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The Huddersfield Music Society, HMS 53 |
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1 The Huddersfield Music Society, HMS 53, Page 1 |
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HUDDERSFIELD MUSIC SOCIETY
Brochure
53rd Season's programmes 1970 - 1971
19.10.1970.
16.11.1970.
11.1.1971.
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FIFTY-THIRD SEASON
1970-1971
The
Huddersfield Music
Society
WT.
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.
Generous support is also given by the Yorkshire Arts Association.
1732-1809)
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FIFTY-THIRD SEASON
1970-1971
The
Huddersfield Music
Society
WT.
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.
Generous support is also given by the Yorkshire Arts Association.
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Thanks to support from the N.F.M.S. and the Y.A.A. it has been
possible, in spite of sharply rising costs, to retain the price of tickets
as in the previous Season. The Committee would like to point out the
considerable advantage to be obtained by the purchase of Season
Tickets (details opposite) as compared with the price of Single Tickets.
Now that the Society is registered as a Charity, the tax benefits accruing
from covenanted gifts are available to us and the Committee invite your
generous support by this means. The Hon. Secretary will be pleased to
furnish the necessary form on request.
To ensure the continuance of these Concerts it is necessary to
increase the membership and this objective would best be achieved by
the active co-operation of all members in using their influence to this
end. WILL EACH MEMBER PLEASE ENDEAVOUR TO OBTAIN ONE
NEW MEMBER.
The Committee are happy to announce a Season of Concerts of great
variety and exceptional musical interest. With one exception only, all the
artists appearing are new to the Society.
The LINDSAY STRING QUARTET, a group youthful but brimful
of talent, all former students at the R.A.M., was formed some three years
ago. One critic says "they are without any doubt the most promising
of the younger generation of string quartet players. It is almost impossible
to fault them on technique, ensemble or tone".
It is now some years since the Society has had a concert by a Piano
Trio. The ORION PIANO TRIO was formed in 1968. The following year
they were the first prize winners in the B.B.C. Competition for British
and Commonwealth Ensembles, and since then they have given many
successful concerts.
ANNE QUEFFELEC is one of the most sought-after young pianists
in the country. Breton in origin, at the age of 20 she won the most
important of the German music competitions in Munich. and the deep
impression which she made as an outstanding artist at the Leeds Piano
Competition will be remembered by all who heard her.
ROHAN DE SARAM, accompanied by his brother, pays a welcome
return visit. Since his last appearance he has played all over the world.
fully justifying the remark of his master, Pablo Casals, that "there are
few of his generation who have such gifts".
The SEBESTYEN STRING QUARTET, a young Hungarian ensemble,
make their first appearance in England this year. They were formed in
1966 and that year gained the special diploma at the Geneva International
Competition for String Quartets. Since then they have given concerts all
over Europe.
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 HUDDERSFIELD POLYTECHNIC.
It is one of the aims of this Society not only to present Concerts of
outstanding interest and of a type not elsewhere to be heard in the town
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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REMITTANCE FORM (for the use of PRESENT MEMBERS ONLY)
To the Hon. Treasurer, National Westminster Bank, King Street, Huddersfield, HD1 2AY.
I enclose £.
in payment for
Double (Single) Season Tickets
Name
Address
APPLICATION FORM (for the use of NEW MEMBERS ONLY)
To the Hon. Secretary, 3a Vernon Avenue, Huddersfield, HD1 5QD
Please send me
Double (Single) Season Tickets for which I enclose £.
Name
Address
498
Cheques should be made payable to "The Huddersfield Music Society"
Receipts will not be issued unless requested
(BLOCK LETTERS PLEASE)
All Concert
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All Concerts on Monday Evenings at 7-30.
October 19th, 1970
November 16th, 1970
Quartet in F minor Op. 20 No. 5
Quartet in A minor
Quartet in E flat major Op. 74 (The Harp)...... Beethoven
December 14th, 1970
Trio in G major K. 496
Trio in E minor Op. 67.
Trio in E flat Op. 100
January 11th, 1971
PROGRAMMES
February 8th, 1971
THE LINDSAY STRING QUARTET
☆
Partitia No. 2 in C minor
Four Impromptus Op. 90
Two Sonatas
Miroirs
Masques
Two Studies
March 15th, 1971
CONCERT BY STUDENTS OF THE
SCHOOL OF MUSIC,
HUDDERSFIELD POLYTECHNIC
Sonata in F major Op. 6
Sonata (1915)
THE ORION PIANO TRIO
Mozart
Shostakovitch
Schubert
ANNE QUEFFELEC. Piano Recital
Bach
Schubert
Scarlatti
Ravel
Haydn
Walton
Sonata in C major Op. 102 No. 2
Sonata in C major Op. 65
ROHAN AND DRUVI DE SARAM,
Cello and Piano Recital
Quartet in B flat major Op. 76 No. 4
Quartet No. 2
Quartet in E minor Op. 59 No. 2
Debussy
Debussy
(Programmes subject to alteration)
Kodaly
THE SEBESTYEN STRING QUARTET
Strauss
Debussy
Beethoven
Britten
Haydn
Kodaly
Beethoven
SEASON TICKETS
Double
90/0
(for two persons not necessarily
of one family)
Single
Single tickets
12/6
Student tickets
3/6
(Bona fide Students under 21)
Third Concert only.
50/0
Single tickets
Student tickets
10/0
2/6
Student Season Tickets
are not issued.
LAST SEASON'S MEMBERS
all
Tickets as issued last year to
existing members are
enclosed herewith. If they are
not required they should be
returned to the Hon. Secretary
not later than September 30th
AFTER WHICH DATE NO
RETURNED TICKETS CAN
BE ACCEPTED.
NEW MEMBERS
New members are welcomed.
Tickets can be obtained by
them either from the Hon.
Secretary (using the appropri-
ate form overleaf) or from
Messrs. J. Wood and Sons,
67 New Street,
Huddersfield
or at the door.
Individual student tickets
are obtainable only at the door.
or in bulk from the Hon.
Secretary.
This perforated slip should
be forwarded
possible, please.
as soon as
Multi-Storey Car Park in
close proximity to Hall
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THE HUDDERSFIELD MUSIC SOCIETY
(Founded as The Huddersfield Music Club by Dr. Eaglefield Hull in 1918)
President
Vice-President
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, HDI 5 QD. Tel. Hudd. 27470
Mrs. J. de Nikitin-Solsky, 37 Gynn Lane, Honley, HD7 2LE.
Tel. Hudd. 61696.
Sidney H. Crowther, Esq.
Edward Glendinning, Esq.
Hon. Treasurer:
V. Tolchard, National Westminster Bank, King Street, HD1 2AY
R. Barraclough
David Dugdale
Miss K. Evans, B.A.
P. G. C. Forbes,
M.A., A.R.C.O.
Executive Committee:
Mrs. E. Glendinning
S. Rothery
Miss E. K. Sawers
Max Selka
Ladies' Committee:
Chairman: Miss K. Evans, B.A.
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
S. G. Watson
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-third Season
Mayor's Reception Room, Town Hall
Monday October 19th 1970
THE LINDSAY STRING QUARTET
******************************
Programme
I
Quartet in F minor Op.20 No.5.
Allegro
Minuet and Trio
Adagio
Finale. Fuga a due Soggetti
Haydn (1732-1809)
(Last performed in 1958 by the Quartet Pro Musica)
The 6 Quartets of Op.20 were written in 1772. They were
known as the Sun Quartets. - a good name which, however, owes
its real origin to the picture of a rising sun printed on the
title page of the first edition. Haydn's previous quartets
(Op.18) were dated 1771, and though both they and the Quartets
Op.9 were true string quartets and not divertimenti, Op.20 shows
an amazing advance. "It is a threefold miracle. Here at last
is the string quartet fully in being as a living entity. The
concertante style has brought release, counterpoint has given
cohesion and strength to the individual parts, but now there is
added a sudden realisation of the character and tone quality of
string texture as such - coupled, paradoxically, with a far
keener awareness of the essential personality of each instrument.
Structurally Haydn now shows a far stronger grasp of general
design and of the potentialities of development latent in
individual themes. And, in the last resort, it is his own
musical personality which the se developments manifest and which
now stands before us in its full stature. The sheer range of
mood and tempo alone is startling." (R.Hughes).
The main characteristic of the Quartet in F minor (then an
usual choice of key) has been described as "Profound and poignant
disquiet." This is exemplified by the way in which, in the
first movement, the major second subject returns in the minor
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2
key; then it is further developed and followed by a coda in which
by means of a remote key, the sense of mystery is still more
deepened. The Minuet and Trio too, have dark shadows. The tender
and graceful Adagio in F major, with its delicate figurations
for the violin, brings a welcome relief. The Finale, again a
great contrast, is a fugue with two subjects, the first of which.
bears a marked resemblance to that on which Handel based his
chorus "And with His stripes" in the Messiah. Out of the 6-
quartets of Op.20, 3 have fugue finales. But their historical
importance, as Tovey points out, transcended the immediate
technical achievement, in that they effectively establish fugue
texture henceforth as a normal resource of sonata style. Indeed,
the influence of this set on the whole subsequent development of
chamber music remains unsurpassed" (R. Hughes). Tovey also
describes this fugue as being "a sublimation of an emotion of
almost tragic pathos". All three of these final fugues are
directed to be played sotto voce until a sudden forte leads to
a coda in a less strictly contrapuntal style.
II
Quartet in A minor
Allegro assai
Presto
Lento
William Walton (b.1902)
Allegro molto
(Last performed in 1949 by the Bloch String Quartet)
Walton's Quartet in A minor was first performed in 1947 in
the B.B.C. Third Programme. Considerable interest was aroused by
this now work for it was Walton's first major composition since
the Violin Concerto of 1939. During the war years Walton had
written a few smaller piecos, but mostly he was engaged on film
music. In addition, this quartet is his first mature chamber
music composition (an earlier string quartet writton many years
ago is now disowned). while his piano quartet is also a very
early work.
The composition of this quartot occupied the best part of
a yoar, being completed in the early spring of 1947. It is of
interest to note that the slow movement was the first movement to
be written and that the themes of this movement and of two other
movements were invented in one day. The balance of the whole
work is clear, since the first and the third movements are on
an extended scale, while flanking these are the deliberately
light weight second and fourth movements. The key of the work
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5
THE HUDDERSFIELD MUSIC SOCIETY
*******************************
Mayor's Recoption Room, Town Hall,
Novombor 16th.
THE ORION PIANO TRIO
Trio in G major K. 496
Trio in E minor Op.67
Trio in E flat Op.100
Octet
Octet
Monday Evenings at 7.30.
***********************
Docomber 14th.
January 11th.
February 8th.
March 15th.
PLEASE NOTE. SEASON TICKETS FOR THE REMAINING 5 CONCERTS, DOUBLE
(FOR 2 PERSONS) 75/- SINGLE (1 PERSON) 40/- Single tickets 12/6
from Woods, 67 New Street, and at the door.
Mozart
CONCERT BY STUDENTS OF THE SCHOOL OF MUSIC
HUDDERSFIELD POLYTECHNIC
Shostakovitch
Schubert
ANNE QUEFFELEC Piano Recital
ROHAN AND DRUVI DE SARAM Collo and Piano
Rocital
THE SEBESTYEN STRING QUARTET
The National Federation of Music Societies to which
this Socioty is affiliatod, gives support toward the
cost of these Concerts with funds provided by the
Arts Council of Groat Britain,
Generous support is also given by the Yorkshiro Arts
Association.
Tho Parish Church, Halifax.
THE HALIFAX PHILHARMONIC CLUB
********************************
THE MELOS ENSEMBLE
Friday, Novomber 13th at 7.30
******************
Wellesz
Schubert
Single tickets 12/6 from Mrs. R.S. Hanson, 23 The Crescent,
Hipperhome, Halifax or at the door.
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-6-
THE HUDDERSFIELD GRAMOPHONE SOCIETY
*************************************
Monday evenings at 7.30
October 26th. HANDEL, MOZART AND HAYDN (Miss M.J. Hill)
THE YOUNGER PIANIST (Mr. J. Haigh)
November 9th.
Waverley House, New North Road.
Annual subscription 1 (from Jan 1st 12/6) Students and Old Age
Pensionors half foo. Two visits allowed without obligation.
Socrotary D. Bostock Esq., 16 Imperial Road, Huddersfield. HD3 3AF.
********************************
THE HUDDERSFIELD THESPIANS
*****************************
The Parish Hall, Vonn Stroot.
November 16th - 21st at
7.30
LETS ALL GO DOWN THE STRAND
by
HUGH AND MARGARET WILLIAMS,
Tickots 5/- (concession night is Monday) from Woods, 67 New Street,
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THE HUDDERSFIELD MUSIC SOCIETY
******************************
Fifty third Season
Mayor's Reception Room, Town Hall,
Monday November 16th 1970
THE ORION PIANO TRIO
Peter Thomas (Violin)
***********************
Sharon McKinley (Cello) Ian Brown (Piano)
Programme
I
Trio in G major K.496 4
Allegro
Andante
Allegretto
Mozart (1756-1791)
Chamber music, as its name implies, was originally instrumental
music written essentially for performance in the home, sometimes for
performance by professional musicians for their wealthy patrons,
sometimes for performance by gifted amateurs. Its origin really
springs from the works of Johann Kuhnau (1667) and taken a further
step by C.P.E. Bach: from these two composers Haydn derived his
inspiration and his knowledge and in turn led the way to the works of
Mozart, With Haydn the piano trio is, in effect, a violin and piano
sonata with the cello merely doubling and strongthening the bass parte
With Mozart the cello began to assume its modorn importance and to
take its placo equally in the dialogue of the instrumonts. Mozart
wrote in all 35 piano trios; he obviously considered them to be of
losser importance than the piano quartots, many being lightor in
character. His first trio, completed in 1776, was entitled "Diverti-
mento", which perhaps better describes its character. The Trio in.
G minor K.496, written 10 years later and contemporaneous with the
piano quartets, is the first to be named as a Trio and to be worthy
of taking its place in the repertoire of chamber music as we now
understand the term.
In the first movement a long piano solo introduces the main
subject; this is then repeated by the violin. In this movement the
cello part is definitely the least important of the three instruments
and koops close to its old role of doubling the bass, though in the
development section there is some approach toward three-part counter-
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Trio in E minor Op.67
a
20
a graco-
point. Much more use is made of this in the Andante -
ful movement with much delicate figuration. The finale a
thome with variations
opens cheerfully but a sudden change to
G minor brings in a fresh and contrasting mood of gloom; this
section shows Mozart's power of depicting emotion. An adagio
variation follows which comes as a welcome relicf, but, in
spite of the renewed vigour, a hint of the gloom appoars again,
barely to be banished by the short and spirited coda..
II
Andante Moderato
Allegro con brio
Largo allogrotto
a monst
Tento to
W
Arst movement:
mounting excite
and of the immu
Shostakovitch (b.1906)
Poco piu mosso
Although Shostakovitch is best known as a composer of
symphonies, he has devoted considerable attention to chamber
music. He has written some 10 string quartets, a Piano Trio, a
Piano Quintot, a String Octet and a Sonata for cello and piano.
In all these he shows that he is a master of this gonro as woll
as of orchestral composition. The Piano Trio Op.67 was written in
1944 during the war years and at the same time as the 8th Symphony.
Both exhibit the prevailing mood at that time of stress, anxiety
and tragedy. All four movements of the Trio show great originality
both in conception and treatment "particularly the finale, whose
awe-inspiring grandeur makes it a unique example of its kind".
I.I. Martinov considers that the first movement may be thought
as an elegy, the second would seem to be a schorzo of impetuous
urgency and the third a mournful dialogue between the violin and
the cello against a background of sombre choral harmonies on the
piano". He continues "From the very outset of the first move..
ment, the listeners attention is arrested by the unusual tonal
quality achieved by combining tremolo passages in the cello with
notos scored for the violin in a low register (G string only).
This creates the impression that the instruments have changed
places in the score. The pure and haunting melody carrios tonal
rominiscences of the lyrical qualities of Russian folk-song."
The third movement "leads directly into a broadly developed
finale, introducing us to that world of eerie, foreboding shapes
which invaded Shostakovitch's music during the years of the war
(cf. the opening movement of the 7th Symphony). The theme of the
finale is angular and menacing, and it developes with a mochani-
cal, rhythmic motion, accompanied by weird, automatic reptitions
of contrapuntal elements the combined effect of which evokes tho
TTA To soo
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rain,
dagio
1; this
change to
alo - a
te - a graco
3.
of a monstrous procession and fills the imagination with a
frieze of cruel and sinister shapes. In the coda the theme of the
first movement returns once more, but now imbued with a sense of
mounting excitement, symbolic of the noblest aspirations of humanity
and of the immutable will which can withstand the onslaught of the
forces of evil and destruction." CD
Coffee Interval of 15 minutes
III
Trio No. 2 in E flat Op.100
Schubert (1797-1828)
Allegro
Andante con moto
Scherzo (Allegro moderato)
Allegro moderato
Though Schubert was himself a pianist and wrote much for that
instrument, he wrote little for piano in combination with strings.
There are only 5 works which fall into that category but, of those,
3 are of great importance the Piano Quintet and the 2 Piano
Trios. Both the Trios were written in 1827; both are lengthy and
rich in melodic invention. The Trio in E flat is the later of the
two and was published in 1828 by Probst of Leipzig, the composer
receiving 20 florins in payment for it. At that time Schubert was
much in contact with Bocklet (Piano), Schuppanzigh (violin) and
Linke (Cello) and this probably accounts for his immediate interest
in this form. The fact that threo such fine artists woro available
to perform the music is certainly one reason for the demands they
make upon the players for a porfect performance.
Schumann described the first as "passive, feminine and lyrical"
and the second as "active, masculine and dramatic", Certainly the
second (E flat) is the more brilliant of the two. The first move-
mont opens with a motto-liko unison passage, almost like the opening
of a scherzo, which reappears later in varying forms. This
eventually leads to a hesitant, cryptic passage after which the
second subject, beautifully lyrical, is heard. The exposition is,
according to the then custom, repoated. Much uso is made in the
development section of the lyrical second subject, accompanied by
rippling cascades of triplets for the piano. There is an unusually
full repetition of the exposition in the recapitulation section but
the changing colouring of the keys robs it of any fooling of
monotony.
。
The Andante opens with a melody for the cello with a steady,
marching accompaniment for the piano. This theme is supposed to
be derived from a Swedish folk-song but its origin has never been
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4.
traced. In form this movement is a rondo, the thomo returning
for a third time in a shortened form. If this theme is a simple
folk song, Schubert "developed it into a grandoise ballad, with
emotional outbursts and one of his most moving inspirations".
The Scherzo reverts to the older, simpler style and much uso is
made of canon or close imitation between the instruments. The
Trio is, in effect, a dance of peasants. The Finale is something
between sonata form and rondo form. Its apparently simple
opening gives little hint of the length of the movement to
follow or of the uses to which themes, such as the "Swedish"
melody, are to be put. The changes of koy are so constant that
the final coda, firmly fixed in E flat, comes as a necessary
reminder of the basic key of the work. This is one of those
Schubert movements of such heavenly length, in which Schubert's
thoughts seem able to go on almost endlessly, pouring out a
continual stream of fresh delights and inspirations.
**********************
THE ORION PIANO TRIO was formed in 1968 and is resident at
Southampton University, giving weekly concerts during University
terms. In 1969 they were first prize-winnors in the B.B.C.
Beethoven Trio Competition for British and Commonwealth
Ensembles. They have broadcast and rocorded for the B.B.C.
Music Programme and have appeared on Television.
PETER THOMAS was born in S. Wales in 1944. He studied at
the R.A.M. from the age of 10 where he won a scholarship. He
concluded his studies with Eli Goren. In 1957 he won the Yehudi
Menuhin prize at the Bath Festival. For 5 years he was a membor
of the Allegri String Quartet.
SHARON MCKINLEY was born in British Columbia in 1941. Sho
studied for 5 years at the Guildhall School of Music with
William Plocth, and won many awards including the coveted Gold
Medal. She has appeared in several of Paul Tortellier's
televised mastor classes. After a further period of study in
the United States, she returned to Canada to give many concerts
there. She is married to Peter Thomas.
IAN BROWN was born in Salisbury in 1945 and received his
early musical training as a chorister at Salisbury Cathedral.
He was also a bassoon player in the National Youth Orchestra
of Great Britain. He first studied piano with his father and
later at the R.C.M. In 1967 he waw awarded the Tagore Gold
Medal and won travolling scholarships to study in Israel with
Enrique Barenboim, Ho has broadcast frequently as a duo partner
with his sister, the violinist Iona Brown.
Mayor's Reception
CONCE
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something
S.
ch use is
rations".
PETTEq
Test owo
೧೧T OUOU
5.
January 11th.
February 8th
THE HUDDERSFIELD MUSIC SOCIETY
******************************
Mayor's Reception Room, Town Hall. Monday Evenings at 7.30
Decombor 14th.
CONCERT BY STUDENTS OF THE SCHOOL OF MUSIC
HUDDERSFIELD POLYTECHNIC
ANNE QUEFFELEC
Piano Recital
ROHAN AND DRUVI DE SARAM Cello and Piano
Recital
March 15th.
THE SEBESTYEN STRING QUARTET
Single tickets for the next Concert 10/- from Woods, 67 New St,
and at the door.
The National Federation of Music Societies, to which this
Society is affiliated, gives support toward the cost of these
Concerts with funds provided but the Arts Council of Great
Britain.
Generous support is also given by the Yorkshire Arts Association.
THE HALIFAX PHILHARMONIC CLUB
*****************************
The Lecture Hall,
Harrison Road
Wednesday December 2nd at 7.30 p.m.
THE LINDSAY STRING QUARTET
Quartet in F minor Op.20 No. 5
Quartet in A minor,
Quartet in E flat Op.74 (The Harp)
Haydn
Walton
Beethoven
Single tickets 12/6 (students 2/6) from Mrs. Hanson, 23 The
Crescont, Hipperholmo, Halifax and at the door.
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6.
THE HORBURY CONCERT SOCIETY
******************************
Horbury Secondary School.
Saturday November 28th at 7.30 pm.
THE BACCOLIAN SINGERS
*********************
Tickets from Mrs. Audsley, 25 Tithe Barn Street,
Horbury, Wakefield.
THE HUDDERSFIELD GRAMOPHONE SOCIETY
**************************************
Waverley House, New North Road.
Monday Evenings at 7.30.
November 23rd LEIDER AND HARP MUSIC (Mrs. M. Firth & Mr. H.
Carter)
Novomber 30th BEETHOVEN CENTENARY (Mr. D. Bostock)
Annual Subscription £1 (from Jan 1st 12/6) Students and Old Age
Pensioners half fee. Two visits allowed without obligations,
Refreshments. Secretary D. Bostock Esq., 16 Imperial Road,
Huddersfield HD3 3AF
THE HUDDERSFIELD THESPIANS
**************************
The Parish House, Venn Street.
November 16th-21st @ 7.30 pm
LETS ALL GO DOWN THE STRAND
by Hugh and Margaret Williams
Tickets 5/- (concession night is Monday) from Woods, 67 New St.
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F.
THE HUDDERSFIELD MUSIC SOCIETY
Fifty-third Season
Mayor's Reception Room,
orgelfA-oviasenque ogrel
Town Hallword slems!
MONDAY 14th DECEMBER,
mo39118 bab
1970 sh
Bugnot
CONCERT BY STUDENTS OF THE SCHOOL OF MUSIC, HUDDERSFIELD
YOTEM JETFI SAT
anoa violons.fcM
Coffee interval of 15 minutes a) seoff deret
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Sonata in C for Oboe and Piano
Largo cantabile - Allegro
Largo espressivo Allegro
Pamela Burrows (Oboe) Trevor Walker (Piano)
Songs.
PROGRAMME
Widmung
Heiden Roslein
An die Musik
Seligkeit
Janet Ross (Soprano)
Fantasie in C minor
Songs.
Schumann
Schubert
Schubert
Schubert
Martyn Syers (Piano)
Elisabeth Bolter (Piano)
Let the florid music praise
Her Song
The First Mercy
Melancholy Song
INTERVAL
Loiellet
B. Britten
J. Ireland
P. Warlock
A. Hopkinu
Janet Ross (Soprano) Martyn Syers (Piano)
Mozart
So
Ani
1173
Tu
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Sonata in G minor for Violin and Piano
Andante Allegro
Adagio
Allegretto
Anna Maria McCool (Violin) Donald Cullington (Piano)
N
"Thou very, God and David's Son."
(from Cantata No.23)
Turmmusik
Handel
J.S. Bach
Janet Ross (Soprano) Anita Morton (Contralto)
Pamela Burrows, David Glossop (Oboes)
Helen Oddy (Cello)
Ronald
Newton (Piano)
Heinrich Kaspar Schmidt
Stephen Rapp, Kevin Bclton, William Sartin
Paul Sydney, Trevor Lax
(Trumpets)
Graham Bolton
(Trombone)
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THE HUDDERSFIELD MUSIC SOCIETY
Mayor's Reception Room, Town Hall
JANUARY 11th.
ANNE QUEFFELEC
Partita No. 2 in C minor.
Four Impromptus Op. 90.
Two Sonatas
Miroirs
Masques
)
Two Etudes)
Piano Recital
FEBRUARY 8th
MARCH 15h
Monday Evenings 7.30.
bas nov
Bach
Schubert
Scarlattidrabni
RaveloddergoIIA
Debussyo BÍTEMSOKÁ
ROHAN and DRUVI DE SARAM Cello and Piano Recital
THE SEBES T STRING QUARTET
Single tickets 12/6 from Woods 67 New Street, and at the door
(students 3/6 at the door)
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.
General support is also given by the Yorkshire Arts Association.
THE HALIFAX PHILHARMONIC CLUB Lecture Hall, Harrison Road,
THE LANCASTER ENSEMBLE
Piano Quintet in F minor Op. 34
Brahms
Piano Quintet in G minor
Piano Quartet in G minor K.478 v Mozart nodota
Al sove Shostakovich
chus
Single tickets 12/6 (students 2/6) from Mrs. Hanson, I medond
23 The Crescent, Hipperholme, Halifax or at the door.
THE HORBURY CONCERT SOCIETY
Horbury Secondary School
Saturday January 23rd at 7.30.
THE MELOS ENSEMBLE
Tickets from Mrs. Audsley, 25 Tithe Barn Street, Horbury, Wakefield.
THE HUDDERSFIELD GRAMOPHONE SOCIETY Waverley House, New North Road.
Monday Evenings at 7.30.
JANUARY 4th
Handel and Vaughan Williams (H.Carter and J.Haigh)
Subscription (from Jan. 1st.) 12/6d. Students and 0.A.P's. half fee.
Two visits allowed without obligation.
Refreshments.
Secretary.
D. Bostock, Esq., 16 Imperial Road, Huddersfield HD3 34
THE HUDDERSFIELD THES PIANS. Parish House, Venn Street.
LORD ARTHUR SAVILLE'S CRIME
January 18th - 23rd at 7.30.p.m.
Adapted by Constance Cox from a story by Cscar Wilde.
Tickets 5/- (Concessicn night is Monday) from Woods, 67 New Street.
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THE HUDDERSFIELD MUSIC SOCIETY
*********************************
Fifty-third Season
Mayor's Reception Room, Town Hall
Monday, January 11th. 1971
ANNE QUEFFELEC
***************
Partita No. 2 in C. Minor
Programme
Sinfonie
Allemande
Courante
Sarabende
Rondeau
Caprice
Bach (1685-1750)
The term Partita is said to have first been used early in the
17th. century by street players to signify the collections of dance
tunes they performed. Being itinerant musicians, these collections
spread widely and as these collections gradually assumed the impor-
tance of an art form, they became known in England as lessons, in
Italy as sonate da camera and in France as ordres. All these were
united under the general term of suites. There was no regular dance
pattern; effective use was made of contrast frequently with some
freer form of introduction and conclusion. Bach uses the name
Partita in two ways; for the clavier as a suite of dances and for
the organ as sets of variations upon chorales. He wrote six Parti-
tas, the first in 1726 and another followed each suceeding year.
(Ono notes by the way Bach's fondness for sets of 6-6 French
Suites, 6 English Suites, 6 Suites for solo violin and for solo
cello and 6 Brandenburg Concertos, to name but a few). The Partitas,
works of great charm and ingenuity, were united in the first volume
of the Klavierubung and a seventh appeared in the second part of
that work. Although the Suite is in itself a complete art form, its
greatest historical importance lies in the fact that from it the
sonata was gradually evolved.
Four Impromptus Op. 90
C. minor
E flat major
G flat major
Schubert (1797-1828)
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20
F major L 382
E major L 430
D.major L 424
A flat minor
As the name would imply, the title "Impromptu" could best be
given to music played extempore, and it therefore follows that
the written Impromptu must have some of the varied and wayward
charm of extempore composition. Schubert himself did not give
this title to the pieces of Op.90; it was, in fact, so christened
by his publishers, Haslingers, who also took it upon themselves
to change the key of the third piece from G flat to G. The manu-
script is undated. Although Impromptu was not an altogether mis-
taken title, bearing in mind the personal and intimate expression
of the music, all Schubert's Impromptus have a definite formal
structure, each differing from the other. Each is of sufficient
length and importance to form a movement of a sonata; all, curi-
ously enough, are written in a flat key.
The first opens in the style of a ballad but soon shows itself
to be variations upon two major and minor themes. In the lengthy
coda, major and minor are inextricably blended. Throughout con-
tinuity is given by the ceaselessly moving accompaniment. The
second is in episodical form. Starting in E flat major, it soon
changes to the tonic minor, and after an unexpected modulation to
B minor for the episode, it ends in the minor key. This piece
calls for the most delicate and lightest of execution. The
third, more pastoral in character, has a ceaseless triplet quaver
flow from the first bar to the last one. The fourth is, in
reality, a Scherzo and Trio strongly contrasted in character.
In contrast to the first Impromptu, this one starts in the minor
mode, changing unexpectedly to the major.
Three Sonatas
Scarlatti (1685-1757)
Madrid b
because
Alessandro Scarlatti (1659-1725), although a most important
figure in the history of opera, is now best remembered as the
father of his more famous son Domenico, Domenico wrote upward
of 500 pieces for the harpsichord now called sonatas though they
originally had the modest name of Esercisi. He was a friend and
contempory of Handel with whom he held a contest in Rome; it
was impossible to decide who the victor was on the harpsichord
but no doubt that Handel was the superior on the organ, Scarlatti
declaring that such playing was hitherto unknown. Scarlatti
spent many years of his life in the service of the court in
Sca
players.
audience
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be
3.
Madrid but returned home to Naples to die impoverished, largely
because of his gambling habits.
Scarlatti might be called the first of the virtuoso clavier
players. He had a technique then so remarkable that his Italian
audiences were convinced that he was "possessed of the devil."
His "Sonatas" are short works, but full of grace, harm and gaiety;
they contain effects and devices which were really revolutionary at
that period. Although written for the harpsichord they lose nothing
of their grace and effectiveness when performed upon the modern
piano.
COFFEE INTERVAL OF 15 MINUTES
Miroirs
Noctuelles
Oiseaux tristes
Une barque sur l'ocean
Alborada del Gracioso
La Vallee des cloches
Ravel (1875-1937)
Ravel, of Basque origin, went to study in Paris at the age of
12. In 1905, when already a well-known composer, he was turned down
by the Conservatoire after the examination for the coveted Prix de
Rome. This caused such a stir of protest that the Director was
forced to resign. Ravel was deeply hurt by this affair but it did
nothing to hinder the world-wide fame which came to him. The great-
est influences in his life came from Saint-Saens, Liszt, Debussy and
the Russian masters. The names of Ravel and Debussy are often
linked together but the differences between the two are really more
apparent than the resemblances. Ravel had an ascetic and aristo-
cratic turn of mind; Debussy was a voluptuary. Cardus once wrote
that the difference between the two was as great as the differencc
between a solid and an essence or between a man of the world and a
man aloof.
ve
Ravel's output is relatively small. He was a member of a group
of young Parisian intellectuals, rebels against convention, who
called themselves "Les Apaches". One evening he arrived at their
meeting place carrying a newly-written piano piece - Oiseaux tristes
the second of the charming suite called Miroirs; each of the pieces
is dedicated to a member of the Apaches. This Suite marked a great
advance in Ravel's career and many critics considered it to be the
beginning of a new type of piano music. The title shows one of his
guiding principles: that the greatest art is a reflection of reality
rather than reality itself. "He believed that man's interpretation
of Nature has more value than the thing per se." (M. Goss).
"Noctuelles" has been described as "an inextricable mass of
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4.
curves drowned in a sonorous flood of audacious intervals which
interrupt the fluttering of nocturnal butterflies." "Oiseaux
tristes Ravel considered to be the most typical piece of the
group; he said it represented birds lost in a dark forest during
the hottest hours of summer. The titles of the third and fifth
pieces explain themselves. "Alborada del Graciosd' shows how
throughly Ravel has absorbed the spirit of Spanish music.
Masques
Debussy (1862-1918)
Debussy was a wholly original composer. Cardus wrote: "De-
bussy came from nowhere. Of all music extant to 1870 there is not
a hint of his advent." Chopin and Liszt had opened new worlds of
piano possibilities; Debussy opened yet another one. Yet he wrote
little for piano in his earlier years. Before 1903 most of his
songs but only 5 piano works had appeared. "Masques" dates from
1904 and is on a larger scale than any piano music he had written
previously. It calls for considerable technical ability and por-
trays a fantastic and wayward mood. It abounds in rhythmic subtle-
ties.
Two Studes
Chopin (1810-1849)
Op. 25. No. 6 in G. Sharp minor
Op. 10. No. 5 in G. Flat major
ANNE QUEFFELEC was born in Paris in 1948; her family is Breton
in origin. She began her studies at the age of 5 and at 16 she
entered the Paris Conservatoire, winnning the first prize the
following year. She also studied chamber music and again won the
first prize in this field when she was 18. The previous year she
gained her Baccalaureat de Philosophie. She has studied in
master classes with Paul Badura-Skoda, Joerg Demus and Alfred
Brendel. In 1918 she entered the most important of German music
competitions at Munich where she again won the first prize. This
year she made her debut with outstanding success in Vienna. She o
entered for the most recent Leeds Piano Competition where her
appearances made a deep impression and has made her one of the
most sought-after young pianists in this country.
Mayor's Re
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ng
ch
THE HUDDERSFIELD MUSIC SOCIETY
*********************************
Mayor's Reception Room, Town Hall.
March 8th.
ROHAN AND DRUVI DE SARAM
Sonata in A major Op.69
Sonata
Finale
Sonata in C major
Monday Evenings at 7.30.
(from Sonata Op.8 for solo cello)
Cello and Piano Recital
March 15th. THE KODALY STRING QUARTET (formerly known as The
Sebestyen Quartet).
Single tickets 12/6 from Woods, 67 New Street
or at the door.
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.
Generous support is also given by the Yorkshire Arts Association.
THE HALIFAX PHILHARMONIC CLUB
*****************************
Beethoven
Debussy
Kodaly
Britten
The Lecture Hall, Harrison Road. Friday, January 15th at 7.30
THE LANCASTER ENSEMBLE
Piano Quintet in F minor Op. 34
Piano Quartet in G minor K.478
Piano Quintet in G minor
Brahms
Mozart
Shostakovich
Single tickets 12/6 from Mrs. S.R. Hanson, 23 The Crescent,
Hipperholme, Halifax or at the door.
THE HUDDERSFIELD GRAMOPHONE SOCIETY
Waverley House, New North Road,
**************************************
Monday Evening at 7.30
January 18th. Percy Grainger (Mrs. Roberts &
Miss Adamson)
February 1st. Nicolas Medtner (Mr. Harold Truscott)
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Subscriptions (from January 1st.) 12/6. Students and Old Age
pensioners half fee. Two visits allowed without obligation.
Secretary, D. Bostock Esq., 16 Imperial Road, Huddersfield, HD3 3AF
THE HORBURY CONCERT SOCIETY
******************************
Horbury Secondary School
January 23rd.
Tickets 13/-; 10/- & 7/- (Reductions for retired persons and
students) from Mrs. M.J. Audsley, 25 Tithe Barn Street, Horbury,
Wakefield.
THE MELOS ENSEMBLE
THE HUDDERSFIELD THESPIANS
****************************
The Parish House, Venn Street.
7.30 p.m.
January 18th-23rd at 7.30 peme
LORD ARTHUR SAVILLE'S CRIME
Adapted by Constance Cox from a story by Oscar Wilde.
Tickets 5/- (Concession night is Monday) from Woods, 67 New Street.
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PwC
THE HUDDERSFIELD MUSIC SOCIETY
*********************************
Fifty-third Season
Mayor's Reception Room, Town Hall
Monday February 8th 1971.
ROHAN AND DRUVI DE SARAM
************************
Cello and Piano Recital
Sonata in A major Op.69
Programme
I
Beethoven (1770-1827)
Allegro non tanto
Scherzo. Allegro molto
Adagio cantabile - Allegro vivace
The composition of works for cello and piano presents many
special problems due to the special tone qualities of the two
instruments. The cello, like 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 an instrument of much less power, but, even
at that date the difficulties of balance existed. In earlier works.
the part of the cello was that of a support for the bass;
it was
not until the sonatas of Beethoven that any real 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 piano tone; and
how carefully he clarifies and lightens the more powerful and
ringing tones of the piano.
Between the years 1786-1815 Beethoven wrote 5 sonatas for
cello and piano. This Sonata Op.69 appeared in 1809 and was
dedicated to Baron von Gleichenstein, a faithful friend who
performed all manner of duties for Beethoven secretary,
messenger, attorney, buyer and keeper of the purse. It is not
known for whom, or for what occasion, it was written. Its general
character is quiet and dignified with no extremes of emotion. It
contains one or two features worthy of comment. The Scherzo, with
its delightful theme in ascending syncopated rhythms in the tonic
minor key, is unusually extended and takes the place of the
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- 2-
brief that it
Otherwise,
second movement while the slow movement is so
merely forms the introduction to the Finale.
Beethoven constructs the sonata on the usual classical lines,
giving us strong virile subjects, developed and contrasted with
all his superb skill. There was also very delightful
"conversations" between the instruments, a form of art in which
Mozart and Beethoven have no equals.
II
Sonata
Prologue
Serenade
Finale
s themes
nigh-spirit
Debussy (1862-1918)
This Sonata is one of Debussy's last works. It dates
from 1915 when, after a period of unproductiveness, Debussy wrote
in rapid succession the Douze Etudes, "En blanc et noir" and
two sonatas, one for cello and piano and the other for flute,
viola and harp. Earlier in that year he had written, "I want
to work, not so much for myself but to give proof, however small
it may be, that even if there wore thirty million Boches, French
thought will not be destroyed". Debussy had, in fact, planned
to write "Six Sonatas pour divers instruments par Claude Debussy
musician francais" but only three of the six were completed.
For some years before he died, Debussy had suffered from a
painful and terrible malady and possibly, in spite of their
creative inspiration and originality, one may feel in these
latest works some of the weariness and sickness that oppressed
him. As Andres Suares wrote, it is often "la douleur qui parle".
This Sonata is Debussy's only work for cello and piano. It
was originally intended that it should be entitled "Pierrot fache
avec la lune". Its basis therefore lies in Italian comedy and
throughout his life Debussy was haunted by the symbolic figure
of Harlequin. The first movement is very short and almost in the
form of a soliloquy. spite of its brevity the cello part has
extraordinary eloquence; the serenity is only broken by one
short dramatic outburst. Fragments of themes from earlier works
appear in it. The Serenade, tinged with something like bitter-
ness and tragedy, possesses more than a hint of 18th century
elegance. Vallas writes of its "pathetic banter". A kind of
humour is shown in the way in which the cello imitates the sound
of the guitar, the mandoline, the flute and even the tambourine.
The third movement has some slight affinity with sonata-form and
In
Perhaps its
marked con
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ith
- 3-
its themes have almost a folk-song flavour. Although in general
high-spirited the pathetic figure of Harlequin is never far distant.
Perhaps its most inspired section is a short passage of 12 bars
marked con morbidezza.
Coffee Interval of 15 minutes
III
Finale from Sonata Op. 8 for solo cello
Kodaly (1882-1967)
Eric Blum sums up Kodaly's music as follows: "Kodaly's music
is distinguished by an originality that appears startling at first
hearing, but on closer acquaintance reveals a certain leading
towards tradition. He does not abandon tonality and accepted forms
but creates a new music of astonishing vitality within their limits.
His instrumental writing is extremely interesting and there is a
close interdependence between his creative impulse and the
particular medium chosen for its expression. The piano pieces are
predominately harmonic and percussive, the string quartets
contrapuntal and the pieces for solo string instruments abound in
appropriate technical problems and striking effects".
The Sonata Op. 8 dates from 1915 and belongs to a group of
chamber music works written between 1914-20 all exclusively written
for string instruments. By then Kodaly had evolved a mature
personal style and now displayed his originality of conception.
Apart from 3 Suites by Max Reger, this is the first major work for
solo cello since Bach, though later Hindemith followed with the
same form. Bartok wrote of this Sonata: "Here Kodaly is
expressing, with the simplest possible technical means, ideas that
are entirely original. It is precisely the complexity of the
problem that offered him the opportunity of creating an original
and unusual style, with its surprising effects of vocal type;
though quite apart from these effects, the musical value of the
work is brilliantly apparent". In this Sonata Kodaly revives the
use of scordatura - which is a retuning of the two lower strings
from C-G to B-F sharp. The three movements differ considerably
in character, but the third movement, apart from its musical value,
with its dazzling virtuosity, a revelation of the capabilities of
the cello; it is a severe test for the player and a delight for
the listener.
Sonata for Cello and Piano
IV
Dialogo
Scherzo pizzicato
Britten (b. 1913)
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Elegia
Marcia
Moto perpetuo
(First performance at these Concerts)
Since the war Britten has written little chamber music
for his main interest has lain in the field of opera. This
Sonata was written in 1961 for the Russian cellist Rostropovich
Bartok was a composer who had not been greatly admired by
Britten, but there is no doubt that the influence of Bartok is
felt here, particularly in the use of adjacent major and minor
seconds, the use of mirror inversions and polymodality and,
particularly in the fourth movement, with its Bartokian form
of wit and humour. Britten does not, however follow artok in
relating the themes of the various movements though some are
obviously derived from a common source.
The first movement is in regular classical sonata form
including even the double-bar repetition of the exposition.
It opens with a theme for the cello based on the major second
supported by a scale bass for the piano; these two features
are prominent throughout the movement. There are 3
contrasting and subsidiary thomes derived from the opening
material but the recapitulation is principally based on the
main theme in augmentation. The second movement is pizzicato
for the cello throughout, with mirror inversions and poly-
modality. Much use of mirror inversions also occur in the
third movement. The fourth movement is a march with a trio.
though the march is completely transformed in the da capo
section. The last movement is based on one theme only, confined
to a small compass and moving almost completely by step from
one tone to the next one.
ROHAN DE SARAM was born in England in 1939 of Cingalese
parents. A child prodigy, he gave his first concert at the
age of 10. At 12 he was in Italy studying with Gasper Cassado;
at the age of 14 after a B.B.C. television performance, it was
said in the London press "A child plays, and we are reminded of
a miracle". His first performance at the Royal Festival Hall
took place when he was 16; his Wigmore Hall debut, with
brilliant press critiques, at 18 he was followed by Promenade
concerts at the Royal Albert Hall. Studies then followed with
Andre Navarro and with Pablo Casals himself, who wrote of him
"There are few of his generation who have such gifts". At 20
de Saram m
followed 1
Russia and
all over
ιιι
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5
this was
de Saram made his debut in New York (Carnegie Hall);
followed by tours in America, England, Italy, Canada, Germany,
Russia and Switzerland. He has played with major orchestras
all over the world. In 1968 he completed a tour of 30
concerts in Australia and in 1969 he had a tour of 7 concerts
in the Soviet Union with his young brother DRUVI who is 22.
Druvi is a pupil of Maria Curcio and has been a finalist at the
Commonwealth Contest in 1968 and 1969.
THE HUDDERSFIELD MUSIC SOCIETY
*********************************
Mayor's Reception Room, Town Hall.
Monday Evenings at 7.30
March 15th
KODALY STRING QUARTET
THE
Quartet in B flat major Op.76 No. 4. Haydn
Quartet No. 2
Kodaly
Beethoven
Quartet in C major Op.59 No.3
Single tickets 62 p (12/6) from Woods, 67 New Street or at
the door.
The National Federation of Music Societies, to which this
Society is affiliated, gives support toward the cost of these
Concerts with funds provided by the Arts Council of Great
Britain.
Generous support is also given by the Yorkshire Arts Association.
THE HALIFAX PHILHARMONIC
****京****CLUB ***********
********
The Lecture Hall, Harrison Road. Tuesday March 9th at 7.30
THE TATRAI STRING QUARTET
Quartet in B flat Op.50 No.1
Quartet No. 2
Quartet in F Op. 18 No. 1
Haydn
Kodaly
Beethoven
Single tickets 62 p (12/6) from Mrs. Hanson, 23 The Crescent,
Hipperholme, Halifax or at the door.
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THE HORBURY CONCERT SOCIETY
**************************************
Horbury Secondary School
-6-
THE
YFRAH NEAMAN Violin
ILSE WOLF
Soprano
PAUL HAMBURGER Piano
Tickets from Mrs. Audsley, 25 Tithe Barn Street,
Horbury, Wakefield.
Saturday February 20th at
7.30
HUDDERSFIELD GRAMOPHONE SOCIETY
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Waverley House, New North Road.
Monday Evenings at 7.30.
February 15th ORCHESTRAL MUSIC
(Miss E. Williams)
March 1st
ANNIVERSARIES (Mr. B. Jenkinson)
Annual Subscription £1 (from Jan 1st (50p) Students and Old
Age Pensioners half fee. Two visits allowed without obligation,
Refreshments. Secretary, D. Bostock Esq., 16 Imperial Road,
Huddersfield HD3 3AF
The Parish House, Venn Street.
THE HUDDERSFIELD THESPIANS
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March 1st 6th at 7.30
THE ANNIVERSARY by Bill MacIlwraith.
Tickets 25p (5/-) (Concession night is Monday) from Woods, 67
New Street.
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Karoly Duska
Tamas Szabo
THE HUDDERSFIELD MUSIC SOCIETY
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Fifty-third Season 1970-71
Mayor's Reception Room, Town Hall
Monday, March 15th, 1971
THE KODALY STRING QUARTET
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(Violin)
Violin)
Programme
I
Quartet in B flat major Op.76 No.4
Gabor Fias
Yanos Devich
(Viola)
(Cello)
Haydn (1732-1809).
Allegro con spirito
Adagio
Minuet and Trio
Allegro ma non troppo
(Last performed in 1949 by the Amadeus String Quartet)
The six quartets of Op.76 were written in 1797-8 and were
contemporaneous with "The Creation". Haydn wrote only two more
string quartets and the unfinished Op. 103. The whole of Op. 76
forms the crown of Haydn's work in this form; "everything here
is condensed and intensified, the expression more personal and
direct." (Geiringer). All, too, have a richness of the inner
parts which had hitherto never been known.
This quartet, the fourth of the set, is sometimes known as
"The Sunrise" from its remarkably sustained opening; the lower
strings have long, held chords while the violin sings a soaring
phrase. There is no second subject proper, the whole movement
being derived from this phrase. The short but expressive slow
movement is based on a smooth, rising phrase whose reappearances
are linked by more agitated passages, The Minuet and Trio are
straightforward, but one is reminded once again of Haydn's love
for the Minuet and how much of its development from the simple
dance-form is due to him. The Finale is in three sections. In
the first, the theme is given out by the first violin; the second
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2.
has fresh material in the tonic minor key and leads to a re-
capitulation of the first section. The coda gradually
increases in speed and brings the work to a brilliant con-
clusion.
II
Quartet No.2 in D major Op.10
Allegro
Andante quasi recitativo
Allegro giocoso
(Last performed in 1963 by the Weiner String Quartet)
Kodaly (1882-1967)
Zoltan Kodaly was a contempory of Bartok (1881-1945) and
both men shared a deep interest in the study and collection of
the folk-songs of their native Hungary. To their careful and
scientific research the history of pure Magyar folk-music owes
a great debt. Of the two Kodaly is perhaps the more typically
Hungarian, though in his early years his music showed some
influence both of the Romantics and of Debussy. His composi-
tions are particularly notable for his superb handling of the
instruments, all of which are asked to give to the fullest
possible extent the very essence of their characters and to
express to the limit of their powers the deepest inspiration
of the composer. The following extract from Grove's Diction-
ary admirably sums up Kodaly's work: "Kodaly's music is dis-
tinguished by an originality that appears startling at first
hearing but on closer acquaintance it reveals a certain lean-
ing toward tradition. He does not abandon tonality and
accepted forms but creates a new music of astonishing vitality
within their limits. His instrumental writing is extremely
interesting and there is a close interdependance between his
creative impulse and the particular medium chosen for its
expression. The piano pieces are predominantly harmonic and
percussive, the string quartets contrapuntal and the pieces
for solo string instruments abound is appropriate problems and
striking effects." (E. Blum).
Kodaly wrote only two string quartets. This exacting
second quartet is dated 1918, ten years after the first and it
is a striking and virile example of this form of art. While
the first quartet has a youthful buoyancy, the second has a
prevailing mood of melancholy and mysticism and "is rather
ed on a
oth quartet
connection w
ments though
each movemer
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3.
based on a tragic conception of man in conflict with the world."
Both quartets are alike in that the themes employed have a subtle
connection with each other. This second quartet has three move-
ments though the second runs into the third without any real break;
each movement is constructed not on conventional lines but is
modelled and adapted to express Kodaly's thought and material. Its
scoring has one characteristic feature the way in which any two
of the four instruments are grouped together to work in contrast
with the other two. Of this Quartet Laszlo Eosze writes: "What
comes as a surprise.... is the profound identification he (Kodaly)
achieves between his own personal utterance and the spirit of folk
music. Here the essence of folk-song is transmuted into the
stylistic elements of an art music perfectly adpated to classical
forms in a way that is only possible for a composer to whom folk-
music has become his mother tongue. "
The first movement has three main subjects; the first, sombre
and tragic, the second dramatic and tense, the third more serene.
The development section is introduced by a short cello solo.
slow movement is, again, a specimen unique of its kind in chamber
music. Kodaly's instrumental speaking voice - the parlando or
recitative creates its own world of form and expression here....
With the two strangely expressive chords of the ninth with which
it opens,
the hearer is at once in the presence of dawn in a
strange world. The monologue of the first violin is like a distant.
signal. This phrase is a muffled parlando but the call evokes a
response from the cello which repeats the signal and mystic chords
on the violin and viola". (Waldbauer). Throughout the movement
the instruments converse with each other. Towards the end, a
dance motive fore-shadows the coming of the final Allegro. This
Finale, in sonata form though without a development section and
again in D major, is inspired by dance rhythms, full of caprici-
ous humour, and the work ends with a rapid whirlwind close.
Coffee Interval of 15 minutes.
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Quartet in C Major Op.59 No.3
III
Introduzione. Allegro vivace
"The
Beethoven (1770-1827)
Andante con moto quasi allegretto
Menuet and Trio
Allegro molto
(Last performed in 1967 by the Tatrai String Quartet)
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4.
This quartet, the third of the Rasoumovsky set, was
written in 1806 and therefore belongs to Beethoven's second
period. Langford once described it as being among Beethoven's
most glorious and happy works, Bekker finds in all three
quartets a central idea of triumph which gives rise to their
monumental style. "It is an idea which strains the form of
the string quartet to the uttermost, and the result is a
series of works of a majesty and expressive power such as no
one before Beethoven had dreamed of obtaining from four string
instruments."
The first movement is in sonata form. It has an intro-
duction clean out of the tonic key but it leans gradually
towards it. Two chords, much used in later sections lead to
the principal subject played by the first violin. This move-
ment shows Beethoven in one of his happiest moods. The
Andante is in a modified sonata form though in mood and
spirit it is lyrical; it has been called one of the first
romantic movements in music. In some earlier quartets
Beethoven had begun to abandon the Minuet and Trio movement
in favour of the Scherzo...Here he returns to it for the last
time, but with a difference. This is a Menuetto grazioso,
far removed from the old simple dance form. A coda of 18
bars leads directly into the last movement - a lengthy and
massive fugue which has yet some slight resemblance to
sonata form. Of this movement Langford once wrote: "The
last movement is a movement born of a single idea, if ever
there was one. This singleness was one of Beethoven's great
contributions to music. Beethoven, when he found his full
strength, hewed his music out of the block. Single, yet
exhaustless in resource and power, his music in such move-
ments as he gives us here, become vast and, in its sublime
unity, like the sea."
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THE KODALY STRING QUARTET. This exciting young String
Quartet was first formed in Budapest in 1966 as the Sebestyen
String Quartet. Recently it has been re-formed with a new
leader and has now been honoured to receive the name of one
of Hungary's greatest composers, Zoltan Kodaly. They have
already won many awards and have toured Europe with excep*
tional success. They make their debut in England this month.
W
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en's
zd
5.
THE HUDDERSFIELD MUSIC SOCIETY
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Fifty-fourth Season 1971-72
The Committee are very pleased to announce that the following
arrangements have been completed for the forthcoming Season and
they invite members not only to continue their support by once
again taking season tickets, but also to give the Society
material assistance by persuading others to do the same. This
aid will, indeed, be greatly appreciated.
October 4th.
November 1st.
December 13th.
January 10th.
THE ALDHAM TRIO (Oboe, Bassoon and Piano)
THE ROBLES DUO (Harp and Flute)
THE STUDENTS CONCERT
THE AEOLIAN STRING QUARTET
At this Concert it is hoped that the String
Quartet commissioned by the Society from
Douglas Young will be given its first
performance.
February 14th.
ALLAN SCHILLER. Piano Recital
March 13th.
THE GEORGIAN STRING QUARTET
Tickets will be sent in due course to all present members. The
Hon. Secretaries, 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
receive names and addresses to which prospectuses may be sent,
The National Federation of Music Societies, to which this Society
is affiliated, gives support toward the cost of these Concerts.
with funds provided by the Arts Council of Great Britain.
Generous support is also given by the Yorkshire Arts Association.
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6.
THE HORBURY CONCERT SOCIETY
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Horbury Secondary School Saturday, March 29th at 7.30
CYRIL SMITH and PHYLLIS SELLICK
Three Hands
One Piano
Tickets from Mrs. Audsley, 25 Tithe Barn Street, Horbury,
Wakefield.
THE HUDDERSFIELD GRAMOPHONE SOCIETY
**************************************
Waverley House, New North Road Monday evenings at 7.30
March 22nd. Mozart and Bruckner (Mr. K. Dearnley)
March 29th. Schubert and Tchaikovsky (Mrs. J. Sleath)
April 18th. The Conductor Speaks (Mr. A. Butterworth)
May 10th. Technical Evening (Mr. D. Bostock)
Annual Subscription £1 (from Jan. 1st. 50p) Students and
Old Age Pensioners half fee. Two visits allowed without
obligation. Refreshments. Secretary: D. Bostock Esq.,
16 Imperial Road, Huddersfield HD 3 3AF.
THE HUDDERSFIELD THE SPIANS
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The Parish House, Venn Street.
The Queen and the Rebels
by
Hugo Betti
April 19th 24th.
Tickets 25p (concession night is Monday) from Woods,
67 New Street.