HMS 7


The Huddersfield Music Society, HMS 7

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HUDDERSFIELD MUSIC CLUB HUDDERSFIELD MUSIC SOCIETY Brochure 7th Season's programmes 1924-1925 ןוווןווווןווווןוווווווווווווווווווווווווווווווווו| mm > x-rite MSCCPPPE0613 MSCCPPCC0613 > x-rite colorchecker г. 7 mm

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HUDDERSFIELD MUSIC CLUB President E. J. BRUCE Esq. J.P. Hon. Musical Director, A. EAGLEFIELD HULL, Mus. Doc. (Oxon.) HUDDERSFIELD MUSIC CLUB President E. J. BRUCE, ESQ., J.P. CONCERTS FOR THE SEVENTH SEASON 1924-25 TO BE GIVEN IN HIGHFIELD ASSEMBLY HALL (NEW NORTH ROAD) WEDNESDAYS, OCT. 15, NOV. 12, DEC. 3, 1924 JAN. 21, FEB. 11, MAR. 11, 1925, at 7-45 p.m. 不 W. F Clayton W. Clifford Crook J. Stancliffe Ellis G. Fleming Hon. Musical Director Committee: W. Tuke Robson. Haydn Sandwell, F.R.C.O. F. W. Thornton. M.R.C.S. Frederick Whiteley A. L. Woodhead, M.A., J.P. A. EAGLEFIELD HULL, Mus Doc. Hon. Treasurer WALTER CAWTHORN, National Provincial Bank, Ltd., Hon. Secretary . King Street, Huddersfield. ALBERT LUNN, 116, Birkby Hall Road, Huddersfield. THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE SERIES OF SIX CONCERTS IS 25/- (including tax) STUDENTS 15/- (including tax)-payable to the Treasurer

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HUDDERSFIELD MUSIC CLUB בהבתבתבתב President E. J. BRUCE, Esq., J.P. CONCERTS FOR THE SEVENTH SEASON 1924-25 TO BE GIVEN IN HIGHFIELD ASSEMBLY HALL (NEW NORTH ROAD) WEDNESDAYS, OCT. 15, NOV. 12, DEC. 3, 1924 JAN. 21, FEB. 11, MAR. 11, 1925, at 7-45 p.m. 不 W. F Clayton W. Clifford Crook J. Stancliffe Ellis G. Fleming Hon. Musical Director Hon. Treasurer Hon. Secretary - Committee: W. Tuke Robson Haydn Sandwell, F.R.C.O. F. W. Thornton. M.R.C.S. Frederick Whiteley A. L. Woodhead, M.A., J.P. A. EAGLEFIELD HULL, Mus Doc. WALTER CAWTHORN, National Provincial Bank, Ltd., King Street, Huddersfield. ALBERT LUNN, 116, Birkby Hall Road, Huddersfield. THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE SERIES OF SIX CONCERTS IS 25/- (including tax) STUDENTS 15/- (including tax)-payable to the Treasurer

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EXCELLENT as have been the series of Concerts given by the Club in past seasons, the Committee claim that the following programme exceeds them all in attractiveness. Benefitting by the great success of last season, Six Concerts are again included instead of five as previously, and as the financial obligations entailed are heavier than ever before, the committee trust that members will not only give renewed support but also persuade their friends to become members. WEDNESDAY, 15th OCT. 1924 JOHN COATES SONG RECITAL "In Mr. John Coates we have a native artist incomparable in the line which he has of late struck out . . . In the interpretative aspects of his art he is unapproachable."-(Sunday Times.) WEDNESDAY, 12th NOV. 1924 LÉNER STRING QUARTET "It is difficult to think of anything a Quartet could be or do, which they are not or do not."-(The Times).

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WEDNESDAY, 3rd DEC. 1924. MOISEIWITSCH PIANOFORTE RECITAL "One of the greatest artists of his instrument that has come out of Russia; or out of any other country for that matter."-(New York Telegraph). WEDNESDAY. 21st JAN. 1925 TRIO EDITH ROBINSON, Violinist; CARL FUCHS, FRANK MERRICK. 'Cellist; Pianist First appearance of this distinguished trio at these concerts. WEDNESDAY, 11th FEB. 1925 HUNGARIAN STRING QUARTET "It was a pleasure to meet the Hungarian Quartet. They prove qualities that place them in the first rank."-Morning Post.

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WEDNESDAY, 11th MAR. 1925 THE ENGLISH SINGERS (SIX MUSICIANS) "No singing could be more perfect than that of the English Singers. Their blend, their rhythm, their conception of the spirit in which every madrigal should be sung, their string-quartet method of merging all their voices or detaching one or more as the woven shapes of the music momentarily demand. their articulation, their very platform manner, indeed, everything about their performances is as nearly right as sensitive, artistic instinct can dictate." The London Observer.

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HUDDERSFIELD MUSIC CLUB President WED., OCT. 15, 1924 E. J. BRUCE Esq. J.P. JOHN COATES SONG RECITAL AT THE PIANO MR. BERKELEY MASON PROGRAMME: PRICE THREEPENCE Hon. Musical Director, A. EAGLEFIELD HULL, Mus. Doc. (Oxon.) College of Music Hon. Secretary, ALBERT LUNN 116 Birkby Hall Road, Huddersfield Hon. Treasurer, WALTER CAWTHORN National Provincial & Union Bank of England, King Street, Huddersfield

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PROGRAMME I OLD ENGLISH (Elizabethan and Stuart) "All in a garden green "Come again" وو "It was a lover and his lass" A kiss I begged " "The Angler's Song" "What I do?" II Anon. Temp. Elizabeth John Dowland 1597 Thomas Morley 1600 John Gamble 1657 Henry Lawes 1659 Henry Purcell 1690 MODERN ENGLISH "Speak, Music" (A. C. Benson) E. Elgar "The Knight of Bethlehem" (H. N. Morgan) D. C. Thomson " The ladies of St. James's" (Austin Dobson) F. H. Cowen "The song of the palanquin bearers" Martin Shaw (Sarojini Naidu) "Eleanore" (Eric Mackay) S. Coleridge-Taylor

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III FOREIGN "Provenzalisches Lied" (L. Uhland) Schumann " Row gently here" (T. Moore) Schumann "Le beau séjour " Old French "Wie bist du, mein Königin " Brahms "Sonntag " Brahms "Botschaft " Brahms FOREIGN "Serenade" IV Schubert " Erlkönig " "La chanson du tambourineur " "Triste est le steppe" Schubert Old French A. Gretchaninof

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1924 WED. 12 NOV. WED. 3 DEC. 1925 WED. 21 JAN. LENER STRING QUARTET MOISEIWITSCH-PIANO RECITAL TRIO-EDITH ROBINSON VIOLINIST CARL FUCHS FRANK MERRICK 'CELLIST PIANIST WED. 11 FEB. HUNGARIAN STRING QUARTET WED. 11 MAR. THE ENGLISH SINGERS FLORA MANN NORMAN STONE NELLIE CARSON NORMAN LILLIAN BERGER NOTLEY CUTHBERT KELLY THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING FIVE CONCERTS IS 20/- (INCLUDING TAX), PAYABLE TO THE TREASURER SINGLE TICKETS (INCLUDING TAX) 5s. 9d.

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HUDDERSFIELD MUSIC CLUB President E. J. BRUCE Esq. J.P. WED., NOV. 12, 1924 LENER STRING QUARTET PROGRAMME: PRICE THREEPENCE Hon. Musical Director, A. EAGLEFIELD HULL, Mus. Doc. (Oxon.) College of Music Hon. Secretary, ALBERT LUNN 116 Birkby Hall Road, Huddersfield Hon. Treasurer, WALTER CAWTHORN National Provincial & Union Bank of England, King Street. Huddersfield

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PROGRAMME. (Copyright Annotations by Dr. A. Eaglefield Hull). I Second Quartet in D minor Allegro moderato Scherzo Notturno Andante vivace Borodin Alexander Borodin was born in Petrograd in 1834, and died there in 1887. He displayed from early childhood an equal liking for science and for music. Pro- fessionally his career was that of a professor of chemistry; but more than half of his time was devoted to music. His opera Prince Igor and his orchestral tone-poem In the Steppes are well known. Mr. Calvocoressi writes in the new Dictionary (mentioned below) "Among the chief characteristics of Borodin's music are, on the one hand, the exquisite quality of his melody, always individual, even when the influence of folk-lore is most obvious, and of his harmonies, simple but rich and effective; on the other hand, the gift he has almost alone among Russians-for utilising equally simple, but remarkably apt and effective, polyphonic combinations of these melodies." II Quartet in the Dorian mode (Quartetto Dorico) Ottornio Respighi This new quartet by the best known Italian composer was specially dedicated to the Léner Quartet, and received its very first performance on Oct. 29th this year (in London). Even now it is being played from MS. Ottorino Respighi, who was born in Bologna in 1879, is one of the most remark- able of modern Italian composers. He completed studies at the Liceo in his native city (violin under Federico Sarti, and composition under Martucci). He then went to Russia, where he studied under Rimsky-Korsakof, and in Berlin he studied under Max Bruch. Since 1913 he has been teacher of composition at the Royal Liceo Musica di Santa Cecilia, Rome; and in November 1923 he was appointed its director. His orchestral music is frequently performed at Queen's Hall, London. He has composed four operas, Re Enzo, Semirâma, Belfagor and Sleeping Beauty, and his symphonic works include a symphonic poem for soprano and orchestra Aretusa; Sinfonia drammatica; two symphonic poems: Le Fontane di Roma and Ballata delle gnomidi, and also Antiche Arie e Danze italiane. His chamber music includes a sonata in B minor for violin and piano, a quartet in D major; Concerto Gregoriano for violin and orchestra; a poem Primavera for chorus and orchestra and also many songs ......(From Dr. Eaglefield Hull's Dictionary of Modern Music and Musicians, by permission of the publishers, Messrs. Dent & Sons).

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Quartet in D cue Hoist hymns and the Handel recitatives pro- ly, vided quite a pleasant change of tone colour. not ng nd ne ad re as an C- y. n- as ct a- n o e This work of Se his string quartets. it is possible that t variations) for the The string-work of. has the usual trio ir. presto is one of thoe Beethovenish in styd much from his cont A FAMOUS STRING QUARTET AT HULDERSFIELD. the le. B st W R ha be Ai fo Schubert Al an wh the Last elening's Huddersfield Music Club concert was provided by the Lener String Quartet, one of the most famous of contem- porary quartet parties, remarkable for finish of its playing and the perfection of its ensemble. Reputedly of Hungarian origin, it certainly reflects the extraordinary aptitude of the Hungarian for stringed instruments. All the four players are finished artists, and the N leader is distinguished by a peculiarly silvery tone, which, however, is never obtruded above his colleagues, for the balance of parts is well A calculated, and the leader is no dictator, but only primus inter pares. The quartet brought forward a brand new composition, written for it by one of the most distinguished of contemporary Italian com- posers, Respighi, heard for the first time only a few weeks ago in London, and played for only the third time on this occasion. Though its name, "uartet in the Dorian. Mode," indi- cates a reversion of antiquity, it follows the modern Qidea of coherence and continuity 'by being in one movement, variety being secured by frequent changes of mood and tempo. There is, indeed, for of monotony, though the whole work is conceived in a В serious, not to say severe, vein, it has some e episodes characterised by great vigour, as in the strong, unisons of the opening, another which might be described as "Andante mistico," a third which suggests the freakish- ness of a Scherzo. There are some original pro- gressions, but as a whole the quartet is not aggressively modern. In music of Italian origin it seems strange to miss the lyrical element, but frequent declamatory passages have some sug- gestion, of vocal music. B B B 2 B t no sense. an known of all ss dramatic; Tiden" (with em the whole. thent, a Scherzo, hij The final Cale would say Reedly learned in Vienna. RE M Ten mou and the men ance to P Si that hote allov 7 The quartet was superbly played, and, without of i knowing the music, one felt that every ounce of its possibilities was realised. The other two quartets in the programme were wisely in a much lighter vein; Borodin's attractive work in D minor and Schubert's in the same key. Both have a romantic quality which was thoroughly understood by the players, and their interpreta- tion was flexible but without any sort of ex- conta aggeration. Dr. Eaglefield Hull contributed some very helpful notes to the programme, but one ventures to doubt whether Beethoven, a deaf and self-centred musician, "learned much" from his junior by many years, modest, retiring, known to only a small circle of friends, and to Beethoven chiefly by some of his songs. H. T. clain allow 10s. Sir beha not the a Th said on a The

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подарио 1 11 inq у шолу чэпш [1 и шало əd иии имоия-[[әм әть osje ѕем ом разпорип иǝлоці ці рәлеш Леѕ рупом шог-ША1 8udo[[es jo рu в цим зиэшэлош эѕо o ǝио том от пороǝ ці пәлі әлец леш нәшәлош ролі 10 (ѕионел ( ) (suov 411м) орош иоэ эзиприн eզոos sti- a hat to Since Lord Hardinge published in "The all Times" a memorandum on his Cronberg cer. interview with the Kaiser, which he sent Viscount Grey in 1908, many ter distinguished people have stated their views on the merits of making early disclosure of Foreign Office archives. The vere Hardinge memorandum is in a category different from that of the official communications between the Allies, which were fully disclosed by the respective Governments in books of various colours." ion One. view is that the Foreign Office might eap reasonably depart from its practice of life- retaining diplomatic memoranda in its archives for fifty years. rely nue een ces. hich war I anticipate that the new Foreign Secre- tary will not be disposed to introduce any striking changes in this practice. een Although, in the case of the Hardinge Post interview, it might have been desirable sant to pursue, even at some distance, a the German distortion of the interview, any well general changes in the existing procedure would have manifest perils. Gave sted Mr. Baldwin's Private Secretaries. the ade the The five private secretaries whom the Prime Minister has appointed are all of ripe experience in that confidential and The expert work. Sir Ronald Waterhouse acted ostal in a similar capacity for Mr. Bonar Law d to and Mr. Ramsay MacDonald when they ing. were at No. 10, Downing Street, and also the for Mr. Baldwin during his first Premier- ship. He began his career in the Army, and saw active service in South Africa, busi- also in the European War. He is prin- Any- cipal private secretary jointly with Sir Patrick Gower, who belongs to the Civil it of Service and has acted as private secretary to a succession of leading statesmen. חי rage th at k of Mr. C. P. Duff, another of the Prime Minister's private secretaries, served him in that capacity when Mr. Baldwin was President of the Board of Trade; and Miss E. M. Watson has been continuously at Downing Street from the time when Mr. AL. Bonar Law was Chancellor of the Exche quer. Mr. Geoffrey Fry, who is the Prime

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1924 WED. 3 DEC. 1925 WED. 21 JAN. WED. 11 FEB. MOISEIWITSCH-PIANO RECITAL TRIO-EDITH ROBINSON VIOLINIST CARL FUCHS FRANK MERRICK 'CELLIST PIANIST HUNGARIAN STRING QUARTET EMERIC WALDBAUER JACK KESSLER JEAN DE TEMESVARY E. DE KERPELEY WED. 11 MAR. THE ENGLISH SINGERS FLORA MANN NELLIE CARSON LILLIAN NORMAN STONE NORMAN BERGER NOTLEY CUTHBERT KELLY THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING FOUR CONCERTS IS 15/- (INCLUDING TAX), PAYABLE TO THE TREASURER SINGLE TICKETS (INCLUDING TAX) 5s. 9d.

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HUDDERSFIELD MUSIC CLUB President E. J. BRUCE Esq. J.P. WEDNESDAY, DEC. 3, 1924 MOISEIWITSCH PIANOFORTE RECITAL PROGRAMME: PRICE THREEPENCE Hon. Musical Director, A. EAGLEFIELD HULL, Mus. Doc. (Oxon.) College of Music Hon. Secretary, ALBERT LUNN, 116 Birkby Hall Road, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial & Union Bank of England, King Street, Huddersfield

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Rondo in E flat Arietta PROGRAMME I Organ Fantasia and Fugue in G minor II Variations on a Theme by Handel, op. 24 III Hummel Leonardo Leo Bach Brahms Grand Valse in A flat, op. 42 Nocturne in C minor Chopin Etudes in F major and F minor Fable Metner Nocturne in D flat (for left hand) Scriabin Etude in F sharp Stravinsky Prelude "La Cathedrale engloutie" Debussy Toccata Ravel CHAPPELL GRAND PIANOFORTE

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1925 WED. 21 JAN. TRIO-EDITH ROBINSON VIOLINIST WED. 11 FEB. CARL FUCHS FRANK MERRICK 'CELLIST PIANIST HUNGARIAN STRING QUARTET EMERIC WALDBAUER JACK KESSLER JEAN DE TEMESVARY E. DE KERPELEY WED. 11 MAR. THE ENGLISH SINGERS FLORA MANN NORMAN STONE NELLIE CARSON LILLIAN BERGER. NORMAN NOTLEY CUTHBERT KELLY THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING THREE CONCERTS IS 11/6 (INCLUDING TAX), PAYABLE TO THE TREASURER SINGLE TICKETS (INCLUDING TAX) 5s. 9d.

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HUDDERSFIELD MUSIC CLUB President E. J. BRUCE Esq. J.P. WEDNESDAY, JAN. 21, 1925 TRIO EDITH ROBINSON, VIOLINIST CARL FUCHS, FRANK MERRICK, 'CELLIST PIANIST PROGRAMME: PRICE THREEPENCE Hon. Musical Director, A. EAGLEFIELD HULL, Mus. Doc. (Oxon.) College of Music Hon. Secretary, ALBERT LUNN, 116 Birkby Hall Road, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial & Union Bank of England, King Street, Huddersfield

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PROGRAMME. I Trio in A minor by Maurice Ravel (b. Ciboure, Pyrénées 1875) Modéré Pantoum (Assez vif) Passacaille (très large) leading to Final (animé) "Pantoum" is a form of Malay poetry, described in Sir Frank Swettenham's Anglo-Malaisian Dictionary as "a poem, a verse, or verses, consisting of four short lines, rhyming alternately, the meaning being often veiled in metaphor." Trio in E major by Mozart II (b. Salzburg 1756; d. Vienna 1791) Allegro Andante grazioso Allegro III Trio for Piano, Violin and Violoncello in C major, Op. 87 by Brahms (b. Hamburg 1833; d. Vienna 1897) Allegro Andante con moto Scherzo Presto Finale. Allegro giocoso BECHSTEIN PIANOFORTE GRAND

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1925 WED. 11 FEB. WED. 11 MAR. HUNGARIAN STRING QUARTET EMERIC WALDBAUER JACK KESSLER JEAN DE TEMESVARY E. DE KERPELEY THE ENGLISH SINGERS FLORA MANN NELLIE CARSON LILLIAN BERGER NORMAN STONE NORMAN NOTLEY CUTHBERT KELLY THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING TWO CONCERTS IS 8/- (INCLUDING TAX), PAYABLE TO THE TREASURER SINGLE TICKETS (INCLUDING TAX) 5s 9d.

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HUDDERSFIELD MUSIC CLUB President E. J. BRUCE Esq. J.P. WEDNESDAY, FEB. 11, 1925 HUNGARIAN STRING QUARTET EMERIC WALDBAUER JACK KESSLER JEAN DE TEMESVARY E. DE KERPELEY PROGRAMME: PRICE THREEPENCE Hon. Musical Director, A. EAGLEFIELD HULL, Mus. Doc. (Oxon.) College of Music Hon. Secretary, ALBERT LUNN, 116 Birkby Hall Road, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King Street, Huddersfield

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PROGRAMME. (Copyright Annotations by Dr. A. Eaglefield Hull) Quartet in D minor by Mozart I (b. Salzburg 1756; d. Vienna 1791) Allegretto moderato Andante Menuetto Allegretto, ma non troppo Whereas Sir Henry Hadow, Vice-Chancellor of the Sheffield University, has written a whole book on Haydn, proving him to be as much a folk-music composer of Croatia as Vaughan-Williams is of our own country-side, no one of whom I am aware has traced the style of Mozart to a folk origin. When I was at the Passion- Play at Oberammergau, I was interested in the composer of the Passion music, one Richard Dedler, of no mean attainments, who scarcely ever left his native village and could not have heard much, if any, of the music of Mozart, and yet produced music very similar to the great Mozart's, and heretical as it may sound, almost as fine as Mozart in cantata music. Dedler must have got it from the Bavarian country-side, and there is no doubt too that Mozart drew his primal inspirations from the Tyrolean music; for the people round Salzburg have always been as musical a race as any other in Europe. The Andante of this quartet, which is the second movement, is built on a theme the like of which can still be heard amongst the Tyrolese peasants of the present day. The Minuet, which constitutes the third movement, is not too sophisticated to conceal a similar origin, and the last move- ment is a lively country dance in D minor from which Mozart has woven four variations and crowned them with a coda of quips and cranks such as one expects to be "let off" at the end of a party where one does not stand much on ceremony. II Quartet No. 1 Op. 7 by Béla Bartók Vosósnégyes Allegretto Introduction and Allegro vivace (Born 1881) Bartók is the greatest of Hungarian nationalists in music, and at the same time he lays just claim to be counted as one of the six most interesting personalities in universal music at the present time. His work divides broadly into three periods. He was born in the country at Nagyszentmiklós, a village which the Supreme Council of Versailles in 1917 credited to Slovakia. No one felt this partition more than Bartók. From Nagyszentmiklós, he went to Budapest to study at the Hungarian Academy of music (founded by the great Liszt), and in his first period of composition, young Bartók attempted to follow the models of Liszt, Wagner and Strauss. Individuality however, did not come through such attempts, and in 1910, when the Hungarian national movement was at its height, he turned his attention to folk-songs, soon becoming the most famous collector in Europe. His collections amount to 2700 Hungarian folk-tunes, 3500 Rumanian, and even Arabia was drawn

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upon in one of his longer tours, when he collected 200 Biskra songs. These were all taken down on the phonograph, the only really safe way of collecting. This intense cultivation of the folk-song, made a marked impression ou Bartók's com- positions of the second period, which often incline to folk-song melodies for their chief themes. His harmony became more daring, outspoken and entirely unconven- tional; it developed finally into a third style in which he renounced the concious use of folk-music for a style of pure abstract music, which, however owed a good deal subconsciously to the folk-music period. The second sonata for violin and piano and the second string quartet are examples of Bartók's amazing third style, which at present proves too difficult for most people to appreciate. This First Quartet Op. 7 played to-night, was written in 1908, and is divided into three movements. The first, labelled Venósnégyes, is a slow movement, with some fine working of the inner voices. The second movement has a faster pulse and after some intense harmony, gives us a glimpse of folk-music methods. The move- ment ends with a very soft half-cadence, the violins rising to an extreme height. An introduction, in irregular time, runs into the third movement, which opens with the theme in the lower instruments. Modifications of time are too numerous to describe, but the movement is brought to a very strenuous ending on three chords, which almost seem to shout out towards the second string quartet, a much more extreme work. It may interest the Club Members to know of the care taken by the Committee with the programmes; for instance, the second quartet was decided for this pro- gramme, but after some recent experiences in London of the reception of this extreme piece, a cable was sent to Budapest, asking for the substitution of the First Quartet which represents Bartók's intermediate style. On the whole the First Quartet is extremely melodious and full of that warm feeling which we are accustomed now to call romantic. III Quartet in F minor, op 95 by Beethoven (b. Bonn-on-Rhine 1770; d. Vienna 1827) Allegro con brio Allegretto ma non troppo Allegro assai vivace, ma serioso Larghetto. Allegretto agitato Like Bartók, and almost every other great composer who lived long enough, the work of Beethoven divides into three styles-the first part, where he imitated the masters before him; the middle period, often called the mature period; and a third period, in which the artist seems to become prophetic, and writes far ahead of the people of his age. As the stream of art, like civilisation, is supposed to be pro- gressive, time adjusts the perspective of the latter style in his own way. The present work stands on the border-line of Beethoven's second and third styles. The opening movement is full of intense feeling, and we have plenty of the gruff and brooding Beethoven. The Allegretto is calm and religious, ethereal in tone, and shows Beethoven's later tendencies towards counterpoint, or what is a better name for it, polyphony, especially on the fine fugato passage. The third movement which takes the place of usual Scherzo is dark in feeling and full of gloom. A short introduction leads into the Finale, agitated and restless in character, but ending with a brilliant gleam of sunshine.

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1925 WED. 11 MARCH THE ENGLISH SINGERS NORMAN STONE FLORA MANN NELLIE CARSON LILLIAN BERGER NORMAN NOTLEY CUTHBERT KELLY THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION :: FOR THE REMAINING CONCERT IS 5/9 (INCLUDING TAX) PAYABLE TO THE TREASURER The attention of Members is drawn to an interesting Vocal Recital by a young rising singer, Miss Doris Dutson, which will take place on Wednesday, March 4th. at the Highfield Hall, at 7-45 p.m. Tickets 3s 6d and 2s 4d may be obtained from the College of Music and the usual music shops.

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HUDDERSFIELD MUSIC CLUB President E. J. BRUCE Esq. J.P. Hon. Musical Director, A. EAGLEFIELD HULL, Mus. Doc. (Oxon.) College of Music Hon. Secretary, ALBERT LUNN, 116 Birkby Hall Road, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King Street, Huddersfield THE ENGLISH SINGERS FLORA MANN NELLIE CARSON LILLIAN BERGER WEDNESDAY, NORMAN STONE NORMAN NOTLEY CUTHBERT KELLY MARCH 11, 1925 MADRIGALS AND BALLETS. Thomas Weelkes Sweet love shall keep the ground BALLET FOR FIVE VOICES. Sing we at pleasure Content is our treasure. Fa la la! Whilst we his praises sound; All shepherds in a ring Shall dancing ever sing. Fa la la! MADRIGAL FOR SIX VOICES. John Wilbye Draw on, sweet night: best friend unto those cares That do arise from painful melancholy. My life so ill through want of comfort fares That unto thee I consecrate it wholly. Sweet night draw on; my griefs when they be told To shades and darkness, find some ease from paining, And while thou all in silence dost unfold I then shall have best time for my complaining. MADRIGAL FOR FIVE VOICES. Sweet Suffolk owl, so trimly dight With feathers like a lady bright, Thou singest alone sitting by night, Te whit, te whoo, te whit, te whoo. Thy note, that forth so freely rolls, With shrill command the mouse controls, And sings a dirge for dying souls, Te whit, te whoo, te whit, te whoo. MADRIGAL FOR FOUR VOICES. Fair Phyllis I saw sitting all alone Feeding her flock near to the mountain-side, The shepherds knew not whither she was gone But after her lover Amyntas hied. Thomas Vautor John Farmer He wandered up and down, while she was missing, O, when he found her, then they fell a-kissing. BALLET FOR FIVE VOICES. Now is the month of maying When merry lads are playing Each with his bonny lass, Upon the greeny grass. Fa la la. The spring, clad in all gladness, Doth laugh at winter's sadness, And to the bagpipes sound Thomas Morley The nymphs tread out their ground Fa la la. Fie then, why sit we musing, Youth's sweet delight refusing? Say, dainty nymphs, and speak, Shall we play barley-break? Fa la la.

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DUETS-a" Let us Wander."...b "Sound the Trumpet."... Henry Purcell Let us wander not unseen By hedgerow elms, on hillocks green, While the ploughman near at hand Whistles o'er the furrowed land, And the milkmaid singeth blithe And the mower whets his scythe, And every shepherd tells his tale Under the hawthorn in the dale. Sound the trumpet till around You make the listening shores re- bound. On the sprightly hautboy play. All the instruments of joy That skilful number can employ To celebrate the glories of this day. FOLK SONGS. a "I SOWED THE SEEDS OF Love." Arr. by Gustav Holst I sowed the seeds of love, And I sow'd them in the spring; I gather'd them up in the morning so soon, When small birds sweetly sing. My garden was planted well With flowers ev'rywhere, But I had not the liberty to choose The flow'r that I lov'd so dear.. The gard'ner standing by, I asked to choose for me; bBUSHES AND BRIARS." Through bushes and through briars, Of late I took my way; All for to hear the small birds sing, And the lambs to skip and play. I overheard my own true love, Her voice it was so clear, "Long time I have been waiting For the coming of my dear. c "A FARMER'S SON." A farmer's son so sweet, Was keeping of his sheep, And careless fell asleep, While his lambs were playing. A fair young lady gay, By chance she came that way, And sound asleep he lay, Whom she loved so dear. She kissed his lips so sweet, As he lay fast asleep, I fear my heart will break, For you, my dear. d THERE He choose me the Violet, the Lily, the Pink, But these I refused all three. The Violet I did not like Because it fades so soon; The Lily and Pink I did over think And vow'd I would wait till June. In June is a red, red rose ; And that is the flow'r for me; I'll pluck it and think that no Lily, or Pink Can match with the bud on that tree. Arr. by Ralph Vaughan Williams Some-times I am uneasy, And troubled in my mind, Some-times I think I'll go to my love And tell to him my mind: And if I should go to my love, My love will say nay: If I show to him my boldness, He'll ne'er love me again.' Arr. by Ralph Vaughan Williams She said: Awake, I pray, The sun is in the hay, Your flock will go astray From you, my dear. For your sweet sake alone I wandered from my home; My friends are dead and gone, I am left alone. His flock he laid aside, He made her his gentle bride, In wedlock she was tied To the farmer's son. WAS A TREE." There was a tree all in the woods, As fine a tree as ever you did see, For the tree was in woods, And the woods be down in the valley below. There was a limb all on the tree, As fine a limb as ever you did see, "WASSAIL SONG." Gustav Holst For the limb was on the tree, And the tree was in the woods, etc. There was a bough all on the limb, As fine a bough as ever you did see, For the bough was on the limb, etc. There was a bird all on the tree, The finest bird that ever you did see, For the bird was on the bough, etc. Arr. by Ralph Vaughan Williams Wassail, Wassail, all over the town Our bread it is white and our ale it is brown, Our bowl it is made of the green maple tree, In the wassail bowl we'll drink unto thee, Here's a health to the ox and to his right eye, Pray God send our master a good Christmas pie, A good Christmas pie as e'er I did see, In the wassail bowl we'll drink unto thee. Here's a health to the ox and to his right horn, Pray God send our master a good crop of corn, A good crop of corn as e'er I did see, In the wassail bowl we'll drink unto thee.

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Here's a health to the ox and to his long tail, Pray God send our master a good cask of ale, A good cask of ale as e'er I did see, In the wassail bowl we'll drink unto thee. Come, butler, come fill us a bowl of the best, Then I pray that your soul in heaven may rest; But if you do bring us a bowl of the small, May the devil take butler, bowl and all! Then here's to the maid in the lily-white smock, Who tripped to the door and slipped back the lock; Who tripped to the door and pulled back the pin For to let those iolly wassailers walk in. SHORT INTERVAL. THREE MADRIGALS. MADRIGAL FOR SIX VOICES. This sweet and merry month of May, While Nature wantons in her prime, And birds do sing, and beasts do play, For pleasure of the joyful time. MADRIGAL FOR William Byrd I choose the first for holiday, And greet Eliza with a rhyme: O, beauteous Queen of second Troy, Take well in worth a simple toy. FIVE VOICES. Lulla la lulla, lulla lullaby, My sweet little Baby what meanest thou to cry? MADRIGAL FOR FIVE VOICES. Though Amaryllis dance in green, Like fairy queen; And sing full clear Corinna can, with smiling cheer, Yet since their eyes make heart so sore, Heigh ho! heigh ho, I'll love no more. Love ye who list, I force him not, Sith God it wot, The more I wail, The less my sighs and tears prevail. What shall I do but say therefore, Heigh ho! heigh ho, I'll love no more. ITALIAN STREET ORIES. INTERMEDIO DI SPAZZACAMINI (Chimney Sweeps) Jacques du Pont O la bella brigada, " Hu hu spazzacamini! Nu sem dalla vallada. Dov' nass' i bon facchi. E sgurarem e fregarem Coi smozzegu i vos cami E farem prest' pero con quest' Sia parecchia furmai e pa, E tutto quest' farem per un carli Bella brigad' hu hu, spazzacami English Version Sweep, sweep! we are the boys; we come from the valley where all good boys live. . We'll brush and scrape your chimneys and make the whole thing clean, and all for a shilling. INTERMEDIO DI SOLFANARI (Rag and Bone) Adriano Banchieri Il zolfo verde e questo non è gioco S'accenderan con fuoco Strazz 'e ciabatte, donne, ai solfanelli! Su, che son bianchi e belli I mazzi grossi e i canonzin sottili Legati con buon fili, Su che son bianchi e belli Strazz 'e ciabatte, donne, ai solfanelli! English Version-Rag or bones, ladies, for matches, white and fine! The bundles are big and the sticks are small, tied up with good string. The sulphur is green, and that's no joke; it goes off with a fine smoke: Cald' Arost', cald' e cott' e vien' adess' CALD' AROST' (Hot Chestnuts) Jacques du Pont Chi le vuol caldi' e cott adess'. Cinque, e cinque diec' e cinque quindici Chi le vuol cald' e cott' adess'; E tond e mond' e larg' in fond' E strett in cim' e bianch' in mezz e crep' adess' E cott arost' mond' e tost, English Version-Roast chestnuts hot! E cinque vent' e cinque venticinqu' e cinque trenta vienne l'altra! Who'll buy? They're round and fine, large at the bottom, narrow at the top, and white in the middle; and boiled and roasted and fine and toasted. Five and five's ten, and five's fifteen, and five's twenty-five, and five's thirty, and here's the odd one." N.B. A Huddersfield Violinist, Miss JESSIE HINCHLIFFE, is giving a Concert on April 2. Will Members kindly support Tickets 2s. 4d., 3s. 6d. from Messrs. Wood & Sons it P

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a "ISPY CELIA." DUET AND TRIO. I spy Celia Celia eyes me.. I approach her; but she flies me. I pursue; more coy I find her. I seem colder; then she's kinder. Her eyes charm me; my words move her. She esteems me; and I love her. In not blessing most she blesses And not possessing, each possesses. Now she blushes, I' grow bolder. She would leave me, but I hold her. She grows angry, I appease her. I am redder, then I please her. "THE THREE FAIRIES." When the cock begins to crow And the embers leave to glow And the owl cries tu-whit tu-whoo, Henry Purcell When crickets do sing And mice roam about And midnight bells ring To call the devout. When the lazy lie sleeping And think it no harm Their zeal is so cold And their beds are so warm, When the long lazy slut. Has not made the parlour clean No water on the hearth is put, But all things in disorder seem; Then we trip it round the room An make like bees a drowsy hum, Be she Betty, Nan or Sue," We make her of another hue And pinch her black and blue. MADRIGALS AND BALLETS. BALLET FOR FIVE VOICES. What saith my dainty darling, Shall I now your love obtain? Fa la la. Long time I sued for grace, And grace you granted me, When time should serve and place, Can any fitter be. Fa la la. Thomas Morley This crystal running Fountain, In his language saith come Love, Fa la la. The birds, the trees, the fields, Else none can us behold, This bank soft lying yields, And saith nice fools be bold. Fa la la. CANZONET FOR Two VOICES. I go before, my darling, Thomas Morley Follow thou to the bower in the close alley: There we will together Sweetly kiss each other, And like two wantons dally. MADRIGAL FOR FIVE VOICES. The Silver Swan, who, living, had no note, Orlando Gibbons When death approached unlocked, her silent throat, Leaning her breast against the ready shore, Thus sung her first and last, and sung no more. "Farewell all joys, O death, come close mine eyes, More geese than swans now live, more fools than wise." On the plains Fairy trains BALLET FOR FIVE VOICES. Were a-treading measures; Satyrs played, Fairies stayed As the stops set leisures. Nymphs begin To come in Thomas Weelkes Quickly thick and three-fold; Now they dance, Now they prance Present there there to behold. MADRIGAL FOR SIX VOICES. Stay, Corydon, thou swain, Talk not so soon of dying, What though thy heart be slain, What though thy love be flying, She threatens thee but dares not strike; John Wilbye Thy nymph is light and shadow like, For if thou follow her she'll fly from thee, But if thou fly from her she'll follow thee. NEXT SEASON:-Negotiations are proceeding with The FLONZALEY and the ROSE VIENNA QUARTETS The Singers GERHARDT, FRIEDA HEMPEL The Pianists LAMOND, MYKAHESS, MURDOCH The Violinist SAMMONS and The 'Cellist CASALS. Applications from prospective Members should be sent in at once.