Huddersfield Music Club President A. L. Woodhead, Esq., M.A., J.P. A Series of Six GREAT CONCERTS for the Twenty-seventh Season 1944-45 to be given in the ST. PATRICK'S HALL, FITZWILLIAM STREET 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 A. L. WOODHEAD, ESQ., M.A., J.P. at 2-30 Committee- MISS K. M. EVANS, B.A. MISS FREEMAN, J.P. MRS. H. S. HAIGH MRS. DENYS H. HIRST MRS. HULL, 48, New North Road. Tel. 1094. Hon. Secretaries A. LUNN, 7, West Avenue, Daisy Lea Lane. { Hon. Treasurer-F. W. GADSBY, 222, Almondbury Bank. Tel. 2763. MRS. H. AINLEY MISS F. M. H. COCKING, L.R.A.M. MISS D. DONALDSON Ladies' Committee- Chairman-MRS. IRVING SILVERWOOD STANLEY WATSON FREDERICK WHITELEY D. R. H. WILLIAMS Representing Ladies' Committee- Hon. Secretaries-- & MRS. I. SILVERWOOD MRS. S. WATSON MRS. A. E. HORSFALL MRS. G. G. JARMAIN MRS. A. W. KAYE MRS. R. STEWART PARK MRS. A. E. HULL, F.R.C.O. MISS A. SHAW, L.R.A.M. Hon. Treasurer-MRS. A. E. EVEREST MRS. M. M. SAYER MRS. STANLEY WATSON MISS E. WHITWAM, L.R.A.M THE CLUB IS OPEN TO ALL The Subscription for the Series is 25/-. All Subscriptions are payable to the Hon. Treasurer. Single tickets 5/-, with the exception of the fourth concert, when the price will be 6/-.

Saturday, October 7th, 1944 Kathleen Ferrier (Contralto) Leon Goossens (Oboe) At the Piano: IVOR NEWTON (Mr. Goossens will give a short talk on the Oboe) Saturday, November 4th, 1944 The Griller String Quartet Saturday, December 2nd, 1944 Max Rostal Franz Osborn Violin and Piano Recital

Saturday, January 20th, 1945 Soloman Piano Recital Saturday, February 3rd, 1945 The Blech String Quartet Saturday, March 10th, 1945 Iso Elinson Piano Recital

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 to members when booking for the entire season. Members are advised to occupy their seats before 2-20 p.m.

Programme Threepence Huddersfield Music Club President-A. L. Woodhead, Esq., M.A., J.P. St. PATRICK'S HALL Saturday, October 7th, 1944, at 2-30 p.m. Leon Goossens To Music The Trout The Erl King (Oboe) Kathleen Ferrier Ivor Newton (Contralto) (Piano) PROGRAMME Kathleen Ferrier A short talk on the Oboe Allegro Arioso ha Schubert (1797-1828) Leon Goossens Loeillet (1653-1728) Fiocco (Circa 1700) Minuet and Rondo from the Easter Oratorio Bach (1685-1750) Leon Goossens and Ivor Newton INTERVAL OF TEN MINUTES

A May Night Love Song Constancy Nay, why go barefoot, my pretty one? Kathleen Ferrier Entree et Cotillon Three Landscape Sketches (unaccompanied) Air Hornpipe Leon Goossens and Ivor Newton Silent Moon Pretty Ring Time Brahms (1833-1897) Senaille (1687-1730) Sigtenhorst-Meyer (b. 1888) } Purcell (c. 1658-1695) Sweet chance that led my steps abroad Star Candles January 20th February 3rd March 10th Michael Head Vaughan Williams (b. 1872) Peter Warlock (1894-1931) Kathleen Ferrier Huddersfield Music Club St. Patrick's Hall on Saturday afternoons at 2-30 p.m. November 4th Quartet in D major Op. 64 No. 5 (The Lark) Quartet No 1 Op. 25 Quartet in F Major Op. 96 (The Nigger) December 2nd The Griller String Quartet Benjamin Haydn Britten Dvorak Max Rostal and Franz Osborn (Violin and Piano Recital) Solomon The Blech String Quartet Iso Elinson (Piano Recital) Tickets 5/- (except for January concert 6/-) from the Hon. Treasurer, F. W. Gadsby, 222, Almondbury Bank; Mrs. Hull, 48, New North Road and Messrs. J. Wood and Son, 67, New Street.

Programme Threepence Huddersfield Music Club President-A. L. Woodhead, Esq., M.A., J.P. St. PATRICK'S HALL Saturday, November 4th, 1944, at 2-30 p.m. GRILLER String Quartet Sidney Griller (Violin) Jack O'Brien (Violin) PROGRAMME I Quartet in D major Op. 64. No. 5. (The Lark) Haydn (1732-1809) Philip Burton (Viola) Colin Hampton (Cello) 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 in a similar form, and in spite of this enormous number of compositions, practically all in sonata form, Haydn's in- spiration never seems to falter; each work possesses its own individual charm to an amazing extent. ments. This quartet is the fifth of a set of six, written about 1790. The first movement opens with a light staccato passage for the three lower instru- At the eighth bar, the first violin enters with a clear, 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 Minuet and Trio follow the usual pattern, the latter having some pleasing imitative passages. The Finale is light and staccato, with a continuous semiquaver flow. Quartet No. 1. Op. 25. II Benjamin Britten (b. 1913) Andante sostenuto-Allegro vivo. Allegretto con slancio Andante calmo Molto vivace. This quartet was written in 1941. The first movement is constructed upon two contrasting ideas; these vary in tempo as well as in texture. The first is Andante; and in this violins and violas float above articulate pizzicato calls of the cello. The second, the Allegro, has two character- istic features: an incisive syncopated rhythm and later a joyous tune -the main theme proper. This section is interrupted by a return of the Andante; this occurs a second time and in the final bars the two tempi are brought into even closer contact. The second movement is the Scherzo of the quartet and takes the form of a large crescendo and the following diminuendo, stretching throughout the whole movement. A sharply accented triplet motif has much importance.

The Andante in 5/4 time is outstanding in its simple beauty. After an introduction, the main theme for the first violin develops into a long and tender cantilena. After a more animated centre section, the cant- ilena returns in a richer form. The fourth movement is in free Rondo form. many entries in imitative fashion. A spirited theme makes The second theme, in broad rhythm, is played in unison by the violins and viola. A short middle section has new rhythmical elements. The first and second subjects reappear followed, after a climax, by the theme of the middle section. The coda shows yet another form of the first subject. INTERVAL OF TEN MINUTES III Quartet in F major Op. 96 (The Nigger) Dvorak (1841-1904) Allegro ma non troppo Lento Molto vivace Vivace ma non troppo. This quartet, written in 1893 and often called "The Nigger," is thought, like the same composer's "New World Symphony," to be founded on traditional Negro melodies. Actually, the themes are built upon certain typical features of the folk songs of the Negro races rather than the use of definite native songs themselves. Both works were written during a lengthy stay in America; and though the foreign influence is apparent in them, Dvorak never loses his intense Czech nationalistic feeling and his own characteristic national style. Like the "Aus meinen Leben" Quartet of Dvorak's teacher, Smetana, this work opens with a viola melody, supported with a wavering violin figure and a low held note on the cello. But the pupil's work surpasses the master's in power and inspiration. This movement is written in regular sonata form; it possesses all Dvorak's rhythmic originality and suppleness and all his melodic charm. In the second movement the long-spun melody is accompanied by beautiful tonal effects. The Scherzo opens in an arresting fashion; the whole movement dances and glitters. The Finale is a form of Rondo, the first subject of which resembles a native Bohemian dance. This movement is again character- ised by rhythmic vitality. With such graceful and lovely melodies, such rhythmic variety and such admirable quartet writing there is little wonder that this quartet has, from the first, been a great favourite. Huddersfield Music Club St. Patrick's Hall on Saturday afternoons at 2-30 p.m. December 2nd Max Rostal and Franz Osborn Sonata in B flat K.454 Sonata in A major Op. 47 (Kreutzer) Sonata in A major January 20th February 3rd March 10th Mozart Beethoven Cesar Franck Solomon (Piano Recital) The Blech String Quartet Iso Elinson (Piano Recital) Single Tickets 5/- (for January Concert 6/-) from the Hon. Treasurer: F.W. Gadsby, 222, Almondbury Bank; Mrs. Hull, 48, New North Road; and Messrs J. Wood & Son, 69, New Street.

Programme Threepence Huddersfield Music Club President-A. L. Woodhead, Esq., M.A., J.P. St. PATRICK'S HALL Saturday, December 2nd, 1944, at 2-30 p.m. Max Rostal (Violin) and Franz Osborn (Piano) PROGRAMME I Sonata in B flat K.454 Largo-Allegro Andante Allegretto Mozart wrote in all 35 Sonatas for violin and piano. These fall into four main groups. The earliest examples are really sonatas for the piano with violin obligato. The second group (K.55-60) is of greater import- ance and owes much to the composer's Italian tour of 1772-3 and to the influence of Corelli and Sammartini; the piano is still, however, the main consideration. The third group contains the first examples of the modern style of equal importance of the two instruments. These were written in 1778. The fourth and greatest group belongs to the Viennese period. This Sonata (K.454) is included in this group, and dates from 1784. It was written for the brilliant young violinist Mdlle. Strina- sacchi from Mantua. Mozart (1756-1791) Holmes, in his "Life of Mozart" (1845) tells the following story. Mozart promised to write a Sonata for Strinasacchi to perform at her concert in the Royal Opera House. The composition of the work was delayed, and Strinasacchi only received her violin part on the morning of the concert. There was no time to write down the piano part. Mozart met the violinist at the opera house and the players executed the Sonata without rehearsal. The Emperor asked to see the score ; the piano part had bar lines only on the part. "But," replied Mozart "there was not a single note lost." The slow movement of this Sonata is of special beauty. II Sonata in A major. Op. 47 (The Kreutzer) Beethoven (1770-1827) Adagio Sostenuto-Presto Andante con variazioni Finale-Presto The Sonata in A major, Op. 47 is the ninth of the set of ten Sonatas for violin and piano. It was written in 1803 for the Mulatto violinist Bridgetower, and was performed in the same year by him in Vienna with the composer at the piano. Later, Beethoven quarrelled with Bridgetower and dedicated the work to Rudolph Kreutzer, the most famous violinist of the time. All Beethoven's Sonatas for piano and violin or cello are real concert pieces, aiming at brilliant effects, many of them written expressly for some particular virtuoso, the composer providing himself with an equally virtuoso part for his own instrument, the piano. This is in marked contrast to Beethoven's chamber music proper, in which virtuosity, as an end in itself, is excluded.

The "Kreutzer" is generally considered the best, and certainly the most popular, of the ten Sonatas. The interest is equally divided between the two performers, and the work is written, as the original title-page says, "in a specially brilliant style." It is, indeed, one of the great masterpieces of music. The slow introduction, the violin announc- ing a solemn adagio which is repeated with bold harmonic change, by the piano, is an innovation. A vigorous and passionate presto rises, after a poetic adagio change, to a stormy close. The Andante consists of a set of variations upon a simple melody, decorated with every device of virtuosity. The Finale, resembling a tarantella, is one of Beethoven's most brilliant movements. INTERVAL OF TEN MINUTES III Sonata in A major Allegretto ben moderato Allegro Recitativo Fantasia. Ben moderato Allegretto poco mosso This is the only work Franck left which bears the name of Sonata; it was written in 1886 and was dedicated to Ysaye. It consists of four movements; the principal movement is the second one, the first being a gentle and graceful preamble. The Recitativo-Fantasia takes the place of the slow movement. The finale is a transformation of rondo- form, the recurring theme being a canon at the octave between the two instruments, and the contrasting sections, a couple of subjects from the Recitativo. All the movements are thematically linked together; this is an example of the cyclical treatment of sonata form. The germ of the whole work, which dominates it throughout, is heard at the opening on the piano as a tiny rhythmical figure. Two other small motives are also used; yet from these germs Franck weaves the "endless melodies" so characteristic of his music. Although included among French composers, Franck was of Flemish stock. He lived a quiet, secluded and industrious life and his work was not widely known in his life-time, though he influenced a large group of pupils. He has been called the "French Bach." Like Bach, he was a "church musician" all his days; and like Bach, too, he had the rare combination of deep piety and wide learning, and was a master of poly- phony. It has been said that he was unable to depict evil in any form ; he was indeed a religious mystic and dreamer, one of the most devout of all musicians. César Franck (1822-1890) Huddersfield Music Club St. Patrick's Hall on Saturday afternoons at 2-30 p.m. January 20th Two Sonatas Le Coucou Sonata in F minor. Op. 57 February 3rd March 10th Variations and Fugue Ballade in A Flat, Two Etudes, Berceuse- Voiles, La Cathedrale engloutie Caprice Preludes in G major and G minor - Solomon (Piano Recital) S-arlatti Daquin Beethoven Handel-Brahms Chopin Debussy Paganini-Liszt Rachmaninoff The Blech String Quartet Iso Elinson (Piano Recital) Single Tickets 5'- (for January Concert 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 Fourpence Huddersfield Music Club President-A. L. Woodhead, Esq., M.A., J.P. St. PATRICK'S HALL Saturday, January 20th, 1945, at 2-30 p.m. SOLOMON Piano Recital PROGRAMME I Two Sonatas Scarlatti (1685-1757) The Sonatas of Scarlatti are very slight and graceful affairs compared with modern works in that genre. They are, in reality, lovely little pieces in one movement, usually in quick tempo, requiring skill and neatness in execution, and full of brilliance and gaiety of spirit. "Le Coucou" Daquin (1594-1772) Daquin (or d'Aquin) was born, lived and worked in Paris. He became organist of the Petit Saint-Antoine at the age of twelve, and later at Saint- Paul and the Chapel Royal. His first book of harpsichord pieces, con- taining the "Coucou," appeared in 1735. According to contemporary opinion, Daquin's own playing was remarkable for its precision and neatness. Sonata in F minor Op. 57 (Appassionata) Beethoven (1770-1827) Allegro assai Andante con moto Allegro ma non troppo-Presto The "Appassionata" Sonata was completed in 1806, but evidence shows that during the two previous years the composer had had it in mind and was gradually developing his creation. The title "Appassionata" was given by the publisher, Cranz, on his own authority; and though Beethoven himself disapproved of fanciful titles, this one is certainly apt and expressive. Beethoven's so-called "middle period" approximately included the years from 1803 to 1814, when the composer was at the height of his strength and power, and pouring forth a number of amazing masterpieces, which include "Leonora-Fidelio" (with the overtures), the Mass in C, six sym- phonies (Nos. 3 to 8), the piano concertos in G and E flat, the Rasumowsky string quartets and twelve sonatas for the piano, among which is the "Appassionata." In point of time of composition, the Appassionata follows immediately after the Waldstein sonata; the two works are "a typical example of Beethoven's capacity for producing pairs of works, alike in form but quite unlike in content" (Becker). These two magnificent concert- sonatas are the crowning triumph of the "virtuoso period." Beethoven "never again achieved such entire congruity of poetic and instrumental expression. He made perfect use of the piano as an instrument; thought and sound coincided absolutely." But whereas the mood of the Waldstein is joyous and exultant, soaring up to the daylight, that of the Appassionata is dramatic, sombre, restless, struggling, leading towards the dark gloom of night. It opens without delay, with a striking theme in bare pianissimo octaves, founded upon the tonic chord, stretching over two octaves of the piano and reinforced by a powerful rhythm; the theme ends with a delicate melodic pendant. On its third repetition, the theme is broken by crashing chords. The second subject in A flat major is followed by an outburst in a minor key, and these two themes, with their sub-sections, form the material of the superb first movement.] Later, a motive, like the motive "fate knocking at the door" of the 5th Symphony, is heard. The Andante is a set of three variations upon a beautiful and solemn theme. These variations rise higher and higher in pitch until the movement is suddenly and violently interruped by the entry of the finale; which, in turn, ends with a breathless coda, which serves as the epitome of the entire work.] This Finale, with its coda, Romain Rolland compares to a mighty ocean, the waves of which rise raging and furious, dashing against and finally submerging that unconquerable atom, Man. The whole Sonata is improvisatory in style. Extreme virtuosity is used not as an end in itself, but as a means of expressing extreme emotion. This effect is heightened by the almost continuous use of dramatic ryhthms, and the dazzling contrasts of light and shade. We are told that Beethoven called this work his greatest Sonata, and it was the one which he himself liked best to play.

II Variations and Fugue on a theme by Handel Op. 24 Brahms (1833-1897) By far the finest Variations since Beethoven's are the numerous sets by Brahms. He used almost the same principles as Beethoven, employing every device of condensation, augmentation, 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. These Variations were written in 1861 when Brahms had reached his complete mastery of this form. The theme is the Air from the first of a set of Three Lessons by Handel for harpsichord. The variations are twenty-five in number. The first two keep close to the theme; Nos. 3-6 develop something resembling a new theme. Nos. 7 and 8 are the trumpet variations; Nos. 9-12 include new departures; No. 13 is a heroic elegy; No. 16, a delicate canon; No. 19, the Siciliana; No. 22, the "Musical Box"; Nos. 23-25 work up to the powerful crowning Fugue-one of the grandest and most effective ever written for the piano. INTERVAL OF TEN MINUTES III Ballade in A flat Op. 47 Two Studies Chopin (1810-1849) Berceuse Chopin wrote four Ballades, of which this one in A flat is the third (published 1842). In none of his compositions does he surpass the beauty, fire and nobility which are to be found in the Ballades. The title is perhaps misleading, for the scope of these works is much wider than that of the traditional ballad of literature. Schumann said that the Polish poet, Mickiewicz, was the source from which Chopin drew his inspiration. Voiles Debussy (1862-1918) La Cathédrale engloutie In 1910 Debussy produced two books of 12 Préludes, each consisting of twelve pieces. "Voiles," taken from the first book, depicts the idle flapping of the sails as the boats lie in harbour. "La Cathédrale englontie,' also from the first book, is perhaps one of the finest and most characteristic of Debussy's piano works. It is based on the old Breton legend of the Cathedral of Ys, which lies submerged under the sea. Caprice (from Six Studies after the Caprices of Paganini) Liszt (1811-1886) In 1857 the final version of Liszt's work appeared. They are virtuoso studies founded upon other virtuoso works by the violinist, Paganini. This, the fifth, is La Chasse, a fantasy inspired in Paganini by the hunting horn. Preludes in G major and G minor Rachmaninoff (1873-1943) Rachmaninoff, the great Russian pianist, wrote much effective and admired music for the piano. His style is melodious; the music is classical in style and technique and he made use of the national idioms. Huddersfield Music Club St. Patrick's Hall on Saturday afternoons at 2-30 p.m. February 3rd The Committee regret that the Blech String Quartet are unable to fulfil their engagement. Their place will be taken by the CARTER STRING TRIO with JOSEPH SLATER (Flute) March 10th Iso Elinson (Piano Recital) Single tickets 5/- 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 President-A. L. Woodhead, Esq., M.A., J.P. St. PATRICK'S HALL Saturday, February 3rd, 1945, at 2-30 p.m. Owing to war service the BLECH QUARTET are unable to fulfil their engage- ment. The Committee have fortunately been able to engage The Carter String Trio Joseph Slater (Flute) with PROGRAMME I Trio for Strings in C minor. Op. 9. No. 3 Beethoven (1770-1827) Allegro con spirito Adagio con espressione SCHERZO: Allegro molto e Vivace FINALE: Presto THE CARTER STRING TRIO. This Trio is the third of a set of three String Trios written in 1797 and published in the following year. They date almost from the beginning of a period lasting some thirteen years, in which the piano ceased to have any part (except in the virtuoso duo sonatas) in Beethoven's chamber music and during which he showed that absolute preference for string ensembles which led finally to the great string quartets of his last period. The three Trios of Op. 9 have long been neglected; and unjustly so, for they are examples of Beethoven's work in its maturity and of real musical importance. The third Trio (C minor) is notable for its earnest and genuine feeling; the Adagio is one of the most tuneful and beautiful of all Beethoven's adagio movements. II Serenade for Flute, Violin and Viola in D. Op. 25 Beethoven (1770-1827) Entrata - Allegro Tempo ordinario d'un Menuetto Allegro molto Andante con variazioni —— Allegro scherzando e vivace Adagio Allegro vivace e disinvolto JOSEPH SLATER, MARY CARTER and ANATOLE MINES. This graceful Serenade, written in 1797 and published in 1802, dates from the same period as the Trio. But, whereas the Trio is founded on Sonata form, the construction of the Serenade is rather a development of the older Suite form; not as in this case, based upon a series of dances, but a coll- ection of short pieces, varying in mood and style. Usually at this period when Beethoven added any instrument to the string ensemble, he did so with its performance by some particular virtuoso or gifted musician in mind. INTERVAL OF TEN MINUTES

III Serenade in C major. Op. 10 Alla Marcia ROMANZA: Adagio non troppo quasi andante SCHERZO: Vivace Tema con variazioni RONDO: Finale Dohnanyi (b. 1877) THE CARTER STRING TRIO. Dohnanyi, born at Pressburg (Hungary), is a distinguished composer and pianist. He studied at Pressburg and Budapest and later under d'Albert. He first appeared as a pianist in 1897 and was quickly recognised as being an artist of the highest rank. While still a student, he experimented in the larger forms of composition. His early works shewed the influence of Brahms. Later his Hungarian nationality became more clearly marked, though his music has not drawn so extensively upon national folk-songs as in the case of Kodály and Bartók. His music has originality and vivacity, as well as a romantic beauty and grace. IV Quartet for Flute and Strings in D.K. 285 Mozart (1756-1791) Allegro Adagio Rondo JOSEPH SLATER and THE STRING TRIO. In 1777 Mozart, at the age of 21, left Salzburg, where he was attached to the Court of the Archbishop Hieronymus, on the plea of undertaking a long concert tour. At that court Mozart had come much under the influence of Italian art and style, which shewed itself in his "gallant" style, an embell- ishment of his music with much ornamentation and many airs and graces. Later in the same year Mozart arrived at Mannheim, where he stayed for several months, fell in love with Aloysia Weber and composed much music, including this Quartet for flute and strings. Under these new surroundings his art developed, and the influence of the "Mannheim School" can be traced in it, particularly in the sudden altern- ation of piano and forte. Huddersfield Music Club St. Patrick's Hall LAST CONCERT OF THE SEASON Saturday, March 10th at 2-30 p.m. ISO ELINSON (Piano (Piano Recital) Three Preludes and Fugues Rondo in A minor Sonata Op. 111 2 Intermezzi Op. 118 2 Capriccios Op. 76 Ballade in F minor, Studies and Scherzo in B minor Bach Mozart Beethoven Brahms Chopin Single tickets 5/- from the Hon. Treasurer, F. W. Gadsby, 222, Almondbury Pank: Mrs. Hull, 48, New North Road; and Messrs. J. Wood & Son. 67, New Street

Programme Threepence Huddersfield Music Club President-A. L. Woodhead, Esq., M.A., J.P. St. PATRICK'S HALL Saturday, March 10th, 1945, at 2-30 p.m. ISO ELINSON Piano Recital PROGRAMME I 3 Preludes and Fugues from the "Well-tempered Clavichord" (i) G major (Book II) (ii) F sharp minor (Book II) (iii) D major (Book I) The two books which form the "Well-tempered Clavichord" belong to widely separated periods; the first was finished in 1722, the second dates from 1744. The work was designed primarily for the clavichord, a pre- decessor of the piano, in which the sound is produced by metal tangents acting upon the strings. Each book contains 24 preludes and fugues; one major and one minor written in the key of each of the twelve notes of the chromatic scale. On the old keyed instruments it was impossible to play in all keys, since the thirds and fifths were tuned naturally according to the absolute intervals given by the divisions of the strings. Therefore some keys were in perfect tune, whilst others could not be used. Music for keyed instruments could not be developed until some method was devised by which a greater range of keys could be employed. Andreas Werkmeister (1645-1706) discovered a method of dividing the octave into twelve equal semitones, none of which were absolutely, but only relatively in tune; but henceforth composers could write in all keys. Bach's "Well-tempered Clavichord" was the first important work written in which the new principle was brought into practical use. (Bach 1685-1750) The preludes and fugues were obviously written at different periods and finally brought into two collections. They vary in style; "joy, sorrow, tears, lamentations, laughter-to all these it gives voice, but in such a way that we are transported from the world of unrest to a world of peace, and see reality in a new way, as if we were sitting by a mountain lake and con- templating hills and woods and clouds in the tranquil fathomless water." (A. Schweitzer.) Mozart (1756-1791) Rondo in A minor K.511. Sonata in C minor Op.III. II Beethoven (1770-1827) Maestoso-Allegro con brio ed appassionata Arietta-Adagio molto semplice e cantabile This titanic Sonata is the last of the 32 Piano Sonatas, and by many it is con- sidered to be the most perfect work of its kind. It was written in 1821-22, immediately after the Sonatas Opp. 109 and 110, and only five years before Beethoven's death. The Sonata has only two movements. In itself this two-movement form in a Beethoven Sonata is not surprising, but what astonished contemporary musicians was the fact that the work ended with an Adagio. Now we realise that not only was a Finale not required, but that it would have been definitely antagonistic to the character of the piece, already complete in itself. Lenz has described the moods of the two movements as Resistance-Sub- mission or Sansara-Nirvana; which titles, however, though giving an

approximate idea of the underlying sentiments, are not universally accepted, especially in the case of the second movement, which appears to contain a much more vital and positive meaning. The first movement has a short Introduction of majestic proportions, indi- cating at once the vastness of the conflict. The opening chord is the most agonized dissonance in Beethoven's musical vocabulary. It is followed by stately chords fading into a deep rumble in the bass, which is interrupted by the dramatic appearance of the principal subject. This continues in thunder- ing octave passages, and after tremendous melodic leaps, the more appealing and tender second subject enters. The conflict breaks out again and con- tinues until the key gradually becomes that of C major, and the turmoil sinks into low mutterings in the bass; thus the storm fades into calmnes;. According to von Bülow, the second movement in C major should follow without interruption. It is an Arietta with five variations; which, however, are not variations in quite the ordinary sense of the term, for each is in- divisible from the next, and the whole impression is one of consecutiveness and organic growth. The song itself is serene and noble, marked to be played with much simplicity. Upon this material a movement is built up which takes the listener far from the original simplicity of the theme, through the utmost subtleties of rythm, into ideal heights of spirituality. Finally comes a series of long trills, through which snatches of the theme are heard, a brief reference to the opening brings the movement, and the Sonata, to its perfect close. INTERVAL OF TEN MINUTES III Two Intermezzi Op. 118. } Brahms (1833-1897) Two Capriccios Op. 76, Brahm's first published works were written for the piano, and in his later days he wrote many solos for the same instrument. The terms "Intermezzo" and "Capriccio" are generally rather loosely applied. Usually the former title is given to the slower pieces; the latter (frequently polyphonic) are generally quicker. Both types are pure piano music, intensely expressive, poetic and personal, full of effects which should only be conveyed through the medium of that particular instrument. Specht, writing of Opp. 116, 117 and 119 (Brahms' last piano pieces) calls these his "last monologues for the piano... profound and dream-steeped." Of the last Intermezzi, Fantasies and Capriccios, he writes "these ballades without words tell of silences which, for those who know how to listen, have endless messages to give of the composer's very soul. They tell of a living heart's dead love...Never was Brahms so alone with himself as in these apparent improvisations." IV Ballade in F minor, No. 4 Op.52. Chopin (1810-1849) These are This, the last of the four Ballades, was published in 1843. pieces of no very definite form, romantic in feeling, but they show the height of Chopin's artistic power. All were said to be inspired by the works of the Polish poet Mickiewicz. Schumann said of them, that "they move the innermost depth of the soul." Langford describes them in the following words; "There is nothing more beautiful in the whole realm of piano music than these ballades; together they give a sense of Poland's grandeur, which nothing but music could express.' For many people, the fourth ballade is the most beautiful; its emotional keynote is one of longing sadness. Two Studies Op. 25 (i) G sharp minor (ii) C minor Scherzo in B minor No. 1. Op. 20. Chopin (1810-1849) Chopin wrote four Scherzi, and with them he created a new form. Like Beethoven's Scherzi, the title is misleading. humour and frolicsomeness, those of Chopin have neither. says Niecks, has despair, bewilderment and strife in it. Wessel, christened it "the banquet infernal"-a title which though strongly resented by Chopin himself, has some measure of truth in it. But whereas Beethoven's have This Scherzo, The publisher,