HUDDERSFIELD MUSIC SOCIETY Brochure 11th Season's programmes 6.2.1929. Programma signed by Arthur Rubinstein. 6.3.1929. Programme signed by Gerhardt lumtuhutumlumtukuntandontol 1928-1929 Елела ivor Xx.rite Newton Xx-rite MSCCPPCC0613 colorchecker ...............................................|||| mm

HUDDERSFIELD MUSIC CLUB HUDDERSFIELD MUSIC CLUB. 46464 PRESIDENT CONCERTS FOR THE ELEVENTH SEASON 1928-29 TO BE GIVEN IN HIGHFIELD ASSEMBLY HALL (NEW NORTH ROAD) WEDNESDAYS, OCT. 3, NOV. 14, DEC. 5, 1928, WEDNESDAYS, JAN. 9, FEB. 6, MARCH 6, 1929. At 7-45 p.m. W. Clifford Crook. G. Fleming. J. Stancliffe Ellis. W. Tuke Robson. Hon. Secretary Hon. Treasurer - E. J. BRUCE, Esq., J.P. Hon. Musical Director Committee: Haydn Sandwell, F.R.C.O. F. W. Thornton, F.R.C.S. Frederick Whiteley. D. R. H. Williams. A. L. Woodhead, M.A., J.P. A. EAGLEFIELD HULL, Mus. Doc., College of Music. ALBERT LUNN, Banney Close, Edgerton. F. W. GADSBY, National Provincial Bank, Ltd., King Street, Huddersfield. THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE SERIES OF SIX CONCERTS IS 25/- (including tax) payable to the Treasurer.

HUDDERSFIELD MUSIC CLUB. LEUEUEUEL PRESIDENT ברכהבכרכר רב CONCERTS FOR THE ELEVENTH SEASON 1928-29 TO BE GIVEN IN E. J. BRUCE, Esq., J.P. HIGHFIELD ASSEMBLY HALL (NEW NORTH ROAD) W. Clifford Crook. *** G. Fleming. J. Stancliffe Ellis. W. Tuke Robson. WEDNESDAYS, OCT. 3, NOV. 14, DEC. 5, 1928, WEDNESDAYS, JAN. 9, FEB., 6, MARCH 6, 1929. At 7-45 p.m. K Hon. Musical Director Hon. Secretary Hon. Treasurer Committee: 454545 Haydn Sandwell, F.R.C.O. F. W. Thornton, F.R.C.S. Frederick Whiteley. D. R. H. Williams. A. L. Woodhead, M.A., J.P. A. EAGLEFIELD HULL, Mus. Doc., College of Music. ALBERT LUNN, Banney Close, Edgerton. F. W. GADSBY, National Provincial Bank, Ltd., King Street, Huddersfield. THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE SERIES OF SIX CONCERTS IS 25/- (including tax) payable to the Treasurer.

WEDNESDAY, 3rd OCTOBER, 1928. THE ENGLISH SINGERS. Norman Stone. Norman Notley. Cuthbert Kelly. Flora Mann. Nellie Carson. Lillian Berger. Our members will welcome the return visit of the incomparable English Singers who have been such a success in previous seasons. Since their last visit their fame has become world-wide and they have sung in many European countries and also in America. Indeed their Huddersfield concert on October 3rd will be given on the day before they sail for their return American tour. WEDNESDAY, 14th NOVEMBER, 1928. LÉNER STRING QUARTET. The Léner String Quartet have also added immensely to their reputation since their early visit to the Huddersfield Music Club. They are certainly one of the premier quartets of the world. As The Times says "it is difficult to think of anything a Quartet could be or do, which they are not or do not." WEDNESDAY, 5th DECEMBER, 1928. THE AGUILAR LUTE QUARTET. Is an innovation which the Committee have made this season in the direction of some of the lesser known instruments. This Lute Quartet appeared for the first time in London last season and created quite a sensation. "Indeed" says Mr. Ernest Newman the range of colour effects obtained is quite remarkable; and it is curious that piano music, string quartet music and orchestral music should all transpose so well into this unusual medium."

WEDNESDAY, 9th JANUARY, 1929. BROSA STRING QUARTET. The Brosa String Quartet are newcomers to the Club. They are amongst the more recently formed parties of players and have quickly made a fine reputation. "Their ensemble is absolute perfection............such beauty and refinement of tone I have seldom heard.........In my opinion, such as it is, their performance was beyond all criticism." Cyril Scott. WEDNESDAY, 6th FEBRUARY, 1929. ARTHUR RUBINSTEIN. PIANOFORTE RECITAL. Mr. Arthur Rubinstein needs no introduction. His fame is world-wide and as an exponent of both classical and modern music he occupies a niche all to himself. Indeed there is no player who excels him in the interpretation of contemporary works. "There is no more extraordinary technician living to-day than Mr. Rubinstein." E. N. WEDNESDAY, 6th MARCH, 1929. ELENA GERHARDT. SONG RECITAL. The Club is again fortunate in securing Madame Gerhardt, the world's greatest lieder singer, for a recital. On her last visit, two seasons ago, she made a great impression and members will welcome her return this season.

HUDDERSFIELD MUSIC CLUB E. J. BRUCE, Esq., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, OCTOBER 3, 1928 AT 7-45 THE ENGLISH SINGERS FLORA MANN NELLIE CARSON D LILLIAN BERGER PROGRAMME NORMAN STONE NORMAN NOTLEY CUTHBERT KELLY PRICE SIXPENCE 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

SING WE AND CHANT IT MADRIGALS AND BALLETS Sing we and chant it, While love doth grant it, Fa la la! Not long youth lasteth And old age hasteth, Now is best leisure, To take our pleasure. Fa la la! PROGRAMME RETIRE MY TROUBLED SOUL THE NIGHTINGALE Retire, my troubled soul! Rest and behold Thy days of dolour, dangers manifold. See! Life is but a dream, whose best contenting, Begun with hope, pursued with doubt, Enjoyed with fear ends in repenting. THOMAS MORLEY (1558-1603) All things invite us Now to delight us, Fa la la! Hence care be packing, No mirth be lacking, Let spare no treasure To live in pleasure. Fa la la! The nightingale so soon as April bringeth, Unto her rested sense a perfect waking, And mournfully bewailing, Her throat in tunes expresseth What grief her breast oppresseth. SWEET HONEY-SUCKING BEES While late bare earth, proud of new clothing, springeth: Sings out her woes, a thorn her song-book making: THOMAS BATESON (1575-1630) Sweet honey-sucking bees, why do you still Surfeit on roses, pinks and violets, As if the choicest nectar lay in them Wherewith you store your curious cabinets; Ah, make your flight to Melisuaviaria's lips; There may you revel in Ambrosian cheer, Where smiling roses and sweet lilies sit, Keeping their spring-tide graces all the year. JOHN WARD JOHN WILBYE (1574-1638) Yet sweet, take heed, all sweets are hard to get ; Sting not her soft lips, oh, beware of that, For if one flaming dart come from her eye, Was never dart so sharp, ah, then you die!

ELIZABETHAN PART-SONGS AND BALLET WHEN FROM MY LOVE When from my love I look'd for love and kind affection's due, Too well I found her vows to prove most faithless and untrue : For when I did ask her why Most sharply she did reply That she with me Did ne'er agree To love but jestingly. Mark but the subtle policies that female lovers find, Who love to fix their constancies like feathers in the wind, Though they swear, vow and protest That they love you chiefly best, Yet by and by They'll all deny And say 'twas but in jest. COME, HEAVY SLEEP JOHN BARTLETT (c. 1606) O CARE, THOU WILT DESPATCH ME Come, heavy sleep, the image of true death, And close up these my weary weeping eyes, Whose spring of tears doth stop my vital breath, And tears my heart with sorrow's sigh-swollen cries. Come and possess my tired thought-worn soul, That, living dies, till thou on me be stole. O care, thou wilt despatch me, If music do not match me Fa la la. So deadly doth thou sting me, Mirth only help can bring me Fa la la. JOHN DOWLAND (1562-1626) THOMAS WEELKES (1575-1623) Hence care, thou art too cruel, Come music, sick man's jewel. Fa la la. His force had well nigh slain me: But thou must now sustain me. Fa la la.

06) 29) SEARCHING FOR LAMBS As I went out one May morning, One May morning betime, I met a maid, from home had stray'd, Just as the sun did shine. "What makes you rise so soon, my dear, Your journey to pursue ? Your pretty little feet they tread so neat, Strike off the morning dew." "I'm going to feed my father's flock, His young and tender lambs, That over hills and over dales Lie waiting for their dams." AN ACRE OF LAND FOLK SONGS My father left me an acre of land, Ivy sing ivery, My father left me an acre of land, And a bunch of green holly and ivery. I harrowed it with a bramble bush, Ivy sing ivery. I reaped it with a penknife And a bunch of green holly and ivery. I rose up with the lark in the morning, with my heart so full of glee, THE LAWYER arr. by GERRARD WILLIAMS BRIGG FAIR It was on the fifth of August, the weather fine and fair, Unto Brigg Fair I did repair, for to love I was inclined. Of thinking there to meet my dear, long time I'd wished to see. It's of a lawyer fine and gay As he rode to the city, O there he spied on a lovely maid, She was handsome, fair and pretty! "O stay, O stay, you handsome maid And rest a moment here, For there is none but you alone That I do love so dear." "How gloriously the sun doth shine, How pleasant is the air; I'd rather rest on a true love's breast Than any other where." The carter bought a curly whip, Ivy sing ivery. The whip did pop, and the wagon did stop And a bunch of green holly and ivery "For I am thine and thou art mine No man shall uncomfort thee, We'll join our hands in wedded bands, And a-married we will be." arr. by R. VAUGHAN WILLIAMS (born 1872) I sent it home in a walnut shell, Ivy sing ivery, I threshed it with my needle and thread, And a bunch of green holly and ivery. "Good morning unto you, fair maid, And where are you a-going?" "Down in yonder green meadows," said she, "Where my father there is a-mowing." I winnowed it with my handkerchief, Ivy sing ivery. I sent it to mill with a team of great rats, And a bunch of green holly and ivery. arr. by PERCY GRAINGER (born 1888) (born 1882) I took hold of her lily white hand, O merrily was her heart, And now we're met together, I hope we ne'er shall part, For it's meeting is a pleasure and parting is a grief, But an inconstant lover is worse than any thief. The green leaves they shall wither and the branches they shall die If ever I prove false to her, to the girl that loves me. arr. by R. VAUGHAN WILLIAMS (born 1872) "So now you come to London," says he, "It's there a fine lady I'll make you, There you shall enjoy a silken gown Diamond rings and golden laces." "I'd rather be a poor man's wife And sit at my wheel a-spinning, Than I would be a lawyer's jade And go to London a-roaming." So now she is a poor man's wife, Her husband dearly loves her- She lives a sweet and contented life, There's no lady in town above her. A SHORT INTERVAL

THE CRYES OF LONDON arr. by GORDON JACOB (from the "Fancies" of Orlando Gibbons, Thomas Weelkes and Richard Dering) (The Watchman) God give you good morrow my masters, past three o'clocke and a faire morning. New Mussels, new lily-white mussels. Hot coddlings, hot. New coccles, new greate coccles. New greate sprats. New greate lamprils. New fresh herrings. New haddocks, new. New thornbacks, new. (Ha' ye any corns on your feet or toes ?) Hot apple pies hot. Hot pippin pies hot. Fine pomegranates fine. Buy any ink, will you buy any ink. Very fine writing ink. Oysters, oysters, oysters. Threepence a pecke at Bridewell docke. New Wallfleet oysters. (The Town cryer) O-Yes! If any man or woman can tell any tydyngs of a grey mare, with a long mane and a short tayle. She halts downe right before and is starke lame behind, and was lost this thirtieth day of February. He that can tell any tydyngs of her, let him come to the Cryer, and he shall have well for his hier. Have you any boots, mayds, or have you any shoone, or an old payre of buskins. Will you buy any brooms. An old payre of boots, mayds, or a new payre of shoone, or an old payre of buskins for all my greene broome. What kitchen stuff have ye mayds? My mother was an honest wife, and twenty years she led this life. Will you buy any Rock-salt sampiere, or a cake of good ginger bread? Have ye any wood to cleave? (The Cooper) A Cooper I am and have been long, and hooping is my trade and married I am to as pretty a wench as ever God hath made. Have ye work for a cooper? Ripe walnuts ripe. Ripe chestnuts ripe. Ripe raspberries ripe. Cherries ripe, ripe, ripe. Pips fine. Fine pears ripe. Medlars fine. Will ye buy any aqua vitae or Rosa-solis fina? Hard St. Thomas onions hard. Ripe harty-chokes ripe. My sprats, my sprats, twopence-a-peck, twopence-a-peck; twopence-a-peck at Milford stairs. (Twinkle downe tavye). Pity the poor women for the Lord's sake, good men of God pity the poor women. Poor and cold and comfortless in the deep dungeon. (The Chimney Swepe) Swepe chimney swepe, mistress, with a hoop dery swepe, from the bottom to the top, swepe, chimney swepe. Then shall no soote fall in your porridge-pot, with a hoope-dery dery, dery swepe. (The Watchman) Lanthorns and candle light, hang out mayes for all night. (And so we make an end).

HARD BY A CRYSTAL FOUNTAIN MADRIGALS AND BALLET Hard by a crystal fountain Oriana the bright day lay down a-sleeping, The birds they finely chirped, the winds were stilled, Sweetly with these accentings the air was filled, This is that fair whose head a crown deserveth, WEEP, O MINE EYES Leave shepherds your lambs keeping, upon the barren mountains. And nymphs attend on her and leave your bowers, For she the shepherds' life maintains and yours. Then sang the shepherds and nymphs of Diana, Long live fair Oriana. HAVE I FOUND HER ? Weep, O mine eyes, and cease not : These your spring tides, alas! methinks increase not. O when, O when begin you To swell so high that I may drown me in you? THOMAS MORLEY (1558-1603) Have I found her (O rich finding !) Goddess-like for to behold, Her fair tresses seemly binding In a chain of pearl and gold? Chain me, chain me, O most fair, Chain me to thee with that hair, WELCOME, SWEET PLEASURE Welcome, sweet pleasure, my wealth and treasure, To haste our playing, there's no delaying, No, no, no. This mirth delights me, when sorrow frights me. Then sing we all Fa la la. JOHN BENNET (c. 1600) THOMAS BATESON (1575-1630) THOMAS WEELKES (1575-1623) Sorrow content thee, mirth must prevent thee, Tho' much thou grievest, thou none relievest, No, no, no, no. Joy come delight me, though sorrow spite me, Then sing we all Fa la la.

COSP 1928. WED. 14 NOV. WED. 5 DEC. 1929. WED. 9 JAN. WED. 6 FEB. WED. 6 MAR. LÉNER STRING QUARTET THE AGUILAR LUTE QUARTET BROSA STRING QUARTET ARTHUR RUBINSTEIN ELENA GERHARDT THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING FIVE CONCERTS IS 21s. (INCLUDING TAX) PAYABLE TO THE TREASURER.

HUDDERSFIELD MUSIC CLUB E. J. BRUCE, Esq., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, NOVEMBER 14, 1928 AT 7-45 LÉNER STRING QUARTET JÉNO LENER, 1st Violin JOSEPH SMILOVITS, 2nd Violin SANDOR ROTH, Viola JMRE HARTMAN, 'Cello PROGRAMME PRICE SIXPENCE 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

QUARTET in D MINOR PROGRAMME. I Allegro Andante con moto (with variations) Scherzo (Allegro molto) Presto The centenary of the death of Schubert will be observed on November 19th next wherever music is made all the world over. Born in 1797 Franz Schubert died in penury the age of 31, leaving to the world a collection of ten symphonies, two full-sized operas, numerous song-plays, stage music pieces, masses, chamber-music and piano pieces galore and over six hundred songs. This work of Schubert's, published after his death, is now the best known of all his string quartets. Schubert is generally more lyrical than this and less dramatic; it is possible that the inclusion of his famous song "Death and the Maiden" (with variations) for the second movement may have given the colouring to the whole. The string-work of the violins is exceptionally fine. The third movement, a Scherzo, has the usual trio in the middle and the return to the first minor theme. The final presto is one of those movements with a kind of galloping rhythm--some would say Beethovenish in style; but it must be remarked that Beethoven undoubtedly learned much from his contemporary Schubert, who was also quite well-known in Vienna. [I SCHUBERT PHANTASY-QUARTET in one movement, op. 12 Largo Grazioso con moto Andante espressivo Allegro scherzando EUGENE GOOSSENS Eugène Goossens (b. London, 26 May, 1893) has passed through more phases than most living composers, and this for two reasons-because he came into the field at a period when musical forces were actually warring one against the other over the determination of a new art to push through, He has passed, too, through five phases more quickly than most composers go through. two, because of his astounding facility in the technique of composition. The present work belongs to his second phase. His first was a purely pictorial one (Impressions of a holiday; 4 Conceits, Phantasy for octet, etc.); his second includes a romantic lyricism, with a proneness to French impressionistic methods. The rapid opening phrase in unison, and the series of soft chords following it, supply the chief material; they are developed atmospherically, rather than thematically in the Beethoven-Brahms fashion. Altogether the quartet is one of the most interesting of the contemporary British School.

QUARTET in F MAJOR op. 96 1928. WED. 5 DEC. III 1929. WED. 9 JAN. WED. 6 FEB. WED. 6 MAR. Allegro ma non troppo Lento Molto vivace Vivace ma non troppo This quartet written in 1893 is frequently called the Negro Quartet and, like the composer's symphony "From the New World," is generally thought to be founded on the traditional tunes of the American negroes. As a matter of fact not a single negro melody is used either in this quartet or in the symphony, but Dvorak merely adopted the idiom of slave-song and its spirit and embodied them in melodies of his own creation, with the object of proving to American composers that they had the body of true folk-song in their own country which might be utilized in the building up of a national school. Dvorak was the pupil of Smetana, another famous Bohemian composer, and it is worthy of note that he opens this quartet in F with the same thrilling device as Smetana in his famous quartet "Aus Meinem Leben"; Leaves from my Life. Both composers throw a vigorous melody on to the lower reaches of the viola or tenor violin, but Dvorak's theme is short and concise and immensely more powerful and fruitful than Smetana's. Another difference is that Dvorak's music is absolute music, whereas Smetana's was avowedly programme music. In the second movement of this quartet the long-spun melody is accompanied by some delicious tonal effects. The Vivace is like a dance of sun dust, having at times a charming waltz lilt in the middle section. The Finale is a fantasy of tunes inter-related with first one subject and then another. The texture is finely woven as all true string writing should be. This quartet is one of the most successful of the last half-century. DVORAK (1841-1904) THE AGUILAR LUTE QUARTET BROSA STRING QUARTET ARTHUR RUBINSTEIN ELENA GERHARDT THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING FOUR CONCERTS IS 17s. (INCLUDING TAX) PAYABLE TO THE TREASURER.

Columbia New process RECORDS EXCLUSIVE RECORDS BY THESE FAMOUS ARTISTS LÉNER STRING QUARTET (Léner, Smilovits, Roth and Hartman) No other great Quartet has enjoyed such wide- spread fame as the Léner; no other has appealed to audiences so diverse-and this without any concession to "popular" taste. The matchless tone and poetic spirit of these players are most faithfully reproduced in a long series of Columbia records. For Complete List of Records by the Lener String Quartet, see Columbia Catalogue. ELECTRIC RECORDING 12-inch Double Sided, 6/6 each, L2141 QUARTET in G minor (Debussy, Op. 10, No. 1) Parts 1 and 2-Animé et três decidé (In Two Parts). Part 3-Assez vif et bien rythmé Part 4-Adagio (Part 1). L2142 L2143 L2144 Part 7.-Finale (Concluded) QUARTET in major-Menuetto (Haydn, Op. 64), Above Four Records in Art Album, with Descriptive Notes, 26s. Part 5-Adagio (Concluded) Part 6-Finale (Part 1). LENER STRING QUARTET & Mrs. OSCAR LOESER-LEBERT (Piano). 12-INCH LIGHT BLUE RECORDS. L2040 (PIANO QUINTET in F minor (Brahms-Op. 34)+ In Ten Parts. Parts 1 and 2-Allegro non troppo (Parts 1 and 2). L2041 L2042 L2043 Part 7-Scherzo allegro (Conclusion). Part 3-Allegro non troppo (Conclusion). Part 4-Andante un poco adagio (Part 1). L2110 L2111 L2112 L2113 Part 5-Andante un poco adagio (Conclusion). Part 6-Scherzo allegro (Part 12044 Part 10-Allegro non troppo (Conclusion); Presto. Part 8-(a) Poco sostenuto; (b) Allegro non troppo (Part 1). Part 9-Allegro non troppo (Part 2). +Above Five Records in Art Album, with Descriptive Notes, 328. 6d. LÉNER STRING QUARTET and C. HOBDAY (String Bass); C. DRAPER (Clarinet); E. W. HINCHCLIFF (Bassoon); AUBREY BRAIN (French Horn)- 12-INCH LIGHT BLUE RECORDS. L2108 OCTET in F major (Schubert-Op. 166)+ In Twelve Parts. Parts 1 and 2-First Movement; Adagio; Allegro (Parts 1 and 2). Part 3-First Movement; Allegro (Concluded). L2109 Part 4-Second Movement; Andante un poco mosso (Part 1). Parts 5 and 6-Second Movement; Andante un poco mosso (Part 2 and Conclusion). Part 7-Third Movement; Scherzo. Part 8-Fourth Movement; Air and Variations (Part 1). Part 9-Fourth Movement; Air and Variations (Concluded). Part 10-Fifth Movement; Menuetto. Parts 11 and 12-Sixth Movement; Finale (In Two Parts). +Above Six Records in Art Album, with Descriptive Notes, 39s. Now on Sale at all Stores and Dealers. Complete Catalogue of Columbia New Process Records. Post Free- COLUMBIA, 102-108, Clerkenwell Road, London, E.C. 1. Columbia Records MAGIC MOPES TRADEMA WITHOUT SCRATCH GAAN

HUDDERSFIELD MUSIC CLUB E. J. BRUCE, Esq., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, DECEMBER 5, 1928 AT 7-45 AGUILAR LUTE QUARTET FRANCISCO AGUILAR JOSÉ AGUILAR PROGRAMME ELISA AGUILAR EZEQUIEL AGUILAR PRICE SIXPENCE Hon. Secretary, ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield

The Lute is seldom seen on the modern concert platform, but in the time of Shakespeare it was one of the most popular stringed instruments and was everywhere practised and admired. The general shape was like that of a mandoline, but about four times as large; it was played like a guitar, and its strings, which were gut, were plucked with the fingers. The Lute was used both as a solo instrument on which to play "sprightly Ayres" or as an accompaniment for the voice or "in consort" with other instruments. The tone of a Lute is sweet, clear and full of character, and the great resonance due to the construction of the body and the fineness of the strings enables most elaborate music to be played. There is a large quantity of music written for this instrument which is unfortunately almost unknown for it can only be understood when heard on a lute, and there are very few true lutenists at the present day; moreover, the lute is essentially an intimate instrument whose delicacies are lost in a big concert hall. Lutenists were maintained at high salaries in the household of Henry VIII, and he and his daughters, Mary and Elizabeth, were admirable performers on this instrument. Lute strings were very fragile and easily broken, and a gift of lute strings was one of the most useful presents which could be made to a player-even Queen Elizabeth did not disdain to accept them. The earliest Lutes had but four strings, but in the thirteenth century the number had already been increased until in the elaborate instruments of the seventeenth century there were twenty-six or thirty strings to be carefully tuned and regulated. Mattheson said that a lutenist of eighty years old had certainly spent sixty years of that time in tuning his instrument, and that the cost in Paris of keeping a horse or a lute was about the same. In the "Taming of the Shrew" Bianca orders Hortensio to Hor: Luc: Queen Katherine : Take you your instrument, play you the whiles; His lecture will be done, ere you have tun'd. You'll leave his lecture, when I am in tune? That will be never: tune your instrument. From HENRY VIII Take thy lute, wench: My soul grows sad with troubles; Sing and disperse 'em, if thou can'st. Leave working. SONG. Orpheus with his lute made trees And the mountain tops that freeze Bow themselves when he did sing!

CHANTS POUR LUTHS POLONAISE IN B MINOR SONATA IN D MELODIE MENUET DANS LE STYLE ANCIEN (Dedicated to the Aguilar Quartet) RUMORES DE LA CALETA CORDOBA GRANADA PROGRAMME SEVILLA ORGIA (Danse fantastique) ROMANCILLO I LOS GIGANTONES Maestoso Andante Allegro EL VITO II III J. DEL ENCINA (1469-1537) L. DE PONCE (circa 1500) JOAQUIN NIN (b. 1859) J. S. BACH (1685-1750) (Specially arranged for the Aguilar Quartet) I. ALBENIZ (1860-1909) (Specially arranged for the Aguilar Quartet) J. TURINA (b. 1882) SOLER NIN (Specially arranged for the Aguilar Quartet) N. OTANO (b. 1880) JOAQUIN NIN (b. 1859) LUTES BY MAISON ESTESO, MADRID. A. SALAZAR

1929. WED. 9 JAN. WED. 6 FEB. WED. 6 MAR. BROSA STRING QUARTET ARTHUR RUBINSTEIN ELENA GERHARDT 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 9, 1929 AT 7-45 BROSA STRING QUARTET A. BROSA H. GREENBAUM PROGRAMME L. RUBENS C. A. PINI PRICE SIXPENCE Hon. Secretary, ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield

PROGRAMME QUARTET in B FLAT. K 458. QUARTET I. Allegro vivace Assai Menuetto Adagio Allegro Assai This is known as the Hunting Quartet and is one of the six quartets dedicated to Haydn and played to him at a party given in Mozart's house in Vienna, on February 12th, 1785, at which Mozart's father, Leopold, was present. Mozart had taken great pains with this work in order to render it an offering worthy of the great model upon which he always professed to have formed his style of quartet writing. On that occasion, Haydn said to Leopold Mozart "I must tell you, before God and as an honest man, that I think your son the greatest composer I ever heard of-besides his tastes, he has a profound knowledge of compositions." II. MOZART (1756-1791) MAURICE RAVEL (b. 1875) Allegro moderato Assez vif, très rythmé Très lent Vif et agité The two outstanding French composers of recent years are Debussy and Ravel. Although trained in Paris, Ravel was born sufficiently near the Pyrenees to reflect many of the Spanish traits in his music-the gay out-

look on life, the absence of introspection, the sensitiveness to light and movement, to lively rhythms, and merry fancies, the eschewing of sentiment- ality, even of sentiment, etc., This epoc-making quartet was first performed at the Paris Schola Cantorum, in March, 1904. Whereas the folk-song element in the first movement is common to Brittany and Provence as well as the Bas Pyrenees, the second movement is undoubtedly from the land of the Gitanas, for the twanging of loose gut strings, and the clacking of castanets are never absent from it. The languid nature of the third movement comes from some warmer clime than France, and the glitter and dazzle of the complex rhythms in the last movement takes us undoubtedly to the country of the sevillana and zarzuela, of Velasquez, and Zuluaga-the Land of Joy. QUARTET in A minor, Op. 29 1929. WED. 6 FEB. III. The feeling of country scenes, if not of actual folk-songs, pervades the first movement. The second, Andante, is well-known to juvenile pianists. The Minuet approaches the Scherzo type adopted by Beethoven. Village revels, lively little home parties, Christmas jollities, may all be imagined in the finale. WED. 6 MAR. Allegro ma non troppo Andante Menuetto Allegro Moderato SCHUBERT (1797-1828) ARTHUR RUBINSTEIN ELENA GERHARDT

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 6, 1929 AT 7-45 ARTHUR RUBINSTEIN PIANOFORTE RECITAL Arthur Rutunden BLUTHNER GRAND PIANOFORTE PROGRAMME m PRICE SIXPENCE Hon. Secretary, ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield

I II III IV V VI PROGRAMME I. RHAPSODY in G MINOR op. 79 CAPRICCIO in B MINOR op. 76 INTERMEZZO in A op. 118 MENUET in B MINOR SCHUBERT (1797-1828) PRELUDE CHORAL AND FUGUE CESAR FRANCK (1822-1890) This composition, first performed in Paris in 1885, is one of the masterpieces of pianoforte literature and is the outcome of an intention to write a Prelude and Fugue in the style of Bach. The Choral was an afterthought. The three- note-figure with which it opens is the motive of the whole work. It appears in the prelude and continues throughout the three movements, eventually forming the subject of the fugue. II. BRAHMS (1833-1897) SUBJECT SONATA in B MINOR LISZT (1811-1886) Not only is this Sonata (dedicated to Schumann) the finest composition of Liszt, but it is one of the greatest pianoforte works of all time. In a letter to Liszt, Wagner expressed himself as follows: "The Sonata is beyond all concep- tion beautiful, great, lovely, deep and noble, sublime, even as thyself." Composed in 1853, during the period when Liszt was engaged on the production of his Symphonic Poems, the sonata, although devoid of any programme, possesses many characteristics similar to them. Unfettered by rules and precedents, Liszt here became a law unto himself. He discarded the three or four movements consecrated by long usage, and conceived the sonata in one movement. The themes are developed unconventionally, and follow the system of metamorphosis which he used in his Symphonic Poems; the result is a work of extraordinary unity and astonishing originality. Liszt has not anywhere described the feelings which prompted him to compose this sonata, but probably it was due to some strong inward impulse to depict the struggle of one filled with noblest aspirations, battling against relentless destiny, and ending in a spirit of sad yet peaceful resignation, which suggests the capitulation of a human soul to the immanent forces of Nature.

Auntie Edic. VII EVOCATION IX ALBENIZ (1860-1909) Albeniz's last composition (1906) is the Suite of twelve dances known as "Iberia" (the ancient name of the Pyrenian peninsula). Evocation is the first of the twelve, and is a fandanguillo-a Spanish dance in triple time, accompanied by guitar and castanets. VIII X III. NAVARRA ALBENIZ (1860-1909) This work was also intended to belong to the Iberia Suite and was com- pleted by Déodat de Sévérac. It is a bravura fantasy on a Jota theme. Common to them all is a quite exceptional degree of pianistic difficulty which drove even Albeniz to despair, the manuscripts narrowly escaping the fire as they were almost unplayable. TURANDOT'S ALCOVE From Busoni's music for Gozzi's fantastic Chinese story. BUSONI (1866-1924) VERS LA FLAMME SCRIABIN (1871-1915) Scriabin's Vers la flamme is said to have been intended to form part of a Sonata. It commences with sombre shades and gradually acquires more and more life, light and rhythm, until the chief subject is clearly defined; This grows more and more luminous and brilliant, finally ending in a climax of blazing radiance which requires three staves for its full display. This is rather exacting on the player; and the last chord is a real study for the theorists. XI March from "THE LOVE OF THREE ORANGES" PROKOFIEFF (b. 1891) Taken from Prokofieff's opera-a dissonant impressionistic score of great dramatic power written round Gozzi's extravagant fairy-tale. XII Dance from "EL AMOR BRUJO" (Love the Magician) WED. MARCH 6, 1929 DE FALLA (b. 1876) From the one-act ballet described as an Andalusian Gypsy scene. This is the Ritual Fire-Dance' with which evil spirits are supposed to be exorcised. ELENA GERHARDT SINGLE TICKETS 5s. 9d. (INCLUDING TAX).

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HUDDERSFIELD MUSIC CLUB E. J. BRUCE, Esq., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, MARCH 6, 1929 AT 7-45 ELENA GERHARDT SONG RECITAL Bina Mishardt releua Ivor Newton Accompanist: IVOR NEWTON Who will also play Pianoforte Solos. PROGRAMME STEINWAY GRAND PIANOFORTE PRICE SIXPENCE Hon. Secretary, ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield

IM FRUEHLING (In the Spring) Still sitz ich an des Huegels Hang Der Himmel ist so klar Das Lueftchen spielt im gruenen Tal Wo ich beim ersten Fruehlingsstrahl Einst, ach, so gluecklich war; Wo ich an ihrer Seite ging PROGRAMME So traulich und so nah, Und tief im dunkeln Felsenquell Den schoenen Himmel blau und hell Und sie im Himmel sah. Sieh, wie der bunte Fruehling Schon aus Knosp and Bluete blickt ! Nicht alle Blueten sind mir gleich' Am liebsten pflueckt ich von dem Zweig. Von welchem sie sie gepflueckt! Denn alles ist wie damals noch' Die Blumen, das Gefield: Die Sonne scheint nicht minder hell, Nicht minder freundlich schwimmt im Quel Das blaue Himmelsbild. Es wandeln nur sich Will and Wahn, Es wechseln Lust und Streit ; Vorueber flieht der Liebe Glueck Und nur die Liebe bleibt zurueck, Die Lieb und ach, das Leid, und ach, das Leid! O waer ich doch ein Voeglein nur Dort an dem Weisenhang, Dann bleib ich auf den Zweigen hier, Und saeng ein suesses Lied von ihr Den ganzen Sommer lang. DIE STADT (The Town) Am Fernen Horizonte erscheint, wie ein Nebelbild, Die Stadt mit ihren Türmen, in Abenddämm' rung gehüllt Ein Feuchter Windzug kräuselt die graue Wasserbahn, Mit traurigem Takte rudert der Schiffer in meinem Kahn Die Sonne hebt sich noch einmal leuchtend vom Boden empor, Und zeigt mir jene Stelle, wo ich das Liebste verlor FISCHERWEISE (A Fisherman's Life) Den Fischer fechten Sorgen und Gram und Leid nicht an, Er löst am frühen Morgen mit leichtem Sinn den Kahn Mit leichtem Sinn den Kahn Da lagert rings noch Friede auf Wald und Flur und Bach, Er ruft mit seinem Liede die gold'ne Sonne wach. Er singt zu seinem Werke aus voller frischer Brust, Die Arbeit gibt ihm Stärke, die Stärke Lebenslust, Die Stärke Leben slust. Bald wird ein bunt Gewimmel in allen Tiefen laut, Und plätschert durch den Himmel der sich im Wasser baut. Doch wer ein Netz will stellen, braucht Augen klar und gut, Muss heiter gleich den Wellen und frei sein wie die Flut, Und frei sein wie die Flut Dort angelt auf der Brücke die Hirtin schlauer Wicht, Gib auf nur deine Tücke, den Fisch betrügst du nicht ! Baron Schlechta. I SCHUBERT (Translation). Quietly sit I on the slope of the hill Gazing at the sky so clear, The breeze is playing in the valley near Where by the Spring's first sun's ray, I spent, oh, many a happy day. There where at her side I joyfully strolled So friendly and so close And down below in rocks quietly rolled A brook the blue sky reflecting And her there in the heavens saw. Look! how the vary-colour'd Spring Already in buds and blossoms has grown, Not all the blooms are dear to me I rather gather those from yonder tree From which she plucked her own. For ev'rything is as of old The flowers and the plain The sun still shines like of gold The brook still flows in friendly strain With that vision in the blue sky. Only will and illusion never are secure And pleasure and discord never endure. Yet love's happiness everlastingly fades Though love itself only will remain. Love, and oh, the pain, the pain ! Oh, if only a little bird were I There on the meadow's green There would I here on the bushes fly And to her I'd sing a loving song During the whole sweet summer long. SCHUBERT (Translation). The far horizon shows us in vaporous hues portrayed. The town's high tow'rs and steeples all shrowded in ilight shade, A moist and chilly night breeze across the water blows, With even and mournful cadence the boatman our light skiff rows, Once more the bright sun reviving sheds on the earth his warm ray, Once more the place illumines where pass'd my darling away. (Translation). The fisher fears no sorrow, nor rue, nor trouble's note He looses in fresh morning, with light free hand the boat, With light free hand the boat. While camped in gentle Peace over forest field and lake, He calls with his free Lieder the golden sun to wake. He sings about his glad work, with fuller fresher breast, The work it give him right strength, The strength, life joy and zest, Soon flows a merry flocking, through all the waters loud And bubbles through the heaven of wave-reflected cloud. But who a net would lay, he needs eyes both clear and good, Must lusty as the waves be and free be as the flood, And free be as the flood. There angles on the bridge there, the herdsman dotard now, Give over swift thy knav'ry the fish befool'st not thou !

DER TOD UND DAS MAEDCHEN (Death and the Maiden) Vorueber, ach, vorueber Geh, wilder Knochenmann Ich bin noch jung, geh' lieber. Und ruehre mich nicht an. Gieb deine Hand, du schoen und zart Gebild Bin Freund, und komme nicht, zu strafen Sei gutes Muths, ich bin nicht wild. Sollst sanft in meinen Armen schlafen. DER MUSENSOHN Durch Feld und Wald zu schweifen, Mein Liedchen weg zu pfeifen, So geht's von Ort zu Ort Und nach dem Takte reget, Und nach dem Mass beweget Sich Alles an mir fort. Ich kann sie kaum erwarten, Die erste Blum' im Garten, Die erste Blüt' am Baum, Sie grüssen meine Lieder, Und kommt der Winter wieder, Sing' ich noch jenen Traum. Ich sing' ihn in der Weite, Auf Eises Läng' und Breite, Da blüht der Winter schön! Auch diese Blüte schwindet, Und neue Freude findet Sich auf bebauten Höh'n. Denn wie ich bei der Linde Das junge Völkchen finde, Sogleich erreg ich sie, Der stumpfe Bursche bläht sich, Das steife Mädchen dreht sich, Nach meiner Melodie, Ihr gebt den Sohlen Flügel, Und treibt durch Thal und Hügel, Den Liebling weit von Haus Ihr lieben, holden Musen, Wann ruh' ich ihr am Busen Auch endlich wieder aus? Goethe. (Translation). Pass onward, Oh, pass onward, Wild man with the skinless bone; I'm but a girl, away then i And leave the young alone. Give me thy hand, my fair and tender child, As friend I come, and not to chasten; Be of good cheer, I am not wild, To sleep within these fond arms hasten. (Translation). Through field and forest gliding, My lute and Lieder guiding, From spot to spot I flee, And to my measure waking, From nature's green comes rushing All beauty forth to me. I scarcely can await them, The first flowers in the garden, The blushing trees of Spring. They greet my flowing Lieder, And comes the Winter back, Yet still my dream I sing. I sing it in the snowfield, Upon the spreading ice plane, There blooms the Winter white, These bloomings also vanish, And beauties new are building Upon the leafy height. Then find I 'neath the Linden The young folk of the country, I draw them unto me. The rustic clown is gladden'd, The awkward wench bestirs her Unto my melody. SCHUBERT Ye kiss with wings the light feet, And lead o'er hill and valley, In airy wide release. Ye lovely noble Muses, When pass I to your bosom At last, in endless peace. SCHUBERT THE CLUB IS OPEN TO ALL. INTENDING NEW MEMBERS SHOULD SEND THEIR NAMES AND ADDRESSES AT ONCE TO F. W. GADSBY, ESQ., NATIONAL PROVINCIAL BANK, LTD., KING STREET, HUDDERSFIELD.

MIT MYRTHEN UND ROSEN Mit Myrthen und Rosen, lieblich und hold, Mit duft'gen Cypressen und Flittergold Möcht' ich zieren dies Buch, wie'nen Todtenschrein, Und sargen meine Lieder hinein. O könnt ich die Liebe sargen hinzu! Auf dem Grabe der Liebe wächst Blümlein der Ruh', Da blüht es hervor, da pflückt man es ab, Doch mir blüht's nur, wenn ich selber im Grab. Hier sind nun die Lieder. die einst so wild Wie ein Lavastrom, der dem Aetna entquillt Hervorgestürzt aus dem tiefsten Gemüth, Und rings viel blitzende Funken versprüht. Nun liegen sie stumm und todtengleich, Nun starren sie kalt und nebelbleich. Doch auf's neu' die Gluth sie belebt, I Wenn der Liebe Geist über ihr schwebt. Und es wird mir im Herzen viel Ahnung laut: Der Liebe Geist einst über sie thaut ! Einst kommt dies Buch in deine Hand, Du süsses Lieb im fernen Land Dann löst sich des Liedes Zauberbann Die blassen Buchstaben schauen dich an, Sie schauen dir flehend in's schöne Aug' Und flüstern mit Wehmuth und Liebeshauch. DER SANDMANN Zwei feine Stieflein hab' ich an, Mit wunderweichen Söhlchen dran Ein Säcklein hab' ich hinten auf, Husch tripp' ich rasch die Trepp' hinauf. Und wenn ich in die Stube tret' Die Kinder beten ihr Gebet: Von meinem Sand zwei Körnelein Streu' ich auf ihre Aeuglein. Da schlafen sie die ganze Nacht In Gottes und der Englein Wacht. Heine. Von meinem Sand zwei Körnelein Streut' ich auf die Aeuglein: Den frommen Kindern soll gar schon Ein froher Traum vorübergeh'n. II Nun risch und rasch mit Sack und Stab Nur wieder jetzt die Trepp' hinab. Ich kann nicht länger müssig steh'n Muss heut' noch zu garvielen Geh'n. Da nickt ihr schon und lacht im Traum, Und öffnete doch mein Säcklein kaum. SCHUMANN (Translation). This book which here in my hand I hold I'll cover with roses and leaves of gold, Like some rich coffin stately dressed, And there I will lay my songs to rest. Ah, would that my love with my songs might go! On love's grave only doth heartsease blow; There others may gather the flowers they crave, But for me it must spring from my own green grave. Are these, then. my songs that once outpoured Like the torrent from Aetna's fiery hoard, Burst flaming forth from my heart's deep ground, And scattered their glowing ashes around? How dumb now they lie! how pale to see! How cold and how ghostly they stare at me! But the ancient fire will waken and glow, If the spirit of love once over them go. My heart will ring with a warning cry, When the spirit of love shall on them lie, When my book is held in thy white hand, My dear, dear love, in a distant land! Then my poor dead songs from the grave shall rise, The letters shall gaze in thy lovely eyes Shall weep as they see thee so wondrous fair, And tremble with longing and love's despair. SCHUMANN (Translation). A pair of silken shoes I wear, And softly tread and move with care, And sand within a tiny sack Lightly I carry on my back. On noiseless foot I mount the stair And find the children all at prayer And then I take them by surprise And strew my sand into their eyes, To make them sleep the livelong night While o'er them watch two angels bright. My sand I took and strew'd it light Into their little eyes so bright. To make good children dream the while Till sweetly in their sleep they smile. Then down the stair trip, trip I go, I dare not tarry long, you know To many I must go to-day So here I can no longer stay. Now smiling in your sleep you seem : My sand has brought a pleasant dream.

WER MACHTE DICH SO KRANK ("Who has done this to thee?") (Translation). Who has done this to thee? That thou so sick should'st be? No cool breeze from the North, No starry night shines forth; No shadows 'neath the tree, No sunbeams glinting free. No longer dream or sleep In valley flower-beds deep, That I my death would bear. Men neither know nor care ! They leave no peace nor rest, Nature's healing's best. Dass du so krank geworden, Wer hat es denn gemacht? Kein kühler Hauch aus Norden Und keine Sternennacht, Kein Schatten unter Bäumen, Nicht Glut des Sonnenstrahls' Kein Schlummern und kein Träumen Im Blütenbett des Tals. Dass ich trag' Todeswunden, Das ist der Menschen Tun; Natur liess mich gesunden. Sie lassen mich nicht ruh'n. J. Kerner, ALTE LAUTE ("Old Sounds") Hörst Du den Vogel singen Siehst Du den Blütenbaum, Herz, kann dich das nicht bringen. Aus deinem bangen Traum? Was hôr ich ?-alte Laute Weh müt'ger Jüngslingsbrust, Der Zeit, als ich vertraute Der Welt und ihrer Lust. Die Tage sind vergangen, Mich heilt kein Kraut der Flur Und aus dem Traum, dem bangen Weckt mich ein Engel nur. IN'S FREIE Mir ist's so eng allüberall, 1 Es schlägt das Herz mit lautem Schall Und was da schallt, sind Lieder! Aus düst'rer Mauern bangem Ring Flieg'ich ins Weite froh und flink; Da atm' ich Wonne wieder! Da flattert aus der off'nen Brust. Die Sehnsucht nach verrauschter Lust Und nach gehoffter Wonne; Die Winde tragen's himmelan. Die Gräslein geben Fürbitt' dran, Sich neigend in der Sonne. Mir ist's so eng allüberall. Es schlägt das Herz mit lautem Schall Und was da schallt, sind Lieder! Aus düst'rer Mauern bangem Ring Flieg' ich ins Weite froh und flink : Da atm' ich Wonne wieder! Es schlägt das Herz mit lautem Schall, Und was da schallt, sind Lieder. DANSE ESPAGNOLE RHAPSODIE IN E FLAT v. d. Neun. III All stifled in prison My heart beats aloud And beats in a song ! Out from these walls (Translation). The sweet-voiced birds are singing, The blossoming tree stands there, O heart, can nothing stir thee, Out of thy sad long dream? I hear the dear old sounds Of youth, of hope, of love, Of a time when I still trusted, The world and all its charm. Those days have fled for ever, And for ever shall I mourn, Out of my dream, on an Angel's wing, My soul away will be borne. D. F. Madeley. (Translation). I rush to the air, There can I breathe, There pour out the joy That bursts from my breast, On the winds of delight. The sunshine it calls me, Now beckon the leaves ; Stifled in prison My heart beats aloud, And beats in a song! Out from these walls. PIANO SOLOS. I flee to the woods, Happy and gay, There can I breathe, My heart beats aloud. And beats in a song! IVOR NEWTON SCHUMANN D. F. Madeley. SCHUMANN SCHUMANN GRANADAS BRAHMS

IV WEIT UBER DAS FELD (Song from "Ivan") Weit uber das Feld durch die Lüfte hoch Nach Beute ein mächtiger Geier flog Am Stromesrande im frischen Gras Ein junge weissflüglige Taube sass O verstecke dich, Täubchen, im grünen Wald Sonst verschlingt dich der lüsterne Geier bald. Eine Möwe hoch über der Wolga fliegt. Und beute spähend im Kreise sich wiegt O halte dich Fischlein, im Wasser versteckt Dass dich nicht die Spähende Möwe entdeckt Und steigst du hinauf, so steigt sie herab Und macht dich zur Beute und führt dich zum Grab. Ach du grünende feuchte Erde du, Thu'dich auf, leg'mein stürmisches Herz zur Ruh' Blaues Himmelstuch mit der Sternlein Zier O trockne vom Auge die Thräne mir Hilf, Himmel, der armen, der duldenden Maid Es bricht mir das Herz, es bricht mir das Herz Vor Weh und Leid. FELDEINSAMKEIT (In Summer Fields) Ich ruhe still im hohen grünen gras, Und sende lange meinen blick nach oben, nach oben, Von grillen rings umschwirrt ohn' unterlass, Von himmelsbläue wundersam umwoben Die schönen weissen wolken zieh'n da hin Durch's tiefe blau, wie schöne stille träume Wie schöue stille träume; Mir ist, als ob ich längst gestorben bin Und ziehe selig mit durchew'ge räume. KOMM' ICH DENN ZUR TUER WIE Wie komm' ich denn zur Tür herein, sag' du, mein Liebchen, sag'? Nimm den Ring und zieh' die Klink, dann meint die Mutt'r es wär' der Wind, Komm du, mein Liebchen, komm! Wie komm' ich denn vorbei dem Hund? sag' du, mein Liebchen, sag'? Gib dem Hund ein gutes Wort, dann geht er wied'r an sienen Ort, Komm du, mein Liebchen, komm! Wie komm' ich denn vorbei dem Feu'r, sag' du, mein Liebchen, sag'! Schütt' ein bischen Wasser drein, dann meint die Mutt'r es regnet' rein, Komm du, mein Liebchen, komm! Wie komm' ich denn die Trepp' hinauf, sag' du, mein Liebchen, sag'? Nimm die Schuh'nur in die Hand und schleich dich leis' entlang der Wand, Komm du, mein Liebchen, komm! VON EWIGER LIEBE Dunkel, wie dunkel in Wald und in Feld! Abend schon ist es, nun schweiget die Welt. Nirgend noch Licht und nirgend noch Rauch, Ja, und die Lerche sie schweiget nun auch. Kommt aus dem Dorfe der Bursche heraus. Giebt das Geleit der Geliebten nach Haus, Fuehrt sie am Weidengebuesche vorbei, Redet so viel und so mancherlei: "Leidest du Schmach und betruebest du dich, Leidest du Schmach von Andern um mich, Werde die Liebe getrennt so geschwind, Schnell wir frueher vereiniget sind. Scheide mit Regen und scheide mit Wind, Schnellde wie wir frueher vereiniget sind." Spricht das Maegdelein Maegdelein spricht; "Unsere Liebe, sie trennt sich nicht! Fest ist der Stahl und das Eisen gar sehr, Unsere Liebe ist fester noch mehr. "Eisen und Stahl, man schmiedet sie um, Unsere Liebe, wer wandelt sie um ? Eisen und Stahl, sie koennen zergehn. Unsere Liebe, unsere Liebe muss ewig,ewig bestehn!" BRAHMS (Translation). Poised in the air, watching far away, A carrion vulture had eyed his prey; Near flowing streamlet a dove did light, And in meadow was preening its feathers white. Have a care, pretty dove, to the woodland flee, Or the merciless vulture will fall on thee. Seagull, soaring high over the Volga. flies And circles, waiting for victim to rise; Deep down, pretty fish, in the water now hide Lest seagull espy thee and danger betide; But stay, if thou wilt, or hie thee away, Thou canst not go free, thou art doomed for its prey. HEREIN Take me now to thy cool and mossy breast, O thou earth, lay my storm-beaten heart to rest ; Azure veil of heaven and starlit skies, O dry ye the tears that bedew mine eyes; O heaven, thy mercy on suffering show, My heart. break for pain and woc. BRAHMS (Translation). Where noonday sleeps upon the grassy hill, I lie and watch the boundless blue above me; The whirr of tiny wings is never still To wondrous visions heaven's high glories move me As o'er me float along the azure dome The fair white clouds like dreamlands silent legions My spirit seeks again its longlost home, And floats with them through heaven's eternal regions. BRAHMS (English Version). How may I op'n your chamber door? O speak, my darling speak. Turn the key, the latch you see, then mother thinks it is the tree, O come, my darling, come! How may I pass your watchful dog? O speak, my darling, speak. Give the dog a kindly word, then he thinks you are his lord, O come, my darling, come! How may I pass the kitchen fire? O speak, my darling, speak. Pour a little water in, then mother thinks the rain blows in, O come, my darling, come! How may I climb the staircase steep? O speak, my darling, speak. Use your slippers not at all, and slowly creep along the wall, O come, my darling, come! BRAHMS (Translation). Darker and darker loom forest and hill! Evening has fallen, the world has grown still. Never a fire or taper alight, Nay, not a bird breaks the stillness of night. Out from the village the lover has come. Come with his sweetheart, a-taking her home; On past the copse in the meadow he leads, Fast come his words, many things he pleads: "Art thou ashamed, art distressed over me? Art thou ashamed, my sweetheart to be? Then let the love that has held us now die, Quick as we first came together, say I Part in the rain with the clouds in the sky, Quick as we first came together, say I!"

FUSSREISE (Wandering) Am frischgeschnittnen Wanderstab, wenn ich in der Frühe So durch Wälder ziehe, Hügel auf und ab, Dann wie's Vöglein im Laube singet und sich rührt Oder wie die gold'ne Traube Wonnegeister spürt In der ersten Morgensonne So fühlt auch mein alter lieber Adam Herbst und Frühlingsfieber Gottbeherzte, nie verscherzte Erstlings- Paradieseswonne. Also bist du nicht so schlimm, o alter Adam, Wie die strengen Lehrer sagen. Liebst und lobst du immer doch, singst und preisest immer noch Wie an ewig neuen Schöpfungstagen Deinen lieben Schöpfer und Erhalter Möch't es dieser geben, Und mein ganzes Leben wär' im leichten Wander- schweisse Eine solche Morgenreise. Wenn du zu den Blumen gehst, Pflücke die schönsten, dich zu schmücken. Ach, wenn du in dem Gärtlein steh'st Müsstest du dich selber pflücken. Auf dem grünen Balkon, mein Mädchen Schaut nach mir durch's Gitterlein Mit den Augen blinzelt sie freundlich, Mit dem Finger sagt sie mir: Nein! Glück, das nimmer ohne Wanken Junger Liebe folgt hienieden, Hat mir eine Lust beschieden, Und auch da noch muss ich schwanken, Schmeicheln hör'ich oder Zanken, Komm ich an ihr Fensterlädchen, Immer nach dem Brauch der Mädchen Trauft in's Glück ein bischen Pein: Mit den Augen blinzelt sie freundlich, Mit dem Finger sagt sie mir: Nein! Wie sich nur in ihr vertragen Ihre Kälte, mein Glut? Weil in ihr mein Himmel ruht, Seh' ich Trüb und Hell sich jagen. In den Wind geh'n meine Klagen, Dass noch nie die süsse Kleine Ihre Arme schlang um meine; Doch sie hält mich hin so fein Mit den Augen blinzelt sie freundlich, Mit dem Finger sagt sie mir: Nein! V -Ans dem Span, Llederbuch nach Heyse und Geibel. GESANG WEYLA'S (Weyla's Song) Du bist Orplid, mein Land! Das ferne leuchtet; Vom Meere dampfet dein besonnter Strand Den Nebel, so der Götter Wange feuchtet. Uralte Wasser steigen verjüngt Um deine Hüften, Kind! Vor deiner Gottheit beugen sich Könige, Die deine Wärter sind. Ed. Möricke. HUGO WOLF (Translation). When with my new cut walking staff, for I saunter early Over hill and valley, through woods lies my path Then like birds in their arbor sing with secret thrill Or as grapes of golden color wondrous rapture feel When the morning sun appeareth. Thus my inmost soul doth waken, is with fev'rish longing shaken In the springtime, in the autumn, strains of paradise he heareth So art thou not quite so bad, O soul called sinful As the teachers stern would have it WENN DU ZU DEN BLUMEN GEHST (Wouldst thou cull the Fairest Flower) (Translation). Wouldst thou cull the fairest flower, Lily or violet, rose or heather, Fairest blossom in summer bower! Thou thine own sweet self must gather. All thy sister flowers know, Alle Blumen wissen ja, Dass du hold bist ohne gleichen. Own that thou are fairest, dearest. All that see thee cease to glow, Und die Blume, die dich sah, Farb' und Schmuck muss ihr erbleichen. Lieblicher als Rosen sind They must fade where thou appearest. Sweeter far than roses, Die Küsse die dein Mund verschwendet, Are the kisses thy red rose-lips wasted, Weil der Reiz der Blumen endet, At our tongue of nectar tasted, Yet thee we'd own beyond compare. Wo dein Liebreiz erst beginnt. AUF DEM GRÜNEN BALKON (At Her Green Lattice-Window Standing) (Translation). At her green lattice-window standing Oft I see my pretty May. She will wink her eye at me fondly, With her finger: Nay! she'll say: Nay! Fortune that often hath derided lovers, By me well intended, When to me her steps shè Yet she left me undecided : ded, May is flatt'ring or is chiding someone, Every day that passes. Tell me why our fairest lasses E'en their hearts' desire gainsay: She will wink her eye at me fondly. With her finger: Nay! she'll say: Nay! Oft I wonder how they mingle, With heart's coldness and my fire! She's my heaven, heart's desire: Light and darkness there do mingle, To the winds oft I've confessed me, And it sorely hath distressed me, That her arms have ne'er caressed me: She politely bids me stay. She will wink her eye at me fondly, With her finger: Nay! She'll say: Nay! Still dost love and still dost sing, and with praise thy voice doth ring As when first the great world was created For thy dear creator and thy keeper. If he would but grant me That my whole life might be full of effort gently tiring Such a perfect morning wand'ring. HUGO WOLF HUGO WOLF HUGO WOLF (Translation). Hail sacred Isle ! dear land! Far distant shining ! The mists, beguiled by thy sunny strand From ocean, chaplets for the gods are twining. Eternal waves ascending thy vernal slopes, Lost youth regain. Before thine altar bending, great kings, Thy vassals, throng thy marble fane." Marie Boileau.

WHAT better sou- venir of the time you heard Elena Gerhardt in person could you have than a record or two by this famous artist. Your local dealer will gladly let you hear the eight songs from the WINTER JOURNEY CYCLE and many miscellaneous songs sung in German by Elena Gerhardt. Elena Gerhardt RECORDS ONLY FOR "His Master's Voice" The Gramophone Co., Ltd., Oxford Street, W. 1. "His Master's Voice"