|
loading...|
|
The Huddersfield Music Society, HMS 43 |
|
|
1 The Huddersfield Music Society, HMS 43, Page 1 |
▲back to top |
Ocr'd Text:
HUDDERSFIELD MUSIC SOCIETY
Brochure
43rd Season's programmes 1960 - 1961
colorchecker
X x-rite
.....................
+
I
ww
HO
MSCCPPCC0613
OSW
Xx.rite
աա IIIII
1960
|
|
2 The Huddersfield Music Society, HMS 43, Page 2 |
▲back to top |
Ocr'd Text:
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 FORTY THIRD SEASON 1960-61
to be given in
THE MAYOR'S RECEPTION ROOM
TOWN HALL
On MONDAY EVENINGS at 7-30 p.m.
President
Vice-President ..
Honorary Vice-Presidents:
DAME MYRA HESS, BENJAMIN BRITTEN, F. W. GADSBY
S. H. CROWTHER
DAVID DUGDALE
Mrs. E. GLENDINNING
E. GLENDINNING
Miss Z. E. HULL
Mrs. A. EAGLEFIELD HULL
E. D. SPENCER, Esq.
Mrs. BRANSOM
Mrs. CALVERT
Committee:
P. L. MICHELSON
Cr. F. ROWCLIFFE
MAX SELKA
Miss A. SHAW
E. C. SHAW
Hon. Secretaries:
Mrs. A. E. HULL, 13 Cedar Avenue. Telephone Huddersfield 1094
STANLEY G. WATSON, 342 New Hey Road. Telephone Milnsbridge 1706
Mrs S. H. CROWTHER
Mrs. F. A. DAWSON
Miss K. EVANS
Mrs. E. FENNER
Hon. Treasurer:
P. S. THEAKER, National Provincial Bank, King Street
Mrs. J. SHIRES
W. E. THOMPSON
Mrs. S. G. WATSON
C. R. WOOD
Ladies' Committee:
Chairman: Mrs. J. SHIRES
Mrs. D. HIRST, J.P.
Mrs. A. HORSFALL
Mrs. A. E. HULL
Miss Z. E. HULL
Mrs. A. W. KAYE
Miss H. LODGE
Hon. Secretary: Mrs. E. GLENDINNING
Hon. Treasurer: Mrs. S. G. WATSON
Mrs. H. ROTHERY
Mrs. M. M. SAYER
Miss A. SHAW
Mrs. E. D. SPENCER
Miss W. TOWNSEND
The Club is open to everyone
llis
*********
1960.
|
|
3 The Huddersfield Music Society, HMS 43, Page 3 |
▲back to top |
Ocr'd Text:
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 FORTY THIRD SEASON 1960-61
to be given in
THE MAYOR'S RECEPTION ROOM
TOWN HALL
On MONDAY EVENINGS at 7-30 p.m.
President
Vice-President
Honorary Vice-Presidents:
DAME MYRA HESS, BENJAMIN BRITTEN, F. W. GADSBY
S. H. CROWTHER
DAVID DUGDALE
Mrs. E. GLENDINNING
E. GLENDINNING
Miss Z. E. HULL
Mrs. A. EAGLEFIELD HULL
E. D. SPENCER, Esq.
Mrs. BRANSOM
Mrs. CALVERT
Mrs S. H. CROWTHER
Committee:
P. L. MICHELSON
Cr. F. ROWCLIFFE
MAX SELKA
Miss A. SHAW
E. C. SHAW
Hon. Secretaries:
Mrs. A. E. HULL, 13 Cedar Avenue. Telephone Huddersfield 1094
STANLEY G. WATSON, 342 New Hey Road. Telephone Milnsbridge 1706
Mrs. F. A. DAWSON
Miss K. EVANS
Mrs. E. FENNER
Hon. Treasurer:
P. S. THEAKER, National Provincial Bank, King Street
Mrs. J. SHIRES
W. E. THOMPSON
Mrs. S. G. WATSON
C. R. WOOD
Ladies' Committee:
Chairman: Mrs. J. SHIRES
Mrs. D. HIRST, J.P.
Mrs. A. HORSFALL
Mrs. A. E. HULL
Miss Z. E. HULL
Mrs. A. W. KAYE
Miss H. LODGE
Hon. Secretary: Mrs. E. GLENDINNING
Hon. Treasurer: Mrs. S. G. WATSON
Mrs. H. ROTHERY
Mrs. M. M. SAYER
Miss A. SHAW
Mrs. E. D. SPENCER
Miss W. TOWNSEND
The Club is open to everyone
|
|
4 The Huddersfield Music Society, HMS 43, Page 4 |
▲back to top |
Ocr'd Text:
The Committee is happy to announce another season of
Chamber Music Concerts of outstanding merit.
The Janacek String Quartet, an ensemble of world-wide repu-
tation, is making its first appearance at these concerts. The Trio di
Bolzano, a piano trio of superb musicianship, will also be heard for
the first time. It is confidently expected that the Loewenguth String
Quartet will repeat the deep impression it made some years ago.
After their great success last season Rohan de Saram, perhaps the
finest cellist of his generation, and Osian Ellis have been
re-engaged. The latter will give a Harp Recital, together with folk-
songs, which should prove a most rewarding evening.
A series of concerts of such quality and interest will, the
Committee feel sure, command the approbation of all members, to
whom they reiterate their appeal to introduce NEW MEMBERS to
the Club.
Monday 3rd October 1960
Osian Ellis
Harp Recital and Songs
Works by J. Parry, C. P. E. Bach, Haydn, Saint-Saens,
Hindemith and Roussel
Monday 24th October 1960
The Loewenguth String Quartet
Two Fugues from The Art of Fugue
Bach
Quartet in D major K.499
Mozart
Quartet in E flat major (The Harp) Op.74
Beethoven
Quartet in D minor Op. posth. (Death and the Maiden)
Schubert
|
|
5 The Huddersfield Music Society, HMS 43, Page 5 |
▲back to top |
Ocr'd Text:
Monday 28th November 1960
Rohan de Saram
Cello Recital
At the piano: Ivor Keys
Sonata for cello and piano in A minor Op.69
Suite in D major
Sonata for cello and piano Op. 119
Monday 23rd January 1961
Trio di Bolzano
Trio in B flat major Op. 97 (The Archduke)
Trio in A
Trio in E minor Op. 90 (Dumky)
Monday 20th February 1961
The Janacek String Quartet
Quartet in D major Op. 64 No. 5
Quartet No. 2 "Scarlet Letters"
Quartet in E minor Op. 59 No. 2
Beethoven
Bach
Prokofieff
Beethoven
Pizzetti
Dvorak
Haydn
Janacek
Beethoven
|
|
6 The Huddersfield Music Society, HMS 43, Page 6 |
▲back to top |
Ocr'd Text:
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. Theakery..
National Provincial Bank, King Street, Huddersfield)
before the date of the FIRST Concert (3rd October)..
Cheques should be made payable to "The Huddersfield
Music Club". In the event of any of the tickets not being
required this year, they must be returned to Mrs. Hull,
13 Cedar Avenue, 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.
$
|
|
7 The Huddersfield Music Society, HMS 43, Page 7 |
▲back to top |
Ocr'd Text:
The Huddersfield Music Club
***************
Osian Ellis
6. 31 1960
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
PROGRAMME PRICE SIXPENCE
|
|
8 The Huddersfield Music Society, HMS 43, Page 8 |
▲back to top |
Ocr'd Text:
|
|
9 The Huddersfield Music Society, HMS 43, Page 9 |
▲back to top |
Ocr'd Text:
THE HUDDERSFIELD MUSIC CLUB
Forty-third Season 1960-61.
Monday October 3rd 1960
OSIAN ELLIS
Harp Recital.
OSIAN ELLIS, the son of a Welsh Methodist
Minister, was born in 1928 and brought up in North
Wales. He studied at the Royal Academy of Music
from 1945-1948 after winning two scholarships; while
there he gained further distinction by winning the
Leney prize as a soloist and the Vivian Dunn prize
as an orchestral player. He has not become a
permanent member of any orchestra but has played a
great deal with all the great London orchestras,
particularly the Philharmonia, with whom he toured
Europe in 1954 and North America in 1955. He has
been in demand in all musical spheres, giving recitals,
chamber music concerts, broadcasting and making
gramophone records. He has been a Welsh National
Eisteddfod adjudicator in 1950-51-52.
He is married;
his wife is Welsh and is also a musician.
A great virtuoso of the harp, he has never
sericusly considered himself as a singer, but,
springing from a musical Welsh family, there has
never been a time when he did not sing. The folk-
songs, the traditional songs, the harp music and the
"penillion singing" have always been with him; they
are part of his heritage and culture.
|
|
10 The Huddersfield Music Society, HMS 43, Page 10 |
▲back to top |
Ocr'd Text:
++
A
|
|
11 The Huddersfield Music Society, HMS 43, Page 11 |
▲back to top |
Ocr'd Text:
Allegro
Sonata for Harp
Programme
Allegro moderato
Adagio
Allegro
This second son of J.S. Bach showed a remarkable
musical precosity. "At the age of 11 a swift glance
over his father's shoulder enabled him to play forthwith
the music he was writing." His compositions, too, date
from an early age, his father being his teacher. His
musical life was passed first at the rigid Prussian
Court and then at Hamburg, to which he had gladly
escaped. As an executant he excelled at the clavier
(b) On a time.
Sonata in G major
and the irgan. Extraordinarily prolific as a composer,
he wrote the best clavier music of his time. He
provided a direct link between the style of his father
and the new clavier music of the later generation;
Haydn, Mozart and Clementi all acknowledged their debt
to him. He despised "learned music" and the rigid
discipline of counterpoint. "The characteristics of
his art are homophonic treatment of thematic material,
formality of design and delicacy of workmanship." (Grove)
The Sonata to be played tonight is an original
composition for the harp.
Songs with Harp
(a) What then is love but mourning.
Fantasie
Etude de Concert
John Parry (1710-1782)
C.P.E. Bach (1714-1788)
Allegro
Adagio
Philip Rosseter
(1575-1623)
John Attey (d. 1640)
Haydn (1732-1809)
Minuet and Trio
Allegro
Saint-Saens (1835-1921)
Marcel Tournier (d. 1951)
Interval of ten minutes
|
|
12 The Huddersfield Music Society, HMS 43, Page 12 |
▲back to top |
Ocr'd Text:
Sonata
|
|
13 The Huddersfield Music Society, HMS 43, Page 13 |
▲back to top |
Ocr'd Text:
Sonata (1939)
Moderately fast
Lively
Very slow
f modern Germany.
at Frankfurt.
Hindemith is one of the best-known composers
He was born at Hanau and studied
From 1915-23 he first led and then.
conducted the Frankfurt Opera. He later joined the
Amar String Quartet as the viola player. He is a
fine performer on that instrument. 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 not even disdained a cabaret
type of music and he has evidently found inspiration
in the modern age of machinery and materialism.
music has humour, vitality and rhythm but little
sentiment, though some of his later werk is said to
show an erotic tendency. He is much attracted by
chamber music and works for a chamber orchestra.
Hindemith taught composition at the Berlin Hochschule
für Musik from 1927, but the Nazis proscribed his
works as degenerate art. For some years after 1933
he was in Turkey in rder to reorganise Turkish musical
education. In 1939 he emigrated to the U.S.A. where
he now lives.
Impromptu
Hindemith (B.1895)
La Source
Roussel (1869-1937)
Zabel (1935-1910)
Zabel, a virtuoso of the harp, was born in
Berlin. He later went to Russia where, in 1851, he
joined the Royal Ballet Orchestra in (the then)
St. Petersburg. In 1862 he became professor of the
harp at the Conservatoire there.
His
|
|
14 The Huddersfield Music Society, HMS 43, Page 14 |
▲back to top |
Ocr'd Text:
He
Mayon
Oc
|
|
15 The Huddersfield Music Society, HMS 43, Page 15 |
▲back to top |
Ocr'd Text:
THE HUDDERSFIELD MUSIC CLUB
Mayor's Reception Room, Town Hall. Monday evenings at 7.30
October 24th THE LOEWENGUTH STRING QUARTET
Two Fugues from The Art of Fugue
Bach
Quartet in D major K.499
Mozart
Quartet in E flat major (the harp) Op.74 Beethoven
Quartet in D minor Op. posth.
(Death and the Maiden)
Novr. 28th.
ROHAN DE SARAM
Janr. 23rd.
TRIO DI BOLZANO
Febr. 20th.
THE JANACEK STRING QUARTET
Single tickets 7/6d from Woods, 67 New Street or at door.
Piano Trio in A
Toccato a tre
Piano Trio
Piano Trio in B flat Op. 99
Schubert
Cello Recital.
THE HALIFAX PHILHARMONIC CLUB
Lecture Hall of the Halifax Literary and Philosophical
Society, Harrison Road.
Friday evenings at 7.30.
October 8th.
THE GLASGOW TRIO
THE HUDDERSFIELD THESPIANS
Single tickets from David Dugdale Esq., 291, Willowfield Rd.,
Halifax or at the door.
Haydn
Frank Spedding
Ravel
Schubert
October 3rd - 8th at 7.30 p.m.
St. Patrick's Hall.
DINNER WITH THE FAMILY
Tickets 3/6d and 2/-d from Woods, 67 New Street,
by JEAN ANOUILH
|
|
16 The Huddersfield Music Society, HMS 43, Page 16 |
▲back to top |
Ocr'd Text:
A
0
|
|
17 The Huddersfield Music Society, HMS 43, Page 17 |
▲back to top |
Ocr'd Text:
Forty-third Season 1960-61
THE LOEWENGUTH STRING QUAR TE T
Alfred Loewenguth
Roger Roche Viola
Programme
Two Fugues from The Art of Fugue
Jacques Gotovsky
Roger Loewenguth
Oct 24.1960
(First performance at these Concerts)
Bach (1685-1750)
The Art of Fugue was the result of a plan which Bach
conceived, namely to write a complete work based upon a
single subject. The subject he used was not perhaps
particularly interesting in itself but, of necessity, one
capable of infinite contrapuntal possibilities. The whole
work consists of 14 fugues and 4 canons.
Quartet in D major K.499 (Hoffmeister)
last composition and the final fugue is unfinished.
written in open score but, with two exceptions, it lies
well under the pianist's hands. It is, however, ideally
adapted for a string quartet, which enables the parts to be
heard with perfect clarity. Though The Art of Fugue
contains examples of every known fugal device, it is no
work of academic dryness but rather one which is ideal for
concert performance.
of the composition of Figaro.
(Last performed in 1954 by the Vegh String Quartet)
The Hoffmeister Quartet was written
in 1786, the year
be better described
|
|
18 The Huddersfield Music Society, HMS 43, Page 18 |
▲back to top |
Ocr'd Text:
an in the
orthy of i
work wish
|
|
19 The Huddersfield Music Society, HMS 43, Page 19 |
▲back to top |
Ocr'd Text:
If Mozart in creating this
friend and publisher,
than in the words of Einstein: "The lone quartet
worthy of its sditary position.
work wished to pay a debt to his
Hoffmeister, at least he did not make it easy for himself.
It can be considered a synthesis of the three "more
difficult" and the three "lighter" quartets of Op.10 (Haydn);
and one may regard its beginning as a symbol of the spirit of
the whole composition; first an easy comfortable unison;
then a dialogue carried on now by one pair of instruments,
now by the other; a turn towards seriousness in minor; the
resolution of the tension, but in a canon between first
violin and violin celle - an in-stance of learnedness" that
no one feels to be learned. The quartet is at once strict and
easy and in many enchanting passages it anticipates Schubert.
The minuet is unique. In the main section each voice seems
to enact its role unconcerned with the others; the trio, in
minor, is a piece of musical wizardry. The Adagio speaks of
past sorrow with a heretofore unheard-of depth;
finale is another of those uncanny movements in which the
major mode
to reverse its character - it is not gay
but despairing, or rather it is despairing under a mask of
galety despite the resoluteness of the conclusion.
10
III
Quartet in E flat major Op.74 (The Harp)
Poco adagio Allegro
Adagio ma non troppo
Beethoven (1770-
1827)
Allegretto con variazioni
(Last performed in 1956 by the Quatuor Haydn)
By the years 1807-11 Beethoven seemed to have reached
the summit of his powers - in the Mass in C, in piano
sonatas and the E flat piano concerto, in symphonic
composition with the Symphony No.7, and in chamber music
with the Quartets Opp. 74 and 95, and the Trios Opp. 70 and
It could hardly be expected that he could create a
yet greater symphony, greater piano works and, as a last
summit, the last string quartets. This was a period of
complete mastery and strength, of relative serenity and
joy, but in these works can be found a foreshadowing of
2
|
|
20 The Huddersfield Music Society, HMS 43, Page 20 |
▲back to top |
Ocr'd Text:
ansforma a
be comple
and in the la
|
|
21 The Huddersfield Music Society, HMS 43, Page 21 |
▲back to top |
Ocr'd Text:
"transformation of the creative idea, a transformation
to be completely effected only in the sonatas of 1815
and in the last quartets of 1825" (d'Indy),
in Vienna.
The quartet Op.74 was written in 1809 and dedicated
to Prince Lobkowitz, one of Beethoven's princely patrons
It is widely known as the Harp Quartet
because of the pizzicato arpeggios in the first movement.
The first movement opens with a rather extended intro-
duction ending with a long ascending chromatic scale out
of which the movement proper suddenly appears.
thematic figure based on the tonic chord is heard,
followed at once by the first subject. This is soon
succeeded by the second subject. The whole development
section is based on the thematic figure and the first
subject. Before the coda the first violin has a brilli-
ant cadenza-lile passage. the only virtuoso passage found
in Beethoven's chamber music.
The Adagio in A flat minor is a "superb example of
the lyric grandeur of Beethoven. The majestic calm,
preserved unbroken throughout the movement, causes one
to wonder what the slow movement will become with the
Beethoven of the third epoch. A noble and melodious
phrase asserts itself at the very outset." (d'Indy).
This theme, in varying form, reappears in the third and
fifth sections. The second section (A flat major) has a
new theme which returns in the sixth section, while the
fourth section (D flat major) has a new phrase derived
from the main theme. The third movement is a Scherzo
with the Trio repeated twice. The keys alternate between
C major and minor. This leads without a break to the
Finale - theme with six variations. The work ends with
a short and brilliant coda.
Interval of ten minutes
|
|
22 The Huddersfield Music Society, HMS 43, Page 22 |
▲back to top |
Ocr'd Text:
Quart
|
|
23 The Huddersfield Music Society, HMS 43, Page 23 |
▲back to top |
Ocr'd Text:
Quartet in D minor Op.posth. (Death and the Maiden)
Allegro
Andante con moto
Schubert (1797-1823)
(Last performed in 1957 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.
would be tempting to compare the "seriousness" of
Beethoven's Op.95 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.
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,
in the orchestra, by the arrangement of the parts in
layers.'
are beautiful ideas, boldness and
bigness of reach and grasp, and entirely new chambers
harmony with chords rich and romantic in themselves and
not the necessary and logical outcome of part-writing.
3D
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. Kahi considers that
the struggle with death is the theme of the first
movement. If so, death is treated with defiance.
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
|
|
24 The Huddersfield Music Society, HMS 43, Page 24 |
▲back to top |
Ocr'd Text:
schubert!
wordle
|
|
25 The Huddersfield Music Society, HMS 43, Page 25 |
▲back to top |
Ocr'd Text:
Schubert's own cong 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 is most definitely in the character of a
dance of death; ghastly visions whirl past in the
inexorable uniform rhythm of the tarantella.
and unified with one consistant and
compelling ideas
THE LOEWENGUTH QUARTET was formed about thirty
years ago when its members had just completed
their studies at the National Conservatoire of
Music, where they had met. Shortly after its
formation the Quartet began touring, first of
all in France and then in neighbouring
countries. Their reputation had rapidly grown
throughout Europe when the war interrupted
their activities, and it was not until after
demobilisation that the members of the ensemble
were able to resume their career.
Loewenguth Quartet was the first French String
Quartet to appear in the United States, where
they have now toured eight times.
They have
an extensive repertoire, both classical and
In addition to the complete cycle of
Beethoven quartets which they have frequently
performed in many countries, they have given
numerous first performances of modern works,
and a few years ago they played 15 quartets
by contemporary composers in five recitals.
|
|
26 The Huddersfield Music Society, HMS 43, Page 26 |
▲back to top |
Ocr'd Text:
Mayor's R
|
|
27 The Huddersfield Music Society, HMS 43, Page 27 |
▲back to top |
Ocr'd Text:
THE HUDDERSFIELD MUSIC CLUB
Mayor's Reception Room, Town Hall, Monday Evenings at 7.30.
November 28th
ROHAN DE SARAM
At the piano: Ivor Keys
Sonata in A major Op.97 (The Archduke)
Suite in D major
Sonata Op. 19
THE HALIFAX PHILHARMONIC CLUB
January 23rd 1961
TRIO DI BOLZANO
February 20th 1961 THE JANACEK STRING QUARTET
Single tickets 7/6 from Woods, 67 New Street and at the door.
December 2nd.
THE VIENNA STRING QUARTET
Quartet in B flat K.589
Quartet No.3
Quartet in C sharp minor Op.131
Lecture Hall of the Halifax Literary and Philosophical Soc.
Harrison Road.
Friday Evenings at 7.30
THE
Beethoven
Gratapos
Bach
Single tickets 7/6 from David Dugdale Esq., 291 Willowfield
Road, Halifax, or at the door..
THESPIANS
HUDDERSFIELD
St. Patricks Hall
Mozart
Hindemith
Beethoven
November 14th 19th at 7.30 p..
("The Rape of the Belt" by Benn Levy)
Now changed to "The Old Ladies" A Drame by Rodney Ackland
Tickets 3/6 and 2/- from Woods, 67 New Street.
|
|
28 The Huddersfield Music Society, HMS 43, Page 28 |
▲back to top |
Ocr'd Text:
|
|
29 The Huddersfield Music Society, HMS 43, Page 29 |
▲back to top |
Ocr'd Text:
THE HUDDERSFIELD MUSIC CLUB
Forty-third Season 1960-61
Monday, November 28th 1960
ROHAN DE SARAM
Cello Recital.
At the piano
Programme
I
Sonata for Cello and Piano
in A major Op.69.
IVOR KEYS
Beethoven (1770-1827)
Allegro non tanto
Scherzo. Allegro molto
Adagio cantabile Allegro vivace
(Last performed in 1930 by Gaspar Cassado).
The composition of works for cello and piano presents
many special problems due to the special tone qualities of
the two instruments. The cello, like other string instru-
ments, 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 one of much less power, but, even at that date, the
difficulties of balance existed. In earlier works the
part of the cello was that of a support for the bass; it
was not until the sonatas of Beethoven that any real
combination of the two instruments in an equal partne: ship
was arrived at. It is interesting to 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 ponetrates the volume of piano tone; and
how carefully he clarifies and lightens the more powerful
and ringing tones of the piano.
Between the years 1786-1815 Beethoven wrote 5 sonatas
for cello and piano. This Sonata Op.69 appeared in 1809
and was dedicated to Baron von Gleichenstein, a faithful
friend who performed all manner of duties secretary,
messenger, attorney, buyer and keeper of the purse for
|
|
30 The Huddersfield Music Society, HMS 43, Page 30 |
▲back to top |
Ocr'd Text:
=
The
minor ke
the slow
the intoductio
constructs the
giving us stro
trasted wi
ile
ven.
|
|
31 The Huddersfield Music Society, HMS 43, Page 31 |
▲back to top |
Ocr'd Text:
eethoven. It contains one or two features worthy of
comment. The Scherzo, unusually extended and in the
tonic minor key, takes the place of the second movement;
while the slow movement is so brief that it merel forms
the intoduction to the Finale. Otherwise, Beethoven
constructs the sonata on the usual classical lines,
giving us strong, virile subjects, developed and con-
trasted with all his superb craft.
delightful 'conversations between
form of art in which Beethoven and
There are also very
the instruments, a
Mozart have no equals.
Suite for unaccompanied
in D major.
II
Cello
Prelude
Allemande
Courante
Sarabande
Bach (1685-1750)
Gavotte I and II
Gigue
(Last performed in 1949 by Pierre Fournier)
They date
Bach wrote six suites for solo cello.
from his Cothen period (1717-23). Spitta remarks that,
compared to the passionate warmth and fire of the Suites
and Sonatas for solo violin, those for the cello are
"softened down to a quiet beauty and a generally serene
grandeur".
This Suite, the sixth of the set, was originally
written for the viola pomposa, an instrument invented by
Bach, in size between a viola and a cello and having five
strings (an E string added above the A). Spitta considers
that the use of such a sonorous and flexible instrument
would, in part, prove an inspiration for this work with
its remarkable and quite unique beauty".
Interval of ten minutes.
|
|
32 The Huddersfield Music Society, HMS 43, Page 32 |
▲back to top |
Ocr'd Text:
for Cellc
6.major Op.11
|
|
33 The Huddersfield Music Society, HMS 43, Page 33 |
▲back to top |
Ocr'd Text:
Sonata for Cello and Piano
in C.major Op.119.
III
Prokofieff (1891-1953)
Andante grave
Moderato
Allegro ma non troppo
(First performance at these Concerts)
Prokofieff was born in Ekaterinoslav.
He has been
He
a very prolific writer from his earliest days, even
attempting to write an opera at the age of 9.
studied first with Gliere and later at the St. Petersburg
Conservatoire under Rimsky-Korsakov and Liadov. During
the 1914-1918 war he lived for some time in London; later
he went to America via Japan. His opera "The Love for
Three Oranges", was produced in Chicago in 1921. He
went to Paris the following year, where he became connected
with Diaghliev and the Russian Ballet.. He returned to
Moscow in 1934, where under Soviet pressure, he simplified
his piquant style in favour of a more simple and un-
sophisticated method of composition. In spite of that,
he incurred censure for excessive originality at the
notorious Composers' Conference in 1948.
The
in 1949.
following note:
"The first of the three movements of this Sonata
opens with a slow theme in C major, followed by a section
somewhat lighter in character in the dominant. Eight
bars of unrelated bridge passage or codetta lead to the
developement in which the slow subject appears, followed
by the second subject, this time supported by flowing
piano arpeggious. After a recapitulation, the bridge
passage idea returns and leads to a coda, which starts
brilliantly and ends quietly.
In the second movement in F major, a humorous
section is contrasted with a cantabile. section and returns
after it, thus forming a ternary pattern.
The third movement has many characteristics and hints
at an occasional folk influence. Shortly before the end
Sonata for cello and piano Op.119 was written
We are indebted to Mr.de Saram for the
|
|
34 The Huddersfield Music Society, HMS 43, Page 34 |
▲back to top |
Ocr'd Text:
referen
nt, after
close"
ROHAN DE SARA
Singhalese pare
|
|
35 The Huddersfield Music Society, HMS 43, Page 35 |
▲back to top |
Ocr'd Text:
e's a reference to the first subject of the first
movement, after which a brilliant coda brings the sonata
to a close".
ROHAN DE SARAM was born in Sheffield in 1939 of
Singhalese parents. At an early age he showed remark-
able ability for understanding the fundamentals of any
knowledge that was imparted to him, as well as skill at
sports. In 1947 he began to study the piano in Ceylon
with Mrs.H.M.Vander Wall, who gave him an excellant
grounding; in 1949 Martin Hohermann of the Warsaw
Conservatoire (now of the Boston Symphony Orchestra)
started to teach him the cello. Rohan de Saram later
studied in Italy with Gaspar Cassado and also Andre
Navarro. During 1957 and 1959 he studied with Casals
who praised him highly and predicts a brilliant career.
He won the Arts Council Suggia Award and studied for
one year at the R.A.M. in 1957-8. He has also spent
a period of studying conerto work with Sir John
Barbirolli.
Rohan de Saran has broadcast
many towns in Europe and has made
and televised from
extensive foreign
tours. He plays a £900 Gagliano cello, which he
practises in a disused private chapel in Oxford.
|
|
36 The Huddersfield Music Society, HMS 43, Page 36 |
▲back to top |
Ocr'd Text:
TH
Receptic
|
|
37 The Huddersfield Music Society, HMS 43, Page 37 |
▲back to top |
Ocr'd Text:
THE HUDDERSFIELD MUSIC CLUB
Room, Town Hall
January 23rd
Mayor's Reception
Trio in B flat major Op.97 (The
Trio in A
Trio in E minor Op.59 (Dumky)
TRIO DI BOLZANE
(Violin, Cello and Piano)
Archduke)
-
Monday Evenings 7.30.
February 20th 1961.
THE JANACEK STRING QUARTET
Single tickets 7/6 from Woods, 67 New Street and at door
THE HALIFAX PHILHARMONIC CLUB
Quartet in B flat K.589
Quartet No.3
Quartet in C sharp minor Op.131
Lecture Hall of the Halifax Literary and Philosophical
Society, Harrison Road.
Friday Evenings at 7.30
December 2nd
THE VIENNA STRING QUARTET
Single tickets 7/6 from David Dugdale Esq., 291
Willowfield Road, Halifax or at the door.
THE HUDDERSFIELD THESPIANS
St. Patrick's Hall
January 23rd-28th
by William Shakespeare
Tickets 3/6 and 2/- from Woods, 67 New Street.
MACBETH
Beethoven
Pizzetti
Dvorak
Mozart
Hindemith
Beethoven
At 7.30 p.m.
|
|
38 The Huddersfield Music Society, HMS 43, Page 38 |
▲back to top |
Ocr'd Text:
|
|
39 The Huddersfield Music Society, HMS 43, Page 39 |
▲back to top |
Ocr'd Text:
THE HUDDERSFIELD MUSIC CLUB.
Forty-third Season 1960-61.
Monday, January 23rd 1961.
TRIO DI BOLZANO.
Giannino Carpi
Sante Amadori
Nunzio Montanari
Programme
I
Violin
Cello
Piano
Trio in B flat major Op.97 (The Archduke) Beethoven (1770-1827)
Allegro moderato
Scherzo
Allegro. Trio
Andante cantabile ma pero con moto
Allegro Presto
(Last performed in 1946 by the Budapest Trio)
The most usual type of instrumental trio is written for piano,
violin and cello. It is developed from the early Sonata written in the
contrapuntal style, and, usually, for two strings with a figured bass
(harpsichord.) The early trios were largely works for piano with the
two stringed instruments playing a very subordinate part. Beethoven
was the first to achieve the difficult objective of a duly proportioned
interest and a balance of tonal effect.
Beethoven wrote in all six piano trios. His Op. 1 consisted
of three trios (1792); then followed a long break till 1808 when the two
trios of Op. 90 appeared; the last and greatest trio (Op.97) dates
from 1811.
Beethoven's chamber music can be divided into three main
groups (1) chamber music for wind instruments, occasionally supported
by piano and strings (ii) chamber music for piano and strings
(iii) chamber music for strings only. He began from the first to
cultivate all three types; gradually a kind of selection was made in
the orderly course of his development.
Interest in the first group
ceased in 1800 never to be revived. The second group lasted longer;
until the time, indeed, when Beethoven's own capacity as a pianist began
to diminish through his increasing deafness. Apart from that, his own
mental growth was leading him to the realization that the use of the
piano in chamber music was not the ideal means for the attainment of
|
|
40 The Huddersfield Music Society, HMS 43, Page 40 |
▲back to top |
Ocr'd Text:
is ultimate G
Thi
gre
Trio w
Beethoven'
|
|
41 The Huddersfield Music Society, HMS 43, Page 41 |
▲back to top |
Ocr'd Text:
2.
his ultimate object - the expression of absolute abstraction in music.
This Trio in B flat major Op. 97 belongs to the close of
Beethoven's second period. The 7th and 8th Symphonies and the
Trio were the major works of the year 1811. The Trio has all the
great qualities of this period as well as a distinct leaning,
particularly in the slow movement, towards the intensity of Beethoven's
last works. It is dedicated to the Archduke Rudolph, a pupil of
Beethoven's. It was first publically performed in 1814 by
Schuppanzigh and Linke (first violin and cellist of the Rasoumoffsky
Quartet) with Beethoven himself at the piano. A few months later
the composer made his last public appearance as a pianist in the same
work and with the same colleagues.
The first movement is easy to follow; the second movement
is a particularly fine example of a Beethoven Scherzo. It leans
towards the folk-song type and has a contrasting Trio with a strange
chromatic theme. The slow movement profoundly beautiful is a set
of five variations upon a simple and noble theme. The final movement
starts abruptly, and the closing presto is full of Beethoven's mature
strength.
Trio in A major,
II.
-
10
Pizzetti (b. 1880)
Mosso ed Arioso
Largo
Rhapsodia di Settembre (September Rhapsody)
(First performance at these Concerts).
Ildebrando Pizzetti, one of the most individual and
thoughtful of modern Italian composers, was born in Parma where his
father was a teacher of the piano. As a boy his main interes was in
the drama and in the writing of plays. At the age of 15 he entered
the Conservatoire of Parma where he remained for six years. During
that period he attracted some attention with his early operas. Much
of his life was spent in teaching, though his work reveals nothing of
the pedant, After leaving Parma he went to Florence, later becoming
Director of the Milan Conservatoire; in Rome he followed Respighi
as professor of composition at the Accadamia di Santa Cecilia.
1948 he became President of the Accedemico d'Italia. He has done a
good deal of conducting, particularly of his own operas;
his
reputation as a writer on musical subjects is considerable.
written many of his own libretti.
In
He has
|
|
42 The Huddersfield Music Society, HMS 43, Page 42 |
▲back to top |
Ocr'd Text:
Uqsi#
the will
Ital
deep
It
|
|
43 The Huddersfield Music Society, HMS 43, Page 43 |
▲back to top |
Ocr'd Text:
3. e
It is on his work as a composer of opera that Pizzetti's
fame will probably rest. Starting from the lyrical point of view of
the Italian composer, Pizzetti gradually evolved a more dramatic and
deeper approach, particularly in his treatment of recitative and the
use of the chorus.
Apart from opera, choral works and songs, Pizzetti's output
of purely instrumental music is not large; it includes two string
quartets, two sonatas (one for violin and piano, the other for cello
and piano) and the Trio in A major. These works all reflect the
evolution which is found in his dramatic compositions, and, though
smaller in number, are of considerable importance in the light they
shed on his art. Pizzetti's outlook has been described as
"enlightened and liberal conservatism. He admits the claims of
modern harmonists, but he expects the idea expressed to be of value,
apart from the manner in which it is expressed."
The Trio in A major was written in 1925 for the Coolidge
Festival of that year; in it is found the fruits of his truly
Italian lyrical gifts combined with his later dramatic ideals.
INTERVAL OF TEN MINUTES.
III.
Trio E minor Op.90 (Dumky)
Dvorak (1841-1904)
Lento maestoso
Allegro
Poco adagio Vivace non troppo
Vivace non troppo
Andante
Andante moderato
Lento maestoso - Vivace
Allegretto scherzando
(First performance at these Concerts.)
Together with Smetana, Dvorak was one of the creators of
modern Czech music. "Dvorak was one of these creative artists who
live, feel and think in music. Music was his life-blood, his whole
inner existence; and only in music could he fully express himself.
Thus he created spontaneously, without profound and systematic
reflection. His inspiration sprang directly from intuitive sources
and although on occasion he could be the highly cultivated musician,
he rarely permitted the dominence of intellect to guide him. In his
admirable versatility Dvorak succeeded in handling every branch of
musical art, and in each department he has left works of permanent
value". (Sourek)
|
|
44 The Huddersfield Music Society, HMS 43, Page 44 |
▲back to top |
Ocr'd Text:
oljemeJaye bog bouclora juoddiwylecosnadnoge bodeoxo od SunT
290Tua vitiudai mort, vilostib pige goldstigeni 2tH noljoeller
neloleum asdevaliliş vidid odd be biuos ad holan 500 no riquod lc bog
non toob sild bodl
pof1bostaci babe
to goo
Pez
music" and,
amounts
are
|
|
45 The Huddersfield Music Society, HMS 43, Page 45 |
▲back to top |
Ocr'd Text:
4,
Perhaps Dvorak's finest compositions are those of "absolute
music" and, above all, chamber music, His chamber music output
amounts in all to about thirty works. The largest and finest group
are those for strings alone, but there is also a considerable and
important group of compositions for strings and piano.
This group
includes four trios, of which the "Dumky Trio" is the last and the best.
"Dumky", a word of Little Russian origin, signifies "lament".
With Dvorak the characteristic of the Dumky is the alternating of wild
gaiety with brooding melancholy; and this accords well with his own
temperament, prone as he was to reverie and to outbursts of jovial
humour. Dvorak had made use in some movements of earlier works of
Dumky, but this Trio is made up entirely of Dumky movements. It
contains six in all, each thematically independent and separate though
there is a connection in the sequence of keys. In spite of this, the
work does not lack cohesion. The first three "Dumka" (E minor,
C sharp major and A major) are closely connected by the indication
"attacca subito" into a whole which corresponds roughly to the first
movement of a sonata. A break is then given between the next two by
the direction "after a short pause". The fourth, in D minor,
corresponds loosely to the slow movement;
has the energetic rhythms of a scherzo.
off the work by a return to the form and
the fifth, in E flat major,
The last, in C minor, rounds
feeling of the opening Dumky.
THE TRIO DI BOLZANO.
Although this ensemble was formed
much earlier, its international activity started in 1953 when its
members gave up their careers as soloists to devote themselves
exclusively to concerted music making. Since then, besides appearing
regularly in Italy, the ensemble have visited the main European centres
as well as the U.S.A. and Great Britain, many times being acclaimed
everywhere for their refined and beautifully integrated interpretations
of the classical and modern repertoire. The Trio Di Bolzano first
came to England in 1956, since when they have come every year for
concerts and broadcasting. The ensemble have recorded exclusively
for Vox and Philips.
|
|
46 The Huddersfield Music Society, HMS 43, Page 46 |
▲back to top |
Ocr'd Text:
noa
|
|
47 The Huddersfield Music Society, HMS 43, Page 47 |
▲back to top |
Ocr'd Text:
THE HUDDERSFIELD MUSIC CLUB.
Forty-third Season 1960-61
Monday February 20th 1961
THE JANACEK STRING QUARTET
Jiri Travni cek
Viri Kratochvil
-
Programme
I
Violin
Viola
Quartet in D major
Op.64 No.5 (The Lark)
Allegro con brio.
Minuet and Trio
Adolf Sykora - Violin
Karel Krafka Cello
Haydn (1732-1809)
Adagio
Presto
(Last performed in 1944 by the Griller String Quartet)
Among the wealth of music that Haydn's genius
poured out, there are known to be 77 string quartets,
104 symphonies, 52 sonatas for the piano and at least
87 works also mostly in a similar sonata form. In
spite of this enormous number of compositions, Haydn's
inspiration never seems to falter; each work possesses
its own individual charm to an amazing extent.
The 12 Quartets of Op.54, 55 and 64 are all
dedicated to Johann Tost, a wealthy wholesale merchant
who is said to have been a professional violinist
before he became a man of business. There would
seems to be truth in this story as, in all these
quartets, the first violin is given a specially
brilliant and prominent part.
The Quartet to be played tonight is the fifth of
|
|
48 The Huddersfield Music Society, HMS 43, Page 48 |
▲back to top |
Ocr'd Text:
set oz
called "-
the soari
first vi
stagr
|
|
49 The Huddersfield Music Society, HMS 43, Page 49 |
▲back to top |
Ocr'd Text:
a set of six written about 1790. It is often
called "The Lark", a name, doubtless, inspired by
the soaring and singing melodies given in it to the
first violin. The first movement opens with a light
staccato passage for the three lower instruments.
At the eighth bar the first violin enters with a clear
bird-like melody which, by itself, might well have
inspired the title. The whole movement is light and
airy. The Adagio has a smooth cantabile melody for
the first violin, a contrasting portion leads to the
return of the first section, with the melody even
more richly embroidered. The Minuet and Trio follow
the usual pattern, the latter having some pleasing
imitative passages. The Finale is light and staccato
with a continuous semiquaver movement a true per-
petuum mobile.
II
Quartet No.2 "Scarlet Letters" Janacek (1854-1928)
Andante con moto Allegro
Adagio
Vivace
Moderato - Adagio
Allegro
Andante
(First performance at these concerts)
Allegro
Adagio
Leos Janacek was born at Hukvaldy (North Moravia)
the seventh child of a poor family. His father and
grandfather were both village schoolmasters of the
class from which so much of the musical culture of
Bohemia has sprung. He became a chorister in the
Community of the Austin Friars in Brno, where he
worked under Krizkovsky, a precurser of Smetana and
a writer of highly dramatic choral music. Later
Janacek attended an organ school in Prague, but his
poverty was such that it was not until he was 25 that
he was able to continue his musical training at
Leipzig Conservatoire. Here he studied conducting
and theory under Reinecke and made one public
appearance as a pianist.
He then went to Vienna with
|
|
50 The Huddersfield Music Society, HMS 43, Page 50 |
▲back to top |
Ocr'd Text:
TO S
a view to
return to
teacher, a
the fino
|
|
51 The Huddersfield Music Society, HMS 43, Page 51 |
▲back to top |
Ocr'd Text:
a view to becoming a piano virtuoso but was forced to
return to Brno in 1881. There he was active as a
teacher, as well as organizing concerts which brought
the finest music within the reach of all, and he began
his researches into the folk-music from which his own
characteristic style was largely evolved.
Janacek's choral music and operas are perhaps his
most characteristic works. In his treatment of words
and the human voice Janacek evolved a kind of speech-
melody which more or lesspermeated his other
compositions. This is seen in his "swift eruptive
figures, close-knit and elliptical...(His music) is
instantly penetrating. There is no spinning out of the
lyrical materials, no time spent upon musical
dissertation; the dramatic crises are driven home and
clinched with breathless rapidity" (Grove).
In many
respects Janacek is a "unique figure in musical history.
Although old in years Janacek wrote with the vigour of
youth and was entirely modern in style. Among his
distinguishing qualities are formal precision and
terseness of expression (as instanced in his abrupt
closes); purity of tone-colour, each instrument being
treated as a human voice without dependance upon the
normal harmonic scheme; boldness and variety of rythm,
the result of a strong natural instinct strengthened
by a lifelong study and careful record of the cadences
of the human voice, animal sounds and nature; fondness
for Slavonic folk-songs and dances; and finally, a
trick of harping on one short reiterated motif. These
things bring him at times into line with most advanced
schools, in spite of the fact that he never becomes
atonal" (Max Brod).
Janacek wrote relatively little pure instrumental
music. He did, however, write two string quartets.
The first, dating from 1927, was inspired by Tolstoy's
Kreutzer Sonata. The second quartet was his last
work, completed only a few months before he died.
was inspired by his love for a younger woman.
Stossel, and was first entitled "Love Letters"...The
It
Kamile
|
|
52 The Huddersfield Music Society, HMS 43, Page 52 |
▲back to top |
Ocr'd Text:
3sodmoo
vulgar .
the fina
ΕΤΟΙΑ
|
|
53 The Huddersfield Music Society, HMS 43, Page 53 |
▲back to top |
Ocr'd Text:
composer later changed this title to discourage
vulgar curiosity about his inmost feelings and in
the final version, the viola was substituted for the
viola d'amore. In this quartet the tempo changes
frequently and no definate key can be established
though, perhaps, the key of D flat is the most
prominent. This, in Janacek's other works, is
generally employed to suggest tenderness and love.
In construction the general principle is the use of
a theme which is repeated with different harmonic
colourings and variations. Throughout the work the
most minute interpretive directions are given to the
players. The first movement deals with the meeting
with the loved one. The second movement pictures
an idyllic summer spent in the country. The third
movement is, in general, gay.
The fourth movement,
in a form of rondo, gives the impression of the ful-
filment of their love. Technically this quartet
represents the extreme limits of Janacek's writing
for abstract music.
Interval of ten minutes.
III
Quartet in E minor Op.59
No.2 (Rasumovsky)
Beethoven (1770-1827)
Allegro
Molto Adagio
Allegretto
Finale: Presto
(Last performed in 1954 by the Vegh String Quartet).
The three Rasumovsky Quartets of Op.59 were
written in 1806 almost at the end of Beethoven's
"middle period". They were commissioned by, and
dedicated to, Count Rasumovsky, who had come to
Vienna in 1792 as the Russian Ambassador. The Count
was himself a violinist, playing the second violin in
his own quartet which was, at one time, led by
|
|
54 The Huddersfield Music Society, HMS 43, Page 54 |
▲back to top |
Ocr'd Text:
stadisu
Schuppe
Rasumov
airs, ar
quartets
|
|
55 The Huddersfield Music Society, HMS 43, Page 55 |
▲back to top |
Ocr'd Text:
7.
Schuppanzigh, the celebrated Austrian violinist.
Rasumovsky asked Beethoven to include some Russian
airs, and these are found in Nos.1 and 2. "These
quartets are in some ways the most wholly successful
in existence. It has been argued (but not by ne)
that in the wonderful late quartets Beethoven over-
strained the medium and attempted the impossible.
But no one could deny the complete success of these
three works; Beethoven found heights never before
scaled by man and reached the top with triumphant
ease." (Roger Fiske).
The first movement of this second quartet, in
sonata form, has dark passionate noods contrasted with
happy and smooth melody. It opens, as the Eroica
Symphony does, with dramatic chords which serve to
attract immediate attention. The second subject heard
in the first violin over a moving accompaniment is
graceful. In usual fashion, the developement and re-
capitulation sections are repeated before the final
chord. The beautiful long-drawn Adagio in the key of
E major, marked to be played with great feeling is
new and original. The playful and rythmic Allegretto,
in E minor, has a contrasting section in the major key.
It is in this middle section that Beethoven introduces
the Russian tune. It is the well known "Slava" (Glory)
which is also found in Boris Godunov, Tchaikovsky's
Mazeppa and in several of Rimsky-Korsakov's works.
In its original form it is a great stirring patriotic
hynn, but here its character is completely changed.
As with many of the other national tunes that Beeth-
oven used, he either misunderstood their character or
else he purposely completely altered then. The Finale
is in one of Beethoven's happiest moods. In construc-
tion it is in a combination of first movement and rondo
forms.
THE JANACEK STRING QUARTET was formed in 1947
from pupils of Professor Vasa Czerny's chamber music
class at the Conservatoire of Music in Brno, Moravia.
The youthful Quartet could look back on much note-
|
|
56 The Huddersfield Music Society, HMS 43, Page 56 |
▲back to top |
Ocr'd Text:
worthy
from t
respect
Orchest
|
|
57 The Huddersfield Music Society, HMS 43, Page 57 |
▲back to top |
Ocr'd Text:
worthy musical activity when its members graduated
from the Conservatoire and becane leaders of their
respective string sections in the Brno Symphony
Orchestra, while continuing their work as a Quartet.
They chose the name of Janacek, the greatest Moravian
composer. Their first trips abroad took place in
1949 and 1951. They were then such experienced
chamber music players that they felt it necessary, in
order further to deepen their interpretations, to
play from memory. Since then they have travelled
extensively in Europe, Anerica, Africa and the Near
East. Their first visit to England was made in 1958.
This, their third visit, includes a tour of England
and Scotland and Ireland, and they also take part in
the new series of chamber music concerts in the
Mermaid Theatre.
|
|
58 The Huddersfield Music Society, HMS 43, Page 58 |
▲back to top |
Ocr'd Text:
Art:
|
|
59 The Huddersfield Music Society, HMS 43, Page 59 |
▲back to top |
Ocr'd Text:
THE HUDDERSFIELD MUSIC CLUB
Artists for the 1960-61 will be announced in due
course. Members nay, with the utmost confidence,
anticipate a series of recitals as attractive as any
of those which have been presented by the Club through-
out the past forty-three years.
Approbation of the endeavours of the Committee
could not be better expressed by our present members
than by the introduction of NEW MEMBERS; and particular
appeal is therefore made to those who have appreciated
these concerts in the past to support us in our efforts
in the future.
Please give either to the Secretaries or to any
member of the Committee,. the names and addresses of any
possible new members or of any person who would be
interested in the Club.
THE HALIFAX PHILHARMONIC CLUB.
Lecture Hall of the Halifax Literary and
Philosophical Society, Harrison Road.
Friday March 3rd at 7.30 p.m.
CECIL ARONOWITZ (Viola)
GEORGINA DOBREE (Clarinet)
CELIA ARIELI (Piano)
The Programme will include the Mozart Clarinet Trio,
works for Viola and Piano, Clarinet and Piano and
Clarinet and Viola.
Single tickets 7/6 from David Dugdale Esq., 192 Willow-
field Road, Halifax and at the door.
THE HUDDERSFIELD THESPIANS.
St. Patrick's Hall
March 6th to 11th at 7.30 p.m.
"FAREWELL, FAREWELL, EUGENE" Comedy by John Vari
Adapted by Rodney Auckland.
Tickets 3/6 and 2/- from Woods, 67 New Street.
|
|
60 The Huddersfield Music Society, HMS 43, Page 60 |
▲back to top |
Ocr'd Text: