THE HUDDERSFIELD MUSIC CLUB HUDDERSFIELD MUSIC SOCIETY Brochure Bom Season's programmes 1947-1948 colorchecker Xx-rite ............................................ ww + Xx.rite MSCCPPCC0613 W 3

THE HUDDERSFIELD MUSIC CLUB The Huddersfield Music Club (Founded in 1918 by Dr. Eaglefield Hull) Presents A SERIES OF SIX CONCERTS for the Thirtieth Season 1947-48 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 MRS. D. HIRST 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. DENYS HIRST MRS. H. AINLEY MRS. S. H. CROWTHER MISS K. EVANS MRS. E. FENNER MISS FREEMAN, J.P. MRS. H. S. HAIGH MRS. A. E. HORSFALL Miss Z. E. HULL MRS. G. G. JARMAIN 98 MRS. A. W. KAYE MRS. J. LEE MRS. M. M. SAYER MRS. I. SILVERWOOD MRS. P. SYKES MISS TOWNSEND MRS. S. G. WATSON MISS E. WHITWAM Hon. Secretaries-MRS. A. E. HULL Miss A. SHAW Hon. Treasurer-Miss D DONALDSON THE CLUB IS OPEN TO EVERYONE Important Please see back page CLUB sq., M.A., J.P. EET {

The Huddersfield Music Club (Founded in 1918 by Dr. Eaglefield Hull) Presents A SERIES OF SIX CONCERTS for the Thirtieth Season 1947-48 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 - J. Stancliffe Ellis, Esq. MISS A. SHAW A. G. CROWTHER S. H. CROWTHER MISS D. DONALDSON E. GLENDINNING MRS. D. HIRST MISS Z. E. HULL F. RowCLIFFE 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. MRS. H. AINLEY MRS. S. H. CROWTHER MISS K. EVANS MRS. E. FENNER MISS FREEMAN, J.P. MRS. H. S. HAIGH MRS. A. E. HORSFALL MISS Z. E. HULL MRS. G. G. JARMAIN DENYS HIRST MRS. A. W. KAYE MRS. J. LEE MRS. M. M. SAYER MRS. I. SILVERWOOD MRS. P. SYKES MISS TOWNSEND MRS. S. G. WATSON MISS E. WHITWAM Hon. Secretaries (MRS. A. E. HULL MISS A. SHAW Hon. Treasurer-Miss D DONALDSON THE CLUB IS OPEN TO EVERYONE Important Please see back page

Wednesday, September 24th, 1947 First Concert Moiseiwitsch Piano Recital Programme will include Chromatic Fantasy and Fugue (Bach) Sonata in B minor (Liszt) Paganini Variations (Brahms) Pictures from an Exhibition (Mussorgsky) and works by Medtner, Khatchaturian and Rachmaninoff Wednesday, November 19th, 1947 Second Concert Peter Pears and Benjamin Britten Song Recital Songs by Purcell, F. Bridge and Lennox Berkeley Holy Sonnets of John Donne (Op. 35) Britten (First performance in Huddersfield) Folk-Song Arrangements Wednesday, December 3rd, 1947 Third Concert The Prague String Quartet Meditation on a old Czech Choral (Suk) Quartet in E minor, Op. 116 (Aus meinem Leben) (Smetana) Quartet No. 2 (Janáček) Quartet in A flat major, Op. 105 (Dvořák)

Wednesday, January 7th, 1948 Iso Elinson Piano Recital Sonata in A major, Op. 120 (Schubert) Sonata in A major, Op. 101 (Beethoven) Four Ballades (Chopin) Wednesday, February 4th, 1948 Fourth Concert Fifth Concert The Pasquier String Trio Wednesday, March 3rd, 1948 Serenade Op. 10 (Dohnanyi) Trio (Jean Francaix) Divertimento in E flat (K. 563) (Mozart) Sixth Concert Max Rostal and Franz Osborn Violin and Piano Recital (Programme will be announced later) P.T.O.

IMPORTANT THE CLUB IS OPEN TO EVERYONE Subscriptions and Tickets The subscription for the WHOLE Series is 30/- * Single tickets for the First Concert (Moisewitsch Recital) 7/6 each. Single tickets for other Concerts 6/6 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 First 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,; Messrs. Whitfield's Ltd., Ramsden Street; Messrs. Kenneth Levell Ltd., Market Street; 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 here with; 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 September 15th, 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. *It is with the greatest reluctance that the Committee have felt compelled to increase the price of the Season Ticket to 30/- (from the 25/- at which, except for four seasons, it has remained unchanged for over fifteen years), but the very heavy expenditure incurred in promoting these Concerts has rendered the step inevitable. Subscribers 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. Free Car Parking facilities under British Legion supervision will be available as last year.

THE HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President ST. PATRICK'S HALL, FITZWILLIAM STREET WEDNESDAY, SEPTEMBER 24th, 1947 AT 7-30 P.M. MOISEIWITSCH Piano Recital PROGRAMME PRICE SIXPENCE

PROGRAMME The analytical notes in this programme are the copyright of the Huddersfield Music Club. 1 Chromatic Fantasia and Fugue Bach (1685-1750) (Last performed in 1943 by Franz Osborn) The date of the composition of the Chromatic fantasia and Fugue cannot be exactly fixed. According to Schweitzer: "It probably dates from the same epoch-1720-as the great G minor organ Fantasia. It has a kind of inner affinity with this work, but in both the recitative style is carried over to an instrumental medium." If this date is correct, this work must have been written in the Cöthen period (1717-23) during which Bach produced so much instrumental music, including part of the "48" and the French and English Suites. The early fantasia, a composition unrestricted by any formal plan, independent of words and therefore essentially instrumental, rose to importance under the school of German organists, whose earlier master was Buxtehude. To this German school Bach added the grace and freedom of the Italian masters; he also transferred this organ form to the harpsichord. The effective contrast between the extreme freedom of the fantasia and the strictest of all forms-the fugue-should be noted. The Chromatic Fantasia itself is largely built upon the falling chromatic scale-a device which Bach used to depict grief and suffering. According to Busoni, it falls into four main sections ; Toccata, Chorale (arpeggio), Recitative and Coda. The general impression is one of disquiet and pathos; its modulations are daring in the extreme. The chromatic scale is used again in the subject of the great three-part fugue but in a rising form; and much use is made of a rhythmic figure (a quaver and two semi-quavers) -a device used repeatedly by Bach to signify joy and consolation. A. Pirro therefore concludes that the work, as a whole, represents the passage from grief and suffering to consolation and triumph. Sonata in B minor Liszt (1811-1886) (Last performed in 1938 by Simon Barer) Lento assai-Allegro energico-Andante sostenuto - Allegro energico-Stretta quasi presto- Allegro moderato. "If we wished to describe Liszt's Sonata in B minor in a word we should say "dramatic." If we regard it closely it reveals a remarkable constructive logic underneath an air of spontaneity. There is not a figure, not a phrase which is not derived from one of the principle motives. If similar thematic labour were the work of a Beethoven or a Schumann we would speak of it only in tones of breathless admiration. Why should Liszt not have an equal right to our praises? This man who toiled so magnificently for music, and for his instrument, here presents us with the first example of a Sonata in one movement, an idea destined to inspire so many succeeding composers. Liszt was too great a virtuoso not to use virtuosity an as element of colour, but his work is first of all musically poetic, and virtuosity enters into it only as a means; it is not cultivated for itself. .. I see in its symphonic unfolding an illustration of Goethe's Faust... It seems to me to envisage a sort of first sketch for a Faust Symphony-the expression of restless, tormented genius, who seeks in action, in love, in religion, a certainty, a consolation, that suddenly eludes him, and who ends by taking refuge in a philosophic concept. Liszt has summed up all the feelings of Faust in this sonata-despair, ardour, enthusiasm, reverie, tenderness, irony." These short extracts from Cortot's "Studies in Musical Interpretation" give, in a few words, a general impression of the Sonata and its historical importance.

It was written in 1853, during the period when Liszt was engaged in the production of his Symphonic Poems, and was dedicated to Schumann. Two years later Wagner, who owed so much to Liszt's inspiration, wrote to him: "The Sonata is beautiful beyond words, great and gracious, noble and sublime like thyself. It has moved me to the depths of my being." The Sonata is planned in one continuous movement, but the successive changes of tempo correspond roughly to the regular sonata-form without breaking the continuity. As Cortot points out, much use is made throughout of the system of the metamorphosis of the theme, which is to be found in the Symphonic Poems. Interval of 10 minutes II Pictures at an Exhibition (First performance in its entirety at these concerts) Mussorgsky, regarded in his time as the most truly national of Russian composers, was a friend of the eminent architect and painter, Victor Hartmann. Shortly after Hartmann's death in 1873, an exhibition of his pictures was held; Mussorgsky visited it, and translated certain of the pictures into pieces of music. The work consists of ten pieces, introduced, and in many instances linked by a short section called Promenade in which "the composer here portrays himself walking now right, now left, now as an idle person, now urged to go near a picture; at times his joyous appearance is dampened, he thinks in sadness of his departed friend." Mussorgsky (1835-1881) Introduction-Promenade. 1. Gnomus. A drawing of a gnome dragging himself along with clumsy steps. 2. The Old Castle. A troubadour singing before a castle in the Middle Ages. 3. Tuilleries. Children in the Tuilleries garden. 4. Bydlo. A Polish wagon drawn by oxen. 5. Ballet of chicken in their shells. A drawing made for the staging of a scene in the ballet "Trilby." 6. Samuel Goldberg and Schmuyle. Two Polish Jews, one wealthy, the other poor. 7. Limoges-The Market place. Market women quarrelling. 8. Catacombs. A drawing depicting Hartmann himself examining the interior of the Catacombs in Paris by the light of a lantern. 9. The Hut on Fowl's Legs. The drawing showed a clock in the form of the hut of Baba-Yaga, the fantastical witch, standing on the legs of fowls. 10. The Great Gate at Kiev. Hartmann's design for the construction of an entrance gate for the city of Kiev. Improvisations Toccata III Medtner (b. 1879) Khachaturian (b. 1904) Khachaturian has now been recognized as one of the most promising of the younger Soviet composers. He was born in Tiflis, the son of a poor artisan. Though almost illiterate until the Revolution enabled him to go to school, he was always stirred by the folk-songs of his native Armenia. At the age of 19 he went to Moscow and demanded a musical education; within two years he was ready to enter the Moscow Conservatoire,

from which he graduated in 1934 after ten years of study. He quickly became a most prolific composer, deeply interested in all form of folk music. He is now Vice-President of the Union of Soviet Composers; he was awarded the Order of Lenin in 1939 and has twice received the Stalin Prize. Preludes (i) B minor Op. 32, No. 10 (ii) C sharp minor, Op. 32, No. 12 Variations on a theme by Paganini, Op. 35 Rachmaninoff (1873-1943) Brahms (1833-1897) (Last performed in 1943 by Louis Kentner) By far the finest Variations since Beethoven's, are the sets by Brahms. He used more or less the same principals as Beethoven, employing every device of condensation, augmentation, inversion, polyphonic combination, chromatic colouring and the like, with such ingenuity and skill that the tracing of the theme often becomes a difficult intellectual excercise. At the same time, the musical interest, far from being over- whelmed, is enhanced to an amazing degree. The 28 Variations are founded upon a really simple theme from one of Paganini's Violin Caprices, and the work forms a series of wonderful studies, not only in the art of composition, but also in piano technique. They have, in fact, scarcely ever been surpassed in technical difficulty. Benno Moiseiwitsch was born in Odessa in 1890 of Russian parents and became a natur- alized British subject in 1937. He started his artistic career at the Imperial Music Academy of Odessa where he won the Rubinstein prize at the age of nine years, later going to Vienna to study under Leschetizsky. He made his debut in England in 1908, when he created a sensation. He was domiciled in England during the 1914-18 war; since 1919 he has made many tours in America, Canada, Australasia, South America, South Africa and the Far East, as well as many concerts throughout Europe. Moiseiwitsch remained in England during the 1939-45 war, playing constantly. He did much to raise money for war charities, including a hundred recitals for Mrs. Churchill's Aid to Russia Fund. For his services he was awarded the C.B.E. Second Concert of the Season St. Patrick's Hall, Fitzwilliam Street, WEDNESDAY, NOVEMBER 19th, 1947, at 7-30 p.m. Peter Pears and Benjamin Britten Songs by Purcell, Frank Bridge and Lennox Berkeley The Holy Sonnets of John Donne, Op. 35 (Britten) (First Performance in Huddersfield) Folk Song Arrangements Tickets 6/6 now on Sale from Wood's, Whitfield's and Levell's and from the Hon. Secretaries

THE HUDDERSFIELD MUSIC CLUB President A. L. WOODHEAD, Esq., M.A., J.P. ST. PATRICK'S HALL, FITZWILLIAM STREET WEDNESDAY, NOVEMBER 19th, 1947 AT 7-30 P.M. PETER PEARS AND BENJAMIN BRITTEN PROGRAMME PRICE SIXPENCE

PROGRAMME The analytical notes in this programme are the copyright of the Huddersfield Music Club. 1 If music be the food of love Pious Celinda I attempt from love's sickness to fly Sweeter than Roses II The Holy Sonnets of John Donne (1573-1637) Benjamin Britten (b. 1913) (First performance in Huddersfield) 1. OH my blacke Soule! now thou art summoned By sicknesse, deaths herald, and champion; Thou are like a pilgrim, which abroad hath done Treason, and durst not turne to whence hee is fled, Or like a thiefe, which till deaths doome be read, Wisheth himselfe delivered from prison; But damn'd and hal'd to execution, Wisheth that still he might be imprisoned. Yet grace, if thou repent, thou canst not lacke ; But who shall give thee that grace to beginne? Oh make thy selfe with holy mourning blacke, And red with blushing, as thou art with sinne; Or wash thee in Christ's blood, which hath this might That being red, it dyes red soules to white. 2. BATTER my heart, three person'd God; for, you As yet but knocke, breathe, shine, and seeke to mend; That I may rise, and stand, o'erthrow mee, and bend Your force, to breake, blowe, burn and make me new. I, like an usurpt towne, to another due, Labour to admit you, but Oh, to no end, Reason your viceroy in mee, mee should defend, But is captiv'd, and proves weake or untrue. Yet dearely I love you, and would be loved faine, But am bethroth'd unto your enemie; Divorce mee, untie, or breake that knot againe, Take mee to you, imprison mee, for I Except you enthrall mee, never shall be free, Nor ever chast, except you ravish mee. Purcell (1659-1695) 3. OMIGHT those sighes and teares returne againe Into my breast and eyes, which I have spent, That I might in this holy discontent Mourne with some fruit, as I have mourn'd in vaine ; In mine Idolatry what showres of raine Mine eyes did waste? what griefs my heart did rent? That sufferance was my sinne; now I repent; 'Cause I did suffer I must suffer paine. Th' hydroptique drunkard, and night-scouting thiefe, The itchy Lecher, and selfe tickling proud Have the remembrance of past joyes, for reliefe Of comming ills. To (poore) me is allow'd No ease; for, long, yet vehement griefs hath beene Th' effect and cause, the punishment and sinne. 4. OH, to vex me, contraryes meet in one; Inconstancy unnaturally hath begott A constant habit; that when I would not I change in vowes, and devotione. As humorous is my contritione As my prophane Love, and as soone forgott: As ridlingly distemper'd, cold and hott, As praying, as mute; as infinite, as none. I durst not view heaven yesterday; and today In prayers, and flattering speeches I court God: To-morrow I quake with true feare of his rod. So my devout fitts come and go away Like a fantastique Ague; save that here Those are my best dayes, when I shake with feare.

5. WHAT if this present were the worlds last night? Marke in my heart, O Souls, where thou dost dwell, The picture of Christ crucified, and tell Whether that countenance can thee affright, Teares in his eyes quench the amazing light, Blood fills his frownes, which from his pierc'd head fell. And can that tongue adjudge thee unto hell, Which pray'd forgivenesse for his foes fierce spight? No, no; but as in my idolatrie I said to all my profane mistresses, Beauty, of pitty, foulnesse onely is A signe of rigour: so I say to thee, To wicked spirits are horrid shapes assign'd, This beauteous forme assures a pitious minde. 6. SINCE she whom I lov'd hath payd her last debt To nature, and to hers, and my good is dead, And her Soule early into heaven ravished, Wholly on heavenly things my mind is sett. Here the admyring her mind did whett To seeke thee God; so streames do shew their head; But though I have found thee, and thou my thirst hast fed, A holy thirsty dropsy melts mee yett. But why should I begg more Love, when as thou Dost wooe my soule for hers; offring all thine; And dost not only feare least I allow My love to Saints and Angels things divine, But in thy tender jealousy dost doubt Least the World, Fleshe, yea Devill put thee out. 7. AT the round earths imagin'd corners, blow Your trumpets, Angells, and arise, arise From death, you numberlesse infinities Of soules, and to your scattred bodies goe, All whom the flood did, and fire shall o'erthrow, All whom warre, dearth, age, agues, tyrannies, Despaire, law, chance, hath slaine, and you whose eyes, Shall behold God, and never tast deaths woe. But let them sleepe, Lord, and mee mourne a space, For, if above all these, my sinnes abound, 'Tis late to aske abundance of thy grace, When wee are there; here on this lowly ground, Teach mee how to repent; for that's as good As if thou hadst seal'd my pardon, with thy blood. 8. THOU hast made me, and shall thy worke decay? Repairè me now, for now mine end doth haste, I runne to death, and death meets me as fast, And all my pleasures are like yesterday; I dare not move my dimme eyes any way, Despaire behind, and death before doth cast Such terrour, and my feeble flesh doth waste By sinne in it, which it t'wards hell doth weigh; Onely thou art above, and when towards thee By thy leave I can looke, I rise againe ; But our old subtle foe so tempteth me, That no one houre my selfe I can sustaine ; Thy Grace may wing me to prevent his art, And thou like Adamant draw mine iron heart. 9. DEATH be not proud, though some have called thee Mighty and dreadfull, for, thou art not soe, For, those, whom thou think'st, thou dost overthrow, Die not, poore death, nor yet canst thou kill mee. From rest and sleepe, which but thy pictures bee, Much pleasure, then from thee, much more must flow, And soonest our best men with thee doe goe, Rest of their bones, and soules deliverie. Thou art slave to Fate, Chance, Kings, and desperate men, And dost with poyson, warre, and sicknesse dwell, And poppie, or charmes can make us sleepe as well, And better than thy stroake; why swell'st thou then? One short sleepe past, wee wake eternally, And death shall be no more; death, thou shalt die. Interval of 10 minutes

Go not, happy day When you are old and grey Golden hair Eia! mater fons amoris (Stabat Mater) Ode au premier jour de mai Folk-Song Arrangements The Miller of Dee III IV O Waly Waly Come you not from Newcastle Sweet Polly Oliver Frank Bridge (1879-1941) Jan. 7th Feb. 8th Mar. 3rd Lennox Berkeley (b. 1903) BENJAMIN BRITTEN was born in Lowestoft in 1913. From an early age he studied the viola and the piano; when he was 12 he had written 10 piano sonatas, 6 string quartets, an oratorio and many songs. These works attracted the attention of Frank Bridge, who gave him lessons and became his friend and adviser. Winning a scholarship to the R.C.M., he studied composition there with John Ireland, and piano with Arthur Benjamin On leaving the College, he spent some time abroad. Incidental music for films and plays were some of the first performances of his music. Other early works were the Phantasy Quartet for oboe and strings (Florence, 1934), Suite for violin and piano (Barcelona, 1936), Variations on a theme of Frank Bridge (Salzburg, 1937), Piano Concerto No. 1 (London, 1938). In 1938, Britten went to America for a lengthy stay, where his Sinfonia da Requiem was performed in 1940. Later works include the superb Michelangelo song cycle (performed at the Music Club in 1945), the Violin Concerto (1939), two string quartets (No. 1 was performed at the Music Club in 1944), and three operas "Peter Grimes," "The Rape of Lucretia" and "Albert Herring." His brilliant "Young Person's Guide to the Orchestra" was performed at this year's Leeds Festival. Benjamin Britten PETER PEARS started his musical career as a chorister and played the piano at the age of 6. He was an Organ Scholar at Oxford and later obtained an Operatic Exhibition at the R.C.M. He then joined the B.B.C. Singers; he has twice toured America with the New English Singers. Since then he and Britten have joined to give many outstanding song recitals. In 1943 Pears became a member of the Sadler's Wells Opera Company. Third Concert of the Season St. Patrick's Hall, Fitzwilliam Street, WEDNESDAY, DECEMBER 3rd, 1947, at 7-30 p.m. The Prague String Quartet Meditation on an old Czech Chorale Quartet in E minor Quartet No. 2 Quartet in A flat Op. 105 Tickets 6/6 now on sale from Woods, Levells and Whitfields. Suk Smetana Janacek Dvorak Iso Elinson. Pasquier String Trio. Max Rostal and Franz Osborn. Gratter

THE HUDDERSFIELD MUSIC CLUB President A. L. WOODHEAD, Esq., M.A., J.P. ST. PATRICK'S HALL, FITZWILLIAM STREET WEDNESDAY, DECEMBER 3rd, 1947 AT 7-30 P.M. The Committee regrets that owing to difficulties of travel the Prague Quartet cannot reach England in time. They are fortunate in being able to engage THE GERTLER STRING QUARTET ANDRÉ GERTLER HENRI GHIGO JEAN MULLER MARCEL LOUEN PROGRAMME PRICE THREEPENCE

PROGRAMME Estro Armonico (a poetic melodious rage) Adagio and Fugue Vivaldi (b. latter half of 17th Century, d. 1743) Mozart Quartet No. 2 on Kabardino (Russian) and Balkan Themes Interval of 10 minutes Quartet in A minor, Op. 29 Allegro ma non troppo Andante Menuet and Trio Allegro moderato Prokofief (b. 1891) Schubert (1797-1828) Fourth Concert of the Season St. Patrick's Hall, Fitzwilliam Street, WEDNESDAY, JANUARY 7th, 1948, at 7-30 p.m. ISO ELINSON Piano Recital Schubert Sonata in A major, Op. 120 Sonata in A major, Op. 101 Four Ballades Beethoven Chopin Tickets 6/6 now on sale from Wood's, Whitfield's and Levell's and from the Hon. Secretaries Feb. 4th Pasquier String Trio. Mar. 3rd Max Rostal and Franz Osborn.

THE HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President ST. PATRICK'S HALL, FITZWILLIAM STREET WEDNESDAY, JANUARY 7th, 1948 AT 7-30 P.M. ISO ELINSON Piano Recital PROGRAMME PRICE SIXPENCE

PROGRAMME The analytical notes in this programme are the copyright of the Huddersfield Music Club. Sonata in A major, Op. 120 I Allegro moderato Andante Allegro Sonata in A major, Op, 101 (First performance at these Concerts). This fine Sonata, dated 1823, stands midway between the fresh and beautiful music of the young genius and the mature works from which the youthfulness has gone, into which the deeper notes of pathos and earnestness have stepped and in which Schubert has dis- covered his own true and unmistakeable personality. As far as historical development is concerned, Schubert did comparatively little to bridge the wide gap between the sonatas of Haydn and Mozart and the later masterpieces of Beethoven. To quote the article in Grove: "Schubert did nothing to extend the formal limits of symphony or sonata, but he endowed them with a magic, a romance, a sweet naturalness which no one has yet approached." Indeed, the very superabundance of Schubert's inspiration did not lend itself readily to the orderly development associated with the architecture of the sonata. To Cardus ("Ten Composers") it seems as if Schubert constantly expressed "an idea or feeling of wandering motion...the journey onward is changed by unseen forces. There is always a digression in Schubert; he did not care for the main roads." The basis of all Schubert's music is song. As Cardus sums it up: "Mozart was music, Schubert was song." And it is in the lyrical warmth and impulse, the sudden and vivid transitions, the charm of waywardness, the exquisite naturalness, allied to the inspired flashes of genius, which give Schubert his own unique position in music. Liszt's critical judgment was never more acute than when he stated that Schubert was "le musicien plus poète que jamais." The Sonata Op. 120, was written the same year as the song-cycle "Die Schöne Müllerin." It is marked by deep and tender poetic feeling, and its lyric qualities are well adapted to its medium, the piano. The first movement is in sonata form, rounded off with a tiny, intimate coda. The simple Andante, very tranquil in mood, is based entirely upon one short theme. The finale is a graceful dance, in sonata form, and its brilliant passage- work adorns it with sparkling and carefree decoration. II Schubert (1797-1828) Allegro ma non troppo Vivace alla Marcia Beethoven (1770-1827) Adagio, ma non troppo, con affeto Allegro resoluto (First performance at these Concerts). Quite apart from the music itself, one has only to note the exact and careful directions. in his native language which Beethoven himself put into the score of this Sonata (I Etwas lebhaft, und mit der innigsten Empfindung, II Lebhaft. Marschmässig, III Langsam und Sehnsuchtsvoll, IV Geschwind, doch nicht zu sehr, und mit Entschlossenheit) to realize the vast difference between that which Schubert wished to express in a "sonata" and the depth of emotion and meaning which Beethoven, at an even earlier date, poured into the same mould. The Sonata Op. 101, dates from 1816 and is the first of a group of five sonatas which

form the culminating point of Beethoven's piano music. Before 1816, the eight symphonies, the operas, and the chamber music up to Op. 95 had been completed; between that year and 1821, Beethoven wrote no major works except these last piano sonatas, bringing to them all the experience of his art and life-a life which by that time was overshadowed and saddened by his rapidly approaching deafness, ill health and by his family troubles and cares to such an extent that his mind had begun to turn with longing to the thought of death. His contemporaries tried to belittle these later, and to them bizarre and incompren- sible works, with the plea that they were the compositions of a man who could no longer hear what he had written. Actually, Beethoven played this Sonata Op. 101 in 1822 to a group of friends and confessed afterwards that he could not hear physically one note of what he had played. Beethoven had long since discarded the formal sonata plan. In the Sonata Op. 27, No. 1 he had already written what he himself called a Fantasia-Sonata, and that sonata may well be compared with Op. 101 (the word fantasia now dropped as the intention was too obvious) to realize how similar they are and yet how vastly his work had increased in scope, power and depth. In his search to express the almost inexpressible, Beethoven's style becomes increasingly polyphonic, the movements more continuous and more closely knit together, the range of the parts so widely spaced, the music so spiritual in its thought, that these later works give, as it were, "the deliberate expression of something exalted, floating above the earth and having no root in the world of matter." The last five sonatas are all fantasia-sonatas, great concert sonatas, in one form or another. Although the Sonata Op. 101, is divided into four movements, the divisions are lightly marked and linked together, so that the whole moves together to the climax of the last movement. "The effort to fight a way through dreams and fancies, spiritual, gay and sentimental by turns, to fully conscious creative activity-this forms the poetic 'argument' of the work" (Becker). The opening allegretto is like a tender, gently moving song; its parts flow like a string quartet. Beethoven himself described it as "visionary moods." The second movement, the so-called March, takes the place of the Scherzo. The word scherzo is only used once in these five sonatas; the boisterous Rhenish humour has gone, to be replaced with something much more subtle. The character of a March is only apparent in the rhythm; for the rest, it is an impressionistic piece, with the melody thrown in fragments from part to part. A canon forms the contrasting middle portion. The short adagio is full of the yearning (Sehnsucht) with which Beethoven directs that it should be performed; a short colaratura passage leads, not to the finale, but first to a repetition of the gentle opening theme. The finale itself, in sonata form, shows "rather courageous than joyful determination." The mood is broken by a reference, in augmentation, to the opening theme. Then "a brooding minor fugato begins in the bass and, mounting, weaves a shadowy dance about a single idea, which suddenly, with a gesture of elemental force, resumes its former aspect and leads to a jubilant close." The Four Ballades. Interval of 10 minutes III Chopin (1810-1849) (i) Op. 23 in G Minor (ii) Op. 38 in F major (iii) Op. 47 in A flat major (iv) Op. 52 in F minor (Last performed in their entirety by Kentner in 1941). The name of Ballade, as applied to music and especially to the Ballades of Chopin, should not be confused with the traditional ballad poetry. Chopin used this title for four of his works-pieces of music which are free and declamatory in form, romantic in conception, strongly coloured with national feeling and filled with beauty. Technically the main link between the four is the fact that all are written in 6/4 or 6/8 time. We know that Chopin's Ballades are animated with the Polish spirit, for he himself said that they were inspired by the poems of Mickiewicz (1798-1855), the Polish poet and friend of Chopin, who spent his exile in France, and whose poems were founded upon the rich store of Polish tradition and legend. Langford considered that "there is nothing more beautiful

in the whole realm of piano music than these Ballades, and nothing more securely main- tains the height of romantic and marvellous legend. Together they give a sense of Poland's grandeur which nothing but music could express." The first Ballade (1836) is said to have been inspired by Mickiewicz's Konrad Wallenrod. It is the most impassioned of the four, ranging from the story-teller's simple opening to the great rush of the final climax. It was said to be the favourite of both Schumann and Chopin. Huneker described it as the Odyssey of Chopin's life. The second Ballade (1840) is sunny and light-hearted, and yet is supposed to be connected with Mickiewicz's Undine. Dannreuther considers it to be the most fascinating and fantastic; the quiet barcarolle-like opening is surprisingly contrasted with a wild and stirring section. The breaking of a flower by a storm has been fancifully suggested as its subject. The third Ballade (1841) is perhaps the best known; emotionally it is less intense. Niecks writes: "On this occasion the composer shows himself in a fundamentally caressing mood-over everything in melody, harmony and rhythm is suffused a most exquisite elegance. A quiver of excitement runs through the whole piece." The fourth Ballade (1843) is probably the most difficult and elusive, as well as the richest and most elaborate. Langford calls it "a direct lament, told at first in a melody that is like a speaking sigh. With the figuration of this melody we seem to enter the land of marvels once more, though the note of romantic lament is never broken in all the long and brilliant climax and coda." Iso Elinson, the distinguished Russian pianist, is an artist of international reputation. At the age of five he received his first instruction from his mother, herself a pupil of Anton Rubinstein. He entered the Leningrad Conservatoire at the age of six, and at fifteen he started his concert career. In 1927 he gave a special series of Beethoven's thirty-two sonatas in Moscow and Leningrad, which he repeated recently in England. He first came to England in 1933, to play under Sir Thomas Beecham. Other notable recital series include Bach's "48" and "The Art of Fugue." Fifth Concert of the Season St. Patrick's Hall, WEDNESDAY, FEBRUARY 4th at 7-30 p.m, THE PASQUIER TRIO (Violin, Viola and Cello) Serenade Op. 10. Dohnanyi Trio Jean Francaix Divertimento in E flat major (K.563) Mozart 2 $ Tickets 6/6 now on sale from Wood's, Whitfield's and Levell's and from the Hon. Secretaries Mar. 3rd Max Rostal and Franz Osborn.

THE HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President ST. PATRICK'S HALL, FITZWILLIAM STREET WEDNESDAY, FEBRUARY 4th, 1948 AT 7-30 P.M. THE PASQUIER TRIO JEAN PASQUIER (Violin) PIERRE PASQUIER (Viola) ETIENNE PASQUIER (cello) PROGRAMME PRICE SIXPENCE

PROGRAMME The analytical notes in this programme are the copyright of the Huddersfield Music Club. I Serenade in E Major, Op. 10 Alla Marcia Trio Romanza: Adagio non troppo quasi andante Scherzo: Vivace Tema con varazioni Rondo finale (Last performed in 1945 by the Carter String Trio). Dohnányi, born at Pressburg (Hungary), is a distinguished pianist and composer. He studied in Pressburg and Budapest, and later under d'Albert. He appeared as a pianist in 1897, and was quickly recognised as an artist of the highest rank, with brilliant technique, exquisite beauty of tone and deeply poetical in his interpretations. His first compositions date from student days. The early works show the influence of Brahms, but later his Hungarian nationality became more clearly marked. His music has originality and vivacity as well as a romantic beauty and grace. While Dohnányi has written operas, ballets, concertos and symphonies, from the first his main preoccupation has been with chamber and piano music. It is remarkable that such a distinguished pianist has written so effectively and with such understanding with, and sympathy for string instruments. Dohnányi (b. 1877) The title of "Serenade," as applied to instrumental music, usually denotes a work which is made up of a large number of short and varied movements. Dohnányi's Serenade in C major, though an early work, already foreshadows his later style. It opens with a dramatic march movement. "Nobody would believe a priori that a march could adequately represent a da capo after a trio by three meditative murmurs of its first bar followed by a figure like a sneezer but such is the end of the first movement of this serenade; and the finale, after a vigorous career as a fully developed rondo, ends by bursting into the trio of the march. This dies away, and the work ends with the same figure as the march, but without alluding to the first theme" (Tovey). It may be noticed that, by beginning and ending with a march, Dohnányi is following the plan of the classical serenades and cassations. The lyrical second movement "ends on the dominant with an effect akin to that of the Mixolydian mode and also to the tendencies of much recent Spanish music" (Tovey). The third movement is a scherzo in fugal style. The beautiful theme and variations form the fourth movement, the most romantic movement of the work. The witty rondo- finale, with its return to the trio of the opening march, brings the Serenade to its conclusion. II Allegro Vivo Scherzo vivo Andante Rondo vivo Jean Francaix (b. 1912) (First performance at these Concerts) Jean Francaix was born at Le Mans and studied at the Paris Conservatoire and under Nadia Boulanger. Although still very young, Francaix has written a good deal of music including a symphony and some ballets, one of which "Le Roi Nu" has been performed by the Sadlers Wells Company. His music is typically French in its clarity, grace, wit and

elegance. The String Trio was written in 1946 and is dedicated to the Pasquier Trio. The first movement is witty and vivacious; the Scherzo is in the form of a waltz-or rather, the burlesque of the sentimental dance. The Andante is a lullaby. The finale rondo is based on a polka-like theme, and the whole movement owes much to the inspir- ation of modern dance rhythms. Interval of 10 minutes. III Divertimento in E flat major (K. 563) Allegro Adagio Minuetto No. 1. Allegretto Andante Minuetto No. 2. Allegretto Finale: Allegro Mozart (1756-1791) (Last performed in 1934 by the Quintette Instrumental de Paris). In the 18th century the line was not yet rigidly drawn between music intended for per- formance indoors or in the open air, in the concert room or in the home. The Divertimento (which includes the Serenade and the Cassation), a title loosely used for a work consisting of anything from four to twelve movements, either for strings, or for wind instruments, or for strings and wind in combination, and for a varying number of performers, belonged to this indeterminate type. Its origin, of course, lies in the Suite, its melodies are often of the folk-song variety; usually it was written for some festive occasion so that it has a light and social character. As Einstein says: "one imagines that the five or six instrument- alists made their entrance and exit playing the March, and performed the Divertimento proper in a candle-lit arbour. Here there could be no probing of depths; art must remain inconspicuous and must clothe itself in charm. But virtuosity could be displayed; the first violin is always, or almost always, a violin principale, which has the right to predom- inate and to call for the applause." But Einstein also points out that the divertimenti for wind instruments do not begin and end with the March, for wind players must stay outside and play under the window! Such was the type of Mozart's early Divertimenti, but later he used the title to include works which lie far beyond the merely "social." Mozart's great E flat major Trio is true chamber-music differing from the classical four-movement works only in the number and arrangement of the movements. It is the only string trio which Mozart ever wrote. It dates from 1788, midway between the "Hoffmeister" quartet and the "Prussian" quartets, the same year as the three last and greatest symphonies in E flat, G minor and C major (Jupiter). The three principal movements-the first Allegro, with its depth of Adagio feeling, the Andante, with its exquisite reverie, and the loveable and charming final Rondo of the "gay" movements are the Minuet, more florid in style, the second Minuet, with its two trios, and the Andante, a theme with double variations. Einstein sums up the work as follows: "only a connoiseur can evaluate properly the well-wrought dialogue of this apparently so modest work; each instrument is primus inter pares; every note is significant, every note is a contribution to spiritual and sensuous fulfilment in sound... the finest, most perfect trio ever heard."

Last Concert of the Season St. Patrick's Hall, WEDNESDAY, MARCH 3rd at 7-30 p.m, MAX ROSTAL & FRANZ OSBORN (Violin and Piano Recital) Sonata in G major, Op. 78 Sonata Op. 13 for solo violin Brahms Frankel Chopin Liszt Nocturne in sharp major Petrarch's Sonnet No. 104 Barcarolle Sonata in C minor, Op. 30, No. 2 Tickets 6/6 now on sale from Wood's, Whitfield's and Levell's and from the Hon. Secretaries. Chopin Beethoven

THE HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President ST. PATRICK'S HALL, FITZWILLIAM STREET WEDNESDAY, MARCH 3rd, 1948 AT 7-30 P.M. MAX ROSTAL AND FRANZ OSBORN Violin and Piano Recital PROGRAMME PRICE SIXPENCE

PROGRAMME The analytical notes in this programme are the copyright of the Huddersfield Music Club. I Sonata for Violin and Piano in G major, Op. 78. Vivace ma non troppo Adagio Allegro molto moderato (Last performed in 1926 by William Murdoch and Albert Sammons). This, the first of the three violin and piano sonatas, written Pörtschach in the summers of the years 1878-79. In it Brahms offers a solution to the problem of the Duo for piano and a stringed instrument. In the Haydn sonatas, the piano part is so important that the violin part could almost be omitted; Mozart and Beethoven maintained a more equal balance; but in this sonata Brahms writes a delicate and transparent piano part and gives the leading melodies almost entirely to the violin. The three movements are closely linked together. The rhythm of the opening theme recurs in the second movement; the theme of the second movement is used for the second episode and the coda of the final rondo. The principal theme of the last movement, recalling the opening rhythm, comes from two of Brahms's songs Regenlied and Nachklang (both from Op. 59)-hence the title "Rain Sonata" which is sometimes given to this much-loved work. Richard Specht's description is well-worth quoting: "Through this tender, contemplative and gracious Sonata flows the lovely, weary melody of the Regenlied; the rhythm of the soft rain thrumming against the windows dominates the whole of the first and last movements." Sonata, Op. 13 for Solo Violin II Brahms (1833-1897) Frankel (b. 1906) Molto moderato Allegro con spirita Allegretto quasi andantino (First performance at these Concerts). Benjamin Frankel was born in London, where his father was a synagogue beadle. He first worked in a warehouse and as a watch-maker's apprentice. Victor Benham gave him piano lessons and he was able to study for six months in Germany. He was only 17 when he returned to London where he struggled to earn a precarious living and at the same time to attend the Guildhall School of Music, where he eventually won a scholar- ship for composition. Since then Frankel has done much work as a conductor and composer of film music. His other compositions include Pezzo Sinfonico for orchestra, chamber music, piano pieces and songs; his second String Quartet was one of the two British works chosen for the International Music Festival in Copenhagen last year. Interval of 10 minutes The Sonata for solo violin was written in 1943, and Max Rostal has given it a number of first performances all over the country as well as recording it. According to information supplied "the three movements are all comparatively short, and of these the first move- ment is perhaps the most difficult to grasp at first hearing. It is a mysterious and partly remote piece of music of an intensely individual character. The second movement, with its sparkle and briskness speaks for itself, as does the capricious, whimsical last move- ment."

III Nocturne in F sharp major Op. 15 One of a set of three Nocturnes written in 1834. Sonetto No. 104 del Petrarca Chopin (1810-1849) Liszt (1811-1886) The set of three Sonnets of Petrach (of which this is the second) belongs to the Années de Pèlerinage. These were three sets of pieces; the first "year" being Switzerland, the second, Italy (which includes the Fantasia quasi Sonata and Venezia e Napoli). The third volume of miscellaneous pieces was not collected and published till after Liszt's death. The three Sonnets were originally written as songs during Liszt's stay in Rome, but they only appeared in this, their final form, in 1848. Sacheverell Sitwell remarks; "They form the most perfect examples of Liszt's art. In their earlier version they form an astonishing transition into musical form of the atmosphere, the sentiment, the shape, even, of Petrarch's sonnets; while the transference of these finished songs into pieces for piano solo...areas typical of Liszt, at his best, as are Waldesrauschen or Les Jeux d'Eaux, and have, at the same time, the sunburnt and fiery romance of the rhymed words from which they took their origin." Barcarolle in F sharp minor Op. 60 Chopin (1810-1849) Written in 1846. In form the Barcarolle resembles that of most of Chopin's Nocturnes; that is, three sections, of which the third is a modified repetition of the first. Tausig, the great virtuoso, said it depicted a love scene in a gondola. IV Sonata for Violin and Piano in C major Op. 30, No. 2. Beethoven (1770-1827) Allegro con brio Adagio contabile Scherzo and Trio Finale Allegro (First performance at these Concerts). This Sonata was written in 1802 and is one of a set of three sonatas for violin and piano, dedicated to the Emperor Alexander of Russia. Vincent d'Indy sees in this work one of Beethoven's great passions-patriotism, and finds it essentially military in spirit. He sees in the martial vigour of the second subject of the first movement, the attack of the Emperor's guards and their song of victory. The plaintive new theme in the development section signifies for him the sufferings of the wounded; the movement ends triumph- antly. The Adagio, an aria in five sections, typifies to d'Indy the calm between two battles. The Scherzo is a slighter movement. The vigorous and dramatic finale brings the turmoil of war to a victorious conclusion. MAX ROSTAL was born in Austria in 1905 and began to learn the violin at the age of five. After one year's study he made concert tours in Europe. When fourteen he began to study with Carl Flesch, winning the Mendelssohn Prize. He became professor at the State Academy of Music in Berlin, and as well as teaching and playing, he formed his own quartet. He came to England in 1934, and since then has appeared extensively as well as continuing his teaching here. FRANZ OSBORN studied with Artur Schnabel, and began his concert career in 1928. He first appeared in England in 1930, and has lived here since 1934. He has played all over Europe and has appeared as soloist under such eminent conductors as Furtwängler, Bruno Walter and Mengelberg. He has given many first performances of modern works including William Walton's Sinfonia Concertante in Berlin, with the composer conducting.