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The Huddersfield Music Society, HMS 13 |
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1 The Huddersfield Music Society, HMS 13, Page 1 |
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HUDDERSFIELD MUSIC SOCIETY
Brochure
ORIEID MUSIC CLUB
13th Season's programmes 1930-1931
L
лауацэ ороо
1., J.P.
2
L
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HUD
HIDDERSFIELD MUSIC CLUB
E. J.
HUDDERSFIELD MUSIC CLUB.
E. J. BRUCE, Esq., J.P.
PRESIDENT
RSFIELD MISIO
CONCERTS
FOR THE THIRTEENTH SEASON
1930-31 TO BE GIVEN IN
Hon. Secretary
HIGHFIELD ASSEMBLY HALL
(NEW NORTH ROAD)
WEDNESDAYS, OCT. 15, NOV. 26, DEC. 10, 1930,
WEDNESDAYS, JAN. 28, FEB. 11, MARCH 11, 1931.
At 7-45 p.m.
*
W. Clifford Crook.
G. Fleming.
I. Stancliffe Ellis.
W. Tuke Robson.
Hon. Treasurer -
Committee:
Mrs. A. Eaglefield Hull.
הכחלחשוב
F. W. Thornton, F.R.C.S.
Frederick Whiteley.
D. R. H. Williams.
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.
ld
ld
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HUDDERSFIELD MUSIC CLUB.
454545454545
PRESIDENT
CONCERTS
FOR THE THIRTEENTH SEASON
1930-31 TO BE GIVEN IN
E. J. BRUCE, Esq., J.P.
HIGHFIELD ASSEMBLY HALL
(NEW NORTH ROAD)
WEDNESDAYS, OCT. 15, NOV. 26, DEC. 10, 1930,
WEDNESDAYS, JAN. 28, FEB. 11, MARCH 11, 1931.
At 7-45 p.m.
Ķ
W. Clifford Crook.
G. Fleming.
J. Stancliffe Ellis.
W. Tuke Robson.
Hon. Secretary
Hon. Treasurer -
Committee:
Mrs. A. Eaglefield Hull.
545454545
F. W. Thornton, F.R.C.S.
Frederick Whiteley.
D. R. H. Williams.
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.
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WEDNESDY, 15th OCTOBER, 1930.
M. NICOLAS ORLOFF.
THE NEW RUSSIAN PIANIST.
"Some preliminary accounts of the fine quality of this young Russian's playing
had reached us; the source was authoritative, and we were not disappointed.
Not indeed since-
was here, has a foreign pianist of the younger generation
made so deep an impression, for instances of a rich and glowing imagination
allied to physical exuberance and a superb technique are exceedingly rare. His
performances throughout were those of a musician pur sang, without affectations
or stunts, and the experience was refreshing."
Daily Telegraph,
WEDNESDAY, 26th NOVEMBER, 1930.
QUINTETTE
INSTRUMENTAL
DE PARIS.
Flute: René LE ROY.
Violin René BAS.
Harp Pierre JAMET.
Viola: Pierre GROUT.
'Cello: Roger BOULMÉ.
This Quintette has made a brilliant reputation on the Continent. This is their
first visit to England, and their performance is anticipated with enthusiasm.
WEDNESDAY, 10th DECEMBER, 1930.
ANNE
THURSFIELD.
SONG RECITAL.
Miss ANNE THURSFIELD was born in the U.S.A. Her father was a 'southerner'.
Both her mother and grandmother, having been noted singers, it is perhaps
natural Miss THURSFIELD should herself become one. At the age of 12, Miss
THURSFIELD came to live in England-she is a British subject. Her first concert
was in 1918, since when she has sung in France, Italy, Germany, Austria, and
in the U.S.A.
"ANNE THURSFIELD is one of those singers who are as welcome as they are rare,
the singers who expend real thought and research upon their programmes. She
sang so sympathetically and with so appealing a tenderness and so fresh a
humour that her recital was a real delight.'
The Daily Telegraph.
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WE NESDAY, 28th JANUARY, 1931.
JOSEPH SZIGETI.
VIOLIN RECITAL.
"I find it difficult to write of this great violinist without appearing to be
indulging extravagantly in the superlatives of criticism. Yet, the truth is, that
it is nearly impossible to set his attainment higher than it actually is in the scale
of virtuosity."
Morning Post.
WEDNESDAY, 11th FEBRUARY, 1931.
LENER QUARTET.
The Perfect Ensemble and certainly the World's Greatest String Quartette.
WEDNESDAY, 11th MARCH, 1931.
KEITH FALKNER
AND
DOROTHY HESSE.
SONG RECITAL.
KEITH FALKNER was born near Cambridge in 1900. He studied under Plunket
Greene and with Lierhammer in Vienna, has sung at many Festivals and given
recitals in Prague, Vienna and elsewhere.
"Mr. KEITH FALKNER's singing was one of the best pieces of work we have had
in the concert-room for a long time. The intellectual understanding and the
musical phrasing were perfect."
E.N.-Sunday Times,
Miss HESSE has appeared for many of the Leading Societies in Great Britain-
at London Promenade Concerts the Leeds Musical Festival, at Edinboro'-
meeting with outstanding success throughout. Her name is also well-known on
the Continent.
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HUDDERSFIELD MUSIC CLUB
E. J. BRUCE, Esq., J.P.
President
HIGHFIELD HALL, NEW NORTH ROAD
WEDNESDAY, OCTOBER 15, 1930 AT 7-45
0
NICOLAS ORLOFF
PIANOFORTE RECITAL
BLUTHNER CONCERT GRAND PIANOFORTE
PROGRAMME
PRICE THREEPENCE
Hon. Secretary,
ALBERT LUNN, Banney Close, Edgerton, Huddersfield
Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield
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SONATA in F MINOR Op. 5
THREE ETUDES
FANTASIA in F MINOR
FOUR STUDIES
PROGRAMME
Allegro maestoso
Andante espressivo
Scherzo-Allegro energico
Intermezzo (Retrospect)
Finale. Allegro moderato ma rubato
E Major
C Sharp Minor
D Flat Major
D Sharp Minor
(a) C Sharp Minor Op. 10
(b) E Flat Major Op. 10
(c) F Major Op. 10
VALSE in A FLAT MAJOR
POLONAISE in F SHARP MINOR
TOCCATA
I.
REFLECTS DANS L'EAU
FEUX D'ARTIFICES
II.
III.
IV.
BRAHMS
(1833-1897)
CHOPIN
(1810-1849)
SCRIABIN
(1872-1915)
DEBUSSY
(1862--1918)
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1930
WED. 26 NOV.
WED. 10 DEC.
1931
WED. 28 JAN.
WED. 11 FEB.
WED, 11 MAR.
QUINTETTE INSTRUMENTAL DE PARIS
ANNE THURSFIELD
JOSEPH SZIGETI
LENER QUARTET
KEITH FALKNER and DOROTHY HESSE
THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR
THE REMAINING FIVE CONCERTS IS 21s. (INCLUDING
TAX) PAYABLE TO THE TREASURER.
HIGHFIELD ASSEMBLY HALL
TUESDAY, NOV. 4, 1930
AT 7-45
SONG RECITAL BY DOROTHY DONALDSON
AT THE PIANO ALISON SHAW
TICKETS 3/6 and 2/4
FROM J. WOOD & SONS, 67, NEW STREET
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Ocr'd Text:
HUDDERSFIELD MUSIC CLUB
E. J. BRUCE, Esq., J.P.
President
HIGHFIELD HALL, NEW NORTH ROAD
WEDNESDAY, NOVEMBER 26, 1930 AT 7-45
QUINTETTE
INSTRUMENTAL DE PARIS
Flute
Harp MICHELINE KAHN
RENÉ LE ROY Violin
RENÉ BAS
Viola PIERRE GROUT
Violoncello ROGER BOULMÉ
PROGRAMME
PRICE SIXPENCE
Hon. Secretary,
ALBERT LUNN, Banney Close, Edgerton, Huddersfield
Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield
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PROGRAMME
TRIOS for flute, 'cello and harp
I
(a) La Livri
(b)
(c)
(d) La Marais
L'Indiscrète
Tambourins
Rameau was born at Dijon on September 25th, 1683, and devoted himself
to music from a very early age. He held various small organist posts by which he
was able to support himself until La Pouplinière (the musician, poet and artist)
became interested in him in 1727, and Rameau then was assured of a sufficient
livelihood.
Rameau composed a number of works for the theatre (Hippolyte et Aricie,
Les Indes Galantes, Dardanus, etc.) and much chamber music written in an
eminently French style.
II
TRIO in C minor Op. 9, No. 3 for violin, viola and 'cello
RAMEAU (1683-1764)
Allegro con spirito
Adagio con espressione
Scherzo
Finale
QUARTET in D major, No. 28
BEETHOVEN (1770-1827)
Beethoven seems to have been reluctant to approach the composition of string
quartets, but in 1795 Count Apponyi commissioned him to write one, and Beethoven
wrote the String Trios op. 3 and op. 9, which were possibly the result of an attempt
at a string quartet.
Of these Trios, the one in which the mind of Beethoven is most clearly
revealed, is without doubt the Trio in C minor, which was written in 1795 and dedicated
to Count von Browne. First there is the initial theme, sombre and grave, soon
interrupted by chords and sharp accents; then follows the Adagio with its moving
depths; next the Scherzo and the Finale (Presto) with its rapid and lively movement,
which reveals all the characteristics and aspects of Beethoven's genius.
III
Allegro
Adagio Rondo
for flute, violin, viola and 'cello.
MOZART (1756-1791)
During his stay at Mannheim in 1777, Mozart received a request for some
concertos and quartets for flute from a Dutch amateur named de Jean, who had a great
liking for that instrument. These quartets, in which the flute is combined with the
violin, viola and 'cello, are all written in a very different style from anything that
Mozart had produced up to that time, and they resemble more closely the French
quartets of Gossec, Devienne and others (no doubt proposed as models to de Jean),
but with a variety and instrumental colouring quite unique especially with regard to
the flute.
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OSONATA for flute, viola and harp
IV
Pastorale
Interlude
Finale
This Sonata, written in 1915-16, was one of Debussy's last works; it is the second
of a set of six sonatas which he intended to write for different instruments and which
he was not able to complete.
CONCERT A CINQ. Op. 71
The Pastorale opens lento dolce rubato, the flute leading in delicate arabesques,
supported by the viola and harp. The movement ends in the same mood, with a
contrasting middle section in a lively and joyous style dominated by the viola.
DEBUSSY (1862-1918)
The Interlude has the slow and stately movement of a minuet; the principal
theme returns throughout the movement, divided in turn between the three instruments.
The Finale (allegro moderato ma risoluto) is remarkable for its strangeness
and its rhythmic style, which is largely inspired by modern Russian compositions.
The general effect of the combination of the three instruments in this Sonata
constitutes one of the rarest jewels in contemporary French music.
V
Décidé
Calme
Très décidé
JOSEPH JONGEN (1873)
for flute, violin, viola, 'cello and harp.
(Dedicated to the Quintette Instrumental de Paris).
This work is one of the most recent compositions (1923) of this Belgian writer.
Written in a free cyclic form, it uses in the three movements and under varied forms,
the generic theme:
F. E flat. F. A flat. F.
The first movement, which is the most richly developed and is classic in form,
has a fiery energy which rises into a ferment.
The second movement is a reverie in which the composer has made full use of
the characteristic colouring of the instruments.
The third movement is remarkable for the vivacity of its rhythm and its melodic
freshness, features which are, indeed, the main characteristics of this work. It is
dedicated to the Quintette Instrumental de Paris, by whom the first performance
was given in Paris on December 3rd, 1923.
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1930
WED. 10 DEC.
1931
WED. 28 JAN.
ANNE THURSFIELD
JOSEPH SZIGETI
LENER QUARTET
WED. 11 MAR. KEITH FALKNER and DOROTHY HESSE
WED. 11 FEB.
THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR
THE REMAINING FOUR CONCERTS IS 17s. (INCLUDING
TAX) PAYABLE TO THE TREASURER.
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1- tiv
RSFIELD MUSIC CLUB
E. J. BRUCE, Esq., J.P.
HIGHFIELD HALL, NEW NORTH ROAD
WEDNESDAY, DECEMBER 10, 1930 AT 7-45
ANNE THURSFIELD
SONG RECITAL
AT THE PIANO ADRIAN HOLLAND
PROGRAMME
PRICE SIXPENCE
ALBERT LUNN, Banney Close, Edgerton, Huddersfield
Hon. Secretary,
Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield
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AIR D'ELISA
Parlez, échos des bois;
Et vous, brises voyageuses;
M'a-t'il gardé sa foi,
L'amant que j'attends toujours.
Oh, dites! Oh, dites !
Parlez, échos et brises;
Celui que tant, je pleure,
Est-il encore à moi ?
LA VIOLETTE
Rugiadose, odorose,
Violette graziose,
Voi vi state vergognose.
Mezzo ascose fra le foglie,
E sgridate le mie voglie
Che son troppo ambiziose.
WIEGENLIED
PROGRAM
Schlafe, mein Prinzchen, schlaf' ein,
Schäfchen ruhn und Vögelein.
Garten und Wiese verstummt,
Auch nicht ein Bienchen mehr summt,
Luna mit silbernem Schein
Gucket zum Fenster herein,
Schlafe beim silbernen Schein.
Schlafe, mein Prinzchen, schlaf' ein.
Alles im Schlosse schon liegt,
Alles in Schlummer gewiegt,
Reget kein Mäuschen sich mehr,
Keller und Küche sind leer,
Nur in der Zofe Gemach
Tönet ein schmachtendes Ach!
Was für ein Ach mag dies sein?
Schlafe, mein Prinzchen, schlaf' ein.
Wer ist beglückter als du?
Nichts als Vergnügen und Ruh'
Spielwerk und Zucker vollauf
Und noch Karossen im Lauf,
Alles besorgt und bereit,
Das nur mein Prinzchen nicht schreit,
Was wird da künftig erst sein ?
Schlafe, mein Prinzchen, schlaf' ein.
ON A TIME
On a time, the amorous Silvy
Said to her shepherd: "Sweet, how do you?
Kiss me this once, and then God be with you
My sweetest dear!
For now the morning draweth near."
I
Vers lui je tends les bras
De mes nuits le rêve fuit à jamais.
O charme de sa voix !
O chaine de sa caresse !
Ses yeux regnaient en moi.
Parlez échos et brises,
Apaisez un triste cœur en émoi.
L'amant par qui je meurs,
Est-il encore à moi ?
In your dewy, scented bower,
Little violet, modest flower,
From the world you shyly cower,
'Mid your foliage almost hidden
Thus are chidden all my wishes,
Too ambitious in their power.
SCARLATTI
HANE
Sleep, then, my little prince, sleep;
Rest like the birds and the sheep;
Silent are garden and lawn,
Last little bee homeward gone.
Luna, in silvery light,
Peeps through the window to-night.
Rest while the moonbeams still peep;
Sleep, then, my little prince, sleep.
Who than thyself is more blest?
Nothing but pleasure and rest,
Lollies and toys beyond count,
Coaches and horses to mount;
Everything done so that my
Little prince may not need cry.
What may the dark future keep?
Sleep, then, my little prince, sleep.
Inside the castle walls high,
Cradled in slumber all lie;
No little mouse out its nest,
Cellars and kitchen at rest.
But from the maids' room below
Comes up a long-drawn, tired "Oh!"
What means that sigh, long and deep?
Sleep, then, my little prince, sleep.
With that he waked from sleeping,
And spying where the day was peeping,
He said: "Now take my soul in keeping,
My sweetest dear!
MOZART
Kiss me, and take my soul in keeping,
Since I must go, now day is near."
With that, her fair bosom showing,
Opening her lips, rich perfume blowing,
She said: "Now kiss me and be going
My sweetest dear!
For now the morning draweth near."
ATTEY
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LILAC
e away,
and play,
oliday;
ease and happy love,
music, to dancing, and to poetry.
Your flocks may now securely rest,
Whilst you express your jollity.
Morning skies are aglow
While the lilac-trees blow.
And I breathe of the fresh morning wind;
By the shadowy pool,
Where it's dewy and cool,
I must see if my fortune I'll find.
DISSONANCE
LA FLÛTE ENCHANTÉE
II
Beloved, you tell me you love me,
Yet, in the tone of your voice
A discordant note is sounding,
L'ombre est douce, et mon maître dort,
Coiffé d'un bonnet conique de soie.
Et son long nex jaune en sa barbe blanche.
Mais, moi, je suis éveillée encor
Et j'écoute au dehors une chanson de flûte
Où s'épanche tour à tour la tristesse ou la joie.
Un air tour à tour langoureux où frivole
Que mon amoureux chéri joue.
Et quand je m'approche de la croisée,
Il me semble que chaque note s'envole
De ma flûte vers ma joue
Comme un mysterieux baiser.
It rings in your words-in your heart,
And you yourself know it-alas!
sur les vers de Tristan Klingsor
Nymphs and shepherds pipe and play,
Tune a song, a festal lay,
For this is Flora's holiday.
Lightly we tread o'er all the ground
With music, with dancing, and with poetry.
Thus trip we round with merry sound
And pass the day with jollity.
Ah, of luck there's scant dole,
Yet it's everyone's goal,
And my own lies out there in the dell;
Hidden there all around
Clustered lilacs are found,
And my own little fortune, as well.
Marie Rosing
PURCELL
JE TREMBLE EN VOYANT TON VISAGE
RACHMANINOF
RAVEL
In the pleasant shade my master sleeps, his
conical silk cap on his head, and his long yellow.
nose in his white beard.
H. P. Chapman
But I am still awake, and I listen to the music of
a flute, by turns sad and gay.
Je tremble en voyant ton image
Flotter avec mes désirs,
Tant j'ai peur que mes soupirs,
Ne lui-fassent faire naufrage
De crainte de cette aventure
Ne commets pas si librement
A cet infidèle élément
Tous les trésors de la Nature.
Veux-tu, par un doux privilège
Me mettre audessus des humains?
Fais-moi boire au creux de tes mains,
Si l'eau n'en dissout point la neige.
BORODIN
An air languorous now joyous, that my lover is
playing.
Tristan Lhermite
And when I draw near to the casement, it seems
that each note flies from the flute to my cheek,
like a mysterious kiss.
DEBUSSY
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DANSONS LA GIGUE
Dansons la gigue !
J'aimais surtout ses jolis yeux
Plus clairs que l'étoile des cieux,
J'aimais ses yeux malicieux.
Dansons la gigue !
Elle avait des façons vraiment
De désoler un pauvre amant,
Que c'en était vraiment charmant !
Dansons la gigue !
Mais je trouve encore meilleur
Le baiser de sa bouche en fleur,
Depuis qu'elle est morte à mon coeur.
Dansons la gigue !
Je me souviens, je me souviens,
Des heures et des entretiens,
Et c'est le meilleur de mes biens.
Dansons la gigue !
WIE MELODIEN ZIEHT ES
Wie Melodien zieht es
Mir leise durch den Sinn;
Wie Frühlingsblumen blüht es,
Und schwebt wie Duft dahin.
Doch kommt das Wort und fasst es,
Und führt es vor das Aug',
Wie Nebelgrau erblasst es,
Und schwindet wie ein Hauch.
Und dennoch ruht im Reime,
Verborgen wohl ein Duft,
Den mild aus stillem Keime,
Ein feuchtes Auge ruft.
BOTSCHAFT
Klaus Groth
Wehe, Lüftchen, lind und lieblich
Um die Wange der Geliebten,
Spiele zart in ihrer Locke,
Eile nicht, hinweg zu flieh'n!
Thut sie dann vielleicht die Frage,
Wie es um mich Armen stehe,
Sprich: "Unendlich war sein Wehe,
Höchst bedenklich seine Lage;
Aber jetzo kann er hoffen,
Wieder herrlich aufzuleben,
Denn du, Holde, denkst an ihn."
DU BIST SO JUNG
Nach Hafis von Fr. Daumer
Du bist so jung, du bist so lieb,
du bist wie ein kleines Frühlingslied,
du bist wie Maitags Sonnenschein,
so jung und lieb.
und ich, O Gott! ich bin so stein,
ich bin so kalt, so alt, so müd!
ich möchte dich nur fröhlich machen!
Du bist so still und so allein.
Above all I lov
the stars, I loved h
She has ways of distressing
really charming !
INTERVAL
III
Du bist so jung, du bist so lieb,
du bist wie ein kleines Frühlingslied.
Best of all I loved the kiss of her flower-like.
since she is dead to my heart.
I remember happy hours and meeting, my most
valuable possession !
Let us dance the jig!
Du kommst und bringst mir lauter Rosen und sagst :
nicht danken, nein, nein, nein!
Du kommst und gibst mir beide Hände und bittest leis':
auch wenn du schiltst, da nimm !
nimm mich und meine Rosen!
und mach mit uns, was du nur willst!
Like melting tones it rises,
And soft my heart doth sway;
Like flow'rs of spring rejoices,
And floats as balm away.
But when the word would seize it,
And hold it 'fore the eye,
Like misty shadows flees it,
To vanish like a sigh.
And yet from rhyme there welleth
A hidded balm withal,
That mildly whence it dwelleth
A tearful eye may call
You are so young, you are so dear-
So like a little song of spring-
Like sunshine on a May morning-
So fresh and charming.
Whilst I, oh God, I am so worn-
So cold and old and weary.
BRAHMS
Gentle zephyrs, wanton softly
On my fair one's cheek of roses;
When ye toy among her tresses
Rest awhile, nor fly away.
Then, if she perchance should ask ye
How I bear my lot of sorrow,
Say: "With tears he greets the morrow,
And the pangs of absence rend him;
But if thou a message send him,
Joy within his heart will waken
When he knows it comes from thee."
Mrs. Macfarren and Mrs. Morgan
ERICH WOLF
And yet you come and bring to me
These dewy roses freshly culled,
And listen to no word of thanks.
"I only wish to give you joy;
For you are friendless and alone."
BRAHMS
You come and place your hands in mine,
And whispering low, you plead with me:
"Although you chide me, you must take me !
You must take me and my roses,
And do with us what you will."
You are so young and so beloved
So like a little song of spring.
Translation by Agnes H. Wilson
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ich nie die Welt
_n solchem Glanz geseh'n;
Die Sonne nicht und nicht das Meer,
Und nicht die Erde um uns her!
Und wenn wir so durch die Wiesen geh'n.
Und wenn wir oben am Berghang steh'n,
In Hochsommer goldener Fülle
Das ganze Land in Aehren seh'n :
O, ich möchte niederknieen
Und die Erde küssen,
Und die Arme breiten
Auf zur Sonne und auf's Meer
Hinausjubeln!
Du Meer, so gross du bist,
Ich hab' dich lieb.
Alle Dinge haben Sprache,
Seit du da bist,
Und mir ist,
Als hätt' ich nie die Welt
In solchem Glanz geseh'n.
ELFENLIED
Cäsar Flaischlen
Bei Nacht im Dorf der Wächter rief;
"Elfe!"
Ein ganz kleines Elfchen im Walde schlief
Wohl um die Elfe !
Und meint, es rief ihm aus dem Tal
Bei seinem Nomen die Nachtigall.
Oder Silpelit hätt ihm gerufen.
Reibt sich der Elf' die Augen aus,
Begibt sich vor sein Schneckenhaus
Und ist wie ein trunken Mann,
Sein Schläfchen war nicht voll getan.
Und humpelt also, tippe tapp
Durchs Haselholz ins Tal hinab,
Schlupft an der Mauer hin so dicht,
Da sitzt der Glühwurm Licht an Licht.
"Was sind das helle Fensterlein?
Da drin wird eine Hochzeit sein:
Die Kleinen sitzen beim Mahle,
Und treiben' in dem Saale.
Da guck' ich wohl ein wenig 'nein !"
Pfui, stösst den Kopf an harten Stein!
Elfe, gelt, du hast genug? Gukuk!
Mörike
INVOCATION
All things in the world have speech
Since thou camest;
And it seems to me as if the earth
So fair had ne'er appeared,
The sun so gold, the sapphire sea,
Nor all the world round thee and me!
IV
And when we two through the meadows roam,
And when we two on the mountains stand.
In midsummer's golden fullness,
In harvest glows the land below.
O! I long to humbly kneel
And the dear earth kiss,
And my arms outstretch
To the sun!
And my joy cry out
To the sea!
O sea, so great thou art,
Thee I adore !
ERICH WOLF
All things in the world have speech
Since thou camest;
And it seems to me as if the world
so fair had ne'er appeared.
By night the watchman cries aloud: "Midnight!"
Asleep in the woods quite a wee elf lies-
he jumps with fright,
He knew not whence that loud call came,
He thought the nightingale called his name,
Or that Silpelit might have required him.
The little elf then rubs his eyes,
And from his couch he doth arise ;
He goes about quite drunk with sleep
And hardly can his balance keep:
He wanders softly on tip-toe
Through brushwood to the vale below,
Then gently to a wall he creeps,
And at the glow-worm there he peeps.
"Their windows shine so clear and bright,
It seem's a wedding's there to-night :
I hear the children are singing,
With mirth their voices are ringing,
Suppose I have a peep inside?"
Love, love, thou wilt forgive
Our starved and pallid forms,
Thy cloak of lambs'-wool warms our shoulders:
Let us live! Let us live!
Gertrude Norman
Oh, knocks his head against a stone!
Elfin, hie, you have enough. Cuckoo !
We are kneeling with our hands together pressed,
We can feel thy fragrant breath,
We are too young for death;
Love, love, lift us with the rest!
HUGO WOLF
Margaret Maitland Radford
CYRIL SCOTT
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Ocr'd Text:
ISOBEL
O COOL IS THE
What is the sorrow of the wind, Isobel ?
What is the darkness of the blind, Isobel?
What is the night within the mind, Isobel?
The sorrow of the wind is love's farewell,
The darkness of the blind I will not tell,
Until the night within my mind
Is turned to light and Isobel;
To light and love and Isobel.
FIVE EYES
VALLEY
JAPANESE DEATH SONG
O cool is the valley now and there, love, will we go
For many a choir is singing now where Love did sometime go,
And hear you not the thrushes calling, calling us away?
O cool and pleasant is the valley and there, love, will we stay.
Seaweed and sinking sands
Willow-wood in mourning bands,
Whose is the voice so high,
Calling?
EUGENE GOOSSENS (1930)
White hands that beckon me,
I kiss my hands to Thee,
I know Thy voice, O Death,
Calling.
Grey sky and greyer clouds,
Grey ghosts in snowy shrouds,
It is the seagull's cry,
Calling?
EARL CRANSTON SHARP
H.K.S.
In Hans' old mill his three black cats
Watch the bins for the thieving rats.
Whisker and claw they crouch in the night,
Their five eyes smouldering green and bright;
Squeaks from the flour sack, squeaks from where
The cold wind stirs on the empty stair,
Squeaking and scamp'ring, everywhere.
Then down they pounce, now in, now out.
At whisking tail, and snuffing snout;
While lean old Hans he snores away
Till peep of light at break of day.
Then up he climbs to his creaking mill,
Out come his cats all grey with meal---
Jekke, and Jessup, and one-eyed Jill.
Walter De La Mare
ARMSTRONG GIBBS
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Ocr'd Text:
11 FEB.
WED. 11 MAR.
JOSEPH SZIGETI,
LENER QUARTET
KEITH FALKNER and DOROTHY HESSE
THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR
THE REMAINING THREE CONCERTS IS 14s. (INCLUDING
TAX) PAYABLE TO THE TREASURER.
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22 The Huddersfield Music Society, HMS 13, Page 22 |
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Ocr'd Text:
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23 The Huddersfield Music Society, HMS 13, Page 23 |
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Ocr'd Text:
HUDDERSFIELD MUSIC CLUB
E. J. BRUCE, Esq., J.P.
President
HIGHFIELD HALL, NEW NORTH ROAD
WEDNESDAY, JANUARY 28, 1931
JOSEPH SZIGETI
VIOLIN RECITAL
AT THE PIANO
AT 7-45
PROGRAMME
NIKITA MAGALOFF
PRICE THREEPENCE
Hon. Secretary,
ALBERT LUNN, Banney Close, Edgerton, Huddersfield
Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield
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Ocr'd Text:
1931
WED. 11 FEB.
WED. 11 MAR.
LENER QUARTET
KEITH FALKNER and DOROTHY HESSE
THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR
THE REMAINING TWO CONCERTS IS 9s. (INCLUDING
TAX) PAYABLE TO THE TREASURER.
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25 The Huddersfield Music Society, HMS 13, Page 25 |
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Ocr'd Text:
CONCERTO in D MINOR
LARGO
PROGRAMME
RONDO
I.
CHANT DE ROXANE
SLAVONIC DANCE
SPANISH DANCE
II.
INTERVAL
III.
SONATA in A MAJOR ("Kreutzer")
IV.
BACH
VERACINI
MOZART
BEETHOVEN
SZYMANOWSKI
DVORAK-KREISLER
DE FALLA
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26 The Huddersfield Music Society, HMS 13, Page 26 |
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Ocr'd Text:
HEAR TO-DAYS ARTIST
ONLY ON
AGAIN
Write for free Cata-
logue of Columbia
"New Process"
Records
The World Famous Violinist
SZIGETI
Records-COLUMBIA,
MAGIC NOTES
IN RECENT RECORDED SUCCESSES.
LARGO (Veracini): and TIJUCA-"Saudades do
SLAVONIC DANCE in G
minor (Dvorak). Record
(12-inch) No. L2097. (6s. 6d.)
SLAVONIC DANCE in E
minor (Dvorak): and LE
PRINTEMPS (Milhaud).
Record (12-inch) No. L1963. (6s. 6d.)
ROUMANIAN FOLK
DANCES (Bela Bartok) (with
the Composer at the Piano). In
Two Parts. Record (10-inch) No. LB6
(4s. 6d.)
98-108, Clerkenwell
Road, London, E.C.I.
Columbia
New RECORDS
ninor (Bach). Record (10-inch)
No. D1633.
(48. 6d.)
SONATA in G major
(Tartini). In Three Parts: and
SONATA in G (Beethoven).
Record (10-inch) No. D1630. (4s. 6d.)
NIGUN (Improvisation). In Two
Parts: Record (10-ineh) No. D1557,
(48. 6d.)
MUSIC IN THE PROGRAMME ON
COLUMBIA:
Brazil" (Brazilian Dance) :
and BOURREE in B
BACH CONCERTO in D minor.
(Violin Duet). Played by Anton Witek, and Alma Rosengren-
Witek with String Orchestra. In Four Parts. Two Records
(12-inch) No. 9681 and 9682 (4/6 each). A Descriptive Leaflet
is given with Record No. 9681.
KREUTZER SONATA (Beethoven). Played by
BRONISLAW HUBERMAN (Violin) and IGNAZ FRIEDMAN
(Pianoforte). In Eight Parts. Four Records (12-inch) Nos.
LX72 to LX75 (6s. 6d, each). In Art Album free with
Descriptive Notes.
Complete 26s.
ON SALE AT ALL DEALERS.
Columbia
THE WORLD'S BEST RECORDS OF RECORDED MUSIC
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27 The Huddersfield Music Society, HMS 13, Page 27 |
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Ocr'd Text:
HUDDERSFIELD MUSIC CLUB
E. J. BRUCE, Esq., J.P.
President
HIGHFIELD HALL, NEW NORTH ROAD
WEDNESDAY, FEBRUARY 11, 1931 AT 7-45
LÉNER
STRING QUARTET
JÉNO LÉNER, 1st Violin
JOSEPH SMILOVITS, 2nd Violin
SANDOR ROTH, Viola
IMRE HARTMAN, Cello
PROGRAMME
PRICE SIXPENCE
Hon. Secretary,
ALBERT LUNN, Banney Close, Edgerton, Huddersfield
Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield
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28 The Huddersfield Music Society, HMS 13, Page 28 |
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Ocr'd Text:
PROGRAMME
QUARTET in F MAJOR, Op 59, No. 1
BEETHOVEN (1770-1827)
(composed in 1806)
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.
This folk-song occurs frequently in Russian collections, and it is easy to see that
Beethoven had little idea of the orginal 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.
QUARTET in F SHARP MINOR, Op 13
etc.
LEO WEINER (b. 1885)
Lento Allegro appassionato
Molto Vivace
Andante Allegro con animo
Leo Weiner is a Hungarian composer, born in Budapest, and has made a name for
himself by the enterprising nature of his chamber music. He has written two string
quartets, a trio and orchestral and piano music. The Quartet in F Sharp Minor is his second
string quartet, and in 1922 it won the prize of a thousand dollars offered annually for
chamber music by Mrs. Coolidge, of Pittsfield, Massachusetts. It has been much played
abroad by the Budapest String Quartet.
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Ocr'd Text:
QUARTET in F MAJOR, Op. 3, No. 5
Presto
Andante Cantabile
Menuetto
Scherzando
Haydn was born at Rohrau, in Croatia, which is now part of Jugo-Slavia, and his
music is founded very largely on the wonderful wealth of Croatian folk songs. Broadly
speaking, he was the inventor of the string quartet, and brought the quartet form to
perfection. It seems to have been his natural mode of expressing his feelings. "It was
from Haydn," said Mozart, "that I first learned the true way to compose quartets."
JOSEPH HAYDN (1732-1809)
The Quartet in F
, Op. o. 5, was
in 1755, whi staying at the
Karl Joseph Edlen von Furnberg, who was accustomed to invite parties of musicians
to his country house at Weinzirl, near Melk. The Andante is the well-known Serenade.
1931
WED. 11 MAR.
KEITH FALKNER and DOROTHY HESSE
Song and Piano Recital
THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR
THE REMAINING CONCERT IS 5s. 9d. (INCLUDING TAX)
PAYABLE TO THE TREASURER.
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30 The Huddersfield Music Society, HMS 13, Page 30 |
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Ocr'd Text:
The LÉNER
STRING
QUARTET
Columbia
ON-RECORDS
ONLY
A Selection of the
Latest Recording Triumphs
by this Perfect Ensemble
(Schubert)
(Chopin)
(Chopin)
PRELUDE No. 6, op. 28
(a) PRELUDE No. 4, op. 28
(b) ETUDE in C Major, op. 10
MOMENT MUSICAL No. 3 (Schubert)
MINUET (from) Sonata in G (Schubert)
Five Beautiful Transcriptions:
Record No.
DB360 (3/-)
OTHER NEW ISSUES INCLUDE:
GROSSE FUGE, op. 133 (Beethoven)
Two Records
Record No.
DB290 (3/-)
In Four Parts
(6/6 each)
Nos. LXI03 and LXI04
A descriptive leaflet is given free with Record LX103
For other Records
by the Léner Quar-
tet, see Columbia
Catalogue-a copy
of which will be sent
post free on request
-Columbia, 98-108,
Clerkenwell Road,
London, E.C.1.
Nos. LX61 to LX64
QUINTET in G Minor, K516 (Mozart)
Four Records
Also supplied in (free) Art Album
Notes.
In Eight Parts
(6/6 each)
Complete £1 6s.
with Descriptive
QUARTET in F Major No. 5, op. 3 (Haydn) In Four Parts
Two Records
Nos. 9658 and 9659
(4/6 each)
In Eight Parts
(6/6 each)
Complete 26s.
Descriptive
QUARTET in B Flat,
op. 67 (Brahms)
In Ten Parts
6/6 each
Nos. L2357 to L2361
Also supplied in (free) Art Album with Descriptive
Five Records
Notes
Complete 32s. 6d.
In Six Parts
6/6 each
Nos, L2261 to L2263
A descriptive leaflet is given free with Record L2261
QUARTET in G Major, K 387 (Mozart)
Four Records
Nos. LX24 to LX27
Also supplied in (free) Art Album with
Notes
QUARTET in B Flat Major (Mozart)
Three Records
0
ON SALE EVERYWHERE.
Columbia
Columbie
Records
MAGIC NOTES
TRADE MARK
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31 The Huddersfield Music Society, HMS 13, Page 31 |
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Ocr'd Text:
HUDDERSFIELD MUSIC CLUB
E. J. BRUCE, Esq., J.P.
President
HIGHFIELD HALL, NEW NORTH ROAD
WEDNESDAY, MARCH 11, 1931
AT 7-45
DOROTHY HESSE
KEITH FALKNER
PIANOFORTE AND
AND
SONG RECITAL
At the Piano
PROGRAMME
MICHAEL MULLINAR
BECHSTEIN CONCERT GRAND PIANOFORTE
PRICE SIXPENCE
Hon. Secretary,
ALBERT LUNN, Banney Close, Edgerton, Huddersfield
Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield
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32 The Huddersfield Music Society, HMS 13, Page 32 |
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Ocr'd Text:
SICILIANO
BOIS EPAIS
CHROMATIC FANTASIA AND FUGUE
Je sens un désespoir
Dont l'horreur est extrême
PROGRAMME
Bois épais, redouble ton ombre;
Tu ne saurais être assez sombre,
Tu ne peux trop cacher
Mon malheureux amour.
SWEET KATE
Je ne dois plus voir ce que j'aime-
Je ne veux plus souffrir le jour!
I. PIANOFORTE
DICHTERLIEBE
Ach, wie vergigt wär so mein Ende!
Es drückten deine lieben Hände
Nur die getreuen Augen zu.
SONATA in D, Op. 10, No. 3
Presto
II. SONGS
Quinault.
HOW JOVIAL IS MY LAUGHTER
BIST DU BEI MIR (from Anna Magdalena's Book)
Bist du bei mir,
Geh' ich mit Freuden
Zum Sterben und zu meiner Ruh.
Im wunderschönen Monat Mai,
Als alle Knospen sprangen,
Da ist in meinem Herzen
Die Liebe aufgegangen.
Im wunderschönen Monat Mai,
Als alle Vögel sangen,
Da hab' ich ihr gestanden,
Mein Sehnen und Verlangen.
JOHN SEBASTIAN BACH (1685-1750)
FRIEDEMANN BACH (1710-1784)
Largo
Sombre woods! ye glades dark and lonely!
Where midnight gloom enters only.
Oh! hide my slighted love
In your unbounded night.
If now this broken heart
Never more may enfold her,
If no more these eyes may behold her,
Then evermore I hate the light.
III. PIANOFORTE
LULLY (1639-1687)
Menuetto
IV. SONGS
If thou are near
I'll go with gladness
To death and my eternal peace.
ROBERT JONES (1597-1617)
Ah! how serene
Would even death be,
If with Thy hands Thou would'st caress me,
And thus my soul from toil release.
Theo. Marzials.
IM WUNDERSCHONEN MONAT MAI
BACH (1685-1750)
Rondo
Translation by Bernard Jackson.
(All rights reserved).
BEETHOVEN (1770-1827)
BACH
SCHUMANN (1810-1856)
The wondrous beauty of the May
Was quick on every tree,
And in my heart did love unfold
One tender bud for thee.
The wondrous songsters of the May
In every bush were thronging,
When in thine ear I poured my tale
Of passion and of longing.
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33 The Huddersfield Music Society, HMS 13, Page 33 |
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AUS MEINEN THRANEN SPRIESSEN
Aus meinen Thränen spriessen
Viel blühende Blumen hervor,
Und meine Seufzer werden
Ein Nachtigallenchor.
Und wenn du mich lieb hast, Kindchen,
Schenk'ich dir die Blumen all',
Und vor deinem Fenster soll klingen
Das Lied der Nachtigall.
Die Rose, die Lilie, die Taube, die Sonne,
Die liebt'ich einst alle in Liebeswonne.
Ich lieb' sie nicht mehr, ich liebe alleine
Die Kleine, die Feine, die Reine, die Eine;
Sie selber, aller Liebe Wonne, ist Rose und Lilie und
Taube und Sonne.
DIE ROSE, DIE LILIE, DIE TAUBE
Ich liebe alleine die Kleine, die Feine, die Reine,
die Eine.
Wenn ich in deine Augen seh',
So schwindet all' mein Leid und Weh';
Doch wenn ich küsse deinen Mund,
So werd'ich ganz und gar gesund.
Wenn ich mich lehn' an deine Brust,
Kommt's über mich wie Himmelslust;
Doch wenn du sprichst: Ich liebe dich!
So muss ich weinen bitterlich.
See where my tears have fallen,
Spring blossoms, sweet and frail;
And every sigh that leaves me,
Becomes a nightingale.
Ich will meine Seele tauchen in den Kelch der
Lilie hinein;
Ah, child ! if you'll only love me,
You shall have all the flowers,
And at your window the nightingales
Shall warble hours and hours..
WENN ICH IN DEINE AUGEN SEH'
ICH WILL MEINE SEELE TAUCHEN
Die Lilie soll klingend hauchen ein Lied von
der Liebsten mein.
Das Lied soll schauern und beben wie der Kuss
von ihrem Mund,
Den sie mir einst gegeben in wunderbar
süsser Stund'.
Mit seinem grossen Dome, das grosse
heilige Cöln.
The rose and the lily, the sun and the dove,
I've sighed for them all with the fervour of love,
I love them no more; my love is all given
Im Dom da steht ein Bildnis, auf goldenem
Leder gemalt;
In meines Lebens Wildnis hat's freundlich
hinein gestrahlt.
Es schweben Blumen und Eng'lein um unsre
liebe Frau;
Die Augen, die Lippen, die Wänglein,
die gleichen der Liebsten genau.
To the fairest, the rarest, the dearest 'neath heaven
For only she is the fountain of love,
My sun and my lily, my rose and my dove!
When I gaze into thine eyes,
All my living sorrow dies.
When I kiss those lips of thine,
All my blood is turned to wine.
When my head is on thy breast,
I am lapped in heaven's own rest,
But when thou sayest, "I love thee so ! "
Then the wretched tears must flow.
Im Rhein, im heiligen Strome, da spiegelt sich
in den Well'n,
IM RHEIN, IM HEILIGEN
ICH GROLLE NICHT
Ich grolle nicht, und wenn das Herz auch bricht,
Ewig verlor'nes Lieb, ich grolle nicht.
Wie du auch strahlst in Diamantenpracht;
Es fällt kein Strahl in deines Herzens Nacht.
Das weiss ich längst-ich sah dich ja im Traume,
Und sah die Nacht in deines Herzens Raume,
Und sah die Schlang' die dir am Herzen frisst ;
Ich sah, mein Lieb, wie sehr du elend bist.
INTERVAL.
I'd take my soul and hide it
In the lily's golden bell;
Up from its sweet recesses.
My song of love would well.
Its tender notes would falter
And tremble like the kiss
That once my darling gave me
In an hour of wondrous bliss.
STROME
Where the Rhine, the holy river,
Flows by the town of Cologne,
The spires of the vast cathedral
In the mighty stream are shown.
Within there hangs a picture;
You see, on a golden ground,
A head of the Holy Mother,
With angels and flowers round.
A light in my hour of darkness,
Streams from Our Lady of Grace:
The eyes, the cheeks, the smiling lips,
Are so like my darling's face.
I blame thee not, love that art lost to me,
Although my heart should break,
blame thee not.
Though thy rich jewels flash for all to see,
1 know the darkness of thy secret lot.
I've known it long, in dreams thou
cam'st to me;
I've seen the night that falleth on
thy heart,
I've seen the serpent gnawing hungrily,
I know not one more wretched than
thou art.
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34 The Huddersfield Music Society, HMS 13, Page 34 |
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Ocr'd Text:
INTERMEZZO, Op. 116, No. 6
RHAPSODY, Op. 79, No. 2
"REFLETS DANS L'EAU "
NOCTURNE, in F SHARP MAJOR
TARANTELLE
V. PIANOFORTE
FALSE PHILLIS
}
LORD RENDAL (Somerset Folk Song)
WHEN DULL CARE
VI. SONGS
THE REJECTED LOVER (Appalacian Folk Song)
SHEPHERD S THY HORSE'S FOAMING MANE
(Hungarian National Song)
(Old English Melodies)
HUDDERSFIELD.
BRAHMS (1833-1897)
99
DEBUSSY (1862-1918)
CHOPIN (1810-1849)
Arranged by CECIL SHARPE
CECIL SHARPE
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,
KORBAY
LANE WILSON