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The Huddersfield Music Society, HMS 51 |
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1 The Huddersfield Music Society, HMS 51, Page 1 |
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HUDDERSFIELD MUSIC SOCIETY
Brochure
51st Season's programmes 1968-1969
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FIFTY-FIRST SEASON
1968-1969
The
Huddersfield Music
Society
(Viola)
ello)
W
56-1791)
The Monday Concerts
in the
MAYOR'S RECEPTION ROOM. TOWN HALL,
HUDDERSFIELD
The National Federation of Music Societies, to which this Society is affiliated,
gives support towards the cost of these Concerts with funds provided by the
Arts Council of Great Britain.
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FIFTY-FIRST SEASON
1968-1969
The
Huddersfield Music
Society
The Monday Concerts
10010
in the
MAYOR'S RECEPTION ROOM, TOWN HALL,
HUDDERSFIELD
The National Federation of Music Societies, to which this Society is affiliated,
gives support towards the cost of these Concerts with funds provided by the
Arts Council of Great Britain.
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As a happy introduction to what is hoped will be the second
fifty years of this Society's existence, the Committee are gratified
to announce that the first Concert of the Season, to be given by the
Janacek String Quartet, will inaugurate the "Week's Festival of the
Arts" promoted by the Huddersfield Arts Council as part of the
celebrations marking the Centenary of the Incorporation of the
Borough. It is confidently expected that this Concert will attract a
wide measure of support and will serve as an introduction to the
delights of Chamber Music to many who have, perhaps, not hitherto
fully appreciated how great this pleasure can be. For this particular
occasion, the Concert will be held in the area of the Town Hall.
(entrance in Corporation Street) and for Season ticket holders will
constitute the first Concert of their Season.
The JANACEK STRING QUARTET needs no introduction to
the Members. Coming from Czecho-Slovakia, it is one of the finest
String Quartets in existence and it plays with a mastery and a
depth of understanding which is undoubtedly enhanced by the fact
that all four players perform from memory.
We have already had a much-appreciated visit from the
Wissema Trio. They now come to us as the WISSEMA STRING
QUARTET, an ensemble which is rapidly acquiring an outstanding
reputation, particularly in the field of contemporary music.
FRITZ and NATASHA MAGG make their first appearance
at these concerts in a Recital for Cello and Piano. Both are Viennese
by birth and, after a most distinguished career there and throughout
Europe, are now domiciled in the United States. Both possess superb
techniques, and the closeness and artistry of their collaboration
could not be excelled.
KEITH SWALLOW is known everywhere as a fine pianist
and as a most sensitive and distinguished musician of whom Hud-
dersfield may justly be proud. On this occasion he will be joined
by CAROLINE CRAWSHAW, a young soprano, born in 1941. After
a brilliant opening to her career, she is already among the front
rank of young singers in this country today.
Their programme is an exceptionally interesting one.
The DEKANY STRING QUARTET, an ensemble founded in
1962, is also a newcomer to these Concerts. All are Hungarian in
origin but are now resident in Holland. One of the most technically
accomplished quartets, these young musicians have already gained
a fine reputation for maturity of style and beauty of interpretation.
Members will recall with pleasure the Concerts given in
previous years by the STUDENTS FROM THE SCHOOL OF
MUSIC OF THE COLLEGE OF TECHNOLOGY. Thanks to the kind
co-operation of Mr. Forbes, a further Concert will be given by them.
It is one of the aims of this Society not only to present Concerts of
outstanding interest but also to further the cause of music in every
way. We believe that in this Concert one of our ideals is realised
and we hope that members will support and encourage these gifted
young artists.
Coffee and biscuits will be served during the interval, price 1/-
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October 14th, 1968
All Conce
REMITTANCE FORM (for the use of PRESENT MEMBERS ONLY)
To the Hon. Treasurer, National Provincial Bank, King Street, Huddersfield, HD1 2AY
I enclose £.
in payment for
Season tickets.
Name..
Address.
APPLICATION FORM (for the use of NEW MEMBERS ONLY)
To the Hon. Secretary, 3a Vernon Avenue, Huddersfield, HD1 5QD
Season tickets for which I enclose £.
Please send me
Name.
Address.
Cheques should be made payable to "The Huddersfield Music Society"
(BLOCK LETTERS PLEASE)
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All Concerts on Monday Evenings at 7-30
October 14th, 1968
PROGRAMMES
THE JANACEK STRING QUARTET
Quartet in G major K. 387
Season ticket
Single ticket
42/0
10/6
Student's ticket
.... 3/6
Quartet in A minor Op. 29
Quartet in E flat major Op. 51
Mozart
Schubert
Dvorak
November 4th, 1968 THE WISSEMA STRING QUARTET
Quartet in B flat major K.589
Quartet No. 8 Op. 110
Quartet in G minor
December 2nd, 1968
January 27th, 1969
.... Mozart
. Shostakovich
Debussy
CONCERT BY STUDENTS FROM
THE SCHOOL OF MUSIC
HUDDERSFIELD COLLEGE
OF TECHNOLOGY
FRITZ AND NATASHA MAGG
Sonata No. 1 in F major Op. 5
Sonata No. 4 in C major Op. 102, No. 1
12 Variations in F major on "Ein Madchen"
from "The Magic Flute"
Sonata No. 3 in A major Op. 69
Beethoven
Beethoven
Beethoven
Beethoven
3rd Concert only
Single ticket ............ 5/0
Student's ticket
(Bona-fide Students
under 21)
2/6
Students' season tickets
are not issued.
With the exception of
Students' tickets, all tickets
can be obtained from
Messrs. J. Wood and Sons,
67 New Street,
Huddersfield
All tickets are on sale at
the door.
February 17th, 1969
Four Intermezzi Op. 4
CAROLINE CRAWSHAW AND
KEITH SWALLOW
Song Cycle "The Poet's Echo" (1967)
The Story of Babar, the little Elephant
Songs by Mahler and de Falla
Elizabethan Lute Songs
March 17th, 1969
Schumann
.... Britten
Poulenc
THE DEKANY STRING QUARTET
Quartet in E flat major Op. 33 No. 2
Quartet in F major Op. 41 No. 2
Haydn
Schumann
Tickets are enclosed here-
with to all previous
members.
required they should be
returned to the Hon. Sec-
retary not later than
September 20th, after which
date no returned tickets
can be accepted.
If they are not
This perforated slip should
be forwarded as soon as
possible, please.
Quartet in F minor Op. 95
(Programmes subject to alteration)
Beethoven
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THE HUDDERSFIELD MUSIC SOCIETY
(Founded as The Huddersfield Music Club by Dr. Eaglefield Hull in 1918)
President...
Vice-President
Stanley G. Watson, Esq.
Sidney H. Crowther, Esq.
Honorary Vice-Presidents:
Benjamin Britten, Esq., O.M., C.H., F. Rowcliffe, Esq.,
The Rt. Hon. The Lord Savile, J.P., D.L.
Joint Hon. Secretaries:
Miss C. Alison Shaw, 3a Vernon Avenue, HD1 5QD. Tel. Hudd. 27470
Mrs. J. de Nikitin-Solsky, 37 Gynn Lane, Honley, HD7 2LE.
Tel. Hudd. 61696
Hon. Treasurer:
P. J. Gregory, National Provincial Bank, King Street, HD1 2AY
R. Barraclough
Executive Committee:
Mrs. E. Glendinning Max Selka
Mrs. S. H. Crowther
David Dugdale
E. Glendinning
P. L. Michelson
P. G. C. Forbes, M.A., A.R.C.o. S. Rothery
E. C. Shaw
W. E. Thompson
Mrs. S. G. Watson
Miss E. K. Sawers
Miss I. Bratman
Mrs. A. Crowther
Mrs. N. Culley
Mrs. F. A. Dawson
Miss K. Evans
Ladies' Committee:
Chairman: Mrs. S. H. Crowther
Miss M. A. Freeman, LL.B. Miss E.K. Sawers
Miss M. Hamer
Mrs. D. Hirst, J.P.
Mrs. A. E. Horsfall
Miss C. A. Shaw
Mrs. J. Shires
Mrs. J. H. Sykes
Miss W. Townsend
Hon. Secretary: Mrs. E. Glendinning
Hon. Treasurer: Mrs. S. G. Watson
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*
THE HUDDERSFIELD MUSIC SOCIETY
******************************
Fifty-first Seasion 1968-69
Town Hall
Monday, October 14th 1968.
THE JANACEK STRING QUARTET
**************************
Jiri Travnicek (Violin)
Adolf Sykora (Violin)
Quartet in G major K.387
Programme
I
Jiri Kratochvil (Viola)
Karel Krafka (Cello)
Allegro vivace assai
Menuetto and Trio
Andante cantabile
Molto allogro
Mozart (1756-1791)
(Last performed in 1965 by the Arriaga String Quartet)
Mozart's 25 string quartots can be divided into two sharply
dofinod groups.
The first group of 15, all dating from the oarly
1770's, are not string quartets in the modern sonso. They could
be bettor described as divertimenti or oven symphonios for strings.
Lator the quartots written in Italy show a great advance and much
Italian influence; the latest, written in Vienna, prove that
Mozart had now met Haydn and was much influenced by him.
1º Trogart's
the 10
Aftor a lapse of some ten years the second group
"great" quartots began to appear in 1782. This was the period
irmediately following Mozart's marriage; not many works date from
this time but his output was by no means negligiblo since the first
6 quartots dodicatod, to his dear friond Haydn, wero thon writton.
Now "Mozart had complotely found himsolf - scarcely any works of
his aro moro porsonal than thoso quartots. This time ho loarnod
as a master from a master; he did not imitate; he yielded nothing
of his personality". (Einstoin). It has been suggested that
Mozart's "passion for counterpoint, the outcome of his studios of
Bach and Handel, may have influoncod him as much as the oxample of
Haydn's own quartots toward resorting to a form of composition in
which it can be turned to such wonderful account in the interweaving
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2.
of the four voices" (Hussoy). It is difficult now to understand
why such works as the "great" quartets, with their crystal
clarity and their consummate beauty should have aroused the storm
of criticism which greetod them on their first hearing.
The Quartet to be played tonight is tho first of the ten.
In it, as in all the remaining ones, Mozart shows a seriousness of
purpose, even though the mood be cheerful, far removed from the
elegant graces of his "gallant" style. The first movement, in
sonata form, opens with a cheerful and robust subject, which
later has touches of what Einstein calls Mozart's uncanny
concealed chromaticism; all the four instrumonts now play an
equally important part. The closely-spaced second subject has
more grace and delicacy. The minuet, based on a strongly
accented asconding scale passage, opons in almost fugal style;
the vitality and humour of the Minuet takes yet another form in
tho Trio. The Andante has much graceful figuration particularly
for the first violin; the whole movement has "a mood" of
extraordinary exaltation such as we find, outside Mozart, only
in the later works of Beethoven" (Hussey). The brilliant Finclo
begins as a strict fugue and yet the movement is cast in sonata
form. The chromatic passages from the Minuet appear during its
course. Ono could well believe that this movomont owes some-
thing to the finales of Haydn. The swiftness and gaiety of tho
tempo conceals much of the olaborate and intricato workmanship.
Quartot in A minor Op.29
II
Allogro ma no troppo
Andan to
Minuet and Trio
Allegro moderato
Schubort (1797-1828)
(Last performod in 1956 by the Stross String Quartot)
This beautiful and intensely personal Quartet in A. minor
has been described as one of the most characteristic works of any
composer. It is a maturo work writton in 1824. It had its first
performance that year by Schuppanzigh and his quartet (the work
is dedicated to Schuppanzigh). It was published the following
year and is in fact, the only quartot to bo published in
Schubert's lifotimo. Proviously Schubert had writton a certain
amount of chambor music but his total work in that form is
relatively only a small proportion of his entire output. Small
though this is, it includes some of the finest and most bolovod
chamber music that has over boon writton. Schubort had carlier
written
in his i
not unti
Quartot
chamber
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3.
written string quartots most of which woro ideal for performance
in his immediato circle (ho himself played the viola),
but it was
not until 1820 when he wrote the single movomont known as tho
Quartottsatz that ho reveals his mastery of the form. No further
chamber music was written till 1824 when the Quartot Op.29
appeared and the Quartet in D minor (Death and the Maiden) was
first written or planned. That was a time of illness and deep
dopression which is proved by the lotters full of possimism which
ho wroto. He was further depressed by the departure of most of his
frionds from Vienna and it was during this period of solitudo that
theso quartots woro conceived.
In the magical first movement the droamy melody of the first
violin soars above the throbbing accompaniment of tho viola and
collo and the swaying line of the second violin;
as Haddow says,
"the rhythm stirs and quivers round the molody liko the voices of
the forest round the nightingalo". This mood of dopression is
emphasi sod by the similarity of the rocking figuros played by the
second violin to the accompaniment of Grotchon am Spinnrade writton
10 years carlior. Fow quartets have so simple an oponing, yot the
accompanimont sots the whole mood. Schubert's magical mastory of
the art of modulation, particularly in a swinging botwoon the
major and minor modes, is shown throughout and nowhore more clearly
than in the short and hesitant dovelopment section.
The gontlo Andante opens with a variant of a thone from Rosa-
munde which Schubert again used for the piano Impromptu Op. 142.
At each reappearance the theme is expanded and intensifiod. Even
this sorono movement is tinged with wistfulness. The Minuot, with
its surprising changes of key and the expressive and deeply
porsonal fooling of the melody, is, in spite of its apparont
simplicity, one of Schubert's most inspired movements. It is based
upon a direct use of the phrase which Schubert used in his setting
of Schiller's "Gods of Grocco" to the words "Beautoous world, whoro
art thou? Come again, O lovely age of Nature's blossoming". This
quotation corresponds completely with what wo know about Schubert's
stato of mind when the quartot was writton. A gloan of hope shows
in the lovely modulation which opens the second section but the
clouds return and the groyness of the first movement still covors
everything. In contrast, the Trio gives the impression of
Austrian rural life,
The Finale, with its sparkling rhythms and capricious accents
and coloured throughout with the Hungarian spirit, brings the work
to a warm, exhilarating conclusion. Some critics have thought that
this movement does not suitably end a work which has the emotional
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40
qualities of the proceeding movements. But perhaps it should
be regarded as psychologically correct slackoning of tho tonsion
and as such it is in comploto accord with what wo know of
Schubort's character.
Coffee Interval of 15 minutes
III
Quartet in E flat major Op.51
Dvorak (1841-1904)
Allegro ma non troppo
Dumka. Andante con moto vivace
Romanza. Andante con moto
Finale. Allegro assai
(first performance at these concerts)
Dvorak, together with Smetana was one of the founders of the
modern school of Czech music and one of the great, a
as well as one
of the most individual of 19th century composers. In his youth he
had a long struggle against poverty and it was not until 1857
that he was able to receive a regular education in music at the
Organ School in Prague. He began to compose from an early age
though later many of these compositions were destroyed. Until
1873 while he was still a viola player in a Czech orchestra under
the direction of Smetana, he was little known even in his own
country and it was some years later before he became known abroad.
This was largely due to the influence of Brahms who early
recognised his great talents. Dvorak first came to England in
1884 to conduct some of his own works and he made other visits in
lator years;
several of his masterpieces woro composed for the
English music festivals. (From 1892 till 1895 he was director of
the National Instituto of Music in Now York and on his return homo,
he becamo director and profossor of composition at tho Praguo
Consorvatoire.)
In
"Dvorak was one of those great creative artists who live,
fool and think in music. Music was his life-blood, his wholo
inner existence; and only in music could he fully express himself
(Sourok). Though his materpieces cover every branch of the art
he is at his best and finost in the realm of chamber music.
it one finds to perfection the grace and freshness of his musical
ideas, his wondorfully coloured harmony and his fooling for
beautiful instrumental efforts. all produced with the greatest
simplicity and clarity. His chamber works number 30 and their
composition extends throughout his career.
Quar
at the reques
with the sti
eling.
Th
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on
The Quartet Op.51 was written in 1897 and no work of Dvorak's
ows more of the beauty and froshnoss of his music. It was started
at the request of Joan Bekor, loader of the Florentino Quartet,
with the stipulation that it should be specifically "Slavonic" in
fooling. This presented no problems to Dvorak, stooped as he was
in his natural culture. The provailing mood of the Quartet is
one of charm and humour. The first movement, made light and
fresh with its arpeggio texture, opens in leisurely fashion and
its growing animation loads to the second subject which appears,
first in a polka-like rhythm. The dovolopment principally uses
the first subject; the recapitulation is shortened but with an
extended coda.
The second movement is vory original. It opens with A Dumka
(a lament) in G minor in which the violin and the viola have a
dialoguo supported by pizzicato chords for the collo. For the
second section the themo is heard in G major in 3/8 time totally
transformed into a Furiant - a lively Czech danco with a charactor-
istic effect of cross rhythms. Humour is absont in the slow
movement in B flat which is a Romance - a poetic nocturne simplo
and sereno in style. The Finale is based upon another Czech
dance, the Skoon. This bounding, leaping music eventually
becomes a Furiant. Echoes are heard of the Dumka and of a figure
from the theme of the first movement. The excitement rises
steadily and the close is wildly joyous.
********************************
THE JANACEK STRING QUARTET was formed in 1947 by pupils of
Professor Czorny's chamber music class at the Consorvatoiro of
Music in Brno. The youthful Quartot could look back on much note-
worthy musical activity when its members graduated from the
Conservatoire and became loadors of their respective string
sections in the Brno Stato Philharmonic Orchestra, whilo_cont
inuing their work as a quartet. They chose the name of Janacok
tho greatost Moravian composor. Their first tours abroad took
place in 1949 and 1951; since then they have played in more than
40 countries in all 5 continents. Now they rank as one of the
leading quartets of the world. The Quartot play all the works in
their repertoire by heart and thus achieve a rare unison and a
direct contact with their audience.
********************************
THE HUDDERSFIELD
Mayor's Reception Room, Town Hall.
November 4th.
MUSIC SOCIETY
THE WISSEMA STRING QUARTET
Quartet in B flat K.589
Quartet No. 8 Op.110
Monday Evenings at 7.30
Mozart
Shostakovich
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6.
Quartot in G minor
December 2nd STUDENTS
OF THE
Debussy
SCHOOL OF MUSIC, COLLEGE OF
TECHNOLOGY.
Collo and Piano Recital.
January 27th. FRITZ AND NATASHA MAGG
February 17th. CAROLINE CRAWSHAW AND KEITH SWALLOW Vocal and
March 17th. THE DEKANY STRING QUARTET
Piano Recital.
Seasons tickets for the romaining FIVE Concerts 35/- singlo
tickets 10/6 from Woods, 67 Now Street and at the door.
*******************************
HALIFAX PHILHARMONIC CLUB
Lecture Hall of the Halifax Litorary and Philosophical
Socioty, Harrison Road.
Friday November 1st at 7.30 p.m.
John Franca (Cello) and Guthrie Luke (Piano)
Gamba Sonata in D major
Sonata in G Op.5 No.2
3 Fantasiestucko Op.73
Sonata in F major Op.99
Bach
Boothoven
Schumann
Brahms
Single tickets 10/- from David Dugdale Esq., 96 Willowfield Road,
Halifax or at the door.
THE HUDDERSFIELD THESPIANS St. Patrick's Hall Nov. 25th
30th.
at 7.30 p.m.
THE KILLING OF SISTER GEORGE" by Frank Marcus
Tickets 5/ (reserved) 2/6 (unreserved) (On Monday nights only,
unreserved seats 2/-, Old Age Ponsionors 1/-) from Woods, 67 Now St.
****************************
THE HUDDERSFIELD GRAMOPHONE SOCIETY - Now North Rd. Baptist Chapel.
Monday Evenings at 7.30. October 21st. Mr. R.K.B. Aldridge on the
influence of the visual arts on music.
Subscription 15/- half season 10/- (including refreshments). Two
visits permitted without obligation. Details from Mr. D. Bostock,
16 Imperial Rd. Huddersfield, HD3 3AF.
****************************
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cital
GY.
OF
7.
HUDDERSFIELD
COUNTY BOROUGH
CENTENARY CONCERTS
FESTIVAL OF THE ARTS
arranged by the Huddersfield Arts Council (Chairman Mr. S.H. Crowther)
in the Town Hall at 7.30 p.m.
Tuesday, Oct. 15th. The Huddersfield Thespians in
THE HOLLOW CROWN
SONGS FROM THE SHOWS
Wednesday Oct 16th.
Thursday Oct. 17th.
"THE HOLLOW CROWN" (Ropoat)
Friday Oct. 18th.
YOUNG ARTISTS OF PROMISE
Saturday Oct. 19th. SOUNDING BRASS AND VOICES
Tickets available from Room 222, Civic Contro, High Street and local
agonts. Prices 2/6., 4/-., 5/-, and 6/-.
Tuosday Oct. 15th. Lunch-Hour Rocital ROGERI TRIO
Thursday Oct. 17th. Lunch-Hour Recital PHILIP CHALLIS
Admission Froo
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THE HUDDERSFIELD MUSIC SOCIETY
******************************
Fifty-first Seasion 1968-69
Mayor's Reception Room
Town Hall
Monday November 4th 1968
THE WISSEMA STRING QUARTET
**************************
Ludmila Navratil (Viola)
Paul Ward (Cello)
Nella Wissema (Violin)
Fay Campey (Violin)
Programme
I
Quartet in B flat major K.589
Mozart (1756-1791)
Allegro
Larghetto
Minuet and Trio
Allegro assai
This quartet is the second of a set of three written between
1789-90; these were the last string quartets which Mozart wrote.
They are known as the Prussian Quartets. The King of Prussia himself
played the cello and although the dedication to him does not appear
in the first edition, it is evident from the prominent part given
to the cello in all three quartets that Mozart had his royal patron
in mind. Moreover, for the first quartet the King sent to Mozart
a kind letter of thanks, a gold snuff box and 100 friodrichs d'Or.
Einstein remarks that "these quartets are slightly concertante a
and yet they are the purest chamber music these are three works
that originated under the most dreadful spiritual oppression and yet
rise to the heights of pure felicity. The reference to "oppression"
of course moans 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.
This, the second, quartot, is perhaps the lightest of the three
and all its movements are instinct with the joy of life. But, even
so, there is much more subtlety in that "lightness" than in
corresponding works of Mozart's earlier years. It has been suggested
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The
the Quar
similari
flat. C.E
the 7th C
2.
that if Mozart had lived longer, this might have been the opening
of a new development in his music. The first movement, in sonata
form, makes much use of counterpoint particularly in the develop-
ment section; it is all so lightly and gracefully done that its
skill and art could pass by almost unnoticed. The slow movement
has cantilenas and passages of delightful melody; much importance
is given to the collo and much use is made of its high register.
This movement reminds one of Langford's penetrating remark, "Other
mon compose music, Mozart is music". The Minuet and Trio form the
most unusual movomont of the work. Both are exceptionally long,
almost reaching the dimensions of a Finale in the older style, and
the Trio reminds one of the music of the 3 Genii in the Magic
Flute. The Finale, a rondo, is almost reminiscent of Haydn; hore
the contrapuntal element is more strongly marked and it occurs
oven in the oponing theme itself. The theme is treated with the
greatest skill. It appears in various forms including inversion
and oven in as romoto a koy as D flat major.
Quartot No. 8 Op. 110
II
Shostakovich (b.1906)
Largo
Allegro molto
Allegretto
Largo
Largo
(Last performed in 1964 by the Alberni String Quartet)
Dimitri Shostakovich was born in Leningrad. He ontored tho
Consorvatoire thoro in 1919 and studied with Glazunov and Stoinborg.
He left in 1925 having already written a large amount of music.
Two of his operas brought him in to conflict with the Soviot
authorities (in 1930 and 1935). In each caso he acknowledgod his
"orror" and ondeavoured to make his music conform to the then rigid
official tastes. A prolific composor, Shostakovich is perhaps
best known in England as a writer of symphonics, of which he has
up to the present produced 13. But he has also given much
attention to chamber music, a form which in general sooms loss
congonial to Soviet composers, and he has shown in it an equal
understanding and mastery. His output includes 8 string quartots,
a piano trio, a piano quintet, a string octet and a Sonata for
cello and piano. He was, however, fairly lato in his career in
writing for string quartet, the first dating from 1938.
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tang
3.
The Quartet to bo porformed tonight is his latest one. It and
the Quartet No. 7 wore both written in 1960 and have many points of
similarity. Quartot No. 8 is dominated by the molodic motiv D.E.
flat. C.B. (in Gorman D.S.C.H. - standing for Dimitri Shostakovich);
the 7th Quartot uses the same motiv but in a difforont order.
Quartet No. 8 has an autobiographical clement; as woll as the
composer's signature" it contains quotations from the Piano Trio,
the opera Lady Macbeth, and the 1st and 10th Symphonies. It is
dedicated to the memory of those who died in tho struggle against
Nazism. Its mood is "dominated by the thought of the victims of
war, and it voors, as one English critic remarked, "between sad
rumination, angor and a kind of nervous obsession" (Boris Schwarz)
Tho first movement is "a kind of contrapuntal preludo" basod
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 Allogrotto, which has the D.S.C.H. motiv in diminution.
Thereafter no loss than two slow movomonts follow. The first is
doclamatory in style; the D.S.C.H. motiv appears in the middle
section but on a highor pitch. There is also a quotation from a
patriotic song "Crushed by the weight of long bondage". The D.S.C.H.
reappears and leads to the finalo, which is a fuguo based on the same
motiv and, in the coda, soveral passages from the first movoment are
heard, thus "strengthening the aural impression of the Quartet as a
work not in fivo separate movements but in a single monothematic
movement containing several extended variation like episodes of
contrasting tempi". (I.I. Martinov)
Coffee Interval of fifteen minutos
Quartet in G minor Op.10
III
Dobussy (1862-1918)
Anime et tres decide
Assoz vif et bien rythmo
Andantino doucemont oxprossif
Tros modero
(Last performed in 1959 by the Locwenguth String Quartet)
Claude Debussy, perhaps the most influential French composer
of his gonoration, sprang from a family of no particular music
talent. After a conventional training, he settled down to a
retired life of composition, novor holding any official appointment
and rarely appearing in public. His work can roughly be divided
into three periods; the first, a period of immaturity lasting up
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LUDM
parents,
under Paul
Orchestra
Mancheste
4.
about 1890, then some 20 years of mature work and finally a few
last years of declining health and activity. His early works
showod traces of external influencos but he soon evolved a stylo
and process of thought ohtiroly his own.. No composer over had a
keener or more subtle fooling for beauty, colour, poetic suggost-
iveness and atmosphere; added to thoso wont a perfect genius for
craftsmanship.
This Quartet - his only composition on that form was
written in 1893, the early part of his finest period. In it
Debussy uses the "cyclic principlo". Yet "the impression created
is not a work of contrasts and logical development, but a sort
of visionary work based upon the transformation of a single thamo"
(Lockspeiser). The gay and rhythmic first movomont opons with
the motto of the whole work. The theme of the Scherzo - a
movement of pure fantasy - is directly derived from that motto.
The third movemont is a dreamy Nocture. The composition of the
quartet was immediately followed by that of L'Apros-midi d'un
Fauno; this slow movement clearly foreshadows the lator dovolop-
ment. Tho impetuous finale again contains a further transform-
ation of the motto. But apart from dotails of construction, the
quartet is a work of sheer, clusive beauty; it "movos liko a
young fawn, spins the gayost, most silkon, most golden of spider-
webs; fills one with delights of taste and smell and sight and
touch". (Rosenfeld).
**************************
NELLA WISSEMA was leader of the Charlos Kreitzer Quartet
(1945-61) and also of hor own Piano Trio. She was a froquent
porformer with the South African Broadcasting Company and played
with principal orchestras in South Africa as a soloist. In
recent years sho has played with the principal British Orchestras
and has given recitals in many cities.
FAY CAMPEY was born in Lincolnshiro. She studied at the
Dalcroze College of Eurhymics and by the age of 19 had gained
porformers A.R.C.M., L.R.A.M. and the Dalcroze Certificate. Sho
then studiod the violin with Endre Wolf and was a member of the
Laurance Turner String Quartet for several years. Sho now loads
tho Manchester Mozart Orchestra.
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4
Ow
5.
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 Hallo
Orchestra in 1954. She is at prosent principal viola with the
Manchester Mozart Orchestra.
PAUL WARD is a well-known cellist in Manchester and has
boon 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.
*********************************
THE HUDDERSFIELD MUSIC SOCIETY
Mayor's Rocoption Room, Town Hall.
December 2nd.
Monday Evenings at 7.30.
CONCERT BY STUDENTS FROM THE SCHOOL OF
MUSIC HUDDERSFIELD COLLEGE OF TECHNOLOGY
January 27th. FRITZ. AND NATASHA MAGG Collo and Piano Recital
February 17th. CAROLINE CRAWSHAW AND KEITH SWALLOW Song and
March 17th. THE DEKANY STRING QUARTET.
Piano Recital.
Single tickets 10/6 from Woods, 67 Now St. or at tho
door.
**********************************
THE HALIFAX PHILHARMONIC CLUB
The Lecture Hall, Harrison Road, Halifax.
7.30 p.m.
November 30th.
THE BARTOK STRING QUARTET
Quartet in D minor K.421
Mozart
Quartet No. 6
Bartok
Quartet in F major Op.59 No. 1
Boothovon
Single tickets 10/- from David Dugdale Esq., 96 Willowfield Road,
***********************************
Halifax or at the door.
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6.
THE HUDDERSFIELD GRAMOPHONE SOCIETY
New North Road Baptist Sunday School.
November 11th. Rossini
Monday Evenings at 7.30.
November 25th. Mirfield Visit. English Music.
Subscription 15/- half season 10/- (including refreshments). Two
visits pormitted without obligation. Details from Mr. D. Bostock
16 Imporial Road, Huddersfield, HD3 3AF.
***********************************
THE HUDDERSFIELD THESPIANS
St. Patrick's Hall.
Novombor 25th
30th. at 7.30 p.m.
THE KILLING OF SISTER GEORGE
by Frank Marcus
Tickots 5/- (rosorvod) 2/6 (unreserved) (On Monday nights only,
unrosorvod soats 2/- Old Ago Pensioners 1/-) from Woods, 67
Now Stroot.
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THE
HUDDERSFIELD MUSIC SOCIETY
Fifty first Season 1968-69
CONCERT
by
STUDENTS of the SCHOOL OF MUSIC
HUDDERSFIELD COLLEGE OF TECHNOLOGY
Mayor's Reception Room,
Town Hall, Huddersfield.
MONDAY 2nd DECEMBER, 1968.
at 7.30.p.m.
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PROGRAMME.
Sonata for Two Cellos in G minor.
Lento. Allegro. Largo. Fugue,
Handel.
Rayford Kitchen, Clare Wright. Cellos.
Peter Seymour. Piano.
THREE CAROLS.
Hodie
A Spotless rose is blowing
O Little One Sweet.
THE MADRIGAL GROUP.
Sweelinck
Herbert Howells
harm. J.S. Bach.
Trio in G major.
Andante. Poco dagio. Cantabile.
Rondo all'ongarese.
Paul Pearce Violin. Clare Wright
Stuart Littlewood
piano.
COFFEE INTERVAL of 15 MINUTES.
Haydn
Cello.
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Sonata in F sharp minor.
Sonata in C major.
Hungarian Rhapsody No. 14.
FOUR SONGS.
Angela Squire
piano.
The Letter Duct (Marriage of Figaro)
Yvonne Adshead and Janet Ross.
Scarlatti
Scarlatti
Liszt.
Mozart
Gretchen at the Spinning Wheel.
Schubert
Yvonne Adshead
soprano.
Wolf
The Modest Heart.
Janet Ross
soprano
Let the bright seraphim.
Janet Ross - soprano.
Handel.
Peter Seymour
-
Yvonne Adshead trumpet
accompanist
-
Morgenmusik
Moderato.
Lied. Con moto.
Peter Merrick.
Peter Marsh.
Leslie Storey, Christopher Hague
Hindemith
trumpets
-
trombones.
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FUTURE DATES.
THE HUDDERSFIELD MUSIC SOCIETY.
Mayor's Reception Room, Town Hall.
JANUARY 27th.
FRITZ and NATASHA MAGG
Sonata No.1. in F major Op. 8.
Monday Evenings at 7.30.
Cello and Piano Recital.
Beethoven
Sonata No. 4. in C major Op. 102 No.1
12 Variations on "Ein Madchen"
Beethoven
Beethoven
Beethoven
from The Magic Flute
Sonata No. 3 in A major Op.69
FEBRUARY 17th.
CAROLINE CRAWSHAW and KEITH SWALLOW Song and Piano Recital.
MARCH 17th.
THE DEKANY STRING QUARTET
Single tickets 10/6 from Woods, 67 New Street and at the door.
THE HALIFAX PHILHARMONIC CLUB
The Lecture Hall, Harrison Road.
JANUARY 22nd. *
THE AEOLIAN STRING QUARTET on
Quartet in D minor K.428
Quartet No.6
bredal Quartet in F major Op.59 No.1
7.30.p.m.
Mozart
Bartok
Beethoven
Single tickets 10/- from David Dugdale Esq., 96, Willowfield Road.
Halifax, or at the door.
THE HUDDERSFIELD GRAMOPHONE SOCIETY.
New North Road Baptist Sunday School.
Monday Evenings at 7.30.
December 9th.
President's Evening.
December 16th.
January 6th.
January 20th Mozart.
The Spirit of the Place.
Liszt and Mahler.feed
Subscription 15/-, half season 10/- (including refreshments.)
Two visits permitted without obligation.
Details from Mr. D. Bostock, 16 Imperial Road, Huddersfield. HD33AF
THE HUDDERSFIELD THESPIANS
St. Patrick's Hall.
WOMAN IN A DRESSING GOWN January 20th-25th.
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THE HUDDERSFIELD MUSIC SOCIETY
******************************
Fifty-first Season 1968-69
Mayor's Reception Room, Town Hall,
Monday January 27th 1969
FRITZ MAGG (Cello)
NATASHA MAGG (Piano)
Programme
I
Sonata in F major Op. 5 No. 1
Beethoven (1776-1827)
Adagio sostenuto
Allegro
Allegro vivace
(First performance at these Concerts)
The composition of works for cello and piano presents many
special problems which have become increasingly apparent due to the
lack of balance in tone quality between the two instruments. The
cello, like all other string instruments, has remained practically
unaltered while the modern piano has developed into an instrument
of great power and resonance. It is true that the piano of
Beethoven's time was of much less power but even then the
difficulties of balance existed. Haydn in general used the cello
merely as a support for the bass. Mozart gave it much more
importance and freedom, but it is not until the first sonatas of
Beethoven that any true combination of the two instruments in an
equal partnership was arrived at. It is interesting to note how,
from the first, Beethoven uses all the registers of the cello
freely, how he deals with the problem of bringing out the singing
qualities of the cello, often at a pitch which with difficulty
penetrates the volume of the piano tone, and how carefully he
clarifies and lightens the more powerful and ringing qualities of
the piano.
Between the years 1796-1815 Beethoven wrote 5 sonatas for
cello and piano. The two sonatas Op. 5 were written during a visit
to Berlin in 1796 and were dedicated to King Frederick William II,
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2.
himself a cello player and to whom Mozart had dedicated his
"Prussian string quartets six years previously. As in the
case of so many of Beethoven's duo sonatas, they were written
with a particular player in mind; this time it was Dupont, a
French cellist, then in Berlin and considered to be the origin-
ator of modern cello technique. Because of their peculiar
problems Beethoven composed these sonatas with a different
effect in mind from the violin sonatas, which are essentially
brilliant virtuoso concert pieces. ] In some ways the cello
sonatas, so widely spaced in time, are more effective than the
more rapidly composed violin sonatas. They have a deeper
significance and a richer variety of form; and once the problem
of the balance of the instrumonts was solved, the cello proved
to be a more ideal instrument for the chamber duo with its noble
and varied tone characteristics than the brilliancy and more
piercing qualities of the violin. To quote D'Indy "It would
seem that the composer, attracted by the tenor voice of this
instrument, has done his best to bring out this singing quality
by means of broad, slow phrases, and to give it more importance ist.
than the element of virtuosity. This tendency explains why
three of the sonatas open with long and often pathetic
introductions, and also why the second subjects of the quick
movements the expressive subjects - are treated at much greater
length than in the other sonatas".
of the
The Sonata Op. 5 No. 1 opens with an impressive unison
passage for the two instrumonts. This slow introduction of some
34 bars really forms a separate movement which leads with only a
slight pause into the Allegro. Dramatic and colourful, it is
almost an improvisation in style and reminds one that this work
was written while Beethoven was at the height of his career as
a concert pianist. The Allegro is in sonata form; the main theme
is first heard on the piano and, after a short bridge passage, it
is repeated by the cello. A short adagio passage leads to a
brilliant coda. The finale is a rondo with extended episodes.
The thome is first heard in canon between the two instruments.
The whole brilliant movement has perhaps less musical interest,
being in reality a more conventional piece of virtuoso display.
II
Sonata in C major Op. 102 No. 1
Beethoven.
Andante
Allegro vivace
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Adagio
3.
Tempo d'Andante
Allegro vivace
(Last performed in 1959 by Rohan de Saram)
The two Sonatas Opp. 1 and 2 were composed in 1817, a year
in which Beethoven wrote little, and were the last major works
for piano combined with strings. They are dedicated to the
Countess Marie Erdody and it is possible that the cellist which
Beethoven had in mind was Linke, a member of the Rasumowsky Quartet.
Beethoven himself described this Sonata No. 1 as a "free sonata".
It is certainly almost a Fantasy in form and seems to resemble an
intimate dialogue between the two instruments rather than the
usual duo sonata. Bekker describes it as "almost baroque in style
whose dry musical exterior conceals an imaginative impulse which
reaches out boldly beyond the limits of conventional expression".
The opening is again a long slow introduction with swaying
themes which bring out in full the cantilena qualities of the
cello. The theme of the Allegro is vigorous and rhythmical and is
later dominated by a persistant triplet figure. Much use is made
in the development section of the rhythm of the main subject.
What corresponds to the slow movement is a short Adagio, decorated
with beautiful delicate figuration, based largely upon the theme
of the introduction. The tempo quickens to a Tompo d'andante
section which loads after a long trill to the final Allegro. The
opening of this movement is fugal in character and its themes are
bright and vigorous. Long-held cello notes interrupt this vivacity,
the fifth being the introduction to the final coda..
Coffee Interval of 15 minutes
III
Twelve Variations in F major Op. 66
Beethoven.
(First performance at these Concerts)
It is interesting to have an opportunity of hearing this
little-known work. The thome "Ein Madchen oder Weibchen" is taken
from Mozart's opera The Magic Flute, and was written in 1797.
Other occasions upon which Beethoven made use of Mozart's
themes are Twelve Variations in F upon "Se vual ballare" (violin
and piano 1792) and Sovon Variations in Fflat upon "Bei Mannern,
welche liebe fuhlon (collo and piano 1801). It is generally
considered that these works wore intended for private performance.
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Sonata in A major Op. 69
4.
IV.
Beethoven
Allegro ma non tanto
Scherzo - Allegro molto
Adagio cantabile
Allegro vivace
(Last performed in 1960 by Rohan de Saram)
This Sonata Op. 69 appeared in 1809 and was dedicated to
Baron von Gleichenstein, a faithful friend who performed all
manner of duties - secretary, messenger, attorney, buyer and
keeper of the purse - for Beethoven. In contrast, this work
opens vigorously and boldly with the first part of the theme
stated by the unaccompanied cello and then continued by the
piano over a low cello pedal. This is immediately repeated with
the instruments reversed. The remainder of the movement keeps
to regular sonata-form. The Scherzo, unusually extended and in
the key of the tonic minor, takes the place of the second
movement. The slow movement is so brief that it really only forms
an introduction to the joyous finalo. Apart from these few
differences, Beethoven constructs the work on the usual classical
lines, giving us strong, virile subjects, developed and
contrasted with all his superb craft. There are also some very
delightful conversations" between the two instruments, a form
of art in which Beethoven and Mozart have no equals.
FRITZ MAGG was born and educated in Vienna. He continued
his studies in Cologne, Berlin and Paris. At the age of 20 he
was appointed solo cellist of the Vienna Symphony Orchestra and
began a distinguished career as a soloist. He has lived in the
United States since 1938. He has been first cellist with the
Metropolitan Opera Company and played with the Gordon and
Berkshire String Quartets as well as soloist with many orchestras
and with Natasha Magg in sonata recitals. Since 1948 he has been
Professor of Cello and Chamber Music at Indiana University.
plays a cello made by Stradivarius in 1698.
He
NATASHA MAGG was born in Austria. After studies at the
Vienna Academy under Franz Schmidt and Emil von Sauer she began
her concert career at an early age. She continued her concert
activities in the United States where she has lived since 1938.
Like her
piano rec
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5-
Like her husband Fritz Magg, with whom she plays many cello and
piano recitals, she teaches at Indiana University.
THE HUDDERSFIELD MUSIC SOCIETY
******************************
Mayor's Reception Room, Town Hall.
Monday Evenings at 7.30 p.m.
February 17th
CAROLINE CRAWSHAW AND KEITH SWALLOW
The programme will include works by Schumann, Poulenc, Britten,
de Falla, Haydn, Beethoven and Elizabethan lute songs.
March 17th
THE DEKANY STRING QUARTET
Single tickets 10/6 from Messrs. Woods, 67 New Street and at the
door.
THE HALIFAX PHILHARMONIC CLUB
*****************************
The Lecture Hall, Harrison Road
Friday February 28th
7.30 p.m.
CONCERT BY STUDENTS OF THE SCHOOL OF MUSIC
HUDDERSFIELD COLLEGE OF TECHNOLOGY
Single tickets 10/- from David Dugdale Esq., 96 Willowfield Rd.,
Halifax and at the door.
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- 6-
THE HUDDERSFIELD GRAMOPHONE SOCIETY
*************
**************
New North Baptist Sunday School
Monday Evenings at 7.30
February 10th. Music with a Literary Theme presented by
Miss E. Williams
Subscription 15/- half season 10/- (including refreshments). Two
visits permitted without obligation. Details from Mr. D. Bostock
16 Imperial Road, Huddersfield, HD3 3AF.
St. Patrick's Hall
THE HUDDERSFIELD THESPIANS
**************************
A MAN FOR ALL SEASONS
by Robert Bolt
March 3rd 8th.
Tickets 5/- (reserved) 2/6 (unreserved) On Monday nights only,
unreserved seats 2/-. Old Age Pensioners 1/- from Messrs. Woods,
67 New Street.
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THE HUDDERSFIELD MUSIC SOCIETY
+++++++++++++-
Fifty-first Season 1968-69
+++++
Mayor's Reception Room, Town Hall,
Monday, February 17th 1969
CAROLINE CRAWSHAW (Soprano)
KEITH SWALLOW (Piano)
Programme
I
Elizabethan Lute Songs
Come again
Go to bed, sweet Muse
Shaded with olive trees
When Laura smiles
Four Intermezzi Op. 4
II
Dowland (1563-1626)
Robert Jones (d.circa 1617)
Thomas Greaves (17th cent).
Philip Rosseter (1575-1623)
Schumann (1810-1856)
E minor
C major
D minor
B minor
The bulk of Schumann's piano music was written between
1830-39. Throughout these years he wrote nothing but music
for the piano and this was followed after his marriage,
between 1840-42 by an equal outpouring of songs.
The group
of Intermezzi Op. 4 was written in 1832 and consists of two
books of six Intermezzi each. Schumann described them as
"longer Papillons". Their form is simple - in general, a
main theme with one and so me times two alternative sections
and a return to the main theme. Both Schumann and Brahms
used the title "Intermezzo" to denote an Independent and
romantic piece of small dimensions, as opposed to its true
meaning of an entreact.
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2.
III
Five Songs to poems by Friedrich Ruckert
Ich atmet' einen linden Duft
Liebst du um Schonheit
Blicke mir nicht in die Lieder
Ich bin der Welt abhenden gekommen
Um Mitternacht
Mahler (1860-1911)
1911)
Coffee Interval of 15 minutes
IV.
The Story of Babar, the little elephant
Poulenc (1899-
1963)
for piano and narrator.
Words by Jean de Brunhoff.
English version by Nelly Rieu.
V.
Song Cycle: The Poet's Echo (1967)
Britten (b.1913)
Setting of poems by Pushkin, English translation by
Echo
Peter Pears.
My heart
.
Angel
The Nightingale and the Rose
* Epigram
Lines written during a sleepless night
* The subject of this epigram was Count M.S. Vorontsov,
Pushkin's chief in Odessa. He was brought up in England
(Half a milord') and had financial interest in Odessa
Half a boss').
Seven Spanish Songs
IV
Manual de Falla (1876-1946)
El Pano Moruno
Seguidilla Murciana
Asturiana
Jota
Nana
Cancion
Polo
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11)
3.
CAROLINE CRAWSHAW was born at Ilkley in 1941 and educated at
Ilkley Grammar School. Coming from a musical family, she
began piano lessons at the age of 6, violin, speech and
drama lessons followed and later singing under the guidance
of Honor Shepherd. In 1960 she was awarded a scholarship
to study singing at the Royal Manchester College of Music
under Elsie Thurston. During her college career Caroline
Crawshaw gained the A.R.M.C.M. Diploma both in performing
and teaching and won many prizes, including the Imperial
League of Opera Prize and the Curtis Gold Medal, the
award given to the outstanding singer of the year. In
1965 she was awarded second prize from an entry of 700 in
the English Song Competition organised by the B.B.C.
Since leaving college in 1965 she has sung with leading
Choral Societies and Music Clubs and appeared on tele-
vision. Recent engagements include recitals at the
Wigmore Hall, the Cheltenham and Harrogate Festivals and
several appearances with the Halle Orchestra. In July
1968 she took part in the Henry Wood Promenade concert
given in memory of Sir Malcolm Sargent.
KEITH SWALLOW won a West Riding Scholarship at the age of 16
and went to study at the Royal Manchester College of
Music under Claude Biggs. There he was awarded prizes
and diplomas%3B he also holds the degree of Master in Music
of the Royal College of Music. He has given recitals and
concerts in London, the provinces and in Germany with
great success and has played concertos with many leading
orchestras. He has done much work with the B.B.C. and has
established a fine reputation no only as soloist but
also as an ensemble player and an accompanist.
THE HUDDERSFIELD MUSIC SOCIETY
++++++++++++++++
Mayor's Reception Room, Town Hall.
+++++
Monday Evening at 7.30
March 17th.
THE DEKANY STRING QUARTET
Quartet in E. flat Op. 33 No. 2 (The Joke)
Quartet in F major Op. 41 No. 2
Quartet in F minor Op. 95
Haydn
Schumann
Beethoven
Single tickets 10/6 from Messrs. Woods, 67 New Street and at
the door.
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4.
THE HALIFAX PHILHARMONIC CLUB
+++++++++++++++
The Lecture Hall, Harrison Road
Friday, February 28th.
7.30 p.m.
CONCERT BY STUDENTS OF THE SCHOOL OF MUSIC, HUDDERSFIELD
COLLEGE OF TECHNOLOGY.
Single tickets 10/- from David Dugdale Esq., 96 Willowfield
Road, Halifax or at the door.
THE HUDDERSFIELD GRAMOPHONE SOCIETY
++++++++++++++++++++++++++++++++++++
New North Road Baptist School
Monday Evenings at 7.30
February 24th.
Franz Schmidt (1874-1939)
by Mr. Harold Truscott.
March
10th.
Berlioz by Mr. D.T. Sleath
Subscription 15/- half season 10/- (including refreshments)
Two visits without obligation. Details from Mr. D. Bostock
16 Imperial Road, Huddersfield, HD3 3AF.
THE HUDDERSFIELD THESPIANS
++++++++++++++++++++++++++
St. Patrick's Hall
March 3rd
-
8th.
A MAN FOR ALL SEASONS
by Robert Bolt
Tickets 5/- (reserved) 2/6 (unreserved).
On Monday nights
only, unreserved seats 2/-, Old Age Pensioners 1/- from
Messrs. Woods, 67 New Street.
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THE HUDDERSFIELD MUSIC SOCIETY
**************
**********
Fifty-first Season 1968-69
Mayor's Reception Room, Town Hall
Monday March 17th 1969
THE DEKANY STRING QUARTET
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Harry Curby (Violin)
Peter Aslay (Violin)
Ervin Schiffer (Viola)
Gyorgy Schiffer (Cello)
Programme
I
Quartet in C major K.465
Adagio
-
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%; the whole set forms one of the
finest monuments which one composer has ever erected to the
honour of another. The three last 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. He has taste and, what is more, the most profound knowledge
of composition". Einstein observes that no more profound comment
could be made about Mozart. "Genius and art combined; 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".
-
This quartet is the only one of the six to open 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. We now realise that these
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2.
discords qare the outcome of Mozart's deep contrapuntal studies,
and that the "ugliness" is part of its beauty and therefore
aesthetically correct. 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 toward the conception of self-expression
in art which was to dominate the composers of the nineteenth
century" (Hussey). Apart from the unusual introduction there
is little in the quartet which requires comment. The general
effect is "a noble, manly cheerfulness rising in the Andante to
an almost super-human serenity, the kind of cheerfulness which
in art or life appears only as the result of previous pain
or strife". (Jahn).
Six Bagatelles Op. 9
II
Anton Webern (1883-1945)
(first performance at these concerts)
Webern was born in Vienna where he studied musicology with
Adler and took the Ph.D. degree at Vienna University in 1906.
He was the first to follow Schonberg's lead into new paths,
Berg being the second, and both were the most faithful of
disciples. But Webern's experiments took the form of a new scale
basod rather upon tone-qualities than upon tone-pitch. Frequently
almost every note of the melody is given to a different instrument
each in a different tone colour, which gives to the music an
expressiveness and fluidity which was entirely new. Most of
Webern's works are short and transparent in sound, yet into this
miniature scale he compressed an infinite range of expression
with the utmost delicacy and intimacy. He was a man of great
intellect and breadth of culture%3B Erwin Stein called him the
composer of the pianissimo expressivo
The Six Bagatelles were written in 1913. In these "Webern
states his ultimate point in the minute forms. The number of
bars in the movements are respectively: 10.8.9.8.13.9. This is
also the first real statement of his use of Klangfarbenmelodie
as an integral part of the structure. Sensitive playing will show
a line between these apparently unrelated notes. A melodic line
is traced through the texture ..... The quartet of players is here
unified to the function of one player. Each quaver has its own
dynamic marking and intensity". (Iain Hamilton).
Quarte
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Quartet No. 7 in F sharp Op. 108
3.
III
Shostakovich (b. 1906)
Allegretto
Lento
Allegro
(First performance at these Concerts)
Shostakovich was born in Leningrad. A prolific composer,
later in his career he has given much attention to chamber music,
a form which in general seems less congenial to Soviet composers.
His first string quartet dates from 1938.
The Quartet No. 7 and the Quartet No. 8 were both written in
1960 and have many points of similarity. Both are dominated by
the melodic motiv D.E flat.C.B. (in German D.S.C.H., standing for
Dimitri Shostakovich) but in Quartet No. 7 the order is changed to
E flat D.C.B. and appears in many transpositions and inversions.
The three movements are played without a break and the work is
comparable in mood and character to the compact and cheerful
Quartet No. 1.
The first movement is in sonata-form but without the develop-
ment section. The principal theme is obviously derived from the
four-note motto theme which itself appears later in the course of
the movement. A descending phrase from the coda to the second
subject provides the inspiration for the first theme of the slow
movement - a Lento in simple ternary-form. The motto theme is
used here mainly in the accompanying parts and provides the
beginning of the vigorous subject of the fugue of the third movement
the introduction to the fugue resembles the inversion of the main
theme of the first movement and the continuation of the fugue-theme
is a variation of the theme of the second movement. A quiet coda,
derived from the first movement, appears to be bringing the work
to its conclusion, but it is followed by a long final section based
on the fugue-theme but now transformed and extended into a waltz-like
tune; further themes from earlier movements complete the material.
Shostakovich is very fond of this method of thematic unification
and this quartet is one of his finest examples of this form of
composition.
Coffee Interval of 15 Minutes
*********************************
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4.
IV
Quartet in D minor Op.posth. (Death and the Maiden)
Allegro
Andante con moto
Schubert
(1797-1828)
Scherzo
-
Trio
Presto
(Last performed in 1965 by the Heutling String Quartet)
This Quartet was written at the period when Beethoven was
creating his last quartets, and it is interesting to compare the
difference in conception and technique between the two masters.
"It would be tempting to compare the "seriousness" of Beethoven's
Op.95 with seriousness of the D minor quartet. Schubert's
seriousness is free from pathos%3B 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
tho obtaining of colour offects, as in the orchestra, by the
arrangement of parts in layers. "Here are beautiful ideas, bold-
ness and bigness of reach and grasp, and entirely new chamber-
harmony with chords rich and romantic in themselves and not the
necessary and logical outcome of part-writing".
It was not until 1824 that Schubert turned in earnest to the
writing of string quartets, and within the next two years he
wrote three. This quartet remained in manuscript till 1851.
Certainly the struggle with death is the theme of the first move-
ment. 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 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.
Ho does not write programme music nor do we need to know the
song, but we feel unmistakably in this music the symbols of
inevitability and consolation. (Einstein). According to Heuss
"Death as the Demon Fiddler is the theme of the sharply
contrasting Scherzo. "The Finale is most definitely in the
char
the
work
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40 The Huddersfield Music Society, HMS 51, Page 40 |
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5°
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 consistent and compelling
idea.
THE DEKANY STRING QUARTET was originally formed in 1962 by
4
young Hungarians who settled in Holland. Recently HARRY CURBY
has become the leader. He was born in Australia of Czecho
Slovak parents. He began to play at the age of 5. He has
studied in Belgium, Vienna and London and was a pupil of Leo
Cherniavski, himself a pupil of Auer. For 6 years he was leader
of the Sydney String Quartet and a professor at the Conservatoire
there.
PETER ASLAY is
Music in Budapest. graduate of the Franz Liszt Academy of
He has appeared with various chamber music
groups in Hungary, Czecho-Slovakia, Austria, Germany and Australia
His instrument is a Giovanni Battista Rogieri.
ERVIN SCHIFFER is also a graduate of the Franz Liszt Academy.
He won first prize at the International Competition in Budapest in
1953. He, too, has played in chamber music groups throughout
Europe. He plays on a Gio Paolo Maggini.
GYORGY SCHIFFER is another graduate of the Franz Liszt
Academy before finishing his studies in Paris. He has a wide
European reputation. His instrument is a Matteo Gofriller.
THE HUDDERSFIELD MUSIC SOCIETY
******************************
Season 1969-70
October 20th. THE GABRIELI STRING QUARTET
At this Concert the Quartot commissioned by
the Society from John Tavener to mark the
Golden Jubilee will be given its first
performance.
November 17th. THE TALICH STRING QUARTET. First appearance at
these concerts.
December 15th. STUDENTS OF THE SCHOOL OF MUSIC, COLLEGE OF
TECHNOLOGY.
January 12th. THE STADLER TRIO (Clarinet, Viola and Piano) First
appearance at these concerts)
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41 The Huddersfield Music Society, HMS 51, Page 41 |
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6.
February 9th. DAVID WILDE Piano Recital String Quarter
9th. THE TEL AVIV (Clarinet, Viola and Piano) First
appearance at these Concerts.
March
Tickets will sent in due course to all present Members. The Hon.
See Miss C.A. Shaw, 3a Vernon Avenue, HD1 5QD and Mrs. J. de
Nikitin-Solsky, 37 Gynn Lane, Honley HD7 2LE or any member of the
Committee would be very glad to receive names and addresses to
which prospectuses may be sent.
THE HUDDERSFIELD GRAMOPHONE SOCIETY
***********************************
New North Road Baptist School
Monday Evenings at 7.30
March 24th Choral Music
April 14th Wakefield Visit
April 18th
Century Music
April 28th
May
"Sir Adrian"
12th
Chamber Music
Subscription 15/- half season 10/- (including refreshments). Two
visits without obligation. Details from Mr. D. Bostock, 16
Imperial Road, Huddersfield, HD3 3AF.
THE HUDDERSFIELD THESPIANS
**************************
St. Patrick's Hall
April 21st
-O
26th
BOEING BOEING
A Comedy by Marc Camoletti and Beverley Cross
Tickets 5/- (reserved) 2/6 (unreserved) (On Monday nights only,
unreserved seats 2/- Old Age Pensioners 1/-) from Woods,
67 New Street.