HUDDERSFIELD MUSIC SOCIETY Brochure 40th Season's programmes 1957-1958 colorchecker Xx-rite + + 190 SE MSCCPPCC0613 Xx-rite

THE HUDDERSFIELD MUSIC CLUB (Founded in 1918 by Dr. Eaglefield Hull) The National Federation of Music Societies, to which this Society is affiliated, supports these Concerts with funds provided by the Arts Council of Great Britain A SERIES OF FIVE CONCERTS FOR THE FORTIETH SEASON 1957-58 to be given in THE MAYOR'S RECEPTION ROOM TOWN HALL On MONDAY EVENINGS at 7-30 p.m. President Active Vice-President S. H. CROWTHER DAVID DUGDALE Mrs. E. FENNER Mrs. E. GLENDINNING E. GLENDINNING J. STANCLIFFE ELLIS, Esq. E. D. SPENCER, Esq. Honorary Vice-Presidents: DR. RALPH VAUGHAN WILLIAMS, DAME MYRA HESS BENJAMIN BRITTEN, F. W. GADSBY Mrs. ARNOLD Mrs. BRANSON Mrs. CALVERT Mrs. S. H. CROWTHER Mrs. F. A. DAWSON Miss K. EVANS Mrs. D. HIRST *** Committee: Miss Z. E. HULL P. L. MICHELSON Cr. F. ROWCLIFFE MAX SELKA Miss A. SHAW IIon. Secretaries: Mrs. A. E. HULL, 48 New North Road. Tel Hudd. 1094 STANLEY G. WATSON, 342 New Hey Road. Tel. Milnsbridge 1706 Hon. Treasurer: P. S. THEAKER, National Provincial Bank, King Street E. C. SHAW W. E. THOMPSON Mrs. S. G. WATSON C. R. WOOD Ladies' Committee: Chairman: Mrs. E. FENNER Mrs. A. E. HORSFALL Mrs. A. E. HULL Miss Z. E. HULL Mrs. A. W. KAYE Miss H. LODGE Mrs. H. ROTHERY Mrs. M. M. SAYER Miss SAWERS Miss A. SHAW Mrs. J. SHIRES Mrs. E. D. SPENCER Mrs. P. SYKES Mis W. TOWNSEND Miss WHITWAM Hon. Secretary: Mrs. E. GLENDINNING Hon. Treasurer: Mrs. S. G. WATSON The Club is open to everyone

THE HUDDERSFIELD MUSIC CLUB (Founded in 1918 by Dr. Eaglefield Hull) The National Federation of Music Societies, to which this Society is affiliated, supports these Concerts with funds provided by the Arts Council of Great Britain A SERIES OF FIVE CONCERTS FOR THE FORTIETH SEASON 1957-58 to be given in THE MAYOR'S RECEPTION ROOM TOWN HALL On MONDAY EVENINGS at 7-30 p.m. President Active Vice-President S. H. CROWTHER DAVID DUGDALE Mrs. E. FENNER Mrs. E. GLENDINNING E. GLENDINNING *** ... Honorary Vice-Presidents: DR. RALPH VAUGHAN WILLIAMS, DAME MYRA HESS BENJAMIN BRITTEN, F. W. GADSBY Mrs. ARNOLD Mrs. BRANSON Mrs. CALVERT Mrs. S. H. CROWTHER Mrs. F. A. DAWSON Miss K. EVANS Mrs. D. HIRST J. STANCLIFFE ELLIS, Esq. E. D. SPENCER, Esq. Committee: Miss Z. E. HULL P. L. MICHELSON Cr. F. ROWCLIFFE MAX SELKA Miss A. SHAW Hon. Secretaries: Mrs. A. E. HULL, 48 New North Road. Tel Hudd. 1094 STANLEY G. WATSON, 342 New Hey Road. Tel. Milnsbridge 1706 Hon. Treasurer: P. S. THEAKER, National Provincial Bank, King Street E. C. SHAW W. E. THOMPSON Mrs. S. G. WATSON C. R. WOOD Ladies' Committee: Chairman: Mrs. E. FENNER Mrs. A. E. HORSFALL Mrs. A. E. HULL Miss Z. E. HULL Mrs. A. W. KAYE Miss H. LODGE Mrs. H. ROTHERY Mrs. M. M. SAYER Miss SAWERS Miss A. SHAW Mrs. J. SHIRES Mrs. E. D. SPENCER Mrs. P. SYKES Miss W. TOWNSEND Miss WHITWAM Hon. Secretary: Mrs. E. GLENDINNING Hon. Treasurer: Mrs. S. G. WATSON The Club is open to everyone

This Season the Huddersfield Music Club enters upon the fortieth year of its existance. To mark this, the Committee has arranged a season of Chamber Music Concerts which is perhaps the finest ever to be given in Huddersfield. They are confident that the ensembles engaged will meet with the approval of the members, and they trust that the numbers of these will be appreciably increased by the excellence of the concerts. MONDAY, 30th SEPTEMBER, 1957 THE VEGH STRING QUARTET Quartet in D major Op.18 No. 3 Quartet in F minor Op. 95 Quartet in C major Op. 59 No. 3 MONDAY, 28th OCTOBER, 1957 THE AMADEUS STRING QUARTET Quartet in F major K. 590 Quartet No. 6 Quartet in D minor Op. posth. Beethoven Beethoven Beethoven (Death and the Maiden) Mozart Bartok Schubert Ama 152

MONDAY, 2nd DECEMBER, 1957 CHRISTOPHER BUNTING (Cello) and PETER WALLFISCH (piano) Sonata in G minor Op. 5 No. 2 Solo Suite in G major for Cello Sonata for cello and piano Three Intermezzi for piano Sonata No. 2 MONDAY, 13th JANUARY, 1958 THE MANCHESTER WIND ENSEMBLE William Morris (Flute) Michael Winfield (Oboe) Leonard Foster (Clarinet), Maurice Handford (Horn) Charles Cracknell (Bassoon) Rayson Whalley (Piano) Sextette Kleine Kammermusik Quintette in E flat major Op. 16 MONDAY, 10th MARCH, 1958 Beethoven Bach Debussy Brahms Martinu MADRID THE CLASSICAL QUARTET OF Quartet No. 3 Quartet on the guitar chord Quartet in F. major Op. 96 Roussel Hindemith Beethoven J. C. Arriaga Turina Dvorak

THE HUDDERSFIELD MUSIC CLUB SUBSCRIPTIONS A member's subscription for the Season is 35/-. Season tickets may be obtained from either of the Hon. Secretaries or from Messrs. J. Wood & Sons Ltd., 67 New Street. As you were a Member last Season ticket (s) for the coming Season are enclosed herewith and it is requested that the appropriate subscription be forwarded to the Hon. Treasurer (Mr. P. S. Theaker, National Provincial Bank, King Street, Huddersfield) before the date of the FIRST Concert (30th September). Cheques should be made payable to "The Huddersfield Music Club". In the event of any of the tickets not being required this year, they should be returned to Mr. S. G. Watson, 342 New Hey Road, Huddersfield, not later than 20th September, after which date it will be assumed that they will be retained and paid for. If you were not a member last Season and would like to join the Club, will you please make early application to either of the Hon. Secretaries. We shall greatly appreciate it if you will please pass this Prospectus on to your friends

THE HUDDERSFIELD MUSIC CLUB President: J. Stancliffe Ellis, Esq. (The National Federation of Music Societies to which this Society is affiliated, supports these Concerts with funds provided by the Arts Council of Great Britain) MAYOR'S RECEPTION ROOM, TOWN HALL MONDAY, 30th SEPTEMBER, 1957 at 7-30 p.m. THE VEGH STRING QUARTET SANDOR VEGH (Violin) SANDOR ZOLTY (Violin) GEORGES JANZER (Viola) PAUL SZABO (Cello) Programme: Price Sixpence

Programme The analytical notes in this programme are the copyright of the Huddersfield Music Club Quartet in D major Op. 18 No. 3 Allegro Andante con moto Allegro Presto I (First performance at these Concerts) The six quartets forming Op. 18 were written 1800-1. Apart from an early string quintet (Op. 4) and three string trios, these were Beethoven's first works for strings not in combination with other instruments. Beethoven was, in his early years, a virtuoso of the piano and his early preoccupation was with piano music. These quartets therefore mark the commencement of the only type of chamber music which kept his attention to the last, and which were to lead to the final five quartets, which "represent the copingstone of his whole life's work. Chamber music for strings alone is, indeed, the very heart and kernel of Beethoven's creative work" (Bekker). Quartet in F minor Op. 95 Beethoven (1770-1827) All the quartets of Op. 18 are written in major keys with the exception of No. 4; all are, in general, graceful and gay in mood. They were not written in the numbered order, No. being the earliest of the set. They were published in two parts and were dedicated to Prince Lobkovitz. The quartet No. 3, opening boldly with a leap of a seventh for the first violin which is imitated by the second violin and the viola, is very Mozartean in style; "the voice is the voice of Beethoven, the idiom is more or less that of the 18th century" (Haddow). The Andante con moto in B flat opens with a lovely melody on the G string for the second violin; it "has qualities of beauty and expressiveness which atone for the rather disproportionate length of the fourth section; the poetic peroration happily redresses the balance" (d'Indy). The first section of the Allegro (Scherzo), again in D major, has a contrasting section in D minor. The Finale, full of light and shade, is a movement very characteristic of the youthful Beethoven. II Allegro con brio Allegretto ma non troppo Allegro assai vivace, ma serioso Larghetto-Allegretto agitato (Last performed in 1949 by the Amadeus String Quartet) Beethoven This quartet was written in 1810, immediately following the Egmont Overture; the next, and final quartets did not appear until 1824. It therefore stands at the end of Beethoven's second period. It was dedicated to Count Niklaus von Zmeskall, "Beethoven's "Mudlark" and "Count Guzzle", the fussy, always slightly worried serviceable adherent, who was magnificent only in the pleasures of the table, and who was a close companion of many often difficult years"; he "relieved the Master from as many irksome commissions and negotiations as he could, and incidentally was appointed to the quaint honorary office of cutting quills for the impatient Master, who was unbelievably awkward with his hands. No one could do the job as satisfactorily as Zmeskall, whose acquaintance Beethoven had made soon after his arrival in Vienna, and with whom he kept up a tone of rough and good natured chaff till his death...he (Beethoven) proved by the dedication of the superbly tempestuous Quartet in F minor (Op. 95) how well he was disposed to Zmeskall." (Specht). This quartet is sometimes called the Serioso Quartet. Bekker sees it as the fruit of a combined mood of retrospection and introspection; the battle had been won, but "he became intensely aware of what it had cost him-at the close of the work the spirit of laughter takes charge and is hailed as the solution of life's problem."

The short first movement has a brusque, almost gruff opening in octaves, which dominates this movement with its intense emotional feeling. The second movement, in the unexpected key of D major, is calm and religious in mood; it contains a fine fugue section and is linked with the third movement one of Beethoven's "grand scherzi". This "scherzo" is twice interrupted by two somewhat similar "trios". The last movement has a slow and magnificent, if short, introduction; the finale itself, restless and agitated, is in rondo form and ends with a coda which is almost Italian in its colour and gaiety. Interval of ten minutes Quartet in C major Op. 59 No 3 III Introduzione Allegro vivace Andante con moto quasi Allegretto Menuetto Allegro molto Beethoven (Last performed in 1953 by the Amadeus String Quartet) This quartet, the third of the Rasoumovsky set, was written in 1806 and therefore belongs to Beethoven's second period. The extent of Beethoven's development may be real- ised by comparing this quartet with those of Op. 18. Langford once described Op. 59 as among Beethoven's most glorious and happy works. Bekker finds in all three quartets a central idea of triumph which gives rise to their monumental style. "It is an idea which strains the form of the string quartet to the uttermost, and the result is a series of works of a majesty and expressive power such as no one before Beethoven had dreamed of obtaining from four string instruments.' ' In some The first movement is in sonata form. It has an introduction clean out of the tonic key, but it leans gradually towards it. Two chords, much used in, later sections, lead to the principal subject, played by the first violin. This movement shows Beethoven in one of his happiest moods. The Andante is in a modified sonata form though in mood and spirit it is lyrical; it has been called one of the first great romantic movements in music. earlier quartets Beethoven had begun to abandon the Minuet and Trio movement in favour of the Scherzo. Here he returns to it for the last time, but with a difference. This is a Menuetto grazioso, far removed from the old, simple dance form. A Coda of six bars leads. directly into the last movement-a lengthy and mas: ve fugue, hich yet has some resemblance to sonata form. Of this movement. Langford once wrote: "The last movement is a movement born of a single idea, if ever there was one. This singleness was one of Beethoven's great contributions to music. Beethoven, when he found his full strength, hewed his music out of the block. Single yet exhaustless in resource and power, his music, in such movements as he gives us here, becomes vast and, in its sublime unity, like the sea." The VEGH QUARTET was founded in 1940 in Budapest. After the war they made many important tours in Europe. In the International Music Competition (Geneva 1946) they won the first prize. They appeared at the Edinburgh Festival in 1952. VEGH (1921) was a pupil of Hubay and trained in Budapest. He is also well-known as a solo player. From 1940 to 1948 he was a professor at the Liszt Academy in Budapest. ZOLTY (1921) was also a pupil of Zathureczky and is also a solo artist. JANZER (1914) a pupil of Municipal Orchestra of Budapest. Studer, is a soloist and was concert-master of the SZABO (1920) pupil of Kerpely, is a soloist and before joining the Quartet, the first 'cellist of the Budapest Municipal Orchestra.

THE HUDDERSFIELD MUSIC CLUB MAYOR'S RECEPTION ROOM, TOWN HALL Monday evenings at 7-30 October 28th THE AMADEUS STRING QUARTET Quartet in F major K. 590 Quartet No. 6 Quartet in D minor (Death and the Maiden) December 2nd January 13th March 10th Schubert Christopher Bunting and Peter Wallfisch (Cello and Piano Recital) The Manchester Wind Ensemble The Madrid String Quartet Single tickets 7/6 from Woods, 67 New Street and at the door THE HALIFAX PHILHARMONIC SOCIETY LECTURE HALL OF THE HALIFAX LITERARY AND PHILOSOPHICAL SOCIETY Harrison Road Friday evenings at 7-30 October 4th THE VEGH STRING QUARTET Quartet in F major Op. 77 No. 2 Quartet Nol Op. 7 Quartet in D major K. 575 Mozart Bartok ☆ Single tickets 7/6 may be obtained from David Dugdale, Esq. 291 Willowfield Road, Halifax THE HUDDERSFIELD THESPIANS ST. PATRICK'S HALL 7th 12th OCTOBER at 7-30 p.m. "HOBSON'S CHOICE" by Harold Brighouse Tickets 3/6 and 2/- from Woods, 67 New Street Haydn Bartok Mozart

THE HUDDERSFIELD MUSIC CLUB President: J. Stancliffe Ellis, Esq. (The National Federation of Music Societies to which this Society is affiliated, supports these Concerts with funds provided by the Arts Council of Great Britain) MAYOR'S RECEPTION ROOM, TOWN HALL MONDAY, 28th OCTOBER, 1957 at 7-30 p.m. THE AMADEUS STRING QUARTET NORBERT BRAININ (Violin) PETER SCHIDLOF (Viola) MARTIN LOVETT SIEGMUND NISSEL (Violin) (Cello) Programme: Price Sixpence

Prog rogramme The analytical notes in this programme are the copyright of the Huddersfield Music Club Quartet in F major K 590 I Quartet No. 6 Mozart (1756-1791) Allegro moderato Allegretto Minuet and Trio Allegro (First performance at these Concerts) In 1789 Mozart visited the court of Prussia, where the King, himself a player of the cello, commissioned him to write a set of six string quartets and his daughter, the Princess Fredrika, a set of piano sonatas. Of the latter, one only (K.576) was composed. Immediately after his return to Vienna Mozart wrote one string quartet (K.575); two more (K.589 and K.590) were finished the following year, but the set was never completed. These three quartets are known as the "Prussian Quartets". They are essentially courtly and elegant music, and all have, probably for the benefit of the King, unusually important cello parts. It is a noteworthy fact that these three gay and graceful works, as well as the opera Cosi fan Tutti, were written at a time when Mozart's difficulties were pressing ever more heavily upon him and his health was beginning to give way under the strains and stresses of his life. Mozart was never more prolific in his work than when his sufferings were greatest. In spite of their grace and gaiety, Dyneley Hussey finds in these three quartets "a new note, which if not wholly absent from the works of the preceding years, is sounded here definitely for the first time". Of the three, the Quartet in F major is the most serious of the group; and in its contrasts, says Hussey, we hear for the first time that dramatic sense of struggle and aspiration, and of self-expression, which is found, in all its completeness, in the music of Beethoven. The opening movement begins boldly with its first subject, a unison passage for all four instruments; this is immediately repeated by the first violin, piano, a tone higher. The second subject, given to a high register of the cello, springs from the first subject as "an independent variant". Much contrapuntal use is made of this material and the movement ends with a coda. In the "slow" movement (marked Allegretto in C major) "the humorous note and strict uniformity are still preserved. Here the imitative passages are as capricious as the off-shoots that wander in and out of the theme as it proceeds" (Abert). The Minuet (C major) is founded upon a "mocking bird motif". The finale is written in that combination of sonata and rondo form for which Mozart had such a liking. Its lively theme is broken by hesitations and pauses There are two episodes; one, gloomy in mood, in D minor, and a second in C minor, noticeable for the graceful use of the mordant and its chromatic colouring. II Bartok (1881-1945) Mesto. Vivace Mesto. Marcia Mesto. Burletto Mesto (First performance at these Concerts) Bartok was born in Hungary in 1881. His father, the director of an agricultural college and a good amateur musician, died when he was 8. The mother, also a musician, became an elementary school teacher in various parts of the country, thus giving the child an opportunity of coming into early contact with the different types of Hungarian national music. At the age of 9 Bartok began to compose small piano pieces and at 11 he appeared at his first concert as composer and pianist. In 1893 he went to Pressberg where he studied under Erkel; at 19, largely influenced by Dohnanyi, he continued his studies at the Budapest National Academy. His early (unpublished) works were influenced by Brahms, and later by Strauss and what was then called "Magyar music". None of these influences were lasting, particularly when he and Kodaly, working together, began their important researches into the true Magyar folk-music as opposed to that which had been debased by the gipsies and that which properly belonged to the neighbouring countries. In 1907 Bartok was appointed professor of the piano at the Budapest Academy; he retired in 1912 to devote himself to composition and the study of folk-music. He died, in tragic circumstances, in New York in 1945.

John Culshaw remarks that Bartok's true development can be followed in his six string quartets. In date they range from 1908 to 1939. "Each quartet leads on towards new_ground or to the resolution of problems unsolved in previous works". The first shows Bartok's melodic and contrapuntal style of writing without the later harshness and acidity; in the second, we have the early Bartok in the first movement, while in the second the new harsh and astringent elements appear. The third and fourth, particularly the latter, show Bartok at his most extreme; it is suggested that in these he explored the extreme limits of discord. "Their strange and disturbing idiom is far removed from the bounds of ordinary musical experience." (Culshaw). The fifth has a softening of expression allied to a growing economy of texture. But when the sixth was written, experiment had ended. The clash of Bartok's counterpoint remains, as does the powerful rhythmic stress, but this quartet has a new lyric quality, a clearer texture, a warmer and more mellow feeling and a simplicity and serenity which makes it the crown of his chamber music. Whether we like these quartets or not, it is undeniable that they are some of the most important and original works for this form to be written in modern times. The sixth quartet has a new and original form. The three first movements each start with a kind of motto-theme; in the first it is played by the solo viola, in the next by the cello with a counterpoint added to introduce the Marcia; in the third by the violin with two added counterpoints to introduce the Burletto (Lit. a little joke. In music it denotes a specially boisterous scherzo). This theme has no connection with the material of the movement until the finale, when it forms the basis of a short fugal movement, which serves as an epilogue the whole work giving to it a form and unity which is completely satisfying. Interval of ten minutes III Quartet in D minor Op. posth. HI Schubert (1797-1828) Allegro Andante con moto Scherzo Trio Presto (Last performed in 1952 by the Amadeus String Quartet) This quartet was written at the period when Beethoven was creating his last string quartets, and it is interesting to compare the complete difference in conception and technique between the two masters. "It would be tempting to compare the "seriousness" of Beethoven's Op. with the seriousness of the D minor quartet. Schubert's seriousness is free from pathos; he is more spontaneous; he goes deeper and deliberately avoids the optimistic or triumphant note on which Beethoven ends." (Einstein). Kahl has pointed out that while Beethoven's ideal was that of a lineal quartet style and that he was "moving in the direction of sound free from sensuousness", Schubert "kept before him as an ideal...rather the obtaining of colour effects, as in the orchestra, by the arrangement of the parts in layers." "Here are beautiful ideas, boldness and bigness of reach and grasp, and entirely new chamber harmony with chords rich and romantic in themselves and not the necessary and logical outcome of part-writing.' It was not until 1824 that Schubert turned in earnest to the writing of string quartets, and within the next two years he wrote three. This quartet remained in manuscript till 1851. Kahl considers that the struggle with death is the theme of the first movement. If so, death is greeted with defiance. To that challenge is opposed a delightful theme in the relative minor. The development combines the themes in a masterly fashion with enchanting modulations. The chorale-like setting of Death's words from Schubert's own song is the theme for the five variations of the slow movement. "What Schubert could only suggest in the song here finds expression in a fuller, freer, wordless sphere. He does not write programme music nor do we need to know the song, but we feel unmistakably in this music the symbols of inevitability and consolation." (Einstein). According to Heuss "Death as the demon fiddler" is the theme of the sharply contrasting Scherzo. "The Finale definitely in the character of a dance of death; ghastly visions whirl past in the inexorable uniform rhythm of the tarantella". A theme from another song-the voice of the Erlking completes the picture. The whole work is filled and unified with one consistant and compelling idea. most THE AMADEUS STRING QUARTET was founded as a professional ensemble in 1947 after several years of quartet playing during their years of study. They made their London debut in 1948 and are now everywhere recognized to be one of the leading quartets of the world. The members of the quartet are all young; three are of Viennese origin and came to this country in their early 'teens.

THE HUDDERSFIELD MUSIC CLUB MAYOR'S RECEPTION ROOM, TOWN HALL Monday evenings at 7-30 December 2nd. CHRISTOPHER BUNTING (Cello) and PETER WALLFISCH (Piano) Sonata in G minor Op. 5 No. 2 Solo Suite in G major for Cello Sc ta for cello and piano Three Intermezzi for piano Sonata No. 2 January 13th. March 10th. The Manchester Wind Ensemble The Madrid String Quartet Single tickets 7/6 from Woods, 67 New Street and at the door Beethoven Bach Debussy Brahms Martinu THE HALIFAX PHILHARMONIC SOCIETY LECTURE HALL OF THE HALIFAX LITERARY AND PHILOSOPHICAL SOCIETY Harrison Road Friday evenings at 7-30 December 6th. GEORGINA DOBREE (Clarinet), CHRISTOPHER BUNTING (Cello) and PETER WALLFISCH (Piano) Concertino for clarinet and piano Sonata in C major Op. 102 No. 1 Fantasiestucke for clarinet and piano Trio in A minor Op. 114 ☆ ☆ Single tickets 7/6 may be obtained from David Dugdale, Esq. 291 Willowfield Road, Halifax ☆ Dobrzynski Beethoven Schumann Brahms THE HUDDERSFIELD THESPIANS ST. PATRICK'S HALL 18th to 20th November at 7-30 p.m. "MY THREE ANGELS" A comedy by Sam and Bella Spewack from the French play "Cuisine des Anges" by Albert Husson Tickets 3/6 and 2/- from Woods, 67 New Street

THE HUDDERSFIELD MUSIC CLUB President: Stancliffe Ellis, Esq. (The National Federation of Music Societies to which this Society is affiliated, supports these Concerts with funds provided by the Arts Council of Great Britain) MAYOR'S RECEPTION ROOM, TOWN HALL MONDAY, 2nd DECEMBER, 1957 at 7-30 p.m. CHRISTOPHER BUNTING PETER WALLFISCH Cello and Piano Recital Programme: Price Sixpence

Programme The analytical notes in this programme are the copyright of the Huddersfield Music Club I Sonata in G minor Op. 5 No. 2 Allegro sostenuto ed espressivo Allegro molto piu tosto-Presto Rondo. Allegro (First performance at these Concerts) Beethoven (1770-1827) The composition of works for cello and piano presents many special problems, which have become increasingly apparent, due to the lack of balance in tone quality between the two instruments. The cello, like all other stringed instruments, has remained practically unaltered while the modern piano has developed into an instrument of great power and resonance. It is true that the piano of Beethoven's time was of much less power but even at that date the difficulties of balance existed. Haydn in his trios used the cello merely as a support for the bass. Mozart gave it far more importance and freedom; but is was not until the first sonatas of Beethoven that any real combination of the two instruments in an equal partnership was arrived at. It is interesting note how, from the first, Beethoven uses all the registers of the cello freely, how he deals with the problem of bringing out the singing qualities of the cello, often at a pitch which with difficulty penetrates the volume of the piano tone; and how carefully he clarifies and lightens the more powerful and ringing qualities of the piano. Between the years 1796-1815 Beethoven wrote five sonatas for cello and piano. The two sonatas Op. 5 were written during a visit to Berlin in 1796 and were dedicated to King Fredrick William II, who was himself a cello player. As in the case of so many of Beethoven's duo sonatas, they were written with a particular player in mind; in this case it was Duport, a French cellist, then in Berlin, and considered to be the originator of modern cello technique. Because of their peculiar problems Beethoven composed these sonatas with a different effect in mind from the violin sonatas, which are essentially brilliant virtuoso concert pieces. To quote d'Indy: "It would seem that the composer, attracted by the tenor voice of this instrument, has done his best to bring out this singing quality by means of broad, slow phrases, and to give it more importance than the element of virtuosity. This tendency explains why three of the sonatas open with a long and often pathetic introduction, and also why the second subjects of the quick movements-the expressive subjects-are treated at much greater length than in the other sonatas." The first movement of Op. 5 No. 2 well illustrates this point of view. It opens with a lengthy introduction of 43 bars-almost a slow movement in itself-before arriving at the main section. Here the first subject fills 26 bars, while the working out of the second and more lyrical subject takes 95 bars with a coda before reaching the development section. The recapitulation follows the usual course and is followed by a lengthy coda-again an innovation in form, based upon a hesitating and varied version of the main theme. The second and final movement is a Rondo in which the main theme recurs five times followed each time by a very fully worked-out episode. This movement is perhaps less successful from the structural point of view, but it has many delightful features showing varied aspects of cello technique supported by a glittering and brilliant piano part. Suite in G major for solo cello Prelude Allemande Courante Sarabande II Bach (1685-1750) Minuet Gigue (Last performed in 1927 by Suggia)

Sonata for cello and piano Prologue Serenade Finale III (Last performed in 1950 by William Pleeth and Margaret Good) This Sonata is one of Debussy's last works. It dates from 1915 when, after a period of unproductiveness, Debussy wrote in rapid succession the Douze Etudes for piano, "En blanc et noir" and two sonatas, one for cello and piano and the other for flute, viola and harp. Earlier in that year he had written, "I want work, not so much for myself, but to give proof, however small it may be, that even if there were thirty million Boches, French thought will not be destroyed." Debussy had, in fact, planned to write "Six Sonates pour divers instruments par Claude Debussy, musicien francais" but only three of the set were completed. For some years before he died, Debussy had suffered from a painful and terrible malady, and, possibly, added to their creative inspiration and originality, one may feel in these latest works some of the weariness and sickness that had oppressed him. As Andre Suares wrote, it often "la douleur qui parle." Three Intermezzi This sonata is Debussy's only work for cello and piano. It was suggested by Italian comedy and was to have been called "Pierot fache avec la lune." It has three short movements, the last two being closely linked together. The first movement is free and rhapsodical in style; it contains themes from earlier works. The second has some kind of humour; the cello imitates the mandoline. The third movement has some slight appearance of sonata form and the themes have almost a folk-song flavour. Interval of ten minutes IV Debussy (1862-1918) Sonata No. 2 (1941) (i) E flat major Op. 117 (ii) B flat major Op. 117 (iii) E minor Op. 119 V Allegro Largo Allegro commodo Brahms (1833-1897) Martinu (b. 1890) (First performance at these Concerts) Bohuslav Martinu who is emerging as one of the greatest living composers, was born near Prague in 1890. He studied with the Bohemian composer Suk and later with Roussel in Paris, and the influence of both these composers can be detected in his music, the former's rather confining nationalism being tempered by a Parisian cosmopolitanism. However, his stature is not to be measured by relating him to either of these figures, for his music possesses a personal dynamism and vision that is unique, and when he went to America in 1940, Serge Koussevitzsky championed him. The second cello sonata is a product of his first years in America and is possibly the most important work in this form since 1920, distinguished as it is for its intellectual elegance, its emotional fervour and sheer musical integrity. The first movement is here and there of Tchaikovsky and a gesture or two of Gershwin, but with the personality of Martinu transcending both. The second movement is a haunting Largo, perhaps a lament for his lost homeland. The Finale, marked Allegro commodo, pays tribute to Bach and drives forward with enormous strength. There is a short cello cadenza, and with the return of the piano the music becomes more and more exciting, ending in a veritable Bohemian "furiant." Christopher Bunting He was CHRISTOPHER BUNTING was born in London in 1924 of musical parents. educated at Westminster School and Cambridge, where he took an honours degree in 1950. In 1951 he gained a diploma the Concours International at Geneva; in 1952 he was awarded a scholarship and studied with Casals. He gave his first London recital in 1953. He has become well known both for his per ances the classical repertoire and his presentation of new works both by British and foreign composers. PETER WALLFISCH was born in Breslau in 1924 and received his first musical training there from the age of 10. He emigrated to Palestine in 1938 and obtained a scholarship at the Jerusalem Academy of Music. He received his diplomas, with honours, four years later. He taught at the Jerusalem Conservatoire for two years, as well as appearing as a solo artist. He next was awarded a further scholarship and went to Paris to study under Marguerite Long and Jacques Fevrier. He made his debut in Paris in 1948, and has since appeared with outstanding success throughout Europe and South America.

THE HUDDERSFIELD MUSIC CLUB MAYOR'S RECEPTION ROOM, TOWN HALL Monday evenings at 7-30 January 13th THE MANCHESTER WIND ENSEMBLE (Flute, Oboe, Clarinet, Horn, Bassoon and Piano) Sextette Kleine Kammermusik Quintette in E flat major Op. 16 March 10th Single tickets 7/6 from Woods, 67 New Street and at the door ☆ The Madrid String Quartet Roussel Hindemith Beethoven THE HALIFAX PHILHARMONIC SOCIETY LECTURE HALL OF THE HALIFAX LITERARY AND PHILOSOPHICAL SOCIETY Harrison Road Friday evenings at 7-30 December 6th GEORGINA DOBREE (Clarinet), CHRISTOPHER BUNTING (Cello) and PETER WALLFISCH (Piano) Concertino for clarinet and piano Sonata in C major Op. 102 No. 1 Fantasiestucke for clarinet and piano Trio in A minor Op. 114 ☆ Single tickets 7/6 may be obtained from David Dugdale, Esq. 291 Willowfield Road, Halifax Dobrzynski Beethoven Schumann Brahms ST. PATRICK'S HALL 20th to 25th January, at 7-30 p.m. "I AM A CAMERA" THE HUDDERSFIELD THESPIANS By John Van Druten Tickets 3/6 and 2/- from Woods, 67 New Street

THE HUDDERSFIELD MUSIC CLUB President: J. Stancliffe Ellis, Esq. (The National Federation of Music Societies to which this Society is affiliated, supports these Concerts with funds provided by the Arts Council of Great Britain) MAYOR'S RECEPTION ROOM, TOWN HALL MONDAY, 13th JANUARY, 1958 at 7-30 p.m. THE MANCHESTER WIND ENSEMBLE WILLIAM MORRIS (Flute), MICHAEL WINFIELD (Oboe) FRANK HOLDSWORTH (Clarinet), MAURICE HANDFORD (Horn), CHARLES CRACKNELL (Bassoon) RAYSON WHALLEY (Piano) Programme: Price Sixpence

Programm The analytical notes in this programme are the copyright of the Huddersfield Music Club I Divertimento in B flat major (St. Anthony Chorale) Haydn (1732-1809) for Flute, Oboe, Clarinet, Horn and Bassoon Allegro spiritoso Andante (St. Anthony Chorale) Minuet and Trio Rondo Haydn wrote six Feldpartiten between 1780-89 for the military band of Prince Eszterhazy and revised them some years later. Perhaps the most important of them is now the Divertimento in B flat. All four movements have a close melodic connection; they might almost be considered variations upon the St. Anthony Chorale. In this way Haydn revived the old seventeenth century German variation Suite in which all the dances are variations upon one main dance. Brahms was shown this Divertimento in 1870 by Pohl, Haydn's biographer; he immediately noted down the chorale (an old Austrian pilgims' song) and later used it as the theme for his Variations on a Theme by Haydn Op. 56. II Divertissement for Piano and Wind Quintet Op. 6. Roussell (1869-1937) Roussell was born in Tourcoing; his family were well-known members of industrial concerns. As a young man he served in the French Navy. He resigned from it in 1894 in order to devote himself entirely to music. In 1898, after a period of private study, he entered the Schola Cantorum in Paris where he remained till 1908. The Schola Cantorum was an institution formed. 1894 by Charles Bordes with the aim of reviving the Gregorian tradition of plain chant and the restoration of the church music of the Palestrina period. Thus the studies of this school were mainly concerned with the historical evolution of music. "In spite of his long period of study under d'Indy at the Schola Cantorum, the scholastic influence of which was supplemented by several years' service as teacher at the same institution, Roussell manifested from the outset a singularly independent personality... With some slight and early devaitions, Roussell's independence has remained unalterable through- out his career"" (Hill). He has perhaps emerged as one of the most important figures in modern French music, possessing a strength and grandeur which is rarely to be found in the music of his contemporaries. Both as a Naval Officer and in later years, Roussell travelled much, especially in the Far East; and he certainly drew inspiration from these experiences as well as being far removed from the sophisticated atmosphere of Parisian music circles. Some French critics have, indeed, tried to draw a comparison between the writings of Joseph Conrad and the music of Roussell. The Divertissement, written in 1906, "is a most imaginative and racy little work, rich in picturesque and poetic suggestions. It is in one movement; the first section, brisk and mainly rhythmic, is followed by a lento in which the flute plays the principal part; the third and last section, founded on the same rhythmic theme as the first, begins animando, rising to a brilliant climax, after which a more dreamy mood prevails until the end." (M. D. Calvocoressi)

III Kleine Kammermusik Op. 24 No. 2 for Wind Quintet Lustig Waltzer Ruhig Schnell Lebhaít Hindemith (b. 1895) Hindemith is one of the best-known and most prolific composers of modern Germany. He was born at Hanau (South Germany) and studied at Frankfort. From 1915-23 he first led and then conducted the Frankfort Opera. He later joined the Amar Quartet as the viola player. He is a fine player of that instrument, a fact which is reflected in the viola parts of his compositions. He has also played percussion instruments; he is a good pianist and a clarinet player. Hindemith is a rapid and facile writer and his output is remarkable. He has experimented in many styles including atonality and polytonality, but from 1925 the "back to Bach" movement has predominated. He has even not disdained a cabaret type of art, and he has evidently found inspiration in the modern age of machinery and materialism. His music has humour, vitality and rhythm but little sentiment, though some of his later work is said to show an erotic tendency. He has been much attracted by chamber music and works for chamber orchestra. The Kleine Kammermusik dates from 1922. It has been described as a work "full of ironic humour, with an occasional suggestion of parody". (Edwin Evans). As in all Hindemith's work, the music, though difficult, is admirably constructed to suit and to bring out the tone colour of each instrument. This work is largely based on rhythmic patterns. Each of the first three movements concerns itself with one particular rhythmic pattern. The fourth movement, almost an introduction to the last movement, beats out powerful rhythmic passages which are separated by solo flourishes for each instrument in turn. The rapid finale is in 6/4 time with bars of 9/4 time at unexpected intervals. Interval of ten minutes IV Quintet in E flat major Op. 16 for Piano, Oboe, Clarinet, Bassoon & Horn Beethoven (1770-1827) Grave. Allegro Andante cantabile Rondo Beethoven's chamber music can be divided into three main groups which he started almost simultaneously: (I) wind instruments with or without piano (II) piano and strings. (111) strings alone. Only the final group kept Beethoven's interest to the last. Leichtentritt remarks that Beethoven's earliest chamber music was written for wind instruments in the manner of music for social occasions, serenades and the like. The later addition of the piano to the ensemble gave it an added depth and interest. The end of Beethoven's use of wind combinations coincides with the beginning of the symphonies, and after 1800 Beethoven wrote no more music for wind instruments except in the orchestra. It is as if he considered these earlier works to be the preparation for his symphonic triumphs. The Quintet in E flat (a key which Beethoven almost invariably employed for wind chamber music as being the most suitable for the players) dates from 1796. At the same time he issued a version of the same work arranged for piano and string quartet with the same opus number. In the Wind Quintet, a work which if "early" abounds in a "wealth of natural feeling" and lavish ideas, Beethoven uses the principle of contrasting forces, the piano stating the principal themes and the reply being given to the concerted wind instruments. The introduction to the first movement opens with a passage in unison for all five instruments based upon the tonic chord; this is followed by a passage for the piano with a wind reply. The music continues on these lines until, after a dominant pedal point the Allegro commences. Here again the piano announces the theme and the wind, led by the clarinet, reply, supported by a skeleton accompaniment. The cantabile second subject is treated in the same way. In the developement section the wind instruments have freer play. The movement ends with a coda based on the first subject. The Andante is a type of rondo. The piano opens with the principal theme answered again by the wind, the clarinet having the melody. The oboe and the bassoon are prominent in the first episode; the piano accompaniment grows richer, leading back to a more elaborate version of the theme. The second episode, in the minor key, is, in general, a horn solo with accompaniment; the third episode gives a brilliant display to the piano. The last movement, turbulent in mood, is again a rondo and is based upon a hunting type theme. (All four works are being performed for the first time at these Concerts)

THE HUDDERSFIELD MUSIC CLUB MAYOR'S RECEPTION ROOM, TOWN HALL Monday evenings at 7-30 March 10th THE CLASSICAL QUARTET OF MADRID Quartet No. 3 in E major Quartet on the guitar chord in F major Quartet in F minor Op. 96 Single tickets 7/6 from Woods, 67 New Street and at the door THE HALIFAX PHILHARMONIC SOCIETY LECTURE HALL OF THE HALIFAX LITERARY AND PHILOSOPHICAL SOCIETY Harrison Road Friday evenings at 7-30 March 14th Arriaga Turina Dvorak THE CLASSICAL QUARTET OF MADRID Quartet No. 1 in D minor Quartet in B flat major Op. 67 A Quartet by a contemporary Spanish composer ☆ ☆ Arriaga Brahms Single tickets 7/6 may be obtained from David Dugdale, Esq. 291 Willowfield Road, Halifax THE HUDDERSFIELD THESPIANS ST. PATRICK'S HALL 20th to 25th January, at 7-30 p.m. "I AM A CAMERA" By John Van Druten Tickets 3/6 and 2/- from Woods, 67 New Street

THE HUDDERSFIELD MUSIC CLUB President: J. Stancliffe Ellis, Esq. (The National Federation of Music Societies to which this Society is affiliated, supports these Concerts with funds provided by the Arts Council of Great Britain) MAYOR'S RECEPTION ROOM, TOWN HALL MONDAY, 10th MARCH, 1958 at 7-30 p.m. THE CLASSICAL QUARTET OF MADRID JOSE FERNANDES (Violin) EMILO MORENO de HARO (Violin) ANTONIO ARIAS (Viola) CARLOS BAENA (Cello) Programme: Price Sixpence

Program ramme The analytical notes in this programme are the copyright of the Huddersfield Music Club Quartet No. 3 in E flat Major I Allegro Pastorale Andantino Minuet and Trio Presto agitato Arriaga (1806-1825) (First performance at these Concerts) Juan Crisostomo Antonio Arriaga y Balzola, born at Bilbao, was a violinist and composer of great promise. When a mere child and without any formal training instruction he wrote a Spanish opera "Los Esclaves Selices" (The Happy Slaves). In 1821 he was sent to the Paris Conservatoire where he studied the violin under Baillot and composition under Fetis. Two years later, after making enormous progress in counterpoint he wrote an "Et Vitam Venturi" in eight parts which Cherubini is said I have hailed as a masterpiece. He died in Paris, worn out by his intense studies in his twentieth year, leaving behind him an overture, a symphony, a Mass, many unpublished works and three string quartets (1824) which are generally considered to be his finest work. There is no doubt that Spanish music lost much by his premature death. He has been called the "Mozart of Spain", "but, perhaps from the rhythmic point of view, he is nearer to the early Beethoven. This quartet is strictly classical in form, though lightened with great elegance and much imaginative power. The first movement has a constantly recurring rhythmic pulse which persists throughout. The second movement is a pastorale, which includes a storm scene. The Minuet is more pensive in mood; in the Trio the first violin has the melody throughout. The last movement has an agitato character and its mood is, in general, sad; the second subject is marked con dolore (with sorrow). II Quartet in D minor on the Guitar Chord (1911) Turina (1882-1949) Prelude. Andantino-Allegretto Zortzico. Assez vif, mais dans un sentiment tranquille Andante. Quasi lento-Allegretto Finale. Vivace ma non troppo (First performance at these Concerts) Joaquin Turina, the Spanish composer and pianist, was born at Seville. In 1905 he went to Paris where he studied piano with Moszkowski and composition under d'Indy at the Schola Cantorum. His name is often linked with that of de Falla, both, though differing in essentials, being the chief representatives of the younger generation of Spanish musicians in Paris whose progress was followed with keen interest by Debussy, Ravel, d'Indy, Florent Schmitt and others. Both Turina and de Falla returned to Spain in 1914, where their influence and importance grew rapidly. As well as his fame as a composer, Turina was a fine pianist, appearing both as a solo artist and as the pianist of the Quinteto de Madrid. He was also for a time one of the conductors of the Russian Ballet in Spain. Turina has written a considerable amount of chamber music, but the quartet to be played tonight is his only string quartet. (The quartet "La Oracion del Torero" being originally written for two lutes) In general Turina's music is inspired by nationalistic influences, particularly by the vivid patterns in sound, rhythm and colour which are associated with Spanish art. Perhaps the piano quintet is his finest piece of chamber music, but he "did not attract attention in this particular branch of art until the production of the quartet in D minor by which the modern repetoire became enriched with a new and colourful idiom." (Pedro Morales). The quartet has been described as "triumphant" and it is a work heard far too seldom. The Spanish guitar is a six-stringed instrument, turned in fourths and thirds with E as the lowest note. The Zortzico is a Basque dance-song of remote origin in 5/8 time.

Interval of ten minutes Quartet in F major Op. 96 III Allegro ma non troppo Lento Molto vivace Vivace ma non troppo Dvorak (1841-1924) (Last performed in 1944 by the Griller String Quartet) This quartet, written in 1893 and often called "The Nigger" is thought, like the same composer's "New World Symphony", to be founded upon traditional Negro melodies. Actually, the themes are built upon certain typical features of the songs of the negro races, such as the pentatonic scale, and not on the use of definite native songs themselves. Both works were written during a lengthy stay in America; and, though the foreign influence is apparent in them, Dvorak never loses his intense Czech nationalistic feeling and his own characteristic style. To quote Professor Sourek: "Dvorak spent eight months in the chaos of metropolitan life in a society and nation quite strange to him, in a journalistic world both sensational and polemical, amid vociferous praise and celebrations given in his honour; then suddenly found himself in the strangely quiet beauty of the heart of America, surrounded by a circle of Czech agriculurists, worthy farmers, lusty peasants, cheery priests and kindly old wives, who listened with tears in their eyes to the old church music of their native Bohemian villages which the musician played for them on the organ at Mass. Here, then, is the origin of the fundamental mood which inspired this charming, quickly written (in three days) but detailed work, touched in places with painful yearning, yet with a smiling, idyllic sentiment prevailing throughout. Here is the reason why so many of the ideas in the quartet are simple substance, and why the themes are frequently exposed in a kaleidoscopic fashion, without profound and systematic elaboration and with preponderance of homophonic structure. The quartet is interesting harmonically on account of its swift and unexpected modulations through related and remote keys, in which there is a surprising charm of artifice that only serves to strengthen the fundamental-as it were improvised-style of the whole work." Like the "Aus meinem Leben" Quartet of Dvorak's teacher, Smetana, this work opens with a viola melody, supported by a wavering violin figure and a low held note for the cello. This movement is based on three main themes. The long-spun melodic line of the deeply-felt Lento has throughout the movement a persistant, rocking accompaniment in eight-bar periods. The Scherzo opens in arresting fashion; the whole movement dances and glitters. Technically it consists of a number of miniature variations cleverly constructed upon a single theme. The final is a gay rondo with chorale-like episodes; it ends with a particularly vivacious coda. THE CLASSICAL QUARTET OF MADRID was founded in 1945 with the object of increasing the knowledge of, and interest in, chamber music in Spain. Since its inauguration it has given regular series of concerts throughout Spain and abroad; it has everywhere achieved constant success. In Paris, Calvet hailed the Quartet as a group of musicians worthy of representing the spirit of their country. JOSE FERNANDES was born at Corunna. He studied under Arbos and won the Sarasate prize. EMILIO MORENO de HARO was born at Barcelona. He studied at the Madrid. Conservatoire and also won the Sarasate prize. ANTONIO ARIAS was born at Zamora. He studied in Madrid and Brussels. He too was a Sarasate prize winner and for 10 years was professor of violin at the Conservatoire of Salamanca. CARLOS BAENA was born at Madrid. He studied at the Madrid Conservatoire and won first prizes for chamber music and cello.

279E THE HUDDERSFIELD MUSIC CLUB Arrangements for next season's Concerts are now in progress. The Committee hope to announce in due course a series of concerts which will present both solo artists and chamber music ensembles of the highest quality. They would again like to emphasise the need for an appreciable increase in membership. ☆ ☆ THE HALIFAX PHILHARMONIC SOCIETY LECTURE HALL OF THE HALIFAX LITERARY AND PHILOSOPHICAL SOCIETY Harrison Road Friday evenings at 7-30 March 14th THE CLASSICAL QUARTET OF MADRID Quartet No. 3 in E flat major Quartet in B flat minor Op. 67 Quartet Arriaga Brahms Laoz Single tickets 7/6 may be obtained from David Dugdale, Esq. 291 Willowfield Road, Halifax, and at the door THE HUDDERSFIELD THESPIANS ST. PATRICK'S HALL 21st to 26th April, at 7-30 p.m. SHADOW and SUBSTANCE An Irish Comedy by Paul Vincent Carroll Tickets 3/6 and 2/- from Woods, 67 New Street