Ocr'd Text:
British Music Society of York
61st SEASON 1981-82
SPECIAL HUGH WOOD SEASON
THE HANSON STRING QUARTET
IAN & JENNIFER PARTRIDGE
THE MUSIC GROUP OF LONDON
SUSAN MCGAW
THE AULOS ENSEMBLE
THE CHILINGIRIAN STRING QUARTET
Including an illustrated lecture by
HUGH WOOD
The National Federation of Music Societies, to which the
Society is affiliated, has given generous support towards the
cost of these concerts with funds provided by the Arts
Council of Great Britain. The Society also receives support
from Yorkshire Arts Association and York District Council.
Ocr'd Text:
SPECIAL HUGH WOOD SEASON
The British Music Society of York is almost the only survivor of a
national British Music Society, formed to support British music,
which originally flourished in the earlier part of the 20th century.
The Society has taken a special stand this season by promoting the
works of a particular British composer to enable its members to hear a
wide spectrum of a single composer's work. It is hoped that it may be
possible to repeat this procedure with other composers; both
contemporary and of an earlier age.
Hugh Wood
3
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MOZAS2 HUGH WOOD
At a time when the world of new music seems to many to have
disintergrated into thousands of self-regarding cliques, Hugh Wood's
music provides a touchstone. Scorning faddism and anything that
smacks of pretension, whether it be in the music of a student or of an
established composer, he has resolutely developed a musical
language which although uniquely his own is nevertheless derived
from, and clearly related to, the music of the past. In particular, it is in
the works of Mozart, Beethoven, Schubert, Brahms and Schoenberg
that Wood's music has its roots and so he is an especially suitable
composer to be featured in a season of B.M.S. concerts largely made
up of these Viennese classics.
Now in his fiftieth year, Hugh Wood first came to the attention of a
wider musical public when his Scenes from Comus was given in a BBC
Promenade Concert in 1965. It has been followed by four more
works for large forces concertos for 'cello and violin, a chamber
concerto and a song-cycle setting poems by Pablo Neruda for high
voice and chamber orchestra - but the majority of Wood's music is
for chamber ensembles. Seven pieces, representing the range of
Wood's compositional achievement in this music, can be heard dur-
ing the 1981/2 season.
Thursday, 15 October
Thursday, 19 November
Thursday, 10 December
Thursday, 21 January
Thursday, 11 February
-
-
-
Quartet No. 1, Op. 4
The Horses for high voice and piano,
Op. 10
Quintet for clarinet, horn, violin, 'cello
and piano, Op. 9
Three pieces for piano, Op.5
Trio for flute, viola and piano, Op. 3
Variations for viola and piano, Op. 1
Quartet No. 3, Op. 20
Thursday, 4 March
To sum up with a quotation. Hugh Wood might well have been
describing his own music when in 1975, while reviewing a record of
American music in the music magazine Tempo, he extolled the virtue
of a music that "deals with genuine ideas... clearly imagined pitches,
deliberately willed harmonies, intended rhythms, exactly gauged
instrumentalisation. In
th whole implicit assumption, in-
creasingly rare, of the composer's absolute responsibility in every
detail for what he produces."
Ocr'd Text:
Thursday, 26th November, 1981
At St. William's College, commencing at 7-30 p.m.
LECTURE BY HUGH WOOD
This illustrated lecture will form part of the series of concerts as far as
members are concerned, but will be open to non-members on the
same terms as the concerts. It will also provide an opportunity for the
composer to talk about his music, his compositional methods and to
answer questions about the works already heard and to be heard later
in the season.
The works of Hugh Wood in the 1981/2 season are published by:
Universal Edition:
Variations, Op. 1
Trio, Op. 3
Quartet No. 1, Op. 4
Three Piano Pieces, Op. 5
Chester Music: Quintet, Op. 9
The Horses, Op. 10
Quartet No. 3, Op. 20
Hugh Wood's 'Cello Concerto, Op. 12 of 1969 and Violin Concerto,
Op. 17 of 1972 have been recorded (on Unicorn RHS 363) by the
Royal Liverpool Philharmonic Orchestra, conducted by David
Athelston, with Moray Welsh ('cello) and Manoug Parikian (violin).
There is a useful introduction to Hugh Wood's work by Michael
Kennedy in a Chester Music brochure. British Music Now, a guide to
the work of younger composers edited by Lewis Fireman, includes a
chapter on Wood by Leo Black. The new edition of Grove's
Dictionary includes an entry on Wood.
LO
5
Ocr'd Text:
Thursday, 15th October, 1981
THE HANSON STRING QUARTET
PETER HANSON (violin)
THERESA WARD (violin)
PETER LALE (viola)
MARTIN LOVEDAY ('cello)
The Hanson String Quartet was formed in 1977 at the Royal College
of Music and is one of the latest of a long line of quartets brought to
the fore under the guidance of Sydney Griller. The Quartet won
prizes at the Academy and subsequently in 1979 in the National
String Quartet competition at St. John Smith's Square. They have
given a number of recitals on the South Bank and have recorded.
Quartet in G K. 387
Allegro vivace assai
Menuetto (Allegretto)
Andante cantabile
Molto allegro
Quartet No. 1 Op. 4
Introduzione
Scherzo
Adagietto
Finale
-
INTERVAL
Mozart
6
Hugh Wood
Quartet in C minor Op. 51 No. 1
Allegro
Romanze (Poco adagio)
Allegretto molto moderato e comodo-un poco piu animato
Finale (Allegro)
Brahms
n
t
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When, in 1785, Mozart published new quartets, the set was headed
with one of the most touching dedications by one composer to
another: "Here they are then, O great Man and my dearest friend,
these six children of mine . . . . the fruit of long and labourious
endeavour.... May it therefore please you to receive kindly and to
be their Father, Guide and Friend". That the innovations accom-
plished by Haydn, the subject of this dedication, in his Op. 33 quartets
had deeply impressed Mozart can be seen in K.387, the first of these
"Haydn" quartets. Here, for the first time in writing for string
quartets, Mozart achieves a tautness of thematic working and con-
centration of musical means, yet the resulting music is by no means
stuffy or constrained. Particularly winning in a delightful work are
the cross-accenting in the Minuet and the alteration in the last
movement between strict formal writing (the opening motif of which
is remarkably like that which begins the finale of the "Jupiter"
symphony) and opera buffa- style outbursts of levity!
For Hugh Wood, as for anyone remotely conscious of European
musical tradition, the string quartet is a very important medium and
one to which he has returned at crucial points in his career. Its
importance for him can be seen in the fact that although an earlier
attempt in the medium got as far as a première in the 1959 Chelten-
ham Festival it was subsequently withdrawn, so that the Op. 4
quartet is now the official First Quartet. Written in 1962, this is a
thoroughly assured piece which shows Wood's ability to handle
traditional forms in an original way. Although he uses familiar move-
ment types (the first movement, for example, is in sonata-form)
these movements all share similar material organized according to
twelve-note (if not strictly serial) techniques. However, listeners
dismayed by terms like "twelve-note" need only hear the haunting
close of the third movement to be reassured of the approachability of
this music.
The sense of following in the footsteps of the great composers seem to
have particularly afflicted Brahms and perhaps it was his reverence
for Beethoven's music that restricted his own output of string quartets
to just three examples. Of these, the C minor quartet is the first, and
while it is certainly in the mould of the Beethoven "Rasumovsky"
quartets it is no less a piece for that, possessing as it does a comparably
broad expressive and emotional range. And as much as one is aware
in listening to Op. 51, No. 1 of earlier music, so one is also aware of
new elements: the Ländler-like melody of the scherzo, anticipating
Mahler, and the harmonic invention in the other movements, re-
minding one that Schoenberg once wrote an article entitled "Brahms
the progressive".
7
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Thursday, 19th November, 1981
IAN PARTRIDGE (tenor)
JENNIFER PARTRIDGE (piano)
Ian Partridge, accompanied by his sister Jennifer, need no
introduction to British Music Society audiences, having joined with
the Alberni String Quartet at the concert promoted by the Society at
the last York Festival. They have made many recordings and
broadcasts in recent years.
Liederkreis Op. 39
In der Fremde - In a foreign land
Intermezzo - Intermezzo
Waldesgespräch - Dialogue in the woods
Die Stille-Tranquility
Mondnacht-Moonlit night
mpy Schöne Fremde - Lovely foreign land
Shrem Auf einer Burg - In a castle
In der Fremde - In a foreign land
Wehmut - Melancholy
Thails Zwielicht - Twilight
Im Walde - In the woods
Frühlingsnacht - Spring night
The Horses Op. 10
(a) The Horses
Pennines in April
on September
Who Are These Children? Op. 84
A Riddle (The Earth)
of the A Laddie's Sang
pinay Nightmare
phis Black Day
bute Bed-Time
INTERVAL
Slaughter
A Riddle (The Child You Were)
The Larky Lad
Who Are These Children?
Supper
ende The Children
The Auld Aik
8
Schumann
Hugh Wood
Britten
Ocr'd Text:
Liederkreis dates from 1840 and, like Dichterliebe and Frauenliebe und
Leben, the other cycles of this annus mirabilis of song, it reveals the
marvellous, effortlessly appropriate response of Schumann's music
to the lyric poetry he chose to set. As in the other cycles Schumann
chooses generally short, almost epigrammatic, verses whose subject
is predominantly that of love and his syllabic settings have a folk-like
melodic clarity which ideally suits Eichendorff's romantic images of
woodland, moonlight and birdsong. A recurrent characteristic of
these songs, which reminds one that Schumann turned to song
composition after perfecting the art of the piano miniature, is the
flowering of the keyboard part into a tiny reflective commentary at
the end of each song.
While the poetry of Ted Hughes, like that of Eichendorff, deals in
images drawn from nature, it would be hard to imagine anything
further removed from the dreamy landscape of romantic literature
than the bleak Pennine hills that Hughes celebrates. In The Horses,
Hugh Wood takes three of Hughes's poems to form a cycle moving
from a wintry dawn in the title song to an autumnal dusk in the final
poem. Typically, Wood allows his music to reinforce and extend the
highly dramatic imagery of the poetry; thus the "eruption" of the sun
in the first poem is matched by a similar eruption in the piano part,
while the second song closes with the pianist's hands spiralling ever
higher, "in a still, fiery air, hauling the imagination, carrying the larks
upward".
Who Are These Children? was written in 1969, a year after Hugh Wood
completed The Horses, and was Britten's last major song cycle. In
William Souter (1898-1943), Britten found a poet whose concerns
matched his own to a remarkable extent and he selected poems
which expressed these shared concerns: pacificism and the
unclouded vision of the child. Furthermore, since Souter's work falls
into two quite distinct categories children's poems in Scots and
longer more ambitious poems in English - Britten was able to
alternate different sorts of poem, fashioning a structure for the cycle
rather like that of his 1964 William Blake cycle, where Blake's
proverbs serve as punctuation between the other songs. Thus, in Who
Are These Children? every group of three songs closes with an English
song (except for the last group where the middle song is in English)
and Britten is able to contrast an almost Schumannesque, folk-like
simplicity of setting for the Scots songs, with a more complex
approach to the setting of the English songs.
9
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Thursday, 10th December, 1981
THE MUSIC GROUP OF LONDON
KEITH PUDDY (clarinet)
ALAN CIVIL (Horn)
HUGH BEAN (violin)
EILEEN CROXFORD ('cello)
DAVID PARKHOUSE (piano)
The Music Group of London is one of the most distinguished chamber
ensembles on the country and has a very high national and inter-
national reputation. Its members have made many broadcasts and
recordings together and as individual artists.
Three pieces for clarinet
Trio in D, Op. 70, No. 1 (The Ghost)
Allegro vivace e con brio
Largo assai ed espressivo
Presto
Quintet Op. 9
Quintet Op. 9
Horn Trio in E flat, Op. 40
INTERVAL
Andante-Poco Piu animato
Scherzo (Allegro) and Trio (Molto Meno Allegro)
Adagio mesto
Finale (Allegro con brio)
10
Stravinsky
Beethoven
Hugh Wood
Hugh Wood
Brahms
Ocr'd Text:
with a
Stravinsky's Three Pieces for clarinet date from 1919 and show
Stravinsky combining the techniques of his Russian period
rhythmic flexibility and an insistent use of repetition
jauntier style derived from popular music. The exhilarating last
movement, in particular, is reminiscent of the jazzy elements of
contemporary Stravinsky pieces like The Soldiers' Tale and Piano-Rag-
Music.
Beethoven's Trio, Op. 70, No. 1, is presumably best known for its
slow movement which, with its recurrent low tremoli; in the piano
part, has given rise to the work's nickname. Incidentally, the sketches
for this movement share a page in Beethoven's notebook with
sketches for a projected opera on Macbeth! However, remarkable
though this movement is, the very opening of the work is as worthy
of comment. Here Beethoven achieves an extraordinary telescoping
in his statement of thematic material so that, after a terse four bar
announcement of the first theme in octaves from all the instruments,
he goes on, without any intervening bridge passage, to the more
lyrical second subject.
The Quintet, Op. 9, was written in 1967, during the period while
Hugh Wood was working on his 'Cello Concerto. In the quintet Wood
adopted the one movement form of the 'Cello Concerto (a form
which he subsequently used in both the second and third quartets)
but within this single span there is still formal contrast, with a quiet
middle section flanked by livelier music. Like the larger work, the
quintet reveals its composer's ability to write not only slow, lyrical
music but also genuinely quick music: This ability is rare amongst
composers working today. Although the surface of new music may
seem highly active, the underlying harmonic rhythm often remains
slow and the contrasts of speed exploited by the classical composers
cannot be achieved. The work is to be played twice so that its richly
inventive flow of ideas may be more fully appreciated.
The unusual instrumentation of Hugh Wood's Quintet has provided
an opportunity to include the Brahms Horn Trio. It is strange to read
Clara Schumann's account of the work's failure at its first Viennese
performance for, as she says, "The first movement is full of suave
melody and the finale full of life". Less strange, especially to those
familiar with the whims of such instruments, is Clara's report that at
an earlier performance the horn player chose to use a modern horn,
rather than the valveless Waldhorn which Brahms specifically asked
for in the score and for which the hunting calls of the last movement
are so well suited.
11
Ocr'd Text:
Thursday, 21st January, 1982
SUSAN MCGAW (piano)
Susan McGaw, who in her non-professional life is Mrs. Hugh Wood,
is no stranger to the Society, having played for us in January, 1964,
when she played her husband's Three Piano Pieces, although perhaps
few of the Society will remember them very clearly!
Sonata, Op. 1
Three pieces, Op. 5
Lento
Energico
Calmo
Sonata in A, Op. 101
Allegretto, ma non troppo
Preludes Book II
Brouillards
Vivace alla Marcia
Adagio: ma con troppo, con affeto - Tempo del primo pezzo
Allegro risoluto
-
INTERVAL
Feuilles mortes
La Puerta del Vino
Les Fées sont d'exquises danseuses
Pobo Bruyères
yub General Lavine-eccentric
La Terrasse des audiences au clair de lune
Ondine
Hommage à S. Pickwick, Esq., P.P.M.P.C.
Canope
Les tierces alternées
Feux d'artifice
Berg
Hugh Wood
12
Beethoven
Debussy
Ocr'd Text:
Despite his importance for Hugh Wood, there is no Schoenberg in this
year's season but his dominating influence on much of 20th century
music is represented by the work of one of those composers who felt
his influence at first hand. As a teacher Schoenberg seems to have
been both exhaustive and inspiring (no mean achievement!), and
Berg's debt to him is made clear in a letter of 1914 when Berg writes
that "the pieces I wrote under your supervision, Herr Schoenberg,
the sonata, the songs and quartet came directly from you". With
hindsight it is possible to qualify this: certainly, the headlong, almost
breathless progress of this one movement work owes something to
Schoenberg's own intense development techniques, but even in
1907 Berg's music already more than hints at the rich sensuality of
his mature style.
Hugh Wood's own debt to Schoenberg is seen most readily in the Op.
1 Variations. By 1963 and the Three Piano Pieces he had already
formulated the individual style which had won him a BBC commis-
sion. Indeed Leo Black, in a chapter on Wood in British Music Now,
detects similarities between the scherzoesque second movement of
Op. 5 and the central section of Scenes from Comus. It might even be
argued that the three movements of the piano piece typify the dif-
ferent sorts of music in which Wood excelled at this stage of his
career: first, a tough, determined sonata-like exposition and develop-
ment of two contrasting groups of material; second, a fast and en-
ergetic dance; finally, a calmer, still music.
Beethoven's Sonata in A of 1816 provides the one excursion into the
19th century in Miss McGaw's programme. Compared to its successor,
the massive Hammerklavier sonata, this is a work of relatively slight
dimensions, with the beguiling informality of the first movement
giving way to a lively march, which in turn is followed by a hushed
slow movement and a bright sonata-form finale. Yet everywhere
there are the marks of the master composer at work: the second
movement is an unexpected F major, a brief restatement of the
work's opening links the last two movements, and the whole work
culminates in a splendid fugue.
With Debussy's second set of Preludes we return to the early 20th
century, but to a music very different from that of Debussy's contem-
porary Berg. Where Berg's Op. 1 concentrates on the purely musical,
Debussy deliberately strives to evoke people, places and natural
phenomena; where Berg's harmonies are always moving towards
some tonal goal (however often this progress is thwarted), Debussy's
music creates a sense of change through alterations of timbre or
texture rather than through traditional harmonic means. Here in-
deed, in the extraordianry collection of impressions, we have music
which presents a radical alternative to the Teutonic School of com-
position, an alternative adopted by so many composers (though not
Hugh Wood) since 1913.
13
Ocr'd Text:
Thursday, 11th February, 1982
THE AULOS ENSEMBLE
GABRIELLE BYAM-GROUNDS (flute)
PHILIP WILBY (viola)
WENDY NIGHTINGALE (piano)
The Aulos Ensemble is well-known to Yorkshire audiences, being
based at Leeds University in recent years. The Ensemble was formed
in 1974 and has a considerable interest in 20th century music. It has
given recitals up and down the country and in London and has
broadcast on a number of occasions.
Trio, Op. 3
Vivace - memo mosso
Variations
Elergy for Viola
Sonata for Flute and Piano
INTERVAL
Variations for Viola and Piano, Op. 1
Introduzione - - Declamando
-
Furioso; Variation IV-
Capriccioso; Variation VI-Meditazione
Finale
Syrinx for solo Flute
'Notturno' for Viola and Piano
Marcia: Allegro
Adagio
Tema
Variation I - Giocoso; Variation II - - Inquieto; Variation III
Appassionato; Variation V-
Menuetto: Allegretto
Adagio - Scherzo
Allegretto alla Polacca
Andante quasi: allegretto
Marcia
Hugh Wood
14
Stravinsky
Poulenc
Hugh Wood
Debussy
Beethoven
Ocr'd Text:
Hugh Wood's Op. 1 and Op. 3 have a number of things in common:
not only are they both early works (written in 1958 and 1961
respectively), and not only do they share similar instrumentation,
but they also both reveal a preoccupation with variation-form, since
Op. 1 consists of an introduction, theme, six variations and finale,
while the second movement of Op. 3 is a set of eight variations. There
perhaps the similarities end, stylistically at least. Whereas the viola
and piano piece is the work in which the influence of Schoenberg is
most manifest (particularly, in the density of thematic working and
the rather neo-romantic textures) the trio stands closer to the spare
textures of Webern (the second movement theme is a good
example). However, the clear delineation of different types of
material the variations in each piece and the different thematic
area of the sonata-like first movement of Op. 3 is typical of all
Wood's music and the flurry of cadenzas in the last three variations of
Op. 3 looks forward to the second movement of the chamber
Concerto.
-
- the
Of the remaining works in the concert, two were written as pieces
d'occasion - Elegy in 1944 as an in memoriam for Alphonse Onnou of
the Pro Arte Quartet, and Syrinx in 1912 as incidental music to
Mourey's drama Psyché - which nevertheless encapsulate their
composers' art, and have both remained in the repertoire
Stravinsky as accompaniment to a Balanchine ballet, and the
Debussy as part of the solo flautist's staple diet. The other two pieces
are essentially minor works, but minor works of great charm and
interest. Poulenc's Sonata, like much of his music, is a very French
synthesis of neo-classical clarity and romantic sentiment which,
especially in the slow middle movement of this three movment work,
yields music of considerable beauty. Beethoven's 'Notturno' is his
only work for viola and piano and is in fact a revised version of his Op.
8 Serenade in D for string trio. Thus, although 'Notturno' is dated
1804, the music was originally composed in 1797 and looks back in
style and formal design to the serenades of Mozart, providing
refreshingly light counterbalance to the weightier Wood which it
follows.
15
Ocr'd Text:
Thursday, 4th March, 1982
THE CHILINGIRIAN STRING QUARTET
LEVON CHILINGIRIAN (violin)
MARK BUTLER (violin)
CSABA ERDELYI (viola)
PHILIP DE GROOTE ('cello)
The Chilingirian Quartet were the quartet in residence at the Univer-
sity of Liverpool for number of years. They have made many
successful world-wide tours and their numerous recordings have
received considerable critical acclaim.
Quartet in F minor, Op. 95
Allegro con brio
Allegretto ma non troppo-Allegro assai vivace ma serioso
Larghetto espressivo-Allegretto agitato-Allegro
Quartet No. 3, Op. 20
Quartet in A flat, Op. 105
INTERVAL
Adagio, ma non troppo-Allegro appassionata
Molto vivace
Lento e molto cantabile
Allegro non tanto
Beethoven
16
Hugh Wood
Dvorak
The Chilingirian String quartet is also giving a concert at the Lyons
Concert Hall, University of York at 8-00 p.m. on Wednesday, 3rd
March, 1982. Tickets £2 and £1.10. The programme is as follows:
Quartet in A major K.464
Quartet in E flat, Op. 76, No. 6
Quartet in F major, Op. 59, No. 1
Mozart
Haydn
Beethoven
Ocr'd Text:
Beethoven's Op. 95 quartet is often linked with the Op. 74 "Harp"
quartet, since both works fall between the "Rasumovsky" quartets
and the late quartets and were written at about the same time (1809
and 1810), but in fact two more different quartets it would be hard to
find. In place of the expansive treatment of form and material in the
earlier piece, in Op. 95 we are presented with Beethoven's most
concisely worked, shortest quartet; a work whose brusque jocularity
seems a perfect distillation of what we know of Beethoven as a man.
As in the seventh symphony, which was begun in the following year,
the slow movement of this piece proceeds at the unusual tempo of
allegretto; even more unusual is its key, for in a work in F minor here is
a movement in D major! However, the work returns to F minor for
the scherzo (in which the trio section makes two appearances) and
remains there for the finale, although Beethoven manages a couple
more surprises; the first in the shape of a short slow interlude between
these two final movements and the second in a coda to the finale in
which Beethoven suddenly veers into F major.
Hugh Wood wrote his Third Quartet between 1976 and 1978, after a
period during which he had found composition an increasingly pro-
blamatic activity. That the Quartet represented a return to musical
fertility after a distressing barren period is borne out by the quotations
from Donne and Herbert scattered through the score. Over the open-
ing, marked "cold, distant, bleak", stands the text, "for I am every
dead thing. ... and I am begot of absence, darkness, death; things
which are not"; then as scurrying semiquavers, sul ponticello, take
over, "how fresh, O Lord, how sweet and clean are thy returns! ev'n
as the flowers in Spring"; until at the head of the final lyrical consum-
mation of the piece we read. "And now in age I bud again, after so
many deaths I live and write; I once more smell the dew and rain, and
relish versing". Formally the piece is not unlike the Second Quartet
(heard in a B.M.S. concert in 1976/77 season) in that it relies more on
the juxtaposition of different types of music than on thematic develop-
ment, but to this formal innovation in style Wood is now able to
marry the almost romantic ardour, largely absent in the Second
Quartet, which is so much a characteristic of his music.
Like all the music that Dvorak wrote after his return from America in
1895, the quartet in Eb major is suffused by relief at being back in his
native Bohemia. But there is more than just good-natured charm to
this piece: the scherzo is a particularly fine example of his blending of
the formal conventions of the movement type with the cross-
rhythms of local folk music. Also of interest is the way the theme of
the opening Adagio is reworked; first as the Allegro first subject of the
main part of the first movement and then, in a slightly modified form,
at the beginning of the slow movement.
17
Ocr'd Text:
GENERAL INFORMATION
MEMBERSHIP. Members receive a ticket for the season's series of concerts.
The Society's continued success is dependent on a flourishing membership and new
members are welcome. Further details are available from the Secretary.
Subscriptions: Full Members £9.00; Junior Members (under 18) and Students £4.50.
TICKETS FOR INDIVIDUAL CONCERTS. Non-members are welcome at all
concerts. Tickets are available from "Sound Effect", 5b Stonegate, York, in advance, or
at the hall on the night of the concert. Price £2.25 (under 18 or Students £1).
CONCERTS are all held at the Tempest Anderson Hall, Yorkshire Museum, Museum
Gardens, York. Doors are open at 7-00 for 7-30 p.m.
Seats are not normally reserved, the only reservations being for officials of the Society
on duty, press reporters, and for members of the Society who, by reason of age or
infirmity, require special service.
The Society reserves the right to vary the programme without notice.
PARKING. Cars are not allowed in the Museum Gardens except in special cases by
arrangement with the Secretary. Parking facilities are, however, available in Marygate
or in Marygate car park which is free after 6-30 p.m.
BENEFACTORS OF THE SOCIETY
Mr. F. R. FOX
Mr. H. A. WINTERBOTTOM
PATRONS OF THE
Miss M. J. Fenby
Mrs. E. Fox
Miss B. I. Anthony
Miss I. Beaumont
Mrs. F. H. Bell
Mr. D. A. C. Blunt
Mr. H. E. Bonsall
Mr. & Mrs. G. A. Brassey
Miss A. H. Briggs
Mr. & Mrs. J. Briggs
Mr. A. Brodie
Mrs. T. Carcaud
Mr. C. Carter
Miss M. H. Charles
Mr. & Mrs. J. H. Clough-
Smith
Mr. A. J. Cooper
Mr. J. A. M. Cooper
Mr. J. H. Crook
Miss M. Crummack
Mr. N. J. Dick
Miss E. Dodds
Mr. G. R. Drake
Miss D. C. Dresser
Miss D. J. Ellis
Mrs. N. E. Gilderdale
Mr. L. J. Goldsworthy
Rev. Canon R. A. Hockley
Miss A. Hodgson
Mr. F. Hughes
Major A. W. Ison
Dr. F. Jackson
Mr. G. W. Johnson
Mr. J. C. Joslin
Mrs. C. I. D. Lawson
Mr. F. H. Legg
Dr. M. J. Lowe
Mr. J. M. Lucas
Mr. W. N. Lumley
Miss N. A. Mcfarlane
Rev. A. J. McMullen
Mr. & Mrs. G. C.
Morcom
Mr. A. H. Pickard
Miss H. C. Randall
Mr. & Mrs. B. Richards
SOCIETY
18
Miss F. M. Richardson
Mr. W. K. Sessions
Mrs. E. C. Simmonds
Mr. R. M. Stanley
Mr. & Mrs. G. W. Stevens
Dr. G. A. C. Summers
Mrs. D. E. C. Sykes
Mr. P. N. Turner
Mr. H. C. Vaughan
Mr. R. B. Walker
Mr. & Mrs. G. W. Ward
Mr. R. S. Forsyth Wharton
Miss L. J. Whitworth
Mr. J. I. Watson
Mr. H. L. Wilby
Mrs. J. Williams
Mr. D. E. Winterbottom
Mr. C. E. Wragg
F. J. H. Wrothwell Ltd.
Mr. J. W. Yates
Dr. J. C. M. Yuill
Ocr'd Text:
BRITISH MUSIC SOCIETY OF YORK
President: Dr. F. A. JACKSON
Miss I. ANTHONY
Mrs. J. Robinson
Mrs. I. Stanley
Mrs. E. Fox-Gál
Miss M. Oliver
Vice-Presidents:
Miss L. J. WHITWORTH
Committee:
Chairman: Mrs. S. WRIGHT
Mr. J. Cooper
Mr. R. Silver
Dr. M. Davies
Mr. J. Crook
Dr. R. J. S. Crossley
Mr. O. S. Tomlinson
Hon. Treasurer:
Mr. J. BRIGGS, 24 Emlands Grove, Stockton Lane, York
Hon. Assistant Treasurer:
Mr. J. PETRIE, 17 Bramley Garth, Appletree Village, York
Hon. Secretary:
Mr. G. C. MORCOM, The Old Vicarage, Overton, York
Hon. Programme Secretary:
Mr. F. R. FOX, 1 St. Saviourgate, York
19
Hon. Auditor:
Mr. D. E. WINTERBOTTON, J.P., F.C.A.,
Skelton Croft, Skelton, York
Ocr'd Text:
SORTHWIS
(BMS 3/1/39(1)
OF
HISTORICAL
TUTE
*
RESEARCH
Ocr'd Text:
British Music Society of York
Special Hugh Wood
Season
THURSDAYS at 7.30pm
BOOTHAM SCHOOL
HALL
21st JANUARY SUSAN McGAW (Piano)
4th MARCH
THE CHILINGIRIAN
QUARTET
COLLEGE of RIPON
& St. JOHN-YORK
CHAPEL
11th FEBRUARY THE AULOS ENSEMBLE
INDIVIDUAL CONCERT TICKETS are available from "Sound
Effect", 5b Stonegate, York, or at the Hall on the night of the concert,
price £2.25 per seat per concert (under 18 and Students £1.00).
The Society reserves the right to vary the programme without notice.
NOTE NEW VENUES
Ocr'd Text:
*
TAWION INSTITUTE
SMS 5/1/39 (2)
OF
HISTORICAL
RESEARCH
☆
Ocr'd Text:
British Music Society of York
61st SEASON
1981-82
SPECIAL HUGH WOOD SEASON
THURSDAY, 15th OCTOBER, 1981-
THE HANSON STRING QUARTET
Mozart Quartet in G, K.387
Wood: Quartet No. 1, Op. 4
Brahms: Quartet in C minor, Op. 51 No. 1
THURSDAY, 19th NOVEMBER, 1981-
IAN PARTRIDGE (Tenor)
JENNIFER PARTRIDGE (Piano)
Schumann Liederkreis, Op. 39
Wood: The Horses, Op. 10
Britten: Who Are These Children? Op. 84
THURSDAY, 26th NOVEMBER, 1981-
LECTURE BY HUGH WOOD
7-30 p.m. at St. William's College
THURSDAY, 10th DECEMBER, 1981-
THE MUSIC GROUP OF LONDON
Stravinsky: 3 pieces for Clarinet
Beethoven: Trio in D, Op. 70 No: 1 (The Ghost)
Wood: Quintet, Op. 9
Brahms: Horn Trio in E flat, Op. 40
THURSDAY, 21st JANUARY, 1982--
SUSAN MCGAW (Piano)
Berg: Sonata, Op. 1
Wood: 3 pieces, Op. 5
Beethoven: Sonata in A, Op. 101
Debussy: Preludes, Book II
THURSDAY, 11th FEBRUARY, 1982-
THE AULOS ENSEMBLE
Wood: Trio, Op. 3
Stravinsky Elegy for Viols
Poulenc Sonata for Flute and Piano
Wood: Variations for Viola and Piano, Op. 1
Debussy: Syrinx for Solo Flute
Beethoven: Notturno for Viola and Piano
THURSDAY, 4th MARCH, 1982-
THE CHILINGIRIAN QUARTET
Beethoven: Quartet in F minor, Op. 95
Wood: Quartet No. 3, Op. 20
Dvorak: Quartet in A flat, Op. 105
All Concerts will take place at the TEMPEST ANDERSON HALL,
YORKSHIRE MUSEUM, MUSEUM GARDENS, YORK,
commencing at 7-30 p.m.
MEMBERSHIP : Subscriptions £9.00 (Junior Members, under 18 and
Students £4.50). Details from G. C. Morcom, The Old Vicarage,
Overton, York, Telephone: York 470261; or from the Honorary
Treasurer, J. Briggs, 24 Elmlands Grove, Stockton Lane, York.
INDIVIDUAL CONCERT TICKETS are available from "Sound
Effect", 5b Stonegate, York, or at the Hall on the night of the concert,
price £2.25 per seat per concert (under 18 and Students £1.00).
The Society reserves the right to vary the programme without notice.
Ocr'd Text:
BMS
OF
TOHTUTE
3/1/39 (3)
HISTORICAL
RESEARCH
Ocr'd Text:
THE SOCIETY arranges a monthly series of pro-
fessional Chamber Concerts and Recitals each
winter.
It is affiliated to the National Federation of Music
Societies, which gives support towards the cost of
concerts with funds provided by the Arts Council
of Great Britain. The Society also receives support
from the Yorkshire Arts Association and York
District Council.
MEMBERSHIP. Members receive a ticket for the
season's series of concerts.
The Society's continued success is dependent on
a flourishing membership, and new members are
welcome. Subscriptions: Full Members £9.00,
(Junior Members (under 18) and Students £4.50).
Further details are available from the Secretary
(see below).
TICKETS FOR INDIVIDUAL CONCERTS.
Non-members are welcome at all concerts. Tickets
are available from "Sound Effect", 5b Stonegate,
York, in advance, or at the hall on the night of
the concert. Price £2.25 (under 18 or Students
£1.00).
MAILING LIST. If you would like to be included
please contact the Secretary (see below).
CONCERTS are held at the Tempest Ander-
son Hall, Yorkshire Museum, Museum Gardens,
York. Doors are open at 7-00 for 7-30 p.m.
PARKING facilities are available in Marygate
(the Marygate entrance to the Museum Gardens
is open for concerts).
HON. SECRETARY: G. C. Morcom, The Oid
Vicarage, Overton, York, YO3 6YL. Telephone :
York 470261.
British Music Society of York
1981-82
INSTITUTE
*(BMS 3/1/39 (4)
HISTORICAL
OF
Idwly.
Concerts
61st SEASON
RESEARCH
SPECIAL HUGH WOOD SEASON
TEMPEST ANDERSON HALL
MUSEUM GARDENS, YORK
Ocr'd Text:
BRITISH MUSIC SOCIETY OF YORK
61st SEASON
1981-82
Thursday, 15th October, 1981-
THE HANSON STRING QUARTET
Thursday, 19th November, 1981-
IAN PARTRIDGE (Tenor)
JENNIFER PARTRIDGE (Piano)
Thursday, 26th November, 1981-
LECTURE BY HUGH WOOD
Thursday, 10th December, 1981-
THE MUSIC GROUP OF LONDON
Thursday, 21st January, 1982-
SUSAN MCGAW (Piano)
Thursday, 11th February, 1982-
THE AULOS ENSEMBLE
Thursday, 4th March, 1982-
THE CHILINGIRIAN QUARTET
Mozart: Quartet in G, K.387
Wood: Quartet No. 1, Op. 4
Brahms: Quartet in C minor, Op. 51 No. 1
Schumann: Liederkreis, Op. 39
Wood: The Horses, Op. 10
Britten: Who Are These Children? Op. 84
7-30 p.m. at ST: WILLIAM'S COLLEGE
Stravinsky: 3 pieces for Clarinet
Beethoven: Trio in D, Op. 70 No. 1 (The Ghost)
Wood: Quintet, Op. 9
Brahms: Horn Trio in E flat, Op. 40
Berg: Sonata, Op. 1
Wood: 3 pieces, Op. 5
Beethoven: Sonata in A, Op. 101
Debussy: Preludes, Book II
Wood: Trio, Op. 3
Stravinsky: Elegy for Viola
Poulenc: Sonata for Flute and Piano
Wood: Variations for Viola and Piano, Op. 1
Debussy: Syrinx for Solo Flute
Beethoven: Notturno for Viola and Piano
Beethoven: Quartet in F minor, Op: 95
Wood: Quartet No. 3, Op. 20
Dvorak: Quartet A flat, Op. 105
The Society reserves the right to vary the programme without notice