Ocr'd Text:
THE HUDDERSFIELD
HUDDERSFIELD MUSIC SOCIETY
Brochure
21st Season's programmes 1938 1939
Correction
15.3.1939
Hindemith shring Quarter No3 Op2z
is correct.
Should
be string Quartet No 4.
(The notes give an accurate list of
Movements).
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Ocr'd Text:
THE HUDDERSFIELD
HUDDERSFIELD MUSIC CLUB
CONCERTS
FOR THE TWENTY-FIRST SEASON
1938-39 TO BE GIVEN IN
HIGHFIELD ASSEMBLY HALL
(NEW NORTH ROAD)
WEDNESDAYS, OCTOBER 12th, NOVEMBER 16th,
NOVEMBER 30th, DECEMBER 14th, 1938,
JANUARY 18th, MARCH 15th, 1939,
at 7-45 p.m.
(Please note dates of four concerts in 1938)
Committee:
President: A. L. WOODHEAD, M.A., J.P.
Mrs. A. E. Everest
Mrs. A. E. Hull, F.R.C.O.
Miss A. Shaw, L.R.A.M.
W. Clifford Crook
A. G. Crowther
J. Stancliffe Ellis
Irving Silverwood
Hon. Secretary
Hon. Treasurer
Chairman
Mrs. H. Ainley
Mrs. W. F. Clayton.
Miss D. Donaldson
Mrs. C. Earnshaw
Miss K. M. Evans, B.A.
Miss Freeman, J.P.
Mrs. Denys H. Hirst
Hon. Secretaries.
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, 222, Almondbury Bank Tel. 2763
Ladies' Committee:
Miss E. Whitwam, L.R.A.M.
(Representing the Ladies' Committee)
Miss D. Donaldson
Miss E. Whitwam, L.R.A.M.
Frogramme
Mrs. A. E. Horsfall
Mrs. G. G. Jarmain PERC
Mrs. A. W. Kaye
Mrs. R. Stewart Park
Mrs. Irving Silverwood
Mrs. N. M. Sayer
Miss E. Wormald
Mrs. A. E. HULL, F.R.C.O.
Miss A. SHAW, L.R.A.M.
Mrs. A. E. EVEREST
Hon. Treasurer
THE CLUB IS OPEN TO ALL. The Subscription for
the series of SIX CONCERTS is 21/- payable to the Hon.
Treasurer. Single Tickets, 5/-. (Town Office, Messrs. K.
Levell Ltd., Market Street. Tel. Hudd. 2294).
Spor
MUSIC CLUB
th,
A
N. D. & CO.. HUDD
Ocr'd Text:
HUDDERSFIELD
CONCERTS
FOR THE TWENTY-FIRST SEASON
1938-39 TO BE GIVEN IN
HIGHFIELD ASSEMBLY HALL
(NEW NORTH ROAD)
WEDNESDAYS, OCTOBER 12th, NOVEMBER 16th,
NOVEMBER 30th, DECEMBER 14th, 1938,
JANUARY 18th, MARCH 15th, 1939,
at 7-45 p.m.
(Please note dates of four concerts in 1938)
Mrs. A. E. Everest
Mrs. A. E. Hull, F.R.C.O.
Miss A. Shaw, L.R.A.M.
W. Clifford Crook
A. G. Crowther
J. Stancliffe Ellis
Irving Silverwood
Hon. Secretary
Hon. Treasurer
MUSIC CLUB
President: A. L. WOODHEAD, M.A., J.P.
Chairman
Mrs. H. Ainley
Mrs. W. F. Clayton
Miss D. Donaldson
Mrs. C. Earnshaw
Miss K. M. Evans, B.A.
Miss Freeman, J.P.
Mrs. Denys H. Hirst
Hon. Secretaries
Committee:
Hon. Treasurer
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, 222, Almondbury Bank Tel. 2763
Ladies' Committee:
Miss E. Whitwam, L.R.A.M.
(Representing the Ladies' Committee)
Miss D. Donaldson
Miss E. Whitwam, L.R.A.M.
Mrs. A. E. Horsfall
Mrs. G. G. Jarmain
Mrs. A. W. Kaye
Mrs. R. Stewart Park
Mrs. Irving Silverwood
Mrs. N. M. Sayer
Miss E. Wormald
Mrs. A. E. HULL, F.R.C.O.
Miss A. SHAW, L.R.A.M.
Mrs. A. E. EVEREST
THE CLUB IS OPEN TO ALL. The Subscription for
the ser of SIX CONCERTS is 21/- payable to the Hon.
Treasurer. Single Tickets, 5/-. (Town Office, Messrs. K.
Tel. Hudd. 2294).
Levell Ltd., Market Street.
Ocr'd Text:
WEDNESDAY, 12th OCTOBER, 1938
The NEW HUNGARIAN
STRING QUARTET
Founded in 1935 this Quartet has already established
the reputation of being one of the most remarkable
combinations of players performing in Europe.
"A wonderfal ensemble of four masters, incomparable from every point of view."
Algemeen Handelsblad (Holland)
WEDNESDAY, 16th NOVEMBER, 1938
LILI KRAUS and
SIMON GOLDBERG
PIANO and VIOLIN RECITAL
First appearance in Huddersfield of this brilliant Duo
"Their playing was superb."
"Ensemble playing of the finest quality."
Manchester Guardian
Daily Telegraph
WEDNESDAY, 30th NOVEMBER, 1938
SPECIAL CONCERT
BACKHAUS
The Committee have the honour to
announce the first appearance at
these concerts of this celebrated artist
Ocr'd Text:
WEDNESDAY, 14th DECEMBER, 1938
ENGEL LUND
At the Piano
DR. FERDINAND RAUTER
Lieder and Folk Songs
In response to many requests the Committee are happy
to announce the re-engagement of these brilliant artists
"Engel Lund is supreme."
Daily Telegraph
WEDNESDAY, 18th JANUARY, 1939
EGON PETRI
The leading Pianist of the day
"In intellectual power, variety, controlled rhythm, tone and musicianship, it transcended
any pianoforte recital we have heard in the last decade."
Manchester Guardian
WEDNESDAY, 15th MARCH, 1939
THE BUDAPEST
STRING QUARTET
"One of the most brilliant performances of the season."
New York Times
"It always ranked amongst the best quartets and its position is stronger than ever."
Daily Mail
Ocr'd Text:
д
30
5/-
3/6
4.0 6
6
19126
27-92
45-44
29
Ocr'd Text:
HUDDERSFIELD MUSIC CLUB
A. L. WOODHEAD, Esq., M.A., J.P.
President
HIGHFIELD HALL, NEW NORTH ROAD
WEDNESDAY, OCTOBER 12, 1938.
NEW HUNGARIAN
QUARTET
SZEKELY
MOSKOWSKY
AT 7-45
PROGRAMME
KOROMZAY
PALOTAI
PRICE FOURPENCE.
Hon. Secretary ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield
Hon. Treasurer
F. W. GADSBY, 222, Almondhury Bank, Huddersfield
Ocr'd Text:
PROGRAMME
I
Quartet in F major, Op. 77 No. 2
Allegro moderato
Menuetto (Presto ma non troppo) and Trio
Andante
Finale. Viva assai
The String Quartet as we know it was really the creation of Haydn. In 1755
Karl von Fürnberg, who was accustomed to invite parties of musicians to his house
at Weinzerl for the purpose of making music together, asked Haydn to make a long
visit there. Haydn found the usual "country-house" orchestra of that day-some
strings and a few wind instruments. For these he wrote various compositions
which he called Divertimenti, Nocturnes or Cassations. Some he wrote for four
string players, and thus, in this simple manner, he produced his first true string
quartet. It is doubtful whether the earliest examples were intended for string
orchestra or for a solo quartet, but soon Haydn showed an increasing desire to
make all four instruments of equal importance and interest, instead of the earlier
plan of a solo violin with string accompaniment.
Quartet in A minor, Op. 29
Haydn (1732-1809)
The Quartet to be heard to-night is one of a set of two dedicated to Prince
Lobkowitz, and belongs to Haydn's latest and most mature period. An animated
and rhythmic first movement is followed by a Minuet (which approaches much
more closely to the freedom and humour of the Scherzo) and a finely contrasted
Trio. The Andante is in variation form; the Finale is vivacious and brilliant.
II
Allegro ma non troppo
Andante
Menuetto (Allegretto) and Trio
Allegro moderato
Schubert (1797-1828)
In the quartets of Schubert we find the influence of the new "romantic" period.
Instead of the pure polyphony of the classical writers, these later composers aim
rather at increasing the richness of their music by the use of new massed harmonic
effects, double-stopping and tremolo. Their works at times approach more closely
to the orchestral, rather than to the chamber-music, ideal.
Ocr'd Text:
This beautiful and intensely personal Quartet in A minor has been described
as one of the most characteristic works of any composer. It is a mature work,
written in 1824, and first appearing in 1825. It was, in fact, the only quartet to
be actually published during Schubert's lifetime.
In 1824, after a period of mental depression, Schubert went with the Esterhazy
family for six months to their home at Zselesz, in Hungary; there, too, was Catherine
Esterhazy, the young daughter of the house, who is said to have inspired Schubert's
tenderest feelings. It is probably right to attribute the quartet to this visit or to
its immediate influence; certainly it is steeped in the Hungarian spirit. In the
first movement the dreamy melody of the first violin soars above the throbbing
accompaniment of the viola and cello and the swaying line of the second violin ;
the second subject is more animated. For the Andante Schubert uses a motive
from the Ballet music "Rosamunde." The Minuet, with its surprising changes of
key and the expressive and deeply personal feeling of the melody, is, in spite of its
apparent simplicity, one of Schubert's most inspired movements. The Finale,
richly coloured by the Hungarian spirit, brings the work to a warm, temperamental
conclusion.
INTERVAL OF TEN MINUTES
III
Quartet in E minor, Op. 116 (Aus meinem Leben) Smetana (1824-1884)
Allegro vivo appassionato
Allegro moderato a la Polka
Largo sostenuto
Vivace
Smetana was the founder of the national school of modern Czech music. He
was a youthful prodigy and made his debut as a pianist at the age of six. Later his
love for composition drew him completely away from virtuosity. He was intensely
nationalist in feeling and an ardent patriot. His early works were chiefly symphonic
poems, largely inspired by Liszt. For the newly-founded Czech National Theatre
he wrote operas, many of which were based on Czech subjects. His end was tragic;
he became deaf and finally he died in an asylum.
Smetana was not attracted by abstract music, and his two quartets (Aus meinem
Leben) are, according to his own statement, largely autobiographical. This, the
first, deals mostly with his youth and is on the whole a cheerful work. The first
movement is a picture of childhood and youth; the second portrays his happy
social life and his love of the dance; the third describes his love; the fourth, his
mature development-the long drawn-out, high-pitched note towards the end
suggesting his approaching deafness and tragedy.
Ocr'd Text:
1938
WED. 16 NOV.
WED. 30 NOV.
WED. 14 DEC.
1939
WED. 18 JAN.
WED. 15 MAR.
LILI KRAUS and SIMON GOLDBERG,
Piano and Violin Recital,
BACKHAUS. Piano Recital.
ENGEL LUND Lieder and Folk Songs.
EGON PETRI. Piano Recital.
BUDAPEST STRING QUARTET.
The Club is open to all. The Subscription for the remaining five
concerts is 18/- payable to the Hon. Treasurer. Single tickets 5/- can be
obtained from the Hon. Treasurer; from Mrs. Hull, 48 New North
Road; from Messrs K. Levell, Market Street; or at the door. Single
tickets for the special Backhaus Recital will be 7/6.
The Committee earnestly request members to do all in their
power to increase the membership of the Society.
Ocr'd Text:
HUDDERSFIELD MUSIC CLUB
A. L. WOODHEAD, Esq., M.A., J.P.
President
HIGHFIELD HALL, NEW NORTH ROAD
WEDNESDAY, NOVEMBER 16, 1938. AT 7-45
LILI KRAUS and
SIMON GOLDBERG
STEINWAY CONCERT GRAND
PROGRAMME
PRICE FOURPENCE
Hon. Secretary ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield
Hon. Treasurer F. W. GADSBY, 222, Almondbury Bank, Huddersfield
Ocr'd Text:
PROGRAMME
I
Sonata for Piano and Violin in E flat major (K.380). Mozart (1756-1791)
Allegro
Andante con moto
Rondo. Allegro
It was not until the time of Mozart that the duet-sonata came into being.
Though not of the high level of his string quartets, yet the violin sonatas are works
of interest and charm. If the piano part seems slight according to modern standards,
it must be remembered that Mozart was writing with harpsichord tone in mind.
Mozart's most important contributions to this form date from his Viennese period;
and this, the earliest of the group, was written in 1781. All these works alike are
notable for the beauty of their slow movement.
II
Sonata for Piano in A minor, Op. 143.
Allegro giusto
Andante
Allegro vivace
Schubert (1797-1828)
This fine Sonata is dated 1823 and was published in 1839 as Op. 143. The
year 1823 was one of ill-health and despondency but the flow of compositions never
ceased. Three large dramatic pieces appeared, as well as many songs, including
Die schöne Mullerin.
Schubert's Piano Sonatas, in spite of containing much that is inspired and
beautiful, are not numbered amongst his finest works. Essentially a lyric writer,
with a superabundance of melodic invention, the classical sonata, with its definite
forms, must have been less in sympathy with his type of genius than, for instance,
the piano pieces like the Moments Musicaux.
In this Sonata the first movement is one of the most successful from the point
of view of formal construction. A bold unison subject is well contrasted with a
charming second subject and the development is vigorously carried out. The second
movement is flowing and graceful, and much use is made of a short unison link-
passage. The final movement has a flowing triplet subject with a lyrical contrasting
subject.
III
Sonata for Piano and Violin in G minor.
Allegro vivo
Intermède. Fantasque et leger
Finale. Très animé
Debussy (1862-1918)
Ocr'd Text:
This Sonata is the third of a set of six Sonatas which Debussy intended to
write for different instruments. He did not live long enough to complete the task,
and only three Sonatas exist. The first, for piano and cello, is dated 1915; the
second, for flute, viola and harp, 1916; and this, actually the last of all Debussy's
compositions, concludes with the inscription "Winter, 1916-1917." During the
last years of his life Debussy suffered from a terrible and painful malady, and possibly
some of the weakness and sickness of those latter days is to be found in this work.
As Suarès wrote, it is "la douleur qui parle."
The first movement, in spite of being an Allegro, is largely pianissimo in tone,
with, however, contrasting passages of power.. The direction "fantastic and light"
exactly describes the second movement; it is, indeed, an interlude between two
more important sections. The last movement is animated, with moments of delicacy
and remoteness.
INTERVAL OF TEN MINUTES
IV
Sonata for Solo Violin in G minor.
Adagio
Fuga, Allegro
Siciliano
Presto
Bach (1685-1750)
Bach wrote three Partitas and three Sonatas for solo violin. They were all
written within a short time of each other and belong to the Cothen period (1717-1723).
Bach was himself an accomplished violinist, though during later life in chamber
music he played the viola in preference.
We do not exactly know how the violin was played in Bach's time, but it seems
increasingly sure that the old arched German bow, in which the tension of the hairs
was controlled at will by the action of the thumb and not by means of a screw, was
still in use. This would explain much of Bach's use of double-stopping and com-
plicated polyphonic writing.
The form of this work is almost nearer to the Suite than to the Sonata. It
opens with a long recitative-like movement, which leads to the second movement-
a three-voice Fugue. The third movement is a Siciliano, a dance of Sicilian origin
in 12/8 time. The Presto is a moto perpetuo.
V
Sonata for Piano and Violin in C minor, Op. 30, No. 2.
Allegro con brio
Adagio cantabile
Scherzo and Trio
Finale. Allegro
Beethoven
(1770-1827)
Beethoven wrote 10 Sonatas for Violin and Piano, of which this, the seventh,
the ninth (Kreuzer) and the tenth are the best examples. This work is one of a set
of three, written in 1803 and dedicated to Alexander I, Emperor of Russia. It is
emotional in character (the choice of the key of C minor was not made by chance ;
there is a similarity of emotional content between all Beethoven's works in that key).
In point of time this Sonata belongs to the beginning of Beethoven's second
period. The first and last movements are entirely characteristic. The Adagio
moves along in solemn beauty. The Scherzo and Trio are perhaps rather more
obvious; while the sombre and passionate Finale brings the work to a noble close.
Ocr'd Text:
1938
WED. 30 NOV.
WED. 14 DEC.
1939
WED. 18 JAN.
WED. 15 MAR.
BACKHAUS. Piano Recital.
ENGEL LUND Lieder and Folk Songs.
EGON PETRI. Piano Recital.
BUDAPEST STRING QUARTET.
The Club is open to all. The Subscription for the remaining four
concerts is 15/- payable to the Hon. Treasurer. Single tickets 5/- can be
obtained from the Hon. Treasurer; from Mrs. Hull, 48 New North
Road; from Messrs K. Levell, Market Street; or at the door. Single
tickets for the special Backhaus Recital will be 7/6.
The Committee earnestly request members to do all in their
power to increase the membership of the Society.
Ocr'd Text:
HUDDERSFIELD MUSIC CLUB
A. L. WOODHEAD, Esq., M.A., J.P.
President
HIGHFIELD HALL, NEW NORTH ROAD
WEDNESDAY, NOVEMBER 30, 1938. AT 7-45
BACKHAUS
BECHSTEIN CONCERT GRAND
PROGRAMME
Hon. Secretary
Hon. Treasurer
PRICE FOURPENCE
ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield
F. W. GADSBY, 222, Almondbury Bank, Huddersfield
Ocr'd Text:
PROGRAMME
I
Two Preludes and Fugues from the "Forty-eight" Book I.
(i) C major
(ii) C sharp minor
Bach
(1685-1750)
"The Well-Tempered Clavier" consists of 48 Preludes and Fugues divided into
two books. They were completed respectively in 1722 and 1744. Bach's intention
in making this work was partly to give suitable material for study to the young
musicians, and partly to demonstrate the enormous possibilities which were opened
out to the composer by the new system of equal temperament tuning, in which all
the keys were made available for use, though in a slightly imperfect form, on
instruments such as the clavier, rather than a few keys in perfect tuning.
Sonata quasi una Fantasia, Op. 27, No. 2 ("Moonlight") in C sharp minor.
Beethoven (1770-1827)
Adagio sostenuto
Allegretto
Presto agitato
The title of "Moonlight Sonata" was not given by the composer, but by the
critic Rellstab, who further embroidered his fantasy by describing the work as the
literary fioritura of a boat visiting by moonlight the wilder regions of Lake Lucerne.
But what is infinitely more important is the inscription "Sonata quasi una
Fantasia" which Beethoven himself gave to this Sonata and to its companion Op. 27,
No. 1. It marks his earliest departure from the classical "first-movement form";
and more than that, it is the beginning of a fresh development of the Sonata into
something entirely new and much wider in scope. Previously the only alternative
to the conventional first movement had been Variations, as used by Mozart and
by Beethoven himself in his Op. 26.
These two Sonatas which form Op. 27 were written in 1801. They are indeed
Fantasies. This, the second of the two, opens with what is a Nocturne in every-
thing but name. Berlioz calls the right-hand part of the "efflorescence mélodique"
of the sombre harmonies of the bass. Rolland, in a somewhat over-fanciful
description of the piece, writes of the dual song which exhales its lassitude above
the monotony of the mournful accompaniment; how it descends immediately into
its agitated night, only to rise and fall yet again, sinking into an exhausted silence,
while, like a passing bell, the bass alone repeats the rhythm of the sob (Beethoven
the Creator). The Allegretto follows without a pause. This Berlioz describes as
"une fleur entre deux abimes." It is really a Scherzo and Trio, orthodox in form.
The impetuous and passionate Finale is in sonata-form. The first subject is full
of fire and tempest; every other bar ends with a sforzando. After it has been
repeated twice the second subject appears. The development section is concise,
and the recapitulation ends with a cadenza. Two bars of Adagio lead to a short,
intense coda.
Ocr'd Text:
Rhapsody in G minor.
Variations on a Theme by Paganini, Op. 35.
II
By far the finest Variations since Beethoven are the numerous sets by Brahms.
He used more or less the same principles as Beethoven, employing every device of
condensation, augmentation, anticipation, inversion, polyphonic combination,
chromatic colouring, and so forth, with such ingenuity and skill that the tracing of
the theme often becomes a difficult intellectual exercise. At the same time, how-
ever, the musical interest, far from being overwhelmed, is enhanced to an amazing
degree. These 28 Variations are founded upon a really simple theme from one of
Paganini's Violin Caprices, and the work forms a series of wonderful studies, not
only in the art of composition but also in piano technique. They have, in fact,
scarcely ever been surpassed in technical difficulty.
INTERVAL OF TEN MINUTES
Moments Musicaux
Brahms (1833-1897)
III
Papillons, Op. 2.
Schumann (1810-1856)
The work consists of an Introduction of six bars and twelve short dance-like
pieces. The Finale is based upon an old tune (the "Grandfather's Dance"). Then
the noise of the Carnival dies away, and the clock strikes six. A letter from Schumann
explains the title "Butterflies." He writes: "The air is so sweet and heavenly
that I can wish for nothing but a carriage made of roses for an army of butterflies
to draw home with gold and silver threads. Then I should say to them, 'Carry
off the Papillons to Therese, Rosalie and Emilie'." These were his three sisters to
whom he dedicated the work.
Marche Militaire in E flat major.
(i) No. 6 in A flat major
(ii) No. 3 in F minor
Schubert (1797-1828)
Schubert, arr. Backhaus
Ocr'd Text:
1938
WED. 14 DEC.
1939
WED. 18 JAN.
WED. 15 MAR.
ENGEL LUND Lieder and Folk Songs.
EGON PETRI. Piano Recital.
BUDAPEST STRING QUARTET.
The Club is open to all. The Subscription for the remaining three
concerts is 12/- payable to the Hon. Treasurer. Single tickets 5/- can be
obtained from the Hon. Treasurer; from Mrs. Hull, 48 New North
Road; from Messrs K. Levell, Market Street; or at the door.
The Committee earnestly request members to do all in their
power to increase the membership of the Society.
Ocr'd Text:
HUDDERSFIELD MUSIC CLUB
A. L. WOODHEAD, Esq., M.A., J.P.
President
HIGHFIELD HALL, NEW NORTH ROAD
WEDNESDAY, DECEMBER 14, 1938.
AT 7-45
ENGEL LUND
At the Piano
PROGRAMME
Hon. Secretary
Hon. Treasurer
: DR. FERDINAND RAUTER
PRICE FOURPENCE
ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield
F. W. GADSBY, 222, Almondbury Bank, Huddersfield
Ocr'd Text:
PROGRAMME
I
SWITZERLAND.
Es isch kei söliger Stamme (Mountaineer's Song). Ferdinand
Es kam ein Herr zum Schlössli (Nursery Rhyme).J
Rauter
GERMANY.
Mondlied (The Moon).
Wir zogen in das Feld (Landsknecht Song).
CZECHOSLOVAKIA.
Veje vetor po doline (The Wind blows through the Valley)
(Slovakian).
Vit. Novak.
Tenkrate bude victoria (Victory) (Czech).
Ferdinand Rauter.
FRANCE.
La Marche des Rois.
La Mort du roi Renaud.
Derrière chez mon Père (Canada).
Ferdinand
Rauter.
YIDDISH.
A dudale (Meditation).
As ech wolt gehat (Cradle Song).
Wigendik a fremd kind (Cradle Song).
Ferdinand Rauter.
Ferdinand Rauter.
Reginald Jevons.
Ocr'd Text:
INTERVAL OF TEN MINUTES
II
ENGLAND.
She's like the Swallow (Newfoundland).
Raggle-taggle Gipsies O.
The Twelve Days of Christmas.
DENMARK.
Jeg kan se paa dine Oejne (Love Song).
Langt udi Skoven (Nursery Rhyme).
ICELAND.
SWEDEN.
Lammen har jag (Herdsmaid's Song).
Var e du (Dancing Song).
Vaughan Williams.
Cecil Sharp.
Frederic Austin.
Ferdinand Rauter.
Ferdinand Rauter.
Sofdu unga astin min (Cradle Song).
Fagurt galadi fuglinn sa (Beautiful was the
Crowing of the Cock).
Litlu börnin leika sjer (Children a-picking Berries).
Sveinbjornsson
Ferdinand
Rauter.
Ocr'd Text:
1939
WED. 18 JAN.
WED. 15 MAR.
EGON PETRI. Piano Recital.
BUDAPEST STRING QUARTET.
THE HALLÉ ORCHESTRA
Conductor: Sir Thomas Beecham, Bart.
TOWN HALL
TUESDAY, FEB. 28th, at 7-30
The Club is open to all. The Subscription for the remaining two
concerts is 8/6 payable to the Hon. Treasurer. Single tickets 5/- can be
obtained from the Hon. Treasurer; from Mrs. Hull, 48 New North
Road; from Messrs. K. Levell, Market Street; or at the door.
The Committee earnestly request members to do all in their
power to increase the membership of the Society.
Ocr'd Text:
HUDDERSFIELD MUSIC CLUB
A. L. WOODHEAD, Esq., M.A., J.P.
President
HIGHFIELD HALL, NEW NORTH ROAD
WEDNESDAY, JANUARY 18, 1939.
AT 7-45
EGON PETRI
STEINWAY CONCERT GRAND.
PROGRAMME
PRICE FOURPENCE
Hon. Secretary ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield
Hon. Treasurer F. W. GADSBY, 222, Almondbury Bank, Huddersfield
Ocr'd Text:
Fantasie in C minor
Sonata in C minor
PROGRAMME
I
Molto allegro
Adagio
Assai allegro
Mozart (1756-1791)
The great Fantasie in C minor was written in 1785, the Sonata in C minor,
one of the finest of Mozart's piano Sonatas, dates from the previous year. Both
works therefore came quite late in his career and both are superb examples of
his art.
Perhaps the Fantasie is the noblest of all Mozart's piano compositions. Judged
by its period, it is a work of astonishing fire and rich imagination. It opens with
an Adagio of dramatic octave passages with sudden fortes and pianos, which are
rounded off with tender and beautiful slurred cadences. A lovely section in D
major is followed by the strong and energetic Allegro in A minor with its
fragment of true Mozartian melody, which in turn leads without a break to the
lyrical Andantino section. The tempo becomes more animated in a cadenza-like
passage until the first dramatic octaves are heard again. The work ends with an
abrupt upward scale passage. Very often Mozart treated the clavier as an
instrument for the tuneful and lighter side of his art; here we have great and
noble music; a masterpiece of the highest rank in the literature of the piano.
The Piano Sonata also opens with a majestic octave phrase, which contrasts
splendidly with the delicate second subject in E flat. The Adagio movement is
quiet and beautiful, with lovely lyrical melodies and much elaborate and beauti-
ful figuration. The Allegro assai, in triple time, opens with a theme which
recalls a Beethoven Scherzo. This movement is again dramatic, with its sudden
fortes and impressive pauses.
II
15 Variations and Fugue in E flat major, Op. 35. ("Eroica")
Beethoven (1770-1827)
The Variations were written in 1802 when Beethoven's creative powers had
reached their full development. His piano Sonatas were becoming increasingly
original in conception and now, as it were, he writes a number of sets of
variations as exercises in virtuosity, or one might even say, in improvisation, as
he feels his way towards the latest and greatest of his piano works.
Ocr'd Text:
The theme of the Variations is one which seems to have haunted Beethoven's
mind for years. He used it in a variety of ways-in the Finale of the
Prometheus, in a collection of contre-danses, in this work, and finally he found
its fullest expression in the finale of the Eroica symphony. The bass part of the
theme is first heard in its barest and starkest form; then second, third and fourth
parts are added to it. The whole Introduction indeed forms a little circle of
variations in itself. Finally the theme itself appears; and after being heard in
15 variations through every device of virtuosity, it rises, after a splendid Fugue,
to a superb and solemn climax. In detail, the seventh variation is a canon at
the octave, the fourteenth has a change to the minor key, the lengthy fifteenth
has free and recitative-like passages ending with a coda, and a cadence on the
chord of G, which leads at once to the Fugue.
INTERVAL OF TEN MINUTES
"All' Italia"
Turandots Frauengemach
Indianisches Tagebuch
Carmen Fantasie
Perpetuum Mobile
III
Busoni (1866-1924)
Busoni, the son of an Italian father and an Austrian mother, was one of the
outstanding musical figure of his time. As a pianist many consider him to be the
greatest since the days of Liszt; as a virtuoso his extraordinary technical powers
made him the founder of a new school of piano playing, yet these gifts were in
him always made the servant of his interpretation. His compositions, obviously
the product of a great and powerful mind, have not perhaps the charm which
quickly attracts; but, nevertheless, they number among their worshippers some
of the keenest of modern intellects. He was a man of wide reading and deep
culture, a powerful and original thinker and writer on musical aesthetics. As a
boy he appeared as a child prodigy, but in later years his interest became more
and more completely absorbed in composition. His most monumental piano
work, the great Piano Concerto, shows to some extent, the influence of Liszt;
but in later works, such as the "Fantasia Contrapuntistica," the influence of Bach
becomes more apparent. His magnum opus, the opera "Doktor Faust" was
uncompleted at the time of his death.
"All' Italia" (in modo napoletano; dedicated to Egon Petri) and Turandots
Frauengemach (Intermezzo) are taken from a group of Elegies, finished in 1907.
They are works which are approaching Busoni's latest and deepest style.
Professor Dent calls them studies in expression rather than in form. The
Indianisches Tagesbuch (Indian Diary) was written in 1915, and is a set of
four studies on the motives of the Redskins of North America. The enchanting
Carmen Fantasy (1920) is based on themes from Bizet's Carmen; the Perpetuum
mobile is dated 1922.
Don Juan Fantasie
Liszt (1811-1886)
Ocr'd Text:
1939
WED. 15 MAR.
BUDAPEST STRING QUARTET.
THE HALLÉ
HALLÉ
ORCHESTRA
Conductor: Sir Thomas Beecham, Bart.
TOWN HALL
TUESDAY, FEB. 28th, at 7-30
TANNHÄUSER OVERTURE
SCÉNES HISTORIQUES
(At the Drawbridge, Serenade, Festivao)
SYMPHONY No. 41 (JUPITER)
SYMPHONIC VARIATIONS
SUITE "L'ARLÉSIENNE"
Booking opens at Messrs. K. Levell on Feb. 1st.
WAGNER
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Ocr'd Text:
THE HUDDERSFIELD
TOWN HALL
HUDDERSFIELD
HALLE ORCHESTRA
Under the patronage of
His Worship the Mayor (Alderman F. Lawton, J.P.) and
A. L. Woodhead, Esq., M.A., J.P.
(President, Huddersfield Music Club)
Conductor: Sir Thomas Beecham, Bart.
Mrs. H. Ainley
Mrs. W. F. Clayton
Promoted by the Ladies' Committee Huddersfield Music Club
Chairman: Miss E.Whitwam, L.R.A.M.
Miss D. Donaldson
Mrs. C. Earnshaw
Miss K. M. Evans, B.A.
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Mrs. Denys H. Hirst
MUSIC CLUB
Tuesday, Feb. 28th,
1939, at 7-30 p.m.
Committee:
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Programme
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WORKS IN TO-DAY'S PROGRAMME
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Beethoven SYMPHONY No. 2 in D. Record Nos. LX 586-9 (68. each)
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Haydn SYMPHONY No 93 in D. Record Nos. LX721-3 (6s. each).
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Schubert SYMPHONY No. 5 B flat. Record Nos. LX785-7 (6s, each)
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Wagner's TANNHÄUSER-Overture. In three parts: with
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Ocr'd Text:
Programme
GOD SAVE THE KING
Overture "Tannhäuser"
Wagner (1813-1883)
Tannhäuser is the third of the operas of Wagner's mature work. The earliest, "Rienzi" (1840)
was the first step towards individuality. "The Flying Dutchman" (1841) was a further advance,
and "Tannhäuser" went much further still. The text of the opera was written in 1943, the
music in 1844, and the work was first performed in Dresden in 1845. It was not an unqualified
success, largely because the audience was bewildered by the strangeness and length of the opera.
The story of the opera-Tannhäuser's sojourn in the Hall of Venus, his coming to the
Tournament of Song to compete for the hand of Elisabeth, his pilgrimage to Rome, the death
of Elisabeth and the miraculous flowering of the Pope's Staff-is too wellknown to need
re-telling. The real theme is the contest between earthly and heavenly love, between Venus
and Elisabeth, the struggle between evil and good.
The Overture is a masterpiece. It is constructed entirely from the themes of the opera. It
opens with the "Pilgrim's Chorus," first heard in the clarinets, horns bassoons and followed
by the cellos. As the chorus is repeated, a violin figure, which later plays a very prominent
part, is used. Wagner himself calls this "the pulse of life"-the healthy instincts of the natural
man. The following is Wagner's own explanation of the Overture (in Mr. W. Ashton's
translation): "The Pilgrims' Chorus draws near, then swerves into a mighty outpour, and
passes finally away.. As night breaks, magic sights and sounds appear: a rosy mist floats
up, exultant shouts assail our ear, the whirlings of a fearsomely voluptuous dance are seen.
These are the 'Venusberg's' seductive spells.. Attracted by the tempting show, a shapely
human form draws nigh: 'tis Tannhäuser, Love's Minstrel. He sounds his jubilant Song of
Love in joyous challenge... Wild cries of riot answer him; the rosy cloud grows denser
round him; entrancing perfumes hem him in and steal away his senses. In the most seductive
of half-lights, his wonder-seeing eye beholds a female form; he hears a voice that sweetly
murmurs the siren-call. Venus herself it is... Then heart and senses burn within him;
a fierce devouring passion fires the blood in all his veins... before the Goddess's self he steps
with that canticle of love triumphant, and now he sings it in ecstatic praise of her...
tumultuous shouts and savage cries of joy mount up on every hand; in drunken glee Bacchantes
drive their raging dance, and drag Tannhäuser to the warm caresses of the Goddess of Love."
(continued)
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Ocr'd Text:
Scènes Historiques
I. At the Drawbridge
Serenade
II.
III. Festivo
(First time in Huddersfield)
Sibelius was born at Tavastehus, in Finland, in 1865. He is descended from purely Finnish
parentage, his father, a wellknown doctor, coming from old peasant stock, and his mother from
a clerical family. He showed remarkable musical ability from a very early age; but in spite
of that, he first studied law the University of Helsingfors. Later he entered the Conservatoire
there, studying under Wegelius and Kajanus, who were both strongly nationalist in sympathy.
He completed his musical studies in Berlin and Vienna, but the principal influences during
his early years were Finnish. He returned home in 1893, and in 1894 his opera "The Maid
in the Tower" (the first Finnish opera) was produced in Helsingfors. After teaching for a short
time, Sibelius won such recognition as a national composer that a life grant was offered to him
by the state in 1897, on which he was able to retire and devote himself entirely to a creative
career. Such an enlightened and generous gesture on the part of a government must be
almost unique in modern times. His life has been outwardly uneventful, interrupted only
by periodic tours abroad. He has paid several visits to England. In his own country Sibelius
eply venerated. Not only has he made free and ample use of his country's rich store of
ancient saga, but also few will deny that he and our own Elgar were the greatest
symphonic writers of the present time, and worthy successors to the great masters
of that form. Up to the present Sibelius has written seven Symphonies-all of marked
individuality and power. In his works he shows "an almost passionate admiration of nature,
a patriotism that is never vainglorious and a resoluteness tempered at times by a deep and
genuine tenderness, free from sentimental ostentation."
The three short works to be given to-night are taken from two orchestral suites called "Scènes
Historiques." The first set, Op. 25, was written in 1899 and contains (i) All'Overtura,
(ii) Scène, (iii) Festivo; the second, Op. 66, written in 1912, has (i) The Chase, (ii) Love Song
(Serenade), (iii) At the Drawbridge. The earlier Opus, together with "Finlandia," was
originally planned as incidental music to a series of historical tableaux, illustrating episodes
taken mostly from Finnish myth and history; the later Opus, though produced at a much
later date, is also based on similar material. These works are specially notable on account of
their masterly orchestration.
(i) At the Drawbridge. The piece opens with an accompaniment of pizzicato strings, which
persists almost throughout the piece. The wind instruments have fanfare-like tunes.
Gradually the scoring becomes richer and fuller, until the procession approaches in a blaze
of glory. A sudden pause comes; the procession, as it were, disappears from sight, and the
piece ends quietly.
(continued)
"The Home of
LIGHT
Sibelius (b. 1865)
MUSIC
Light and Music"
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Ocr'd Text:
(ii) Serenade. This short piece of 73 bars in length is in the remote key of G flat major. It
begins with soft, held chords for horns, bassoon and the lower strings muted. Short solos
for the wood-wind are heard. Snatches of smooth melodies are tossed from one instrument
to the other, above a subdued accompaniment. The end is very quiet; and the whole piece
is full of dim colourings and atmosphere.
(iii) Festivo. The concluding piece is brilliant, rhythmical and colourful, in the style of a
bolero-a Spanish dance-rhythm in triple time.
Symphony No. 41 in C Major ("The Jupiter ")
I. Allegro vivace
II. Andante cantabile
In 1788-three years before his death-in the space of about six weeks, harassed by debt and
distressed about his circumstances, Mozart wrote his three greatest and noblest Symphonies-
those in E flat major and G minor, and this, the so-called "Jupiter" Symphony in C major,
with which, as Tovey says, he ends his symphonic career with the youthful majesty of a Greek
God.
FOR
III. Menuetto and Trio
IV. Allegro molto
The three Symphonies are completely different in character. The first is full of gaiety and
youth. The second has sorrow and regretfulness in it. The third and last has so lofty and
self-contained a style, so clearly carved a beauty, that the name of "Jupiter"-foolish and wrong
as it may be, just as the titles of the "Moonlight" and "Appassionata" Sonatas are wrong and
without the intention of the composer-does imply a real and spontaneous tribute to the
divine grandeur and the serene strength of the work. Writing of this Symphony, Hussey
remarks that it is the finest example we possess of pure thinking in music, with the possible
exception of Beethoven's later quartets, where the thought is on a very different plane of
philosophy."
1. The Allegro opens at once with the first subject. It is in two parts; the first, a vigorous
forte unison figure for full orchestra; the second, a softer phrase for strings alone. This
is repeated in G major and followed at once by a decisive passage for full orchestra. The
first subject returns with a graceful counter-subject for the flutes and oboes. The second subject,
charming and bright, follows in the strings. Two more themes complete the material for the
exposition, which is then repeated with the usual formality. The working-out and recapitulation
sections are perfectly clear and easy to follow.
(continued)
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Ocr'd Text:
II. In the Andante the muted strings have the principal theme, with occasional supporting
chords in the wood-wind. A more strenuous passage, with a pulsing string accompaniment,
leads to the second subject, which is sung by the first violins. It is a graceful and lovely melody.
At its conclusion a link of two bars of violin melody leads to the repetition of the entire section.
The next section is founded upon the material previously heard, and much use is made of the
running triplet figure of the second subject, as well as of flowing demisemiquayer passages.
A brief reference to the first subject is followed by a very short dialogue between the horns and
the strings and wood-wind. The movement ends with a pianissimo chord.
III. The Menuetto is almost entirely based on a descending, and partly chromatic, scale passage,
which lends itself admirably to imitative treatment. A short Trio precedes the repetition
of the Menuetto.
IV. The Finale has a vigorous austerity of character. It has been called, with its effortless and
most effective use of contrapuntal devices, one of the mountain peaks of music. Its first theme
has again two phrases-the first, four slow-moving semibreves; the second, a rhythmic and
vigorous passage. Another supplimentary theme leads to a short Fugue on the four semibreves
of the first subject. The second main theme is heard later in the violins and it is at once
combined with the previous material. Two other short and characteristic phrases make up
the material from which the whole great movement is constructed. It would be impossible
without musical illustrations to attempt to follow the working of all this contrapuntal ingenuity.
But even without this, the Finale, by reason of its beauty and its splendour, may be enjoyed
to the full. The movement ends with a lengthy Coda, which is sometimes called the final
Fugue. All five themes are combined in a kind of fugal Round, and a last entry of the four-
semibreve first subject brings the whole work to a brilliant conclusion.
INTERVAL OF TEN MINUTES
Symphonic Variations on an original theme, Op. 78
Dvorak (1841-1904)
Dvorak's Symphonic Variations were written in 1877 and therefore belong to the middle part
of his career. The work consists of a theme, twenty-seven variations on it and a Finale. The
theme is heard at once in the strings, the wood-wind being added at the eighth bar.
Variation 1. The theme is in the lower strings, clarinet and bassoon, while the other wood-
wind and the violins have a counterpoint above it.
Variation 2. For strings alone.
Variation 3 follows without a break. The theme is in the wood-wind with a triplet accompani-
ment for the strings.
Variations 4-14. The theme becomes much more broken up, and often the composer uses
only a fragment of it on which to make a beautiful little picture, with much variety in rhythm
and scoring.
Variation 15. The bassoons and lower strings have a rhapsodical version of the theme, which
is later taken up by the violins and wood-wind; finally the trombones are heard.
Variation 16 follows without a break. In this the brass instruments are very prominent.
Variation 17. A Scherzo in triple time.
Variation 18. The key changes from C to D major. The horns have the theme with a violin
accompaniment.
Variations 19-23 are all in waltz time.
Variation 24. A solemn Andante.
Variation 25.
The theme is in the wood-wind with a viola accompaniment.
Variation 26.
The theme of the previous variation differently treated in the key of D.
Variation 27.
Finale.
A return to C major. A dialogue between the strings and wood-wind.
After a short prelude the original theme is heard and is then made into a Fugue. The
work is ended with an imposing Coda.
Suite "L'Arlésienne"
Prelude
Minuet
Adagietto
I.
II.
III.
IV. Minuet
V. Farandole
Bizet (1838-1875)
Bizet, the distinguished French composer, is best known by his opera "Carmen." But in 1872,
three earlier than the production of the opera, the first performance took place in Paris of Daudet's
play "L'Arlésienne" with incidental music by Bizet. The scene of the play is laid in Provence,
and the music faithfully and brilliantly reflects the warm, Southern atmosphere which surrounds
the passionate and tragic story.
Two Suites have been arranged from the music. The first three pieces are taken from the first
Suite, and the fourth and fifth from the second one. The Prelude is based on the theme of the
La Marche dei Rei, a popular folk-tune in the South of France. The Farandole is usually
danced at the great feasts, such as Corpus Christi, by a long string of young men and women,
holding hands, through the streets of the towns of Provence, preceded by musicians playing the
"galoubet" and the "tambourin."
THE LADIES' COMMITTEE WOULD BE VERY GRATEFUL IF YOU WOULD
READ THROUGH THE ADVERTISMENTS IN THIS PROGRAMME AND WOULD
GIVE YOUR PATRONAGE TO THESE FIRMS.
Ocr'd Text:
rockersonderscheerserserscr
HUDDERSFIELD MUSIC CLUB
(Founded in 1918 by Dr. Eaglefield Hull.)
President A. L. WOODHEAD, Esq., M.A., J.P.
THESE Concerts are unique in the musical life of the country. In
the 21 years of their existence they have brought to Huddersfield
the finest music of all descriptions. The list of great artists who have
appeared includes Rosenthal, Cortot, Petri, Hofmann, Backhaus,
Rubinstein, Moiseiwitsch, Myra Hess, Orloff, Gerhardt, Schumann,
John Coates, Rosing, Robeson, Szigeti, Sammons, Suggia, Casals,
Cassado English Singers, the Flonzaly, Lener, Pro Arte, Bohemian
and Kolisch Quartets,
The Annual Subscription is One Guinea for
SIX
WOULD
The Hon. Secretary (Albert Lunn, Esq., 7, West Avenue, Daisy Lea Lane); the Hon. Treasurer (F. W.
Gadsby, Esq., 222, Almondbury Bank); Members of the Committee or of the Ladies' Committee; Messrs.
K. Levell, Market Street would be pleased to give you any further information.
For over
Last Concert of the season: Wednesday, March 15th, Highfield Assembly Hall, at 7-45 p.m.
BUDAPEST STRING QUARTET
Single Tickets 5/-
GREAT CONCERTS
YOU NOT LIKE TO BECOME A MEMBER?
NDCHSCHSENDENS
WHITELEY'S
Confectioners. Caterers and Cafe Proprietors
WESTGATE and MARKET WALK
HUDDERSFIELD
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PHONES :
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CAFE
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130 years Famous for Quality
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Ocr'd Text:
DO
YOUR SPRING CLEANING EARLY!
CARPETS BEATEN, CLEANED or DYED
PROMPT DELIVERIES
PRICES AS FOLLOWS:
Dyed
Beaten Cleaned
1/2
Tapestry 2d.
Brussels 2d.
1/3
Axminster 4d. 1/6
Wilton
Oriental 5d. 1/9
6d.
1/9
Turkish
Persian
6d.
1/9
4d. 1/6 3/6
If required, experienced men are sent to take up and re-lay Carpets.
When you think of buying a Piano,
remember this; that Woods have thought
of Pianos, studied Pianos, and lived with
and for Pianos for nearly a century. We
regard the plano as the gem of all
instruments, and take pride in stocking
our showroom with the finest specimens
our knowledge and experience can procure.
This should weigh with you when
buying your Plano. Not only can we
supply from stock and show you at your
first visit any Plano by any leading maker,
but we are in the position to ensure that
your Plano gives you its full measure of
satisfaction; as our reputation for Quality
and Service is behind every instrument
we sell. We cordially invite your inspect-
ion of our unrivalled stock.
2/6 per square yard
2/6
3/6
Charges for this service on
request. RING UP and ask for a full CLEANING PRICE LIST.
The Huddersfield Sanitary Laundry
WIGGAN LANE, SHEEPRIDGE, Huddersfield
rderderderderderder
WOODS 67, NEW STREET,
HUDDERSFIELD.
ensersendensenschse:
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Connoisseurs of the Pianoforte.
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'PHONE : HUDDERSFIELD 384
iscuserscrocioc
Ocr'd Text:
HERBERT
26, Trinity Street
Huddersfield
Tel. Hudd. 1673
The English Meat Butcher
All Meat guaranteed
of the finest quality
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BRANCH
ALL ORDERS PROMPTLY ATTENDED TO
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★
95, New Hey Road
Oakes
Tel. Hudd. 3397
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ROVER
One of Britain's Fine Cars
The Dependable Car
Each recognised as Top in its class by the Motoring Connoisseur
Austin
Co
PURCHASE FROM
W. H. ATKINSON & CO. (HUDD.) LTD.
4 St. John's Road, HUDDERSFIELD
'Phone 4505/6
The Distributors and main Agents, who carry extensive
Stocks of Spares and can render a Specialised Repair
Service to Austin, Rover, and all makes of Cars
CHOCKDONDOKDelse
Ocr'd Text:
Foot Notes
Every season brings its
new ideas in fashions,
and shoes must keep
in step. New colours,
new decorations, new
line. Above all (where
shoes are concerned)
refinements in fitting
qualities.
HUDDERSFIELD WOMEN'S
PROGRAMME.
Leave Huddersfield II a.m., approx.
Arrive Shrewsbury 1.45 p.m.
Special Coaches meet train and convey party
to Much Wenlock, Bewdley, Stourport,
Holt Fleet, Ombersley, Kidderminster and
Bridgenorth.
Lunch and supper served on train.
Tea served at Bridgenorth,
These new trends are
exhibited in our Spring
Shoes for all ages and
occasions.
Leave Shrewsbury for return journey 9-15 p.m.
arriving Huddersfield 12 p.m.
Shaw & Fallas !
HIGH GRADE BOOTMAKERS
JOHN WILLIAM ST. HUDDERSFIELD
ASSOCIATION
поскосмоскосмосхоскосмоскостск
HALF-DAY OUTING
TO SHREWSBURY
14TH JUNE, 1939
INSE
Agents for Lotus, Church's, Hutching's, Clark's.
CONSERVATIVE and UNIONIST
INCLUSIVE CHARGE.
21/6 to Members.
22/6 to Non-Members.
Deposits and reservations can be made.
NOW at Room 30, Standard House.
A deposit of 2/6 secures your seat.
An interesting Itinerary has been compiled
of the Motor Tour which may be had on
application to the Organiser.
WOMEN'S BRANCH
LUNCHEON
WEDNESDAY, 15TH MARCH, 1939
INTERESTING SPEAKER
MAY WE HOPE FOR YOUR SUPPORT
crocreerserscrocksCHOCHSCHScHerberoer
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JOHN MOLLETT LTD.
For the finest Selection of
John William Street
-Huddersfield-
Koekso
GEORGE
HOTEL
(Huddersfield) Ltd.
Managing Director
H. A. DUCKSBURY
Fireplaces
Sanitary Ware
Electrical Fittings
Domestic Hardware
Fireplace Makers & Merchants
ADJOINING THE RAILWAY STATION
PRIVATE SUITES, H. & C., 56 ROOMS
SPECIAL BED COMFORTS : :
:
PRIVATE PARTIES CATERED FOR
DINNERS - DANCES
WEDDING
RECEPTIONS, ETC. - SUPPER AFTER
THE CONCERT :
-
LARGE AND WELL LIGHTED
SHOW ROOMS
Telephone Nos. 3271, 3272 & 3282
Telegrams "GEORGE HOTEL"
uberberberboksekseksensorsckboksenbordc#ocso SOKSONSONSCKOOKOONDONDOKOOKOOKOOKOO!
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THE HOUSE WHERE YOU ARE SURE OF THE QUALITY BEING FIRST-CLASS
SPRING FASHIONS at
★
★
★
THE NEW STYLES FOR SPRING 1939
ARE HERE AND OUR SHOWROOMS
ARE DELIGHTFULLY ARRANGED READY
FOR YOUR INSPECTION
20, KING STREET
GEORGE HALL'S
-NEW COATS-NEW GOWNS-NEW MILLINERY-
For the MATRON-and the SMART YOUNG MISS too!
HUDDERSFIELD
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⠀⠀
Shop at
54, New Street
★
You are cordially invited to view the
Model Millinery in our new and spacious
Millinery Showroom. This department
has been re-organised and is
under
entirely new and expert Management.
SEE OUR WINDOWS
'PHONE 561
Your Gonvenience
BRADLEY'S, Confectioners
for EASTER EGGS, NOVELTIES,
SIMNEL CAKES, Etc.
TELEPHONE 1141
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8, Kirkgate
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JOHN MANNERS LTD.
(LATE GRAND CLOTHING HALL)
WESTGATE and RAILWAY STREET,
HUDDERSFIELD.
The SHOP with a Deserved
Reputation for ::
'Phone 2636.
S. H. Hastie, Manager.
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Telephone 898
to ..
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Good Clothing and Outfitting
Since 1850
School Outfits our Speciality
BLACKBURN'S
12 Victoria Lane
(our only address)
FOR ALL YOUR FLORAL REQUIREMENTS
AND GARDEN NECESSITIES
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WALLACES
Central Stores
8, King Street
502
HUDDERSFIELD
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for
RALPH CUTHBERT Ltd.
-The Modern Chemists for everything medical-
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10 and 12 WESTGATE, Huddersfield
Telephone 2746
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NETHERWOOD
Dalton & Co. Ltd.
Advertising and General
Printers by all Processes
Caxton Works, Bradley Mills, Huddersfield
Phone 401
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HUDDERSFIELD
Building Society
Established 1864
Incorporated 1884
Seventy-Five Years of
Sound Progress
During the 75 years of its existence_many
thousands of people have been enabled to
purchase their homes through the financial
assistance provided by this Society.
Controlled development and conservative
methods of finance have given the Society a
stability ensuring its members and depositors
a safe home with profitable return for their
savings.
Head Office :
Britannia Buildings
M
Huddersfield
10
6.
10:6
Ocr'd Text:
HUDDERSFIELD MUSIC CLUB
A. L. WOODHEAD, Esq., M.A., J.P.
President
HIGHFIELD HALL, NEW NORTH ROAD
WEDNESDAY, MARCH 15, 1939.
THE BUDAPEST
STRING QUARTET
ROISMANN (violin)
SCHNEIDER (violin)
AT 7-45
PROGRAMME
KROYT (viola)
SCHNEIDER (cello)
PRICE FOURPENCE
Hon. Secretary ALBERT LUNN, West Avenue, Daisy Lea Lane, Huddersfield
Hon. Treasurer
F. W. GADSBY, 222, Almondbury Bank, Huddersfield
Ocr'd Text:
PROGRAMME
I
Quartet in D major, Op. 64 No. 5 (The Lark)
Allegro moderato.
Adagio cantabile.
Menuetto and Trio.
Finale. Vivace.
Among the wealth of music that Haydn's genius poured out, there are known
to be 77 string quartets, 104 symphonies, 52 sonatas for the piano and at least 87
works of a similar form for other combinations of instruments. Practically all
Haydn (1732-1809)
this vast store of music contains some kind or other of Sonata-form; and Haydn,
who brought this particular form to its modern perfection, may well have been
said to think in Sonatas. And in spite of the enormous number of compositions,
Haydn's inspiration never seems to falter; each work possesses its own individual
charm to an amazing extent.
This quartet is the fifth of a set of six, which were written about 1790. The
later quartets of Haydn fall into two divisions; those (Opp. 50, 54, 55, and 64)
which he wrote during his years of service with Prince Esterhazy; and the
second group (Opp. 71, 74, 76, 77, and 78), when he was one of the ackowledged
masters of his time. This quartet, therefore, comes midway. The first move-
ment opens with a light staccato passage for the three lower instuments. At the
eighth bar the first violin enters with a clear, effortless, bird-like melody, which
might well have inspired the title of "The Lark". The whole movement is light
and airy. The Adagio has a smooth, cantabile melody for the first violin; a
contrasting portion leads to the return of the first section, with the melody even
more elaborately embroidered. The Menuet and Trio follow the usual pattern, the
latter having some pleasing imitative passages. The Finale is again light and
staccato, with a continuous semiquaver flow.
II
Quartet No. 3 in C major, Op. 22
Fugato
Sehr energisch.
Stets fliessend.
Hindemith (b. 1895)
Mässig.
Rondo. Gemächlich und mit Grazie
Hindemith is one of the best-known and most prolific composers in modern
Burope. He was born in Hanau (South Germany) and studied at Frankfort.
From 1915-23 he first led and then conducted the Frankfort Opera. He later joined
the Amar String Quartet as the viola player. He is a very fine player of that
instrument, a fact which is reflected in the viola parts of his compositions. He
Ocr'd Text:
has also played percussion instuments. Hindemith is a rapid and facile writer,
and his output is remarkable considering his age, He has experimented in many
styles, but from 1925 the "back to Bach" movement has predominated He has
even not disdained a cabaret type of art, and he has evidently found inspiration in
the modern age of machinery and materialism. His music has humour, vitality
and rhythm, but little sentiment, though some of his later work is said to show an
erotic tendancy. He has been much attracted by chamber music, or works for
chamber orchestra.
This quartet received its first performance by the Amar Quartet at the
Donaueschingen Festival in 1922. It consists of five rather short movements.
The first is a Fugue, mostly in slow tempo, very free and modern. The second
movement in brutally powerful and very rhythmic, with effective unison passages.
The third, marked continually flowing' is a complete contrast, being quiet,
smooth, and muted throughout. The fourth is again quick and vigorous; it opens
with a long solo for the cello, which, with the viola added, returns later in the
movement. The last movement, called a Rondo, follows immediately and is
marked 'easily and with grace'.
INTERVAL OF TEN MINUTES
III
Quartet in E minor, Op. 59, No. 2 (Rasoumowsky)
Allegro.
Molto adagio.
Allegretto.
Presto.
Beethoven (1770-1827)
The three "Rasoumowsky Quartets" were written in 1809, the same year
which saw the production of the G major piano Concerto, the D major violin
Concerto, the Fourth Symphony and the Leonora Overture No. 3. The
quartets were commissioned by, and dedicated to Count Rasoumowsky, and,
probably as a compliment to his Russian nationality, they all contain Russian airs.
All three are quartets which are far in advance, both in thought and in form, of
Beethoven's previous works; they are leading directly to the complete freedom
and mastery of the final monumenal creations.
The first movement has dark, passionate moods contrasted with happy,
peaceful music, It opens with two dramatic chords, which are followed by a bar's
rest and then two bars of smooth melody. The second subject (heard in the first
violin above a moving accompaniment) is graceful. The beautiful long-drawn
Adagio in the key of E major, marked to be played with great feeling, is again
very new and original, historically speaking. The playful and rhythmic Allegretto
has an original form. It opens in E minor and has a contrasting middle section
in the major key, which contains the Russian melody, a song of glory to the
Creator. The minor section is then repeated. The Finale is in one of Beethoven's
happiest moods. It starts in the key of C major; the episodes and the Coda alone
bringing back the key of E minor.
Ocr'd Text:
These Concerts will be continued next season. It is, however,
very desirable that the membership should be substantially increased.
The Committee would welcome your help, and would also be glad to
receive any suggestions.