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THE HUDDERSFIELD MUSIC CLUB President: Mrs. A. Eaglefield Hull (The National Federation of Music Societies to which this Society is affiliated sunnorte these Concerte with funde neovided he the 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 FORTY FIRST SEASON 1958-59 to be given in THE MAYOR'S RECEPTION ROOM TOWN HALL On MONDAY EVENINGS at 7-30 p.m. President Vice-President S. H. CROWTHER DAVID DUGDALE Mrs. E. FENNER Mrs. E. GLENDINNING E. GLENDINNING *** Honorary Vice-Presidents: DR. RALPH VAUGHAN WILLIAMS, DAME MYRA HESS BENJAMIN BRITTEN, F. W. GADSBY Mrs. A. EAGLEFIELD HULL E. D. SPENCER, Esq. Committee: Miss Z. E. HULL P. L. MICHELSON Cr. F. ROWCLIFFE MAX SELKA Miss A. SHAW Hon. Secretaries: Mrs. A. E. HULL, 13 Cedar Avenue. Tel. Hudd. 1094 Mrs. BRANSOM Mrs. CALVERT Mrs S. H. CROWTHER Mrs. F. A. DAWSON Miss K. EVANS Mrs. D. HIRST E. C. SHAW W. E. THOMPSON Mrs. S. G. WATSON C. R. WOOD STANLEY G. WATSON, 342 New Hey Road. Tel. Milnsbridge 1706 Hon. Treasurer: P. S. THEAKER, National Provincial Bank, King Street Ladies' Committee: Chairman: Mrs. E. FENNER Mrs. A. E. HULL Miss Z. E. HULL Mrs. A. W. KAYE Miss H. LODGE Mrs. H. ROTHERY Mrs. A. E. HORSFALL Miss SAWERS Mrs. M. M. SAYER Miss A. SHAW Mrs. J. SHIRES Mrs. E. D. SPENCER Miss W. TOWNSEND Hon. Secretary: Mrs. E. GLENDINNING Hon. Treasurer: Mrs. S. G. WATSON hodud 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 FORTY FIRST SEASON 1958-59 to be given in THE MAYOR'S RECEPTION ROOM TOWN HALL 7 DAL On MONDAY EVENINGS at 7-30 p.m. President Vice-President Honorary Vice-Presidents: DR. RALPH VAUGHAN WILLIAMS, DAME MYRA HESS BENJAMIN BRITTEN, F. W. GADSBY S. H. CROWTHER DAVID DUGDALE Mrs. E. FENNER Mrs. E. GLENDINNING E. GLENDINNING Mrs. A. EAGLEFIELD HULL E. D. SPENCER, Esq. Mrs. BRANSOM Mrs. CALVERT Committee: Miss Z. E. HULL P. L. MICHELSON Cr. F. ROWCLIFFE MAX SELKA Miss A. SHAW Hon. Secretaries: Mrs. A. E. HULL, 13 Cedar Avenue. Tel. Hudd. 1094 E. C. SHAW W. E. THOMPSON Mrs. S. G. WATSON C. R. WOOD STANLEY G. WATSON, 342 New Hey Road. Tel. Milnsbridge 1706 Hon. Treasurer: P. S. THEAKER, National Provincial Bank, King Street Mrs S. H. CROWTHER Mrs. F. A. DAWSON Miss K. EVANS Mrs. D. HIRST Ladies' Committee: Chairman: Mrs. E. FENNER Mrs. A. E. HULL MV Miss SAWERS MOM Miss Z. E. HULL Mrs. A. W. KAYE Miss H. LODGE Mrs. H. ROTHERY Mrs. A. E. HORSFALL Mrs. M. M. SAYER Miss A. SHAW Mrs. J. SHIRES Mrs. E. D. SPENCER Miss W. TOWNSEND Hon. Secretary: Mrs. E. GLENDINNING Hon. Treasurer: Mrs. S. G. WATSON The Club is open to everyone

The Committee is happy to announce another season of outstanding Chamber Music Concerts. The Carmirelli and the Loewenguth String Quartets, both of world-wide fame, have already given great pleasure at these concerts. The Quartet Pro Musica is an English String Quartet of great excellence. Marie-Claude Theuveny, a gifted young French violinist, will make her first appearance. Jack Brymer and Ilse Wolf are both new to these concerts but their artistry is well-known to all. MONDAY, 29th SEPTEMBER, 1958 JACK BRYMER (Clarinet) ILSE WOLF (Soprano) HENRY BRONKHURST (Piano) At the piano: Martin Isepp The Shepherd on the Rock Sonatine for Clarinet and Piano Group of piano solos Group of Schumann Lieder Sonata in E flat major for Clarinet and Piano Op. 120 No. 2 Brahms Schubert (for Voice, Clarinet and Piano) MONDAY, 24th NOVEMBER, 1958 Szalowski THE CARMIRELLI STRING Quartet in G major Op. 76 No. 1 Quartet in E minor Quartet in G major Op. 161 QUARTET Haydn Verdi Schubert

of ve tet ce. re to ski ms ert MONDAY, 8th DECEMBER, 1958 QUARTET PRO MUSICA Quartet in F minor Op. 20 No. 5 Quartet in B flat major Op. 18 No. 6 Quartet in A minor Op. 51 No. 2 MONDAY, 26th JANUARY, 1959 THE LOEWENGUTH STRING QUARTET Italian Serenade Quartet in B flat major K. 458 (The Hunt) Quartet No. 7 Quartet MONDAY, 9th MARCH, 1959 Haydn Beethoven Brahms Sonata No. 3 in E major Sonata No. 2 Tartiniana II Sonata in D minor Op. 108 Wolf Mozart Milhaud Debussy MARIE-CLAUDE THEUVENY At the piano: Pierre Petit Bach Prokofiev Dallapiccola Brahms Guaibery. Wallfisch

THE HUDDERSFIELD MUSIC CLUB UM SUBSCRIPTIONS A member's subscription for the Season is 35/-. Season tickets may be obtained from either of the Hon. Secretaries or from Messrs. J. Wood & Sons Ltd., 67 New Street. As 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. P. S. Theaker, National Provincial Bank, King Street, Huddersfield) before the date of the FIRST Concert (29th September). 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, 13 Cedar Avenue, Huddersfield, not later than 19th September, after which date it will be assumed that they will be retain- ed and paid for. If you were not a member last Season and would like to join the Club, will you please make early application to either of the Hon. Secretaries. Gamones se пробцох ланам, ngolah. CON is do my We shall greatly appreciate it if you will please pass this Prospectus on to your friends (7.5) compag com (8E/) петар 87/11 №jj DEN 'Z JON IL geput. 9 de ag Sn 19145 꾸기 •Son of day 7009(20 re 633 16

THE HUDDERSFIELD MUSIC CLUB President: Mrs. A. 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) MAYOR'S RECEPTION ROOM, TOWN HALL MONDAY, 29th SEPTEMBER, 1958 at 7-30 p.m. JACK BRYMER (clarinet) ILSE WOLF (soprano) HENRY BRONKHURST (piano) At the piano: MARTIN ISEPP Programme: Price Sixpence

Programme The analytical notes in this programme are the copyright of the Huddersfield Music Club Sonatina for Clarinet and Piano I Allegro non troppo Larghetto Allegro (First performance at these Concerts) Antoni Szalowski was born at Warsaw in 1907. His father was a professor of violin at the Warsaw State Conservatoire and was his first teacher. Szalowski later studied both piano and violin at the Warsaw Conservatoire as well as composition under Sikorski. In 1930 he went to Paris to study under Nadia Boulanger; he remained in Paris for some years. His works include a symphony, a piano concerto, a piano sonata, three string quartets a wind trio, three songs with orchestral accompaniment, violin and piano pieces. The Sonata for Clarinet and Piano dates from 1936. Lieder : "A stay of several years in Paris could not but influence this phase of his musical development. His works possess a transparency, a clearly marked form, a certain lightness and neatness of handling that is also characteristic of contemporary French music." (Grove) II Szalowski (b. 1907) Piano Solos: Ragamuffin (from Three London Pieces) John Ireland (b. 1879) Fairy Tale Op. 26 No. 1 Triana III Medtner (1880-1951) Albeniz (1860-1909) Schumann (1810-1856) Stille Liebe Auftrage Aus den hebraischen Gesangen Mondnacht Wehmut Fruhlingsnacht Allegro amabile Allegro appassionato Andante con INTERVAL OF TEN MINUTES IV Sonata in E flat for Clarinet and Piano Op. 120 No. 2 Brahms (1833-1897) (First performance at these Concerts) When Brahms visited Meiningen in 1891, he had been deeply impressed by the wonderful playing of the clarinettist Muhlfeld, a member of the Court Orchestra. Inspired by this musician Brahms wrote the four late works for clarinet the Trio Op. 114, the Quintet Op. 115 and the two Sonatas of Op. 120 for clarinet and piano. These sonatas, the last chamber music of Brahms, were both written in the summer of 1894.] Both show "a wonderful exploitation of the possibilities of the clarinet, particularly in the effective change from the higher to the lower registers, coupled with a certain astrigency of tone; a tender melancholy, which seldom breaks out into more energetic or joyous accents; and a splendid perfection of form in all the movements. And, yet, amidst these typical features, what a profusion of individual attributes" (Geiringer). Previous to this, Brahms had never used the clarinet in chamber music; "thenceforth he bestowed his love upon this melancholy singer of the orchestra, whose tone was particularly appropriate for the serious mood of his later compositions." And thus, "he restored wind inst- ruments to their place in chamber music appointed to them by Mozart." (Tovey). Muhlfeld himself took part in the first performances of these clarinet works and, to the last, remained a firm friend of Brahms.

The Sonata in E flat has three movements only It opens with a quiet first movement; the mysterious triplet episode in the development section should be noted. Tovey has described this movement as one of the most mellow products of all chamber music. It is followed by an impassioned scherzo-like movement in E flat minor, with a sonorous trio in B major. The last movement is a set of variations upon an andante theme in 6/8 time. This movement is predominantly slow, in contrast to the usual proceduré; it has only one variation (the last but one) in the usual finale tempo. It seems fitting that Brahms should have ended his great series of chamber music works with a movement, almost an epilogue, whose character is deeply pensive and reflective; fitting, too, that the last movement should be in variation form, a form to which Brahms was so greatly attached and of which he was so supreme a master. V "The Shepherd on the Rock" Op. 129 Schubert (1797-1828) (for Soprano, Clarinet and Piano) (First performance at these Concerts) "The Shepherd on the Rock" was written in October 1828 and may well have been the last song which Schubert wrote. In fact, it can hardly be called a song; it is rather an operatic scena in concertante style. The piano part is very slight and not comparable with Schubert's usual expressive piano accompaniment. "The Shepherd" was written for Anna Milder-Hauptmann. an intelligent Berlin soprano. She was an admirer of Schubert's music and had asked him repeatedly to write something which would give full scope for her remarkable voice. It is certainly a testing piece for the singer with its leaps of ninths and tenths. The poem is by Muller, the poet of the Schone Mullerin and the Winter- reise. The Shepherd stands gazing down into the valley, and bewails his loneliness and his distant love. The work opens with a long solo for the clarinet; when the singer enters, the instrument echoes his phrases as if the shepherd were playing to himself on his pipe. Only in the later sections, do the two combine to form a duet. The mood of the final stanza is a complete contrast. The Shepherd sings a joyous welcome to spring. The tempo of the music changes to allegretto, and this brilliant finale is almost reminiscent of Rossini. JACK BRYMER was born at South Shields. He was educated at London University. Until the second war he was a schoolmaster; during the war he became an R.A.F. Physical Trainer and Parachute Instructor. In 1946, Sir Thomas Beecham invited him to join the Royal Philharmonic Orchestra as principal clarinettist, a position he still holds. He is a professor at the Royal Academy of Music and a member of the Wigmore Ensemble. He is well-known as a soloist as well as a chamber music player. HENRY BRONKHURST studied with Matthay and later at the Royal College of Music where he had a distinguished career. He has given many recitals and broadcasts. He became a professor at the Royal College in 1942. ILSE WOLF was born at Dueren, Germany. Since 1939 she has made her home in England and is now a naturalized British subject. She first studied singing with her mother and made her first public appearance at the age of sixteen. Her teachers in this country were Emmy Hein and Helen Isepp. A gifted singer, with a lovely voice, she has appeared frequently at concerts and on the wireless. She is a member of the Chelsea Opera Group. MARTIN ISEPP was born in Vienna in 1930 and came to this country in 1939. He studied piano with Professor Leonie Gombrich, and was later a scholar at Lincoln College, Oxford and at the Royal College of Music. He has worked with the English Opera Group since 1953, and was on the music staff at Glyndebourne during the 1957 season. He has worked with Ilse Wolf for more than ten years.

THE HUDDERSFIELD MUSIC CLUB MAYOR'S RECEPTION ROOM, TOWN HALL Monday Evenings at 7-30 November 24th THE CARMIRELLI STRING QUARTET Quartet in G major Op. 76 No. 1 Quartet in E minor Quartet in G major Op. 161 December 8th. January 26th March 9th. Quartet Pro Musica Loewenguth String Quartet Marie-Claude Theuveny, Violin Recital Single tickets 7/6 from Woods, 67 New Street or at the door Haydn Verdi Schubert THE HALIFAX PHILHARMONIC SOCIETY LECTURE HALL OF THE HALIFAX LITERARY AND PHILOSOPHICAL SOCIETY Harrison Road - Friday Evenings at 7-30 November 21st THE LANGBEIN-JONES DUO (Violin Sonata in B flat major, K. 378 Sonata in E flat major, Op. 12, No. 3 Sonata in G minor Sonata in D minor, Op. 108 and Piano) Mozart Beethoven Debussy Brahms Single tickets 7/6 may be obtained from David Dugdale, Esq., 291 Willowfield Road, Halifax and at the door THE HUDDERSFIELD THESPIANS ST. PATRICK'S HALL September 29th to October 4th at 7-30 p.m. "THE CAINE MUTINY COURT MARTIAL" By Herman Wouk Tickets 3/6 and 2/- from Woods, 67 New Street

THE HUDDERSFIELD MUSIC CLUB President: Mrs. A. Eaglefield Hull, F.R.C.O. (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, 24th NOVEMBER, 1958 at 7-30 p.m. THE CARMIRELLI STRING QUARTET PINA CARMIRELLI MONSERRAT CERVERA LUIGI SAGRATTI ARTURO BONUCCI Programme: Price Sixpence

Programme The analytical notes in this programme are the copyright of the Huddersfield Music Club Quartet in G major Op. 76 No. 1 I Allegro con spirito Adagio sostenuto Presto. Trio Allegro ma non troppo (First performance at these Concerts) Haydn (1732-1809) Among the wealth of music that Haydn's genius poured out, there are known to be 77 string quartets, 104 symphonies, and 52 sonatas for the piano. In spite of this enormous number of compositions, practically all in sonata form, Haydn's inspiration never seems to falter, each work possesses its own individual charm to an amazing extent. The six quartets of Op. 76 were written during the years 1797-8 and were dedicated to Count Erdody. They were Haydn's last string quartets except for two of Op. 77. The quartets Op. 76 were contemporary with "The Creation," and Geiringer points out the last movements of two of them are "based on the idea expressed in the immortal passage from minor to major at the words "Let there be light." Great though the preceeding quartets had been, Geiringer remarks that "if an appropriate motto be sought for this series (Op. 76) the word Excelsior should be the first choice. Everything here is condensed and intensified, the expression more personal and direct." Quartet in E minor The first movement of the Quartet No. 1 opens, unusually for Haydn, with a short chordal introduction. The cello immediately announces the first theme which is repeated in fugal fashion by the other instruments. The short, deeply expressive slow movement opens with a tender Chorale-like theme; this is thrice repeated in the course of the movement, each time fading into passages of light, delicate figuration. The Trio remains but the Minuet has become a one-beat-in-a-bar scherzo, much like those of the young Beethoven. This vigorous and rythmic movement is, unusually, in the minor key, which changes abruptly into the major for the coda. II Verdi (1813-1901) Allegro Andantino Prestissimo Scherzo Fuga: Allegro assai mosso (Last performed in 1948 by the New Italian Quartet) This little-known quartet, which does not deserve the neglect into which it has fallen, was Verdi's sole contribution to chamber music. It was written. in Naples in 1873, two years after Aida, one year before the Requiem; the two latest, and greatest, operas-Otello (1887) and Falstaff (1893)-were yet to come. That Verdi was not indifferent to chamber music is proved by his correspondence; but in his day, opera was the most absorbing interest in Italian musical life and Verdi's temperament was, without doubt, naturally dramatic. The quartet is constructed on classical lines; in spite of that, its treatment and its harmonies are very characteristic of the composer. Each of the four movements may be said to represent one of Verdi's tendencies. The first movement is founded on a very dramatic theme, and has, in its vitality, a strong ressemblance to the music of Aida. The Andantino is a theme with

variations. It is less characteristic of Verdi's operatic style; it has a noble simplicity, yet with a good deal of chromatic colouring. The third movement is a scherzo, dramatic in its nature, which recalls the music. of Rigoletto and Trovatore. The Scherzo-fuga is perhaps the finest move- ment. It foreshadows the Verdi of Falstaff, and the dawn of a fresh, new type of Italian music. The form is that of a fugue, very freely interpreted. INTERVAL OF TEN MINUTES Quartet in G major Op. 161 III Schubert (1797-1808) Allegro molto moderato Andante un poco moto Scherzo. Allegro vivace Allegro assai (Last performed in 1938 by the Kolisch String Quartet) In all, Schubert is known to have written 19 string quartets of which 3 are lost and 4 are incomplete. Of the remainder all but 3 were written between the ages of 15 and 19 and were primarily intended for home practice. In the summer of 1826, within the space of 10 days, Schubert wrote this, his last quartet. It is believed that its first movement was performed at the celebrated Invitation Concert in March 1828; in the same year Schubert offered it, with other works, in vain,to the publisher Schott. It was not published till 1851. It has been said that Schubert's string quartets are essentially orchestral in character. This, if true, might certainly apply to the G minor quartet. "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 conn- ected with the fact that the first movement, in particular, is entirely dependent upon the interplay of harmonic light and shade, upon the interchange of major and minor within the narrowest compass." (Einstein). Another notable feature of this quartet is the way in which, in another sense, Schubert treats this work as pure chamber music. "There is nowhere any trace of a leading idea, of a song used to bring unity into all the movements, as in the 1824 quartets. Schubert's quartet writing was again dependent on itself, on the pure musical material and treatment" (Kahl). The first movement is in sonata form, with an unusually lengthy exposition. It is dominated by the alternation of the minor and major keys, which process is reversed in the recapitulation, thus changing the whole character. Einstein asserts that the "slightly agitated" Andante in E flat "became the model for many of Brahms's 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". "The calm of this movement is twice broken by violent outbursts which end with harmonies so strange that some critics have compared them with harmonies of Bartok. In the Scherzo (B minor) with its Trio (G major) which ressembles a Landler, Einstein finds something of Schumann's capric- iousness. Kahl calls it a "phantom from the region of ghostly romance". The Finale is a lengthy rondo, full of invention and of boundless energy, violent in rhythm and adventurous in harmony. It again, like the first move- ment, alternates between the major and minor keys. It ends with a coda in G maior. This is perhaps Schubert's finest quartet, with its masterful and assured handling, its cohesion, its wide sweep, its bold ideas and, above all, the endless fertility of his inspiration. THE CARMIRELLI STRING QUARTET was formed in 1954 by the well-known violinist Pina Carmirelli who had previously founded the Boccher- ini Quintet. She is a famous soloist and a professor at the Santa Cecilia Conservatoire in Rome. Monserrat Cervera, a young and brilliant musician of Spanish origin, has played as soloist with the group "I Musici". Arturo Bonucci is a noted member of the Boccherini Quintet and a concert soloist, as is Luigi Sagratti. The Quartet has had a very successful international career and is now considered to be one of the most accomplished existing chamber music ensembles.

THE HUDDERSFIELD MUSIC CLUB MAYOR'S RECEPTION ROOM, TOWN HALL Monday Evenings at 7-30 December 8th. THE PRO MUSICA STRING QUARTET Quartet in F minor Op. 20 No. 5 Quartet in B flat major Op. 18 No 6 Quartet in A minor Op. 51 No. 2 January 26th March 9th. Haydn Beethoven Brahms Loewenguth String Quartet Marie-Claude Theuveny, Violin Recital Single tickets 7/6 from Woods, 67 New Street or at the door THE HALIFAX PHILHARMONIC SOCIETY LECTURE HALL OF THE HALIFAX LITERARY AND PHILOSOPHICAL SOCIETY Harrison Road Friday Evenings at 7-30 December 12th. THE PRO MUSICA STRING QUARTET Quartet in G major K. 387 Quartet in F major Quartet in C major Op. 59 No. 3 Mozart Ravel Beethoven Single tickets 7/6 may be obtained from David Dugdale, Esq., 291 Willowfield Road, Halifax and at the door THE HUDDERSFIELD THESPIANS THEATRE ROYAL November 24th to 28th at 7-30 (Saturday 5 p.m. and 8 p.m.) "I REMEMBER MAMA" By John Van Druten Tickets and seats booked at the Theatre. Usual Theatre prices (2 tickets for the price of 1 on Monday). Thespian members can obtain special prices on application to the Theatre.

THE HUDDERSFIELD MUSIC CLUB President: Mrs. A. Eaglefield Hull, F.R.C.O. (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, 8th DECEMBER, 1958 at 7-30 p.m. QUARTET PRO MUSICA PATRICK HALLING 7 ROGER RAPHAEL PETER SERMON PETER HALLING Programme: Price Sixpence

Programme The analytical notes in this programme are the copyright of the Huddersfield Music Club Quartet in F minor Op. 20 No. S Allegro moderato Minuet and Trio Adagio Haydn (1732-1809) Finale. Fuga a due Soggetti (First performance at these Concerts) The six quartets of Op. 20 were written in 1772. They were known as the Sun Quartets-a good name, which, however owes its real origin to the picture of a rising sun printed on the title page of the first edition. Haydn's previous quartets (Op. 17) were dated 1771, and though both they and the Quartets Op. 9 were true string quartets and not divertimenti, Op. 20 shows an amazing advance. "It is a threefold miracle. Here at last is the string quartet fully in being as a living entity. The concertante style has brought release, counterpoint has given cohesion and strength, to the individual parts; but now there is added a sudden realization of the character and tone quality of string texture as such-coupled, paradoxically, with a far keener awareness of the essential personality of each instrument. Structurally, Haydn now shows a far stronger grasp of general design and of the potentialities of development latent in individual themes. And, in the last resort, it is his own musical personality which these developments manifest, and which now stands before us in its full stature. The sheer range of mood and tempo alone is startling." (R. Hughes) The main characteristic of this quartet in F minor (then an unusual choice. of key) has been described as "profound and poignant disquiet." This is exemplified by the way in which, in the first movement, the major second subject returns in the recapitulation in the minor key; then it is further developed and followed by a coda in which, by means of a remote key, the sense of mystery is further deepened. The Minuet and Trio, too, have dark shadows. The tender and graceful Adagio in F major, with its delicate figur- ation for the first violin, brings a welcome relief. The finale, again a great contrast, is a fugue with two subjects, the first of which bears a marked resemblance to that on which Handel based his chorus "And with His stripes" in The Messiah. Out of the 6 quartets of Op. 20, 3 have fugue finales. "But their historical importance, as Tovey pointed out, transcended the immediate technical achievement, in that they effectively establish fugue texture from henceforth as a normal resource of sonata style. Indeed, the influence of this set on the whole subsequent development of chamber music remains. unsurpassed." (R. Hughes). Tovey also describes this fugue as being "a sublimation of an emotion of almost tragic pathos." All three of these final fugues are directed to be played sotto voce until a sudden forte leads to a coda in a less strictly contrapuntal style. II Quartet in B flat major Op. 18 No- 6 Beethoven (1770-1827) Allegro con brio Adagio ma non troppo. Scherzo. Trio Adagio. La Malinconia Allegretto quasi Allegro (Last performed in 1952 by the Amadeus String Quartet) The quartets of Op. 18 date from 1798-1800. They were dedicated to Prince Lobkowitz and were published in 1801 in two parts of 3 quartets each, not arranged in the order of their composition. About this period "Beethoven

was preoccupied with the clavier; it was the centre of his thought and comp- osition, and his own playing was the basis of his art and interest." (Bekker). Indeed, some critics find a broad resemblance between this sixth quartet and the Sonata in B flat which was composed about the same time. In 1795 Count Apponyi had commissioned a string quartet from Beethoven, who had firmly declined the offer, feeling, no doubt, that he was as yet unprepared for so serious an undertaking. After two attempts, which later became the Trio Op. 3 and the Quintet Op. 4, Beethoven now produced the six quartets of Op. 18. In them, on the whole, he shows his debt to his predecessors, but in parts of the second quartet, and particularly in the "beautiful and mysterious" La Malinconia, there is more than a hint of the riches that are to follow. There are five movements in the sixth quartet, and the prevailing mood is one of cheerfulness. The first movement is full of vitality; it asks for spiccato bowing. The first slow movement is somewhat elaborate; its melodies are full of grace. The Scherzo, with its astonishing syncopations, is "glorious piece of musicianly humour." The Minuet has vanished, but the contrasting Trio is still retained. The second slow movement, the mysterious La Malinconia (Grief), is most moving. Beethoven marks that it should be played with the greatest feeling and every nuance is noted with scrupulous care. It runs with hardly a break into the finale, over which the shadows of La Malinconia fall twice. INTERVAL OF TEN MINUTES III Quartet in A minor Op. 51 No. 2 Allegro non troppo Andante moderato Quasi Minuetto, moderato Allegro non assai Brahms (1833-1897) (Last performed in 1955 by the Wiener Konzerthaus String Quartet) 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 be 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. These 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 inter- esting to note that the Liebeslieder quartets. (for four voices) is Brahms's Op. 52. In both the Op. 51 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 of the same 4th bars 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 cello, supported by a tremolo accompaniment which is almost orchestral in effect. "In place of a scherzo, the third movement 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 trio." (Tovey). The finale is a spirited rondo, with a flavour of Hungarian music. In recent years Quartet Pro Musica has established a reputation as an ensemble of wide interpretive powers. Their programmes, both for broad- casting and recital, have included works of Purcell, Boccherini, the Viennese classics,and such contemporary masters as Tippett, Ibert, Bartok and Berg. Quartet Pro Musica has had the honour of giving several first performances for the B.B.C., and has also appeared at the Cheltenham Festival.

THE HUDDERSFIELD MUSIC CLUB MAYOR'S RECEPTION ROOM, TOWN HALL Monday Evenings at 7-30 January 26th THE LOEWENGUTH STRING QUARTET Quartet in B flat major K.458 (The Hunt) Quartet No. 7 in B flat (1925) Italian Serenade Quartet in G minor Op. 10 No. 1 March 9th. Mozart Milhaud Wolf Debussy Marie-Claude Theuveny, Violin Recital Single tickets 7/6 from Woods, 67 New Street or at the door THE HALIFAX PHILHARMONIC SOCIETY LECTURE HALL OF THE HALIFAX LITERARY AND PHILOSOPHICAL SOCIETY Harrison Road - Friday Evenings at 7-30 Friday, December 12th. QUARTET PRO MUSICA Quartet in E flat major, Opus 64, No. 6 Quartet No. 6 Quartet in B flat major, Opus 18, No. 6 Haydn Bartok Beethoven Single tickets 7/6 may be obtained from David Dugdale, Esq., 291 Willowfield Road, Halifax and at the door THE HUDDERSFIELD THESPIANS ST. PATRICK'S HALL January 19th to 24th at 7-30 p.m. "CAPTAIN CARVALLO" By Denis Canan Tickets 3/6 and 2/- from Woods, 67 New Street

THE HUDDERSFIELD MUSIC CLUB President: Mrs. A. Eaglefield Hull, F.R.C.O. (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, 26th JANUARY 1959 at 7-30 p.m. THE LOEWENGUTH STRING QUARTET ALFRED LOEWENGUTH JACQUES GOTKOWSKY ROGER ROCHE PIERRE BASSEUX Programme: Price Sixpence

Programme The analytical notes in this programme are the copyright of the Huddersfield Music Club I Quartet in B flat major K. 458 (The Hunt) Allegro vivace assai Minuet and Trio Adagio Allegro assai (Last performed in 1950 by the Loewenguth String Quartet) Mozart (1756-1791) This quartet is the fourth of a set of six which appeared in 1782 and was 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 manu- scripts shows so many alterations and erasures. Mozart's work as a composer of quartets can be divided into two distinct periods. There are 15 early quartets written between 1770-73; then 1782 saw the appearance of the first of the "great" quartets. There was little in the style of the early group to distinguish them from a 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 as 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." 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 being in the usual third position. The slow movement is perhaps the most impressive of the whole work. Einstein points out that the theme is based on the motiv of the Agnus Dei from the Litaniae Laurentanae, which Mozart wrote in 1774; and he finds the same atmosphere of intimate, devotional prayer in the Adagio. 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 Mozart- ian roguishness and Haydnesque humour." (Abert). II Quartet No. 7 in B flat Modérément animé Doux et sans hâte Lent Milhaud (b. 1892) Vif et gai (First performance at these Concerts) Darius Milhaud was born in Aix-en-Provence; he studied at the Paris Conservatoire. Between 1917-8 he was an attaché at the French Legation at Rio de Janeiro; a reminder of his Brazilian life is found in his set of piano pieces Saudades do Brazil and the native melodies he used in his ballet Le Boeuf sur le Toit. About 1920 he became known as one of the group Les Six, a label attached almost without meaning to six young French composers. Milhaud has been a most prolific writer in many forms, operas, ballets, incid- ental music for the theatre, symphonies, suites, sonatas, concertos, songs, piano pieces and chamber music; his facility is so marked that he is sometimes in danger of producing work which is not altogether worthy of his undoubted qualities. His chamber music is, however, of a uniformally high standard. Milhaud is said to have set himself the task of writing as many string quartets as Beethoven and "so far he has written 15, the last two designed to be played separately or together as an octet." (Lockspeiser). He has a strong and convinced leaning toward clear diatonic harmony. With this and without this, it is impossible-he has made many experiments in polytonality. The seventh quartet dates from 1925 and "is on the whole, simpler in tex- ture than its predecessor (1922), but in other respects more subtle." (E. Evans). A further quotation from Evans sums up the general impression of Milhaud: "There are combined in him three different and not easily recon- cilable factors...One is the passionate vehemence which many critics ascribe to his racial origin. Another, which is also a Jewish trait, is the intense pre- occupation with the "chess problem" aspect of music, which provides an attractive field for the intellectual ingenuity that the Jews bring with them from the East. The third is a curious simplicity-not in the least affected, as in some modern composers, but congenital. He really does revel in simple, obvious tunes which the sophisticated despise, whether they be pastoral sug- gestions of the country-side or echoes of "Parisian folk-lore." He is quite aware that to some ears they sound too unimportant for the elaborate treat- ment he gives them, but he considers himself to be the best judge-this without arrogance or pretension, but simply as an independent composer."

INTERVAL OF TEN MINUTES Italian Seranade in G minor III (Last performed 1935 by the Griller String Quartet) It is as a writer of songs that Hugo Wolf is best known; a power of creating an exquisite union between poetry and music constituted his unique genius. only instrument works are an early symphonic poem "Penthesilia" a still earlier string quartet and this Italian Serenade. Hugo Wolf (1860-1903) Throughout his life Wolf was obsessed with the idea of composing an orchestral work in which he could express his passionate love for the South. The Serenade was first written for string quartet, the manuscript dating from 1887. Some years later Wolf took up the work again; he re-arranged this movement for small orchestra (strings with solo viola, 2 flutes, oboes, bassoons and horns) and sketched out two further movements, an adagio and a taran- tella. It is interesting to note that the later work coincided with the production of the two books of Italian songs. Both the quartet and the orchestral version, the latter arranged by Max Reger, were published after the comp- oser's death. Quartet in G minor Op. 10 The Serenade is a wholly beautiful little piece in rondo form, perfect and complete in itself, full of Wolf's love for Italy, which meant to him a land of sunlight, colour, gaiety, passion and charm. IV. Debussy (1862-1918) Animé et très décidé Assez vif et bien rythmé Andantino doucement expressif Très modéré (Last performed in 1957 by the Parrenin String Quartet) Claude Debussy, perhaps the most influential French composer of his generation, sprang from a family of no particular musical talent. After a conventional training, he settled down to a retired life of composition, never holding any official appointment and rarely appearing in public. His work can roughly be divided into three periods; the first, a period of immaturity. lasting up to about 1890, then some 20 years of mature work and finally a few last years of declining health and activity. His early works showed traces of influence, but he soon evolved a style and process of thought entirely his own. No composer ever had a keener or more subtle feeling for beauty, colour, poetic suggestiveness and atmosphere; added to these went a perfect genius for craftsmanship. This quartet his only composition in that form-was written in 1893, the first part of his finest period. In it Debussy uses the "cyclic principle.' Yet "the impression is created not of a work of contrasts and logical development, but of a sort of visionary work based on the transformation of a single theme" (Lockspeiser). The gay and rhythmic first movement opens with the motto of the whole work. The theme of the Scherzo-a movement of pure fantasy- is directly derived from that motto. The third movement is a dreamy Noct- The composition of the quartet was immediately followed by that of L'Après-midi d'un faune; this slow movement clearly foreshadows the later development. The impetuous finale again contains a further transformation of the motto. But apart from details of construction, the quartet is a work of sheer, elusive beauty; it "moves like a young faun, spins the gayest most silken, most golden of spider-webs; fills one with delights of taste and smell and sight and touch." (Rosenfeld). urne.

THE HUDDERSFIELD MUSIC CLUB MAYOR'S RECEPTION ROOM, TOWN HALL Monday Evenings at 7-30 March 9th MARIE-CLAUDE THEUVENY Violin Recital At the piano: Pierre-Petit Sonata No. 3 in E major Sonata No. 2 Tartiniana II Bach Prokofief Dallapiccola Brahms Sonata in D minor Op. 108 Single tickets 7/6 from Woods, 67 New Street or at the door THE HALIFAX PHILHARMONIC SOCIETY LECTURE HALL OF THE HALIFAX LITERARY AND PHILOSOPHICAL SOCIETY Harrison Road Friday Evenings at 7-30 February 20th THE DELLER CONSORT The programme will include the Byrd Mass for three voices Single tickets 7/6 may be obtained from David Dugdale, Esq., 291 Willowfield Road, Halifax and at the door THE HUDDERSFIELD THESPIANS ST. PATRICK'S HALL March 2nd to 7th at 7-30 p.m. SOUTH SEA BUBBLE By Noel Coward Tickets 3/6 and 2/- from Woods, 67 New Street

THE HUDDERSFIELD MUSIC CLUB President: Mrs. A. Eaglefield Hull, F.R.C.O. & (The National Federation of Music Societie to which this Society is affiliated supports these Concerts with funds provided by the Arts Council of Great Britain) pfachenhaghrafache chachachachachache MAYOR'S RECEPTION ROOM, TOWN HALL MONDAY, 9th MARCH, 1959 at 7-30 p.m. ERICH GRUENBERG and PETER WALLFISCH VIOLIN 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. 100 Brahms (1833-1897) Allegro amabile Andante tranquillo. Vivace Allegretto grazioso (quasi andante) (Last performed in 1954 by Raymond Cohen and Franz Reisenstein) This Sonata, together with the Cello Sonata Op. 99 and the Trio in C major, was written during a summer holiday of six weeks spent in 1887 at Thun. The 24 works which comprise the chamber music of Brahms probably as Tovey points out, represent only a quarter of his compositions in this form. Throughout his life, and particularly during his last illness, he was at pains ruthlessly to destroy uncompleted or unpublished works. Thus we are left with three sonatas only for violin and piano; this, the second, being, it is known, actually the sixth. These three works of 1887 are, says Tovey, "the tersest of all Brahms's works, the only passage which takes up any room on paper being the "cloud- capped tower" opening of the coda of the A major violin sonata." In spite of this compression, this sonata is full of Brahms's warm and flowing melodies, here often refined to a high degree of delicacy and tenderness. It has some- times been called the "Meistersinger Sonata" on account of a resemblance between the first three notes of the opening theme and the Preislied. Curiously, the second theme of this movement recalls a theme from one of Brahms's songs (Op. 105 No. 1) and the schezo of the second movement has a quotation from Grieg. The first movement is in sonata form, with an extended and beautiful coda. The second movement alternates between andante and scherzo, the andante theme having a different continuation at each of its appearances. The finale, with so much of the violin part sung in its low register, is a rondo. "deeply thoughtful in tone and so terse that a description of its form would convey the impression of a movement three times as long." (Tovey). Of this movement Langford wrote: "The deep and dark subject of the last movement is of a rare beauty, and it has in its darkness the rich glow of some deep empurpled cloud." II Sonata No. 2 in D major Op. 94 b Prokofiev (1891-1953) Moderato Scherzo Andante Presto Allegro con brio (First performance at these Concerts) Prokofiev was one of the outstanding examples of musical precosity; he improvised at the age of 5, composed piano music when he was 6, and at 9 produced an early opera. He went to the Petersburg Conservatoire at the age of 13 where the list of his teachers reads like a "galaxy of famous names" -Gliere, Liadov, Rimsky-Korsakov, Tcherepnin and Essipova. Even in his student days, Prokofiev was the "enfant terrible" of Russian music. He supported the performance of all the new and controversial works while his own music, with its metallic harshness and dynamic, brutal rhythms, stunned his teachers and his audiences alike. His own character and manner were equally uncompromising and reckless. He graduated from the Conservatoire in 1914, taking with him a mass of brilliant and original compositions. In London that same year, he met Diaghilev, who at once commissioned a ballet, which, however was not finally accepted on the grounds that in subject it ressembled too closely Stravinsky's Sacre du Printemps. Prokofiev's first ballet for Diaghilev was not produced till 1921. When the Russian revolution broke out, Prokofiev was able to leave the country and he arrived in America via Siberia and Japan, bringing with him a new work, The Love for Three Oranges. For the next 14 years he lived. and worked, as pianist, composer and conductor, in America and Europe. Prokofiev himself says that five principal elements have dominated his work: the classical, innovation, "the toccata or motor," the lyric and the grotesque. In his earlier work the innovation element appears to have dominated, but shortly before his return to Russia in 1932, he reached a turning point in his career and his music became less dissonant, simpler, more melodic and even to have a quality of lyric beauty. For the first years after his return Prokofiev was fully occupied with music for theatre, films and propaganda, but after 1938 "pure music"-symphonies and sonatas-poured from his pen. Prokofiev has written two sonatas for violin and piano. The second. was completed in 1944. "Like its predecessor (1936) it blends thematic man- ipulation with romantic ardour. The Scherzo is dance-like almost salon music, though sophisticated in melody and harmony-another example of the re- sounding impact of Western ballet music on a Russian composer." (R. A. Leonard). His last symphony (1952), written after his "disciplining" by the Government, shows a simplicity and an "ebbing of a once-vital force in modern music" in accordance with official instructions. INTERVAL OF TEN MINUTES

Sonata in G minor III Allegro vivo Intermède. Fantasque et léger Finale. Très animé (Last performed in 1943 by Ida Haendel) Sonata in C minor Op. 30 No. 2 Debussy (1862-1918) This Sonata, written in 1917, is one of Debussy's last works. Beginning in 1915, after a period of unproductiveness, Debussy wrote in rapid succession the Douze Etudes, Blanc et Noir and three sonatas, one for cello and piano, one for flute, viola and harp and this sonata. He had, in fact, planned to write a set of six but only three were completed. The fourth was planned for the unusual combination of oboe, horn and harpsichord. For some years before his death, Debussy had suffered from a painful and terrible malady, and some critics find in these late works evidence of his failing powers. Lockspeiser indeed, considers this sonata to be a jumble of repetitions and padding, with "passages reminiscent of Stravinsky, of Spanish folk-song, allusions to his own Iberia and La Flute de Pan", but he admits that it was impossible for Debussy to write anything that was tasteless or ugly. Edwin Evans, on the other hand, took a different view. While agreeing that these sonatas were the lesser works of a great man, he finds that any uncertainty or weakness in them is not the result of physical weariness or mental decay, but rather a searching after new forms of expression. The Sonata for violin and piano, though not completely orthodox, is perhaps the most formal of the three. The first movement in particular "brings out unsuspected sonorities of both piano and violin. The second movement consists of chinoiserie of the most delicious kind and throughout the most subtle and spontaneous effects are cajoled from the duo." (Stevens). The Finale is a kind of rondo, again colour- ed and transformed with Debussy's originality. IV Beethoven (1770-1827) Allegro con brio Adagio cantabile Scherzo and Trio Finale. Allegro (Last performed in 1954 by Raymond Cohen and Franz Reizenstein) Beethoven's 9 sonatas for violin and piano were all written between 1798 and 1803, the tenth, and last, sonata not appearing till 1812. At this period of his life Beethoven himself was still a virtuoso pianist and had many op- portunities of giving concerts with players of other instruments. It is known that many of his duo sonatas were written for performance with a particular player in mind. Bekker points out that "the marked difference between these works and the chamber music proper is highly interesting. The latter aims at the exclusion of virtuosity as an end in itself, while the duo sonatas make a point of preserving it, and their whole structure shows an unmistakable trend to the form of the double concerto without orchestral accompaniment." The violin and piano sonatas are particularly fine examples of "concert pieces" and their effect is, in general, one of brilliance and virtuosity. The three sonatas of Op. 30 were written in 1892 and, therefore, belong to Beethoven's "middle period". They are dedicated to the Emperor Alexander of Russia. D'Indy finds this Sonata Op. 30 No. 2 essentially military in spirit. The first movement, in sonata form, with its rhythms like trumpet calls, its sharply pointed phrases, its stormy episodes, the mournful new theme of the developement section and its triumphant close, paints for d'Indy a complete picture of martial strife. The second movement is an expressive aria in five linked sections; it, too, has its dramatic moments. The Scherzo, pointed and rhythmical, has a Trio with canonic imitations between the violin and the piano bass. The "sombre, energetic and passionate" Finale is a rondo, again with beating drum-like rhythms and trumpet calls. "Then, after the fourth refrain, all the themes of victory are mingled in a glowing final presto which forms a worthy conclusion to this fine work." (d'Indy). ERICH GRUENBERG was born in Vienna in 1924. He studied there. with Professor Stwertka, then leader of the Vienna Philharmonic Orchestra In 1939 he won a scholarship to the Conservatoire in Jerusalem where he studied with Henry Rothenberg. He came to England in 1946 to continue his studies at the Guildhall under Max Rostal; the following year he won the international Carl Flesch prize. He now lives in England. He has played much chamber music (The Rubbra-Gruenbergh-Pleeth Trio, the London Quartet, leader of the Boyd Neel Orchestra.) He joined the Stockholm Philharmonic Orchestra 1956-8; he now devotes himself to solo playing. He PETER WALLFISCH was born in Breslau in 1924 and received his first musical training there from the age of 10. He emigrated to Palestine in 1938 and obtained a scholarship the Jerusalem Academy of Music. received his diplomas, with honours, four years later. He taught at the Jerusalem Conservatoire for two years, as well as appearing as a solo artist. He next was awarded a further scholarship and went to Paris to study under Marguerite Long and Jacques Fevrier. He made his debut in Paris in 1948, and has since appeared with outstanding success throughout Europe and South America.

THE HUDDERSFIELD MUSIC CLUB Arrangements for the 1959-60 Season are already well in hand. Every effort is again being made to secure artists of international reputation who will present programmes of high musical value and interest. Members may, with the utmost confidence, anticipate a series of recitals as attractive as any of those which have been presented by this Club throughout the past forty years. Approbation of the endeavours of the Committee could not be better expressed by our present members than by the introduction of NEW MEMB- ERS; and a particular appeal is therefore made to those who have appreciated these Recitals in the past to support us in our efforts in the future. Please give to either of the Secretaries, or to any member of the Committee, the names and addresses of any possible new members, or of any person who would be interested in the Club. THE HUDDERSFIELD THESPIANS ST. PATRICK'S HALL April 20th to 25th at 7-30 p.m. LOOK BACK IN ANGER by John Osborne Tickets 3/6 and 2/6 from Wood, 67 New Street, Huddersfield