Huddersfield Music Club President - A. L. Woodhead, Esq., M.A., J.P. A Series of Six GREAT CONCERTS for the Twenty-fifth Season 1942-43 to be given in the TOWN HALL ST. PATRICK'S HALL, FITZWILLIAM STREET, (by permission of the Military Authorities) on SATURDAY AFTERNOONS and WEDNESDAY EVENINGS MRS. A. E. EVEREST MISS A. SHAW, L.R.A.M. W. CLIFFORD CROOK A. G. CROWTHER J. STANCLIFFE ELLIS IRVING SILVERWOOD 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 FREDERICK WHITELEY D. R. H. WILLIAMS Hon. Secretaries MRS. HULL, 48, New North Road. Tel. 1094 A. LUNN, 7, West Avenue, Daisy Lea Lane. Hon. Treasurer-F. W. GADSBY, 222, Almondbury Bank. Tel. 2763. Representing Ladies' Committee- MRS. I. SILVERWOOD MRS. S. WATSON Ladies' Committee- Chairman-MRS. IRVING SILVERWOOD MRS. A. E. HORSFALL MRS. G. G. JARMAIN MRS. A. W. KAYE MRS. R. STEWART PARK MRS. M. M. SAYER MRS. STANLEY WATSON MISS E. WHITWAM, L.R.A.M MRS. A. E. HULL, F.R.C.O. Hon. Secretaries- MISS A. SHAW, L.R.A.M. 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, September 26th, 1942, at 2-15 TOWN HALL THE Hallé Orchestra Conductor: Laurance Turner (by permission of the B.B.C.) Wednesday, November 11th, 1942, at 6-30 p.m. TOWN HALL P THE Halle Orchestra Conductors : Laurance Turner Arthur Bliss (who will conduct one of his own works) Singer ISOBEL BAILLIE Saturday, December 5th, 1942, at 2-30 p.m. CHAMBER CONCERT ST. PATRICK'S HALL THE Blech String Quartet

Saturday, January 9th, 1943, at 2-30 p.m. CHAMBER CONCERT ST. PATRICK'S HALL Eileen Joyce Piano Recital Saturday, February 6th, 1943, at 2-30 p.m. CHAMBER CONCERT ST. PATRICK'S HALL Pouishnoff Piano Recital Wednesday, March 10th, 1943, at 6-30 p.m. TOWN HALL THE Hallé Orchestra Conductor: Laurance Turner

IMPORTANT Tickets are not being sent this season with the Prospectus to members of the Club. An envelope and application form are enclosed. Please return this as soon as possible, stating tickets required, which will then be forwarded. As before, if orchestral tickets are required, please exchange the special counterfoil for numbered and reserved Balcony Seats (6/-) at Messrs. J. Wood & Son, 67, New Street. Priority bookings for members only is Sept. 7th and 12th, when bookings open to the public. The committee would like to emphasize the great advantages members get when booking for the entire season. to, The Committee wish to draw attention to a Special Orchestral Concert to be held in May, 1943. This will not be included in the Subscription Season, but the Committee hope that all members of the Club, as well as the general public, will give the concert their fullest support. Details will be announced in due course.

Huddersfield Music 1/ Music Club President: A. L. Woodhead, Esq., M.A., J.P. Twenty-fifth Season 1942-43 FIRST CONCERT The Halle Orchestra Leader: Frederick Brough Conductor: LAURANCE TURNER Town Hall, Saturday, September 26th, 1942 at 2-15 p.m. PROGRAMME FOURPENCE

10 mins. PROGRAMME God save the King Overture 'Carneval' Op. 92 Dvorak (1841-1904) 42 mins. Allegro Andante con moto Allegro In 1893 Dvorak, the great Czech composer, wrote a group of overtures 'Amid Nature,' 'Carneval' and 'Othello.' The funda- mental idea which connects the three is shown by the original title they bore 'Nature, Life and Love.' The Carneval Overture is perhaps the best loved of the three, depicting by its spirited and sparkling rhythmic flow the gaiety and vigour of youthful life. 6 mins. Intermezzo 'The Walk to the Paradise Gardens' (A Village Romeo & Juliet) Delius (1863-1934) The opera, from which the Intermezzo is taken, was written between 1900 and 1902. It was produced in Berlin in 1907; the first English performance followed in 1910. The story is simple. Two farmers quarrel over a strip of land, and ruin themselves with lawsuits over it. The son of one loves the daughter of the other. Reduced to poverty, the lovers seek a short space of happiness together, first at the village fair and then in the peace of the Paradise Gardens. Weary of life, they climb into a barge, which is sailing past them down the river. They pull the plug out of the boat and drift together to death. This miraculously lovely Intermezzo is a tone picture, describing the happiness of the lovers in the Paradise Gardens. Symphony No. 4 in E minor Allegro ma non troppo Andante con moto Allegro giocoso Brahms (1833-1897) Finale-Allegro energico e passionato Brahms's fourth Symphony was first performed in Meiningen in 1886, and the following year in London. It was for a long time not fully understood or appreciated, partly, no doubt, because it is the most profound and personal of all his works. The choice of the key of E minor is unusual, and Riemann has pointed out a re- semblance between the principal subject of the first movement and the melody of 'Behold and see if there be any sorrow' from Handel's 'Messiah.' Tovey remarks that this Symphony is one of the rarest things in classical music, a Symphony which ends tragically. He is, of course, referring to the famous Passacaglia- a Finale whose form is unique in symphonic construction, and although a technical tour de force, one which has a range so vast and a power so tremendous that the listener forgets the problem of its construction in the mighty sweep of its span.

I. The first movement opens at once with principal subject, a boldly stepping melody for the violins. After some repetition and elaboration, a spirited triplet and staccato episode, principally in the wood-wind, leads to the smoother and more tender second subject. A resumption of the first subject opens the development section, with its many changes of key and use of fragments of the themes. A regular recapitulation follows; and the final section builds up a great climax of massive power. d II. The Andante begins with a heroic unison call in the horns, to which the wood-wind are added. In the fourth bar the principal theme, which continues the same steady movement, is heard in the clarinet with pizzicato accompaniment. After further working, a staccato triplet figue breaks out, but the movement quickly subsides and then a new subject, a smooth cello melody, enters with a rich accompaniment in the strings. Other repetitions of these themes make up the remainder of the material. Six bars from the end, the horns repeat their first call, their accompanying harmony being in the Phrygian mode. III. The Scherzo, perhaps the greatest written since those of Beethoven, has a mood of almost rustic and blustering energy, with powerfully marked accents. A graceful theme for violins gives the necessary contrast. The remainder of this very compact movement is based on these two themes, or fragments of them, tossed from instrument to instrument. Added colour is given by the use of the piccolo, the double-bassoon and the triangle, the last being used with unusual freedom. IV. The Finale is a Passacaglia-a series of thirty-one variations with a Coda upon a theme of eight notes (E, F sharp, G, A, A sharp, B, B, E). This theme is boldly stated by the trombones, supported by the other wind instruments, as the melody of a short passage of eight bars (one note to each bar). Thereafter the theme appears first in one part, now in another with perfect regularity; but the variety, freedom and range of its expression is immense. Detailed analysis of all the variations is impossible. The listener need not trouble if he is not always able to trace the theme through the complexities of sound. The whole forms one gigantic, unified mass, which moves forward to an impressive and tragic conclusion. 14 mins. INTERVAL OF 10 MINUTES Lyric Suite Op. 54 Grieg (1843-1907) (i) Shepherd's Boy (ii) Norwegian Rustic March (iii) Nocturne (iv) March of the Dwarfs Grieg, the most famous of Norwegian musicians, was supremely successful in compositions of a small and lyric form. He wrote many charming pieces for piano (this Suite is an orchestral arrange- ment of a piano suite) and songs. He was much influenced by nationalist feelings, and could himself write melodies which are hardly distinguishable from genuine fold-music. Grieg's music is full of the fairy world of Norwegian folk-lore and of the poetical charm of the northern country.

9 mins. Queen Mab Scherzo (Romeo and Juliet) Berlioz (1803-1869) The dramatic Symphony from which this Scherzo is taken, was written in 1838 and first performed the following year. Many of the orchestral effects-for Berlioz was a master of orchestration- must have sounded very novel at that time. Weingartner has called it that 'marvellous Scherzo, absolutely unique of its kind.' This strange so-called Symphony (a combination of choral and orchestral music) is undoubtedly inspired by Shakespeare's play; but the flow of the story is entirely subordinated to the musical inspiration. Thus, the unimportant episode (Queen Mab) is twice used-once as a vocal Scherzetto and again as the present orchestral movement. 18 mins. Fantasia after Dante's 'Francesca da Rimini' Tschaikovsky (1840-1893) Andante lugubre Piu mosso Allegro vivo Andante cantabile Allegro vivo Tschaikovsky wrote this orchestral poem in 1876, after having considered writing an opera on the theme. It is based on the fifth canto of Dante's 'Inferno,' in which the poet tells the story of the love of Paolo for Francesca, the wife of his elder brother, who one day surprised and murdered the lovers. According to Dante's poem, they are condemned for their sins to suffer in the second circle of the Inferno, with other voluptuaries like Cleopatra, Paris and Helen. Please note change of date of Second Concert of the Series TOWN HALL Wednesday, November 4th. at 6-30 p.m. The Halle Orchestra Conductor: Laurance Turner Singer: Isobel Baillie Overture Figaro Symphony No. 5 in C. minor Ode to the Nightingale - Variations on a Theme by Haydn Songs with Orchestra Danses Polovtsiennes (Prince Igor) Mozart Beethoven Harty Brahms Strauss Borodine Tickets 6/-, 4/6, 3/6, 1/9, 1/3 from Messrs J. Wood & Sons, 67, New Street.

AMMATOOT (2081) Huddersfield Music President: A. L. Woodhead, Esq., M.A., J.P. Twenty-fifth Season 1942-43 66 Music Club Town Hall, Huddersfield, Wednesday, November 4th, 1942 at 6-30 p.m. The 20 Lo P Hallé Orchestra Leader: Frederick Brough Conductor: HedT IWA T LAURANCE TURNER Singer: isor.T gou bud ISOBEL BAILLIE 2010 iw sve SHWE Sh beg on PROGRAMME to sound apore SIXPENCE

PROGRAMME God save the King 3 mins. Overture: The Marriage of Figaro Mozart (1756-1791) Mozart's opera 'The Marriage of Figaro' was written in 1785-6 and produced the following year. The libretto is founded on Beaumarchais' comedy of that name, and is a sequel to his Barber of Seville. Hussey describes the Overture as 'a perfect expression of the lighthearted mood, tinged now and again with melancholy, of the comedy which followed.' 15 mins. Tone Poem 'En Saga' Op. 9 Sibelius (b. 1865) 'En Saga,' written in 1892, was the first work of Sibelius to make his name known outside Finland. From the first it created a great impression. It belongs to the darker and more tragic side of his art, but it contains a wealth of melodic inven- tion. Technically it is remarkable for the extensive use of pedal- points; indeed from beginning to end there are few bars without a pedal, all of which tends to increase the sombre atmosphere. O 15 mins. 'Ode to a Nightingale' for Soprano and Orchestra Op. 16 Hamilton Harty (1880-1941) Isobel Baillie My heart aches, and a drowsy numbness pains My sense, as though of hemlock I had drunk Or emptied some dull opiate to the drains One minute past, and Lethe-wards had sunk; Tis not through envy of thy happy lot, But being too happy in thy happiness, That thou, light-winged Dryad of the trees, In some melodious plot Of beechen green, and shadows numberless, Singest of summer in full-throated ease. O for a draught of vintage! that hath been Cool'd a long age in the deep-delved earth, Tasting of Flora and the country green, Dance, and Provencal song, and sunburnt mirth! O for a beaker full of the warm south! Full of the true, the blushful Hippocrene, With beaded bubbles winking at the brim, And purple-stained mouth; That I might drink, and leave the world unseen, And with thee fade into the forest dim. Fade far away, dissolve, and quite forget What thou amongst the leaves hast never known, The weariness, the fever and the fret Here where men sit and hear each other groan; Where palsy shakes a few, sad, last grey hairs, Where youth grows pale, and spectre-thin, and dies; Where to think is to be full of sorrow And leaden-eyed despairs; Where beauty cannot keep her lustrous eyes, Or new Love pine at them beyond to-morrow. Away! Away! for I will fly to thee, Not charioted by Bacchus and his pards, But on the viewless wings of Poesy, HOWA Though the dull brain perplexes and retards; Already with thee! tender is the night, And haply the Queen-Moon is on her throne, Cluster'd around by all her starry Fays; But here there is no light; Save what from heaven is with the breezes blown Through verdurous glooms and winding mossy ways. I cannot see what flowers are at my feet, Nor what soft insense hangs upon the boughs, But, in embalmed darkness, guess each sweet Wherewith the seasonable month endows The grass, the thicket, and the fruit-tree wild; White hawthorn; and the pastoral eglantine; Fast-fading violets cover'd up the leaves; And mid-may's eldest child, The coming musk-rose, full of dewy wine, The murmurous haunt of flies on summer eves.

Darkling I listen; and for many a time I have been half in love with easeful death. Call'd him soft names in many a mused rhyme To take into the air my quiet breath; Now more than ever seems it rich to die, To cease upon the midnight with no pain, While thou art pouring forth thy soul abroad In such an ecstasy? Still wouldst thou sing, and I have ears in vain- To thy high requiem become a sod. Thou wast not born for death, immortal Bird! No hungry generations tread thee down; The voice I hear this passing night was heard In ancient days by emperor and clown: Perhaps the self-same song that found a path Through the sad heart of Ruth, when, sick for home, She stood in tears amid the alien corn; The same that oft times hath Charmed magic casements, opening on the foam Of perilous seas, in faery lands forlorn. Forlorn! the very word is like a bell To toll me back from thee to my sole self! Adieu! the fancy cannot cheat so well As she is famed to do, deceiving elf, Past the near meadows, over the still stream, Adieu! adieu! thy plaintive anthem fades 12 mins. Past the near meadows; over the still stream Up the hill-side; and now 'tis buried deep In the next valley-glades: Was it a vision, or a waking dream? Fled is that music :-Do I wake or sleep? Keats 15 mins. Symphonic Poem Till Eulenspiegel's Merry Pranks. Strauss (b. 1864) (An old Rogue's tale set in Rondo form for full Orchestra) Op. 28 Till Eulenspiegel is said to have lived during the 14th century. The account of his life, with all its rogueries and mischief, made one of the most popular of European chapbooks; and different versions of it are found in several languages. Strauss at first declined to reveal the programme, which is now quite clear. The narrative opens with a prologue. Then the mischievous, leaping staccato Eulenspiegel theme enters. Soon he rides through the market place, scattering the people on every side. He gallops away, and is found peeping out from a monk's cowl. He repents temporarily, then he makes love to the pretty girls he meets. He finds a crowd of solemn professors; sets them arguing while he goes away whistling an impudent tune. His rogueries become wilder; finally he is caught and led before the judges. The sentence of death is passed on him. A fall of a major 7th signifies that the hangman has done his work; Till's death rattle is heard. The work ends with a charming and tender epilogue to the story. INTERVAL OF 10 MINUTES Songs with Orchestra Strauss (b. 1864) (i) Tomorrow (ii) All Souls' Day (iii) Serenade Isobel Baillie 35 mins. Symphony No. 4 in F minor, Op. 36 Tschaikovsky (1840-1893) I Andante sostenuto-Moderato con anima II Andante in mode di canzona III Scherzo-Pizzicato ostinato IV Finale-Allegro con fuoco Tschaikovsky wrote this work in 1877. It was first considered as a piece of abstract music, but later the composer revealed that it was based on a definite programme. I. "The introduction is the quintessence of the whole thing. This opening theme (a throbbing repetition of chords) represents Fate. Nothing remains but to resign ourself to it, and to lament in vain."

99 The moderato opens with a wailing theme for strings. Half of the second subject consists of a fanciful theme divided among the wood-wind. Its second part is a smooth singing theme for cellos. "Oh Joy! what a sweet and tender dream appears." Tschai- kovsky continues: " Gradually the whole soul is wrapped in dreams, everything gloomy, everything joyless, is forgotten . . , But no, they are only dreams; Fate appears again... No haven can be found; you are tossed hither and thither by the waves until the sea engulfs you." II. The Andante opens with a theme for oboe (a Russian bargeman's song); it is repeated by the cellos, and followed by another theme for violins. A new theme (piu mosso) comes in the wood-wind. The movement ends with fragments of the first theme dying gradually away. Tschaikovsky says: "The second movement shows sorrow in another aspect; it is that melancholy that envelopes us as we sit alone in the house at night... a throng of recollections gather round us ... It is sad yet so sweet, thus to delve into the past." 99 III. "In the third movement no definite feeling is expressed. We have simply capricious arabesques, unsiezeable figures that dart hither and thither through the imagination... the mood is neither joyous nor sad." This is the well-known pizzicato move- ment-no bows are used throughout it. It opens with a long section for strings only, followed by another section for wood- wind. The explanation is given by Tschaikovsky as: "Suddenly their comes into the memory the picture of a tipsy peasant and a street song. In the distance the music of a military band is heard. " The remainder of the Scherzo is made up of this material. "These are the disconnected forms that come and go within the brain in our half-slumber... They are simply unintelligible, bizarre, unrelated.":bium IV. The finale opens with a vigorous theme, followed by a Russian folk-Song. Tschaikovsky says: "If you cannot find happiness within yourself, look around you. Go among the people. See how they understand how to be happy." Finally the fateful theme of the Introduction is heard. "Scarcely have you forgotten yourself... when unwearied Fate announces its proximity... The other human children care little about you. they do not notice that you are lonely and sad... And will you still maintain that everything in the world is gloomy and depressed? Yet there is joy there, simple, primitive joy. Take pleasure in the pleasures of others, and you will then be able to live." Third Orchestral Concert on March 10th HUDDERSFIELD MUSIC CLUB. Series of Three Chamber Music Concerts ST. PATRICK'S HALL, on SATURDAYS, at 2-30 p.m. December 5th THE BLECH STRING QUARTET (The Programme will include the Schubert String Quintet in C major) January 9th EILEEN JOYCE Piano Recital February 6th POUISHNOFF Piano Recital Season Tickets 10/6, Single Tickets 4/- from Messrs J. Wood and Sons, 67, New Street, and at the Door HUDDERSFIELD MUSIC CLUB (Ladies' Committee) ST. PATRICK'S HALL Saturday, November 14th, at 2-30 Cello and Piano Recital WILLIAM PLEETH (by kind permission of Brigadier Wheeler) MARGARET GOOD Tickets 3/6 from Messrs. J. Wood and Sons, members of the Committee, and at the Door. Proceeds in aid of the Red Cross (Prisoners of War).

Huddersfield Music Club St. PATRICK'S HALL Saturday, November 14th, 1942, at 2-30 p.m. WILLIAM PLEETH (By kind permission of Brigadier Wheeler) (Ladies' Committee) MARGARET GOOD Cello and Pianoforte Recital Sonata in G minor Sonata in D minor PROGRAMME Sonata in A major Grave Allegro Sarabande Largo Allegro Shostakovitch (b, 1906) Moderato Moderato con moto Largo Allegretto Handel (1685-1759) INTERVAL OF TEN MINUTES 7 Variations on a theme from The Magic Flute Beethoven (1770-1827) Allegro agitato Andante molto tranquillo Allegro Programme Twopence Grieg (1843-1907)

Programme Threepence Huddersfield Music Club St. PATRICK'S HALL Saturday, December 5th, 1942, at 2-30 p.m. THE BLECH QUARTET STRING HARRY BLECH KEITH CUMMINGS MAX SALPETER JAMES WHITEHEAD with WILLIAM PLEETH (Cello) (By kind permission of Brigadier Wheeler) PROGRAMME I Chacony Purcell (1659-1695) The Chaconne is an obsolete dance, probably of Spanish origin, usually in 3/4 time, and of slow movement. But the feature which has elevated it above the usual dance type is the construction of the music on a 'ground bass'-a recurrent staple of melody over which the other parts are woven. Purcell excelled in this particular species of variation form, two well-known examples being the 'Lament' from the opera Dido and Aeneas, and his setting of Ken's Evening Hymn. Of Purcell's string music Arundel says 'it is all admirable... fresh, dramatic, sincere and masterly'. The earlier specimens (the Fantazies of 1680) still belong more nearly to the old school of music 'apt for viols and voices'. Later examples such as the 12 Sonatas for three instruments (1683), the 10 Sonatas for four instruments (1697), the lovely Pavan and Chacony are important and beautiful stages in the development of the modern string quartet. II Quartet in E flat (K.428) Allegro ma non troppo Andante con moto Mozart (1756-1791) Menuetto and Trio Allegro vivace. This quartet is the third of a set of six written between 1782 and 1785, soon after Mozart's marriage, and dedicated to Haydn as 'the fruit of prolonged and laborious toil'-an admission of Mozart's indebtedness to, and study of, the older master. These were the first quartets to be written by Mozart after a lapse of ten years. They are recognized to be among the finest examples of their kind, though a critic of their own day found them 'much too highly spiced'. The most difficult of the six for the contemporary listener was the sixth of the set in C major; but this (the third) has its own points of originality. The first two movements are gay and romantic; the first movement opens with a striking unison subject. The Minuet, with its brusque opening, has more than a hint of the development of a simple dance-form into the important Scherzi of Beethoven. The Trio is original too, with its flowing melody over a drone bass. The Finale, with its suddenly melancholy coda, is more reminiscent of Haydn. INTERVAL OF TEN MINUTES

Quintet in C major Op. 163 III Allegro ma non troppo Adagio Scherzo (Presto) and Trio (Andante sostenuto) Allegretto 1828-the last year of Schubert's life- saw a marvellous outpouring of music: the great Symphony in C, the greatest and longest Mass (E flat), the first Oratorio, three fine piano Sonatas, the greatest piece of chamber music-the Quintet in C, as well as many fine songs. Schubert himself never heard a performance of the quintet; it was not performed till 1850, and was first published in 1854. To quote from Grove: This is now universally accepted not only as Schubert's finest piece of chamber mnsic, but as one of the very highest of its class. Two cellos give it distinction; it has all the poetry and romance of the G major quartet... while the Adagio is so solemn and yet so beautiful in its tone, so entrancing in its melodies and so incessant in its interest, and the Trio of the Scherzo, both from itself and its place in the movement, is so eminently dramatic, that it is difficult to speak of either too highly.' Actually in sheer volume of sound, the quartet seems to go beyond, far beyond the bounds of chamber music, and has almost the quality of a symphony. A further point to be noted is the strongly perceptible Hungarian element to be found in the last movement-which influence is felt in much of Schubert's instrumental music written after his visit to Zselez in 1824. Huddersfield Music Club Schubert (1797-1828) Fourth Concert of the Season ST. PATRICK'S HALL Saturday, January 9th, 1943, at 2-30 p.m. EILEEN JOYCE Piano Recital PROGRAMME Sonata No. 1 in E flat Sonata in F sharp major Op. 78 Fantaisie Impromptu, Berceuse Study in C minor Op. 10 No. 12 Ballade in G minor Impromptu in E flat The maid and the nightingale Rhapsody in C major A Bell Haydn Beethoven Chopin Schubert Granados Dohnanyi Tickets 4/- from the Hon. Treasurer, F. W. Gadsby; Mrs. Hull, 48, New North Road; Messrs J. Wood & Sons Ltd., 47, New Street; and at the door.

Programme Three pence Huddersfield Music Club St. PATRICK'S HALL Saturday, January 9th, 1943, at 2-30 p.m. EILEEN JOYCE PROGRAMME I Prelude and Fugue in A minor Bach (1685-1750) Liszt (1811-1886) II Sonata No. 1 in E flat. Op. 82 Allegro Adagio Presto Haydn wrote more than fifty sonatas for the piano, of which only thirty-five are printed. His predecessors in this form were Domenico Scarlatti and C. P. E. Bach, but Haydn advanced far beyond them. His works have vitality and much individual treatment; some seem, indeed, to be richer and fuller than the sonatas of Mozart and to be reaching towards the earlier Beethoven style. In all, his genius for melodic invention and his fertile imagination have full play. III Sonata in F sharp major, Op. 78 Haydn (1732-1809) Beethoven (1770-1827) Allegro ma non troppo Allegro vivace. This Sonata was written in 1809, an interval of five years separating it from his predecessor, the Sonata Appassionata. It is one of a group of three sonatas (Opp. 54, 78 and 90) written in two movements only. In these it seems as if, in contrast to the treatment of the piano as a virtuoso instrument, Beethoven thinks of it in a more personal and intimate chamber music style, calling for an increase in delicacy of touch, a more finely wrought filigree treatment, and an exquisite and subtle sensibility rather than great emotional storms. This

Sonata is known to have been a special favourite of the composer's, and throughout there is a delightful feeling of happiness and radiance, and it has qualities in it which foreshadow the greatness of Beethoven's latest period of composition. It opens with a short introduction of four bars. The first movement is in regular sonata-form. The Allegro vivace is in a modified rondo-form. INTERVAL OF TEN MINUTES IV . Fantasie Impromptu in C sharp minor, Op. 66 Berceuse in D flat major, Op. 57 Study in C minor, Op. 10 No. 12 Ballade in G minor, Op. 23 The Ballade in G minor is the first of Chopin's four Ballades, and was published in 1836. Chopin himself said that all four were inspired by the poems of Mickiewicz, the Polish poet. Of them, Schumann remarked 'A poet again might easily write words to them. They move the innermost depths of the soul.' Indeed, this Ballade is full of the intensest feeling and emotion. Impromptu in E flat The Maiden and the Nightingale Rhapsody in C major Huddersfield Music Club Chopin (1810-1849) Schubert (1797-1828) Granados (1867-1916) Dohnanyi (b. 1877) Fifth Concert of the Season ST. PATRICK'S HALL Piano Recital Saturday, February 6th, 1943, at 2-30 p.m. POUISHNOFF Tickets 4/- from the Hon. Treasurer, F. W. Gadsby; Mrs. Hull, 48, New North Road; Messrs J. Wood & Sons Ltd., 67, New Street; and at the door.

Huddersfield Music Club President: A. L. Woodhead, Esq., M.A., J.P. Twenty-third Season 1942-43 Town Hall, Huddersfield, Wednesday, March 10th, 1943 at 6-30 p.m. The Hallé Orchestra Leader: Frederick Brough Conductor: LAURANCE TURNER Pianist: IRENE KOHLER Cellist: HAYDN ROGERSON PROGRAMME SIXPENCE

10 mins. PROGRAMME 28 mins. God save the King Overture: 'The Mastersingers' Wagner (1813-1883) "The Mastersingers,' perhaps Wagner's best-loved opera, was written between 1862-67. It is a comedy opera, dealing with the life of old Nuremberg and the Mastersingers, with their pedantic, though genuine love for poetry. There are three main types of character-the dignified old Mastersingers; the young apprentices, who almost parody their graver elders; and the young lovers, Walther and Eva. The Overture is made out of the themes which portray these types. It opens with the broad, grand theme of the Mastersingers; next, a glimpse of the romance of the lovers; then the picture of the stirring life of the old town. A full state- ment of the love scene follows, the melody being that of the 'Prize Song." Next comes the impudent procession of the apprentices; in between is heard the comical phrase with which Beckmesser is mocked; and finally the great mass of sound moves to a triumphant conclusion. Concerto for Cello and Orchestra in E minor, Op. 85 Elgar (1857-1934) Haydn Rogerson I Adagio, introductory to Moderato, leading to II Allegro molto III Adagio, leading to IV Recitative and Allegro ma non troppo This Concerto, perhaps the finest in all cello literature, was first performed in 1919. Tovey has described it as 'a fairy tale, full of meditative and intimate passages; full, also, of the humour, which, in the second movement and finale, rises nearer to the surface than Elgar usually permits.' The special problem of writing an effective cello concerto is that of throwing into sufficient relief a solo instrument, whose range and colour normally lies below the surface of the harmony. Elgar has solved this, not by the use of unsuitably brilliant orchestration, but by the masterly reticence in his use of the orchestra. In this, however, there is no lack of subtle and beautiful tone-colour, varied within its self-imposed limits. The form, too, of this Concerto differs from the conventional type, particularly in the way in which there is no extended first movement. The Cello opens with a short, recitative-like introduction; and the first movement, not in sonata-form but in a simple lyric design, with a contrasting middle section, opens with a theme for violas. A momentary allusion to the introduction leads to the second movement-a lively scherzo in G major. The slow movement is only sixty bars in length, but it contains some of the most impressive music that Elgar has ever written. It is in the remote key of E flat and is a song-like melody for the cello, softly supported by the orchestra.

The The final movement opens with a suggestion of the introductory theme, which is then recast by the cello into a recitative. This is the basis again for the main theme of the movement-in the form of a free rondo. second theme has wit and humour. The movement develops on a large and varied scale, referring to the themes of the slow movement and the Intro- duction before coming to a spirited and abrupt end. 8 mins. 'Invitation to the Waltz' Weber (1734-1812) Johnstone This is a spirited and distinguished arrangement of a piano piece of great charm and historical importance. Weber was born before Beethoven, Schubert, Schumann, Chopin, Liszt and Wagner; and all of them owed something to his original and inventive mind. He laid the foundations of German romantic opera; he was the first of the great Romantic composers ; while his new and daring treatment of piano technique and style opened up a new era of piano music. Perhaps the best-known adaptation of the 'Invitation to the Waltz' is found in the ballet 'Le Spectre de la Rose,' created by Fokine and unforgettably interpretated by Nijinsky. 16 mins. Variations on a theme by Haydn 'St. Anthony Chorale' Op. 56 Brahms (1833-1897) These fine Variations were written by Brahms in 1873. The Chorale theme sets the atmosphere for the work. This theme is austerely scored for wood- wind, cellos and basses, and its rhythm is the unusual one of five bars. Upon it Brahms has written nine complex variations. The theme is very difficult to trace and the connection is not always apparent; rather, Brahms takes its general character and unfolds the latent musical possibilities in it. In the final variation, a modification of the theme is used as a 'ground bass' and treated imitatively. Finally the theme itself is heard triumphantly. INTERVAL OF TEN MINUTES 35 mins. Concerto for Piano and Orchestra, No. 5 in E flat, Op. 73 (The Emperor) Beethoven (1770-1827) Irene Kohler I Allegro II Adagio un poco mosso III Rondo. Allegro The title of 'Emperor' was not given to the Concerto by Beethoven himself; and, however much one may deprecate the addition of such unauthorised labels, in this case it is undoubtedly a natural and spontaneous tribute to a work of great nobility and grandeur. In all, Beethoven wrote five piano concertos. Although this concerto in E flat was written in his thirty-ninth year (1809), it remained a form which Beethoven never again attempted. It ranks very high among the superb works of Beethoven's 'middle period.' In it one may clearly see the many innovations which Beethoven introduced into that form; the rhapsodic introduction; the linking together of the last two movements; the omission of a cadenza (in the old sense of the term); and finally, the creating of a new 'symphonic concerto' form, in which the solo instrument and the orchestra are of equal importance.

I. Allegro. The Introduction is very original. The orchestra sounds the chord of E flat fortissimo, into which the piano breaks with brilliant arpeggio and cadenza-like passages. Three times this is repeated, but finally the piano leads quietly up to the firm and powerful entry of the principal subject in the orchestra. This is the opening of the regular tutti-that orchestral opening of the work which serves to introduce the main themes before the real entry of the solo instrument. The principal subject is bold and rhythmic; the second subject is a lighter stacato theme, heard in the violins. The general plan of the movement is :- (a) Introduction. (b) Opening tutti, principally in the tonic key. (c) Entry of the piano (with a chromatic scale) in a restatement of the themes. (d) Development, in which much use is made of the rhythmic possibilities of the first subject. (e) Return of the Introduction and regular recapitulation. (f) The Coda. Here Beethoven forbids the player to introduce his own cadenza, and supplies instead a short cadenza-like passage, followed by a shortened recapitulation of the first tutti. II. Adagio un poco mosso. The B major Adagio is in complete contrast. It has two main themes; (a) a serene and beautiful melody first heard in the strings (which is the basis of the movement); (b) a meditative descending theme, almost like an improvisation, with which the piano part opens. After a series of trills, the piano has the first theme in a decorated form. The same theme is recaptured by the wood-wind, while the piano has a waving accompaniment beneath it and the strings a light figure on the off-beat. Then comes one of the great moments of genius in music. After a bare octave, against a horn note, the piano, in the remote key of E flat, suggests a new theme. It is played slowly and reflexively; suddenly, as if in a blaze of light and colour, this theme is transformed into the joyous sparkling theme of the Rondo itself. III. Rondo. This movement follows without a break. The theme is twice repeated, and followed in turn by two other themes. These constitute the material of the movement, which is easy to follow. Tovey rightly calls it the 'most spacious and triumphant of concerto Rondos.' Towards the end the excitement flags. Over a drum-beat, the piano gradually slackens its pace and then stops. But after a rapid scale passage, the orchestra bursts again into the radiant first subject, and the work comes to its triumphant ending. 20 mins. Overture-Fantasia 'Romeo and Juliet' Tschaikowsky (1840-1893) The idea of using this subject was suggested to the composer by Balakireff, and the work was first performed in 1870. The Andante opens with a church-like theme, depicting Friar Laurance. It later develops into the Allegro, which begins with a picture of the enmity between the Capulets and the Montagues. Ultimately the music becomes softer and more tender, leading to a love scene, sung in the beauty of the garden at night. The development section uses this material. After a big climax the tragedy appears, and the Overture ends with a moving elegy upon the dead lovers.