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The Huddersfield Music Club 70000 (Founded in 1918 by Dr. Eaglefield Hull) In association with the Arts Council of Great Britain Presents TOX A SERIES OF SIX CONCERTS vasado for the Thirty-second Season 1949-50 to be given in the HIGHFIELD HALL, NEW NORTH ROAD at WEDNESDAY EVENINGS 7-30 on President - A. L. Woodhead, Esq., M.A., J.P. Active Vice-President - J. Stancliffe Ellis, Esq. Honorary Vice-Presidents : Dr. Ralph Vaughan Williams O.M. Dame Myra Hess D.B.E. 19716 Benjamin Britten Committee S. H. CROWTHER MRS. S. H. CROWTHER. E. GLENDINNING Miss Z. E. HULL P. L. MICHELSON F. RowCLIFFE MISS A. SHAW MRS. H. AINLEY MRS. ARNOLD MRS. BRANSOM MISS K. EVANS MRS. E. FENNER MES D MRS. E. GLENDINNING Me D MRS. D. HIRST MES MRS. A. E. HORSFALL MRS. A. E. HULL MISS Z. E. HULL MRS. G. G. JARMAIN E. C. SHAW I. SILVERWOOD MRS. I. SILVERWOOD E. D. SPENCER J. TROLLER MRS. S. G. WATSON 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. S. H. CROWTHER I MRS. A. W. KAYE MRS. LIVINGSTONE MRS. J. LEE MRS. E. PARK MRS. M. M. SAYER MRS. I. SILVERWOOD MRS. E. D. SPENCER p.m. MRS. P. SYKES MISS TOWNSEND MISS E. WHITWAM Hon. Secretary--MISS A. SHAW (von Hon. Treasurer-MRS. S. G. WATSON (5) THE CLUB IS OPEN TO EVERYONE Important Please see back page CLUB 1) M.A., J.P.

The Huddersfield Music Club 150 (Founded in 1918 by Dr. Eaglefield Hull) In association with the Arts Council of Great Britain Presents SHIL HOT A SERIES OF SIX CONCERTS for the Thirty-second Season 1949-50 be given in the HIGHFIELD HALL, NEW NORTH ROAD on WEDNESDAY EVENINGS at 7-30 p.m. (rsr President A. L. Woodhead, Esq., M.A., J.P. Active Vice-President - J. Stancliffe Ellis, Esq. Honorary Vice-Presidents : . Dr. Ralph Vaughan Williams O.M. Dame Myra Hess D.B.E. 1911 Benjamin Britten S. H. CROWTHER MRS. S. H. CROWTHER E. GLENDINNING MISS Z. E. HULL P. L. MICHELSON F. RowCLIFFE MISS A. SHAW MRS. H. AINLEY MRS. ARNOLD MRS. BRANSOM MISS K. EVANS MRS. E. FENNER MRS. E. GLENDINNING Committee 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. S. H. CROWTHER NA MRS. D. HIRST MRS. A. E. HORSFALL MRS. A. E. HULL MISS Z. E. HULL MRS. G. G. JARMAIN E. C. SHAW I. SILVERWOOD MRS. I. SILVERWOOD E. D. SPENCER J. TROLLER MRS. S. G. WATSON MRS. A. W. KAYE MRS. LIVINGSTONE MRS. J. LEE MRS. E. PARK MRS. M. M. SAYER MRS. I. SILVERWOOD MRS. E. D. SPENCER MRS. P. SYKES MISS TOWNSEND MISS E. WHITWAM Hon. Secretary-MISS A. SHAW Toyo Hon. Treasurer-MRS. S. G. WATSON THE CLUB IS OPEN TO EVERYONE Important Please see back page

Wednesday, October 12th, 1949 Clifford Curzon First Concert Piano Recital Fantasia in C major Op. 15 (Schubert) Sonata Op. 81 a (Les Adieux) (Beethoven) Works by Arne, Scarlatti, Ravel, Liszt and Dohnanyi Wednesday, November 16th, 1949 Second Concert The Amadeus String Quartet Quartet in B flat Op. 76 No. 4 (Haydn) Quartet in F minor Op. 95 (Beethoven) Three Studies (Stravinsky) Quartet in C minor Op. 51 No. 1 (Brahms) (Programme subject to alteration) Wednesday, December 7th, 1949 Two Preludes - (Debussy) Capriccio Third Concert Alfred Blumen Piano Recital Prelude, Chorale and Fugue (Franck) Sonata in E major Op. 109 (Beethoven) Ondine (Ravel) Seguidillas (Albeniz) - (Dohnanyi) Sonata in B flat minor Op. 35 (Chopin)

t t t 7 Wednesday, January 11th, 1950 Fourth Concert Christmas Holiday Concert Franz Osborn Piano Recital The Programme will include Sonata in C minor Op. 111 (Beethoven) Impromptu Sonata in B flat major Op. posth. (Schubert) Valse Noble Suite Petroushka (Stravinsky) Wednesday, February 22nd, 1950 Fifth Concert The Paganini String Quartet Wednesday, March 22nd, 1950 Quartet in B flat (K. 458) (Mozart) Quartet in D minor (Death and the Maiden) (Schubert) Quartet in F major (Ravel) (Programme subject to alteration) Locuinen juth Sixth Concert Nancy Evans Song Recital At the piano: NORMAN FRANKLIN The programme will include "A Charm of Lullabies" (Britten)

suns) ysbesabsW THE CLUB IS OPEN TO EVERYONE Subscriptions and Tickets. The Subscription for the SEASON is 30/-. Season tickets may be obtained from the Hon. Secretaries, or from Messrs. J. Wood & Sons, Ltd., 67, New Street; Messrs. Whitfield's Ltd., Ramsden Street or Messrs. Kenneth Levell Ltd., Market Street. Students' Tickets (2/6 each Concert) available to bona-fide Students under 18 years of age only, may be obtained on application in advance Inno to Mrs. Hull, and will not be sold at the door. ZT 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 1st, 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. In the event of suitable accommodation being available COFFEE will be served during the interval at a nominal charge in a room adjoining the Concert Hall. Subscribers are recommended to occupy their seats not later than 7-15 p.m. Joach Free Car Parking facilities under British Legion supervision will be available (610 (asana) ""siastful to misdD A

THE HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. (In association with the ARTS COUNCIL OF GREAT BRITAIN) President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, OCTOBER 12th, 1949 AT 7-30 P.M. CLIFFORD CURZON Piano Recital PROGRAMME PRICE SIXPENCE

PROGRAMME The analytical notes in this programme are the copyright of the Huddersfield Music Club. I Sonata in E flat Op. 81 a. (Les Adieux) Adagio: Allegro Andante espressivo Vivacissimamente (Last performed in 1943 by Louis Kentner). This Sonata was written in 1809, the same year which saw the production of the Sonatas Opp. 78 and 79; almost five years were to elapse before the appearance of the next Sonata Op. 90. It is the only programme piano work by Beethoven; dedicated to the Archduke Rudolph, it is a monument to the long friendship between them. The Archduke, at the age of sixteen, became a pupil of Beethoven, and might, under different circumstances, himself have become a musician of note. Beethoven dedicated numerous works to him, including the E flat concerto, the violin sonata, Op. 96, the Trio, Op. 97, the seventh symphony and the Missa Solemnis in D. Tovey observes that all these works have in common a particular magnificence, wealth of tone and majestic beauty, by which one can almost recognize the patron and friend to whom they are dedicated. Beethoven (1770-1827) This Sonata deals with the emotions, rather than the depiction, of parting, absence and re- union of friends. While the Archduke was absent, Vienna was being attacked by Napoleon's forces and Beethoven was tortured by the fear that the noise of the guns would destroy the remnants of his hearing. "All that he chose to tell of those terrible days in his music was that he had said farewell to a dear friend and that he was longing for the friend's return. For that return he waited, and wrote not a note of the music for it until the happy time had really come." (Tovey). The Sonata opens with the three descending notes-G. F. E flat-to which Beethoven affixed the text Lebewohl (farewell). This is the essence of the whole Sonata and the generating impulse upon which it is founded. After a short introduction, the Allegro follows, with an unusually lengthy coda. The second movement (l'Absence) is an intermezzo; the recapitulation of its main theme is interrupted by a change leading to the finale. The finale (le Retour) is again in sonata form. II Fantasy in C Op. 15 (The Wanderer) Allegro con fuoco Adagio (The Wanderer) Presto Allegro Schubert (1797-1828) (First performance at these Concerts). The Wanderer Fantasy was published in 1823. It is unique among Schubert's piano compositions, and may be classed either as a form of Sonata or Variations. It has been suggested that, in the fantasy, Schubert evolved a new form which in the hands of later composers became known as the symphonic poem: a term which implies "a long work in several well-defined sections, themselves rhythmically and tonally independent, but knit together by one governing thematic idea."

The Fantasy has four sections which correspond to the movements of a Sonata, in each of which the principal theme is derived from the opening motive of the first part. This motive is founded upon the theme of Schubert's song The Wanderer, which, in turn, forms the basis of the adagio section. The first section (C major) is a movement of symphonic type. A long modulating passage leads to the adagio "Wanderer" section (C sharp minor), with its richly decorated variations, which end finally with an E major chord. A scherzo in A flat, with its trio in D flat founded upon material from the first Allegro section, is joined by a modulating link to the fugal and energetic final section, again in the key of C major, and based again upon the principal motive. III Jeux d'eaux The Lover and the Nightingale Feux d'Artifice Interval of 10 minutes IV Kinderscenen (Scenes of Childhood) Op. 15 Of foreign lands and people Strange story Catch me if you can Pleading child Quite happy Important event Day-dreams By the fireside Knight of the hobby-horse Almost too serious Ravel (1875-1937) Granados (1867-1916) Debussy (1862-1918) Funerailles Concert Study in F minor Schumann (1810-1856) Bogey-man Falling asleep The poet speaks (First performance at these Concerts). The "Scenes of Childhood" were written in 1838. They came into being, Schumann tells Clara, as an echo of a remark of hers, that he sometimes seemed to her like a child. He wrote: "I felt as if I had wings, and wrote about thirty neat little things from which I have chosen twelve (thirteen). You will like them but you must forget your virtuosic self. I am very proud of them, make a great impression-especially on myself when I perform them." And again: "They came from my heart." From Schumann's many references to it, we see that the "Scenes" was one of his favourite, as well as one of his most characteristic works. Liszt (1811-1886) Dohnanyi (b. 1877) CLIFFORD CURZON was born in 1907 of British parents; he married in 1931 Lucille Wallace, the American harpsichord player. He studied at the R.A.M. under Professor Charles Reddie; later with Katherine Goodson and Matthay, then with Schnabel in Berlin, and in Paris with Wanda Landowska and Nadia Boulanger. He was elected a Fellow of the R.A.M. in 1939. He has played with the leading orchestras of Europe and America and toured widely. His first appearance in England was at the "Proms" at the age of 16. His first appearance in America was in 1939; he re-appeared there in 1947 and was immediately and unanimously acclaimed as "one of the greatest pianists of the day, ranking with Busoni and Rachmaninov." Hobbies Gardening and picture collecting. His summer home is in the Lake District.

Huddersfield Music Club Highfield Hall, New North Road. Wednesday Evenings at 7-30. November 16th The Amadeus String Quartet Quartet in B flat Op. 76, No. 4. Haydn Quartet in F minor Op. 95. Beethoven Three Studies. Stravinsky Quartet in C minor Op. 51, No. 1. Brahms Alfred Blumen (Piano Recital) Franz Osborn (Piano Recital) Dec. 7th Jan. 11th Feb. 22nd Paganini String Quartet Mar. 22nd Nancy Evans (Song Recital) Single tickets 6/6 from the Hon. Secretaries, Woods, Levells and Whitfields and at the door. The Halifax Philharmonic Club Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road, Friday, October 21st at 7-30 p.m. ERIC HARRISON (Piano) and DOUGLAS CAMERON (Cello) Sonatas by Beethoven, Debussy, Delius and Brahms Tickets 6/- may be obtained from the Library of the Halifax Literary & Philosophical Society. The Huddersfield Thespians St. Patrick's Hall, October 17th to 22nd at 7-15 p.m. TOMORROW'S CHILD A Comedy by John Coates.

THE HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. (In association with the ARTS COUNCIL OF GREAT BRITAIN) President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, NOVEMBER 16th, 1949 AT 7-30 P.M. THE AMADEUS STRING QUARTET NORBERT BRAININ PETER SCHIDLOF SIEGMUND NISSEL MARTIN LOVETT PROGRAMME PRICE SIXPENCE

PROGRAMME The analytical notes in this programme are the copyright of the Huddersfield Music Club. I Quartet in B flat Op. 76, No. 4 Allegro con spirito Adagio Minuet and Trio Allegro ma non troppo (Last performed in 1938 by the Kolisch String Quartet). The six quartets of Op. 76 were written in 1797-8 and were contemporaneous with "The Creation." Haydn wrote only two more quartets and the unfinished Op. 103. The whole of Op. 76 forms the crown of Haydn's work in this form; "everything here is condensed and intensified, the expression more personal and direct" (Geiringer). All, too, have a richness in the inner parts which had never hitherto been known. Haydn (1732-1809) This quartet, the fourth of the set, is known as the "Sunrise" from its remarkably sustained opening; the lower strings have long, held chords while the violin sings a soaring phrase. There is no second subject proper, the whole movement being derived from this phrase, The short, but expressive, slow movement is based on a smooth, rising phrase, whose re-appearances are linked by more agitated passages. The Minuet and Trio are straight- forward, but one is reminded once again of Haydn's love for the Minuet, and how much of its development from the simple dance-form is due to him. The finale is in three sections, in the first, the theme is given out by the first violin; the second has fresh material in the tonic minor key and leads to a recapitulation of the first section. The coda gradually increases in speed and brings the work to a brilliant conclusion. Quartet in F minor Op. 95 Allegro con brio. Allegretto ma non troppo. Allegro assai vivace, ma serioso. Allegretto agitato. Beethoven (1770-1827) (Last performed in 1932 by the Kutcher String Quartet). D'Indy remarks that the work of every creative genius in every art can be divided into three periods; (i) Imitation. (ii) Externalization (the development outwards: the artist begins to walk alone). (iii) Reflection; and that Beethoven was one of the most striking examples of this law. The Quartet Op. 95 dates from 1810, and therefore comes at the end of the second period. Then follows the final "reflection" period, with the last 3 symphonies, the last 6 piano sonatas and the Missa Solemnis. The first of the last 6 string quartets did not appear till 1824; from then till his death, Beethoven devoted himself solely to quartet composition. This Quartet is sometimes called the Serioso quartet. Bekker sees it as the fruit of a combined mood of retrospection and introspection; the battle had been fought, but "he became intensely aware of what it had cost him-at the close of the work the spirit of laughter takes charge and is hailed as the solution of life's problem."

The short first movement has a brusque, almost gruff, opening, which dominates this movement with its intense emotional feeling. The second movement, in the unexpected Key of D major, is calm and religious in mood; it contains a fine fugato section and is linked with the third movement-one of Beethoven's "grand scherzi." This "scherzo" is twice interrupted by two somewhat similar "trios." The last movement opens with a slow and magnificent, if short, introduction; the finale itself, restless and agitated, is in rondo form and ends with a coda which is almost Italian in its colour and gaiety. III Three Studies i. ii. iii. Danse Execentrique Cantique (Last performed in 1931 by the Pro-Arte Quartet). Stravinsky has written little chamber music proper. These pieces were composed in 1914 and dedicated to Ansermet. They are closely associated with the period of the Rite of Springtime. They have been described as fragments from the composer's note- book, for this material has taken various forms. In 1929 all three reappeared in Strav- insky's Four Studies for orchestra, emphasising their contrasting popular, fantastic and liturgical moods. Also, material from them is used in other works-the Symphony in C, the Symphony of Psalms, and the Symphonies of Wood Instruments. The first and third pieces are typical of the Stravinsky of the folk-song period. The second has delib- erately strange and eccentric intonations, and shows traces of Schönberg's atonality. IV Quartet in C minor Op. 51, No. 1 Stravinsky (b. 1882) Allegro Romanze: Poco adagio Allegretto molto moderato e comodo Allegro Brahms (1833-1897) (First performance at these Concerts). The two quartets of Op. 51 were written in 1873 and dedicated to Billroth, the Viennese surgeon and a gifted musician. Some critics have seen in this quartet, with its con- stantly rising themes, a picture of "Billroth's imperious nature which seems to speak from the sounds of this sombre and passionate, hard-riveted work." Although Brahms had previously written for chamber music combinations, these were his first published works for string quartet. It is known that he had destroyed a number of earlier essays. The Quartet in C minor opens with a theme, "hurled upwards" by the first violin, which is almost Wagnerian. This theme plays an important part, appearing as the principal theme of the last movement, and also part of the theme of the Romanze. The first movement could be described as a dark and stormy tragedy; the second subject is almost as agitated as the principal one. The Romanze begins solemnly and passes into a melan- choly theme; so richly is it scored that it sounds even more complex than it is. The third movement, almost an intermezzo, is sombre, becoming more carefree in the trio sect- ion. There is no real change of mood in the finale, which forms a convincing end to a tragic and passionate work. THE AMADEUS STRING QUARTET was founded in 1947 as a professional ensemble after several years of quartet playing together during their years of study. Their first London appearance was in 1948. All the members of the quartet are in their twenties, while three of the members are of Viennese origin and came to this country in their early 'teens.

The Huddersfield Music Club Highfield Hall, New North Road. Wednesday Evenings at 7-30 p.m. December 7th ALFRED BLUMEN Prelude, Chorale and Fugue. Franck Sonata in E, Op. 109. Beethoven Sonata in B flat minor, Op. 35. Chopin. Works by Debussy, Ravel, Dohnanyi and Albeniz Jan. 11th. FRANZ OSBORN (Piano Recital). Feb. 22nd. PAGANINI STRING QUARTET. Mar. 22nd. NANCY EVANS (Song Recital). Tickets 6/6 from the Hon. Secretaries, Woods, Whitfields, Levells and at the door. The Halifax Philharmonic Club Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road. Friday, November 18th at 7-30 p.m. THE AMADEUS STRING QUARTET Quartets by Beethoven, Dvorak and Mozart Tickets 6/ may be obtained from the Library of the Halifax Literary and Philosophical Society Huddersfield Glee & Madrigal Society TOWN HALL November 29th, 1949, at 7-15 p.m., THE CHOIR WITH SMETERLIN (Piano). March 7th, 1950 THE CHOIR WITH HEDDLE NASH (Tenor). Conductor: Leslie Woodgate. Accompanists: Evelyn Graham and Philip Challis. Season tickets: Balcony 10/6, Area 7/6, 5/-. Single tickets: 6/-, 4/-, 3/-. From the Hon. Treasurer, Mr. J. R. Boothroyd, 29, Spaines Road, Fartown, and at Woods. The Huddersfield Thespians St. Patrick's Hall, November 28th to December 3rd at 7-15 p.m. CLARENCE DAY'S LIFE WITH FATHER Made into a play by Howard Lindsay and Russel Grouse.

THE HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. (In association with the ARTS COUNCIL OF GREAT BRITAIN) President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, DECEMBER 7th, 1949 AT 7-30 P.M. The Committee regret that, owing to indisposition Mr. Alfred Blumen is unable to appear. In his place the Committee have fortunately been able to engage MAURICE COLE PIANO RECITAL PROGRAMME PRICE SIXPENCE

Prelude, Chorale and Fugue Sonata in A flat major Op. 110 Two Preludes Sonatine PROGRAMME Rhapsody in C major Seguidillas I Molto cantabile, molto espressivo. Allegro molto. Adagio ma non troppo: Arioso dolente. Fuga: Allegro ma non troppo. II Modéré Mouvement de Minuet Animé Interval of ten minutes C. Franck (1822-1890) Beethoven (1770-1827) III Barcarolle in F sharp major Op. 60 Fantasie in F minor Op. 49 Debussy (1862-1918) Ravel (1875-1937) Dohnanyi (b. 1877) Albeniz (1860-1909) Chopin (1810-1849)

The Huddersfield Music Club Highfield Hall, New North Road. Wednesday Evenings at 7-30 p.m. January 11th. FRANZ OSBORN Impromptu in C minor Op. 90 No. 1 Sonata in A minor Op. 143 Valse Noble Sonata in C minor Op. 111 Suite. Petrushka Schubert Beethoven Stravinsky Feb. 22nd. PAGANINI STRING QUARTET. Mar. 22nd. NANCY EVANS (Song Recital). Tickets 6/6 from the Hon. Secretaries, Woods, Whitfields, Levells and at the door. The Halifax Philharmonic Club Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road, Friday, January 13th, at 7-30 p.m. KATHLEEN LONG (Piano Recital). Works by Couperin, Rameau, Scarlatti, Mozart, Schumann, Franck, Fauré and Ravel. Tickets 6/ may be obtained from the Library of the Halifax Literary and Philosophical Society The Huddersfield Thespians St. Patrick's Hall, January 30th to February 4th at 7-15 p.m. THE APPLE CART by GEORGE BERNARD SHAW.

THE HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. (In association with the ARTS COUNCIL OF GREAT BRITAIN) President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, JANUARY 11th, 1950 AT 7-30 P.M. FRANZ OSBORN PIANO RECITAL PROGRAMME PRICE SIXPENCE

PROGRAMME The analytical notes in this programme are the copyright of the Huddersfield Music Club. I Impromptu in C minor Op. 90, No. 1 Schubert (1797-1828) The title "Impromptu" was given to two sets (Opp. 90 and 142) of four pieces each. It is probable that the publishers, Haslinger, supplied it, but, as the title properly belongs to compositions based on the character of extempore performance rather than upon a set form, it cannot be denied that, with their changing moods and rhythms, these pieces were rightly named. Most of Schubert's Impromptus take the form of free variations and all, curiously enough, are written in flat keys (Haslinger ed the key of the third from G flat to G). All are of sufficient length and importance to form a movement of a sonata, and, indeed, Schumann considered that three of the Impromptus of Op. 142 were in fact three movements of a sonata in F minor. This Impromptu opens rather in the style of a ballade, but soon shows itself to be a series of variations upon two alternating major and minor themes. Throughout the work the major and minor keys are so constantly interchanged that the sense of tonality becomes bewildered. The ceaselessly moving accompaniment figures give continuity to the recurring themes. Sonata in A minor Op. 143 Schubert Allegro giusto Andante Allegro vivace (First performance at these Concerts). This sonata dates It opens pianissimo In all, Schubert wrote 21 piano sonatas, some left uncompleted. from 1823, and is the first of the eight great sonatas of his maturity. "in unison octaves, through melodic fragments rising above deep-set chords to the sudden fortissimo outburst when the same ideas emerge in a full panoply of harmonies." The entire movement is based on a striking alternation between the austerity of the first subject and the warm tenderness of the second; and the whole is expressed with a remarkable economy of keyboard treatment and with great clarity. The second movement is built upon short melodic sections, each ending with a tiny intervening phrase. When the theme emerges in its second form, it is given throughout to the left hand. The swiftly running finale is a rondo of a new type. The subjects recur but are given variety and fresh colourings by means of key changes. The bridge between the repetitions consists of a descending octave passage broken by rests with a very moving effect. Valse Noble Sonata in C minor Op. 111 II Schubert Beethoven (1770-1827) Maestoso-Allegro con brio ed appassionata Arietta-Adagio molto semplice e cantable (Last performed in 1945 by Iso Elinson). This titanic sonata is the last of the 32 piano sonatas and by many it is considered to be the most perfect work of its kind. It was written in 1821-22 immediately after the Sonatas Opp. 109 and 110 and only five years before Beethoven's death.

The Sonata has only two movements. In itself this two-movement form in a late Beet- hoven sonata is not surprising, but what astonished contempory musicians was the fact that the work ended with an Adagio. Now we realize that not only was the conventional finale not required, but that it would have been definitely antagonistic to the character of the piece, already complete in itself. Lenz has described the moods of the two move- ments as Resistance-Submission or Sansara-Nirvana; which titles, however, though giving an approximate idea of the underlying sentiments, are not universally accepted, especially in the case of the second movement, which appears to contain a much more vital and positive meaning. The first movement has a short Introduction of majestic proportions, indicating at once the vastness of the conflict. The opening chord is the most agonized dissonance in Beethoven's musical vocabulary. It is followed by stately chords fading into a deep rumble in the bass, which is interrupted by the dramatic appearance of the principal subject. This continues in thundering octave passages, and after tremendous melodic leaps, the gentler second subject enters. The conflict breaks out again and continues until the key becomes that of C major and the turmoil sinks into low mutterings in the bass. According to von Bülow, the second movement in C major should follow without inter- ruption. It is an Arietta with five variations. These are not variations in the usual meaning of the term for each is indivisible from the next and the whole impression is one of consecutiveness and organic growth. The song itself is serene and noble, marked to be played with much simplicity. Upon this material a movement is built up which takes the listener far from the original simplicity of the theme, through the utmost sub- tleties of rhythm, into ideal heights of spirituality. Finally comes a long series of trills, through which snatches of the theme are heard; a brief reference to the opening brings the movement and the Sonata-to its perfect close. Interval of ten minutes III Suite-Petrushka 1. Danse Russe 2. Chez Petrushka 3. La semaine grasse Stravinsky (b. 1882) In 1910 Stravinsky conceived the idea of composing a concerted piece for piano and orchestra, and had in mind a distinct picture of a puppet suddenly endowed with life. Having finished this "bizarre work," Stravinsky struggled, he writes, to find a title for it. "One day I leapt for joy. I had indeed found a title-Petrushka, the immortal and unhappy hero of every fair in countries." Diaghileff was much struck with the work and immediately saw the possibilities of a ballet in it. With the collaboration of Benois, the ballet was produced in Paris in 1911. In 1921 Stravinsky made a virtuoso piano version of Petrushka for Arthur Rubinstein-a task which he said enthralled him. For this version he used the Russian dance from Tableau I, the scene in Petrushka's room from Tableau II (in which Petrushka, bitterly conscious of his ugliness and servitude, falls in love with the Ballerina and is repulsed by her.) The last movement contains the bulk of the music of the last Tableau, omitting Petrushka's death. This is the scene of the Butter Week Fair, the depiction of which particularly delighted Benois. FRANZ OSBORN studied with Artur Schnabel. He made his debut in 1928 and has lived in London since 1934. He has played in almost every European country and under such eminent conductors as Furtwängler, Walter and Mengelberg. He has given first per- formances of modern works including the brilliant Waltor Sinfonia Concertante in Berlin with the composer conducting. Mr. Osborn has also done a great deal of lecturing. (Flowers arranged by Blackburns, Victoria Lane).

The Huddersfield Music Club Highfield Hall, New North Road. Wednesday Evenings at 7-30 p.m. February 22nd, 1950. In consequence of devaluation, the Paganini Quartet have cancelled their tour in Europe. The Committee is happy to announce the engagement of The Loewenguth String Quartet Quartet in B flat K.458 (The Hunt). Mozart. Quartet No. 2. Britten Quartet in F major. Op. 135. Beethoven. (Subject to alteration). March 22nd, 1950 NANCY EVANS (Song Recital). Tickets 6/6 from the Hon. Secretaries, Woods, Levells, Whitfields and at the door. The Halifax Philharmonic Club Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road. Friday, January 13th, at 7-30 p.m. KATHLEEN LONG (Piano Recital). Works by Couperin, Rameau, Scarlatti, Mozart, Schumann, Franck, Fauré and Ravel. Tickets 6/ may be obtained from the Library of the Halifax Literary and Philosophical Society The Huddersfield Thespians St. Patrick's Hall, January 30th to February 4th at 7-15 p.m. THE APPLE CART by GEORGE BERNARD SHAW.

THE HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. (In association with the ARTS COUNCIL OF GREAT BRITAIN) President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, MARCH 1st, 1950 AT 7-30 P.M. THE LOEWENGUTH STRING QUARTET MAURICE FUERI. PIERRE BASSEUX ALFRED LOEWENGUTH ROGER ROCHE PROGRAMME PRICE SIXPENCE

PROGRAMME The analytical notes in this programme are the copyright of the Huddersfield Music Club. 1 Quartet in B flat major (The Hunt K458) Allegro vivace assai Menuetto Trio Adagio Allegro assai (Last performed in 1932 by the Kutcher String Quartet) This quartet is the fourth of a set of six, which appeared in 1782 and were dedicated to his "dear friend Haydn," with the remark that they were the fruits of long and careful study-indeed, hardly another of Mozart's manuscripts shows so many alterations and erasures. Mozart's work as a composer of quartet can be divided into two distinct periods. There are fifteen early quartets written between 1770-73; then 1782 saw the appearance of the first of the ten "great" quartets. There was little in the early group to distinguish the style of a string quartet from an early symphony or even a divertimento. But, dating from Haydn's Sun Quartets (1772) and Mozart's Haydn Quartets, chamber music began its development on its own lines. Hermann Abert writes: "Now he (Mozart) appears before us an artist in the modern, Beethoven, sense-one who no longer takes his inspiration from external sources, but seeks it within himself." The new vocal style, which developed after Mozart's Italian tours, influenced his instrumental works and "gave it that specifically Mozartian, cantabile colouring which differentiates his art from that of all his contemporaries." Quartet in C major (Mozart 1756-1791) The first movement of this quartet, known as The Hunt because of the suggestion of a hunting-song in its opening theme, recalls Haydn both in the style of that theme and in the light and innocent gaiety of the movement; the more characteristic Mozart does not appear until the development section. The Minuet and Trio form the second movement, instead of in the usual third position. The slow movement is perhaps the most impressive of the whole work. "Throughout the movement is felt the slow breathing of a true adagio, where as Mozart-unlike Haydn and Beethoven-usually preferred the andante type. Its opening is full of gloom and pathos; the second theme glows with beauty and fervour." The theme of the finale is taken from an old folk-song; the movement has the same spirit as the first movement-a "happy combination of delicious Mozartian roguishness and Haydnesque humour" (Abert). II Allegro resoluto Larghetto Presto Allegro assai Jacques Ibert (b. 1890) (First performance at these concerts) Ibert was born in Paris. He studied at the Conservatoire and won the Prix de Rome in 1919. He became director of the French Academy in Rome in 1937. He has written several operas and ballets, incidental music for plays and films, orchestral work, and some chamber music, which includes one string quartet. Ibert's music is very concentrated in style; in it one finds elegance and precision. He is not afraid to use strength and even harshness, but his music also has colour, wit and great feeling. This string quartet was begun in 1937 and completed in 1941. The opening allegro is a splendid example of modern counterpoint. The first violin announces a short theme in

the opening bar; the second violin replies with an imitation in contrary motion. This theme, in varying forms, is tossed between the four instruments and a wonderful contra- puntal structure is built up. The slow movement is deeply impressive, opening in a gentle and melancholy mood which gradually becomes more animated. The viola has the opening melody, supported by the violins. The tempo changes to 6/4, and a dialogue follows between the viola and cello. The first violin carries the melody to greater heights, and the movement becomes more animated. Following a return to the first tempo, the cello has a gentle melody and the movement ends with the violin fading into a pianissimo. The third movement, really a Scherzo, is played pizzicato throughout. This rhythmic movement sparkles with wit and gaiety. The finale opens with an energetic theme in octaves for viola and cello, to which the violins reply in the style of a fugue. Development of this theme and contrasting episodes follow, in which much use is made of the main theme. The movement ends with a sonorous allargando, in which the theme is heard in augmentation. (The information in this note has kindly been supplied by the Loewenguth Quartet.) Interval of ten minutes III Quartet in F major Op. 135 Allegretto Vivace Lento assai, cantante e tranquillo Grave Allegro Beethoven (1770-1827) This quartet, Beethoven's last, was written in 1826, the same year as the quartets Opp. 130 and 131. These three were the only completed works of that year. It is, in fact, the shortest and simplest of the last five quartets and it returns to the old four-movement type. Bekker observes that "it stands at the close of a phase of development and possesses the peace of a goal attained. It lacks moments of great spiritual tension, of wild excite- ment over deep questions and problems. These having been exhausted in preceeding works are merely subjects of imaginative reminiscence. The F major is in the nature of an epilogue, a retrospective 'The poet speaks"." The Allegretto is in the classical first-movement form. Although the mood is cheerful, the gaiety is tempered with sober reflection and wisdom. The syncopated Vivace has a wonderful rhythmic verve; writing of this movement Langford once called Beethoven the first great writer of jazz music! The short slow movement in D flat minor-the kernel of the whole work-opens with a most lovely and poignant melody. "This movement is devout and religious in tone and reflects the mystic faith of the composer" (Bekker). The melody is interrupted by a short interlude of nine subdued, hesitating and irregular bars. When the melody returns "the theme is veiled by a cloud of nimble, decorative figures which hide its contours, and at length it ends very softly" (d'Indy). At the head of the last movement Beethoven wrote "The resolution taken with difficulty," and the slow introduction opens with two "mottoes." "Must it be?" and "It must be." There is no definite explanation to these words, and no answer to the question whether they should be taken seriously or considered as one of Beethoven's musical "jokes." The movement which follows is strong and vital, perhaps implying that "Beethoven asks a question of life and, as answer, proclaims the gospel of the Deed" (Bekker). THE LOEWENGUTH QUARTET of Paris was the first French quartet to give series of concerts in the United States (1936). In 1946 they were engaged by the B.B.C. to give a complete cycle of Beethoven quartets. This was the first time for a series of that kind to be broad- cast in the Third Programme. (Flowers arranged by Blackburns, Victoria Lane)

The Huddersfield Music Club Highfield Hall, New North Road. Wednesday, March 22nd, 1950, at 7-30 p.m. Nancy Evans (Song Recital) Songs by Handel, Mozart, Purcell, Brahms, Delius, Vaughan Williams, Warlock and the Song-cycle "A Charm of Lullabies" (Britten). Tickets 6/6 from the Hon. Secretaries, Woods, Levells, Whitfields and at the door. The Halifax Philharmonic Club Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road. Prospectus for the season 1950/51 will be sent on application to the Hon. Secretary: H. Lord, Esq., 17, Albert Gardens, Pellon, Halifax. Huddersfield Glee and Madrigal Society Town Hall Tuesday, March 7th at 7-15 p.m. THE CHOIR with HEDDLE NASH (Tenor) Conductor: Leslie Woodgate. Accompanists: Evelyn Graham and Philip Challis. Tickets: 6/-, 4/-, 3/- from Woods. The Huddersfield Thespians St. Patrick's Hall, March 6th to March 11th at 7-15 p.m. GHOSTS by HENRIK IBSEN.

THE HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. (In association with the ARTS COUNCIL OF GREAT BRITAIN) President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, MARCH 22nd, 1950 AT 7-30 P.M. NANCY EVANS Song Recital At the Piano: NORMAN FRANKLIN PROGRAMME PRICE SIXPENCE

PROGRAMME 1 O sleep, why dost thou leave me (Semele) Praise ye the Lord (Cantata con stromenti) Voi che sapete (Figaro) Dido's Lament (Dido and Aeneas) Twilight Fancies The Water Mill Silent Noon Sweet and Twenty Consider II An die Nachtigall (To the Nightingale) Immer leiser wird mein Schlummer (Ever lighter grows my slumber) Es träumte mir (I dreamed at night) Interval of ten minutes III Handel (1685-1759) 99 Mozart (1756-1791) Purcell (1659-1695) Brahms (1833-1897) Delius (1862-1934) Vaughan Williams (b. 1872) 99 Peter Warlock (1894-1930)

A Charm of Lullabies IV Song Cycle- Benjamin Britten (b. 1913) A Cradle Song (Blake) The Highland Balon (Burns) Sephestia's Lullaby (Robert Greene) A Charm (Thomas Randolph) The Nurse's Song (John Phillip) NANCY EVANS was born in Liverpool. She began her vocal studies at the exceptionally early age of fourteen, and also studied piano, composition and languages. Before she was seventeen she was singing at concerts in the North of England. She made her London debut in Sullivan's "Rose of Persia" and gave her first London recital at the age of nineteen. She has made a number of outstanding gramophone records including the complete recorded version of Purcell's "Dido and Aeneas" (Dido) and the H.M.V. British Council's records of Britten's "The Rape of Lucretia" (Lucretia). She has sung at Glyndebourne and at Covent Garden in the International Season of 1939. She is a leading member of the English Opera Group and has created leading parts with them in the last four years, including Lucretia (1946), Nancy in "Albert Herring" (1947) and Polly in Britten's version of "The Beggar's Opera" (1948). Britten has dedicated a recent cycle of songs, "A Charm of Lullabies" (1948) to Nancy Evans, and she gave first performances of it at the London Contemporary Music Centre, the Aldeburgh Festival, the Cheltenham Festival, in Amsterdam and the Hague. She has made opera and concert tours in Holland, France, Belgium, Germany, Switzerland and Scandinavia. (Flowers arranged by Blackburns, Victoria Lane).

The Huddersfield Music Club Next Season's Arrangements OCTOBER 18th, 1950 YFRAH NEAMAN The new violinist, prior to his American tour NOVEMBER 8th, 1950 ALEKSANDR HELMANN Re-engagement following his great success last season NOVEMBER 29th, 1950 THE BARYLLI STRING QUARTET First appearance of this famous Viennese quartet JANUARY 24th, 1951 QUINTETTE DE L'ATELIER First appearance of this celebrated Piano Quintette from Paris FEBRUARY 14th, 1951 GINA BACHAUER First appearance of the brilliant Greek pianist MARCH 7th, 1951 FREDERICK FULLER First appearance of the eminent English baritone Special Announcement Next season these concerts will be given in the TOWN HALL (area section) The Annual Meeting for Members I will be held in October Notice of the meeting will be sent in due course to members, who are particularly invited to attend The Huddersfield Thespians St. Patrick's Hall, April 24th to April 29th at 7-15 p.m. "THE CONSTANT WIFE" by Somerset Maughan