Huddersfield Music Club A Series of Six GREAT CONCERTS for the Twenty-fourth Season 1941-42 to be given in the TOWN HALL ST. PATRICK'S HALL, FITZWILLIAM STREET, (by permission of the Military Authorities) on SATURDAY AFTERNOONS at 2-30 p.m. 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 and A. L. WOODHEAD, ESQ., M.A., J.P. Committee- MRS. H. AINLEY MISS F. M. H. COCKING, L.R.A.M. MISS D. DONALDSON MISS K. M. EVANS, B.A. MISS FREEMAN, J.P. MRS. H. S. HAIGH MRS. DENYS H. HIRST MRS. A. E. HORSFALL Hon. Secretary-A. LUNN, 7, West Avenue, Daisy Lea Lane. Hon. Treasurer-F. W. GADSBY, 222, Almondbury Bank. Tel. 2763. Ladies' Committee- IRVING SILVERWOOD FREDERICK WHITELEY D. R. H. WILLIAMS Representing Ladies' Committee MISS I. SILVERWOOD MRS. S. WATSON MRS. G. G. JARMAIN MRS. A. W. KAYE MRS. R. STEWART PARK MRS. IRVING SILVERWOOD MRS. M. M. SAYER MRS. STANLEY WATSON MISS E. WHITWAM, L.R.A.M. Hon. Secretaries-MISS A. SHAW, L.R.A.M. MRS. A. E. HULL, F.R.C.O. Hon. Treasurer-MRS. A. E. EVEREST THE CLUB IS OPEN TO ALL The Subscription for the Series is 25/-. This consists of three Chamber Music Concerts and three Concerts by the Hallé Orchestra; for the Orchestral Concerts each member receives one Numbered and Reserved Balcony Ticket (6/-) for each Concert. All Subscriptions are payable to the Hon. Treasurer. Single tickets for the Chamber Concerts 4/-, single tickets for Orchestral Concerts according to plan.

Saturday, October 4th, 1941 TOWN HALL THE Halle Orchestra Conductor: Laurance Turner (by permission of the B.B.C.) Saturday, November 1st, 1941 CHAMBER CONCERT ST. PATRICK'S HALL The Griller String Quartet Saturday, December 13th, 1941 TOWN HALL THE Halle Orchestra Conductor: Laurance Turner Solo Piano: Clifford Curzon

Saturday, January 10th, 1942 CHAMBER CONCERT ST. PATRICK'S HALL Eileen Joyce Piano Recital Saturday, February 21st, 1942 TOWN HALL THE Halle Orchestra Conductor: Laurance Turner Solo Violin: Paul Beard (by permission of the B.B.C.) Saturday, March 7th, 1942 CHAMBER CONCERT ST. PATRICK'S HALL Isobel Baillie Song Recital P. T. O.

IMPORTANT The Committee trust that all members, both new and old, of the Music Club will support this series of Afternoon Concerts in war-time. They also hope to have the support of all music lovers for the Orchestral Concerts, given by one of the leading orchestras in the country. Each member will receive with his Season Ticket a counterfoil which should be immediately exchanged at Messrs. J. Wood & Son, 67, New Street, Huddersfield, for a Numbered and Reserved Season Balcony Ticket (6/-) in the Town Hall. The Committee would like to emphasize the great advantages members will get when booking for the complete season. Season Tickets are despatched to all former members automatically, and none may be returned to the Hon. Treasurer after Sept. 27th. On request the Hon. Treasurer will be pleased to send complete Season Tickets to new members. The Committee will gladly give any further information if required.

Huddersfield Music Club Twenty-fourth Season 1941-42 The Halle Orchestra Leader: Frederick Brough Conductor: LAURANCE TURNER First Concert Saturday, October 4th, 1941 at 2-30 p.m. PROGRAMME THREEPENCE

Overture Symphony 20 mins. PROGRAMME God save the King Prelude The Magic Flute 8 mins. Mozart's last opera The Magic Flute was composed and produced in 1791. The Overture begins with an Adagio of solemn chords, which soon merges into an Allegro, written in brilliant fugal style. Three short melodies form the principal material; (1) repeated notes ending with a melodic turn (2) an ascending tonic chord followed by a descending scale (3) a more flowingly melodic passage. These themes are combined and contrasted with the greatest ease and freedom. No. 8 in B minor The Unfinished Allegro moderato Andante con moto Mozart (1756-1791) The Symphony, called the 'Unfinished' because for some unknown reason two movements only were completed, was written in 1822. It was not performed till 1865, and there- fore Schubert himself never actually heard what Tovey has called 'the most perfect of Schubert's large orchestral works.' The first movement is in regular Sonata form, but with many beautiful and original features. The second movement, of looser structure, is of singular loveliness. Tovey sees in it 'the gleam, the light that never was on land or sea. L'après-midi d'un Faune 9 mins. Schubert (1797-1828) Debussy (1862-1918) 'L'après-midi d'un Faune' (1892-1894) is based on the poem by Mallarmé. Instead of being a story illustrated point by point by the music (as in the case of Don Juan), Debussy creates a continuous impressionistic picture. One feels, rather than sees, the poet's dream of the young faun in the wood, bathed in the warmth and langour of the summer day. The orchestra used is comparatively slight; but by its highly original use, a miracle of beauty and suggestive- ness is created.

Symphonic Poem score. Don Juan was written in 1888-the beginning of Strauss's period of full maturity. It is based upon the poem by Lenau, from which three quotations are prefixed to the The first two deal with the search for the ideal woman, the third with Juan's final disgust, weariness and satiety. Themes representing the young hero open the music. His first quest-a young country maiden-has a simple theme, followed by a falling chromatic theme of revulsion and satiety, which is used with this significance throughout. Next a passionate love-duet depicts his love for the Countess. The 'Anna' theme (quieter and more contemplative) marks the next episode. The 'Masked Ball' follows with its suggestion of garish carnival life. Gradually the turmoil ebbs and flows in great waves of sound. The dual approaches. Finally a sharp trumpet note depicts the shot which pierces Juan's heart-fired by the son of the man whose life he had taken. A final poignant chord is heard, and Juan's life slowly fades away. Don Juan (Op. 20) 16 mins. INTERVAL OF 10 MINUTES Strauss (1864) Symphony in E minor "From the New World" No. 5, Op. 95 Dvorak (1841-1904) Finale 43 mins. Allegro Largo Scherzo Dvorak is the most notable composer of the modern Czech school, and this is his best known symphony. A boy of humble village origin, Dvorak succeeded, after early struggles, in obtaining a musical education. Later he came under the influence of Smetana, the originator of the Czech national movement in music. To the inspiration of Czech folk music and literature-as well as to the wider field of Slavonic art- Dvorak remained faithful throughout a long life, during which he produced many important and beautiful works. In 1892 Dvorak accepted the directorship of the National Conservatory of Music in New York, where he remained for three years. There he contended that Americans, if they wished to develop a national style in music, should base their art upon their Indian and Negro melodies. Into this Symphony, and particularly in the first movement, Dvorak has introduced some of these interesting native melodies. The slow movement is said to have its origin in a reading of Longfellow's description of Hiawatha's courtship. Apart from these instances, the title does not imply that any programme underlies the symphony. It is absolute music; a delightful work of its kind, and entirely characteristic of Dvorak's own beautiful, natural melodic style. In it, too, one realises again that Dvorak is one of the greatest masters of orchestration, painting magical colourings with simplicity and natural beauty.

HUDDERSFIELD MUSIC CLUB Saturday Afternoons at 2-30 p.m. Second Concert, November 1st, 1941 ST. PATRICK'S HALL The Griller String Quartet Third Concert, December 13th, 1941 TOWN HALL The Halle Orchestra Conductor: Laurance Turner Pianist: Clifford Curzan Fourth Concert, January 10th, 1942 ST. PATRICK'S HALL Eileen Joyce Piano Recital Fifth Concert, February 21st, 1942 TOWN HALL The Halle Orchestra Conductor: Laurance Turner Violinist: Paul Beard Sixth Concert, March 7th, 1942 ST. PATRICK'S HALL Isobel Baillie Song Recital Single Tickets for Chamber Concerts (St. Patrick's Hall) 4/- from F. W. Gadsby, 222, Almondbury Bank; Mrs Hull, 48, New North Road and Messrs. J. Wood & Sons. Single Tickets for Orchestral Concerts, 6/-, 4/6, 3/6, 3/-, 1/9 1/3, from Messrs. J. Wood & Sons, 67, New Street.

Huddersfield Music Club St. PATRICK'S HALL Saturday, November 1st, 1941, at 2-30 p.m. The Griller String Quartet SIDNEY GRILLER JACK O'BRIEN PHILIP BURTON COLIN HAMPTON PROGRAMME I Quartet in E flat Op. 33, No. 2 North Alpine Tongataboo Allegro moderato. Scherzo. Allegro Largo sostenuto Finale. Presto Cantabile Haydn (1732-1809) This quartet is the second of a set of six, known as the 'Russian quartets'. In 1781-2 the Grand Duke Paul twice visited Vienna; many musical performances including these quartets, were given in his honour, and Haydn dedicated them to him, hence their title. In this set Haydn first uses the term 'Scherzo' in place of 'Minuet', though actually there is no real difference in style. II Night (A poem for String Quartet) Three Landscapes for String Quartet Bloch (b. 1880) Bloch was born in Geneva, the son of a Jewish merchant. He studied there, and later in Brussels and Frankfurt. He returned for some time to Switzerland, and in 1917 he settled in America. Up to recent years he has written two operas, symphonies and a few orchestral works, one quartet, one quintet, other smaller chamber works and some songs. Bloch is a composer of great individuality and power. He is essentially a Jewish composer, not in the sense that he relies on actual Hebrew or Oriental themes, but rather in the expression of the spirit of his race in all its Old Testament dignity and grandeur. His music is highly polychromatic, often barbarous, and rhythmically very free. The time signatures change frequently, and he is fond of interpolating free, cadenza-like passages. INTERVAL OF TEN MINUTES

III Quartet in C major Op. 59, No. 3 (Rasoumowsky) Beethoven (1770-1827) Introduction-Andante con moto. Allegro vivace Andante con moto quasi allegretto Menuetto. Trio Allegro molto This, the third quartet of the set dedicated to Count Rasoumowsky, was written between 1806-08. It starts quite out of the key and gradually leans towards C major. The Andante is one of the first great romantic move- ments in music. The Menuetto leads directly into the Finale-a remark- able fugue, which ranks with the greatest of Beethoven's works. Saturday afternoons at 2-30 Town Hall, December 13th, 1941 HALLÉ ORCHESTRA Conductor: Laurance Turner St. Patrick's Hall, January 10th, 1942 EILEEN JOYCE Piano Recital Pianist: Clifford Curzon Town Hall, February 21st, 1942 HALLE ORCHESTRA Conductor: Laurance Turner Song Recital Violinist: Paul Beard St. Patrick's Hall, March 7th, 1942 ISOBEL BAILLIE Single Tickets for Chamber Concerts (St. Patrick's Hall) 4/- from F. W. Gadsby, 222, Almondbury Bank; Mrs Hull, 48, New North Road and Messrs. J. Wood & Sons. Single Tickets for Orchestral Concerts, 6/-, 4/6, 3/6, 31-, 1/9, 1/3, from Messrs. J. Wood & Sons, 67, New Street. PROGRAMME THREEPENCE

Huddersfield Music Club President: A. L. Woodhead, Esq., M.A., J.P. Twenty-fourth Season 1941-42 The Halle Orchestra Leader: Frederick Brough Conductor: LAURANCE TURNER Pianist: CLIFFORD CURZON Saturday, December 13th, 1941 at 2-30 p.m. PROGRAMME THREEPENCE

PROGRAMME God save the King 'Coriolan' 10 mins. Overture 15 mins. The Overture was written and first performed in 1807. It is a relatively short work; concise, simple yet closely woven. It was inspired not by Shakespeare's tragedy, but by the work of H. J. von Collin, a minor poet and contemporary of Beethoven. The Overture deals with the central dramatic moment of the play, when Coriolanus, banished from his native city because of his unshakeable virtue, resolves to destroy it. His wife, mother and child plead with him; he yields to them, and is himself condemned to death. The first phrase depicts Coriolanus-all strength, impetuosity and confidence. Tender melodies suggest the women's eloquence and pleading. On this material the Overture is founded. Siegfried Idyll Beethoven (1770-1827) The Siegfried Idyll was written in 1870 at the end of six years spent by Wagner and Cosima, his wife, in peaceful and happy retreat at Triebschen in Switzerland. It was first performed as a surprise serenade for Cosima in celebration of the birth of their son, Wagner himself conducting it. All the themes, with the exception of an old German cradle song, are taken from the opera 'Siegfried.' Wagner (1813-1883) Concerto for Piano and Orchestra No. 4 30 mins. CLIFFORD CURZON in G major, Op. 58 Beethoven (1770-1827) Allegro moderato Andante con moto Rondo Vivace This Concerto was composed in 1805-6, the same period which saw the great outpouring of the 32 Variations in C minor, the Violin concerto, the Overture 'Leonora No. 3,' the fourth Symphony and the three string quartets Op. 59 (Rasoumovsky). I. The first movement opens with the principal subject given out by the solo piano, which is then silent until the conclusion of the long orchestral tutti-an unprecedented innovation. The theme is worked to a climax; a graceful melody for violins follows; then the principal subject reappears, interrupted by a series of runs on the piano. After

further development the second subject is sung by the violins, with much decoration in the piano part. The remainder of the movement is drawn from this material. Throughout, the treatment of the piano is brilliant, yet full of romantic touches and beautiful effects of light and shade. II. The most remarkable movement is the short Andante con moto in E minor. It is a dialogue between the strings. and the piano; the former in octaves, fierce, rough and peremptory; the latter una corda molto espressivo, in melting, exquisite tones. Gradually the tender sentiment prevails. There is no more poetic slow movement in all concerto literature. It was said to be inspired by the picture of Orpheus supplicating the powers of the underworld. III. The last movement is a Rondo, which grows without a break from the final chord of the Andante. The main theme is heard in the strings, and immediately it is repeated by the piano in a more decorated form. A more pensive but equally delightful second subject follows. The remainder of the movement is clear in construction. INTERVAL OF 10 MINUTES 15 mins. Piano Solos Les Funérailles Gnomenreigen CLIFFORD CURZON Liszt (1811-1886) 34 mins. Symphony No. 4 in B flat, Op. 60 Beethoven (1770-1827) Introduction-Adagio leading to Allegro vivace Adagio Menuetto and Trio Allegro ma non troppo This gay and vigorous work stands between two monumental Symphonies-No. 3 (Eroica) and No. 5 (Fate knocking at the door), just as later the great seventh and ninth Symphonies are separated by the slighter eighth. I. Although the prevailing mood is one of brightness, the Symphony opens with a slow pianissimo Introduction, which suddenly whips up into the life and rhythmic gaiety of the first subject, soon to be interrupted by a soothing little phrase in the wood-wind. A new syncopated passage is followed by a conversation between the oboe and flute-really the beginning of the group of themes which form the second subject. A long mounting phrase in minims leads to another section- a canon between clarinets and bassoons. The remainder of the movement spins along using this material, and full of delightful transitions and conversation-like passages of wit and good humour.

II. The slow movement opens with a rhythmic accompani- ment figure over which the violins soon sing a smooth melody. It is really written in a modified Rondo form, with contrasted sections, throughout which the rhythmic pulse generally prevails. The mood is one of deep happiness. III. Though called a Minuet and Trio the third movement is really a kind of Scherzo. It opens with a leaping vital theme; the contrasting "Trio' section has slower chords in the wood-wind, with short interjections from the violins. The Scherzo and Trio have a double repetition, and a final abridged Scherzo forms a coda. IV. The Finale is based on a rapid semiquaver theme which settles down into a broader melodic figure. Then a new subject, for oboe and flute, leads to a passage of alternating strings and wind, followed by rapidly descending, cascade-like figures. All this material is now developed in a mood of high good humour and vivacity. But the movement has much more than these qualities; in spite of its apparent lightness, it has all the genius and subtlety of Beethoven's full maturity. HUDDERSFIELD MUSIC CLUB Concerts on Saturday Afternoons at 2-30 p.m. January 10th, 1942 ST. PATRICK'S HALL Eileen Joyce Piano Recital February 21st, 1942 TOWN HALL The Hallé Orchestra Conductor: Laurance Turner Violinist: Paul Beard March 7th, 1942 ST. PATRICK'S HALL Isobel Baillie Song Recital Tickets for the Orchestral Concert, 6/-, 4/6, 3/6, 3/-, 1/9, 1/3 from Messrs. J. Wood & Sons, 67, New Street. Tickets for the Chamber Concerts (St. Patrick's Hall) 4/- from Messrs. J. Wood & Sons; the Hon. Treasurer, F. W. Gadsby, 222, Almondbury Bank; Mrs. Hull, 48, New North Road.

Huddersfield Music Club St. PATRICK'S HALL Saturday, January 10th, 1942, at 2-30 p.m. Owing to indisposition, Miss Eileen Joyce is unable to appear at this concert. The Committee are happy to announce that they have been able to engage Mr. Louis Kentner. LOUIS KENTNER Piano Recital PROGRAMME I Sonata in C major (K.545) Allegro Andante Rondo Sonata in B flat minor This Sonata was composed in Vienna in 1788. Although written in a simple and delicate style, it is one of the works dating from the period of Mozart's fullest maturity, one year after the composition of the three last and greatest symphonies in E flat, G minor and C major ("Jupiter"). It is interesting to note that these were the years during which Mozart was immersed in the study of Handel, which resulted in the re-scoring of four of Handel's works, including "Acis and Galatea" and "The Messiah." There is no doubt that this influence made itself felt in many of Mozart's later compositions. II Mozart (1756-1791) Andantino Mazurka Intermezzo Finale Balakirev (1837-1910) 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. In 1891 Balakirev became the centre of a new musical movement. This group (The Five) consisted of himself, Cui, Mussorgsky, Rimsky-Korsakov, and Borodin; and their influence-both direct and indirect-on Russian music is vitally important. Not only was Balakirev their teacher and leader, but he was also much occupied in organizing and conducting many important orchestral concerts at which works by Russian composers were heard, as well as the finest compositions of all schools and nationalities. Deeply interested in mysticism, he retired to the country in 1874, and devoted the remainder of his life to composition and contemplation, making only rare public appearances.

The number of Balakirev's works is not great, but all of them show the exquisite and finished quality of his inspiration and workmanship. The influence of Glinka, Chopin and Liszt can be felt, as well as that of folk-music, both Russian and Eastern. Perhaps his best-known works are the tone-poem "Tamara," two symphonies and the piano fantasy "Islamey." In a land of fine pianists, Balakirev was outstandingly distinguished. The Sonata to be played to-day is almost unknown in this country. It dates from 1910, and is dedicated to his pupil Liapunov. III Variations on a theme by Paganini, Op. 35 (Books 1 & 2) Brahms (1833-1897) By far the finest Variations since Beethoven's are the numerous sets by Brahms. He used more or less the same principles as Beethoven, employing every device of condensation, augmentation, inversion, polyphonic combina- tion, 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, 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 IV Bacarolle in F sharp major, Op. 60 Impromptu in A flat major, Op. 29 Waltz in C sharp minor, Op. 64 Four Studies MINUTES (i) Op. 10, No. 2 in A minor (ii) Op. 10, No. 12 in C minor (iii) Op. 25, No. 1 in A flat major (iv) Op. 25, No. 11 in A minor Chopin (1810-1849) Huddersfield Music Club Concerts on Saturday afternoons at 2-30 p.m. Town Hall, February 21st, 1942 HALLÉ ORCHESTRA Conductor: Laurance Turner Pianist: Stephen Wearing Works by Mozart, Delius, Rachmaninov, Sibelius and Wagner. Single Tickets 6/-, 4/6, 3/6, 3/-, 1/9, 1/3, from Messrs. J. Wood & Sons, 67, New Street. St. Patrick's Hall, March 7th, 1942 ISOBEL BAILLIE Song Recital Single Tickets 4/- from Messrs. J. Wood & Sons: F. W. Gadsby (Hon Treasurer), 222, Almondbury Bank; Mrs Hull, 48, New North Road

Huddersfield Music Club President: A. L. Woodhead, Esq., M.A., J.P. Twenty-fourth Season 1941-42 The Halle Orchestra Leader: Frederick Brough Conductor: LAURANCE TURNER Pianist STEPHEN WEARING Saturday, February 21st, 1942 at 2-30 p.m. PROGRAMME THREEPENCE

PROGRAMME God save the King 10 mins. Overture Tannhauser' Wagner (1813-1883) Completed in 1845, Tannhäuser belongs to the earlier period of Wagner's work, and therefore for the Overture the composer recapitulates the leading themes of the opera. The subject of the drama is the contest in Tannhäuser's heart between earthly and heavenly love. The Overture begins with the Pilgrim's Chorus. Later a triplet violin figure becomes prominent; Wagner called it 'the pulse of of life.' The Chorus draws near, passes by and then fades away. Its place is taken gradually by the magic music of the Venusburg, which mounts to a wild climax of song and enchantment as the Bacchantes draw Tannhäuser into the delights and madness of their realm. 8 mins. 'On Hearing the first Cuckoo in Spring' Delius (1863-1935) This short piece was written in 1911, and was first performed in London in 1914. It is scored for strings, wood-wind and two horns. The music is purely impressionistic. It opens with a softly swaying melody in the strings; later, fragments of a Norwegian folk-song are heard. The mood is placid throughout. Soft elusive melodies melt into each other, and occasionally the quiet call of the cuckoo is heard in the clarinets. 28 mins. Symphony No. 35 in D major (The Haffner) Mozart (1756-1791) Allegro con spirito Andante Menuetto e Trio Finale-Presto The Symphony was written in 1782, and was commissioned by the Haffner family of Salzburg. The first movement (which Mozart said himself must be very fiery) opens with a spirited and vigorous theme in unison. Unlike the con- ventional first movement of this period-in sonata-form with a first and second subject and their development-this unison theme dominates practically the whole movement, thus anticipating the C minor Symphony of Beethoven. The movement is a masterpiece of ingenious workmanship. The Andante is light and graceful, but contains a sudden outburst of characteristic Mozartian melancholy in a dramatic passage, marked forte. The Minuet and Trio are conventional and delightful. The finale, which Mozart said was to be played as fast as possible, has the same grace and mobility with its rippling quaver flow; and again in this movement Mozart changes the conventional form by delay- ing and varying the recapitulation.

30 mins. Concerto No. 2 in C minor, Op. 18. Rachmaninov (b. 1873) Moderato Adagio sostenuto Allegro scherzando Rachmaninov is perhaps the most notable of living Russian composers, though his works are not strikingly Russian in character compared with other nationalistic composers. Himself a superb pianist, his music is very finely created for that instrument, though its technical difficulties are usually great. Rachmaninov has made many appearances in this country in the threefold capacity of composer, conductor and pianist. The Concerto opens with a succession of rich chords for the piano; at the eleventh bar the principal theme (con passione) is given by strings and clarinets. This is a remarkably lengthy melody of 44 bars with a continuation, by the piano, of 8 bars more. The second subject in E flat major is more sombre in character. After much dialogue and imitation, the development section follows. A big climax comes next, and a slower tempo marks the approach of the final section, played Maestoso, alla marcia. There is no piano cadenza, and the movement ends in impressive fashion. The strings are muted throughout the Adagio. An intro- duction for strings is interrupted by the piano with important triplet figures. A notable wood-wind theme, with alternations of 3-2 and 4-4 time, follows. The tempo soon quickens with climaxes, which are typical of Rachmaninov. The orchestral part grows in intensity, until it is turned aside by a brilliant cadenza for the piano. There is a return to the style of the opening, and the end comes with a stately Coda. 35 mins. smoother. The final movement begins with a strongly rhythmical section, interrupted by a piano cadenza. Soon the piano has the virile principal theme. The second subject (moderato) for oboes and violas is much quieter and The ample development section is unfolded with much interest and variety. It includes a fugato section based on the principal subject. At the height of the climax the orchestra has four fortissimo bars derived from the chief theme of the first movement; after a brilliant piano cadenza, the smooth second subject of the last move- ment is majestically given by the full orchestra, and the Concerto comes to a vigorous and fiery end. INTERVAL OF 10 MINUTES Symphony No. 2 in D major All gretto Tempo andante ma rubato Scherzo-Vivacissimo Finale Allegro moderato Sibelius (b. 1865)

Sibelius is the most notable living writer of Symphonies. He has so far produced seven great examples. He is of pure Finnish descent; and from a very early age, he showed a remarkable musical talent. He studied at Helsingfors Con- servatoire under Wegelius and later in Berlin and Vienna. He returned to Finland in 1893, and at once produced works of strong and native character. After some three years' work at home he won such recognition as a national composer that a life grant was offered to him by the state, which has enabled him to retire and devote himself to a creative career. In his own country he is deeply venerated. This, the second Symphony, was written in 1902, three years after the first Symphony. It has the regular four-movement plan and the usual orchestra, but it is a great advance on the earlier work. Instead of the usual scheme of using two or more themes, breaking them up and developing them in the course of the work, the process is reversed; and we have thematic fragments which, in the development section, are built up and combined into a whole, only to be dissolved back again during a brief 'recapitulation' into their primary form. The 'fragments' used in this first movement are (i) the opening figure with its many repetitions of 3 notes (ii) a wood-wind continuation with the characteristic first three notes in descending form (iii) a later violin melody, still reminiscent of the three note idea (iv) a wood-wind figure with a long held note ending with a kind of slow shake (v) a more leaping, square-cut figure of descending fifths. The course of these important figures can be clearly traced throughout the movement. The Andante opens with a pizzicato introduction. The first theme follows in the bassoons. After a vigorous climax, the strings have another quiet theme of great beauty. Again, after further developments, this is interrupted by the passionate section. The Andante ends with a short Coda. The Scherzo is lengthy but easy to follow. The most unusual section is the 'Trio' (lento), which is built on a theme beginning with no fewer than nine repetitions of the The Finale follows without a break. Its first theme is again constructed on three upward-rising notes. The whole movement is in the usual finale tradition; the style is cheerful, broad and stately-an excellent example of the happy ending. same note. HUDDERSFIELD MUSIC CLUB ST. PATRICK'S HALL Saturday, March 7th, at 2-30 p.m. Isobel Baillie Song Recital Tickets 4/- from Messrs. J. Wood & Sons, 67, New Street: the Hon. Treasurer, F. W. Gadsby, 222, Almondbury Bank: Mrs. Hull, 48, New North Road; and at the door.

Huddersfield Music Club St. PATRICK'S HALL Saturday, March 7th, 1942, at 2-30 p.m. ISOBEL BAILLIE At the piano Synnove's Song Sylvelin PROGRAMME I I saw that you had grown so high The Blessed Virgin's Expostulation Purcell (1658-1695) With thee the unsheltered moor I'd tread (Solomon) Allelulia! (Cantata No. 51) With a water lily Last Spring Song Recital Before my window The Lilacs Sorrow in Springtime Twilight Fancies Home Thoughts II Across the Door The Stranger's Grave Spring Gerald Moore INTERVAL OF TEN MINUTES III All Soul's Day Say wherefore would'st dissemble IV Handel (1685-1759) Bach (1685-1750) Kjerulf (1815-1868) Sinding (1856-1941) Grieg (1843-1907) Rachmaninov (b. 1873) } Strauss (b. 1864) Delius (1863-1935) Bantock (b. 1868) Hamilton Harty (1880-1941) Ivor Gurney (b. 1890) Programme Twopence