Huddersfield Music Club President A. L. Woodhead, Esq., M.A., J.P. A Series of Six GREAT CONCERTS for the Twenty-sixth Season 1943-44 to be given in the ST. PATRICK'S HALL, FITZWILLIAM STREET (by permission of the Military Authorities) on SATURDAY AFTERNOONS MRS. A. E. EVEREST MISS A. SHAW, L.R.A.M. W. CLIFFORD CROOK A. G. CROWTHER J. STANCLIFFE ELLIS IRVING SILVERWOOD at 2-30 A. L. WOODHEAD, ESQ., M.A., J.P. Committee- 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. MISS K. M. EVANS, B.A. MISS FREEMAN, J.P. MRS. H. S. HAIGH MRS. DENYS H. HIRST STANLEY WATSON FREDERICK WHITELEY D. R. H. WILLIAMS Representing Ladies' Committee- MRS. I. SILVERWOOD MRS. S. WATSON Ladies' Committee- Chairman-MRS. IRVING SILVERWOOD MRS. H. AINLEY MISS F. M. H. COCKING, L.R.A.M. MISS D. DONALDSON 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 22/6. All Subscriptions are payable to the Hon. Treasurer. Single tickets 4/6, with the exception of the fourth concert, when the price will be 5/6.

Saturday, October 2nd, 1943 Ida Händel Violin Recital Saturday, November 6th, 1943 Louis Kentner Franz Osborn Piano Recital "An exceptional personality; a great talent with an immense extent of repertoire. One of the most interesting of the Western European pianists we have heard."-Theater i Iskustwp (Leningrad) Saturday, December 4th, 1943 The Griller String Quartet "The Griller Quartet can now be counted among the most polished combinations of chamber music exponents that we hear."-Glasgow Evening Times.

Saturday, January 8th, 1944 Dame Myra Hess Piano Recital "A really great interpretive artist"-Morning Post. Saturday, February 8th, 1944 Isobel Baillie Song Recital At the Piano: ARNOLD GOLDSBOROUGH "Her pure lyric soprano possesses a perfect evenness of quality . . . She handled it with a finesse and surety that kept her auditors spellbound."-Hollywood Citizen News. Saturday, March 11th, 1944 Cyril Smith Piano Recital "Cyril Smith proved himself to be a perfect virtuoso, a pianist with an artistically noble conception of the works of art which simply enchanted his hearers."- Stockholms Tidningen.

IMPORTANT Tickets are not being sent 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, The Committee would like to emphasize the advantage members get when booking for the entire season. Members are advised to occupy their seats before 2-20 p.m.

Programme Threepence Huddersfield Music Club St. PATRICK'S HALL Saturday, October 2nd, 1943, at 2-30 p.m. IDA HAENDEL Violin Recital At the piano IVOR NEWTON PROGRAMME I Sonata in D minor, Op. 108 Brahms (1833-1897) Allegro Adagio Un poco presto e con sentimento Presto agitato The Violin Sonata in D minor, Op. 108, was largely composed during the Summer of 1886, which Brahms spent in Switzerland, near the lake of Thun, with its magnificent views of the mountains of the Bernese Oberland. The work was completed in 1888, and was first played in that year by Brahms and Hubay. It is more brilliant and vehement in style than the two preceeding violin sonatas; dedicated to Hans von Bülow, it seems to have something of his own restlessness, feverish excitement and emotional changes in it. The whole introductory movement is dominated by the first theme, in which not only the treble but also the bass is employed to elaborate it. The strictly elaborated development is distinguished by being built up entirely over an organ-point. A profoundly-felt Adagio, with a broadly rhythmical violin Cantilena, leads up to a fairy-like Intermezzo full of tender melancholy. The impetuous, fiery and brilliant Finale is so finely built and of such intense emotion that it perfectly completes, and even surpasses, the first movement. La Folia Corelli (1653-1713) Corelli, a contemporary of Handel and Scarlatti, occupies an important place in the history of the violin. He was not only a great violinist who laid the foundation for the future development of violin playing and technique, but also a composer who advanced the progress of the art. In his chamber-sonatas and concerti grossi he formed the style of orchestral writing for the violin, while his sonatas treat the violin quite differently as a solo instrument. Most of Corelli's life was spent in Italy, but he was famous throughout Europe as a player, teacher and composer. The Folia is an ancient Portuguese dance, made famous by Corelli's variations. Originally it was a noisy dance accompanied by tambourines and performed so wildly by men, dressed as women, that they appeared to be out of their senses, whence the name "Folia." INTERVAL OF TEN MINUTES

Sonata in G minor II Allegro vivo Intermède: Fantasque et léger Final: Très animé In later years, Debussy planned "Six Sonates pour divers instruments, par Claude Debussy, musicien français." Thus he intended to offer his tribute to the French composers of the seventeenth and eighteenth centuries and to prove his kinship with them. Only three of the set were completed: a sonata for cello and piano (1915), one for flute, viola and harp (1916) and one for violin and piano (1916-17). This work, therefore, was the last that Debussy wrote. It undoubtedly shows some evidences of the ravages of a fatal malady; as Suarès says, it is often "sorrow that speaks." Its moods are whimsical, sometimes approaching the archaic, but often audaciously modern in effect. Praeludium and Allegro. Slavonic Dance in E minor Debussy (1862-1918) III Nov. 6th Dec. 4th Jan. 8th Feb. 5th Mar. 11th Pugnani (1731-1798)-Kreisler Dvorak (1841-1904) Sarasate (1844-1908) Playera and Zapateado The Playera is a Spanish folk-song from the province of Andalucia, in which the Moorish influence is strongly felt. These songs begin with a long guitar prelude in the style of an improvisation, the song itself varies according to the form of the verse. The Playera (Gipsy Seguidilla) is one of the most ancient forms. The Zapateado is a kind of clog dance. Huddersfield Music Club ST. PATRICK'S HALL on Saturday afternoons at 2-30 p.m. Franz Osborn Piano Recital The Griller String Quartet Dame Myra Hess Piano Recital Isobel Baillie Song Recital Cyril Smith Piano Recital Tickets 4/6 (except for January Concert, 5/6) from the Hon. Treasurer, F. W. Gadsby, 222, Almondbury Bank; Mrs. Hull, 48, New North Road; and Messrs. J. Wood & Son, 67, New Street.

Programme Threepence Huddersfield Music Club St. PATRICK'S HALL Saturday, November 6th, 1943, at 2-30 p.m. FRANZ OSBORN Piano Recital PROGRAMME I Chromatic Fantasia and Fugue Bach (1685-1750)-Busoni This work was written not later than 1730, and probably earlier. In his Fantasies Bach usually restricts himself to some definite form, but this Fantasia is "all uncontrolled storm and stress." Spitta remarks that the boldest feats of modulation are found in it, and that it has the effect of a great emotional scena. According to Busoni-whose arrangement of the work is not an adaption of the music itself, but rather a most successful and highly imaginative attempt to translate Bach's meaning into the language and full volume of the modern instrument-the Fantasia is divided into four clear sections; Toccata, Chorale, Recitative and Coda. The Fugue continues the chromatic colouring of the Fantasia, rising to a great climax of weight and power. It is notable that while the chromatic form of the Fantasia is that of the descending scale-a device of Bach's which he often used to depict patience and suffering; the chromatic scale of the great Fugue rises-a device signifying joy and consolation. II Andanti Favori in F major Beethoven (1770-1827) This piece was originally intended for the slow movement of the Sonata in C major Op. 53 (Waldstein). Its peaceful and happy character would have suited its original purpose, but the work was rejected on account of its unusual length. Scottish Dances Sonata in A flat major Op. 110 Molto cantabile molto espressivo Beethoven Beethoven Allegro molto Adegio ma non troppo-Arioso dolente Fuga-Allegro ma non troppo The manuscript of this Sonata is dated 1821. The three Sonatas Opp. 109, 110 and 111 were all written while Beethoven was engaged upon the composition of the Missa Solemnis. It is not too fanciful to find in these piano works much of the sublime and lofty expression of the great Mass. This last group of Sonatas is separated from the monu- mental Hammerklavier Sonata by an interval of two years. In the earlier work Beethoven had stretched the scope of the piano sonata to its utmost; for these last works he returns more nearly to chamber music style; and, of the three, the Sonata Op. 110 is the most restrained and intimate in expression. The first movement opens simply and directly. It is a lyrical and straightforward movement, full of grace and sensibility. Bekker compares it to the dawn of a beautiful day. The second movement- a spirited Scherzo in 8-bar rhythm-still gives no hint of the future developments until the last spaced chords of the Coda. movement opens with a most eloquent introduction, to which Beethoven has added unusually detailed and exact indications of The slow

expression and changes of tempo. After a long pulsing note the recitative merges into the short Arioso dolente-a most deep and moving expression of human grief. The Fugue is full of resolution and hope, but it is interrupted by a return of the Arioso, in an even more poignant and broken form. A passage of detached chords lead to the return of the Fugue, and the work ends serenely and triumphantly. INTERVAL OF TEN III Impromptu in C minor Nocturne in C sharp major (i) Ballet of Baby Chicks (ii) The Old Castle (iii) The Golden Gates of Kiev) MINUTES Schubert (1797-1828) Chopin (1810-1849) Mussorgsky (1835-1881) from "Pictures at an Exhibition" These three pieces are taken from a set of piano pieces inspired by an exhibition of drawings by the architect Victor Hartmann. The work is an excellent example of the way in which Mussorgsky so often took his musical inspiration from a pictorial or literary model rather than from any abstract musical idea. These are the original descriptions of the pieces :-- (i) The Ballet of Baby Chicks in their shells. A sketch by Hart- mann for a stage scene in the ballet of Trilby. (ii) (iii) Il Vecchio Castello. A medieval castle beneath which a troubadour sings his song. The Boyatyr's Gate at Kiev. Hartmann's design for the construction of an entrance gate for the city of Kiev in the massive ancient Russian style. (i) The Maid with the Flaxen Hair (ii) La Cathedrale Engloutie (The Submerged Cathedral) March from 'The Love of the Three Oranges' Dec. 4th Jan. 8th Feb. 5th Mar. 11th Debussy (1862-1918) Prokofiev (b. 1891) This, Prokofiev's third opera, was produced in 1921, and is based on a comedy by Carlo Gazzi. The story concerns a hypochondriac prince whose hope of recovery depends upon his being made to laugh. In the opera the March serves to introduce the diversions created for the benefit of the melancholy prince. Russian Dance Stravinsky (b. 1882) Huddersfield Music Club ST. PATRICK'S HALL on Saturday afternoons at 2-30 p.m. Remaining concerts of the Season The Griller String Quartet Dame Myra Hess Piano Recital Isobel Baillie Song Recital Cyril Smith Piano Recital Single Tickets 4/6 (except for January Concert, 5/6) from the Hon. Treasurer, F. W. Gadsby, 222, Almondbury Bank; Mrs. Hull, 48, New North Road; and Messrs. J. Wood & Son, 67, New Street.

Huddersfield Music Club St. PATRICK'S HALL Saturday, December 4th, 1943, at 2-30 p.m. The Committee regrets that the Griller Quartet is unable to appear owing to illness LOUIS KENTNER Sonata in E flat Op. 8la Pianoforte Recital Farewell Absence Return II Variations on a Theme by Paganini (both books) Feux Follets Triana PROGRAMME I Nocturne in A major Barcarolle 2 Preludes/ Jan. 8th III Huddersfield Music Club Feb. 5th Mar. 11th IV ST. PATRICK'S HALL on Saturday afternoons at 2-30 p.m. Beethoven Dame Myra Hess Brahms Isobel Baillie Song Recital Cyril Smith Piano Recital Field Chopin Piano Recital Single tickets for this concert, 5/6, are on sale from December 6th. Liszt Albeniz Single tickets for the last two concerts, 4/6. All tickets obtainable from the Hon. Treas.: F. W. Gadsby, 222, Almondbury Bank; Mrs. Hull, 48, New North Road; and Messrs. J. Wood & Sons, 67, New St.

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Programme Threepence Huddersfield Music Club St. PATRICK'S HALL Saturday, January 8th, 1944, at 2-30 p.m. Pianoforte Recital by Dame Myra Hess PROGRAMME I Sarabande, Minuet and Air Purcell (1658-1695) Purcell has been styled the "greatest and most original of English com- posers"; a claim which, in the light of modern achievement and increased knowledge of the great Elizabethians, may be disputed. Certainly his great place as a song writer and his power of setting the English language, is assured. So, too, is his theatre music and his treatment of the early string quartet. His Suites for harpsichord solo were written chiefly for educat- ional purposes, and many are arrangements of theatre tunes and songs. Two Little Sonatas Scarlatti (1685-1757) (i) B minor (ii) D major The Sonatas of Scarlatti are very slight and graceful affairs compared with the modern work in this guise. They are, in reality, lovely little pieces in one movement, usually in quick tempo, requiring skill and neatness in execution, full of brilliance and gaiety of spirit. Scarlatti was, in many respects, the founder of modern piano playing; he was the originator of many new effects, notably in the use he made of crossing hands on the keyboard. II Sonata in A flat major Op. 110 Beethoven (1770-1827) Moderato cantabile molto espressivo Allegro molto Adagio ma non troppo (Arioso dolente) Fuga-Allegro ma non troppo The manuscript of this Sonata is dated 1821. The three Sonatas Opp. 109, 110 and 111 were all written while Beethoven was engaged upon the composition of the Missa Solemnis. While possessing much of the sublime and lofty thoughts of the great Mass, this Sonata is restrained and deeply intimate in expression.

The first movement opens simply and directly, it is a lyrical and straight- forward movement, full of grace and sensibility. The second movement- a spirited Scherzo-gives no hint of the future developments until the last spaced chords of the Coda. The slow movement opens with a most eloquent introduction. After a long pulsating note, the recitative merges into the short Arioso dolente-a most deep and moving expression of human grief. The Fugue, full of resolution and hope, is interrupted by a return of the Arioso; the work ends severely and triumphantly. Interval of ten minutes Fantaisie in F minor Op. 49 Chopin (1810-1849) One of Chopin's finest works, published in 1841. In it he is unfettered by a definate form, such as the sonata or concerto, and pours out his inspiration with freedom. To quote from Professor Niecks; "There is an enthralling weirdness about this work, a weirdness made up of force of passion and and indescribable fantastic waywardness. The music falls on our ears like the insupressible outpouring of a being stirred to its heart's core, full of immeasurable love and longing." Préambule III Carnaval Op. 9 (Scenes Mignonnes sur Quatre Notes) Schumann (1810-1856) ----- Pierrot - Arlequin-Valse Noble-Eusebius-Florestan- Coquette-Réplique-Papillons-Lettres dansantes (A.S.C.H., S.C.H.A.) Chiarina-Chopin-Estrella-Reconnaissance-Pantalon et Columbine -Valse Allemande-Paganini-Aveu-Promenade-Pause-Marche des Davidsbundler contre les Philistins. Huddersfield Music Club ST. PATRICK'S HALL on Saturday afternoons at 2-30 p.m. Remaining Concerts of the Season Feb. 5th Isobel Baillie Song Recital Mar. 11th Cyril Smith Piano Recital Single Tickets 4/6 from the Hon. Treasurer, F. W. Gadsby, 222, Almond- bury Bank; Mrs. Hull, 48, New North Road and Messrs J. Wood & Son, 67, New Street.

Huddersfield Music Club St. PATRICK'S HALL Saturday, February 5th, 1944, at 2-30 p.m. Programme Threepence To a Nightingale Sister dear Isobel Baillie At the piano: ARNOLD GOLDSBROUGH A Love Song To Music Song Recital by O Ravishing Delight Sweet was the Song Stript of their Green Flocks in Pastures Green abiding (Birthday Cantata No. 208) O Yes, Just so (Phoebus and Pan) II A Swan Sylvelin A Dream Absence Barcarolle PROGRAMME I Margaret at the Spinning Wheel III IV The Maja and the Nightingale Where shall the Lover rest After a Dream The Wife of Bath Arne (1710-1778) Attey (d. 1640) Purcell (c. 1658-1695) Bach (1685-1750) Brahms (1833-1897) Schubert (1797-1828) Grieg (1843-1907) Sinding (b. 1856) Grieg (1843-1907) Berlioz (1803-1869) Granados (1867-1916) Parry (1848-1918) Faure (1830-1914) Dyson (b. 1883) Huddersfield Music Club ST. PATRICK'S HALL Saturday, March 11th, 2-30 p.m. Last Concert of the Season Cyril Smith Piano Recital Single Tickets 4/6 from the Hon. Treasurer, F. W. Gadsby, 222, Almond- bury Bank; Mrs. Hull, 48, New North Road and Messrs J. Wood & Son, 67, New Street.

Programme Three pence Huddersfield Music Club St. PATRICK'S HALL Saturday, March 11th, 1944, at 2-30 p.m. CYRIL SMITH Piano Recital PROGRAMME 1 Sonata in B flat Scarlatti (1685-1757) There were two Scarlattis, father and son. The father, Alessandro, was the founder of the Neapolitan School of Opera; the son, Domenico, also wrote operas, but is chiefly remembered as a prolific writer for the harpsichord and a brilliant performer upon that instrument. His Sonatas -short pieces of one movement-are delightfully sparkling and elegant. Gluck (1714-1787)-Sgambati Mozart (1756-1791) Melodie Sonata in F major (K. 332) Allegro Adagio Allegro assai Mozart's piano Sonatas have kept their place when Haydn's have been forgotten, largely because they are so excellently written for the instrument -for Mozart, in his day, was a player of great virtuosity. The form Mozart used, is generally simple and unvarying; but the Sonatas have so much freshness and sweetness that their simplicity loses none of its charm by repetition. In most cases, his Sonatas have three movements instead of the conventional four; and, in general, though most sides of his genius -wit, melancholy and passion-are found in them, it is only to a limited extent. This Sonata in F major has a very simple first movement; the second movement has delicate and elaborate melodic figuration; the last is brilliant and animated, but with a quiet ending.

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 on 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. Sonata in G minor Op. 22 II Vivacissimo Andantino Scherzo: assai allegro, marcato Rondo: presto It is impossible in considering Schumann's compositions to overlook his tendency at first to produce his compositions in groups. Between 1830-39 he wrote for the piano alone; between 1840-42 he devoted himself to songs; then followed a period of chamber music; important orchestral works date between 1841-51. Thereafter the tendency to grouping disappears, and in the last years there is a great variety of all kinds of music. Schumann (1810-1856) In 1840 Schubert, after long delay, married Clara Wieck; and he told Dorn that much of his struggle for Clara was contained in his music, while the Concerto (Op. 14), the Sonata (Op. 22), the Davidsbundler, the Kreis- leriana and the Novelletten were inspired by her alone. Toccata Dance for Harpsichord The Sonatas of Schumann were obviously not conceived by the composer as single complete works, but rather, as collections of movements. The Sonata in G is a good example of his rhapsodical and irregular methods of working; for the second movement was written in 1830, the first and third in 1833, the fourth, in its original form, in 1835, the final form in 1838, the whole not being published till 1839. Ragamuffin Rhapsodie in C Tango Triana The first movement is rapid and vigorous, constantly increasing in tempo to the very end. The Andantino is more typical of the romantic Schumann. The Scherzo is peculiarly sectional and epigrammatic. The Final Rondo is again rapid, with contrasting lyrical sections, and with a flashing code. INTERVAL OF TEN MINUTES Holst (1874-1934) Delius (1863-1934) John Ireland (b. 1879) Dohnanyi (b. 1877) Albeniz (1860-1909)