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HUDDERSFIELD MUSIC CLUB President MMAF0089 73080112 HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, OCTOBER 5, 1927 E. J. BRUCE, Esq., J.P. At the Piano JOHN COATES SONG RECITAL PROGRAMME AT 7-45 GERALD MOORE PRICE SIX PENCE Hon. Musical Director, A. EAGLEFIELD HULL, Mus. Doc. (Oxon.) College of Music Hon Secretary, ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd. King St., Huddersfield

HUDDERSFIELD MUSIC CLUB President 90049 HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, OCTOBER 5, 1927 At the Piano E. J. BRUCE, Esq., J.P. PROGRAMME JOHN COATES SONG RECITAL AT 7-45 GERALD MOORE PRICE SIX PENCE Hon. Musical Director, A. EAGLEFIELD HULL, Mus. Doc. (Oxon.) College of Music Hon Secretary, ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd. King St., Huddersfield

"THE HEAV'NS DECLARE HIM" The heav'ns declare Him, with constant devotion, His wondrous name o'er all is heard, His praises ring through the earth and the ocean: Let men receive their God-like word! "L'AMANTE IMPAZIENTE" (Aria huffa) What can my charmer be doing? What road but this pursuing ? Would she behold me languish At her unkind delay? "THE KISS" PROGRAMME I I was with Chloe quite alone, And meant to kiss her if I could! She said she'd scream-in pouting tone- And that I never should. 'ADELAIDE" Einsam wandelt dein Freund im Frühlings-garten, Mild vom lieblichen Zauberlicht umflossen, Das durch wankende Blüthenzweige zittert. Adelaide! In der speigelnden Fluth, im Schnee der Alpen, In des sinkenden Tages Goldgewölken, Im Gefilde der Sterne-strahlt dein Bildniss, Adelaide ! Abendlüftchen im zarten Laube flüstern, Silberglöckchen des Mais im Grase säuseln, Wellen rauschen, und Nachtigallen flöten, Adelaide ! Einst, o Wunder! entblüht auf meinem Grabe Eine Blume der Asche meines Herzens, Deutlich schimmert auf jeden Purpurblättchen Adelaide! "WHO IS SYLVIA?" Who is Silvia, what is she That all our swains commend her? Holy, fair, and wise is she; The heav'n such grace did lend her, That she might admired be. "HARK, HARK, THE LARK" "NACHT UND TRAUME" Hark! hark! the lark at Heav'n's gate sings, And Phoebus 'gins arise, His steeds to water at those springs On chalic'd flowers that lies; Heil'ge Nacht, du sinkest nieder, Nieder wallen auch die Träume, Wie dein Mondlicht durch die Räume, Durch der Menschen stille Brust, "DER ATLAS" "SOFTER, SOFTER, LITTLE LUTE" Hush, my lute, for low and tender Is the message I would send her, In behind her lattice there, Catch a moonbeam, chase the zephyr, Steal the roses' breath to give her, Let the brook her burden bear. Ich unglücksel'ger Atlas! eine Welt- Die ganze Welt der Schmerzen muss ich tragen; Ich.trage Unerträgliches,. Und brechen will mir das Herz im Leibe! Du stolzes Herz, du hast es ja gewollt- Duwolltest glücklich sein, Unendlich glücklich, oder unendlich elend: Stolzes Herz, und jetzo bist du elend ! Heine, He guides the stars in their bright courses gleaming, He bids the sun in splendour rise- It comes in glory, its light o'er us beaming, And like a hero rules the skies. Is the sun pausing, My anguish thus causing? Ev'ry sad moment Appears a day! I dared it though, and kiss'd her too, In spite of all her words: Then to Silvia let us sing, That Silvia is excelling; She excels each mortal thing, Upon the dull earth dwelling; To her let us garlands bring. Translation by H. Stevens. BEETHOVEN And did she not scream? Oh, yes, she screamed But, a long time afterwards ! ['tis true Translation by John Coates. II BEETHOVEN (Translation). Love, I wander in Spring's enchanted garden, All around like some gentle spell of magic Soft light quivers through blossom-laden branches, Adelaide ! Where the deep waters flow, on snow-crown'd mountains, In the bright sunset clouds when day is ending, In the star-spangled heavens-thou art mirror'd, Adelaide ! BEETHOVEN Evening breezes through young green leaves are whisp'ring, Sweet and low silver lily-bells are ringing. Brooklets murmur and nightingales are singing, Adelaide! Lo, a marvel! For soon my grave adorning, From my dead heart will grow a fragrant blossom Brightly blazoned, on every purple petal, Adelaide ! English version by Elizabeth Leckwood. Shakespeare. BEETHOVEN Is she kind, as she is fair, For beauty lives with kindness? Love doth to her eyes repair, To help him of his blindness; And being helped, inhabits there. Die belauschen sie mit Lust, Rufen, wenn der Tag erwacht: Kehre wieder, heil'ge Nacht! Holde Träume, kehret wieder! SCHUBERT But the lads next door are jealous, Well we know the lights that tell us That my love is still awake, Hush your song if they are near you, She and she alone must hear you, Not those lads-for any sake! And winking Mary-buds begin to open their golden eyes, SCHUBERT With every thing that pretty is, my lady sweet, arise ! Arise! Arise ! Shakespeare. SCHUBERT Matthäus von Collin. SCHUBERT From Schubert's Songs translated (Oxford Press). SCHUBERT Alas, unhappy Atlas! for a world-- For all the world of sorrow is my burden; I bear what is unbearable, The very heart in my body's breaking! Thou vaunting heart, thou now hast thy desire- Thou would'st be everything, For ever happy, or be for ever wretched : Vaunting heart, and now indeed thou'rt wretched ! Translation by John Coates.

"LE CHANT D'ISABEAU" Isabeau s'y promène Le long de son jardin- Sur le bord de l'île, Sur le bord de l'eau, Sur le bord du vaisseau. Elle fit un rencontre De trente matelots- Sur le bord, &c. Le plus jeune des trente Il se mit à chanter- Sur le bord, &c. "LE BEAU SEJOUR" Viens dans ce bocage, belle Aminte, Sans contrainte l'on y forme des vœux ; Viens dans ce bocage, belle Aminte, Il est fait pour les plaisir et les jeux. La chanson que tu chantes Je voudrais la savoir- Sur le bord, &c. Embarque dans ma barque Je te la chanterai- Sur le bord, &c. When that I was dancing, A swain on either side my dear, He whose love was fondest, Pressed my hand with pride. "L'HEUREUX VAGABOND " Je m'en vais par les chemins, lirelin, et la plaine, Dans mon sac j'ai du pain blanc, lirelin, et trios écus dans ma poche; J'ai dans mon cœur fleuri (chante, rossignol, chante, si je ris!) J'ai dans mon coeur joli, lireli, ma mie! "ME SUIS MISE EN DANSE" Me suis mise en danse, Entre deux galants, ma mie, C'lui qui m'aimat le plus M'a serre la main, ma mie. "THE OXEN" Quand ell' fut dans la barque Ell' se mit à pleurer- Sur le bord, &c. Un pauvre sur le chemin, lirelin, un pauvre homme, M'a demandé mon pain blanc, lirelan. "Pauvre, prends toute la miche!" J'ai dans mon cœur, etc. "TYRLEY-TYRLOW " III OLD FRENCH OLD FRENCH (Arr. by O. MASE) A l'ombre de ces forêts, Goutons les biens secrets D'un aimable badinage, Le ramage des oiseaux, Le murmure des eaux, Tous nous engage. A choisir ce beau séjour, Pour offrir à l'amour Un tendre hommage, Nous sommes tous deux dans le bel age, De nos chaines reserrons les noeuds, Vives ardeurs, moments flatteurs, Viens dans ce bocage, etc. Que vos douceurs à jamais charment Christmas Eve, and twelve of the clock. "Now they are all on their knees," An elder said, as we sat in a flock By the embers, in hearth-side ease. We pictured the meek mild creatures, where They dwelt in their strawy pen, Nor did it occur to one of us there, To doubt they were kneeling then. OLD FRENCH Galant, si tu m'aimes Comme fait semblant, ma mie, M'offrirais parure About the field they pipèd right, So merrily the shepherds began to blow; Adown from heaven that is so high. Tyrley, tyrlow, tyrley, tyrlow, tyrley, tyrlow. De quelques rubans, ma mie. L'un a Pentecôte, L'autre à la Saint-Jean, ma mie, Et l'autre à nos noces, Belle, quad-seront, ma mie ? (Translation). Sweetheart, if you love me, As it seems you do, my dear, Give for my adornment Ribbons just a few. Of angels there came a company, With merry songs and melody, The Shepherds anon gan them espy. Tyrley, tyrlow, tyrley, tyrlow, tyrley, tyrlow. The shephereds hied them to Bedlem To see that blessed sun his beam, And there they found that glorious leme. Tyrley tyrlow, tyrley, tyrlow, tyrley, tyrlow. THE KNIGHT OF BETHLEHEM" The red upon Whitsunday, On St. John's the green, my dear, But the white one for our wedding, The best day ever seen.-G.P. CANADIAN (Arr. by A. BAX) Je pleurs mon anneau d'ore Dans l'eau-z-il est tombé- Sur le bord, &c. Ne pleure point la belle Je vous le plongerai- Sur le bord, &c. De la première plonge Le galant est noyé- Sur le bord, &c. A. BRUNEAU Un voleur sur le chemin, lirelan, dans ma poche M'a volé mes trois écus, lirelu. "Voleur, prends la poche aussi !" J'ai dans mon cœur, etc. Je m'en vais mourir de faim, lirelan, dans la plaine, Plus de pain blanc ni d'écus, lirelu. Mais qu'importe si, toujours, nos cœurs, Viens dans ce bocage, etc. J'ai dans mons coeur pleurant (chante, rossignol, chante en soupirant !) J'ai dans man coeur mourant, lirelan, ma mie! Catulle Mendès IV sl 28 TRADITIONAL (Arr. by A. BAX) Je t'en offre un rouge, Et deux vert et blanc, ma mie, Te les faudra mettre, Que trois, fois par an, ma mie. So fair a fancy few would weave In these years! Yet I feel If someone said on Christmas Eve, "Come, see the oxon kneel In the lonely barton by yonder coomb Our childhood used to know;" I should go with him in the gloom, Hoping it might be so. Here's a red one, quotha, And two of green and white, my dear, Three times in a twelvemonth, Wear them in my sight. Now pray we to that meke Child And to His mother that is so mild, The which was undefiled, Tyrley, tyrlow, tyrley, tyrlow, tyrley, tyrlow. That we may come unto His bliss, Where joy shall never miss Then may we sing in paradise Tyrley, tyrlow, tyrley, tyrlow, tyrley, tyrlow. E. J. DENT Thomas Hardy. P. WARLOCK I pray you all that be here For to sing and make good cheer In the worship of God this year. Tyrley, tyrlow, tyrley, tyrlow, tyrley, tyrlow. There was a knight of Bethlehem whose wealth was tears and sorrows, His men-at-arms were little lambs, His trumpeters were sparrows, His castle was a wooden cross whereon He hung so high, His helmet was a crown of thorns whose crest did touch the sky. H. N. Maughan. D. C. THOMSON

"VOICI NOËL" La corneille est au voisinage Dans les bois ou bien dans les champs ; Le rouge-gorge au fin plumage, Partout va sautillant. Biribi, biribi, ban, ban. J'entends la cloche du village. Voici Noël, petits enfants ! La bergère est au pâturage, Huchant ses jeunes moutons blancs; Le patour, dont le coeur s'engage, La suit en soupirant. Biribi, etc. Au doigt de la bergère sage Il passe un bel anneau d'argent. A minuit, comme c'est l'usage, 10.10 Ils ont juré le serment. Biribi, etc. "HAUT, HAUT, PEYROT" Haut, haut, Peyrot rebelhet Bos audy lou bèt sou? Qu'ey co quit assoumelhe. Ah! lou charman clarou. Lou co be'm disé bitare Qu'aciu soun lous pastous. Y acere luts ta clare, La clouquette lous Bastous Be'm hen bede ue cimare Car gade de flous. 1927 WED. 9 NOV. WED. 14 DEC. 1928 WED. 18 JAN. WED. 8 FEB. WED. 18 APRIL (Translation) The chough and crow, where fields are fallow, Are hov'ring over the furrows bare; Sweet Robin red, the pretty fellow, Comes hopping ev'rywhere. Ding a ding, ding a ding, ding dong, How clear the village bells are ringing; "Sweet Christmas time, sweet Christmas time, A Merry Christmas, children mine." The mountain-maid is in the hollows, And tends the while her lambkin white; Digues, Peyrot, tu are, Entoun tire Guilhem? B'audi gran tintamarre Deu coustat de Bethleem: Abaneem-se, courrem biste, Enta que pousquam leu Bede Jesus adourable Tout aymable, au bercèu; De Marie et a prés lou die Per nous da lou cèu. The shepherd lad, who loves her, follows, And sighs with all his might. Ding a ding, etc. STEINWAY GRAND PIANOFORTE. THE CLUB IS OPEN TO ALL. At midnight hour he does not linger, An ancient custom it is said, But slips a ring upon her finger, And then the vow is made. Ding a ding, etc. BÉARNAIS CAROL (Arr. by C. K. SCOTT) Cantem dab allegrie! Soune, Arnaut deu clarou, A la glori du Messie, Youge, Marc, deu biulou Ca, Marie, je vous prie Bous tabe, Yausepou, Cantat are la fanfarre. Dab Peyrot et Joandou, Guilhem, yogue de la guitarre, Noël au Saubadou. JELLY D'ARANYI and MYRA HESS Violin and Piano Recital J. B. WECKERLIN GUILHERMINA SUGGIA 'Cello Recital PAYABLE TO THE TREASURER Supplementary CATTERALL STRING QUARTET with FRANK MERRICK (Pianist) ELIZABETH SCHUMANN FLONZALEY STRING QUARTET THE SUBSCRIPTION FOR THE REMAINING FIVE CONCERTS IS 21s. (INCLUDING TAX) Announcement. The INTERNATIONAL STRING QUARTET will play some recently discovered Fantasias of Purcell in the Highfield Hall, on Thursday, OCT. 13, at 7-45. Free Invitation Cards may be obtained from Dr. Eaglefield Hull, College of Music, New North Road.

HUDDERSFIELD MUSIC CLUB E. J. BRUCE, Esq., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, NOVEMBER 9, 1927 AT 7-45 JELLY D'ARANYI and MYRA HESS VIOLIN and PIANOFORTE RECITAL STEINWAY GRAND PIANOFORTE PROGRAMME PRICE SIX PENCE Hon. Musical Director, A. EAGLEFIELD HULL, Mus. Doc. (Oxon.) College of Music Hon Secretary, ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd. King St. Huddersfield

PROGRAMME SONATA in G MAJOR op. 96 I Allegro Moderato Adagio espressivo Scherzo Allegro Poco Allegretto BEETHOVEN (1770-1826) MYRA HESS and JELLY D'ARANYI TE It is a hundred years since Beethoven died, and his music is as fresh and strong for us to-day as ever-that is, that part of it which has been left untouched by school routine and examination drudgery. His sonatas rank alongside of the greatest creative works of the past-the plays of Aeschylus, Euripedes, and Shakespeare, the music-dramas of Richard Wagner, and the paintings of Vinci and Turner. Beethoven wrote this tenth and last of the sonatas for violin and piano in 1811, about the same time that he met Goethe, whom he had long honoured from afar. During this period, smaller and more intimate forms of music appealed to him more than symphonies. Whereas the famous Kreutzer sonata was composed for the Anglo-Mulatto violinist, Bridgetower, this one was written for the French violinist, Pierre Rodé, who visited London in 1812. Beethoven dedicated this sonata to the Archduke who was also a pupil of his in composition, and it was written with the violinist Rodé in mind, and was performed on December 29th, 1811, by the Archduke Rudolf and Rodé. The Archduke Rudolf, heir to the Austrian throne in Beethoven's day, was not only an accomplished musician, but also one of the most intelligent of men. (I do not know whether he came to the throne or not, as I have not had time to look through my Austrian history books, but I should gather not, from the loose and easy way the country has been governed from the throne for a century past). Although Beethoven had written the sonata expressly for Rodé, he was not altogether satisfied with his rendering of the violin part. Soon afterwards, he requested the Archduke to send the violin part back to Rodé that he might practise it again before the second performance, and he adds "He will certainly not take this amiss. Would to God there were reason for me to apologise to him." The first nine violin sonatas are examples of the "concert piece" aiming chiefly at outward effect; but this last sonata is of a more intimate nature. It is the most imaginative and the most musically perfect of all the sonatas. Movements such as the "tempo di minuetto ma molto moderato e grazioso." passage in E flat major with its trio melody, partly reminiscent of Haydn, and partly prophetic of Beethoven's later A flat sonata op. 110, are among the most attractive that Beethoven ever composed.

II CHACONNE for VIOLIN (unaccompanied) SONATA in G MAJOR JELLY D'ARANYI Bach wrote many pieces for violin alone, but this Chaconne (a theme with variation worked upwards from the bass, not downwards from the melody), stands amongst the greatest of all musical pieces, like the great organ Passacaglia, which is also a Chaconne. The Chaconne is now an obsolete dance, the term being derived from the Basque word, chocuna, "pretty." Bach has seized upon the theme to weave a long string of variations, which very nearly exhausts all possible technical devices on the violin. Bach must himself have been no mean violinist. III J. S. BACH (1685-1750) (a) Allegretto (b) Blues (c) Perpetuum mobile MYRA HESS and JELLY D'ARANYI RAVEL (b. 1875) Maurice Ravel is the greatest living French composer. He was born at Ciboure in the Pyrenees, and has Basque blood in his veins. This accounts for many of the Spanish qualities in his music, a gentle nostralgia, a love of clear, bright, strong colours, a taste for castanet effects and alluring dance rhythms. But he is Parisian by training and life- long experience, an exquisite artist, perfect in all details of workmanship, cynical in utterance, and apparently afraid of emotion. In this new sonata for piano and violin (heard to-night for the second time anywhere), there are many new experiments in sound, rhythm and instrumental resources, even a second movement in "jazz"; but under all this we hear the same Ravel which we know so well, the perfect artist, the same delightful, if similar limited individuality. The sonata was first performed in London on October 18th, by the same refined pair of artists who are playing it to-night.

A FRENCH SUITE in G 1927 WED. 14 DEC. MYRA HESS Bach wrote a large number of French "suites" in which he consciously imitated the French style of Couperin, (1668-1733), whose charming little pieces he greatly admired. Half the pleasure in listening to these short pieces is derived from the comparing and contrasting their various characteristics. 1928 WED. 18 JAN. Allemande Courante Sarabande Gavotte Here is a short explanation of the different movements which were strung together to make suites in the days before the sonata form was discovered. WED. 8 FEB. WED. 18 APRIL Allemande-A slow dance, or a solemn opening symphony, of German origin. Courante A dance of French origin, the name of which is derived from courir, "to run.' Sarabande-A slow and stately dance derived by the Spaniards from the Moors. Gavotte- A French dance, the name being derived from the Gavots, as the people of the country of Gap in Dauphiné, were called. A Spanish dance from the Bay of Biscay coast, where it is still performed. Bourrée- Louré- An old French dance in the style of the bag-pipe airs. Gigue, dig)-An old Italian fiddle-dance, in lively time. "Jig in a light, irreverant way. So does Pope-"Make the soul dance upon a jig to heaven." Shakespeare uses the term IV Bourrée Loure Gigue K J. S. BACH 4 MUSICAL TUES. NOV. 22 TOWN HALL GUILHERMINA SUGGIA 'Cello Recital CATTERALL STRING QUARTET with FRANK MERRICK (Pianist) THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING FOUR CONCERTS IS 17s. (INCLUDING TAX) PAYABLE TO THE TREASURER ELIZABETH SCHUMANN Song Recital FLONZALEY STRING QUARTET TUÉS. NOV. 29 HIGHFIELD HALL The Brahms Magelone Romances MEMORANDA TOM BURKE and HOLME VALLEY MALE VOICE CHOIR HAROLD HALLAS Song Recital will be given in their entirety.

HUDDERSFIELD MUSIC CLUB E. J. BRUCE, Esq., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, DECEMBER 14, 1927 AT 7-45 SUGGIA At the Piano HAROLD CRAXTON PROGRAMME PRICE SIX PENCE Hon. Musical Director, A. EAGLEFIELD HULL, Mus. Doc. (Oxon.) College of Music Hon Secretary, ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd. King St. Huddersfield

PROGRAMME (Copyright Annotations by Dr. Eaglefield Hull) I SONATA in A Major, op. 69 (a) Allegro Moderato (b) Scherzo (c) Adagio leading to (d) Finale Beethoven's compositions for violoncello and piano, are limited to a few sets of variations on themes by Handel and by Mozart, and five complete sonatas. These sonatas, written as they were at different times of his career, cover all the important periods or styles through which the composer's music went. The first two sonatas were written on a very unusual plan, (two quick movements, preceded by a slow introduction). They are both rather superficial, and the movements hang together somewhat loosely. The fourth and fifth 'cello sonatas, on the other hand, are in the composer's final free style, and the fugal movements are somewhat obscure. But the third sonata, the one to be played this evening, is in Beethoven's middle style, of which it is one of the most beautiful examples. The prevailing mood is one of bright dignity, although the very unusual Scherzo in the minor adds a certain grimness to the lighter moods. The return to the lovely first theme near the end of the first movement is very impressive. The slow movement, (here placed just before the Finale), is only eighteen bars long and serves as an introduction to the last movement, into which it runs without break. SUGGIA II BEETHOVEN (1770-1827) SONATA SAMMARTINI-SALMON This elegant example of eighteeth-century Italian art is arranged from one of the pieces of salon music written by Giovanni Sammartini, (1701-1775), who was called "the Milanese," to distinguish him from his brother, "the Londoner," an equally well-known composer of concerted music. Both musicians published their music largely in London. Mr. Joseph Salmon, who made the arrangement of this sonata for the 'cello, is a well-known living 'cellist. SUGGIA III GROUP OF EARLY ENGLISH PIANO PIECES. TWO ALMANS in G Minor and E Major THE KING'S HUNT AIR on a Ground Bass GAVOTTE GIGUE HAROLD CRAXTON ANON BULL (1563-1628) PURCELL (1658-1695) BOYCE (1710-1779) ARNE (1710-1778)

IV SUITE in G J. S. BACH (1685-1750) It is only of late that we have come to think of the great Bach as anything other than a composer of dry organ fugues and a Church Mass or two. Now his secular cantatas and his home-music pieces are getting gradually known. Bach was a great family man, the poet of domestic content, not oblivious to good cheer, as happy when he was engraving his own little dance-suites, as when he was playing in them himself. The keynote to the great man is to be found in his love of small musical parties at home, his sons playing the 'cello and the violin, a friend tootling the flute, his dear wife singing in her clear soprano voice-a regular Pepsian picture in fact-just as much as in his love of the organ loft and singer's gallery. Indeed, there were few instruments which he could not play himself, and apparently only a Bach could write six whole sonatas for violin alone and six for the 'cello alone. It needed a profound knowledge of the instrument to do so. When he was tired of dusty, fusty old Leipzig, he would say to his favourite son, "Come along, let us go and hear some of those pretty French tunes at Dresden." Bach is not all dry and pedantic. SUGGIA "KOL NIDREI" V (a) MAX BRUCH (1838-1920) Max Bruch was one of the greatest German composers of the nineteenth century. He was well-known in England both as a composer and conductor. From 1880-1883, he lived in Liverpool as the conductor of the Philharmonic Society Choir and Orchestra there. He was not afraid of owning his own Jewish nationality, and he wrote many pieces on Jewish themes. This 'cello piece, for instance, is founded on a traditional Jewish Church chant, the words "Kol Nidrei" meaning simply the general announcement, "Here beginneth SUGGIA VI (b) HUMORESKE " L. SINIGAGLIA (b. 1868) This is the second of a pair of pieces, Romanza e Humoreske, written for violoncello and orchestra. Leone Sinigaglia, a native of Turin, studied at the College of Music in that city, and then in Vienna. He came also into contact with the Bohemian master, Dvorák, who took a great interest in the young Italian, and encouraged him to make his music truly national. Sinigaglia has written a very large number of music of all kinds. His violin concerto is played by all the leading virtuosi, Capet, Kubelik, Kreisler, Cathie, Jan Hambourg, Carl Fleisch, Albert Sammons, and many others. SUGGIA CHAPPELL GRAND PIANOFORTE.

WED. 18 JAN. WED. 8 FEB. 1928 FIXTURES. CATTERALL STRING QUARTET with FRANK MERRICK (Pianist) ELIZABETH SCHUMANN Song Recital WED. 18 APRIL FLONZALEY STRING QUARTET THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING THREE CONCERTS IS 14s. (INCLUDING TAX) PAYABLE TO THE TREASURER

HUDDERSFIELD MUSIC CLUB E. J. BRUCE, Esq., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, JANUARY 18, 1928 AT 7-45 THE CATTERALL STRING QUARTET JOHN BRIDGE JOHAN C. HOCK ARTHUR CATTERALL FRANK S. PARK PIANIST: LUCY PIERCE (For Quintet) PROGRAMME PRICE SIX PENCE Hon. Musical Director, A. EAGLEFIELD HULL, Mus. Doc. (Oxon.) College of Music Hon Secretary, ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd. King St. Huddersfield

PROGRAMME (Copyright Annotations by Dr. Eaglefield Hull) QUARTET in F. op. 59; no i BEETHOVEN (composed in 1826) Allegro Allegro vivace e scherzando Adagio molto e mesto Allegro (Russian theme with variations) Three of Beethoven's favourite string quartets are known as the "Razumovsky set," because they were written for Count Razumovsky, the Russian Ambassador at Vienna. He maintained a string quartet party in his own mansion. Beethoven paid him a national compliment by working a Russian folk-tune into each of these three quartets. In the quartet for to-night's programme; the folk-tune is found in the last movement. etc. This folk-song occurs frequently in Russian collections, and it is easy to see that Beeth- oven had little idea of the original words. In the Russian, it has a sad, melancholy nature and the first line would read "Oh, is this my fate, and such a fate!" but Beethoven makes a fast, jolly tune of it. There are three musical Beethovens, and not one. In his first style which extends broadly up to the period of this quartet, he dutifully follows in the steps of Mozart, as he was recommended to do by his early yet far-seeing patron, Count Waldstein. Indeed, the first movement of to-night's quartet in many passages sounds very much like Mozart. The first tune (given out by the cello) might well be one of the Tyrolean folk-tunes that Mozart loved to refine. The second subject (1st violin) is more sophisticated On its final appearance, near the end of the first movement, it is on the viola. The second movement is an Allegretto (in place of the usual Scherzo). It is Beeth- oven at his best-humorous, fascinating, freakish, playful, brusque, soothing in turns, The Adagio is full of deep pathos and beauty, a mood which the composer seems loth to leave; but it finally merges into the last movement, the variations on the sad, yet haunting Russian folk-song which Beethoven has endowed with such joy and jollity.

II (a) ALLEGRO This number is taken from a composite set of pieces known as "Les Vendredis," so- called because of Belaief's Friday quartet evenings. The set was dedicated to this great and generous patron of Russian music. (b) ANDANTE (from Quartet in D minor) HAYDN This number is from the string quartet op. 76, no. 2, to which it forms the second movement. We have a charming theme with a few interesting "variations." Nearly all the chief work is given to the first violin. QUINTET RIMSKY-KORSAKOF (c) INTERMEZZO MENDELSSOHN This charming piece is taken from Mendelssohn's second string quartet, the one in A minor, op. 13. A short Allegretto leads into a fast movement of a very striking and fanciful nature. A return is made to the opening mood. III (a) Molto moderato quasi lento, allegro (b) Lento con molto sentimento (c) Allegro non troppo ma con fuoco CESAR FRANCK There is no denying the gloom of the first movement of the Franck quintet, but we cannot agree with the writer of the article on Franck in the new 1928 edition of Grove's Dictionary, when he says "the troubled questioning of the first movement persists until it comes near to querulousness and it would have been a relief to have had a light play- ful movement to follow it instead of the Andante." There is beauty and much poetry in this gloom, a dramatic intensity, just as there is in a picture of Scottish scenery by Cameron, or a Celtic poem by Synge. Moreover Franck had a definite plan for the whole work, and a very sound plan it is too-that of starting with questionings, follow- ing it by a movement of consolation, and ending with a paen of joy. And no one can deny the vigour and brilliance of the finale. If we are to assess the piano quintet of

Franck, we must place it besides the piano quintets of Schumann (the first of the great quintets) of Dvorak, of Saint Saens, of Brahms (one of his richest and most splendid works) and in modern music, the quintets of Dohnanyi and Arnold Bax; and the Franck quintet holds a position as high as any. The music of Franck is both classical and romantic at the same time. To-day it is the "chord" itself which has disappeared, in order to make way for the new principles of atonality (key-less music) and absolute polyphony. But before that came to pass, it was necessary to push the classical harmony, that of Bach, Beethoven and Wagner, to their utmost possibilities. It was the mission of Franck to carry out this elongation of the classical harmony. STEINWAY GRAND PIANOFORTE 1928 FIXTURES. WED. 8 FEB. ELIZABETH SCHUMANN Song Recital WED, 18 APRIL FLONZALEY STRING QUARTET THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING TWO CONCERTS IS 11s. 6d. (INCLUDING TAX) PAYABLE TO THE TREASURER

HUDDERSFIELD MUSIC CLUB E. J. BRUCE, Esq., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, FEBRUARY 8TH, 1928 AT 7-45 ELISABΕΤΗ SCHUMANN SONG RECITAL N At the Piano BECHSTEIN PROGRAMME IVOR NEWTON PIANOFORTE. PRICE SIX PENCE Hon. Musical Director, A. EAGLEFIELD HULL, Mus. Doc. (Oxon.) College of Music Hon Secretary, ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd. King St. Huddersfield

PROGRAMME Copyright Annotations by A. Eaglefield Hull. GROUP OF MOZART'S SONGS. MOZART (1756-1791), learnt his art of writing for the voice from the Italian composers. The Air for Susanna in the opera "The Marriage of Figaro" was written after the opera was finished. The other selected numbers were written as separate songs. (1) ENDLICH NAHT SICH DIE STUNDE "Marriage of Figaro" Endlich naht sich die Stunde, wo ich dich, O Geliebter, bald ganz besitzen werde. Aengstliche Sorgen, entweicht aus meinem Busen, Stört nicht länger die Freuden meines Herzens. O wie so hold die Stille mich berauschet, Wie des Haines Düfte so wonnig das Herz mir schwellen, Komm doch, mein Trauter, Stille der Nacht beschützt uns. O säume länger nicht, geliebte Seele, Sehnsuchtsvoll harret deiner hier die Freundin, Noch leuchtet nicht des Mondes Silberfackel, Ruh und Friede herrschen auf den Wiesen. Des Westwinds Säuseln und des Baches Rieseln Stimmen jede Nerve zur Entzückung, Der Blumen Fülle duftet auf den Wiesen. Alles lockt uns zu Liebe, Freud und Wonne, Komm doch, mein Trauter, Lass länger mich nicht harren, Dass ich mit Rosen kränze dein Haupt. (2) DAS VEILCHEN (The Violet) Ein Veilchen auf der Wiese stand In sich gebückt und unbekannt; Es war ein herzig's Veilchen, Da kam eine junge Schäferin, Mit leichtem Schritt und munterm Sinn, Daher, die Wiese her, und sang. "Ach!" denkt das Veilchen, Die schönste Blume der Natur, Ach! nur ein kleines Weilchen! Bis mir das Liebchen abgepflückt Und an den Busen matt gedrückt Viertelstündchen wär' ich nur, Ach! aber ach! das Mädchen kam, Und nicht in Acht das Veilchen nahm, Zertrat das arme Veilchen ! (3) WARNUNG (Warning) Es sank und starb, und freut sich noch: "Und sterb' ich denn, so sterb' ich doch Durch sie, zu ihren Füssen!" Männer suchen stets zu naschen Lässt man sie allein. Leicht sind Mädchen zu erhaschen Weiss man sie zu überraschen, Soll das zu verwundern sein? Mädchen haben frisches Blut, Und das Naschen schmeckt so gut. (4) ALLELUJA I Doch das Naschen vor dem Essen Nimmt den Appetit; Manche kam die das vergessen, Und dem Schatz den sie besessen Und um ihrem Liebsten mit. Väter lasst euch's Warnung sein Sperrt die Zuckerplätzchen ein. Welcome happiest moment, When I may free from terror, Rest in his soft embraces! Go, idle tremors, nor mar love's joyful feeling: Let me taste unalloyed its balsam healing. Doth it not seem as tho' love's tender power, Graced by this blooming bower, All nature were now reflecting, E'n as is night my sweet hidden love protecting? Oh come nor linger more, my soul's fond treasure; Hark to the voice of love, that calls to pleasure- While Heaven still in starry night rejoices; While the earth still is dark, and hushed her voice is. Soft murmurs now the brook, the breeze is playing; Their soft music the heart's fond woes allaying. The flow'rs breathe sweet perfume, the sense delighting; All seems now to love's rapture sweet inviting. Come to these bow'rs, where languid love reposes; And round thy temples I'll wreathe a crown of roses. (Alleluja) MOZART A violet on the sward had grown, Conceal'd, and to the world unknown, Yet still a lovely flower; A shepherdess, with smiling faee, Came tripping with an easy grace Along the verdant mead and sang. Men are alway fond of toying. Pretty maids beware! Each ingenious art employing, Ev'ry slight advance enjoying, While they set the treach'rous snare. Girls sometimes they will entice And this toying is so nice. But this toy prematurely Cloys the appetite. "Ah!" thought the violet, "might I be, The fairest flower that man could see, E'en only for a season! Till me the maid had pluck'd in haste, And in her beauteous bosom placed, Although but for a little while." But oh, alas! the maiden passed, Unmindful of the flower that crept, So lowly on the meadow. It sank, and died, and yet was glad, That press'd beneath her feet it had Been doom'd to such a blissful fate. Maidens pray act more demurely; Fathers lock them up securely, Never let them out at night. Never let them roam, MOZART Keep your daughters safe at home. Never let them quit your sight, Fathers keep them safe at home, Do not let the darlings roam, Keep them safe at home! MOZART MOZART PAGE THREE

SCHUBERT GROUP. SCHUBERT (1797-1828), the greatest of all song-writers, is here represented rightly by his more lyrical songs. His dramatic songs, (the Erl-King, etc.,) are better suited to a man's voice. The centenary of Schubert's death is being observed this year. (1) DER EINSAME (Content) Wenn meine Grillen schwirren Bei Nacht am spät erwarmten Herd, Dann sitz ich mit vergnügtem Sinn Vertraulich zu der Flamme hin, So leicht, so unbeschwert. Ein trautes stilles Stündchen Bleibt man noch gern am Feuer wach Man schürt, wenn sich die Lohe senkt. Die Funken auf und sinnt und denkt: Nun abermals ein Tag. Was liebes oder leides Sein Lauf für uns daher gebracht Es geht noch einmal durch den Sinn Allein das Böse wirft man hin Es störe nicht die Nacht. Zu einem frohen Traume Bereitet man gemach sich zu Wann sorgenlos ein holdes Bild Mit sanfter Lust die Seele füllt, Ergibt man sich der Ruh. O, wie ich mir gefalle In meiner stillen Ländlichkeit Was in dem Schwarm der lauten Welt Das irre Herz gefesselt hält, Gibt nicht Zufriedenheit. Zirpt immer, liebes Heimchen, In meiner Klause, eng und klein, Ich duld euch gern. Ihr stört mich nicht Wenn euer Lied das Schweigen bricht, Bin ich nicht ganz allein. (2) WIEGENLIED (Cradle Song) Schlafe, schlafe, holder, süsser Knabe; Leise wiegt dich deiner Mutter Hand. Sanfte Ruhe, milde Labe Bringt dir schwebend dieses Wiegenband. Schlafe, schlafe in dem süssen Grabe, Noch beschützt dich deiner Mutter Arm; Alle Wünsche, alle Habe Fasst sie liebend, alle liebewarm. Schlafe, schlafe in der Flaumen Schosse, Noch umtönt dich lauter Liebeston; Eine Lilie, eine Rose Nach dem Schlafe werd' sie dir zum Lohn. Claudius. (3) LIED IN GRUNEN (In Spring-time) In's Grüne, in's Grüne, Da lockt uns der Frühling, der liebliche Knabe, Und führt uns am blumenumwundenen Stabe Hinaus, wo die Lerchen und Amsel so wach, In Wälder, auf Felder, auf Hügel zum Bach, In's Grüne, in's Grüne. Im Grünen, im Grünen, Da lebt es sich wonnig, da wandeln wir gerne Und haften die Augen dahin schon von ferne, Und wie wir so wandeln mit heiterer Brust, Umwallet uns immer die kindliche Lust, Im Grünen, im Grûnen. Im Grünen, im Grünen, Da ruht man so wohl, empfindet so schönes, Und denket behaglich an dieses und jenes, Und zaubert von hinnen, ach, was uns bedrückt, Im Grünen, im Grünen. Im Grünen, im Grünen, Am Morgen am Abend in treulicher Stille Entkeimet manch Liedchen und manche Idylle, Und Hymen oft kränzt den poetischen Scherz, Denn leicht ist die Lockung, empfänglich das Herz Im Grünen, im Grünen. In's Grüne, in's Grüne. Lasst heiter uns folgen dem freundlichen Knaben. Grünt einst uns das Leben nicht förder, so haben Wir klüglich die grünende Zeit nicht versäumt, Und wann es gegolten, doch glücklich geträumt, Im Grünen, im Grünen. F. Reil. PAGE FOUR II SCHUBERT My troubles all lie scattered At night, before the hearth so bright; And in my heart sweet pleasures flow As now I watch the friendly glow So full of warm delight. An hour so still, so peaceful I sit and guard the flames alone, I stir the embers when they sink To feebleness, and now I think "Another day is done." What e'er of joy or sorrow Its hours have brought us in their flight There speaks a yvoice within my heart, O throw away the worser part Let nothing spoil this night. I make my bed with laughter, Preparing for a dream of peace; The while an image pure and blessed With its soft glory fills my breast, And the day's work I cease. O how I thank the heavens That unto me this peace is sent: The world and all her gleaming wares. Whose false deceit thy heart ensnares These cannot bring content. Chirp on, my little crickets, Upon the hearth that's all our own I love to hear the sound you make, Although your song the silence break I am not quite alone. M. Suiro. SCHUBERT Lulla, Lullaby! Sleep, my heart's own treasure, Mother's eye watches you, mother's hand is near Dreams of happiness, visions of pleasure, Soothe your pillow while I rest here. Lulla, Lullaby! where the cradle holds you, There lie, fast asleep, mother bends above, When you're ailing, her arm enfolds you, When you smile at her, she smiles in answering love. Lulla, Lullaby! dreaming on your pillow, Mother's soft song you hear and understand, When you awaken, a rose or a lily, Mother will lay in baby's tiny hand. From "Schubert's Songs Translated" Oxford Press. SCHUBERT In Spring-time, in Spring-time Fair sights beckon all men and sundry to follow; The song of the lark and the flight of the swallow, The carpet of bluebells that fills every nook Lead on by the meadow and down by the brook In Spring-time, in Spring-time. In Spring-time, in Spring-time You feel so contented and happy and jolly, And nobody asks if it's wisdom or folly, Dull care and reflection are driven away, There's nothing but fun, that's enough for a day Of Spring-time, of Spring-time. In Spring-time, in Spring-time Just think of the plans you and I can be hatching Of things that we'll do when there's nobody watching. The tricks that we'll play and the row that we'll make, The rules that were made for us only to break In Spring-time, in Spring-time. In Spring-time, in Spring-time The sun is so hot you can guess the disaster When Icarus crashed and acknowledged his master, And when you look up to the millions of stars, Can wonder if born under Venus or Mars In Spring-time, in Spring-time. In Spring-time, in Spring-time O spring is the lad we are all of us after, If life has but sorrow to give us, then laugnter Was plenty in youth without reason or rhyme, Whatever may happen we wasted no time In Spring-time, in Spring-time.

(4) DIE VÖGEL (The Bird) Wie lieblich und fröhlich, zu schweben, zu singen. Von glänzender Höhe zur Erde zu blicken! Die Menschen sind töricht. Sie können nicht fliegen. Sie jammern in Nöten, wir flattern gen Himmel. Der Jäger will töten, dem Früchte wir pickten; wir müssen ihn höhnen und Beute gewinnen. (5) WOHIN (The Brook) Ich hört' ein Bächlein rauschen Wohl aus dem Felsenquell, Hinab zum Thale rauschen, So frisch und wunderhell. Ich weiss nicht, wie mir wurde, Nicht, wer den Rath mir gab, Ich musste auch hinunter Mit meinem Wanderstab. Hinunter immer and weiter, Und immer dem Bache nach, Und immer frischer rauschte Und immer heller der Bach. Ist das denn meine Strasse? O Bächlein, sprich, wohin? Du hast mit deinem Rauschen Mir ganz berauscht den Sinn, Was sag' ich dem vom Rauschen? Das kann kein Rauschen sein: Es singen wohl die Nixen Tief unten ihren Reih'n. Lass singen, Gesell, lass rauschen, Und wand're fröhlich nach! Es geh'n ja Mühlenräder In jedem klaren Bach. Wie goldne Fäden, die der Wind bewegt, Schön sind die Haare, schön ist die sie trägt! Goldfäden, Seidenfäden ungezählt, Schön sind die Haare, schön ist, die sie strählt. Paul Heyse. (2) IN DEM SCHATTEN MEINER LOCKEN In dem Schatten meiner Locken, Schlief mir mein Geliebter ein. Weck ich ihn nun auf? Ach nein! Sorglich strählt ich meine krausen Locken Täglich in der Frühe, Doch umsonst ist meine Mühe, Weil die Winde sie zersausen. Lockenschatten, Windessausen Schläferten den Liebsten ein Weck ich ihn nun auf? Ach nein! Und er nennt mich seine Schlange, Und doch schlief er bei mir ein. Weck ich ihn nun auf? Ach nein! (3) DU DENKST MIT EINEM FÄDCHEN Auf ihrem Liebrösslein, so weiss wie der Schnee, Die schönste Prinzessin reit't durch die Allee. Der Weg, den das Rösslein hintanzet so hold, Der Sand, den ich streute, er blinket wie Gold. Du rosenfarb's Hütlein wohl auf und wohl ab, O wirf eine Feder verstohlen herab! Und willst du dagegen eine Blüte von mir, Nimm tausend für eine, nimm alle dafür! How gaily we daily are flocking and singing! From glittering heights to the earth we are winging. Mankind has no beauty and no flight for taking: Their sorrows they cherish, while high we are flocking. The hunter will perish-his fruits we are taking; We gather our booty with scoffing and mocking! Among the rocks and heather I heard a tiny rill; It sparkled in the sunlight, And prattled down the hill. Edouard Mörike. I knew not how it drew me, I never questioned why; We could not choose but follow, My trusty staff and I. And ever and on I followed The murmuring of the brook; Its voice grew louder and louder With ev'ry step I look. But where is it you lead me, O brooklet, tell me where? INTERVAL. Your bubbling and your babbling Bewitch the very air. And hark! a singing sweeter Than any song I know; What is it but the pixies That sing and dance below? IIIa. HUGO WOLF GROUP. With HUGO WOLF, one of the greatest of all song-writers, the accompaniment is no longer an accompaniment proper, but a real piano piece. The first and third songs are taken from the Italian Song-Book," the second comes from the Spanish Song-Book," and the "Gardener" is from the Morike Album. (1) UND WILLST DU DIENEN LIEBSTEN STERBEN SEHEN Und willst du deinen Liebsten sterben sehen, So trage nicht dein Haar gelockt, du Holde. Lass von den Schultern frei sie niederwehen, Wie Fäden sehn sie aus von purem Golde. Sing on, my friend, sing on, then, And merrily take your way, For ev'ry brook that wanders Will find a mill one day. In the shadow of my tresses My beloved has fall'n asleep. Shall I wake him now? Ah no! SCHUBERT I have smoothed my curling tresses Every day at early morn. But in vain is all my trouble For the wind blows them awry. If thou would'st see thy lover, ravished, dying, Thy tresses, dear, thou never must be tying. From off thy shoulders let thy hair be streaming; Like threads of purest gold it will be gleaming. Like threads of gold that in the breeze do move, Fair are thy tresses-fairer thou my love! Threads golden, threads so silken, threads untold, Gold are thy tresses-fairer thou than gold. Lily Henkel. 'Mid shadowy tresses, raging winds, Deep in slumber lies my love. Shall I wake him now! Ah no! SCHUBERT And his snake he often calls me ; Yet he slumbers at my side. Shall I wake him now? Ah no! HUGO WOLF HUGO WOLF HUGO WOLF Upon her white steed down a green bower'd way A princess comes riding, as fair as the May; The sand that I strewed where those stately hoofs go Like gold in the sunshine is bravely aglow. O rose coloured hood dancing up, dancing down. Pray waft me in secret one plume for mine own; And wouldst thou as guerdon one sweet blossom from me, Take thousands, take all, for they bloom but for thee. Marie Boileau PAGE FIVE

(4) DER GÄRTNER (The Gardener) Du denkst mit einem Fädchen mich zu fangen, mit einem Blick schon mich verliebt zu machen? Ich fing schon andre, die sich hoher schwengen, du darfst mir ja nicht trau'n, siehst du mich lachen. Schon andre fing ich, glaub'es sicherlich, Ich bin verliebt, doch eben nicht in dich; ich bin verliebt, doch eben nicht in dich. (5) MUTTERTÄNDELEI (Come and see my pretty child) Seht mir doch mein schönes Kind, Mit den goldnen Zottellöckchen, Blauen Augen, roten Bäckchen! Leutchen habt ihr auch so eins? Leutchen, nein, ihr habt keins ! Seht mir doch mein süsses Kind, Fetter als ein fettes Schneckchen, Süsser als ein Zuckerweckchen, Leutchen, habt ihr auch so eins? Leutchen, nein, ihr habt keins! Seht mir doch mein holdes Kind, Nicht zu mürrisch, nicht zu wählig! Immer freundlich, immer fröhlich, Leutchen, habt ihr auch so eins? Leutchen, nein, ihr habt keins ! Seht mir doch mein frommes Kind! Keine bitterböse Sieben Würd' ihr Mütterchen so lieben, Leutchen, möchtet ihr so eins? O, ihr kriegt gewiss nicht meins!! G. A. Bürger. Es glaenzt ihm am Finger von Golde ein Ring. Kling, klang, schlug ihm das Herz. O Wiesen, o Felder wie seid ihr schoen! O Berge, o Taeler, wie schoen! Wie bist du gut, wie bist du schoen, Du gold'ne Sonne im Himmelshoeh'n! Kling, klang, schlug ihm das Herz. Schnell eilte der Knabe mit froehlichem Schritt, (1) SCHLAGENDE HERZEN (Over Mount and Dale) Ueber Wiesen und Felder ein Knabe ging, Kling, klang, schlug ihm das Herz. Kling, klang, schlug ihm das Herz. Nahm manche lachende Blume mit, Kling, klang, schlug ihm das Herz. Ueber Wiesen und Felder weht Fruchlingswind, Ueber Berge und Waelder weht Fruehlingswind, Im Herzen mir innen weht Fruehlingswind, Der treibt zu dir mich leise, lind. Kling, klang, schlug ihm das Herz ! Zwischen Wiesen und Felder ein Maedel stand, Kling, klang, schlug ihr das Herz. Hielt ueber die Augen zum Schauen die Hand Kling, klang, schlug ihr das Herz. Ueber Wiesen und Felder, ueber Berge und Waelder Zu mir, zu mir, schnell kommt er her ; O wenn er bei mir nur, bei mir schon waer; Kling, klang, schlug ihr das Herz. IIIb RICHARD STRAUSS GROUP. STRAUSS shares with Elgar the honour of being the greatest living composer. He is seven years younger than Elgar, having been born in 1864. (2) SCHLECHTES WETTER (Horrible Weather) Das ist ein schleschtes Wetter es regnet und stürmt und schneit sitze am Fenster und schaue hinaus in die Dunkelheit. Da schimmert ein sinsames Lichtchen das wandelt langsam fort Ein Mütterchen mit dem Laternchen wankt über die Strasse dort. Ich glaube, Mehl und Eier und Butter kaufte sie ein Sie will einen Kuchen bakken Fürs grosse Töchterlein. PAGE SIX To catch me with a little thread you're trying, And with a look would make me captive neatly? I've caught some others who were higher flying, So when I laugh, don't trust me too completely. I've caught some others, so I tell you true, I am in love, but haply not with you, I am in love, but haply not with you. Die liegt zu Haus im Lehnstuhl und blinzeit schläfrig ins Licht, Die goldenen Locken wallen uber das süsse Gesicht. Heine. Come and see my pretty child, With cheeks ruddy like a cherry, Curls so golden, eyes so merry- Good folk, have you such a one? Good folk, no, you have none. HUGO WOLF Lily Henkel. Come and see my darling child, Fat as a snail, only fatter, Sweet as a pudding of batter- Good folk, have you such a one? Good folk, no, you have none. Come and see my gentle child: Never dainty, never snappy, Always friendly, always happy. Good folk, have you such a one? Good folk, no, you have none. Come and see my angel child: Angel for I'm sure no other Could so dearly love it's mother. Good folk, would you like my pet? Mine, good folk, you'll never get. HUGO WOLF Alfred Kalisch. RICHARD STRAUSS Over mountain and dale went a youth in Spring, Cling, clang, loud beat his heart He wore on his finger a bright golden ring, Cling, clang, loud beat his heart! Oh, meadows, so green, oh, woodlands, so fair! Oh, mountains, oh, valleys, how fair High up in the heav'n with golden beam The glorious sun gilds each murm'ring stream. Cling, clang, loud beat his heart, Merrily the youth thus he hast'ned along, Cling, clang, loud beat his heart. Culled may a flower, sang many a song; Cling, clang, loud beat his heart. Over mountain and valley the soft winds blow, Over meadow and woodland they whisper low; My heart with fond love is all aglow, For thee, sweet maid, where e'er I go. Cling, clang, loud beats her heart. 'Mid the flowers of the meadow a maiden stands. Cling, clang, loud beats his heart. Shielding her eyes with her tiny white hands, Cling, clang, loud beats her heart. Thro' meadows and woodlands, O'er mountain and valley he comes, The lad I love, ah, so dear, He hastens along, oh, that he were here! Cling, clang, loud beats her heart. RICHARD STRAUSS This is horrible weather, it's raining and hailing and snowing! sit by the window and look out into the darkness. There glimmers a lonely little light, wandering slowly forth- A mother with her lantern wavers across the street. I believe she is going to buy flour, eggs and butter. She wants to make a cake for her great big daughter. Her daughter lies at home in the arm-chair, and blinks sleepily Her golden hair falls billowing over her pretty face. [at the light;

BIOGRAPHICAL NOTE. ELISABETH SCHUMANN has been one of the chief singers at the Imperial Opera, (now the State Opera), in Vienna since 1919. She was formerly at the Hamburg Opera House. Her fine soprano voice is exquisitely suited to Mozart's music, and her best parts are Susanna (in Figaro and Zerlina in Don Giovanni). In many of the parts she has proved a great coloratura singer. She toured America with the composer, Richard. Strauss, in 1921. She also created the part of Sophie in Strauss's opera "The Rose-Cavalier." WED. 18 APRIL, 1928. FLONZALEY STRING QUARTET SINGLE TICKETS 5s. 9d. (INCLUDING TAX). N.B. The attention of members is directed to an EVENING CONCERT to be given at the TOWN HALL, on WED., MARCH 28th, 1928, the proceeds of which will be given to the HUDDERSFIELD MUSICAL SCHOLARSHIP FUND. Invitation Cards from Dr. Eaglefield Hull, College of Music, New North Road.

(2) Das is Ich sitz Da schin Ein Mütte Ich glaube, Sie will eine Die liegt zu Die goldenen L PAGE SIX ELISABETH SCHUMANN Elisabeth Schumann, the world- famous primadonna, has recorded many of her greatest triumphs for "His Master's Voice." Here are two typical recordings of this wonderful artist. Your local dealer will be pleased to play them and give you particulars of others. DA.844 6/- Nozze di Figaro-Venite, inginocchiatevi Nozze di Figaro-Non so più cosa son DB.1010 8/6 Ständchen (Serenade) Op. 17, No. 2. Morgen (To-morrow) Op. 27, No. 4- Mozart Mozart "His Master's Voice" Strauss Strauss "His Master's Voice The Gramophone Company Ltd. Oxford Street, London, W.1.

HUDDERSFIELD MUSIC CLUB E. J. BRUCE, Esq., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, APRIL 18TH, 1928 AT 7-45 FLONZALEY STRING QUARTET Leading Violin Violin Viola 'Cello PROGRAMME ADOLFO BETTI ALFRED POCHON NICOLAS MOLDAVAN IVAN D'ARCHAMBEAU PRICE SIX PENCE Hon. Musical Director, A. EAGLEFIELD HULL, Mus. Doc. (Oxon.) College of Music Hon Secretary, ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd. King St. Huddersfield

PROGRAMME Copyright Annotations by A. Eaglefield Hull. QUARTET in B FLAT, op. 67 (a) Vivace. (b) Andante. (c) Agitato. (d) Poco Allegro con Variazioni. Brahms stands high amongst the greatest of all composers for the string quartet. The first movement is vivacious enough, even in a work in which Brahms has not completely discarded austerity of manner. There are two characteristic devices employed here which are worth noticing. The first is Brahms's love of combining two different time-signatures. Thus in the eighth bar, the second violin plays in 3-8, whilst the viola continues in 6-8; and this jolly little idea goes on more or less throughout. The other device is the interspersing of little folk-dance figures in 2-4 time with the rest of the 6-8 work. We settle down to develop the materials with a curious sotto voce passage in thirds. The form, construction and balance of the piece are all perfect, as is nearly always the case with Brahms. The Andante opens with one of those calm, placid melodies which so few composers, even amongst the great ones, can write. This quiet movement is broken into by one of those brusque figures usually associated with Beethoven; this enters so unexpectedly that it gives quite a dramatic turn to the music. The gitato again reveals Brahms's fondness for "crossing the times." The unmuted viola has the melody, whilst the other three instruments, ("muted,") jig fantastically round the theme. BRAHMS The final movement is in the form of variations on a theme which for loveliness is hard to beat, even amongst the finest melodists. There are six variations in different keys, and then comes a sudden return to the first movement of the whole quartet, which is here pressed into service as a variation. These transformations are well worth following closely, as Brahms shares with Beethoven the honour of being "the greatest variationist." QUARTET No. I II (a) Allegro. (b) Andante. ERWIN SCHULHOFF Wardring litt nothing werkeerd. (c) Allegro alla Slovacca. (d) Lento patetico. This is a modern work by a contemporary Bohemian composer, who was born in Prague in 1894. He should be cosmopolitan in style, for he studied at a great variety of Conservatoires-three years at Prague, four years at Vienna, two years at Leipzig, four years at Cologne, and in 1918 he took the Mendelssohn prize for composition at the High School for Music in Berlin. He is an excellent pianist and a great propagandist of the new styles of music. He aims at natural expressionism (that is, free of all rules) and at the grotesque. A Prague critic places his style in between Schönberg's and Stravinsky's- an ambitious claim !

Since writing the above, I have been able to piece together a short description of this new composition, culled from Monday's Morning Post and the Daily Telegraph. The first movement is written in a modern vein, exhilarating in rhythm, kaleidoscopic in colour. An atmosphere of weirdness pervades the second movement. The boisterous vitality of the third proceeds from its conscious imitation of the Slovak country dances. The Finale, curiously enough, is slow, but it ends with some remarkable effects of sonority which should delight the hearts of all lovers of modern music. Every effect possible for the four string instruments is exploited in this quartet,-sautillé bowing, sul ponticello, and so on-altogether a splendid manifestation of Bohemian vitality. QUARTET in C, op. 59, No. III (a) (b) (c) (d) III Introduzione leading into Allegro vivace. Andante con moto quasi allegretto. Minuetto gracioso, running into Allegro molto. BEETHOVEN This number is the third of the so-called "Rasumovsky set." because they were written to the order of the Russian Count of that name, for the private string-quartet party which this wealthy nobleman retained in his household. In the first two quartets, Beethoven employed the notes of some actual Russian folk-tunes, taking them from a collection published about that time. None of the themes in this third quartet can be traced to a folk-song origin. Indeed, they have not that character at all. The first movement opens with a short introduction of sustained harmonies. Then two simple chords are used as a kind of motto and off we go in the liveliest manner possible. The movement is cast in the regulation order of the times-two subjects, a development and exploitation of them, and then a return to simple keys to round off the movement. Some of the modulations are very surprising. At the regulation "return," the first subject is attacked in the very middle; instead of from its beginning. The Andante is irregular in form. It is one of the first of the "romantic " movements in music, and it forestalls Schumann the dreamer. Considerable development of the material takes place before the return to the tonic key. The Minuetto is still Court-like and formal. Beethoven seems here to have been influenced by the tasteful, at times somewhat pretentious, palaces in which he knew that these pieces would be performed. Much bewigged lords, in blue paletots and buckled shoes, hooped ladies with tremendous head-pieces, would dance to such music. Life was both gay and easy then- ! The Finale, in the shape of a fugue, is the most Beethovenish movement in the quartet. It is played with a curious kind of "bowing," "spiccato," throughout, in order to emphasise its "rampageous" nature. Notwithstanding its great spirit, it is one of the finest applications of musical science-being no less than the union of the two great forms, fugue and sonata, previously brought off only by Mozart. Brahms played this Finale on the piano from memory as an "encore" at a concert in Vienna in 1867.

IMPERIAL LEAGUE OF OPERA. Those wishful of becoming subscribers to the League should send their contributions of £1. (to cover the first two years), to the Hon. Treasurer, F. W. Gadsby, Esq., National Provincial Bank, Ltd., King St., Huddersfield. HUDDERSFIELD MUSIC CLUB. THE CLUB IS OPEN TO ALL. INTENDING NEW MEMBERS SHOULD SEND THEIR NAMES AND ADDRESSES AT ONCE TO F. W. GADSBY, ESQ., (AS ABOVE).