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HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, OCTOBER 18, 1933 AT 7-45 ROY HENDERSON ACCOMPANIST PROGRAMME FRANK DODSON PRICE THREEPENCE Hon. Secretary ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield Hon. Treasurer F. W. GADSBY, 1, Longley Road, Huddersfield

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, OCTOBER 18, 1933 AT 7-45 ROY HENDERSON ACCOMPANIST PROGRAMME Hon. Secretary Hon. Treasurer FRANK DODSON PRICE THREEPENCE ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield F. W. GADSBY, 1, Longley Road, Huddersfield

Chanson bachique Adieu chère Louise Chanson du Tambourineur Air de Ralph PROGRAMME The Piper o' Dundee Ae fond kiss Duncan Grey Afton Water Willie brewed a peck o' maut Had a horse Silken shoes The Song of Momus to Mars Hear me ye winds and waves The Knotting Song Was ever nymph like Rosamund Care flies from the lad that is merry Mothgrubs Ode to Music I II III IV Grétry Monsiguy arr. Weckerlin Bizet Dr. Boyce Handel Purcell Dr. Arne Michael Arne arr. Macpherson arr. Roy Henderson arr. Macpherson arr. Roy Henderson arr. Diack Korbay Delius Weingartner Herbert Bedford

1933 WED. 15 NOV. WED. 6 DEC. 1934 WED. 24 JAN. WED. 7 FEB. WED. 7 MAR. THE LENER QUARTET HENRY HOLST MORIZ ROSENTHAL BROSA QUARTET EGON PETRI THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING FIVE CONCERTS IS 21s. 8d. (INCLUDING TAX) PAYABLE TO THE TREASURER. SINGLE TICKETS FOR EACH CONCERT 5s. 9d. (INCLUDING TAX) CAN BE OBTAINED AT THE DOOR.

HIGHFIELD HALL, MONDAY, OCTOBER, 30, 1933 AT 7-45 RECITAL DOROTHY DONALDSON, LEONARD HIRSCH, Mezzo-Soprano. Violin. ERIC FOGG, Piano. (By courtesy of the B.B.C.) TICKETS 2/6 (including Tax). FROM J. WOOD & SONS, 67, NEW STREET

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, NOVEMBER 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, 1, Longley Road, Huddersfield

PROGRAMME QUARTET IN D MAJOR I Poco-lento Allegro Scherzo Larghetto Finale CÉSAR FRANCK (1822-1890) socquently played This quartet is one of the most serious and thoughtful ever written. Franck was in his 65th year before he attempted this form; and such were the conditions of his life and the extent of his labours that practically all his compositions were written in the early hours of the morning (he invariably rose at 5-30) or on holiday. He wrote his quartet during a two months holiday in 1889. The first movement cost Franck infinite trouble, and two versions were discarded before he arrived at the third and final one. It is constructed upon two complete musical ideas- first, a song-like lento section in D major, the theme of which reappears in the final movement; and secondly, an Allegro in D minor, containing two subjects connected by an important link. This movement gives us the very essence of Franck's style, with its reflexive mood, and beautiful polyphony. The Scherzo, opening with feathery lightness, has muted strings throughout; it has been described as "a round danced by sylphs in a moonless landscape." The Larghetto in B major (a key to which Franck was very partial) is a deeply spiritual prayer. The Finale opens with an Allegro introduction, interrupted by quotations from the Larghetto, the Scherzo and the Lento theme of the first movement (after the manner of Beethoven in the Ninth Symphony) and leads finally into another Allegro, also founded upon the Lento theme. Other themes follow, mostly reminiscent of material from the previous movements, and in their development display a wonderful variety of tonal colour. Finally the persistent rhythm of the Scherzo ends by bringing back the theme of the Larghetto, this time in augmentation, and the work closes in a spirit of almost religous solemnity. II QUARTET IN G MAJOR Op. 18 No. 2 BEETHOVEN (1770-1827) Allegro Adagio cantabile Scherzo, Trio Allegro molto quasi Presto

The six Quartets of Op. 18, published in 1800, are Beethoven's first attempts at a form in which he was later to attain the greatest heights of his creative genius This Quartet, the second of the set, is written even more in the style of Haydn or Mozart than No. 1, except that Beethoven keeps his music in rather higher registers. It is nicknamed the "Compliment Quartet," which aptly indicates the character of the first subject and, indeed, of the whole work, despite a graver second moment. The Adagio has elaborate and graceful ornamentation, which is interrupted by a curious little episode marked Allegro. The Scherzo is bright and graceful, but not in the "unbuttoned" mood of the later Scherzi. A cello entry begins the final Allegro, aud the work comes to a gay and sparkling close. INTERVAL. III QUARTET IN A MAJOR. Op. 41. No. 3. SCHUMANN (1810-1856) Andante espressivo-Allegro molto moderato Assai agitato Adagio molto Finale-Allegro molto vivace 1842 was Schumann's year of chamber music. In it he wrote his first, and only, string quartets-the three Quartets of Op. 41, the E flat piano quintet, the E flat piano quartet and the Phantasiestücke piano trio. Earlier in that year he had. studied the quartets of Haydn, Mozart and Beethoven before. he started his own work. The three quartets were all written in about a month, while the two final movements of the last took Schumann only one day each. They were dedicated to "his friend Mendelsohn," and were immediately successful. They cannot be said to be written in the purest quartet style. They are rather pianistic, but, by that same means, Schumann attains new and lovely effects. The third quartet is probably the most popular. It opens with a short recitative introduction which is followed by the Allegro; the second subject is a 'cello melody, very widely spaced, with a light chordal accompaniment. The second. movement is a theme with four variations and a coda. The slow movement has smooth and flowing melodies, while the Finale is Scherzo-like and gay in mood,

1933 WED. 6 DEC. 1934 WED. 24 JAN. WED. 7 FEB. WED. 7 MAR. HENRY HOLST MORIZ ROSENTHAL BROSA QUARTET EGON PETRI THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING FOUR CONCERTS IS 17s. 6d. (INCLUDING TAX) PAYABLE TO THE TREASURER. SINGLE TICKETS FOR EACH CONCERT 5s. 9d. (INCLUDING TAX) CAN BE OBTAINED AT THE DOOR.

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, DECEMBER 6, 1933 AT 7-45 HENRY HOLST At the Piano PROGRAMME JOHN WILLS PRICE THREEPENCE Hon. Secretary ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield Hon. Treasurer F. W. GADSBY, 1, Longley Road, Huddersfield

SONATA IN A MAJOR LOTUS LAND LE PRINTEMPS PROGRAMME NOTTURNO AND TARANTELLA I Allegretto ben moderato Allegro Recitativo-Fantasia Allegretto poco mosso II RONDEAU BRILLANT CÉSAR FRANCK (1822-1890) INTERVAL. III SONATA IN G MAJOR K.301 Allegro con spirito Allegro KAROL SZYMANOWSKI (b. Timoshovka, govt. of Kieff, Ukraine, 1883) IV CYRIL SCOTT (b. Oxton, Cheshire, 1872) DARIUS MILHAUD (b. Aix-en-Provence, 1892) MOZART (1756-1791) SCHUBERT (1797-1828)

1934 WED. 24 JAN. WED. 7 FEB. WED. 7 MAR. MORIZ ROSENTHAL BROSA QUARTET EGON PETRI THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING FOUR CONCERTS IS 14s. 6d. (INCLUDING TAX) PAYABLE TO THE TREASURER. SINGLE TICKETS FOR EACH CONCERT 5s. 9d. (INCLUDING TAX) CAN BE OBTAINED AT THE DOOR.

SPECIAL CONCERT WEDNESDAY, JANUARY 24, 1934 MORIZ ROSENTHAL (His only appearance this season in the North of England) Sonata. Op. III. C minor Allegro de Concert Nocturne C sharp minor Mazurkas Etudes Thème et Variations PROGRAMME Liebestraume Will o' the Wisp Valse caprice d'après Schubert New Viennese Carneval on themes by Johann Strauss hamni Frohend Griller Quadel Beethoven Chopin Szymanowski has leaped into fame Liszt Moriz Rosenthal

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, JANUARY 24, 1934 AT 7-45 MORIZ ROSENTHAL PROGRAMME PRICE THREEPENCE Hon. Secretary ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield Hon. Treasurer F. W. GADSBY, 1, Longley Road, Huddersfield

PROGRAMME I SONATA IN C MINOR, Op. 111 BEETHOVEN (1770-1827) Maestoso-Allegro con brio ed appassionata Arietta-Adagio molto semplice e cantabile This titanic Sonata is the last of the 32 Piano Sonatas, and by many it is considered to be the most perfect work of its kind. It was written in 1821-22, immediately after the Sonatas Opp. 109 and 110, and only five years before Beethoven's death. The Sonata has only two movements. In itself this two-movement form in a Beethoven Sonata is not surprising, but what astonished contemporary musicians was the fact that the work ended with an Adagio. Now we realise that not only was a Finale not required, but that it would have been definitely antagonistic to the character of the piece, already complete in itself. Lenz has described the moods. of the two movements as Resistance-Submission or Sansara-Nirvana; which titles, however, though giving an approximate idea of the underlying sentiments, are not universally accepted, especially in the case of the second movement, which appears to contain a much more vital and positive meaning. The first movement has a short Introduction of majestic proportions, indicating at once the vastness of the conflict. The opening chord is the most agonized dissonance in Beethoven's musical vocabulary. It is followed by stately chords fading into a deep rumble in the bass, which is interrupted by the dramatic appearance of the principal subject. This continues in thundering octave passages, and after tremen- dous melodic leaps, the more appealing and tender second subject enters. The conflict breaks out again and continues until the key gradually becomes that of C major, and the turmoil sinks into low mutterings in the bass; thus the storm fades into calmness, According to von Bülow, the second movement-in C major-should follow without interruption. It is an Arietta with five variations; which, however, are not variations in quite the ordinary sense of the term, for each is indivisible from the next, and the whole impression is one of consecutiveness and organic growth. The song itself is serene and noble, marked to be played with much simplicity. Upon this material a movement is built up which takes the listener far from the original simplicity of the theme, through the utmost subtleties of rythm, into ideal heights of spirituality. Finally comes a series of long trills, through which snatches of the theme are heard, and a brief reference to the opening brings the movement, and the Sonata, to its perfect close. II ALLEGRO DE CONCERT, Op. 46 CHOPIN (1809-1849) Although this work is written for piano solo, the form somewhat resembles that of a Concerto. Schumann suggested that it was actually first written for piano and orchestra, but its origin is not definitely known. In the first section the entries of the various instruments and the orchestral tuttis can be clearly distinguished; the soloist enters, as it were, at the 87th bar with a cadenza. Thereafter the solo and orchestral parts are unmistakable. Probably the extreme difficulty both of execution and interpretation is the reason why this beautiful and interesting work is so seldom heard.

NOCTURNE IN E FLAT, Op. 55 MAZURKAS The Mazurkas were originally national songs (in 3-4 or 3-8 time, generally with a strong accent on the third beat) accompanied by dancing. Chopin treated the dance in a characteristic manner, introducing into it subtleties of rhythm and harmony, delicate charm and poetry, and endless fascinations. Though the pieces are short, their emotional contents are stupendous. ETUDES INTERVAL. III THEME AND KAROL SZYMANOWSKI (b. 1882) VARIATIONS, Op. 3 Szymanowski is the most eminent Polish composer of the present time. The national element is not over-emphasised in his music, though there are evidences of Teutonic influences (especially shown in the elaborateness of texture) in his early work. Later he has attained to complete independence; his harmony has become atonal, and in his many and varied compositions he proves himself to be a striking and individual thinker. The present work consists of a theme with twelve variations, which are written with freedom and complete mastery of the form. IV LIEBESTRAUM, No. 3 FEUX FOLLETS (WILL O' THE WISP) VALSE CAPRICE D'APRÈS SCHUBERT NEW VIENNESE CARNEVAL ON THEMES BY JOHANN STRAUSS LISZT (1811-1886) MORIZ ROSENTHAL The waltzes of Johann Strauss contain the essence of Viennese gaiety, spirit and grace. In the Carneval the themes are combined and embroidered with the utmost skill and musicianship into a work of dazzling brilliancy and charm and of almost insuperable technical difficulty.

1934 WED. 7 FEB. BROSA QUARTET Haydn Beethoven Borodin WED. 7 MAR. Op. 76, No. 3, in C major (The Emperor) Op. 132, in A minor No. 2 in D major EGON PETRI THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING TWO CONCERTS IS 11s. 6d. (INCLUDING TAX) PAYABLE TO THE TREASURER. SINGLE TICKETS FOR EACH CONCERT 5s. 9d. (INCLUDING TAX) CAN BE OBTAINED AT THE DOOR. A Bridge Drive has been arranged by the Ladies' Committee and will be held at Whiteley's Cafe (by kind permission of Mr. F. Whiteley) on Monday, February 12th, at 7-30. Tickets, price 3/6, can be obtained from Mrs. Hull, 48, New North Road, or from members of the Ladies' Committee.

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, FEBRUARY 7, 1934 AT 7-45 BROSA QUARTET RUBENS WISE BROSA PROGRAMME MANNUCCI PRICE THREEPENCE Hon. Secretary ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield Hon. Treasurer F. W. GADSBY, 1, Longley Road, Huddersfield

PROGRAMME I QUARTET IN C MAJOR, Op. 76 No. 3 (THE EMPEROR) Allegro Poco adagio cantabile Menuett-Trio HAYDN (1732-1809) Presto Haydn brought the form of the string quartet to perfection. "It was from Haydn," said Mozart, "that I first learnt the true way to compose quartets." And in his quartets Haydn shows all his qualities of lucidity, perfect finish, in- exhaustible invention, humour and freshness. His themes are often shorter and more pithy than Mozart's, and have a greater rhythmic elasticity. He was, indeed, the inventor of the rhetorical pause. He divided the musical interest more equally between the four instruments, thus foreshadowing the polyphony of the modern quartet. This quartet is the third of a set of six, dedicated to Count Erdödy, and written after Haydn's second visit to London. The first movement is vigorous and animated, with sudden contrasts of tone and springing rhythmic passages. The second movement is an air-Haydn's own Austrian National Anthem with four variations; the first is a duet between the violins, the second having the air while the first weaves a counterpoint above it; in the second the cello has the theme with three parts added above; in the third the theme is given to the viola, and in the fourth, to the first violin. The Minuet is vivacious with a more delicate Trio. The fourth movement is an animated finale in which much use is made of running triplet figures. II QUARTET IN A MINOR, Op. 132 BEETHOVEN (1770-1827) Assai sostenuto Allegro Allegro ma non tanto Molto adagio Alla marcia, assai vivace Allegro appassionata After an interval of fourteen years during which he wrote no chamber music, Beethoven devoted himself from 1824 to the end of 1826 almost entirely to the composition of his last five quartets-works which express the quintessence of his human and artistic knowledge. Sir W. Hadow has written the following passage: "Beethoven's last period is like the second part of Faust. There is no music in the world more difficult to understand, none of which the genius is more unearthly, more superhuman. It contains passages to which we can no more apply our ordinary standards of beauty than we can to the earthquake or the thunderstorm; it contains phrases, like the moments of cynicism in Goethe, which, till we comprehend them better, we can only regard as harsh or grim or crabbed; at times it rises into melody, the like of which the world has never known and will never know again."

The quartet opens with a very short and slow introduction founded upon a four- note motive (g sharp, a, f, c) and its reverse (c, f, a, g sharp), which is like "the mysterious voice of an oracle speaking of things beyond the reach of thought." This is followed by an Allegro of changing moods, but the moving semitones recur and penetrate the entire movement, binding it into a whole, as it were, with the thread of fate. An Allegro in A major takes the place of the usual Scherzo. It begins with four bars of unison, in which the semitone movement of the introductory motive is again heard. Dance-like rhythms follow, and the contrasting middle portion has the character of a country waltz; soon it is interrupted by a reference to the "fate" motive of the Introduction, but finally the gayer mood triumphs. Beethoven entitled the slow movement, "Devout thanksgivings to God for recovery from sickness, in the Lydian mode." It is known that the composition of these quartets was interrupted by serious illness; therefore we may read into this portion a personal expression of feeling. The brisk marching melody at the opening of the final movement might signify the zest and joy of life which comes with renewed health. The tempo increases, and after a short pause the conflict is renewed in the Allegro appassionata; finally happiness dominates the close. INTERVAL. III QUARTET IN D MAJOR, No. 2 Allegro moderato Scherzo Nocturne Andante vivace BORODIN (1834-1887) Borodin was not, strictly speaking, a professional musician, he was primarily a distinguished man of science. He always had a great liking for music and played several instruments. He had no regular instruction in composition, though from an early age, he wrote music for his own pleasure. Later he came under the influence of Belaief (the great patron of Russian music), and began to devote himself seriously to composition. His principal works were two symphonies and the opera "Prince Igor." He wrote two string quartets, both of which contain much beauty and interest and are clearly the work of a fine musician, who knew how to draw great sonorities and a passionate sweep of sounds from slender means.

1934 WED. 7 MAR. Mozart Bach EGON PETRI Beethoven Brahms Sonata in A major Goldberg Varations Sonata A flat Op. 110 3 Intermezzi Op. 117 Rhapsody G minor Medtner Two Fairy Tales B flat minor, B minor Prokoffieff Prelude C major Gavotte F sharp minor March from the "Three Oranges " THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING CONCERT IS 5s. 9d. (INCLUDING TAX) PAYABLE TO THE TREASURER. A Bridge Drive has been arranged by the Ladies' Committee and will be held at Whiteley's Cafe (by kind permission of Mr. F. Whiteley) on Monday, February 12th, at 7-30. Tickets, price 3/6, can be obtained from Mrs. Hull, 48, New North Road, or from members of the Ladies' Committee.

HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, MARCH 7, 1934 EGON PETRI PROGRAMME AT 7-45 Hon. Secretary Hon. Treasurer PRICE THREEPENCE ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield F. W. GADSBY, 1, Longley Road, Huddersfield

PROGRAMME I SONATA IN A MAJOR (K.331) Andante grazioso MOZART (1756-1799) Minuetto-Trio Allegretto The first movement is a theme with six variations; the last, a spirited rondo "alla turca." II GOLDBERG VARIATIONS BACH (1685-1750) Goldberg was the clavicinist to Count Kayserling, the Russian envoy at the Dresden Court. The Count fell ill and could not sleep at night; so Goldberg used to play to him when he was sleepless. Once the Count said that he would like Bach to write some clavichord pieces for Goldberg to play. Bach then wrote these variations, which the Count immediately called his own and could not hear often enough. For them he gave Bach a golden goblet containing 100 louis d'or. The instrument, for which they were written, was the clavicembalo, which had two keyboards (one manual for piano playing and the other for forte), a pedal board, and a device by which the manuals could be coupled together. The sound was produced by the plucking of the strings by a quill or metal pin. The theme is taken from a Sarabande in the Klavierbüchlein of Anna Magadalena Bach (a book of easy pieces, chorales, sacred and secular songs written for Bach's second wife). The 30 variations are founded less on the theme than on its bass. Over this, Bach's imagination plays freely, and the work is in reality "a passacaglia worked out in chiaroscuro." There are two principal kinds of variation; one, mostly in two-parts, written with a view to velocity and the rapid crossing of the hands; the other, in canon form. Apart from these, there is a Gigue, an Andante, an Overture and an Adagio. The final variation is a Quodlibet, or medley of two folk songs over the ground bass. Busoni's edition of the Variations is not an arrangement but an interpretation of the work-as seen through the mind of the most powerful and penetrating of intellects. III SONATA IN A FLAT, Op. 110 BEETHOVEN (1770-1827) Moderato cantabile, molto espressivo Allegro molto Adagio ma non troppo (Arioso dolente) Fuga This Sonata appeared in 1821, and within the short space of one year, the last three piano sonatas (of which this is the second) were written. It is much varied in content and its moods are many; in it are found "the tranquil grace of the opening Moderato, the vigorous energy of the Allegro molto, the solemn pathos of the Arioso dolente that both prefaces and interrupts the calmly dignified Fugue." INTERVAL.

IV THREE INTERMEZZI, Op. 117 i. Andante moderato ii. iii. RHAPSODY IN G MINOR FAIRY TALES Schlaf sanft, mein Kind, schlaf sanft und schön, Mich dauert's sehr, dich weinen sehn. (Sleep sweet, my child, sleep soft and sweet, It grieves me sore to see thee weep.) Andante non troppo e con molta espressione Andante con moto. V BRAHMS (1833-1897) VI MEDTNER (b. 1879) i. B flat minor ii. B minor Medtner, a Russian composer of German descent, was first known as a pianist; later he retired to devote himself entirely to composition. He has been called, though not with much truth, the "Russian Brahms" on account of his neo-classicism and rhythmic experiments. His output is almost exclusively restricted to chamber music, the piano works being the most numerous and significant. PRELUDE IN C MAJOR GAVOTTE IN F SHARP MINOR MARCH FROM "THE LOVES OF THE THREE ORANGES" Prokofief was born in Russia and received his musical education chiefly from Rimsky-Korsakoff. He has since lived in Japan, America and Germany. "His terse, closely-knit and almost mechanical music reveals an indomitable will, devoid of passion. There are no shadows in this music, nothing vague.... The rhythms are strongly marked, the themes usually short and pregnant, the forms clear and logical. The harmonies are deliberately crude, and at times even brutal.... Of late his style is becoming more mellow and lyrical. His opera "The Loves of the Three Oranges" is a dissonant, impressionistic work of great dramatic power, written around Gozzi's extravagant fairy-tale. Prokofief's work has been called the most amusing burlesque opera of the day." PROKOFIEF (b. 1891) [OVER

CONCERT BY THE HALLÉ ORCHESTRA TOWN HALL, Huddersfield, Friday, March 16th, 1934, at 7-30 p.m. Under the patronage of HIS WORSHIP THE MAYOR (Alderman A. Hirst, J.P.) A. L. WOODHEAD, Esq., J.P. (President, Huddersfield Music Club). T. W. HIRST, Esq., J.P. (President, Huddersfield Royal Infirmary). All profits to be given to the Building and Extension Fund of the Huddersfield Royal Infirmary. Conductor PIERRE MONTEUX (Of Diaghilef Ballet, Boston Symphony, Hallé, Royal Philharmonic and Mengelberg Orchestras). Pianist EDITH WALTON (Of London, Paris, Berlin and Vienna Concerts). TICKETS 5/-, 3/6, 2/6 (reserved), 1/3 (unreserved), from Messrs. J. WOOD & SONS, New Street. Promoted by the Ladies' Committee of the Huddersfield Music Club. Hon, Secs. Mrs. A. E. HULL, 48, New North Road, Miss ALISON SHAW, Botham Hall. Hon. Treas. Mrs. EVEREST, Fairfield, New North Road. THE CLUB IS OPEN TO ALL. INTENDING NEW MEMBERS SHOULD SEND THEIR NAMES AND ADDRESSES AT ONCE TO F. W. GADSBY, ESQ., 1, LONGLEY ROAD, HUDDERSFIELD; OR TO MRS. A. E. HULL, 48, NEW NORTH ROAD, HUDDERSFIELD.

Concert by the Balle Orchestra Conductor in aid of the muddersfield Royal Infirmary Friday, March 16th, 1934, at 7-30 p.m., in the Town Hall Pierre Monteur Pianist Edith dalton Bechstein Grand Pianoforte Programme Sixpence

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His Worship the Mayor (Alderman A. Hirst, J.P.) A. L. Woodhead, Esq., M.A., J.P. (President, Huddersfield Music Club) T. W. Hirst, Esq., J.P. (President, Huddersfield Royal Infirmary) W. A. Crowther, Esq. (President-elect, Huddersfield Royal Infirmary) Mr. & Mrs. Herbert Ainley Coun. Percy Ainley Mr. A. B. Allan, J.P. Mr. W. S. Allan Anonymous Anonymous. Miss Armitage Mrs. H. E. Atkins Mr. H. E. Austin The Misses Beardsell Mrs. Beaumont. Mrs. W. Cumming Bell Mrs. Benson, J.P. Mr. G. Blackburn Mrs. Blamires, M.B.E., J.P. Miss Boden, M.A. Mr. H. Branch Lieut.-Col. & Mrs. Broadbent Mr. W. K. B. Broadbent, M.A. Dr. D. Louis Cairns, J.P. Rev. C. & Mrs. Callow Mrs. J. C. Calvert Mr. & Mrs. W. F. Clayton Mr. & Mrs. Copley Mr. & Mrs. W. C. Crook Mrs. H. Gordon Cran Mr. A. G. Crowther Mr. & Mrs. P. D. Crowther Mr. & Mrs. R. H. Crowther Mr. T. H. Crowther Mr. & Mrs. L. Crowther Mr. & Mrs. Elon Crowther Mr. J. Ditchburn Mr. T. P. Downey Mr. N. Drake Mrs. C. Earnshaw Dr. & Mrs. Everest Mr. & Mrs. F. Firth Mrs. E. L. Fisher Miss Freeman, J.P. Dr. & Mrs. Galloway Dr. Gamm Mrs. Hall Patrons. Mr. & Mrs. Hallitt Mrs. John Hamer Mr. J. H. Hanson Mrs. Hardy Mr. J. W. Hepworth Mrs. & Miss Hirst Miss B. Hirst Mr. & Mrs. G. C. Hirst Mrs. F. C. Hirst Dr. J. Walker Hirst Mrs. T. J. Hirst Mr. & Miss Hobson Dr. & Mrs. Holderness Mrs. Holroyd The Misses Hope Lt. Col. Sir E. Hoyle, Bart., O.B.E., J.P. Mrs. A. E. Horsfall Mrs. J. F. Hudson Mrs. & Miss Hull Mrs. G. C. Jarmain Miss Jenson Miss Johnston Mrs. & Miss Johnston Dr. J. H. Kahn Mr. Joseph Kaye Mrs. N. Kaye Mrs. Richie Kilner Mrs. Leitch Mrs. N. Liversidge Mrs. H. Lockwood Mr. G. K. Lockwood Mr. Wilkinson Lockwood, J.P. Coun. J. E. Lunn Mr. W. Mabane, M.A., M.P. Mrs. J. Mason Mr. G. Mellor Dr. Miller Mr. & Mrs. Moorhouse Mrs. S. Moorhouse Mr. & Mrs. W. J. Moxon Mrs. G. P. Norton Mrs. Osborn Dr. & Mrs. Park Mr. J. Pogson, J.P. Mrs. A. V. Priestley Dr. Pye-Smith Sir John Sykes Quarmby, J.P. Mr. & Mrs. L. Radcliffe Col. Rippon Mr. H. Roebuck Mrs. H. Rothery Mr. & Mrs. A. E. Rushworth The Misses Shaw Mrs. & Miss Shaw Mrs. Ben Shaw Miss E. Shaw Mr. J. W. Shaw Mrs. T. Shires, J.P. Mr. & Mrs. Irving Silverwood Miss Spikes & Miss Reid Mr. H. G. Strauss, M.A. Mr. A. G. Sugden Mr. Arthur Sykes Mr. F. W. Sykes Mrs. Oswald Sykes Sympathy Mrs. F. W. Taylor Mr. & Mrs. Thorpe Dr. Tomlin Mr. Abram Turner Mr. C. A. Waddington Mr. & Mrs. Joseph Walker Mrs. H. S. Walker Miss Whiteley The Misses Whitwam Mr. Edward Whitwam Mr. J. Wilkinson Mrs. G. C. H. Willans Mr. D. R. H. Williams Mr. W. L. Wilmshurst Mr. E. Woodhead, M.A., J.P. Mr. T. Wrigley Ladies' Committee: Mrs. H. Ainley Miss Boden Mrs. W. F. Clayton Mrs. W. C. Crook Mrs. E. L. Fisher Miss Freeman, J.P. Mrs. G. C. Hirst Mrs. A. E. Horsfall Mrs. R. Stewart Park Mrs. H. Rothery Mrs. A. E. Rushworth Mrs. Silverwood Miss E. Spikes Mrs. F. Whiteley Miss E. Whitwam Mrs. A. E. Hull Hon. Secs. Miss A. Shaw Mrs. A. E. Everest, Hon. Treas.

Programme. Overture "Oberon" Weber (1786-1826) The opera "Oberon" was written for Covent Garden Theatre, where it was first produced in 1826. Its reception was most enthusiastic. In spite of his increasing physical weakness, the composer himself conducted the first twelve performances; less than two months later, he died in London. The themes of the Overture are all drawn from the opera itself. It opens with the call of Oberon's magic horn, which is followed by delicate fairy-like music. Suddenly a spirited Allegro con fuoco is introduced, and, after a fortissimo climax, the fairy horn is once more heard. Next Huon's love-song is sung by the clarinet; phrases from Rezia's aria "Ocean thou mighty monster" follow. After references to the chorus of "Spirits of Air and Earth and Sea" the material for the Overture is complete. 35 "Forest Murmurs Wagner (1813-1883) This extract is taken from Act II of "Siegfried." The hero is alone in the forest, deep in thought, whilst around him is heard the rustling of the trees. bird sings lovely melodies. Siegfried tries to imitate it, first on a reed and then on his horn. Soon he becomes able to understand the language of the bird, and from it he learns of the Ring, of his own future, and of the fire-girt rock where Brunhilde, his bride, will await him. Concerto in G Major, No. 4 (Op. 58) EDITH WALTON I. Allegro Moderato II. Andante con moto III. Rondo Vivace Beethoven (1770-1827) This Concerto was composed in 1805. It was first performed on December 22nd, 1808, in Vienna, Beethoven himself playing the solo part. After a period of neglect, it was revived by Mendelssohn in Leipzig in 1836, and also in England in 1844. It is a most imaginative and romantic work; in fact, there is no concerto in music which can give more artistic pleasure to the discriminating listener. I. The first movement opens with the principal subject given out by the solo piano, which is thereafter silent until the conclusion of the long orchestral tutti-an unprecedented innovation. The orchestra answers immediately. The theme is worked to a climax; a graceful melody for the violins follows; then the principal subject reappears, to be interrupted by a series of runs on the piano. After further development, the second subject is sung by the violins, with much decoration in the piano part. The remainder of the movement is drawn from this material, and its development may clearly be followed. Throughout, the treatment of the piano is brilliant, yet full of romantic touches and beautiful effects of light and shade. II. The most remarkable movement is the short Andante con moto in E minor. It takes the form of a dialogue between the strings of the orchestra and the piano; the former in octaves, fierce, rough and peremptory; the latter, una corda molto espressivo in melting, exquisite tones. Gradually the tender sentiment prevails. There is no more poetic slow movement in all concerto literature. It speaks for itself and needs no pictorial description, not even Schumann's poetic picture of Orpheus supplicating the powers of the Underworld. III. The last movement is a Rondo, which grows out of the final chord of the Andante without a break. The main theme is first heard in the strings-simple yet with great rhythmic charm and variety and immediately it is repeated by the piano in a more decorated form. A more pensive but equally delightful second subject follows. The remainder of the work is very clear in construction. The Rondo has justly been called a worthy crown to the Concerto. After the grace and beauty of the first movement, and the poetry and romance of the second, it comes with all its delicate tenderness, sweet fragrance and humour like a breath of fresh, clear country air. INTERVAL

Symphony No. 7, in A, Op. 92 Introduction-Vivace I. II. Allegretto III. IV. Finale Scherzo-Trio Beethoven (1770-1827) Beethoven completed his 6th Symphony in 1808, and for four years his compositions were on a lesser scale, until 1812, when he wrote this, his 7th Symphony. It was first performed in Vienna, with Beethoven conducting, though by this time his deafness was almost complete. The Symphony had a wide and immediate success. Beethoven himself spoke of it as his "Great Symphony" and "his most excellent" work. Wagner called it "the apotheosis of the dance" a most penetrating and just appellation; for in it the principle of rhythm takes the first place, and rhythmic treatment largely takes the place of the customary thematic development. I. The Symphony begins with a Poco sostenuto introduction of such unusual length and importance that it almost forms an additional movement. It opens slowly, but after the tenth bar, ascending scale passages appear in various instruments. Later another melody is heard, and after numerous repetitions of the note E in different rhythms and at different pitches, the Vivace (in 6-8 time) enters. The remainder of the movement is founded upon this persistent, springing, rhythmic figure; the whole is full of picturesque beauties, of sudden contrasts and strange dancing figures. II. There is no slow movement, its place being taken by an Allegretto. It opens with a 6-4 chord, and the steady march-like measures which follow have the same rhythmic force behind them as the figures of the first movement-but here they are quiet and calm. A romantic little Trio is introduced; in it, the rhythmic tread still persists in the bass. This piece, with its intimate appeal, has always been one of the most effective of Beethoven's works. Spanish Rhapsody III. The Scherzo is another study in fleeting moods, rapid changes and dancing figures. The opening theme is in F major. A sustained A in octaves leads into the Trio, the melody of which is said to be an Austrian pilgrim's hymn. At its conclusion, long-held chords in the strings, over which the horn repeats its call, bring back the Scherzo. IV. After two abrupt chords, the Finale begins. It is colossal in scale, full of a titanic force and humour. This movement is cited as an example of Beethoven's humour, which was not of a subtle or intellectual type, but rather boisterous and rough, even to the point of horseplay. He himself had a special term to describe it-aufgeknöpft, or "unbuttoned." But here is something more than that-there is fiery intoxication and ecstasy in it too. The opening theme immediately shows the character of the piece. In it, too, rhythm is the vital force, and much use is made throughout of vigorous figuration. Two other themes are used, and the material upon which the movement is constructed is complete. Liszt-Busoni EDITH WALTON Liszt visited Spain in 1844-5, from whence he drew his inspiration for the Rhapsody. After a brilliant opening, a section founded on "Folias" is heard. These are sets of old Spanish dances, danced to a simple tune and accompanied by castanets and bursts of song. For the second section Liszt uses the Jota of Aragon as a theme for variations. This dance is in 3-4 time, accompanied by the guitar, castanets and triangle. It is danced not only at merrymakings but also at certain religious festivals, one particular Jota being danced on Christmas Eve, invoking the Virgin. The Jota is rapid, vigorous and rhythmical rather than graceful. The third section is calm and peaceful, and is founded on an old Spanish hymn to the Virgin. The Jota soon returns, and is treated with increasing brilliancy. Busoni has added, with great skill and musicianship, an orchestral accompaniment to Liszt's piano piece, at the same time increasing the range and colour of the piano part. Fête Polonaise Chabrier (1841-1894) Chabrier, a pioneer of modern French music, was born in Auvergne, a part of France noted for the wit of its inhabitants. He was musically a very gifted child, but his father compelled him to study law, so that in later days, Chabrier declared himself to be a self-taught musician. During his early life he formed many friendships with painters and poets, which doubtless contributed to the graphic qualities of his music. Whilst still an amateur, he wrote a sparkling opéra-bouffé "L'Etoile," but it was not until he heard Wagner's "Tristan and Isolde" in Munich that he decided to devote himself entirely to music. The light opera "Le Roi malgré lui," from which this extract is taken, seemed destined for a long run at the Opéra-Comique in Paris, but after three performances the building was burnt to the ground. The matchless Fête Polonaise is among one of its most effective numbers-showing his qualities of wit and humour, energy and exuberant emotion.

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