Ocr'd Text:
HUDDERSFIELD MUSIC SOCIETY
Brochure
44th Season's programmes 1961 - 1962
20.2.1961.
4411.
4.12.1961.
4413
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Ocr'd Text:
THE HUDDERSFIELD MUSIC SOCIETY
(Founded as The Huddersfield Music Club by Dr. Eaglefield Hull in 1918)
ТАСИОМ
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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.
snstem2
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FIVE
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FOR THE FORTY-FOURTH SEASON, 1961-62,
to be given in
President
Vice-President
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S. H. CROWTHER 8
DAVID DUGDALE
Mrs. E. GLENDINNING
E. GLENDINNING
Mrs. D. HIRST, J.P.
Mrs. BRANSOM
Mrs. CALVERT
Honorary Vice-Presidents :
DAME MYRA HESS, BENJAMIN BRITTEN, F. W. GADSBY.
ЛИА ГИТАФоя A223T
Hon. Secretaries :
Miss C. ALISON SHAW, 3a Vernon Avenue. Tel. Hudd. 7433.
STANLEY G. WATSON, 342 New Hey Road. Tel. Milnsbridge 1706.
Hon. Treasurer:
P. S. THEAKER, National Provincial Bank, King Street, nda
moism A ni sino2
O ON
CONCERTS
Иа
Mrs. S. H. CROWTHER
Mrs. F. A. DAWSON
Miss K. EVANS
Mrs. E. FENNER
Committee:
Miss Z. E. HULL DE
P. L. MICHELSON
Coun. F. ROWCLIFFE
MAX SELKA
E. C. SHAW
Miss Z. E. HULL
Mrs. A. W. KAYE
Mrs. EAGLEFIELD HULL
E. D. SPENCER, Esq.
Miss H. LODGE
Mrs. M. M. SAYER
Ladies' Committee:
Chairman : Mrs. D. HIRST, J.P.AUO
Mrs. A. E. HORSFALL
Mrs. A. E. HULL
20
W. E. THOMPSON 062
Mrs. S. G. WATSON
C. R. WOOD
YAAUMAL boss,YAGMOM
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Miss A. SHAW
Mrs. J. SHIRES
Miss W. TOWNSEND
Hon. Secretary: Mrs. E. GLENDINNING
Hon. Treasurer: Mrs. S. G. WATSON
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Ocr'd Text:
THE HUDDERSFIELD MUSIC SOCIETY
(Founded as The Huddersfield Music Club by Dr. Eaglefield Hull in 1918)
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.
(nede
FIVE CONCERTS
FOR THE FORTY-FOURTH SEASON, 1961-62, 3HT
to be given in
THE MAYOR'S RECEPTION ROOM
President
Vice-President
A SERIES OF
TOWN HALL 8 ni oiT seninlƆ
ylsbo On MONDAY EVENINGS at 7-30 p.m. stano2
novorbsed
O onim A ni on animal
ils V
JESOM
ylznivs12
S. H. CROWTHER
DAVID DUGDALE
Mrs. E. GLENDINNING
E. GLENDINNING
Mrs. D. HIRST, J.P.
***
Mrs. BRANSOM
Mrs. CALVERT
Mrs. S. H. CROWTHER
Mrs. F. A. DAWSON
Miss K. EVANS
Mrs. E. FENNER
Honorary Vice-Presidents :
DAME MYRA HESS, BENJAMIN BRITTEN, F. W. GADSBY.
MА 2 223T
ТАСИОМ
Committee:
Miss Z. E. HULL
P. L. MICHELSON
Coun. F. ROWCLIFFE
MAX SELKA
E. C. SHAW
Mrs. EAGLEFIELD HULL
E. D. SPENCER, Esq.
***
Hon. Secretaries :
Miss C. ALISON SHAW, 3a Vernon Avenue. Tel. Hudd. 7433.
STANLEY G. WATSON, 342 New Hey Road. Tel. Milnsbridge 1706.
Hon. Treasurer:
P. S. THEAKER, National Provincial Bank, King Street.no
croism A ni Bisno2
1930 Oud
Mrs. A. W. KAYE
Miss H. LODGE
Mrs. M. M. SAYER
Ladies' Committee:
Chairman : Mrs. D. HIRST, J.P. AUO
Mrs. A. E. HORSFALL
Mrs. A. E. HULL
Miss Z. E. HULL
.go
АЛИОМ
W. E. THOMPSON 062
Mrs. S. G. WATSON
C. R. WOOD
TYRAUMA bass YAⱭMOM
Hon. Secretary: Mrs. E. GLENDINNING
Hon. Treasurer: Mrs. S. G. WATSON
Miss A. SHAW
Mrs. J. SHIRES
Mrs. E. D. SPENCER
Miss W. TOWNSEND
col derisuo
Ocr'd Text:
MONDAY, 16th OCTOBER, 1961
THE JANACEK STRING QUARTET
Quartet in D major K. 575
Mozart
Smetana
Quartet in E minor (Aus meinem Leben)
Quartet No. 6
Bartok
MONDAY, 6th NOVEMBER, 1961
THE FELL-HALL-HOPKINS TRIO
Sidney Fell (Clarinet) Joy Hall (Cello)
Anthony Hopkins (Piano)
Clarinet Trio in B flat Op. 11
Sonata for Cello and Piano Op. 4
Clarinet Trio in A minor Op. 114
MONDAY, 4th DECEMBER, 1961
TESSA ROBBINS AND
ROBIN WOOD
Violin and Piano Recital
Chaconne
Sonata in A major K. 526
Duo Concertante
Sonata in C minor Op. 30 No. 2
MONDAY, 22nd JANUARY, 1962
QUATUOR HAYDN
Quartet in F major Op. 50 No. 5
Quartet in F minor Op. 95
Quartet No. 2
Beethoven
Kodaly
Brahms
Strauss att
Vitali
Mozart
Stravinsky
Beethoven
Haydn
Beethoven
Milhaud
Ocr'd Text:
MONDAY, 5th MARCH, 1962
JOHN OGDON
Piano Recital
Prelude and Fugue in C sharp minor ("48" Bk. 1)
Prelude and Fugue in F minor ("48" Bk. 1)
Sonata in A minor K. 310
Sonata in E minor Op. 109
La Lugubre Gondola Nos. 1 and 2
Valses Oubliees Nos, 1 and 2
Ballade in F minor No. 4
Chopin
Fantasie in A flat for the left hand alone Op. 76 No. 1
Alkan
I should be glad if you would send me
for the 1961-62 Season.
Bach
Bach
Mozart
Beethoven
NEW MEMBERS will be welcomed by the Society. It will be
appreciated if this slip is completed and forwarded with the
appropriate remittance to either of the Hon. Secretaries.
Name
Liszt
Liszt
Address
ticket (s)
Cheques should be made payable to The Huddersfield
Music Society
Ocr'd Text:
THE HUDDERSFIELD MUSIC SOCIETY YAGOM
иотосинО
SUBSCRIPTIONS
A member's subscription for the Season is 40/-. Season tickets may
be obtained from either of the Hon. Secretaries or from Messrs. J.
Wood & Sons, 67 New Street, Huddersfield. stano2
201 q0 ronim 3 ni stano
31530
nevorl1998
Sbns 1.200 slobro ndugu J
As you were a Member last Season 2014 zesilduO 29als V
niqoni
onim 3 ni obslisa
ticket(s) for the coming Season are enclosed herewith, and it is
requested that the appropriate remittance be forwarded to the
Hon. Treasurer (Mr. P. S. Theaker, National Provincial Bank, King
Street, Huddersfield) before the date of the FIRST Concert. Cheques
should be made payable to The Huddersfield Music Society. 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, M
not later than 6th October, after which date it will be assumed that
ons nisiw be they will be retained and paid for.
o enstimer 901
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Sonata in A majonózse2d-1er da not
Duo Concertante
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Ocr'd Text:
THE HUDDERSFIELD MUSIC SOCIETY
Forty-fourth Season 1961-62
Mayor's Reception Room
Town Hall
Monday, November 6th 1961
THE FELL-HALL-HOPKINS TRIO
Sidney Fell Clarinet.
Anthony Hopkins
Programme
I
Joy Hall Cello.
Piano.
Trio in B flat major Op.11 Beethoven (1770-1827)
Allegro con brio
Adagio
Theme (Allegretto) and Variations
(First performance at these concerts)
The Clarinet Trio Op.11, dedicated to the
Grafin von Thunn - the mother of Princess Lichnowsky
was written in 1798, three years before the
appearance of the first string quartets Op.18.
This was a period when Beethoven himself was still
a virtuoso of the piano and preoccupied with his own
instrument both as a composer and a performer. In
this Trio the piano certainly has the most important
and brilliant share, the clarinet and cello however,
playing a part "in the thematic development which is
notably delicate and intricate". (Bekker).
Possibly because of the technical limitations of the
clarinet at that time, this Trio appears to be a
simpler work than the three earlier string trios Op.9
Ocr'd Text:
and on that account, it pleased the contemporary
critics, who already found Beethoven's music "too
scholarly and difficult."
The first movement, the most serious of the
three, is in the usual sonata form, but already
showing original touches of harmony and modulation.
The graceful Adagio, with its effective and elaborate
piano part, echoes the theme of the minuet of the
Sonatina Op. 47; Beethoven used this theme again as
the basis of the minuet of the Quintet Op.16. The
subject of the finale is based upon a theme from
Weigl's opera The Corsair. There are nine variations
and an allegro coda. Czerny states that this movement
was written at the special request of the clarinet
player, who was probably the famous Beer.
II
Sonata for Cello and Piano Op.4. Kodaly (b.1882)
Adagio di molto
Allegro con spirito
(First performance at these concerts)
Zoltan Kodaly was born in Hungary; he entered
the Budapest Conservatoire as a student in 1900.
In those early days he was much influenced by the
work of Brahms and Debussy. In 1906 he was appointed
Professor of Composition at the Conservatoire. He
was also for many years a musical critie for
Hungarian newspapers. He is contemporary of the
better-known Hungarian composer Bartok (1881-1945)
and both men shared a deep interest in the study
and collection of the folk-songs of their native
land. To their careful and scientific researches
the histury of pure Magyar folk-music owes a great
debt. It was to be expected that the compositions
of both men would be strongly influenced by folk-
music, though their powerful individualities have
turned this influence in widely different directions.
Of the two, Kodaly is more typically Hungarien in
sentiment, with warmer and more sensuous feeling.
Ocr'd Text:
THE HUDDERSFIELD MUSIC SOCIETY
Mayor's Reception Room, Town Hall. Monday
December 4th
TESSA ROBBINS and ROBIN WOOD
Violin and Piano Recital
Chaconne
Sonata in A major K.526
Duo Concertinto
Vitali
Mozart
Stravinsky
Sonata in C minor Op. 30 No.2. Beethoven
evenings
at 7.30
January 22nd. THE STRAUSS QUARTET STRING QUARTET
The committee have been informed that the
visit of the Quatuor Haydn to this country
has been cancelled. They are happy to announce
that they have been able to engage the Strauss
String Quartet for this date.
March 4th.
JOHN OGDEN Piano Recital.
Season Tickets single 8/6d from Woods, New St.
or at the door.
Quartet in F minor Op.20 No. 5
Quartet in C minor Op.51 No. 1
Quartet in F major Op.59 No. 1
THE HALIFAX PHILHARMONIC CLUB
Lecture Hall of the Halifax Literary and
Philosophical Society, Friday evenings at 7.30.
December 8th. THE DROLC STRING QUARTET
Haydn
Brahms
Beethoven
Single tickets 7/6 from David Dugdale Esq.
291 Willowfield Road, Holifax or at the door.
THE HUDDERSFIELD THESPIANS
St. Patrick's Hall. November 27th to December 2nd.
THE SOUND OF A MURDER William Fairchild
Ocr'd Text:
He
The following extract from Grove's Dictionary (Eric
Blom) sums up Kodely's work admirably: "Kodaly's
music is distinguished by an originality that appears
startling at first hearing but on closer acquaintance
it reveals certain leaning toward tradition.
does not abandon tonality and accepted forms, but
creates a new music of astonishing vitality within
their limits. His instrumental writing is extremely
interesting and there is a close interdependence
between his creative impulse and the particular
medium chosen for its expression. The piano pieces
are predominantly harmonic and percussive, the string
quartets contrapuntal and the pieces for solo string
instruments bound in appropriate technical problems
und striking effects."
The Sonata for cello and piano Op.4 was
written 1909-10 and was one of the works performed
in 1910 at the first concert to consist entirely of
Kodaly's music. It is highly dramatic in character.
The first movement which, though in sonata form,
bears the title of Fantasia, opens with a broad theme
played by the cello, to which the pino replies with
a strongly accented theme "full of foreboding."
Throughout the movement these themes are tossed about
between the instruments in a highly dramatic fashion.
The second movement, also in son ta form, is a dance
in character, in which vigorous rhythms obviously
derived from folk-musice alternate with dramatic
climaxes. These die away and the work ends with a coda
based upon the themes of the first adugio movement.
INTERVAL OF TEN MINUTES
III
Trio for piano, clarinet and cello in A minor Op.114
Brahms (1833-1918)
Allegro
Adagio
Andantino grazioso
Allegro
(First performance at these concerts.)
Ocr'd Text:
When Brahms completed this String Quartet
Op.111 in 1890 he felt that this work had exhausted
his creative powers. He held that one should not
compose without "inner inspiration"; therefore he
decided to cease from composition, to arrange for
the ultimate disposal of his personal possessions
and to enjoy the leisure earned by years of labour.
But, during his stay at Ischl in the summer of 1891,
his powers of inspiration received a fresh impetus
and both the Trio Op. 114 and the Quintet Op.115
appeared. There is no doubt that they were both
inspired by the clarinet playing of Muhlfeld whom
Brahms had heard at Meiningen that yer with the
deepest admiration. Brahms used whimsically to
introduce him as "Fraulein von Muhlfeld, my prima
donna." The other chamber music works which remained
to be written were the Clarinet Quintet Op.115 and the
two clarinet Sonatas Op. 120. "In all four chamber
music compositions of this last period the clarinet,
the rather faintly sweet melancholy songster of the
woodwind instruments, hus the leading part, and this
fact alone indicates the character of these pieces.
Thir mood is more sombre and serious than that of the
works of Brahms' maturity; the invention perhaps is
onger so fresh and abundant, though the technical
mistery is no less remarkable. Further, these
compositions show very definite inclination towards
the means of expression employed by the older masters. 19
(Geiringer). This lutter is especially seen in the
way in which Brahms, both in the first and last
movements of the Trio, introduces his second subject
in the form of à canon in contrary motion
much used by Haydn and the pre-classical Viennese
masters. The way in which the themes are inspired
by the character of the different instruments and the
superb blending of the clarinct and cello tones, is
unsurpassed. As Mandyozwski wrote to Brahms: "It is
as though the instruments were in love with each other."
It is possible that the Trio has been undeservedly
overshadowed by the great Quintet. Specht considers
that the Trio, lcss well-known und understood,
surpasses the Quintet.
no
practice
Ocr'd Text:
Each movement, he considers, is a love poem of
unspeakable tenderness. Rather fancifully he describes
the opening subject, a rising arpeggio of the chord
of A, as an expectant upward glance, and its pendant,
three descending diatonic notes, as a kiss. In the
blissful adagio (sonata-arioso form) with its inspired
intermezzo, "no more gorgeous colouring has been
achieved in chamber music." The Andantino in A major,
almost a minuet, hus two tries, one in F sharp minor, the
other in D major. The relatively short and compressed
Finale Specht takes as "a remembrance of childhood; a
theme from Schumann's Album for the Young colours the
principal subject and there are children's games of
wild rides and roundelays while a tear seems to fall
into the old man's beard."
ANTHONY HOPKINS (b.1921) has made a name for himself
in a variety of musical fields. He began to compose
at the age of 7. While at school, his piano studies
were under the guidance of Georg von Harten. In 1939
he went to the Royal College of Music where he studied
the organ; later, under Cyril Smith, he won the Chappell
Gold Medal - the highest award for piano playing, as
well as the Cobbett Prize for a string quartet.
Michael Tippett influenced his early compositions.
He has written much incidentul music for stage, screen
and radio and, at Stratford-on-Avon, he has composed
music for 15 of Shakespeare's plays. Since 1952 he
has directed with great success the Intimate Opera
Company. He has achieved great popularity as a
lecturer on music equalling that of Sir Walford Davies.
He has now added conducting to his many activities,
being associated with the Boyd Neel Orchestra.
JOY HALL, the first ccllist to win the International
Bach and Beethoven scholarship at the Royal Academy
of Music, studied with Casals in France. She is a
member of the Amici String Quartet and the Court
Ensemble.
SIDNEY FELL was for many years the principal clarinet
of the L.S.O. and is now the principal clarinet of the
Sinfoni of London. Well-known for his virtuosity,
he is also Professor of the clarinet at the R.C.M.
Ocr'd Text:
Chaconne
THE HUDDERSFIELD MUSIC SOCIETY
Forty-fourth Season 1961-62
Monday December 4th 1961
TESSA ROBBINS and ROBIN WOOD
Violin and Piano Recital
Programme
1
Tommaso Vitali was the son of the better-known
Giovanni Vitali; the latter was a musician and composer
who wrote a vast amount of dance music, baletti and
sonatas. Tommaso became the director of the court
music of the Dukes of Modena and is said to have had a
number of distinguished violin pupils. He is best
remembered for his fine Chaconne.
Vitali (b, circa mid-17th
cent.)
The Chaconne is a dance of ancient Spanish origin.
It is usually slow in tempo, in 3/4 time with an accent
on the second beat; it is, in reality, a series of varia-
tions upon a "ground bass" mostly eight bars in length.
It differs chiefly from the Passacaglia in that, in the
Chaconne, the theme is invariably kept in the bass while
in the Passacaglia it appears in any part, usually
enriched and embellished almost out of recognition.
Sonata in A major K. 526
11
Allegro molto
Andante
Presto
Mozart (1756-1791)
(First performance at these Concerts)
This, the last of the "great sonatas" was completed in
1787, during the composition of Don Giovanni. Einstein
Ocr'd Text:
"This wo
rites
Nozartean, in th
at the same time
God the F
attains an equil-
Ocr'd Text:
2 -
writes "This work is like Bach, yet thoroughly
Mozartean, in three contrapuntal parts, yet gallant
at the same time; and in the slow movement it
attains an equilibrium of art and soul that is as if
God the Father had brought all motion everywhere to
a halt for a moment so that man might savour the
bitter sweetness of existence. This sonata has been
called the forerunner of Beethoven's Kreutzer Sonata;
but it avoids the "dramatic", the passionate, and in
so doing it is all the more complete.
The first movement is one of Mozart's most
perfectly constructed sonata movements. Written almost
throughout in three part counterpoint, it is cheerful
and animated, though a short, creeping, chromatic theme
heard towards the end of the exposition and freely used
in the development section, gives a hint of something
less serene. Einstein's remarks on the slow movement
have been quoted; it opens with the piano playing an
unusual theme in unision octaves over which the violin
gives a "brief, plaintive sigh". The Finale, a rondo,
takes up "the virtuoso spirit of the first movement;
it is the super-virtuoso rondo of Mozart's sonatas
moto perpetuo in which the motion is only cursorily
broken in the episodes. This glitter blots out almost
all recollection of the dark mood of the andante and
only in the F sharp minor episode do fleeting clouds
dim the brightness." (Abert.)
INTERVAL OF TEN MINUTES
a
Ocr'd Text:
edit doa
***
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ncertan
conce
(First E
Ocr'd Text:
Duo Concertante
III
Stravinsky (b.1882)
Cantilena
Eclogue I
Eclogue II
Gigue
Dithyrambe
(First performance at these Concerts)
His father
Stravinsky, perhaps the most eminent of all modern
composers, was born near St. Petersburg.
was a bass singer at the Imperial Opera. He showed an
aptitude for music from a very early age, though his
parents intended that he should study law, and that
music should be a hobby. In 1907 Stravinsky met
Rimsky-Korsakov, and his influence and advice, to-
gether with the intense artistic activity in Russia at
that period, finally made Stravinsky decide to adopt a
musical career; he bacame a pupil of Rimsky-Korsakov's
in 1907. After a hearing of the Fantastic Scherzo in
1909, Diaghilev commissioned Stravinsky to write "The
Fire Bird" for the Russian Ballet. This was followed
by "Petrushka" and the "Rite of Spring." Stravinsky
never returned to Russia after the 1914-18 war and the
Revolution. He settled first in Switzerland; he
became a French citizen in 1934, and since 1937 he has
lived in America.
"For many years, 11
The Duo Concertante was finished in 1932 immediately
following the violin concerto. Both were written with
the violinist Dushkin in mind.
Stravinsky wrote in a programme note, "I had taken no
pleasure in the blend of strings struck in the piano.
with strings set in vibration by the bow. In order to
reconcile myself to this instrumental combination, I
was compelled to use the minimum number of instruments
that is to say, only two, for in that way I saw the
possibility of solving the instrumental and acoustic
problem of associating the strings of the piano with
those of the violin. Thus originated the idea of the
The mating of
Duo Concertante for violin an piano.
Ocr'd Text:
ruments
combinati
tru
which
exten
Wrients,
certain
cor
rest in the pa
said that he cl
ve movements;
five movements rour
1:
The Cantil
Ocr'd Text:
- 4 -
nese instruments
seems
to bring about greater clarity
than the combination of a piano with several stringed
instruments, which tends to confusion with the orchestra"
To a certain extent the work is inspired by Stravinsky's
Stravinsky
interest in the pastoral poetry of antiquity.
has said that he chose one theme which is developed in all
five movements; like Bartok, Stravinsky has grouped the
five movements round the central third one.
The Cantilena does not conform to the usual song type.
It opens with arpeggio arabesques for the violin with an
The
accompaniment of repeated notes for the piano.
principal subject is heard later in double-stopping on
The first
the violin accompanied by piano arabesques.
the second eclogue
eclogue is almost bagpipe music;
The Gigue, a
takes the place of the slow movement.
rapid torrent of notes, is twice interrupted by trio-like
episodes. Perhaps the Dithyrambe is the finest movement.
It contains four-part writing for the piano and a fine,
true Cantilena for the violin.
IV
Sonata in C minor Op.30 No.2
Beethoven (1770-1827)
Allegro con brio
Adagio cantabile
Scherzo and Trio
Finale. Allegro
(Last performed in 1959 by Erich Gruenberg
and Peter Wallfisch)
Beethoven's nine sonatas for violin and piano were
all written between 1798 and 1803, the tenth, and last,
At this period of his
sonata not appearing until 1812.
still a virtuoso pianist and
life Beethoven himself was
had many opportunities of giving concerts with players
of other instruments. It is known that many of his
Ocr'd Text:
sonatas were
Bekker po
between these wor
nighly interestin
of virtuosity as a
make a point of pi
Ocr'd Text:
5.
duo sonatas were written with a particular player in
mind. Bekker points out that "the marked difference
between these works and the chamber music proper is
highly interesting. The latter aims at the exclusion
of virtuosity as an end in itself, while the duo sonatas
make a point of preserving it, and their whole structure
shows an unmistakable trend to the form of the double
concerto without orchestral accompaniment."
and piano sonatas are particularly fine examples of
"concert pieces" and their effect is, in general,
one of
brilliance and virtuosity. The three sonatas of Op.30
were written in 1802 and, therefore, belong to Beethoven's
"middle period." They are dedicated to the Emperor
Alexander of Russia.
The violin
$4 D'Indy finds this Sonata Op. 30 No.2 essentially
military in spirit. The first movement, in sonata form,
with its rhythms like trumpet calls, its sharply pointed
phrases, its stormy episodes, the mournful new theme of
the development section, and its triumphant close, paints
for d'Indy a complete picture of martial strife. The
second movement is an expressive aria in five linked
sections: it, too, has its dramatic moments. The Scherzo,
pointed and rhythmical, has a Trio with canonic imitations
between the violin and piano base. The sombre, energetic
and passionate "Finale" is a rondo, again with beating
drum-like rhythms and trumpet calls. "Then, after the
fourth refrain, all the themes of victory are mingled in
a glowing final presto which forms a worthy conclusion
to this fine work." (d'Indy)
Ocr'd Text:
TESSA ROBBI
violinist.
SH
Elizabeth of Be
appears regular
recitals and or
Ocr'd Text:
- 6-
TESSA ROBBINS is a brilliant young English
violinist. She won the Tagore Medal and the Queen
Elizabeth of Belgium and the Munich prizes. She
appears regularly as a soloist with orchestras, in
recitals and on the radio both in England and on
the Continent.
ROBIN WOOD came from Canada in 1946 with an
Associated Board Scholarship to study at the Royal
Academy of Music where he was a pupil of Vivian
Langrish. He won many prizes during his student-
ship, and on its completion in 1950 he won one of
the Boise Foundation Scholarships which afforded
facilities for him to study abroad with Edwin Fischer
and Nada Boulanger. By competition he was awarded
the Queen's Prize and the R.C.M. Moulton-Meyer award.
Ocr'd Text:
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Town Hall.
uary 22nd.
1
Quartet in
Quartet No
Quartet in
Ocr'd Text:
Mayor's Reception Room,
Town Hall.
January 22nd.
THE HUDDERSFIELD MUSIC SOCIETY
March 5th.
Monday Evenings at 7.30
Quartet in F major Op.74 No.2
Quartet No. 2
THE STRAUSS STRING QUARTET
Quartet in A minor Op. 132
December 8th
Haydn
Honegger
Beethoven
(Programme subject to revision)
JOHN OGDON
Piano Recital
Tickets 8/6 from Woods, 67 New Street or at the door
THE HALIFAX PHILHARMONIC CLUB
Lecture Hall of the Halifax Literary and Philosophical
Society, Harrison Road.
Friday Evenings at 7.30
THE DROLC STRING QUARTET
Haydn
Brahms
Beethoven
Quartet in F minor Op. 20 No.5
Quartet in C minor Op. 51 No.1
Quartet in F major Op. 59 No.1
Tickets 7/6 from David Dugdale Esq., 291 Willowfield
Road, Halifax, or at the door.
THE HUDDERSFIELD THESPIANS
St. Patrick's Hall
January 22nd
27th at 7.30
Two performances on Saturday at 6.0. & 3.30. p.m.
THE BOY FRIEND
A Musical Play by SANDY WILSON
Tickets (for this production) 4/6 and 3/- (non-members)
from Woods, 67, New Street,
Ocr'd Text:
THE HUDDERSFIELD MUSIC SOCIETY
Forty-fourth Season 1961-62
Monday 22nd January, 1962
THE STRAUSS STRING QUARTET
Ulrich Strauss (Violin)
Helmut Hoever (Violin)
Programme
1
Konrad Grahe (Viola)
Ernest Strauss (Cello)
Quartet in F major Op. 74 No. 2 Haydn (1732-1809)
Allegro Spirituoso
Andante grazioso
Minuet and Trio
Presto
(First performance at these Concerts)
In 1793 Haydn wrote six string quartets, the three
of Op. 71 and the three of Op. 74; all six were dedicated
to Count Apponyi. At that period Haydn was much pre-
occupied with orchestral composition, and in all these
quartets he seems to be striving towards an almost
orchestral sonority of effect, as opposed to his earlier
treatment of the string quartet as a kind of miniature
orchestra. This effect is at times so marked as almost
to exceed the bounds of quartet writing. These six
quartets have another feature in common which is found
nowhere else in Haydn's quartets - all begin with a
short introduction. Sometimes this merely takes the
form of a cbord or a short series of chords. But this
quartet (Op. 74 No. 2) has no less than eight bars of
unison for all four instruments, of which much use is
made in the following movement.
One
Tovey has called this quartet "a neglected master-
piece". Its form is clear and requires no comment.
striking feature, however, is the unusual key relationship
between the Minuet (F major) and the Trio (D flat major),
a daring innovation which alone would mark this quartet as
a product of Haydn's later years.
Ocr'd Text:
quartet No.
:
Alleg
Adagi
Ocr'd Text:
Quartet No. 2
2 -
Honegger (1892-1955)
Allegro
Adagio
Allegro Marcato
(First performance at these Concerts)
Arthur Honegger was born at Havre of Swiss parents.
He is usually thought of as a French composer, belonging
to the group known as "The Six", but in fact, both by
birth and tradition, he, together with Ernest Bloch and
Frank Martin, are the leading Swiss composers of their day.
Honegger received his early musical education at Zurich;
he
then came to Paris where he studied under Capet (violin),
Gedalge (a great contrapuntist), Widor (composition), and
d'Indy (conducting). A serious student, Honegger developed
more slowly than his contemporaries; he was much pre-
occupied with the problems of musical structure and poly-
phony which, in his maturity, he came to use with the
freedom and inspiration of a master. It has been said that
Honegger was one of the very few who move in sonata form as
if it were his native element. Prunieres wrote; "His
music, which is wholly atonal, is based entirely upon
counterpoint. Simple melodies, with natural inflections,
develop one from another. Each instrument in his chamber
music, and each group of instruments in his orchestral
scores, seems to have its individual life and speak its own
language. There sometimes results dissonances that are
rather painful, a harshness that is cruel but never useless"
Honegger has himself said that Bach was his great model;
and quite apart from his contrapuntal powers, he, like Bach,
who blended German form with Latin grace, has combined his
Germanic strength with the magic of French impressionism.
Although essentially a polyphonic composer, Honegger
has shown many evidences of dramatic leanings. He has written
operas, ballets and much incidental music for the stage, films
and radio, as well as five symphonies, songs and piano pieces.
is earliest attempts at composition include various duo
sonatas and three string quartets, the first dating from
1916. The second quartet was written in 1934-36 and the
third in 1936.
Ocr'd Text:
The secor
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Ocr'd Text:
- 3 -
The second quartet in D is one of the finest of Hon-
esger's chamber music works. Its melodic warmth and bois-
terous impetuosity are only kept in check by his supreme
mastery of form. The first movement is in sonata form, the
whole being based upon a kind of ostinato-motive. The slow
movement is the centre of the work in every sense of the word.
It consists of one long unbroken melody reaching from end to
end of the movement. In complete contrast the final movement
is boisterous and unbridled in the extreme, with no place
in it for tenderness or melodic graces.
(Interval of ten minutes)
Ocr'd Text:
in A D
Assai
Andante
Molto a
Allegro
Ocr'd Text:
Quartet in A minor, Op. 132
Assai sostenuto.
Allegro
Beethoven (1770-1827)
Andante ma non tanto
Molto adagio.
Allegro appassionato
(Last performed in 1954 by the Vech String Quartet)
After an interval of fourteen years during which he
wrote no chamber music, Beethoven devoted himself from 1824
to 1825 almost entirely to the composition of his last five
string quartets - works which express the quintessence of
Hadow wrote "Ecethoven's
his human and artistic knowledge.
There is no
last period is like the second part of Faust.
music in the world more difficult to understand, none of
It
which the genius is more unearthly, more super-human.
can no more apply our ordinary
contains passages to which we
can to the earthquake or the
standards of beauty than we
thunder-storm; it contains phrases, like the cynicism of
Goethe, which, till we comprehend them better, we can only
et times it rises into
regard as harsh or crim or crabbed;
melody the like of which the world has never known and will
never know again."
Andante
The first movement of this quartet has a remarkable form.
It opens with a very short and slow introduction founded
upon a four-note motive (G sharp, A, F, C,) which is like
"the mysterious voice of an oracle specting of things
These four notes recur
beyond the reach of thought, "
throughout the movement, binding it into a whole, and
followed each time by successive cxpositions of the main
An allegro takes the place of
first and second subjects.
the usual Scherzo; the trio section reminds one of a country
The role of the dance is very
waltz with its drone bass.
important in the late Seethoven quartets; in that connection
Langford once wrote: "Oze cannot speak justly of the short
idyllic dance movements in these later quartets without
regarding them as elysian in their very nature, and as
removed by their ideality from every contamination of the
world. Seethoven entitled the slow movement "A Song of
Thanksgiving offered to the Divinity for recovery from
Just before writing this
sickness, in the Iydian mode."
11
Ocr'd Text:
artet Zeetha
on of f
an aria in
Ocr'd Text:
- 5-
quartet Beethoven had suffered from a severe illness,
therefore we may read into this portion a personal
expression of feeling. Technically, this movement is
an aria in five sections; the final section, marked to
be played with deepest feeling, is truly celestial.
A short march, in abrupt contrast, ends with a short reci-
tative passage which leads directly into the final Allegro
movement. This is a rondo in which the joy of returning
life and health is depicted with radiancy.
THE STRAUSS STRING QUARTET was founded in 1956. Though all
the players are of German nationality, they have chosen to
live in asle where they have many friends and where they
met Camdor Vegh, which was a great help to them in the
difficult beginnings of the study of ensemble music.
quartet have fulfilled many concert tours in Germany,
Switzerland, Holland, Selgium and Italy. They have already
played three times in London with outstanding success.
March 5th
THE HUDDERSFIELD MUSIC SOCIETY
Mayor's Reception Room, Town Hall.
Monday evenings at 7.30
JOHN OGDEN
Two Preludes and Fugues from the "48"
Sonata in A minor K. 310
Sonata in E major Op. 109
La Gondole lugubre Nos. 1 and 2
Valses Oublies Nos. 1 and 2
Ballade in F minor No. 4
Fantasie in A flat for the left hand
alone
Bach
Mozart
Beethoven
The
Liszt
Liszt
Chopin
Alkan
Single tickets 8/6d. from Woods, 67 New Street, or at the door
Ocr'd Text:
- 6 -
THE HALIFAX PHILHARMONIC CLUB
Lect.re Hell of the Halifax Literary and Philosophical
Society, Harrison Road.
Friday evenings at 7.30
January 26th
OROMONTE STRING TRIO WITH PETER GRAELE (Oboe)
String Trio Op. 53
String Trio (1933)
Oboe Quartet .370
Phantasy Quartet for Oboe and
Strings
Serenade in major, Op. 8
Haydn
Francaix
Mozart
Britten
Boethoven
Single tickets 7/6d. from David Dugdale Esq., 291 Willowfield
Road, Halifax, or at the door.
THE HUDDERSFIEL THESPIANS
St. Patrick's Hall
January 22nd
27th
at 7.30 p..
The performances on Saturday at 2.30 p.m. and 7.30 p.m.
THE SOY FRIEND
A Musical Play by Sandy Wilson
Tickets 4/6d. and 3/- from Woods, 67 New Street.
Ocr'd Text:
HUDDERSFIELD MUSIC SOCIETY
Forty-fourth Season 1961
Mayor's Reception Room,
Two Preludes and Fuges from the
(a) C sharp minor
Sonata in E major Op.109
62
Monday March 5th 1962
Sonata in A minor K.310
Allegro
maestoso
Andante Cantabile con espressione
Presto
La lugubre Gondda Nos.1 and 2
Bach (1770-1827)
Ballade in F minor No.4 Op.52
Fantasie in A flat for the left
hand alone Op.76 No.1
Mozart (1756-1791)
Vivace ma non troppe. Adagio espressivo
Beethoven (1770-1827)
(Andante molto cantabile ed espressivo) and
Variations
(Last performed in 1945 by Pranz Osborn)
Liszt (1811-1886)
Chopin (1810-1849)
Alkan (1813-1888)
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Ocr'd Text:
NOTES
Mozart's Sonata in A minor K.310 is one of the five
written in Paris during the tragic summer of 1778.
Returning to Paris as a young man, Mozart no longer
attracted the attention that the child prodigy had done:
and here his mother died, Einstein describes this
beautiful Sonata as "Dramatic and full of unrelieved
darkness, not even the turn toward C major at the end of
the exposition section can brighten the mood of this work.
In the slow movement the development does begin somewhat
consolingly, but the whole impression is governed by the
uncanny agitation that comes just before the recapitula-
tion Uncanny, too, is the shadowy Presto. from beginning
- despite the interpolation of a melody that begins
The key of A minor and some times A
major as well - is for Mozart the key of despair.
trace of "sociability is left in this sonata. It is a
most personal expression;
the
works of other composers of this period for any thing
And it is easy
the astonishment
of M.de Saint-Foix over the fact that the public of Paris,
the city of criticism, where the work appeared in 1782,
greeted it silently and without comment."
Beethoven's Sonata in E major Op.109, a type of Fantasia-
was written in 1820.
of the three last
piano sonatas, all works of unusual design, rich in mellow
beauty and deep philosophic thought.
The first movement opens with a theme woven among
ascending and descending arabesques, which is twice
interrupted by a short adagio passage. The movement
dies away.
to be awakened by the fiery, restless
Prestissimo with its rising melody and stamping basses,
The mood quietens, but the passion reaks out again and
presses towards the end with forward-urging chords.
and final movement consists of a theme with
six variations. The melody marked songful with intense
emotion, is certainly one of Beethoven's most lovely
inspirations, expressive of absolute happiness and peace.
The Variations are a series of bright and varied images;
the final one sinks tenderly into a repetition of the
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In these late pieces La Lugubre Gondola Nos.l
and 2 and Valses oubliees Nos.1 and 2 we meet a composer
far removed from the popular conception of Liszt. They
were written in his old age when all interest in piano
virtuosity had vanished and nothing remained but abstract
music, stripped of all but the essentials, and far-
reaching experiments in harmony. Of the two versions of
La lugubre Gondola, Searle remarks that they have a
simplicity and austerity which remind one of Bartok.
of these late pieces, he also observes, were written
be played either by some chamber music combination or by
a piano (the second La lugubre Gondola was also scored
for cello or violin and piano), as if Liszt's thoughts
the music alone and not on the medium. As the
name implies, these two pieces were written in Venice and
were inspired by the funeral processions by gondola which
Liszt sav on the lagoons, They were completed three weeks
before Wagner s death as though," as Liszt himself said,
"it was a presentiment."
The three Valses oubliees date from approximately the
same period and are perhaps the best known of Liszt's later
works. They are "nostalgic evocations of the past."
Many
Fantasie in A flat Alkan, whose real name was
Charles Henri Morhange, was so precocious a child prodigy
that he was admitted as a student to the Paris Conservatoire
at the age of six. He spent his life in semi-obscurity as
â teacher in Paris,
By
the side of Liszt, Alkan is the only other com-
parable composer of transcendental music for the piano"
(Sacheverell Sitwell). Yet he owed nothing to Liszt, and
his development reached its heights completely independ-
ently and without losing any of its great originality,
Both Liszt and Rubinstein were united in their admiration
for his work, and Busoni classed him with Chopin, Schumann
and Brahms as
of the greatest of post-Beethoven
composers for the piano. In spite of this, Alkan is
practically unknown, perhaps partly because much of his
music is of such difficulty as to be impossible for all
but the greatest of virtuosi.
Among his finest works is a set of 12 Studies for
the major keys and a second set of 12 Studies for the
minor keys.
"Trois Grandes Etudes" Op.76 comprise
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one for the left hand alono (to be played tonight), one
for the right hand alone; the third is the great Etude en
nouvement semblable et perpetuel, one of the most remark-
able studies in the whole literature of the piano. All are
technical tours de force and also great music.
JOHN OGDON was born in 1937 in Mansfield. Having shown an
aptitude for music from an early age, he was admitted to
the Royal Manchester College of Music when he was 8 to
study with Iso Elinson. Later, after a general education
at Manchester Grammar School, he returned there to study
with Claude Biggs (piano) and Thomas Pitfield (composition)
He has since appeared with great success with many of the
leading orchestras and at many important concerts,
also won many important international prizos. He is also
a composer and he has been invited to record for His
Master's Voice music by Busoni with which, as a pupil of
Petri, he has been closely associated.
THE HUDDERSFIELD MUSIC SOCIETY
Arrangements for the 1962-3 Season will be announced
course. Every effort is being made to secure
artists of international reputation who will present
programmes of high musical value and interest.
may, with utmost confidence, anticipate a series of
recitals as attractive as any of those which have been
presented by this Society in the past.
Approbation of the endeavours of the Committee could
not be better expressed by our present members than by the
introduction of NEW MEMBERS; and a particular appeal is
therefore made to those who have appreciated these Concerts
in the past to support our efforts in the future.
Please give to either of the Secretaries or to any
member of the Committee the names and addresses of any
possible new member, or of any person who would be
interested in the Society, so that prospectuses may be
sent to them before the start of next season,
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HALIFAX PHILHARMONIC CLUB
Lecture Hall of the Halifax Literary and
Philosophical Society, Harrison Road.
Friday, March 9th at 7.30 p.m.
Mendelssohn
JOHN FRANCA and TOM BROMLEY Cello and Piano Recital
Sonata in B flat major Op. 45
Sonata in D major Op.102 No.2
Sonata in A major
Beethoven
Boccherini
Sonata Op.119
Single tickets 7/6d from David Dugdale Esq.,
291 illowfield Road, Halifax, or at the door.
HUDDERSFIELD THESPIANS
St. Patrick's Hall March 5th - 10th at 7.30 p.m.
THE
FIGURE
FUN
A French Comedy by Andre Roussin, adapted by
Arthur Macrae
Tickets 3/6d and 2/- from Woods, 67 New Street
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