HUDDERSFIELD MUSIC CONCERTS FOR THE TWENTY-FIRST SEASON 1938-39 TO BE GIVEN IN HIGHFIELD ASSEMBLY HALL (NEW NORTH ROAD) WEDNESDAYS, OCTOBER 12th, NOVEMBER 16th, NOVEMBER 30th, DECEMBER 14th, 1938, JANUARY 18th, MARCH 15th, 1939, at 7-45 p.m. (Please note dates of four concerts in 1938) MUSIC CLUB Mrs. A. E. Everest Mrs. A. E. Hull, F.R.C.O. Miss A. Shaw, L.R.A.M. W. Clifford Crook A. G. Crowther J. Stancliffe Ellis Irving Silverwood Hon. Secretary Hon. Treasurer President: A. L. WOODHEAD, M.A., J.P. W Committee: Mrs. H. Ainley 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 Hon. Treasurer F. W. Thornton, M.R.C.S., L.R.C.P. Frederick Whiteley D. R. H. Williams ALBERT LUNN, 7, West Avenue, Daisy Lea Lane F. W. GADSBY, 222, Almondbury Bank Tel. 2763 Ladies' Committee: (Representing the Ladies' Committee) Miss D. Donaldson Miss E. Whitwam, L.R.A.M. Chairman: Miss E. Whitwam, L.R.A.M. 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. 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. Single Tickets, 5/-. (Town Office, Messrs. K. Tel. Hudd. 2294). Levell Ltd., Market Street.

WEDNESDAY, 12th OCTOBER, 1938 The NEW HUNGARIAN STRING QUARTET Founded in 1935 this Quartet has already established the reputation of being one of the most remarkable combinations of players performing in Europe. "A wonderfal ensemble of four masters, incomparable from every point of view." Algemeen Handelsblad (Holland) WEDNESDAY, 16th NOVEMBER, 1938 LILI KRAUS and SIMON GOLDBERG PIANO and VIOLIN RECITAL First appearance in Huddersfield of this brilliant Duo "Their playing was superb." "Ensemble playing of the finest quality." Manchester Guardian Daily Telegraph WEDNESDAY, 30th NOVEMBER, 1938 SPECIAL CONCERT BACKHAUS The Committee have the honour to announce the first appearance at these concerts of this celebrated artist

WEDNESDAY, 14th DECEMBER, 1938 ENGEL LUND At the Piano DR. FERDINAND RAUTER Lieder and Folk Songs In response to many requests the Committee are happy to announce the re-engagement of these brilliant artists "Engel Lund is supreme." Daily Telegraph WEDNESDAY, 18th JANUARY, 1939 EGON PETRI The leading Pianist of the day "In intellectual power, variety, controlled rhythm, tone and musicianship, it transcended any pianoforte recital we have heard in the last decade." Manchester Guardian WEDNESDAY, 15th MARCH, 1939 THE BUDAPEST STRING QUARTET "One of the most brilliant performances of the season." New York Times "It always ranked amongst the best quartets and its position is stronger than ever." Daily Mail

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HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, OCTOBER 12, 1938. NEW HUNGARIAN QUARTET SZEKELY MOSKOWSKY PROGRAMME AT 7-45 ||||| KOROMZAY PALOTAI PRICE FOURPENCE. Hon. Secretary ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield Hon. Treasurer F. W. GADSBY, 222, Almondhury Bank, Huddersfield

PROGRAMME I Quartet in F major, Op. 77 No. 2 Allegro moderato Menuetto (Presto ma non troppo) and Trio Andante Finale. Vivace assai The String Quartet as we know it was really the creation of Haydn. In 1755 Karl von Fürnberg, who was accustomed to invite parties of musicians to his house at Weinzerl for the purpose of making music together, asked Haydn to make a long visit there. Haydn found the usual "country-house" orchestra of that day-some strings and a few wind instruments. For these he wrote various compositions which he called Divertimenti, Nocturnes or Cassations. Some he wrote for four string players, and thus, in this simple manner, he produced his first true string quartet. It is doubtful whether the earliest examples were intended for string orchestra or for a solo quartet, but soon Haydn showed an increasing desire to make all four instruments of equal importance and interest, instead of the earlier plan of a solo violin with string accompaniment. Quartet in A minor, Op. 29 The Quartet to be heard to-night is one of a set of two dedicated to Prince Lobkowitz, and belongs to Haydn's latest and most mature period. An animated and rhythmic first movement is followed by a Minuet (which approaches much more closely to the freedom and humour of the Scherzo) and a finely contrasted Trio. The Andante is in variation form; the Finale is vivacious and brilliant. Haydn (1732-1809) II Allegro ma non troppo Andante Menuetto (Allegretto) and Trio Allegro moderato Schubert (1797-1828) In the quartets of Schubert we find the influence of the new "romantic" period. Instead of the pure polyphony of the classical writers, these later composers aim rather at increasing the richness of their music by the use of new massed harmonic effects, double-stopping and tremolo. Their works at times approach more closely to the orchestral, rather than to the chamber-music, ideal.

This beautiful and intensely personal Quartet in A minor has been described as one of the most characteristic works of any composer. It is a mature work, written in 1824, and first appearing in 1825. It was, in fact, the only quartet to be actually published during Schubert's lifetime. In 1824, after a period of mental depression, Schubert went with the Esterhazy family for six months to their home at Zselesz, in Hungary; there, too, was Catherine Esterhazy, the young daughter of the house, who is said to have inspired Schubert's tenderest feelings. It is probably right to attribute the quartet to this visit or to its immediate influence; certainly it is steeped in the Hungarian spirit. In the first movement the dreamy melody of the first violin soars above the throbbing accompaniment of the viola and cello and the swaying line of the second violin; the second subject is more animated. For the Andante Schubert uses a motive from the Ballet music "Rosamunde." The Minuet, with its surprising changes of key and the expressive and deeply personal feeling of the melody, is, in spite of its apparent simplicity, one of Schubert's most inspired movements. The Finale, richly coloured by the Hungarian spirit, brings the work to a warm, temperamental conclusion. INTERVAL OF TEN MINUTES III Quartet in E minor, Op. 116 (Aus meinem Leben) Smetana (1824-1884) Allegro vivo appassionato Allegro moderato a la Polka Largo sostenuto respon Vivace Smetana was the founder of the national school of modern Czech music. He was a youthful prodigy and made his debut as a pianist at the age of six. Later his love for composition drew him completely away from virtuosity. He was intensely nationalist in feeling and an ardent patriot. His early works were chiefly symphonic poems, largely inspired by Liszt. For the newly-founded Czech National Theatre he wrote operas, many of which were based on Czech subjects. His end was tragic; he became deaf and finally he died in an asylum. Smetana was not attracted by abstract music, and his two quartets (Aus meinem Leben) are, according to his own statement, largely autobiographical. This, the first, deals mostly with his youth and is on the whole a cheerful work. The first movement is a picture of childhood and youth; the second portrays his happy social life and his love of the dance; the third describes his love; the fourth, his mature development-the long drawn-out, high-pitched note towards the end suggesting his approaching deafness and tragedy.

1938 WED. 16 NOV. WED. 30 NOV. WED. 14 DEC. 1939 WED. 18 JAN. WED. 15 MAR. LILI KRAUS and SIMON GOLDBERG, Piano and Violin Recital, BACKHAUS. Piano Recital. ENGEL LUND Lieder and Folk Songs. EGON PETRI. Piano Recital. BUDAPEST 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/- can be obtained from the Hon. Treasurer; from Mrs. Hull, 48 New North Road; from Messrs K. Levell, Market Street; or at the door. Single tickets for the special Backhaus Recital will be 7/6. The Committee earnestly request members to do all in their power to increase the membership of the Society.

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, NOVEMBER 16, 1938. AT 7-45 LILI KRAUS and SIMON GOLDBERG STEINWAY CONCERT GRAND PROGRAMME Por Hon. Secretary Hon. Treasurer PRICE FOURPENCE ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield F. W. GADSBY, 222, Almondbury Bank, Huddersfield

PROGRAMME I Sonata for Piano and Violin in E flat major (K.380). Mozart (1756-1791) Allegro Andante con moto Rondo. Allegro It was not until the time of Mozart that the duet-sonata came into being. Though not of the high level of his string quartets, yet the violin sonatas are works of interest and charm. If the piano part seems slight according to modern standards, it must be remembered that Mozart was writing with harpsichord tone in mind. Mozart's most important contributions to this form date from his Viennese period; and this, the earliest of the group, was written in 1781. All these works alike are notable for the beauty of their slow movement. II Sonata for Piano in A minor, Op. 143. Allegro giusto Andante Allegro vivace Schubert (1797-1828) This fine Sonata is dated 1823 and was published in 1839 as Op. 143. The year 1823 was one of ill-health and despondency but the flow of compositions never ceased. Three large dramatic pieces appeared, as well as many songs, including Die schöne Mullerin. Schubert's Piano Sonatas, in spite of containing much that is inspired and beautiful, are not numbered amongst his finest works. Essentially a lyric writer, with a superabundance of melodic invention, the classical sonata, with its definite forms, must have been less in sympathy with his type of genius than, for instance, the piano pieces like the Moments Musicaux. In this Sonata the first movement is one of the most successful from the point of view of formal construction. A bold unison subject is well contrasted with a charming second subject and the development is vigorously carried out. The second movement is flowing and graceful, and much use is made of a short unison link- passage. The final movement has a flowing triplet subject with a lyrical contrasting subject. III Sonata for Piano and Violin in G minor. Allegro vivo Intermède. Fantasque et leger Finale. Très animé Debussy (1862-1918)

This Sonata is the third of a set of six Sonatas which Debussy intended to write for different instruments. He did not live long enough to complete the task, and only three Sonatas exist. The first, for piano and cello, is dated 1915; the second, for flute, viola and harp, 1916; and this, actually the last of all Debussy's compositions, concludes with the inscription "Winter, 1916-1917." During the last years of his life Debussy suffered from a terrible and painful malady, and possibly some of the weakness and sickness of those latter days is to be found in this work. As Suarès wrote, it is "la douleur qui parle." The first movement, in spite of being an Allegro, is largely pianissimo in tone, with, however, contrasting passages of power. The direction "fantastic and light" exactly describes the second movement; it is, indeed, an interlude between two more important sections. The last movement is animated, with moments of delicacy and remoteness. INTERVAL OF TEN MINUTES IV Sonata for Solo Violin in G minor. Adagio Fuga, Allegro Siciliano Presto Bach (1685-1750) Bach wrote three Partitas and three Sonatas for solo violin. They were all written within a short time of each other and belong to the Cothen period (1717-1723). Bach was himself an accomplished violinist, though during later life in chamber music he played the viola in preference. We do not exactly know how the violin was played in Bach's time, but it seems increasingly sure that the old arched German bow, in which the tension of the hairs was controlled at will by the action of the thumb and not by means of a screw, was still in use. This would explain much of Bach's use of double-stopping and com- plicated polyphonic writing. The form of this work is almost nearer to the Suite than to the Sonata. It opens with a long recitative-like movement, which leads to the second movement- a three-voice Fugue. The third movement is a Siciliano, a dance of Sicilian origin in 12/8 time. The Presto is a moto perpetuo. V Sonata for Piano and Violin in C minor, Op. 30, No. 2. Allegro con brio Adagio cantabile Scherzo and Trio Finale. Allegro Beethoven (1770-1827) Beethoven wrote 10 Sonatas for Violin and Piano, of which this, the seventh, the ninth (Kreuzer) and the tenth are the best examples. This work is one of a set of three, written in 1803 and dedicated to Alexander I, Emperor of Russia. It is emotional in character (the choice of the key of C minor was not made by chance ; there is a similarity of emotional content between all Beethoven's works in that key). In point of time this Sonata belongs to the beginning of Beethoven's second period. The first and last movements are entirely characteristic. The Adagio moves along in solemn beauty. The Scherzo and Trio are perhaps rather more obvious; while the sombre and passionate Finale brings the work to a noble close.

1938 WED. 30 NOV. WED. 14 DEC. 1939 WED. 18 JAN. WED. 15 MAR. BACKHAUS. Piano Recital. ENGEL LUND Lieder and Folk Songs. EGON PETRI. Piano Recital. BUDAPEST STRING QUARTET. 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 Mrs. Hull, 48 New North Road; from Messrs K. Levell, Market Street; or at the door. Single tickets for the special Backhaus Recital will be 7/6. The Committee earnestly request members to do all in their power to increase the membership of the Society.

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, NOVEMBER 30, 1938. BACKHAUS AT 7-45 BECHSTEIN CONCERT GRAND PROGRAMME Hon. Secretary Hon. Treasurer PRICE FOURPENCE ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield F. W. GADSBY, 222, Almond bury Bank, Huddersfield

PROGRAMME I Two Preludes and Fugues from the "Forty-eight " Book I. (i) C major (ii) C sharp minor Bach (1685-1750) "The Well-Tempered Clavier" consists of 48 Preludes and Fugues divided into two books. They were completed respectively in 1722 and 1744. Bach's intention in making this work was partly to give suitable material for study to the young musicians, and partly to demonstrate the enormous possibilities which were opened out to the composer by the new system of equal temperament tuning, in which all the keys were made available for use, though in a slightly imperfect form, on instruments such as the clavier, rather than a few keys in perfect tuning. Sonata quasi una Fantasia, Op. 27, No. 2 ("Moonlight") in C sharp minor. Beethoven (1770-1827) Adagio sostenuto Allegretto Presto agitato The title of "Moonlight Sonata" was not given by the composer, but by the critic Rellstab, who further embroidered his fantasy by describing the work as the literary fioritura of a boat visiting by moonlight the wilder regions of Lake Lucerne. But what is infinitely more important is the inscription "Sonata quasi una Fantasia" which Beethoven himself gave to this Sonata and to its companion Op. 27, No. I. It marks his earliest departure from the classical "first-movement form"; and more than that, it is the beginning of a fresh development of the Sonata into something entirely new and much wider in scope. Previously the only alternative to the conventional first movement had been Variations, as used by Mozart and by Beethoven himself in his Op. 26. These two Sonatas which form Op. 27 were written in 1801. They are indeed Fantasies. This, the second of the two, opens with what is a Nocturne in every- thing but name. Berlioz calls the right-hand part of the "efflorescence mélodique" of the sombre harmonies of the bass. Rolland, in a somewhat over-fanciful description of the piece, writes of the dual song which exhales its lassitude above the monotony of the mournful accompaniment; how it descends immediately into its agitated night, only to rise and fall yet again, sinking into an exhausted silence, while, like a passing bell, the bass alone repeats the rhythm of the sob (Beethoven the Creator). The Allegretto follows without a pause. This Berlioz describes as "une fleur entre deux abimes." It is really a Scherzo and Trio, orthodox in form. The impetuous and passionate Finale is in sonata-form. The first subject is full of fire and tempest; every other bar ends with a sforzando. After it has been repeated twice the second subject appears. The development section is concise, and the recapitulation ends with a cadenza. Two bars of Adagio lead to a short, intense coda.

Rhapsody in G minor. Variations on a Theme by Paganini, Op. 35. II By far the finest Variations since Beethoven are the numerous sets by Brahms. He used more or less the same principles as Beethoven, employing every device of condensation, augmentation, anticipation, inversion, polyphonic combination, chromatic colouring, and so forth, with such ingenuity and skill that the tracing of the theme often becomes a difficult intellectual exercise. At the same time, how- ever, the musical interest, far from being overwhelmed, is enhanced to an amazing degree. These 28 Variations are founded upon a really simple theme from one of Paganini's Violin Caprices, and the work forms a series of wonderful studies, not only in the art of composition but also in piano technique. They have, in fact, scarcely ever been surpassed in technical difficulty. INTERVAL OF TEN MINUTES Moments Musicaux Brahms (1833-1897) III Papillons, Op. 2. Schumann (1810-1856) The work consists of an Introduction of six bars and twelve short dance-like pieces. The Finale is based upon an old tune (the "Grandfather's Dance"). Then the noise of the Carnival dies away, and the clock strikes six. A letter from Schumann explains the title "Butterflies." He writes: "The air is so sweet and heavenly that I can wish for nothing but a carriage made of roses for an army of butterflies to draw home with gold and silver threads. Then I should say to them, *Carry off the Papillons to Therese, Rosalie and Emilie'." These were his three sisters to whom he dedicated the work. Marche Militaire in E flat major. (i) No. 6 in A flat major (ii) No. 3 in F minor Schubert (1797-1828) Schubert, arr. Backhaus

1938 WED. 14 DEC. 1939 WED. 18 JAN. WED. 15 MAR. ENGEL LUND Lieder and Folk Songs. EGON PETRI. Piano Recital. BUDAPEST STRING QUARTET. 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 Mrs. Hull, 48 New North Road; from Messrs K. Levell, Market Street; or at the door. The Committee earnestly request members to do all in their power to increase the membership of the Society.

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, DECEMBER 14, 1938. ENGEL LUND At the Piano PROGRAMME Hon. Secretary Hon. Treasurer AT 7-45 : DR. FERDINAND RAUTER PRICE FOURPENCE ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield F. W. GADSBY, 222, Almondbury Bank, Huddersfield

HUJ 33129500DE PROGRAMME I SWITZERLAND. Es isch kei söliger Stamme (Mountaineer's Song). Ferdinand Es kam ein Herr zum Schlössli (Nursery Rhyme). Rauter GERMANY. Mondlied (The Moon). Wir zogen in das Feld (Landsknecht Song). CZECHOSLOVAKIA. Veje vetor po doline (The Wind blows through the Valley) (Slovakian). Vit. Novak. Tenkrate bude victoria (Victory) (Czech). Ferdinand Rauter. FRANCE. La Marche des Rois. La Mort du roi Renaud. Derrière chez mon Père (Canada). Ferdinand Rauter. YIDDISH. A dudale (Meditation). As ech wolt gehat (Cradle Song). Wigendik a fremd kind (Cradle Song). Ferdinand Rauter. Ferdinand Rauter. Reginald Jevons.

INTERVAL OF TEN MINUTES II ENGLAND. She's like the Swallow (Newfoundland). Raggle-taggle Gipsies O. The Twelve Days of Christmas. DENMARK. Jeg kan se paa dine Oejne (Love Song). Langt udi Skoven (Nursery Rhyme). } ICELAND. SWEDEN. Lammen har jag (Herdsmaid's Song). Var e du (Dancing Song). } Sofdu unga astin min (Cradle Song). Fagurt galadi fuglinn sa (Beautiful was the Crowing of the Cock). Vaughan Williams. Cecil Sharp. Frederic Austin. Ferdinand Rauter. Ferdinand Rauter. Sveinbjornsson Litlu börnin leika sjer (Children a-picking Berries). Ferdinand Rauter.

1939 WED. 18 JAN. WED. 15 MAR. EGON PETRI. Piano Recital. BUDAPEST STRING QUARTET. THE HALLÉ ORCHESTRA Conductor: Sir Thomas Beecham, Bart. TOWN HALL TUESDAY, FEB. 28th, at 7-30 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 Mrs. Hull, 48 New North Road; from Messrs. K. Levell, Market Street; or at the door. The Committee earnestly request members to do all in their power to increase the membership of the Society.

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, JANUARY 18, 1939. EGON PETRI AT 7-45 STEINWAY CONCERT GRAND. PROGRAMME Hon. Secretary Hon. Treasurer PRICE FOURPENCE ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield F. W. GADSBY, 222, Almondbury Bank, Huddersfield

Fantasie in C minor Sonata in C minor PROGRAMME I Molto allegro Adagio Assai allegro } Mozart (1756-1791) The great Fantasie in C minor was written in 1785, the Sonata in C minor, one of the finest of Mozart's piano Sonatas, dates from the previous year. Both works therefore came quite late in his career and both are superb examples of his art. Perhaps the Fantasie is the noblest of all Mozart's piano compositions. Judged by its period, it is a work of astonishing fire and rich imagination. It opens with an Adagio of dramatic octave passages with sudden fortes and pianos, which are rounded off with tender and beautiful slurred cadences. A lovely section in D major is followed by the strong and energetic Allegro in A minor with its fragment of true Mozartian melody, which in turn leads without a break to the lyrical Andantino section. The tempo becomes more animated in a cadenza-like passage until the first dramatic octaves are heard again. The work ends with an abrupt upward scale passage. Very often Mozart treated the clavier as an instrument for the tuneful and lighter side of his art; here we have great and noble music; a masterpiece of the highest rank in the literature of the piano. II The Piano Sonata also opens with a majestic octave phrase, which contrasts splendidly with the delicate second subject in E flat. The Adagio movement is quiet and beautiful, with lovely lyrical melodies and much elaborate and beauti- ful figuration. The Allegro assai, in triple time, opens with a theme which recalls a Beethoven Scherzo. This movement is again dramatic, with its sudden fortes and impressive pauses. 15 Variations and Fugue in E flat major, Op. 35. ("Eroica") Beethoven (1770-1827) The Variations were written in 1802 when Beethoven's creative powers had reached their full development. His piano Sonatas were becoming increasingly original in conception and now, as it were, he writes a number of sets of variations as exercises in virtuosity, or one might even say, in improvisation, as he feels his way towards the latest and greatest of his piano works.

The theme of the Variations is one which seems to have haunted Beethoven's mind for years. He used it in a variety of ways-in the Finale of the Prometheus, in a collection of contre-danses, in this work, and finally he found its fullest expression in the finale of the Eroica symphony. The bass part of the theme is first heard in its barest and starkest form; then second, third and fourth parts are added to it. The whole Introduction indeed forms a little circle of variations in itself. Finally the theme itself appears; and after being heard in 15 variations through every device of virtuosity, it rises, after a splendid Fugue, to a superb and solemn climax. In detail, the seventh variation is a canon at the octave, the fourteenth has a change to the minor key, the lengthy fifteenth has free and recitative-like passages ending with a coda, and a cadence on the chord of G, which leads at once to the Fugue. INTERVAL OF TEN MINUTES "All' Italia" Turandots Frauengemach Indianisches Tagebuch Carmen Fantasie Perpetuum Mobile III Busoni (1866-1924) Busoni, the son of an Italian father and an Austrian mother, was one of the outstanding musical figure of his time. As a pianist many consider him to be the greatest since the days of Liszt; as a virtuoso his extraordinary technical powers made him the founder of a new school of piano playing, yet these gifts were in him always made the servant of his interpretation. His compositions, obviously the product of a great and powerful mind, have not perhaps the charm which quickly attracts; but, nevertheless, they number among their worshippers some of the keenest of modern intellects. He was a man of wide reading and deep culture, a powerful and original thinker and writer on musical aesthetics. As a boy he appeared as a child prodigy, but in later years his interest became more and more completely absorbed in composition. His most monumental piano work, the great Piano Concerto, shows to some extent, the influence of Liszt; but in later works, such as the "Fantasia Contrapuntistica," the influence of Bach becomes more apparent. His magnum opus, the opera His magnum opus, the opera "Doktor Faust" was uncompleted at the time of his death. All' Italia" (in modo napoletano; dedicated to Egon Petri) and Turandots Frauengemach (Intermezzo) are taken from a group of Elegies, finished in 1907. They are works which are approaching Busoni's latest and deepest style. Professor Dent calls them studies in expression rather than in form. The Indianisches Tagesbuch (Indian Diary) was written in 1915, and is a set of four studies on the motives of the Redskins of North America. The enchanting Carmen Fantasy (1920) is based on themes from Bizet's Carmen; the Perpetuum mobile is dated 1922. Don Juan Fantasie Liszt (1811-1886)

1939 WED. 15 MAR. BUDAPEST STRING QUARTET. THE HALLÉ ORCHESTRA Conductor: Sir Thomas Beecham, Bart. TOWN HALL TUESDAY, FEB. 28th, at 7-30 TANNHÄUSER OVERTURE SCÉNES HISTORIQUES (At the Drawbridge, Serenade, Festivao) SYMPHONY No. 41 (JUPITER) SYMPHONIC VARIATIONS SUITE "L'ARLÉSIENNE" Booking opens at Messrs. K. Levell on Feb. 1st. WAGNER SIBELIUS MOZART DVORAK BIZET The Club is open to all. Single tickets 5/- can be obtained from the Hon. Treasurer; from Mrs. Hull, 48 New North Road; from Messrs. K. Levell, Market Street; or at the door. The Committee earnestly request members to do all in their power to increase the membership of the Society.

THE HUDDERSFIELD TOWN HALL HUDDERSFIELD HALLE ORCHESTRA Under the patronage of His Worship the Mayor (Alderman F. Lawton, J.P.) and A. L. Woodhead, Esq., M.A., J.P. (President, Huddersfield Music Club) Conductor: Sir Thomas Beecham, Bart. Mrs. H. Ainley Mrs. W. F. Clayton Miss D. Donaldson Mrs. C. Earnshaw Miss K. M. Evans, B.A. Miss Freeman, J.P. Mrs. Denys H. Hirst MUSIC CLUB Tuesday, Feb. 28th, 1939, at 7-30 p.m. Promoted by the Ladies' Committee Huddersfield Music Club Chairman: Miss E.Whitwam, L.R.A.M. Committee : 0000 Mrs. A. E. Horsfall Mrs. G. G. Jarmain Mrs. A. W. Kaye Mrs. R. Stewart Park Mrs. M. M. Sayer Mrs. 1. Silverwood Miss E. Wormaldblsd Programme Hon. Secretaries: Mrs. A. E. Hull, F.R.C.O. Miss A. Shaw, L.R.A.M. Hon. Treasurer: Mrs. A. E. Everest - Price Price Sixpence N. D. : Co.. HUDD.

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You can have as treasures for your library of recorded music, the Bizet, Mozart, and Wagner WORKS IN TO-DAY'S PROGRAMME UNDER THE BRILLIANT CONDUCTORSHIP OF SIR THOMAS BEECHAM These, along with other famous masterwork re- cordings are on Columbia Records with Sir Thomas conducting The London Philhar- monic Orchestra Beethoven SYMPHONY No. 2 in D. Record Nos. LX 586-9 (6s. each) in Art Album (free), complete 24s. Haydn SYMPHONY No 93 in D. Record Nos. LX721-3 (6s. each). Mozart SYMPHONY ("Paris") In D (K.297). In five parts: with Minuet and Hornpipe from "The Gods Go A-Begging" (Handel). Record Nos. LX754-6 (6s. each). Mozart SYMPHONY No. 29 in A (K.201). Record Nos. LX687-9 (6s. each). Mozart SYMPHONY No. 40 in G minor (K.550). Record Nos. LX 656-8 (6s. each). Schubert SYMPHONY No. 5 B flat. Record Nos. LX785-7 (6s. each) and LXS788 (single-sided, 3s.) in Art Album (free), complete 21s. Wagner's TANNHÄUSER-Overture. In three parts: with Polovtsi March from Prince Igor (Act 3) (Borodin). Two Records, 6s. each. Mozart SYMPHONY No. 41 ("Jupiter ") in C. (K.551). In seven parts: with Sarabande and Tambourine (Handel). Four Records (6s. each) in Art Album (free) with Descriptive Notes, complete, 24s. Bizet's L'ARLESIENNE SUITES- No. I-Prelude: Adagietto: Minuetto. Records, 6s. each. www Sir Thomas has recorded, also, many popular items including such Overtures, in addition to the "Tann- hauser," detailed above, as "Flying Dutchman" "Merry Wives of Windsor": "Oberon": "The Hebrides" (Fingal's Cave): "William Tell": "Der Freischutz": "Tragic," etc. Ask your dealer for particulars, or write for complete list, post-free, from Columbia of 98-108, Clerkenwell Exclusively Road, London, E.C.I. in four parts. Two Orchestra. LX768-9 No. 2-Minuet and Farandole. In two parts. Record, 6s. LX614 All with SIR THOMAS BEECHAM conducting The London Philharmonic LX282-5 on- | LX541-2 Schubert SYMPHONY ("Unfinished" No. 8 in B minor). Record Nos. LX666-8 (6s. each). Berlioz's THE DAMNATION OF FAUST-Hungarian March: Dance of the Sylphs: Minuet of the Will o' the Wisps. Record Nos. LX 702-3 (6s. each). Berners' TRIUMPH OF NEPTUNE-Ballet Suite. LX697-8 (6s. each). Delius' SUMMER NIGHT ON THE RIVER-In two parts. Record No. LB44 (4s.) Record Nos. Sibelius' FINLANDIA-Tone Poem-(Op. 26, No. 7)-In two parts. Record No. LX704 (6s.) SIR THOMAS BEECHAM with the L.P.O. Columbia RECORDS ON SALE AT ALL DEALERS & GRAMOPHONE STORES.

Programme GOD SAVE THE KING Overture "Tannhäuser" Wagner (1813-1883) Tannhäuser is the third of the operas of Wagner's mature work. The earliest, "Rienzi" (1840) was the first step towards individuality. "The Flying Dutchman" (1841) was a further advance, and "Tannhäuser" went much further still. The text of the opera was written in 1943, the music in 1844, and the work was first performed in Dresden in 1845. It was not an unqualified success, largely because the audience was bewildered by the strangeness and length of the opera. The story of the opera-Tannhäuser's sojourn in the Hall of Venus, his coming to the Tournament of Song to compete for the hand of Elisabeth, his pilgrimage to Rome, the death of Elisabeth and the miraculous flowering of the Pope's Staff-is too wellknown to need re-telling. The real theme is the contest between earthly and heavenly love, between Venus and Elisabeth, the struggle between evil and good. ● The Overture is a masterpiece. It is constructed entirely from the themes of the opera. It opens with the "Pilgrim's Chorus," first heard in the clarinets, horns and bassoons and followed by the cellos. As the chorus is repeated, a violin figure, which later plays a very prominent part, is used. Wagner himself calls this "the pulse of life"-the healthy instincts of the natural man. The following is Wagner's own explanation of the Overture (in Mr. W. Ashton's translation): "The Pilgrims' Chorus draws near, then swerves into a mighty outpour, and passes finally away. . . As night breaks, magic sights and sounds appear: a rosy mist floats up, exultant shouts assail our ear, the whirlings of a fearsomely voluptuous dance are seen. These are the 'Venusberg's' seductive spells... Attracted by the tempting show, a shapely human form draws nigh: 'tis Tannhäuser, Love's Minstrel. He sounds his jubilant Song of Love in joyous challenge ... Wild cries of riot answer him; the rosy cloud grows denser round him; entrancing perfumes hem him in and steal away his senses. In the most seductive of half-lights, his wonder-seeing eye beholds a female form; he hears a voice that sweetly murmurs the siren-call. Venus herself it is... Then heart and senses burn within him; a fierce devouring passion fires the blood in all his veins... before the Goddess's self he steps with that canticle of love triumphant, and now he sings it in ecstatic praise of her. tumultuous shouts and savage cries of joy mount up on every hand; in drunken glee Bacchantes drive their raging dance, and drag Tannhäuser to the warm caresses of the Goddess of Love." (continued) HUDDERSFIELD NEAVERSONS Ltd. FOUR BYRAM STREET Wo 'PHONE 8 4 1 Wedding Presents, Presentations and Gifts for all occasions boxsexsc an Agents for WEDGWOOD STUART CRYSTAL SUSIE COOPER WORCESTER LALIQUE CROWN DERBY ★ Glass, China and Cutlery loan. 30x ✓

Scènes Historiques I. At the Drawbridge Serenade II. III. Festivo (First time in Huddersfield) Sibelius was born at Tavastehus, in Finland, in 1865. He is descended from purely Finnish parentage, his father, a wellknown doctor, coming from old peasant stock, and his mother from a clerical family. He showed remarkable musical ability from a very early age; but in spite of that, he first studied law at the University of Helsingfors. Later he entered the Conservatoire there, studying under Wegelius and Kajanus, who were both strongly nationalist in sympathy. He completed his musical studies in Berlin and Vienna, but the principal influences during his early years were Finnish. He returned home in 1893, and in 1894 his opera "The Maid in the Tower" (the first Finnish opera) was produced in Helsingfors. After teaching for a short time, Sibelius won such recognition as a national composer that a life grant was offered to him by the state in 1897, on which he was able to retire and devote himself entirely to a creative career. Such an enlightened and generous gesture on the part of a government must be almost unique in modern times. His life has been outwardly uneventful, interrupted only by periodic tours abroad. He has paid several visits to England. In his own country Sibelius is deeply venerated. Not only has he made free and ample use of his country's rich store of ancient saga, but also few will deny that he and our own Elgar were the greatest symphonic writers of the present time, and worthy successors to the great masters of that form. Up to the present Sibelius has written seven Symphonies-all of marked individuality and power. In his works he shows "an almost passionate admiration of nature, a patriotism that is never vainglorious and a resoluteness tempered at times by a deep and genuine tenderness, free from sentimental ostentation." Sibelius (b. 1865) The three short works to be given to-night are taken from two orchestral suites called "Scènes Historiques." The first set, Op. 25, was written in 1899 and contains (i) All'Overtura, (ii) Scène, (iii) Festivo; the second, Op. 66, written in 1912, has (i) The Chase, (ii) Love Song (Serenade), (iii) At the Drawbridge. The earlier Opus, together with "Finlandia," was originally planned as incidental music to a series of historical tableaux, illustrating episodes taken mostly from Finnish myth and history; the later Opus, though produced at a much later date, is also based on similar material. These works are specially notable on account of their masterly orchestration. LIGHT (i) At the Drawbridge. The piece opens with an accompaniment of pizzicato strings, which persists almost throughout the piece. The wind instruments have fanfare-like tunes. Gradually the scoring becomes richer and fuller, until the procession approaches in a blaze of glory. A sudden pause comes; the procession, as it were, disappears from sight, and the piece ends quietly. (continued) "The Home of 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, Deccaand Brunswick. KENNETH LEVELL LTD. MARKET STREET, HUDDERSFIELD Phone 2294

(ii) Serenade. This short piece of 73 bars in length is in the remote key of G flat major. It begins with soft, held chords for horns, bassoon and the lower strings muted. Short solos for the wood-wind are heard. Snatches of smooth melodies are tossed from one instrument to the other, above a subdued accompaniment. The end is very quiet; and the whole piece is full of dim colourings and atmosphere. (iii) Festivo. The concluding piece is brilliant, rhythmical and colourful, in the style of a bolero-a Spanish dance-rhythm in triple time. Symphony No. 41 in C Major ("The Jupiter ") I. Allegro vivace II. Andante cantabile In 1788-three years before his death-in the space of about six weeks, harassed by debt and distressed about his circumstances, Mozart wrote his three greatest and noblest Symphonies- those in E flat major and G minor, and this, the so-called "Jupiter" Symphony in C major, with which, as Tovey says, he ends his symphonic career with the youthful majesty of a Greek God. Mozart (1756-1791) III. Menuetto and Trio IV. Allegro molto The three Symphonies are completely different in character. The first is full of gaiety and youth. The second has sorrow and regretfulness in it. The third and last has so lofty and self-contained a style, so clearly carved a beauty, that the name of "Jupiter"-foolish and wrong as it may be, just as the titles of the "Moonlight" and "Appassionata" Sonatas are wrong and without the intention of the composer-does imply a real and spontaneous tribute to the divine grandeur and the serene strength of the work. Writing of this Symphony, Hussey remarks that it "is the finest example we possess of pure thinking in music, with the possible exception of Beethoven's later quartets, where the thought is on a very different plane of philosophy." I. The Allegro opens at once with the first subject. It is in two parts; the first, a vigorous forte unison figure for full orchestra; the second, a softer phrase for strings alone. This is repeated in G major and followed at once by a decisive passage for full orchestra. The first subject returns with a graceful counter-subject for the flutes and oboes. The second subject, charming and bright, follows in the strings. Two more themes complete the material for the exposition, which is then repeated with the usual formality. The working-out and recapitulation sections are perfectly clear and easy to follow. (continued) FOR HOME-BUYING AND INVESTING With its prompt and courteous service, the Halifax Building Society will give the utmost assistance to those who require to buy or build their Houses. ● Generous rates of interest are allowed on investments of small or large sums, Income Tax on Investments and Savings is paid by the Society. WRITE OR CALL FOR LATEST BOOKLETS ASSETS EXCEED 122 MILLION POUNDS HALIFAX BUILDING SOCIETY General Managers DAVID W. SMITH, F.C.I.S. F. E. WARBRECK HOWELL, LL.D. HEAD OFFICES HALIFAX HUDDERSFIELD BRANCHES-CLOTH HALL STREET & 8 MARKET PLACE L

II. In the Andante the muted strings have the principal theme, with occasional supporting chords in the wood-wind. A more strenuous passage, with a pulsing string accompaniment, leads to the second subject, which is sung by the first violins. It is a graceful and lovely melody. At its conclusion a link of two bars of violin melody leads to the repetition of the entire section. The next section is founded upon the material previously heard, and much use is made of the running triplet figure of the second subject, as well as of flowing demisemiquaver passages. A brief reference to the first subject is followed by a very short dialogue between the horns and the strings and wood-wind. The movement ends with a pianissimo chord. III. The Menuetto is almost entirely based on a descending, and partly chromatic, scale passage, which lends itself admirably to imitative treatment. A short Trio precedes the repetition of the Menuetto. IV. The Finale has a vigorous austerity of character. It has been called, with its effortless and most effective use of contrapuntal devices, one of the mountain peaks of music. Its first theme has again two phrases-the first, four slow-moving semibreves; the second, a rhythmic and vigorous passage. Another supplimentary theme leads to a short Fugue on the four semibreves of the first subject. The second main theme is heard later in the violins and it is at once combined with the previous material. Two other short and characteristic phrases make up the material from which the whole great movement is constructed. It would be impossible without musical illustrations to attempt to follow the working of all this contrapuntal ingenuity. But even without this, the Finale, by reason of its beauty and its splendour, may be enjoyed to the full. The movement ends with a lengthy Coda, which is sometimes called the final Fugue. All five themes are combined in a kind of fugal Round, and a last entry of the four- semibreve first subject brings the whole work to a brilliant conclusion. INTERVAL OF TEN MINUTES Symphonic Variations on an original theme, Op. 78 Dvorak (1841-1904) Dvorak's Symphonic Variations were written in 1877 and therefore belong to the middle part of his career. The work consists of a theme, twenty-seven variations on it and a Finale. The theme is heard at once in the strings, the wood-wind being added at the eighth bar. Variation 1. The theme is in the lower strings, clarinet and bassoon, while the other wood- wind and the violins have a counterpoint above it. Variation 2. For strings alone. Variation 3 follows without a break. The theme is in the wood-wind with a triplet accompani- ment for the strings. Variations 4-14. The theme becomes much more broken up, and often the composer uses only a fragment of it on which to make a beautiful little picture, with much variety in rhythm and scoring. Variation 15. The bassoons and lower strings have a rhapsodical version of the theme, which is later taken up by the violins and wood-wind; finally the trombones are heard. Variation 16 follows without a break. In this the brass instruments are very prominent. Variation 17. A Scherzo in triple time. Variation 18. accompaniment. The key changes from C to D major. The horns have the theme with a violin Variations 19-23 are all in waltz time. Variation 24. A solemn Andante. Variation 25. Variation 26. The theme is in the wood-wind with a viola accompaniment. The theme of the previous variation differently treated in the key of D. Variation 27. A return to C major. A dialogue between the strings and wood-wind. Finale. After a short prelude the original theme is heard and is then made into a Fugue. The work is ended with an imposing Coda. Suite "L'Arlésienne" I. Prelude Minuet Adagietto II. III. IV. Minuet Farandole V. Bizet (1838-1875) Bizet, the distinguished French composer, is best known by his opera "Carmen." But in 1872, three earlier than the production of the opera, the first performance took place in Paris of Daudet's play "L'Arlésienne" with incidental music by Bizet. The scene of the play is laid in Provence, and the music faithfully and brilliantly reflects the warm, Southern atmosphere which surrounds the passionate and tragic story. Two Suites have been arranged from the music. The first three pieces are taken from the first Suite, and the fourth and fifth from the second one. The Prelude is based on the theme of the La Marche dei Rei, a popular folk-tune in the South of France. The Farandole is usually danced at the great feasts, such as Corpus Christi, by a long string of young men and women, holding hands, through the streets of the towns of Provence, preceded by musicians playing the "galoubet" and the "tambourin." THE LADIES' COMMITTEE WOULD BE VERY GRATEFUL IF YOU WOULD READ THROUGH THE ADVERTISMENTS IN THIS PROGRAMME AND WOULD GIVE YOUR PATRONAGE TO THESE FIRMS.

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PROGRAMME I Quartet in D major, Op. 64 No. 5 (The Lark) Allegro moderato. Adagio cantabile. Menuetto and Trio. Finale. Vivace. Among the wealth of music that 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 of a similar form for other combinations of instruments. Practically all this vast store of music contains some kind or other of Sonata-form; and Haydn, who brought this particular form to its modern perfection, may well have been said to think in Sonatas. And in spite of the enormous number of compositions, Haydn's inspiration never seems to falter; each work possesses its own individual charm to an amazing extent. Haydn (1732-1809) This quartet is the fifth of a set of six, which were written about 1790. The later quartets of Haydn fall into two divisions; those (Opp. 50, 54, 55, and 64) which he wrote during his years of service with Prince Esterhazy; and the second group (Opp. 71, 74, 76, 77, and 78), when he was one of the ackowledged masters of his time. This quartet, therefore, comes midway. The first move- ment opens with a light staccato passage for the three lower instuments. At the eighth bar the first violin enters with a clear, effortless, bird-like melody, which might well have inspired the title of "The Lark". The whole movement is light and airy. The Adagio has a smooth, cantabile melody for the first violin; a contrasting portion leads to the return of the first section, with the melody even more elaborately embroidered. The Menuet and Trio follow the usual pattern, the latter having some pleasing imitative passages. The Finale is again light and staccato, with a continuous semiquaver flow. II Quartet No. 3 in C major, Op. 22 Fugato Sehr energisch. Stets fliessend. Hindemith (b. 1895) Mässig. Rondo. Gemächlich und mit Grazie Hindemith is one of the best-known and most prolific composers in modern Europe. He was born in Hanau (South Germany) and studied at Frankfort. From 1915-23 he first led and then conducted the Frankfort Opera. He later joined the Amar String Quartet as the viola player. He is a very fine player of that instrument, a fact which is reflected in the viola parts of his compositions. He

has also played percussion instuments. Hindemith is a rapid and facile writer, and his output is remarkable considering his age, He has experimented in many styles, but from 1925 the "back to Bach" movement has predominated He has even not disdained a cabaret type of art, and he has evidently found inspiration in the modern age of machinery and materialism. His music has humour, vitality and rhythm, but little sentiment, though some of his later work is said to show an erotic tendancy. He has been much attracted by chamber music, or works for chamber orchestra. This quartet received its first performance by the Amar Quartet at the Donaueschingen Festival in 1922. It consists of five rather short movements. The first is a Fugue, mostly in slow tempo, very free and modern. The second movement in brutally powerful and very rhythmic, with effective unison passages. The third, marked continually flowing' is a complete contrast, being quiet, smooth, and muted throughout. The fourth is again quick and vigorous; it opens with a long solo for the cello, which, with the viola added, returns later in the movement. The last movement, called a Rondo, follows immediately and is marked 'easily and with grace'. INTERVAL OF TEN MINUTES III Quartet in E minor, Op. 59, No. 2 (Rasoumowsky) Allegro. Molto adagio. Allegretto. Presto. Beethoven (1770-1827) The three "Rasoumowsky Quartets" were written in 1809, the same year which saw the production of the G major piano Concerto, the D major violin Concerto, the Fourth Symphony and the Leonora Overture No. 3. The quartets were commissioned by, and dedicated to Count Rasoumowsky, and, probably as a compliment to his Russian nationality, they all contain Russian airs. All three are quartets which are far in advance, both in thought and in form, of Beethoven's previous works; they are leading directly to the complete freedom and mastery of the final monumenal creations. The first movement has dark, passionate moods contrasted with happy, peaceful music, It opens with two dramatic chords, which are followed by a bar's rest and then two bars of smooth melody. The second subject (heard in the first violin above a moving accompaniment) is graceful. The beautiful long-drawn Adagio in the key of E major, marked to be played with great feeling, is again very new and original, historically speaking. The playful and rhythmic Allegretto has an original form. It opens in E minor and has a contrasting middle section in the major key, which contains the Russian melody, a song of glory to the Creator. The minor section is then repeated. The Finale is in one of Beethoven's happiest moods. It starts in the key of C major; the episodes and the Coda alone bringing back the key of E minor.

These Concerts will be continued next season. It is, however, very desirable that the membership should be substantially increased. The Committee would welcome your help, and would also be glad to receive any suggestions.