Brochure HUDDERSFIELD MUSIC CLUB E. J. BRUCE Esq., J.P. HUDDERSFIELD MUSIC SOCIETY President س ................................................ Season's programmes 1926 1927 Xx-rite MSCCPPPE0613 - Xx-rite MSCCPPCC0613 UB Esq., J.P. colorchecker 7 ..................................................| mm

HUDDERSFIELD MUSIC OLID HUDDERSFIELD MUSIC CLUB. PRESIDENT E. J. BRUCE, Esq., J.P. CONCERTS FOR THE NINTH SEASON 1926-27 TO BE GIVEN IN HIGHFIELD ASSEMBLY HALL (NEW NORTH ROAD) W. Clifford Crook. G. Fleming. J. Stancliffe Ellis. W. Tuke Robson. WEDNESDAYS, OCT. 6, NOV. 17, DEC. 15, 1926, WEDNESDAYS, FEB. 16, MAR. 16, APR. 27, 1927, Hon. Musical Director Hon. Treasurer Hon. Secretary 65954595959 At 7-45 p.m. A Committee: 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. F. W. GADSBY, National Provincial Bank, Ltd., King Street, Huddersfield. ALBERT LUNN, Banney Close, Edgerton. THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE SERIES OF SIX CONCERTS IS 25/- (including tax) payable to the Treasurer. 9 sic eld eld

HUDDERSFIELD MUSIC CLUB. PRESIDENT UzLzU2UEUEUEUEL בתבבבבבת חלב CONCERTS FOR THE NINTH SEASON 1926-27 TO BE GIVEN IN E. J. BRUCE, Esq., J.P. HIGHFIELD ASSEMBLY HALL (NEW NORTH ROAD) W. Clifford Crook. G. Fleming. J. Stancliffe Ellis. W. Tuke Robson. WEDNESDAYS, OCT. 6, NOV. 17, DEC. 15, 1926, WEDNESDAYS, FEB. 16, MAR. 16, APR. 27, 1927, At 7-45 p.m. Hon. Musical Director Hon. Treasurer Hon. Secretary YYYYYY Committee: 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. F. W. GADSBY, National Provincial Bank, Ltd., King Street, Huddersfield. ALBERT LUNN, Banney Close, Edgerton. THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE SERIES OF SIX CONCERTS IS 25/- (including tax) payable to the Treasurer.

WEDNESDAY, 6th OCTOBER, 1926. PIANO RECITAL by JOSEF HOFMANN THE WORLD-FAMOUS PIANIST. WEDNESDAY, 17th NOVEMBER, 1926. SOLO AND DUET RECITAL by the leading English Pianist and Violinist WILLIAM MURDOCH ALBERT SAMMONS. AND WEDNESDAY, 15th DECEMBER, 1926. VIOLA AND SONG RECITAL by LIONEL TERTIS THE WORLD'S FINEST VIOLA PLAYER, AND --- JOHN GOSS A WELL-KNOWN SINGER OF NATIONAL AND CHARACTER SONGS.

WEDNESDAY, 16th FEBRUARY, 1927. CONCERT OF STRING QUARTET by the famous HUNGARIAN STRING QUARTET. WEDNESDAY, 16th MARCH, 1927. SONG RECITAL by ELENA GERHARDT THE WORLD'S GREATEST LIEDER SINGER. WEDNESDAY, 27th APRIL, 1927. --- THE FLONZALEY STRING QUARTET THE FINEST QUARTET PLAYERS IN THE WORLD.

HUDDERSFIELD MUSIC CLUB E. J. BRUCE Esq., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, OCTOBER 6, 1926 AT 7-45 JOSEF HOFMANN X? PROGRAMME : PRICE SIXPENCE Hon. Musical Director, A. EAGLEFIELD HULL, Mus. Doc. (Oxon.) College of Music Hon. Secretary, ALBERT LUNN, Banny Close, Halifax Road Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield

PROGRAMME (COPYRIGHT ANNOTATIONS BY DR. EAGLEFIELD HULL). I I PRELUDE and FUGUE in E MINOR MENDELSSOHN In writing his Preludes and Fugues, Mendelssohn fitted them to the idiom of the piano, just as Bach fitted his to the genius of the clavichord and harpsichord. The chief differences lie in Mendelssohn's freer treatment of the part-writing (sometimes he lets an inner part slip through his fingers altogether), his acceptance of the wide arpeggio, and his recognition of the enriching effects of the sustaining pedal. II SONATA in C MINOR ("Pathétique ") Op 13 Grave-Molto allegro e con brio Adagio cantabile Rondo: Allegro II BEETHOVEN The term Sonate Pathétique is one of the few titles given by Beethoven himself to his pieces. The description really applies to the intensely deep feeling which characterises the slow Introduction, a feeling induced by one of the most powerful uses in music of the "pathetic accent." This introduction plays a prominent part throughout the first quick movement, interrupting its course in the middle, and reappearing near the end. The serenity of the slow movement is still unsurpassed. The final Rondo does not plumb the depths of the other two movements, but it is well constructed and notable for the whirlwind-like rush at the end. III SONATA No. 4 in F SHARP MAJOR SCRIABIN Mr. Hofmann has always been closely associated with Scriabin's music; he was the first after the composer to play Scriabin's concerto in public. The fourth Sonata belongs to the transition period between the older and the new styles of his harmony. The Sonata has only two movements, an Andante and a Prestissimo. In all his music, Scriabin became more and more engrossed in the imparting of his own theosophical ideas. Thus, he used "leading motives" somewhat after the manner of Wagner. The one covering the first eight bars of this sonata has two aspects, the Desire and Aspiration after the Ideal Spiritual Freedom, and the Physical Languor or Exhaustion resulting from such effort. A conflict ensues between the human and the spiritual; the final return of the first theme in full symbolises the undaunted efforts of the Human towards the Divine.

The first movement passes without break into the second, Prestissimo volando, the latter term indicating the desire to "soar above." "Wings, wings, always wings, with Scriabin," said a famous player to me once. And Scriabin attained this kingdom of the soul more and more surely as one work succeeded another. The floating of the second subject is re- markable and the re-appearance of the motive of Desire and Aspiration from the first movement, at first in an embittered form, but later in full glory, without the Languor Motive, shows the quest fully realised. As Gunst says, this is not the joy of a fully-realised desire, but rather a self-possessed ecstacy in the Joy of Creation. I leave these few suggest- tions with the hearer. If music does not arouse the imagination and set it working, it is no better than the tinkle of brass and the clash of cymbal. IV (a) NOCTURNE in F SHARP MINOR (b) MAZURKA in C MAJOR (c) ANDANTE SPIANATO & GRANDE POLONAISE Although the Andante and Polonaise, op. 22, was the last composition which Chopin wrote for the piano and orchestra, it is still a comparatively early work. It was written in Vienna before Chopin went to Paris, in which city he settled for life; and the Chopin of Vienna and the Chopin of Paris are two different beings. Sadness had not then taken possession of his soul. Here a sweet lulling barcarolle is interrupted by a wistful Polish folk-tune and then resumed. It passes into one of the most gorgeous of Polonaises-the ceremonial court-dance of Poland, unequalled in stately grace. III V THE OLD SCISSOR-GRINDER VI THREE CHINESE PIECES CHOPIN JEANNE BEHREND ABRAM CHASINS (a) Flirtation in a Chinese Garden (6) A Shanghai Tragedy (c) Rush Hour in Hong Kong VII ISLAMEY (Oriental Phantasy) BALAKIREF Balakiref (1836-1910), the acknowledged leader of the "Russian School" which sprang into being in the "fifties," began life as a pianist. After having founded the Petersburg Free School of Music and conducted the Imperial Russian Society Concerts for a long period, he devoted himself to composition. Much attention was then being given to the music of the East, and Oriental tunes were frequently used as the basis of long compositions. This is the case with the present fantasia, which is frequently spoken of as one of the six most difficult pieces ever written for the piano. STEINWAY GRAND PIANOFORTE. (THE DESIGN ON THE FRONT PAGE IS BY MISS RUTH ARMITAGE, OF THE HUDDERSFIELD SCHOOL OF ART SKETCH CLUB).

1926. WED. 17 NOV. WILLIAM MURDOCH and ALBERT SAMMONS Piano and Violin Recital. WED. 15 DEC. LIONEL TERTIS and JOHN GOSS Viola and Song Recital 1927. WED. 16 FEB. HUNGARIAN STRING QUARTET WED. 16 MAR. ELENA GERHARDT Song Recital WED. 30 MAR. FLONZALEY STRING QUARTET THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING FIVE CONCERTS IS 21s. (INCLUDING TAX) PAYABLE TO THE TREASURER The attention of Members is drawn to the First Concert of the KAYE SYMPHONY ORCHESTRA in the Town Hall, on SAT. OCTOBER 23, and also to the TURNER QUARTET Concert, on TUES. OCTOBER 12, at Highfield Hall.

HUDDERSFIELD MUSIC CLUB E. J. BRUCE Esq., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, NOVEMBER 17, 1926 AT 7-45 WILLIAM MURDOCH ALBERT SAMMONS STEINWAY GRAND PIANOFORTE PROGRAMME : PRICE SIXPENCE Hon. Musical Director, A. EAGLEFIELD HULL, Mus. Doc. (Oxon.) College of Music Hon. Secretary, ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield

PROGRAMME (COPYRIGHT ANNOTATIONS BY DR. EAGLEFIELD HULL). SONATA No. 1 in G MAJOR op. 78 PIANO SOLOS :- I Moderately fast This is one of the finest Sonatas ever written for this combination. After the strenuous and somewhat severe manner of the earlier works, the gratefulness of this and other pieces of the composer's second period, was very welcome. It would seem that a gentler and more genial manner came over the composer at this time. Nothing could be more reassuring than the suave opening tune here, and this same happy contented feeling pervades the whole sonata. The opening phrase with its three repeated notes foretells the theme of the finale, and it is nearly identical with the themes of two of the composer's rain-songs, Regenlied and Nachklang. The beauty of the slow movement speaks for itself; the composer himself is apparently loth to leave it, for he returns to it in the final movement. The deftness with which the two instruments are combined and intertwined is only one of the many endearing charms of this music. Indeed this more perfect balancing of the two instruments was Brahms's special contribution to concerted music. (b) EL PUERTO (c) CUBANA (d) ANDALUZA (a) Fast, but not too much (b) Slow (c) JOHANNES BRAHMS (Born Hamburg 1833; died Vienna 1897) II (a) LES COLLINES D'ANACAPRI DEBUSSY Debussy was the greatest of all Impressionists in music. Some people would go further and say that he was the only one; but this is confusing the question of a great individuality with a musical technique which has been more or less in evidence throughout the whole course of music. Touches of Impressionism may be found in the early English and Belgian writers of the Sixteenth Century; and something more than touches may be heard in many of the pieces from Liszt's musical note-book called "The Years of Travel." His musical sketch on the Fountains of the Villa d'Este is sheer impressionism. Pater writes, "it passes as a vivid personal impression of a fugitive effect." It is revelation made in a flash-a revelation not modified by tradition or previous knowledge. But there is another side of Debussy-the graphic artist-- who gives us at least three good tunes in this sunny vision of the hills of Naples, a lively tarentelle rhythm rolling along to a nonchalant popular refrain, and the beautiful nostralgia of a love-song mingled with the vibration of a blue sky pierced by the animation of a rapid flute. ALBENIZ DE FALLA DE FALLA De Falla is the greatest living composer in Spain to-day. He is a seriously minded artist, bent on giving Spain a music of her own, and it is natural that he should occupy himself with the old Spanish folk songs and be influenced by the Spanish national instruments, and also that he should be drawn by Spanish scenes and Spanish subjects. His little comic opera for marionettes, "Master Pedro's Puppet Show," (drawn from "Don Quixote,") is perhaps his most successful composition, and the orchestral suite "Nights in the Gardens of Spain," and his pianoforte works rank next. The Cubana is the South American dance at the time when the Spaniards were in full possession of Cuba. Andaluza takes us back to that pure province of Spain which the true Spaniard claims to have been unaffected by Moorish civilisation.

VIOLIN SOLOS :- III (a) FUGUE in A (b) INTRODUCTION and SCHERZO CAPRICE (c) GAVOTTE SONATA op. 82. Our habit of talking about violin solos when they are not really solos, but have a pianoforte accompaniment, makes it sometimes a little difficult to distinguish between sonatas for violin and pianoforte which are like duets for the two instruments in which each bears an equal part, and violin solos with simple tum-tum pianoforte accompaniment. The compositions for violin to-night, however, are actual solos, and there is a good deal of musical literature of such kind, not only for the violin, but also for the 'cello and other instruments. Such writing taxes the resources of the composer to the utmost, and it is only composers such as Bach, Tartini and Kreisler, who have a practical and profound knowledge of the instrument who can tackle such an exacting form successfully. Tartini's Fugue in A comes from a suite for solo violin; Kreisler's Introduction is an original composition written some ten years ago. Bach's Gavotte is from his six sonatas for violin alone. IV TARTINI KREISLER BACH EDWARD ELGAR (Born Broadheath, near Worcester, 1857) Apart from a few unpublished works in his early student period, Elgar gave no attention to chamber music of any kind until 1918, at the age of sixty-one. Throughout the greater part of his career he was regarded entirely as a choral and orchestral composer and his greatest works still lie in these domains. But so badly had the war shaken the musical life of our country that it seemed doubtful in 1918, if our orchestra and choruses were ever going to get into full working again. Elgar, for the time being, turned his thoughts in the direction of chamber music which at that time began, like poetry, to assume an altogether new importance, and in a short time he wrote this sonata, a string quartet, and a quintet for piano and four strings. This sonata in three movements was first produced at the second meeting of the London Centre of the British Music Society on March 21st, 1919. The Allegro pens with a vigorous the very much the springing nature of Brahms's first subject for the strings. It is not until we reach the second subject that we get characteristic Elgarian touches, that exquisite gentleness and tenderness of which the great German com- poser was not capable. A short "working-out" of these two themes and a recapitulation follows. The move- ment is noteworthy for its conciseness and the sparseness of the piano part. The second movements opens in a curious kind of improvisatory way, the composer being evidently in a meditative and questioning mood. A more trustful theme gradually grows out of these uncertain measures, swelling out into a powerful melody of religious trust only to fall back again to the doubt of the opening, this time veiled by the muted notes which find no peace until the very last chord. There can be no doubting that the composer was much obsessed with the sad and perplexing thoughts raised by the war, thoughts which are not even yet quietened. The title Romance to this movement always seems to me very puzzling. The Finale begins with a smoothly flowing tune which passes into a shorter phrase of more energetic nature. Some critics find the economy of themes and the orchestral nature of the piano part a weakness; but for workmanship, concision and sound construction the work has a strong claim to a place in the violinist's repertoire. (THE DESIGN ON THE FRONT PAGE IS BY MISS MARGERY PARK OF THE HUDDERSFIELD SCHOOL OF ART SKETCH CLUB).

1926. WED. 15 DEC. LIONEL TERTIS and JOHN GOSS Viola and Song Recital 1927. WED. 16 FEB. HUNGARIAN STRING QUARTET WED. 16 MARCH, ELENA GERHARDT, SONG RECITAL WED. 30 MARCH, FLONZALEY STRING QUARTET Please note the change of date for the last Concert. THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING FOUR CONCERTS IS 17s. (INCLUDING TAX) PAYABLE TO THE TREASURER There will be a TURNER STRING QUARTET CONCERT in this Hall on Tuesday, Nov. 23rd. Tickets from the Music Shops, or from the College of Music.

HUDDERSFIELD MUSIC CLUB E. J. BRUCE Esq., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, DECEMBER 15, 1926 AT 7-45 VIOLA & SONG RECITAL LIONEL TERTIS JOHN GOSS At The Piano: HARRY ISAACS PROGRAMME : PRICE SIXPENCE Hon. Musical Director, A. EAGLEFIELD HULL, Mus. Doc. (Oxon.) College of Music Hon. Secretary, ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield

(a) SONATA in D (b) KOMM SÜSSER TOD (c) FUGUE (d) RONDEAU (e) LE BASQUE (a) PARTE IL PIÉ (b) TOBACCO Tobacco, tobacco, Sing sweetly for tobacco ! Tobacco is like love, O love it, I. VIOLA AND PIANO Allegro Andante-Giocoso-Presto II. SONGS THOUGH I go, my heart yet lingers, Slave and thrall, a captive still, Burning lips, whose fever haunts me, Eyes whose starry glow enchants me, Bind my soul for good or ill. For you see I have prov'd it Love maketh lean the fat men's tumour, So doth tobacco. Love still dries up the wanton humour, So doth tobacco. (c) SHE NEVER TOLD HER LOVE (d) SONG OF MOMUS TO MARS Thy sword within the scabbard keep, And let mankind agree; Better the world were fast asleep Than kept awake by Thee. She never told her love, But let concealment, like a worm i' the bud, Feed on her damask cheek. She sat, like patience on a monument, Smiling at grief.-Shakespeare. III. SONATA in C# minor op. 21 PADRE MARTINI (1750) BACH-TERTIS TARTINI-KREISLER MARIAS (1700) Love maketh men sail from shore to shore, So doth tobacco. 'Tis fond love often makes men poor, So doth tobacco. VIOLA AND PIANO OLD ITALIAN Love maketh men scorn all coward fears, So doth tobacco. Love often sets men by the ears, So doth tobacco. Tobacco, tobacco, etc. IV. BRAHMS' SONGS TOBIAS HUME (1606) The Fools are only thinner, With all our cost and care, But neither side a winner, For things are as they were. HAYDN DR. BOYCE (1750) Dryden. DOHNÁNYI (a) DEIN BLAUES AUGE I gaze into the depths of your still eyes. You ask me what I would see there? I would see myself redeemed. Two eyes there were that burnt my soul, and still I feel the smart. But thine are as clear and cool as the sea. (b) WENN UM DEN HOLLUNDER When the wind plays in the elder and the butterfly sips the jasmine-flower, then I sit with my love on the mossy bank. An when from the village the church bells ring, and the joyous lark sings its evening prayer, our souls are united in holy love. And when the stars appear and the glow-worm shines from the lily's cup, then she leaves my arms and I kiss both her eyes in parting.

(c) DIE MAINACHT When shines the silver moon, and the nightingale is singing, then do I wander sadly from bush to bush. Above me the doves are singing of their love, but I turn away and seek the deeper shadows. And there falls a single tear. When, O smiling form, that shines through my soul like the morning sun, when shall I find Thee again? A tear trembles down my cheek. (d) STÄNDCHEN The moon rises over the hill, a lover's moon. In the garden a fountain plays, and all around is still. By the garden-wall three students pass, and with flute, fiddle, and zither they play and sing. The music creeps into the dreams of the sleeping maiden, who, thinking she hears her beloved, murmurs, sleepily, "Do not forget me." V. VIOLA AND PIANO (a) FOLK SONG (Lettish) (b) LA GITANA (c) ANDANTE (d) SLAVONIC DANCE THEMES in G minor (e) TAMBOURIN CHINOIS (a) DU' VAI? (Tuscan) VI. FOLK SONGS AH stay! Come back! Your theft I have detected, Your eyes have stolen the heart and soul of me. Turn you on me your lovely face, wherein reflected Flattering hopes as in a glass I see. Dearest of traitors, for my heart you cheated, You might at least by fairer means have sought it. If only you in kindness had entreated, Gladly with my own hands, I would have bought it. Ah stay, dearest love ! (b) OPEN THE DOOR SOFTLY (Irish) OPEN the door softly, Somebody wants ye dear, Give me a chink no wider Than you'll fill up with your ear. Or if you're hard of hearing, Your mouth will do as well; Just put your lips agan the crack, And hear what I've to tell. (d) THE PRESS GANG (Norfolk) As I walked up of London street A pressgang there I did meet; They asked me if I'd join the fleet, And sail in a man-o'-war, boys. Pray, brother shipmates, tell me true What sort of usage they give you, That I may know before I go On board of a man-o'-war boys. Why the sort of usage they'll give you Is plenty of grog and bacca too, That's the usage they'll give you On board of a man-o'-war, boys. KALNINS KREISLER RACHMANINOF DVORAK-KREISLER Arr. by BLAIR FAIRCHILD (c) EL MAJO DISCRETO (Spanish) Arr. by GRANADOS THEY tell me my Majo is plain. That may be-but love is an affection that blinds and sickens. I have known lovers who could not see. But even though his looks are not strikingly engaging, he is discreet and can be trusted with my secret, for he is faithful. "What is that secret?" You ask. I shall not unveil it, the task is too great; secrets between a majo and his sweetheart are deep. He was born in Lavapies. Eh! Eh! He is a majo, he is. KREISLER Arr. by HERBERT HUGHES But when I went, to my surprise All that they told me was shocking lies, There was a row, and a bloody old row On board of a man-o'-war, boys. Arr. by E. J. MOERAN So when I get my foot on shore Those Irish girls to see once more, I'll never go to sea any more On board of a man-o'-war, boys. CHAPPELL GRAND PIANOFORTE The first thing they did they took me in hand, They flogged me with a tar of a strand, They flogged me till I could not stand On board of a man-o'-war boys. Now, I was married and my wife's name was Grey; 'Twas she that led me to shocking delay, 'Twas she that caused me to go away On board of a man-o'-war, boys.

1927. WED. 16 FEB. HUNGARIAN STRING QUARTET WED. 16 MARCH, ELENA GERHARDT, SONG RECITAL WED. 30 MARCH, FLONZALEY STRING QUARTET Please note the change of date for the last Concert. THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING THREE CONCERTS IS 14s. (INCLUDING TAX) PAYABLE TO THE TREASURER

HUDDERSFIELD MUSIC CLUB E. J. BRUCE Esq., J.P President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, FEBRUARY 16, 1927 AT 7-45 HUNGARIAN STRING QUARTET EMERIC WALDBAUER, 1st Violin JEAN de TEMESVARY, 2nd Violin JACK KESSLER, Viola EUGÉNE de KERPELEY, 'Cello PROGRAMME : PRICE SIXPENCE Hon. Musical Director, A. EAGLEFIELD HULL, Mus. Doc. (Oxon.) College of Music Hon. Secretary, ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield

4.1 pe 301 PROGRAMME 2UM Copyright Annotations by A. Eaglefield Hull. I QUARTET in D MAJOR op. 30 No. 4 CAOX HOAllegro di molto A C Un poco Adagio affettuoso Minuetto Presto Scherzando AG23637 T The first movement follows the usual sonata lines, and the two subjects or tunes follow the regulation keys. Then we have as little discussion of them as possible, and a return of them in the opening form. The matter is as clear, as happy and pellucid as the little streams which rush tinkling down the Croatian valleys, amongst which Haydn spent his early life and to which he liked to return from the frivolous life of the London and Vienna of that time. The actual folk music of Croatia (now part of Jugo-Slavia) crept into his music and gave it, as it were, its sap. Haydn was the inventor of the string-quartet form, and it was probably the violin nature of these folk-tunes and dances which inspired the form. For in ni these Jugo-Slav countries when a man child is born, he is offered a crown and a fiddle. If he reaches his little hand out for the former, he will be a mill-owner; if the latter, a musician. QUARTET in A MINOR op. 38 UH The slow movement also is like a rather sad country song. The melody is first presented quite simply, and afterwards varied, first with second violin as chief, then with 'cello as leader, then first violin in triplets, and finally the simple form again. II taabiess As the little minuet is marked Alla Zingarese-in the style of gipsy-we are still amongst the country folk. The final movement is just a bright string of tunes. This man led a tranquil happy life during the quiet half-century before the Napol- eonic upheaval. Allegro agitato Andante religioso con Variazioni Allegro giocoso DOHNANYI As the first quartet of Dohnanyi's which was played at the Club two years ago was much liked, the Committee acquiesced readily in the Quartet leader's suggestion that they should play the new quartet which Dohnanyi has just written. This quartet was composed in the summer of 1926. It is not built on folk- tunes. The first movement was written under the influence of modern composers. The second is a set of variations quite in the true Dohnanyi style. The last movement reveals the influence of American "jazz" music. HAYDN Ernst von Dohnanyi, the Hungarian pianist and composer, was born at Pozsony, in 1877. He was trained at Budapest Conservatoire of Music. When he first presented himself there at the age of 16, he already brought with him a mass of his blitown compositions, three string quartets, a string sextet and a piano quintet of his blonown, which has been performed in Vienna during the previous year. He travelled: widely and then settled down in Berlin as a teacher. In 1915, he moved to Budapest, in which city he now conducts the Philharmonic Orchestra.

QUARTET in E MINOR Allegro Molto Adagio III Allegretto (with Trio on a Russian folk-song) Finale, Presto BEETHOVEN rser This is the second of the set of three, known as the "Razumovsky set," on account of their dedication to Count Razumovsky. As the Count was a Russian, Beethoven used a well-known Russian tunel as the Trio of the minuet. This tune/ is the famous "Glory to Russia" (Slavsia), a kind of national anthem. CENTENARY HOMAGE TO BEETHOVEN. Beethoven has treated it far differently as a rollicking dance-tune. He put in a direction that the Minuet and Trio should be twice alternated, a course which is never now followed. The quartet belongs to Beethoven's "middle or second period," the happiest time of his life. Born at Bonn, Dec. 16th, 1770. The music of Beethoven is like that of no other composer. It is the opposite to the music of Mozart, which has the natural lilt, and which flowed from the composer "as a bird sings." Beethoven's art may be described as thought in music." It was retained and refined in the composer's mind, sometimes for years, Xbefore it was finally hammered out, as a piece of sculpture is cut from a single block of marble. It was this sense of unity, of one-ness, which was Beethoven's chief contribution to music. With him, everything had to grow from the seed, as it were; everything had to be contained in a little motif, and afterwards evolved from it. Died at Vienna, March 26th, 1827. Then again, quite apart from music, the man Beethoven was one of the greatest of men. It is "Will in Music" that we feel in him, the will for rightness and goodness and the belief in the ultimate victory of man. He expressed very much the same idea as Handel about his music:-"I do not wish to entertain people, but to make them better." His music has a high moral purpose. After hearing a Beethoven sonata, symphony or quartet, something remains with us for good that it is not the music; it is the idea. Beethoven represented the new age, the freedom of man, the rights of the individual. He felt he was greater than kings and princes, and he treated them as inferior. They felt and acknowledged this. There is, lastly, a most unusual kind of spirituality about Beethoven's music of the third period." It has a "cosmic lilt." Trained in the school of suffering, as he was from his youngest years, no one underwent such terrible trials-loss of parents, poverty, bitter struggles, ill-health, physical discomforts, and the tragedy of tragedies for him-deafness. Although once within an ace of complete surrender, he triumphed over all. He transmuted all his pain into joy. Through all his sorrow he sang not only of hope, but of joy--the joy of life, the love of brotherhood and the solidarity of the human race.-A.E.H.

1927. WED. 16 MARCH, ELENA GERHARDT, SONG RECITAL WED. 30 MARCH, FLONZALEY STRING QUARTET Please note the change of date for the last Concert. THE CLUB IS OPEN TO ALL. THE SUBSCRIPTION FOR THE REMAINING TWO CONCERTS IS 11s. 6d. (INCLUDING TAX) PAYABLE TO THE TREASURER

HUDDERSFIELD MUSIC CLUB E. J. BRUCE Esq., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, MARCH 16, 1927 ELENA GERHARDT AT 7-45 SONG RECITAL AT THE PIANO: COENRAD BOS STEINWAY GRAND PIANO PROGRAMME: PRICE SIXPENCE Hon. Musical Director, A. EAGLEFIELD HULL, Mus. Doc. (Oxon.) College of Music Hon. Secretary, ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield

(a) SULEIKA II Ach, um dein feuchten Schwingen, West, wie sehr ich dich beneide, Denn du kannst ihm Kunde bringen Was ich in der Trennung leide! Die Bewegung deiner Fluegel Weckt im Busen stilles Sehnen Blumen, Auen, Wald und Huegel Stehn bei deinem Hauch in Traenen. Sto Doch dein mildes, sanftes Wehen Kuehlt die wunden Augenlider; Ach, fuer Leid muesst ich vergehen, Hofft' ich nicht zu sehn ihn wieder. Eile denn zu meinem Lieben, Spreche sanft zu seinem Herzen ; Doch vermeid ihn zu betrueben, Und verbirg ihm meine Schmerzen ! (b) DER TOD UND DAS MAEDCHEN Vorueber, ach, vorueber, Geh, wilder Knochenmann! Ich bin noch jung, geh' lieber! Und ruehre mich nicht an. Gieb deine Hand, du schoen und zart Gebild! Bin Freund, und komme nicht, zu strafen. Sei gutes Muths! ich bin nicht wild, Sollst sanft in meinen Armen schlafen! (d) ERLKOENIG (The Erl-King) I Oh, ye balmy western breezes, Would ye but your pinions lend me, With the sigh that never ceases, Far away to him I'd send ye. Wer reitet so spaet durch Nacht und Wind? Es ist der Vater mit seinem Kind; Er hat den Knaben wohl in dem Arm, Er fasst ihn sicher, er haelt ihn warm. "Mein Sohn, was birgst du so bang dein Geischt?" "Siehst, Vater, du den Erlkoenig nicht!" "Den Erlenkoenig mit Kron' und Schweif?" "Mein Sohn, es ist ein Nebelstreif." "Du liebes Kind, komm' geh' mit mir!" "Gar schoene Spiele spiel' ich mit dir; "Manch' bunte Blumen sind an dem Strand, "Mein' Mutter hat manch' guelden Gewand." "Mein Vater, mein Vater, und hoerest du nicht, "Was Erlenkoenig mir leise verspricht?" "Sie ruhig, bleibe ruhig, mein Kind, "In duerren Blaettern saeuselt der Wind." "Willst, feiner Knabe, du mit mir gehn? "Meine Toechter sollen dich warten schoen; Meine Toechter fuehren den naechtlichen Reih'n "Und wiegen und tanzen und singen dich ein." "Mein Vater, mein Vater, und siehst du nicht dort "Erlkoenigs Toechter am duestern Ort!" "Mein Sohn, mein Sohn, ich seh' es genau, "Es scheinen die alten Weiden so grau.' "Ich liebe dich, mich reizt deine schoene Gestalt; "Und bist du nicht willig, so brauch' ich Gewalt." "Mein Vater, mein Vater, jetzt fasst er mich an! "Erlkoenig hat mir ein Leid's gethan !" Dem Vater grauset's; er reitet geschwind, Er haelt in den Armen das acchzende Kind, Erreicht den Hof mit Mueh' und Noth: In seinen Armen das Kind war todt! When your wings are stirr'd with showers, All my pains arise before them, Hills and meadows, woods and flowers, Stand in tears when you breathe o'er them. But your soft and tender sighing of sorrow, Cools the burning eying, Ah, I'd weary into But for hope of some blest 'morrow. Hasten, then, and bring him gladness, Whisper soft: thy love is waking, But forbear to speak of sadness, Tell him not my heart is aching. (Death and the Maiden) Pass onward, O, pass onward, Wild man with skinless bone!! I'm but a girl, away then, And leave the young alone. SCHUBERT SCHUBERT SCHUBERT (c) FISCHERWEISE (A Fisherman's Life) Den Fischer fechten Sorgen und Gram und Leid nicht an, Er löst am frühen Morgen mit leichtem Sinn den Kahn Mit leichtem Sinn den Kahn The fisher fears no sorrow, nor rue, nor trouble's note, He looses in fresh morning, with light free hand the boat, With light free hand the boat. Da lagert rings noch Friede auf Flur und Wald und Bach, Er ruft mit seinem Liede die gold'ne Sonne wach. Er singst zu seinem Werke aus voller frischer Brust, Die Arbeit giebt ihm Stärke, die Stärke Lebenslust, Die Stärke Lebenslust. While camped in gentle Peace over forest field and lake, He calls with his free Lieder the golden sun to wake. He sings about his glad work, with fuller fresher breast. The work it gives him right strength, The strength, life, joy and zest, Bald wird ein bunt Gewimmel in allen Tiefen laut, Soon flows a merry flocking, through all the waters loud Und plätschert durch den Himmel der sich im Wasser baut And bubbles through the heaven of wave-reflected cloud. Doch wer ein Netz will stellen, braucht Augen klar und gut, But who a net would lay, he needs eyes clear and good, Muss heiter gleich den Wellen und frei sein wie die Fluth, Must lusty as the waves be and free be as the flood, Und frei sein wie die Fluth, And free be as the flood. Dort angelt auf der Brücke die Hirtin schlauer Wicht, Entsage deiner Tücke, den Fisch betrügst du nicht! Give me thy hand, my fair and tender child, As friend I come, and not to chasten, Be of good cheer! I am not wild; To sleep within these fond arms hasten. There angles on the bridge there, the herdsman dotard now Give over swift thy knav'ry, the fish befool'st not thou ! SCHUBERT Who rides there so late through night so wild! A loving father with his young child; He clasped his boy close with his fond arm, And closer, closer to keep him warm. "Dear son, what makes thy sweet face grow so white?" "See, father, 'tis the Erl-king in sight! "The Erl-king stands there with crown and shroud !" "Dear son, it is some misty cloud." "Thou dearest boy, wilt come with me? "And many games I'll play with thee "Where varied blossoms grow on the wold, "And my mother hath many a robe of gold." "Dear father, my father, say, did'st thou not hear "The Erl-king whisper so low in mine ear!" "Be tranquil, then be tranquil, my child, "Mong withered leaves the wind bloweth wild." "Wilt come, proud boy, wilt thou come with me! "Where my beauteous daughter doth wait for thee; "With my daughter thou'lt join in the dance evr'y night, "She'll lull thee with sweet songs to give thee delight." "Dear father, my father, and canst not thou trace "The Brl-king's daughter in yon dark place ?" "Dear son, dear son, the form you there see, "Is only the hollow grey willow tree." "I love thee well, with me thou shalt ríde on my course, "And if thou'rt unwilling I seize thee by force !" "O father! My father ! thy child closer clasp, "Erl-king hath seized me with icy grasp !" His father shuddered, his pace grew more wild, He held to his bosom his poor swooning child, He reached that house with toil and dread But in his arm, lo! his child lay dead!

(a) O SLEEP O sleep, why dost thou leave me, Why dost thou leave me ! Why thy visionary joys remove? O sleep, O sleep. (b) O HAD I JUBAL'S LYRE Oh! had I Jubal's Lyre Or Miriam's tuneful voice To sounds like his I would aspire. O sleep, again deceive me, O sleep, again deceive me. Restore my wondering love, Again deceive me, O sleep, To my arms restore my wandering love To my arms, to my arms restore my O my love, my wandering love. wandering love. (c) NYMPHS AND SHEPHERDS (d) MY LOVELY CELIA My lovely Celia, heav'nly fair, As lilies sweet, as soft as air; No more then torment me. but be kind, And with thy love ease my troubled mind. Nymphs and shepherds, come away, In the groves let's sport and play, For this is Flora's holiday, Sacred to ease and happy love, To dancing, to music and to poetry; Your flocks may now securely rove, While you express your jollity. (e) OLD ENGLISH PASTORALE Flocks are sporting, doves are courting, Warbling thrushes sweetly sing, Ah! Ah! Joy and pleasure without measure Heralds in the lovely spring, La La La La, (a) IMMER LEISER WIRD MEIN Immer leiser wird mein Schlummer, Nur wie Schleier liegt mein Kummer, Zitternd über mir. II Oft im Traume hör' ich dich Rufen draus' vor meiner Tür, Niemand wacht und öffnet dir, Ich erwach' und weine bitterlich. Bin Ja, ich werde sterben müssen, And're wirst du küssen, Wenn ich bleich und kalt. Eh' die Maienlüfte weh'n, Eh' die Drossel singt im Wald: Willst du mich noch einmal seh'n, Komm', o komme bald! In songs like her's rejoice My humble strains but faintly show How much to heav'n and thee I owe. Gentle zephyr, silent glades, Purling streams and cooling shades, Senses charming, pain disarming, Love each tender heart invades, Dancing, singing, piping, springing, With our mirth the valleys ring. INTERVAL III SCHLUMMER Faint and fairer is my slumber, But a veil of sorrow cumber, Trembling over me. O let me gaze on your bright eyes, Where melting beams so oft arise, My heart is enchanted with thy charms O, take me, dying, to your arms. Oft in dreams I hear thee Calling there before my door, No-one there to open more, I awake, and weeping bitterly. I must die. Yea soon be missing, And another thou't be kissing When I'm pale and cold. Ere the maywinds reach the world, Ere the woodland mavis tune; Would'st thou me once more behold, Come, oh come soon ! (b) WIE KOMM' ICH DENN ZUR TUER HEREIN Wie komm' ich denn zur Tür herein, sag' du, mein Liebchen, sag'? Nimm den Ring und zieh' die Klink, dann meint die Mutt'r es wär' der Wind, Komm du, mein Liebchen, komm! Wie komm' ich denn vorbei dem Hund? sag' du, mein Liebchen, sag'? Gib dem Hund ein gutes Wort, dann geht er wied'r an sienen Ort, Komm du, mein Liebchen, komm! Wie komm' ich denn vorbei dem Feu'r, sag' du, mein Liebchen, sag'? Schütt' ein bischen Wasser drein, dann meint die Mutt'r es regnet' rein, Komm du, mein Liebchen, komm! Wie komm' ich denn die Trepp' hinauf, sag' du, mein Liebchen, sag'? Nimm die Schuh'nur in die Hand und schleich dich leis' entlang der Wand, Komm du, mein Leibchen, komm! How may I op'n your chamber door? O speak, my darling, speak. Turn the key, the latch you see, then mother thinks it is the tree, O come, my darling, come ! How may I pass your watchful dog? O speak, my darling, speak. Give the dog a kindly word, then he thinks you are his lord, O come, my darling, come ! HANDEL How may I pass the kitchen fire? O speak, my darling, speak. Pour a little water in, then mother thinks the rain blows in, O come, my darling, come ! How may I climb the staircase steep? O speak, my darling, speak. Use your slippers not all, and slowly creep along the wall, O come, my darling, come ! HANDEL PURCELL MONROE CAREY BRAHMS BRAHMS

(c) FELDEINSAMKEIT (Country Solitude) Ich ruhe still im hohen, grünen Gras und sende lange meinen Blick nach oben, Von Grillen rings umschwirrt ohn' Unterlass, von Himmelsbläue wundersam umwoben Die schönen, weissen Wolken zieh'n dahin durch's tiefe Blau, Wie schöne, stille Träume; Mir ist, als ob ich längst gestorben bin und ziehe selig mit durch ew'ge Räume. (d) O LIEBLICHE O liebliche Wangen, Ihr macht mir Verlangen, Dies rothe, dies weisse Zu schauen mit Fleisse. Und dies nur alleine Ist's nicht was ich meine; Zu schauen, zu grüssen Zu rühen zu küssen! Ihr macht mir Verlangen, O liebliche Wangen! O Sonne der Wonne ! O Wonne der Sonne ! O Augen, so saugen Das Licht meiner Augen. WANGEN O englische Sinnen! O himmlisch Beginnen! O Himmel auf Erden Magst du mir nicht werden, O Wonne der Sonne, O Sonne der Wonne! O Schönste der Schönen! Benimm mir dies Sehnen. Komm, eile, komm, komme, Du Süsse, du Fromme. Ach Schwester, ich sterbe, Ich sterb', ich verderbe, Komm, komme, komm, eile, Benimm mir dies Sehnen, O Schönste der Schönen! Ruhe, ruhe meine Seele Deine Stürme gingen wild Hast getobt und hast gezittert, Wie die Brandung, wenn sie schwillt, IV (a) RUHE, MEINE SEELE (Rest, my Soul) Nicht ein Lüftchen regt sich leise Sanft entschlummert ruht der Hain Durch der Blätter dunkle Hülle Stiehlt sich lichter Sonnenschein. Diese Zeiten sind gewaltig, Bringen Herz und Hirn in Not, Ruhe, 1 e, ruhe meine Seele Und vergiss was dich bedroht. Da schimmert ein einsames Lichtchen Das wandelt langsam fort Ein Mütterchen mit dem Laternchen Wankt über die Strasse dort. Ich glaube, Mehl und Eier Und Butter kaufte sie ein Sie will einen Kuchen backen Fürs grosse Töchterlein. Die liegt zu Hause im Lehnstuhl Und blinzelt schläfrig ins Licht Die goldenen Locken wallen Uber das süsse Gesicht. (c) MORGEN (Morning) (b) SCHLECHTES WETTER (Bad Weather) Dat ist ein schlechtes Wetter Es regnet und stürmut und schneit Ich sitze am Fenster und schaue Finaus in die Dunkelheit. Und morgen wird die Sonne wieder scheinen Und auf dem Wege, den ich gehen werde Wird uns, die Glücklichen, sie wieder einen Inmitten dieser sonnenatmenden Erde- Und zu dem Strand, dem weiten, wogenblauen Werden wir still und langsam niedersteigen. Stumm werden wir uns in die Augen schauen, Und auf uns sinkt des Glückes stummes Schweigen. Quite still I lie where green the grass and tall, And gaze above me unto depths unbounded, By insect voices that incessant call, And by the wondrous blue of heav'n surrounded. The lovely, snowy clouds drift far and wide, Like silent dreams thro' deeps of azure wending; I feel as tho' I long ago had died, To drift with them thro' realms of bliss unending. Oh, fair cheeks of roses Where young Love reposes, My senses enraptur'd, My heart ye have captur'd. Oh, bright waving tresses, Oh, sweet voice that blesses, Your magic enchants me, It glads me, it haunts me, My senses enraptur'd, My heart ye have captur'd. Thou morning of splendor, So gracious and tender! Ye eyes full of gladness, Dispellers of sadness; (d) ZUEIGNUNG Ja, du weisst es, theure Seele. Dass ich fern von dir mich quäle Liebe macht die Herzen krank, Habe Dank. Not a breath of wind is stirring, Hill and dale are wrapt in sleep, Golden thro' the sheltering foliage Summer's mid-day sunbeams peep. Rest thee, rest thee, troubled spirit, Thou hast suffered, laboured, toiled- Thou hast fought and thou hast trembled Like the stormbeat ocean wild. These times are momentous, Head and heart must struggle sore; BRAHMS Ye madden, ye fire me, To bliss ye inspire me, My glances adoring Pursue ye imploring! Thou fair sunny treasure, I live in the pleasure, Oh, love me, oh, prove me, Let fond prayers move thee, But, oh, if thou slight me, No joy can delight me, Oh, fairest, oh, dearest, My suit if thou hearest, Oh, love me and prove me, If fond pray'rs can move thee! Rest thee, rest thee, O my spirit, And forget, all thy suff'rings will soon be o'er. The weather is bad and stormy. With snow and wind and rain, I try to peer into the darkness Close to the window pane. I see a lone light glimmer Slowly it wanders about 'Tis a mother who carries a lantern Across the street, What takes her out ? BRAHMS I think she goes to buy flour And eggs and butter too She will make a cake for her daughter Yes, that's what I think she will do. At home stretched out on a sofa The little one sleepily lies Her golden curls fall in a shower On her sweet face and soft dreamy eyes. Einst hielt ich, der Frieheit Zecher Hoch den Amethisten Becher Und du segnetest den Trank Habe Dank. STRAUSS STRAUSS STRAUSS To morrow's sun will rise in glory beaming, And in the pathway that my foot shall wander We'll meet, forget the earth, and lost in dreaming, Let heav'n unite a love that earth no more shall sunder; And towards that shore, its billows softly flowing, Our hands entwined, our footsteps slowly wending, Gaze in each other's eyes in love's soft splendour glowing, Mute with tears of joy and bliss ne'er ending. STRAUSS Und beschworst darin die Bösen Bis ich, was nie gewesen Heilig heilig an's Herz dir sank Habe Dank. I, to liberty was drinking Ah, thou knowest, sweet, all mine anguish Once when merry songs were ringing Thou didst lay those wanton spirits In thine absence how I languish Comfort, peace my soul inherits Love brings sorrow to the heart Joy and biiss shall thy love impart Thanks, Sweetheart. Thanks, Sweetheart. Altered Date, WED., MARCH 30 Thou a blessing did impart Thanks, Sweetheart. N.B. FLONZALEY STRING QUARTET

HUDDERSFIELD MUSIC CLUB E. J. BRUCE Esq., J.P. President HIGHFIELD HALL, NEW NORTH ROAD WEDNESDAY, MARCH 30, 1927 AT 7-45 FLONZALEY STRING QUARTET ADOLFO BETTI ALFRED POCHON LOUIS BAILLY PROGRAMME : IVAN D'ARCHAMBEAU PRICE SIXPENCE Hon. Musical Director, A. EAGLEFIELD HULL, Mus. Doc. (Oxon.) College of Music Hon. Secretary, ALBERT LUNN, Banney Close, Edgerton, Huddersfield Hon. Treasurer, F. W. GADSBY, National Provincial Bank, Ltd., King St., Huddersfield

PROGRAMME (Copyright Annotations by Dr. Eaglefield Hull) I QUARTET in D MAJOR op. 76 no. 5 I Allegretto II Largo mesto III Minnueto Allegro IV Finale The first movement has a light-hearted dance-theme which proceeds through a series of variations, first in the minor and then back in the major again. There is some brilliant work for the viola and for the 'cello, as well as for the first violin. Then follows one of the loveliest tunes in all music, a slow, singing melody, with a kind of emotional catch in the voice. This is developed at length, and is twice reduced nearly to a completely static state. The change from the key of the first movement (D major) to that of the second (F sharp major) is very beautiful. HAYDN The third movement, the minuet, is derived (consciously or unconsciously) by meta- morphis from the theme of the second movement. It is in the major, and the rate is too fast to be a real minuet, which was a stately dance. The trio, in the minor, has most of its interest concentrated on the 'cello part. To lovers of folk-song the Finale is the most interesting piece, as it is founded on a genuine folk-dance (see Sir Henry Hadow's book, A Croatian Composer, Joseph Haydn). This is the "Kolo," as commonly danced in Bosnia and Dalmatia, a type of rustic dance, which in Haydn's hands gained not only by compression but by a more artistic accompaniment. It is a Slavonic measure, bright and cheery in movement ; its tune is a two-four time ingeniously varied by patterns of quavers and semiquavers. It makes an excellent ending for this quartet, one of the best which Haydn ever wrote. II QUARTET in F MINOR op. 95 (composed 1810). I Allegro con brio II Allegretto ma non troppo III Allegro assai vivace IV Larghetto, leading to Allegretto agitato BEETHOVEN

The quartet in F minor is shorter and more concise than many of the quartets of Beethoven. The work was written when the composer was forty and the ideas approxi- mate more to those of the composer's third period rather than to the middle one. The first subject of the opening Allegro springs out at us in unison with unusual force and ruggedness. It arrests the attention at once and sets us wondering what developments may ensue. The first five quick notes are seized upon and pressed into service at many different rates, as accompaniment figures, and as episodes of a dialogue character. The general tone of the movement is decidedly busy; and the ending, where the wild semiquaver phrase gradually fades away into cold unisons that leave the last harmony unresolved, is very striking. The second movement is preluded by a quaint little ground-figure, which is used as a bridge in various places throughout the movement, which is of a quiet, religious character, crossed at times by unrestful shadows, but ending peacefully. Beethoven lingers lovingly over the coda, as though loth to finish. A passionate, gloomy Allegretto takes the place of the usual Minuet or Scherzo as the third movement. It is very rhythmic, and contrasted sections supply peace and consolation to all this unrest. There is a touch of the spirituality of Bach about these episodes, just as there is something of the Wagnerian yearning about the few bars of slow introduction which plunge us suddenly into the last (fourth) movement, the mood of which has some kinship with the first movement, but is less rough and gruff. There is a restless yearning character about many of the passages, but a ray of sunshine comes with a wonderful PPP major chord and this great work ends with a brilliant coda rush of quavers, different in character from the rest, and yet somehow strangely at one with the work as a whole. III QUARTET in A MAJOR op. 41 no. 3 SCHUMANN I Andante espressivo, leading into Allegro molto moderato II Assai agitato III Adagio molto IV Allegro molto vivace This is the best and most popular of Schumann's three string quartets. Seven bars of recitative-like music lead into the first movement, which is all smiles, tenderness and happiness. The second subject comes out well on the 'cello, on both its appearances. The second movement is a curious, pleading movement, a little restless; it is really a string of moods in the form of variations. One of them is an energetic fugato The movement drawn very tightly together; another a resolute, syncopated movement. Adagio, third movement, is broadly flowing, in the style of a Brahms slow movement. The finale is playful and gay, a little jerky, because of Schumann's manner of not being able to get away from a rhythm, once it has got hold of him. The numerous trios and episodes make up a kind of rondo.

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