HUDDERSFIELD MUSIC SOCIETY Brochure 28th Season's programmes 1945-1946 6.2.1946 28/5 Turina - Piano Trio op 76. моге Grove doesn't record than of H. Norcuyte Archivist colorchecker Xx-rite + 1903 HA MSCCPPCC0613 ite

Huddersfield Music Club President A. L. Woodhead, Esq., M.A., J.P. A Series of Six GREAT CONCERTS for the Twenty-eighth Season 1945-46 to be given in the ST. PATRICK'S HALL, FITZWILLIAM STREET on WEDNESDAY EVENINGS at 7-15 p.m. A. L. WOODHEAD, ESQ., M.A., J.P. MRS. A. E. EVEREST MISS A. SHAW, L.R.A.M. W. CLIFFORD CROOK A. G. CROWTHER J. STANCLIFFE ELLIS. IRVING SILVERWOOD Committee STANLEY WATSON FREDERICK WHITELEY D. R. H. WILLIAMS Representing Ladies' Committee..... MRS. HULL, 48, New North Road. Tel. 1094. Hon. Secretaries (A. LUNN, 7, West Avenue, Daisy Lea Lane. Hon. Treasurer-F. W. GADSBY, 222, Almondbury Bank. Tel. 2763. MRS. H. AINLEY Miss F. M. H. COCKING, L.R.A.M. Miss D. DONALDSON MISS K. M. EVANS, B.A. MISS FREEMAN, J.P. MRS. H. S. HAIGH MRS. DENYS H. HIRST MRS. I. SILVERWOOD MRS. S. WATSON Ladies' Committee- Chairman-MRS. IRVING SILVERWOOD MRS. A. E. HORSFALL MRS. G. G. JARMAIN MRS. A. W. KAYE MRS. M. M. SAYER MRS. STANLEY WATSON MISS E. WHITWAM, L.R.A.M. Hon. Secretaries (MRS. A. E. HULL, F.R.C.o. MISS A. SHAW, L.R.A.M. Hon. Treasurer-MRS. A. E. EVEREST THE CLUB IS OPEN TO ALL The Subscription for the Series is 25/-. All Subscriptions are payable to the Hon. Treasurer. Single tickets 5/-, with the exception of the fourth concert, when the price will be 6/-. (Single tickets only on sale after the date of the preceding concert). Tickets may also be obtained from Messrs. J. Wood & Sons, Ltd., 67, New Street, Huddersfield. images; the final one sinks tenderly into a repetition of the original theme. INTERVAL

Huddersfield Music Club President A. L. Woodhead, Esq., M.A., J.P. A Series of Six GREAT CONCERTS for the Twenty-eighth Season 1945-46 to be given in the ST. PATRICK'S HALL, FITZWILLIAM STREET on WEDNESDAY EVENINGS at 7-15 p.m. A. L. WOODHEAD, Esq., M.A., J.P. MRS. A. E. EVEREST MISS A. SHAW, L.R.A.M. W. CLIFFORD CROOK A. G. CROWTHER J. STANCLIFFE ELLIS IRVING SILVERWOOD Committee- MRS. HULL, 48, New North Road. Tel. 1094. Hon. Secretaries A. LUNN, 7, West Avenue, Daisy Lea Lane. Hon. Treasurer-F. W. GADSBY, 222, Almondbury Bank. Tel. 2763. STANLEY WATSON FREDERICK WHITELEY D. R. H. WILLIAMS Representing Ladies' Committee- MRS. I. SILVERWOOD MRS. S. WATSON Ladies' Committee- Chairman-MRS. IRVING SILVERWOOD MRS. H. AINLEY MISS F. M. H. COCKING, L.R.A.M. MISS D. DONALDSON MISS K. M. EVANS, B.A. MISS FREEMAN, J.P. MRS. H. S. HAIGH MRS. DENYS H. HIRST MRS. A. E. HORSFALL MRS. G. G. JARMAIN MRS. A. W. KAYE MRS. M. M. SAYER MRS. STANLEY WATSON MISS E. WHITWAM, L.R.A.M. Hon. Secretaries-MRS. A. E. HULL, F.R.C.O. MISS A. SHAW, L.R.A.M. Hon. Treasurer-MRS. A. E. EVEREST THE CLUB IS OPEN TO ALL The Subscription for the Series is 25/-. All Subscriptions are payable to the Hon. Treasurer. Single tickets 5/-, with the exception of the fourth concert, when the price will be 6/-. (Single tickets only on sale after the date of the preceding concert). Tickets may also be obtained from Messrs. J. Wood & Sons, Ltd., 67, New Street, Huddersfield.

Wednesday, October 10th, 1945 Franz Osborn Piano Recital Progamme will include Sonata Op. 109 (Beethoven) & Sonata Op. 5 (Brahms) Wednesday, November 14th, 1945 The Calvet String Quartet J. CALVERT (Violin) J. CHAMPEIL (Viola) M. HUSSON (Violin) M. RECASENS (Violoncello) Quartets by Ravel, Faure and Debussy Wednesday, December 5th, 1945 Peter Pears and Benjamin Britten Song Recital Programme will include the Song-cycle, Poet's Love (Schumann), Seven Sonnets of Michelangelo (Britten) and English songs

Wednesday, January 9th, 1946 Pouishnoff Piano Recital Works by Haydn, W. F. Bach, Schumann, Chopin and Liszt. Wednesday, February 6th, 1946 The Budapest Trio ILONA KABOS (Piano) NICHOLAS ROTH (Violin) GEORGE ROTH (Cello) Trios by Beethoven (Op. 97), Turina and Brahms (Op. 87) Wednesday, March 13th, 1946 Ginette Neveu Violin Recital At the Piano: JEAN NEVEU (Programme to be annouced later)

IMPORTANT Please note that concerts are again being held on WEDNESDAY EVENINGS. Tickets are not sent with the Prospectus to members of the Club. An envelope and application form are enclosed. Please return these as soon as possible, stating tickets required. The Committee would like to emphasize the advantage gained by members who book for the entire season. Members are advised to occupy their seats before 7-5 p.m.

Programme-Price Fourpence Huddersfield Music Club President-A. L. Woodhead, Esq., M.A., J.P. St. PATRICK'S HALL Wednesday, October 10th, 1945, at 7-15 p.m. FRANZ OSBORN Piano Recital PROGRAMME I Organ Fantasy and Fugue in G minor Bach (1685-1750)-Liszt It was largely due to the influence of Mendelssohn and Liszt that the works of Bach were rediscovered, performed again, and published in the great Bach Geseltschaft edition. Though it may in principle be wrong to trans- cribe a work for an instrument other than that for which it was originally written, there is no doubt that Liszt could do this supremely well. Of these organ transcriptions Sacheverall Sitwell remarks, "they are transferred from one instrument to the other with most telling effect and are magnificent in their splendour and sobriety." II Impromptu in C minor Op.90, No. 1. Schubert (1797-1828) Schubert wrote eight Impromptus in all, two sets of four each. The title "Impromptu" was given to these pieces not by Schubert himself, but by his publishers. Most of them are written in variation form. This piece (published in 1828) is built up on a very Schubertian theme of repeated notes and chords, with characteristic accompaniment figures and very frequent and charming modulations. Sonata in E major, Op. 109. Beethoven (1770-1827) Vivace ma non troppo, Adagio espressivo Prestissimo Theme (Andante molto cantabile ed espressivo) and Variations This Sonata, a type of Fantasia-Sonata, was written in 1820. It is one of the three final Sonatas; all works of unusual design, rich in mellow beauty and deep philosophic thought. The first movement opens with a theme woven amongst ascending and de- scending arabesques, which is twice interrupted by a short adagio passage. The movement dies away, only to be awakened by the fiery, restless Prest- issimo with its rising melody and stamping basses. The mood quietens, but the passion breaks out again and presses towards the end with forward urging chords. The third (and final) movement consists of a theme with six variations. This melody, marked "songfull with intense emotion," is certainly one of Beethoven's most lovely inspirations, expressive of absolute happiness and peace. The Variations are a series of bright and varied images; the final one sinks tenderly into a repetition of the original theme. INTERVAL

Sonata in F minor Op. 5. Allegro maestoso III Andante Scherzo: Allegro energico Brahms (1833-1897) Intermezzo: Andante molto ('Retrospect') Finale: Allegro moderato ma rubato This Sonata belongs to the earliest period of Brahms's work; the 1st, 3rd and 5th movements were written in 1853, the 2nd and 4th at an earlier date. Brahms had previously written two other piano sonatas and this third was to be his final composition in this form for solo piano. The later piano compositions-Ballades, Rhapsodies, Intermezzi and Capricci-are short pieces in a less restricted form, which Brahms seems to have preferred in order to express his most intimate thoughts. The three Sonatas (veiled symphonies, Schumann called them), the B major Trio and the first piano Concerto were all written before Brahms's twenty- sixth year. Seldom has so wonderful and assured a beginning been made by any master. Although Schumann's famous article had appeared as early as 1853, he had already recognized the early power and maturity of Brahms, as "one who would not show us his mastery in a gradual develop- ment, but, like Athena, would spring fully armed from the head of Zeus." This F minor Sonata has been called one of Brahms's "boldest, richest and most passionate works for the piano." It has five movements. The first is full of indomitable energy, with its opening bars "beaten out of steel with cyclopean hands," its impatient second subject, and the broadly majestic climax; yet the whole is constructed with intense concentration. The Andante-that lovely moonlit nocturne-has as its motto a quotation from a love-song by Sternau (Der Abend dämmert, das Mondlicht scheint, Da sind zwei Herzen in Liebe vereint. Und halten sich selig umfangen). The Scherzo, with its smooth Trio, is followed by a disconsolate Intermezzo (Retrospect) which, coloured like an orchestral piece, repeats in modified form the principal theme of the Andante. The Finale in free Rondo form, fights its way, through contrasting moods, to a triumphant end-a joyful triumph which only the youthful Brahms could have conceived. Huddersfield Music Club Second Concert of the Season St. Patrick's Hall, Wednesday November 14th, at 7-15 p.m. The Calvet String Quartet (of Paris) Quartet in F major Quartet (Posthumous) Quartet in G Minor, Op. 10. No. 1 Ravel Faure Debussy Single tickets 5/- now on sale from Messrs. J. Wood & Sons; Mrs. Hull, 48, New North Road and F. W. Gadsby, 222, Almondbury Bank.

Programme-Price Fourpence Huddersfield Music Club President-A. L. Woodhead, Esq., M.A., J.P. St. PATRICK'S HALL Wednesday, November 14th, 1945, at 7-15 p.m. The Calvet String Quartet J. CHAMPEIL (Viola) M. RECASENS (Cello) J. CALVET (Violin) M. HUSSON (Violin) Quartet in F major PROGRAMME I Ravel (1875-1937) Allegro moderato Assez vif, très rythmé Très lent Vif et agité (LAST PERFORMED IN 1936 BY THE WEISS QUARTET). Although Ravel is one of the most important modern French composers, he was not of purely French origin; his father came of a French-Swiss family while his mother was Basque. It is from the latter that he inherits so many of the southern traits to be found in his music-the gay outlook on life, the feeling for light and colour and his use of complex rhythms. the virtues of French culture are added to these-craftsmanship, restraint, fastidiousness, intelligence, wit, purity of form and style and unerring taste and balance. His output is relatively not large; and he only wrote one work for string quartet. But This, written in 1902-3, is dedicated to his master Gabriel Fauré and its first movement opens in an almost Fauré-like manner; soon it develops its own character and style with many changes of colour and tempo. The second movement is a really original Scherzo, with a contrasting section of much melodic charm. The slow movement is complex in style, with fleeting references to the first movement; it ends with a wonderful raising of all four instruments to their highest registers. The final movement (in 5/8 time) is gay and rhymical. II Quartet in C minor, Op. Posth. Allegro Andante Allegro (FIRST PERFORMANCE AT THESE CONCERTS). Faure (1845-1924) Gabriel Fat spent an active and distinguished life as a leading French com- poser and teacher; he was an organist for many years (yet he left no organ music!), later a Professor of Composition at the Conservatoire and finally its Director. In this latter post his great work as a teacher was accom- plished, and many of the leading French composers, including Ravel, were his pupils. Like Debussy, he was first known as a writer of very beautiful songs and many piano pieces. But, though a master of bold harmonics and one of the first "modernists," his work, gradually developing itself, was not as completely original and almost revolutionary as Debussy's. This quartet-his only work in this form, though he wrote much for strings and piano in combination-was written in the last year of his life; indeed it was only completed a few days before his death and published posthum- ously. It is in three movements, the Scherzo being omitted. It has all the classic graces of French music-restrained, aristocratic, balanced and logical, yet with the beauty of atmosphere which distinguishes all Fauré's work. INTERVAL OF TEN MINUTES.

III Quartet in G minor Op.10, No. 1. Animé et très décidé Assez vif et bien rythmé Andantino doucement expressif Debussy (1862-1918) Très modéré (LAST PERFORMED IN 1937 BY THE KOLISCH QUARTET). Claude Debussy, perhaps the most influential French composer of his gener- ation, sprang from a family of no particular musical talent. After a conven- tional training, he settled down to a retired life of composition, never holding any official appointment and appearing rarely in public. His work can be divided roughly into three periods; the first, a period of immaturity lasting up to about 1890, then some 20 years of mature work and a few final years of declining health and activity. His early work showed traces of influence, but he soon evolved a style and process of thought entirely his own. No composer ever had a keener or more subtle feeling for beauty, colour, poetic suggestiveness and atmosphere; added to these went a perfect genius of craftsmanship. This quartet-his only composition in that form, as, curiously enough, were the quartets of Ravel and Fauré-was written in 1893, the first part of his finest period. In it Debussy uses the "cyclical principle." The gay and rhythmic first movement opens with the motto of the whole work. The theme of the Scherzo-a movement of pure fantasy-is directly derived from that motto. The third movement is a dreamy Nocturne; and the final movement again brings in that theme. But apart from details of construction, the quartet is work of sheer elusive beauty; it "moves like a young faun, spins the gayest, most silken, most golden of spider-webs; fills one with the delights of taste and smell and sight and touch" (Rosenfeld). It is extraordinarily interesting that we should have the opportunity of hearing these three quartets at the same concert. They are three of the glories of modern French chamber music. To hear the Ravel and Debussy quartets together should dispel the illusion of the simularity of the two works. Ravel was no mere imitator of Debussy, though both were influenced by Russia and Spain, both were harmonic innovators and both keenly conscious of the artistic currents around them. Candus writes: "I cannot seriously consider the view that Ravel's style is at any time indistinguishable from Debussy's; the difference is as great as the difference between a solid and an essence; or between a man of the world and a man aloof." Although the work of an older man, Fauré's quartet was written at a later date than either of the others. All three are unmistakeably French, and if Debussy and Ravel show special types of poetic imagination, Fauré, too, is a poet- of good work and quiet imaginings. Huddersfield Music Club Third Concert of the Season St. Patrick's Hall, Wednesday, December 5th, at 7-15 p.m. Peter Pears and Benjamin Britten (Song Recital) Song Cycle 'Dichterliebe' (Poet's Love) Schumann Seven Sonnets of Michaelangelo Britten Folk-Songs and songs by Dowland and Purcell Tickets 5/- now on sale from Messrs. J. Wood & Sons, 67, New Street; Mrs. Huil, 48, New North Road; and F. W. Gadsby, 222, Almondbury Bank.

Programme-Price Fourpence Huddersfield Music Club President-A. L. Woodhead, Esq., M.A., J.P. St. PATRICK'S HALL Wednesday, December 5th, 1945, at 7-15 p.m. Peter Pears & Benjamin Britten (Song Recital) PROGRAMME I Come again, Sweet Love Have you seen but a white lily grow There's not a swain I'll sail upon the Dog-star II Song Cycle Dichterliebe (Poet's Love) Op. 48. Schumann (1810-1856) The lovely month of May. Each tear I shed in sorrow. The Rose, the Lily, the Dove. When in your eyes I find my own. I'll take my soul and give it. The Rhine. What care I now. If only the little flowers. Dowland (1562-1626) Anon. (c. 1600) } Purcell (c. 1658-1695) You hear the trumpets. Sometimes I'll catch the echoes. A boy and girl were courting. On a golden summer morning. I wept as I lay dreaming. In dreams I see you. Fairyland. I've laid my heart to sleep. The poems of the 16 songs which form the Dichterliebe are taken from Heine's Buch der Lieder. It was written in 1840. Between that year and 1842 Schumann devoted himself almost exclusively to songs. 1840 was the year of his marriage to Clara Wieck, and this great outpouring of song was inspired by his great happiness. III INTERVAL OF TEN MINUTES. Seven Songs of Michelangelo Benjamin Britten (b. 1913) 1. SONNET XVI. Just as there is a high, a low, and a middle style in pen and ink, and as within the marble are images rich and poor according as our fancy knows how to draw them forth; So within your heart, dear love, there are perhaps, as well as pride, some humble feelings; but I draw thence only what is my desert and like to what I show outside on my face. Whoever sows sighs, tears and lamentations (Heaven's moisture on earth, simple and poor, adapts itself differently to different seeds) reaps and gathers grief and sadness. Whoever looks on high beauty with so great a grief reaps doubtful hopes and sure and bitter pain. 2. SONNET XXXI. Why must I go on venting my ardent desire in tears and melancholy words, if Heaven that dresses the soul in grief never, soon or late, allow relief? Why should my weary heart long for death since all must die? So to these eyes my last hours will be less painful, all my grief being greater than joy. If, therefore, I cannot avoid these blows, nay, even seek them, since it is my fate, who is the one that stands always between joy and grief? If to be happy I must be conquered and held captive, no wonder then that I, unarmed and alone, remain the prisoner of a Cavalier in arms.

3. SONNET XXX. With your lovely eyes I see a sweet light that yet with my blind ones I cannot see; with your feet I carry a weight on my back which with my lame ones I cannot; with your wings I wingless fly; with your spirit I move forever heavenward; at your wish I blush or turn pale, cold in the sunshine, or hot in the coldest midwinter. My will is in your will alone, my thoughts are born in your heart, my words are on your breath. Alone, I am like the moon in the sky which our eyes cannot see save that part which the sun illuminates. 4. SONNET LV. Thou know'st, beloved, that I know thou know'st that I am come nearer to enjoy thee more; and thou know'st that I know thou know'st that I am still the same. Why, then, do I hesitate to greet thee? If the hope thou givest me be true, if true the strong desire is granted me, the wall between us crumbles, for the secret griefs have double force. If I love in thee, beloved, only what thou lovest most, do not be angry, for so one spirit is enamoured of another. That which in thy lovely face I yearn for and seek to grasp, is but ill understood by human mind and he that would see it first must die. 5. SONNET XXXVIII. Give back to my eyes, you fountains and rivers, the waves of those strong currents that are not yours, which make you swell and grow with greater power than is your natural way. And thou, heavy air, that dims the heavenly light to my sad eyes, so full of my sighs art thou, give them back to my weary heart and lighten thy dark face to my eyes keen sight. Earth, give me back my footsteps that the grass may sprout again where it was trod; and Echo, yet deaf to my laments, give back thy sound; and you, blest pupils, give back to my eyes their glances. That I another not satisfied.. time may love another beauty, since with me you are 6. SONNET XXXII. If love be chaste, if pity heavenly, if fortune equally between two lovers; if a bitter fate is shared by both, and if one spirit, one will rules two hearts; if in two bodies one soul is made eternal raising both to heaven on the same wings; if at one stroke and with a gilded arrow love burns and pierces two hearts to the core ; If in loving one another, forgetting one's self, with one pleasure and one delight there is such reward that both wills strive for the same end ; If thousands and thousands do not make one hundredth part to such a bond of love, to such constancy, can then, mere anger break and dissolve it? 7. SONNET XXIV. Noble soul, in whose chaste and dear limbs are re-- flected all that nature and heaven can achieve with us, the paragon of their works; Graceful soul, within whom one hopes and believes Love, Pity and Mercy are dwelling, as they appear in your face; things so rare and never found in beauty so truly; Love takes me captive, and Beauty blinds me; Pity and Mercy with sweet glances fill my heart with a strong hope. What loss or earthly government, what cruelty now or to come, could forbid Death to spare such a lovely face? (Translation by Elizabeth Mayer and Peter Pears). IV Folk Songs arr. Benjamin Britten Salley Gardens The King is gone a'hunting Heigh-ho! Heigh-hi! Huddersfield Music Club Fourth Concert of the Season St. Patrick's Hall, Wednesday, January 9th, 1946, at 7-15 p.m. POUISHNOFF (Piano Recital) Programme will include: Organ Concerto in D minor, W. F. Bach; Carnaval, Schumann; Mephisto Waltz, Liszt; and works by Haydn and Chopin. Subscribers are advised to occupy their seats as early as possible for this Concert. Tickets 6- now on sale from Messrs. J. Wood & Sons, 67, New Street; Mrs. Hull, 48, New North Road; and F. W. Gadsby, 222, Almondbury Bank.

Programme-Price Fourpence Huddersfield Music Club President-A. L. Woodhead, Esq., M.A., J.P. St. PATRICK'S HALL Wednesday, January 9th, 1946, at 7-15 p.m. POUISHNOFF (Piano Recital) PROGRAMME I Andante con Variazioni in F minor. Haydn (1732-1809) Haydn, as one might expect in a composer with so strong a feeling for melody of all kinds, was much attracted by the variation-form. Though he did not write as many sets as Mozart did, and though some of the sets are slight and elementary, when Haydn applied himself seriously to the task, he produced works of great variety and interest. Particularly noticeable are the freedom with which he treats his theme (a freedom comparable with the variations of Beethoven, Schumann and Brahms) and the original means by which he com- bines the separate parts into an organic whole. The Andante in F minor is one of his finest examples. It consists of a theme (or rather, two themes) with six variations, alternately in major and minor keys. The principal theme (minor) is followed by a slighter contrasting theme in the major. The vari- ations in these two themes alternate throughout, ending with a repetition of the main theme, followed by an elaborate coda. W. F. Bach (1710-1784) the eldest son of Johann Seb- He was born at Weimar, and Organ Concerto in D minor. Wilhelm Friedemann was the second child and astian Bach and Maria Barbara, his first wife. from the age of ten his father taught him music. Among the works which his father wrote for his son's instruction was the first book of the Wohl- temperierte Clavier_(the "48"). In 1733 Friedemann became organist of the Sophien-Kirche in Dresden, where he continued to compose, to give lessons; he also devoted himself to the study of mathematics. His next appointment was to Halle in 1746. This he resigned in 1764, embittered by the failure to receive the recognition to which his abilities undoubtedly were entitled. Indol- ent, self-centred and rather eccentric, Friedemann spent his remaining twenty years of life aimlessly and without any settled appointment. Berlin became his home, where he made a slender living by his brilliant organ recitals, by the composition and sale of small pieces and by teaching-Mendelssohn's grandmother, Sara Levi, being one of his pupils. Forkel writes of Freidemann's remarkable powers as an executant: "When I had the pleasure of hearing Friedemann play on the harpsichord, everything was delicate, elegant, agreeable. When I heard him on the organ, I was really seized with religious reverence. In the first case everything was charming. In the second, everything was grand and solemn." Though he left a consid- erable number of compositions, Forkel complained that Friedemann's indolent nature led him to prefer improvisation to the labour of putting his ideas on paper. II Carnaval (Scènes mignonnes sur quatre notes) Op. 9. Schumann 1810-1849) Préambule-Pierrot - - Arlequin- Valse noble - Eusebuis - Florestan Coquette Réplique Papillons - Lettres dansantes-Chiarina-Chopin - Estrella - Reconaissance - Pantalon et Columbine-Valse Allemande - Paganni. - Aveu - Promenade-Pause-Marche des Davidsbündler contre les Philistins Schumann explains the origin of the work in a letter to Moscheles (1838): "The 'Carnaval' was written mostly for different occasions, and is for the most part founded on the notes ASCH, which form the name of a little town in Bohemia, where I had a lady friend and which curiously enough, are also the only musical -- -

letters of my name. I added the titles later. But is not music itself always enough and sufficiently expressive. Estrella is a name such as one writes under portraits to fix the picture letter in one's memory; Reconaissance : a scene of recognition; Promenade, a walk such as one takes with one's partner at a German ball." The explanation of the letters ASCH is found in the German nomenclature, in which H stands for B natural, S or ES for E flat, and AS for A flat. These combinations of notes are found in all the pieces and are the "Lettres dansantes" of the tenth piece. Estrella stands for Ernestine von Fricken, the friend who lived at Asch; Charina is Clara Wieck, Schumann's future wife; Florestan (the enthusiast) and Eusebius (the dreamer) are two aspects of Schumann's nature. The Davidsbündler were an imaginary brotherhood attacking the Philistines, the upholders of tradition and commonplace things. The latter are represented by a sixteenth century tune, the Grandfather's Dance. III Ballade in F major, No. 2 Op. 38. Chopin (1810-1849) This second Ballade was written in 1840 and was dedicated to Schumann. Schumann said that Chopin himself told him that it was the poems of the Polish poet Mickiewicz who inspired all the four Ballades, and adds: "A poet, again, might easily write words to them (Chopin's ballades). They move the inner- most depth of the soul." This is Langford's description of the second Ballade : "The first subject is the lovliest Barcarolle melody in existence, with a delicious rocking movement harmony which completes the ravishment. A wild stormy movement takes it suddenly, and after an alternate working of great majesty and impetuosity, the piece, which began in F, breaks off abruptly in A minor, with a tender return to the first theme. The breaking of a flower by the storm has been suggested as the subject of the ballade, but the beauty of the music surpasses any obvious poetic associations and makes them futile." Chopin Three Preludes i. C minor INTERVAL OF TEN MINUTES ii. C Sharp minor iii. A major Two Studies i. G flat major, Op. 10 No. 5 ii. C minor, Op. 10, No 12 Nocturne in E minor (Op. posth.) Mephisto Waltz (Episode from Lenau's Faust) Liszt (1811-1886) The Mephisto Waltz exists in two versions. The first is an orchestral piece ; the second, a piano solo made from the first by Liszt himself, is one of his masterpieces. The scene is a village inn, into which Mephisto and Faust enter. The peasants are dancing there, and Faust's attention is attracted by the landlord's daughter. Mephisto seizes a violin, and by his playing he rouses his audience to a frenzy of love-making. Gradually two by two the dancers disappear into the night. The village maiden throws herself into the arms of Faust, and they too, vanish into the darkness of the woods. The music is full of haunting and evil things. It belongs to the same category of macabre music as do Liszt's fantasy Sonata D'après une Lecture de Dance and the Todentanz. Huddersfield Music Club Fifth Concert of the Season St. Patrick's Hall, Wednesday, February 6th, 1946, at 7-15 p.m. The Budapest Trio Trio in B flat Op. 97 Trio Trio in C major Op. 87 Beethoven Turina Brahms Tickets 5/- from Mrs. Hull, 48, New North Road; F. W. Gadsby, 222, Almond- bury Bank and Messrs. J. Wood & Sons, 67, New Street.

Programme-Price Fourpence Huddersfield Music Club President-A. L. Woodhead, Esq., M.A., J.P. St. PATRICK'S HALL Wednesday, February 6th, 1946, at 7-15 p.m. THE BUDAPEST TRIO ILONA KABOS (Piano) NICHOLAS ROTH (Violin) GEORGE ROTH (Cello) PROGRAMME I Trio in B flat major Op. 97 (The Archduke) Beethoven (1770-1827) Allegro moderato Scherzo: Allegro-Trio Andante cantabile Allegro moderato-Presto (Last performed in 1937, by the Pougnet-Morrison-Pini Trio) The most usual type of instrumental trio consists of piano, violin and cello. It is developed from the early Sonata a tre, written in the contrapuntal style, and usually for two strings and a figured bass (harpsichord). The early trios were largely works for piano with the two stringed instruments playing a very subordinate part. Beethoven was the first to achieve the difficult objective of a duly proportioned interest and a balance of tonal effect. Beethoven in all wrote six piano trios. His Op. 1 consisted of three trios (1792); then followed a long break till 1808 when the two trios of Op. 90 appeared; the last and greatest trio (Op. 97) dates from 1811. Beethoven's chamber music can be classified into three main groups (i) chamber music for wind instruments (occasionally supported by piano and strings) (ii) chamber music for piano and strings, (iii) chamber music for strings only. He began from the first to cultivate all three types; gradually a kind of selection was made in the orderly course of his development. Interest in the first group ceased in 1800, never to be revived. The second group lasted longer, until the time, indeed, when Beethoven's own capacity as a pianist began to diminish through his increasing deafness; as well as the fact that his own mental growth was leading him to the realization that the use of the piano in chamber music was not the ideal means for the attainment of his ultimate aim the expression of absolute abstraction in music. This Trio in B flat major Op. 97 belongs to the close of Beethoven's second period. The 7th and 8th Symphonies and the Trio were the major works of the year 1811. The Trio has all the great qualities of this period as well as a distinct leaning, particularly in the slow movement, towards the intensity of Beethoven's last works. It is dedicated to the Archduke Rudolph, a pupil of Beethoven's. It was first publicly performed in 1814 by Schuppanzigh and Linke (first violin and cellist of the Rasoumoffsky Quartet) with Beethoven himself at the piano. A few months later the composer made his last public appearance as a pianist in the same work and with the same colleagues. The first movement is easy to follow; the second movement is a particularly fine example of a Beethoven Scherzo. It leans toward the folk-dance type, and has a contrasting Trio with a strange chromatic theme. The slow move- ment profoundly beautiful-is a set of five variations upon a simple and noble theme. The final movernent starts abruptly, and the closing presto is full of Beethoven's mature strength. II Trio No. 2 in B minor Op. 76 Allegro molto moderato Molto vivace Lento-Andante mosso (First time at these concerts) Turina (b. 1882)

Joaquín Turina was born in Seville. After studying in Spain he went to Paris to work under d'Indy. His name and that of de Falla are often associated together, possibly because they were the two Spanish musicians most prominent in artistic circles in Paris. Both returned to Spain in 1914, where their great gifts were quickly recognized; both were Andalusian in origin, and both made much use of the characteristic Spanish rhythms and melodies-"the strange, oddly-twisted melodies of cante flamenco"-in their music. But apart from these points of contact, Turina has a distinct style and personality of his own. Turina has had a great influence upon the development of music in Spain through his work as a teacher. A brilliant pianist, he has also conducted concerts and for the Russian Ballet. He is chiefly interested in chamber music, but has also written music for the stage, as well as orchestral works, much for the piano and many songs. He is perhaps best known in England by his brilliant orchestral piece La Procesión del Rocío. INTERVAL OF TEN MINUTES. III Trio in C major Op. 87 Allegro Andante con moto Scherzo: Presto Finale: Allegro giocoso (First time at these concerts) The outstanding composer of piano trios in recent times is Brahms, who left three fine examples. They are models of the methods by which the violin and the cello can be combined effectively with the richness of the modern piano. The earliest Trio Op. 8 is less characteristic, but the two later, Opp. 87 and 101 show the full maturity of Brahms in this form of chamber music. By some listeners their aloofness has been called "uncompromising," but, the distribution of the instruments is so perfectly balanced that the very difficulty of the problems involved seems to act as an inspiration to the composer. The C major Trio is one of the less frequently played of Brahms's work, and it is harder to grasp at the first hearing. Its conciseness and sharpness of outline make it one of his most close-knit and concentrated compositions. The first movement opens with a tense thematic phrase which is developed so thoroughly that is can hardly be classed as the conventional subject. The Andante with its variations has a rhythm which gives it an almost Magyar character. (Note the way in which the two strings play the chief melody two octaves apart for a considerable space). Specht describes the Scherzo as: "an intimate piece of piquant fancy, the figment of a Queen Mab of the Austrian mountains it buzzes and whizzes and scatters itself like a swarm of angry bees." The contrasting trio in C major is calm and strong. Speaking of the last movement, Specht says: "It is a rather ghostly mirth that fills the movement. The principal subject that rears itself up like a giant snake at the beginning, and is afterwards reduced to pale, gliding triplets and flickering, detached string quavers, can at most suggest the gambols of a spectral drinking bout at mid- night, though at the close it reveals itself as a sturdy and noisy Brahmsian. gathering at the "Red Hedgehog" who himself humorously ruffles its spine the while." Brahms (1833-1897) Huddersfield Music Club Last Concert of the Season St. Patrick's Hall, Wednesday, March 13th, 1946, at 7-15 p.m. Ginette Neveu At the Piano (Violin Recital) JEAN NEVEU La Folia Corelli Sonata in A minor Sonata in G major Op. 30 No. 3 Bach Beethoven and pieces by Lalo, Dinicu Heifetz and Paganini Tickets 5/- from Mrs. Hull, 48, New North Road; F. W. Gadsby, 222, Almond- bury Bank; Messrs. J. Wood & Sons, 67, New Street and at the door.

Programme-Price Fourpence Huddersfield Music Club President-A. L. Woodhead, Esq., M.A., J.P. St. PATRICK'S HALL Wednesday, March 13th, 1946, at 7-15 p.m. GINETTE NEVEU (VIOLIN RECITAL) At the Piano 4 JEAN NEVEU PROGRAMME I La Folia Corelli (1653-1713) Arcangelo Corelli, a contempory of Scarlatti and 22 years older than Bach and Handel, was born in Italy. Most of his life was spent in Rome, where he was universally beloved and esteemed. He lived in the palace of Cardinal Pieto Ottobani, a great lover and patron of the arts. Corelli was also on terms of warm friendship with some of the most eminent painters of the time, with whose aid he formed a valuable collection of pictures. Handel said of him that "he liked nothing better than seeing pictures without paying for it, and saving money." Corelli has a double claim to fame in the history of music. He was a great violinist who laid the foundation of modern violin playing, and the first national composer of violin music both in the orchestral and in the solo style. His work shows conciseness and lucidity with an aristocratic refinement and elegance; his slow movements are particularly graceful and bring out the singing qualities of his instrument. The "Folia" is an ancient Portuguese dance, originally a very noisy affair, accompanied by tambourines and danced so wildly by men, dressed as women, that they seemed to be mad-hence the name. Later the term Folia was applied to several lively dance tunes in triple time. One of these tunes was used by Corelli as a ground bass upon which he wrote the variations known as "La Folia." II Sonata for Solo Violin in A minor Bach (1685-1750) Grave Fuga Andante Allegro Bach wrote 6 Sonatas for solo Violin, or as they are usually called, three Partitas (Suites) and three Sonatas. They were all written within a short time of each other and belong to the Cothen period (1717-1723), which period is marked by the production of Bach's chamber music, when his sole official responsibility was to conduct the Court Kapelle. Although Bach cultivated violin playing from childhood, we know little about his powers as an executant In chamber sic, in later life, he played by preference the viola-the centre of the web of sound. But, judging by his violin compositions, Bach must have had a complete knowledge of the technique of stringed instruments and of the effects which can be obtained from them. Of the six violin sonatas Schweitzer writes: "we hardly know what to admire most the richness of the invention, or the daring of the polyphony that is given to the violin. The more we read, hear and play them, the greater our astonishment becomes."

It was against Bach's principles to set for any instrument tasks which it was unable to solve and at the same time to give pleasure to the ear. In these solo sonatas there are many polyphonic passages extremely difficult to render without a certain harshness. Researches have shown, however, that the old arched bow, in which the tension of the hairs was controlled by the pressure of the thumb and not by a screw and with a fair space between the hairs and the bow, was still in use in Germany at that time. "The German violinist of that day could thus stretch the hairs tighter or relax them as he liked. Chords that the virtuoso of to-day can only play with difficulty-gave him no trouble at all; he simply loosened the hairs a little so that they curved over the strings. This accounts for the fact that the Germans cultivated polyphonic playing on the violin, while it was almost unknown to the Italians." (Schweitzer). INTERVAL OF TEN MINUTES. III Sonata for Piano & Violin in G major Op. 30 No. 3 Beethoven (1770-1827) Allegro assai Tempo di Menuetto Allegro vivace Beethoven wrote 10 Sonatas for Violin and Piano, all of which, except the ninth (Kreuzer) and the tenth (Op. 96), belong to the latter part of his first period between 1799 and 1803. This Sonata in G major is the eighth and was written in 1802. It is the third of a set of three (Op. 30), dedicated to Alexander I, Emperor of Russia. These three sonatas, as a whole, are a great advance on the earlier violin and piano sonatas; the technical demands are higher, the balance between the parts more subtle; the slow movements in particular become deeper and more beautiful, less reminiscent of Haydn.and more pro- phetic of the slow movements of the great piano sonatas. After the year 1795 (the year of the publication of the first piano trios) Beethoven did not use the piano in chamber music for thirteen years. But he did use it much in the duo sonatas for piano and for another solo instrument (horn, violin or cello). In these works the piano is used as a virtuoso would use it, and the result is that each sonata becomes a duo sonata for two solo instruments, or even a kind of double concerto, without the orchestral accompaniment. With Beethoven pure string chamber music excludes virtuosity for its own sake, but the duo sonatas emphasise it. External circumstances had much to do with this conception of the duo sonata. Beethoven himself was at the height of his powers as a performer, and the incidents of the composition of these duo sonatas show that frequently they were written for particular concerts given by Beethoven and his fellow-artists. Much of their interest lies in the skill with which the virtuoso element is com- bined with development of the sonata. This Sonata in G major is perhaps less well known than the other two which form Op. 30. It has only three movements. The first and third are vigorous and well varied; while the Menuetto is unusually lengthy, though very attractive. IV Intermezzo Hora Staccato Danse des Sorcieres Lalo (1823-1892) Dinicu Heifetz Paganini (1784-1840) The Committee would be very glad if any members who did not obtain their tickets directly from the Hon. Secretary or the Hon. Treasurer, would kindly send their names and addresses to the Hon. Secretary, Mrs. Hull, 48, New North Road, or give them to any member of the Committee, as soon as possible.