HMS 44


The Huddersfield Music Society, HMS 44

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HUDDERSFIELD MUSIC SOCIETY Brochure 44th Season's programmes 1961 - 1962 20.2.1961. 4411. 4.12.1961. 4413 How Programme missing Vitali crossed our i Unsure if played or not. (Recorded an davobase). Stravinsky - Grove = Concertant colorchecker programme. 7) Xx.rite ns s) sky MSCCPPCC0613 1903SW

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THE HUDDERSFIELD MUSIC SOCIETY (Founded as The Huddersfield Music Club by Dr. Eaglefield Hull in 1918) ТАСИОМ T3 (Found ⁹18) HT 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 (neds. Tonim ni 39378UQ 18 FIVE OIAT FOR FOR THE FORTY-FOURTH SEASON, 1961-62, to be given in President Vice-President TOWN HALL 8 ni oht 39ninslƆ nsvorised xisbo On MONDAY EVENINGS at 7-30 p.m. stano2 2mrs18 onim A ni on nisl ilsaiV JYSSOM THE MAYOR'S RECEPTION ROOM (onsi A SERIES OF ylznive12 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 ДИОМ Miss A. SHAW Mrs. J. SHIRES Miss W. TOWNSEND Hon. Secretary: Mrs. E. GLENDINNING Hon. Treasurer: Mrs. S. G. WATSON BU Sol 19116UO ello. 0-1827) iations ncerts) the chnowsky - 8. still his own In mportant however, which is s of the be d rios Op.9

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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

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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

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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

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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 ((a) 19xbit. ....... om brez bluow uoy ti bslg od bluodz 1 Sonata in A majonózse2d-1er da not Duo Concertante omsl 2291bbA bisitzebbut on or eldsysq obam sd bluorz 29uper isipo2 lauh

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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

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and

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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.

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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

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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.)

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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

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th unsp Each mo

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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.

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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

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"This wo rites Nozartean, in th at the same time God the F attains an equil-

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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

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edit doa *** ? ncertan conce (First E

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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.

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ruments combinati tru which exten Wrients, certain cor rest in the pa said that he cl ve movements; five movements rour 1: The Cantil

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- 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

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sonatas were Bekker po between these wor nighly interestin of virtuosity as a make a point of pi

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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)

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TESSA ROBBI violinist. SH Elizabeth of Be appears regular recitals and or

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- 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.

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-trebu neigna al diod ofbes essing doim Town Hall. uary 22nd. 1 Quartet in Quartet No Quartet in

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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,

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and song o

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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.

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quartet No. : Alleg Adagi

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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.

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The secor esser's chambe terous impetun

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- 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)

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in A D Assai Andante Molto a Allegro

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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

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artet Zeetha on of f an aria in

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- 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

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- 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.

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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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tur tra ut kn el the 150 812 RAI 01 ce 80 st DE 88e th Va 1₁

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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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2 ren re wa rtuos achin lugt apli the pla pian or ce ere o ne i ere i liszt efore same p orks Charle that at the tea arab Sach Ently oth Compo ract usic inor

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0 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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da si 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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