HUDDERSFIELD MUSIC SOCIETY Brochure 12th Season's programmes 19.2.1930. HUDDERSFIELD MUSIC CLUB HW string nor 12/4 Programme correction: 8.1.1930 Gibbs should be Programme signed by Gaspar Cassado 1929-1930 Quarter No 3, 0p18 ople No 3 (Grove). ww L Јахрәчә10 00 7 P. а !-х X

1 HUDDERSFIELD MUSIC OLIID HUDDERSFIELD MUSIC CLUB HUDDERSFIELD MUSIC CLUB. PRESIDENT CONCERTS FOR THE TWELFTH SEASON 1929-30 TO BE GIVEN IN Hon. Secretary Hon. Treasurer - 7 E. J. BRUCE, Esq., J.P. HIGHFIELD ASSEMBLY HALL (NEW NORTH ROAD) WEDNESDAYS, OCT. 16, NOV. 13, DEC. 4, 1929, WEDNESDAYS, JAN. 8, FEB. 19, MARCH 5, 1930. At 7-45 p.m. A -W. Clifford Crook. -G. Fleming. I. Stancliffe Ellis. W. Tuke Robson. Committee: Mrs. A. Eaglefield Hull. Haydn Sandwell, F.R.C.O. F. W. Thornton, F.R.C.S. Frederick Whiteley. D. R. H. Williams, 99 A. L. Woodhead, M.A., J.P. 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.

1 HUDDERSFIELD MUSIC CLUB. veJeueu21 רכרכרברב PRESIDENT E. J. BRUCE, Esq., J.P. CONCERTS FOR THE TWELFTH SEASON 1929-30 TO BE GIVEN IN בתבת -W. Clifford Crook. G. Fleming. J. Stancliffe Ellis. W. Tuke Robson. Hon. Secretary Hon. Treasurer - HIGHFIELD ASSEMBLY HALL (NEW NORTH ROAD) WEDNESDAYS, OCT. 16, NOV. 13, DEC. 4, 1929, WEDNESDAYS, JAN. 8, FEB. 19, MARCH 5, 1930. At 7-45 p.m. Committee: Mrs. A. Eaglefield Hull. Haydn Sandwell, F.R.C.O. F. W. Thornton, F.R.C.S. Frederick Whiteley. D. R. H. Williams. 45454545 A. L. Woodhead, M.A., J.P. 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. 16 23

WEDNESDAY, 16th OCTOBER, 1929. THE BUDAPEST STRING QUARTET. "Their style is made of silken purity, both of tone and of phrase, and it was perfectly matched with the music." Morning Post. WEDNESDAY, 13th NOVEMBER, 1929. THE CHELSEA SINGERS. This group of Five Vocalists, in the period costumes affected, render to perfection the part songs, madrigals and catches of a bygone age. WEDNESDAY, 4th DECEMBER, 1929. PIANO and SONG RECITAL. HARRIET COHEN "She is a poet of the piano. Her playing is of the highest distinction and finish, and every strand of the musical texture falls into its appointed place with infallible precision." Pester Lloyd, Budapest. and MARJORIE FFRANGCON-DAVIES. Miss FFRANGCON-DAVIES has a soprano voice of highly attractive quality and sings with great intelligence. Accompanist HAYDN SANDWELL, F.R.C.O. -

WEDNESDAY, 8th JANUARY, 1930. THE CATTERALL STRING QUARTET. Whose reputation is of the highest and who have given great pleasure on previous visits. WEDNESDAY, 19th FEBRUARY, 1930. GASPAR CASSADO. 'CELLO RECITAL. A 'cellist of great ability and individuality. At the Piano Mme. GUILIETTA VON MENDELSSOHN GORDIGIANI. WEDNESDAY, 5th MARCH, 1930. ‒‒‒‒ PAUL ROBESON. RECITAL OF NEGRO SPIRITUALS. The Negro Genius whose famous number "Ol Man River" has echoed round the world. Mr. ROBESON gave recitals last season at the Drury Lane Theatre which were a huge success, the vast theatre being filled to capacity with audiences that were entranced with the mystical beauty of his marvellous voice.

HUDDERSFIELD MUSIC CLUB E. J. BRUCE, Esq., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, OCTOBER 16, 1929 AT 7-45 THE BUDAPEST STRING QUARTET IPOLYI SON HAUSER ROISMANN PROGRAMME PRICE SIXPENCE Hon. Secretary ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St. Huddersfield

PROGRAMME QUARTET No. 1 Op. 7 1 BÉLA BARTÓK (Born 1881) Vonósnégyes Allegretto Introduction and Allegro Vivace Bartók is the greatest of Hungarian nationalists in music, and at the same time he lays just claim to be counted as one of the most interesting personalities in universal music at the present time. His work divides broadly into three periods. He was born in the country at Nagyszentmiklós, a village which the Supreme Council of Versailles in 1917 credited to Slovakia. No one felt this partition more than Bartók. From Nagyszentmiklós, he went to Budapest to study at the Hungarian Academy of Music, (founded by the great Liszt), and in his first period of composition, young Bartók attempted to follow the models of Liszt, Wagner and Strauss. Individuality however, did not come through such attempts, and in 1910, when the Hungarian national movement was at its height, he turned his attention to folk-songs, soon becoming the most famous collector in Europe. His collections amount to 2,700 Hungarian folk- tunes, 3,500 Rumanian, and even Arabia was drawn upon in one of his longer tours, when he collected 200 Biskra songs. These were all taken down on the phonograph, the only really safe way of collecting. This intense cultivation of the folk-song, made a marked impression on Bartók's compositions of the second period, which often incline to folk-song melodies for their chief themes. His harmony became more daring, outspoken and entirely unconventional; it developed finally into a third style in which he renounced the conscious use of folk-music for a style of pure abstract music, which, however, owed a good deal subconsciously to the folk-music period. The First Quartet Op. 7, was written in 1908, and is divided into three movements. The first, labelled Vonósnégyes, is a slow movement, with some fine working of the inner voices. The second movement has a faster pulse, and after some intense harmony, gives us a glimpse of folk-music methods. The movement ends with a very soft half- cadence, the violins rising to an extreme height. An introduction, in irregular time, runs into the third movement, which opens with the theme in the lower instruments. Modifications of time are too numerous to describe, but the movement is brought to a very strenuous ending on three chords, which almost seem to shout out towards the second string quartet, a much more extreme work. The First Quartet is extremely melodious and full of that warm feeling which we are accustomed now to call romantic.

QUARTET in D MINOR No. 13 II Allegro moderato Andante Minuet and Trio Allegretto ma non troppo QUARTET in D MAJOR, Op. 11 Mozart was Nature's own musical child. His ear was differently formed from the normal pattern. Together with Bach, he was the greatest musical genius. A busy life with a sudden and tragic end was his-a pauper's funeral in a snowstorm; and now they still search eagerly and fruitlessly in Vienna for his grave, putting up a monument first in one place and then the other. Yet his music is all gaiety and tenderness-no Byronic passion torn to tatters, no Debussian twilight mystery. Everything is clear and gay. The opening theme of this quartet is of a more dramatic nature than usual with Mozart. It is worked out almost like the plot of a little play. The subject of the Andante shows the folk-song influence. The so-called "Scotch snap" figure used for the Trio accounts largely for the popularity of the Minuet, and the theme used for variations in the Finale shows the influence of the Italian dances. III MOZART Moderato e semplice Andante cantabile quisité Scherzo, allegro non tanto e con fuoco Allegro giusto TCHAIKOVSKY The stringed instruments appealed to Tchaikovsky more than any other; and he never could easily bear the combination of piano with them. The origin of the quartet is somewhat prosaic. In 1870 the composer was out of funds, and advised to give a concert. Warned against the risk of an orchestral concert, he fell back on a chamber one and wrote this, his first quartet, especially for it. It is in four movements. The gem is the Andante founded on a Russian folk-song to which Tchaikovsky has added one of his own lovliest tunes. Turgenief praised it; Tolstoy cried over it.

1929 WED. 13 NOV. WED. 4 DEC. 1930 WED. 8 JAN. WED. 19 FEB. WED. 5 MAR. THE CHELSEA SINGERS HARRIET COHEN and MARJORIE FFRANGCON-DAVIES CATTERALL STRING QUARTET GASPAR CASSADO and MADAME VON MENDELSSOHN GORDIGIANI PAUL ROBESON 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 13, 1929 AT 7-45 THE CHELSEA SINGERS PROGRAMME Le con anima PRICE SIXPENCE Hon. Secretary ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St. Huddersfield

SIGH NO MORE, LADIES FAIR PHYLLIS POLLY OLIVER PROGRAMME ARISE, AWAKE HOW MERRILY WE LIVE ON THE PLAINS Glee for five voyces DRINK TO ME ONLY Madrigal for four voyces FANTASIE COUNTRY GARDENS R. J. S. STEVENS (1757-1837) Old English Air arr. as Duet by ERNEST NEWTON Traditional song. Glee for three female voyces WHILST YOUTHFUL SPORTS THOMAS WEELKES (1578-1623) Ballet for five voyces II JOHN FARMER (1599) MICHAEL ESTE (1575-1638) arr. H, ELLIOT BUTTON Quartette THOMAS MORLEY (1557-1604) Madrigal for five voyces Piano Solos THOMAS WEELKES (1578-1623) Ballet for five voyces BACH (1685-1750) arr. by PERCY GRAINGER

O, NO JOHN! THE DARK-EYED SAILOR Folk Song. Duet FAR AWAY NURSERY RHYMES (Op. 23) THE KEEPER Folk Song. Quintette NOW IS THE MONTH OF MAYING THOMAS MORLEY (1557-1604) Ballet for five voyces THE OAK AND THE ASH WHO COMES THERE? III Quartettes IV THE PLAYHOUSE HUBBUB arr. R. VAUGHAN WILLIAMS Folk Song. Duet A Londonderry Air. Quartette Folk Song. Quartette arr. CECIL SHARP Trio Catch H. WALFORD DAVIES arr. J. R. G. JOZÉ arr. CECIL SHARP arr. PERCY GODFREY ANONYMOUS ARNE (1710-1778)

1929 WED. 4 DEC. 1930 WED. 8 JAN. WED. 19 FEB. WED. 5 MAR. HARRIET COHEN and MARJORIE FFRANGCON-DAVIES CATTERALL STRING QUARTET GASPAR CASSADO and MADAME VON MENDELSSOHN GORDIGIANI PAUL ROBESON THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING FOUR CONCERTS IS 17s. (INCLUDING TAX) PAYABLE TO THE TREASURER.

HUDDERSFIELD MUSIC CLUB E. J. BRUCE, Esq., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, DECEMBER 4, 1929 AT 7-45 Harriet Cohen and Marjorie Ffrangcon Davies Pianoforte and Song Recital AT THE PIANO HAYDN SANDWELL BECHSTEIN GRAND PIANOFORTE PROGRAMME PRICE SIXPENCE Hon. Secretary ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St. Huddersfield

Members are requested not to smoke during this Concert. PROGRAMME I. TWO CHORAL PRELUDES MIGNON SONGS BACH (1685-1750) (a) Beloved Jesus, we are here (arranged by Harriet Cohen) (b) Mortify us with Thy goodness (arranged by Walter Rummel) MOZART (1756-1791) SONATA in C MAJOR (K. No. 330) PIANO Allegro Moderato Andante Cantabile Allegretto II. SONGS (a) Heiss mich nicht reden Mignon (b) Nur wer die Sehnsucht kennt (c) So lasst mich scheinen Philine (d) Singet nicht in Trauertönen Mignon (e) Kennst du das Land III. DANSE DU MEUNIER (Farucca) RECIT DU PECHEUR ANDALUZA DANSE RITUELLE DU FEU Note Intense tragedy surrounded Mignon's birth, and very early she was given into the care of wealthy foster parents. Wandering one day too far from home, she was stolen by a band of rope dancers. A deaf ear was turned upon her agonised entreaties to be taken home, and for some time she remained one of their band. She was rescued from these companions by Wilhelm Meister, who happened to see her being cruelly ill-treated. From that time till she died of heart-break, she is the devoted slave of that generous young man, who is a member of a theatrical company. Philine is a dancer of the same company. PIANO HUGO WOLF (1860-1903) Bid me not tell thee None but love's lonely heart So let me seem Sing me not, in tones so gloomy Knowest thou the land (Pour chasser les mauvais esprits) DE FALLA (b. 1876)

TWILIGHT FANCIES IN A SERAGLIO GARDEN IV. BLUEBELLS FROM THE CLEARINGS LURING SONG (from The Immortal Hour) V. ETUDE in A FLAT MAJOR 1930 WED. 8 JAN. WED. 19 FEB. SONGS WED. 5 MAR. ETUDE in F MINOR (from Trois Nouvelles Etudes) 29 PIANO A MOUNTAIN MOOD-Melody and Variations (Dedicated to Miss Harriet Cohen) MEDITERRANEAN RUTLAND BOUGHTON (b. 1878) DELIUS (b. 1863) E. WALKER (b. 1870) CHOPIN (1810-1849) ARNOLD BAX (b. 1883) CATTERALL STRING QUARTET GASPAR CASSADO and MADAME VON MENDELSSOHN GORDIGIANI PAUL ROBESON THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING THREE CONCERTS IS 14s. (INCLUDING TAX) PAYABLE TO THE TREASURER.

Exclusive Records by this famous Artist HARRIET COHEN L2239 L2240- L2241 L2242 L2243} L.2244 -(Pianoforte) 12 inch Light Blue Label, 6/6 each. (BACH PRELUDES FUGUES 4740 (from "The Well-tempered Clavier ") (J. S. Bach)t- Prelude and Fugue No. 1 in C major Prelude and Fugue No. 2 in C minor Prelude and Fugue No. 3 in C sharp major Prelude No. 4 in C sharp minor Fugue No. 4 in C sharp minor Prelude and Fugue No. 5 in D major Prelude and Fugue No. 6 in D minor Prelude No. 7 in E flat major Fugue No. 7 in E flat major Prelude No. 8 in E flat minor Fugue No. 8 in E flat minor Prelude and Fugue No. 9 in E major (Recorded in a Public Hall). The above Six Records are supplied complete in Art Album, with Descriptive Notes, without extra charge. 10 inch Light Blue Label, 4/6 each. D1632-Etude in C sharp minor, Op. 25, No. 7 (Chopin). In Two Parts. 10-inch Dark Blue Label, 3s. (CHORAL PRELUDES- Beloved Jesus, We are Here Mortify us Columbia New process RECORDS Now on Sale at all Stores and Dealers Complete Catalogue of Columbia "New Process ** Records, post free-COLUMBIA, 102-108, Clerkenwell Road, London, B..C 1.

HUDDERSFIELD MUSIC CLU! E. J. BRUCE, Esq., J.. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, JANUARY 8, 1930 AT 7-45 CATTERALL QUARTET ARTHUR CATTERALL LAURENCE TURNER PROGRAMME BERNARD SHORE JOHAN C. HOCK PRICE SIXPENCE Hon. Secretary ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St. Huddersfield

PROGRAMME Programme Annotations by Haydn Sandwell, Esq. F.R.C.O. STRING QUARTET in B FLAT MAJOR (Op. 67) Vivace Andante Agitato and Variations and Finale JOHANNES BRAHMS Modelled on the form designed by Haydn, improved by Mozart, and perfected by Beethoven, Brahms in this quartet accepts the classical form, at the same time stamping with his own dominant personality the subjects which make up the four movements of this quartet. Whilst there is no definite break from the accepted forms, the rhythmic treatment of the themes is much more daring than in any previous composition by Brahms. A brief analysis of the respective movements will be of assistance. A vigorous opening figure, given out on the second Violin and Viola, and copied by the quartette leads without a break to the second theme from the second Violin, accompanied by a running figure on the first Violin. The usual development follows, and the listener cannot fail to notice the constant changes of rhythm employed by Brahms in this section and in the recapitulation which follows; in fact, the whole movement is characterised by a rhythmic restlessness rather unusual in the works of Brahms. In direct contrast to the unsettled first movement comes the serene content of the Andante. No detailed description is necessary-just a simple movement with two well contrasted subjects-but surely one of Brahms' most beautiful creations. The third movement of the quartette is notable for the important part played by the Viola in the exposition of the themes. Both the subjects are given over to this instrument, the first against muted strings, the second to the accompaniment of broken chords. A quiet coda, with typical Brahmsian harmonies, brings the third section to a peaceful conclusion. It is rather remarkable that the variation form used by Brahms for the last movement of this quartette has been comparatively little used by the great composers. Therefore this charm- ing "Air with Variations" is a refreshing contrast to the more usual last movement model. A simple theme is quietly given out by the quartette, and treated four times in different ways-quietly moving inner parts and elaborate figure-writing being notable features the variations. A change of key heralds the approach of the Coda, which is drawn from the material used in the first movement, thus binding the work together,-a device often indulged in by Brahms, even in his larger choral works.

II STRING QUARTET in E MAJOR (Op. 16, No. 3) Moderato e tranquillo Allegro risoluto C. ARMSTRONG GIBBS Air and Variations Cecil Armstrong Gibbs was born in 1889, and whilst at Cambridge studied under the late Dr. Charles Wood, and later with Dr. Vaughan Williams. His music is pleasing and displays highly polished workmanship, together with a sensitive and delicate imagination, although he is far removed from the revolutionary tendencies of some of his contemporary composers. His chamber music compositions are not numerous, his chief work being done in conjunction with Walter de la Mare, whose poems he has set to music both in song form and in choral form. Therefore this quartette is of real interest to those who are interested in the develop- ment of English chamber music. III STRING QUARTET in C MAJOR (K. 465) Adagio and Allegro Andante cantabile Menuetto and Trio Allegro molto W. A. MOZART This quartette, dedicated by the composer to his master, Joseph Haydn, has probably caused more discussion than any other of Mozart's works. This has been created by the short introduction which precedes the first movement. A Viennese musical critic, writing in 1787 says:- "It is a pity that in his truly artistic and beautiful compositions, Mozart should carry his effort after originality too far, to the detriment of the sentiment and heart of his works." (Life of Mozart-Otto Jahn) We read also that a Viennese musial connoisseur was so enraged at the discords being actually in the score, that he tore the parts to pieces. What is there about this short passage-twenty-two bars in length-to cause all this stir in the musical camp of that period? First of all, the expectant ear was irritated by the entirely un-Mozartian character of the harmonies. Nothing like it had appeared before in the works of the master. Even to-day they can hardly be described as pleasing. Secondly, introductions were new to chamber music-this is the only one of the set to have an introduction-and, like all new forms of expression, was viewed with grave suspicion by the musically narrow-minded people of the period, who were still too much under the influence of Haydn to appreciate any departure from the stereotyped forms of art. Apart from this one unusual feature, there is little that calls for any detailed comment in this quartette. The classical model is strictly followed, and the subjects are extremely characteristic of the composer. The student will delight in the cheerfulness of the first movement, the peaceful nature of the second, the touches of humour in the third, and the exciting gaiety of the last, all of which combine to make the Quartette in C Major a worthy example of Mozart's chamber music.

1930 WED. 19 FEB. WED. 5 MAR. GASPAR CASSADO and MADAME VON MENDELSSOHN GORDIGIANI PAUL ROBESON THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING TWO CONCERTS IS 9s. (INCLUDING TAX) PAYABLE TO THE TREASURER.

HUDDERSFIELD MUSIC CLUB E. J. BRUCE, Esq., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, FEBRUARY 19, 1930 AT 7-45 GASPAR CASSADO Cenay) by AT THE PIANO Madame Giulietta von Mendelssohn Gordigiani PROGRAMME PRICE SIXPENCE Hon. Secretary ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St. Huddersfield

TOCCATA PROGRAMME Programme Annotations by Haydn Sandwell Frescobaldi was a most distinguished musician, and was easily the most brilliant organist of his era; in fact, he was appointed organist at St. Peter's, Rome, in the year 1608. ADAGIO and ALLEGRO I His compositions mainly consist of volumes of madrigals and pieces, all of which prove him to have been a master of counterpoint and the various art-forms in vogue at that time. SONATA in A MAJOR (Op. 69) Born in 1743, Boccherini was a 'cellist from his earliest youth. He was taught by his father, and became one of the most famous performers of his time. He was a great friend of Haydn, and in many respects his music resembles that of the greater maestro. It is, however, nothing more than a resemblance, for Boccherini had neither the same technical ability nor the same facility of invention as that possessed by the great Austrian composer. G. FRESCOBALDI II Allegro ma non tanto Scherzo, allegro molto Adagio, allegro vivace VARIATIONS CONCERTANTES G. BOCCHERINI III Beethoven left five sonatas for 'cello and piano. Their composition spreads over the entire period of his life as a composer, the first Opus being numbered 5, and the last 102. The one down for performance this evening is the middle one of the set, and contains one or two features worthy of comment. The Scherzo, usually the third movement of a sonata or symphony, is used as the second movement; whilst the slow movement is so brief that it merely forms the introduction to the last movement. Otherwise, Beethoven constructs the sonata on the usual classical lines, giving us strong virile subjects developed and contrasted with all the master's superb craft and, one might almost say, cunning. The listener will also note the delightful "conversations" between the two instruments, a form of art in which Beethoven and Mozart have no equal. BEETHOVEN MENDELSSOHN

INTERMEZZO TONADILLA SERENATA ESPAGNOLA DANSE DU DIABLE VERT 1930 WED. 5 MAR. IV THE PIANO IS A STEINWAY PAUL ROBESON E. GRANADOS B. LASERNA G. CASSADO THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING CONCERT IS 5s. 9d. (INCLUDING TAX) PAYABLE TO THE TREASURER. Members are asked to note that on Monday next, the 24th, at 7-45 p.m., there will be a SONG RECITAL in this Hall by Miss DOROTHY DONALDSON, Mezzo-Soprano, (after study in London and Germany). At the Piano, Miss Alison Shaw. Songs by Mozart, Brahms, Wolf, Strauss, Reger, Quilter and Bridge. Tickets at Messrs. Whitfield's, or at the door. 3s. 6d. and 2s. 4d.

Exclusive Records by this famous Artist L 2117 O GASPAR CASSADO D1598 ('Cello) 12-inch Double-sided, 6/6 each (Largo (Handel) Danzas Espanolas, No. 5 L 2046 Song without words (Lied ohne Worte) in D (Mendelssohn- Op. 109, edited Tabb) Mélodie (Tschaikowsky-Op. 42, No. 3) 10-inch Double-sided. 4/6 each (Evening Song (Schumann) Après un Rêve O D 1613 D1600 Le Cygne Mélodie Arabe Menuette (Haydn) 1 Chanson Villageoise, No. 2 Columbia New process RECORDS 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. >

HUDDERSFIELD MUSIC CLUB E. J. BRUCE, Esq., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, MARCH 5, 1930 PAUL ROBESON X? AT THE PIANO AT 7-45 PROGRAMME LAWRENCE BROWN PRICE SIXPENCE Hon. Secretary ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St. Huddersfield

FOREWORD.-HARRY T. BURLEIGH, the famous authority on Negro Music, writes:-"The Plantation Songs known as 'Spirituals are the spontaneous outbursts of intense religious fervour, and had their origin chiefly in Camp meetings, Revivals, and other religious exercises. They were never composed,' but sprang into life ready-made, from the white heat of religious fervour during some protracted meeting in camp or church, as the simple ecstatic utterance of wholly untutored minds, and are practically the only music in America which meets the scientific definition of Folk Song. It is a serious misconception of their meaning and value to treat them as 'Minstrel' Songs. Their worth is weakened unless they are done impressively, for through all these songs there breathes a hope, a faith in the ultimate justice and brotherhood of man. The cadences of sorrow invariably turn to joy, and the message is ever manifest that eventually deliverance from all that hinders and oppresses the soul will come, and man-every man, will be free." "GO DOWN, MOSES" When Israel was in Egypt's Lan' Let my people go, Oppress'd so hard they could not stand Let my people go. Go down, Moses, PROGRAMME I Way down in Egypt's Lan'. Tell ole Pharoh, To let my people go. "I STOOD ON DE RIBBER OB JERDON" I stood on the ribber ob Jerdon To see dat ship come sailin' ober Stood on de ribber ob Jerdon To see dat ship sail by. Oh, mo'ner doan yo' weep! W'en yo' see dat ship come sailin' ober Oh, mo'ner doan yo' weep! W'en yo' see dat ship sail by. "DEEP RIVER " "1 DON'T FEEL NO WAYS TIRED" I am seekin' for a city, Hallelujah, I am seekin' for a city, Hallelu, For a city into de hebben, Hallelujah, For a city into de hebben, Hallelu; Lord, I don't feel no ways tired, Children Oh glory, Hallelujah, For I hope to shout glory when dis worl' is on fire, Children Oh glory, Hallelujah. II Arr. by H. T. BURLEIGH "WATER BOY" (Convict Song) Water boy, where are you hiding? If you don't come, I'm going to tell your mammy. Thus said the Lord, bold Moses said, Let my people go, If not I'll smite your first born dead, Let my people go. Deep river, my home is over Jordan, Deep river, Lord, I want to cross over into camp ground; Oh don't you want to go to that gospel feast, There ain't no hammer, that's on this mountain, That rings like mine, boys, that rings like mine, Done bust this rock, boys, from here to Macon, All the way to the jail, boys, all the way to the jail. Go down, Moses, That promised land where all is peace ? Oh deep river, Lord, I want to cross over into camp ground. Way down in Egypt's Lan', Tell ole Pharoh, To let my people go. Arr. by H. T. BURLEIGH O Brother yo' bettah be ready, To see dat ship come sailin' ober Brother yo' bettah be ready To see dat ship sail by. Oh, mo'ner doan yo' weep! W'en yo' see dat ship come sailin' ober Oh, mo'ner doan yo' weep! W'en yo' see dat ship sail by. Arr. by H. T. BURLEIGH Arr. by H. T. BURLEIGH Dere's a better day a'comin', Hallelujah, Dere's a better day a'comin', Hallelu, When I leave dis worls of sorrow, Hallelujah, For to jine de holy number, Hallelu. Lord, I don't feel no ways tired, Children Oh glory, Hallelujah, For I hope to shout when dis worl' is on fire, Children Oh glory, Hallelujah. Arr. by AVERY ROBINSON You jack of diamonds, you jack of diamonds, Now I know you of old, boys, yes I know you of old, You robbed my pocket, yes, you robbed my pocket, You done robbed my pocket of silver and gold. Water boy, where are you hiding? If you don't come, going to tell your mammy. Oh-Water boy.

"I DON'T WANT FU' TO STAY HYEAH" Oh swing low sweet chariot, Pray let-a me enter in An' I don't want fu' to stay hyeah no longah. Yes I done bin tempted an' I done bin tried I bin to de waters an' I bin baptized, An' I don't want fu' to stay hyeah no longah. Yes down to de waters I was led An' ma soul was filled wid de heavenly bread, An' I don't want fu' to stay hyeah no longah; Oh swing low sweet chariot Pray let-a me enter in An' I don't want fu' to stay hyeah no longah. A long ways from home, A long ways from home, True Believer. "SOMETIMES I FEEL LIKE A MOTHERLESS Sometimes I feel like a motherless child, Sometimes I feel like a motherless child, Sometimes I feel like a motherless child. A long ways from home, A long ways from home. "EXHORTATION" "HAIL DE CROWN" Remember if a brudder somtes dee on de lef' cheek, Turn roun' an' han' him de odder; Kase if you kaint turn good for evil, What's de good ob bein' a brudder? Sez' when de angry passions rises widin dee, Say, "Satin, go get dee behin' me." Some come crippled and some come lame, Hail de Crown of de Lord of all "STEAL AWAY" Dat's right, all right, Amen, Amen. Dat's right, all right, Amen, Amen. III Some come seekin' and some come prayin' Hail de Crown of de Lord of all "I GOT A HOME IN-A DAT ROCK" Oh sweet horn o' Gabriel Blow, trumpet an' call me home An' I don't want fu' to stay hyeah no longah; Oh I'se tired o' strummin' de ol' banjo Whar de angels is hummin' I'se a'goin' to go An' I don't want fu' to stay hyeah no longah; Yes I done bin ready fu' to tune ma lyre Fu' to jine de music of de heavenly choir An' I don't want fu' to stay hyeah no longah; Oh sweet horn o' Gabriel Be sho' yo do some prayin' befo' you goes to sleep, To fight is wrong, its wrong to fight, An' no two wrongs a-kaint make-a one right. So try an' be right unto de en' Blow, trumpet an' call me home An' I don't want fu' to stay hyeah no longah. Den stop an' count a hundert, den go on 'bout yo' business. Be keerful, be cautious, always look befo' yo leap, I got a home in-a dat rock, don't you see, Between the earth and sky Thought I heard my Saviour cry. You got a home in-a dat rock, don't you see. Poor man Lazurus, poor as I, don't you see, Poor man Lazarus, poor as I, When he died he found a home on high, He had a home in-a dat rock, don't you see. Arr. by H. T. BURLEIGH CHILD" Arr. by LAWRENCE BROWN Sometimes I feel like I'm almost gone, Sometimes I feel like I'm almost gone, Sometimes I feel like I'm almost gone, A long ways from home, A long ways from home, True Believer. A long ways from home, A long ways from home. WILL MARION COOK Arr. by AVERY ROBINSON Hallelu, hallelujah, Hallelu, Lord of All. Hallelu, hallelujah, hallelu. Some come crippled and some come lame, Hail de Crown of de Lord of All. Arr. by LAWRENCE BROWN Rich man Dives, he lived so well, don't you see, Rich man Dives, he lived so well, When he died he found a home in Hell, He had no home in-a dat rock, don't you see. God gave Noah the rainbow sign, don't you see, God gave Noah the rainbow sign, No more water, but fire next time, You better get a home in dat rock, don't you see. Arr. by LAWRENCE BROWN Steal away, steal away, steal away to Jesus Steal away, steal away home, I ain't got long to say here, My Lord, He call me, He calls me by the thunder, The trumpet sounds within-a my soul, I ain't got long to stay here. Steal away, steal away, steal away to Jesus. Steal away, steal away, steal away home, I ain't got long to stay. Green trees are bendin', poor sinner stands a-tremblin', The trumpet sounds within-a my soul, I ain't got long to stay here, Steal away, steal away, steal away to Jesus. Steal away, steal away, steal away home, I ain't got long to stay.

"I WANT TO BE READY" IV "DIDN'T MY LORD DELIVER DANIEL ?" Didn't my Lord deliver Daniel Deliv Daniel, deliver Daniel, Didn't my Lord deliver Daniel An' why not every man? He delivered Daniel from the lion's den Jonah from the belly of the whale An' de Hebrew children from the fiery furnace An' why not every man? "BY AND BY" I want to be ready, I want to be ready, I want to be ready, my Lord, To walk in Jerusalem just like John. John said de city was just four square, Walk in Jerusalem just like John, An' he declared he'd meet me there, Walk in Jerusalem just like John. I want to be ready, I want to be ready, I want to be ready my Lord, To walk in Jerusalem just like John. "WEEPIN' MARY" " WITNESS" Arr. by H. T. BURLEIGH My soul is a witness for my Lord, Oh my soul is a witness for my Lord, My soul is a witness for my Lord. Arr. by LAWRENCE BROWN The moon run down in a purple stream, De sun refuse to shine Oh by and by, by and by, I'm going to lay down this heavy load, Oh some of these mornings bright and fair, I'm going to lay down this heavy load, Going to take my wings and cleave the air, I'm going to lay down this heavy load, Oh by and by, by and by, I'm going to lay down this heavy load. I know my robe is going to fit me well, I'm going to lay down this heavy load, I tried it on at the gates of hell, I'm going to lay down this heavy load, Oh by and by, by and by, I'm going to lay down this heavy load. An' every star did disappear, King Jesus shall be mine. His strength became like any odder man. Now dat's another witness for my Lord, That's another witness for my Lord. Didn't my Lord deliver Daniel Deliver Daniel, deliver Daniel, Didn't my Lord deliver Daniel An' why not every man ? Arr. by H. T. BURLEIGH If there's anybody here like weepin' Mary, Call upon your Jesus, and He'll draw nigh, If there's anybody here like weepin' Mary, Call upon your Jesus, and He'll draw nigh, Oh, Glory, glory hallelujah, glory be to my God who rules on high. Arr. by H. T. BURLEIGH Arr. by LAWRENCE BROWN You read the Bible and you'll understan' Methusalah was the oldest man, He lived nine hundred an' sixty nine, he died and went to Heaven Lord in due time, Now, Methusalah was a witness for my Lord, Methusalah was a witness for my Lord. You read on down an' you'll understan', Samson was de strongest man, Samson he went out one time, an' slew ten thousan' of de Philistine, Delilah fooled Samson, this we know, the Holy Bible tells us so; She shaved off his head, jus' as clean as your han', 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.