HUDDERSFIELD MUSIC SOCIETY Brochure 34 Season's programmes 1951 1952 24.10.1951 3411. Chopin Op 51 No 3. Mazurka 19.3.1952 341 6. The two Brahous Rhapsodies are op 79, nor 27. H. Norayte Archivisv. 3412 nor colorchecker Xx.rite .this is 14-11.195. The Accompanist speaks Programme missing MSCCPPCC0613 W ////////////////////////////////////וווווווווווו.uu 3 P. =

The Huddersfield Music Club (Founded in 1918 by Dr. Eaglefield Hull) In association with the Arts Council of Great Britain A SERIES OF SIX CONCERTS for the Thirty-fourth Season 1951-52 to be given in the ST. PATRICK'S HALL, HUDDERSFIELD on WEDNESDAY EVENINGS at 7-30 p.m. President A. L. WOODHEAD, Esq., M.A., J.P.W Active Vice-President J. Stancliffe Ellis, Esq. - Honorary Vice-Presidents Dr. Ralph Vaughan Williams, O.M. Dame Myra Hess, D.B.E. Benjamin Britten S. H. CROWTHER E. GLENDINNING Miss Z. E. HULL P. L. MICHELSON F. ROWCLIFFE Miss A. SHAW E. C. SHAW Presents Hon. Secretaries Mrs. H. AINLEY Mrs. ARNOLD Mrs. BRANSOM Mrs. A. E. HULL, 48, New North Road. Tel. 1094 STANLEY G. WATSON, 342, New Hey Road. Tel, 1706 Hon. Treasurer-F. W. GADSBY, 222, Almondbury Bank. Tel. 2763. Mrs. S. H. CROWTHER Miss K. EVANS Committee Mrs. E. FENNER Mrs. D. HIRST Mrs. A. E. HORSFALL Mrs. A. E. HULL Miss Z. E. HULL Mrs. G. G. JARMAIN I. SILVERWOOD Mrs. I. SILVERWOOD E. D. SPENCER Mrs. P. SYKES J. TROLLER Mrs. S. G. WATSON Ladies' Committee Chairman-Mrs. P. SYKES Mrs. A. W. KAYE W Mrs. LIVINGSTONE Mrs. J. LEE Mrs. E. PARK Mrs. M. M. SAYER Miss A. SHAW Mrs. I. SILVERWOOD Mrs. E. D. SPENCER Miss TOWNSEND Miss E. WHITWAM Hon. Secretary-Mrs. E. GLENDINNING Hon. Treasurer-Mrs. S. G. WATSON 152 THE CLUB IS OPEN TO EVERYONE Important-Please see back page LUB M.A., J.P.

The Huddersfield Music Club (Founded in 1918 by Dr. Eaglefield Hull) In association with the Arts Council of Great Britain A SERIES OF SIX CONCERTS for the Thirty-fourth Season 1951-52 to be given in the ST. PATRICK'S HALL, HUDDERSFIELD on WEDNESDAY EVENINGS at 7-30 p.m. 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. Benjamin Britten S. H. CROWTHER E. GLENDINNING Miss Z. E. HULL P. L. MICHELSON F. ROWCLIFFE Miss A. SHAW E. C. SHAW Presents Hon. Secretaries Mrs. H. AINLEY Mrs. ARNOLD Mrs. BRANSOM Mrs. A. E. HULL, 48, New North Road. Tel. 1094 (STANLEY G. WATSON, 342, New Hey Road. Tel. 1706 Hon. Treasurer-F. W. GADSBY, 222, Almondbury Bank. Tel. 2763. Mrs. S. H. CROWTHER Miss K. EVANS Mrs. E. FENNER Mrs. D. HIRST Mrs. A. E. HORSFALL Committee Mrs. A. E. HULL Miss Z. E. HULL Mrs. G. G. JARMAIN I, SILVERWOOD Mrs. I. SILVERWOOD E. D. SPENCER Mrs. P. SYKES J. TROLLER Mrs. S. G. WATSON Ladies' Committee Chairman-Mrs. P. SYKES Mrs. A. W. KAYE Mrs. LIVINGSTONE Mrs. J. LEE Mrs. E. PARK Mrs, M. M, SAYER Miss A. SHAW Mrs. I. SILVERWOOD Mrs. E. D. SPENCER Miss TOWNSEND Miss E. WHITWAM 112 Hon. Secretary-Mrs. E. GLENDINNING Hon. Treasurer-Mrs. S. G. WATSON THE CLUB IS OPEN TO EVERYONE Important Please see back page

WEDNESDAY, OCTOBER 24th, 1951 Nina Milkina PIANO RECITAL Sonata in E minor, Op. 42 ... Variations in F major (K.54) Haydn Mozart Sonata in A minor (K.310) Mozart Preludes, Mazurkas, Ballade in G minor Chopin Works by Scriabin, Rachmaninoff and Prokofiev WEDNESDAY, NOVEMBER 14th, 1951 Gerald Moore A LECTURE-RECITAL "THE ACCOMPANIST SPEAKS" with HELGA MOTT (Soprano) WEDNESDAY, DECEMBER 5th, 1951 The Amadeus String Quartet Quartet in A major (K. 464) Quartet No. 6 ... Quartet in B flat major, Op. 130 Mozart Hindemith Beethoven

WEDNESDAY, JANUARY 9th, 1952 Christmas Holiday Concert William Pleeth and Margaret Good CELLO AND PIANO RECITAL Sonata in A major, Op. 69 Sonata Sonata Sonata in E minor, Op. 38 Beethoven Alan Rawsthorne WEDNESDAY, FEBRUARY 13th, 1952 The Peter Gibbs String Quartet Quartet in E flat, Op. 9, No. 2... Quartet in F, Op. 59, No. 1 ... Quartet in F WEDNESDAY, MARCH 19th, 1952 Debussy Brahms Haydn Beethoven Ravel John Hunt PIANO RECITAL Air and Variations from E major Suite ... Handel Phantasy in C minor (K. 396) Mozart Sonata in A flat major, Op. 26 ... ... ... Beethoven Works by Chopin and Brahms

bas di9919 silliW THE CLUB IS OPEN TO EVERYONE Subscriptions. A Member's subscription for the SEASON will be 30/-. Season tickets may be obtained from either of the Hon. Secretaries or from Messrs. J. Wood & Sons, Ltd., 67, New Street; Messrs. Whitfield, Ltd., Ramsden Street; Messrs.. Kenneth Levell, Ltd., Market Street. Students' tickets will not be issued this Season. If you were a member last Season 2₂ ticket (s) for the coming season are enclosed herewith and it is requested that the appropriate subscription be forwarded to the Hon. Treasurer (Mr. F. W. Gadsby, 222, Almondbury Bank, Huddersfield) before the date of the FIRST CONCERT.. Cheques should be made payable to "The Huddersfield Music Club". In the event of any of the tickets not being required this year, they should be returned to Mrs. Hull not later than October 12th, after which date it will be assumed that they will be retained and paid for. If you were not a Member last Season will you please write as early as possible to either of the Hon. Secretaries stating the number of Season tickets required. Members are requested to note that the Concerts will again be given in ST. PATRICK'S HALL Members are recommended to occupy their seats not later than 7-15 p.m. PLEASE PASS THIS LEAFLET ON TO YOUR FRIENDS. ||||||

THE HUDDERSFIELD MUSIC CLUB President A. L. WOODHEAD, Esq., M.A., J.P. (In association with the ARTS COUNCIL OF GREAT BRITAIN) ST. PATRICK'S HALL WEDNESDAY, 24th OCTOBER 1951 at 7-30 p.m. NINA MILKINA PIANO RECITAL Programme Price Sixpence

PROGRAMME The analytical notes in this programme are the copyright of the Huddersfield Music Club I Sonata in E minor, Op. 42 Presto Adagio Finale: Allegretto vivace Variations in F major K.54 Sonata in D major, K.576 Allegro Adagio Allegretto In his book on Mozart, Einstein makes the interesting comment that Mozart conceived a complete work as a whole; that with him a sonata, a quartet or a symphony is a work not put together out of individual movements but that they are united by means of a hidden logic; that there are no instances of his exchanging movements, as Beethoven did, or of Mozart's taking a movement out of a work and sending it alone into the world. The sole example of a "solitary movement" is the D major Minuet K.355, which Einstein suggests might well have been the third movement of this, Mozart's last piano sonata. Two Preludes, Op. 28 It was written in 1787. That year Mozart had been in North Germany, hoping apparently to find greater generosity from the Prussian Royal family than he had found in Vienna. He wrote "I am composing six easy sonatas for Princess Friederike and six quartets for the King". But only three quartets were completed and only this one sonata, which was published posthumously. It cannot be described as easy, as it is essentially contrapuntal, "full of duet-like oppositions" that recall Bach. "There is no thought of the Princesses of Prussia in the finale, which combines the sweetness of piano sonorities with the fine detail of a string trio, or in the deep longing and consolation of the Adagio" (Einstein). II D flat major D minor Haydn (1732-1809) Mozart (1756-1791) Mozart Chopin (1810-1849) The 24 Preludes of Chopin-a Prelude in each key, major and minor-were published in 1839. According to George Sand, they were written during their stay in Majorca; but other evidence points to the fact the greater part of them were sketched or even written before then, and then probably completed or revised there. Marlowe's line "Infinite beauty in a little room" has been applied to them. Op. 7 No. 3 Op. 7 No. 4 The Prelude in D flat major is one of the longest; its middle section changes to the key of C sharp minor. Cortot compared the D flat section to a cradle song, the C sharp section to a nightmare. The Prelude in D minor is a complete contrast; "unbridled, maniacal fury; a terri- fying piece, tremendous in its strength and passion". Four Mazurkas Chopin Op. 41 No. I Op. 51 No. 3

Chopin wrote 51 Mazurkas, and they are perhaps the most characteristic of all his works. In them the Polish temperament "marked by abrupt transitions from energy to lassitude, gaiety to melancholy, exaltation to morbid depression, finds here its fullest and most intimate expression." Some "offer fugitive glimpses of a single mood . . . . The unexpected is always happening and, when it happens, it always seems natural and inevitable, however wayward." Not in all of them does the accent fall, as in the dance, on the third beat. Harmonic- ally they are very daring. The majority are short; none are technically difficult but their correct musical interpretation is one of the most difficult problems of Chopin's music. Ballade in G minor, Op. 23 Chopin This is the first of the four Ballades. It was written in 1836. It was inspired by the poem "Konrad Wallrod" of the polish poet Adam Mickiewicz. Interval of ten minutes III Three Studies Op. 8 D flat, No. 10 B flat minor, No. II D sharp minor, No. 12 Scriabin (1872-1915) Scriabin, pianist, composer and mystic, studied at the Moscow Conservatoire, where he later taught; he won fame as a pianist and then retired to devote himself entirely to composition. His early piano works show the influence of Chopin, and like Chopin, he enlarged the scope of piano technique. His later works, both for piano and orchestra are completely original, particularly in their harmonic aspect. His latest works are attempts to express his philosophical ideas in the form of music combined with colour, movement and even scent. Prelude in G major, Op. 32, No. 5 Rachmaninoff (1873-1943) Prokofiev (b. 1891) Suggestion Diabolique Frokofiev is one of the outstanding composers of modern Russia. Although he studied in the older school of Rimsky-Korsakov and Liadov, his music has little relation to their styles. He began composition at an early age. In 1923 he became associated with Diaghilev for whom he wrote ballets (including Chout and Pas d'acier). He returned to Russia in 1934, and although at first allowed contact with the western world, gradually the fetters were tightened; in 1948 his name headed the list of Soviet composers who were condemned by the Central Committee of the Communist Party of the U.S.S.R. Nabokov observes that Prokofiev's music has changed little, and that it would be difficult to say without knowledge whether a composition of his was a late or an early one. Prokofiev wished to bring music back to pure sound, hence the simple harmonic texture, clear-cut melody and squareness of rhythm. Often his music has a joking, even a sarcastic or ironic flavour. The piano for him is purely an instrument of percussion, and his understanding of it from that point of view is complete. "Suggestion diabolique" is one of his experi- ments in polytonality. NINA MILKINA, the Russian-born pianist, began her musical career in London at the age of seven, where she studied under Matthay and Craxton. She continued her studies in Paris, where Rachmaninoff was greatly interested in her and predicted a great career for her. At the same time she studied composition under Glazounov. Her first works were written when she was only 11. Though young, Nina Milkina has a very wide concert experience. Her interpretations of Mozart have won her special praise and the BBC specially commissioned her to broadcast ali the Mozart sonatas.

The Huddersfield Music Club St. Patrick's Hall. 14th November 1951 GERALD MOORE A Lecture-recital "The Accompanist speaks". HELGA MOTT (Soprano) Wednesday evenings at 7-30 5th December. The Amadeus String Quartet. 9th January. William Pleeth and Margaret Good (Piano and 'Cello) 13th February. The Peter Gibbs String Quartet. 19th March. John Hunt. Piano Recital. Single tickets 6/6 and 2/6 (Gallery only) from Messrs. J. Wood & Sons and at the door. 26th October- The Halifax Philharmonic Club Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road. Friday evenings at 7-30 With 7th December- THE AMADEUS STRING QUARTET with CECIL ARONOWITZ (Viola) Quintet in D major K.593 Quartet in C major Op. 76, No. 3 Quintet in G major Op. 111 Mozart Beethoven Brahms NINA MILKINA. Sonata in A minor K.310 Sonatina French Suite in B minor Works by Chopin and Prokofiev Single tickets 6/- at the door or from Mr. H. Lord, 17 Albert Gardens, Pellon, Halifax. Piano Recital Mozart Ravel Bach THE ADVERTISER PRESS LTD., HUDDERSFIELD The Huddersfield Thespians St. Patrick's Hall, 19th to 24th November, at 7-15 p.m. CHANCE OF A LIFETIME (by George Taylor); Tickets 3/- and 1/6 from Messrs. J. Wood & Sons, 67 New Street.

THE HUDDERSFIELD MUSIC CLUB President A. L. WOODHEAD, Esq., M.A., J.P. (In association with the ARTS COUNCIL OF GREAT BRITAIN) ST. PATRICK'S HALL WEDNESDAY, 5th DECEMBER 1951 at 7-30 p p.m. The Amadeus String Quartet NORBERT BRAININ (Violin) SIEGMUND NISSEL (Violin) PETER SCHIDLOF (Violin) MARTIN LOVETT (Cello) Programme Price Sixpence

PROGRAMME The analytical notes in this programme are the copyright of the Huddersfield Music Club I Quartet in A major K.464 Allegro Andante Menuetto and Trio Allegro non troppo (Last performed in 937 by the Roth Quartet) Mozart began to write the set of 6 quartets, which he dedicated to Haydn in 1773. For nearly ten years this was a form of composition which Mozart had neglected; but during that period he had deeply studied the art of counterpoint as well as the works of his immediate predecessors, all of which must have led him towards this sudden outpouring of a wonderful series of chamber music. It is difficult for us to understand how "advanced" these quartets sounded at that time. They were subjected to violent criticism, and the "eccentricities" of their harmonies were even described as "printer's errors". Quartet No. 6 This quartet is the fifth of the set and was written in Vienna in 1785. It is an example of Mozart's new thematic style-the using of a theme in such a way that new ideas and inventions constantly spring out of it, thus leading towards Beethoven's conception of a theme as something from which the entire material inevitably grows. The first movement is contrapuntal, intimate in style and contrapuntal treatment is freely used. The Andante is a set of six variations upon a fine theme. The first variation follows the older Viennese model of decorative figuration, the later ones seck rather for the underlying meaning of the theme. The sixth is built upon a dominant pedal. The Finale was a particular favourite of Beethoven's; he copied it out with his own hand. Mozart (1756-1791) II Fast Quiet, scherzando Slow Canon, moderately fast, gay (First performance at these concerts) Hindemith (b. 1895) Paul Hindemith was born at Hanau of Silesian parents. In pre-Hitler days he was considered to be Germany's leading composer, but, though "Aryan", he and his works were labelled "degenerate" by the Nazis and were banned. (In Russia he, Schonberg and Stravinsky are called the three arch-devils of "bourgeois decay".) Hindemith was educated at the Frankfort Conservatoire, and has led an extraordinarily varied career. In early years he earned a living by playing in cafes and dance-hails; later he became the leader of the Frankfort Opera Orchestra. In 1921 he founded the Amar-Hindemith String Quartet, in which he played the viola; he, in fact, plays some dozen instruments and was the foremost viola player in Germany. In 1927 he began to teach in the Berlin Hochschule, and in 1933 he went to Turkey to organise the musical life there. He went to America in 1937 where he is now teaching in the Yale University School of Music. He is an amazingly prolific and versatile composer, having written operas, ballets, orchestral works, choral, chamber and piano music and songs. He has been called the greatest living writer of fugues. "Sometimes he composes for children and humble amateurs, and sometimes just for fun. His work is distinguished by clarity of thought, thorough workmanship, ease and vitality." (Hutcheson). It has, too, a sense of humour not entirely German in character. His music is principally contrapuntal in texture and his harmony is influenced by atonality; his powers of invention are fresh and unending. This Quartet was written in 1945. The key signatures are discarded, but the impression is that it begins and ends in a key which wavers between E flat major and minor. The short first movement completely contrapuntal-is based upon two main themes; the first violin plays the

first at the opening; the second thenie, developed from a figure in the first, is played by the violin solo (bar 36), the other instruments following it in canon. The second movement is soft and delicate throughout with only one climax in it; the principal theme recurs throughout, given in turn to each instrument and embellished with fresh figurations. A secondary theme has a curious doubling in fifths. The third movement opens with a slow introduction. The main section is strictly contrapuntal; it ends quietly in a form of B minor. The last movement opens with an elaborate canon between the first violin and the viola. The basis of the whole movement is the use of canon, sometimes incomplete, sometimes in augmentation, but always founded upon the main subject. These canons are linked by connecting passages and much use is made of powerful pedal basses. The whole movement is a striking example of modern contrapuntal writing. INTERVAL OF TEN MINUTES Quartet in B flat major Op. 130 III Adagio ma non troppo-Allegro Presto Beethoven (1770-1827) Andante con moto ma non troppo Alla danza tedesca: Allegro assai Cavatina: Adagio molto espressivo Finale: Allegro (Last performed in 1948 by the New Italian String Quartet) The years 1824-26 saw the appearance of Beethoven's last string quartets. Perhaps Op. 130, though written under most distressing conditions of illness, anxiety and complete deafness, is the greatest of them all. It has six movements instead of the traditional four. Thus Beethoven has, as it were, returned to the older form of the Suite, breaking away from the classical quartet in order to express himself more fully, just as in the late piano sonatas, he abandoned regular sonata form to return to the free fantasia. The opening movement makes great use of the Adagio introduction in combination with the first subject; the second subject is of wonderful beauty. Some listeners have compared the move- ment to a struggle between two instincts-one gently pleading, the other inexorably violent-in the same individual. The Presto (a Scherzo) is humorous and fanciful; the subtle Andante, half playful, half tender. A German country dance provides the rhythm of the fourth movement. The Cavatina is the emotional climax for the work and is one of the most supreme things in all music, full of the most noble expressiveness and an almost unearthly serenity. Of it Beethoven said to Holz, "Never did music of mine make so deep an impression on me, even the remembrance of the emotions it aroused always cost me a tear". This serenity is interrupted by a strange episode, marked by Beethoven "beklemmt"; this is translated by Newman as "with a tightening at the heart". Beethoven had intended the "Grosse Fuge" Op. 133, the fugue which is the crown of the whole work and in which the essence of it is to be found, to form the finale of the quartet. But he yielded to the solicitations of his friends and publishers and wrote-his last completed work-a new finale, one so exuberant that it is difficult to believe it to be the work of a man already stricken with a fatal illness. Specht calls this movement a "defiant Dance of Death". THE AMADEUS STRING QUARTET was formed as a professional ensemble in 1947 after. several years of playing together during their years of study. Following the success of their first London appearance in 1948, they have been in great demand by Chamber Music Societies through- out the country and have toured extensively. They are frequent broadcasters in the Third Programme and Home Services of the B.B.C. Each member of the Quartet studied under Max Rostal, and the leader, Brainin, was the winner of the Carl Flesch prize in the 1946 competition. All the members of the ensemble are under 30 years of age, and it is interesting to note that three of them are Viennese in origin, having been in this country since their early 'teens.

The Huddersfield Music Club St. Patrick's Hall. 9th January 1952 WILLIAM PLEETH and MARGARET GOOD Cello and Piano Recital S Sonata in A major Op. 69 Sonata Wednesday evenings at 7-30. Beethoven Alan Rawsthorne Sonata Sonata in E minor Op. 38 13th February. The Peter Gibbs String Quartet. 19th March. John Hunt. Piano Recital. Single tickets 6/6 and 2/6 (Gallery only) from Messrs. J. Wood and Sons and at the door. Debussy Brahms The Halifax Philharmonic Club Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road. Friday evenings at 7-30 7th December- Piano Recital Mozart Ravel Bach NINA MILKINA. Sonata in minor K.310 Sonatina French Suite in B minor Works by Chopin and Prokofiev Single tickets 6/- at the door or from Mr. H. Lord, 17 Albert Gardens, Pellon, Halifax. The Advertiser Press Limited, Huddersfield The Huddersfield Thespians St. Patrick's Hall, 21st to 26th January, at 7-15 p.m. An adaptation of "WASHINGTON SQUARE" (by Henry James) Tickets 3/- and 1/6 from Messrs. J. Wood & Sons, 67 New Street.

THE HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President (In association with the ARTS COUNCIL OF GREAT BRITAIN) ST. PATRICK'S HALL WEDNESDAY, 9th JANUARY 1952 at 7-30 p.m. William Pleeth and Margaret Good CELLO AND 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. 69 I Allegro ma non tanto Scherzo. Molto allegro Sonata Beethoven (1770-1827) Adagio cantabile - Allegro vivace (Last performed in 1930 by Gaspar Cassado) The Sonata in Beethoven wrote five sonatas for cello and piano between 1796 and 1815. A major was the third and was written in 1808. "With Beethoven came the first sonatas of true musical importance for piano and cello, and it is interesting to see with what speed and freedom he developed the possibilities of the string instrument, using it in all registers even in the first sonata" (Ivor James). But it must be remembered that though the cello has remained practically unaltered since that time, the piano has become a very different and more powerful instrument. Bekker considers that Beethoven's cello sonatas are, on the whole, more successful than the violin ones; "they show a wider range of thought and richer variety of form. The cello is better adapted as a solo instrument for chamber music duets than the violin; its noble tenor tone and virile, earnest yet adaptable and sympathetic character surpass for this purpose the coquetry and bravura of the violin and substitute simple cantabile for firework effects." The first movement, in sonata form, gives the impression of being written in three parts throughout. The cello opens solo with the first subject; the second subject, like a canon, is given by the piano. The charming Scherzo, with its ascending syncopated rhythm, forms, contrary to custom, the second movement; its Trio recalls that of the A major Symphony. The only hint of slow movement lies in the short introduction to the last movement. II Alan Rawsthorne (b. 1905) Adagio - Allegro appassionato Adagio Allegro molto (First performance at these concerts) Alan Rawsthorne was born at Haslingden, Lancashire. He went to the Royal Manchester College of Music in 1926 where he studied piano, cello and composition. He remained there for four years and then went abroad to study, including piano under Egon Petri. He later became a teacher at Dartington Hall and provided music there for the School of Dance Mime. His first international fame was won in 1938 by the performance of his Theme and Variations. for two violins at the London Festival of the International Society for Contemporary Music. His pre-war works include symphonic studies and an excellent piano concerto. Since the war many important compositions have come from him. These include a Quartet for Clarinet and Strings, a Violin Concerto, a Cello Sonata, a Concerto for string orchestra, a Symphony as well as smaller works. His latest work is a second Piano Concerto, commissioned for the Festival of Britain. Rawsthorne's reputation is now established as one of the leading composers of the country. The Cello Sonata, written in 1949, is the latest, and in the opinion of many, the finest of his chamber music works. The expressive Adagio leads into an Allegro appassionato. The slow movement (Adagio) runs without a break into a vigorous Allegro molto. This last movement is interrupted, from time to time, by short and slow passages for cello solo and also by a more. extended reference to the slow movement.

Sonata in D minor III Debussy (1862-1918) Prologue Serenade Finale (Last performed in 1949 by Pierre Fournier and Ernest Lush) Debussy wrote one sonata only for cello and piano. In his last years he had planned to write "Six Sonates pour divers instruments par Claude Debussy, musicien francais". Only three of the six were completed: the sonata for cello and piano (1915), for flute, viola and harp (1916) and for violin and piano (1916-17). The cello sonata was suggested by Italian comedy and was to have been called "Pierrot fache avec la lune". The short first movement is declamatory in style. The second has a kind of humour; the cello imitates the mandoline. The third movement, which is linked to the second, has a folk-song flavour. INTERVAL OF TEN MINUTES Sonata in E minor, Op. 38 Allegro Allegro quasi menuetto Allegro non troppo (Last performed in 1938 by Antonia Butler and George Reeves) Brahms (1833-1898) Brahms in the course of his whole career wrote only two sonatas for cello and piano. The first two movements of this, the earlier work, together with an Adagio movement which was discarded, was written in 1862. The present Finale dates from 1865. Geiringer considers this sonata, in spite of its prevailing tenderness, to be in a certain sense an act of homage to Bach. He bases this theory on the fact that the main theme of the first movement is closely related to the "Contrapunctus III" from the "Art of Fugue", while the subject of the Finale is astonishingly like the Contrapunctus XIII" from the same work. This sonata is dark in colouring; throughout, the cello hardly ever rises above its tenor register and full use is made of the noble bass that it can give to the piano. "The first movement marches like 'solemn tragedy in sceptred pall' until the quiet major end of its indignant second subject is, in the recapitulation, expanded into a pathetic coda in which the movement expires in peace." (Tovey). The development is very broad. There is no slow movement. Instead there is a graceful Minuet in A minor. It opens with a short motto-like group of four notes, which plays an important part throughout, especially in the contrasting Trio in the key of F sharp minor. The third movement, again in E minor, is a strict fugue with a free middle section and a da capo. The piano opens with the running triplet subject in the bass; it is answered by the cello entry, and the third voice is heard in the treble of the piano. The brilliance of the piano part is so great that the cello can scarcely hold its own against it. An increasingly brilliant coda makes a fine conclusion to a work of undoubted power and interest. WILLIAM PLEETH won a scholarship to the Leipzig Conservatoire and studied there under Klengel. He returned to England in 1933 when he made his first broadcast. He has a Trio with Rubbra, the composer, with whom he served in the army, and with Erich Gruenberg. He has played at all the leading concerts. In 1948 he was appointed Professor of Chamber Music at the Guildhall School of Music and later became Professor of cello there. He married Margaret Good in 1944. MARGARET GOOD won a scholarship to the R.A.M. at the age of sixteen and made her first broadcast in 1930 while a student. Since then she has broadcast regularly and has appeared at the leading concerts. She is specially interested in modern music and has given many first performances of new music, some of which has been specially written for her. William Pleeth and Margaret Good gave their first sonata recital in 1938 and have played together frequently since that date. Many British composers have written works specially for them including Rubbra, who dedicated his Cello Sonata to them.

7.10.0 20 St. Patrick's Hall. 47*3.66 20 120 3. B 13th February, 1952. THE PETER GIBBS STRING Quartet in E flat, Op. 9, No. 2 Quartet in F, Op. 59, No. 1 Quartet in F 19th March. John Hunt. Piano Recitat. Single tickets 6/6 and 2/6 (Gallery only) from Messrs. J. Wood and Sons and at the door. 7.3 (120 10/-344 The Huddersfield Music Club 6 Wednesday evenings at 7-30 tq The Halifax Philharmonic Club Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road. Friday evenings at 7-30 QUARTET Haydn Beethoven Ravel 18th January, 1952 THE ALEPH STRING QUARTET Quartet in F major, Op. 3 No. 5 Quartet in E minor, Op. 116 Capriccio and Fugue Quartet in B flat major, K.458 Single tickets 6/- at the door or from Mr. H. Lord, 17 Albert Gardens, Pellon, Halifax. weil mill * * * * * * Haydn Smetamfa Mendelssohn Mozart The Huddersfield Thespians St. Patrick's Hall, 21st to 26th January, at 7-15 p.m. 80.2 "THE HEIRESS" An adaptation of "Washington Square" (by Henry James) Tickets 3/- and 1/6 from Messrs. J. Wood & Sons, 67 New Street. The Advertiser Press Limited, Huddersfield seator: A M wymie

THE HUDDERSFIELD MUSIC CLUB President A. L. WOODHEAD, Esq., M.A., J.P. (In association with the ARTS COUNCIL OF GREAT BRITAIN) ST. PATRICK'S HALL WEDNESDAY, 13th FEBRUARY 1952 at 7-30 p.m. The Peter Gibbs String Quartet PATRICK IRELAND (Viola) BRUNO SCHRECKER (Cello) PETER GIBBS (Violin) KELLY ISAACS (Violin) Programme Price Sixpence

PROGRAMME The analytical notes in this programme are the copyright of the Huddersfield Music Club Quartet in E flat, Op. 9 No. 2 I Moderato Minuet and Trio Adagio Allegretto (First time at these Concerts) Cantabile Haydn (1732-1809) The set of six quartets Op. 9 were written in 1769 while Haydn was in the service of Prince Esterhazy. Haydn had written three other sets of six each in 1755. Of these Opp. 1 and 2 belong closely to the form of the Suite; they all have, with one exception, five movements includ- ing two minuets. The quartets of Op. 3 are drawing closer to the classical model, with their 2, 3 or 4 movements; but it is not till the quartets of Op. 9 that the true form emerges. A world of difference lies between these two opuses, as well as a mass of compositions, which includes the first forty symphonies. Haydn himself requested his publisher, Artaria, to put the quartets Op. 9 forward as his first and to ignore the earlier ones.. A notable feature of these quartets is the brilliant character of the first violin part, with its elaborate runs and its wide range. The explanation lies in the fact that Tomasini, the first violin of the Prince's orchestra, was unusually gifted technically. As in four of the quartets of this set, the first movement of No. 2 is marked at an unusually slow tempo. This gives scope to the first violin to indulge in much graceful ornamentation. The Minuet has one of Haydn's most charming melodies; he used it later as the theme for a litte set of piano variations The slow movement is really an arioso; in it Geiringer finds "particularly in the Adagio which precedes the cantabile, in which the tension of an impassioned introduction is resolved into a melody of profound sadness" the foreshadowing of Haydn's Storm and Stress period. Tovey points out that this movement gives another proof of the influence C. P. E. Bach had on Haydn; for its form, in which the first section instead of being marked by a "repeat" is written out in full in order that the ornaments of the melody may be varied, was C. P. E. Bach's special invention and was highly prized by him. The short Finale is full of delightful rhymthmical effects. II Quartet in F major, Op. 59, No. 1 Allegro Allegretto vivace e sempre scherzando Adagio molto e mesto Theme russe: Allegro (Last performed in 1931 by the Beethoven (1770-1827) Lener String Quartet) This is the first of the three quartets written in 1806; they were commissioned by Prince Rasumovsky and dedicated to him. The Prince was the Russian ambassador to the Court at Vienna, where his palace became the centre of the artistic life of the city. He was himself a player of stringed instruments and had been initiated into the mysteries of quartet style by Haydn himself. He engaged Schuppanzigh and his three colleagues for life as his private Quartet; they became the acknowledged interpreters of Beethoven's quartets and their services were placed at his disposal. The ruin of the Prince's palace by fire ended this fruitful association. Beethoven had written no quartets since the six of Op. 18 in 1800. The Rasumovksy quartets represent an enormous advance both technically and emotionally. Bekker considers that all three are the embodiments of a single poetic idea, variously presented. Exterior conflicts are first

portrayed, then interior problems. . triumph is the underlying motive. This central idea of triumph gives rise to monumental style of the Rasumovsky quartets, and the result is a series of works of a majesty and expressive power such as no one before Beethoven had dreamed of obtaining from four string instruments". All four movements of this quartet are written in first-movement (sonata) form-a most unusual scheme. The Allegro opens with a broad and noble theme for the cello which is continued by the violin to a great height. A bridge passage leads to the second subject (first violin). The development contains a remarkable passage for strings in unison and a fugal portion founded upon part of the second subject. The Allegretto serves as a Scherzo; rhymthic figures persist throughout, interspersed with short legato passages. The Adagio, "that mournful, sublime, and yet gentle lament", is a true Beethoven Adagio; the cello, in a high register, plays an important part. The Adagio is connected with the last movement by an elaborate cadenza for the violin. The Finale, which is almost orchestral in style, is founded upon a Russian folk-song theme. Quartet in F major INTERVAL OF TEN MINUTES III Ravel (1875-1937) Allegro moderato Assez vif, tres rhythme Tres lent Vif et agite (Last performed in 1945 by the Calvet String Quartet) Although Ravel is one of the most important modern French composers, he was not of purely French origin; his father was French-Swiss while his mother was Basque. It is from the latter that he inherits so many of the southern traits to be found in his music-the feeling for light and colour and the complex rhythms. But the virtues of the French culture are added to these- craftsmanship, restraint, fastidiousness, intelligence, wit and unerring taste and balance. His output is relatively not large; and he only wrote one work for string quartet. This quartet, written in 1902-03, is dedicated to his master, Gabriel Faure; and its first move- ment, in sonata form, opens in almost a Faure-like manner. It soon develops its own character and style with many changes of colour and tempo. The second movement is a really original Scherzo, with a pizzicato opening and a contrasting section of much melodic charm. The slow movement is complex in style, with fleeting references to the first movement; it ends with a wonderful raising of all four instruments to their highest registers. The final movement, in 5/8 time, is by turn stormy and calın; both its main subjects have references to material in the first movement a method of thematic development which is to be found in much of Ravel's music. PETER GIBBS won a scholarship to the Trinity College of Music at the age of 12; before the war he was reading for a Modern Languages degree at Oxford. During the war he served as a fighter pilot and returned to Oxford to read for his Mus. Bac. degree. Together with Patrick Ireland he formed the Gibbs String Quartet, and on the advice of Sydney Griller, it became a professional combination. KELLY ISAACS studied the violin from the age of 9. He won a scholarship to the R.A.M. but owing to the war, he was unable to take it up. Immediately before the war, he was studying for his B.Sc. degree at Rangoon University; he escaped to India where he led the orchestra of the Maharajah of Patiala. He came to England in 1946 to take up his scholarship at. the R.A.M. PATRICK IRELAND was educated at Wellington and Oxford. He was studying at the R.C.M. at the outbreak of war. He became a pilot of Coastal Command. After the war he urned to Oxford to study for the Mus. Bac. degree. BRUNO SCHRECKER was born at Frankfurt and came to England in 1933. He won a scholarship at the R.C.M. where he studied with Ivor James. He later studied with Piet Lentz in Amsterdam.

The Huddersfield Music Club St. Patrick's Hall. 19th March JOHN HUNT Piano Recital Air and Variations from E major Suite Phantasy in C minor K.396 Sonata in A flat major, Op. 26 and works by Chopin and Brahms. Single tickets 6/6 and 2/6 (Gallery only) from Messrs. J. Wood and Sons and at the door. Wednesday evenings at 7-30 The Halifax Philharmonic Club Lecture Hall of the Halifax and Philosophical Society, Harrison Road. Friday evenings at 7-30 22nd February ANTONIA BUTLER and NORMAN GREENWOOD Cello and Piano Recital Sonata in G minor Sonata in G major Sonata 66 Handel Mozart Beethoven Seven Variations on a Theme by Mozart Sonata in E minor, Op. 38 Single tickets 6/- at the door or from Mr. H. Lord, 17 Albert Gardens, Pellon, Halifax. Handel Bach Moeran Beethoven Brahms The Huddersfield Thespians St. Patrick's Hall, 3rd to 8th March, at 7-15 p.m. The Advertiser Press Limited, Huddersfield THE LADY'S NOT FOR BURNING " by Christopher Fry Tickets 3/- and 1/6 from Messrs. J. Wood & Sons, 67 New Street.

THE HUDDERSFIELD MUSIC CLUB A. L. WOODHEAD, Esq., M.A., J.P. President (In association with the ARTS COUNCIL OF GREAT BRITAIN) ST. PATRICK'S HALL WEDNESDAY, 19th MARCH 1952 at 7-30 p.m. JOHN HUNT PIANO RECITAL Programme Price Sixpence :

PROGRAMME The analytical notes in this programme are the copyright of the Huddersfield Music Club I Air and Variations "The Harmonious Blacksmith" from the Suite in E major Handel (1685-1759) Handel wrote much and well for the harpsichord, and he was himself an accomplished player, equalled only in his day by Scarlatti. The Suite in E major appeared in a collection in 1720 after Handel's visit to Italy; indeed, the Italian influence is clearly to be discerned in these pieces. Handel wrote 16 Suites, which differ completely from those by Bach. The latter based his Suites purely upon the dance forms, while Handel's include such pieces as Preludes, Fugues and Airs with Variations. The title "The Harmonious Blacksmith" has been given several explanations, the most fanciful being that while Handel was sheltering from a storm, he heard a blacksmith singing the air while striking his anvil. There are five variations (or "doubles"), simply constructed and becoming more and more vivacious. Phantasie in C minor K.396 Mozart (1756-1791) This Phantasie was written in 1872 and was originally intended to be an elaborate Adagio for piano and violin. Like many of the works for that combination which Mozart started that year, it was never completed; the violin part was only sketched in, and it is now only known in the piano version. Mozart wrote, in all, four Phantasias. As the name implies, the Phantasia, at that period, was 'a piece of instrumental music owning no restriction of formal construction, but the direct product of the composer's impulse." These works are, in effect, improvisations written down; they give an idea of Mozart's own "mighty power of improvisation-his ability to indulge in the greatest freedom and boldness of imagination, the most extreme contrast of ideas, the most uninhibited variety of lyric and virtuoso elements." Sonata in A flat major Op. 26 Andante con variazione Scherzo: Allegro molto Marcia funebre sulla mort d'un Eroe Maestoso andante Beethoven (1770-1827) Allegro This Sonata was written in 1801 and dedicated to Beethoven's friend and patron Prince Lichnowsky. It is the first sonata of the second period" and his first not to contain any move- ment in sonata form. This device Beethoven again used in the Sonatas Opp. 27 No. 1 and 54. Before Beethoven both Haydn and Mozart gave the title of sonata to works not in the conventional form, but these three sonatas are the only exceptions which Beethoven made. Such a "Sonata" has its origin in the older Divertimento rather than in the Suite. The Sonata Op. 26 has been described as a curious kaleidoscopic piece of work without any well-defined centre. It opens with a "confident, upward-striving, peaceful and exalted theme, passionless in character until the cello phrase of its second part introduces a note of yearning." This is followed by five variations ("dream pictures"), the last of which has a coda, which brings.

in a new melody. The short Scherzo and Trio belong to the same dream world. According to tradition, the funeral march (on the death of a hero) was inspired by the production in 1801 of Paer's opera "Achilles"; the rondo, which so surprisingly follows it, by the virtuoso playing of Cramer, who was then in Vienna. The March is a true march, portraying "a mournful and stately funeral train with roll of muffled drums and blare of trumpets". In 1812 Beethoven arranged the March for orchestra as part of the incidental music to a play by Duncker, which was never produced. The final rondo, "with its fairy-like tenderness, only occasionally marked by stronger accentuation and its quiet humour" is a moto perpetuo. INTERVAL OF TEN MINUTES II Two Rhapsodies Op. 27 No. 1 in B minor, No. 2 in G minor Brahms (1833-1897) The two rhapsodies were written during the summer of 1879, and were dedicated to Elisabeth von Herzogenberg, the friend whom, had it been possible, Brahms might have married. Brahms uses the title "Rhapsody" in a completely different sense to that which Liszt employed; it is nearer to the Greek sense of the word. Both are "abrupt, impassionate, aphoristic pieces of simple, obvious, structure, yet solidly put together." These splendid works are the most tempera- mental of Brahms' piano compositions of the third period-highly dramatic and almost ballad-like. In spite of their emotional atmosphere, both are written in a strict form. The first is a rondo; the second is in sonata-form. Ballade in A flat major, Op. 47 Chopin (1810-1849) Chopin said that he had been incited to the creation of Ballades" by the poetry of the Polish poet, Mickiewicz, the third being inspired by the poem "Undine." No further clue to their meaning has been given, and certainly they are nationalistic in feeling Of this third Ballade, Niecks writes: "Insinuation and persuasion cannot be more irresistible, grace and affection more seductive. Over everything in melody. harmony and rhythm, there is suffused a most exquisite elegance. A quiver of excitement runs through the whole piece." Nocturne in F sharp major, Op. 15, No. 2 Scherzo in C sharp minor, Op. 39 Chopin Chopin Chopin created a new form in his use of the title Scherzo. There is no jest or humour, however bitter, in these four Scherzi; all have a wild power and grandeur. About them Schumann asked: "How is gravity to clothe itself if jest goes about in dark veils?" This third Scherzo was published in 1840 and is dedicated to the pianist, Gutmann, a pupil of Chopin's. JOHN HUNT was educated at Christ's Hospital. He won the Busoni Scholarship in 1923 and a scholarship to the R.C.M. in 1925, where he studied under Harold Craxton. In 1928 he went to study for two years with Schnabel. He made his debut in London in 1930. Since then he has played much in this country and on the Continent, including Russia, and has given many first performances of notable works. He has broadcast from many countries, and has made a number of records for H.M.V. During the war he served as an Intelligence Officer in the R.A.F.

The Huddersfield Music Club The announcement of the arrangements for next Season's Concerts will be made in due course. The Hon. Secret- aries would be pleased to receive any suggestions from members of the Club, and also any additional names and addresses to which prospectuses may be sent. The Halifax Philharmonic Club Details of next Season's Concerts will be sent on applica- tion to the Hon. Secretary, Mr. H. Lord, 17 Albert Gardens, Pellon, Halifax. The Huddersfield Thespians St. Patrick's Hall, 21st to 26th April, at 7-15 p.m. "HOME AT SEVEN" by R. C. Sheriff Tickets 3/- and 1/6 from Messrs. J. Wood & Sons, 67 New Street The Advertiser Press Limited, Huddersfield