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HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. 45454545454 President PRESIDENT HUDDERSFIELD MUSIC CLUB. A. L. WOODHEAD, Esq., M.A., J.P. HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY DECEMBER 7 CONCERTS FOR THE FIFTEENTH SEASON 1932-33 TO BE GIVEN IN Hon. Secretary HIGHFIELD ASSEMBLY HALL (NEW NORTH ROAD) WEDNESDAYS, OCT. 12, NOV. 9, DEC. 7, 1932, WEDNESDAYS, JAN. 25, FEB. 22, MAR. 15, 1933. At 7-45 p.m. Mrs. A. Eaglefield Hull, W. Clifford Crook. J. Stancliffe Ellis. W. Tuke Robson. Irving Silverwood. 1932 Hon. Treasurer - Committee: F.R.C.O. Miss Alison Shaw, L.R.A.M. F. W. Thornton, M.R.C.S., L.R.C.P. Frederick Whiteley. D. R. H. Williams. ALBERT LUNN, 7, West Avenue, Daisy Lea Lane. F. W. GADSBY, c/o 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 Hon. Treasurer. AT 7.45 B .P. field field

HUDDERSFIELD MUSIC CLUB. A. L. WOODHEAD, Esq., M.A., J.P. PRESIDENT YAYAYAYAYAY CONCERTS FOR THE FIFTEENTH SEASON 1932-33 TO BE GIVEN IN HIGHFIELD ASSEMBLY HALL (NEW NORTH ROAD) WEDNESDAYS, OCT. 12, NOV. 9, DEC. 7, 1932, WEDNESDAYS, JAN. 25, FEB. 22, MAR. 15, 1933. At 7-45 p.m. Mrs. A. Eaglefield Hull, W. Clifford Crook. J. Stancliffe Ellis. W. Tuke Robson. Irving Silverwood. Hon. Secretary 595596 Hon. Treasurer - Committee: F.R.C.O. Miss Alison Shaw, L.R.A.M. F. W. Thornton, M.R.C.S., L.R.C.P. Frederick Whiteley. D. R. H. Williams. ALBERT LUNN, 7, West Avenue, Daisy Lea Lane. F. W. GADSBY, c/o 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 Hon. Treasurer.

WEDNESDAY, 12th OCTOBER, 1932. JAN SMETERLIN. THE FAMOUS POLISH PIANIST. "He stands on one of the highest peaks in the whole range of contemporary pianistic attainment. Basil Maine. WEDNESDAY, 9th NOVEMBER, 1932. THE KUTCHER STRING QUARTET. "Their performance is a real delight to the connoisseur." ☐☐☐☐ AND Daily Telegraph. WEDNESDAY, 7th DECEMBER, 1932. MURIEL BRUNSKILL RUDOLPH DOLMETSCH "Certainly one of the finest contralto singers in England to-day." "RUDOLPH DOLMETSCH's playing of music for the Harpsichord by Byrd, Bull and Farnaby, must be mentioned as a triumph of technical and imaginative mystery." The Times.

WEDNESDAY, 25th JANUARY, 1933. ARTURO BONUCCI. THE NEW ITALIAN 'CELLIST "Beyond question an artist of the highest accomplishment." Morning Post. WEDNESDAY, 22nd FEBRUARY, 1933. NICOLAS ORLOFF. THE RUSSIAN PIANIST. The critics are unanimous in acclaiming the unique beauty of tone and the exquisite poetry which this wonderful artist draws from his instrument. WEDNESDAY, 15th MARCH, 1933. THE LENER QUARTET The Perfect Ensemble and certainly the World's Greatest String Quartet.

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, OCTOBER 12, 1932 AT 7-45 JAN SMETERLIN PIANOFORTE RECITAL STEINWAY GRAND PIANOFORTE PROGRAMME PRICE THREEPENCE Hon. Secretary ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield Hon. Treasurer F. W. GADSBY, c/o National Provincial Bank, Ltd., King St., Huddersfield

PROGRAMME SONATA IN D MAJOR (K311) Allegro con spirito Andantino con espressione Rondo PAGANINI VARIATIONS Op. 35 I. TWO MAZURKAS Op. 50 II. MOZART (1756-1791) This consists of two sets of variations each upon a theme from one of Paganini's violin caprices. In this work Brahms not only shows himself to be a supreme master of variation form, but he has also constructed a series of wonderful studies which have scarcely ever been surpassed in technical difficulty. III. BRAHMS (1833-1897) SZYMANOWSKY (b. 1883) Szymanowsky is the leader of modern Polish music, though the national element does not enter obstrusively into his work, nor does he show too plainly the influence of folk music. His indebtedness Chopin is seen in his early works, but he soon produced a strong and original personality. He has written much piano music (usually calling for a high degree of virtuosity), numerous songs, symphonies, choral works, an opera and a string quartet.

LA MAJA Y EL RUISEÑOR This piece is taken from Goyescas, a set of piano pieces by the Spanish composer, founded upon a study of Goya's paintings in the Prado. Here we have a dialogue between a maiden and a nightingale. This is one of the most beautiful of all Granados' works; it is written in the purest pianistic style and with an exquisite sense of poetry. THE FOUR BALLADS INTERVAL. GRANADOS (1867-1916) IV No. 1. Op. 23 in G minor No. 2. Op. 38 in A minor No. 3. Op. 47 in A flat major No. 4. Op. 52 in F minor CHOPIN (1810-1849) "There is nothing more beautiful in the whole realm of piano music than these ballads; together they give a sense of Poland's grandeur which nothing but music could express." S.L.

1932 WED. 9 NOV. WED. 7 DEC. 1933 WED. 25 JAN. WED. 22 FEB. WED. 15 MAR. THE KUTCHER STRING QUARTET MURIEL BRUNSKILL AND RUDOLPH DOLMETSCH THE DOOR. ARTURO BONUCCI NICOLAS ORLOFF THE LENER QUARTET THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING FIVE CONCERTS IS 21/9 (INCLUDING TAX) PAYABLE TO THE TREASURER. SINGLE TICKETS FOR EACH CONCERT 5/9 (INCLUDING TAX) CAN BE OBTAINED AT

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, NOVEMBER 9, 1932 AT 7-45 THE KUTCHER STRING QUARTET FREDERICK GRINKE DOUGLAS CAMERON SAMUEL KUTCHER RAYMOND JEREMY PROGRAMME PRICE THREEPENCE Hon. Secretary ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield Hon. Treasurer F. W. GADSBY, c/o National Provincial Bank, Ltd., King St., Huddersfield

PROGRAMME QUARTET. Op. 95 IN F MINOR BEETHOVEN (1770-1827) Allegro con brio Allegretto ma non troppo Allegro assai vivace, ma serioso Allegretto agitato This quartet stands midway between Beethoven's second and third periods and possesses some of the finest character- istics of both. The opening movement is comparatively short and is of a deeply felt and passionate nature. The principal subject is a unison passage of colossal force and ruggedness, which finally fades away into silence. The second movement is calmer, but interrupted later by a fugato on a chromatic subject. The third movement is gloomy and passionate (replacing the conventional Scherzo), a short but deeply emotional introduction leads to the restless and agitated fourth movement which ends with a dazzling gleam of sunshine. QUARTET. Op. 106 IN G. MAJOR. DVORAK (1841-1904) Allegro moderato Adagio ma non troppo Molto vivace Andante sostenuto; Allegro con fuoco Sprung from humble peasant stock, Dvorak showed from his earliest years an extraordinary talent for music. He soon came under the influence of Smetana and of the new movement toward the expression of Czech nationalism in music. All his work is characterised by his fundamental joyousness, love for God and his fellow man, confidence, open- heartedness and abundant vitality. The quartet now to

be played is one of the later compositions (1895). It is included among the works written while in America, all of which by their intense national characteristics are said to betray his longing for his native land. INTERVAL. QUARTET IN B FLAT MAJOR. (THE HUNT. K.458) Allegro vivace assai Minuet and Trio Adagio Allegro assai MOZART (1756-1791) This quartet is the fourth of a series of six which Mozart wrote in his 29th year and later dedicated to Haydn. It is known as "The Hunt" on account of the resemblance of the first theme to a hunting call (previously Mozart had been writing horn concertos for Leutgeb). A joyous first movement is followed by a charming Minuet and Trio. The expressive slow movement has enchanting passages in which the first violin and cello play lovely phrases in alternation against a staccato accompaniment. The final movement, in Rondo form, is animated and graceful.

1932 WED. 7 DEC. 1933 WED. 25 JAN. WED, 22 FEB. WED. 15 MAR. MURIEL BRUNSKILL AND RUDOLPH DOLMETSCH THE DOOR. ARTURO BONUCCI NICOLAS ORLOFF THE LENER QUARTET THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING FOUR CONCERTS IS 17/6 (INCLUDING TAX) PAYABLE TO THE TREASURER. SINGLE TICKETS FOR EACH CONCERT 5/9 (INCLUDING TAX) CAN BE OBTAINED AT

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, DECEMBER 7, 1932 AT 7-45 MURIEL BRUNSKILL RUDOLPH DOLMETSCH AT THE PIANO, DORIS STATON STEINWAY GRAND PIANOFORTE Supplied by Messrs. JOSHUA MARSHALL & CO. PROGRAMME PRICE SIXPENCE WED, 25 JAN. WED. 22 FEB. WED. 15 MAR. 1933 AND ARTURO BONUCCI NICOLAS ORLOFF THE LENER QUARTET THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING THREE CONCERTS IS 14/6 (INCLUDINC TAX) PAYABLE TO THE TREASURER. SINGLE TICKETS FOR EACH CONCERT 5/9 (INCLUDING TAX) CAN BE OBTAINED AT THE DOOR. pokopanay) Cha Hon. Secretary ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield Hon. Treasurer F. W. GADSBY, c/o National Provincial Bank, Ltd., King St., Huddersfield

BRIDGE DRIVE at WHITELEY'S CFE early in FEBRUARY TICKETS 3/- (including refreshments), will be on sale at the next Club Concert, or may be obtained from the Ladies' Committee. CHACONNE IN G MAJOR FOUR PIECES-Trumpet Tune, Air, Rondo, Hornpipe (a) DIE ALLMACHT (b) AM STROME (c) DIE LIEBE HAT GELOGEN (d) DREI ZIGEUNERLIEDER, I. II. VI. (a) Great is Jehovah the Lord ! For heaven and earth testify to His great power. 'Tis heard in the fierce-raging storm, In the torrent's loud-thundering roar. The Harpsichord is the most important of the various keyed instruments that preceded the modern piano. The strings are set in vibration by plucking them with a plectrum made of leather or raven quill, instead of hitting them with a hammer as in a piano. It has four sets of strings, two keyboards and eight pedals which control the various effects of tone colour and dynamics. The instrument used tonight is a modern one built by Arnold Dolmetsch at Haslemere. II. Great is Jehovah the Lord ! Mighty is His power! 'Tis heard in the rustling of leaves in the forest, Seen in the waving of golden fields, In loveliest flowers' gaudy array; (b) (c) PROGRAMME I. 'Tis to me as if my whole life, With the lovely stream were woven. I have not my joy upon its shoreland, Still my grief has to me cloven. —————— Love to me has lied, Sorrow presses sore, All have me deceived, How shall I trust more? (d) I. Ho there, Gypsy ! Strike, resounding ev'ry string, II.High and towering Rima stream, How art thou so drear? SUITE INE TRANSLATIONS And the song of false and faithless maiden sing ! Let the strings all moan, lamenting, sorrow weeping, Till the burning tears these cheeks so hot are steeping ! Speedest thou to distant ocean. Darest not at rest to feel thee. Driven, roam I through the mild lands. Rest, the earth shall not reveal me. (English Words by permission of Messrs. Augener.) On thy shore I mourn aloud, for thee, my dear! Waves are rushing, waves are flying, Rolling o'er the strand to me : On the shore of Rima let me weep for her eternally! HANDEL (1685-1759) PURCELL (1658-1695) SCHUBERT (1797-1828) 'Tis seen in the myriad stars that stud the heavens ; Fierce it sounds in the thunder's loud roll, BRAHMS (1833-1897) And flames in the lightning's brightly quivering flash. Yet clearer thy throbbing heart to thee proclaims Jehovah's power, the Lord God Almighty; Look, thou, praying to Heaven, and hope for grace and for mercy, Great is Jehovah the Lord ! III. Dr. Theo. Baker. Yes, thou like art to my spirit, Often bright and smoothly faring : And at times the ruling tempests Foaming, all thy breasts are tearing. VI. Rosebuds three, all on one tree, ye bloom so red That a lad a lassie woo, is not forbid ! Tears flow hot and fast As I stand apart; Sorrow has no balm, Cease to beat, poor heart ! Loving God, if that had been denied, All the world, the beauteous world long since had died. Single life's a sin, beside ! Fairest village in Alfeld is Ketschkemete, There live many pretty lasses trim and neat! Comrades seek and choose ye there a bride, Sue then for her hand and may your house abide. Dra the goblet, comrades tried ! Mrs. John P. Morgan. RAMEAU (1683-1764) DUEX RIGAUDONS, "LE RAPPEL DES OISEAUX" MUSETTE ET TAMBOURIN TWO SONATAS IN A MINOR AND D MINOR DOMENICO SCARLATTI (1685-1757) INTERVAL

(b) (c) (a) NACHTGANG (b) BEFREIT (c) IST DER HIMMEL DARUM IM LENZ SO BLAU? (d) DIE EINSAME (e) FRIEDEN (f) WIE FRUHLINGSAHMUNG WEHT ES DURCH DIE LANDE (a) We wandered through the quiet, balmy night, Arm in arm we wandered, thine eyes into mine gazing, The moon's soft silv'ry light flooded thy beauteous face; Golden background seemed to enframe thy head. O do not weep, love! Tho' I shall miss thee, Bid me farewell, love, and fondly kiss me, And I'll return thy gaze and kiss. Our sweet home in the woodlands, Who but thou didst adorn it ? I made it our world, our joy to own it; O bliss ! Krus IV. Then pearled the trembling teardrop Closer pressed I thee and kissed thee, Kissed thy lips quite softly, And my soul was weeping. TRANSLATIONS Life fast is ebbing; Death comes to-morrow, Are the heavens so blue in Spring, Because they look down on the flowering earth, Or is the earth so full of blossom Because the glorious sky is blue ? We both then shall be released from sorrow. Take now and give the farewell kiss. Then I shall but see thee in dreams asleep, love, Thou shalt bless me and with me shall weep, love ; O bliss ! English version by John Bernhoff. (d) Were it dark, and I should lie in the forest with its quiet whispering, the night would cover me with her starry mantle. Then would come the crooning of the brooklets, if I should sleep. (e) Light morning cloudlets drift fairylike o'er heart, and sense. Come, beloved, let us float into Paradise. Look how high we have climbed. We are already nearing the edge the clouds. The mountains, and sea, lie so far below that we can scarcely see (a) SILENT NOON (b) THE WATER MILL (c) IN THE HIGHLANDS (d) IMMANENCE And as a saint thou didst appear to me, Mild and great, thy soul o'erflowing with grace, Holy and pure as the sun in heaven, And in mine eyes from the springs of my heart STRAUSS (b. 1864) VI, (e) IN THE GARDEN OF THE SERAGLIO (f) TO DAFFODILS (8) SPRING, THE SWEET SPRING PFITZNER (b. 1869) Then shall thy soft snow-white hands caress me ; Thou shalt leave me thy soul and bless me ; Leave me our babes with a mother's kiss. Thou gav'st me thy life, thy love so tender, Both now unto them I gladly render; O bliss As signs of Spring wave through the land, As Spring awakes in the breast, My heart with heroicstrength and godlike pleasure, bursts its winterly bonds. I am driven to the peaks of the High Mountains, Where far below I behold the world bathed in golden light. There flinging wide my arms, I bless all that lies there gloriously woven in joy and anguish. V. THREE PIECES, His Toye, His Dreame, and His Rest FANTASIA IN C MINOR Do I love you so much, my dearest, Because you are so lovely and charming, Or are you so beautiful because Love has entered your heart? I cannot sleep, I listen long to the nightingales. If the tree-tops rustle above me the whole night through, then are the heart's deepest searchings, for no one is near. M. B. M. B. them, but here on light cloudlets, tender and pure little angels play, Come, beloved, let us play with these little people, and be children too. M. B. M..B GILES FARNABY (1560-1600) BACH (1685-1750) VAUGHAN WILLIAMS (b. 1872) H. PROCTOR GREGG RUTLAND BOUGHTON (b. 1878) DELIUS (b. 1863)

(a) Your hands lie open in the Nong fresh grass, The finger-points look through like rosy blooms : Your eyes smile peace; the pasture gleams and glooms 'Neath billowing skies that scatterend amass. (b) There is a mill, an ancient one, Brown with rain and dry with sun, The miller's house is joined with it, And in July the swallows flit To and fro, in and out, DO Round the windows all about. Deep in the sun-searched growth the dragon-fly Hangs like a blue thread loosened from the sky: So this winged hour is dropt to us from above. Oh! clasp we to our hearts, for deathless dower, This close-companioned inarticulate hour, When two-fold silence was the song of love. D. G. Rossetti. The mill wheel whirrs and the waters roar Out of the dark arch by the door, The willows toss their silver heads And the phloxes in the garden beds Turn red, turn With the time of day, gray And smell weet in the rain, then die away. The miller's cat is a tabby; she Is as lean as a healthy cat can be, She plays in the loft where the sunbeams stroke The sacks' fat backs and beetles choke In the floury dust. The wheel goes round, And the miller's wife sleeps fast and sound. In the Highlands, in the country places, Where the old plain men have rosy faces, And the young fair maidens quiet eyes. Where the essential silence chills and blesses-- And ever in the hill recesses Her more lonely music broods and dies. (d) Cool water pours Into dim silence, Through the tense shade, The musk of fair roses, Gloses the sense. Cool water pours, Dissolving thin sleep, (e) All und our nest, so far as eye car pass, Are Golden king-cup fields with silver edge. Where the cow-parsley skirts the hawthorn hedge. 'Tis visible silence, still as the hour glass. (f) Fair daffodils, we weep to see You haste away so soon; As yet the early rising sun Has not attained his noon. There is a clock inside the house Very tall and very bright, It strikes the hour when shadows drowse Or showers make the windows white. Loud and sweet in rain and sun The clock strikes and the work is done. The miller's wife and his eldest girl Clean and cook while the mill wheels whirl, The children take their meat to school, And at dusk they play by the twilit pool Bare-foot, bare-head, Till the day is dead Until the hasting day Has run But to the evensong ! And, having prayed together We will go with you along. And their mother calls them in to bed. The supper stands on the clean scrubbed board And the miller drinks like a thirsty lord. O to dream, O to awake and wander there, And with delight to take and render, Through the trance of silence, quiet heath. Lo, for thee, among the flowers and grasses, Only the mightier movement sounds and passes, Only wind and rivers, life and death. R. L. Stevenson. (g) Spring, the sweet spring, is the year's pleasant King, Then blooms each thing, then maids dance in a ring, Cold doth not sting, the pretty birds do sing- Cuckoo, jug-jug, pu-we, to-witta-woo ! The young men come for his daughter's sake But she never knows which one to take. She drives her needle and pins her stuff, While the moon shines gold and the lamp shines buff. Fredegond Shove O to mount again as erst I haunted, Where the old red hills are bird enchanted, And the low green meadows bright with sward. And when even dies, the million-tinted And the night has come, and planets glinted- Lo the valley hollow lamp bestarr'd. With perfume heavily laden, the roses droop their heads, The pine trees are swaying so silently in the drowsy air- And silvery fountains are playing so dreamily. The minarets raise towards heaven in faith their Turkish towers. The crescent moon glides on her lonely way o'er the dark blue sky, And she kisses clusters of lily and rose, and other rare flowers too, In the Seraglio garden. From the corners of mind. But the eyes are more blind, And the slumber more deep. The fierce heat of the rose, Bursts in the sun, Cool water pours. We have short time to stay as you, We have as short a spring : As quick a growth to meet decay. any thing. As you We die John Rodker. As your hours do, and dry Away. Like to the summer's rain, Or as the pearls of morning's dew, Ne'er to be found again. Herrick. The palm and way make country houses gay, Lambs frisk and play, the shepherds pipe all day, And we hear aye birds tune this merry lay- Cuckoo, jug-jug, pu-we, to-witta-woo ! The fields breathe sweet, the daisies kiss our feet, Young lovers meet, old wives a-sunning sit, In every street these tunes our ears do greet, Cuckoo, jug-jug, pu-we, to-witta-woo!

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, JANUARY 25, 1933 AT 7-45 ARTURO BONUCCI CELLO RECITAL AT THE PIANO, JOHN WILLS STEINWAY GRAND PIANOFORTE Supplied by Messrs. JOSHUA MARSHALL & CO. PROGRAMME PRICE THREEPENCE Hon. Secretary ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield Hon. Treasurer F. W.GADSBY, c/o National Provincial Bank, Ltd., King St., Huddersfield

BRIDGE DRIVE AT WHITELEY'S CAFE on Thursday, February 9th Reception by the President at 7 Bridge to begin at 7-30 prompt (Progressive and Non-Progressive) Tickets, price 3/-, may be obtained from the Ladies' Committee OR TO-NIGHT IN THE HALL. PROGRAMME LARGO E VIVACE ADAGIO TEMPO DI MENUETTO ADAGIO E GIGA II I SAMMARTINI (1698-1750) BACH (1685-1750) HAYDN (1732-1809) BOCCHERINI (1743-1805) CONCERTO IN B MINOR. Op. 104. Allegro Adagio ma non troppo Finale: Allegro moderato Andante Andante maestoso Allegro vivo DVORAK (1841-1904)

ADAGIONE VARIAZIONI TARANTELLA REVERIE INTERVAL III VARIATIONS ON A ROCOCO THEME. Op. 38. RESPIGHI (b. 1879) CASELLA (b. 1883) DEBUSSY (1862-1918) TSCHAIKOWSKY (1840-1893) These Variations were written in 1877. They are seven in number, beginning with a short orchestral introduction and ending with a brilliant Coda.

1933 WED. 22 FEB. WED. 15 MAR. NICOLAS ORLOFF THE DOOR. THE LENER QUARTET THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING TWO CONCERTS IS 11/6 (INCLUDING TAX) PAYABLE TO THE TREASURER. SINGLE TICKETS FOR EACH CONCERT 5/9 (INCLUDING TAX) CAN BE OBTAINED AT

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, FEBRUARY 22, 1933 AT 7-45 NICOLAS ORLOFF BLUTHNER PIANOFORTE PROGRAMME PRICE THREEPENCE Hon. Secretary ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield Hon. Treasurer F. W. GADSBY, c/o National Provincial Bank, Ltd., King St., Huddersfield

PROGRAMME SONATA IN E MINOR Presto I Adagio Finale: Allegretto vivace II ÉTUDES SYMPHONIQUES. Op. 13. HAYDN (1732-1809) INTERVAL SCHUMANN (1810-1856) Schumann's full description of this work is "Studies in Variation-form (12 Symphonic Studies) dedicated to his friend William Sterndale Bennett." It was written in 1834; in individuality and boldness of treatment, profusion of ideas and variety, it ranks as one of the great contributions to piano literature. The melody of the theme, in C sharp minor, was composed by "an amateur." There are actually eleven studies or variations; the twelfth (Finale), though it has references to the original theme, is really based on the airs "Rejoice, proud England" and "Who is the highly-honoured knight" (Richard Cœur-de-Lion), which form a delicate allusion and compliment to Sterndale Bennett.

(a) SCHERZO IN B MINOR. Op. 20. (b) NOCTURNE IN E FLAT MAJOR. Op. 55. (c) FIVE STUDIES (a) TOCCATA III (v) G flat major, Op. o. 25 E flat major, Op. 10. F minor, Op. 25. E flat minor, Op. 10. C sharp minor, Op. 25. 10. (b) REFLETS DANS L'EAU IV CHOPIN (1810-1849) DEBUSSY (1862-1918) "Here is the sleep, luminous and floating of reflected visions, and slow images are lengthened in the waving mirror of sounds by the delicious transparence of harmonies and dancing arpeggios."--Cortot. (c) DANSE RUSSE FROM "PETROUSHKA" STRAVINSKY (b. 1882) Written in 1911, "Petroushka" was the second Ballet Stravinsky wrote for Serge Diaghilev and his famous company. It depicts the annual Shrove-tide festival. in a Russian town, with all the fun of the fair, and some of the sordidness too.

1933 WED. 15 MAR. THE LENER QUARTET THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING CONCERT IS 5/9 (INCLUDING TAX) PAYABLE TO THE TREASURER.

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, MARCH 15, 1933 AT 7-45 LENER QUARTET JENO LENER SANDOR ROTH JOSEPH SMILOVITS PROGRAMME IMRE HARTMAN PRICE THREEPENCE Hon. Secretary ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield Hon, Treasurer F. W. GADSBY, c/o National Provincial Bank, Ltd., King St., Huddersfield

PROGRAMME I QUARTET IN A MINOR. Op. 51. No. 2, Allegro non troppo Andante BRAHMS (1833-1897) Quasi Minuetto: Moderato: Allegretto Finale: Allegro non assai Richard Specht calls this quartet "a pearl in the diadem of chamber music." The first movement leaves an impression of fragrance and tender melancholy. There is none of the harshness and ruggedness of Brahms in it; nothing but gentle caressing entreaty and a half-veiled sadness. The Andante is a song into which abrupt and violent accents suddenly break, and a canon is hammered out between the violin and the 'cello. In the same way, the dim colouring of the Minuetto is interrupted by passages of dancing semiquavers. The Finale, with its vigourous syncopation and its song-like second subject, is written in the true Brahms style. INTERVAL

II QUARTET IN C MAJOR. Op. 59. No. 3. Introduzione: Allegro vivace Andante con moto Menuetto grazioso Allegro molto BEETHOVEN (1770-1827) This, the third of the Rasumovsky quartets, was written in 1806. Starting in a remote key, twenty- nine bars of introduction lead into the first movement, which opens with a vivacious, springing theme for the violin alone. The rest of the movement is clear and lucid in style and happy in its mood. The Andante is one of the first great romantic movements in music; over pizzicato bass-notes, the upper strings sing flowing melodies. For the third movement Beethoven writes a Minuet instead of the Scherzi, by which he had, up to this time, so often replaced the more conventional form. But this Minuet does not confine itself to the simple dance-form; Beethoven's own characteristic humour breaks through. A Coda, based on the Minuet theme, forms an introduction to the last movement: the remarkable spiccato Fugue. This ranks with the greatest of Beethoven's fugues... "simple yet exhaustless in resource and power, his music, in such movements as he gives us here, becomes vast, and in sublime unity, like the sea. Such a movement, when it was written, must have trans- formed for its first hearers every preconceived idea of music." III QUARTET IN D MAJOR. Op. 76. No. 5. Allegretto Largo: cantabile e mesto Minuet and trio Finale: Presto HAYDN (1732-1809) After hearing the quartets of two great masters of chamber music comes the simple, fresh and altogether delightful art of Haydn. Chronologically speaking, this quartet should have been played first, for Haydn was the first great writer of quartets and symphonies. The movements are all very easy to follow-an animated first movement, a poetic and graceful Largo, a dancing Minuet with its Trio, and a swift and vivacious Finale.

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