might be likened to some sort of Bohemian dance. The second subject, in direct contrast is more lyrical in character. The movement ends with an elaborate coda based on both subjects. Alan Park.

1938 WED. 9 MAR. ANTONIA BUTLER and GEORGE REEVES, CELLO and PIANO RECITAL Brahms Debussy and works by Schumann, Mendelssohn, Delius, Bridge, Alfano and Hindemith. Sonata in E minor, Op. 38 for Cello and Piano Sonata for Cello and Piano The Club is open to all. Single tickets for the remaining concert (5/-) can be obtained from the Hon. Treasurer; from Messrs. K. Levell Ltd., (Miss L. North) Market Street; from Mrs. Hull, 48 New North Road; or at the door. The Committee earnestly beg members to do all in their power to increase the membership of the Society.