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The British Music Society of York, BMS 3 1 50 |
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1 The British Music Society of York, BMS 3 1 50, Page 1 |
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Ocr'd Text:
72nd SEASON
The BMS presents the world's finest chamber music, played
by artists of national and international reputation, for little
over £4.00 per concert.
Our concerts are held in a modern, comfortable concert hall
well-suited to the intimate atmosphere needed for this
music.
The hall has 330 fixed seats, but more are provided as
needed. The bar area has space for socialising and is open
from 7.30 p.m. Coffee and drinks are available during the
interval.
The BMS is not just an organisation promoting concerts,
but a society with a large and friendly membership. For a
£25.00 season ticket, subscribers are offered not only six
concerts for less than the price of four, but a place in the
society and an opportunity to participate in its decisions
and social gatherings.
Subscribe NOW and join us for the first concert on Thurs-
day, 15th October.
MUSIC DEPARTMENT CONCERTS AT THE
SIR JACK LYONS CONCERT HALL
"The University of York concert season continues to dazzle
with performers of the highest calibre."
Yorkshire Evening Press
The Department of Music of the University promotes a
series of public concerts during term time which offers a
range of music and artists unparalleled in the region. Top
international names feature alongside accomplished
University ensembles which include the Choir and Chamber
Choir, two Orchestras, the Big Band -30 Strong, the Gamelan
orchestra and a New Music Group.
Highlights this season include concerts by Bernard Roberts,
the lutenist Nigel North, Peter Cropper and Peter Hill, as
well as three concerts by the Sorrel String Quartet. Concerts
by University ensembles include performances of The
Planets by Holst, Haydn's Creation, Mendelssohn's Italian
Symphony and the Mass in C, K.317 (Coronation) by Mozart,
with the Northern Sinfonia and University Choir.
For a free brochure giving full details of these concerts and
the Central Hall Orchestral Series, contact the Box Office,
Department of Music, University of York, York YO1 5DD,
Tel: 0904 432439 or 432447.
BMS 3/1/50 (1)
CHAMBER MUSIC
SEASON
1992/3
BAS
YORK
BMS
AT THE
LYONS
THE SIR JACK LYONS CONCERT HALL
UNIVERSITY OF YORK
Presented by the British Music Society of York
in association with the Department of Music,
University of York.
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2 The British Music Society of York, BMS 3 1 50, Page 2 |
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Ocr'd Text:
• Thursday, 15 October 1992 at 8 p.m.
BERNARD GREGOR-SMITH (cello)
YOLANDE WRIGLEY (piano)
Judas Maccabeus Variations Beethoven
Cello Sonata
Cello Sonata
Élégie
Glazunov
Cello Sonata in D, Op.102/2 Beethoven
*
Yorkshire & Humberside
ARTS
Concert supported by Yorkshire
and Humberside Arts
Debussy
Ireland
Bernard Gregor-Smith, cellist of the celebrated
Lindsay Quartet, has a long-standing duo partnership
with his wife, Yolande Wrigley. Their programme's
three sonatas include the last, some would say the
most fully rounded, of Beethoven's five sonatas for
cello and piano.
Friday, 13 November 1992 at 8 p.m.
NINA VINOGRADOVA-BIEK
(piano)
Aufschwung and Warum?
(from Fantasiestücke, Op.12)
Concert Study: Un sospiro
La fille aux cheveux de lin
Rustle of Spring
Prelude in C# minor
Studies in C# & D# minors
Impromptu in Ab, D.899/4
Waltz in C# minor, Op.64/2
Grand altz in
Op.34/1
Fantasie-Impromptu
Study in C minor (Revolutionary)
Nocturne in B minor, Op.9/1
Scherzo No.3 in C# minor
Schumann
Liszt
Debussy
Sinding
Rakhmaninov
Skryabin
Schubert
Chopin
Nina Vinogradova-Biek was described by the critic
Mosco Carner as "a pianist whose every note and
phrase is refined in the best tradition of the Russian
School".
Thursday, 17 December 1992 at 8 p.m.
ROBERT SCHUMANN PIANO QUARTET
Julius Drake (piano) Leland Chen (violin)
Clare McFarlane (viola)
Caroline Dearnley ('cello)
Piano Quartet, Op.47
Duo for violin and viola
Piano Quartet No.1
Schumann
Richard Hall
Fauré
The Robert Schumann Piano Quartet is formed
from four of the country's busiest young musicians:
Caroline Dearnley, for instance, has already played
for us as the cellist of the Joachim Piano Trio.
Their programme, appropriately, includes the Piano
Quartet by Robert Schumann, as well as the ever-
popular C minor Quartet of Fauré. Between these we
can hear the Duo by the York-born composer Richard
Hall (1903-1982).
Thursday, 14 January 1993 at 8 p.m.
BRODSKY STRING QUARTET
Michael Thomas & Ian Belton (violins)
Paul Cassidy (viola) Jacqueline Thomas ('cello)
Quartet Fragment in
Schubert
C minor, D.103
Quartet No.4, Op.83
Quartet in A, Op.41/3
Shostakovich
Schumann
The Brodsky Quartet needs no introduction to a
BMS audience, after the splendid concert that opened
our 1990/1 Season.
They play Shostakovich's Fourth, perhaps the most
warm-hearted of his 15 string quartets, and
Schumann's genial A major Quartet. But the concert
begins with a Schubert rarity, the remaining frag-
ment of a quartet composed in 1814, when Schubert
was still in his mid-teens.
W-
im
be
No
an
Cy
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• Friday, 12 February 1993 at 8 p.m.
ENDELLION STRING QUARTET
Andrew Watkinson & Ralph de Souza (violins)
Garfield Jackson (viola) David Waterman ('cello)
Quartet in D minor, Op.76/2
Quartet No.2
Quartet in Bb, Op.130
Haydn
Roger Steptoe
Beethoven
(with Große Fuge as finale)
The Endellion Quartet was founded in 1979 and two
years later won the New York young artists compe-
tition.
Their programme contains Haydn's closely-worked
D minor Quartet - the one with the famous Witches'
Minuet - as well as the quartet that many regard as
Beethoven's greatest, the B flat major, Op.130, in its
original form with the Große Fuge as finale. Between
these we hear the Second Quartet of Winchester-
born Roger Steptoe.
Thursday, 18 March 1993 at 8 p.m.
WILLIAM DAZELEY (baritone)
BRENDA HURLEY (piano)
Folk Songs
An die ferne Geliebte
Dichterliebe
arr. Britten
Beethoven
Schumann
Concert supported by the
Countess of Muster Musical Trust
William Dazeley, still in his mid-20s, already has an
impressive string of prizes and operatic appearances
behind him. This season he is appearing at Opera
North, singing in their Billy Budd, Marriage of Figaro
and La Bohème.
His programme for us contains two major song
cycles - Beethoven's only example of the type, An die
ferne Geliebte, and perhaps the best-loved of all,
Schumann's Dichterliebe.
BOOKING DETAILS
Adults
Students & under 18s
Youth & Music Stage Pass
Special rates for groups of 10 or more. For more details, please
write to Mr J. Briggs (address on Booking Form below).
PLEASE SEND ME:
Season and single tickets may be purchased NOW by using the
Booking Form below, or before each concert at the hall. Single
tickets are also available from Ticket World, 6 Patrick Pool, York,
YO1 2BB (Tel. York 644194).
BOOKING FORM
Cheques payable to "B.M.S."
Post with payment and S.A.E. to Mr. J. BRIGGS,
24 ELMLANDS GROVE, YORK, YO3 OEE.
Season Tickets
For more information about Youth & Music's Stage Pass scheme,
available to those aged between 14 and 30, write to Claire Wilson,
Youth & Music, Dean Clough Industrial Park Ltd., Halifax, HX3
5AX or phone 0422 345631.
Single Tickets
Single
Tickets
Name
£6.50
£3.50
£2.50
Address
Postcode
Date
Season Tickets
(six concerts)
£25.00
£12.50
£10.00
Quantity Price Total
Quantity Price
.Tel. No.
Total
If applying for more than one season ticket, please give name of
each person, and address if different from above.
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4 The British Music Society of York, BMS 3 1 50, Page 4 |
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THE BRITISH MUSIC SOCIETY
OF YORK
The BMS is one of many similar voluntary organisations
throughout the country - 14 in Yorkshire alone - whose
prime purpose is to promote chamber music recitals by
musicians of the highest calibre.
The quotations below are from reviews given in the Yorkshire
Post and Yorkshire Evening Press during our 71st season.
"... the British Music Society's excellent series, which has
become an invaluable mainstay of York's musical health"
(Martin Dreyer, YEP)
English Serenata
"The group as a whole gave a richly satisfying performance.
It was a privilege to hear it" (John Murray, YEP)
Artur Pizarro
"Artur Pizarro is undeniably compulsive listening. He is
also riveting to watch... Last night he utterly enslaved the
attention of a full house." (Martin Dreyer, YEP)
Cassidy/Kessler/Jacobson
"This was a recital distinguished by magnificent playing
and musical content that was always of deep interest"
(Donald Webster, YP)
Sarah Briggs
"York turned out in force for Sarah Briggs ... filling the
overflow seating, and she amply rewarded its loyalty."
(Martin Dreyer, YEP)
Kreutzer String Quartet
"[Ravel's] Quartet enchanted many, not least through the
fine standard of this young quartet's interpretation" (Robin
Peach, YEP)
"The veiled sonorities and mysterious pizzicato in the
second movement, the wonderfully perceptive Adagio,
and the fluctuating moods of the Finale were captured
splendidly." (Donald Webster, YP)
Lindsay String Quartet
"... the third movement - on the very borders of audibility
- was ambrosia to the soul, one of those rare glimpses of
eternity that only music can achieve" (Martin Dreyer, YEP)
BUS SERVICES
York City Bus No.9 provides a convenient service from
Clifton and the city centre, while No.21 provides a
service from the railway station.
CAR PARKS
Use Conference Car Parks Pc, Pd, Pe, as shown on the
map below.
HULL ROAD
University Road
BUS STOP
↓
0
ENTRANCE
Sir Jack Lyons
Concert Hall
Biology
50
50
100 yards N
+
100 metres
Vanbrugh
Central
Hall
FACILITIES FOR THE DISABLED
AND FURTHER INFORMATION
Please contact: Mr N J Dick, Hon. Secretary,BMS of York,
Clement House, 6 Bishopgate Street, York, YO2 1JH.
Tel. York 637984.
THE SOCIETY RESERVES THE RIGHT TO VARY THE
ARTISTS OR PROGRAMMES AS IT MAY FIND
NECESSARY.
City of York Leisure Services
*K
Yorkshire & Humberside
ARTS
NATIONAL FEDERATION
OF MUSIC SOCIETIES
NEMS
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5 The British Music Society of York, BMS 3 1 50, Page 5 |
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BUS SERVICES
York City Bus No.9 provides a convenient service from
Clifton and the city centre, while No.21 provides a
service from the railway station.
CAR PARKS
Use Conference Car Parks Pc, Pd, Pe, as shown on the
map below.
HULL ROAD
University Road
BUS STOP
Pd
Sir Jack Lyons
Concert Hall A
Biology
a
ENTRANCE
*K
Yorkshire & Humberside
ARTS
50
50
100 yards N
100 metres
Vanbrugh
Central
Hall
FACILITIES FOR THE DISABLED
AND FURTHER INFORMATION
Please contact: Mr N J Dick, Hon. Secretary,BMS of York,
Clement House, 6 Bishopgate Street, York, YO2 1JH.
Tel. York 637984.
THE SOCIETY RESERVES THE RIGHT TO VARY THE
ARTISTS OR PROGRAMMES AS IT MAY FIND
NECESSARY.
City of York Leisure Services
NATIONAL FEDERATION
OF MUSIC SOCIETIES
NFMS
SMS 3/1/50 (2)
BERNARD GREGOR-SMITH
YOLANDE WRIGLEY
(cello & piano)
BAS
YORK
THURSDAY, 15th OCTOBER
8.00 p.m.
THE SIR JACK LYONS CONCERT HALL
UNIVERSITY OF YORK
Presented by the British Music Society of York
in association with the Department of Music,
University of York.
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6 The British Music Society of York, BMS 3 1 50, Page 6 |
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Ocr'd Text:
Thursday, 15 October 1992 at 8 p.m.
BERNARD GREGOR-SMITH (cello)
YOLANDE WRIGLEY (piano)
Judas Maccabeus Variations
Cello Sonata
Cello Sonata
Élégie
Cello Sonata in D, Op.102/2
Beethoven
Debussy
Ireland
Glazunov
Beethoven
Concert supported by Yorkshire
and Humberside Arts
Bernard Gregor-Smith, cellist of the celebrated
Lindsay Quartet, has a long-standing duo partnership
with his wife, Yolande Wrigley.
Their programme includes three sonatas: one of the
English composer John Ireland's most important and
characteristic chamber works; the first of Debussy's
unfinished late cycle of sonatas, a work dominated
by the commedia dell' arte figure of Pierrot; and the
last, some would say the most fully rounded, of
Beethoven's five sonatas for cello and piano.
FUTURE CONCERTS
Friday, 13 November 1992 at 8 p.m.
NINA VINOGRADOVA-BIEK
• Thursday, 17 December 1992 at 8 p.m.
ROBERT SCHUMANN PIANO QUARTET
Thursday, 14 January 1993 at 8 p.m.
BRODSKY STRING QUARTET
• Friday, 12 February 1993 at 8 p.m.
ENDELLION STRING QUARTET
Thursday, 18 March 1993 at 8 p.m.
WILLIAM DAZELEY (baritone)
BRENDA HURLEY (piano)
BOOKING DETAILS
Adults
Students & under 18s
Youth & Music Stage Pass
Special rates for groups of 10 or more. For more details, please
write to Mr J. Briggs (address on Booking Form below).
PLEASE SEND ME:
Season and single tickets may be purchased NOW by using the
Booking Form below, or before each concert at the hall. Single
tickets are also available from Ticket World, 6 Patrick Pool, York,
YO1 2BB (Tel. York 644194).
BOOKING FORM
Cheques payable to "B.M.S."
Post with payment and S.A.E. to Mr. J. BRIGGS,
24 ELMLANDS GROVE, YORK, YO3 OEE.
Season Tickets.
For more information about Youth & Music's Stage Pass scheme,
available to those aged between 14 and 30, write to Claire Wilson,
Youth & Music, Dean Clough Industrial Park Ltd., Halifax, HX3
5AX or phone 0422 345631.
Single Tickets
Single
Tickets
Name
£6.50
£3.50
£2.50
Address
Postcode
Date
Season Tickets
(six concerts)
£25.00
£12.50
£10.00
Quantity
Quantity Price Total
Price
Total
Tel. No.
If applying for more than one season ticket, please give name of
each person, and address if different from above.
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7 The British Music Society of York, BMS 3 1 50, Page 7 |
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Ocr'd Text:
BUS SERVICES
York City Bus No.9 provides a convenient service from
Clifton and the city centre, while No.21 provides a
service from the railway station.
CAR PARKS
Use Conference Car Parks Pc, Pd, Pe, as shown on the
map below.
HULL ROAD
University Road
BUS STOP
↓
Pd
Sir Jack Lyons
Concert Hall,
Biology
0
0
ENTRANCE
*K
Yorkshire & Humberside
ARTS
50
50
100 yards N
100 metres
Vanbrugh
Central
Hall
FACILITIES FOR THE DISABLED
AND FURTHER INFORMATION
Please contact: Mr N J Dick, Hon. Secretary,BMS of York,
Clement House, 6 Bishopgate Street, York, YO2 1JH.
Tel. York 637984.
THE SOCIETY RESERVES THE RIGHT TO VARY THE
ARTISTS OR PROGRAMMES AS IT MAY FIND
NECESSARY.
City of York Leisure Services
NATIONAL FEDERATION
OF MUSIC SOCIETIES
NFMS
BMS 3/1/50 (3)
NINA VINOGRADOVA-BIEK
(piano)
B'S
YORK
FRIDAY, 13th NOVEMBER
8.00 p.m.
THE SIR JACK LYONS CONCERT HALL
UNIVERSITY OF YORK
Presented by the British Music Society of York
in association with the Department of Music,
University of York.
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8 The British Music Society of York, BMS 3 1 50, Page 8 |
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●
Friday, 13 November 1992 at 8 p.m.
NINA VINOGRADOVA-BIEK
(piano)
Aufschwung and Warum?
(from Fantasiestücke, Op.12)
Concert Study: Un sospiro
La fille aux cheveux de lin
Rustle of Spring
Prelude in C# minor
Studies in C# and D# minors
Impromptu in Ab, D.899/4
Waltz in C# minor, Op.64/2
Grand Waltz in A, Op.34/1
Fantasie-Impromptu
Study in C minor (Revolutionary)
Nocturne in B minor, Op.9/1
Scherzo No.3 in C# minor, Op.39
Schumann
Liszt
Debussy
Sinding
Rakhmaninov
Skryabin
Schubert
Chopin
Nina Vinogradova-Biek, brought up in Berlin and
Paris, is the daughter of two Russian concert pianists
who escaped from their country. She was described
by the critic Mosco Carner as "a pianist whose every
note and phrase is refined in the best tradition of the
Russian School".
FUTURE CONCERTS
• Thursday, 17 December 1992 at 8 p.m.
ROBERT SCHUMANN PIANO QUARTET
Thursday, 14 January 1993 at 8 p.m.
BRODSKY STRING QUARTET
• Friday, 12 February 1993 at 8 p.m.
ENDELLION STRING QUARTET
• Thursday, 18 March 1993 at 8 p.m.
WILLIAM DAZELEY (baritone)
BRENDA HURLEY (piano)
BOOKING DETAILS
Adults
Students & under 18s
Youth & Music Stage Pass
Special rates for groups of 10 or more. For more details, please
write to Mr J. Briggs (address on Booking Form below).
PLEASE SEND ME:
Season and single tickets may be purchased NOW by using the
Booking Form below, or before each concert at the hall. Single
tickets are also available from Ticket World, 6 Patrick Pool, York,
YO1 2BB (Tel. York 644194).
BOOKING FORM
Cheques payable to "B.M.S."
Post with payment and S.A.E. to Mr. J. BRIGGS,
24 ELMLANDS GROVE, YORK, YO3 OEE.
Season Tickets
For more information about Youth & Music's Stage Pass scheme,
available to those aged between 14 and 30, write to Claire Wilson,
Youth & Music, Dean Clough Industrial Park Ltd., Halifax, HX3
5AX or phone 0422 345631.
Single Tickets
Single
Tickets
Name
£6.50
£3.50
£2.50
Address
Postcode
Date
Season Tickets
(six concerts)
Quantity
£25.00
£12.50
£10.00
Tel. No.
Quantity Price
Price Total
Total
If applying for more than one season ticket, please give name of
each person, and address if different from above.
|
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9 The British Music Society of York, BMS 3 1 50, Page 9 |
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Ocr'd Text:
BUS SERVICES
York City Bus No.9 provides a convenient service from
Clifton and the city centre, while No.21 provides a
service from the railway station.
CAR PARKS
Use Conference Car Parks Pc, Pd, Pe, as shown on the
map below.
HULL ROAD
University Road
BUS STOP
ENTRANCE
Sir Jack Lyons
Concert Hall
Biology
50
50
100 yards N
100 metres
Vanbrugh
5%
T
Central
Hall
FACILITIES FOR THE DISABLED
AND FURTHER INFORMATION
Please contact: Mr N J Dick, Hon. Secretary,BMS of York,
Clement House, 6 Bishopgate Street, York, YO2 1JH.
Tel. York 637984.
THE SOCIETY RESERVES THE RIGHT TO VARY THE
ARTISTS OR PROGRAMMES AS IT MAY FIND
NECESSARY.
City of York Leisure Services
**
Yorkshire & Humberside
ARTS
NATIONAL FEDERATION
OF MUSIC SOCIETIES
NEMS
SMS 3/1/50 (4)
THE
ROBERT SCHUMANN
PIANO QUARTET
BAS
YORK
THURSDAY, 17th DECEMBER
8.00 p.m.
THE SIR JACK LYONS CONCERT HALL
UNIVERSITY OF YORK
Presented by the British Music Society of York
in association with the Department of Music,
University of York.
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10 The British Music Society of York, BMS 3 1 50, Page 10 |
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Ocr'd Text:
● Thursday, 17 December 1992 at 8 p.m.
ROBERT SCHUMANN
PIANO QUARTET
Julius Drake (piano) Leland Chen (violin)
Clare McFarlane (viola)
Caroline Dearnley ('cello)
Piano Quartet, Op.47
Duo for violin and viola
Piano Quartet No.1
Schumann
Richard Hall
Fauré
The Robert Schumann Piano Quartet is formed
from four of the country's busiest young musicians:
Caroline Dearnley, for instance, has already played
for us as the cellist of the Joachim Piano Trio.
Their programme, appropriately, includes the
Piano Quartet by Robert Schumann, as well as the
ever-popular C minor Quartet of Fauré. Between
these we can hear the Duo by the York-born composer
Richard Hall (1903-1982): Hall taught for many
years at the Royal Manchester College of Music,
where he was an important influence on the
"Manchester School" (Birtwistle, Maxwell Davies,
Alexander Goehr and John Ogdon).
Tickets £6.50 (Students £3.50; Youth & Music Stage Pass
£2.50) from Ticket World, 6 Patrick Pool, York (Tel. York
644194) or at the hall before the concert.
A single ticket for any concert may be exchanged for a
subscription ticket for the remainder of the season at a
considerable discount. This may be done at the Members
Desk in the lobby, either during the interval or immediately
after the concert.
For more information about Youth & Music's Stage Pass
scheme, available to those aged between 14 and 30, write to
Claire Wilson, Youth & Music, Dean Clough Industrial
Park Ltd., Halifax, HX3 5AX or phone 0422 345631.
FUTURE CONCERTS
• Thursday, 14 January 1993 at 8 p.m.
BRODSKY STRING QUARTET
Quartet Fragment in C
minor, D.103
Quartet No.4, Op.83
Quartet in A, Op.41/3
The Brodsky Quartet needs no introduction to a
BMS audience, after the splendid concert that opened
our 1990/1 Season.
Schubert
Shostakovich
Schumann
They play Shostakovich's Fourth, perhaps the
most warm-hearted of his 15 string quartets, and
Schumann's genial A major Quartet. But the concert
begins with a Schubert rarity, the remaining fragment
of a quartet composed in 1814, when Schubert was
still in his mid-teens.
Quartet in Bb, Op.130
● Friday, 12 February 1993 at 8 p.m.
ENDELLION STRING QUARTET
Quartet in D minor, Op.76/2
Quartet No.2
(with Große Fuge as finale)
Folk Songs
An die ferne Geliebte
Dichterliebe
Haydn
Roger Steptoe
Beethoven
Thursday, 18 March 1993 at 8 p.m.
WILLIAM DAZELEY (baritone)
BRENDA HURLEY (piano)
arr. Britten
Beethoven
Schumann
Concert supported by the
Countess of Munster Musical Trust
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11 The British Music Society of York, BMS 3 1 50, Page 11 |
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Ocr'd Text:
BUS SERVICES
York City Bus No.9 provides a convenient service from
Clifton and the city centre, while No.21 provides a
service from the railway station.
CAR PARKS
Use Conference Car Parks Pc, Pd, Pe, as shown on the
map below.
HULL ROAD
University Acad
BUS STOP
Į
Sir Jack Lyons
Concert Hall
0
ENTRANCE
Biology
50
*K
Yorkshire & Humberside
ARTS
50
100 yards N
Vanbrugh
100 metres
Centra
Hal
FACILITIES FOR THE DISABLED
AND FURTHER INFORMATION
Please contact: Mr N J Dick, Hon. Secretary,BMS of York,
Clement House, 6 Bishopgate Street, York, YO2 1JH.
Tel. York 637984.
THE SOCIETY RESERVES THE RIGHT TO VARY THE
ARTISTS OR PROGRAMMES AS IT MAY FIND
NECESSARY.
City of York Leisure Services
NATIONAL FEDERATION
OF MUSIC SOCIETIES
NEMS
SMS 3/1/50 (5)
THE BRODSKY
STRING QUARTET
BMS
YORK
THURSDAY, 14th JANUARY
8.00 p.m.
THE SIR JACK LYONS CONCERT HALL
UNIVERSITY OF YORK
Presented by the British Music Society of York
in association with the Department of Music,
University of York.
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12 The British Music Society of York, BMS 3 1 50, Page 12 |
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Ocr'd Text:
• Thursday, 14 January 1993 at 8 p.m.
BRODSKY STRING QUARTET
Michael Thomas & Ian Belton (violins)
Paul Cassidy (viola)
Jacqueline Thomas ('cello)
Quartet Fragment in C minor
Quartet No.4, Op.83
Quartet in A, Op.41/3
Schubert
Shostakovich
Schumann
The Brodsky Quartet needs no introduction to a
BMS audience, after the splendid cert that
opened our 1990/1 Season.
They play Shostakovich's Fourth Quartet, perhaps
the most warm-hearted of his cycle of 15 string
quartets, a work composed amidst professional
turmoil and tragedy. Beside it is Schumann's genial
A major Quartet, a product of what was probably the
happiest time of the composer's life. But the Brodsky
begin with a Schubert rarity, the Quartet Movement,
D.103, the remaining fragment of a quartet composed
in 1814, when Schubert was still in his mid-teens.
Tickets £6.50 (Students £3.50; Youth & Music Stage Pass
£2.50) from Ticket World, 6 Patrick Pool, York (Tel. York
644194) or at the hall before the concert.
A single ticket for any concert may be exchanged for a
subscription ticket for the remainder of the season at a
considerable discount. This may be done at the Members
Desk in the lobby, either during the interval or immediately
after the concert.
For more information about Youth & Music's Stage Pass
scheme, available to those aged between 14 and 30, write to
Claire Wilson, Youth & Music, Dean Clough Industrial
Park Ltd., Halifax, HX3 5AX or phone 0422 345631.
FUTURE CONCERTS
• Friday, 12 February 1993 at 8 p.m.
ENDELLION STRING QUARTET
Andrew Watkinson & Ralph. Souza (violins)
Garfield Jackson (viola)
David Waterman ('cello)
Quartet in D minor, Op.76/2
Quartet No.2
Quartet in Bb, Op.130
Haydn
Roger Steptoe
Beethoven
(with Große Fuge as finale)
The Endellion Quartet was founded in 1979 and two
years later won the New York young artists
competition.
Their programme contains Haydn's closely-worked
D minor Quartet - the one with the famous Witches'
Minuet - as well as the quartet that many regard as
Beethoven's greatest, the B flat major, Op.130, in its
original form with the Große Fuge as finale. Between
these we hear the Second Quartet of Winchester-
born Roger Steptoe.
Thursday, 18 March 1993 at 8 p.m.
WILLIAM DAZELEY (baritone)
BRENDA HURLEY (piano)
Folk Songs
An die ferne Geliebte
Dichterliebe
arr. Britten
Beethoven
Schumann
Concert supported by the
Countess of Munster Musical Trust.
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BUS SERVICES
York City Bus No.9 provides a convenient service from
Clifton and the city centre, while No.21 provides a
service from the railway station.
CAR PARKS
Use Conference Car Parks Pc, Pd, Pe, as shown on the
map below.
HULL ROAD
University Road
Sir Jack Lyons
Concert Hall,
0
BUS STOP
↓
Biology
0
ENTRANCE
Yorkshire & Humberside
ARTS
50 100 yards N
50 100 metres
Vanbrugh
Central
Hall
FACILITIES FOR THE DISABLED
AND FURTHER INFORMATION
Please contact: Mr N J Dick, Hon. Secretary,BMS of York,
Clement House, 6 Bishopgate Street, York, YO2 1JH.
Tel. York 637984.
4
THE SOCIETY RESERVES THE RIGHT TO VARY THE
ARTISTS OR PROGRAMMES AS IT MAY FIND
NECESSARY.
City of York Leisure Services
NATIONAL FEDERATION
OF MUSIC SOCIETIES
NEMS
SMS 3/1/50 (6)
THE ENDELLION
STRING QUARTET
B'S
YORK
FRIDAY, 12th FEBRUARY
8.00 p.m.
THE SIR JACK LYONS CONCERT HALL
UNIVERSITY OF YORK
Presented by the British Music Society of York
in association with the Department of Music,
University of York. UW SALE)
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• Friday, 12 February 1993 at 8 p.m.
ENDELLION STRING QUARTET
Andrew Watkinson & Ralph de Souza (violins)
Garfield Jackson (viola)
David Waterman ('cello)
Quartet in D minor, Op.76/2
Quartet No.2
Quartet in B flat, Op.130
Haydn
Roger Steptoe
Beethoven
(with Große Fuge as finale)
The Endellion Quartet was founded in 1979 and two
years later won the New York young artists
competition. They have toured extensively, to great
critical acclaim, and have recorded for EMI and now
Virgin Classics.
Their programme contains Haydn's closely-worked
D minor Quartet - the one with the famous Witches'
Minuet - as well as the Second Quartet of Winchester-
born Roger Steptoe.
The concert ends with the quartet that many regard
as Beethoven's greatest, the B flat major, Op.130, in
its original form with the Große Fuge as finale.
Tickets £6.50 (Students £3.50; Youth & Music Stage Pass
£2.50) from Ticket World, 6 Patrick Pool, York (Tel. York
644194) or at the hall before the concert.
For more information about Youth & Music's Stage Pass
scheme, available to those aged between 14 and 30, write to
Claire Wilson, Youth & Music, Dean Clough Industrial
Park Ltd., Halifax, HX3 5AX or phone 0422 345631.
LAST CONCERT
OF THE 72nd SEASON
Thursday, 18 March 1993 at 8 p.m.
WILLIAM DAZELEY (baritone)
BRENDA HURLEY (piano)
Folk Songs
An die ferne Geliebte
Dichterliebe
arr. Britten
Beethoven
Schumann
Concert supported by the
Countess of Munster Musical Trust
William Dazeley is very much a rising star of the
baritone world. Still in his mid-20s he already has an
impressive string of prizes and operatic appearances
behind him. This season he is spending at Opera
North, singing in their Billy Budd, Marriage of Figaro
and La Bohème.
His programme for us contains two major song cycles
- Beethoven's only example of the type, An die ferne
Geliebte, and perhaps the best-loved of all, Schumann's
Dichterliebe.
MAILING LIST
If you are not already on our mailing list, but would
like to receive details of our 73rd Season's concerts,
please send your name and address to our Treasurer,
Mr Jim Briggs, 24 Elmlands Grove, York, YO3 0EE.
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BUS SERVICES
York City Bus No.9 provides a convenient service from
Clifton and the city centre, while No.21 provides a
service from the railway station.
CAR PARKS
Use Conference Car Parks Pc, Pd, Pe, as shown on the
map below.
HULL ROAD
University Road
BUS STOP
↓
Pd
ENTRANCE
Sir Jack Lyons
Concert Hall,
Biology
w
50
Yorkshire & Humberside
ARTS
100 yards N
100 metres
Vanbrugh
FACILITIES FOR THE DISABLED
AND FURTHER INFORMATION
Central
Hall
Please contact: Mr N J Dick, Hon. Secretary,BMS of York,
Clement House, 6 Bishopgate Street, York, YO2 1JH.
Tel. York 637984.
THE SOCIETY RESERVES THE RIGHT TO VARY THE
ARTISTS OR PROGRAMMES AS IT MAY FIND
NECESSARY.
City of York Leisure Services
NATIONAL FEDERATION
OF MUSIC SOCIETIES
NEMS
BMS 3/1/50 (7)
WILLIAM DAZELEY
(baritone)
BRENDA HURLEY
(piano)
BS
YORK
THURSDAY, 18th MARCH
8.00 p.m.
THE SIR JACK LYONS CONCERT HALL
UNIVERSITY OF YORK
Presented by the British Music Society of York
in association with the Department of Music,
University of York.
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• Thursday, 18 March 1993 at 8 p.m.
WILLIAM DAZELEY (baritone)
BRENDA HURLEY (piano)
Folk Songs
An die ferne Geliebte
Dichterliebe
arr. Britten
Beethoven
Schumann
Concert supported by the
Countess of Munster Musical Trust
William Dazeley is very much a rising star of the
baritone world. Still in his mid-20s, he already has
an impressive string of prizes and operatic
appearances behind him. This season he is spending
at Opera North, singing in their Billy Budd, Marriage
of Figaro and La Bohème.
His programme contains two of the most important
song cycles. Beethoven's An die ferne Geliebte dates
from 1816 and is one of the earliest examples of the
form. Still more famous and well-loved is Schumann's
sumptuous Dichterliebe, settings of 16 poems by
Heinrich Heine.
Tickets £6.50 (Students £3.50; Youth & Music Stage Pass
£2.50) from Ticket World, 6 Patrick Pool, York (Tel. York
644194) or at the hall before the concert.
For more information about Youth & Music's Stage Pass
scheme, available to those aged between 14 and 30, write to
Claire Wilson, Youth & Music, Dean Clough Industrial
Park Ltd., Halifax, HX3 5AX or phone 0422 345631.
THE BRITISH MUSIC SOCIETY
OF YORK
The BMS is one of many similar voluntary
organisations throughout the country - 14 in York-
shire alone whose prime purpose is to promote
chamber music recitals by musicians of the highest
calibre.
The concerts have been described as "amongst the
most exciting contributions to the musical life of the
city". Our present concert season is the 72nd in
unbroken succession.
Our concerts are held in a modern, comfortable
concert hall well-suited to the intimate atmosphere
needed for this music.
The hall has 330 fixed seats, but more are provided as
needed. The bar area has space for socialising and is
open from 7.30 p.m. Coffee and drinks are available
during the interval.
The BMS is not just an organisation promoting
concerts, but a society with a large and friendly
membership. With their season tickets subscribers
are offered not only six concerts for less than the
price of four, but a place in the society and an
opportunity to participate in its decisions and social
gatherings.
MAILING LIST
If you are not already on our mailing list, but would
like to receive details of our 73rd Season's concerts,
please send your name and address to our Treasurer,
Mr Jim Briggs, 24 Elmlands Grove, York, YO3 OEE.
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B'S
YORK
BERNARD GREGOR-SMITH
YOLANDE WRIGLEY
(cello and piano)
Thursday, 15 October 1992
Programme: 50p
Presented by the British Music Society of York
in association with the Department of Music
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It was in 1918 that the colourful Dr Arthur Eaglefield Hull, organist of
Huddersfield Parish Church, writer and modern music enthusiast, founded
the British Music Society.
The new society was a national body whose aims were: to bring together
professional and amateur musicians, to promote British music and music-
ians, to develop the appreciation of music by means of lectures and
concerts, and to campaign for the recognition of the place of music in
education. The Society expanded quickly, with about forty regional
centres being established.
So unwieldy an organisation, though, was in constant financial difficulty
and, despite the generosity of patrons, went into liquidation in 1933. Yet
many of the regional centres remained viable and continued to function as
concert-giving societies.
The York centre of the original Society was opened in 1921, with an
inaugural concert given by the soprano Isobel Baillie, then in her debut
year. In 1933, when the parent society went into liquidation, the centre
reconstituted itself as an autonomous organisation under the name British
Music Society of York.
Since then the Society has continued to give an annual season of chamber
music concerts. The present season is the 72nd in succession to be given
in York under the title British Music Society.
The BMS concert season takes the form of a subscription series. A full
subscription ticket entitles its holder to membership of the Society and to
attend six concerts for less than the price of four.
Members of tonight's audience with single tickets may convert these into
subscription tickets for the remainder of the season by applying at the
Members Desk in the Foyer, either during the interval or at the end of
the concert. Savings almost as good as for the complete season are
available.
Floral decorations by Sue Bedford.
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of
re
BRITISH MUSIC SOCIETY of YORK
72nd Season
Thursday, 15 October 1992
Sir Jack Lyons Concert Hall
BERNARD GREGOR-SMITH
YOLANDE WRIGLEY
(cello and piano)
Variations on 'See the conqu'ring hero comes'
Cello Sonata
Cello Sonata in G minor
INTERVAL
Élégie for cello and piano, Op.17
Cello Sonata in D major, Op.102 No.2
Beethoven
Ireland
Debussy
Glazunov
For the sake of others in the audience,
please turn off all alarms on watches, calculators etc.
before the concert starts.
Beethoven
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BERNARD GREGOR-SMITH and YOLANDE WRIGLEY
(cello & piano)
Bernard Gregor-Smith was born in Chelmsford and at 16 won a scholarship
to the Royal Academy of Music where he studied with Douglas Cameron.
He has been the cellist of the celebrated Lindsay Quartet since its
formation in 1966.
Yolande Wrigley was born in East Africa and came to London in 1972.
She studied at the Royal College of Music, where she won several prizes,
including a Chopin prize in her final year. She spent three years as
resident pianist at Southampton University, giving both solo and chamber-
music recitals.
Bernard Gregor-Smith and Yolande Wrigley were married in September
1986, and shortly afterwards gave their first public concert as a duo.
They have made several recordings for the ASV label, one of which (ASV
CD DCA 796, also available on cassette), includes the Debussy Sonata they
are playing this evening.
Yorkshire & Humberside
ARTS
Mr Gregor-Smith and Miss Wrigley come to us under
Yorkshire and Humberside Arts' Musicians in
Residence scheme, and we are grateful for the
financial assistance this gives the BMS.
PROGRAMME NOTES
Beethoven and the cello
Beethoven is the bedrock of the cello-and-piano repertory. Indeed, he
could even lay claim to have invented the medium. In previous cello and
keyboard works, the keyboard was merely a continuo part, a bass line with
a few symbols from which the player could make up a suitably incon-
spicuous accompaniment to support the cello. It was Beethoven who
emancipated the keyboard player, by then a pianist, providing a written-
out part which equalled, or more than equalled, the cello's contribution.
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he
en
tion
Ironically, with the violin it was the other way about. The violin sonata
began as a piano sonata, with the violin "accompanying" - in effect merely
adding local colour. It was the violin part that had to be emancipated,
being given more and more independent material and an increasing share in
importance.
Beethoven's stimulus to write for the cello in this way was the visit he
paid to Berlin in the spring of 1796. There he played several times at the
court of king Friedrich Wilhelm II of Prussia. Friedrich Wilhelm was a
nephew of Frederick the Great, and where the uncle was a devotee of the
flute, the nephew, whose musical taste was apparently far superior, was a
cellist who played frequently in quartets and even sat in on rehearsals of
Italian opera. Haydn wrote the Op.50 Quartets for him and Mozart the
three so-called Prussian Quartets, with their prominent cello parts.
In Berlin Beethoven made the acquaintance of the cello-playing Duport
brothers, Jean-Pierre (1741 - 1818) and Jean-Louis (1749-1819). It was
for one of these he wrote the two Op.5 Sonatas and the Handel Varia-
tions. It is not entirely certain which brother was concerned, though the
balance of the evidence is that it was Jean-Pierre, the king's first cellist,
rather than Jean-Louis, often considered the founder of modern cello
technique. Either way, this origin accounts for the sonatas being amongst
the best of Beethoven's early works, and for the way in which both
partners are stretched, without the balance and integrity of the works
being impaired.
Beethoven returned to the combination again for two more variation sets
and three sonatas - the A major, Op.69, and the Op.102 pair in C and D
majors. Op.69 was dedicated to a cello-playing friend, while the Op.102
works were composed for Joseph Lincke, of whom more later.
12 Variations on 'See the
conqu'ring hero comes', WoO 45
Ludwig van Beethoven
(1770-1827)
Beethoven wrote these Handel Variations alongside the two Op.5 Cello
Sonatas in 1796, while he was in Berlin. We know the Sonatas were given
their premieres at the Berlin court by Beethoven and one of the Duports,
and it is more than likely that they performed the Variations too.
The Variations were published in Vienna in the summer or autumn of the
following year under the title XII VARIATIONS/ Pour le Clavecin ou
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Piano-Forte / avec un Violoncelle Obligé / Sur un Theme de Händel's dans
L'Oratoire Judas Macabée. The phrase "avec un violoncelle obligé" says
much for the status of the cello in this work: in an equivalent set of
variations for violin and piano of four years earlier, the wording is only
"avec un Violon ad lib.".
Handel originally wrote the chorus See, the conqu'ring hero comes! for the
third act of his 1747 oratorio Joshua. It is not, as you might have
expected, sung to welcome Joshua back after the battle of Jericho that
all happens in Act Two. It is sung to welcome Othniel, returning
victorious from the capture of Debir to claim the daughter of Caleb, the
Israelite commander. Handel and his librettist were trying in Joshua to
repeat the phenomenal success of their martial oratorio Judas Maccabaeus
of the year before, designed as a compliment to the Duke of Cumberland
on his return from the butchery of Culloden. During Handel's lifetime
Joshua was second in popularity only to Judas Maccabaeus being revived
many times; but after his death it was quickly forgotten.
Handel was a great re-user of his own, and other composer's, music, and
it was probably for a 1750 revival of Judas Maccabaeus that he borrowed
See, the conqu'ring hero comes!: since Joshua lapsed into obscurity, it is
with Judas Maccabaeus that the chorus has been associated ever since.
Quite when Beethoven came across Judas Maccabaeus is not certain.
Friedrich Wilhelm II is known to have put on revivals of Handel as well as
Mozart in Berlin, and so Beethoven could have heard the oratorio there.
Equally, he could have come across it in Vienna. Baron von Swieten, the
Viennese Court Librarian, was a Handel enthusiast as well as a patron of
contemporary composers, including Beethoven. He organised performances
of many Handel pieces, for some of which (Messiah included) he got
Mozart to modernise the orchestration.
Wherever Beethoven found the theme, it is ideally suited to variation, with
its strong, easily identifiable harmonic scheme to give shape to each
variation and its simple and clear melodic patterns, easy both to recognise
and to develop.
The variations as a whole share many design features with variation sets
of the time: the first few variations use ever faster note values, there are
variations in the minor key (here Nos.4 and 8), the penultimate variation
(No.11) is an eloquent Adagio, while the last variation of all is a quick,
almost skittish piece, expanded into a short coda.
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e
s
re
ch
Cello Sonata in G minor
Moderato e sostenuto Più moto
Poco largamente Non troppo lento
Con moto e marcato
-
[principal tempo markings only]
John Ireland
(1879 - 1962)
The English composer John Ireland studied at the Royal College of Music
in London and at the University of Durham, returning to the RCM to
teach, his pupils including Benjamin Britten and E.J. Moeran. He is best
remembered as a miniaturist, his most popular and successful works being
his songs and piano pieces. But he did occasionally write on a larger
scale, composing, for instance, one of the best piano concertos produced in
this country.
The Cello Sonata dates from 1923 and can be seen as the culmination of a
series of chamber works (two piano trios and two violin sonatas) composed
over the previous two decades. After it, he was to write only one more
chamber work, the Fantasy Sonata for clarinet and piano of 1943.
His name notwithstanding, Ireland's is a distinctively English musical
voice. It does, however, bear significant traces of two powerful outside
influences, the music of the German Romantic school and of the French so
called "impressionist" composers. There are, for instance, harmonic
sequences in the first movement which give evidence of a great regard for
Ravel.
The first movement opens with a slow introduction whose opening cello
figure is the basis of many of the work's melodic ideas. The movement as
a whole is a representative Ireland mix of lyricism and passion. The
poetic strain is continued after the slow movement's brief introduction: at
first verging on the sentimental, the music moves off into uncharted
harmonic territory.
The last movement is linked to its predecessor by a short cello solo.
Once more, the influence of Ravel is powerfully heard in the movement's
main idea, so similar to the French composer's evocation of Spain in the
piano piece Alborada del gracioso from Miroirs of 1904/5. (Club members
may remember Lora Dimitrova included it in her recital for us in January
of last year.)
But perhaps the best description of the Sonata comes from Muriel Searle's
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study of the composer, where she records it was "suggested in part" by
the so-called Devil's Jumps on the "legend-soaked" Sussex Downs:
Conflicting emotions flit across the Cello Sonata, like the sun and
cloud lighting his programmatic pictures. It embraces ecstasy and
despair, Paradise and Hades, tranquillity and terror, absorbed from a
passing preoccupation with Blake's Heaven and Hell.
Sonata for cello and piano
Prologue: Lent
Sérénade: Modérément animé
Finale: Animé
[principal tempo markings only]
Claude Debussy
(1862
1918)
When war broke out in 1914, the patriotic Debussy answered his country's
call and volunteered. Of course, he was turned down by the authorities:
he was 52 and already ill enough with the cancer that was to kill him to
have been forced to abandon a projected concert tour of the USA.
Fortunately for us, Debussy channelled his patriotic fervour into what he
did best, embarking on a set of Six Sonates pour divers instruments
composées par Claude Debussy, musicien français.
The plan was that each of the first five sonatas would be for different
instruments, while the sixth, anticipated as the most important of the set,
would include all the instruments used so far, plus a double bass.
Unfortunately, he lived to complete only three of the sonatas: for cello
and piano (1915), for flute, viola and harp (1915) and for violin and piano
(1916/7). It is doubly unfortunate considering the combinations planned
for the remaining works. What would a colouristic imagination like
Debussy's have made of sonatas for oboe, horn and harpsichord and for
clarinet, bassoon and trumpet, not to mention the promise of all these put
together?
It is tempting to imagine that Debussy's motive in choosing these sonatas
for his patriotic gesture arose from what must have appeared the total
stranglehold of the Austro-German tradition on all forms of chamber
music. In every other type of composition orchestra, opera, ballet,
piano and so on French, Italian and Russian music between them had
manag
Althou
forms
extra-
Comm
Pierrot
The Sc
the cen
Pierrot
intereste
queries
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b
e
d
}
1
managed some kind of challenge, but chamber music was virtually a
province of Austro-Germany. I like to imagine Debussy squaring himself
up and then launching a fierce and fearless attack at the very point where
the enemy was strongest.
Although the sonata cycle continues the trend towards abstract musical
forms seen in the Studies for piano (1915), the Cello Sonata has strong
extra-musical associations. Debussy was long fascinated by the Italian
commedia dell'arte and originally intended to give the work the title
Pierrot fâché avec la lune [Pierrot angry with the moon]. It is certainly
easy, listening to the Sonata, to hear Pierrot in the cello part.
The Sonata is in three short movements, the last two linked together. In
the central Serenade the cello's pizzicato has been seen as a parody of
Pierrot's mandolin, while the finale plainly contrasts the nervous and
languid sides of his character.
INTERVAL
Coffee and drinks are available in the foyer. Coffee is 50p a cup: to find
it, go past the bar onto the landing and turn to the left.
If
you would like to convert your single ticket into a season ticket, are
interested in becoming a Patron or Benefactor of the BMS, or have any
queries about the Society, come and see us at the Members Desk. We can
be found in the foyer at the opposite end to the bar, to your left as you
leave the auditorium.
Élégie, Op.17
Aleksandr Konstantinovich Glazunov
(1865 1936)
Glazunov was a child prodigy, producing his astonishingly assured and
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mature First Symphony at the age of 16. He was seen as the white hope
of Russian music, not only in himself, but as a symbolic synthesis of the
two opposed camps of turn-of-the-century Russian music the nationalist
group in St. Petersburg (often derided as autodidacts) and the better-
trained, cosmopolitan Muscovites. The two schools were respectively led
by Rimsky-Korsakov and Taneyev.
-
The judgement is only as true as such simplifications generally are, though
it can be said that, musically, Glazunov leaned more towards the more
imaginative St. Petersburg style, while he derived his structural sense and
regard for classical form from Moscow. Witness the fact that, compared
to most Russian composers, his output of opera and vocal music in general
is meagre, most of his time being spent in abstract forms like symphonies
(eight in all) concertos, quartets, sonatas etc.
Glazunov was a good composer, but he never quite lived up to the
glittering expectations people had of him. When the St. Petersburg
Conservatory re-opened after the failed 1905 Revolution, Glazunov was
appointed director, and his dedication to his work plus his drinking
problem made serious inroads into his creativity.
Glazunov took his director's responsibilities very seriously. He would
regularly sit in on the most trivial examinations or auditions and frequent-
ly arranged for grants to be made to promising students, money which, it
later transpired, came from his own royalties.
The young Glazunov was a protégé of the timbre millionaire Belyayev, who
spent much of his wealth promoting Russian music both in performance and
in print. When it was announced that a festival of music was to be held
in 1884 in Weimar, with Liszt as its honorary president, Belyayev pulled
strings to have the young composer's First Symphony included. Liszt
already had good contacts with the Petersburg composers and welcomed
Glazunov, meeting him several times and encouraging him enormously, in
his usual way.
This all had a great effect on Glazunov, who was grieved when he learned
of Liszt's death in July 1886. He dedicated his Second Symphony to the
Hungarian composer's memory and organised a commemorative concert at
the Free Music School in St. Petersburg, for which event he probably
composed his Elegy, subtitled Une pensée à François Liszt.
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Cello Sonata in D major, Op.102 No.2
Allegro con brio
Adagio con molto sentimento d'affetto -
Allegro
Beethoven
I remember on my first guided tour of Vienna the courier pointing out a
plaque bearing the information that Beethoven had stayed there: but she
straightway warned us not to get too excited by this, since he is known
to have lived at no fewer than 60 addresses in the city.
In the summer of 1815 he was staying in the house of Countess Erdödy.
Like many musical aristocrats, the Countess had her own musical es-
tablishment which included the famous cellist Joseph Lincke (1783 - 1837).
Lincke had previously been on the staff of Count Razumovsky, playing in
the string quartet led by Ignaz Schuppanzigh, which had performed under
the watchful eye of the composer the Quartets that bear the Count's
name. The two players were later to reform their ensemble to play
Beethoven's late quartets. This gives some measure of Lincke's experience
in playing Beethoven's music and of the trust the composer had in him.
While staying at Countess Erdödy's Beethoven was working on the first of
his series of late piano sonatas, the A major, Op.101, together with
several lesser, or less well-known, works. The two sketchbooks covering
these pieces also contain sketches for two works which, tantalisingly,
remained unfinished a piano concerto in D major and a piano trio in F
minor.
It was perhaps inevitable that the presence of Lincke in the same house
would prompt Beethoven to write something for him, and the result was
the pair of Cello Sonatas, Op.102, composed in the summer of 1815 and
published two years later with a dedication to the Countess.
Both sonatas are unusually experimental. The C major Sonata has one of
Beethoven's most revolutionary structures. The D major is more regular in
its construction, but exhibits many of the stylistic features that were to
lead to the late piano sonatas and late quartets: an explosive first
movement with sudden, unpredictable swings of mood; the use of melodic
fragments rather than fully-rounded themes; and fugues and fugal writing.
The D major Sonata begins with an explosive Allegro con brio dominated
by its arresting opening gesture. The sustained and lyrical slow movement
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is perhaps the most conventional part of the Sonata; it is also the only
full-scale slow movement to be found in the five cello sonatas. It leads
without a break into the final fugue. Beethoven's late fugues have the
reputation of not quite working properly even he called one of them a
fugue "with some licence"; the fugue in Op.102 No.2 is one of the
strangest, and has come in for some strong criticism over the years.
Still, as Deryck Cooke once said:
We should not adopt a condescending attitude towards the earliest
listeners to these sonatas; they are still, today, tough nuts to crack,
demanding from players and listeners alike the utmost concentration.
David Mather
Programme note price rise
The Committee of the BMS regrets that rising production costs have
forced us to raise the price of our programme books.
Ideally, the Committee would like to make the programme books free, but,
paradoxically, this would make them more expensive to our members.
At present the number of programmes sold is between a third and a half
the number of seats taken. If they were provided free of cost, we would
have to produce enough copies to supply each member of the maximum
projected audience, in other words two or three times as many as are
currently required.
The production costs of this greatly increased print run would have to be
met from Society funds, which means by adding to the cost of both season
and individual tickets.
By charging separately for programme books, we allow you the choice of
whether you wish to pay this extra amount or not. If we issued them free
of charge, each member of the audience would be paying through the
ticket cost, even if he/she did not want a programme or would normally
share one with a partner.
And even at 50p, we think our programmes compare favourably with others
in the region.
The
are
Ha
lue
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FORTHCOMING CONCERTS
The next concerts in the 72nd Season of the British Music Society,
presented in association with the Department of Music at the University,
are as follows. All the concerts take place in the Sir Jack Lyons Concert
Hall, beginning at 8.00 pm.
§ Friday, 13 November 1992
§
NINA VINOGRADOVA-BIEK (piano)
Aufschwung and Warum?
(from Fantasiestücke, Op.12)
Concert Study: Un sospiro
La fille aux cheveux de lin
Rustle of Spring
Prelude in C# minor, Op.3 No.2
Studies in C# and D# minors
Impromptu in A, D.899 No.4
Waltz in C# minor, Op.64 No.2
Grand Waltz in A, Op.34 No.1
Fantasie-Impromptu in C# minor, Op.66
Study in C minor, Op.10 No.12 (Revolutionary)
Nocturne in B minor, Op.9 No.1
Scherzo No.3 in C# minor, Op.39
Thursday, 17 December 1992
Piano Quartet, Op.47
Duo for violin and viola
Piano Quartet No.1
Schumann
ROBERT SCHUMANN PIANO QUARTET
§ Thursday, 14 January 1993
Liszt
Debussy
Sinding
Rakhmaninov
Skryabin
Schubert
Chopin
Schumann
Richard Hall
Fauré
BRODSKY STRING QUARTET
Quartets by Schubert, Shostakovich (No.4) and Schumann (Op.41 No.3 in A)
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§ Friday, 12 February 1993
ENDELLION STRING QUARTET
Quartets by Haydn, Roger Steptoe and Beethoven (Op.130 in Bb major)
§ Thursday, 18 March 1993
WILLIAM DAZELEY
(baritone)
(piano)
BRENDA HURLEY
including Beethoven's An die ferne Geliebte and Schumann's Dichterliebe
Also in the Sir Jack Lyons Concert Hall at 8.00:
Wednesday, 21 October 1992
SORREL STRING QUARTET
Quartets by Haydn, Bartók (No.2) and Schumann (Op.41 No.1 in A minor)
Wednesday, 28 October 1992
BERNARD ROBERTS (piano)
Beethoven's last three piano sonatas
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BRITISH MUSIC SOCIETY of YORK
OFFICERS OF THE SOCIETY
President
Dr Francis Jackson
Vice-Presidents
Joan Whitworth
Jim Briggs
Rosalind Richards
Chairman: Peter Marsden
Vice-chairman: Albert Ainsworth
Hon. Treasurer: Jim Briggs
Hon. Asst. Treasurer:
John Petrie
Hon. Secretary: Nigel Dick
Hon. Programme Secretary: Brian & Rosalind Richards
David Mather
Hon. Publicity Officer:
NFMS Representative: Dr Richard Crossley
Hon. Auditor: Derek Winterbottom
Members of the Committee: Sue Bedford, Margherita Biller, Andrew
Carter, Barbara Fox, Rosemary Johnson, Dick Stanley, Derek Sutton and Dr
Mary Thomson.
BENEFACTORS AND PATRONS
The BMS manages to maintain the high standard of its concerts largely
Without their
through the generosity of its Benefactors and patrons.
covenanted gifts to the Society, this evening's concert would not be taking
place.
Our Benefactors(§) and Patrons are as follows:
Mr A. Ainsworth
Mrs P. J. Armour
Mr R. A. Bellingham
Mr & Mrs J. Briggs
Mrs M. Danby-Smiths
Mr A. D. Hitchcocks
Mrs F. Andrews
Dr D. M. Bearpark
Mr & Mrs D. A. C. Blunt
Dr R. J. S. Crossley
Mr N. J. Dicks
Mr G. Hutchinsons
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Dr F. A. Jackson
Mr J. C. Joslinş
Mr R. P. Lorrimang
Mrs A. M. Morcom§
Mr & Mrs K. M. Nonhebelş
Mr B. Richards§
Mr L. W. Robinsons
Mrs D. G. Roebuck
Mr & Mrs N. Sexton
Mr J. Stringer
Dr M. J. Thomson
Mr J. I. Watson
Mr & Mrs A. Wright
Mrs E. S. Johnsons
Professor R. Lawtong
Mr P. W. Millers
Mr G. C. Morcom§
Miss H. C. Randall
Mr J. D. Ridge
Mr M. Robsons
Mrs I. G. Sargent
If
you would like to become a Benefactor or Patron, or have any queries,
recommendations, criticisms or even praise, please come and see us at the
Members Desk and make your feelings known.
**
Yorkshire & Humberside
ARTS
Mrs R. Sheaths
Dr & Mrs G.A.C. Summers§
Mr O. S. Tomlinsons
Miss L. J. Whitworth
Mrs H. B. Wright
In addition to the generosity of our Benefactors and Patrons, the activities
of the BMS are supported by grants from Yorkshire and Humberside Arts,
and City of York Leisure Services.
City of York Leisure Services
OF
INSTITUTE
BORTHWICK
BMS 3/1/50 (8)
HISTORICAL RESEARCH
NATIONAL FEDERATION
OF MUSIC SOCIETIES
NEMS
Compiled by David Mather and published by the British Music Society
of York. Reproduced by Wright Design of Easingwold.
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B'S
YORK
NINA VINOGRADOVA-BIEK
(piano)
Friday, 13 November 1992
Programme: 50p
Presented by the British Music Society of York
in association with the Department of Music
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It was in 1918 that the colourful Dr Arthur Eaglefield Hull, organist of
Huddersfield Parish Church, writer and modern music enthusiast, founded
the British Music Society.
The new society was a national body whose aims were: to bring together
professional and amateur musicians, to promote British music and music-
ians, to develop the appreciation of music by means of lectures and
concerts, and to campaign for the recognition of the place of music in
education. The Society expanded quickly, with about forty regional
centres being established.
So unwieldy an organisation, though, was in constant financial difficulty
and, despite the generosity of patrons, went into liquidation in 1933. Yet
many of the regional centres remained viable and continued to function as
concert-giving societies.
The York centre of the original Society was opened in 1921, with an
inaugural concert given by the soprano Isobel Baillie, then in her debut
year. In 1933, when the parent society went into liquidation, the centre
reconstituted itself as an autonomous organisation under the name British
Music Society of York.
Since then the Society has continued to give an annual season of chamber
music concerts. The present season is the 72nd in succession to be given
in York under the title British Music Society.
The BMS concert season takes the form of a subscription series. A full
subscription ticket entitles its holder to membership of the Society and to
attend six concerts for less than the price of four.
Members of tonight's audience with single tickets may convert these into
subscription tickets for the remainder of the season by applying at the
Members Desk in the Foyer, either during the interval or at the end of
the concert. Savings almost as good as for the complete season are
available.
Floral decorations by Sue Bedford.
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of
ed
er
nd
n
et
S
1
t
e
h
r
n
11
0
BRITISH MUSIC SOCIETY of YORK
72nd Season
Friday, 13 November 1992
Sir Jack Lyons Concert Hall
NINA VINOGRADOVA-BIEK
(piano)
Aufschwung and Warum? (from Fantasiestücke)
Concert Study in D flat (Un sospiro)
La fille aux cheveux de lin
Frühlingsrauschen, Op.32 No.3
Prelude in C sharp minor Op.3 No.2
Studies in C sharp minor, Op.2 No.1
and D sharp minor, Op.8 No.12
INTERVAL
Impromptu in A flat, D.899 No.4
Waltz in C sharp minor, Op.64 No.2
Grand Waltz in A flat, Op.34 No.1
Fantaisie-Impromptu in C sharp minor, Op.66
Study in C minor, Op.10 No.12 (Revolutionary)
Nocturne in B flat minor, Op.9 No.1
Scherzo No.3 in C sharp minor, Op.39
Schumann
Liszt
Debussy
Sinding
Rakhmaninov
Skryabin
Schubert
Chopin
For the sake of others in the audience,
please turn off all alarms on watches, calculators etc.
before the concert starts.
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NINA VINOGRADOVA- BIEK
Nina Vinogradova-Biek has been described as "a pianist whose every note
and phrase is refined in the best tradition of the Russian school". Her
parents were both concert pianists who escaped from Russia, and she spent
her youth in Berlin and Paris. She has played throughout Europe and
North America and has, thanks to recent events, even given concerts in
Russia; she has also played in many cities in the UK and Eire.
Her recital this evening consists almost entirely of popular favourites from
the piano repertory. Until 30 or so years ago, such concerts were
commonplace, indeed the norm, but then a reaction set in, and they all but
disappeared. Now though, alongside the neo-romantic trend in composition,
they are creeping back, and it is good to know that audiences, too, are
again allowed to let their hair down once in a while.
PROGRAMME NOTES
Aufschwung and Warum?
(from Fantasiestücke, Op.12)
Robert Schumann
(1810-1856)
Schumann originally studied law at Leipzig University, but was attracted
more by philosophy and music. He had great natural facility at the piano
and in 1830 began lessons with the celebrated teacher Friedrich Wieck.
He made swift progress, and it seemed as though the virtuoso's glittering
career, on which he had set his heart, was in his grasp.
But in 1832 he permanently damaged his right hand by practice using a
contraption of his own devising designed to improve independence of the
fingers. All the energy he had so far put into practising, he now trans-
ferred to composition. Predictably, his early works were for the piano-
the first 23 published opuses are piano works and they straddle the 1830s.
The Fantasiestücke, Op.12, belong to 1837, the same year as the Davids-
bündlertänze, Op.6. There are eight pieces in all, arranged in two
volumes. Aufschwung and Warum? are Nos.2 & 3 of Heft 1. Aufschwung
means "upsoaring", and the piece is typical of Schumann's best writing in
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and Ene
urites fon
compostion
100,
cha
-186
attracted
the pian
Wied
BERSA
ning in
his impassioned, impulsive vein. Warum? (Why?) offers a complete
contrast in its tender simplicity.
Concert Study in D flat (Un sospiro)
Franz Liszt
(1811 1886)
The étude, or study, is a piece specifically designed to help the performer
overcome a given technical problem or problems. As such it is best kept
in the practice room - as inspection of the works of Czerny will show.
It was more than anyone Chopin who brought the form out of the
practice room on to the concert platform. His Opp.10 & 25 Studies still
address technical problems, but their prime purpose is not to develop
technique, but to display it. It was to make this distinction that the
phrase "concert study" was coined.
Liszt wrote many studies of this kind including the Transcendental and
Paganini Studies, whose original forms belong to the later 1830s when
Liszt was at the height of his career as a travelling virtuoso. He
renounced the public stage in 1847 and thenceforth devoted himself to
teaching and composition, one of the first fruits being a set of three
Études de concert, written probably in 1848 and published in 1849.
Another, French edition of the pieces appeared almost immediately under
the title Trois caprices poetiques, and in this publication the three studies
were given the titles Il lamento [= the lament], La leggierezza [=
lightness] and Un sospiro [= a sigh]. It is not known what, if anything,
these titles have to do with Liszt, but they are not unfitting and are used.
by the many people who sensibly prefer names to numbers.
Un sospiro is a study in hand-crossing and what is sometimes called the
three-hand effect. The effect is really a trick, the melody being created
by highlighting certain notes of the accompaniment pattern and often
disguising this by using the hands alternately. The effect was a speciality
of the Swiss pianist Thalberg, one of Liszt's main rivals in the 1830s.
La fille aux cheveux de lin
Claude Debussy
1918)
(1862
The piano figures prominently in Debussy's output, and his works occupy
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an important place in the instrument's repertory, prized for their exquisite
and imaginative use of colour and sonority, masterly control of fluctuations
of mood, and range and subtlety of musical argument.
Central to his piano music are the two books of Preludes, the 12 of Book
I (December 1909 - January 1910) and the 12 of Book II (1910-1912). In
the original printed edition, the works are identified by numbers only, the
titles by which they are universally known appearing only at the end of
each piece and in brackets, as though an afterthought.
La fill aux cheveux de lin is the eighth Prelude of Book I. The title
means "the girl with the flaxen hair" and is taken from a poem by Leconte
de Lisle describing a young Scots girl singing a simple, innocent song in
the morning sunshine. Debussy had set the poem as a song back in 1880,
but there is no musical connection with the piano piece, which is one of
the simplest and most direct of the Preludes: a gentle melody of astonish-
ing suppleness and flexibility floats above simple, almost modal harmony.
Frühlingsrauschen, Op.32 No.3
Christian Sinding
(1856 1941)
Sinding was a Norwegian composer, a slightly (12 years) younger contem-
porary of Grieg. Like Grieg, he went to Germany to study, at the Leipzig
Conservatory, and German models and training are the strongest influences
on his music. Unlike Grieg, however, he did not feel a call to arms on
behalf of Scandinavian music, and this lack of contact with Norwegian
roots can make his output seem pale and cosmopolitan by contrast.
Sinding composed throughout his long life, producing his First Symphony
at the age of 27 and his last at the age of 79. Between 1894 and 1900 he
composed a series of short piano pieces, the sort of "character" pieces so
beloved of romantic composers from Schumann to Rakhmaninov.
The set of 6 Pieces, Op.32, of 1896 contains what is undoubtedly Sinding's
most famous single work, Frühlingsrauschen, known in English as Rustle of
Spring. 30 years ago almost everyone would have recognised it, even if
they could not name it or its composer. This popularity probably derives
from the fact that the piece is what every amateur pianist loves, a clear
and effective character piece that sounds more impressive than it is
technically challenging.
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A
1. The
back in
dy of asto
istian Soda
unger conter
at the La
est influens
Norwegi
Symph
and BAN
aby deri
Prelude in C sharp minor
Sergei Sergeyevich Rakhmaninov
(1873 - 1943)
An even greater runaway popularity was enjoyed by Rakhmaninov's C sharp
minor Prelude "the Prelude" they called it, insisting he play it as an
encore at every recital, until he almost grew to hate it. The irony is
that, because he sold the work outright and it was published in Russia,
this popularity brought him no financial reward: however many copies were
printed, or performances given, he received no more money.
The Prelude is the second of 5 Morceaux de fantaisie [= fantasy pieces]
for piano, Op.3, which Rakhmaninov wrote in the autumn of 1892. He was
19 and had graduated that spring with the Moscow Conservatory's highest
honour, the Great Gold Medal, which had been awarded only twice
previously. He dedicated the set to Arensky, his composition professor.
As the title perhaps suggests, the pieces were composed as saleable salon
music, and were quickly snapped up by the publisher Gutheil. Even so,
the runaway success of the Prelude, and the eventual worldwide obsession
with it, must have taken the composer by surprise. The piece was
undoubtedly the foundation of his own reputation and popularity, though it
must have been galling in later years to see almost mindless adulation
given to this one piece, while subtler, finer music was comparatively
neglected. This aside, though, the Prelude is one of the best and most
assured of his early pieces.
The music is too well-known to need comment here, except to point out it
is a clear product of the love affair Russian composers have always had
with the sound of bells.
2 Studies
Aleksandr Nikolayevich Skryabin
(1871/21915)
in C sharp minor, Op.2 No.1
in D sharp minor, Op.8 No.12
The careers of Rakhmaninov and Skryabin briefly overlapped. Both were
Moscow-based (at a time when St Petersburg was the capital both of the
country and of its musical life) and both were pupils of the tyrannical
piano teacher Zverev (even the name means "wild animal"), to whose
unbendingly strict regime they certainly owed their formidable techniques.
Then, while Rakhmaninov pursued a career as a freelance composer/-
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conductor/pianist, Skryabin became a professor of piano at the Moscow
Conservatory, which remained his principal support until 1903.
In Skryabin's earliest compositions, his debt to Chopin is obvious, not only
in his musical style, but even in the very forms he used: impromptus,
- all of them characteristic
mazurkas, nocturnes, preludes, studies, waltzes
of Chopin. Later in his career, Skryabin became involved with theosophy
and mysticism generally, which was reflected in the increasing "exoticism"
of his harmonic and tonal vocabulary.
The
Studies in this evening's rogramme belong to the early part of
his career. The C sharp minor Prelude was a particularly early work,
composed in April 1887. It was not published until 1893, when it appeared
by itself as Op.2: the following year Op.2 was expanded by the inclusion
of two 1889 pieces as Nos.2 & 3.
The 12 Studies of Op.8, on the other hand, were meant as a set all along.
Skryabin composed them in 1894, though one at least was a revision of a
piece composed seven years earlier. The D sharp minor Prelude proved the
most popular of the set: Skryabin included it in many of his own recitals.
He played it for Rimsky-Korsakov and others over tea in March 1895,
when it was admired for its energy, beauty and, particularly, its im-
petuosity. Even so, Skryabin was not entirely satisfied with it and made a
second version before publication.
INTERVAL
Coffee and drinks are available in the foyer. Coffee is 50p a cup: to find
it, go past the bar onto the landing and turn to the left.
If you would like to convert your single ticket into a season ticket, are
interested in becoming a Patron or Benefactor of the BMS, or have any
queries about the Society, come and see us at the Members Desk. We can
be found in the foyer at the opposite end to the bar, to your left as you
leave the auditorium.
We
La
Ch
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pr
1
}
Impromptu in A flat, D.899 No.4
Franz Schubert
(1797 1828)
Schubert came to short piano pieces only at the end of his life. Before,
his piano music had taken the form of sonatas, many of them unfinished.
In 1827 he wrote eight pieces to which he gave the title Impromptu, first
used five years earlier by a Vienna-based Bohemian composer.
Schubert probably wrote the first set of four impromptus (D.899) during
the summer months, which he spent at Dornbach. The second set (D.935)
was composed in December. Only two of the Impromptus, the first two of
D.899, were published in Schubert's lifetime (in December 1827 as Op.90
Nos.1 & 2). Nos.3 and 4 were meant to follow, but did not see print until
1857. D.935 also had to wait, but only until 1839.
The A flat Impromptu has a ternary design, the major-key outer sections
contrasting strongly with the passionate central section in the minor.
6 Pieces
Frédéric Chopin
(1810-1849)
Waltz in C sharp minor, Op.64 No.2
Grand Waltz in A flat, Op.34 No.1
Fantaisie-Impromptu in C sharp minor, Op.66
Study in C minor, Op.10 No.12 (Revolutionary)
Nocturne in B flat minor, Op.9 No.1
Scherzo No.3 in C sharp minor, Op.39
Fashions come and go in Chopin playing and in the critical assessment of
his music, but there is no denying his place close to the heart of the
piano repertory. Quite apart from the harmonic and melodic qualities of
the music, Chopin was one of the first composers to understand the full
potential of the instrument's sonority. He was also experimental in his
formal structures, following his improviser's sure instinct rather than
textbook convention.
The waltz as a dance form probably developed from the Austrian Ländler
towards the end of the 18th century. Beethoven, Schubert, Hummel and
Weber all wrote examples before the form was effectively monopolised by
Länner and the Strauss family.
Chopin published 13 waltzes in all, with another four manuscripts turning
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up subsequently to bring his tally to 17. His earliest examples had the
title grand valse brillante or grand valse, but the later pieces were less
public pieces called just valse.
The wistful C sharp minor Waltz is one of the latter type, published in
November 1847 as one of 3 Waltzes, Op.64, a set which also includes the
famous Minute Waltz.
The A flat major Waltz, Op.34 No.1, is dated 15 September 1835 and was
published in December 1838 as the first of three Grandes valses brillantes,
Op.34. "Brilliant" certainly describes it.
The Fantasy-Impromptu, despite its misleading opus number, was the first
of Chopin's four pieces bearing the title Impromptu. He wrote it in Paris
in 1835 for Madame la Baronne d'Este. Neither the autograph nor the
copy Chopin made for some else bears a title; nor did he have the work
published. The autograph passed, after Chopin's death, to the publisher
Fontana, who arranged for the printing of several of the unpublished
pieces. It appeared in 1855 with the plainly inauthentic title Fantaisie-
Impromptu and the designation "Oeuvre posthume No.1". (Only later were
Fontana's posthumous opus numbers added to the authentic list of 65: the
motive was clearly tidiness, but the net result has been confusion.)
More of a mystery is why Chopin should have effectively suppressed this
excellent piece by refusing to allow put ation. The most likely explana-
tion is that he felt it bore resembled other pieces too closely for his
scrupulous nature to bear, the clearest candidates being Moscheles' E flat
Impromptu, Op.89, and the finale of Beethoven's Moonlight Sonata.
The 12 Studies published in June 1833 as Chopin's Op.10 were composed
piecemeal over the years 1829 1832, when he was concerned with further
developing his piano technique. As noted above, they established the
concert study as a genre, though they still each address a specific
technical problem.
The Study in C minor, Op.10 No.12, is clearly a study for the left hand.
The nickname "Revolutionary" derives from a legend that Chopin impro-
vised the piece in a rage when he heard in September 1831 of the sup-
pression by Russian troops of a Polish revolt: he had left Warsaw less than
a year earlier. There is no evidence whatsoever to support this story.
Chopin took over the form of the nocturne from its inventor, the pianist
el
of
Op
The
Sch
mos
Ch
res
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Paris
the
1)
2
the
Fix
J₁
ist
John Field, who was born in Ireland, but spent most of his working life in
St Petersburg. Chopin wrote examples throughout his life: the first of
them conform to the Field pattern of a dreamy night-piece
very much
the music with which Chopin charmed his way through the salons of Paris;
but the later pieces are more extended affairs, containing both grander
and more dramatic writing.
-
Of the 18 examples published in his lifetime, the Nocturne in B flat minor,
Op.9 No.1 is the first, preceded by only a couple of student works. It was
published in 1832 as the first of 3 Nocturnes, Op.9, with a dedication to
Madame Camille Pleyel. Camille Pleyel was a fascinating character: one of
the finest pianists of the 19th century and a close friend of Liszt, she was
a wild, unpredictable woman who, at the time Op.9 was actually composed
(1830/1), was still known as Camille (or Marie) Moke and the fiancée of
the composer Berlioz.
The Italian word scherzo means a joke. Chopin's model in his four
Scherzos for piano was Beethoven; but while Beethoven's scherzos are
mostly jokes, however ponderous and heavy-handed, only the last of
Chopin's makes any indisputable attempt at humour: the remainder are
resolutely serious.
The way
The Scherzo No.3 in C sharp minor was composed in the first half of 1839.
It contrasts two main sections: the rhetorical scherzo proper, with its
questioning opening and powerful double octaves; and the chorale-like
trio, its phrases punctuated by cascading rivulets of sound.
Chopin integrates and contrasts all this material has struck more than one
commentator as symphonic.
David Mather
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FORTHCOMING CONCERTS
The next concerts in the 72nd Season of the British Music Society,
presented in association with the Department of Music at the University,
are as follows. All the concerts take place in the Sir Jack Lyons Concert
Hall, beginning at 8.00 pm.
§ Thursday, 17 December 1992
ROBERT SCHUMANN PIANO QUARTET
Piano Quartet in Eb, Op.47
Duo for violin and viola
Piano Quartet No.1 in C minor, Op.15
§ Thursday, 14 January 1993
BRODSKY STRING QUARTET
Quartet Fragment in C minor, D.103
Quartet No.4, Op.83
Quartet in A, Op.41 No.3
Schumann
Richard Hall
Fauré
§ Friday, 12 February 1993
ENDELLION STRING QUARTET
Quartets by Haydn, Roger Steptoe and Beethoven (Op.130)
§ Wednesday, 25 November 1992
Schubert
Shostakovich
Schumann
Also in the Sir Jack Lyons Concert Hall at 8.00:
§ Wednesday, 18 November 1992
TOKYO INTERNATIONAL MUSIC ENSEMBLE
including traditional and contemporary Japanese music
NEW MUSIC GROUP
The University's contemporary music group plays At the white edge of
Phrygia and other works by Stephen Montague and York composers
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Hall
Faut
her
ich
10
BRITISH MUSIC SOCIETY of YORK
OFFICERS OF THE SOCIETY
President
Dr Francis Jackson
Vice-Presidents
Joan Whitworth
Jim Briggs
Rosalind Richards
Chairman: Peter Marsden
Vice-chairman: Albert Ainsworth
Hon. Treasurer: Jim Briggs
Hon. Asst. Treasurer: John Petrie
Hon. Secretary: Nigel Dick
Hon. Programme Secretary: Brian & Rosalind Richards
David Mather
Hon. Publicity Officer:
NFMS Representative: Dr Richard Crossley
Hon. Auditor: Derek Winterbottom
Members of the Committee: Sue Bedford, Margherita Biller, Andrew
Carter, Barbara Fox, Rosemary Johnson, Dick Stanley, Derek Sutton and Dr
Mary Thomson.
BENEFACTORS AND PATRONS
The BMS manages to maintain the high standard of its concerts largely
through the generosity of its Benefactors and patrons.
covenanted gifts to the Society, this evening's concert would
place.
Without their
not be taking
Our Benefactors(§) and Patrons are as follows:
Mr A. Ainsworth
Mrs P. J. Armour
Mr R. A. Bellingham
Mr & Mrs J. Briggs
Mrs M. Danby-Smiths
Mr A. D. Hitchcock§
Mrs F. Andrews§
Dr D. M. Bearpark
Mr & Mrs D. A. C. Blunt
Dr R. J. S. Crossley
Mr N. J. Dicks
Mr G. Hutchinsons
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Mrs E. S. Johnsons
Professor R. Lawtons
Mr P. W. Millers
Mr G. C. Morcom§
Mrs A. M. Morcom§
Mr & Mrs K. M. Nonhebel§ Miss H. C. Randall
Mr B. Richards§
Mr J. D. Ridge
Mr L. W. Robinsons
Mr M. Robsons
Mrs D. G. Roebuck
Mrs I. G. Sargent
Dr F. A. Jackson
Mr J. C. Josling
Mr R. P. Lorrimang
Mr & Mrs N. Sexton
Mr J. Stringer
Dr M. J. Thomsons
Mr J. I. Watson
Mr & Mrs A. Wright
Mrs R. Sheath§
Dr & Mrs G.A.C. Summers§
Mr O. S. Tomlinsons
Miss L. J. Whitworth
Mrs H. B. Wright
If
you would like to become a Benefactor or Patron, or have any queries,
recommendations, criticisms or even praise, please come and see us at the
Members Desk and make your feelings known.
In addition to the generosity of our Benefactors and Patrons, the activities
of the BMS are supported by grants from Yorkshire and Humberside Arts,
and City of York Leisure Services.
术
Yorkshire & Humberside
ARTS
City of York Leisure Services
NATIONAL FEDERATION
OF MUSIC SOCIETIES
NEMS
Compiled by David Mather and published by the British Music Society
of York. Reproduced by WrightDesign of Easingwold.
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=
t the
ities
Arts,
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INSTITUTE
BORTHWICK
*(BMS 3/1/50 (1)
OF
HISTORICAL
#
RESEARCH
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BS
YORK
THE ENDELLION
STRING QUARTET
Friday, 12 February 1993
Programme: 50p
Presented by the British Music Society of York
in association with the Department of Music
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BS
YORK
DE
It was in 1918 that the colourful Dr Arthur Eaglefield Hull, organist of
Huddersfield Parish Church, writer and modern music enthusiast, founded
the British Music Society.
The new society was a national body whose aims were: to bring together
professional and amateur musicians, to promote British music and music-
ians, to develop the appreciation of music by means of lectures and
concerts, and to campaign for the recognition of the place of music in
education. The Society expanded quickly, with about forty regional
centres being established.
So nwieldy an organisation, though, was in constant financial difficulty
and, despite the generosity of patrons, went into liquidation in 1933. Yet
many of the regional centres remained viable and continued to function as
concert-giving societies.
The York centre of the original Society was opened in 1921, with an
inaugural concert given by the soprano Isobel Baillie, then in her debut
year. In 1933, when the parent society went into liquidation, the centre
reconstituted itself as an autonomous organisation under the name British
Music Society of York.
Since then the Society has continued to give an annual season of chamber
music concerts. The present season is the 72nd in succession to be given
in York under the title British Music Society.
The BMS concert season takes the form of a subscription series. A full
subscription ticket entitles its holder to membership of the Society and to
attend six concerts for less than the price of four.
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BRITISH MUSIC SOCIETY of YORK
72nd Season
Friday, 12 February 1993
Sir Jack Lyons Concert Hall
THE ENDELLION QUARTET
Andrew Watkinson violin
Ralph de Souza violin
Garfield Jackson
viola
David Waterman
'cello
String Quartet in D minor, Op.76 No.2
String Quartet No.2
INTERVAL
String Quartet in B flat major, Op.130
(with Große Fuge as finale)
Haydn
Roger Steptoe
Beethoven
For the sake of others in the audience,
please turn off all alarms on watches, calculators etc.
before the concert starts,
and use a handkerchief when coughing.
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THE ENDELLION STRING QUARTET
The London-based Endellion String Quartet was founded in 1979, taking its
name from the Cornish village of St. Endellion with its celebrated Festival.
Two years later the group won the New York Young Artists' Competition.
Now established as one of this country's leading string quartets, the
Endellion has toured throughout the world and appeared at virtually every
mainstream musical venue within the UK. They are much in demand for
the composer-based mini-series so popular in London.
The Endellion recorded the complete string chamber music of Benjamin
Britten for EMI in 1987 and are now under contract to Virgin Classics, for
whom they have recorded music by Haydn, Mozart, Bartók, Dvorák,
Smetana, Walton and Bridge.
PROGRAMME NOTES
String Quartet in D minor, Op.76 No.2
Allegro
Andante o più tosto allegretto
Menuetto: Allegro ma non troppo
Vivace assai
Joseph Haydn
(1732-1809)
Haydn spent the majority of his working life in the employ of one of the
premier houses of Austro-Hungarian nobility, the Esterházys. And for all
but the first few years he was their Kapellmeister, director of music,
responsible for all the family's music from the private chapel and opera
house right down to piano lessons for the Esterházy daughters.
-
As was usual at the time, Haydn provided much of the music himself:
masses, operas, symphonies for the orchestra, piano sonatas for the
princesses and about 130 trios featuring the baryton, an obscure stringed
instrument for which prince Nicholas had an inexplicable passion.
In many ways both men were lucky: the prince got one of the greatest
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ng its
tival
composers ever to work in private service, while Haydn had an employer
with a genuine love and knowledge of music, who could recognise and
appreciate the quality of what Haydn provided. More importantly, in the
1770s and 1780s when Haydn's fame had spread over Europe to the extent
that he was more famous than his employer, the prince allowed him to
accept commissions and invitations from abroad. Which is how Haydn
came to write works for which the Esterházy need was limited the
concertos and string quartets.
The six Quartets, Op.76, constitute Haydn's last full set. Of a further
half dozen he could manage only the two Quartets of Op.77, after which
he had the strength to complete no more than two movements of a B flat
Quartet, Op.103. Op.76 was commissioned by Count Erdödy and composed
in 1797, at the end of Haydn's composing career: seven years after Prince
Nicholas had died and Haydn had gone on an extended sabbatical; six years
after the death of Mozart; two years after writing the last of his 104-plus
symphonies; and two years after returning from the second of his success-
ful and highly lucrative visits to England.
Op.76 No.2 is known to the German-speaking world as the Quintenquartett
[=fifths-quartet]. The reason is not hard to find. The first movement
opens with two falling fifths (A-D and E-A in the first violin), and this
interval comes to dominate the movement in a way that is almost
obsessive. The slow movement, in a sunny D major, reverts to Haydn's old
habit of letting the first violin have all the limelight, though the other
instruments have more of a say in the closing lines.
The Minuet, too, has a German nickname Hexenminuett [=witches'
minuet]. The name is hopelessly inauthentic, but it does catch some of
the eerie, sinister quality of the canon between stark octaves in the upper
and lower strings. The Trio section tries to dispel the gloom, but is at
best equivocal. The mood is lifted by the finale: the minor key continues
up until the last few pages, but it isn't enough to dim Haydn's irrepress-
ibly sparkling invention.
String Quartet No.2 (1985)
Roger Steptoe
(born 1953)
Tempo comodo e molto tenerezza
Adagio
The composer, pianist and teacher Roger Steptoe was born in Winchester
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and studied at the University of Reading and at the Royal Academy of
Music in London. His works include a full-length opera King of Macedon
and a Cello Concerto given its first performance at the end of last year
by Alexander Baillie. He is currently working on a piano trio for the
Premiere Ensemble and a work for piano and orchestra for a tour of Spain
next year.
Mr Steptoe has kindly provided us with the following note on his Second
Quartet:
Over the last 16 years, Roger Steptoe has written a substantial
amount of chamber music. His First String Quartet dates from 1976
and marked his South Bank debut as a composer: the work was given
its premiere by the Coull Quartet in the 1977 Park Lane Group
Young Artists Series and was later recorded by them on the Phoenix
label. Steptoe continued with a Clarinet Quintet for the clarinettist
David Campbell, a second String Quartet (tonight's work) which was
commissioned by the BBC in 1985, and an Oboe Quartet commis-
sioned by the Berlin Oboe Quartet.
The First String Quartet is in one continuous movement, but can be
subdivided into four sections: slow-fast-slow-fast. The Second
Quartet is, by contrast, in two movements. The first performance
was by the Allegri Quartet, for whom it was commissioned, and took
place as part of the University of Wales Recital Series in Aberyst-
wyth University on 5 May 1985.
The first movement alternates passages of lyrical calm with more
robust, rhythmically charged sections. The second, which is
prefaced with a quotation from a poem by Robert Bridges:
I too will something make
And joy in the making;
Altho' to-morrow it seem
Like the empty words of a dream
Remembered on waking.
extends the calmness and is the core of the whole work.
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weat
d
D
)
INTERVAL
Coffee and drinks are available in the foyer. Coffee is 50p a cup: to find
it, go past the bar on to the landing and turn to the left.
If you are interested in becoming a Patron or Benefactor of the BMS, or
have any queries about the Society, come and see us at the Members Desk.
We can be found in the foyer at the opposite end to the bar, to your left
as you leave the auditorium.
String Quartet in B flat major, Op.130
Adagio ma non troppo
Presto
Allegro
-
Andante con moto ma non troppo
Alla danza tedesca: Allegro assai
Cavatina: Adagio molto espressivo
Große Fuge: Allegro
Ludwig van Beethoven
(1770 - 1827)
Beethoven's creative life is customarily divided into three periods, and the
string quartets are spread evenly over them. The six Quartets, Op.18,
belong to the height of the Early Period; the next five quartets (the three
of Op.59, the E flat, Op.74, and F minor, Op.95) are spread over the
Middle Period; while the five late Quartets are the culmination of the Late
Period. They are, in order of composition: E flat, Op.127; A minor,
Op.132; B flat major, Op.130; C sharp minor, Op.131; and F major, Op.135.
They were the last things Beethoven composed.
It was a long time before the subtleties and refinements of their musical
language were generally understood. Minds that had balked at the Fifth
Symphony, assuming it must have been some kind of joke, were scarcely
going to make much of the late quartets, and throughout the 19th and
early 20th centuries it seemed to be a point of pride with even quite
eminent musicians to profess not to "understand" these works.
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Commentators on Beethoven's quartet output are divided over his greatest
achievement in the medium, but there are two main parties, one favouring
the B flat major, Op.130, the other the C sharp minor, Op.131. The choice
between the two may even be not so much a musicological as a psycholog-
ical one: Op.131 inhabits a darker, more negative terrain than the sunnier,
more positive Op.130.
The B flat Quartet, Op.130, was composed in the late summer and autumn
of 1825. It was first played by the Schuppanzigh Quartet on 21 March
1826, following which Beethoven was urged to replace the huge and
complex fugue which formed the work's finale with a simpler movement.
He agreed, and the replacement finale, composed in the late autumn of
1826, was his last completed work.
Many scholars are dismayed by Beethoven's capitulation: the fugue, they
argue, is the proper and inevitable conclusion to the piece, prepared by
cross-referencing of material and demanded by the work's structural and
dramatic scheme. On the other hand, Beethoven was totally deaf, and
when it came to the impact of the work in performance was forced to rely
on the opinion of his friends: and they were better qualified than most to
understand his music. And it may well be that Beethoven attached more
weight to his publisher's promise to issue the Große Fuge [-great fugue]
separately, for an additional fee.
The new finale doesn't so much spoil the work, as effectively give us two
quartets for the price of one: the quartet, as originally conceived, with
its towering, magisterial close; and the quartet as published, with a down-
to-earth finale, full of good-natured charm and a lack of pomposity. The
Quartet can be Olympian or Arcadian as you wish, a Michelangelo or a
Brueghel.
The first movement begins with a slow introduction, music which Beet-
hoven brings back later in the movement. The main Allegro is a
masterpiece of controlled energy, creating and dissipating tension at will,
almost instantaneously.
After one of the longest movements in all the Beethoven quartets comes
one of the shortest: despite all its repeats, the whirlwind scherzo takes
less than two minutes to play. It is followed by what seems from the
first two bars to be a melodramatic slow movement, but which melts at
once into a genial, at times light-hearted Andante.
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0
t
The key scheme of Op.130 is remarkable. In a conventional, four-
movement quartet you would expect three movements to be in the home
key, with one of the middle movements in a different, but closely-related
key. But Op.130 is much more wide-ranging: only the first and last
movements are in the home key of B flat major. The Scherzo second
movement is in B flat minor and the Andante which follows is in that
key's relative major D flat major.
This is the point Beethoven chooses for his major coup. The fourth
movement is in G major totally removed from D flat major: indeed in
the major/minor system it is impossible for two keys to be further apart.
This helps to underline the sense of otherworldliness of a movement which
purports to be a simple German dance, but which extraordinary dynamic
markings and textural experimentation turn into something quite radical.
-
The fifth movement, the E flat Cavatina, is the Quartet's true slow
movement. It is at once simple and profound, and we have the evidence
of the sketches that it cost Beethoven a great struggle to get it right.
And it is a nice irony that Beethoven, who in his younger days used to
scoff at listeners who cried at his playing, was himself forced to cry
whenever he read through this music. Indeed the music itself weeps: as
he had done in the Funeral March from the Eroica Symphony, Beethoven
at one point fragments the melodic line and displaces it rhythmically to
achieve an effect very much like sobbing.
The Endellion are playing the finale Beethoven originally intended for
Op.130, the Große Fuge. When this was published by itself as Op.133, its
oddities were excused with the subtitle tantôt libre, tantôt recherchée:
Beethoven's late fugues do have the reputation of working much better on
paper than they do in sound, but there is no escaping the grandeur and
sheer exhilaration this splendid finale generates.
Programme notes by David Mather
Floral decorations by Sue Bedford.
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FORTHCOMING CONCERTS
The final concert in the 72nd Season of the British Music Society,
presented in association with the Department of Music at the University,
takes place in the Sir Jack Lyons Concert Hall, beginning at 8.00 pm.
§ Thursday, 18 March 1993
WILLIAM DAZELEY (baritone)
BRENDA HURLEY (piano)
Folk Songs
An die ferne Geliebte
Dichterliebe
Also in the Sir Jack Lyons Concert Hall at 8.00:
§ Wednesday, 17 February 1993
UNIVERSITY BIG BAND
including Gershwin's Rhapsody in Blue
§ Wednesday, 24 February 1993
§ Friday, 19 February 1993
MEDIAMIX
works by Tony Myatt, Brendon Renwick, Nick Fells and Richard Orton
arr. Britten
Beethoven
Schumann
30 STRONG
PETER CROPPER (violin)
PETER HILL (piano)
onatas by Mozart, Schubert and Bartók
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BRITISH MUSIC SOCIETY of YORK
OFFICERS OF THE SOCIETY
President
Dr Francis Jackson
Vice-Presidents
Joan Whitworth
Jim Briggs
Rosalind Richards
Chairman: Peter Marsden
Vice-chairman: Albert Ainsworth
Hon. Treasurer: Jim Briggs
Hon. Asst. Treasurer: John Petrie
Hon. Secretary: Nigel Dick
Hon. Programme Secretary: Brian & Rosalind Richards
David Mather
Hon. Publicity Officer:
NFMS Representative: Dr Richard Crossley
Hon. Auditor: Derek Winterbottom
Members of the Committee: Sue Bedford, Margherita Biller, Andrew
Carter, Barbara Fox, Rosemary Johnson, Dick Stanley, Derek Sutton and Dr
Mary Thomson.
BENEFACTORS AND PATRONS
The BMS manages to maintain the high standard of its concerts largely
through the generosity of its Benefactors and patrons.
Without their
covenanted gifts to the Society, we could not hope to balance our books.
Our Benefactors(§) and Patrons are as follows:
Mr A. Ainsworth
Mrs P. J. Armour
Mr R. A. Bellingham
Mr & Mrs J. Briggs
Mrs M. Danby-Smith§
Mr A. D. Hitchcocks
Dr F. A. Jackson
Mrs F. Andrews§
Dr D. M. Bearpark
Mr & Mrs D. A. C. Blunt
Dr R. J. S. Crossley
Mr N. J. Dicks
Mr G. Hutchinsons
Mrs E. S. Johnsons
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Mr J. C. Josling
Mr R. P. Lorrimans
Mrs A. M. Morcoms
Mr & Mrs K. M. Nonhebel§
Mr B. Richards§
Mr L. W. Robinsons
Mrs D. G. Roebuck
Mr & Mrs N. Sexton
Mr J. Stringer
Dr M. J. Thomsons
Mr J. I. Watson
Mr & Mrs A. Wright
Professor R. Lawtons
Mr P. W. Millers
Mr G. C. Morcom§
Miss H. C. Randall
Mr J. D. Ridge
If you would like to become a Benefactor or Patron, or have any queries,
recommendations, criticisms or even praise, please come and see us at the
Members Desk and make your feelings known.
*K
Yorkshire & Humberside
ARTS
Mr M. Robsons
Mrs I. G. Sargent
Mrs R. Sheath§
Dr & Mrs G.A.C. Summers§
Mr O. S. Tomlinsons
Miss L. J. Whitworth
Mrs H. B. Wright
In addition to the generosity of our Benefactors and Patrons, the activities
of the BMS are supported by grants from Yorkshire and Humberside Arts,
and City of York Leisure Services.
City of York Leisure Services
OF
INSTITUTE
SURTHWICK
SMS 3/150(10
HISTORICAL
RESEARCH
NATIONAL FEDERATION
OF MUSIC SOCIETIES
NEMS
Compiled by David Mather and published by the British Music Society
of York. Reproduced by WrightDesign of Easingwold.
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BS
YORK
WILLIAM DAZELEY
BRENDA HURLEY
(baritone and piano)
Thursday, 18 March 1993
Programme: 50p
Presented by the British Music Society of York
in association with the Department of Music
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BAS
YORK
It was in 1918 that the colourful Dr Arthur Eaglefield Hull, organist of
Huddersfield Parish Church, writer and modern music enthusiast, founded
the British Music Society.
The new society was a national body whose aims were: to bring together
professional and amateur musicians, to promote British music and music-
ians, to develop the appreciation of music by means of lectures and
concerts, and to campaign for the recognition of the place of music in
education. The Society expanded quickly, with about forty regional
centres being established.
So unwieldy an organisation, though, was in constant financial difficulty
and, despite the generosity of patrons, went into liquidation in 1933. Yet
many of the regional centres remained viable and continued to function as
concert-giving societies.
The York centre of the original Society was opened in 1921, with an
inaugural concert given by the soprano Isobel Baillie, then in her debut
year. In 1933, when the parent society went into liquidation, the centre
reconstituted itself as an autonomous organisation under the name British
Music Society of York.
Since then the Society has continued to give an annual season of chamber
music concerts. The present season is the 72nd in succession to be given
in York under the title British Music Society.
The BMS concert season takes the form of a subscription series. A full
subscription ticket entitles its holder to membership of the Society and to
attend six concerts for less than the price of four.
Registered Charity No.700302
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BRITISH MUSIC SOCIETY of YORK
72nd Season
Thursday, 18 March 1993
Sir Jack Lyons Concert Hall
WILLIAM DAZELEY (baritone)
BRENDA HURLEY (piano)
An die ferne Geliebte
Folksong Arrangements
3 Shakespeare Songs, Op.6
Dichterliebe, Op.48
INTERVAL
Beethoven
Britten
For the sake of others in the audience,
please turn off all alarms on watches, calculators etc.
before the concert starts,
and use a handkerchief when coughing.
Quilter
Schumann
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THE ARTISTS
William Dazeley studied at Jesus College, Cambridge, and the Guildhall
School of Music and Drama in London, where he won several prizes
including the Gold Medal. Though still in his 20s he has an impressive
string of operatic appearances behind him. Last season he appeared in
Opera North's production of Die ferne Klang and Don Giovanni and this
season has sung in their Billy Budd, Marriage of Figaro and La Bohème.
Brenda Hurley was bor in Dublin and studied at the Royal Irish Academy
of Music and Trinity College, Dublin. She then continued her studies at
Freiburg (with a German government scholarship) and finally at the
Guildhall School. She spent two years with Scottish Opera in the mid
1980s and is now on the full-time music staff of Opera North.
William Dazeley's appearance is supported by the Countess of Munster
Musical Trust.
PROGRAMME NOTES
An die ferne Geliebte, Op.98
Ludwig van Beethoven
(1770 - 1827)
The autograph of Beethoven's An die ferne Geliebte is dated April 1816.
Sketches for it are sandwiched between drafts of the D major Cello
Sonata, Op.102 No.2 (which Bernard Gregor-Smith played at the first
concert of this season), and the A major Piano Sonata, Op.101.
Beethoven's autograph title was An die entfernte Geliebte, Sechs Lieder
von Aloys Jeitelles in Musik gesezt [sic] von L.v.Beethoven, but by the
time Steiner of Vienna published the work as Op.98 that October, the title
had changed to An die ferne Geliebte. Ein Liederkreis von Alois Jeitelles.
Für Gesang und Piano-Forte von Ludwig van Beethoven
The change from "entfernte" to "ferne" has negligible effect on the title;
it merely improves the euphony. More striking is the change from "six
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this
e
songs set to music" to "A song cycle For voice and piano".
It is fitting that the final title should include "and piano", since the piano
has a crucial role: it links the songs together physically, and, by ending
the work with music taken from the beginning, forms a circle - the real
meaning of the German word Kreis.
Beethoven was sent the poems by a young medical student, Alois Jeitelles,
who later practised in Brünn (Brno). As a poet he tended to the schol-
arly, but was a prominent translator of Spanish verse, notably Calderón.
The six songs do not tell a story, but share a common theme: the thoughts
of a man separated from the woman he loves. They are:
1
2
3
4
5
...
6
Auf dem Hügel sitz ich [= on the hill I sit]
He sits on the hilltop and sighs for his distant sweetheart. Songs
will bridge the gap between them.
Wo die Berge so blau [= where the mountains so blue]
The mountains, blue sky and quiet valley remind him of her.
Leichte Segler in den Höhen [= light sailing-vessels on high]
He asks the clouds in the sky to carry his greeting.
Diese Wolken in den Höhen [= these clouds on high]
Now he asks the clouds to bear him to her.
Es kehrt der Maien
[= May returns]
He sees a swallow, emblem of happy wedlock, and takes joy at the
sight.
Nimm sie hin denn diese Lieder [= accept, then, these songs]
An ardent outpouring of love.
Folksong Arrangements
Benjamin Britten
(1913 - 1976)
Britten wrote six volumes of folksong arrangements, comprising some 43
songs from England, Ireland, Scotland, Wales and France. The first three
volumes appeared in 1943-7, the remainder in 1958-61. All were arranged
for voice and piano, except for Volume 6 (voice and guitar).
Britten's aim in these settings was clearly to provide traditional songs
with something better than the basic, rather anonymous piano accompani-
ments to be found in most folksong collections, even those of that
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redoubtable folklorist Cecil Sharp. His success in this is proved by their
popularity with singers and audiences alike.
Mr Dazeley is singing five of the songs, as follows:
(Volume I No.1)
The Salley Gardens
Sweet Polly Oliver
The foggy, foggy Dew
The Ash Grove (1/6)
(III/3)
The last rose of summer (IV/9)
(111/5)
The arrangements do much to enhance the originals - underlining, for
instance, the nostalgic regret of The Salley Gardens (words by W.B. Yeats)
and the carefree swagger of The foggy, foggy Dew. Yet they are not
afraid of modernist turns of phrase, such as the curious canons of Sweet
Polly Oliver or the bizarre countermelodies of The Ash Grove.
3 Shakespeare Songs (1st set), Op.6
1 Come away, Death
2
O Mistress mine
3 Blow, blow, thou Winter Wind
Roger Quilter
(1877 1953)
Quilter was educated at Eton and was one of a number of English and
English-speaking composers who attended the Hoch Conservatory in
Frankfurt to study under the celebrated Iwan Knorr.
This group,
sometimes called the "Frankfurt Group", also included Cyril Scott, Balfour
Gardiner and (somewhat on the fringes) Percy Grainger.
Quilter's reputation now rests almost entirely on a few of his large output
of songs, though his A Children's Overture, based on nursery rhymes,
occasionally receives an airing. England saw something of a vogue for
songs during the first two and a half decades of the 20th century, and
Quilter was one of its first rising stars. Unfortunately, he suffered a
serious illness in his 30s from which he never properly recovered: his
remaining years were overshadowed by depression, his mental and musical
faculties went into decline, and he eventually died in a lunatic asylum.
Quilter's songs up to the First World War, however, are amongst the finest
English songs of their day and a great influence on the next generation.
Peter Warlock, for instance, once told the composer that, but for him,
there would have been no Warlock.
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Quilter often told friends that he loved lyrical poetry more than music,
and it may well have been this that brought him to Shakespeare, though
both Quilter and his publisher hesitated before bringing the first set of
Shakespeare songs before the public: Shakespeare at that time "was not
considered popular enough as a lyric writer".
The first of Quilter's four sets of Shakespeare Songs appeared in 1905 as
his opus 6. The first two songs both take their texts from the most
musical of the comedies, Twelfth Night. Count Orsino demands a
performance of Come away, Death to "relieve" the suffering of his
unrequited love for Olivia: ironically it is sung by her own clown, Feste,
doing a bit of moonlighting at the palace. The words are so overloaded
with anguished and morbid sentiment they come close to caricature. O
Mistress mine comes from slightly earlier in the play: Feste sings it to Sir
Toby Belch and Sir Andrew Aguecheek when they each give him sixpence
to sing them a "love-song". It is a curious moment of melancholy in an
otherwise high-spirited and abandoned night-time carouse, though it does
echo the mood of other scenes.
Blow, blow, thou Winter Wind is from As you like it. The followers of the
banished duke, living rough in the Forest of Arden, try to convince
themselves that their present discomforts due to the wintry climate are
nothing compared to those they left behind at court.
INTERVAL
Coffee and drinks are available in the foyer. Coffee is 50p a cup: to find
it, go past the bar on to the landing and turn to the left.
If
you are interested in becoming a Patron or Benefactor of the BMS, or
have any queries about the Society, come and see us at the Members Desk.
We can be found in the foyer at the opposite end to the bar, to your left
as you leave the auditorium.
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Dichterliebe, Op.48
I feel a little guilty about using these opening paragraphs for the third
time this season, but it is more honest than a cosmetic rewording and
will, I hope, help underline the links with the Piano Quartet and String
Quartet heard over the previous few months.
Robert Schumann
(1810-1856)
Schumann originally studied law at Leipzig University, but was attracted
more by philosophy and music. He had great natural facility at the piano
and in 1830 began lessons with the celebrated teacher Friedrich Wieck.
He made swift progress, and it seemed as though the virtuoso's glittering
career, on which he had set his heart, was in his grasp.
But in 1832 he permanently damaged his right hand by practice using a
contraption of his own devising designed to improve independence of the
fingers. All the considerable energy he had so far put into practising, he
now transferred to composition. Predictably, his early works were for the
piano the first 23 published opuses are piano works and they straddle
the 1830s.
When Schumann first arrived in Leipzig, Wieck's daughter Clara was still a
girl, and Schumann looked elsewhere for romantic attachments. But as
Clara grew up, he fell in love with her, and the couple planned to marry.
Wieck refused his consent, but, with the help of the urts, they were
married on 12 September 1840, the day before Clara's 21st birthday.
The prospect of marriage to the woman he loved brought a change in
Schumann's compositional output: the year 1840 was devoted almost
exclusively to song, including some of the greatest works in the Lieder
repertory the Eichendorff Liederkreis, Op.39, and the song cycles
Frauenliebe und -leben and Dichterliebe. In 1841 it was the turn of
orchestral music the First Symphony and the Phantasie that was to
become the first movement of the Piano Concerto. Then in 1842 Schu-
mann threw himself into chamber music, composing in that year alone the
three String Quartets, Op.41, the Piano Quintet, Op.44, and the Piano
Quartet, Op.47.
-
-
No one in their right mind would exclude Dichterliebe [= poet's love] from
the shortlist for "greatest song-cycle of all time". Schumann wrote it at
the height of his love for Clara and of his own musical powers, and it
contains some of his finest music, setting 16 love poems by Heine.
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0
f
Heinrich Heine (1797-1856), both as a Jew in the Catholic Rhineland
and as a poor relation of a wealthy family, was very much an outsider,
and this, combined with the effects of an unhappy love affair, led to a
tension and edge to his early poems which made them irresistible to song
composers. The first collection, Buch der Lieder [= book of songs], came
out in 1827, too late, alas, for Schubert to manage more than six settings
(posthumously published as part of Schwanengesang), but a seemingly
inexhaustible supply for other composers, principally Schumann.
Dichterliebe does not tell a story or chart a change of mood, as cycles
often do; it is simply a collection of 16 songs. It merits the name,
however, since Schumann's structure makes it clear the work is meant to
be performed as a whole: the key sequence is carefully judged; many of
the songs have piano postludes which prepare the ground for the next
song; the piano rounds off the whole work by returning to the contempla-
tive postlude of the 12th song.
The 16 songs are listed below, together with summaries of their texts.
Some (especially towards the beginning of the cycle) are very short and
sometimes performed with virtually no break from the song before.
1 Im wunderschönen Monat Mai
"In the wondrously beautiful
month of May" the buds burst open and love unfolded in my heart; the
birds sang and I confessed to her my longing and desire.
2 Aus meinen Tränen sprießen "From my tears spring forth"
flowers and from my sighs a chorus of nightingales. Love me, and they
are yours.
3 Die Rose, die Lilie, die Taube "The rose, the lily, the dove", the
sun - I used to love them all. But now I love only my fine, pure, little
one, who is all of them to me.
"When I look in your eyes", my
But when you say 'I love you', I
4 Wenn ich in deine Augen seh'
sorrow vanishes; we kiss, I am cured.
must weep bitterly.
5 Ich will meine Seele tauchen "I want to plunge my soul" into
the cup of the lily which resounds with her song, like the kiss she once
gave me.
6 Im Rhein, im heiligen Strome "In the Rhine, in the holy stream"
is reflected the great cathedral of Cologne, which contains a picture of
the Virgin whose features are those of my sweetheart.
7 Ich grolle nicht
"I bear no grudge", even though you broke my
heart. You shine like diamonds, yet your heart is dark, and I know how
unhappy you are.
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8 Und wüßten's die Blumen "If the flowers only knew" how deeply
I am hurt, they would comfort me; as would the nightingales, and the
stars. But the only one who knows my pain is she who broke my heart.
9 Das ist ein Flöten und Geigen
"Flutes and violins are heard"
with other instruments at my beloved's wedding dance. But so too are
sobs and moans.
10 Hör' ich das Liedchen klingen "When I hear the little song" my
sweetheart once sang, it feels though my heart will burst; and my torment
dissolves in tears.
11 Ein Jüngling liebt ein Mädchen "A youth loves a maiden", but
she loves another, who loves someone else - an old story, ever new. None
of them is happy.
12 Am leuchtenden Sommermorgen
walk, pale and silent, in the garden.
'Don't be angry with our sister'.
13 Ich hab' im Traum geweinet "I wept in my dream." I dreamed
that you were dead, that you had left, that you were still fond of me.
Each time I wept.
"On a shiny summer morning" I
The flowers take pity and whisper
14 Allnächtlich im Traume "Every night in my dream" I see you.
You whisper a gentle word and give me a cypress wreath. But when I
wake the wreath is gone and I have forgotten the word.
15 Aus alten Märchen
land
"From old fairy tales" comes an enchanted
flowers, green trees, breezes, singing birds, misty shapes dancing.
If only I could go to that land, I would be freed from my torments. But I
see it only in my dreams;
dissolves in the morning sun.
16 Die alten, bösen Lieder "The old, wicked songs", let us put them
in a coffin with bad dreams. 12 giants will be needed to carry it to sea.
Why so large a coffin? My love and pain are sunk in it.
Programme notes by David Mather
Floral decorations by Sue Bedford.
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It
1₁
e
t
at
e
1
1
BRITISH MUSIC SOCIETY of YORK
OFFICERS OF THE SOCIETY
President
Dr Francis Jackson
Vice-Presidents
Joan Whitworth
Jim Briggs
Rosalind Richards
Chairman: Peter Marsden
Vice-chairman: Albert Ainsworth
Hon. Treasurer: Jim Briggs
Hon. Asst. Treasurer: John Petrie
Nigel Dick
Hon. Secretary:
Hon. Programme Secretary: Brian & Rosalind Richards
Hon. Publicity Officer:
David Mather
Dr Richard Crossley
NFMS Representative:
Hon. Auditor: Derek Winterbottom
Members of the Committee: Sue Bedford, Margherita Biller, Andrew
Carter, Barbara Fox, Rosemary Johnson, Dick Stanley, Derek Sutton and Dr
Mary Thomson.
BENEFACTORS AND PATRONS
The BMS manages to maintain the high standard of its concerts largely
Without their
through the generosity of its Benefactors and patrons.
covenanted gifts to the Society, we could not hope to balance our books.
Our Benefactors(§) and Patrons are as follows:
Mr A. Ainsworth
Mrs P. J. Armour
Mr R. A. Bellingham
Mr & Mrs J. Briggs
Mrs M. Danby-Smith§
Mr A. D. Hitchcock§
Dr F. A. Jackson
Mrs F. Andrews§
Dr D. M. Bearpark
Mr & Mrs D. A. C. Blunt
Dr R. J. S. Crossley
Mr N. J. Dicks
Mr G. Hutchinson§
Mrs E. S. Johnsons
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Mr J. C. Josling
Mr R. P. Lorrimang
Mrs A. M. Morcomş
Mr & Mrs K. M. Nonhebel§
Mr B. Richards§
Mr L. W. Robinsons
Mrs D. G. Roebuck
Mr & Mrs N. Sexton
Mr J. Stringer
Dr M. J. Thomsons
Mr J. I. Watson
Mr & Mrs A. Wright
Professor R. Lawtons
Mr P. W. Millers
Mr G. C. Morcom§
Miss H. C. Randall
Mr J. D. Ridge
Mr M. Robsons
Mrs I. G. Sargent
If you would like to become a Benefactor or Patron, or have any queries,
recommendations, criticisms or even praise, please come and see us at the
Members Desk and make your feelings known.
滚术
Yorkshire & Humberside
ARTS
Mrs R. Sheaths
Dr & Mrs G.A.C. Summers§
Mr O. S. Tomlinsons
Miss L. J. Whitworth
Mrs H. B. Wright
In addition to the generosity of our Benefactors and Patrons, the activities
of the BMS are supported by grants from Yorkshire and Humberside Arts,
and City of York Leisure Services.
City of York Leisure Services
OF
INSTITUTE
BORTHWICK
*SMS 3/1/50 (11)
HISTORICAL
RESEARCH
34
NATIONAL FEDERATION
OF MUSIC SOCIETIES
NEMS
Compiled by David Mather and published by the British Music Society
of York. Reproduced by Wright Design of Easingwold.
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Presented by the
British Music Society
of York
BMS
YORK
NINA VINOGRADOVA-BIEK
(piano)
Waltz in C# minor, Op.64 No.2
Grand Waltz in Ab major, Op.34 No.1
Fantasie-Impromptu in C# minor, Op.66
Study in C minor, Op.10 No.12 (Revolutionary)
Nocturne in B minor, Op.9 No.1
Scherzo No.3 in C# minor, Op.39
in association with the
Department of Music,
University of York.
Yorkshire & Humberside
ARTS
plus piano favourites by Debussy, Liszt, Rakhmaninov,
Schubert, Schumann, Sinding and Skryabin
8.00 p.m. FRIDAY, 13th NOVEMBER
THE SIR JACK LYONS CONCERT HALL
UNIVERSITY OF YORK
Chopin
Tickets: £6.50 (Students £3.50; Youth & Music Stage Pass £2.50) from Ticket World,
6 Patrick Pool, York (York 644194) or at the hall before the concert.
City of York Leisure Services
NATIONAL FEDERATION
OF MUSIC SOCIETIES
NEMS
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BORTHWICK INSTITUTE
CMS 3/1/50(12)
HISTORICAL
OF
RESEARCH
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Presented by the
British Music Society
of York
BS
YORK
THE
ROBERT SCHUMANN
PIANO QUARTET
Piano Quartet in Eb, Op.47
Duo for violin and viola
Piano Quartet No.1 in C minor
in association with the
Department of Music,
University of York.
AK
Yorkshire & Humberside
ARTS
Schumann
Richard Hall
Fauré
8.00 p.m. THURSDAY, 17th DECEMBER
THE SIR JACK LYONS CONCERT HALL
UNIVERSITY OF YORK
Tickets: £6.50 (Students £3.50; Youth & Music Stage Pass £2.50) from Ticket World,
6 Patrick Pool, York (York 644194) or at the hall before the concert.
City of York Leisure Services
NATIONAL FEDERATION
OF MUSIC SOCIETIES
NFMS
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Ocr'd Text:
SORTHWICK INSTITUTE
*CMS 3/1/50 (13))
HISTORICAL
OF
RESEARCH
|
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Presented by the
British Music Society
of York
BS
YORK
THE BRODSKY
STRING QUARTET
Quartet Movement in C minor, D.103
String Quartet No.4, Op.83
String Quartet in A, Op.41 No.3
in association with the
Department of Music,
University of York.
Schubert
Shostakovich
Schumann
8.00 p.m. THURSDAY, 14th JANUARY
*K
Yorkshire & Humberside
ARTS
THE SIR JACK LYONS CONCERT HALL
UNIVERSITY OF YORK
Tickets: £6.50 (Students £3.50; Youth & Music Stage Pass £2.50) from Ticket World,
6 Patrick Pool, York (York 644194) or at the hall before the concert.
City of York Leisure Services
NATIONAL FEDERATION
OF MUSIC SOCIETIES
NEMS
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Ocr'd Text:
INSTITUTE
DORTHWICK
*MS 3/1/50 (14)
OF
*
HISTORICAL RESEARCH
|
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Presented by the
British Music Society
of York
BAS
YORK
THE ENDELLION
STRING QUARTET
in association with the
Department of Music,
University of York.
String Quartet in D minor, Op.76 No.2
String Quartet No.2
String Quartet in B flat, Op.130
(with Große Fuge as finale)
8.00 p.m. FRIDAY, 12th FEBRUARY
L
THE SIR JACK LYONS CONCERT HALL
UNIVERSITY OF YORK
Yorkshire & Humberside
ARTS
Haydn
Roger Steptoe
Beethoven
Tickets: £6.50 (Students £3.50; Youth & Music Stage Pass £2.50) from Ticket World,
6 Patrick Pool, York (York 644194) or at the hall before the concert.
City of York Leisure Services
NATIONAL FEDERATION
OF MUSIC SOCIETIES
NEMS
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INSTITUTE
BORTHWICK
*SMS 3/1/50(15)
OF
HISTORICAL RESEARCH
|
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Presented by the
British Music Society
of York
BS
YORK
WILLIAM DAZELEY (baritone)
BRENDA HURLEY (piano)
An die ferne Geliebte
Dichterliebe
Folk Song arrangements
8.00 p.m.
in association with the
Department of Music,
University of York.
Concert supported by the Countess of Munster Musical Trust
*K
Yorkshire & Humberside
ARTS
Beethoven
Schumann
Britten
THURSDAY, 18th MARCH
THE SIR JACK LYONS CONCERT HALL
UNIVERSITY OF YORK
Tickets: £6.50 (Students £3.50; Youth & Music Stage Pass £2.50) from Ticket World,
6 Patrick Pool, York (York 644194) or at the hall before the concert.
City of York Leisure Services
NATIONAL FEDERATION
OF MUSIC SOCIETIES
NEMS
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Ocr'd Text:
SURTHWICK INSTITUTE
6MS 3/1/50 (16))
OF HISTORICAL RESEARCH