THE HUDDERSFIELD MUSIC CLUB (Founded in 1918 by Dr. Eaglefield Hull) These Concerts are given with the support of the Arts Council of Great Britain A SERIES OF FIVE CONCERTS J FOR THE THIRTY-FIFTH SEASON 1952 - 53 TO BE GIVEN IN THE THE MAYOR'S RECEPTION ROOM! TOWN HALL On MONDAY EVENINGS at 7-30 p.m. Since the Club had to vacate Highfield Hall, the Committee have felt that the alternative accommodation has not been ideal for Chamber Music Concerts. They have pleasure, therefore, in announcing that the forthcoming Series for 1952-53 will be held in the Mayor's Reception Room at the Town Hall. It was decided at the Special Meeting of Members held last April that, owing to the present high fees required by first-class artistes and the general rise in expenses, the number of Concerts should be reduced to five and the subscription kept at 30/-. The Committee felt that this would be more desirable than to lower the standard of the Concerts, and it will be seen overleaf that the artistes for the coming Season are all of outstanding quality. The Mayor's Reception Room is available on Monday evenings only, and there is every reason to believe that the proposed change of evening has already met with general approval. The capacity of this room is limited to 170, and it is essential that any Member not requiring the enclosed tickets should return them to Mrs. Hull forthwith. As present membership is about 150, to avoid disappointment. NEW MEMBERS wishing to join should apply at the earliest possible moment to any of the following: shield Mrs Eaglefield Hull, 48 New North Road, Huddersfield. Tel. Hudd. 1094. Stanley G. Watson, 342 New Hey Road, Salendine Nook. Tel. Hudd. 1706. Messrs J. Wood and Sons, Ltd., 67 New Street, Hudders- field. Tel. Hudd. 156. Messrs Whitfields Ltd., Ramsden Street, Huddersfield. Tel. Hudd. 4444. THE CLUB IS OPEN TO EVERYONE

Monday, October 20th, 1952 A The Amadeus String Quartet Quartet in C major Op. 74 No. 1 ... Haydn Quartet in B flat major Op. 18 No. 6 ... Beethoven Quartet in D minor Op. posth. . Schubert (Death and the Maiden) Monday, November 3rd, 1952 Frederick Fuller At the Piano .. Daniel Kelly Songs by Handel, Bach, Attey, Schubert Schumann, Brahms, Duparc, Granados, Nin and folk songs. .. ... Monday, November 24th, 1952 Shura Cherkassky PIANO RECITAL Prelude and Fugue in E minor Op. 35... Mendelssohn Sonata in A major Op. 101 ... Beethoven Paganini Variations. Brahms Samuel Barber Liszt Excursions Op. 29... Hungarian Rhapsody No. 12 .. C ... 0 ... Monday 1 Evel Arch Wilf Monday Quart Quart

Monday, January 12th, 1953 The Camden Trio Evelyn Rothwell ... . Archie Camden Wilfred Parry .. ... S Monday, February 23rd, 1953 Works by Mozart, Morgan Nicholas, Handel, Beethoven, Tcherepnine, Senaille and Poulenc .. CHRISTMAS HOLIDAY CONCERT Quartet in F major Op. 77 No. 2 Quartet No. 2 ... Quartet in E flat Op. 127... .. ... The Vegh String Quartet ... Oboe ... Bassoon ... Piano. ... ... ... Haydn ... Bartok .. ... Beethoven All Concerts in the Mayor's Reception Room, Town Hall, Huddersfield. (Entrance in Ramsden Street. Lift available). Monday Evenings at 7-30

THE HUDDERSFIELD MUSIC President ... Active Vice President A. L. WOODHEAD, Esq., M.A., J.P. J. STANCLIFFE ELLIS, Esq. Honorary Vice-Presidents DR. RALPH VAUGHAN WILLIAMS, DAME MYRA HESS, BENJAMIN BRITTEN, F. W. GADSBY ... 9 ... Molly Committee:- Chairman Mrs. H. AINLEY Mrs. ARNOLD Mrs. BRANSOM S. H. CROWTHER E. GLENDINNING Miss Z. E. HULL P. L. MICHELSON Coun. F. ROWCLIFFE Miss A. SHAW E. C. SHAW ... Mrs. S. H. CROWTHER Miss K. EVANS Mrs. E. FENNER Mrs. D. HIRST Mrs. A. E. HORSFALL Mrs. A. E. HULL Miss Z. E. HULL Mrs. G. G. JARMAIN Hon. Secretaries:-Mrs. A. E. HULL 48 New North Road. Tel. Hudd.. 1094 STANLEY G. WATSON, 342 New Hey Road. Tel: Hudd. 1706 Hon. Treasurer:-K. P. G. GEOGHEGAN, 3 Belgrave Terrace. Tel. Hudd. 6787 Ladies' Committee sedT Hon. Secretary .. Hon. Treasurer I. SILVERWOOD Mrs. I. SILVERWOOD E. D. SPENCER Miss W. TOWNSEND J. TROLLER Mrs. S. G. WATSON TO Miss W. TOWNSEND Mrs. A. W. KAYE Mrs. J. LEE Mrs. LIVINGSTONE Mrs. E. PARK Mrs. M. M. SAYER Miss A. SHAW Mrs. I. SILVERWOOD Mrs. E. D. SPENSER Mrs. P. SYKES Miss WHITWAM CLUB 32 Mrs. E. GLENDINNING Mrs. S. G. WATSON A Tickets are enclosed Please send the appropriate subscription to Mr. Geoghegan, c/o The National Provincial Bank, King Street, Huddersfield. Cheques should be made payable to The Huddersfield Music Club. SEASON TICKETS 30/- May be obtained from Messrs J. Wood & Sons, Ltd., Messrs Whitfields Ltd., and the Hon. Secretaries

THE HUDDERSFIELD MUSIC CLUB President A. L. WOODHEAD, Esq., M.A., J.P. (This Concert is given with the support of the Arts Council of Great Britain) MAYOR'S RECEPTION ROOM, TOWN HALL MONDAY, 20th OCTOBER 1952 at 7-30 p.m. The Amadeus String Quartet NORBERT BRAININ (Violin) SIEGMUND NISSEL (Violin) PETER SCHIDLOF (Violin) MARTIN LOVETT (Cello) Programme Price Sixpence

PROGRAMME The analytical notes in this programme are the copyright of the Huddersfield Music Club I Quartet in C major, Op. 74 No. 1 Allegro moderato Andante grazioso Minuet and Trio Vivace (First performance at these concerts) Haydn produced 15 quartets, some of them his greatest works in that form, during his last period of composition. He wrote six in 1793. These are Op. 71 Nos. 1-3 and Op. 74 Nos. 1-3; they were all dedicated to County Apponyi. These quartets are undoubtedly influenced by Haydn's pre- occupation with symphonic composition at that time, and a new and striking feature in all six is that the first movements begin with the symphonic device of some kind of introduction, how- ever short it may be. In Op. 74 No. 1 a further experiment in sonata form is seen in the develop- ment work in the recapitulation section of the first and third movements. This quartet (Tovey describes it as "a glorious work") was taken up with enthusiasm by Joachim in his last years. II Quartet in B flat major, Op. 18 No. 6 Allegro con brio Adagio ma non troppo Scherzo and Trio Adagio La Malinconia Allegretto quasi allegro Haydn (1732-1809) Beethoven (1770-1827) (First performance at these concerts) The quartets of Op. 18 date from 1800. Up to that year "Beethoven was preoccupied with the clavier; it was the centre of his thought and composition, and his own playing was the basis both of his interest and his art" (Bekker). Beethoven's chamber music may be classified under three heads: (i) music for wind instruments, perhaps with strings or piano supporting; these works ceased about 1800; (ii) music for piano and strings; an interest which lasted longer and waned more gradually; (iii) music for strings alone. Beethoven arrived gradually at the string quartet, first experimenting with trios and quintets. Finally the string quartet became the very heart and kernel of Beethoven's creative work, around which the rest is grouped, supplementing, explaining, confirming". All the six quartets of Op. 18 are, in spite of their beauties, only a foreshadowing of what Beethoven was later to create in that form. There are five movements in Quartet No. 6, and the prevailing mood is one of cheerfulness. The first movement is light in texture and full of vitality; it asks for spiccato bowing. The first slow movement is somewhat elaborate; its melodies are full of grace. The Scherzo, with its trio, sparkles with humour. The second slow movement, the mysterious La Malinconia (Grief), is most moving. Beethoven marks it to be played with the greatest feeling, and every nuance is noted with scrupulous care. This movement stands out as a foreshadowing of the later Beethoven. It is inter- rupted by a pastoral rondo, on to which the shadow of La Malinconia twice falls. INTERVAL OF TEN MINUTES

III Quartet in D minor Op. posth. (Death and the Maiden) Schubert (1797-1828) Allegro Andante con moto Scherzo and Trio Presto (Last performed in 1936 by the Weiss String Quartet) This quartet was written at the period when Beethoven was creating his last string quartets, and it is interesting to compare the complete difference in conception and technique between the two masters. "It would be tempting to compare the 'seriousness' of Beethoven's Op. 95 with the seriousness of the D minor quartet. Schubert's seriousness is free from pathos; he is more spon- taneous; he goes deeper and deliberately avoids the optimistic or triumphant note on which Beethoven ends" (Einstein). Kahl has pointed out that while Beethoven's ideal was that of a lineal quartet style and that he was "moving in the direction of sound freed from sensuousness, a de- materialised quartet timber", Schubert "kept before him as an ideal . . . . rather the obtaining of colour effects, as in the orchestra, by an arrangement to the parts in layers." "Here are beautiful ideas, boldness and bigness of reach and grasp, and entirely new chamber harmony with chords rich and romantic in themselves and not the necessary and logical outcome of the part-writing. Elegy and the grotesque ; Lander and Dance of Death; sublimity and song; music in garlands and tangled growths" (Cardus). Schubert's early quartets were written for home practice. From 1815 he was increasingly absorbed in the piano; it was not till 1824 that he returned to the string quartet and within the next two years he wrote three. This quartet remained in manuscript till 1851. Kahl considers that the struggle with death is the subject of the first movement. If so, death is greeted with defiance. To that challenge is opposed a delightful theme in the relative major, "a ditty with a Mediterranean tang." The development combines the themes in a masterly way, with enchanting modulations. The chorale-like setting of Death's words from Schubert's own song is the theme for the five variations of the slow movement. "What Schubert could only suggest in the song here finds expression in a fuller, freer wordless sphere. He does not write programme music nor do we need to know the song, but we feel unmistakably in this music the symbols of inevitability and consola- tion. The moving major-ending of the theme assumes the proportions of a true "ascension" in the coda, after one of the variations in the major has already revealed a momentary glimpse of heaven. The theme appears each time only lightly disguised or simplified, and in no variation is there any deviation from the main key" (Einstein). According to Heuss, "Death as the demon fiddler" is the theme of the sharply-contrasting Scherzo. "The Finale is most definitely in the character of a dance of death; ghastly visions whirl past in the inexorable uniform rhythm of the tarantella." A theme from another song-the voice of the Erlking-completes the picture. The whole work is filled and unified with one consistent and compelling idea. THE AMADEUS STRING QUARTET was founded as a professional ensemble in 1947 after several years of quartet playing during their years of study. Their first London appearance was in 1948. This year at their appearance at the Edinburgh Festival they were hailed as the finest quartet in England and possibly in the world. All the members are in their twenties, while three are of Viennese origin and came to this country in their early 'teens.

THE HUDDERSFIELD MUSIC CLUB Mayor's Reception Room, Town Hall. 3rd November Monday evenings at 7-30 p.m. FREDERICK FULLER Song Recital Songs by Handel, Bach, Attey, Schumann, Schubert, Brahms, Granados, Nin and Folk-songs 24th November. Cherkassky (Piano Recital) 12th January. Camden Trio (Oboe, bassoon and piano) 23rd February. Vegh String Quartet. Single tickets 7/6d. from J. Wood & Sons, 67 New Street, and at the door. THE HALIFAX PHILHARMONIC CLUB Lecture Hall of the Halifax Literary and Philosophical Society Harrison Road Friday evenings at 7-30 p.m. 24th October THE PETER GIBBS STRING QUARTET Quartet in B flat, Op. 18 No. 6 Beethoven Quartet No. 3 Quartet No. 2 in D Single Tickets 6/- at the door or from Mr. H. Lord, 17 Albert Gardens, Pellon, Halifax Michael Tippett Borodin THE HUDDERSFIELD GRAMOPHONE SOCIETY Fortnightly Meetings at New North Road Baptist Sunday School on Monday evenings at 7-30 p.m. Annual Subscription: 10/6 (from 1st January: 7/6) 27th October-BRAHMS and BERLIOZ Enquiries to the Hon. Secretary: Mr. D. Bostock, 16 Imperial Road THE HUDDERSFIELD THESPIANS St. Patrick's Hall, 17th to 22nd November, at 7-30 p.m. "THE FOOLISH GENTLEWOMAN" by Margery Sharpe Tickets: 3 and 1/6d. from J. Wood & Sons, 67 New Street a The Advertiser Press Ltd., Huddersfield

THE HUDDERSFIELD MUSIC CLUB (This concert is given with the support of the Arts Council of Great Britain) MAYOR'S RECEPTION ROOM, TOWN HALL MONDAY, 3rd NOVEMBER 1952, at 7-30 p.m. FREDERICK FULLER At the Piano: DANIEL KELLY Lost Love... Good fellows, be merry Sweet was the song the Virgin sang ng} On a time II Der Erlkonig Am Meer Der Nussbaum Mondnacht }.... Der Gang zum Liebchen }- Botschaft Invitation au Voyage Lamento Folk-songs: * ... Le Manoir de Rosemonde El Majo olvidado El Vito ... ... 6. PROGRAMME ... ... INTERVAL OF TEN MINUTES III ... ... The Spring of Thyme I'm seventeen come Sunday The Skye Fisher's Song Margoton va-t al'iau The old Turf Fire El Tecolote... 6 ... ... r I ... FREDERICK FULLER is essentially a lieder singer in the broad sense of the word. He has made a wide study of languages and literatures, graduating with high honours at the University of Liverpool, and gaining post-graduate scholarships at the Sorbonne, the Uni- versity of Munich and at Harvard University. At the same time he studied singing and the repertoire of the art-song and folk-song with the leading exponents in England, France, Germany and the United States, as well as many years of residence in other countries such IV }... ... 4 ... ... Handel (1685-1759) Bach (1685-1750) John Attey (d.c. 1640) ... Schubert (1797-1828) Schumann (1810-1856) Brahms (1833-1897) Duparc (1848-1933) Granados (1867-1916) Nin (b. 1883) 4. English Hebridean French Canadian ... ... ... Irish Mexican ... as Switzerland, Italy, Canada, Brazil and the Argentine. Thus he has prepared himself, not only musically and linguistically, but also by long and close acquaintance with peoples of many lands, to interpret their men- tality as expressed in song. In South America, Fred- erick Fuller lectured in Spanish and Portuguese on British music under the auspices of the British Council, and gave recitals for the leading music societies in Brazil, Uruguay, Paraguay, Argentina and Chile. In England he has appeared for most of the leading societies. PRICE SIXPENCE

THE HUDDERSFIELD MUSIC CLUB Mayor's Reception Room, Town Hall. 24th November- 12th January. SHURA CHERKASSKY Prelude and Fugue in E minor Op. 35... Mendelssohn Sonata in A major Op. 101 Beethoven Variations on a theme by Paganini Brahms Excursions Op. 20 ... Samuel Barber Hungarian Rhapsody No. 12 Liszt ... ... ... ... ... ... Monday evenings at 7-30 p.m. .. ... ... ... ... CAMDEN TRIO (Oboe, Bassoon and Piano) 23rd February. VEGH STRING QUARTET Single Tickets 7/6 from J. Wood & Sons, 67 New Street THE HALIFAX PHILHARMONIC CLUB Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road Friday evenings at 7-30 p.m. 21st November- CYRIL PREEDY Piano Recital The programme will include the French Suite in G (Bach), the F sharp Sonata Op. 78 (Beethoven) and works by Schumann, Franck and Debussy Single Tickets 6/- at the door or from Mr. H. Lord, 17 Albert Gardens, Pellon, Halifax THE HUDDERSFIELD GRAMOPHONE SOCIETY Fortnightly Meetings at New North Road Baptist Sunday School on Monday evenings at 7-30 p.m. Annual Subscription: 10/6 (from 1st January: 7/6) 10th November. CHAMBER AND INSTRUMENTAL MUSIC Enquiries to the Hon. Secretary: Mr. D. Bostock, 16 Imperial Road THE HUDDERSFIELD THESPIANS St. Patrick's Hall, 17th to 22nd November, at 7-30 p.m. The Advertiser Press Ltd., Huddersfield "THE FOOLISH GENTLEWOMAN" by Margery Sharpe Tickets 3/- and 1/6 from J. Wood & Sons, 67 New Street

THE HUDDERSFIELD MUSIC CLUB President A. L. WOODHEAD, Esq., M.A., J.P. (This Concert is given with the support of the Arts Council of Great Britain) MAYOR'S RECEPTION ROOM, TOWN HALL MONDAY, 24th NOVEMBER 1952 at 7-30 p.m. SHURA CHERKASSKY 10 Programme Price Sixpence

PROGRAMME The analytical notes in this programme are the copyright of the Huddersfield Music Club Prelude and Fugue in E minor Op. 35 Mendelssohn (1808-1847) (Last performed in 1926 by Josef Hofmann) The six preludes and fugues of Op. 35 appeared in 1836 and are among Mendelssohn's most important contributions to piano literature. His fugues follow the model which Bach had estab- lished, but Mendelssohn adapted it to the idiom of the piano, with a greater freedom of part- writing, the characteristic use of the arpeggio and the enriching effect of the sustaining pedal. The Prelude has little inner relationship with the Fugue; Cortot remarks that the former was written some nine years earlier, at the bedside of a dying friend. The Fugue is a masterpiece; "a pro- foundly religious composition" (Cortot). It begins quietly, works up to great climax, which is followed by a majestic chorale. There is a serene return to the fugue subject and the close is pianissimo. Sonata in A major Op. 101 Beethoven (1770-1827) Allegretto ma non troppo Vivace alla Marcia Adagio ma non troppo Allegro (Last performed in 1951 by Gina Bachauer) Quite apart from the music itself, one has only to note the exact and careful directions in his native language which Beethoven has put into the score of this sonata (I-Etwas lebhaft, und mit der innigsten Empfindung, II-Lebhaft Marschmassig, III-Langsam und Sehnsuchtsvoll, IV- Geschwind, doch nicht zu sehr, und mit Einschlossenheit) to realise the importance and depth of meaning which he attached to it. The Sonata dates from 1816 and is the first of a group of five sonatas which form the culminating point of Beethoven's piano music. Between 1816 and 1821 he wrote no major works but these sonatas, bringing to them all the experience of his life and art. Beethoven had long since discarded the former sonata plan. Although this Sonata is divided into four movements, the divisions are lightly marked and linked together so that the whole moves towards the climax of the last movement. The effort to fight a way through dreams and fancies, spiritual, gay and sentimental by turns, to fully conscious creative activity--this forms the poetic 'argument' of the work (Bekker). The opening Allegretto is like a tender, gently-moving song; its parts flow like a string quartet. Beethoven himself described it as "visionary moods". The second movement, the so-called March, takes the place of the Scherzo. The word scherzo is only used once in these five sonatas; the boisterous Rhenish humour has gone, to be replaced by something much more subtle. The character of a March is only apparent in the rhythm; it is an impressionistic piece, with the melody thrown in fragments from part to part. A canon forms the contrasting middle section. The short adagio is full of the yearning with which Beethoven, directs it should be played; a short coloratura passage leads, not to the finale, but to a repetition of the gentle opening theme. The finale itself, in sonata form, shows "rather courageous than joyful determination". The mood is broken by a reference, in augmentation, to the opening theme. Then "a brooding minor fugato begins in the bass and, mounting, weaves a shadowy dance about a single idea, which suddenly with a gesture of elemental force, resumes its former aspect and leads to a jubilant close."

II Variations on a theme by Paganini (Two Books) (Last performed in 1947 by Moiseiwitsch) By far the finest Variations since Beethoven's are the sets by Brahms. He used more or less the same principles as Beethoven, employing every device of condensation, augmentation, inversion, polyphonic combination, chromatic colouring and the like, 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. The 28 Variations are founded upon a 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. INTERVAL OF TEN MINUTES Hungarian Rhapsody No. 12 Brahms (1833-1897) III Excursions Op. 20 Samuel Barber (b. 1910) Samuel Barber was born at Westchester, Pa. He studied at the Curtis Institute of Music Phila- delphia and in 1935 he won the fellowship of the American Academy in Rome. His works include 2 symphonies, 2 Essays, an overture, chamber music for various combinations, a violin concerto, works for unaccompanied choir, a song-cycle, many songs and the witty and effective Excursions" for piano. Liszt (1811-1886) SHURA CHERKASSKY was born in Odessa. His first musical education was received from his mother, herself a concert pianist. Shortly after going to the U.S.A. he made his New York debut and was hailed as a remarkable talent. The world renowned pianist, Josef Hofmann, then Dean of the Curtis Institute of Music in Philadelphia, interested himself in the boy, and Cherkassky remained for 7 years under his tutelage. Cherkassky has toured Australia, New Zealand, S. Africa, Europe, the British Isles, Russia, the Orient, U.S.A., Canada and Latin-America. After his appearance in London in 1952 he established his reputation as one of the greatest pianists of the century.

THE HUDDERSFIELD MUSIC CLUB Mayor's Reception Room, Town Hall 12th January- THE CAMDEN TRIO Evelyn Rothwell (Oboe), Archie Camden (Bassoon), Wilfred Parry (Piano) Monday evenings at 7-30 Trio Op. 11 Theme & Variations Trio Poulenc and works by Mozart, Morgan Nicholas, Handel, Senaille and Tcherepnine 23rd February. VEGH STRING QUARTET Single tickets 7s. 6d. from Woods, 67 New Street. Beethoven THE HALIFAX PHILHARMONIC CLUB Lecture Hall of the Halifax and Philosophical Society, Harrison Road Friday evenings at 7-30 16th January THE LONDON CZECH TRIO Trio in E flat Op. 100 Trio Op. 67 Trio in C minor Op. 101 Single tickets 6s. od. at the door or from Mr. H. Lord, 17 Albert Gardens, Pellon, Halifax Schubert Shostakovitch Brahms The Advertiser Press Ltd., Huddersfield THE HUDDERSFIELD THESPIANS St. Patrick's Hall, 26th to 31st January at 7-15 p.m. "TOAD OF TOAD HALL" An adaptation by A. A. Milne of Kenneth Grahame's "Wind in the Willows" Tickets 3s. od. and 1s. 6d. from Woods, 67 New Street.

THE HUDDERSFIELD President 1-Trio (This Concert is given with the support of the Arts Council of Great Britain) EVELYN ROTHWELL (Oboe) MAYOR'S RECEPTION ROOM, TOWN HALL Monday, 12th January 1953, at 7-30 p.m. THE CAMDEN TRIO 2-Oboe and Piano 7-Trio DIVERTIMENTO WILFRED PARRY (Piano) ELEGIAC DANCE RONDO ... ... TRIO ... . ... 5-Trio 6-Bassoon and Piano ESQUISSE ... 3-Trio Adagio maestoso vivace 4-Oboe and Bassoon THEME AND VARIATIONS ... ... ... Allegro Andante Menuetto ... ... .. ALLEGRO SPIRITOSO TRIO ... .. ... ... - ... ARCHIE CAMDEN (Bassoon) ... Lent-Presto EVELYN ROTHWELL began to study the oboe at school; within twelve months she won a scholarship to the Royal College of Music. There she studied under Leon Goossens. Peter Barbirolli, himself a gifted player, heard her playing, was immediately impressed and arranged for his now famous brother to give her an audition. She was soon playing in the Covent Garden Opera Orchestra, and when John Barbirolli became conductor of the Scottish Orchestra, Miss Rothwell was appointed principal oboe. Glyndebourne Festival invited her to play principal oboe in the brilliant seasons under Fritz Busch. Important chamber music and solo engagements followed. In 1939 she and John Barbirolli were married. She gave up orchestral work and went to America to join her husband, who had succeeded Toscanini as conductor of the New York Orchestra. Since their return to England Miss Rothwell has still further advanced her reputation as one of the finest oboe players of the day. MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. ANDANTE AND SCHERZO ... . ... ... INTERVAL OF TEN MINUTES ... .. ... ... ... ... ..C .. poco lento ... ... ... ... ... ... Andante con moto ... ... ... Programme Price Sixpence Presto assai 13 ... ... Michael Head (b. 1900) Handel (1685-1759) ... Mozart (1756-1791) ... ... Geoffrey Bush (b. 1920) tempo di vivace Beethoven (1770-1827) Planel Tcherepnin (b. 1873) Senaille (1867-1730) Poulenc (b. 1899) ... Tres vif ... ... ARCHIE CAMDEN studied at the Royal Manchester College of Music having won the Hans Richter Scholar- ship for Bassoon. He was principal bassoon for many years of the Halle Orchestra and later, of the BBC Symphony Orchestra. He specialises in solo work and chamber music and founded the Camden Trio. It is he who has made the bassoon a recognised solo instrument. He is a regular broadcaster and, in addition, is also an excellent pianist and conductor. WILFRED PARRY studied at the Trinity College of Music, where he won the Chappell Gold Medal and was awarded a Fellowship of the College for his solo piano playing at the age of 17. For some time he was a member of the staff. He has given a number of first performances, the most recent being a Cello and Piano Sonata by Hindemith. He has broadcast regularly since 1929, with the exception of 5 years while he was serving in the Army.

THE HUDDERSFIELD MUSIC CLUB Mayor's Reception Room, Town Hall Monday evenings at 7-30 23rd February- THE VEGH STRING QUARTET Quartet in F major Op. 77 No. 2.......... .Haydn Quartet No. 2..... Bartok Quartet in E flat Op. 127.. .Beethoven Single tickets 7/6 from Woods, Whitfields and at the door THE HALIFAX PHILHARMONIC CLUB Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road Friday evenings at 7-30 16th January THE LONDON CZECH TRIO Trio in E flat Op. 100..... .......Schubert Trio Op. 67............ Trio in C minor Op. 101.. Single tickets 6s. od. at the door or from Mr. H. Lord, 17 Albert Gardens, Pellon, Halifax Debussy ........Brahms THE HUDDERSFIELD THESPIANS St. Patrick's Hall, 26th to 31st January at 7-15 p.m. Matinee on Saturday at 2-15 p.m. "TOAD OF TOAD HALL" An adaptation by A. A. Milne of Kenneth Grahame's "Wind in the Willows" Tickets 3s. od. and 1s. 6d. from Woods, 67 New Street. The Advertiser Press Ltd., Huddersfield

THE President HUDDERSFIELD (This Concert is given with the support of the Arts Council of Great Britain) MAYOR'S RECEPTION ROOM, TOWN HALL Monday, 23rd February 1953, at 7-30 p.m. The Vegh String Quartet SANDOR ZOLDY (Violin) PAUL SZABO ('Cello) SANDOR VEGH (Violin) GEORG JANZER (Viola) I Quartet in F major Op. 77 No. 2 Op. 77 consists of two string quartets written in 1799 while Haydn was engaged in the composition of The Seasons. These were Haydn's last quartets; in 1803 he began the composition of yet another, Op. 103 but of this only two movements were completed. These last quartets are "full of strength and vivacity, and tremend- ous effort to a man of Haydn's advanced age, and they form a magnificent finish to this long series of master- pieces" (Cobbett). Allegro moderato Menuetto and Trio Andante Vivace assai (Last performed in 1938 by the Hungarian Quartet) After an animated and rhythmic first movement the Menuetto and Trio follow in the place of the usual slow MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. Quartet No. 2 Op. 17 II Moderato Allegro molto capriccioso Lento Bartok wrote six string quartets, the first dated 1908 and the last, 1941. They therefore run through the main course of his life as a composer, and through them his entire development, both spiritual and technical, can be traced. They are also, with the concertos, perhaps his most characteristic and important works. "The natural astringency of his mind, the uncompromising disregard of established rules of harmony and cadence and the lonely austerity which pervades so much of his music, all combine to create as powerful an impression of novelty as modern music has to offer. . .What he required was a form which blended intimacy with power; the string quartet and the concerto met the need" (Crankshaw). His melodic thinking was strongly influenced by his re- searches into Hungarian folk-music (note his fondness for the interval of a fourth), but its influence remained in his work as a flavour rather than in any use of traditional melodies. He himself explained that it had shown him the possibility of complete emancipation from the tyranny of major and minor modes, and that the new forms of scales thus acquired, opened up new melodic and harmonic potentialities. Bartok is essentially a linear (i.e., a contrapuntal) composer. Kodaly as- cribes his dissonances to melodic origins and "applies to him what was formerly said of Bach, and that with him Haydn (1732-1809) movement. The Menuetto is again in the key of F major, but the Trio changes to D flat; the Coda com- pletes the return to F major. This Menuetto has much of the spirit of a Beethoven scherzo. The Andante starts in two parts only, and is another example of the influence which the piano style of C. P. E. Bach had upon Haydn. Tovey considers that the theme of this Andante is one of Haydn's most glorious tunes; indeed, he considers the whole quartet to be one of Haydn's greatest instrumental compositions. The Finale is again vivacious and very rhythmical. (First performance at these Concerts) Bartok (1881-1945) (Bartok) there are not only passing notes, but passing phrases; that a suspension may be not merely a note, but an entire passage." From the same folk-origin, Bartok, though often keeping the insistent brutal stresses, evolved a very elastic conception of rhythm, which amounts at times to a kind of rubato on a vast scale. Bartok's themes tend to be fragmentary; he "shares with Sibelius the art of evolving fabrics of complex beauty from initial strands of thought of disarming simplicity". His use of "ornaments" particularly a triplet figure, is very characteristic, and his use of trills, to give emo- tional significance, recalls that of Beethoven. Of the Second Quartet (1917), Culshaw writes: "It is a key work; it is a kind of stylistic pivot, since it embodies in its first movement the lyrical 'modern romantic' Bartok, and in its second the more percussive, angular and harsh aspects of his style." There are still traces of a cyclic connection between the movements. The first is concise in form (writes Edwin Evans) and thematically developed, but in some respects the least easily accessible of the three. The Scherzo is a rug- gedly jovial piece of folk-dance type. The Finale is a plaintive rhapsody, an extension of the mood that one encounters in the earlier dirges for piano.

INTERVAL OF TEN MINUTES Quartet in E flat major Op. 127 Maestoso: Allegro Adagio ma non troppo e molto cantabile Scherzando vivace Finale (First performance at these Concerts) This quartet was written in 1824, some 14 years after the previous quartet Op. 95. After this long interval and within the space of four years, Beethoven poured out all the wealth of his six last quartets. The quartets Opp. 127, 130 and 132 were all commissioned by, and dedicated to Prince Galitzin. Of these six quartets only Opp. 127 and 135 have the usual four-movement plan. This quartet is perhaps the easiest of the last six to understand. d'Indy sees it to be full of the love of nature which Beethoven showed throughout his life; he calls it "the last of the pastoral symphonies." The first movement is in regular sonata form. It opens with a short and emphatic introduction, which re-introduces III VEGH (1921) was a pupil of Hubav and trained in Budapest. He is also well-known as a solo player. From 1940 to 1948 he was a professor at the Liszt Academy in Budapest. ZOLDY (1921) was a pupil of Zathureczky and is also a solo artist. The VEGH QUARTET was founded in 1940 in Budapest. After the war they made many important tours in Europe. In the International Music Competition (Geneva 1946) they won the first prize. They appeared at the Edinburgh Festival in 1952. Programme Beethoven (1770-1827) the first theme at every appearance; the coda is founded upon the concluding falling notes of the main theme. The Adagio is a set of 5 variations based very freely upon a gently soaring theme of "incomparable beauty." That theme has reminded many listeners of the great phrase of the Benedictus from the Mass in D; d'Indy calls it the most sublime of prayers. The variations are hardly variations in the ordinary sense of the term; they are rather meditations upon, and transfigurations of that theme, leading it to ever greater heights of inspiration. The Scherzo, with its Trio section, is one of Beethoven's richest; some find it a riddle with its alternating wild humour and strange eeriness. The Finale, again in sonata form, brings back the pastoral element. JANZER (1914). a pupil of Oscar Studer is a soloist and was concert-master of the Municipal Orchestra of Budapest. SZABO (1920), pupil of Kerpely, is a soloist and before joining the Quartet, the first 'cellist of the Buda- pest Municipal Orchestra. 100 Price Sixpence The Advertiser Press Ltd., Huddersfield