Design Bill Kirkland Yorkshire Arts Association Design Unit Print Watmoughs Limited, Idle, Bradford; and London President HRH The Duchess of Kent Chairman Councillor Jack M Wood Vice-Chairman Councillor Richard Oxtoby. Artistic Director Gavin Henderson Administrator Phillip Gill Press Relations Lucy Koserski Admin Assistant Tony Wood Secretary Barbara Allen York Festival & Mystery Plays Programme 11 June - 4 July 1976

BMS 3/3/1 (29) Minster Concerts The largest Gothic Cathedral in northern Europe, splendidly restored, provides the setting for the major choral and orchestral concerts of the Festival. conductor chorus master London Symphony Orchestra York Festival Chorus soloists Janet Baker mezzo-soprano Nicolai Gedda tenor Benjamin Luxon bass Alexander Gibson Simon Johnson. £5.00 front nave, £3.50 middle nave. £2.50 rear nave and front side aisles £1.00 side aisles (restricted view) Monteverdi Choir & Orchestra Equale Brass Ensemble. conductor John Eliot Gardiner sponsored by the Goethe BBC Northern Symphony Orchestra BBC Northern Singers soloists Paul Tortelier cello Jane Manning soprano Sarah Walker contralto Nigel Rogers tenor Richard Angas baritone conductors Sir Adrian Boult Vernon Handley Royal Liverpool Philharmonic Orchestra Liverpool Philharmonic Ladies' Choir Liverpool Anglican Cathedral Boys' Choir soloist Helen Watts conductor Sir Charles Groves Amadeus String Quartet speaker Kenneth Haigh £3.50 front nave, £2.70 middle nave £1.70 rear nave and front side aisles 80p side aisles (restricted view) Massed Brass Bands Brighouse & Rastrick Band City of Coventry Band Fairey Band soloist John Scott-Whiteley organ conductor Harry Mortimer £2.00 front nave, £1.50 middle nave £1.00 rear nave and front side aisles 50p side aisles (restricted view) sponsored by Rowntree Mackintosh Ltd. Northern Sinfonia Orchestra York Musical Society soloists Honor Sheppard soprano. Norma Proctor contralto Neil Jenkins tenor David Thomas bass conductor Francis Jackson £3.00 front nave, £2.00 middle nave £1.00 rear nave and front side aisles. 60p side aisles (restricted view) University of York Choir & Orchestra soloists Janet Price soprano Cynthia Buchan contralto John Mitchinson tenor Neilson Taylor bass Peter Seymour organ conductor Graham Treacher cast includes £1.50 front nave, £1.00 rear nave. 50p side aisles (restricted view) Members of the Aeolian Summer Music Course conductor Emmanuel Hurwitz £1.00 Choir seats Francis Jackson organ Gillian Weir organ 50p Choir seats Opera Theatre Royal Scottish Opera Thomas Wilson: Confessions of a Justified Sinner world première libretto by John Currie based on the novel by James Hogg conductor Norman Del Mar producer Anthony Besch designer Peter Rice Thomas Hemsley, Philip Langridge, John Shirley-Quirk Richard Strauss: Ariadne on Naxos conductor Norman Del Mar producer Anthony Besch designer Peter Rice cast includes Anne Howells, Linda Esther Gray, Sandra Dugdale, Peter van der Bilt, Hugh Beresford, Malcolm Donnelly, Benjamin Britten: A Midsummer Night's Dream conductor Roderick Brydon producer Toby Robertson designer Robin Archer cast includes Glenys Fowles, Catherine Wilson, Patricia Kern, David Hillman, Having artist

view ir & Orche ar nave view in Sinner angridge er Grey der Bit Donnely am Wilson 31, Gordon Sandison, William McCue, John Angelo Messana £3.50 circle, £3.00 and £2.50 stalls, £1.50 upper circle £1.00 gallery (on day only) 75p student standby tickets, if available, hour before performance. One free seat in ten for parties of twenty or more. Hovingham Hall York Festival Opera Handel: Orlando English translation by Stephen Oliver Yorkshire Baroque Soloists conductor Peter Seymour producer Julian Hope designer lona McLeish cast John Angelo Messana, Richard Jackson; Yvonne Seymour, Judith Simmons, Iris dell'Acqua Handel's Orlando dates from 1732 and succeeds not only in giving prophetic glances into future opera techniques and plots, but also in standing, as Winton Dean remarks, as one of the masterpieces of 18th century theatre. £3.50 including wine at Hovingham Hall by kind permission of Sir Marcus & Lady Worsley City Opera Group Verdi: Nabucco 80p Dance London Contemporary Dance Theatre artistic director Robert Cohan In less than 10 years, London Contemporary Dance Theatre has become a vital force in modern dance, in the forefront of the world's companies. Programme 1 (Monday Tuesday Wednesday) will include Masque of Separation (Myth) by Robert Cohan. Programme 2 (Thursday Friday Saturday) will include Troy Game by Robert North. In addition, Robert Cohan will be giving the world première of a newly choreographed work, which will appear in both programmes (excepting Monday). Further details to be announced. £3.00 circle £2.50 stalls £1.00 upper circle 70p gallery Chamber Concerts and Recitals York Minster Amadeus String Quartet £3.50 front nave, £2.70 middle nave. £1.70 rear nave and front side aisles. 80p side aisles (restricted view) Central Hall Claudio Arrau Aeolian Quartet £2.50 and £2.00 centre £1.50 and 80p sides College of Ripon & York St John Chapel Guildhall Medici String Quartet Alan Hacker clarinet Delmé String Quartet Jane Manning soprano. Alberni String Quartet Aeolian String Quartet String Quartet recitals presented by the British Music Society of York Amaryllis Fleming cello Bernard Roberts piano Matrix Jane Manning soprano Alan Hacker leader clarinets/saxophones Edward Pillinger clarinets/saxophones Francis Christou clarinets/saxophones Tony Hymas piano Tristan Fry percussion The Scholars John Kozar piano. Harvard-Radcliffe Collegium Musicum £1.50 front, £1.00 rear 60p sides (restricted view) University of York Chamber Choir Graham Treacher conductor £1.00 centre, 75p sides (restricted view) Hepzibah Menuhin piano Michael Roll piano. £2.50 centre £1.50 side transepts Yitkin Seow piano Lemare Orchestra Wissema Quartet Marisa Robles harp Alan Cuckston harpsichord Peter Donohoe piano Iris Lemare conductor £1.50 centre £1.00 side transepts

Lyons Concert Hall Anemone new music group of the University of York 70p Vesuvius Ensemble Meriel Dickinson mezzo-soprano Peter Dickinson piano. John Kozar piano £1.50, £1.00, 60p Nicholas Danby organ Peter Seymour organ £1.20, 80p. 60p Theatre Royal The King's Singers £2.50 circle £1.80 stalls £1.20 upper circle 90p gallery sponsored by Yorkshire Bank in conjunction with Yorkshire Arts Association All Saints Amaryllis Fleming cello. North Street £1.50 front chairs. £1.00 front pews 60p rear pews Arts Centre Alan Hacker clarinet Richard Burnett Heilmann fortepiano £1.20 (including temporary membership) Poppy Holden soprano Wilfrid Mellers piano. Kerstin Thomas vibraphone Simon Best percussion £1.00 (including temporary membership) Treasurer's Honor Sheppard soprano House Robert Elliott harpsichord. Landini Consort Yorkshire Baroque Soloists £2.50 including wine presented by the National Trust. Micklegate Singers 40p Nun Appleton Two programmes featuring artists who lived and worked at Nun Appleton John Clegg plays William Baines (1899-1922) £2.00 including wine Landini Consort: In a Green Shade Music of the time of Andrew Marvell (1621-1678) £2.50 including wine by kind permission of Miss Joan Dawson Assembly The Music Party Rooms Alan Hacker clarinet £1.50, £1.00, 60p University of York Electronic Studio 40p York Philharmonic Male Voice Choir Soo Bee Lee soprano 90p St William's Whispering Wind Band College Alan Hacker clarinet £1.00 Merchant Landini Consort Adventurers' Actors in Consort Hall £1.00 Holy Trinity Poppy Holden soprano Micklegate Edward Huws Jones lute 75p Holy Trinity Ebor Singers Goodramgate 40p Lyons Concert Hall Organ Recitals York Minster Francis Jackson Gillian Weir 50p Nicholas Danby Peter Seymour £1.20, 80p, 60p Selby Abbey Concerts Grimethorpe Colliery Band Elgar Howarth conductor sponsored by the National Coal Board Scottish Baroque Ensemble Leonard Friedman director Peter Seymour organ £1.60 front nave; £1.00 rear nave; 80p transepts; 50p side aisles Promenade Concerts Museum City of Birmingham Symphony Gardens Orchestra with military band and full pyrotechnic effects Albert Rosen conductor. sponsored by Yorkshire Television Y National Huddersfield Philharmonic Orchestra Railway York Philharmonic Male Voice Choir Museum Saddleworth Choir Arthur Butterworth conductor sponsored by Debenhams Limited £1.00 Bands Brighouse & Rastrick Band City of Coventry Band Fairey Band Harry Mortimer conductor sponsored by Rowntree Mackintosh Ltd. Mu Ga Theatre

stra Grimethorpe Colliery Band Elgar Howarth conductor sponsored by the National Coal Board Open air band concerts will be held at the Castle Museum each Sunday of the Festival, and will include Massed School Brass & Youth Marching Bands from the York Area Sunday 20 June 15.00 Handel's Royal Fireworks Music with fireworks display River Ouse Saturday 12 June 23.30 York Youth Band Competitive Festival Saturday 19 June venue to be announced Other details of band concerts available later Schools' Music York schoolchildren will be participating in several programmes, featuring the music of Gordon Crosse and Richard Rodney Bennet, organised by York Schools' Music Association. Featured Composers Music programmes throughout the Festival feature the work of the English composer Elisabeth Lutyens, who is seventy this year, and the American. composer Virgil Thomson, who is eighty.. Featured Artists Alan Hacker clarinet appearing during the first week of the Festival with Richard Burnett piano, The Music Party, Matrix, the Medici String Quartet and the Whispering Wind Band. Amaryllis Fleming cello with Bernard Roberts piano Theatre Museum York Cycle of Mystery Plays Gardens for details see back page Theatre Royal York Theatre Royal Company Shaw: In Good King Charles' Golden Days Richard Digby Day director Hugh Durrant designer £1.70 circle, £1.30 and 80p stalls Rowntree York Theatre Royal Company Theatre Albee: A Delicate Balance Eve Shapiro director Gary Williamson designer £1.50 (£1.00 student standby) York Light Opera Society. Music Hall 80p circle 65p stalls Merchant Actors in Consort Adventurers' Chamber Drama & Music. Hall £1.00 including wine King's Manor York University Drama Society Don Juan a new musical freely adapted from Byron's poem 60p Arts Centre York A full and comprehensive programme of current activities in fringe and experimental theatre, including some of the country's leading groups. There will also be a special children's programme. Details will be announced later. To receive a copy, send a stamped addressed envelope to Arts Centre York, St John's, Micklegate, York Street Theatre Throughout the Festival there will be a large number of street theatre companies. City Art Gallery performance artists, dance groups, children's shows and musicians appearing in the streets and open air spaces. Details available later. Visual Arts/ Exhibitions 'JUST WHAT IS IT...?' Exhibition Pop Art in England Square The unique English showing of an important exhibition from the Kunstverein, Hamburg. The exhibition contains works from the decade 1955 to 1965 by the best known. artists: Peter Blake, Derek Boshier, Richard Hamilton, David Hockney, Allen Jones, R B Kitaj, Eduardo Paolozzi, Peter Phillips, Richard Smith and Joe Tilson. A fully illustrated catalogue in English and German will be available, together with an English brochure. The exhibition has been mounted with the help of the British Council, and this showing is organised by the Arts Council of Great Britain. Weekdays 10.00 to 17.00 Sundays 14.30 to 17.00 Admission free The exhibition will be supported by a number of other events. It is hoped to arrange a seminar with some of the artists. and critics originally involved in the evolution of Pop Art, together with lectures by, and films on, some of the contributors.

Chapel Gallery. College of Ripon and York St John, Lord Mayor's Walk St Martin cum Contemporary Polish Weaving Gregory and Micklegate James Boyle sculpture Library Square Aspects of British Avant-Garde Art The advance of so-called 'conceptual art' since the 'pop' explosion has led art into areas which increasingly defy former traditions, and challenge the classifications and orthodox lines which western art has followed since the Renaissance. St Leonard's Earth Patter Hospital and Symbols Venues to be announced The artists' premises and ideas depart radically from conventional areas into positive and constructive directions, which by eluding categorization succeed in illuminating contemporary concerns. Arranged by Robert Self. Royal Station Hotel Rhythms Ray Elliott paintings New Works by John Hoskin Nicholas Monro Gerald Newman Artists in a Working Environment 28 June to 4 July presented by Industrial Sponsors Theatre Royal Glynn Boyd Harte drawings Impressions A Darker Side of the Moon Gallery of the photographs and writings of Photography Angus McBean The Shambles In this exhibition, the first major retrospective of McBean's work, will be many of his theatre photographs, and a selection, mostly unknown to the British public, of his own personal work. With financial assistance from the Arts Council of Great Britain and the Yorkshire Arts Association. Yorkshire The Viking Kingdom of York Museum, This exhibition will celebrate the 1100th Museum anniversary of its founding. Gardens The York Cycle of Mystery Plays An exhibition depicting their origins, mediaeval presentation, and modern revival, and containing original manuscripts and background to this year's Wagon Play, the Last Judgement. The Arnup Studios, Holtby Sally Arnup sculpture Mick Arnup pottery presented in a new gallery designed and (A166, Bridlington built by Mick Arnup Road) Open daily 10.00 to 22.00 Guildhall Stained Glass Illustrated appreciation by Peter Gibson, Superintendent York Glaziers' Trust York Minster Monday 14 June York's Parish Churches and Historic Buildings Friday 18 June European Stained Glass Monday 28 June 40p, 22.30 Literary Events Merchant Poetry & New Writing Weekend Taylors' Hall featuring the work of Ambit and Stand Friday 18 June to Sunday 20 June details to be announced sponsored by York & County Press York Poetry Society Nun Appleton 'In a Green Shade' The poetry of Andrew Marvell in the house where he wrote it, illustrated by contemporary music by the Landini Consort £2.50 including wine Treasurer's Readings from Laurence Sterne in the House house where he lived, with music from the Yorkshire Baroque Soloists £2.50 including wine Theatre Royal Lunchtime readings 18 June Lytton Strachey 25 June A E Housman. 2 July America Hurrah! admission free 13.10. 'Poems for People' Methodist Chapel, The Green, Poppleton Wednesday 23 June 19.30 St Edward's Church, Dringhouses Friday 25 June 19.30 King's Manor Monday 28 June 19.30 Richard Digby Day reads a personal choice Friday 2 July 19.30 King's Manor Yorkshire Readings to be announced Dialect Society

the Jazz/Folk/Pop Real Ale & Jazz Weekend in association with the Campaign for Real Ale. Assembly Rooms Friday & Saturday 2 & 3 July with Charlie Galbraith's All Star Jazz Band and guest artists £1.00 per session Central Hall, University of York George Melly with John Chilton's Feetwarmers £1.50 and £1.00 centre, 70p sides. Details of other major concerts to be announced A number of folk and jazz groups are expected to appear in the Festival Club, including Fourth Estaite who will be resident for the whole of the first week, and Harry Strutter's Hot Rhythm Orchestra Ceilidh Merchant Taylors' Hall, Aldwark Wednesday 16 June 20.00 Organised by English Folk Dance and Song Society 60p Lord Mayor's Gala & Parade organised by York Junior Chamber Saturday 26 & Sunday 27 June One of the most popular events of the Festival, starting with a massive Parade of floats and bands through the City to the Knavesmire, where there will be a two day Gala of many attractions including displays, fun fair and fireworks. Wheldrake Victorian Fair Stalls, sideshows, demonstrations of country arts and crafts, fairground pleasures, mechanical wonders and amusements for the enjoyment of all tastes and ages. Saturday 3 July 14.00 to 18.00 Viking Yorkshire Week 14 to 19 June presented by York Archaeological Trust and the Friends of York Archaeological Trust 1976 is the 1100th anniversary of the Viking settlement of Yorkshire, which brought to the area many traditions of culture, placenames and speech which are still evident today. Tickets Please note Festival Films Whatever Happened to British Cinema? This programme will explore the social, political and stylistic concerns of key directors who have emerged from British post-war cinema, such as Lindsay Anderson, Richard Lester and Ken Loach. Early shorts, new independent work, British music for film and television documentary will be included to stress the contribution of British artists outside mainstream commercial film production. New German Films Recent work by new German directors. will include showings of films by Fleichmann, Herzog, Kücklemann, Schamoni and Straub. with assistance from the Goethe Institute. A full programme will be available in May. Send a large stamped addressed envelope to The Film Coordinator, 39a The Shambles, York. Festival Club The Festival Club will once again be housed in the De Grey Rooms, Exhibition. Square, with late night bar and food facilities. A variety of entertainment will be presented ranging from lectures on Festival events to folk, jazz and cabaret. Open 18.00 to 02.00 (a.m.) daily season £3.00, 7 days £1.20 daily 25p the number of daily tickets available is strictly limited. Souvenir Programme A souvenir programme of the Festival will be produced as part of the Yorkshire. Ridings magazine in June, and will also be on sale at the Festival Box Office and Festival events Friends of York Festival Friends of York Festival provides an opportunity for individuals to become involved in supporting the Festival and maintaining contact with it during the intervening periods by means of subscription, social activities and other events. Members also receive priority booking facilities and Festival Club. membership. For further information write to The Secretary, Friends of York Festival, 1 Museum Street, York YO1 2DT enclosing a stamped addressed envelope.

Box Office Manager Postal Booking Booking Information York Festival & Mystery Plays Box Office 1 Museum Street, York Y01 2DT. Tel 0904 29265 Alan Blacker Tickets will be on sale by mail only from 10 March for Friends of York Festival, who must enclose a membership card. General postal booking will open on 20 March. Please use the booking form and enclose a stamped addressed envelope. Telephone and The Box Office will be open to personal Personal callers from 1 April from 10.00 to 17.00 Booking daily (except Sundays outside the Festival). Telephone bookings will be held for 3. days, and will not be accepted on the day of performance except for the Mystery Plays. No monies will be refunded or tickets exchanged or resold under any circumstances including tickets purchased for events which are subsequently. cancelled due to inclement weather. Tickets for performances at the Theatre Royal will be on sale only at the Festival Box Office until 17.00 on the day prior to the performance. On the day of the performance, tickets will be on sale at the Theatre Royal Box Office. If available, tickets will be sold at the door of each event from 45 minutes. before the performance. Cheques and postal orders should be crossed and made payable to York District Council. York The Festival visitor will find York an absorbing place in which to spend some time when not attending Festival events. Within the compact area encircled by the 14th century city walls lies a treasure trove of narrow mediaeval streets crammed with historic buildings and churches, many recently restored. In addition the City contains folk and natural history museums, the National Railway Museum, an Architectural Heritage Centre, and the Art Gallery houses an important collection of English and European paintings from the 14th to the 20th centuries. Outside the City there are a large number of historic buildings and country houses situated in quiet and peaceful countryside. Accommodation Further information on York and accommodation may be obtained from: York Tourist Information Centre De Grey Rooms, Exhibition Square York YO1 2HB. Mon-Sat 09.00 to 20.00, Sun 14.00 to 17.00. An accommodation finding service is available for personal callers only. Inclusive packages can be arranged to include Festival events, accommodation and Yorkshire sightseeing. Enquiries to David Patmore Ltd., 20 Stonegate, York. The York Festival & Mystery Plays are presented by the Corporation of the City of York, in association with the Arts Council of Great Britain, and with financial assistance from the Yorkshire. Arts Association. The Festival gratefully acknowledges generous financial assistance from Marks. & Spencer Ltd., The National Coal Board, Rowntree Mackintosh Ltd., Yorkshire Bank (in conjunction with YAA). Yorkshire Television Ltd., Debenhams Ltd. and York & County Press. The York Festival & Mystery Plays is a member of the British Arts Festivals Association. All arrangements are subject to alteration. Vart insta to Centr College of York St J Other ye

1 SEVICE 8. sare ON S 6 al Band shire √3 63 als 1 Opening Weekend Museum Gardens York Minster Arts Centre, Micklegate College of Ripon & York St John Other venues Friday 11 June 19.45 Mystery Plays £2.30, £1.90, £1.20 20.00 Gray's Court Ogleforth A tribute to John Constable to celebrate the bicentenary of his birth by John Ingamells Curator, York Art Gallery. John Langton College Art Department £1.00 including supper 17.30 Exhibition Square Opening Ceremony Equale Brass Ensemble Lutyens: Fanfare (first performance) 19.30 Theatre Royal St Leonard's York Theatre Royal Company TS Eliot The Cocktail Party (Tickets from Theatre) Saturday 12 June 14.30 Mystery Plays £2.10, £1.70, £1.00 19.45 Mystery Plays £2.30, £1.90, £1.20 20.00 Monteverdi Choir & Orchestra Equale Brass Ensemble John Eliot Gardiner conductor German Sacred Music from Schütz to Reimann including works by Schütz, Scheidt and Schein Aribert Reimann: new work (first performance) Bruckner: Mass in E minor £3.50, £2.70, £1.70, 80p. Sponsored by the Goethe Institute 11.00 Guildhall, St Helen's Square Medici Quartet Alan Hacker clarinet Janacek: Quartet No. 2. Lutyens: Tre, Op. 94. Lutyens: new work (first performance). Mozart: Quintet in A major £1.50, £1.00, 60p 19.30 Theatre Royal, St Leonard's York Theatre Royal Company TS Eliot The Cocktail Party (see Friday) 23.30 River Ouse adjacent to Museum Gardens Grand Firework Display Handel's Fireworks Music played from a barge on the river Free Sunday 13 June 19.45 Mystery Plays £2.10, £1.70, £1.00 10.30 Civic Service (Matins) Preacher: The Very Revi The Dean of York 20.00 Alan Hacker clarinet Richard Burnett Heilmann fortepiano. Mozart: Fantasia in D minor Wanhal: Sonata in E flat Maxwell Davies: The Seven Brightnesses Weber: Variations Op. 33 Telemann, Schubert £1.20 including temporary membership 22.30 Poppy Holden soprano Wilfrid Mellers piano Kerstin Thomas vibraphone Simon Best percussion. Childhood and Cafe songs. Ives, Mellers, Satie and Poulenc £1.00 including temporary membership 20.00 College Chapel, Lord Mayor's Walk Lemare Orchestral. Wissema Quartet Marisa Robles harp Alan Cuckston harpsichord Peter Donohoe piano Iris Lemare conductor Vaughan Williams: Fantasia on a Theme by Thomas Tallis Martin: Petite Symphonie Concertante Elgar: Introduction & Allegro Debussy: Danse sacree et danse profane Horovitz: Jazz Harpsichord Concerto £1.50, £1.00 15.00 Treasurer's House Micklegate Singers Open air folk songs & madrigals 40p at the gate (indoors if wet) 20.00 Honor Sheppard soprano Robert Elliott harpsichord Dowland, Byrd, Purcell, Croft, Handel £2.50 including wine 20.00 National Railway Museum Promenade Concert of Railway Music Huddersfield Philharmonic Orchestral York Philharmonic Male Voice Choir Saddleworth Choir Arthur Butterworth conductor Programme includes: Berlioz: Railway Song Butterworth: Trains in the Distance Honegger: Pacific 231 J Strauss Excursion Train Polka. £1.00 Sponsored by Debenhams Ltd.

Week One Museum Gardens. York Minster Theatre Royal St Leonard's Guildhall St Helen's Square. Rowntree Theatre Haxby Road College of Ripon & York St John Lord Mayor's Walk Other Venues Viking Yorkshire Week- Monday 14 June No performance. No performance 20.00 University of York Chamber Choir Graham Treacher conductor Stravinsky: Requiem Canticles Dufay: Missa L'Homme Armé Smalley: Pneuma for 7 soloists. (first performance) £1.00, 75p 22.30 Lecture: Stained Glass of York Minster 40p 17.30 College Hall College Drama Department Crosse: The Wheel of the World 40p 19.30 Lyons Concert Hall York Schools: Gordon Crosse programme 50p 17.15 Monday, Wednesday, Friday St. Anthony's Hall, Peasholme Green Lectures: The Age of the Vikings 50p 19.45 Tuesday Assembly Rooms, Blake Street Scandinavian Food Tasting £1.50 including food Tuesday 15 June 19.45 Mystery Plays £2.10, £1.70, £1.00 20.00 Amadeus Quartet Kenneth Haigh speaker Haydn: Quartet Op. 20 No. 5 in F minor Haydn: Seven Last Words of Our Saviour on the Cross (Op. 48) £3.50, £2.70, £1.70, 80p 19.30 Scottish Opera Wilson: Confessions of a Justified Sinner world première £3.50, £3.00, £2.50, £1.50 £1.00 (gallery) on day only 75p student standby 19.30 York Theatre Royal Company Albee: A Delicate Balance £1.50 (£1.00 student standby) 17.30 College Hall College Drama Department Crosse: The Wheel of the World 40p 18.15 Treasurer's House. Minster Yard Micklegate Singers Open air folk songs & madrigals 40p at the gate (indoors if wet) 19.45 Thursday Beerfest 50p (including buffet, beer extra). River Ouse (location to be announced) 23.00 Saturday Up Helly Aa 10p at the site Wednesday 16 June 19.45 Mystery Plays £2.10, £1.70, £1.00 19.30 Scottish Opera Britten: A Midsummer Night's Dream £3.50, £3.00, £2.50, £1.50 £1.00 (gallery) on day only 75p student standby 19.30 York Theatre Royal Company Albee: A Delicate Balance £1.50 (£1.00 student standby) 17.30 College Hall College Drama Department Crosse: The Wheel of the World 40p 20.00 Assembly Rooms, Blake Street The Music Party string trio, flute, clarinet (Alan Hacker) Mozart, Wanhal, Krommer £1.50, £1.00, 60p 20.00 Lyons Concert Hall, University of York Peter Seymour organ Bach, Thomson, Mellers £1.20, 80p, 60p 20.00 Merchant Taylors' Hall Ceilidh 60p Thurs Mystery 22.10. ET 19.30 Scottish STEA £1.00 (gal 19.30 York The Abee A 17.30 College Ha College D Croase. The 40 2000 College Cr Hapzibah Find, M Bloch Ber E250, £1 In Gree Poetry of with the 52.50 ind Merchant The Amh

van Y Thursday 17 June 19.45 Mystery Plays £2.10, £1.70, £1.00 19.30 Scottish Opera Strauss: Ariadne on Naxos £3.50, £3.00, £2.50, £1.50 £1.00 (gallery) on day only 19.30 York Theatre Royal Company Albee: A Delicate Balance £1.50 (£1.00 student standby) 17.30 College Hall College Drama Department Crosse: The Wheel of the World 40p 20.00 College Chapel Hepzibah Menuhin piano Handel, Mendelssohn, Schubert, Bloch, Beethoven £2.50, £1.50 20.00 Nun Appleton In a Green Shade. Poetry of Andrew Marvell with the Landini Consort £2.50 including wine 20.30 Merchant Adventurers' Hall Actors in Consort: The Archbishop's Masque £1.00 including wine Friday 18 June 19.45 Mystery Plays £2.30, £1.90, £1.20 20.00 Northern Sinfonia Orchestra York Musical Society Honor Sheppard soprano Norma Proctor contralto Neil Jenkins tenor David Thomas bass Francis Jackson conductor Bach: Magnificat Suite in D no. 3 Haydn: Nelson Mass £3.00, £2.00, £1.00, 60p 19.30 Scottish Opera Wilson: Confessions of a Justified Sinner £3.50, £3.00, £2.50, £1.50 £1.00 (gallery) on day only 75p student standby 20.00 Matrix Lutyens: Vision of Youth Mozart: Little German Cantata Birtwistle: Death of Orpheus Janacek: Children's Rhymes £1.50, £1.00, 60p 22.30 Lecture: Stained Glass of York's Churches and Historic Buildings 40p 19.30 York Theatre Royal Company Albee: A Delicate Balance £1.50 (£1.00 student standby) 17.30 College Hall College Drama Department Crosse: The Wheel of the World 40p 22.30 College Chapel Anemone Debussy: Syrinx Sonate for flute, viola and harp Harrison: Rosaces 1 (first performance) Hoyland: Ariel 1 (first performance) 70p 11.00 Museum Gardens Matrix Music by Hummel, Mozart, McGuire, Birtwistle 20.00 Nun Appleton In a Green Shade (See Thursday) 20.30 Merchant Adventurers' Hall Actors in Consort: (See Thursday) Saturday 19 June 19.45 Mystery Plays £2.30, £1.90, £1.20 20.00 BBC Northern Symphony Orchestra BBC Northern Singers Paul Tortelier cello Jane Manning soprano Sarah Walker contralto Nigel Rogers tenor Richard Angas baritone Sir Adrian Boult Vernon Handley conductors Tavener: Cain and Abel. Elgar: Cello Concerto Holst: The Planets £3.50, £2.70, £1.70, 80p 19.30 Scottish Opera Strauss: Ariadne on Naxos. £3.50, £3.00, £2.50, £1.50 £1.00 (gallery) on day only 75p student standby 11.00 Delmé Quartet Jane Manning soprano Haydn: Op. 50 No 4 in D major Thomson: Stabat Mater Beethoven Op. 74 (The Harp) £1.50, £1.00, 60p 14.30 and 19.30 York Theatre Royal Company Albee: A Delicate Balance £1.50 (£1.00 student standby) 17.30 College Hall College Drama Department Crosse: The Wheel of the World 40p 22.30 St William's College, Courtyard Whispering Wind Band Harmonie music-serenades and nocturnes by Mozart. Krommer, Haydn, Beethoven £1.00 (indoors if wet) 20.30 Merchant Adventurers' Hall Actors in Consort: (See Thursday) 12.00 to 19.00 River Ouse York Rowing Club Regatta Friday-Sunday Merchant Taylors' Hall Poetry & literary weekend including readings & music from Ambit & Stand details to be announced Sponsored by York & County Press Sunday 20 June 14.30 and 19.45 Mystery Plays £2.10, £1.70, £1.00 20.00 Massed Brass Bands Brighouse & Rastrick Band City of Coventry Band Fairey Band John Scott-Whiteley organ Harry Mortimer conductor Wagner: Introduction to Act 3 Lohengrin Bliss: Suite Kenilworth. and works by Senaille, Bach, Boellmann and Mendelssohn £2.00, £1.50, £1.00, 50p Sponsored by Rowntree Mackintosh Ltd. No performance No performance 15.00 Selby Abbey Scottish Baroque Ensemble Leonard Friedman director Peter Seymour organ Poulenc: Concerto in G minor for organ, strings and timpani Mellers: Threnody (first performance) Vivaldi: The Seasons. £1.60, £1.00, 80p. 50p 20.00 Treasurer's House. Minster Yard. Landini Consort Music from the Courts of Maximilian I and Ferdinand 8 Isabella of Spain. £2.50 including wine

Week Two Museum Gardens York Minster Theatre Royal St Leonards Lyons Concert Hall University of York Central Hall University of York Rowntree Theatre Haxby Road Other venues Monday 21 June No performance 19.30 London Contemporary Dance Theatre Programme 1 (excluding new work). £3.00, £2.50, £1.00, 70p 20.00 Vesuvius Ensemble Jane Manning soprano International Ballet Caravan Lutyens: One and the Same Op. 97 (first performance) Schoenberg. Pierrot Lunaire Op. 21 £1.50, £1.00, 60p 19.30 York Light Opera Society Music Hall 80p, 65p 17.00 Assembly Rooms, Blake Street University of York Electronic Music Studio Live and taped electronic music Bayle, Berio, Guilbert, Parmegiani, Savouret (Groupe de Recherches Musicales, Paris) Bentley. Endrich, Harrison, Orton, Smalley, Wishart (York Electroacoustic Composers) including many first performances in this country 40p per performance (three different programmes) Tuesday 22 June 19.45 Mystery Plays £2.10, £1.70, £1.00 19.30 London Contemporary Dance Theatre Programme 1 (incl. world première) £3.00, £2.50, £1.00, 70p 19.30 York Light Opera Society Music Hall 80p, 65p 13.00 and 19.30 Assembly Rooms. Blake Street University of York Electronic Music Studio (see Monday) 18.15 Treasurer's House. Minster Yard Micklegate Singers Open air folk songs and madrigals 40p at the gate (indoors if wet) 20.00 Guildhall The Scholars John Kozar piano Madrigals, glees, Thomson: Capital, Capitals and piano music £1.50, £1, 60p 20.00 Merchant Adventurers' Hall Landini Consort Music from the Courts of Henry VIII and Philip the Good of Burgundy £1,00 Wednesday 23 June 19.45 Mystery Plays £2.10, £1.70, £1.00 17.30 Gillian Weir organ Messiaen: Messe de la Pentecôte Raison, Langlais, Alain, Dupré, Franck 50p 20.00 University of York Choir & Orchestra Janet Price soprano Cynthia Buchan contralto John Mitchinson tenor Neilson Taylor bass Peter Seymour organ Graham Treacher conductor Paynter: God's Grandeur Dvorak: Biblical Songs Janacek: Glagolitic Mass £1.50, £1.00, 50p 19.30 London Contemporary Dance Theatre Programme 1 £3.00, £2.50, £1.00, 70p 19.30 York Light Opera Society Music Hall 80p, 65p 12.30 Assembly Rooms, Blake Street Yorkshire Ridings Literary Luncheon details of speakers to be announced £3.40 Thursday 19.45 Mystery Play £210, E1.70 19.30 London Cont Theatre Programme 2 £300 £2.50 € 20.00 Mariel Dickin Peter Dickins John Kozar pi Virgil Thomson Salute for his 8 £1.50, £1.00.6 2100 George Melly John Chilton €1.90 €1.00,7 York Light Op Music Hall 6065 11.00 College of Ripo St John, Chapel Cart Mayor's W Vichael Roll Bach, Beethover 52.50 €7.50 John Clegg pi Wem Baines The House of Fa

2 Frand CE Thursday 24 June 19.45 Mystery Plays £2.10, £1.70, £1.00 19.30 London Contemporary Dance Theatre Programme 2 £3.00, £2.50, £1.00, 70p 20.00 Meriel Dickinson mezzo-soprano Peter Dickinson piano. John Kozar piano. 'Virgil Thomson and his Friends: a Salute for his 80th birthday" £1.50, £1.00, 60p 20.00 George Melly with John Chilton's Feetwarmers £1.50, £1.00, 70p 19.30 York Light Opera Society Music Hall 80p. 65p 11.00 College of Ripon and York. St John, Chapel Lord Mayor's Walk Michael Roll piano. Bach, Beethoven, Schubert £2.50, £1.50 20.00 Nun Appleton John Clegg piano. William Baines, Debussy, Ravel £2.00 including wine. 20.30 Merchant Adventurers' Hall Actors in Consort The House of Faust £1.00 including wine Friday 25 June 19.45 Mystery Plays £2.30, £1.90, £1.20 19.30 London Contemporary Dance Theatre Programme 2 £3.00, £2.50, £1.00, 70p 20.00 Nicholas Danby organ Frescobaldi, Kerli, Hindemith, Brahms, Boyvin, Lutyens, Bach £1.20, 80p, 60p 19.30 York Light Opera Society Music Hall 80p, 65p 20.00 Selby Abbey Grimethorpe Colliery Band Maurice Murphy cornet Elgar Howarth conductor Tomlinson: Cornet Concerto Payne: new work (first performance) Henze: Ragtimes and Habaneras Howarth: Fireworks Byrd, Farnaby, Bull, Foster, Ives, Gershwin, Brubeck £1.60, £1.00, 80p, 50p Sponsored by the National Coal Board. 20.00 Nun Appleton John Clegg piano William Baines, Debussy, Ravel. £2.00 including wine 20.30 Merchant Adventurers' Hall Actors in Consort The House of Faust. £1.00 including wine Saturday 26 June 15.00 Mystery Plays £2.10, £1.70, £1.00 20.00 Mystery Plays £2.30, £1.90, £1.20 20.00 London Symphony Orchestra York Festival Chorus Janet Baker mezzo-soprano Nicolai Gedda tenor Benjamin Luxon bass Alexander Gibson conductor Elgar: The Dream of Gerontius. £5.00, £3.50, £2.50, £1,00 19.30 London Contemporary Dance Theatre Programme 2 £3.00, £2.50, £1.00, 70p 18.00 and 20.30 York Light Opera Society Music Hall 80p, 65p 11.00 Guildhall St Helen's Square Alberni Quartet Haydn: Op. 33 No. 3 in C (The Bird). Thomson: Quartet No. 21 Dvorak: Op. 96 in F major. (The American) £1.50, £1.00, 60p 13.30 Parade leaves Castle grounds. Castle Museum to Knavesmire Lord Mayor's Parade and Gala Gala tickets 30p 20.30 Merchant Adventurers' Hall Actors in Consort The House of Faust. £1.00 including wine. Sunday 27 June 14.30 Mystery Plays £2.10, £1.70, £1.00 19.30 Promenade Concert. City of Birmingham Symphony Orchestra Military band and full pyrotechnic effects Albert Rosen conductor Tchaikovsky: Romeo & Juliet Swan Lake. Marche Slav 1812 Overture £1.00 (York Minster if wet) Sponsored by Yorkshire Television V 15.00 Aeolian Quartet Beethoven: Op. 59 No. 2 Rasumovsky. : Op. 132 in A minor £2.50, £2.00, £1.50, 80p No performance 15.00 Treasurer's House. Minster Yard Micklegate Singers Open air folk songs and madrigals 400 at the gate (indoors if wet) 20.00 Treasurer's House. Yorkshire Baroque Soloists Laurence Sterne evening £2.50 including wine Knavesmire Gala, Fun Fair etc..

Week Three Museum Gardens. York Minster Theatre Royal St Leonard's Hovingham Hall Guildhall St Helen's Square Rowntree Theatre Haxby Road Other venues Monday 28 June No performance No performance 20.00 Harvard-Radcliffe Collegium Musicum Sacred and Secular works by Billings, Ives, Carter, Barber, Thomson and others £1.50, £1.00, 60p 22.30 Lecture: European Stained Glass. 40p No performance 11.00 Holy Trinity Church. Micklegate Poppy Holden soprano Edward Huws Jones lute Lute Songs from England and Italy Dowland, Lawes, Monteverdi, Caccini 75p 19.30 Central Hall York Schools Massed Choir Robin Black conductor Programme to be announced 40p, 30p 20.00 King's Manor Cellars. Exhibition Square York University Drama Society Don Juan 60p Tuesday 29 June 19.45 Mystery Plays £2.10, £1.70, £1.00 No performance 11.00 Amaryllis Fleming cello. Bernard Roberts piano Beethoven: Sonata in F Op 5 No 11 Sonata in C major Op 101 No 1 Sonata in D Op 101 No 2 £1.50, £1.00, 60p 19.30 City Opera Group Verdi: Nabucco 80p 20.00 Central Hall University of York Claudio Arrau piano Beethoven, Ravel. £2.50, £2.00, £1.50, 80p 20.00 York University Drama Society (see Monday) 18.15 Treasurer's House Minster Yard Micklegate Singers Open air folk songs and madrigals 40p at the gate (indoors if wet) Wednesday 30 June 19.45 Mystery Plays £2.10, £1.70, £1.00 17.30 Francis Jackson organ Walond, Bach, Kodaly. Mathias, Franck, Liszt 50p 19.00 York Theatre Royal Company Shaw: In Good King Charles' Golden Days £1.70, £1.30, 80p 20.00 York Festival Opera Handel: Orlando. £3.50 including wine 11.00 Amaryllis Fleming cello. Bernard Roberts piano Beethoven: Sonata in G minor Op 5 No 2. 7 Variations on the theme 'Bei Männern, welche liebe fühlen' from Mozart's 'The Magic Flute' Sonata in A Op 69. £1.50, £1.00, 60p 19.30 City Opera Group Verdi: Nabucco 80p 19.30 Assembly Rooms, Blake Street York Philharmonic Male Voice Choir Soo-Bee Lee soprano 90p 20.00 York University Drama Society (see Monday) Thu 19.45 Myste £210 19.30 York T Stew Golden £1.70 No perfo 11.00 Colage St. John Yitkin S Beethove Pavel De $1.50, 20.00 Al Saints Amaryl Sute No Site No Suite No York Scho Richard R 500 20.00 York Uni see Mon 2030 Marchant

✓ len el Thursday 1 July 19.45 Mystery Plays £2.10, £1.70, £1.00 19.30 York Theatre Royal Company Shaw: In Good King Charles' Golden Days £1.70, £1.30, 80p No performance 11.00 College of Ripon and York St John, Chapel, Lord Mayor's Walk Yitkin Seow piano Beethoven, Schubert, Chopin, Ravel, Debussy £1.50, £1.00 20.00 All Saints Church, North Street Amaryllis Fleming cello Bach: Suite No 2 in D minor. Suite No 4 in E flat Suite No 6 in D for 5-stringed cello. £1.50, £1.00, 60p 19.30 Lyons Concert Hall York Schools Richard Rodney Bennett programme 50p 20.00 York University Drama Society (see Monday) 20.30 Merchant Adventurers' Hall Actors in Consort (see Saturday) Friday 2 July 19.45 Mystery Plays £2.30, £1.90, £1.20 20.00 Orchestral Concert by members of the Aeolian Music Course Emmanuel Hurwitz conductor Bach, Handel, Pergolesi, Elgar £1.00 19.30 York Theatre Royal Company Shaw: In Good King Charles' Golden Days £1.70, £1.30, 80p 20.00 York Festival Opera Handel: Orlando. £3.50 including wine 19.30 City Opera Group Verdi: Nabucco 80p 19.30 Assembly Rooms, Blake Street Real Ale and Jazz Weekend in association with the Campaign. for Real Ale £1.00 per session including food, beer extra 18.15 Holy Trinity Church Goodramgate Ebor Singers 40p at the door 20.00 All Saints Church, North Street Amaryllis Fleming cello Bach: Suite No 5 in C minor. Suite No 4 in G Suite No 3 in C £1.50, £1.00. 60p 20.00 York University Drama Society (see Monday) 20.30 Merchant Adventurers' Hall Actors in Consort (see Saturday) Saturday 3 July 14.30 Mystery Plays £2.10, £1.70, £1.00 19.45 Mystery Plays £2.30, £1.90, £1,20 20.00 Royal Liverpool Philharmonic Orchestra Liverpool Philharmonic Ladies' Choir Liverpool Anglican Cathedral Boys' Choir Helen Watts soprano Sir Charles Groves conductor Mahler: Symphony No. 3 £3.50, £2.70, £1.70, 80p 19.30 York Theatre Royal Company Shaw: In Good King Charles' Golden Days £1.70, £1.30, 80p 11.00 Aeolian Quartet Haydn: Op. 74 No. 3 in G minor (The Rider) Lutyens: Op. 25 No. 6. Ravel: Quartet in F £1.50, £1.00, 60p 19.30 City Opera Group Verdi: Nabucco 80p 11.00 and 19.30 Assembly Rooms, Blake Street 14.00 Wheldrake Victorian Fair 20.00 York University Drama Society (see Monday) Sunday 4 July 20.30 Merchant Adventurers' Hall Actors in Consort Songs and Dances of Pontius Pilate £1.00 including wine 20.30 Pop Concert details to be announced Real Ale and Jazz Weekend in association with the Campaign. for Real Ale £1.00 per session including food, beer extra 19.30 An Evening with The King's Singers £2.50, £1.80, £1.20, 90p Sponsored by Yorkshire Bank in conjunction with YAA 20.00 York Festival Opera Handel: Orlando £3.50 including wine

York Cycle of Mystery Plays director Jane Howell designer Hayden Griffin. Carol Lawrence Rory Dempster Edward Gregson Alan Gout J S Purvis (edited by Jane Howell) costume design lighting design music musical director translation Brightly decorated wagons trundling through the streets, market people selling pies and ale, street musicians, your best friend up on a platform pretending he's a disciple, and isn't that the grocer playing Jesus? The atmosphere of the Plays when they were first performed must have been exciting, festive and spontaneous, and this year's production aims especially to recapture that atmosphere. Set in the open air in the magnificent ruins of St Mary's Abbey, twentieth century productions of the Mystery Plays have proved as potent and memorable an experience for today's international. audience as they did for the townsfolk. of York in the fifteenth and sixteenth centuries. With a cast of over 200 local actors, led by a handful of professionals. and supported by bands, choirs and biblical animals, the Plays will be the focal point of the Festival. Performances Evenings 19.45 Matinees 14.30 except Saturday 26 June (15.00 and 20.00) (Please note that there may be considerable traffic congestion on this day, occasioned by the Lord Mayor's Parade and early arrival is advised.) Prices £2.10, £1.70, £1.00 Tuesday Wednesday Thursday Sunday evenings & Saturday & Sunday matinees. 15% reduction for parties of 20 or more. £2.30, £1.90, £1.20 Friday and Saturday evenings. No party reduction. Transport subsidies are available from local arts associations for party visits. Apply direct to your association.. In the event of a performance being. cancelled due to inclement weather, we regret that tickets cannot be exchanged or money refunded. Parking In Marygate (west end of Museum Gardens), and Esplanade (on the station side of the river opposite the Museum Gardens). For information about the performance on the night, or in emergency, telephone 0904 34292, after 17.00. Front of House Manager Arthur Pickering. Wagon Play The Last Judgement will be performed in the authentic manner in the streets of York by a cast from Archbishop Holgate's School, produced by Keith Daggett. Times and places to be announced. с £1.20/€1,00 €1.70/€1.90 £1.00/£1.20 £1.70/ £1.90 £1,00/ £1.20 B £1.20/1.00 £1.70/£1.90 £2,10/12.30 Stage £1.70/ £1.90 £1.00/ £1.20 A £1.20/1.00 €1.70/€1.90 £2.10/12.30 £1,00/1.20 Tape cassette and colour slides: the 1976 Mystery Plays and the story of the mediaeval craft guilds who originally performed them, in a full colour presentation box. On sale at the performance approx. £4.95. Mystery Plays Wallchart: available early 1976 and at the box office and performances. By post from Hearne & Jobson, PO Box 52, York YO3 8FP: (Pre-publication orders will be invoiced by the publishers on delivery).

Saturday Morning String Quartet Series Guildhall St Helen's Square ANI ... QUARTET Jestern ustralia D York Festival & Mystery Plays 11 June-4 July

York Festival & Mystery Plays 1976 President HRH The Duchess of Kent Guildhall Saturday Morning String Quartet Recitals Saturday 12 June 11.00 hrs Medici Quartet Paul Robertson violin David Matthews violin Paul Silverthorne viola Anthony Lewis cello Alan Hacker clarinet Leos Janáček 1854-1928 String Quartet no 2 'Intimate Letters' Andante - Allegro - Adagio Adagio - Vivace - Adagio Moderato - Adagio - Presto - Andante Allegro - Andante - Allegro -Andante - Allegro Elisabeth Lutyens b 1906 Tre op 94 Mare et Minutiae op 107 (First Performance) Mare 1 (tranquillas) Minutiae 1 a) b) c) Mare 2 (tempestas) Minutiae 2 a) b) c) d) Mare 3 (undulatus) Minutiae 3. Echo - Codetta interval Wolfgang Amadeus Mozart 1756-1791 Clarinet Quintet in A major KV 581 Allegro Larghetto Menuetto - Trio | - Menuetto - Trio ii - Menuetto Allegretto con variazioni - Adagio - Allegro INSTITUTE SURTHWIS 6MS 3/3/1 (26)* HISTORICAL RESEARCH OF These recitals are presented by the British Music Society of York with financial support from the Yorkshire Arts Association. Medici String Quartet The Medici String Quartet was formed in the summer of 1971, when the members of the Quartet were students at the Royal Academy of Music. Trained by Sidney Griller, they also received coaching and encouragement from other eminent musicians. Their early engagements included a series of concerts at University College, London and a later. series of successful recitals at Dartington Summer School. The Quartet were very enthusiastically received in Perth, Western Australia during the summer of 1974. That same year, they took up a three-year residency at the University of York, where they give concerts and generally encourage and assist in the musical activities of the University. Alan Hacker Alan Hacker joined the London Philharmonic Orchestra at the age of 19 and two years later was appointed clarinet professor at the Royal Academy of Music. Prior to this, he studied with Jack Brymer and Reginald Kell and on a travelling scholarship in France, Germany and Austria. After leaving the LPO, he formed The Pierrot Players with the composers, Harrison Birtwistle and Peter Maxwell Davies and The Music Theatre Ensemble with Alexander Goehr. classical pop In 1971, he formed Matrix - a kind group who made their first appearance at the Edinburgh Festival. His most recent undertaking is The Music Party, who are setting out to reproduce the sounds and articulations intended by the composers of the Classical and early Romantic period, using post-baroque strings, simple boxwood wind instruments and hand horns. Alan Hacker is considered internationally to be one of the most exciting musicians of the decade, with his outstanding playing of the clarinet and interpretations of both classical and modern music. Leos Janáček 1854-1928 String Quartet no 2 'Intimate Letters' (1928) Andante - Allegro - Adagio 1 2 Adagio-Vivace - Adagio 3 Moderato - Adagio - Presto - Andante 4 Allegro - Andante - Allegro - Andante - Allegro It is common for a composer to be inspired by a woman, but not often in his seventy-fourth year! Most of Janáček's greatest works stem from the ten-year period of his passionate relationship with the much younger Kamilla Stoesslová (The Diary of One Who Vanished, Katya Kabanova, The Makropovlos Case, The 1st Quartet and the Glagolitic Mass) and his final work, The Second Quartet, is one of his finest. Proud and self- assul down quar decla com intro The saw pres mas piar init Kam intc clos of L He mc mi var din Viw SU tex inc the mo So To WI be So the an ch. pia lov Ka rec The live cho risi dey aC por YOU as trip Elis TRE This with Hack treate three in one

monic rot Sca takings produce the antic e S to be one de, with m assured, the elderly but youthful composer laid down a passionate confession and found the string quartet the ideal medium for his private declaration. In twenty-two days, Janáček completed the quartet and provided an introduction to it in his letters to Kamilla. The first movement ('My impressions when I first saw you') centres round two main themes presented immediately. The first is proud and masculine and is contrasted with the viola's pianissimo phrase, played on the bridge. Janácek initially hoped to use a 'viola d'amore' to represent Kamilla, but this eerie melody is transformed later into a passionate feminine idea. The powerful closing bars of the movement are in Janáček's Key of Love, Db. He again uses a symbolic key in the second movement, Adagio, which is in his tragic key of Bb minor. The fervent opening melody dominates in various guises, often in combination with its diminution played high on the first violin in the Vivace section. Janáček's attempts to describe a summer holiday with Kamilla in Moravia. The texture of the variations thickens as the passion increases, leading to a recall of the two main themes (Janáček and Kamilla) of the first movement, which close this Adagio in a mood of solemn thanksgiving. 'Today I have written my sweetest longings... This will be my best. Here I can find a place for my beautiful melodies. So Janáček tells Kamilla of the third movement, the emotional consummation of the work. The first and last sections are distinctly Russian in character. In the slow middle section, an intimate pianissimo climaxes to an overwhelming Ab major love song. This precedes a new, pure version of Kamilla's viola motif in the Presto section and the recapitulation in Cb. The last movement is an extended rondo whose lively whole-tone melody is in Ab minor. The chordal accompaniment develops into a broad rising motif in crochet triplets. The triplet idea is developed in a singing legato, to be interrupted by a Cadenza 'ad libitum' marked furioso and sol ponticello. The furious pain is Janáček's 'fear for you - however it eventually sounds not as fear, but as longing and its fulfilment' and the pugnacious triplet idea returns in a typical Janáček conclusion - victorious defiance in Db major. Elisabeth Lutyens b 1906 TRE op 94 This piece, lasting about 9 minutes, is played without a break and was first performed by Alan Hacker at the Wexford Festival. The clarinet is treated as three instruments in one and exploits its three different registers and tone colours, the score, in one section, even being written on three staves. Mare et Minutiae op 107 (1976) for String Quartet This work was written as a tribute to the Medici Quartet of the University of York where I had been 'composer in residence' 1975/76. There are three aspects of the sea represented, interspersed with short variations as interpretations of the small- often minute - objects to be discovered on the seashore: sand, pebbles, shells, sculptured wood, etc. The plan of the piece, played without a break and lasting about 16/17 minutes is as follows: Mare 1 (tranquillas) Minutiae 1 a) b) c) Mare 2 (tempestas) Minutiae 2 a) b) c) d) Mare 3 (undulatus) Minutiae 3 Echo Codetta WA Mozart (1756-1791) Clarinet Quintet in A major KV 581 1 2 3 Allegro Larghetto Menuetto - Trio 1 - Menuetto - Trio 2 - Menuetto 4 Allegretto con variazioni - Adagio - Allegro Although Stamitz is credited with the first clarinet concerto, Mozart is responsible for establishing the clarinet as a regular and important member of the orchestra. After Stamitz and Rameau, among others, had introduced orchestral clarinet posts, Mozart wrote two prominent parts in some of his later symphonies, notably the Eb K543 (1788). The Quintet (1789) is his third chamber work written for the clarinet (following the Quintet for piano and wind, and the clarinet trio) and differs markedly from the oboe and flute quartets which are cool and relaxed. It was written for the principal clarinettist of the time, Anton Stadler, but Mozart resisted the temptation to indulge his friend's virtuosity, and instead used the warmth of the middle register to blend the clarinet with the strings. Although the first violin shares the statement of thematic material with the clarinet, the other strings have their share of elaboration and argument. The strings present both main themes in the first movement, the first, a compact, retiring idea; the second, a long, tender melody, later led through delicious modulations by the clarinet. When the themes return in the recapitulation the first subject

is shortened, for it has been extensively developed earlier, and the more pathetic second subject is amplified. The bewitching beauty of the clarinet entry at this point anticipates the clarinet concerto of Mozart's final year. The Larghetto, with the clarinet's melting theme over muted strings, is an obvious inspiration for the Adagio of Brahms' Clarinet Quintet. All five parts are equal, however, in the Menuet which is far removed from the earlier dance movements. Mozart includes two highly emotional trios: the first, in A minor, excludes the clarinet completely and the second, in C major, contains some interesting instrumentation. The first violin and clarinet duet in Landler style with the 'cello neatly taking up the tune after a chromatic descent through the strings. The finale consists of an allegretto theme and six variations. The perky theme is alternately decorated and extended. In the first variation the clarinet superimposes a new melody on the theme (a favourite device of Mozart's); in the second, the strings take most of the responsibility. The third variation ignores the clarinet even more in a sombre A minor. The tune vanishes here above the sustained, weary complaint of the viola. A simple decoration of the theme by the clarinet leads into the only slow variation, Adagio, which is the same length in bars as the others and therefore far longer in time. The final Allegro comments on the previous five variations in an extended coda in which the sheer beauty of sound is typical of the Quintet. Saturday 19 June 11.00 hrs Delmé Quartet Galina Solodchin violin David Ogden violin John Underwood viola Joy Hall cello Jane Manning soprano Joseph Haydn 1732-1809 String Quartet in F major op 77 no 2 Allegro moderato Menuetto Presto ma non troppo Andante Finale - Vivace assai Virgil Thomson b 1896 Stabat Mater interval Ludwig van Beethoven 1770-1827 String Quartet in E flat op 74 (The Harp) Poco Adagio - Allegro Adagio ma non troppo Presto Piu presto quasi prestissimo Allegretto con variazioni The Delmé Quartet The Delmé Quartet was formed in 1962 and has been recognised as one of the top British Quartets ever since. They have appeared in the major music. festivals in Great Britain and many other major musical events abroad. As well as the main members of the Quartet - Galina Solodchin, David Ogden, John Underwood and Joy Hall, they are also affiliated to Jack Brymer, Alan Civil, Gwydion Brooke and Adrian Beers, who make it possible for the repertoire to be extended to include such works as the Schubert Octet, the Beethoven Septet and various wind quintets and quartets. Galina Solodchin has been a leading violinist in her field for many years. Like David Ogden, she studied under Maurice Clare and went on to become a BBC Prizewinner. David Ogden has always been interested in chamber music, especially the Czech school of Martin and Janáček of which he made a special study whilst at the Royal Northern College of Music. John Underwood won a Major Scholarship at the Royal College of Music and went on to win the Munich International Competition in 1954. He was a founder member of the Delmé Quartet and has concentrated upon chamber music ever since. 1961. Joy Hall is another founder member of the Quartet. She studied at the Royal Academy of Music and later with Casals. Jane Manning Since receiving a Special Award from the Composers' Guild of Great Britain in December 1973, for her services to new music, Jane Manning has enjoyed increasing success and international recognition. A recent highlight was the world première of Richard Rodney Bennett's Spells, written especially for her, with the RPO in August 1975. In the summer of 1975 she appeared in no less than five Henry Wood Promenade Concerts. During the last year she has appeared at the Royan, Bath, Holland, and Warsaw Festivals as well as in Vienna, Hilversum, Madrid, Barcelona and Paris. She has now made well over 250 BBC broadcasts and many foreign broadcasts especially in Holland, Spain and Germany. In the autumn of 1976 she will be making a return visit to the Warsaw Autumn Festival, and then with Wexford Festival Opera in Britten's The Turn of the Screw. This page has been sponsored by Claxton & Garland Ltd, Skeldergate, York Joseph String C 2 Me 3 An 4 Fir Haydn in the resper where aristo with t gener comp Quar the t Lobk Hew nota (179 (179 of th its re The of th worl son No No aller thir pub wea his subl bef hum mus He that feeli assi mov mor but ash Subs the pres varie seco melli above subje mover major develo the dev

Oggen te whilst atte holarshiga mé Quarte Music Be memberd m the Decente ccess and mighlighte wey Bennet th the RP 5 she Wood d at the estvas Barcelon Joseph Haydn (1732-1809) String Quartet in F major Op 77 no 2 1 Allegro moderato 2 Menuetto Presto ma non troppo 3 Andante 4 Finale - Vivace assai Haydn's two visits to London (the second finished in the Autumn of 1795) gained him fame and respect throughout Europe, especially in Vienna where he returned to a unique welcome from the aristocratic musicians of the capital. His contact with the world of professional string quartets and generous, enthusiastic patrons led to the composition of his final works, the six Op 76 Quartets which he dedicated to Count Erdody and the two Op 77 Quartets, dedicated to Prince Lobkowitz, the long-suffering patron of Beethoven. He wrote very few other works at this time; the notable exceptions being the Trumpet Concerto (1796), The Creation (1797), the Nelson Mass (1798) and the Seasons (1799)- all masterpieces of the highest order, each very difficult to better in its respective genre. The final quartets show Haydn's supreme mastery of the medium; the outer movements of the Op 77 works are the crowning achievement of Haydn's sonata form, the minuets are now true scherzi. In No 1 Haydn writes perhaps his greatest Adagio, in No 2 a fitting summation of all his andante and allegretto movements. Only two movements of the third quartet of Op 77 were finished (to be published later as Op 103). Haydn was a tired and weak man by this time and it is a fitting tribute to his art that in writing quartets that are a sublimation and fulfilment of all that had gone before, he retained the spontaneous wit and gentle humour which had long been part of all his best music. He was keen to incorporate all of the many devices that he had experimented with over the years, feeling that he now possessed the technical assurance needed to master them. In the first movement, Allegro moderato, he returned to the monothematic sonata form of the Op 33 Quartets but didn't allow the design to dictate the material as he had earlier. Here there are numerous subsidiary themes, which in fact provide much of the development material. The opening theme is presented simply and strongly, yet with great variety in the straightforward accompaniment. After a strong modulation towards G major, the second subject is presented in C major. It is a mellifluous 'sotto voce' violin idea which appears above a melodic accompaniment, in fact the first subject. The diversity of instrumentation in this movement looks forward to Beethoven's early F major Quartet, Op 18 No 1, especially in passages such as the unison semiquavers that lead into the development section, and the close canonic entries of the gentle 'knocking' figure which leads much of the development's modulation. The recapitulation, after a general pause, is fairly literal with both themes now in F major. The menuetto is now an undisguised scherzo, combining rhythmic wit and humour with intense. thematic concentration: all the antics of both violins and cello, who imitate timpani on F and C, evolve from the opening four bars. The trio in D flat contrasts with the brilliant rhythmic show of the scherzo in its grave tenderness and serenely vocal 'legato'. A brief coda links the trio with the scherzo's repeat. The desired unity is neatly achieved by the coda's material, taken from the scherzo, beginning in D flat, the trio's key. The D major Andante blends rondo and variation form, unified here by the grave and quiet march which persists unhesitatingly from the opening two part counterpoint, through development and modulation, rich decoration and new, contrasting melodies, to the point where the tread halts. The most visionary moment of the quartet, a written- out cadenza leads to the final, simply harmonized statement of the theme. The last movement is a polacca of fire and excitement bound in a closely monothematic sonata form. Haydn uses every device of close imitation known to him to add an intellectual approach to the physical vitality of his final rondo. Virgil Thomson (1896- Stabat Mater for soprano and string quartet Thomson's stay with Gertrude Stein at her Rhône Valley villa prompted several new works including the two string quartets, the second symphony and the Stabat Mater. It was first performed in a concert of Thomson's works at the Salle Chopin in 1930 where it pleased the Parisian audience by its virtuoso setting of Max Jacob's important prose poem rather more than the first quartet and the violin sonatas whose experimentation seemed rather dry. The Stabat Mater is one of the few works which Thomson has left untouched and its success is perhaps due to the obvious inspiration provided by Jacob's religious belief. Thomson began to write 12 tone serial music but felt too constricted and eventually, in his own words, 'let the piece write itself'. It was the first of Thomson's works to be published (in 1931), thanks to a little influence from Aaron. Copland, and marked an upturn in his popularity in America. Paris was now rejecting much of his work as too conservative for performance in the contemporary music series La Sérénade, and Thomson returned to America in 1932, following a performance of the Stabat Mater which paved the way for the New York première of his opera, Four Saints in Three Acts (text by Gertrude Stein). The motive heard in the second violins' entry,

with descending a seventh, is derived from the cellos' earlier theme and is imitated later by the first violin, rhythmically varied, and near the end, by the viola. Thomson builds thematically with thirds even more than in the first quartet and in the course of the soprano line there are nine discernible variations, often using sparse seventh chord harmonies. The Stabat Mater is short and simple, providing a direct platform for Max Jacob's poem. Stabat Mater/Max Jacob Virgil Thomson Ne pleurez pas, Madame. Si votre fils est condamné, il ressuscitera par mirâcle après l'enterrement. Comment ne pas pleurer un tel fils. Ne pleurez pas si vous pouvez vous empêcher. Laissez moi passer. Je veux aller près de lui. Je veux mourir avec mon fils. ous mourrez à votre heure, Madame, et vous ressusciterez pour l'Assomption. Ne pleurez pas, ma mère, disait le fils unique. Je sais ce que j'ai à faire. Gardez mon sang. C'est un trésor. On ne l'aura que par ma mort. Quelle mère s'arrêterait de pleurer en perdant un fils de trente ans. Croyez en moi, ma mère. Vous êtes Dieu sur terre. Obeissez à votre père. Je resterai sous le poteau à pleurer. Consolez ma mère. Saint Jean. Et qui me consolera, Seigneur? Je vous consolerai avec les sacrements. Ludwig van Beethoven (1770-1827) Quartet in Eb, Op 74 The Harp 1 Poco Adagio - Allegro 2 Adagio ma non troppo 3 Presto Pio presto quasi prestissimo 4 Allegretto con Variazioni During the first decade of the nineteenth century Beethoven was at the confident peak of his work. The revolution inspired the Eroica Symphony (1803) and the three Rasamovsky Quartets (1806): at least nine major works were completed in the following three years. These included three more symphonies (4-6), three concertos and the Mass in C. The stream of unsurpassed inspiration began to dry up in 1809 and a long period of inactivity was to follow. Interestingly, it was the string quartet, the genre that most fully illustrates Beethoven's entire creative range, that occupied him at this turning point. Apart from the Emperor concerto, the Eb Quartet is the major work from 1809. In the following year, he wrote the great F minor quartet, Op 95. Like the Op 18 set, Op 74 is dedicated to Prince Lobkowitz, one of the three patrons whose support Beethoven enjoyed at this time. The Prince was bitterly disappointed at the few works that followed. but could have had few complaints about the first product of the new arrangement and the quartet was played at his palace soon after completion. It is one of the few major works of Beethoven that is content to consolidate rather than discover. This is not a 'deep' piece of music but remains a personal one whose very simplicity can seem hard. to fathom. The slow introduction that opens the quartet grows mainly from a single idea, tentative and mysterious, which rises chromatically as it crescendos into the Allegro. The short exposition presents two clearly characterised ideas, the second of which is introduced by the pizzicati crotchets that give the quartet its nickname. As a compensation of sorts. for the modest simplicity of form and the lack of involved key changes in this movement, Beethoven emphasises several instrumental devices. In the development section, the pizzicati are extended in a link passage of some importance. The coda begins with brilliant first violin passage work and ends with a return of the pizzicato arpeggios in contrary motion, thus distilling the musical stream to its barest essential, the Eb triad. For once Beethoven uses the subdominant, Ab, for the Adagio which is relaxed in comparison with virtually all his other slow movements. The opening theme returns three times in increasingly rich variations with episodes between which are tentative in organization thus minimizing contrast with the main tune. The melody of this Adagio is a marked step forward for Beethoven in the many years of experimentation that led to the sublime. lyricism of his last works. A gigantic coda dissolves back into episodic material instead of resolving the theme and eventually uses the Db-c 'dying fall' to draw the movement to a close, finally warmed by dominant harmonies. The scherzo, marked Presto, is typical of Beethoven but rarely used: the 5th Symphony is its obvious companion. Although more passive than the Symphonies' scherzo, it feels violent enough here following the peaceful slow movement in this generally tranquil quartet. The driving rhythm, the C minor key, the noisy contrapuntal trio (heard twice) and the final Presto da capo which fades away to pianissimo are all to be found in the Symphony as well: it is the character of the finales. that follow the long transition passage that differ so greatly. There is no vast, concluding statement of triumph here but instead a refined variation movement with a rather slight Allegretto theme. All six variations retain the tempo and key of the theme and are in two groups; numbers 1, 3 and 5 are marked 'sempre forte' and concentrate on figuration; numbers 2, 4 and 6 are 'sempre dolce e piano' and concentrate on lyric expression and harmonic subtleties. Each variation insists on a different rhythmic motion: especially notable are the warm viola triplets of variation two, the rhythmic fireworks in the syncopated fifth variation and the final 'un poco piu vivace' where the gentle unison qua QUIC the Sa Al Ho Pe Be Di re Me haw Stri 4 The Quar

sa IS give the Coda work and Os in with opening nich re agosa many blime dissolves ving the med by VIOUS he his m, the ne differ ent with are in d 1 TIC ant quaver melody over a throbbing triplet bass line is quickened to a rather harsh treatment of the theme. Saturday 26 June 11.00 hrs Alberni Quartet Howard Davis violin Peter Pople violin Berian Evans viola David Smith cello Joseph Haydn 1732-1809 String Quartet in C major op 33 no 3 (The Bird) Allegro moderato Scherzando - Allegretto Adagio Rondo Presto Virgil Thomson b 1896. String Quartet no 2 interval Antonin Dvorák 1841 - 1904 String Quartet in F major op 96 (The American) Allegro ma non troppo Lento Molto vivace Finale Alberni String Quartet The Alberni Quartet occupies the unusual position of String Quartet in Residence at Harlow New Town, supported by the Eastern Arts Association, Harlow District Council and other bodies. In 1968 they were resident at the University of Canterbury, New Zealand and then at the University of Western Australia. They have toured widely in both these countries, and made many radio and TV broadcasts. They were the first Quartet to appear at the Royal Opera House, Covent Garden. They have recorded Schumann's complete chamber music for CRD. Other recordings include Schubert's Cello Quintet and Mendelssohn's A minor Quartet, both of which have been very well received. Joseph Haydn (1732-1809) String Quartet in C major Op 33 No 3 The Bird Allegro moderato Scherzando-Allegretto 1 2 3 Adagio 4 Rondo Presto The nine-year gap between Haydn's set of six quartets, Op 20 and the next group, dedicated to the Grand Duke Paul of Russia, has raised several questions about his method of composition. It is generally assumed that Haydn wrote sonatas, symphonies and quartets fairly continually while employed at Esterháza as musical director and court composer, and that he often gave little thought to many important aspects of style and form in an attempt to please Prince Esterházy, who while generous with both finance and facilities, demanded an extremely high output from his composer. In fact, nothing could be further from the truth. Many other composers would have immediately capitalized on the breakthrough of his Op 20 set. There Haydn finally achieved what we now recognize as the texture of the classical string quartet with the cello finally freed from its 'bass line' role of earlier works. But there was to be nearly a decade of thought before the next set. Between 1775 and 1781 Haydn expanded the theatrical life at Esterháza, producing over 50 operas apart from the five that he wrote himself, but he wrote little of lasting importance during this time and much of his work seems tired and stale. The Symphony No 73 La Chasse is the first work to indicate Haydn's newly found confidence and the Op 33 Quartets followed in 1782. With his usual alert salesmanship he announced the set as 'written in a new and special way' and sold a 'limited issue' in manuscript to private subscribers prior to publication. There is really nothing in the quartets that isn't implied in the Op 20 set although he takes many ideas several steps further. Freed from the problems of texture, Haydn concentrated on both structure and design and advanced his treatment of thematic material, the architecture of the movements and the instrumentation in a seemingly effortless way. The themes now have real character: no longer just tunes but pregnant figures capable of organic growth and development. This obviously helps the close thematic unity as Haydn increasingly indulged his growing fascination for monothematic. movements. The recapitulations are increasingly free: in the first three quartets Haydn telescopes one theme and expands another to vary the movements' climax and in the final three the recapitulations become a continuation of the development section. If, as has been suggested, the Op 33 Quartets are the turning point after which the String Quartet was finally recognised universally as an important genre (and it was this set that prompted Mozart to begin his great series with the K 387 of the same year), then the third quartet The Bird is probably one of the most important of Haydn's 82, being the star of the set. One of the most noticeable changes from Op 20 is the more relaxed style and Haydn confines his use of sonata-form to the first movements of the set. The opening melody, sung twice by the first violin. over a gentle repeated quaver accompaniment, gives the quartet its nickname, 'The Bird' and the

mood of effortless flight is recalled later in the second movement's Trio. Haydn begins to develop this melody, especially the gentle appogiaturas and the falling semiquavers, before introducing the second subject, in the dominant, C. The similarities of the themes are marked, though the perky second subject is far removed in mood from the lyricism of the opening. Both themes combine in the short development section before a false recapitulation, after a pause on a chord of E major, introduces a new rising quaver idea in the first violin. This returns to link the two main themes in the recapitulation proper and provides the bass line over which a repeat of the first subject closes the movement firmly in C major. All the Minuets in this set are titled either 'Scherzo or 'Scherzando': this is simply an indication of Haydn's preference for a faster speed than that previously accepted as the 'norm' for a dance movement. There is no sign yet of the one-in-a-bar scherzo which he introduces in the Op 76 quartets. As Haydn explores his newly found freedom of part writing, he conjures up an unusually dark C major Allegretto, marked 'sotto voce' and 'mezza voce' throughout and only finds light relief in the airy violin duet of the trio. The Adagio, firmly placed in F major, gives the first violin the opportunity to decorate the theme with florid embellishment including many melismata, derived from this aria-like movement's vocal origins. The pianissimo close is followed by a piano opening to the last movement, a rondo-finale based on a Slavonic dance tune. The humour and wit, especially noticeable in the rhythmic effects of the link passages, set the seal on a work of great charm and beauty in a way that demonstrates how far Haydn had come in sureness of design from the fugues and sonata form finales that closed the Op 20 set in such an intellectually demanding way. Virgil Thomson (1896- String Quartet No 2 1 Allegro Moderato 2 Tempo di Valse 3 Adagio sostenuto 4 Allegretto Virgil Thomson concentrated on writing music for strings in the early 1930's and the second quartet in his last and most ambitious work of this period. Its independent and counter-revolutionary style pleased the composer: 'I considered this four- movement piece to be authentic as inspiration, solidly built and for all its classical chitecture, a modern work' and also the audience at the first performance in April 1933, at a private party. It was written for a series of concerts in Paris devoted to new music but the absence of technical experimentation in the quartet prevented its inclusion at the time: the first public performance was in Chicago in December 1935. Thomson felt that he had broken new ground in this quartet and that it marks a stage in his musical development. He was sure enough of the progress that he had made to 'stop my headlong composing and look around for other adventures' which he found in the production of his early masterpiece Four Saints in Three Acts. The opening theme of the first movement, like so many of his ideas at this time, is built on ascending. and descending thirds ranging through two octaves. In its syncopation and continual shifts from major to minor, it heralds two important aspects of the quartet, its rhythmic vitality and the increasingly abstract harmony which, later in the work, approaches serialism. Thomson worked hard on the unity of the quartet and balances the movement well, linking theme with a theme that. first appears after the repeated exposition of the first movement. The short inner movements are both based on dances, a waltz in the second movement and a tango as the central section of the Adagio. The tango appears throughout Thomson's music as a suggestion evil and here he evokes 'the deepest cries of spirit', suggesting that even the essential optimism of his message always contains a darker side by placing the tango at the emotional core of the quartet. The final Allegretto is the longest movement and, whilst expressing an utter peace of mind in many passages, the tango surreptitiously reappears as a brief and final question mark against the quartet's 'positive affirmation of life". P.B. Antonin Dvorák (1841-1904) The American 1 Allegro ma non troppo 2 Lento 3 Molto vivace 4 Finale Dvorák's String quartets mark the end of a long line of teutonic quartets, from Haydn and Mozart through Beethoven to Schubert, Schumann and Brahms. Although conscious of his importance as a nationalistic Slav, Dvorák thoroughly assimilated the German romantic style and in most of his quartets only the pentatonic tunes and Czech scherzi betray his true origins. He lived in the United States for three years where he wrote this quartet (1893), the Eb String Quintet and the 'New World' Symphony. All of these contain pentatonic themes and it is unfortunate that those in the quartet should have been dubbed as negro tunes: they could well have been Scottish, Russian or Chinese! His American works are in general thoroughly Czech although he was stimulated by his interest in negro spirituals and by a longing for his homeland. Although the most popular of his quartets, the 'American', for all its concu the m from rather the fir and re openi Molins and a count waits The se a simp plays develo mover Once and no moven three s moven semigu throug melod There Scherz heard a contr augme Scherz instrum The F most the me to rath minor secon develo which gesture first su which t

ce Four Sam ough two important vitality and son worked ances the osition of the vements a e second ughout of evil andhe his messa cing the ta vementent mind in ma the quate of a long and Maz mann and st of his Czech tring Quine concise and impeccable balance, hardly explores the medium in the same way that his final quartets (from 1895) do. The emphasis here is on presenting the themes rather than developing them and the opening of the first movement is a good example of the taste and refinement of this quartet. Modelled on the opening of Smetana's First Quartet - tremelo violins, pedal note in the bass (both pianissimo) and a viola theme - Dvorák declines to emulate his. countryman's declamatory statement and instead waits twenty bars for a forte version of the tune. The second subject is also presented pianissimo - a simple pentatonic tune of tender yearning. This plays little part in the rhythmatically assured development but returns in the tonic to close the movement. Once again, Dvorák excels in presenting the long and nostalgic theme which ensures that the slow movement is the emotional core of the quartet. The three styles of accompaniment that open the movement, gentle syncopation, rocking semiquavers and simple pizzicati, are developed throughout, usually under a glorious stream of melody in the violins. There is very little of harmonic interest in the Scherzo whose theme is a unison figure, usually heard over rhythmic figures and pedals. Instead of a contrasting trio theme, the Scherzo's first idea is augmented in F minor. The trio is heard twice, the Scherzo three times, with rather larger than life instrumentation in the trio's repeat. The F major finale is a sonata-rondo in Dvorák's most light-hearted mood. An introduction based on the main theme dissolves to allow the first subject to rather hesitantly appear. It modulates firstly to A minor, then to C major which falls to Ab for the second theme, full of yearning. The central development is cut short by a chorale like episode which provides the movement its only serious gesture. In the recapitulation, the viola repeats the first subject in a glorious syncopated passage on which the irrepressible coda is based. This page has been sponsored by Trust Houses Forte Hotels Ltd Saturday 3 July 11.00 hrs Aeolian Quartet Emanuel Hurwitz violin Raymond Keenlyside violin Margaret Major viola Derek Simpson cello Joseph Haydn 1732-1809 String Quartet in G minor op 74 no 3 (The Rider) Allegro Largo assai Menuetto - Allegretto Finale - Allegro con brio Elisabeth Lutyens b 1906 String Quartet no 6 op 25 Allegro moderato - Adagio - Allegro moderato interval Maurice Ravel 1875-1937 String Quartet in F Allegro moderato: très doux Assez vif: très rythmé Très lent Vif et agité Aeolian Quartet The Aeolian Quartet is one of Britain's best known Quartets, especially since their presentation for BBC TV of Beethoven's late string quartets. The members of the Quartet - Emanuel Hurwitz, Raymond Keenlyside, Margaret Major and Derek Simpson are all accomplished musicians in their own right. Emanuel Hurwitz is well known as one of Britain's finest chamber musicians, receiving the Worshipful Company of Musicians' Gold Medal in 1965 for his outstanding services to chamber music. He studied. at the Royal Academy of Music in London, where he is now a professor. Raymond Keenlyside studied at Trinity College of Music, London, where he is now a professor. He is one of the best known string players in England. He also teaches on a freelance basis and has directed several chamber music courses. Margaret Major studied at the Royal College of Music in London and while there won the Lionel Tertis viola competition. Shortly after this, she won the IMA concert award, which brought many invitations to appear at concerts in Europe and England. She is also a professor at the Royal College of Music. Derek Simpson was the first holder of the Suggia Scholarship at the Royal Academy of Music, where he is now a professor. He is one of England's most distinguished instrumentalists and is in constant demand for recitals and concert appearances.

During 1976, the Aeolian Quartet are holding two Summer Music Courses, one this week at York University and the other in Italy at Monterosso al Mare. Joseph Haydn (1732-1809) String Quartet in G minor Op 74 No 3 The Rider 1 Allegro 2 3 Menuetto - Allegretto 4 Finale - Allegro con brio Largo assai Prince Nicholas Esterházy died in September 1790 and when his son disbanded the court orchestra and freed Haydn from all commitments, the composer moved to Vienna. In December, Saloman, a native of Bonn but for nine years an active and successful violinist and concert promoter in London, came to Vienna from Cologne. There he had heard of the Prince's death and resolved to achieve what he had failed to do in the 1780s, to tempt Haydn to London. Haydn seems to have been eager for a change of scene and for the chance of personal independence after the binding routine of court life. He spent two-and- a-half years in London, where his success and contented life were marred only by the news of Mozart's death, before returning to Vienna in June 1792, having just completed his Op 71 and Op 74 Quartets, which were published in Vienna in the following year. As Haydn's success led to his acceptance into the musical nobility of Vienna, he returned the favours granted to him with dedications: both of these sets of three are dedicated to Count Apponyi. The most distinctive feature about these quartets, the first sets of this final decade (Haydn's last compositions date from 1799) is the use of a short introduction in all of the first movements. These range from one chord or a sequence of chords merely establishing the key, to the extended eight bar unison which opens The Rider quartet, in which the opening material is closely linked to the development of the ensuing movement. This idea comes from his symphonies and these quartets generally reflect Haydn's intense interest at the time in orchestral. composition. The galloping rhythms of the outer movements give the quartet its nickname and indeed, the pace of the first movement, in G minor is so furious that it comes as a real surprise when, at the beginning. of the recapitulation, the true first subject is shown. to be, not the opening unison, but the tentative sequential idea that follows it. These two themes, plus the rapid descending triplets that complete the opening section and the lyrical second theme, built around a rising sixth, all play an important part in the development section. A held diminished seventh chord heralds the recapitulation in which the second subject and the brief coda are in G major. Haydn had begun to explore the relationship of keys between movements and the G major of the first movement is contrasted with the sublime melody that opens the slow movement in E major. This largo assai holds the emotional heart of the quartet and its peaceful nobility looks forward to the depth of vision which he attained in his final years. After a central 'minore' section, whose theme is a subtle inversion of the opening, Haydn tries to enhance the solemnity of the melody on its return with effects that really belong to the orchestra, such as the pianissimo tremolando and the fortissimo double stopping. The Minuet, a lively Allegretto in G major, contrasts nicely with the chromatic, brooding Trio in G minor. Once again Haydn uses tunes of a folk character in the finale: he opens with a wild, syncopated Hungarian dance in G minor before introducing a calmer, imitative Austrian theme in B flat major. Much of the development happens in the remaining seventeen bars of the exposition; the development section proper hesitantly ushers in the recapitulation in which the tonic major key is returned to for the second subject and the coda. Elisabeth Lutyens b 1906 String Quartet No 6 Op 25 (1952) This work was composed in 1952, together with the now scrapped fourth and fifth quartets, and is dedicated to Francis Bacon, the painter. It falls into three parts, the third being an exact repeat of the first, without the internal repeated sections which the first contains. These outer parts are Allegro moderato; the central part is Adagio. The work lasts approximately eight minutes. Maurice Ravel (1875-1937) Quartet for Strings (1902) 1 Allegro moderato: Trés doux Assez vif: Très rythmé 2 3 Très lent 4 Vif et agité Ravel's quartet is a student work, written while he was at the Paris Conservatoire and dedicated to his teacher, Fauré. The Jeux d'eau of 1901 had im- pressed both Debussy and Fauré and the two younger composers became friends, although Ravel would surely admit Debussy's influence on him in 1902, when Pelléas et Mélisande made such a profound impression. The Quartet proved a success, notwithstanding some severe criticism from Fauré and naturally led to comparisons with Debussy's String Quartet. The distasteful publicity on their rival merits unfortunately led to an ending of this friendship though both composers regretted this and Debussy implored 'In the name of the gods of music and in mine, do not touch a single note of what you have written in your quartet!' The qu showi pers sponta doubte yricist gesture of his t His atte more c movem ed Ra Scherz incorpo both ac ingenu rhythms minor t

Mose R ed mapr the mers in keyis Coda er with and is ated er parts agio im- 10 h e on de meda Sim with ding e ple The quartet is confident in its frenzied melancholy, showing an instinctive grasp of this new and entire- ly personal idiom. It is also one of the few obviously spontaneous works that Ravel wrote and he later doubted and mistrusted his ability to fuse free lyricism in a classical framework. In an unusual gesture, he submitted the quartet to the judgement of his friends who, like Debussy, reassured him. His attempt at a monothematic work is worked out with less zest than in Debussy's work, but with more coherence. The strict ternary form of the first. movement is logical and precise, yet artfully relax- ed. Ravel indulges his instrumental texture in the Scherzo which is closely related to Debussy's. He incorporates trills, tremolandos and pizzicati into both accompaniment and themes and the rhythmic ingenuity is most obvious in the elaborate cross- rhythms. The first pizzicato tutti wavers from A minor to G minor the second 'bien chanté' melody in E is closely linked to the main material of the first movement. The undecided tonality returns in the slower trio. The slow movement is a free rhapsody around A minor and Gb minor which proceeds episodically with several allusions to first movement themes and muted passages of great tenderness, often in unison above a bass pedal. The opening of the movement is recalled briefly before the rising theme dissolves on a pianissimo Gb major chord. Russian influences abound in the energetic finale, with quickly changing time signatures, rapid tremolos, arpeggios and spread chords failing to disguise the lack of original material - most of the themes derive from first movement ideas - Techni- que is mastered here, though, and the players are given ample opportunity to display their talents. The British Music Society of York The British Music Society of York was one of the original Societies forming part of the British Music Society movement in 1918. The object of the movement was to champion the cause of British Composers at home and abroad, to stimulate the appreciation of music by lectures and concerts and to fight for a recognised place for music in education. Among the early pioneers of the movement were Sir Adrian Boult, Edward J Dent and George Ber- nard Shaw. Despite the success of the movement, the Societies themselves have now lapsed with the ex- ception of the one in Belfast and the one in York. The York Society has functioned almost con- tinuously since the original founding of the movement and the 1975/6 season was its fifty- fifth. The members, up to 250 of them, are drawn from York and the surrounding countryside and there are seven concerts each winter: with a strong bias towards Young British Performers. A brochure giving details of the concerts arranged for 1976/7 will be sent to you, free of charge, on application to the Hon Secretary, Mr G C Morcom, The Old Vicarage, Overton, York. York Festival & Mystery Plays 1976 Chairman Councillor Jack M Wood Artistic Director Gavin Henderson Administrator and Programme Editor Phillip Gill Front of House Manager Max Drucquer The taking of photographs before, during or after performance is strictly forbidden. The York Festival & Mystery Plays are presented by the Corporation of the City of York with financial assistance from the Arts Council of Great Britain. Arts Council Assessor Keith Jeffery Friends of York Festival An opportunity for individuals to become involved in supporting the Festival and maintaining contact with it during the intervening periods by means of subscription, social activities and other events. Members also receive priority booking facilities and concessions on Festival Club membership. For further information write to The Secretary, Friends of York Festival, 1 Museum Street, York YO1 2DT enclosing a stamped addressed envelope. Festival Club The Festival Club is once again housed in the De Grey Rooms, Exhibition Square, with late night food and bar facilities. It is a lively rendezvous for anyone who has any connection with, or interest in, the Festival, and on some evenings there is late night entertainment. Open 18.00 to 02.00 (am) daily Membership Season £3.00 7 days £1.20 Daily 25p Please note: the number of daily tickets is strictly limited, and must be presented with a ticket stub in respect of a Festival event attended on the same day. The York Festival & Mystery Plays are especially grateful to Leedhams (York Hire & Drive) for the loan of transport. Design Bill Kirkland/Yorkshire Arts Association Design Unit