BMS 3 1 39


The British Music Society of York, BMS 3 1 39

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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.

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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."

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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SORTHWIS (BMS 3/1/39(1) OF HISTORICAL TUTE * RESEARCH

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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

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* TAWION INSTITUTE SMS 5/1/39 (2) OF HISTORICAL RESEARCH ☆

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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.

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BMS OF TOHTUTE 3/1/39 (3) HISTORICAL RESEARCH

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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

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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