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The new standard of Columbia Pianoforte Recordings by Egon Petri provides incomparable entertainment for pianoforte lovers. Here is a selection from which to choose, all recorded by the great artist you are hearing to-day EGON PETRI Beethoven Sonata in F sharp (Op. 78). LX576 In two parts. Record, 6s. Beethoven Sonata in E minor (Op. 90). Two records, бs. each FAUST-Waltz (Gounod-trans. Liszt). In two parts. Record, 6s. LX544-5 LX520 ORPHEE-Melodie (Gluck-arr. Sgambati)) LX508 Menuet (Bach-Petri). Record 6s. Beethoven Sonata in C minor (Op. III). Three records, бs. each LX491-3 (Auto. Coupling Records, LX8240-2, price as standard recording above) Mazeppa (Liset). In two parts. Record, 6s.. LX483 Soiree de Vienne (Schubert-arr. Liszt) In two parts. Record, 6s. LX469 Carmen Fantasie (Liszt-Busoni). In two parts. Record, 6s. LX462 Columble Records The Columbia complete catalogue and latest supplement offer you your best guide to all that is most appreciated in the field of recorded music. Whether you want masterworks of the great composers, operas, music of a lighter nature, popular music, whatever it is to construct your own home-programmes, you'll find the Columbia lists your best help. Ask your dealer for a copy, or latest issue will be forwarded post free on request from Columbia, 98-108, Clerkenwell Road, London, E.C.I. MALIC NOTES Columbia YOUR LOCAL DEALER WILL GLADLY LET YOU HEAR THE LATEST COLUMBIA RECORDS

Coronation March, Op. 65 Programme GOD SAVE THE KING Elgar (1857-1934) (Written for the Coronation of King George V and Queen Mary in 1911) Overture "Midsummer Night's Dream" Mendelssohn (1809-1847) The Overture was written in 1826, when the composer was only 17 years of age. It is an amazing feat of composition for so young a man-astonishing both in the maturity of its conception and the sureness of its execution. It must also be remembered that it was com- pleted only a year before the great Classical school came to an end with the death of Beethoven. It is, therefore, one of the earliest examples of the new school of composers, who sought their inspiration in a world of fairies and romance. The work opens with five long-held chords for wood-wind and two for strings; thus the stage is set for the entry of the delicate tripping theme for strings, so well depicting the flitting feet of fairies, which forms the first subject. A rhythmic descending-scale theme represents the coming of Theseus and Hippolyta; and a return of the fairy music leads to the tender and beautiful second subject-the loves of Lysander and Hermia. Another theme of boisterous humour (representing Bottom and his companions) has in it the drop of a ninth, which without doubt is a reference to the ass into which poor Bottom was transformed. These themes make up the material upon which the Overture is constructed. Ultimately, the fairy world fades away into the moonlit air. Concerto for Piano and Orchesta, No. 5, in E flat, Op. 73 (The Emperor) Beethoven (1770-1827) EGON PETRI I. Allegro II. Adagio un poco mosso III. Rondo. Allegro The title of "Emperor" was not, of course, given to the Concerto by Beethoven himself; and, however much one may deprecate the addition of such unauthorised labels, in this case it is undoubtedly a natural and spontaneous tribute to a work of great nobility and grandeur. In all, Beethoven wrote five piano concertos (two early examples remain in an incomplete form). Although this concerto in E flat was written in his thirty-ninth year (1809), it remained a form which Beethoven never again attempted. Of all the piano concertos, this fifth, and last, is the noblest and most majestic; it ranks very high among the superb works of Beethoven's "middle period." In it one may clearly see the many innovations which Beethoven introduced into that form the rhapsodic introduction; the linking together of the last two movements; the omission of a cadenza (in the old sense of the term) and finally, and most important of all, the creating of a new "symphonic concerto" form, in which the solo instrument and the orchestra are of equal importance. I. Allegro. The Introduction is very original. The orchestra sounds the chord of E flat fortissimo, into which the piano breaks with brilliant arpeggio and cadenza-like passages. Three times this is repeated, but finally the piano leads quietly up to the firm and powerful entry of the principal subject in the orchestra. This now is the opening of the regular tutti- that orchestral opening of the work which serves to introduce the main themes before the real entry of the solo instrument. The principal subject is bold and rhythmic; the second subject is a lighter stacato theme, heard in the violins. The general plan of the movement is :- (a) Introduction. (b) Opening tutti, principally in the tonic key. (c) Entry of the piano (with a chromatic scale) in a restatement of the themes, this time more freely. (d) Development, in which much use is made of the rhythmic possibilities of the first subject. The piano passages are particularly telling and brilliant. (e) Return of the Introduction and regular recapitulation. (f) The Coda. Here Beethoven forbids the player to introduce his own cadenza, and supplies instead a short cadenza-like passage, followed by a shortened recapitulation of the first tutti.

II. Adagio un poco mosso. The B major Adagio is in complete contrast. It has two main themes: (a) a serene and beautiful melody first heard in the strings (which is the basis of the movement); (b) a meditative descending theme, almost like an improvisation, with which the piano part opens. After a series of trills, the piano has the first theme in a decorated form. The same theme is recaptured by the wood-wind, while the piano has a waving accompaniment beneath it and the strings a light figure on the off-beat. Then comes one of the great moments of genius in music. After a bare octave, against a horn note, the piano, in the remote key of E flat, suggests a new theme. It is played slowly and reflexively; suddenly, as if in a blaze of light and colour, this theme is transformed into the joyous sparkling theme of the Rondo itself. III. Rondo. This movement follows without a break. The theme is twice repeated, and followed in turn by two other themes. These constitute the material of the movement, which is easy to follow. Tovey rightly calls it the "most spacious and triumphant of concerto Rondos." Towards the end the excitement flags. Over a drum-beat, the piano gradually slackens its pace and then stops. But after a rapid scale passage, the orchestra burst again into the radiant first subject, and the work comes to its triumphant ending. INTERVAL OF TEN MINUTES Symphony No. 2 in D Major, Op. 43 I. Allegretto II. Tempo Andante, ma rubato III. Scherzo Vivacissimo IV. Finale Allegro moderato Sibelius (b. 1865) Sibelius is now probably the most important symphony writer alive at the present time. He has written, so far, seven works in this form (this second one dates from 1902), as well as symphonic poems, piano and vocal works, a violin concerto, a string quartet and smaller pieces. Although he writes in the conventional forms, the works themselves are obviously the creation of a powerful and original mind. The colourings are often harsh and gloomy, and the style compact and pithy, if sometimes abrupt. He uses short motives rather than elaborate themes, which he does not attempt to develop according to the recognised plan; everything which is not essential is ruthlessly eliminated. The first symphony was not entirely individual in style, but in the second one, written three years later, Sibelius has produced a completely original and personal work-the beginning of a new and revolutionary era. I. Allegretto. In the first movement Sibelius completely reverses the earlier process of symphonic construction; that is to say, instead of choosing a theme which in itself is capable of development, and from it constructing a whole movement, he begins with fragmentary themes, or motives so short that they cannot be called themes. These, in the later sections, he builds up into coherant themes, or melodies, only to dissolve them back again into their original embryonic state. It is impressive to hear how he takes these apparently meaningless and disconnected figures and moulds them into alive and glowing phrases. The movement opens with one of Sibelius' favourite 6/4 rhythms (first heard in the strings), and a second fragment follows in the wood-wind. Repetition of these lead to a powerful theme in the violins in unison. Two further short phrases, heard in the wood-wind, make up the material out of which Sibelius creates the movement. The II. Andante. This begins in 3/8 time, the basses pizzicato having the figure which soon becomes the accompaniment (with a drum-roll added) to a theme in the bassoons. tempo increases, and a powerful climax follows. A second quiet theme enters, accompanied by flowing wood-wind passages. The vigorous section reappears-and thus the two moods alternate, ending with a final powerful coda. III. Vivacissimo. The Scherzo is of simpler construction. The violins have a vivacious theme, followed later by a quieter subject for the flute and bassoon. A strange passage (five In it, overheld taps on the drum, diminuendo, with lengthy pauses) leads to the trio section. chords in the horns and bassoons, the oboe has a typical Sibelius theme in 12/4 time-it begins with nine repetitions of the same note! The Scherzo returns in conventional fashion, but with a slowing-up of the tempo, it leads without a pause into the last movement. IV. Allegro moderato. The powerful opening theme has some relation to the theme of the scherzo. It is followed by a wood-wind phrase. Over rushing violin passages, the wind instruments speak to each other, and a final rhythmic figure in the brass completes the material. The work rises to a mighty climax; and the whole effect is one of triumph and power. Continued overleaf

Programme-continued Piano Solo Venezia e Napoli Liszt (1811-1886) I. Gondoliera II. Canzone Tarantella PETRI III. EGON The set of pieces forms the last part of the second volume of Années de Pélerinage (Italie). They are all more or less founded upon popular Italian melodies, which Liszt noted down during his sojourns in that country. The Tarantella makes a most brilliant climax, and technically its difficulties are so appalling that its performance is impossible to all but the finest of artists. Danses Polovtsiennes (Prince Igor) I. Introduction (Andantino) Allegro vivo (Dance of the Savage Men) II. Allegro III. Presto allegro con spirito Borodin (1834-1887) Borodin was one of the famous group of five whose influence upon Russian music was so great. He held the post of Professor of Chemistry at the University of St. Petersburg, and wrote his music in his leisure time. Both as a scientist and as a musician he attained great distinction. "Prince Igor" is his only opera; it deals with the war between the Russians and the Polovtsi (a Tartar tribe)-an episode almost corresponding in significance in Russian history to our Arthurian legends. The dances occur in the second Act of the opera, during a banquet given by the Khan Konchak in honour of his captives, Prince Igor and his son, Vladimir. Please give your patronage to firms advertising in the programme HARRY TAYLOR High-Class Beef and Pork Butcher 40 Dudley Road Marsh also New Hey Road For Plumbing Work of Distinction J. Bamforth & Son SPECIALISTS IN MODERN BATHROOM CONSTRUCTION 11 & 13 Station Road Slaithwaite Tel: Slaithwaite 15 Suggestions and Estimates Free

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HUDDERSFIELD MUSIC CLUB President A. L. WOODHEAD, Esq., M.A., J.P. HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, MARCH 10, 1937 AT 7-45 KOLISCH QUARTET RUDOLF KOLISCH EUGEN LEHNER FELIX KHUNER BENAR HEIFITZ PROGRAMME PRICE THREEPENCE Hon. Secretary Hon. Treasurer ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield F. W. GADSBY, 222, Almondbury Bank, Huddersfield

PROGRAMME 20 mins. Quartet in D major, No. 8. K. 575 Allegretto Andante I Mozart (1756-1791). Allegretto (Menuet and Trio) Allegro Next in importance to Mozart's Symphonies come his string quartets. In this form Haydn was the pioneer but it fell to Mozart to produce the first really great and perfect examples. This is the first of three quartets dedicated to the King of Prussia and in these quartets the Cello is more than usually prominent as it was the King's favourite instrument. The quartet is in the usual form and simple to follow. The last movement is considered to be one of Mozart's most masterly quartet movements. 25 mins. Quartet in G minor Op. 10, No. 1 II Claude Debussy (1862-1918) Animé ét très décidé Assez vif et bien rythmé Andantino doucement expressif Très modéré This is Debussy's only string quartet, written in 1893 and dedicated to the Ysaye Quartet. Debussy was the real founder of "Impressionism" in music and the quartet is full of the elusive atmosphere which is the Frenchman's greatest charm. It is full of poetry, suggestions, mysteries; everything harmony, rhythm, tonequality is used for that alone. The gay and rhythmic Allegro opens with the motto of the whole work. The second movement is pure fantasie. A dreamy nocturne shews the influence of Borodin and the finale is a summary as well as a piece in itself. INTERVAL OF FIFTEEN MINUTES

III 35 mins. Quartet in B flat major, Op. 130 20 mins. with the Grosse Fugue Op. 133 Beethoven (1770-1827) Adagio ma non troppo-Allegro Presto Andante con moto ma non troppo Alla danza tedesca-Allegro assai Cavatina-Adagio molto espressivo Finale-Allegro This is one of the last six quartets of Beethoven, each of them a masterpiece. Begun in 1825, dedicated to Prince Nicolas of Galitzin, it is considered by many to be his finest quartet, although it was written under most distressing circumstances of poverty, illness and complete deafness. The opening movement carries its Adagio introduction through all the appearances of the Allegro subject and the second subject is of wonderful beauty. The Presto is humourous and bright and the subtle Andante half playful, half tender. A German country dance provides the rhythm of the fourth movement and the theme is varied on its reappearance. The Cavatina is the emotional climax of the work and is one of the most supreme things in all music, full of the most noble expressiveness and an almost unearthly serenity which the short minor episode only serves to intensify. So full of humour and buoyancy is the last movement that it is difficult to believe that it could have been written by a man already stricken with a fatal illness. This is the last piece that Beethoven finished. Beethoven originally ended this quartet with the "Grosse Fugue" but so complicated is this movement, so long and almost ungrateful, that his friends besought him to have it published separately. It was thought that interest would be added to this programme by the inclusion of the original ending of the quartet as it is so seldom heard. There are two fugue subjects, one gently melancholy and the other exuberant in its gaiety. Each fugue subject is given out at the beginning, they are worked out together and separately and the combination of the two subjects forms the conclusion. IT IS HOPED TO CONTINUE THESE CONCERTS NEXT SEASON BUT INCREASED PUBLIC SUPPORT IS ESSENTIAL. THE COMMITTEE WOULD WELCOME ANY SUGGESTIONS AND CRITICISMS FROM MEMBERS.

The Kolisch Quartet in their contributions to recorded music on Columbia records, provide incomparable brilliance of entertainment for the music lover. Here is a selection from which to choose, all recorded by the Quartet you are hearing to-day The KOLISCH QUARTET Schubert Quartet No. 15 in G (Op. 161). LX357 Four records (6s. each). In free Art Album with Descriptive Notes, complete 24s. to EX360 (Also in Automatic Coupling-Records, Nos. LX8142 to LX8145, price as standard recording. above) THIS i HIS is the first recording of what may be classed the most delightful quartet ever written. It is the acme of melodiousness and in the recording of it the Kolisch Quartet register a perfect triumph. Mozart Quartet No. 21-in D (K.575). | LX337 Two records (6s. each). and LX338 THE Kolisch Quartet give an inspired performance of this Mozart masterpiece. Truly it should be included in your library of recorded treasures. Schubert Quartet in A minor (Op. 29). In seven parts. Schubert Quartet in C minor (Quartet Satz) Allegro Assai. Four records (6s. each). In free Art Album with Descriptive Notes, complete 24s. LX286 to LX289 (Also in Automatic Coupling-Records, Nos. LX8087 to LX8090, price as standard recording above). IN N the records of this work, you have the first recordings by the Kolisch Quartet. The work itself, is Schubert in typical form, influenced by the Hungarian environment in which the composer wrote it. Columbia Records MAGIC NOTES TRADE MARK The KOLISCH QUARTET on COLUMBIA YOUR selection of home entertainment on is best made from the Columbia catalogue. Copy post free request: Columbia Clerkenwell Road, London, E.C.1. Columbia YOUR LOCAL DEALER WILL GLADLY LET YOU HEAR THE LATEST COLUMBIA RECORDS