HUDDERSFIELD MUSIC CLUB. YAYAYAYAYAYAYA President 5959595! Hon. Secretary E. J. BRUCE, Esq., J.P. W. Clifford Crook. G. Fleming. J. Stancliffe Ellis. W. Tuke Robson. 6969 Hon. Musical Director Hon. Treasurer CONCERTS FOR THE EIGHTH SEASON 1925-26 TO BE GIVEN IN YAYAYAY HIGHFIELD ASSEMBLY HALL (NEW NORTH ROAD) 5959 WEDNESDAYS, OCT. 21, NOV. 11, DEC. 2, 1925, FRIDAY, JAN. 22, 1926, WEDNESDAYS, FEB. 10, MCH. 3, 1926, at 7-45 p.m. * Committee: v2v2v2 4545 Haydn Sandwell, F.R.C.O. F. W. Thornton, M.R.C.S. Frederick Whiteley. A. L. Woodhead, M.A., J.P. A. EAGLEFIELD HULL, Mus. Doc. F. W. GADSBY, National Provincial Bank, Ltd., King Street, Huddersfield. ALBERT LUNN, 116, Birkby Hall Road, Huddersfield. THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE SERIES OF SIX CONCERTS IS 25/- (including tax) payable to the Treasurer.

THE HE generous support accorded by our Members last season provided the Club with a surplus balance. It is owing to this that the Committee have been able to arrange the following programme- the most expensive and attractive yet presented. The Committee desire to state that, as the limit of the Hall's capacity has almost been reached, only a few new members can be admitted. WEDNESDAY, 21st OCT., 1925. CORTOT. PIANO RECITAL. "The greatest of French Pianists." (ERNEST NEWMAN, Sunday Times) (after mentioning many famous players)- . Cortot stands in many ways apart and above all these." (ERNEST NEWMAN, Sunday Times) WEDNESDAY, 11th NOV. 1925. LONDON STRING QUARTET. THIS PARTY HAS BEEN ROUND THE WORLD SEVERAL TIMES AND HARDLY SEEMS TO REQUIRE MUCH INTRODUCTION. "The London String Quartet played with their usual incomparable finish . We got the most exquisite velvet tone and perfection of (ERNEST NEWMAN, Sunday Times) finish and style."

WEDNESDAY, 2nd DEC. 1925. CASALS. 'CELLO RECITAL. HERE WE HAVE THE WORLD'S GREATEST 'CELLO PLAYER- PROBABLY THE GREATEST 'CELLO PLAYER OF ALL TIME. "No one else can draw such delicacy of tone from the 'Cello, or weave such graceful gracious melodies upon it." (ERNEST NEWMAN, Manchester Guardian) FRIDAY, 22nd JAN. 1926. QUATUOR CAPET, THE Leading French String Quartet. WEDNESDAY, 10th FEB. 1926. JEAN STERLING MACKINLAY. Costume Recital. THE FIRST APPEARANCE AT THESE CONCERTS OF THIS GREAT ARTIST. The work of Miss Jean Sterling Mackinlay is one of the very few things I have known which are at once quite unique and quite satisfying." (G. K. CHESTERTON)

WEDNESDAY, 3rd MARCH, 1926. THE ENGLISH SINGERS. WHOSE CONCERT LAST SEASON WAS SO GREATLY ENJOYED. THE COMMITTEE ARE GLAD TO BE ABLE TO GRATIFY THE MANY REQUESTS FOR THEIR RE-ENGAGEMENT. 口口口】 미 口】 Д

HUDDERSFIELD MUSIC CLUB E. J. BRUCE Esq. J.P. President WEDNESDAY, OCT. 21, 1925 AT 7-45 CORTOT PIANO RECITAL PROGRAMME: PRICE SIXPENCE Hon. Musical Director, A. EAGLEFIELD HULL, Mus. Doc. (Oxon.) College of Music Hon. Secretary, ALBERT LUNN, 116 Birk by Hall Road, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield

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PROGRAMME AND. AND . . . . .. ANALYTICAL NOTES. I.-Concerto da Camera Præludium-Aria-Finale Andante Spianato and Polonaise Vivaldi Chopin CONCERTO DA CAMERA. Although the late Imperial Library at Berlin possessed the original of this Concerto, and it was therefore easy for the various German transcribers to verify its origin and authenticity, nevertheless these did not hesitate to make it their own and attribute it to Friedmann or John Sebastian Bach. The version played to-day conforms strictly to Vivaldi's text for stringed instruments, the only licence allowed being such as is necessary for the resources peculiar to the pianoforte. ANDANTE SPIANATO AND POLONAISE, The second portion of this important work (which also has a version with orchestral accompaniment) constitutes the first Polonaise composed by Chopin, although the Polonaises, as now numbered, begin with the two of Op. 26 in C sharp minor (No 1) and E flat minor (No. 2). These, as well as the Andante Spianato and Polonaise Op. 22 were published in 1836, but there is evidence that the work numbered Opus 22 was written six years before publication. The Andante Spianato is in the key of G major. It begins in 6-8 time, and changes to 3-4 time. It returns to 6-8 time, but closes in 3-4. It has an indefinable, but appealing charm, especially the tender phrases repeated before the end. The Polonaise is in the key of E flat major, with a second theme in C minor. It contains all the stirring spirit of Chopin's best Polonaises, and is a thoroughly representative and brilliant work.

II.-The Twenty-four Preludes, Op. 28 Even though it may seem presumptuous to add a single remark to the musical thought of the principal works of Chopin, M. Cortot does not believe he is over- stepping the mark in acting the modest role of interpreter in a sense, by aiding his audience to evoke, at the same time as himself, the romantic figures, ardent, poetic and desperate, that suggest themselves to him in the pages of the music : 1. Agitato-C major Waiting feverishly for the beloved one." 2. Lento-A minor "Sad meditations; in the distance a deserted sea." 3. Vivace G major 6. "The Song of the brook." 4. Largo-E minor Beside a tomb." 5. Allegro molto-D major "A tree full of song. " Lento assai-B minor Homesickness." 7. Andantino-A major "Delicious recollections float like perfume through the memory." 8. Molto agitato-F sharp minor "The snow falls, the wind howls, the tempest rages, but in my sad heart there is a more terrible storm." 9. Largo-E major "The end of Poland." 10. Allegro molto-C sharp minor Falling rockets." 11. Vivace-B major Chopin A young girl's wish." 12. Presto-G sharp minor "The rider in the night."

11 13. Lento-F sharp major "In a strange land, under a starry sky, thinking of the beloved one far away." 14. Allegro-E flat minor "A stormy sea." 15. Sostenuto-D flat major "A young mother rocking her child-she is half asleep herself. A frightful nightmare shows her the scaffold which is waiting for her son. While the awakening dispels her hallucinations, it leaves her still disquieted." 16. Presto con fuoco-B flat minor "The road to the abyss." 17. Allegretto-A flat major "She told me she loved me." 18. Allegretto molto-F minor "Imprecations." 19. Vivace-E flat major "Had I but wings, I would fly to you, my beloved." 20. Largo-C minor A funeral procession." 21. Centabile--B flat major Returning solitary to the spot where vows were made." 22. Molto agitato-G minor "Revolution." 23. Moderato--F major "Naiads playing." 24. Allegro appassionato- D minor "Du sang, de la volupté, de la mort." III.-Etude en forme de Valse Bourree (for the left hand alone) "La Cathedrale engloutie" "Seguidillas" Rhapsody No. 2 ::} }Saint-Saens ⠀⠀⠀ ⠀ Debussy Albeniz Lisz. ETUDE EN FORME DE VALSE. BOURREE. Saint-Saens has written prolifically for voice, orchestra, and every instrument with a degree of technical resource, and a mastery over every medium expression which has been for many years the admiration of musicians and public alike. Amongst his pianoforte works are five concertos, the "Africa " fantasia, chamber music, and many smaller pieces of which the Etude is one of the most popular. The Bourree is a particularly effective piece for the left hand from a suite in the ancient style.

"LA CATHEDRALE ENGLOUTIE." These are three Preludes from the first book by Debussy, who has written twenty-four Preludes for pianoforte, divided into two books of twelve each. The first book was published in 1910, and the second in 1913 by Durand. The following is taken from a treatise on the pianoforte music of Debussy by M. Alfred Cortot:- 6 When Debussy's imagination evolved that mysterious sense of tone in creating subtle harmonic atmosphere, he gave to instrumental idiom a peculiar poetic value. The 'Preludes' as much as his Etampes' or 'Images' reveal this refined comprehension of pianistic resource, adapted with such happy precision to the feelings which he intends to suggest. At one moment it is the detail of some biting accent, or of a light but definite touch, which, by reason of a clever rhythm, illuminates some picturesque passage; at another moment it is the use of unusual registers which supplies an intense colour that so frequently vibrates through his descriptive pieces; or again, it is the liquid transparent sonority, almost immobile, of his harmonic basis, characteristic of himself, from which the musical pictures seem to emerge little by little, serious, voluptuous or intimate, until they later fade away into distance." A curious old legend inspired "La Cathedrale engloutie" ("The Submerged Cathedral ") and was firmly believed by the Breton sailors of old. It tells how, on clear mornings, the submerged cathedral of Ys would rise out of the ocean and from the ages past, when the tolling of the bells could be heard accompanied by the chanting of priests. Then it would gradually disappear into the depths of the calm sea, the bells and the chants growing fainter until all was silent once again. SEGUIDILLAS." Little need be said of this effective little piece by the gifted Spanish composer, Albeniz. It reflects the national rhythms most aptly, and will no doubt shortly take its place in every pianists' repertoire. RHAPSODY No. 2. The Hungarian Rhapsodies are the most powerful expression we possess of the emotional side of Liszt's character. The folk-songs of the Magyars, combined by their florid treatment by gipsy bands, appealed to Liszt with irresistible allure- ment. He assimilated their wild spirit of contrasted exuberant fervour and amorous languor, and, bringing all his musicianly craftsmanship to bear on the subject, he produced glorified versions of the instrumental pieces in which Hungarian people delighted and thus raised the music from the lowliness of the hedgerow to the classic dignity of the concert room. The Second Rhapsody is undoubtedly the most popular, and also one of the most striking. The opening portion, in slow time, follows the form which Liszt employed in all his rhapsodies. It is marked "Lassan," but gives way to a second part, quicker and brighter in character, marked Frischka." This -works up to a stirring and brilliant conclusion, taxing the resources of virtuosity to their utmost. 66 PLEYEL CONCERT GRAND PIANOFORTE,

1925 WED. 11 NOV. WED. 2 DEC. 1926 LONDON STRING QUARTET CASALS 'Cello Recital FRI. 22 JAN. QUATUOR CAPET WED. 10 FEB. JEAN STERLING MACKINLAY Costume Recital WED. 3 MAR. THE ENGLISH SINGERS THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING FIVE CONCERTS IS 21s. (INCLUDING TAX) PAYABLE TO THE TREASURER The attention of Members is called to THREE popular musical lectures to be given by Dr. EAGLEFIELD HULL in the Highfield Hall: WED. NOV. 10, at 8 p.m. "THE ENGLISH TRADITION IN MUSIC " Illustrations by Miss Gladys Chairman: D. R. H. Williams, Esq. Sandford, L.R.A.M. and Mr. Leslie WED. DEC. 9 Gill "THE STORY OF OPERA" Chairman: W. L. Wilmshurst, Esq. Illustrations by Miss Doris Hall and Mr. Arthur Broadbent WED. FEB. 17 "SHAKESPEARE IN MUSIC" Chairman: The Vicar of Huddersfield. Illustrations by Miss E. M. Sissons, L.R.A.M. Tickets for the series 5/- and 2/6. From Miss M. H. Woolley, College Single Tickets 2/- and 1/- of Music, New North Road

HUDDERSFIELD MUSIC CLUB E. J. BRUCE Esq. J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, NOV. 11, 1925 AT 7-45 THE LONDON STRING QUARTET JAMES LEVEY THOMAS PETRE H. WALDO WARNER C. WARWICK-EVANS PROGRAMME: PRICE FOURPENCE Hon. Musical Director, A. EAGLEFIELD HULL, Mus. Doc. (Oxon.) College of Music Hon. Secretary, ALBERT LUNN, 116 Birkby Hall Road, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield

COPYRIGHT ANNOTATIONS BY Dr. A. EAGLEFIELD HULL ON THE STRING-QUARTET FORM IN GENERAL Chamber-music derives its name from Musica da camera, the last word being Italian for "room." The French retain the same form Musique de chambre, whereas the Ger- mans incline to the term Haus-Musik. Concerted-music, another English name for it, is derived from single instruments playing in concerted action in the Tudor days. Of all forms of chamber-music, the string-quartet is the most perfect; and for this combination all the greatest composers have given of their best and most intimate; they knew they were writ- ing, not for mixed concourses of people, but for audiences moderate in size and cultivated in music. Beethoven wrote most of his quartets for the salons of various princes, the Archduke Rudolph, the Princes Rasumowsky, Lobkowitz, and Galitzin, who all retained in their households famous quartet-players. Beethoven wrote in three different manners at vari- ous periods of his life. The quartet in C minor of to-night's programme was written in 1800; it consequently belongs to his first style, where he was satisfied to follow in the clear, refined and courtly manner of his teacher Mozart. Brahms wrote for more homely but none the less cultivated listeners. He is more serious even than Beethoven; and his works from first to last makes a more homogeneous whole. He and Beethoven are the two greatest writers of chamber-music, since their seri- ous cast of mind eminently fitted them for it. And there is no getting away from the fact that it is a serious business to listen to chamber-music. It is not a case of listen- ing to a tune whilst the accompaniment is kept discreetly in the background. All the four parts have to be followed carefully and the subject matter well apprehended. It is possible to enjoy a quartet by merely listening to the chief part, but the solid joys and lasting pleasures of quartet music, are only known by the serious listeners like those of our club. One of the most amazing things of the last ten years is the growth of "string-quartet evenings"; this has caused our contemporary composers to realise that variety must be sought through lighter material. Modern composers are there- fore writing lighter pieces based on some slight story or programme-sketch. Good examples of this are to be found in Goossens' "By the Tarn", Speaight's "Shakespearean Characters," Howell's "Puck's Minuet," Walford Davies' "Peter Pan Suite" and Warner's "Pixy Ring". I QUARTET in A MINOR, op. 51; no ii (a) Allegro (b) Andante moderato (c) Quasi minuetto with allegretto interlude (d) Allegro BRAHMS

Brahms's greatest friend, Schumann, was much given to playing with cryptic let- ters which had a hidden meaning; but this quartet is the single example of Brahms himself doing so. The first 4 notes of the violin are A-F-A-E. The last 3 letters stood for Frei, aber einsam, (Free, but alone,) a motto which Joachim used as the ideal of his career, and A.F.A. was Brahms's own motto. There had been an estrange- ment between the two friends and this blending of the two themes was one of the steps towards a reconciliation. The movement is very closely worked out. The slow movement (andante) does not give up its beauty on a first hearing as a rule; the melody is very condensed and plays continually round the mediant. The Minuet with its fascinating major episode, is the most popular movement. We return to close, musical logic in the finale, the chief theme appearing in no less than eight transformations. II Fairy Suite: "THE PIXY RING" Opus 23. H. WALDO WARNER 1. MOONBEAMS (Andantino)-Moonbeams and shadows in the Pixy field; as the midnight hour strikes, the pixy wakes from slumber. 2. TOAD-STOOLS (Moderato e grottesco)-Queer little Gnomes amongst the toad-stools; grasshoppers and field mice keep them company. 3. TINKLING BLUE BELLS (Andante ma non troppo)-Blue- bells tinkle in the breeze, and fairy chimes too; the glow-worm lights are tiny lamps and the night-moth joins the throng. 4. PIXY LADEN (Andante con motto)-A human sings his favour- ite ditty. The little folk too are in a merry mood. The human is alarmed, his song erratic; he is pixy-laden. 5. THE RING DANCE (Allegro molto-vivace)-Revels in the Pixy- Ring; gnomes, elves and all join the merry dance. III QUARTET in C MINOR, op. 18 (a) Allegro ma non tanto (b) Scherzo quasi allegretto (c) Menuetto (d) Rondo BEETHOVEN The opening Allegro sets out its two subjects in due course, develops them by analysis and extension, and then summarises very much as Haydn did. Already for the second movement, Beethoven has taken a Scherzo in place of a slow piece, but the Scherzo is tempered to the allegretto measure. The courtly Minuet of the third move- ment is also transformed by the irregular accents which really belong to the Bohemian country dance. The finale culminates in the Beethoven's favourite device of a Prestissimo.

WED. 2 DEC. CASALS 'CELLO RECITAL FRI. 22 JAN. 1926 QUATUOR CAPET WED. IO FEB. JEAN STERLING MACKINLAY Costume Recital WED. 3 MAR. THE ENGLISH SINGERS THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING FOUR CONCERTS IS 17s. (INCLUDING TAX) PAYABLE TO THE TREASURER Other Forthcoming Musical Arrangements : WED. NOV. 18, at 8 p.m. First of THREE popular musical lectures by Dr. EAGLEFIELD HULL in the Highfield Hall: "THE ENGLISH TRADITION IN MUSIC" Chairman: D. R. H. Williams, Esq. Illustrations by Miss Sissons, L.R.A.M., Miss Gladys Sandford, L.R.A.M., and Mr. Leslie Gill Tickets for the series 5/- and 2/6. Single Tickets 2/- and 1/- from Miss Woolley, College of Music, New North Road WED. NOV. 25th in the Highfield Hall. 18th SONG RECITAL by Mr. HAROLD HALLAS. Tickets 3/- each at Messrs. J. Wood & Son

HUDDERSFIELD MUSIC CLUB E. J. BRUCE Esq. J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, DEC. 2, 1925 AT 7-45 PABLO CASALS VIOLONCELLO RECITAL AT THE PIANO: MR. GEORGE REEVES PLEYEL GRAND PIANOFORTE PROGRAMME: PRICE FOURPENCE Hon. Musical Director, A. EAGLEFIELD HULL, Mus. Doc. (Oxon.) College of Music Hon. Secretary, ALBERT LUNN, 116 Birk by Hall Road, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield

Sonata in G Concerto in B Flat PROGRAMME I Grave Allegro Sarabande Allegro II Allegro Adagio Vivace INTERVAL Handel Boccherini

Adagio Allegro Spiritoso Variations on a theme by Mozart Air Sicilienne III IV Intermezzo from the Goyescas" (Goya's pictures) Allegro Appassionatal Bach QUATUOR CAPET Senaillé Beethoven Hurê Fauré Granados Saint-Saens 1926 FRI. 22 JAN. WED. IO FEB. JEAN STERLING MACKINLAY Costume Recital WED. 3 MAR. THE ENGLISH SINGERS

THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING THREE CONCERTS IS 13s. (INCLUDING TAX) PAYABLE TO THE TREASURER Other Forthcoming Musical Arrangements : WED. DEC. 9, at 7-30 p.m. Popular Musical Lecture by Dr. EAGLEFIELD HULL in the Highfield Hall, on "OPERA" Chairman: W. L. Wilmshurst, Esq. Illustrations by Miss Doris Hall, Mr. D. R. Oxley, and Mr. H. L. Gill. Tickets 2s. and and 1s. from Miss Woolley, College of Music, New North Road TUES. DEC. 15, in the Town Hall GLEE & MADRIGAL CONCERT at 7-30. Soloists: Miss Muriel Brunskill and Mr. Laurance Turner. Tickets Balcony, 4s. 9d.; 1st Area, 3s. 6d.; 2nd Area, 2s. 4d., from Messrs. J. Wood & Sons.

HUDDERSFIELD MUSIC CLUB E. J. BRUCE Esq. J.P. President HIGHFIELD HALL, NEW NORTH ROAD FRIDAY, JANUARY. 22, 1926, AT 7-45 THE CAPET QUARTET HENRI BENOIT CAMILLE DELOBELLE STRING LUCIEN CAPET MAURICE HEWITT PROGRAMME: PRICE SIXPENCE Hon. Musical Director, A. EAGLEFIELD HULL, Mus. Doc. (Oxon.) College of Music Hon. Secretary, ALBERT LUNN, 116 Birk by Hall Road, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield

COPYRIGHT ANNOTATIONS BY Dr. A. EAGLEFIELD HULL ON THE STRING-QUARTET FORM IN GENERAL Chamber-music derives its name from Musica da camera, the last word being Italian for "room." The French retain the same form Musique de chambre, whereas the Ger- mans incline to the term Haus-Musik. Concerted-music, another English name for it, is derived from single instruments playing in concerted action in the Tudor days. Of all forms of chamber-music, the string-quartet is the most perfect; and for this combination all the greatest composers have given of their best and most intimate thoughts. Beethoven wrote most of his quartets for the salons of various princes, the Archduke Rudolph, the Princes Rasumowsky, Lobkowitz, and Galitzin, who all retained in their households famous quartet players. Beethoven wrote in three different manners at various periods of his life. The quartet in minor of to-night's programme was written in 1800, and belongs to his middle style. Beethoven is the greatest writer of chamber-music; his serious cast of mind eminently fitted him for it. And there is no getting away from the fact that it is a serious business to listen to chamber-music. It is not a case of listening to a tune whilst the accompani- ment is kept discreetly in the background. All the four parts have to be followed carefully and the subject matter well apprehended. It is possible to enjoy a quartet by merely listening to the chief part, but the solid joys and lasting pleasures of quartet music, are only known by the serious listeners like those of our club. One of the most amazing things of the last ten years is the growth of "string-quartet evenings"; this has caused our contemporary composers to realise that variety must be sought through lighter material, but time only will produce a sufficient variety of the shorter pieces to make a programme as exciting as some of us would have it. I QUARTET in D MINOR (a) Allegro moderato (b) Andante (c) Minuet and Trio (d) Allegretto ma non troppo. MOZART Mozart was Nature's own musical child. His ear was differently formed from the normal pattern. Together with Bach, he was the greatest musical genius. A busy life with a sudden and tragic end was his-a pauper's funeral in a snowstorm; and now they still search eagerly and fruitlessly in Vienna for his grave, putting up a monument first in one place and then the other. Yet his music is all gaiety and tenderness-no Byronic passion torn to tatters, no Debussian twilight mystery. Everything is clear and gay. Sir Henry Hadow has written showing that Haydn's music is all virtually founded on the folksong. I hope one day, after further exploration, to shew that Mozart owes as much to the folk- songs of his native country, the Salzkammergut and the Ammergau valleys. The opening theme of this quartet is of a more dramatic nature than usual with Mozart. It is worked out almost like the plot of a little play. The subject of the Andante shows the folk-song influence referred to above. The so-called " Scotch snap" figure used for the Trio accounts largely for the popularity of the Minuet, and the theme used for variations in the Finale shows the influence of the Italian dances.

II QUARTET in E MINOR (No. 2 of 'Rasumowsky set') Op. 59 (a) (b) III QUARTET Allegro Molto adagio (c) (d) Presto Allegretto and trio BEETHOVEN The three quartets written for Count Rasumowsky, Russian Ambassador at the Viennese Court, are masterpieces of the "middle period." Each one has some movement founded on a Russian folksong, and the book from which Beethoven took the tunes is well- known, (Pratsch's collection, published in Moscow, 1795). The quartet in E minor in this evening's programme begins with a dark passionate opening movement (not unlike the first movement of the Appassionata piano sonata). Then we have a slow movement, serene and lovely in its long-drawn melodies; thirdly, a half sad, half playful Allegretto and Trio; and finally a Presto, full of wild freakish humour and boisterous jollity. The Russian tune used for the trio of the third movement is the well-known Song of Glori- fication sung in all Russian churches and on great national occasions. Beethoven however treats it as a German volkslied, just as he treated the Scotch and Irish songs. CLAUDE DEBUSSY (1862-1918) (a) Animé (b) Assez vit (c) Andantino (d) Trés modéré Debussy is the real founder of "Impressionism Impressionism" in music; he is in many ways the musical parallel of Manet and Monet in painting and Baudelaire, Verlaine and Mallarmé in poetry. Just as literary impressionism has its roots in the poems of the Middle Ages; so does Debussy adopt old-world scales, such as that used for the first movement of this quartet. The listener must give himself up to the "atmosphere" of the piece; it is full of poetry, suggestions, mysteries; everything-harmony, rhythm, tone-quality-is used for that end alone. The dance is no ordinary dance; it is the dance of myriads of light particles. The slow movement is no ordinary elegy; it is a lament for some nymph of the gloaming. The finale is a summary, as well as a piece in itself. P.T.O.

WED. 10 FEB. JEAN STERLING MACKINLAY Costume Recital WED. 3 MAR. THE ENGLISH SINGERS THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING TWO CONCERTS IS 9s. (INCLUDING TAX) PAYABLE TO THE TREASURER SAT. JAN. 23 in the Town Hall. The Arthur W. Kaye Orchestra Concert at 7 p.m. Soloists: Phillipowsky (Pianist) and Booth Unwin (Baritone). Full particulars from Messrs. J. Wood & Sons. The Support of the Club Members is asked for this Concert.

HUDDERSFIELD MUSIC CLUB E. J. BRUCE Esq. J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, FEBRUARY 10, 1926, AT 7-45 JEAN STERLING MACKINLAY IN OLD SONGS AND BALLADS ACCOMPANIED BY MAURICE JACOBSON S BECHSTEIN GRAND PIANO. PROGRAMME: PRICE THREEPENCE Hon. Musical Director, A. EAGLEFIELD HULL, Mus. Doc. (Oxon.) College of Music Hon. Secretary, ALBERT LUNN, 116 Birkby Hall Road, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield

MISS MACKINLAY WILL CHOOSE HER PROGRAMME FROM THE FOLLOWING SONGS:- Jock o' Hazledean The Hundred Pipers A Ballynure Ballad Lord Rendal Caller Herrin Donna Lombarda The Twelve Days of Christmas I know where I'm goin' Dance to your Daddy Two Ulster Fragments Dors, dors The Frog and the Crow Old French Songs Lord Bateman Tarry Trowsers The Laird o' Cockpen A bold young Farmer The Keys of Canterbury Bridgewater Fair

(Continued) The Birks o' Aberfeldie The Piper o' Dundee Shenandoah Billy Boy The Unquiet Grave The Twa Sisters o' Binnorie Elizabethan Love Lyrics As I sat on a Sunny Bank King Herod and the Cock As Joseph was a-walking Souling Song Cuckoo The Tree in the Valley 18th Century Songs O, No John The Dumb Wife Cured All round my Hat Harry the Tailor The Lady and the Swine The Little Woman and the Pedlar.

WED. 3 MARCH. THE ENGLISH SINGERS. The famous group of Six Vocalists in old songs, madrigals and modern compositions. THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING CONCERT IS 5s. 9d. (INCLUDING TAX) PAYABLE TO THE TREASURER, OR AT THE DOOR.

HUDDERSFIELD MUSIC CLUB E. J. BRUCE Esq. J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, MARCH 3, 1926, AT 7-45 THE ENGLISH SINGERS FLORA MANN NELLIE CARSON LILLIAN BERGER NORMAN STONE NORMAN NOTLEY CUTHBERT KELLY s PROGRAMME: PRICE THREEPENCE Hon. Musical Director, A. EAGLEFIELD HULL, Mus. Doc. (Oxon.) College of Music Hon. Secretary, ALBERT LUNN, 116 Birk by Hall Road, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield

MADRIGALS AND BALLETS Sister, Awake O Softly-Singing Lute Though Amaryllis On the Plains PROGRAMME Stay, Corydon ITALIAN MADRIGALS AND FRENCH CHANSONS. Scaldavail sol Au joli bois Ce moys de mai Al mormorar FOLK SONGS The Turtle Dove Thomas Weelkes (1575-1623)✓ Francis Pilkington (1562-1638) ✓✓ William Byrd (1543-1623) Thomas Weelkes (1575-1623) John Wilbye (1574-1638) Luca Marenzio (1550-1599) Charles Tessier (16th century) Clement Jannequin (16th century) Giovanni Gastoldi (1556-1605) arrd. by R. Vaughan Williams (born 1872) ✓ encore ✓ The Dark-eyed Sailor Ca' the Yowes Just as the Tide was flowing A SHORT INTERVAL.

ITALIAN STREET CRIES Chimney Sweeps Rag and Bone Hot Chestnuts DUETS AND TRIO When Myra Sings John, come kiss me now (16th century) The Three Fairies MADRIGALS, BALLETS AND A CANZONET All creatures now are merry minded The Silver Swan Hark all ye lovely Saints I go before, my darling My Phyllis bids me pack away Jacques du Pont (c. 1600) Adriano Banchieri (c. 1600) Jacques du Pont (c. 1600) Henry Purcell (1658-1695) arrd. by E. W. Naylor Henry Purcell (1658-1695) John Bennet (c. 1600) Orlando Gibbons (1583-1625) Thomas Weelkes (1575-1623) Thomas Morley (1558-1603) Thomas Weelkes (1575-1623) ✓ V

N.B.-The attention of Members is directed to an Evening Concert to be given at the TOWN HALL, on WED., MARCH 24th, 1926, the proceeds of which will be given to the HUDDERSFIELD PUBLIC MUSIC LIBRARY.