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The Huddersfield Music Society, HMS 52 |
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1 The Huddersfield Music Society, HMS 52, Page 1 |
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Ocr'd Text:
HUDDERSFIELD MUSIC SOCIETY
Brochure
52d Season's programmes 1969-1970
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2 The Huddersfield Music Society, HMS 52, Page 2 |
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Ocr'd Text:
FIFTY-SECOND SEASON
1969-1970
The
Huddersfield Music
Society
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.
(Viola)
vey (Cello) vum
(1756-1791)
; Quartet)
Some
appeared in
h the remark
indeed, hardly
ions and
n be divided
n between
great" quartets.
istinguish
ing from
ts, chamber
writes: "Now
orn Beethoven
external
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1 his
Hunt because
me, recalls
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3 The Huddersfield Music Society, HMS 52, Page 3 |
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Ocr'd Text:
FIFTY-SECOND SEASON
1969-1970
The
Huddersfield Music
Society
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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4 The Huddersfield Music Society, HMS 52, Page 4 |
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It is with much regret that the Committee are obliged this
Season to raise the price of tickets. The increase in costs has risen
so considerably in the past few years that they feel that at least
some part of that increase must, unfortunately, be passed on to the
Members. Details of the new prices are shown opposite, and the
Committee would like to point out the advantage to be gained by
the "Double Season ticket" and, similarly, the advantages of
purchasing a Season ticket rather than tickets for single concerts.
The Committee again commend to your notice the scheme for gifts.
by Covenant to the Society.
The Committee are happy to announce a Season of Concerts
of superlative musical interest and one worthy of the widest support.
The Season starts with a welcome return visit by the
GABRIELI STRING QUARTET. Although only formed in 1966
these dedicated chamber music musicians have, even in so short a
time, become recognised both in this country and on the Continent
as one of the finest of British String Quartets, outstanding in their
interpretation of modern as well as classical music. To mark the
importance of this occasion, the concert will be held in the area
of the Town Hall and a number of distinguished guests are being
invited to attend.
The TALICH STRING QUARTET are newcomers from
Czecho-Slovakia. Although the average age of its members is 22,
they have already been hailed as worthy successors to the famous
Smetana and Janacek Quartets.
The STADLER TRIO, also making a first appearance at these
Concerts, was formed in 1967 and promises an evening of fine
chamber music in one of its less usual combinations.
DAVID WILDE, whose appearance some years ago will be
remembered with pleasure, returns again with an interesting and
unusual programme. In the intervening years he has greatly
increased his reputation as a fine musician and an outstanding
pianist.
The TEL AVIV STRING QUARTET, three of whose members
are Tel-Aviv born, have made many appearances in this country
since their foundation in 1959. During their tour last season they
were received everywhere with the greatest enthusiasm and delight.
Thanks to the kind co-operation of Mr. Forbes, it has been
the custom for some years past to include a concert by the
STUDENTS OF THE SCHOOL OF MUSIC OF THE COLLEGE
OF TECHNOLOGY. 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 being realised and we confidently hope that all
members will support and encourage these gifted young artists.
Coffee and biscuits will be served during the interval, price 1/-
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5 The Huddersfield Music Society, HMS 52, Page 5 |
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All Concert:
October 20th, 1969
Quartet in B flat r
Quartet No. 2
Italian Serenade ..
Quartet in F mino
November 17th, 1969
Quartet in C mino
Quartet No. 2
Quartet No. 1 in E
December 15th, 1969
January 12th, 1970
(Vic
4 Pieces for Clarin
Duo Concertante
Trio (1969)
Sonata No. 1 for
Trio in E flat K.4
February 9th, 1970
Partita No. 1 in I
Organ Prelude an
2 Transcendental
Ostinato;
Serenade in A ...
Boating
3 Intermezzi
Dance Suite
March 9th, 1970
Quartet in F maj
Quartet No. 1 ...
Quartet in G majo
(Progra
APPLICATION FORM
To the Hon. Secretary, 3a Vernon Avenue, Huddersfield, HD1 5QD
Single
Double
Season tickets for which I enclose £.
Please send me
Name.
Address..
(BLOCK LETTERS PLEASE)
Cheques should be made payable to "The Huddersfield Music Society"
Unless requested, no receipts will be issued for payments made by cheque.
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6 The Huddersfield Music Society, HMS 52, Page 6 |
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All Concerts on Monday Evenings at 7-30
October 20th, 1969
THE GABRIELI STRING QUARTET
Quartet in B flat major K.458 (The Hunt) ... Mozart
Quartet No. 2
Bartok
Italian Serenade
Hugo Wolf
Beethoven
Quartet in F minor Op. 95
November 17th, 1969
PROGRAMMES
Beethoven
Quartet in C minor Op. 18 No. 4
Quartet No. 2
Martinu
Quartet No. 1 in E minor (From my Life) ...... Smetana
December 15th, 1969
February 9th, 1970
THE TALICH STRING QUARTET
January 12th, 1970
(Viola, Clarinet and Piano)
4 Pieces for Clarinet, Viola and Piano Op. 83 Max Bruch
Duo Concertante for Clarinet and Piano ......... Weber
Trio (1969)
Gordon Jacob
Sonata No. 1 for Viola and Piano
Martinu
Trio in E flat K.498
Mozart
March 9th, 1970
CONCERT BY STUDENTS FROM
THE SCHOOL OF MUSIC
HUDDERSFIELD COLLEGE
OF TECHNOLOGY
.......
(Piano Recital)
Partita No. 1 in B flat major
Organ Prelude and Fugue in A minor
2 Transcendental Studies
THE STADLER TRIO
Ostinato; Boating (from Mikrocosmos)
Serenade in A
3 Intermezzi
Dance Suite
Quartet in F major Op. 74 No. 2
Quartet No. 1
Quartet in G major Op. 161
DAVID WILDE
Bach
Bach-Liszt.
Liszt
Bartok
Stravinsky
John McCabe
Bartok
THE TEL AVIV STRING QUARTET
Haydn.
Joseph Tal
Schubert
(Programmes subject to alteration)
Season tickets 50/- & 90/-
Single ticket
Student ticket
3rd Concert only
Single ticket
Student ticket
12/6
3/6
(Bona-fide Students
5/-
2/6
under 21)
Student Season tickets are
not issued
☆
Last Season's Members
Tickets are NOT being for-
warded with the prospectus
to members this season.
A new system for the sale of
tickets is now in operation.
A Double Season ticket for
two persons (not necessarily
of the same family) is now
being issued at 90/- (i.e.
45/- per person). A Single
Season
ticket (for one
person) is issued at 50/-.
W
Will all members PLEASE
return the Application Form
(overleaf) as soon as possible
in the enclosed stamped and
addressed envelope to the
Hon. Secretary, stating the
kind and number of tickets.
required.
117:11
New Members
New members are welcomed.
Season tickets (Double or
Single) and tickets for single
concerts (the latter issued
immediately after the pre-
ceding Concert) can be
obtained from the Hon.
Secretary (using the form
overleaf for Season tickets)
or from.
Messrs. J. Wo and Sons,
67 New Street,
Huddersfield
or at the door.
Individual Student tickets.
are obtainable at the door
only (or in bulk from the
Hon, Secretary).
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THE HUDDERSFIELD MUSIC SOCIETY
(Founded as The Huddersfield Music Club by 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:
V. Tolchard, National Provincial Bank, King Street, HD1 2AY
Executive Committee:
R. Barraclough
David Dugdale
Mrs. E. Glendinning
E. Glendinning
S. Rothery
Miss K. Evans, B.A.
P. G. C. Forbes, M.A., A.R.C.o. Miss E. K. Sawers
Max Selka
Ladies' Committee:
Chairman: Miss K. Evans,
Miss I. Bratman
Mrs. A. Crowther
Mrs. S. H. Crowther
Miss M. A. Freeman, LL.B.
Miss M. Hamer
Mrs. D. Hirst, J.P.
Miss E.K. Sawers
E. C. Shaw
W. E. Thompson
J. J. Valner
Mrs. S. G. Watson
B.A.
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-second Season 1969-70
Town Hall Area
Monday October 20th 1969
THE GABRIELI STRING QUARTET
******************************
Kenneth Sillito (Violin)
Brendan O'Reilly (Violin)
Programme
I
Quartet in B flat major K.458 (The Hunt)
Allegro vivace assai
Minuet and Trio
Ian Jewel (Viola)
Keith Harvey (Cello)
Mozart (1756-1791)
Adegio
Allegro assai
(Last performed in 1959 by the Loewenguth String Quartet) D
This quartet is the fourth of a set of six which appeared in
1782 and was dedicated to his "dear friend Haydn" with the remark
that they were the fruits of long and careful study; indeed, hardly
another of Mozart's manuscripts shows so many alterations and
erasures. Mozart's work as a composer of quartets can be divided
into two periods. There are 15 early quartets written between
1770-73;
then 1782 saw the appearance of the first "great" quartets.
There was little in the style of the carly group to distinguish
thom from a symphony or even a divertimento. But dating from
Haydn's Sun Quartets (1772) and Mozart's Haydn Quartets, chamber
music began its development on its own lines. Abert writes: "Now
he (Mozart) appears before us as an artist in the modern Beethoven
senso one who no longer takes his inspiration from oxternal
sources but seeks it within himself". The new vocal stylo, which
developed after Mozart's Italian tours, influenced his instrumental
works and gave thom "that specifically Mozartian cantabile
colouring which differentiates his art from that of all his
contemporaries".
The first movemont of this Quartet, known as "The Hunt" because
of the suggestion of a hunting-song in its opening theme, recalls
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2-
Haydn both in the style of the theme and in the light and innocent
gaiety of the movement; the more characteristic Mozart does not
appear until the development section. The Minuet and Trio form the
second movement instead of being in the usual third position. The
slow movement is perhaps the most impressive of the whole work.
Einstein points out that the theme is based on the motiv of the
Agnus Dei from the Litaniae Laurentanae, which Mozart wrote in
1774, and he finds that same atmosphere of intimate, devotional
prayer in the Adagio. The theme of the finale is taken from an
old folk-song; the movement has the same spirit as the first
movement a happy combination of delicious Mozartian roguishness
and Haydnesque humour". (Abert).
II
Italian Serenade in G minor
Hugo Wolf (1860-1903)
(Last performed in 1959 by the Loewonguth String Quartet)
It is as a writer of songs that Hugo Wolf is best known; a
power of creating an exquisite union between poetry and music
constituted his unique genius. His only instrumental works are an
early symphonic poem "Penthesilia", a still earlier string quartet
and this Italian Serenade.
Throughout his life Wolf was obsessed with the idea of
composing an orchestral work in which he could express his
passionate love for the South. The Serenade was first written for
string quartet, the manuscript dating from 1887. Some years later
Wolf took up the work again; he re-arranged it for a small
orchestra (strings with solo viola, 2 flutes, oboes, bassoons and
horns) and sketched out two further movements, an adagio and a
tarantella. It is interesting to note that the latter work
coincided with the production of the two books of Italian songs.
Both the quartet and the orchestral version, the latter arranged
by Max Reger, were published after the composer's death.
The Serenade is a wholly beautiful little piece in rondo form
perfect and complete in itself, full of Wolf's love for Italy,
which meant to him a land of sunlight, colour, gaiety, passion and
charm.
*****************************
Quartet No
COFFEE INTERVAL OF 15 MINUTES
*****************************
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The
n the
eot
Ocent
Quartet No. 2 Op.17
- 3
ITI
P
Bartok (1881-1945)
Moderato
Allego molto capriccioso
Lento
(Last performed in 1953 by the Vegh String Quartet)
Bartok wrote six string quartets, the first dated 1908 and
the last 1941. They therefore run throughout the main course of
his life as a composer, and through them his entire development,
both spiritual and technical, can be traced. They are also his
most characteristic and important works. "The natural astringency
of his mind, the uncompromising disregard of established rules of
harmony and cadence and the lonely austerity which pervades so
much of his music all combine to create as powerful an impression
of novelty as modern music has to offer....What he required was a
form which blended intimacy with power; the string quartet and
the concerto met this need". (Crankshaw). His melodic thinking
was strongly influenced by his researches into Hungarian folk-
music (note his fondness for the interval of a fourth), but its
influence remained in his work as a flavour rather than in any use
of traditional melodies. He himself explained that it had shown
him the possibility of complete cmancipation from the tyranny of
major and minor modes and that now form of scales, thus acquired,
opened up new melodic and harmonic potentialities. Bartok is
essentially a linear (i.c. a contrapuntal) composer. Kodaly
ascribes his dissonances to melodic origins and "applies to him
what was formerly said of Bach, and that with him (Bartok) there
are not only passing notes but passing phrases; that a suspension
may be not merely a note but an entire passage". From the same
folk-origin, Bartok, though often keeping the insistent brutal
stresses, evolved a very elastic conception of rhythm which amounts
at times to a kind of rubato on a vast scale. Bartok's themos tend
to be fragmentary; he "shares with Sibelius the art of evolving
fabrics of complex beauty from initial strands of thought of
disarming simplicity". His use of ornaments, particularly a triplet
figure, is very characteristic, and his use of trills, to give
emotional significance, recalls that of Beethoven.
of the second Quartet (1917) Culshaw writes; "It is a key
work; it is a kind of stylistic pivot, since in embodies in its
first movement the lyrical modern Bartok, and in its second the
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more percussive, angular and harsh aspects of his work". There
are still traces of a cyclic connection between the movements.
The first is concise in form and thematically developed, but in
some respects the least easily accessible of the three. The
Scherzo is ruggedly jovial piece of folk-dance type. The Finale
is a plaintive rhapsody, an extension of the mood that is
encountered in the earlier dirges for the piano.
IV
Beethoven (1770-1827)
Quartet in F minor Op.95
Allegro con brio
Allegretto ma non troppo
Allegro assai vivace ma serioso
Largetto Allegretto agitato
Allegro
(Last performed in 1964 by the Loewonguth String Quartet)
motoo
thoven.
emphasised
indebtednes
This quartet was written in 1810 immediately following the
Egmont Overture; the next and final quartets, did not appeal
until 1824. It stands, therefore, at the end of Beethoven's
second period. It was dedicated to Count Niklaus Zmeskall, that
fussy yet useful friend whose acquaintanco Beethoven made shortly
after his arrival in Vienna and with whom friendship remained
until the end. Beethoven "proved by the dedication of the
superbly tempestuous Quartet in F how well He was disposed to
Zmeskall
(Specht).
This quartet is one of the shortest of the quartets, not
because of lack of material but because of the conciseness of
expression; there are few repeats in it. It points directly
towards the style of the last works. It is sometimes called the
Serioso Quartet, Bekker seos it as the fruit of a combined mood
of retrospection; the battle has been won but he became
intensely aware of what it had cost him at the close of the work
the spirit of laughter takes charge and is hailed as the solution
of life's problems".
The short first movement has a brusque, almost gruff, opening
in octaves which dominates the movement with its intense emotional
feelings. The second movement, in the unexpected key of D major,
is calm and religious in mood; it contains a fine fugel section
and is linked to one of Beethoven's grand scherzi. This schorzo
is twice interrupted by trios, the second being a frosh development
of the previous one.
The last movement has a slow and magnificent
if short, introduction; the finale itself, restless and agitated,
is in rondo form and ends with a coda which is almost Italian in
The G
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le
in
Ø
- 5-
its colour and vivacity. Langford, in an article, once
emphasised at length the debt that suceeding composers owed to
Beethoven. Of this finale he said that it "cries aloud the
indebtedness of the smaller romantic composers".
*******************
The Gabrieli Ensemble was formed in 1963 and from it in
1966 emerged the GABRIELI STRING QUARTET. The close association
of these musicians gives to their Quartet an understanding and
unanimity found only in the finest of chamber music ensembles.
KENNETH SILLITO is co-leader of the English Chamber Orchestra
He studied in London, winning many prizes, and later in Rome.
BRENDAN O'REILLY studied at the Royal Academies of Ireland
and London and later in Brussels under Andre Gertler where he
won the Premier Prix. He has a wide experience in chamber
ensembles and is attached to the Royal Philharmonic Orchestra and
the Menuhin Orchestra.
IAN JEWEL studied at the R.C.M. with Cecil Aronowitz and
won many prizes. Later he studied in Italy; he now devotes
himself to chamber music.
KEITH HARVEY won the Suggia Scholarship at the R.A.M. He
was the youngest-ever principal cellist of the London Philharmonic
Orchestra and later with the English Chamber Orchestra where he
now appears principally in a solo capacity.
***********************************************************
* The Huddersfield Music Society wish to acknowledge with *
gratitude the generous assistance given to them by the
Directors of the Huddersfield Examiner.
*
*
*
***********************************************************
THE HUDDERSFIELD MUSIC SOCIETY
Mayor's Reception Room, Town Hall.
January 12th.
February 9th.
Monday Evenings at 7.30
November 17th.
THE TALICH STRING QUARTET
Quartet in C minor Op.18 No. 4
Quartet No. 2 (1925)
Quartet No. 1 in E minor ("From my Life")
December 15th.
Beethoven
Martinu
Smetana
STUDENTS OF THE SCHOOL OF MUSIC, COLLEGE
OF TECHNOLOGY
THE STADLER TRIO (Viola, Clarinet and Piano)
Piano Recital
DAVID WILDE
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-6
THE TEL AVIV STRING QUARTET
March 9th.
PLEASE NOTE. SEASON TICKETS FOR THE REMAINING 5 CONCERTS, DOUBLE
(FOR 2 PERSONS) 75/- SINGLE (1 PERSON) 40/- and single tickets
12/6 from Woods, 67 New Street or at the door.
THE HALIFAX PHILHARMONIC CLUB
The Locturo Hall, Harrison Road.
November 11th at 7.30
THE TALICH STRING QUARTET
Quartet in D major Op.76 No. 5
Quartet No. 2
Quartet No. 1 in E minor ("From my Life")
Single tickets 10/- students 2/6 from David Dugdale Esq., 96
Willowfield Road, Halifax or at the door.
Haydn
Martinu
Smetana
THE HUDDERSFIELD GRAMOPHONE SOCIETY
Waverley House, New North Road.
Monday Evening at 7.30
October 27th. Music for Strings presented by Mr. K. Dearnley.
November 10th. Oratorio (Elgar's The Kingdom) presented by Mrs.
D. Roberts.
Annual subscription £1, after Jan. 1st 12/6d. Students and Old
Age Pensioners half-fee. Refreshments. Two visits permitted
without obligation. Hon. Secretary, D. Bostock Esq., 16 Imperial
Road, Huddersfield HD3 3AF.
THE HUDDERSFIELD THESPIANS
St. Patrick's Hall.
November 24th 29th at 7.30
WHEN WE ARE MARRIED
by J.B. PRIESTLEY
Tickets 5/ (reserved) 2/6 (unreserved). On Monday nights only,
unreserved seats 2/- Old Age Pensioners 1/- from Woods, 67 New
Street.
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THE HUDDERSFIELD MUSIC SOCIETY
*********************************
Fifty-second Season 1969-70
Mayor's Reception Room Town Hall
Monday November 17th 1969
(Owing to illness the TALICH STRING QUARTET are unable to appear)
*****************************************************************
DENES ZSIGMONDY AND ANNELIESE NISSEN
***********************************
Violin and Piano Recital
Sonata in A minor Op. 105
Allegretto
Lebhaft
Programme
I
puan B. Mit leidenschaftlichen Ausdrucke
Schumann (1810-1856)
(First performance at these Concerts)
In spite of Schumann's love for the use of the piano in
combination with other instruments, he only wrote 2 Sonatas for
violin and piano. Both were written in 1851 in Dusseldorf.
This
was an unhappy period in Schumann's life. The gradual onset of
his mental disease had begun to show itself though, as yet, his
music still kopt its characteristic blend of power and energy,
dreams and wistfulness; the classical forms romain though deeply
tinged with romanticism. Both Sonatas are true chamber music in
the way in which the two instruments exchango their thoughts and
interests.
Ba
The first movement of Sonata Op. 105 opens with a passionate
melody, so full of musical possibilities that it supplies the
basis of the second theme in C major as well as much of the
development and the coda. That molody is particularly significant
when it appears in A major Schumann's "koy of the sun"
full
of warmth and glowing. The second movement is pastoral in feeling;
it recalls the charm of Schumann's earlier music. Just before the
coda there is a podal point of F and a sudden hush while the
violin recalls the first theme. According to Fanny Davies's
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- 2-
recollection, when Joachim played it, "it seomed as though
everything came to a standstill in order to listen to this
melody from afar", The noble and impressive Finale follows
directly. In this movement the main theme of the opening move-
ment again returns, thus forming as early instance of the
cyclic form.
Sonata for Solo Violin
II
Bartok (1881-1945)
Tempo di ciaccona
Fuga. Risoluto non troppo vivo
Melodia. Adagio
Presto
(First performance at these Concerts)
This work, the last which Bartok completed, was commissioned
by Menuhin and written in America in 1944; it received its first
performance the same yoar. A Sonata for a solo string instrument
presents enormous and almost insuperable problems. In this case
they are superbly solved though at times it seems as if the
concept in Bartok's mind almost exceeded human possibilities and
that it stretched them to the uttermost. Although himself not a
violinist, Bartok, nevertheless, discovered new possibilities in
the instrument. The Sonata is, in fact, one of Bartok's most
demanding compositions as far as the performer is concerned,
Bartok himself was pleased with the work. It received a mixed
reception; one writer said that it was "a test for the ears, the
intelligence and the receptiveness of the most learn ed listener".
But in the 25 years that have since elapsed, wo have learnt much
about the work of Bartok and have become able to appreciate him
as he really is one of the greatest composers of our century,
The first movement is headed "in chaconne tempo", which is
a clue rather to the pace than to the form. It is in sonata form
with the character of a chaconne. Its main divisions are marked
by the appearance of the broad multiple-stopped theme with which
it opens.
The key is G, first in the major and then in the
minor. The Magyar folk-song influence is shown by the extensive
use of seconds, fourths and sevenths, as well as by the rhythmic
patterns. Its range is extreme and every device of sonority and
dynamic contrasts is used,
The F
rather as
not heard
compass a
parts th
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-3-
The Fugue is very free in form; one writer describes it
rather as a "fugal fantasy" for, at times, the fugal material is
not heard at all. The subject is chromatic and of limited
compass and has constant modifications. It is really in three
parts though, in the exposition, four voices are heard. The
Melodia is constructed on the usual A.B.A. principle using themes
with long curving chromatic lines. The middle section (B) is
mostly in double or triple stopping decorated with trills.
The
skill with which Bartok varies the theme of its return should be
noted. The Finale, a scherzo-like rondo, is perhaps the easiest
movement to understand. The first theme reminds one of the
Prestissimo con sordino movement from the Fourth Quartet; the
second is a folk-like tune in the Phrygian mode; the third, a
simple song-like tune. All three are combined in the coda.
III
Sonata in G minor K. 301
Allegro con spirito
Allegro
(Last performed in 1933 by Henry Holst)
Mozart (1756-1791)
During his stay in Mannheim and in Paris in 1778 Mozart wrote
six sonatas for clavier and violin. He received 15 louis d'or
in payment for them. These works came at the commencement of
Mozart's mature life as a composer. All, except one, have two
movements; all, except one, have a dance form for the second
movement. They follow the Fronch rather than the Italian model.
Hitherto in duos the role of the violin was merely to supply
occasional interjections or imitations to the piano part. These
Sonatas are the first true concertante sonatas in which the violin
begins to have a real and equal partnership with the piano.
Coffee Interval of fifteen minutes
IV
Sonata in C minor Op. 30 No. 2
Allegro con brio
Adagio cantabile
Scherzo and Trio
Beethoven (1770-1827)
Allegro
(Last performed in 1961 by Tessa Robbins and Robin Wood)
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Beethoven's nine sonatas for violin and piano were all
written between 1788 and 1803, the tenth, and last, not
appearing until 1812. At this period of his life Beethoven
was still a virtuoso pianist and had many opportunities of
giving concerts with players of other instruments. It is
known that many of his duo sonatas were written with a par-
ticular player in mind. Bekker points out that "the marked
difference between these works and the chamber music proper
is highly interesting. The latter aims at the exclusion of
virtuosity as an end in itself, while the duo sonatas make
a point of preserving it, and their whole structure show an
unmistakable trend to the form of double concerto without
orchestral accompaniment." The violin and piano sonatas
are particularly fine examples of "concert pieces" and
their effect is, in general, one of brilliance and vir-
tuosity. The 3 Sonatas of Op. 30 were written in 1802
and therefore belong to Beethoven's "middle period". They
are dedicated to the Emperor Alexander of Russia.
D'Indy finds this Sonata No. 2 essentially military in
spirit. The first movement in sonata form, with its rhythms
like trumpet calls, its sharply pointed phrases, its stormy
episodes, the mournful new theme of the development section
and its triumphant close, paints for D'Indy a complete
picture of martial strife, The second movement is an expres-
sive aria in 5 linked sections; it, too, has its dramatic
moments. The Scherzo, pointed and rhythmical, has a Trio,
with canonic imitations between the violin and the piano
bass. The sombre, energetic and passionate Finale is a
rondo, again with beating, drum-like rhythms and trumpet
calls, "Then after the fourth refrain, all the themes of
victory are mingled in a glowing final presto which forms
a worthy conclusion to this fine work."
V
Tzigane
Ravel (1875-1937)
(Last performed in 1946 by Arthur Grumiaux)
Tzigane was written in 1924, originally with lute
accompaniment and later transcribed for the orchestra.
Ravel had an extraordinary gift for assimilating the
rhythmic language and colour of countries whose music he
admired and using that gift to reproduce it in his own
work in a v
dazz
Gypsy music
alone, the
develop th
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- 5-
work in a very individual manner. Tzigane shows his love for
Gypsy music. It starts with a long recitative for the violin
alone, the kind of improvisation with which Gypsies de to
develop their melodies. The slow tempo gradually increased
to a dazzling whirlwind of sound, which requires so superb a
violin technique that one rarely has the good fortune to hear
this piece.
DENES ZSIGMONDY, deeply moving musician of great integrity,
entered the Franz Liszt Academy in Budapest when he was 14.
His exceptional talent was early recognised by Carl Fleash.
He won a scholarship abroad and received further inspira-
tion from Zino Francescatti. He has given concerts. all
over Europe, the U.S.A., Latin America and the Far East and
and has appeared as soloist with all the leading European
orchestras. In London in 1968 his performance of the Bartok
Sonata for Solo Violin was described as "breath-taking".
ANNELIESE NISSEN studied both singing and piano in the master
classes of Clara Schumann's pupil, Walter Lampe at the Munich
Academy of Music. She gave up her career as a soloist in order to
form a permanent duo with Zsigmondy. This duo has received every-
where the highest praise for its ensemble and its musicianship.
THE HUDDERSFIELD MUSIC SOCIETY
*****************
***********
Mayor's Reception Room, Town Hall.
January 12th.
February 9th.
December 15th.
Monday Evenings at 7.30
CONCERT BY STUDENTS OF THE SCHOOL OF MUSIC,
COLLEGE OF TECHNOLOGY.
THE STADLER TRIO (Viola, Clarinet and Piano)
DAVID WILDE, Piano Recital
March 9th.
THE TEL AVIV STRING QUARTET.
Single tickets for the next concert 5/- from Messrs. J. Wood and
Sons, 67 New Street and at the door.
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6
THE HALIFAX PHILHARMONIC CLUB
****************
**********
Harrison Road.
Friday, December 19th at 7.30
ENDRE WOLF (Violin) and CLIFTON HELLIWELL (Piano)
The Lecture Hall,
Sonata in B flat K.378
Unaccompanied Sonata No. 1 in C minor
Sonata
Four Pieces
Sonata in D minor Op. 108
*************************************
Single tickets 10/- students 2/6d from David Dugdale Esq., 96,
Willowfield Road, Halifax or at the door.
THE HUDDERSFIELD GRAMOPHONE SOCIETY
Waverley House, New North Road.
Monday Evenings at 7.30
November 24th. Vice-President's Evening (Music by pianist composers)
December 8th. "Sir Thomas". Programme of records made by Sir
Thomas Beecham, selected by
Mr. J. Haigh.
St. Patrick's Hall
Annual subscription £1 after Jan. 1st 12/6. Students and Old Age
Pensioners half fec. Refreshments. Two visits permitted without
obligation, Hon. Secretary: D. Bostock Esq., 16 Imperial Road,
Huddersfield, HD3 3AF.
THE HUDDERSFIELD THESPIANS
**************************
Mozart.
Bach.
November 24th
Debussy.
Webern.
Brahms.
WHEN WE ARE MARRIED
by J.B. Priestley
T
29th at 7.30
Tickets 5/-(reserved) 2/6 (unroserved). On Monday nights only,
unreserved seats 2/- 01d Ago Ponsioners 1/- from Messrs. J. Wood
and Sons, 67 New Street.
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hy
●
HUDDERSFIELD MUSIC SOCIETY
CONCERT
by the
STUDENTS of the SCHOOL OF MUSIC
(one)
COLLEGE OF TECHNOLOGY
on
KİMİNLƏ
MONDAY 15th DECEMBER, 1969
at 7.30.p.m.
in the
zool Brita
donned
Price 3d.
(ezer) ada
MAYOR'S RECEPTION ROOM, TOWN HALL
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PROGRAMME
Sonata in G major
Largo.
Vivace. Adagio. Presto
Richard Brabrooke. Stuart Littlewood (Obces)
John Sellars (Piano)
Silent Noon
Sappische Ode
Sad is the woman's Lot
Sonata (1939)
Anita Morton (Contralto)
Martyn Syers
(Piano)
Bassig bewegt
Ruhig bewegt
Lebha ft langsam
lebhaft
www
lebhaft
Die
V
Richard Bennett (Horn
Martyn Syers
(Piano)
J.S. Bach
R. Vaughan Williams
Brahms
Sullivan
Hindemith
etwas breiter
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Le Secret
Au Bord de l'eau
Apies un Reve
The first mercy
(Soprano)
Martyn Syers (Piano)
Janet Ross
Janet Ross
Anita Morton
"Le baiser de L'Enfant Jesus"
Faure
A Legend
The Three Kings -
The Virgin's Cradle Hymn
O magnum mysterium
2
Faure
Qui tollis (Petite Messe Solemnelle) Rossini
1
Faure
Warlock
Messiaen
(from "Vingt Regards sur L'Enfant Jesus")
David Dear (Piano)
Tschaikowsky
Pater Cornelius
Edmund Rubbra
The Madrigal Group
Conductor: Patrick C. Forbes
Christobal Morales
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THE HUDDERSFIELD MUSIC SOCIETY.
Monday 12th January, 1970 at 7.30.pom.
THE STADLER TRIO. (Clarinet, Viola and Piano)
4 Fieces for Clarinet, Viola and Piano Op. 81.
Duo Concertante for Clarinet and Piano
Sonata for Clarinet and Viola
(first performance)
Sonata No. 1. for Viola and Piano
Trio in E flat K. 498.
Max Bruch
Weber
Elizabeth Maclond
Sonata in B flat K. 378.
Unaccompanied Sonata No.1. in C minor
dati
Single tickets 12/6 from Woods, 67 New Street, and at
the door.
Sonata
4 Pieces
Sonata in D minor Op. 108
THE HALIFAX PHILHARMONIC CLUB. Lecture Hall, Harrison Ra
Friday 19th December at 7.30.
ENDRE WOLF (Violin) and CLIFTON HELLIWELL (Piano)
Martinu
Mozart
Mozart
Bach
THE HUDDERSFIELD THESFIANS.
St. Patrick's Hall. January 19th 24th.
Debussy
Webern
Brahms
Single tickets 10/- students 2/6 from David Dugdale, Esq.
96, Willowfield Road, Halifax and at the door.
THE HUDDERSFIELD GRAMOPHONE SOCIETY.
Waverley House, New North Road.
Monday Evenings at 7.30.
December 22nd. Technical Retrospect, with some favourite
January 5th. Scandinavian Music
Discs
Annual subscription £1 after January 1st 12/6d.
Students and Old Age Pensioners half fee. Refreshments.
Two visits permitted without obligation.
Hon. Secretary: D. Bostock Esq.,
16, Imperial Road, Huddersfield HD3 3AF
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THE HUDDERSFIELD MUSIC SOCIETY
+++++++++++++++++++++++++++++十十
Fifty-seccrd Season 1969-70
Mayor's Reception Room, Town Hall
Monday January 12th 1970
THE STADLER TRIO
++++++
Martin Ronchetti (Clarinet)
Martin Jones (Piano)
Programme
I
John White (Viola)
Four Pieces for Clarinet, Viola and Piano Op. 83 Max Bruch
(1838-1920)
Andante
Allegro con moto
Nocturne. Andante con moto
Allegro agitato
Max Bruch is principally known as a composer of choral
works and violin concertos but he did write a certain amount
of chamber music, of which not all has ever been published.
These four pieces are taken from a set of eight which Bruch
wrote late in life (1910) and in which he shows his masterly
handling of his inspired melodies and his deep understanding
of the instruments for which he was writing.
II
Grand Duo Concertante for Clarinet and Piano Op. 48 Weber
(1786-1826)
Allegro
And ante
Rondo
Weber wrote little chamber music and eertainly this Duo
is his most valuable work in that form. It was written between
1815 and 1816 the movements being completed in the reverse
order. It is, in reality, a sonata though both instruments are
written in a most virtuoso style. The first movement has a
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Sonata for Clarinet and Viola
vigorous opening theme followed by a graceful second subject.
The melody of the Andante is truly inspired and has a con-
trasting and more dramatic middle section. The final rondo
has brilliant passage-work; one contrasting section has a
beautiful melody which is treated in an almost ope ratic
style.
III
-
Elizabeth Maconchy
(b. 1907)
Tempo libero. Poco lento-Presto leggiero-Andante
Sostenuto Allegro - Andante sostenuto.
Тәшштв
C ad
Allegro molto ritmico Poco meno mosso - Allegro molto
Moderato Allegro ritmico - Meno mosso.
(This work has been specially written for members of the
Stadler Trio and receives its FIRST ERFORMANCE tonight).
SH
1 a conver-
The Sonata has the character of a dialogue
sation, at times argumentative, impassioned or light-hearted
between the two protagonists.
The second movement is scherzo and slow movement
combined. The Scherzo, an allegro ritmico, mainly in 7/8
time, opens and closes the movement. The slow movement
consists of two short sections, free and impassioned,
separated by a scherzando passage.
In the first movement clarinet and viola exchange expres-
sive rhapsodic phrases (written without bar lines) with brief
interjections of a presto staccato figure. The movement is
built mainly from these two contrasting ideas.
An opening senza misura paragraph provides the material
of the last movement. A vigorously argued allegro develops
from the dotted-note motif. More introspective digressions
derive from the arpeggio figure of the opening. The
movement ends quietly, having resolved the argument.
(Elizabeth Maconchy).
ELIZABETH MA CONCHY is best known for her chamber music
which includes nine string quartets and works for many other
ensembles as well as for string orchestra. She has also
written a considerable amount of orchestral music, some
choral works (a recent one for the Three Choirs Festival last
Three
97
to
once
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3 a
ondo
on-
bject,
- 3-
summer r), and four one-act operas, all of which have been
performed: "The Sofa" has had two broadcasts lately and "The
Three Strangers" was recorded by the B.B.C. in October.
She has written music since the age of six; she came
to the R.C.M. from Ireland when she was sixteen, having only
once heard an orchestra. Her first public performance was of
a piano concerto in Prague, and a few months later Sir Henry
Wood gave "The Land" at the Proms. Performances followed at
home and abroad, including several I.S.C.M. Festivals.
Coffee Interval of fifteen minutes
IV
Sonata No. 1 (1955) for Viola and Piano Martinu (1890-1959)
Poco andante - Moderato
Allegro non troppo Moderato Allegro
Martinu, the son of a shoemaker, was born in a small room
at the top of the village church in the remote Moravian
village of Policka. He was a delicate child and for the first
6 years of his life he never came down to the level of the
street; later he was carried down daily to attend school and
to receive violin lessons from the village tailor. He gave his
first concert at the age of 15 and the villagers then clubbed
together to raise funds to send him to Prague to study. There
one of his teachers was Suk, the son-in-law of Dvorak. Mos t
of his life was spent away from his native country. He early
went to Paris where he was much influenced by French music
becoming a pupil of Roussel. He remained in France until the
second World War when he emigrated for its duration to the
United States. Thereafter, although he divided his time
between America, Italy and France, he never lost his love for
his native land and his music became ever more coloured with
its national characteristics and more deeply rooted in its
folk music. He is, in fact the best-known representative of
modern Czechoslovak music after Janacek and comparable in
stature and power with Bartok.
Martinu was a most prolific composer. He produced over
150 major works, including 12 operas, 11 Ballets, 20 orchestral
works including 6 symphonies, 20 concertos for various solo
instruments and 50 chamber works including 7 string quartets.
With such an extraordinary output, it follows inevitably that
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- 4
some of his music is rather uneven in quality, but Ansermet
believes that the lack of adequate appreciation of so fine
a composer is one of the great tragedies of 20th Century
His work is much influenced by outvide events
music.
such as war, literature, painting and personal relation-off of
ships. His melodies are fresh and spontaneous and derive
Trio in E flat K.498
much from Moravian folk-songs with their strong intervals; q a
his harmonies are basically not chromatic; his rhythms are bo
pointed and vigorous and he shows in some works a gay and
rhythmic wit; in all, his works have a refreshing clarity
of texture and form.
THE STA
V
-
clarinettis
Andante
Menuetto
Rondo. Allegretto
Mozart (1756-1791) tande
How refreshing to end this interesting programme with
such a work as this by Mozart! The Trio was written
immediately before the two great trios for piano, violin
and cello K.502 and 542 and it prepares the way for them.
It is a work of infinite friendship and love, written for
the Jacquin family Francisca, the daughter, playing the
clavier, Mozart himself the viola and Anton Stadler the
clarinet. The Andante is "full of proud assurance" with a
persistent grupetto (an ornamental form of "turn"). This
movement is unique in Mozart's works as is the Minuet. The
latter is no longer a dance form but transformed into a
passionate piece of music "which is at the same time bliss-
ful and a little defiant and is another miracle of
contrapuntal "learned" animation, although its
is not apparent on the surface. What is one to say of the
Finale, a rondo that sings from beginning to end, with a
new motiv, after the minor episode, which then, gently
triumphant, dominates the whole last part of the movement? ehom
How well Mozart now understands not only how to end a work ste
but how to close it, with a distillation of melodic and
contrapuntal beauty that does not merely satisfy the
listener but leaves him enchanted! The last word that music
can utter as an expression of the feeling of form is here and
spoken". (Einstein).
"learning"ted
unusual co
great succ
ortant
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B
y
Fine
ermet
5
THE STADLER TRIO, named after the famous Viennese
Clarinettist Anton Stadler, was formed in 1967. This
unusual combination of instruments has already achieved
great success and have already given first performances of
important new works.
MARTIN RONCHETTI, born in Amphill, studied with John Myatt
and later with John Davies at the R.C.M. He was a prize-
winner at the 1963 Royal Liverpool Philharmonic Society's
Young Soloists Competition, and was appointed principal
clarinet in the B.B.C. Northern Orchestra. He has been in
a similar position with the L.S.O. and now with the London
Philharmonic Orchestra. In 1960 he formed a duo with Martin
Jones. He has appeared many times as soloist with en-
sembles including the London Mozart Players and the Allegri
String Quartet.
JOHN WHITE comes from Yorkshire. He received his first
training at the School of Music in Huddersfield. He won
scholarship to the R.A.M. where he studied und er Watson
Forbes. He was a founder member of the Alberni String
Quartet with whom he played from 1961-67. Since then he has
devoted his time to freelance work with the Lond on
Orchestras, chamber music and teaching.
MARTIN JONES born in Whitney, began his musical education as
a choral Scholar at Magdalen College School. In 1957 he won
a scholarship to the R.A.M. where he studied with Guy Jons on
and Gordon Green and composition with Lennox Berkley. In
1968 he won the coveted Myra Hess prize. He has recently
undertaken American tours including an appearance at the
Carnegie Hall.
THE HUDDERSFIELD MUSIC SOCIETY
++++++++++++++++++- +++++++++
Mayor's Reception Room, Town Hall. Monday Evenings at 7.30
February 9th.
DAVID WIIDE Piano Recital
Partita No. 1 in
B flat major
Organ Prelude and Fugue in A minor
Two Transcendental Studies
Ostinato: Boating (from Mikrocosmos)
Serenade
Bach
Bach-Liszt
Liszt
Bartok
Stravinsky
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Three Intermezzi
Dance Suite
- 6-
March 9th THE TEL-AVIV STRING QUARTET
Single tickets 12/6 from Woods, 67 New Street or at the door.
THE HALIFAX PHILHARMONIC CLUB
++++++++++++
++++++
The Lecture Hall
Adagio for Cor Anglais and String K.580
Trio in D major Op. 8
Oboe Quartet
Saturday Jan 17th
at 7.30
THE WISSEMA STRING TRIO and JANET CRAXTON (Oboe)
Serenade for String Trio in C major Op. 10
Oboe Quartet in F major K.370
Harrison Road
John McCabe
Bartok.
Single tickets 10/- students 2/6 from David Dugdal e Eso.,
96 Willowfield Road, Halifax or at the door.
THE HUDDERSFIELD GRAMOPHONE SOCIETY
+++++++++++++++++++++++++++++++++++
Waverley House, New North Road. Monday Evenings et 7.30
January 19th Britten and Respighi (Mr. H.S. Hopkins)
February 2nd. Orchestral Music (Mrs. J. Slenth)
THE HUDDERSFIELD THE SPIANS
++++++++++
St. Patrick's Hall
Mozart
Beethoven
Lennox Berkley
ou Dohnanyi
od Mozart
Annual subscription £1, after Jan 1st 12/6. Students and Old
Age Pensioners half fee. Refreshments. Two visits permittedr
without obligation. Hon. Secretary D. Bostock Esq., 16
Imperial Road, Huddersfield HD3 3AF
++++++++++++
January 19th - 24th @ 7.30
THE IMPORTANCE OF BEING EARNEST
by Oscar Wilde
Tickets 5/- (reserved) 2/6 (unreserved) On Monday nights
only unreserved seats 2/- old Age Pensioners 1/- from Woods, tra
67 New Street.
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THE HUDDERSFIELD MUSIC SOCIETY
Fifty-second Season 1969-70
Mayor's Reception Room, Town Hall
Monday February 9th 1970
DAVID
Allemande
Courante
Sarabande
*************
Partita No. 1 in B flat major
Prelude
Piano Recital
WILDE
Minuets I and II
Gigue
PROGRAMME
1
II
Bach (1685-1750)
moo
The name Partitia is an Italian word, now obsolete, for the hom
Suite. In his use of this title Bach followed the style and the
example of his predecessor Kuhnau Bach wrote this, his first,
Partitia in 1791 and one Partitia each year for the following 5
years. He published the set of 6 (how fond Bach was of the
number 6 and its multiples) in 1791 under the title of Klavierubung,
composed, said the title, for "the mental recreations of art-
lovers." The work made a great sensation; "such excellent calvi-
chord compositions had never before been seen or heard" Bach's
later French and English Suites, while introducing newer dances,
kept more rigidly to tradition. The Partitas are more remark-
able for their irregularities, both the names and the dance-forms
vary greatly, with greater freedom of treatment and more elaborate
rhythms than is found in the later Suites. From their extraord-
inary fineness of invention and workmanship, without evidence to
the contrary, one might think that they were the works of a later
period.
Chromatic Fantasia and Fugue
Bach
The date of the composition of this work cannot be exactly
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- 2-
fixed. According to Schweitzer:
It
"It probably dates from the
same epoch 1720 as the great G minor Organ Fantasia.
has a kind of inner affinity with this work but in both, the
recitative style is carried over to an instrumental medium".
If this date is correct, this work must have been written in
the Cothen period (1717-23) during which Bach produced so much
instrumental music including part of the "48" and the French
and English Suites. The early fantasia-form, a composition
unrestricted by any formal plan, independent of words and there-
fore essentially instrumental, rose to great importance under
the school of German organists, whose early master was Buxte-
hude. To this German school Bach added the grace and freedom
of the Italian masters; he also transferred this organ form to
the harpsichord. The effective contrast between the extreme
freedom of the Fantasia and the strictes t of all forms, the
F.
ugue, is noteworthy.
-
The Chromatic Fantasia itself is largely built upon the
falling chromatic scale, a device used by Bach to depict grief
and suffering. According to Busoni, it falls into 4 main sec-
tions: Chorale, Arpeggio, Recitative and Coda. The general
impression is one of disquiet and pathos; the modulations are
daring in the extreme. The chromatic scale is used again in the
subject of the great three-part fugue but in a rising form;
much use is made of a rhythmic figure (a quaver and two semi-
quavers), a device used repeatedly by Bach to signify joy and
consolation. We may therefore reasonably conclude that the work.
as a whole represents the passage from grief and suffering to
consolation and triumph.
Two Transcendental Studies
Al
all ar
are mu
III
Harmonies du Soir
Mazeppa
Liszt (1811-1886)
Liszt made a number of versions of his Transcendental
Studies, "the final and tremendous affirmation of his technical
improvements and inventions." (Sitwell). They first appeared
as Op. 1 in 1827 (Liszt was 16). They were withdrawn in 1830,
and 6 of them rewritten, enlarged and dedicated to Czerny,
were re-issued in 1831. They were further revised and increas-
ed again to 12 in number in 1839; this was their fullest and
most complicated form. A further revision was made in 1854,
with some simplification of their difficulties.
notoo
breat
Mazep
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in
***
¨.
-3-
Although these pieces demand the finest of techniques, not
all are bravura in style; the difficulties, as always with Liszt
are musical as well as technical. Harmonies du Soir, "a richly
coloured poem, covers the range of piano sonorities from softest
breath to resounding fullness" (Hutches on). The subject of
Mazeppa (Mazeppa who survived his punishment of being lashed
naked to the back of a wild horse to become a Cossack chief) had
a great fascination for the Romantic poets particularly Byr on
and Victor Hugo. Liszt himself seems haunted by it for not
only does the piece receive many revisions but later was also
the subject of one of his Symphonic Poems.
Coffee Interval of 15 minutes.
IV
Bartok (1881-1945)
(from Mikrocosmos)
About 1926 Bartok, himself a fine pianist, began work on
a collection of piano pieces which he eventually entitled
Mikrocosmos: they were "designed to introduce young pianiste
to the technical and musical problems of contemporary music."
The first 2 volume's consisting of 66 pieces, were dedicated to
his son Peter, who said that as the set progressed, it far
outstripped his technical powers. Throughout the years further
pieces were added to Mikrocosmos making in all a total of 153
and ranging from elementary difficulty to concert pieces call-
ing for the finest piano techniques. Not only are these pieces
of val ue technically but they also provide an acquaintance with
all the essential qualities of 20th century music. Bitonality,
whole-tone scales, contrapuntal devices, subtle rhythmic
patterns all are found in them. Some are pentatonic or modal;
some are based on Hungarian folk-songs; some are intended to
serve as exercises in all problems of piano technique. But,
like the Studies of Chopin, their musical worth is far greater
than their technical or historical values. Bartok himself
played many of them at concerts; he transcribed 7 for 2 pianos
and Tibor Serly made transcriptions of others for string quartet
and orchestra.
Ostinato
Boating
Serenade in A
Hymne
Romance
V
Stravinsky (b. 1882)
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Rondoletto
Cadenza Finale
4
Stravinsky wrote the Serenade in Nice in 1924 and dedicated
it to his wife. The title is not used quite in its customary
sense which implies the performance by a collection of instru-
ments at some festive occasion in an al fresco setting of an
unspecified number of short pieces. Instead Stravinsky wished
"to represent some of the more typical moments connected with
the 18th century musical festivals."
The Hymn is a solemn entry in a style of massive simpli-
city and grandeur with contrapuntal implications. The Romance,
"a solo of ceremonial homage paid by the artist to the guests, {}
opens and closes with a cadenza; the central portion has
marked contrasts of sostenuto and staccato playing. The
Rondetto, a dance, is a two-part invention with moments of
off-beat accentuations. The Cadenza Finale, a kind of "ornate
signature with numerous carefully inscribed flourishes," was
the first of the Serenade to be written and is "a delightful
fantasy on a kind of descending chimes motif. "
Dance Suite
Three Intermezzi
John McCabe (b. 1939)
John McCabe is one of the most successful of the younger
generation of British composers. He was born in Liverpool and
studied at Manchester University and at the Manchester Royal
College of Music with Thomas Pitfield for composition. His
music covers a wide range of forms and is heard in many coun-
tries. His many important works include his Symphony No. 1
Elegy) which was commissioned by the Halle Concert Society
and received its first performance in 1966 at the Cheltenham
Festival under Sir John Barbirolli.
Moderato
Allegro molto
Allegro vivace
Molto tranquillo
Comodo
Finale: Allegro
VI
VII
Bartok
jo 3up8ze.
The Dance Suite was originally written for orchestra and
was commissioned to celebrate the fiftieth anniversary of the
the materia
work rathe
and Romani
Bartok's
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tru-
mary
icated
5 -
merging of Buda and Pest. Because of the close-knit use of
the material, it can be heard as a continuous, uninterrupted
work rather than as a Suite. Inspiration is drawn from Magyar
and Romanian sources and the first and fourth parts show
Bartok's interest in Arabic music.
*********************
DAVID WILDE was born at Stretford, Lancs. in 1935 and
began his studies with Franz Reizenstein some 10 years later.
From 1943-53 he studied at the Manchester R. C.M. with Iso
Ellinson and Richard Hall (composition) and began his pro-
fessional career in 1956. Amongst international prizes gained
was first prize in Liszt-Bartok International competition in
Budapest in 1961 which he shared with Gabor Gabos. Nadia
Boulanger, the principal jury member, subsequently invited him
to take part in a T.V. programme celebrating her 75th birth-
day and to study with her in Paris during 1963. His concert
repertoire is very extensive. He has played at several
Edinburgh Festivals and has also appeared at the Promenade
concerts and the Cheltenham Festival.
THE HUDDERSFIELD MUSIC SOCIETY
******************************
Mayor's Reception Room, Town Hall Monday Evenings at 7.30
March 9th.
THE TEL AVIV STRING QUARTET
Quartet in F. major Op. 74 No. 2
Quartet No. 1
Quartet in G major Op. 161
Single tickets 12/6 from Messrs. J. Wood and Sons Ltd.,
76 New Street and at the door.
THE HALIFAX PHILHARMONIC CLUB
*****************************
The Lecture Hall.
Haydn
Joseph Tal
Schubert
Harrison Road
Thursday, February 12th. at 7.30
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-6-
STUDENTS OF THE HUDDERSFIELD COLLEGE OF TECHNOLOGY
**************************************************
Single tickets 10/- from David Dugdale Esq., 96 Willowfield Road,
Halifax and at the door.
THE HUDDERSFIELD GRAMOPHONE SOCIETY
************************************
Waverley House, New North Road.
Monday Evenings at 7.30
February 16th. Little known Composers (Mr. H. Truscott)
Music on American-Indian themes (Mr. B.
March 2nd.
Jenkinson)
Annual Subscription £1 after January 1st. 12/6. Students and
Old Age Pensioners half fee. Refreshments. Two visits per-
mitted without obligation. Hon. Secretary: D. Bostock Esq.,
16 Imperial Road, Huddersfield, HD3 3AF.
THE HUDDERSFIELD THESPIANS
St. Patrick's Hall.
*************************
March 2nd. 7th at 7.300
FLOWERING CHERRY
by Robert Bolt.
Tickets 5/- (reserved),
2/6 (unreserved). On Monday nights only,
unreserved seats 2/-. Old Age Pensioners 1/- from
Messrs. J. Wood and Sons Ltd.,
67 New Street.
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THE HUDDERSFIELD MUSIC SOCIETY
*********************************
Fifty-second Season 1969-70
Mayor's Reception Room, Town Hall
Monday March 9th 1970
THE TEL AVIV STRING
********************
Chaim Taub (Violin)
Menachem Breuer (Violin)
Programme
I
Quartet in F major Op.74 No.2.
QUARTET
********
-
Daniel Benyamini (Viola)
Uzi Wiesel (Cello)
Haydn (1732-1809)
Allegro spiritoso
Andante grazioso
Menuet and Trio
Finale: Presto
(Last performed in 1962 by the Strauss String Quartet)
In
1793 Haydn wrote six string quartets, the three of Op.71
and the three of Op.74; all six were dedicated to Count Apponyi.
At that period Haydn was much preoccupied with orchestral composi-
tion and in all these quartets he seems to be striving towards an
almost orchestral sonority of effect. This is, at times, so
These
marked as almost to exceed the bounds of quartet writing.
six quartets have another feature in common which is found nowhere
else in Haydn's quartets all begin with a form of introduction,
Sometimes this is a
a feature so important in the symphonies.
chord or a series of chords, sometimes even an adagio passage but
in this quartet Op.74 No.2 the introduction takes the form of a
unison passage of no less than eight bars for all four instruments
which assumes great importance in the following movement.
Its
Tovey called this quartet "a neglected masterpiece".
One striking feature,
form is clear and requires no comment.
however, is the unusual key relationship between the Minuet
(F major) and the Trio (D flat major), a daring innovation which
alone would mark this quartet as a product of Haydn's later years.
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Quartet No. 1
- 2-
II
Joseph Tal (b.1910)
Lento-Allegro-Lento
(First performance at these Concerts)
Joseph Tal (originally Gruental) was born in Posnan and went
as a child to Berlin. He was a graduate of the Berlin Hochschule
both in composition and musical pedagogy. He is also a pianist,
a harpist and a conductor. He emigrated to Israel in 1934
where, instead of pursuing his musical career, he decided first
to do his part in the building of his country by joining a
kibbutz.
After a year and a half of kibbutz labour, he was
invited to join the Jerusalem Conservatoire and later became the
director of the Israel Academy of Music which post he held till
1954. In 1951 he was appointed to the Hebrew University of
Jerusalem as their first university lecturer in music. Latterly
he has devoted himself to the Centre of Electronic Music, an
institute which he himself created.
He has written many works in the traditional media and,
although Schoenberg was undoubtedly an early influence on him,
much of his music is not dodecaphonically conceived. Although
his best-known Symphony No.1 (1952) is based on a Persian-
Jewish lament, his "exceedingly well-wrought" Quartet No. 1 only
shows its Jewish influence in a few motivs. He draws much
inspiration from the text of the Bible.
The
movement
a strin
Although deeply
interested in electronic music, he apparently views it with the
same de tatchment with which he viewed the music of Schoenberg.
"Imbued with the kind of realism found only in the true
idealist, Tal is indeed a liberal in the realm of artistic
endeavour where extremism often goes on a rampage. Combining
a good deal of modesty with a strong sense of personal value,
he impresses even those who find his music rather forbidding and
exerts a far more powerful influence on the younger generation
than some of his more "successful" colleagues who intoxicate a
gullible public with their facile "Mediterranean" orientalism".
(A.L. Ringer). Notable among is works are 2 Symphonies,
piano concerti, string quartets, sonata for piano, sonata for
violin and piano, for viola and piano, a choreographic poe m
"Exodus" for baritone and orchestra, "Saul at Endor", a
dramatic cantata, a concerto for cello and string orchestra
(twelve-tone music) and 2 electronic works.
cellist
Toqu
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3
The String Quartet No. 1 was written in 1954. It has one
movement only. About this work Mr. Tal writes: "This movement for
a string quartet was written as memorial to Joseph Weissgerber,
cellist and member of the Israel Philharmonic Orchestra.
Symbolically the composition gives a certain predominance to the
part of the cello, otherwise the piece is based on the technique
of utmost utilisation of interval progressions, which crystallises
into motivic essences providing the thematic material for the one
movement development. ".
Coffee Interval of 15 minutes.
Quartet in G major Op.161
III
Allegro molto moderato
Andante un poco moto
Scherzo: Allegro assai
Allegro assai
Schubert (1797-1828)
(Last performed in 1958 by the Carnirelli String Quartet)
Schubert is known to have written 19 string quartets of which 3
are lost and 4 are incomplete.
Of the remainder all but 3 were
written between the ages of 15 and 19 and were primarily intended
for home performance. In the summer of 1826 and within the space
of 10 days, Schubert wrote this, his last quartet. It is believed
that its first movement was performed at the celebrated Invitation
Concert in March 1828 ; in the same year Schubert offered it with
other works in vain to the publisher Schott. It was not published
till 1851.
It has been said that Schubert's string quartets are essent-
ially orchestral in character. This, if true, might certainly
apply to the G major quartet. "The outward indications of the
"orchestral" character of the work are apparent in the unison
passages, in the agitated tremoli in melody or accompaniment, in
the groupings of question and answer. These groupings are
admittedly connected with the fact that the first movement, in
particular, is entirely dependent upon the interplay of harmonic
light and shade, upon the interchange of major and minor within
the narrowest compass" (Einstein). Another notable feature of
this quartet is the way in which, in another sense, Schubert treats
this work as pure chamber music. "There is nowhere any trace of
a leading idea, of a song used to bring unity into all the move_
ments as in the 1824 quartets. Schubert's quartet writing was
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4
again dependent on itself, on the pure musical material
Cal no tromSVOM
and treatment. "(Kahl).
The first movement is in sonata form with an un-
ylimożlody?
usually lengthy exposition. It is dominated by the
alternation of the major and minor keys, which process to dreng
is reversed in the recapitulation, thus changing the Idoso de 30
whole character.. Einstein asserts that the slightly olvitom oth
agitated Andante in E flat "became the model for many of nonvois
Brahms's movements, romances or orchestral ballads in
which an elegiac melody predominates in the bass with
decorative embroidery by the other instruments and with
a chance of colour provided by an agitated alternivo".
The calm of this movement is twice broken by violent
outbursts which end with harmonies so strange that some
critics have compared them with the harmonies of Bartok.
In the Scherzo (B minor) with its Trio (G major), which
ressembles a Landler, Einstein finds something of
Schumann's capriciousness. Kahl calls it a "phantom)
from the regions of ghostly romance."
nov
The Finale is a length rondo, full of invention and dapi 918
of boundless energy, violent in rhythm and adventurous in
harmony. It, again like the first movement, alternates
between the major and minor keys. It ends with a coda in
G major. This is, perhaps, Schubert's finest quartet,
with its masterful and assured handling, its cohesion,
its wide sweep, its bold ideas and, above all, the endlesso redo
fertility of his inspiration.
****************
to
ti tad)
of yiggs
The TEL AVIV STRING QUARTET was founded in 1959.
Its members were born in Tel-Aviv and even as children
made music together. They studied at the Tel-Aviv
Conservatoire and later attended the various Academies
of Music in Israel. Today they occupy the highest
musical positions as soloists, concertnasters and teachers.
The Quartet became one of the leading ensembles of the
musical life of their country. In 1962 they started
their world-wide tours in Australia and the Far East and
have since appeared with the greatest acclaim in the
major cities of Europe and America.
Chaim Taub also continued his studies at the
Juil
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5-
Juilliard School of Music and was a member of the Pittsburgh
Orchestra; he later joined the Israel Philharmonic
Orchestra as concertmaster. Both Manachem Breuer and
Daniel Benymini have leading positions in the same
Orchestra. Uzi Wiesel too studied at the Juilliard
School and has won prizes such as the Piatiagorsky award
and the Pablo Casals International Concours; he has
also studied with Casals.
He is at present head of the
Cello Department at the Tel-Aviv University.
**********************
THE HUDDERSFIELD MUSIC SOCIETY
**********************************
Season 1970-71
October 19th. THE LINDSAY STRING QUARTET
November 16th. THE ORION PIANO TRIO
December 14th. THE STUDENTS' CONCERT
January 11th. ANNE QUEFFELEC Piano Recital.
February 8th. ROHAN DE SARAM Cello Recital
March 15th. THE SEBESTYEN STRING QUARTET
members
Tickets will be sent in due course to all present
The Hon. Secretar Miss. C. A. Shaw,
3A Vernon Avenue, Huddersfield 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
recieve names and addresses to which prospectuses may
by sent. Early application is advisable.
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THE HUDDERSFIELD GRAMOPHONE SOCIETY
-6-
*************************************
Waverley House, New North Road.
Monday Evenings at 7.30.
March 16th French Music (Mr. L. Nixon)
April 6th. Dvorak, Strauss and Shostakovitch (Miss E. Williams)
April 20th. Opera Tosca (Mr. H. Carter)
4th. Beethoven (The President)
May
St. Patrick's Hall
Refreshments.
Students and
Annual subscription £1. after January 1st. 12/6d.
Old Age Pensioners half fee.
Two visits permitted
without obligation. Hon. Secretary; D. Bostock Esq., 16 Imperial
Road, Huddersfield, HD 3 3AF.
THE HUDDERSFIELD THESPIANS
****************************
April 20th.
25th.
OLIVER
A musical show by Lionel Bart.
Details of prices and booking date will be announced later.
******** ********************