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The Huddersfield Music Society, HMS 46 |
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1 The Huddersfield Music Society, HMS 46, Page 1 |
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Ocr'd Text:
HUDDERSFIELD MUSIC SOCIETY
Brochure
46th Season's programmes 1963-1964
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2 The Huddersfield Music Society, HMS 46, Page 2 |
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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.
FIVE
A SERIES OF
CONCERTS
FOR THE FORTY-SIXTH SEASON, 1963-64,
to be given in
THE MAYOR'S RECEPTION ROOM
TOWN HALL
On MONDAY EVENINGS at 7-30 p.m.
70-1827)
President
Vice-President
Mrs. EAGLEFIELD HULL
E. D. SPENCER, Esq.
Honorary Vice-Presidents :
DAME MYRA HESS, BENJAMIN BRITTEN, F. W. GADSBY, F. ROWCLIFFE.
Hon. Secretaries :
Miss C. ALISON SHAW, 3a Vernon Avenue. Tel. Hudd. 7433.
STANLEY G. WATSON, 342 New Hey Road. Tel. Milnsbridge 1706.
Hon. Treasurer:
F. W. PHILIPS, National Provincial Bank, King Street.
S. H. CROWTHER
DAVID DUGDALE
Mrs. E. GLENDINNING
E. GLENDINNING
Committee:
Mrs. D. HIRST, J.P.
Miss Z. E. HULL
Dr. C. JONES
P. L. MICHELSON
MAX SELKA
E. C. SHAW
W. E. THOMPSON
Mrs. S. G. WATSON
C. R. WOOD
Ladies' Committee :
Chairman Mrs. D. HIRST,
J.P..
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Mrs. BRANSOM
Mrs. S. H. CROWTHER
Mrs. N. CULLEY
Mrs. F. A. DAWSON
Miss K. EVANS
Mrs. E. FENNER
Mrs. A. E, HORSFALL
Mrs. A. E. HULL
Miss Z. E. HULL
Mrs. A. W. KAYE
Miss H. LODGE
Mrs. P. MARKS
Miss E. K. SAWERS
Miss C. A. SHAW
Mrs. J. SHIRES
Mrs. E. D. SPENCER
Miss W. TOWNSEND
Hon. Secretary: Mrs. E. GLENDINNING
Hon. Treasurer: Mrs. S. G. WATSON
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3 The Huddersfield Music Society, HMS 46, Page 3 |
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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.
A SERIES OF
FIVE CONCERTS
FOR THE FORTY-SIXTH SEASON, 1963-64,
to be given in
THE MAYOR'S RECEPTION ROOM
TOWN HALL
On MONDAY EVENINGS at 7-30 p.m.
President
Mrs. EAGLEFIELD HULL
Vice-President
Honorary Vice-Presidents :
E. D. SPENCER, Esq.
DAME MYRA HESS, BENJAMIN BRITTEN, F. W. GADSBY, F. ROWCLIFFE.
Hon. Secretaries :
Miss C. ALISON SHAW, 3a Vernon Avenue. Tel. Hudd. 7433.
STANLEY G. WATSON, 342 New Hey Road. Tel. Milnsbridge 1706.
Hon. Treasurer :
F. W. PHILIPS, National Provincial Bank, King Street.
S. H. CROWTHER
DAVID DUGDALE
Mrs. E. GLENDINNING
E. GLENDINNING
Committee:
Mrs. D. HIRST, J.P.
Miss Z. E. HULL
Dr. C. JONES
P. L. MICHELSON
MAX SELKA
E. C. SHAW
W. E. THOMPSON
Mrs. S. G. WATSON
C. R. WOOD
Mrs. BRANSOM
Mrs. S. H. CROWTHER
Mrs. N. CULLEY
Mrs. F. A. DAWSON
Miss K. EVANS
Mrs. E. FENNER
Ladies' Committee :
Chairman Mrs. D. HIRST, J.P.
Mrs. A. E. HORSFALL
Mrs. A. E. HULL
Miss Z. E. HULL
Mrs. A. W. KAYE
Miss H. LODGE
Mrs. P. MARKS
Miss E. K. SAWERS
Miss C. A. SHAW
Mrs. J. SHIRES
Mrs. E. D. SPENCER
Miss W. TOWNSEND
Hon. Secretary: Mrs. E. GLENDINNING
Hon. Treasurer: Mrs. S. G. WATSON
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4 The Huddersfield Music Society, HMS 46, Page 4 |
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Ocr'd Text:
MONDAY, OCTOBER 14th, 1963
STEPHEN BISHOP
Piano Recital
Sonata in D minor Op. 31 No. 2
Beethoven
Drei Klavierstucke Op. posth.
Schubert
Klavierstucke Op. 119
Brahms
Sonata in C minor Op. 111
Beethoven
MONDAY, NOVEMBER 11th, 1963
THE VLACH STRING QUARTET
Quartet in E minor Op. 59 No 2
Quartet No 1
Beethoven
Janacek
Quartet in A flat major Op. 105
Dvorak
MONDAY, DECEMBER 16th, 1963
OSIAN ELLIS
Harp and Song Recital
Works by Handel, Mozart, Glinka, Dussek, Faure,
Debussy, Britten, Eugene Goossens, and
William Matthias: Songs and Folk-songs
MONDAY, JANUARY 27th, 1964
THE PARRENIN STRING QUARTET
Lyric Suite (1926)
Berg
Quartet in E flat (K. 428)
Mozart
Quartet in F major Op. 135
Beethoven
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5 The Huddersfield Music Society, HMS 46, Page 5 |
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MONDAY, MARCH 2nd, 1964
THE ALBERNI STRING QUARTET
Quartet in C minor Op. 18 No. 4
Quartet No. 8
Quartet in A minor Op. 51 No. 2
Beethoven
Shostakovitch
Brahms
NEW MEMBERS will be welcomed by the Society; and it will
be appreciated if they will kindly complete
the slip hereunder and forward it, together
with the appropriate remittance (40/- per
Season Ticket), to the Hon. Secretary as
addressed.
THE HUDDERSFIELD MUSIC SOCIETY
To the Hon. Secretary,
342 New Hey Road,
Salendine Nook,
Huddersfield.
I should be glad if you would send me
for the 1963-64 Season
Name
Address
ticket(s)
Please complete in BLOCK LETTERS;
state whether Mr., Mrs., or Miss;
make cheques payable to "The Huddersfield Music Society"
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6 The Huddersfield Music Society, HMS 46, Page 6 |
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Ocr'd Text:
THE HUDDERSFIELD MUSIC SOCIETY
To our Members:-
.tickets for the 1963-64 Season are enclosed herewith;
and it is requested that the appropriate remittance (40/- per
ticket) be forwarded to the Hon. Treasurer (Mr. F. W. Philips) at
the National Provincial Bank Ltd., King Street, Huddersfield, before
the date of the FIRST Concert, cheques being made payable to "The
Huddersfield Music Society."
In the event of any of the tickets not being required
this Season, they should be returned to Mr. S. G. Watson, 342
New Hey Road, Huddersfield not later than September 29th after
which date it will be assumed that they will be retained and paid for.
Season tickets (and single tickets at 9/6 per Concert)
will also be available at Messrs. J. Wood & Sons, 67 New Street,
Huddersfield, or at the door.
The Committee will be grateful for the names and
addresses of possible NEW MEMBERS. Will you help by complet-
ing the tear-off section hereunder and sending it to either of the
Hon. Secretaries?
Please send a prospectus to the following:
Name
Address
Name
Address
Member's Signature
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7 The Huddersfield Music Society, HMS 46, Page 7 |
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THE HUDDERSFIELD MUSIC SOCIETY
Forty sixth Season 1963-64
Mayor's Reception Room, Town Hall
Monday, October 14th 1963
STEPHEN BISHOP
Piano Recital
Sonato in D minor Op.31 No.2
Largo
Allegro
Adagio albaks 1
Allegretto
Beethoven (1770-1827)
and
(Last performed in 1962 by David Wilde)
with
Beethoven, है the
This Sonata, together with its companions in G major
E flat, was written in 1802 when
height of his powers as composer and virtuoso, his life,
as yet, comparatively unclouded, was seeking for new means
of self-expression and new worlds to conquer. From now
Onward Beethoven,
the exception of the E flat Sonata
Op.31 No.3 and the B flat major Sonata Op. 106, abandoned
completely the regular four movement plan of the sonata.
It seemed to him that the further development of the piane
sonata lay, not in formal construction, but in using the
essentially virtuoso character of the instrument to its
fullest and most expressive capacity in a style resembling
improvisation. Thus the so-called fantasia sonata would
give the fullest scope to the imagination of the composer
and to the special qualities of the medium which he was
employing. With this ideal in mind, one can well under
stand why Beethoven himself so often chose to play this
Sonata in D major.
AB is usually found in Beethoven's groups of composi
tions, the three sonates of Op.31 are in marke contrast,
No.1 is jovial, No.3 is full of cheerful thoughts, but
No.2 is dark and terrible, the forerunner of the
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8 The Huddersfield Music Society, HMS 46, Page 8 |
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9 The Huddersfield Music Society, HMS 46, Page 9 |
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4
Appassionata Sonata. "Read Shakespeare's Tempest"
Beethoven himself said when he was asked for a clue to
the work. Perhaps further insight into the relationship
between this Sonata and Beethoven's own life can be found
in the tragic "Heiligenstadt Testament" written in the
autumn of that same year a cry of anguish and despair.
not only at the loss of Ciulietta Guiccardo but also for
the growing dread and coning certainty of total deafness.
Holand calls this the Recitative Sonata from the
character of its first movement; it has no dedication
an unusual thing in a composition of such importance.
The first movement opena with two lento bars of intro-
duction. These, to Holland, seem to represent a sovereign
command "It must be;" what immediately follows are the
struggles of the suffering soul to escape from fate.
This conflict domainates the whole movement. A curious
and significant proof of the personal intensity of this
movement is the fact that in Beethoven's notebooks it
appears in an almost complete form, as if it had sprung
spontaneously from his consciousness and had not been
gradually evolved as so many of his other works had been.
The following is Rolland's description of the two
remaining movements movements of a perfect beauty;
"the suave adagio, with its Elysian peace, its aerial
balance, goes on feet of velvet, in a half-light that only
once or twice rises to a forte, seven or eight times to a
sforzando as if with weary sighs of a breast oppressed
with ecstasy and fades slowly into sleep with a sigh of
happiness. The final Allegrette is a Midsummer's Night
Dream caprice."
II
Drei Klavierstucke Op.posth.
E flat minor
E flat major
C major
Schubert (1797-1828)
Allegro assai
Allegretto
Allegro
These three pieces, written only a few months before
Schubert's death, much resemble the better-known Impromptus.
The first piece could either be called an animated Scherzo
55
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10 The Huddersfield Music Society, HMS 46, Page 10 |
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with two more tranquil Trios or a Rondo with two free
episodes. The second piece is similar in fore but the
character of the sections is reserved, the main these
being lyrical and the episodes restless. The third piece
again in episodical form, is, with its piquant syncopa-
tion, alan Bungarian in character
INTERVAL OF TH
Klavizack Up.119
Inwezzo in minor
Interees in C miner
Rhapsody in E flat major
The title Internes 20. as first used by Schuman and
Brabme be are no relation to the original meaning of the
Word - an interlude in a dramatic work affording contrast
and reliet With Brahms, in particular, it implies i
zather short plant piece. improvisatory in style, intenselv
intimate and contemplative. No Intermezzi have these
qualities more marked then these three, which are among
Brahm's Last Compositions.
The Rhapsody again a title divorced from its original
meaning owes its modern usage to Liszt Brahms adopted
this title, which he usually gevve to a piano piece abrupt
and passionate in characteto The Rhapsody of Op 119 is
perhaps Brahms finest and most extended example,
IV
Sonaic in C minor Op. 111
Beethoven (1770-1827)
Maestoso - Allegro con brio ed appassionato
Arietta Adagio molto semplice e cantabile
(Last performed in 1957 by Paul Badura-Skoda)
Thes titanic Sonata is the last of the 32 piano sonatas
and by many it is considered to be the most perfect work
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13 The Huddersfield Music Society, HMS 46, Page 13 |
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43 tw
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of its kind. It as written in 1821-22 immediately after
the Sonatas Opp. 109 and 110 and only five years before
Beethoven's deathe
The Sonata has only two movements, In itself this
two movement form in a late Beethoven sonata is not
surprising, but what astonished contemporary musicians
was the fact that the work ended with an Adagio. How we
realize that not only was the conventional finale not
required, but that it would have been definitely antagon
istic to the character of the work, already complete in.
itself. Linz has described the moods of the two move
ments as Resistance-Submission or Sansara-Nirvana; which
titles, however, though giving an approximate idea of
the underlying sentiments, are not universally accepted
especially in the case of the second movement, which
appears to contain a much more vital and positive meaning.
The first movement has a short Introduction of
majestic proportions indicating at once the vastness of
the conflict. The opening discord is the most agonizing
dissonance in Beethoven's musical vocabulary. It is
followed by stately cherds fading into a deep rumble in
the base, which is interrupted by the dramatic appearance
of the principal subject, This continues in thundering
octave passages, and, after tremendous melodic leaps, the
gentler second subject enters. The conflict breaks out
again and continues until the key becomes that of C major
and the turmoil sinks into low mutterings in the bass.
According to von Bulow, the second movement in
is
C major should follow without interruption. It is an
Arietta with five variations. These are not the usual
variations in the usual meaning of the term for each is
indivisable from the next and the whole impression is one
of consecutiveness and organic growth. The song itself
serene and noble, marked to be played with much
simplicity o Upon this material a movement is built up
which takes the listener far from the original simplicity
of the theme, through the utmost subtleties of rhythm,
into ideal heights of spirituality. Finally comes a
long series of trills through which snatches of the
original theme are heard; a brief reference to the
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15 The Huddersfield Music Society, HMS 46, Page 15 |
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Ocr'd Text:
5
opening brings the movement
perfect close.
and the Sonata
to its
STEPHEN BISHOP was born in Los Angeles in 1940.
He made his solo and orchestral debut at the age of 11
and at 13 he played the Schumann concerto with the an
Francisco Symphony Orchestra; when 14 he performed the
Ravel Concerto, He studied with Lev Shorr 1948-59 when
he came to England as a pupil of Myra Hess. He made big
London debut in 1961.
THE HUDDERSFIELD MUSIC SOCIETY
Mayor's Reception Room Town Hall
Monday Evenings
at 7.30
November 18th (Please note change of date)
THE VLACH SERING QUARTET
quartequaremiHoriOp. 59 No.2
Quartet No. 1
Quartet in A flat major Op.105
December 16th
Beethoven
Janacek
Dvorak
OSIAN ELLIS
Harp and Song
Recital
January 27th
THE PARREN IN STRING QUARTET
March 2nd
THE ALBERNI STRING QUARTET
Season
tickets (for the four remaining concerts) 32/-
tickets 9/6, from Messrs. J. Wood & Sons. 67 New
Street and at the door.
single
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6
THE HALIFAX
PHILHARMONIC
CLUB
Lecture Hall of the Halifax Literary and Philosophical
Society, Harrison Road.
Friday Evenings at 7.30
October 18th
THE ROTH 83HING QUARTER
Quartet in A minor Op.29
Haydn
Quartet in F major
Ravel
Quartet in E flat major Op.96
Dvorak
Single tickets 7/6d from David Dugdale, Esq.,
291 Willowfield Road, Halifax, or at the door.
THE
HUDDERSFIELD
THESPIANS
St. Patrick's Hall
October 14th 19th
FIVE FINGER EXERCISE
BY
PETER SHAFFER
Tickets 4/- and 2/6d from Messrs. Woods, 67 New Street
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THE HUDDERSFIELD MUSIC SOCIETY.
Forty-sixth Season 1963-64
Mayor's Reception Room
Town Hall
Monday, November 18th, 1963.
THE VLACH STRING QUARTET.
JOSEF VLACH (Violin)
VACLAV SNITIL (Violin)
JOSEF KODOUSEK (Viola)
VIKTOR MOUCKA (Cello)
Programme
Quartet in E minor Op. 59 No.2
Allegro
Molto adagio
Allegretto
Presto
Beethoven
(1770-1827)
(Last performed in 1961 by the Janacek 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 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 me) that in the wonderful late
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Ocr'd Text:
quarte
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21 The Huddersfield Music Society, HMS 46, Page 21 |
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Ocr'd Text:
-2-
quartets Beethoven overstrained 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 moods contrasted
with happy and smooth melody; it opens,
as the
Eroica Symphony does, with two dramatic chords.
These are followed by a "breathless broken phrase"
whose presence is felt rhythmically even through
the smoother second subject. The development
section is based chiefly on the opening figure
and fragments of the first subject. In this
movement Beethoven, for some reason, reverts to
the older custom of repeating the entire
recapitulation and return section as well as the
more usual repetition of the first section only,
before reaching the coda. The beautiful long-
drawn Adagio (E major), marked to be played with
great feeling, has a more dramatic middle section
whose main theme has, in d'Indy's opinion, some
analogy with the heroic themes of Wagner. The
thrice-repeated Allegretto (E minor) really a
Scherzo as conceived by Beethoven - with its
restless rhythms has a contrasting Trio in the
major key into which the Russian tune is
introduced. 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 hymn, but here its character is completely
changed. As with many of the other national tunes
which Beethoven used, he either misunderstood their
character or else he purposely completely altered
them. The Finale is in one of Beethoven's
happiest moods. In construction it is a
combination of first movement and rondo forms.
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Quartet No. 1.
Con moto
Con moto
Con moto
-3-
I I
Janacek (1854-1928)
Con moto
(First performance at these Concerts)
Leos Janacek was born in 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. After a bitter struggle
against poverty Janacek was able, at the age of
25, to perfect his musical education at Leipzig
Conservatoire, where he made one appearance as a
pianist. Finding it impossible to continue his
career as a virtuoso, he was compelled to return to
Brno in 1881. There he was active as a teacher and
he began his researches into the folk-music from
which his own characteristic style was so largely
evolved.
Janacek's choral music and operas are perhaps
his most characteristic works. In his treatment
of words and the human voice he evolved a kind of
speech-melody which more or less permeated all
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
Among his
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.
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
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-4-
dependence upon the normal harmonic scheme;
boldness and variety of rhythm, the result of a
strong natural instinct strengthened by a lifelong
study and careful record of 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; even when he did, the dramatic
element was predominant. He did, however, write
two string quartets. The second was completed only
a few months before his death. The first was
written, during one week only, in 1923 when he was
69; in it he is said to have used material from an
early piano trio, now lost. It is based, as the
Trio was, upon Tolstoy's Kreutzer Sonata. It is
"the last link in a spiritual chain which began in
1907 with the intended opera Anna Karenina,
included the above mentioned Trio and, in
particular, Katya Kabanova, as well as this chamber
music counterpart to the opera. All these works
contain a female heroine who is unhappily married
and, longing for happiness, throws herself into
the arms of an unworthy lover and dies tragically.
Though it would be futile to recreate, bar by bar,
Tolstoy's story in Janacek's music, it would be
equally wrong to try to analyse it as purely
absolute music. It is probably not far from the
truth to assume that the opening theme of the first
movement...could be called the theme of the
heroine's desire; and the theme of the "seducer" is
bery probably the prancing motiv with which the
viola begins the second movement, a sort of
scherzo" (Vogel). The third movement begins with a
canonic duet for the first violin and the cello,
which is a distinct reminiscence of the second
theme from the first movement of Beethoven's
Kreutzer Sonata.
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-5-
This Quartet, one of Janacek's finest works,
aroused great enthusiasm at its first performance.
Every imaginable technical device is used in it
but its main strength lies in its emotional
content. It ranges over the whole gamut of the
emotions, the ceaseless agitation swelling to a
yearning cry, and, finally, in the last movement,
to tragic despair."(Max Brod).
INTERVAL OF TEN MINUTES.
III
Quartet in A flat major Op. 105.
Dvorak
(1841-1904)
Adagio ma non troppo
-
Allegro appassionato
Molto vivace
Lento e molto cantabile
Allegro non tanto
(Last performed in 1959 by the Turner String
Quartet).
Dvorak and Smetana were together the creators
of the school of modern Czech music. Sourek writes
of Dvorak: "He was one of those great 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. He was at his best in
absolute music, unburdened by any programme and,
above all, in chamber music. This branch yielded
some of the finest blossoms of his art, flowering
in beauty and characteristic fragrance, In absolute
music Dvorak's fancy broke out in fresh melodic
ideas, in wonderfully coloured harmony and elemental
rhythms."
Dvorak wrote in all thirty chamber music works,
including thirteen string quartets (five early
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qua
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quartets remain unpublished). This quartet Op.105
is the last (Op. 106 was written earlier) and is
dated 1895. It opens with a slow introduction in
A flat minor, a complete contrast to the idyllic
and sunny main movement which follows. This move-
ment is in regular sonata form. The Scherzo is
one of Dvorak's finest. The first and last
sections are in a lively style derived from the
Furiant (a Czech dance in 3/4 time with a
characteristic effect of cross-rhythms); the
middle section, founded upon a gracious melody,
later develops into a two-part canon for the
violins. The romantic slow movement, beginning
with a melody of folk-song character, becomes
richer and warmer, and is interrupted by an agitated
middle section. The return is delightfully
decorated with violin figuration. The finale is
an expression of pure joy, rising, after a wealth
of expressive detail, to a final climax of rapture.
THE VLACH QUARTET was founded by Josef Vlach
in 1949. They made their first appearance outside
Czechoslovakia in 1955 when they won two first
prizes with special distinction at the International
String Quartet Competition at Liege and thereafter
took their place in the front rank of the world's
chamber music Ensembles. Behind this brilliant
debut lay six years of systematic and purposeful
preparation with all the advantages of the long
and glorious tradition of Czech chamber music
playing. All four players are natives of
Czechoslovakia and were born between the years
1923 and 1928.
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Mayor
Town
Dece
Jan
Mar
SS
Si
St
L
P
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-7-
THE HUDDERSFIELD MUSIC SOCIETY.
Mayor's Reception Room, Monday Evenings at 7.30.
Town Hall.
December 16th. OSIAN ELLIS.
Harp and Songs.
Works by Handel, Mozart, Glinka, Dussek,
Faure, Debussy, Britten, Goossens and
William Matthias; Songs and Folk-songs.
January 27th THE PARRENIN STRING QUARTET.
March 2nd
THE ALBERNI STRING QUARTET.
Single tickets 9/6 from Messrs. 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 ZAGREB STRING QUARTET.
Quartet in D minor Op. 76 No.2 (Fifths)
Quartet Op.11.
Quartet in F major Op.96 (Nigger)
Haydn
Slavenski
Dvorak
Single tickets 7/6 from David Dugdale Esq.,
291, Willowfield Road, Halifax or at the door.
THE HUDDERSFIELD THESPIANS.
St. Patrick's Hall
November 25th to 30th at 7.30.
THE RELUCTANT DEBUTANTE.
A Comedy by William Douglas Home.
Tickets 4/6 and 2/6 from Messrs. Woods, 67 New St.
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THE HUDDERSFIELD MUSIC
SOCIETY
Forty-sixth Season 1963-64
Mayor's Reception Room, Town Hall
MONDAY DECEMBER 16th. 1963
OSIAN ELLIS
Harp and Song Recital
I
Handel (1685-1759)
Sonata in E major
Adagio
Allegro
Largo
Allegro
Theme, Variation and Rondo
Mozart (1756-1791)
Variations on a Theme of Mozart
Glinka (1803-1857)
Sonata in C minor
Dussek (1770-1812)
Allegro moderato
Andantino
Rondo
Songs with Harp:
Annabelle Lee
The Faery Song
The Conclusion
(Raleigh)
Henry Leslie (1822-1896)
Rutland Boughton (1878-1960)
Osian Ellis (b.1928)
Interval
= = = = =
minutes
of
ten
= = =
=
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Impr
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Impromptu
Two Arabesques
Interlude
Two Ballades
Three Improvisations
Folk Songs with Harp:
II
Faure (1845-1924)
Debussy (1862-1918)
Britten (b.1913)
Eugene Goossens (1893-1963)
William Mathias (b.1933)
arr. Osian Ellis
Song of the Miller
To Lisa
Where is my love?
Willy Boy
The Watercresses
=
OSIAN ELLIS was born and brought up in Wales.
He started to play the harp at the age of 10 and
at 17 won a scholarship to the R.A.M. where he is
now Professor of Harp. He has brought the harp
into great prominence with his concert appearances.
recitals and broadcasts, and his many television
programmes have earned him an ever widening
audience. He has appeared at all the great music
festivals in Britain, as well as further afield
in festivals in Paris, Strasbourg, Vienna, Warsaw,
Berlin, Venice and Rome. He is an authority on
Welsh folk-music, and 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.
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THE HUDDERSFIELD MUSIC SOCIETY
Mayor's Reception Room. Town Hall
Monday Evenings at 7-30 p.m.
January 27th.
THE PARRENIN STRING QUARTET
Lyric Suite (1926)
Quartet in E flat K.428
Berg
Mozart
Quartet in F major op. 135 Beethoven
Single tickets 9/6 from Woods, 67 New Street
and at the door.
THE HALIFAX
PHILHARMONIC CLUB
Lecture Hall of the Halifax Literary and
Philosophical Society, Harrison Road.
TRIO FROM THE MELOS ENSEMBLE
Friday, January 17th. at 7-30 p.m.
Richard Adney (Flute) Cecil Aronowit (Viola)
Osian Ellis (Harp)
The Programme will include the Trio Sonata by
Debussy, duos and a group of harp solos.
Single tickets 7/6 from David Dugdale Esq.,
291, Willowfield Road, Halifax and at the door.
THE
HUDDERSFIELD THESPIANS
St. Patrick's Hall
January 20th-25th. at 7-30 p.m.
THE KEEP
A Welsh Comedy by Gwyn Thomas
Tickets 4/- and 2/6 from Woods, 67, New Street
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THE HUDDERSFIELD MUSIC
SOCIETY
Forty-sixth Season 1963-1964
Mayor's Reception Room, Town Hall
Monday, January 27th 1964
Carrexin)
Ulrich Strauss
Helmut Hoever
THE STRAUSS STRING
(Violin)
(violin)
Programme
I
QUARTET
Konrad Grake (Viola)
Ernest Strauss (Cello)
Quartet in C minor Op.18 No.4
Allegro ma non tanto
Beethoven (1770-1827)
Scherzo : Andante scherzoso quasi allegretto
Minuet and Trio
Allegro
(Last performance in 1949 by the Blech String Quartet)
The six quartets forming Op.18 were written 1798-1000. Apart
from an early string quintet (Op.4) and three string trios,
these were Beethoven's first works for strings not in combi-
nation with other instruments. These quartets therefore mark
the commencement of the only type of chamber music which kept
his interest to the last and which were to lead to the last
five quartets, which "represent the coping-stone of his whole
life's work. Chamber music for strings alone is, indeed, the
very heart and kernel of Beethoven's creative work." (Bekker)
All the quartets of Op.18 are written in major keys with the
exception of No.4. All, with the one exception, are gay and
joyful. Some authorities think that No.4 was written later
than the other five and that the choice of key is significant-
a key which Beethoven used so frequently up to 1808 ( 5th
Symphony) and then never again till 1821 (Sonata Op. 111).
Bekker feels in this quartet "a sense of gnawing inner dis-
satisfaction, a desire to meet and overcome difficulties,
the spur of ambition and the longing for victory".
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2
The first movement of the quartet is, of course, in sonata
form. Its lyrical second subject has a strong affinity with
the main theme and is used in the development section, a
usage not generally found in works of that period. The
moderately-paced Scherzo takes the place of the slow movement;
it opens with a fugato. The inuet and Trio, already more
intense and less graceful than the traditional type, show
Beethoven becoming less enamoured of the numerous repetitions
of the older form; the second repeat of the Trio is ommitted
and the inuet is directed to be repeated at a quicker tempo.
The final rondo makes a splendid conclusion to a powerful and
emotional work.
Quartet No.5
Allegro
II
Bartok (1881-1945)
Adagio molto
Scherzo: Alla bulgarese
Andante
Allegro vivace
(First performance at these Concerts)
they
Between 1908 and 1939 Dartok wrote six string quartets.
These "quartets occupy a central position in Bartok's
creative career; they form its very backbone, Or to change
the metaphor, they may be likened to the pages of a diary to
which a great artist confided the most private experiences
and adventures of his heart and mind. In point of fact
contain the quintessence of Bartok's musical personality and
as a series they afford a fascinating study in creative
development". (Carner) It has been claimed by many author-
ities that these are the most important works in this medium
since the quartets of Beethoven. The first two quartets are
obviously early works; the third and fourth, particularly the
former, show Bartok at his most difficult and obscure; it is
suggested that in these he explored the extreme limits of
dissonance. But for the 5th Quartet (commissioned by the
Elizabeth Sprague Coolidge Foundation and written in 1934, siz
years after the 4th Quartet) Bartok turns once again towards
folk-music%3B his writing becomes more human and more heartfelt;
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the harmony loses much of its extrene astringency. In later
years Bartok confessed that Bach, Beethoven and Debussy had
been the masters who had influenced him the most. Here we
get the contrapuntal art of Bach, the motive development and
reverence for classical forms of Beethoven and, from Debussy,
the freedom from the conventional scales and the impression-
ism of the "night music" (the slow movements).
Like the 4th Quartet, the 5th is in five-movement "arch" form
(A.B.C.3.A.). The apex of the work is a Scherzo and Trio,
flanked by two slow movements (B), with an opening and
closing allegro (A). Perhaps one might say that the first
movement is written on (but not in) B flat. It is essen-
tially in sonata form, for Bartok never rejected the classical
forms even in his boldest experiments. Three two-bar phrases,
which are recognisable as rhythmic patterns rather than
melodic phrases, together for the first subject. A short
dance-like episode leads to the more lyrical second subject
which is subtly based upon one of the two-bar phrases. In
the recapitulation the order of the reappearance of the sub-
ject is sometimes reversed and all are reintroduced in
inverted versions. Thus the recapitulation becomes not only
the repetition but also the "mirror" of the exposition. The
movement ends with a strange "fortissimo coda" in which the
germ of the first part is immediately followed by that of the
second. No more original movement can be found in the music
this century".
of
(Crankshaw)
The two slow movements are of a "searching beauty". Their
thematic material is closely related and their form almost
identical, though the Andante is more extended than the
Adagio. Both openings are full of atmosphere, the first with
its fragments of motives and trills, the second with its
pizzicato notes and slurs; both have a more lyrical middle
section based on Magyar-like themes; both contain a chorale-
like section, a feature almost invariably associated with
Bartok's "night music". These two movements have a serene
beauty unequalled in modern music".
(Masom)
The Scherzo and its Trio form the central core of the work.
They are based on Bulgarian rhythms in which the nine or ten
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4
quavers in a bar are grouped into complicated patterns.
The Scherzo opens with fleeting arpeggio figures which
later become the accompaniment to a vigorous theme of folk-
dance type. The Trio opens with the muted 1st violin
unceasingly repeating a delicate arabesque, which, when the
second violin adds a "mirror" version to it, momentarily
rises to a pitch of feverish excitement. The string writing
is of a quality and colour hitherto unknown. Mason
considers it to be one of the most remarkable
sound ever written for the string quartet.
pieces of
The final movement, also in sonata form, is remotely and
subtly based on material from the first movement. Folyphonic
almost throughout, it is full of contrapuntal devices,
imitations, inversions, stretti canons and the like. The
development section contains a most unusual fugue based on
the opening theme of the first movement. Introducing the
coda there is a short and curious section, clearly in A
major, marked Allegretto con indefferenza. It has a trivial
tune which is accompanied by banal tonic and dominant harmony
marked to be played meccanico. Is this an example of
Bartok's humour in the form of a burlesque or "a superficial
grimace, done in a moment of distaste for 18th century
convensions" (Mason)?
Interval of ten minutes
Quartet in D major K.575
III
Mozart (1756-1791)
Allegretto
Andante
Minuet and Trio
Allegro
(Last performed in1961 by the Janacek String Quartet)
This quartet is the first of a set of three written between
1789-90; these were the last quartets which Mozart wrote.
They are known as the Prussian Quartets. The King of
Prussia himself played the cello and although the dedication
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5
to him does not appear in the first edition, it is evident
from the predominant part played by the cello in all three
quartets that Mozart had his royal patron in mind. More-
over, for the first quartet the King sent to Mozart a kind
letter of thanks, a gold snuff box and 100 friedrichs d'or.
Einstein remarks that "these quartets are slightly concert-
ante and yet they are the purest chamber music... these are
three works that originated under the most dreadful
spiritual oppression and yet rise to heights of pure
felicity". "Oppression" of course refers to Mozart's
desperate financial position at that time, the long drawn-
out uncertainty of obtaining a suitable position from the
Emperor and his wife's constant illnesses.
Though this first quartet is less exhuberant and more
delicate than the other two, "all three are instinctive with
the joy of living." The first and second movements were
founded on material dating from the happy Milan period, but
the Minuet, with the "royal" solo in the Trio, and the
finale are completely new. Abert describes the finale as
"one of the most masterly of Mozart's get movements."
It is a rondo, contrapuntal in style and, as such, typical
of Mozart's later instrumental writings. It is made all
the more interesting by the way in which the main theme,
each return, is enriched and embellished, and the more
compact and integrated by the way in which each episode is
derived from, and grows out of, that theme.
************
on
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61
THE STRAUSS STRING QUARTET was formed in 1956 by
the twin brother Ulrich and Ernest Strauss
(b. 1929 in Saarbrucken), together with
Helmut Hoever (b. 1928 in Bonn) and Konrad Grahe
(b. 1925 in Frankfurt am Mainz). In order to
devote themselves entirely to the interpretation
of quartet music, they gave up leading positions
in orchestras of established repute. The Quartet
soon won international recognition and gave
concerts in Italy, Switzerland, Belgium, Holland,
England and Germany. Its efforts have been
crowned by success by awards won at the Geneva and
Munich music contests.
************
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THE
HUDDERSFIELD MUSIC SOCIETY
Monday Evenings at 7.30
Mayor's Reception Room,
Town Hall
March 2nd
THE ALBERNI STRING QUARTET
Quartets by Beethoven, Shostakovich and Brahms
Single tickets 9/6 from Woods, Buxton Road, and at the door.
THE
HALIFAX
PHILHARMONIC CLUB
Lecture Hall of the Halifax Literary and Philosophical
Society, Harrison Road.
Friday Evenings at 7.30
THE
ALBERNI STRING
QUARTET
Beethoven
Rawsthorne
Brahms
Quartet in C minor Op.18 No.4.
Quartet (Theme and Variations)
Quartet in A minor Op.51 No.2
Single tickets 7/6 from David Dugdale Esq.,
291 Willowfield Road, Halifax or at the door.
THE
HUDDERSFIELD
THESPIANS
St. Patrick's Hall
March 2nd to 7th
Scenes from "A Man Born to be King"
by Dorothy L. Sayers
Tickets 4/- and 2/6 from Woods, Buxton Road.
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THE HUDDERSFIELD MUSIC SOCIETY
Forty-sixth Season 1963-64
Mayor's Reception Room.
Town Hall.
Monday March 2nd 1964.
Dennis Simons (Violin)
Howard Davis (Violin)
THE ALBERNI STRING QUARTET
Programme
I
Quartet in C major K.465
Adagio
John White (Viola)
Gregory Baron (Cello)
Mozart (1756-1791)
Allegro
Andante cantabile
Minuet and Trio
Allegro molto
(Last performed in 1955 by the Carmirelli String Quartet)
The Quartet in C is the last of a set of six written
between 1783-85 and dedicated to Haydn%3B the whole set forms
one of the finest monuments which one composer has ever
erected to the honour of another. The last three quartets
of this set were played for the first time in Vienna in
1785 when Haydn said to Mozart's father: 'Before God and as
an honest man, I tell you that your son is the greatest
composer known to me either in person or by name.
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(for)
(off-0)
He has tas
of composi
enlightened
art
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2
He has taste and, what is more, the most profound knowledge
of composition'. Einstein observes that no more
enlightened comment could be made about Mozart. 'Genius and
art combined%3B the 'gallant' (perhaps best translated as
'courtly style') and the 'learned' - the two extremes into
which music during this period threatened to split
re-united'.
We now
This quartet is the only one of the six which opens
with a slow introduction. The so-called dissonances in it
were considered on its appearance to be so peculiar that one
princely amateur tore up the parts in fury at the outrage
and copies were returned from Italy for correction.
realise that these discords are the outcome of Mozart's
deep contrapuntal studies and that the 'ugliness' is part
of the beauty and therefore aesthetically right. What
remains surprising is that Mozart should have placed such
a passage - one of the most pessimistic of all his writings-
in a quartet which is otherwise so straightforward and
unproblematical. // Beethoven was the first fully to introduce
the sense of personal struggle into his music, but the
introduction to this quartet surely shows that 'Mozart was
moving with his times towards the conception of self-expression
in art, which was to dominate the composers of the
nineteenth century' (Hussey). Apart from the Introduction
there is little in the quartet which requires comment.
Mozart's colourful use of chromaticism in the Finale may
be noted. The general effect is 'a noble, manly
cheerfulness rising in the Andante to an almost superhuman
serenity, the kind of cheerfulness which in life or art
appears only as the result of previous pain or strife' (Jahn).
II
Shostakovitch (b.1906)
Quartet No. 8
Largo
Allegro molto
Andante cantabile
Largo
Largo
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(First performance at these Concerts)
Dimitri Shostakovich was born in St. Petersburgh.
He entered the Conservatoire there in 1919 and studied
with Glazunov and Steinberg. He left in 1925, having
already written a large amount of music. Two of his operas
brought him into conflict with the Soviet authorities
(in 1930 and 1935). In each case he acknowledged his
'error' and endeavoured to make his music more in
conformity with the then rigid official tastes. A
prolific composer, Shostakovich is perhaps best known in
England as a writer of symphonies, of which he has
produced ten. But he has also given much attention to
chamber music and has shown an equal understanding and
mastery of that form of art. His output includes 8 string
quartets, a piano trio, a piano quintet, a string octet
and a Sonata for Cello and Piano.
He was, however, fairly
late in his career in writing for string quartet, the first
dating from 1938.
one.
The Quartet to be performed tonight is his latest
It and Quartet No. 7 were both written in 1960 and
have many points of similarity. Quartet No. 8 is
dominated by the melodic motiv D.E. flat C.B. (in German
D.S.C.H. standing for Dimitri Shoshtakovich); the 7th
Quartet uses the same motiv but in a different order.
Quartet No. 8 has an autobiographical element; as well as
the composer's 'signature' it contains quotations from the
Piano Trio and the 1st and 10th symphonies. It is dedicated
to the memory of those who died in the struggle against
Nazism.
The first movement is 'a kind of contrapuntal
prelude based upon the D.S.C.H. motiv. The second
movement is powerful and is constructed in sonata-form.
It leads directly to the rhythmic, waltz-inspired
Allegretto, which has the D.S.C.H. motiv in diminution.
Thereafter no less than two slow movements follow. The first
is declamatory in style%;B the D.S.C.H. motiv appears in the
middle section but at a higher pitch. In it there is also a
quotation from a patriotic song 'Crushed by the weight of long-
bondage'.
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Ocr'd Text:
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4
The D.S.C.H. reappears and leads to the finale, which is
a fugue based on the same motiv and, in the coda, several
passages from the first movement are heard, thus '
strengthening the aural impression of the Quartet as a
work not in five separate movements but in a single
monothematic movement containing several extended
variation-like episodes of contrasting tempi'I. I. Martinov.
Interval of ten minutes.
III
Quartet in A minor Op.51 No.2
Allegro non troppo
Andante moderator
Brahms (1833-1897)
Quasi Menuetto - Allegretto vivace
Allegro non assai
(Last performed in 1958 by the Quartet Pro Musica)
Both the quartets which form Op.51 are dedicated
to Dr. Billroth. He has been described as 'the master
surgeon and musical enthusiast'. Whether the description
be true or not, the fact remains that in the music-room
of Billroth's house in Vienna nearly all the rehearsals of
Brahms's new chamber works took place, and there, too, all
musical and scientific Vienna used to gather. Op.51 was
written in 1873. These were the first string quarters
which Brahms considered worthy of publication and he
confessed that he had previously written and destroyed
some twenty others. The chamber music which preceded these
quartets includes 2 piano quartets, a piano quintet, 2
string sextets, 3 trios and a cello sonata. After a lapse
of 8 years, Brahms, having, as it were, refined his work
to the purest and most subtle type of chamber music, produced
Op.51 this 'pearl in the diadem of all chamber music'.
-
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5
In both the quartets of Op.51 there is a close
thematic connection between the movements. The main theme
of the finale of No. 2 comes from the 4th and 5th bars of
the first movement. The quavers of the same 4th bar appear
in the Minuet, and, in a modified form, are the nucleus
of the second movement. The first movement is gentle and
caressing; there is no harshness in it. In form it is
particularly close-knit, for the whole movement springs
from the first nine bars of the main theme. The serenity
of the slow movement is broken by a powerful canon between
the violin and the cello, supported by a tremolo
accompaniment which is almost orchestral in effect. 'In
place of a scherzo, the third movement is a slow minuet
with pathetically drooping cadences, alternating with a
polyphonic trio in duple time and running rhythm, twice
interrupted by the minuet-tempo with a combination of the
two themes, wonderfully transforming that trio'. (Tovey)
The finale is a spirited rondo with a flavour of
Hungarian music.
THE ALBERNI STRING QUARTET was formed in 1960 by four
students at the Royal Academy of Music. Individually
and collectively they have won many prizes and
scholarships. They have given concerts throughout
the British Isles and in 1961 they undertook an extensive
tour of Germany. In 1962 at the invitation of Sir John
Barbirolli they gave a series of recitals at the 4th
Buxton International Festival; they appeared in Buxton
again in 1963. It is interesting to note that John White
was at one time a student in the Music Department of the
Huddersfield College of Technology.
THE HUDDERSFIELD MUSIC SOCIETY
These Concerts will be continued next season but once
again the Committee wish to emphasize the fact that in
order for the standard to remain at its high level,
increased support is vital.
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The Hon
address
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The Hon. Secretaries will be glad to receive names and
addresses of any people interested in Chamber Music at
its best.
THE HALIFAX PHILHARMONIC CLUB
Lecture Hall of the Halifax Literary and Philosophical
Society, Harrison Road, Halifax.
Friday March 13th at 7.30.
THE ALBERNI STRING QUARTET
Quartet in C minor Op.18 No.4
Quartet (Theme and Variations)
Quartet in A minor Op.51 No.2
Beethoven.
Rawsthorne
Brahms.
Single tickets 7/6 from David Dugdale Esq. 291 Willowfield
Road, Halifax and at the door.
THE HUDDERSFIELD THESPIANS
St. Patrick's Hall.
March 2nd to 7th at 7.30
Scenes from 'A Man Born to be King'.
by
Dorothy L. Sayers.
Tickets 4/6 and 2/6 from Woods, Buxton Road.
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