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ROSING THE SOUL OF RUSSIA. A nation's music is the mirror of its soul. In Russian music particularly this is profoundly true. Our Nationalists (Moussorgsky, Rimsky Korsakoff, etc.) have taken the great melodic treasure of the Russian nation, and have added to it their own genius, inspiration, and technical knowledge: and having drawn upon the great poets and writers, for words that give expression to deep national and human feeling, they have immortalized the Russian soul. I begin the programme with National Folk-Songs collected in Russian villages. In these it can be seen how much the Nationalists owe to the spring of music in the heart of the people. In the short time at our disposal, I shall only be able to show you examples of four of the principal elements and influences that have shaped Russian life- Oppression, Love, Suffering, Humour. Few nations have passed through such an agony of continuous oppression as Russia has endured. By her criminal autocracies hundreds of thousands of young lives have perished and rotted in prison, in the cause of those high ideals of Freedom and Justice for which we are fighting to-day;. and owing to these autocracies, which have for centuries shut out the light of education from them, our people on their emancipation became an easy prey to mad idealists, adventurers, criminals, and German agents. Two of the chief causes of the suffering of the Russian people, famine and drunkenness, are directly due to a succession of corrupt Governments, which neglected agriculture, and encouraged drink for their own ends. Through all this suffering and oppression, the Russian soul has developed rare qualities of love and understanding, above all an extraordinary love of ideals and of humanity. In Russia the heart rules over the brain, for love may lead to sacrifices amounting almost to crime. Russian humour is either madly gay, losing all restraint and utterly abandoning itself to the jollity of life; or very dry, deep-cutting and full of allegorical satire; and further, it is completely devoid of any vulgar clowning. Humour is considered in Russia as great and important an art as any other, for it is the reflection and mirror of the jolly part of our existence.

ROSING THE SOUL OF RUSSIA. A nation's music is the mirror of its soul. In Russian music particularly this is profoundly true. Our Nationalists (Moussorgsky, Rimsky Korsakoff, etc.) have taken the great melodic treasure of the Russian nation, and have added to it their own genius, inspiration, and technical knowledge: and having drawn upon the great poets and writers, for words that give expression to deep national and human feeling, they have immortalized, the Russian soul. I begin the programme with National Folk-Songs collected in Russian villages. In these it can be seen how much the Nationalists owe to the spring of music in the heart of the people. In the short time at our disposal, I shall only be able to show you examples of four of the principal elements and influences that have shaped Russian life- Oppression, Love, Suffering, Humour. Few nations have passed through such an agony of continuous oppression as Russia has endured. By her criminal autocracies hundreds of thousands of young lives have perished and rotted in prison, in the cause of those high ideals of Freedom and Justice for which we are fighting to-day;. and owing to these autocracies, which have for centuries shut out the light of education from them, our people on their emancipation became an easy prey to mad idealists, adventurers, criminals, and German agents. Two of the chief causes of the suffering of the Russian people, famine and drunkenness, are directly due to a succession of corrupt Governments, which neglected agriculture, and encouraged drink for their own ends. Through all this suffering and oppression, the Russian soul has developed rare qualities of love and understanding, above all an extraordinary love of ideals and of humanity. In Russia the heart rules over the brain, for love may lead sacrifices amounting almost to crime. Russian humour is either madly gay, losing all restraint and utterly abandoning itself to the jollity of life; or very dry, deep-cutting and full of allegorical satire; and further, it is completely devoid of any vulgar clowning. Humour is considered in Russia as great and important an art as any other, for it is the reflection and of the jolly part of our existence.

Programme and Words of Songs. I. Russian Folk-Songs (a) "Rise, my red sun." (b) "The weeping herb." (c) "Prayer for alms." (d) "I am sitting on a stone." (e) "Ah! my bright swallows." (a) RISE, MY RED SUN. (Song of the Volga.) Ah, rise, my red sun, And warm these good fellows; Shed light on our Mother Volga. Pulling the boats, it is not from their own will that they go, but from a bitter need and poverty. On the Volga the barges are chiefly dragged for hundreds of miles by men (bourlaky). (b) THE WEEPING HERB. Why is the weeping herb mother of all herbs? Because when Christ was going to be crucified, our holy Mother of God dropped tears on the earth, and from those tears, holy tears, was born the weeping herb. And that is why the weeping herb is mother of herbs. II. Oppression. (a) "On an ancient mound" (b) "The prisoner" (c) "Convicts" (d) "Ah! the cold winter!" Collected by Philipoff in villages, Harmonized by Rimsky Korsakoff. (a) ON AN ANCIENT MOUND. Words by Nikitin. This is an allegorical song, representing the slavery and oppression of the Russian people. On an ol mound on the vast steppe is seated an eagle. (The eagle represents the Russian people.) He sits on the chain which is chaining him. He has been there already a thousand years, and no freedom is given to him. In sorrow, impotently, he tears his breast with his claws. and drops of blood are falling from the wounds. In the blue sky the clouds are passing, and the steppe is vast, is vast. (c) PRAYER FOR ALMS. We, paupers' brothers, must pray to God, must beg alms from Christ. Those who give us drink, food, boots, and clothe our sinful bodies, may God send them many years of health. (e) AH, MY BRIGHT SWALLOWS ! The language and idiom in this song are so char- acteristic of the Russian peasantry, that it is almost impossible to render it in English. "Ah, my bright swallows--Petersburg ladies, toy-makers of Kostromar, sock knitters of Tver, you have taken on a job that is not your business; in the back courtyard you are leading about a black bull, and that bull has no bull's coat; but that bull has a man's appearance." (d) I AM SITTING ON A STONE. I am sitting on a stone and have a hatchet in my hand, Ai-lu-ly. I have a hatchet in my hand. Those who have no cabbage, I invite you to our kitchen garden. Kalinnikoff Rubinstein Bleichmann Siberian Convict Song (b) THE PRISONER. Words by Pushkin. I sit within the cold dark prison walls. My com- panion an eagle. Flapping his wings and gazing sadly out he calls me and seems to say, let's fly away, let's fly away, there where the snow-capped mountains touch the sky; where only go the wind and I. It is time, my brothers, let us fly. Time-time!-the eagle calls, but I sit within the prison walls. Translated by Mme. Rosing.

The sun is setting behind the steppe. In the dis- tance one sees the golden wheat, and the sounding chains of the convicts are dragging the dust of the road. They go with their shaven heads, they march forward so heavily, darkly they knit their brows; a deep sadness has gripped their hearts, their shadows follow them; two old and worn-out horses are dragging a cart, wearily bending their knees; with them are their guards. III. Love. (c) CONVICTS. (d) AH THE COLD WINTER. Ah! the cold winter, the freezing winter; all the earth around is covered by snow. Birds have ceased to sing their songs. In my prison it is so terribly cold; oh, so terribly cold! and behind my bars, in these four storey wails, my poor boushlet (coat), torn to bits, does not give any warmth. Oh! how cold it is in my prison ! (a) I LOVE YOU, OLGA. (a) "I love you, Olga" (from Act I. of "Eugene Onegin") (b) Lament from "La Foire de Sorotchinsky' (c) Aria of Prince Vladimir from "Prince Igor " Words by A. Tolstor. "Well, brothers, let's sing a song; let's forget our terrible misfortune. No doubt our sufferings have been decreed by Fate." And they begin, they sing, their song floats over the steppes. They sing of the joys of the wide Volga, of their happy days never to return, of the free steppes, and of untrammelled freedom. The day wanes more and more and the chains in the dust are dragging the road. Words by Pushkin. I love you, Olga. I love you, as only the mad soul of a poet is condemned to love. Everywhere and for ever, only one dream, only one desire. When as a boy I knew not the meaning of love, even then was I your captive. I stood, the enchanted witness of your girlish play, and from the shades of the forest shared your joy and laughter. Ah! I love you, Olga! I love you, as only the soul of a poet can love. You are my only dream, 1. one desire, my suffering and my joy. love thee, I love thee, and ne'er can distance, absence, pain nor pleasure destroy my soul's love for thee. I love thee, love thee Translated by Marie Rosing. (3) LA FOIRE DE SOROTCHINSKY. Tschaikovsky Moussorgsky Borodin Why, oh my heart, dost thou weep and moan? How can I console thee poor one? Maybe 'tis that happiness is not for us, and such, alas! is out fate! Words by Gogol. Sorrow and pain-away, Begone-- My heart is praying, My heart imploring The love of Parasia. Parasia, beloved mine, Parasia, lady fair, Ghibria, the evil one, wills great harm for us. But my heart is praying, My heart imploring Only the love of Parasia. Why, ch! my heart, dost thou weep and moan? How can console thee, poor one? (c) PRINCE IGOR. Prince Vladimir is taken prisoner after the defeat of Prince Igor's army. During the period of captivity he falls in love with the daughter of Ohan Konchac. In the recitative of this aria he tells of the wonderful beauty of the falling night, and of how the warmth and softness of the southern air inspires his love and passion. He wonders if his love waits for him. Deep in his heart he knows that she will come. Translated by Marie Rosing. In the aria he pleads with her to answer his call of love, and under the sheltering canopy of the dark night, when all the world lies sleeping and only the stars keep watch above, to come to him. Prince Vladimir's love is so strong that of his own choice he remains with the woman he loves, forsaking. country and home.

IV. Sufferings. (a) "Song of a poor wanderer (b) "Trepak' (c) "Famine" (a) SONG OF A POOR WANDERER. Words by Nekrassoff. In this song Necrasoff, the great Russian poet, writes of the pangs and terror of cold and hunger as felt in Russia in the depths of the cruel winter. A wanderer is roaming, and out in the plain the wind whistles and moans in his ear- It is cold, Wanderer, it is cold. He goes on further through the forest, and there the beasts are howling :- We hunger, Wanderer, we hunger. He walks over the fields and asks the corn: Why are you so lean? And the corn replies:-- From the cold, Wanderer, from the cold. He sees the cattle and asks them the same question, and mournfully they low We hunger, Wanderer, we are cold. He enters the village and enquires of the peasants : Do ye live well? And they reply :- We are hungry, Wanderer, we are starving. Last of all he sees a peasant beating his wife, and he calls out: Hey! Peasant! Why do you hurt her? and the peasant cries:- Because it is cold, Wanderer, so cold. Marie Rosing. (c) FAMINE. (b) TREPAK. Words by Nekrassoff. Although Russia is great and her lands are vast, still there are many parts of the country where the peasants possess very little land, and in case of bad crops those districts are stricken with famine. The words of this song are written by our great poet Nec- rasoff, and describe a famine-stricken peasant. He can hardly walk, hardly can he draw his breath. He is puffed up from eating shavings of wood. He is tor- tured by his grief and misery, and nearly mad with starvation as his glassy eyes stare in front of him in a way more terrible than that of any drunken being. He staggers along gasping and half dazed until he arrives at his little field; there he stands motionless as Words by Count Kutusow. In the wild In this The Trepak is a Russian national dance. In this song Moussorgsky, than whom none knew the peasant's position better, tells a tale of the peasant. winter which searches Russia it not infrequently happens that a drunken peasant, returning home, loses his way, for the roads in some parts are at best ill-defined, in others non-existent ; falling into the immense snowdrifts, he is lost until the Spring sun shall melt the snows. song Moussorgsky draws such a picture, not in the terms of the report of a coroner's inquest, but in terms of a rare poesy. When Death takes possession of the peasant who has sunk down into the snow he sings a quasi- lullaby in the form of the dance. In this, after referr- ing to the utter misery, misfortune and dire need of the peasant in life, he calls on the storm and the wind to make up the softest of beds amid the downy snow, on which the poor peasant may dream himself into his last sleep. The peasant's dream in death is of the summer, the fields, the laughing sun, the sickles as they play in the corn. He hears the harvesters as they sing at their work, the pigeons cooing, and sees the birds as they fly through the air. Robin Legge. a statue, and raising as much voice as is possible from his poor empty chest he sings :- Ripen! Ripen! I'll heed them not! I'll give them not! Not I! Corn, thou mother mine I tended thee, I cherished thee. Hear me, earth of mine! A loaf-great as a mountain. God I would devour a pan-cake, large as a table-wide. In this dread hour and though my son and mother dear for bread should cry- I'll eat alone! Alone! Marie Rosing. Nevstruoff Moussorgsky Cui V with great and Borod pomp world his h F entra does not sudd then sayı bend arou Sud tern our awa dar com ma hea m and V

off Ays wi 16 sof Cas que refer of t ind 2 is l Ja layin fl. V. Satire and Gaiety. (a) "Conceit" (b) "The Goat" (c) "Joys on a journey" (d) Drinking Song from "Prince Igor" (a) SPES (Conceit). Words by A. Tolstoi. There are many people in the world who, swollen with pride, or rather conceit, imagine themselves to be greater and superior to everyone else. They despise and look down on their fellow-men, and in this song, Borodin gives an impersonation of conceit marching pompous and arrogant up and down and all around the world. His height is but a yard and a quarter, whilst his hat measures ten yards ! He refuses to go and see his parents, because the entrance of their house is too humble and lowly; neither does he go to Church to pray, because the floors have not been cleaned enough, and so he marches on until suddenly he sees-a rainbow ! Conceit halts, stares, then turns round and walks in the opposite direction saying: "It is not that such a personage as I should bend under that bow!" And se-up and down and all. around the world marches Spès !! M. R. (b) THE GOAT. Words by Moussorgsky. A maid walked on the common to shew herself off. Suddenly she met a goat, oh! and dirty! with a beard, terrible to see, evil, his coat matted, a real devil. And our maiden grew so frightened; from the goat she ran away straight into a bush, and there she hid herself, daring hardly to breathe. Our maiden went before the altar; the time has come for her to marry. Well, well. She married!! Her husband is old and hunchbacked, bald. headed, angry, bearded, a real devil. Well was our maiden frightened? H'm, not she ! She accepts all his caresses, and swears that she is true. H'm that she is in love with him and she is an ideal wife! Vail & Co., Printers, London, E.C. 1. Borodine Moussorgsky Glinka Borodine (c) JOYS ON A JOURNEY. One of the chief joys of life is travelling, with all its anticipations, gaieties, crowds, changes of scenery, excitements, etc. In this song Glinka shows us a picture. of all these things, and gives a wonderful imitation of the motion and rhythm of a train in his music. (d) DRINKING SONG FROM "PRINCE IGOR." At the Piano-Signor MANLIO DI VEROLI Words by Borodine. Recitative- It would be sin to hide that I do not like to be bored. The way our Prince Igor lives I couldn't live a day! With princely gaiety I like to treat my heart; I love to live gaily. Ah! could I only become the ruling Prince in Poutivle how gloriously I would live ! Aria-- If I could only become Prince of Poutivle I wouldn't worry, I would know how to live. In the day by the tables of food and at gay festivities, I would judge and conduct my business. I would judge the people as I wish, I would give them all wine, drink, drink, drink, drink, drink-enjoy! At night to my palace should be brought all the beautiful girls; they would sing songs, they would sing praise of me; and those that are the pinkest and the whitest I would keep them; and those that are sweetest I will spend the night with them. Ah, if that could only become my fate, I would miss no I w'd know where to begin; I would opportunity, administrate the so that not much money would remain! I would drain the cup of life; for that, power exists. Ah! could I only become prince, I would know how to please every one, myself, and you! so that they wouldn't soon forget us. Hay, hay, hay-enjoy, and live !

Ind Concert HUDDERSFIELD MUSIC CLUB. (UNDER THE AUSPICES OF THE BRITISH MUSIC SOCIETY.) 1st Season, 1918-19. President-E. J. BRUCE, Esq., J.P. Musical Director- A. EAGLEFIELD HULL, Esq., Mus. Doc. Oxon. COMMITTEE- H. H. LOCKWOOD, Esq. T. E. PEARSON, Esq., Mus. Doc. Oxon. HADYN H. SANDWELL, Esq., F.R.C.O. D. SEGALLER, Esq., D.Sc. J. STANCLIFFE-ELLIS, Esq. COL. G. W. TREBLE, C. M. G. DR. F. W. THORNTON. F. N. WHITELEY, Esq. A. L. WOODHEAD, Esq. G. FLEMING, Esq., Hon. Secretary and Treasurer, 28, Edgerton, Huddersfield. PRICE THREEPENCE.

● CHAMBER MUSIC CONCERT 2106 107 M. DÉSIRÉE DEFAUW (Violinist). si 90 M. EMILE DOEHAERD ("Cellist): Mr. JOSEF HOLBROOKE (Pianist). BY 1.6" 2. 'Cello Solos Nexx $ 1. Trio in D minor no p Schumann 3 Allegro energico-Vivace-Adagio- Allegro con fuoco. 3. Piano Solos (a) Sarabande (b) Gavotte (c) Dans la douceur des pins-Joseph Jongen (d) Papillon Gabriel Fauré be (a) "Pours vivant "-Etude (b) "La Fantastique "" (c) "Sorrow" (from the Suite Op. 18) (d) "Auld Lang Syne" (Variations) 29 INTERVAL. 79% Henry Purcell (Born London Josef Holbrooke

4. Violin Solos (a) Sospiri (b) Berceuse (c) Moto perpetuo 5. Phantasy-Trio N... Elgar Hurlstone Frank Bridge Frank Bridge (W. W. Cobbett Prize Composition).

Jan. 29th. Mr. JOHN IRELAND and Vocalist. (Songs and Pieces). Feb. 19th. Mr. CYRIL SCOTT and Miss ASTRA DESMOND. Mar. 19th. Engagement of Mr. ALBERT SAMMONS, the great Violinist, and Mr. WILLIAM MURDOCH, the famous English Pianist. All Wednesday Evenings, from 7-45 to 9-30, in the Freemasons' Hall, Fitzwilliam Street.

11 HUDDERSFIELD toim + (UNDER THE AUSPICES OF THE BRITISH MUSIC SOCIETY). MUSIC CLUB. AC (afpryq UN COPRIDAR A W aucitatomehegimbypor) THIRD CONCERT, . President como ni sug JANUARY JANUARY 29th, 1919. adhow brodzed sollimalan orld to sno al aud danegueton ne tor al air 22IM & * 1st Season. 1918-19. > arolliga S E RAŠOM Lespell A-teaed M-0096A no motions N E. J. BRUCE, Esq., J.P. Musical Director oil of stau ori delfpol os, neiudhanoo anchtidnis son ost to opp i 2001 of godt fobens to A. EAGLEFIELD HULL, Esq., Mus. Doc. Oxon. en totdw enotsav otarodato nours to des Grow talamoo edt ) UDO Committee no adein- betimo H. H. LOCKWOOD, Esq. J. STANCLIFFE-ELLIS, Esq. T. E. PEARSON, Esq., COL. G. W. TREBLE, C.M.G. 213 bar Mus. Doc. Oxon. DR. F. W. THORNTON. HADYN H. SANDWELL, Esq., to notretai lagigiso ad tool to ofta erit odla ochiq F. N. WHITELEY, Esq. F.R.C.O. uted to the des D. SEGALLER, Esq.. D.Sc. has ded A. L. WOODHEAD, Esq. crosovoot essi soos wint doit jdi orqaro biodiv G. FLEMING, Esq., Hon. Secretary and Treasurer, 28, Edgerton, Huddersfield. = PRICE SIXPENCE.

PIANOFORTE RECITAL BACH MOZART DALE MISS MYRA HESS. @ (Programme Annotations by A. EAGLEFIELD HULL, Copyright). I. ** Toccata and Fugue in G minor. This is not an arrangement, but is one of the unfamiliar keyboard works. Sonata in E flat. BY CÉSAR FRANCK ✰✰ Allegro from Sonata in D minor. The Piano Sonata, to which this movement forms the opening, was written in 1902, and is one of the most ambitious contributions to English Piano Music yet produced. Between the Allegro and the Finale (a kind of Rondo), there occurs (in the complete work) a set of seven elaborate variations, which are omitted to-night on the score of time. SCHUMANN Adagio-Minuet-Allegro. ++ II. Prelude, Chorale, and Fugue. The original intention of the great Flemish Composer was to write a Prelude and Fugue for the piano after the style of Bach, whose music he so much admired; but he soon saw the great advantage of using a Chorale (hymn) to bind the two movements together, and also to form a melodic basis for the whole composition, which thus contains three movements. Papillons." A string of eleven fanciful little pieces all in different moods and styles, like so many masqueraders at a fancy-dress ball. The Finale commences with an old German children's tune, called "The Grandfather's Dance." At the end a tiny clock strikes six (!) and the noise of the carnival dies away, as a dream ends. 44

BAX RAVEL III. .. (a) Nocturne (May Night on the Ukraine). (b) Gopak (Russian National Dance). An English painter (Jackson, for instance), paints Russian scenes in a very different way from a Russian artist; and the young English composer in these two Russian tone-pictures portrays the May Night and the Gopak with a different touch from that of the great Russian musician, Musorgsky. Both are right, and many more angles of vision than these two remain. In the "Nocturne," Bax has successfully portrayed much of the mystery of the marvellous summer nights in the Ukraine district, the wonders of which the pens of Tolstoy, Turgenieff, Chekoff and Dostoievsky have not exhausted. IRELAND The "Gopak" is the chief folk-dance of the moujik, and the peasant is generally well primed with vodka before he begins it. Bax has left out the crude realism of Musorgsky's song of the same name, and has pierced beneath the surface of things, reproducing the characteristic steps, and much more- some of the pyschology and some of the poetry which is at the bottom of all dance and music, however debased. "Ragamuffin." This is No. 2 of a Set of Pieces called London Pieces (published by Augener). The first is called Chelsea Reach, a part of the mighty Thames, which the composer should know well since he has lived long in Chelsea. The second is the "Ragamuffin," a sprightly musical sketch of the mischief and diablerie of the London street urchin. (a) Pavane pour une Infanta défunte. (b) Alborada del Graciozo. Born in 1875 in a small town on the slopes of the Pyrenees, it is only natural that Ravel should be much attracted by Spanish subjects. In Spain, the ancient use of the dance in religious services is preserved, and in this Pavane Ravel portrays the traditional solemn dance given at the funeral of a Spanish Princess. An Alborada is a joyous morning serenade in which the lighthearted Spaniard indulges at daybreak. Here is nothing but joyous gaiety, even buffoonery, and the tune used is a genuine folk-song from Graciozo. The composer revels in glissando thirds and fourths and other amazing digital effects. Truly not a piece for everyone to play!

b de Feb. 19th. Mr. CYRIL SCOTT, the well-known Composer, dev tegob and Miss ASTRA DESMOND. W Mar. 19th. yd bad Mdog) This Concert is intended to be a full exposition of Mr. Scott's peculiar genius. By request, Miss Desmond has consented to sing at the end of the Concert, the "Habanera," from Carmen, an opera in which she has made so striking a success. Mr. ALBERT SAMMONS, the great Violinist, solo and Madame AMINA GOODWIN, the famous English Pianist, will give a Violin and Pianoforte Recital, including the Kretzer Sonata of Beethoven, the famous Sonata of Ireland, and several Solo Pieces. All Wednesday Evenings, from 7-45 to 9-30, in the Freemasons' Hall, woy Fitzwilliam Street.

HUDDERSFIELD MUSIC CLUB. (UNDER THE AUSPICES OF THE BRITISH MUSIC SOCIETY). 1st Season, 1918-19. > FOURTH CONCERT, President FEBRUARY 19th, 1919. E. J. BRUCE, Esq., J.P. Musical Director A. EAGLEFIELD HULL, Esq., Mus. Doc. Oxon. Committee H. H. LOCKWOOD, Esq. (Chairman). T. E. PEARSON, Esq., Mus. Doc. Oxon. HADYN H. SANDWELL, Esq., F.R.C.O. D. SEGALLER, Esq.. D.Sc. J. STANCLIFFE-ELLIS, Esq. COL. G. W. TREBLE, C.M.G. DR. F. W. THORNTON. F. N. WHITELEY, Esq. A. L. WOODHEAD, Esq. G. FLEMING, Esq., Hen. Secretary and Treasurer, 28, Edgerton, Huddersfield. * PRICE THREEPENCE. >

PROGRAMME of .. Pianoforte and Vocal Recital MR CYRIL SCOTT & MISS ASTRA DESMOND. This Recital is intended to be an exposition of Mr. Cyril Scott's works as a Composer; the songs have been chosen to represent his many varied styles. I. PIANO SOLI II. SONGS BY III. IV. SONGS CONSOLATION. RAINBOW TROUT. ODE HEROIQUE. A BIRTHDAY. LOVE'S AFTERMATH. OLD SONGS IN NEW GUISE: (WHERE BE GOING, SUMMER IS ACUMEN IN. NIGHT SONG. A PICNIC (from the Chinese.) PIANOFORTE SONATA (by request) THE SANDS OF DEE. LILAC TIME. SUNSHINE AND DUSK. SEA FRET. THE LITTLE BELLS OF SEVILLA. V. PIANO SOLI WATER WAGTAIL. BELLS. RUSSIAN DANCE. VI. Miss DESMOND will sing by request THE HABANERA, from "Carmen."

Mar. 19th. Mr. ALBERT SAMMONS, the great Violinist, and Madame AMINA GOODWIN, the famous English Pianist, will give a Violin and Pianoforte Recital, including the Kreutzer Sonata of Beethoven, the famous Sonata of Ireland, and several Solo Pieces. Wednesday Evening, from 7-45 to 9-30, in the Freemasons' Hall, Fitzwilliam Street. N.B. Members are asked to give in their names for next Season, as present Members will take precedence of new applicants. JOKO

HUDDERSFIELD MUSIC CLUB. (UNDER THE AUSPICES OF THE BRITISH MUSIC SOCIETY). 1st Season, 1918-19. FIFTH President CONCERT, MARCH 19th, 1919. E. J. BRUCE, Esq., J.P. Musical Director A. EAGLEFIELD HULL, Esq., Mus. Doc. Oxon. Committee H. H. LOCKWOOD, Esq. (Chairman). T. E. PEARSON, Esq., Mus, Doc. Oxon. HADYN H. SANDWELL, Esq., F.R.C.O. D. SEGALLER, Esq.. D.Sc. J. STANCLIFFE-ELLIS, Esq. COL. G. W. TREBLE, C.M.G. DR. F. W. THORNTON. F. N. WHITELEY, Esq. A. L. WOODHEAD, Esq. G. FLEMING, Esq., Hon. Secretary and Treasurer, 28, Edgerton, Huddersfield. F. SOLMAN, Esq., Assistant Secretary. SHONIMA PRICE THREEPENCE.NA c

PROGRAMME of Pianoforte and Violin Recital MADAME AMINA GOODWIN & MR. ALBERT SAMMONS. I. KREUTZER SONATA BY Adagio Sostenuto, leading to Presto. Andante en Variazioni. Finale Presto Madame AMINA GOODWIN and Mr. ALBERT SAMMONS. II. PIANO SOLOS (a) Concert-Sonata (b) Consolation (c) Erotik (Papillons) (d) Prelude in B minor (Posthumous) Madame AMINA GOODWIN. III. VIOLIN SOLOS (a) Fugue (b) Slav Dance (c) Rondo INTERVAL. ehe. Beethoven Mr. ALBERT SAMMONS. Scarlatti. Liszt. Tini Henriquey. Mendelssohn. Tartini. Dvorak. Mozart. IV. SONATA IN A MINOR (No. II.) Allegro. Poco lento quasi Adagio. In tempo moderato. Madame AMINA GOODWIN and Mr. ALBERT SAMMONS. John Ireland.

Arrangements are being made for Five Evenings next Season, which include an Evening of Song by Mr. VLADIMIR ROSING (by request), a Song Recital by Mr. GERVASE ELWES, a Piano and Vocal Recital by Mr. and Mrs. YORK BOWEN, a Piano Recital by Mr. WILLIAM MURDOCH, and an Evening with THE LONDON STRING QUARTET. The Members' Subscription will be 25s. (including Tax). Intending Members should give their names in at once, as the number will be limited. There will be no friends' tickets. G. FLEMING.