HUDDERSFIELD MUSIC SOCIETY Brochure 37th Season's programmes 1954-1955 colorchecker Xx-rite + աա L MSCCPPCC0613 SW Xx.rite ||||||||||| mm ed, in. S : 1706 187.

THE President The ROBER (J SU • THE HUDDERSFIELD MUSIC CLUB (Founded in 1918 by Dr. Eaglefield Hull) The National Federation of Music Societies, to which this Society is affiliated, supports these Concerts with funds provided by the Arts Council of Great Britain. A SERIES OF FIVE CONCERTS FOR THE THIRTY-SEVENTH SEASON 1954-55 to be given in the THE MAYOR'S RECEPTION ROOM TOWN HALL On MONDAY EVENINGS at 7.30 p.m. President Active Vice-President .. Honorary Vice-Presidents : DR. RALPH VAUGHAN WILLIAMS, DAME MYRA HESS, BENJAMIN BRITTEN, F. W. GADSBY S. H CROWTHER E. GLENDINNING Miss Z. E. HULL P. L. MICHELSON .. A. L. WOODHEAD, Esq.. M.A., J.P. J. STANCLIFFE ELLIS, Esq. Mrs. H. AINLEY Mrs. ARNOLD Mrs. BRANSOM Mrs. S. H. CROWTHER Miss K. EVANS Mrs. E. FENNER Mrs. D. HIRST Committee: Mrs. E. PARK Cr. F. ROWCLIFFE Miss A SHAW E. C. SHAW I. SILVERWOOD Hon. Secretaries:-Mrs. A. E. HULL, 48 New North Road. Tel. Hudd. 1094. STANLEY G. WATSON. 342 New Hey Road. Tel. Milnsbridge 1706 Hon. Treasurer -K. P. G. GEOGHEGAN, 3 Belgrave Terrace. Tel. Hudd. 6787. Ladies' Committee: Chairman Mrs. E. PARK Mrs. A. E. HORSFALL Mrs. A. E. HULL Mrs. I. SILVERWOOD E. D. SPENCER J. TROLLER Mrs. S. G. WATSON Miss Z. E. HULL Mrs. JACKSON Mrs. G. G. JARMAIN Mrs. A. W. KAYE Mrs. J. LEE Mrs. M. M. SAYER Miss A. SHAW Mrs. I. SILVERWOOD Mrs. E. D. SPENCER Mrs. P. SYKES Miss W. TOWNSEND Miss WHITWAM Hon. Secretary: Mrs. E. GLENDINNING Hon. Treasurer: Mrs. S. G. WATSON THE CLUB IS OPEN TO EVERYONE

THE HUDDERSFIELD MUSIC CLUB (Founded in 1918 by Dr. Eaglefield Hull) The National Federation of Music Societies, to which this Society is affiliated, supports these Concerts with funds provided by the Arts Council of Great Britain. A SERIES OF FIVE CONCERTS FOR THE THIRTY-SEVENTH SEASON 1954-55 to be given in the THE MAYOR'S RECEPTION ROOM TOWN HALL On MONDAY EVENINGS at 7.30 p.m. President Active Vice-President Honorary Vice-Presidents : DR. RALPH VAUGHAN WILLIAMS, DAME MYRA HESS, BENJAMIN BRITTEN, F. W. GADSBY S. H CROWTHER E. GLENDINNING Miss Z. E. HULL P. L. MICHELSON Mrs. H. AINLEY Mrs. ARNOLD Mrs. BRANSOM A. L. WOODHEAD, Esq., M.A., J.P. J. STANCLIFFE ELLIS, Esq. Mrs. S. H. CROWTHER Miss K. EVANS Hon. Secretaries:-Mrs. A. E. HULL, 48 New North Road. Tel. Hudd. 1094. STANLEY G. WATSON, 342 New Hey Road. Tel. Milnsbridge 1706 Hon. Treasurer:-K. P. G. GEOGHEGAN, 3 Belgrave Terrace. Tel. Hudd. 6787. Mrs. E. FENNER Mrs. D. HIRST Committee: Mrs. E. PARK Cr. F. ROWCLIFFE Miss A SHAW E. C. SHAW I SILVERWOOD Ladies' Committee: Chairman Mrs. E. PARK Mrs. A. E. HORSFALL Mrs. A. E. HULL Mrs. I. SILVERWOOD E. D. SPENCER J. TROLLER Mrs. S. G. WATSON Miss Z. E. HULL Mrs. JACKSON Mrs. G. G. JARMAIN Mrs. A. W. KAYE Mrs. J LEE Mrs. M. M. SAYER Miss A. SHAW Mrs. I. SILVERWOOD Mrs. E. D. SPENCER Mrs. P. SYKES Miss W. TOWNSEND Miss WHITWAM Hon. Secretary: Mrs. E. GLENDINNING Hon. Treasurer: Mrs. S. G. WATSON THE CLUB IS OPEN TO EVERYONE

The Committee is happy to announce the following Season of outstanding Chamber Music Concerts. These will again be given in a Hall, which, with its intimate and congenial atmosphere. is ideally suited to concerts of this type. MONDAY, 11th OCTOBER 1954 The Robert Masters Piano Trio Trio in D major Op. 70 No. 1 Trio in E major K.542 Trio in F minor Op. 65 Holst. The 1941. MONDAY, 22nd NOVEMBER 1954 Beethoven Quartet in E minor Op. 59 No. 2 Mozart кыч 19.25 Dvorak The Vegh String Quartet Quartet in D major K.499 Quartet Mozart Debussy Beethoven

MONDAY, 17th JANUARY 1955 The Wiener Konzerthaus String Quartet Quartet in G major Op. 64 No. 4 Quartet in A minor Op. 51 No. 2 Quartet in G major Op. 161 MONDAY, 14th FEBRUARY 1955 FREDERICK FULLER Song Recital At the Piano DANIEL KELLY Dichterliebe Song Cycle Op. 48 Songs by Bach, Gasparini, Caldara, Caccini, Peterkin, Ireland, Bax, Stanford and folk-songs. MONDAY, 7th MARCH 1955 - TORTELIER Cello Recital At the Piano - Haydn Brahms Schubert Sonata Sonata in F major Op. 99 Kol Nidrei Schumann WILFRID PARRY Breval Brahms Bruch Works by Nin, Granados and Sarasate

THE HUDDERSFIELD MUSIC CLUB SUBSCRIPTIONS A member's subscription for the Season is 30/- Season tickets may be obtained from either of the Hon Secretaries or from Messrs. J. Wood & Sons Ltd., 67 New Street; or Messrs. Whitfields Ltd., Ramsden Street. If you were a Member 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 (Mr. K. P. G. Geohegan, 3 Belgrave Terrace, Huddersfield) before the date of the FIRST Concert (11th October). Cheques should be made payable to "The Hudders- field Music Club." In the event of any of the tickets. not being required this year, they should be returned to Mrs. Hull, 48 New North Road, Huddersfield, not later than 1st October, after which date it will be assumed that they will be retained and paid for. If you were not a Member last Season ... and would like to join the Club, will you please send the enclosed post card, stating the number of tickets required. As the accommodation is limited, early application is advisable. Please pass this Prospectus on to your Friends The Advertiser Press Ltd., Huddersfield

THE HUDDERSFIELD MUSIC CLUB President A. L. WOODHEAD, Esq., M.A., J.P. (The National Federation of Music Societies, to which this Society is affiliated, supports these Concerts with funds provided by the Arts Council of Great Britain). MAYOR'S RECEPTION ROOM, TOWN HALL MONDAY, 11th OCTOBER 1954 at 7-30 p.m. The Robert Masters Piano Trio MURIEL TAYLOR (Cello) ROBERT MASTERS (Violin) KINLOCH ANDERSON (Piano) Programme: Price Sixpence

PROGRAMME The analytical notes in this programme are the copyright of the Huddersfield Music Club Trio in D major Op. 70 No. 1 I Allegro vivace e con brio Largo assai ed espressivo Presto Trio in E major K.542 (First performance at these Concerts) The most usual and important form of the instrumental trio is that for piano, violin and cello. It is a development of the early Sonata a tre, in the contrapuntal style and usually written for the clavier (or harpsicord), violin and bass viol (the forerunner of the cello). In general, the bass viol was used merely to double the bass of the keyboard instrument. It was not until the time of Haydn that the three instruments forming the trio began to attain to some independence of movement and character and sonata-form adopted for trios as it was for quartets. Haydn's trios, though they are full of his grandest forms and most pregnant ideas" (Tovey), are really sonatas for the piano with violin and cello accompaniments. Mozart gave to the cello part an increasing importance, but it was left for Beethoven to give complete freedom and individuality to all three instruments, to proportion the interest and to give a just balance of tonal effect. This question of balance remains a problem, and a piano trio demands the nicest of judgement both from the composer and the performer. Beethoven left six piano trios. The first three, Op. 1, were early works, published in 1795. During the Fext thirteen years Beethoven used the piano chiefly as a virtuoso concert. instrument or as a solo instrument allowing free improvisation, but his interest in purely string ensembles, on a different aesthetic basis, grew and culminated in the string quartets of Op. 59 (1807). 1808 saw the appearance of the two trios of Op. 70. In 1811 the last trio Op. 97 was written. Beethoven (1770-1827) The Trio Op. 70 No. 1 keeps to the three movement form. The first and third movements are not richly scored; they are, in fact, largely contrapuntal and contain much four-part writing which might almost belong to a string quartet. They are really mere introduction. and epilogue to the largo assai ed espressivo, one of the most wonderful expositions of melancholy in all Beethoven's work. It has a mystic character which has given the whole trio the nickname of the Geister-trio, "Ghost-trio", and it may be by no mere chance that the first studies for this largo are found on the same sheet of paper which contains the sketch in D for Macbeth" (Bekker). Another explanation given of the name is that the movement was inspired by Beethoven's reading of Hamlet. II Mozart (1756-1791) Allegro Andante grazioso Allegro (Last performed in 1925 by Edith Robinson, Carl Fuchs and Frank Merrick) Mozart wrote seven piano trios. In the earlier ones, the cello is used as with Haydn, merely to reinforce the bass of the piano, but with the trio K.542-written just before the last three symphonies in 1788-the true modern trio form now begins to appear. There are indications, too, that Mozart himself considered this trio to be the summit of his achievement in this form.

This trio still has the concerto character with its three movements, the virtuoso treatment of the piano and the rondo-finale, but each instrument has its own individuality and contrapuntal passages for the three instruments abound. The first movement is in sonata form. The andante grazioso is "as pastoral and full of poetry as a painting by Watteau, and full of the finest and most vital harmonic and contrapuntal workmanship." (Einstein). The finale is in true concerto style, animated, vigorous and brilliant. Interval of ten minutes Trio in F minor Op. 65 III Allegro ma non troppo Allegretto grazioso Dvorak (1841-1904) Poco adagio Allegro con brio (Last performed in 1941 by the Holst Trio) Dvorak wrote four piano trios; this trio dates from 1883. To quote Professor Sourek: "The Trio in F minor, a magnificent work, is unusually grave in character; the music unfolds itself in a kind of gloomy, passionate defiance. It is as though the composer confronted fate with a stubborn and persistent Why? Not until the very end of the work does the prevailing sense of gloom make way for a feeling of peace and resignation. Hence the passion and power which permeate the work in thought, structure and formal development; hence the tendency to a symphonic grandeur which can only be realized in chamber music by the sonority and expressive co-operation of the piano". The first movement, with its rich thematic material, is deeply emotional. The first part of the main theme (pp) is immediately announced by the violin and cello in octaves; it is soon followed by the second part (ff). The second subject-a long passionate line-is sung first by the cello accompanied by the piano and then taken up by the violin. A third theme, rhythmic and forceful is also used. The chief material on which the movement is constructed consists of the two sections of the main subject, already fully developed in the exposition. They are treated with a wealth of modulation in the bold clear-cut structure, and finally in the agitated coda. The entire movement has an air of conflict and pathos, with a powerful and extended climax" (Sourek). The second movement in C sharp minor, really a scherzo, continues the capricious mood; it has a contrasting section in D flat major, in which the smooth melodies move over an undulating accompaniment. The more sombre adagio in A flat major opens with a deeply emotional theme for the cello supported by heavy chords for the piano; the second subject follows in a canon for the violin and cello. A vigorous contrasting section, also with much canonic imitation leads to a return of the first melody. In the allegro con brio the combative mood of the first movement returns with even greater vehemence. Defiance stamps it from the first bar, and the rebellious spirit is further carried on into the furiant with its alternating triple and duple It continues in the same vein after a brief interval of quiet with the second subject (in C sharp minor) which speaks of doubt and anxiety. In the working-out section the music grows dark and stormy but this exhausts itself, and in the coda the chief theme is heard again in tranquil warmth." measures. THE ROBERT MASTERS TRIO have been playing together for 15 years. Together with their viola player (Nannie Jamieson) they have toured extensively throughout Europe, Australasia and the Far East. They are one of the few chamber music groups in the world to specialize in the repertoire for piano and strings. They have appeared at three of the Edinburgh Festivals, the Cheltenham Festival of Contemporary Music and have broadcast frequently, for the B.B.C. Their tours this coming season will include concerts. in France, Switzerland and Italy.

THE HUDDERSFIELD MUSIC CLUB MAYOR'S RECEPTION ROOM, TOWN HALL 22nd November THE VEGH STRING QUARTET Quartet in D major K.499 Quartet Quartet in E minor Op. 59 No. 2 Monday evenings at 7-30 Single tickets 7/6 from Woods, 67 New Street; Whitfields, Ramsden Street or at the door THE HALIFAX PHILHARMONIC CLUB LECTURE HALL OF THE HALIFAX LITERARY AND PHILOSOPHICAL SOCIETY HARRISON ROAD Friday evenings at 7-30 Single tickets 6/- at the door. Mozart Debussy Beethoven 29th October THE AMADEUS STRING QUARTET Quartet in C major Op. 74 No. 1 Quartet in F major Op. 135 Quartet in D minor (Death and the Maiden) 23 The Advertiser Press Ltd., Huddersfield THE HUDDERSFIELD THESPIANS ST. PATRICK'S HALL, OCTOBER 11th TO 16th AT 7-30 "BOYD'S SHOP A Comedy in four acts by St. John Ervine Tickets 3/- and 1/6 from Woods, 67 New Street. Haydn Beethoven Schubert

THE HUDDERSFIELD MUSIC CLUB President A. L. WOODHEAD, Esq., M.A., J.P. (The National Federation of Music Societies, to which this Society is affiliated, supports these Concerts with funds provided by the Arts Council of Great Britain). MAYOR'S RECEPTION ROOM, TOWN HALL MONDAY, 22nd NOVEMBER 1954 at 7-30 p.m. The Vegh String Quartet SANDOR VEGH (Violin) SANDOR ZOLDY (Violin) GEORG JANZER (Viola) PAUL SZABO (Cello) Programme: Price Sixpence

PROGRAMME The analytical notes in this programme are the copyright of the Huddersfield Music Club Quartet in D major K. 499 (Hoffmeister) Quartet I Allegretto Menuetto and Trio Adagio Allegro (First performance at these Concerts) Mozart's string quartets are sharply divided into two groups: the 15 early quartets, written between 1770 and 1774, and the 10 "great" quartets-the 6 dedicated to Haydn, this, the Hoffmeister quartet, and the 3 "Prussian" quartets, all written between 1782 and 1790. The Hoffmeister quartet was written in 1786, the year of the composition of Figaro. It cannot be better described than in the words of Einstein: "The lone quartet is worthy of its solitary position. If Mozart in creating this work wished to pay a debt to his friend and publisher, Hoffmeister, at least he did not make it easy for himself. It can be considered a synthesis of the three more difficult'" and the three "lighter" quartets of Op. X (Haydn); and one may regard its beginning as a symbol of the spirit of the whole composition: first an easy comfortable unison; then a dialogue carried on now by one pair of instruments, now by the other; a turn towards seriousness in minor; then resolution of the tension, but in a canon between first violin and violoncello-an instance of learnedness" that no one feels to be learned. The quartet is at once strict and easy; and in many enchanting passages it anticipates Schubert. The minuet is unique. In the main section each voice seems to enact its role unconcernd with. the others; the trio, in minor, is a piece of musical wizardry. The Adagio speaks of past sorrow with a heretofore unheard of depth; and the finale is another of those uncanny movements in which the major mode seems to reverse its character-it is not gay but despairing, or rather it is despairing under a mask of gaiety-despite the resoluteness of the conclusion,". II Anime et tres decide Assez vif et bien rythme Andantino doucement expressif Mozart (1756-1791) Tres modere (Last performed in 1945 by the Calvet String Quartet) Debussy (1862-1918) Debussy's chamber music consists of this one string quartet, the three sonatas "pour divers. instruments" and an unimportant rhapsody for clarinet and piano; he had promised Chausson to write a second quartet, but apparently the work was never attempted. Debussy has been called, in his songs, the poet's musician and in his piano pieces, the painter's musician. Certainly he was most happy when inspired by some literary or poetical idea; the quartet-a masterpiece- is his one completely successful piece of "absolute music." In 1889 the Exposition Universelle brought to Paris singers, dancers and players from Europe, Africa and the Far East. At the same exhibition Rimsky-Korsakoff introduced much unknown Russian music to Paris. Debussy's quartet appeared in 1893; the Belgian musician, Maurice Kufferath, heard in it echoes of the Javanese "gamelong", while the Russian influence, particularly that of Borodin, cannot be denied. As well as these influences. "the whole work is pervaded by that indefinable atmospheric beauty which has causd Debussy to be regarded as the greatest, if not the only, musical impressionist." (Edwin Evans). The quartet is largely constructed on the "cyclic principle". It opens with a theme for the violin in the Phrygian mode. This theme recurs in the second and fourth movements; some commentators claim to have traced it in the slow movement, but the connection is very remote. The first movement is written in modified sonata form, but the second theme does not appear until almost the end of the exposition and is omitted in the recapitulation. There is no real development of the themes; rather, they return in ever changing harmonic colourings. The Scherzo-"one of the most piquant pieces of string writing in the whole range of chamber music"-is based entirely on the "cycle theme". It enters on the viola, supported by a glittering

pizzicato accompaniment. It is varied by appearing in augmentation in the violin, with a waving accompaniment for the other strings. The third movement-a dreamy Nocturne-is in song - form The finale is preceded by an introduction based upon the "cycle theme"; this is followed by a fugato section working from the cello upwards and leading directly to the main movement Of this, the first subject is more conventional in character; the second subject is an augmented version of the "cycle theme". In the coda that theme reappears in its most definite form. Interval of ten minutes III Beethoven (1770-1827) Quartet in E minor Op. 59 No. 2 Allegro Adagio Allegretto Finale (Last performed in 1939 by the Budapest String Quartet) Bekker points out that each period of Beethoven's work is summed up, as it were, by works or groups of works, for string ensembles; thus the works before 1800 culminate in the trios of Op. 9 and the quartets of Op. 18; the quartets of Opp. 59, 74 and 95 complete the years up to 1810, while the last five quartets are the climax of Beethoven's life's work. The string ensemble has a unique unity of tone; its tone has a greater range than that of the piano; the parts can be treated with greater freedom and flexibility; it has almost the force of an orchestra, of which it forms the most important part. Its very limitations give what is needed to the composer bent on abstractions. "He wishes to avoid the sensuous charms of other means of expression; his thoughts are too airy and fine to bear the weight of the garments of tone in its more material aspects, and he seeks to weave a vesture as transparent and ethereal as the ideas themselves. For this purpose the string ensemble is peculiarly adapted, and from the moment that Beethoven first realised this, he chose this branch of music to summarise his intellectual conquests stage by stage, and to concentrate therein all the rays of his creative life." The three Rasumovsky quartets were written in 1806-almost the end of Beethoven's "middle period". They were commissioned by, and dedicated to, Count Rasumovsky, and, probably as a compliment to his nationality, all contain Russian airs. The first movement of this second quartet, in sonata form, has dark, passionate moods contrasted with happy and peaceful music. It opens with two dramatic chords, followed by a silent bar, then bars of smooth melody. The second subject (heard in the first violin over a moving accompaniment) is graceful. The beautiful long drawn Adagio in the key of E major, marked to be played with great feeling, is new and original, historically speaking. The playful and rhythmic Allegretto opens in E minor and has a contrasting section in the major key; this section is based on a Russian melody, a song of glory to the Creator. The Finale is in one of Beethoven's happiest moods. It starts in the key of C major, the episodes and the coda alone bringing back the key of E minor. The VEGH QUARTET was founded in 1940 in Budapest. After some time spent in intensive study and rehearsal together, the quartet started to give concerts in Budapest and other towns. in Hungary, with immediate success. The war prevented them from undertaking many tours abroad but during this time they were highly successful in Austria, Germany, France, Italy and Czechoslovakia. They won the first prize at the International Music Competition in Geneva in 1946. The Vegh Quartet has become one of the foremost of its kind and has participated in most of the festivals such as Salzburgh, Edinburgh and Montreux. Their first big South American tour was in 1952 and they were immediately invited back the following year. Vegh (1921)-was a pupil of Hubay and trained in Budapest. He is also well known as a solo player, From 1940 to 1948 he was a professor at the Liszt Academy in Budapest. Zoldy (1921)-was a pupil of Zathureczky and is also a solo artist. Janzer (1914)-a pupil of Oscar Studer, is a soloist and was concert master of the Municipal Orchestra of Budapest. Szabo (1920)-a pupil of Kerpely, is a soloist, and before joining the Quartet, was the first cellist of the Budapest Municipal Orchestra.

THE HUDDERSFIELD MUSIC CLUB MAYOR'S RECEPTION ROOM, TOWN HALL 11th January THE WIENER KONZERTHAUS STRING QUARTET Quartet in G major Op. 64 No. 4 Quartet in A minor Op. 51 No. 2 Quartet in G major Op. 161 ... FREDERICK FULLER Monday evenings at 7-30 February 14th SONG RECITAL March 7th TORTELIER CELLO RECITAL Single tickets 7/6 from Wood's, 67 New Street. Whitfield's, Ramsden Street. or at the door. Haydn Brahms Schubert THE HALIFAX PHILHARMONIC CLUB LECTURE HALL OF THE HALIFAX LITERARY AND PHILOSOPHICAL SOCIETY HARRISON ROAD Friday evenings at 7-30 ... 10th December THE ALLEGRI STRING QUARTET Quartet Satz in C minor Quartet Op. 50 Italian Serenade Quartet in F major Op. 59 No. 1 Schubert Prokofiev Wolf Beethoven Single tickets 6/- from David Dugdale, Esq., 291 Willowfield Road, Halifax. or at the door. The Advertiser Press Ltd., Huddersfield THE HUDDERSFIELD THESPIANS ST. PATRICK'S HALL, NOVEMBER 22nd TO 27th, AT 7-30 "WATERS OF THE MOON" By N. C. Hunter Tickets 3/- and 1/6 from Wood's, 67 New Street.

THE HUDDERSFIELD MUSIC CLUB President A. L. WOODHEAD, Esq., M.A., J.P. (The National Federation of Music Societies, to which this Society is affiliated, supports these Concerts with funds provided by the Arts Council of Great Britain). MAYOR'S RECEPTION ROOM, TOWN HALL MONDAY, 17th JANUARY 1955 at 7-30 p.m. The Wiener Konzerthaus String Quartet ANTON KAMPER (Violin) KARL MARIA TITZE (Viola) ERICH WEISS (Violin) FRANZ KVARDA (Cello) Programme: Price Sixpence

PROGRAMME The analytical notes in this programme are the copyright of the Huddersfield Music Club Quartet in G major Op. 64 No. 4 I Allegro con brio Menuetto and Trio Adagio Presto (First performance at these Concerts) Haydn, who has rightly been called the father of the string quartet, wrote some 80 works in his form, including the unfinished Op. 103. The 12 earliest quartets show Haydn moving slowly away from the old divertimento, with its many movements, towards symphonic sonata form; in these early works there is no clear distinction between the style for the string quartet and the string orchestra. In 1769 the quartets of Op. 9 appeared and these Haydn himself wished to be regarded as his first in this form. It was not until the quartets of Op. 20 that Haydn began to reach his full development. 1789 saw appearance of the 12 quartets of Opp. 54, 55 and 64. "The boldness and variety of invention in these works and their well-balanced musical form show Haydn at the summit of his quartet production ... the second half dozen belong to the last period of the master's composition" (Geiringer). All 12 were dedicated to Johann Tost; it is thought. that this Tost was a violinist in the Esterhazy orchestra, who later went to Paris, married a rich girl and became a respected cloth merchant. All the Tost quartets are full of charming little surprises and another characteristic is that frequently the whole movement is based upon the use of a single subject. Quartet in A minor Op. 51 No. 2 No. 4 opens with a springing tonic chord theme. The exposition ends with a quiet section. which might be considered to be the second subject. The development starts with a fugato based on the second subject"; a short chromatic passage leads to the recapitulation. The Minuet is characteristic of Haydn; in the airy Trio, the violin throughout has the melody, supported by pizzicato accompaniment. The adagio is flowing and melodic; much of the second violin and viola accompaniment is reminiscent of piano figuration. The work ends with a rondo. II Haydn (1732-1809) Allegro non troppo Andante moderato (Last performed in 1937 by the Roth String Quartet) Brahms (1833-1897) Quasi minuetto, moderato - Allegretto vivace Allegro non assai Both the quartets which form Op. 51 are dedicated to Dr. Billroth. He has been described. as the master surgeon and tyrannical music enthusiast." Whether the description is true or not, the fact remains that in the music-room of Billroth's house in Vienna nearly all the rehearsals of Brahms's new chamber works took place, and there, too, all musical and scientific Vienna used to gather. Billroth himself was a fine pianist and studied the violin in order himself to take part. in this chamber music. Op. 51 was written in 1873. They were the first string quartets which Brahms considered worthy of publication, and he confessed that he had previously written and destroyed some twenty others. The chamber music which preceded these quartets includes 2 piano quartets, a piano quintet, 2 string sextets, 3 trios and a cello sonata. After a lapse of 8 years, Brahms, having, as it were, refined his work to the purest and most subtle type of chamber music produced this Op. 51- this "pearl in the diadem of all chamber music." It is perhaps of interest to note that the Liebeslieder quartets (for four voices) is Brahms's Op. 52.

In both these quartets there is a close thematic connection between the movements. The main theme of the finale of No. 2 comes from the 4th and 5th bars of the first movement. The quavers in the same 4th bar appear in the minuet, and, in a modified form, are the nucleus of the second movement. The first movement is gentle and caressing; it has no harshness in it. In form it is particularly close-knit, for the whole movement springs from the first nine bars of the main theme. The serenity of the slow movement is broken by a powerful canon between the violin and the cello, supported by a tremolo accompaniment which is almost orchestral in effect. "In place of a scherzo the third movement is a slow minuet with pathetically drooping cadences, alternating with a polyphonic trio in duple time and running rhythm, twice interrupted by the minuet-tempo with a combination of the two themes, wonderfully transforming that of the trio." (Tovey). The finale is a spirited rondo, with a flavour of Hungarian music. Quartet in G major Op. 161 Interval of ten minutes III Allegro molto moderato Andante un poco moto Scherzo. Allegro vivace and Trio Allegro assai (Last performed in 1938 by the Kolisch String Quartet) Schubert (1797-1828) This quartet, the last which Schubert wrote, was composed in ten days during the summer of 1826. It remained in manuscript until 1852 when it was published as Op. 161. But its first movement was performed at the celebrated Private Concert " which Schubert gave in 1828, which consisted entirely of works composed by himself", after the manner of Beethoven. that time a critic wrote of "spirit and originality." At In many ways this quartet stands alone, possibly foreshadowing what Schubert's future develop- ment might have been.. The writing is vertical rather than horizontal. "The historian of the newer harmony finds a wealth of material for consideration in a work which soars with such incredible boldness into the distant future over the heads of the most advanced romanticists. What E. Kurth calls the complete disintegration of tonal sound-relation", found in the first movement, is even more evident in the andante" (Kahl). No theme is derived from any of the songs; the material is purely musical. The scale is large; it is conceived in terms of the orchestra. "The outward indications of the orchestral character of the work are apparent in the unison. passages, in the agitated tremoli in melody or accompaniment, in the groupings of question and answer. These groupings are admittedly connected with the fact that the first movement, in particular, is entirely dependent upon the interplay of harmonic light and shade, upon the inter- and strangely enough, the slow change of major and minor within the narrowest compass .. movement, slightly agitated' Andante in E minor became the model for many of Brahms' movements, romances or orchestral ballads in which an elegiac melody predominates in the bass, with decorative embroidery by the other instruments and with a change of colour provided by an agitated alternivo' Still stranger, the Scherzo in B minor, with a happy Lander (G The Finale is the counterpart major) as its Trio, has something of Schuman's capriciousness to the finale of the D minor quartet, except that the Tarantella of the latter has here become a kind of Reiterstuck', as iridescent as the first movement in harmony and modulation, with a more leisurely second subject which recalls the mood of the finale of Mozart's D major quintet." ("Schubert" by Alfred Einstein). THE WIENER KONZERTHAUS QUARTET was founded in 1934 and is made up of members of the Vienna Philharmonic Orchestra, who are also professors at the Vienna Academy of Music. The Vienna Konzerthaus undertook to sponsor the Quartet and every year engage it for a series of 6 to 8 concerts. The Quartet plays everywhere in Austria, and in 1951-52 gave, in Vienna, a series of concerts of the complete works of Haydn. This Quartet makes tours of Europe and whose records are now being issued here on records for the American company Westminster "Nixa" labels.

THE HUDDERSFIELD MUSIC CLUB MAYOR'S RECEPTION ROOM, TOWN HALL 14th February FREDERICK FULLER Dichterliebe Op. 48 Song Recital Schumann Songs by Bach, Gasparini, Caldera, Casini, Peterkin, Ireland, Bax, Stanford, and Folk-Songs. Monday evenings at 7-30 March 7th TORTELIER CELL RECITAL Single tickets 7/6 from Wood's, 67 New Street. Whitfield's, Ramsden Street. or at the door. THE HALIFAX PHILHARMONIC CLUB LECTURE HALL OF THE HALIFAX LITERARY AND PHILOSOPHICAL SOCIETY HARRISON ROAD Friday evenings at 7-30 11th February ERICH GRUENBERG and CELIA ARIELI (Violin and Piano) Sonata in G major K.379 Sonata in G major Op. 78 Sonata Sonata in A major Op. 47 (Kreutzer) Single tickets 6/- from David Dugdale, Esq., 291 Willowfield Road, Halifax. or at the door. Tickets 3/- and 1/6 from Wood's, 67 New Street. Mozart Brahms Walton Beethoven THE HUDDERSFIELD THESPIANS St. Patrick's Hall, 24th to 29th January, at 7.30 "TREASURE ISLAND" The Advertiser Press Ltd., Huddersfield

THE HUDDERSFIELD MUSIC CLUB (The National Federation of Music Societies, to which this Society is affiliated, supports these Concerts with funds provided by the Arts Council of Great Britain). MAYOR'S RECEPTION ROOM, TOWN HALL MONDAY, 14th FEBRUARY 1955 7-30 p.m. FREDERICK FULLER. SONG RECITAL AT THE PIANO DANIEL KELLY Programme: In Praise of laughter Augellin vago e canoro Come raggio di sol Amarilli Dichterliebe. Song Cycle Op. 48 Im wunderschonen Monat Mai Aus meinen Tranen spriessen Die Rose, die Lillie, die Taube Wenn ich in deine Augen Seh' Ich will meine Seele tauchen Im Rhein, in heiligen Strome Ich grolle nicht Und wussten's die Blumen Das ist ein Floten und Geigen. Hor'ich das Liedchen klingen Ein Jungling liebt' ein Madchen Am leuchtenden Sommermorgen Ich hab' im Traum geweint Allnachtlich im Traume Aus alten Marchen Die alten, bosen Lieder Song of Asano Sea Fever O men from the Fields Trotting to the Fair Price Sixpence Poems from Heine's Buch der Lieder (Last performed in 1945 by Peter Pears and Benjamin Britten) Quand j'etais chez mon pere O Kinimba The Ploughboy The Bonny Earl of Moray Jota Cicerenella I II FREDERICK FULLER is essentially a lieder singer in the broad sense of the word. He has made a wide study of languages and literatures, graduating with high honours at the University of Liverpool, and gaining post-graduate scholarships at the Sorbonne, the Uni- versity of Munich and at Harvard University. At the same time he studied singing and the repertoire of the art-song and folk-song with the leading exponents in England, France, Germany and the United States, as well as many years of residence in other countries such INTERVAL OF TEN MINUTES III IV Bach (1685-1750) Gasparini (1668-1727) Caldara (1670-1736) Caccini (c. 1545-1618) Schumann (1810-1856) The lovely month of May Each tear I shed in sorrow The rose, the lily and the dove When in your eyes I find my own I'll take my soul and give it The Rhine What care I now? If only the little flowers You hear the trumpets Sometimes I catch the echoes A boy and a girl were courting On a golden summer morning I wept as I lay dreaming In dreams I see you. Fairy land I've laid my heart to sleep Folk Songs from Norman Peterkin (b.1886) John Ireland (b.1879) Arnold Bax (1883 - 1954) C. V. Stanford (1852-1924) France Brazil England Scotland Spain Italy as Switzerland, Italy, Canada, Brazil and the Argentine. Thus he has prepared himself, not only musically and linguistically, but also by long and close acquaintance with peoples of many lands, to interpret their men- tality as expressed in song. In South America, Fred- erick Fuller lectured in Spanish and Portuguese on British music under the auspices of the British Council and gave recitals for the leading music societies in Brazil, Uruguay, Paraguay, Argentina and Chile. In England he has appeared for most of the leading societies.

THE HUDDERSFIELD MUSIC CLUB MAYOR'S RECEPTION ROOM, TOWN HALL 7th March TORTELIER At the piano Goyescas Zapateado Sonata in G major Sonata in F major Op. 99 Kol Nidrei Suite Espagnole ….. Cello Recital 66 WILFRED PARRY Monday evening at 7-30 Joaquin Nin ...Granados - Cassado Sarasate Single tickets 7/6 from Wood's, 67 New Street. Whitfield's, Ramsden Street. or at the door. 11th March THE MELOS ENSEMBLE (Wind Quartet and Piano) Quintet in E flat major Op. 16 ... Trio for oboe, bassoon and piano Quintet in E flat major K.452 ... THE HALIFAX PHILHARMONIC CLUB LECTURE HALL OF THE HALIFAX LITERARY AND PHILOSOPHICAL SOCIETY HARRISON ROAD Friday evening at 7-30 Breval Brahms Bruch The Advertiser Press Ltd., Huddersfield Single tickets 6/- from David Dugdale, Esq., 291 Willowfield Road, Halifax. or at the door. Beethoven Poulenc Mozart THE HUDDERSFIELD THESPIANS ST. PATRICK'S HALL, MARCH 7th To 12th, AT 7-30 WOMEN ARE LIKE THAT " By L. Du Garde Peach Tickets 3/- and I/6 from Wood's, 67 New Street.

THE HUDDERSFIELD MUSIC President CLUB A. L. Woodhead, Esq., M.A., J.P. (The National Federation of Music Societies, to which this Society is affiliated, supports these Concerts with funds provided by the Arts Council of Great Britain). MAYOR'S RECEPTION ROOM, TOWN HALL MONDAY, 7th MARCH 1955 at 7-30 p.m. Paul Tortelier CELLO RECITAL At the Piano . Programme: WILFRID PARRY Price Sixpence

The analytical notes in this programme are the copyright of the Huddersfield Music Club Sonata in G major PROGRAMME Sonata in F major Op. 99 I Allegro brillante Adagio molto cantabile Rondo. Allegro con grazia (Last performed in 1935 by Feuermann) Jean-Baptiste Breval was a cellist at the Paris Conservatoire and at the Opera. He wrote a large number of string quartets and trios; one of his quartets is said to contain a foreshadowing of Mendelssohn's fairy music II Breval (1756-1825) Allegro vivace Adagio affettuoso Allegro passionato Allegro molto (First performance at these Concerts) Brahms (1833-1897) Brahms wrote two sonatas for cello and piano. The earlier is dated 1866; the second one did not appear till 1886. It is one of the so-called "Swiss works", written during summers spent by the Lake of Thun. The summer of 1886 saw the production of three major works; the cello sonata, the second violin sonata in A major and the Trio in C minor. Tovey remarks that these are the tersest of all Brahms's works... Their forms, though presenting few abnormalities, show all the more clearly in their extraordinary compression that Brahms never constructed on an a priori scheme and never exactly repeated a form". The range of the cello in this later sonata is much wider than in the earlier work. The main theme of the first movement (in sonata form) has a strikingly broken rhythmical character, which, together with its wide range, helps to give to the music that impression of "masculine defiance which some critics have heard in it. Much of the material of movement is derived from the use of these broken figures. Another noteworthy feature is the "whispering chromatic episode" at beginning of the development in the unexpected key of F sharp minor, foreshadowing,

perhaps, the choice of the same key for the slow movement. Another unusual thing is the use made in the first movement of the tremolo both for the cello and the piano. This at first shocked the orthodox, but Brahms did not hesitate to add two magnificent new colours to the resources of chamber music". (Tovey). "This F sharp major slow movement compresses a great amount of design into a small space, which nevertheless seems able to expand without limit. The pizzicato of the cello here makes a splendid and novel bass to the full harmony of the pianoforte and is worked to a tremendous climax when the strain is brought back after the dark depths of the F minor middle episode". (Tovey). An allegro passionato, with a noble and melodic middle section, takes the place of the scherzo and trio. The work ends with a rondo which seems to Tovey so light and slight as to give the impression of being an epilogue to the previous movement. Kol Nidrei Suite Espagnole Goyescas Zapateado Interval of ten minutes III IV Vieille Castile Murcienne Asturienne Granadina Max Bruch (1838-1920) Joaquin Nin (b. 1883) Granados (1867-1916) --Cassado Sarasate (1844-1908) PAUL TORTELIER was born in Paris and began to study music at the age of 6 years, later studying at the Paris Conservatoire. He has played at numerous concerts in the U.S.A., Canada, England, Germany, Holland, Belgium, Switzerland, Italy and France, doing both recital and orchestral works. He has played such works as the Hindemith and the Elgar concertos, and has also played his own concerto with the Societe des Concerts du Conservatoire de Paris and his own double concerto with his wife, to whom it is dedicated. He has given many B.B.C. recitals in this country, and has also appeared at the Promenade Concerts and at The Royal Festival Hall with the B.B.C. Symphony Orchestra.

THE HUDDERSFIELD MUSIC CLUB THESE CONCERTS will be continued next Season. In order to keep the present high standard, the Committee would like to point out that the membership should be increased by at least forty. The Committee would be grateful if each member would endeavour to bring the Club Concerts to the notice of their friends. The Hon. Secretaries would be glad to receive the names and addresses of anyone to whom the prospectus may be sent in due course. THE HALIFAX PHILHARMONIC CLUB LECTURE HALL OF THE HALIFAX LITERARY AND PHILOSOPHICAL SOCIETY HARRISON ROAD Friday evening at 7-30 11th March THE MELOS ENSEMBLE (Wind Quartet and Piano) Quintet in E flat major Op. 16 Trio for oboe, bassoon and piano Quintet in E flat major K.452 Beethoven Poulenc Mozart Single tickets 6/- from David Dugdale, Esq., 291 Willowfield Road, Halifax. or at the door THE HUDDERSFIELD THESPIANS ST. PATRICK'S HALL, MARCH 7th to 12th at 7-30 "WOMEN ARE LIKE THAT" By L. du Garde Peach Tickets 3/- and 1/6 from Wood's, 67 New Street. The Advertiser Press Ltd., Huddersfield