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The Huddersfield Music Society, HMS 48 |
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1 The Huddersfield Music Society, HMS 48, Page 1 |
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Ocr'd Text:
HUDDERSFIELD MUSIC SOCIETY
Brochure
48th Season's programmes 1965-1966
4815.
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2 The Huddersfield Music Society, HMS 48, Page 2 |
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Ocr'd Text:
FORTY-EIGHTH SEASON
1965-1966
The
Huddersfield Music
Society
FIVE CONCERTS
in the
MAYOR'S RECEPTION ROOM, TOWN HALL,
HUDDERSFIELD
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.
Ward (Cello)
(1756-1791)
948)
or a work
ts, either for
nd wind in
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to be
rt room or in
te, its
ly it was
light or
early
de works
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works only
It is the
tes from
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3 The Huddersfield Music Society, HMS 48, Page 3 |
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Ocr'd Text:
FORTY-EIGHTH SEASON
1965-1966
The
Huddersfield Music
Society
FIVE CONCERTS
in the
MAYOR'S RECEPTION ROOM, TOWN HALL,
HUDDERSFIELD
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.
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4 The Huddersfield Music Society, HMS 48, Page 4 |
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Ocr'd Text:
The Concerts announced in this Prospectus represent, once
again, a series of Chamber Music Recitals of that high standard
and interest which this Society has consistently maintained
throughout its long history. It is interesting to note that all the
artists engaged for this Season are newcomers to these Concerts.
THE WISSEMA STRING TRIO formed by Nella Wissema, includes.
Ludmila Navratil, whose outstanding viola playing those who
attended the Huddersfield Philharmonic Society's concerts
last season will recall with pleasure.
THE HEUTLING STRING QUARTET has been in existence for
nearly seven years. A recent notice in the "Daily Telegraph"
described this quartet as "... ..among the most refined and
musicianly to be heard today."
JOHN LILL a young player who is now making a great name for
himself as a brilliant and interesting pianist. We feel that in
him we have found a worthy successor at these Concerts to
artists of the calibre of John Ogdon and Stephen Bishop.
ZAGREB STRING QUARTET dating, in its present form, from
1954, comes from Jugo Slavia with a great reputation.
THE EMPEROR ENSEMBLE promises a most interesting evening
giving a rare chance to hear piano and wind instruments in
various combinations.
We are almost the oldest Chamber Music Society in the
country and are now approaching our Golden Jubilee. We therefore
confidently invite support for an organisation which provides the
sole opportunity in this Town of hearing what is, perhaps, the
finest and most rewarding type of music that has ever been evolved.
It is only by sustained and enthusiastic support that these
Concerts can be continued and their high artistic level maintained.
Every year, fees and expenses rise: and it is only with real
difficulty that the prices of our tickets are still kept at a level which
has not changed since 1961.
§ Please forward the perforated slip as early as possible
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5 The Huddersfield Music Society, HMS 48, Page 5 |
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Ocr'd Text:
All Concer
4th OCTOBER, 19
Divertimento
Serenade in
Trio in G mi
Trio in C m
22nd NOVEMBER,
Quartet in E
Quartet Op.
Quartet in D
("Deat
10th JANUARY, 1
Sonata in D
Carnaval Of
Toccata Op.
Gaspard de
7th FEBRUARY,
Quartet in I
Quartet in F
Quartet in C
28th MARCH, 196
Trio in C m
Sonate en C
Two Roman
Trio (flute,
Spring rond
from
Sonata (flut
Trio (oboe,
Season ticket
Single ticket
Student's single
.
... 40/0
.... 9/6
ticket 3/6
(Bona-fide student
under 21)
With the exception of
Students' tickets, all tickets
can be obtained from
Messrs. J. Wood and Sons,
67 New Street,
Huddersfield
or at the door
Tickets are enclosed here-
with to
all previous
members.
If they are not
required they should be
returned to the Hon. Sec-
retary not later than
September 27th, after which
date it will be assumed
that they will be retained
and paid for
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6 The Huddersfield Music Society, HMS 48, Page 6 |
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Ocr'd Text:
All Concerts on Monday evenings at 7-30 p.m.
4th OCTOBER, 1965.
Divertimento in E flat major K.563
Serenade in C major Op. 10
PROGRAMME
Trio in G major Op. 9, No. 1.
Trio in C major
10th JANUARY, 1966.
22nd NOVEMBER, 1965. THE HEUTLING
Quartet in E flat major Op. 33, No. 2
Quartet Op. 3
Quartet in D minor Op. 10, No. 1
("Death and the maiden")
THE WISSEMA STRING TRIO
Mozart
Dohnanyi
Beethoven
Francaix
Sonata in D Op. 10, No. 3
Carnaval Op. 9
Toccata Op. 11
Gaspard de la nuit.
7th FEBRUARY, 1966.
28th MARCH, 1966.
Quartet in D minor K. 421
Quartet in E flat Op. 64
Quartet in C minor Op. 51, No. 1
STRING QUARTET
Haydn
A. Berg
Schubert
JOHN LILL (Piano Recital)
Beethoven
Schumann
Prokofiev
Ravel
THE ZAGREB STRING QUARTET
Sonata (flute and piano)
Trio (oboe, bassoon and piano)
THE EMPEROR ENSEMBLE
(Piano, flute, oboe, bassoon)
Trio in C minor (flute, oboe, piano) J. J. Quantz
Sonate en Concert (flute, bassoon, piano)...... Damase
Two Romances (oboe and piano) Op. 94..... Schumann
Trio (flute, oboe and bassoon)
Vivaldi
Spring rondo (flute, oboe and piano).
from Serenade No. 9, K.320
Mozart
Beethoven
Brahms
Mozart
Hindemith
Poulenc
FORM (for the use of PRESENT MEMBERS ONLY)
To the Hon. Treasurer, National Provincial Bank. King Street, Huddersfield
I enclose £..
in payment for
REMITTANCE
tickets.
Name..
Address.
APPLICATION FORM (for the use of NEW MEMBERS ONLY)
To the Hon. Secretary, 3a Vernon Avenue, Huddersfield
tickets for which I enclose £..
Please send me
Name.
Address.
(BLOCK LETTERS PLEASE)
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7 The Huddersfield Music Society, HMS 48, Page 7 |
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Ocr'd Text:
THE HUDDERSFIELD MUSIC SOCIETY
(Founded as The Huddersfield Music Club by Dr. Eaglefield Hull in 1918)
President
Vice-President
...
...
N. T. ATKINSON
S. H. CROWTHER
DAVID DUGDALE
Mrs. E. GLENDINNING
E. GLENDINNING
Honorary Vice-Presidents :
DAME MYRA HESS, BENJAMIN BRITTEN, F. W. GADSBY, F. ROWCLIFFE.
Mrs. BRANSOM
Miss I. BRATMAN
Mrs. S. H. CROWTHER
Mrs. N. CULLEY
Mrs. F. A. DAWSON
Miss K. EVANS
Mrs. EAGLEFIELD HULL
STANLEY G. WATSON, Esq.
Hon Secretary:
Miss C. ALISON SHAW, 3a Vernon Avenue. Tel. Hudd. 27470.
...
Hon. Treasurer:
F. W. PHILIPS, National Provincial Bank, King Street.
Miss Z. E. HULL
Dr. C. JONES
P. L. MICHELSON
S. ROTHERY
Executive Committee:
Miss E. K. SAWERS
MAX SELKA
E. C. SHAW
W. E. THOMPSON
Mrs. S. G. WATSON
Ladies' Committee:
Chairman Miss E. K. SAWERS
Mrs. E. FENNER
Miss M. A. FREEMAN, LL.B.
Miss M. HAMER
Mrs. D. HIRST, J.P.
Mrs. A. E. HORSFALL
Mrs. A. E. HULL
Hon. Secretary: Mrs. E. GLENDINNING
Hon. Treasurer: Mrs. S. G. WATSON
Miss Z. E. HULL
Miss H. LODGE
Mrs. P. MARKS
Miss C. A. SHAW
Mrs. J. SHIRES
Miss W. TOWNSEND
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8 The Huddersfield Music Society, HMS 48, Page 8 |
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Ocr'd Text:
THE
HUDDERSFIELD MUSIC
SOCIETY
Forty-eighth Season 1965-66
Mayor's Reception Room, Town Hall.
Monday October 4th 1965
THE WISSEMA STRING TRIO
Nella Wissema (Violin)
Paul Ward (Cello)
Ludmila Navratil (Viola)
PROGRAMME
I
Divertimento in E flat major K.563
Allegro
Adagio
Menuetto
Andante
Menuetto
Allegro
(Last performed by the Pasquier Trio in 1948)
Allegretto
Allegretto
Mozart (1756-1791)
The Divertimento, a title loosely used for a work
consisting of anything from four to twelve movements, either for
strings, or for wind instruments, or for strings and wind in
combination, and for a varying number of performers, belonged to
the early type of concerted music which was meant to be
performed either indoors or outdoors, in the concert room or in
the home. Its origin, of course, lies in the Suite, its
melodies are often of the folk-song variety; usually it was
written for some festive occasion so that it has a light or
festive character. Such was the type of Mozart's early
Divertimenti, but later he used the title to include works
which lie far beyond the merely 'social'.
Mozart's great E flat major Trio is true chamber
music, differing from the classical four-movement works only
It is the
in the number and arrangement of the movements.
It dates from
only string trio which Mozart ever wrote.
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9 The Huddersfield Music Society, HMS 48, Page 9 |
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Ocr'd Text:
188, midway betw
ertets, and fro
principal
feelin
Symphonies in E
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10 The Huddersfield Music Society, HMS 48, Page 10 |
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-2-
1788, midway between the "Hoffmeister" quartet and the Prussian"
quartets, and from the same year as the three last and greatest
symphonies in E flat, G minor and C major (Jupiter). The three
principal movements the first Allegro, with its depth of
feeling, the Adagio, with its exquisite reverie, and the loveable
and charming final Rondo - are chamber music of the finest
quality. The 'gay movements are the first Minuet, more florid
in style, the second Minuet, with its two trios, and the Andante,
a theme with double variations. Einstein sums up the work as
follows: "Only a connoisseur can evaluate properly the well-
wrought dialogue of this apparently so modest work; each
instrument is primus inter pares; every note is significant,
every note is a contribution to spiritual and senuous fulfilment
in sound....... the finest, most perfect trio ever heard."
Serenade in E major Op. 10
Alla marcia
II
Dohnanyi (1877-1960)
Romanza: Adagio non troppo quasi andante
Scherzo; Vivace
Thema con variations : Andante con moto
Rondo Allegro vivace
(Last performed by the Pasquiet Trio in 1948)
Dohnanyi, born at Pressburg (Hungary) was a
distinguished pianist and composer. He studied in Pressburg
and Budapest and later under d'Albert. He appeared as a
pianist in 1897 and was quickly recognised as an artist of the
highest rank, with brilliant technique, exquisite beauty of tone
and deeply poetical in his interpretations. His first
compositions date from student days. The early works show the
influence of Brahms but later his Hungarian nationality became
more clearly marked. His music has originality and vivacity
as well as a romantic beauty and grace. While Dohnanyi has
written operas, ballets, concertos and symphonies, from the
first his main preoccupation was with chamber and piano music.
It is remarkable that such a distinguished pianist has written
so effectively and with such understanding of, and sympathy
with, stringed instruments.
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11 The Huddersfield Music Society, HMS 48, Page 11 |
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Ocr'd Text:
Bra boogrour
alg
Sanzoleg Jeal)
The t
ally denotes
port and varied
Lyrical ser
shough an early w
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12 The Huddersfield Music Society, HMS 48, Page 12 |
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Ocr'd Text:
The title "serenade", as applied to instrumental music,
usually denotes a work which is made up of a large number of
short and varied movements. Dohnanyi's Serenade in C major,
The
though an early work, already foreshadows his later style.
lyrical second movement "ends on the dominant with an effect akin
to that of the Mixolydian mode and also the tendenoies of much
The third movement is a scher
recent Spanish music" (Tovey).
The beautiful theme and variations form the
in fugal style.
The
fourth movement, the most romantic movement of the work.
witty Rondo, with its return to the trio of opening March, brings
the Serenade to its conclusion,
INTERVAL OF TEN MINUTES
Trio in G major Op.9 No. 1.
III
Beethoven (1770-1827)
Adagio Allegro con brio
Adagio ma non tanto e cantabile
Scherzo Allegro
Presto
(Last performed by the Pasquier Trio in 1954)
;
The three string trios of Op.9 were published in 1798
and were dedicated with a lengthy inscription to Count Browne, a
Russian officer then living in Vienna and a patron of the arts.
Apart from an earlier trio Op.3 and the Serenade Op.8 these are
the first of Beethoven's compositions for strings unaccompanied
by any other instrument; they lead directly to the first string
quartets Op.18. Although the earlier works were effective and,
in their way, perfect, the trios of Op.9 far surpass them, and
Beethoven himself described them in the dedication as the best
of his works. They already show "all the characteristic marks
of Beethoven's great works for strings, the absolute
intellectual clarity, the firmness of structure, the sure poetic
touch" (Bekker). As Cobbett wrote in comparing them to the
quartets, they "have more modest qualities though no less perfect
of their kind".
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13 The Huddersfield Music Society, HMS 48, Page 13 |
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Ocr'd Text:
folt
of the
the grandest s
ject starts wi-
eyed first by th
starts in
subject
The developm
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14 The Huddersfield Music Society, HMS 48, Page 14 |
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Ocr'd Text:
✔
Trio in C major
4
of the three, perhaps the first, in G major, is composed
After a slow introduction, the first
on the grandest scale.
A new theme follows,
subject starts with a four-note figure.
The second
played first by the cello and repeated by the violin.
subject starts in D minor before reaching the key of D major.
The development makes use of the four-note figure but the greater
part of it is based upon the second theme of the first subject.
After the recapitulation there is
Some fugal treatment is used.
a short coda. The second movement is in modified sonata form,
The scherzo is conventional; its trio
ending with a coda.
modulates back to the key of the scherzo, which is repeated in a
The finale is gay and sparkling and is
slightly varied form.
again in sonata form.
IV
Jean Francaix (b. 1912)
Allegretto vivo
Scherzo
Andante
Rondo
(Last performed by the Pasquier Trio in 1948)
Francaix, both composer and pianist, was born at Le Mans
and studied at the Paris Conservatoire and under Nadia Boulanger.
He has written a good deal of music including a symphony for
strings and some ballets, one of which, "Le Roi Nu", has been
He has also written much
performed by the Sadlers Wells Company.
a string trio, e wind quintet,
chamber music - a string quartet
other works for wind ensembles, a quintet for flute, harp and
He "writes neo-
strings and sonatinas for trumpet and violin.
classical music belonging to the same tradition as Sauguet's,
His French origin
Ibert's and the early music of "Les Six".
is apparent in the clarity, grace, wit and elegance of his music
in which, however, there are traces of the influence of
Stravinsky.
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15 The Huddersfield Music Society, HMS 48, Page 15 |
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Ocr'd Text:
Bouzohreq Jaal)
a al
Th
ovement is w
a waltz - orz
on A
The
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16 The Huddersfield Music Society, HMS 48, Page 16 |
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- 5-
The String Trio was written in 1946. The first
movement is witty and vivacious; the scherzo is in the form of
a waltz - or rather, the burlesque of the sentimental dance.
The Andante is a lullaby. The final Rondo is based
on a polka-like theme, and the whole movement owes much to the
inspiration of modern dance rhythms.
----000000000000--
NELLA WISSEMA was the leader of the Charles Kreitzer
Quartet (1945-61) and also of her own Piano Trio. She was a
frequent performer for the South African Broadcasting Company
and played with the principal orchestras as soloist. In recent
years she has played with Halle and Birmingham Orchestras and
has given successful Recitals in London and Manchester.
LUDMILA NAVRATIL was born in Roumania of Czech and
Hungarian parents. She studied at the Royal Manchester College
of Music under Paul Cropper and Frederick Riddle and joined the
Halle Orchestra in 1954. She is also principal viola with the
Manchester Mozart Orchestra.
PAUL WARD is a well-known cellist in Manchester and
has been a member of the Halle Orchestra (1948-54). He was for
many years cellist of the Turner String Quartet and recently
became Musical Director of the Manchester Mozart Orchestra.
----000000000000----
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17 The Huddersfield Music Society, HMS 48, Page 17 |
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Ocr'd Text:
ode (w tolv Lagioning
Mayor's Recepti
November 20.
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18 The Huddersfield Music Society, HMS 48, Page 18 |
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Ocr'd Text:
January 10th
February 7th
March 28th
THE HUDDERSFIELD MUSIC SOCIETY
Mayor's Reception Room, Town Hall.
November 22nd. THE HEUTLING STRING QUARTET
Quartet in E flat major Op.33 No. 2.
Haydn
Alban Berg
Quartet Op.3.
Quartet in D minor Op. posth. (Death and the Maiden) Schubert
-6-
THE
Monday Evenings at 7.30
JOHN LILL Piano Recital
THE ZAGREB STRING QUARTET
THE EMPEROR ENSEMBLE
Season tickets for the remaining four concerts 32/-,
single tickets 9/6d.
from
Woods, 67 New Street and at the door.
(Piano, Flute, Oboe,;
Bassoon)
St. Patrick's Hall
HALIFAX PHILHARMONIC CLUB
Lecture Hell of the Halifax Literary and Philosophical Society,
Harrison Road.
November 12th
Quartet in E flat major Op.64 No. 6.
Quartet No. 6.
Quartet in A minor Op. 29
THE PSALLI STRING QUARTET
Single tickets 8/6d from David Dugdale Esq.,
96 Willowfield Road, Halifax, or at the door.
THE HUDDERSFIELD THESPIANS
Haydn
Villa-Lobos
Schubert.
October 11th 16th
ALL THINGS BRIGHT AND BEAUTIFUL
A Comedy by Keith Waterhouse and Willis Hall
Tickets 4/- & 2/6a (on Monday nights only unreserved seats 1/6d)
from Woods, 67 New Street.
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19 The Huddersfield Music Society, HMS 48, Page 19 |
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Ocr'd Text:
Broog
gorge) copper
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Ocr'd Text:
THE HUDDERSFIELD MUSIC SOCIETY
Forty-eighth Season 1965/66
Mayor's Reception Room, Town Hall,
Monday, November 22nd. 1965.
THE HEUTLING STRING QUARTET
Werner Heutling
Oswald Gattermann (Violin)
PROGRAMME
I
Quartet in E flat major Op.33 No. 2
Erich Bohlscheid (Viola)
Konrad Haesler (cello)
Haydn (1732-1809)
Allegro moderato, cantabile
Scherzo: Allegro
Largo sostenuto
Finale: Presto
(Last performed in 1962 by the Tatrai String Quartet)
This Quartet is one of a set of six. They were written in
1781 and dedicated to the Grand Duke Paul who visited Vienna at this
time. They are, therefore, known as the Russian Quartets; another
name given to them is Gli Scherzi as it was in these works that Haydn
first gave the title Scherzo to the older Minuet and Trio movement.
There is, however, little change in its character; it has no real
relationship to the Scherzo as it became in the hands of Beethoven.
Nine years had elapsed since the appearance of Haydn's last Quartets
Op.20. It is possible that Haydn felt that no more progress could
be made on similar lines and that a period of time must pass before
any answer to that problem could be found. Haydn himself said that
the Russian Quartets were "written in an entirely new and particular
manner". The end of the domination of the first violin was complete
and all instruments now have an equal share of importance. Thematic
development - a method of breaking up the subject, developing and
re-assembling it in fresh and unexpected ways is now used to the
fullest extent; even the purely accompanying parts have their
origin in the main subject in a way hitherto unknown.
The first movement is, of course, in sonata form. The Scherzo
is still essentially a Minuet and Trio in rather quicker tempo.
Tovey remarks that in the slow movements of these quartets Haydn has
solved another problem; he now realises that " a bar of slow music
is not a bar of quick music played slowly but an altogether bigger
thing. In music slowness either means bigness or it means emptiness
....From Op.20 onward we may be certain that no slow movement of
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Haydn's, however unimportant, will stagnate". The Finale, a
rondo with two episodes is known as "The Joke". This comes in
the coda. After a short adagio episode, the eight bars of the
main subject are repeated, two bars at a time with two bars rest
between. When the subject is completed, Haydn rests for three
bars;
finally he whispers Fianissimo the first two bars again
and disappears into silence.
Quartet Op.3
2.
II
Alban Berg (1885-1935)
Langsam
Massig viertel
(First performed at these Concerts)
Alban Berg was born in Vienna; his father was Bavarian in
origin, his mother was Viennese. Berg early showed signs of an
intense love of music and this was accompanied by an almost equal
love of literature in which he was deeply and widely read. As
a youth, without any regular instruction, he wrote many songs and
duets, but there was no idea of his adopting a career in music
and he became a civil servant. In 1909 his brother showed some
of the songs to Schonberg, then settled in Vienna and teaching,
who was so impressed by them that he invited Berg to become a
pupil. It was not till some two years later that Berg decided to
devote himself entirely to composition. Berg was compelled to
join the army in 1914 but a complete breakdown in health ended his
active military career. In 1918 Berg was concerned with the
foundation of the Society for private musical performances, whose
aim was to make the music of Schonberg and the "second Viennese
school" more widely know. For the remainder of his life Berg
concentrated exclusively on composing, teaching and writing
about music; his whole life was spent in, or near Vienna. It
is said that Benjamin Britten, as a young man, wished to go to
Vienna to study with Berg. It is interesting to speculate if
that had happened, on what lines Britten would have developed.
Schonberg was the strongest influence on Berg's life and
work. To be a disciple of Schonberg means, in particular, the
rejection of the tonal system, basing the music rather upon a
twelve-note scale - usually arranged in a particular series or
"row" which becomes the basis of the movement or the work in
which every note of the scale is of equal value and importance.
This forces the music into a linear style, and though the
dissonances, thus formed may be painful indeed, it gives to the
moving paz
the counte
Berg
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22 The Huddersfield Music Society, HMS 48, Page 22 |
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Ocr'd Text:
Fee
rest
the
in
a
3.
moving parts a vitality and freedom which they had not had since
the counterpoint of the pre-classical composers.
Berg reserved, intellectual and highly self-critical, left
a relatively small output. His most important work is the opera
Wozzeck, a second opera Lulu was unfinished. He wrote little
chamber music; the Quartet Op.3 (1910), the Lyric Suite a more
extended work, in 1926 a chamber concerto for piano, violin,
and 13 wind instruments in 1925 and some pieces for clarinet and
piano.
The Quartet Op. 3 an extraordinary work for a man of 25 was
written while Berg was still studying with Schonberg. Of it
chonberg wrote "His String Quartet surprised me in the most
unbelievable way by the fullness and unconstraint of its musical
language, the strength and sureness of its presentation, its
careful working and significant originality". It "is in two
movements of exceedingly complex construction, abounding in
Schonbergian polyphony, with the characteristic leaps in the
melodic line and frequent recourse to all manner of instrumental
devices such as flageolet tones etc. There is, however, an
undercurrent which links it, both thematically and technically
with the Wagnerian past, of which more traces remain than are
discemable in Schonberg". (Grove). "Three motives of entirely
different character are opposed to each other in the first 3 bars,
yet they are related to each other through some formal device
or other, inversion, augmentation, or rhythmic completion, and
the development unfolds their affinity; the common experiences of
disimilar relatives. Music describes the adventures of themes,
as Schonberg says" (Erwin Stein). Berg had, too, a great sense
of form and colour which has helped to make his music more easily
grasped. "In the Quartet come the first examples of his building
of enormous emotional climaxes. These are evolved with a logic
cf part-writing a rhythmic tautness and an intensity of feeling
which, in his later works, make one shudder. The sureness of
touch and complete certainty of what he wishes to say give Berg's
music an elemental power of the most shattering nature for all
its complexity of texture". (Iain Hamilton)
Interval of ten minutes
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Quartet in D minor Op.posth.
4.
III
(Death and the Maiden)
Schubert (1797-1828)
is m
visi
tars
Allegro
Andante con moto
Scherzo-Trio
Presto
(Last performed in 1960 by the Loewenguth String Quartet)
This Quartet was written at the period when Beethoven was
creating his last string quartets, and it is interesting to compare
difference in conception and technique between the two masters.
"It would be tempting to compare the "seriousness" of Beethoven's
Op.95 with the seriousness of the D minor Quartet. Schubert's
seriousness is free from pathos; he is more spontaneous; he goes
deeper and deliberately avoids the optimistic or triumphant note
on which Beethoven ends". (Einstein). Kahl has pointed out that
while Beethoven's ideal was that of a lineal quartet style and
that he was "moving in the direction of sound free from sensuousness"
Schubert "kept before him as an ideal....rather the obtaining of
colour effects, as in the orchestra, by the arrangement of the parts
in layers". "Here are beautiful ideas, boldness and bigness of
reach and grasp, and entirely new chamber-harmony with chords rich
and romantic in themselves and not the necessary and logical out-
come of part-writing".
It was not until 1824 that Schubert turns in earnest to the
writing of string quartets, and within the next two years he wrote
three. This quartet remained in manuscript till 1851. Kahl
considers that the struggle with death is the theme of the first
movement. If so, death is treated with defiance. To that challenge
is opposed a delightful theme in the relative minor key. The
development combines the themes in a masterly fashion with
enchanting modulations.
The chorale-like setting of Death's words
from Schubert's own song is the theme for the 5 variations of the
slow movement. "What Schubert could only suggest in the song here
finds expression in a fuller, freer, wordless sphere. He does not
write programme music nor do we need to know the song, but we feel
unmistakably in this music the symbols of inevitability and
consolation", (Einstein). According to Heuss "Death as the Demon
Fiddler" is the theme of the sharply contrasting Scherzo "The Finale
3003
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28)
5.
is most definitely in the character of a Dance of Death; ghastly
visions whirl past in the inexorable uniform rhythm of the
tarantella". The whole work is filled and unified with one
consistant and compelling idea.
THE HEUTLING STRING QUARTET was formed in Hanover in 1958
They made their London debut in 1961. They were among the quartets
chosen to take part in the B.B.C. series of international quartets
at the Royal Festival Hall in May 1965.
WERNER HEUTLING was born in Aue/Erzgebirgr, He studied in
Dresden and Cologne and appeared in public for the first time at
the age of 9. Since 1956 he has been Professor of the Master.
Classes at the State High School for Music, Hanover. In 1950
he won the International Bach Prize, Leipzig. He is well known
for both his solo and chamber music playing.
OSWALD GATTERMANN was born in Hamburg and studied with
Werner Heutling. He is leader of various Symphony Orchestras
and also active as a soloist and chamber music player.
ERICH DOHLSCHEID was born in Cologne where he studied. He
has done much solo playing as well as chamber music.
KONRAD HAESLER was born in Weimar and studied in Hamburg,
Berlin and Paris with Andre Navarra.
He was a member of the
Lucerne Festival Strings and is also a successful soloist and
chamber music player.
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THE
Mayor's Reception Room, Town Hall.
6.
HUDDERSFIELD MUSIC SOCIETY
January 10th.
Sonata in D major Op.10 No.3
Carnaval Op.9
Toccata Op.11
Twelve Studies Op.25
JOHN LILL
St. Patrick's Hall
Monday Evenings at 7.30
Piano Recital
Beethoven
Schumann
Prokofiev
Chopin
February 7th.
March 28th, THE EMPEROR ENSEMBLE (Piano, Flute, Oboe
and Bassoon)
THE ZAGREB STRING QUARTET
Single tickets 9/6 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 December 10th. ELIZABETH SIMON (Soprano) and
(Piano)
KEITH SWALLOW
Lieder Recital
Single tickets 8/6 from David Dugdale Esq., 96 Willowfield Road,
Halifax or at the door.
THE HUDDERSFIELD TIESPIANS
November 22nd.-27th.
THE PHYSICISTS
by Friedrich Durrenmatt. Translated by
James Kirkup
Tickets 4/- and 2/6 (on Monday night only, unreserved seats
1/6a) from Woods, 67, New Street.
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THE HUDDERSFIELD MUSIC SOCIETY
Forty-eighth Season 1965-66
Mayor's Reception Room, Town Hall
Monday January 10th 1966
JOHN LILL
Piano Recital
PROGRAMME
1
Sonata in D major Op. 10 no.3.
Beethoven (1770-1827)
Presto
Largo e mesto
Minuet and trio
Allegro
(Last performed in 1931 by Dorothy Hesse)
The three Sonatas of Op.10 were all written in 1797.
Beethoven has already begun his search for a new conception of the
older sonata form. Not only does he now frequently abandon the
regular four-movement plan but he also now "attempts a decisive
change in the principal movement, constructing the "exposition"
upon an entirely new theme. The old type of Sonata built on a
dual theme begins gradually to give place to a new form not yet
exactly defined, but transcending the two-fold theme and compre-
hending an indefinite number of imaginative ideas and thought
associations". (Bekker).
The Sonata in D is one of the finest works of Beethoven's
first period. As Tovey points out, in it "Beethoven's power
appears with an intensity which must have come more as a shock
than as a revelation to his contempories. It is doubtful whether
any part of it except the exquisite minuet can have been accept-
able to his contemporaries" It opens abruptly with a stark four-
bar theme which dominates the movement; the main theme, rythmically
related to the opening, is not heard till the 23rd bar. The
second subject is relatively negligible.
The marvellous slow movement in D minor is one of Beethoven's
finest creations. It is the most tragic piece of music ever
written up to that time. He himself called it the presentation of
melancholy and said that it "portrayed every subtle shade, every
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phase of melancholy." Beethoven only used the term "largo" in
three solo piano pieces "as an independent movement it was
Did Beethoven come to regard the
discarded after Op.10.
tremendous pathos of the largo as a piece of youthful rhetoric?
Did he find its emotionalism and solemn earnestness over-
strained? (Bekker). The charming Minuet has an effective
contrasting Trio. The final Rondo grows out of "an urgent
aphoristic motive." Tovey finds it to be one of the finest
examples of Beethoven's humour and not surpassed, except for
its larger scale, even by the Finale of the Eighth Symphony.
II
1
1
Carnaval Op. 9
Schumann (1810-1856)
Preambule Pierrot - Arlequin - Valse Noble - Eusebius -
Florestan Coquette - Replique Papillons Lettres
-
Dansantes (A.S.C.H.,S.C.H.A.) Chiarina Chopin - Estrella
Reconnaissance - Pantalon et Colombine - Valse Allemande -
Intermezzo Paganini Aveu - Promenade Pause Marche -
des Davidsbundler contre les Philistins.
(Last performed in 1946 by Pouishnoff)
Carnaval is one of Schumann's most characteristic and
original works. It was written in 1834-35 and belongs, there-
fore, to the period 1830-39 during which Schumann wrote only
works for the piano. It is sub-titled "Scenes mignonnes
composees pour le piano sur quatre notes"; these notes are
A.S.C.H., the name of a town in Bohemia in which Schumann's
friend, Ernestine von Fricken, lived; they are also, as
Schumann noted, the only musical letters of his own name. In
one order or another they appear in almost every section of
Carnaval. Schumann was particularly attracted by the practice
of translating names and letters of the alphabet into musical
notes.
Somebody has called Carnaval a glorification of the ballroom
of its noisy rejoicings, its motley masquerade and its secret
whispering of love. To each of the "pieces" Schumann has
given a name of a description, some of the names indicating
portraits, such as Estrella (Ernestine von Fricker), Chiarina
(Clara Wieck), Florestan and Eusebius (the two sides of
Schummann's own character, the former being the fiery
thusiast, the latter the gentle dreamer). The Finale dis-
cribes the march of the Davidsbundler against their Philistine
en-
emies.
existing
less by o
their end-
The Phili.
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pric?
ន
in
nemies. "The Davidsbundler were", wrote Schumann", an association
existing only on the imagination,whose members are recognizable
less by outward signs than by an inward resemblance. It will be
their endeavour by word and deed to dam up the tide of mediocrity!
The Philistines, the mediocrites, represented by the old tune The
Grandfather(s Dance, are fianlly routed in a blaze of glory.
But charming and descriptive as these titles are,Schumann
himself admitted that he applied them after the music was written.
He wrote "To figure out the Masked Ball will be child's play to
you; and I need hardly assure that the putting togdther of the
pieces and the superscriptions came about after the composition..
For is not music itself always enough and sufficiently
expressive?"
u
Coffee Interval of fifteen minutes.
III
Toccata Op.11
Prokofiev (1891-1953)
(Last performed in 1946 By Nicholas Orloff)
Prokofiev was born on Ekaterinoslav. He was a very prolific
writer from his earliest days, even attempting to write an opera :
at the age of 9; when still a student he wrote his first and
second piano Concertos (1911 and 1913) while becoming, at the
same time, one of Russia's leading pianists. He studied first
with Gliere and later at the St. Petersburg Conservatoire under
Rimsky-Korsakov and Liadov, but he soon revolted against
academicism and attached himself to the followers of Scriabin.
During the 1914-18 war he lived for some time in London; later he
went to America via Japan. His opera "The Love for the Three
Oranges" was produced in 1921 in Chicago. He went to Paris the
following year where he became connected with Diaghliev and the
Russian Ballet. He returned to Moscow in 1934 where, under
Soviet pressure, he simplified his piquant style in favour of a
simpler and more unsophisticated method of composition. In spite
of that, he incurred censure for excessive originality at the
notorious Composer! Conference in 1948.
Becoming such a mature musician at so easly age, Prokofiev! s
music has changed relatively little in style and technique
throughout his career, and it is said that it would be almost
impossible, without reference to their dates, to arrange his
compositions in chronological order. "At the outset Prokofiev
himself and his music symbolized a reaction against an
aestheticism burdened withphilosophy, literature and mysticism.
His task was to bring music back to the world of pure sound.
Hence the cutting, direct, squar, cheerful style in contrast to
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the "Arpeggio-ridden" music of his contemporaries; hence the
preference for simplified harmonic texture, a clear-cut
melody, and the major character of the whole structure;
hence also the sectional, sometimes almost mechanical, form
of his music" (Nabokov). Prokofiev's piano music is
particularly effective - not surprising when one considers
his pre-eminence as a pianist and he has exploited the
percussive possibilities of the piano with great skill and
imagination.
Twelve Studies Op25
IV
Chopin (1810-1849)
(Last performed in 1931 by Egon Petri)
Chopin wrote in all 27 Studies for the piano the twelve
of the Op10 the twelve of Op.25 and three "new" studies.
They were published respectively in 1833,1837 and 1840, but
the dates of their publication do not indicate the approximate
dates of their composition. Written in all the various keys,
each study presents a special problem of piano technique,
but so great are their diversity and their musical aesthetic
qualities that this, to the listener, almost passes un-
noticed. Chopin was the first composer to combine these
two aims the advancement of piano technique combined with
musical and poetic values of such a high order and his
success was complete. The Studies rank amongst the finest of
Chopin's compositions and it is a remarkable comment on his
art that it is in his works of the smallest scale that he
shows his most supreme genius. The Studies, too, have a
freshness and vitality which is sometimes found lacking in his
other compositions.
He won a
College of
He gave
JOHN LILL was born in East London in 1944.
scholarship as a junior Exhibitioner at the Royal
Music in 1954 where he studied under Harry Platts.
his first concert at the age of 9. He appeared in Berlin in
1961 and was asked to return as a soloist with the Berlin
Philharmonic Orchestra. After winning many important
scholarships and awards he studied full time at the R.C.M.
under Angus Morrison and Lamar Crowson. He made his first
official London debut in 1963; since then he has made
frequent appearances including visits to Vienna and Brussels.
He was described in a recent notice in the Daily Telegraph
as "one of our outstanding younger pianists."
Mayor's
4
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rm
the
THE HUDDERSFIELD MUSIC SOCIETY
Mayor's Reception Room, Town Hall.
February 7th
Quartet in D minor K.421
Quartet in E flat Op. 64
Quartet in C minor Op.51 No. 1
March 28th
Monday Evenings at
7.30
THE ZAGREB STRING QUARTET
THE EMPEROR EMSEMBLE
(Piano, flute, oboe, and bassoon)
Single tickets 9/6 from Woods, 67 New Street and at the door.
February 8th
Mozart
Beethoven
Brahms
THE HALIFAX PHILHARMONIC CLUB
Lecture Hall of the Halifax Literary and Philosophical Society,
Harrison Road,
at 7.30 p.m.
THE ZAGREB STRING QUARTET
Quartet in G major Op.18 No.2
Quartet in A major Op. 108
Quartet in A minor Op. 132
Beethoven
Shostakovitch
Beethoven
Single tickets 8/6 from David Dugdale Esq., 96 Willowfield Road,
Halifax, or at the door.
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St. Patricks Hall.
THE HUDDERSFIELD
by
THES PIANS
AN IDEAL HUSBAND
Oscar Wilde
January 17th
- 22nd.
Tickets 4/- and 2/6 (on Monday nights only, unreserved seats
1/6) from Woods, 67 New Street.
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THE HUDDERSFIELD MUSIC SOCIETY
Forty-eighth Season 1965-66
Mayor's Reception Room, Town Hall
Monday February 7th, 1966
***********
Owing to illness the Zagreb String Quartet are unable to come. In
their place, the Committee have fortunately been able to engage
THE ALBERNI STRING QUARTET
Dennis Simons (Violin)
Howard Davis (Violin)
Programme
I
Quartet in C major Op.33 No.3 (The Bird)
Allegro moderato
Scherzando. Allegretto
-
John White (Viola)
Gregory Baron (Cello)
Haydn (1732-1809)
Adagio
Finale. Presto
(First performance at these Concerts)
This quartet is one of a set of six, written in 1791 and
dedicated to the Grand Duke Paul who visited Vienna at this time.
They are, therefore, known as the Russian Quartets; another name
given to them is Gli Scherzi as it was in these works that Haydn first
gave the title Scherzo or Scherzando to the older Minuet and Trio move-
ment.
There is on the whole little change in character; the new move-
ment has no real relationship to the Scherzo as it bacame in the hands
of Beethoven. Haydn himself said that the Russian Quartets were
written in an entirely new and particular manner". The end of the
domination of the first violin was complete and all instruments have an
equal share in importance. Thematic development - a method of breaking
up the subject, developing and re-assembling it in fresh and unexpected
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Ays is now
parts have the
by perhaps t
graco
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ways is now used to the fullest extent; even the accompanying
parts have their origin in the subjects in a way hitherto unknown.
Perhaps the most delightful quartet in the set is No.3 nicknamed
by players as The Bird. One reason for this name is found in the
gracenotes in the principal subject of the first movement, another
reason being the bird-like duet in the tiny trio section of the
Scherzando. But throughout this entrancing quartet a grace and
delicacy reminiscent of the birds can be heard.
Tovey reminds us that this was Joachim's favourite quartet. He
continues "It remains one of Haydn's profoundest studies of childhood,
trailing clouds of glory at any and every minute". The first move-
ment one of the quietest and greatest that Haydn had so far
achieved" with its less conventional repetitions, is a sonata form.
The tiny Scherzando, with its tenderly grave melody on the fourth
string and its even tinier trio, is something quite original.
slow movement demonstrates Haydn's new and complete mastery of slow
tempi. The Finale one of Haydn's most comic utterances" -
opening unusually the six-four tonic chord, is a rondo.
The
-
Quartet No.10
2
-
II
Shostakovich (B.1906)
Andante
Allegretto furioso
Adagio
Allegretto
(First performance at these Concerts)
Dimitri Shostakovich was born in St. Petersburg, 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.
of his operas brought him into conflict with the Soviet authorities.
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 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. His output includes string quartets, a
piano trio, a piano quintet, a string octet and a sonata for cello
Two
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and paino.
Desmond
string quartet,
nor a co
has
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3
and paino.
He was, however, fairly late in his career in writing for
string quartet, the first dating from 1938.
Desmond Shawe-Taylor writes Shostakovich is neither a revolutionary
nor a conventional composer; he is, above all, a natural one. His music
has a spontaneity and momentum which have become rare. We are made to
feel, usually with admiration, the speed and decision of his writing; he
commands an apparently inexhaustible fund of melodic ideas and textural
device which only now and then tempts him into mere thoughtless facility.
His quartot writing does not follow recognised academic precept; less
polyphonic; less argumentative, looser in structure than that of the great
German masters, it reminds us that the string quartet has seldom been a
favourite medium with Russian composers."
The quartet to be performed tonight is Shostakovich's latest work in
this form. As it exists, so far, only in manuscript, it is impossible to
discuss or to analyse it. Benjamin Britten brought the manuscript to
England after a recent visit to Russia, and handed it to the Alberni
Quartet for study and performance. We are fortunate in being able to
hear an early performance of such a work under such conditions.
Coffee interval of fifteen minutes.
Quartet in F major Op.59 No.1
III
Beethoven (1770-1827)
Allegro
Allegretto vivace e sempre scherzando
Adagio molto e mesto
Allegro (Theme russe)
(Last performed in 1955 by the Carmirelli String Quartet )
Thus
Bekker points out that each phase of Beethoven's development is, as
it were, summed up and completed by an outpouring of chamber music.
the quartets of Op.18 were the culmination of the early symphonies and
the phantasy-sonatas. A space of 5 years followed during which the
Eroica Symphony, Fidelio, the Leonora overtures and the solo sonatas
all containing an increasingly large concerto element were written.
All these works contributed to the growth of these symphonic concerto
quartets "which, as in Op. 59, marked so great an advance in that form.
The first of these quartets, that in F major, moves emotionally
from a quiet consciousness of power to a fantastic and exited display
of activity, thence to sorrowful plaints and finally to a sense of
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cello
as well-be
ork is in so
and in the histo
lo Quartet
out; the fi
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4
vigorous well-being." (Bekker). D'Indy remarks that every movement in
the work is in sonata form "an example of construction rarely to be
found in the history of music. This quartet is sometimes called the
Cello Quartet owing to the prominence given to that instrument through-
out; the first movement opens with a simple but striking theme for the
cello, which is immediately repeated by the violin. The Scherzo in B
flat is a typical Beethoven scherzo. It has the peculiarity that,
with the exception of the second subject, everything in the movement is
duplicated. There are two first subjects, two bridge passages and two
distinct developments." (d'Indy). The whole movement is linked by a
persistant rythmic figure. The Adagio ends with a long cadenza-like
passage which leads directly into the Finale. This is based upon
Russian folk-song, interrupted later by an expressive second theme.
*****************
THE ALBERNI STRING QUARTET was formed in 1960 by four students at
the Royal College of Music. Individually and collectively they have
won many prizes and scholarships. They have given concerts through-
out the British Isles and in 1961 they undertook an extensive tour of
Germany. Their reputation for vital and interesting performances of
works of unusual interest is steadily increasing. It is interesting
to note that John White was at one time a student in the Music
Department of the Huddersfield College of Technology.
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ba 3
May
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THE HUDDERSFIELD MUSIC SOCIETY
Mayor's Reception Room, Town Hall.
March 28th
Monday evenings at 7.30
The Emperor Ensemble is unfortunately unable to fulfil its
engagement. An alternative ensemble will appear in its place
on the same date. Details will be announced in the Huddersfield
Daily Examiner as soon as possible.
Single tickets 9/6d from Woods Music Shop, 67 New Street or at the
Door.
THE HALIFAX PHILHARMONIC CLUB
Lecture Hall of the Halifax Literary and Philosphical Society,
Harrison Road,
Tuesday February 8th, at 7.30 p.m.
THE ALBERNI STRING QUARTET
Single tickets 7/6d from David Dugdale Esq., 96 Willowfield Road,
Halifax or at the Door.
THE HUDDERSFIELD THESPIANS
St. Patrick's Hall.
February 28th March 5th.
THE HOSTAGE
by
Brendan Behan.
Tickets 4/-d and 2/6d (on Monday night only, unreserved seats 1/6d)
from Woods Music Shop, 67 New Street, Huddersfield.
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25233
Min Bedu