HUDDERSFIELD MUSIC SOCIETY Brochure 29th Season's programmes 1946-1947 Corrections. 6.11.1946 12.2.1947. HN Guillemain - Correct spelling Kodály should be: String colorchecker Xxrite Quarter No 2, Oplo. + ub EET 763, MSCCPPCC0613 1094 1706 x-rite ןווווןווווןווווןווווןווווןווווןווווווווווווווווווו| uu 1903SW

THE F President ST. P. The Huddersfield Music Club (Founded in 1918 by Dr. Eaglefield Hull) Presents A SERIES OF SIX CONCERTS for the Twenty-ninth Season 1946-47 to be given in the ST. PATRICK'S HALL, FITZWILLIAM STREET on WEDNESDAY EVENINGS at 7-30 p.m. Committee President- A. L. Woodhead, Esq., M.A., J.P. Vice-President A. G. CROWTHER S. H. CROWTHER MISS D. DONALDSON E. GLENDINNING MISS Z. E. HULL F. RowCLIFFE (MRS. A. E. HULL, 48, New North Road. Tel. 1094 Hon. Secretaries STANLEY G. WATSON, 342, New HEY Rd., Tel. 1706 Hon. Treasurer-F. W. GADSBY, 222, Almondbury Bank. Tel. 2763. J. Stancliffe Ellis, Esq. MISS A. SHAW MRS. I. SILVERWOOD I. SILVERWOOD J. TROLLER MRS. S. G. WATSON D. R. H. WILLIAMS Ladies' Committee Chairman-MRS. MRS. H. AINLEY MRS. S. H. CROWTHER Miss K. EVANS MRS. I. FENNER MISS FREEMAN, J.P. MRS. H. S. HAIGH MRS. DENYS HIRST MRS. A. E, HORSFALL Miss Z. E. HULL RVING SILVERWOOD MRS. G. G. JARMAIN MRS. A. W. KAYE MRS. J. LEE MRS. M. M. SAYER MRS. P. SYKES MISS TOWNSEND MRS. S. G. WATSON Miss E. WHITWAM MRS. A. E. HULL Miss A. SHAW Hon. Treasurer-Miss D DONALDSON Hon. Secretaries-- THE CLUB IS OPEN TO EVERYONE Important- Please see back page

The Huddersfield Music Club (Founded in 1918 by Dr. Eaglefield Hull) Presents A SERIES OF SIX CONCERTS for the Twenty-ninth Season 1946-47 to be given in the ST. PATRICK'S HALL, FITZWILLIAM STREET WEDNESDAY EVENINGS at 7-30 p.m. on Committee President A. L. Woodhead, Esq., M.A., J.P. Vice-President A. G. CROWTHER S. H. CROWTHER MISS D. DONALDSON E. GLENDINNING MISS Z. E. HULL F. RowCLIFFE J. Stancliffe Ellis, Esq. MISS A. SHAW MRS. I. SILVERWOOD I. SILVERWOOD J. TROLLER MRS. S. G. WATSON D. R. H. WILLIAMS MRS. A. E. HULL, 48, New North Road. Tel. 1094 Hon. Secretaries STANLEY G. WATSON, 342, New HEY Rd., Tel. 1706 Hon. Treasurer-F. W. GADSBY, 222, Almondbury Bank. Tel. 2763. Ladies' Committee Chairman MRS. IRVING SILVERWOOD MRS. H. AINLEY MRS. S. H. CROWTHER MISS K. EVANS MRS. I. FENNER MISS FREEMAN, J.P. MRS. H. S. HAIGH MRS. DENYS HIRST MRS. A. E. HORSFALL Miss Z. E. HULL MRS. G. G. JARMAIN MRS. A. W. KAYE MRS. J. LEE Hon. Secretaries. MRS. M. M. SAYER MRS. P. SYKES MISS TOWNSEND MRS. S. G. WATSON MISS E. WHITWAM MRS. A. E. HULL MISS A. SHAW Hon. Treasurer-Miss D DONALDSON THE CLUB IS OPEN TO EVERYONE Important- Please see back page

Wednesday, October 16th, 1946 Orloff Piano Recital Programme will include Sonata Op. 27, No. 2 (Moonlight) (Beethoven) Sonata-Fantasie Op. 19 (Scriabine) and Works be Bach-Busoni, Scarlatti, Schumann, Rachmaninoff and Prokofiev Wednesday, November 6th, 1946 First Concert Second Concert The London Harpsichord Ensemble JOHN FRANCIS (Flute) JACK KESSLER (Violin) GEORGE ROTH (Cello) MILLICENT SILVER (Harpsichord) with ENA MITCHELL (Soprano) Wednesday, December 11th, 1946 Third Concert Arthur Grumiaux Violin Recital At the Piano: HUBERT GREENSLADE Sonata in A (Veracini) Sonata in D minor (Brahms) and Works by Fiocco, Ravel and de Falla

Wednesday, January 15th, 1947 Solomon Piano Recital Programme will include Sonata Op. 31, No 3 (Beethoven) Etudes Symphoniques (Schumann) and Works by Bach, Liszt, Chopin, de Séverac and Rachmaninoff Fourth Concert Wednesday, February 12th, 1947 Fifth Concert The Hungarian String Quartet Z. SZEKELY (Violin) D. KOROMZAY (Viola) A. MOSKOWSKY (Violin) V. PALOTAI (Cello) Wednesday, March 12th, 1947 Programme will include Quartet Op. 29 (Schubert) Quartet No. 2, Op. 10 (Kodaly) Quartet Op. 131 (Beethoven) Sixth Concert Iso Elinson Piano Recital Sonata in E flat (Haydn) Sonata in D minor, Op 31 No. 2 (Beethoven) Sonata in G, No. 4 (Bax) The Twenty-four Preludes, Op. 28 (Chopin): P.T.O.

IMPORTANT THE CLUB IS OPEN TO EVERYONE Subscriptions and Tickets The subscription for the WHOLE Series is 25/- Single tickets for the Fourth Concert (Solomon Recital) 7/6 each. Single tickets for other Concerts 6/- each. Student tickets (available only to bona-fide Students under 18 years of age) 2/6 each Concert. No Student tickets will be issued for the Fourth Concert. Student tickets may only be obtained on application to Mrs. Hull before each Concert and will not be sold at the door. Single tickets will be available three weeks before each Concert at Messrs. J. Wood & Sons, Ltd., 67, New Street, Huddersfield; from the Hon. Secretaries; or at the door before the Concert. If you were a Subscriber last season . . . Ticket(s) for the coming Season are enclosed herewith; and it is requested that the appropriate subscription be forwarded to the Hon. Treasurer before the date of the First Concert. In the event of any of the tickets not being required this year, they should be returned to Mrs. Hull not later than October 6th, after which date it will be assumed that they will be retained and paid for. If you were not a subscriber last season, will you please write as early as possible to either of the Hon. Secretaries stating the number of season tickets required. As a result of the Subscribers' ballot, the Concerts will be held on WEDNESDAY evenings. Please note that the time of commencement is changed to 7-30 p.m. Members are recommended to occupy their seats not later than 7-15 p.m. The Committee would be pleased to receive the names and addresses of any persons to whom this prospectus may be sent.

THE HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President ST. PATRICK'S HALL, FITZWILLIAM STREET WEDNESDAY, OCTOBER 16th, 1946 AT 7-30 P.M. ORLOFF PIANO RECITAL PROGRAMME PRICE SIXPENCE

PROGRAMME 1 Toccata and Fugue in D Minor Bach (1685-1750)-Busoni This Toccata and Fugue is included among the many works for organ which Bach wrote during the Weimar period (1708-17). He went there as Hof-Organist and Kammer Musikus to the reigning Duke Wilhelm Ernst; and one of his chief duties was that of organist of the Schloss-Kirche, on which organ were first heard most of his masterpieces. of this great organ period. The early toccatas (called from toccare, to touch) were a 17th century type of instrumental composition, usually written in an evenly flowing movement, in one part only and with few chords, rather in the style of a florid improvisation; they were primarily intended to exhibit the excutive powers of the player. Bach raised the toccata in power and interest far beyond all earlier examples; in particular, his organ Toccatas are very notable and brilliant exhibitions of virtuosity. This well-known toccata in D begins and ends with rapid cadenza-like passages in short notes divided between both hands. Of the Fugue, Cortot writes: "The frenzy of joy, joy of renewal, constitutes the emotional force of this fugue, an Easter joy celebrating the Resurrection and chiming from every bell tower." With regard to the piano transcriptions, Schweitzer makes the following comment. "When masters like Liszt, Saint-Saens, Busoni, Reger, Phillipp, d'Albert, Vianna da Motta and Ansorge undertake to arrange Bach's organ works for the pianoforte, the intelligent player has not only the advantage of learning works from which he would other- wise be barred, but the aesthetic pleasure of finding organ effects cleverly realized on the piano. Bach, who was himself passionately devoted to the art of transcription, would have been delighted with the pianoforte apostles of his organ gospel." Sonata in A Major Scarlatti (1685-1757) The Sonatas of Scarlatti are very slight and graceful affairs compared with the more modern works in that genre. They are, in reality, lovely little pieces in one movement, usually in quick tempo, requiring skill and neatness in execution, and full of brilliance and gaiety of spirit. Sonata quasi una Fantasia Op. 27 No. 2 in C sharp Minor (The Moonlight) Beethoven (1770-1827) Adagio Sostenuto Allegretto Presto agitato (Last performed in 1943 by Pouishnoff) The title of "Moonlight Sonata" was not given by the composer, but by the critic Rellstab, who further embroidered his fantasy by describing the scene as that of the wilder regions of Lake Lucerne, visited by moonlight. 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 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 the variation-form as used by Mozart and by Beethoven himself in his Sonata 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 everything but name. Berlioz called the right-hand part the "efflorescence mélodique" of the sombre harmonies of the bass. Rolland, in a somewhat 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 rise and fall yet again, sinking into an exhausted silence, while, like a passing bell, the bass alone repeats the rhythm of the sob (Rolland: 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, 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 adagio bars lead to a short intense coda. orthodox in form.

II Des Abends In der Nacht Traumeswirren Schumann had a remarkable tendency to produce his compositions in groups. The years 1830-39 are exclusively devoted to piano works; a great song group follows (1840- 42); 1842 saw the appearance of three string quartets, a piano quartet and quintet; the four symphonies and other orchestral works fall within the period 1841-51. Then in the latter years the divisions gradually disappear. from Fantasiestücke Op. 12 Schumann (1810-1856) The Fantasiestücke was composed in 1837, and belongs therefore to the early piano group. It has all the freshness and charm of his early piano works, which he never afterwards surpassed. It is dedicated to Miss Anna Robena Laidlaw, an English woman and gifted pianist, whom Schumann heard and admired in Leipzig. It consists of eight pieces. "Des Abends" (In the evening) is the first of the set; a rhythmic study "woven of twilight." The fifth "In der Nacht" (At night) is a passionate piece, about which Schumann gives the following information: "After I had finished I found to my joy the story of Hero and Leander in it. When I play Die Nacht I cannot forget the picture-first, how he plunges into the sea-she calls-he answers-through the waves he safely reaches land-then the cantilena where they embrace-when he must away again, he cannot bring himself to part-then night once more shrouds everything in darkness." "Traumeswirren" (Dream Visions), the seventh, is a piece of dizzily rushing movement. Schumann always spoke of the Fantasiestücke with great satisfaction. He felt that he had completely succeeded in it; that it had flowed easily from his pen and that it was spontaneous and expressive. Indeed, he suggested to Clara Wieck always to play the Fantasiestücke, especially to people who did not already know his work. Interval of 10 minutes III Sonata-Fantasie Op. 19 in G sharp Minor Andante Presto Scriabin (1872-1915) (First performance at these concerts) Scriabin was born in Moscow, the only son of a lawyer. His mother was a young pianist, a pupil of Leschetizsky, who died of tuberculosis when her child was two years old. Like many Russian composers, Scriabin began his career in another profession, and served for nine years as a cadet in the Moscow Army Cadet Corps. But he showed great musical talent from an early age, and during his army training, he studied com- position with Tanief and piano with Safonof at the Moscow Conservatoire. His work as a pianist was interrupted by an accident in which his right collar-bone was broken; this may explain the great dexterity of his left hand and the extraordinary difficulty of the left hand parts in many of his piano compositions. Scriabin was later appointed to the post of professor of piano at the Conservatoire, but he soon resigned in order to devote himself entirely to composition. Scriabin's work divides itself roughly into three periods. The first, Opp. 1-40, shows Chopin's powerful influence on him, not only in the general style of composition but even in the form and names of the pieces-preludes, studies, mazurkas and nocturnes. These works are not immature in any sense of the word, nor are they without great indiv- iduality of their own; as Dr. Hull says in his book, "Music, classical, romantic and modern": "Already the germs of his later style are to be found a greater refinement than Chopin's, a certain "poisonousness" in the general mood, a tinge of tender eroticism, an occasional nervous vehemence and convulsive quality, which augered a coming personality far different from Chopin's." The second period, Op. 40 up to the fifth sonata, is one of growth and transition. The third period of full maturity shows Scriabin's preoccupation with the expression in music of his theosophical ideas and with his experiments in the combination of sound, light, colour and movement, leading towards a new conception of a "super-music," a synthesis of all the arts.

Scriabin was essentially a composer for the piano. He had an original sense of it, which has never been exceeded, even by Chopin. He wrote five major orchestral works, but the bulk of his writing was for the piano. Ten piano sonatas were written at widely different dates. The Sonata-Fantasie is the second. It is in two movements only; the first was begun in 1892 in Genoa, and the second written in 1897 in the Crimea. It is a much more individual and powerful work than its predecessor. There is no real thematic relationship between the movements, though the key-scheme connects them and a triplet rhythm runs constantly through both. The first movement is in a modified sonata-form; the repeated triplet figure is reminiscent of the "knocking of fate" in Beethoven's fifth sym- phony. The final movement has three subjects-two in graceful filigree work and a third melody of great nobility and beauty. Prelude in G Minor Toccata Op. 11 Rachmaninoff (1873-1943) Prokofiev (b. 1891) The Huddersfield Music Club Second Concert of the Season St. Patrick's Hall, Fitzwilliam Street, WEDNESDAY, NOVEMBER 6th, 1946 at 7-30 p.m. The London Harpsichord Ensemble (Flute, Violin, Cello and Harpsichord) with Ena Mitchell (Soprano) December 11th January 15th February 12th March 12th Grumiaux Violin Recital Solomon Piano Recital Hungarian String Quartet Elinson Piano Recital Single tickets 6/- for the Second Concert now on sale from Messrs. J. Wood & Sons, 67, New Street and Mrs. Hull, 48, New North Road.

THE HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President ST. PATRICK'S HALL, FITZWILLIAM STREET WEDNESDAY, NOVEMBER 6th, 1946 AT 7-30 P.M. The London Harpsichord Ensemble John Francis (Flute) Jack Kessler (Violin) George Roth (Cello) Millicent Silver (Harpsichord) with ENA MITCHELL Soprano PROGRAMME PRICE SIXPENCE

PROGRAMME The analytical notes in this programme are the copyright of the Huddersfield Music Club. 1 Conversations Galantes et Amusantes for flute, violin, cello and harpsichord Allegro moderato Aria Allegretto grazioso Allegro ma non troppo L. G. Guillmain (1705-1770) Louis Gabriel Guillmain was born in Paris. He visited Italy in his youth, and at the age of twenty he was already famous as a violinist. He was a contempory and pupil of Leclair (1697-1764), who may be said to have revolutionized violin playing in France, both by his compositions and by the brilliance of his playing. In 1737 Guillmain entered the royal service and later played in the orchestra of Madame de Pompadour's theatre. Between 1757-61 he took part in the Concert Spirituel. This was an important feature in the musical life of Paris during the 18th Century. The concerts were given in the Tuileries on twenty-four fixed days in the year, when operas were forbidden, owing to the church festivals. In 1770 Guillmain, harassed by his creditors, committed suicide. Guillmain produced a large number of works, but he was considered more eminent as a virtuoso than as a composer. He had, however, a share in the development of early chamber music in France, particularly by his contribution to the growth of a purely violin type of music. The virtuosity of his playing dazzled his contemporaries and his works contain difficulties of execution which seemed to them almost insurmountable; he was the first composer in France to write pieces for the unaccompanied solo violin. Guillmain lived during a period of brilliant French music, and this brilliance owed much to the interest, particularly in the form of ballet and music for the theatre, shown by the Court circles. Among his contemporaries were Lully (1639-87), Rameau (1683-1764) and Couperin (1668-1733). II Elizabethan Songs with Harpsichord (i) Go to bed, sweet muse (ii) On a time (iii) Sweet Kate Robert Jones (1597-1617) John Attey (c. 1640) John Blow (1649-1708) III Trio in G Major for flute, violin and cello Allegro Adagio Finale: Allegro Haydn (1732-1809) The usual instrumental Trio is written for piano, violin and cello, and is a development of the early sonata a tre in the contrapuntal style such as that written by Bach for two violins and a figured bass. The purely string trio (violin, viola and cello) has been much less used, no doubt owing to the many problems which its construction raises. For if, to avoid monotony, one of the three parts is occasionally dropped, the remaining texture is apt to be tenuous in tone and harmony. Other combinations of three instruments have been attempted; Beethoven wrote for flute, violin and viola; for two oboes and clarinet; for piano, clarinet and viola. Mozart and Schumann both combined piano, clarinet and viola. Brahms's trios for piano, violin and horn, and piano, clarinet and cello should be mentioned. In modern times Bax has written for flute, viola and harp, and Reger for flute, violin and viola. "Three part writing should be clearer than four...For vagueness and groping indecision the medium is unsuitable, but the composer who thinks clearly and is unashamed of sharp outlines will find in the trio a very trusty exponent for his slighter and more delicate imaginings" (Dunhill: Chamber Music). By such standards Haydn's trios stand firm and high.

IV Cantata for Soprano, flute and continuo Aria Recit: Aria The Continuo. The word is an abbreviation of basso continuo, the Italian equivalent for through-bass, which came into use about 1600. The term was given to a method of indicating to the player of the accompanying instrument (harpsichord, organ, lute, etc.) by means of figures written under the bass notes, the harmonies which he should play in order to complete the accompaniment. In effect, the upper instruments or voices (Soli) were supported by a firm bass line (played by the cello or viola da gamba) while the intervening space was filled in with chords, usually broken up in figuration, by the unobstrusive, though essential, background of the keyed instruments. This system of accompaniment was used in practically all music of the 17th and 18th Century; and if, in modern performance, the continuo be omitted, the loss is very great. Ph. Em. Bach said: "No piece... can be performed satisfactorily without the accompaniment of a keyed instrument." The continuo was often quite elaborate (some of Bach's accompaniments are continuos written out in full), and in the hands of a fine artist it was a piece of interest and beauty. Harpsichord Solo Interval of 10 minutes V The Italian Concerto Allegro Andante Presto During his Leipzig period (1723-50) Bach published the four volumes of instrumental compositions known as the "Clavierübung." The full title of the first volume can be translated as "Clavichord exercises, consisting of Preludes, Allemandes, Courantes, Sara- bandes, Gigues, Minuets and other Galanteries, composed for the mental recreation of art-lovers." The second volume, published in 1735, contained the Italian Concerto and the Partita in B minor. These volumes were notable, too, as being some of the compara- tively few works printed and published in Bach's own lifetime. Although the Clavierü- bung contains pieces to be played on various keyed instruments, the Italian Concerto is specifically described as being written for the clavicymbal or harpsichord with two manuals. The title "concerto" is generally given to an instrumental composition designed to display the skill of the executant, and the solo player is usually accompanied by an orchestra. By the use of the two manuals of the harpsichord Bach could easily reproduce the effect of a solo instrument with the orchestral tuttis. The concerto-form was originally the work of the Italian violinists, with whose works Bach was very familiar. Songs with Obligato (i) Praise the Lord of all Creation (with flute and continuo) A. Scarlatti (1659-1725) In reality, the Italian Concerto shows Bach's very close approach to sonata-form. In spite of its name, there are no passages written for mere display and no real accompani- ments. The principal theme of the Allegro is derived from a sinfonia in Muffat's "Florilegium primum" (1685). It is a brisk movement, not in sonata-form but feeling its way towards it. Madame Landowska demanded a "radiant solemnity" in its inter- pretation. The Andante gives the impression of a solo violin accompanied by a string orchestra. Its meditative and highly ornamental melody is heard over a persistant bass. The Presto is very animated; Ph. E. Bach said that his father played such movements very quickly and with great virtuosity. In form, it tends towards a more or less free rondo. VI (ii) My heart ever faithful (with cello obligato) VII Trio in C minor for flute, violin and continuo (from the Musical Offering) Largo Allegro Bach (1685-1750) Handel (1685-1759) Bach (1685-1750) Allegro Andante Bach (1685-1750)

Bach wrote the Musical Offering on his return from Potsdam in 1747. There he had been received by the King, and two months later Bach sent this gift to him. The dedication refers to "this truly royal theme" which the King had been pleased to give him and which he now returns worked out to the best of his ability. The whole "offering" consists of a three-part and a six-part ricarcare (a fugue of particular ingenuity), several canons and ends with this sonata. In the Largo the royal theme is merely suggested; in the first Allegro it is used as a cantus firmus; the Andante is reminiscent of motives from the three- part ricarcare; and the royal theme forms the basis of the finale. A note on the Harpsichord. The Harpsichord dates from the early 16th Century and is the most important of the keyed instruments which preceded the modern piano. The tone of the piano is produced by the action of a hammer striking the string, but the harpsi- chord belongs to that class of keyed instruments in which the sound is produced by the plucking of the string. A wooden jack rests on the back of the key-lever; the depression of the front part of the lever (the keyboard) raises the jack, and a plectrum, made of raven's quill or leather and fixed at the upper end of the jack, is brought into action against the string. When the lever is released the jack descends and a small piece of soft material, attached to the jack above the plectrum, silences the string. This action is similar to that of the spinet and the virginals, but whereas these had only one string to each note, the harpsichord had two, three or sometimes four. Made on such a principle the harpsi- chord was incapable of dynamic modification of tone by difference of touch. About 1590 Hans Ruckers of Antwerp began to manufacture harpsichords and to introduce improvements into them. He used both wire and cat gut strings; he added a third string to each note, which he tuned an octave higher, so that at will, either the three together or the single upper string could be sounded. In order to work this device, he added a second keyboard. Many of the cases became richly ornamented and were of great beauty. In course of time, further devices were added, including a third keyboard, in order to give variety of tone colour and pitch; in some cases these additions were so fantastic and complex as to make the instrument almost unplayable and untuneable. In the early harpsichords all changes of tone were controlled by hand stops which threw the various sets of strings and their jacks in and out of action. But later a means of making these changes possible by the action of the knee and by the use of pedals was evolved. After the passing of the Ruckers family, Paris and London became the chief centres for the manufacture of harpsichords, though they were also built in Italy and Germany. Tabel (Flemish), Tschudi (Swiss) and Kirkman (German) were the most noted English makers. John Broadwood, the founder of the firm, began his career as a workman under Tschudi about 1750. In modern times Arnold Dolmetsch, working in America and France and later in England, has been a leader in the modern revival of harpsichord construction. Since 1888 both Erard and Pleyel have built harpsichords in Paris. The harpsichord has always been used both as a solo and an accompanying instrument. The delicacy of its tone and the absence of percussion made it ideal for use in combination with other instruments. It was an essential part of the early orchestra. We know how highly Bach appreciated its particular qualities. Dolmetsch has claimed that the piano can no more replace the harpsichord than the harpsichord can replace the piano; and that the harpsichord has a clarity and liveliness which no piano can ever possess. Third Concert of the Season St. Patrick's Hall. Fitzwilliam Street, WEDNESDAY, DECEMBER 11th, 1946, at 7-30 p.m. ARTHUR GRUMIAUX Violin Recital At the Piano HUBERT Sonata in A Minor - Veracini and works by Fiocco, January 15th February 12th March 12th GREENSLADE Sonata in D Minor, Op. 108 Brahms Granados, Ravel and de Falla Solomon Piano Recital Hungarian String Quartet Elinson Piano Recital Single Tickets 6/- for the Third Concert now on sale from Messrs. J. Wood & Sons, 67, New Street and Mrs. Hull, 48, New North Road.

THE HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President ST. PATRICK'S HALL, FITZWILLIAM STREET WEDNESDAY, DECEMBER 11th, 1946 AT 7-30 P.M. Arthur Grumiaux Violin Recital At the Piano HUBERT GREENSLADE PROGRAMME PRICE SIXPENCE

PROGRAMME The analytical notes in this programme are the copyright of the Huddersfield Music Club. Sonata in A Minor 1 Preludio Allemanda Siciliana Grave Allegro vivo Francesco Maria Veracini was born at Florence-hence his title "Il Fiorentino." He first visited England in 1714, where he was leader of the Italian Opera band, appearing as a soloist between the acts. According to Burney he was then regarded "as the greatest violinist in Europe." In 1716 Tartini and he were invited to compete with each other in Venice. But hearing him before the contest, Tartini discovered that Veracini excelled him in every way, especially in the management of the bow. Tartini therefore retired. in order to perfect his playing further after the model of Veracini. In 1720, Veracini went to Dresden as solo-player to the Elector of Saxony; there he threw himself out of a window and was lamed for life. According to one version, he did it in a fit of insanity; according to others, the humiliation and trickery which he suffered at the hands of Pisendel (a leading German musician at Dresden) were the cause of his misfortune. Veracini went later to Prague and to Italy. achieved success as an operatic composer. in London, others in Pisa. Veracini (c.1656-1750) In 1735 he was again in London, where he He died in reduced circumstances, some say Veracini was an exact contemporary of Bach. He occupies an important position in the great Italian tradition of voilin players and composers. In point of time, he comes between Corelli (1653-1713) and Tartini (1692-1770). Sonata in D Minor. Op. 108. Allegro Adagio The early development of the Sonata lay almost entirely in the hands of the Italian violinists, among which the appearance of Corelli's sonatas form one of the landmarks of music. Rising from an unrelated collection of pieces, founded upon dances, the sonata began gradually to take shape as an instrumental composition, consisting of satis- factorily contrasted movements, linked by a logical key-scheme; in its purest form, unexplained "by text or title," not dependent upon any external suggestions and yet completely satisfactory, convincing and self-sufficient. Corelli, Veracini and Tartini were feeling their way gradually towards this end (though the dance influence is still clearly shown in the Allemanda and Siciliana movements of this sonata); but it is not until the violin sonata became surpassed by the piano sonata, that the full development was achieved. One of Veracini's claims to fame is the influence he had on the greater Tartini. Veracini himself was a man of strong individuality and passionate temperament; these qualities made his works some of the earliest examples of the way in which the violin has become one of the most emotionally expressive of all instruments. Burney says that his com- positions were "too wild and flighty for the taste of the English at that time." The boldness and originality of his modulations astonished his hearers, and his passionate nature led to much which gave him a reputation for eccentricity. II Brahms (1833-1897) Un poco presto e con sentimento Presto agitato (Last performed in 1943 by Ida Händel)

Brahms has left three violin and piano sonatas, all written between the years 1878-88- the period of his ripest development. The first, the "Rain Sonata," so-called from its use of the song Regenleid and the musical ryhthm of the softly dropping rain, dates from the summers of the years 1878-90. In the second, the "Meistersinger"-named from the resemblance of the opening theme to Wagner's Preisleid-Brahms has made experi- ments in form, and the characteristics of the work are its feminine sweetness and tender- The third Sonata is perhaps less often performed than the other two. It was begun in 1886 but not completed till 1888, when it was first played by Brahms himself and Hubay. The last two sonatas were largely composed during the summers Brahms spent in Switzerland, among the beautiful surroundings of the lake of Thun, which he loved so much. ness. This third sonata is more brilliant and vehement in style than the two earlier ones. It is dedicated to Hans von Bülow and seems to have something of his restless and strenuous temperament in it. It is no dreamy contemplative work but one inspired by a fiery spirit. Langford remarked that the sense of the tragic ballad strikes us at once. The first movement is dominated by the principal theme, in which the bass, as well as the treble, is used to elaborate it. The piano announces the more contemplative second subject. The most original portion of the movement is the long pedal-point, first heard under a rocking violin figure, which is really a subtle development of the main theme and its bass. The short slow movement is a song, intense and profound. It leads to a light and delicate Scherzo; this is in duple time, as so often Brahms's Scherzi are. The piano has the theme first, with the violin playing a chord accompaniment. The impetuous, fiery and brilliant Finale is so finely built and of such intense emotion that it perfectly completes, and even surpasses, the first movement. Brahms's violin and piano sonatas are the most important contributions to that form of music since Beethoven's. In his essay on Brahms (Ten Composers), Cardus makes the two following comments. The first refers specifically to Brahms's violin sonatas and can hardly be disputed. It is "the three violin sonatas have not been surpassed for variety of style and rich and happy marriage of two instruments." The second refers to his work in general, but it can well be applied to the chamber music in particular. "It is not generally realized that Brahms was the first composer to achieve a synthesis of the classical and romantic styles; he was the off-spring of Beethoven and Schubert." We can debate whether we agree with that viewpoint or not. Interval of 10 minutes III Allegro Spanish Dance Fiocco (18th century) Granados (1867-1916) Ravel (1875-1937) Habanera The Habanera is a Spanish song and dance in distinctive rhythm, which was first brought from Africa to Cuba by the negroes, and thence into Spain. The basic rhythmic plan consists of a dotted quaver, semiquaver and two quavers, against which triplet figures are often played. Singing is introduced into part of the dance, which is slow and stately. The feet are hardly raised from the ground, while the arms, hips, heads and eyes are used in voluptuous movements. La Jota {de Falla (1876-1946) La Vida Breve The Jota is one of the most popular of North Spanish dances. It is a kind of free waltz, always in triple time, and usually danced by couples standing opposite each other, though sometimes the dancers form à circle. It is often accompanied by the castanets, tam- bourine and triangle..

Tzigane A rhapsody for violin and piano (1924) ARTHUR GRUMIAUX was born in a small Belgian village. He showed his great musical. talents from a very early age, and gave his first concert when only five years old. He studied violin, piano and composition at the conservatoire at Charleroi, from which he graduated at the age of eleven. He finally decided to become a violinist and continued his studies under Dubois at the Brussels conservatoire and Enesco in Paris. The war interrupted a career of brilliant promise; and after the occupation of Belgium, Grumiaux was sent first to a camp in France, where he worked as a farm-hand, and later, back to Belgium. The Germans tried to force him to become leader the of the Dresden Philharmonic Orchestra, but he refused and disappeared in order to join the resistance movement. After the liberation of Belgium, he played to thousands of Allied troops. under the direction of Barbirolli. Since then, Grumiaux has had great successes in concerts in Britain, Norway, Sweden, France, Switzerland and Holland, and is already one of the outstanding players of his day. Ravel (1875-1937) Fourth Concert of the Season St. Patrick's Hall. Fitzwilliam Street, WEDNESDAY, JANUARY 15th, 1947, at 7-30 p.m. Solomon Piano Recital Prelude and Fugue in A minor Sonata in E flat. Op. 31. No. 3 Etudes Symphoniques Fantasie in F minor Berceuse in D flat Scherzo in B flat minor "An Old Musical Box" Four Preludes. February 12th March 12th Bach-Liszt Beethoven Schumann Chopin de Séverac Rachmaninoff Hungarian String Quartet Elinson Piano Recital Single Tickets 7/6 for the Fourth Concert now on sale from Messrs. J. Wood & Sons, 67, New Street and Mrs. Hull, New North Road. No Students tickets will be issued for this concert.

THE HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President ST. PATRICK'S HALL, FITZWILLIAM STREET WEDNESDAY, JANUARY 15th, 1947 AT 7-30 P.M. Solomon Piano Recital PROGRAMME PRICE SIXPENCE

PROGRAMME The analytical notes in this programme are the copyright of the Huddersfield Music Club. 1 Prelude and Fugue in A minor (Last performed in 1943 by Pouishnoff) It is not possible, except in some cases, to fix exactly the dates of many of Bach's com- positions; as far as the organ preludes and fugues are concerned, only one (from the Klavierübung) was published in Bach's lifetime. The majority of the great organ com- positions belong to the Weimar period (1708-17), when Bach was playing the organ of the Schloss-Kirche and where he became famous as an organist in Saxony and beyond. But it is possible, says Schweitzer, by internal evidence to divide the organ works into four main groups. (i) The works which show Bach still under the influence of his contem- poraries; (ii) the works of his complete independence; (iii) the consummate works of the Weimar period; (iv) The final works (Leipzig). The prelude and fugue in A minor cert- ainly belong to the third group. We know that Bach worked long at his themes before they reached their ultimate per- fection. A version of the subject of this fugue was first used in a three-part clavier fugue; and even as an organ composition its final form was the revised version of an earlier work. Schweitzer thinks that this latest revision probably took place towards the end of the Leipzig period (1723-50), when Bach's interest in organ music was renewed, and that Bach probably had intended making a complete collection of his preludes and fugues. "That after his death the basis of such a collection existed is proved by the fact that in a number of manuscript copies the fugues and preludes in A minor, C major, C minor, C major, B minor and E minor are grouped together as the 'six great preludes and fugues"." Liszt transcribed the six organ preludes and fugues for the piano in 1839. These formed an important contribution to the "rediscovery" of Bach, which dates from that period, and for which the chief credit is due to the work of Mendelssohn and Liszt. Bach (1685-1750) -Liszt (1811-1886) The Prelude in A minor is rather like "a short, free toccata, letting us catch a glimpse of the subject of the fugue, which is contained in the progression of two synthetic chords ... . The torrential aspect of this prelude should be emphasised; the instrument seems to bear along in its rush whole masses of sound .. (the three-part fugue) begins in a pastoral tone, and requires a shepherd's pipe. At first it is a simple play of arabesques, closely resembling the extremely ornamental Italian style." (Cortot: Studies in Musical Interpretation). II Sonata in E flat Op. 31 No 3 Allegro Scherzo: Allegro vivace Menuetto: Presto con fuoco Beethoven (1770-1827) Moderato e gracioso (First time at these concerts) The appearance of the three piano sonatas which form Op. 31 marks an important stage in Beethoven's development. After he had finished the Sonata in D, Op. 28, Beethoven said that he was no longer satisfied with his work and that from that day he would strike out a new road. (The two short sonatas which form Op. 49 are earlier works, dating from 1796 and 1798 respectively). The first two Sonatas of Op. 31 were written in 1802

(the year of the second symphony) and were published by Nägeli of Zurich, who "im- proved" the first of the two by interpolating four bars into it, much to Beethoven's wrath. This third sonata was composed in 1802-3 and published the following year. In 1805 the three were first grouped together as one opus. There is no real connection between the three works, except that all three-and particularly the last two-stand together at the opening of a new conception of the piano sonata. The first sonata is jovial in mood; the second, in contrast, is dark and tragic; the third, all cheerfulness, in the key of É flat major, which Beethoven so often used to express joy and happiness. Tovey remarks that this sonata has, as its characteristics, both "graceful comedy and lyric beauty." The first two sonatas have three movements each, but the third returns to the older four movement division, which Beethoven did not again employ until 1818 in the vast "Hammerclavier Sonata." There is, however, no slow movement, its place being taken by the Scherzo. I. The opening motive (whose rhythmic pattern occurs again, in varied form, both in the Minuet and the Finale) has had several interpretations; some regard it as a twice repeated question followed by a twice repeated answer. The second subject, in B flat, comes at the forty-fifth bar. A long trill, followed by a coda, ends the exposition. The development section is mainly founded on the first subject. II. The Scherzo is perhaps the most notable section of the work. It is in duple, instead of the usual triple, time. It begins very low in the bass, and its strongly marked rhythms are made even more pointed and emphatic by Beethoven's virtuoso and original use of staccato. The whole movement abounds in humorous fantasy. III. The Minuet is slower and very graceful, more reminiscent of the dances of the older masters. The short trio, with its widely leaping chords, belongs to the new era. Saint- Saens used it as the theme for his "Variations for two pianos. IV. The final movement has two main subjects. One compelling rhythm persists throughout, carrying everything before it in its torrent of "irrepressible joy." III Etudes en forme de Variations (Etudes Symphoniques) Op. 13 Schumann (1810-1856) (Last performed in 1935 by Orloff) Love of a woman was a great source of inspiration to Schumann. In the case of the Etudes Symphoniques, the inspirer was Ernestine von Frick, with whom he had fallen in love. She came in 1834 as a pupil to Friedrich Wieck, and Clara Wieck (whom Schumann married in 1840) had gone to Dresden to study. Ernestine's father was Baron von Frick, a Bohemian nobleman, who as an amateur played the flute and composed music. He sent an original theme with variations to Wieck and Schumann for criticism. Schumann was attracted by this theme and decided himself to write variations upon it. He first thought of entitling the work "Variations pathetiques"; from that and from the final title "Etudes Symphoniques" we can deduce the fact that the variations possess a general undercurrent of pathos and are remarkable for the orchestral treatment of the piano. Schumann's dual personality-Florestan, the man of action, and Eusebius, the man of dreams-shows itself clearly too. The Etudes Symphoniques were composed in 1834, published three years later and revised in 1852. The work consists of the theme, nine variations, two intermezzi (between the second and third and the seventh and eighth variations) and an almost independent Finale. It was dedicated to Schumann's English friend, Sterndale Bennett, and, as a delicate reference to him, the Finale opens with a stirring melody taken from Marschner's opera "Der Templer und die Jüdin" (a version of Ivanhoe), which accompanied the words "Who is the honoured Knight?" (Richard Coeur-de-Lion) and the chorus "Rejoice, proud England." The work was not at first popular, and Schumann himself advised Clara not to play it as he doubted if it were suitable for public performance and if his hearers could understand It was not until Rubinstein included the Etudes in his series of great historical programmes in 1885-86 that the full significance of this great work was revealed. it. Interval of 10 minutes

IV Fantasie in F minor Op. 49 Berceuse in D flat Op. 57 Scherzo in B flat minor Op. 31 Chopin (1810-1849) The Fantasie was written at Georges Sand's chateau at Nohant in 1841. According to Liszt, it was inspired by a quarrel and a reconciliation. But Edwin Evans thought that such a scene would be of too common occurrence at Nohant for Chopin to wish to depict it in music. It opens with a tempo di marcia; the music becomes more and more passionate and agitated; a reverie lento sostenuto, in B major follows; the agitation is renewed and brings a return of the love climax; a cadenza-like episode leads to the coda. The Scherzo in B flat minor is the second of Chopin's four Scherzi, and was published in 1837. Schumann compared it to a poem of Byron's "so tender, so bold, as full of love as of scorn." Niecks considers it a most important composition, "richer and more varied in emotional incidents than the other works of Chopin which bear that name." The word Scherzo is Italian, meaning a jest, but its use as a musical title is much more varied and comprehensive. Beethoven was the first to express in scherzi a wide range of unexpected, pointed and boisterous humour; Mendelssohn treated it as a capriccio and to give lightness and grace; Schumann, who rarely treated music with humour, is less gay in his scherzi than elsewhere; Brahms, too, did not use the bright scherzo. But Chopin's scherzi are on a completely different basis. They contain no jest in any sense of the word. All four have a grandeur and power which he seldom showed in any other composition. The first one has even been called "Le Banquet infernal," and Niecks finds a strong element of scorn-an emotion far removed from humour or jesting-in all four of them. "An old Musical Box" de Séverac (1873-1921) De Séverac was a French composer and pupil of d'Indy, whose premature death was a great loss to French music. He was one of the most original musicians of his time, keenly interested in the folk-music of southern France; in fact, his native Languedoc coloured his music as intensely as Andalusia did that of de Falla's or the Basque region that of Ravel's. His manner of writing for the piano is particularly brilliant and original. Four Preludes Rachmaninoff (1873-1943) Fifth Concert of the Season St. Patrick's Hall. Fitzwilliam Street, WEDNESDAY, FEBRUARY 12th, 1947, at 7-30 p.m. The Hungarian String Quartet Quartet in A minor Quartet in D major Op 10 No. 2 Quartet in C sharp minor Op. 131 March 12th Elinson Schubert Kodaly Beethoven Piano Recital Single Tickets 6/- for the Fifth Concert now on sale from Messrs. J. Wood & Sons, 67, New Street and Mrs. Hull, 48, New North Road.

THE HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President ST. PATRICK'S HALL, FITZWILLIAM STREET WEDNESDAY, FEBRUARY 12th, 1947 The Hungarian String Quartet SZEKELY AT 7-30 P.M. MOSKOWSKY KOROMZAY PALOTAI PROGRAMME PRICE SIXPENCE

PROGRAMME The analytical notes in this programme are the copyright of the Huddersfield Music Club. 1 Quartet in A minor, Op. 29 Allegro ma non troppo Andante Schubert (1797-1828) Menuetto-Allegretto Allegro Moderato (Last performed in 1938 by the Hungarian String Quartet). 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, illness and poverty, Schubert went with the Esterhazy family for six months to their home at Zselesy 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 suppose that this quartet was inspired by this visit or by its immediate influence; certainly it is steeped in the Hung- arian spirit. In the magical 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; as Haddow says, "the rhythm stirs and quivers round the melody like the voices of the forest round the nightingale." For the Andante Schubert used 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. II Quartet in D major, Op. 10. No. 2. Allegro Andante quasi recitativo-Allegro giocoso (First performance at these concerts) Zoltan Kodaly was born in Hungary; he entered the Budapest Conservatoire as a student in 1900. In those early days he was much influenced by the works of Brahms and Debussy. In 1906 he was appointed professor of composition at the Conservatoire. He has also been a musical critic on Hungarian papers for many years. He is a contem- porary of the better-known Hungarian composer Bela Bartok (1881-1945), and both men shared a deep interest in the study and collection of the folk-songs of their native land. Together they discovered that much that passed for genuine Magyar folk-music was either, strictly speaking, belonging to districts not purely Hungarian, or were the genuine songs distorted by the gipsies. To their careful and scientific research the history of pure Magyar folk-music owes a great debt. It was to be expected that the com- positions of both men would be strongly influenced by folk-music, though their powerful individualities have turned this influence in widely different directions. Bartok's was undoubtedly the more powerful and original mind. He had a great intellectual force, much concerned with, abstractions, which sometimes gives his music a rather grim and Kodaly (b. 1882)

difficult aspect. Kodaly, on the other hand, is more typically Hungarian in sentiment, with a warmer and more sensuous feeling. The following extract from Grove's Dictionary (Eric Blom) sums up Kodaly's work excellently: "Kodaly's music is distinguished by an originality that appears startling at first hearing, but on closer acquaintance reveals a certain leaning towards tradition. He does not abandon tonality and accepted forms, but creates a new music of astonishing vitality within their limits. His instrumental writing is extremely interesting, and there is a close interdependence between his creative impulse and the particular medium chosen for its expression. The piano pieces are predominantly harmonic and percussive, the string quartets contrapuntal and the pieces for solo string instruments abound in appropriate technical problems and striking effects." This exacting second quartet is dated 1918, and is a striking and virile example of this It has two movements only, and has much of Kodaly's fire and impetus in it, though tempered by a reflective vein and long passages of recitative. The second movement has, in particular, an unexpectedly pastoral character. form of art. Interval of 10 minutes III Quartet in C Sharp Minor, Op. 131. Beethoven (1770-1829) Adagio ma non troppo e molto espressivo Allegro molto vivace Allegro moderato Andante ma non troppo e molto cantabile Presto Adagio quasi un poco andante (Last performed in 1931 by the Pro-Arte String Quartet) The great triptych formed by the three quartets-A minor Op. 132, B flat major Op, 130 and C sharp minor Op. 131-dates from the years 1825-6, and they were written almost simultaneously. In them all Beethoven shows great originality of design. He abandoned the usual number and order of quartet movements, and in their freedom and changing moods, he approached more nearly to the elements of the suite. The A minor quartet has five movements, the B flat major has six and the C charp minor has seven; yet in the last quartet of all (Op. 135) there is a return to the older type. The close connection between these three works is proved by the fact that Beethoven even interchanged move- ments between them; the tedesca of Op. 130 was originally written in A minor and intended for that quartet. A close thematic relationship between them has been pointed These quartets are all the works of Beethoven's time of deafness, when he listened with "the inward ear and imagined only spiritual or ideal forms in the movement of his music." In imaginative quality they are, as Heine said, "not sounds but the ghosts of sounds." out. Although the quartet in C sharp minor is marked as having six movements there is no definite break between any of them. The "grave portal" to the work is a fugue of great dignity. The second movement, in the key of D major is a dance of lightness and vivacity. The third is very short, only eleven bars in length; in reality a recitative with a cadenza for the violin. It leads to an air with seven variations in A major. This dies away and is followed by a brilliant and witty scherzo in E major. No. 6 is a short mysterious adagio, which abruptly changes to the final allegro ending in C sharp major. It is the only movement which is in Sonata form though it still possesses a strong element of the dance. In its development much use is made of the opening fugue.

Sixth Concert of the Season St. Patrick's Hall. Fitzwilliam Street, WEDNESDAY, MARCH 12th, 1947, at 7-30 p.m. Iso Elinson Piano Recital Sonata in E flat Sonata in D minor, Op. 31. No. 2 Sonata in G No. 4 Twenty-four Preludes, Op. 28 Haydn Beethoven Bax Chopin Single Tickets 6/- for the Sixth Concert now on sale from Messrs. J. Wood & Sons, 67, New Street and Mrs. Hull, 48, New North Road.

THE HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President ST. PATRICK'S HALL, FITZWILLIAM STREET WEDNESDAY, MARCH 12th, 1947 AT 7-30 P.M. ISO ELINSON Piano Recital PROGRAMME PRICE SIXPENCE u

PROGRAMME The analytical notes in this programme are the copyright of the Huddersfield Music Club. I Sonata in E flat Allegro Adagio Finale, Presto Haydn (1732-1809 (Last performed in 1943 by Eileen Joyce). Haydn wrote more than 50 sonatas for the piano. The long span of his life forms the link between the early piano sonatas of C. P. E. Bach and Scarlatti and the mature works of Beethoven. Many of Haydn's sonatas are slight, if charming works, but a few are of importance, particularly this Sonata in E flat, the largest and most elaborate he ever wrote and one which definitely leads towards the great sonatas of the future. The first movement opens with imposing chords, which are soon repeated an octave higher; this time ending with a long scale passage, from which grows the many melodic runs throughout the movement. There is no second subject proper, but much use is made of a new theme (bar 27), which Tovey describes as "the most hilarious tune in the world. The development section is really based upon its many beautiful and, for the period, daring modulations, which give an impression of spaciousness and mystery, quite astonish- ing in a work of these proportions. Tovey remarks: "It is no exaggeration to say that in this respect the present sonata is one of the most interesting compositions in The slow movement continues the unusual key-scheme, being in the remote key of E major. The whole of the movement is derived from the first four bars, exquisitely decorated with delicate ornamentation. music." Tovey calls the opening of the final movement "a landmark in aesthetics. The adagio prepared us for its solemnity by the initial shock of its first chord in so distant a key; the finale brings us back to activity and laughter, by a pretence of explaining away that distant key and all the solemn thoughts it brought." The tapped G natural of the opening, feels like the minor third of the key of the slow movement, but the entry of the E flat in the bass swings the key back abruptly to E flat major. The movement itself is in usual first- movement form, the key scheme quite conventional and there is no coda. The most striking section is that leading to a return of the first theme-"one of the most extrav- agantly comical passages Haydn ever wrote" (Tovey). II Sonata in D minor, Op. 31, No. 2 Allegro Adagio Allegretto Beethoven (1770-1827) (First time at these Concerts) This Sonata, together with its companion in G major, Op. 31, No. 1, was written in 1802 when Beethoven, at the height of his powers as composer and virtuoso, his life, as yet, comparatively unclouded, was seeking for new means of self-expression and new worlds From now, Beethoven, with the exception of the E flat Sonata, Op. 31, No. 3 and the B flat major Sonata, Op. 106 (Hammerklavier), abandoned completely the regular four-movement plan of the sonata. It seemed to him that the further develop- ment of the piano sonata lay, not in formal construction, but in using the essentially to conquer.

virtuoso character of the instrument to its fullest and most expressive capacity in a style resembling improvisation. Thus the so-called fantasia-sonata would give the fullest scope to the imagination of the composer and to the special qualities of the medium which he was employing. With this ideal in mind, one can well understand why Beethoven himself so often chose to play this Sonata in D minor. As is usually found in Beethoven's groups of works, the three sonatas of Op. 31, are in marked contrast. No. 1 is jovial, No. 3 is full of cheerful thoughts; but No. 2 is dark and terrible the forerunner of the Appassionata Sonata. "Read Shakespeare's Tempest" Beethoven himself said when asked for a clue to the work. Perhaps further insight into the relationship between the Sonata and Beethoven's own life can be found in the tragic "Heiligenstadt Testament" written in the autumn of that same year; a cry of anguish and despair not only for the loss of Giulietta Guiccardi, but also for the growing dread and certainty of total deafness. Romain Rolland calls this the recitative Sonata. The work opens with two lento bars of introduction. Rolland calls these a sovereign command, "it must be"-followed by the struggles of the suffering soul to escape from fate. This conflict dominates the whole movement. A curious and significant proof of the personal intensity of this movement is the fact that in the note books it appears in an almost complete form, as if it had sprung spontaneously from Beethoven's consciousness, not gradually evolved from it as so many of his other works had been. The following is Rolland's description of the two remaining movements-movements of a perfect beauty; "The suave adagio, with its Elysian peace, its aerial balance, goes on feet of velvet, in a half light that only once or twice rises to a forte, seven or eight times to a sforzando-as if with the weary sighs of a breast oppressed with ecstasy-and fades slowly into sleep with a sigh of happiness. The final allegretto is a Midsummer Night's Dream caprice" (Beethoven the Creator). Interval of 10 minutes Sonata in G, No. 4 III Bax (b. 1883) (First time at these Concerts). Sir Arnold Bax, Master of the King's Music, was born at Streatham. Contrary to popular belief he is not of Irish parentage, but comes of an old Surrey stock, some of whom were among the first followers of Penn the Quaker. From the earliest age Bax showed signs of great musical ability, and says himself in his autobiography "Farewell my Youth" that he cannot remember the time when he was unable to read music as easily as one reads a book. This extraordinary ability probably accounts for the complexity of much of his music. He studied at the Royal Academy of Music, where he fell deeply under the influence of Wagner and Strauss. In 1902, he discovered the poetry of W. B. Yeates, and, as he says, "in a moment the Celt within me stood revealed." Visits to Ireland strengthened this influence "In part at least I rid myself of the sway of Wagner and Strauss and began to write Irishly, using figures and melodies of a definite Celtic curve, an idiom which in the end was so much second nature to me that many works of mine have been called Irish or Celtic when I supposed them to be purely personal to the British composer, Arnold Bax." A visit to Russia in 1910 brought a new influence to bear on his life and music. Bax's two main characteristics are his feeling for poetic beauty of line, a quality quite exceptional among modern composers, and his use of a kind of harmonic arabesque with which he decorates and enriches his texture. His Celtic sympathies lead him towards a mystical softening of outlines which gives his music its own particular "atmosphere." He is much influenced by his desire to translate ideas and impressions into the language Bax has written 7 symphonies and other orchestral works, much chamber of music.

music, some choral works, many songs and piano pieces, including 4 sonatas for piano. This last sonata was written in 1932. It has three movements. It is "almost a reactionary work in that it is purely classical in design and proportion, and even in content, in spite of the very modern harmony in the final rondo. The second movement is a kind of exotic dream in which one of the longest pedal-points ever used acts as a species of opiate upon the imagination. This movement is one of Bax's favourites amongst his music for solo piano" (Julian Herbage: British Music of our Time). The sonata ends with a brilliant and rhythmical rondo; this has a short lyrical middle section. The coda, marked allegro maestoso and trionfale, forms a fine and triumphant ending to the work. Twenty-four Preludes, Op., 28 1. C major. Agitato. 2. A minor, Lento. 3. G major. 4. E minor. Vivace. Largo. Allegro molto. Lento assai. 5. D major. 6. B minor. 7. A major. Andantino. 8. F sharp minor. Molto agitato. 9. E major. Largo. 10. C sharp minor. Allegro molto. 11. B major. Vivace. 12. G sharp minor. Presto. IV 13. F sharp major, Lento. 14. E flat minor. Allegro. 15. D flat major. Sostenuto. 16. B flat minor. Presto con fuoco. 17. A flat major. Allegretto. 18. F minor. Allegro molto. 19. 20. 21. Chopin (1810-1849) 22. E flat major. Vivace. C minor. Largo. B flat major. Cantabile. G minor. Molto agitato. 23. F major. 24. D minor. $ Moderato. Allegro appassionato. (Last performed in their entirety in 1925 by Cortot). The title Prelude, strictly speaking an introduction to the main body of the work, was used by Chopin as the title of short imaginative pieces, almost in the style of improvis- ations. His Preludes are, indeed, so varied and indefinite in character and form, often so slight and so elusive, that no other title could possibly be devised for them. Niecks compares these "almost infinite and infinitely-varied beauties collected in this treasure- trove" to an artist's portfolio filled with drawings in all stages of advancement. "If tears were audible" he says, "one would hear them in the preludes." But they run through the whole gamut of the emotions too. They date from 1837-38-a feverish stage in Chopin's life, at the beginning of his liason with that strange woman George Sand, and when the symptoms of his fatal disease were already developing. Probably many, if not all the Preludes, were completed before the winter of 1838, which Chopin spent with George Sand at Majorca in an old Carthusian monastery-an environment which must have deeply affected the hypersensitive man; only the final selection, revision, and the composition of a few preludes seem to have been done there.