HMS 54


The Huddersfield Music Society, HMS 54

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HUDDERSFIELD MUSIC SOCIETY Brochure 54th Season's programmes 1971 - 1972 >n) 27) > x-rite colorchecker ☑ x-rite W MSCCPPCC0613 וווווווווווווווווווווווווווווווווווווווווווווווווון, in nother string ren n his rio the he evelop- sibly at 'ee ic "too 1 the armony Sonatina minuet upon a ions

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FIFTY-FOURTH SEASON 1971-1972 The Huddersfield Music Society To bolbute (Bassoon) (1770-1827) WT. The Monday Concerts MAYOR'S RECEPTION ROOM, TOWN HALL, HUDDERSFIELD rio) or violin D n, the mother first string Beethoven ied with his this Trio the hare, the matic develop- ). Possibly 'uments at the three sed the s n's music "too ود is in the es of harmony ive and of the Sonatina of the minuet ounded upon a variations I add to

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FIFTY-FOURTH SEASON 1971-1972 The Huddersfield Music Society பா WT. The Monday Concerts MAYOR'S RECEPTION ROOM, TOWN HALL, HUDDERSFIELD

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October 4th 1971 THE ALDHAM TRIO Janet Craxton Martin Gatt Alan Richardson November 1st 1971 THE GEORGIAN STRING QUARTET Sylvia Cleaver Oboe Bassoon Violin Piano Stephen Srawley Violin Simon Whistler Viola David Smith Cello Trio in B flat minor Op. 11 Sonata in C minor for Oboe and Beethoven Quartet in D major Op. 76 No. 5 Piano Piano Solos: Two Arabesques Two Preludes .... C. P. E. Bach Quartet No. 12 Haydn Shostakovich ........ Debussy Rachmaninoff Quartet No. 2 (Intimate Letters) Janacek Alan Richardson Sonata for Bassoon and Piano Sonata for Oboe and Bassoon in C minor (1683) Heinichen Three Pieces for Oboe and Bassoon Trio ... Gordon Jacob .... Francis Poulenc This Trio, an unusual combination. of instruments, was formed in 1969 and appears at these Concerts for the first time. It has been described as "an ensemble for connoisseurs." Janet Craxton, daughter of Harold Craxton, is everywhere hailed as an outstanding oboe player. Her hus- band, Alan Richardson, is well-known as pianist, composer and lecturer. Martin Gatt is the principal bassoon- ist of the English Chamber Orchestra. The Georgian String Quartet is acknowledged to be one of the lead- ing young quartets in the country. It has toured extensively throughout Great Britain and Europe and has just finished a third year at Notting- ham University. COVENANTED GIFTS. The Committee appeal to all members if possible to make a special contribution in the form of a Covenant. This would not be related to the normal subscription and, with the tax benefits accruing to the Society therefrom, would be a most valuable means of ensuring the continuance of these Concerts. A form is enclosed for your consideration.

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dn ch ek is 1. У. THE HUDDERSFIELD MUSIC SOCIETY (Founded as The Huddersfield Music Club by Dr. Eaglefield Hull in 1918) President Vice-President .... Sidney H. Crowther, Esq. Edward Glendinning, 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, HDI 5QD. Tel. Hudd. 27470 Mrs. J. de Nikitin-Solsky, 37 Gynn Lane, Honley, HD7 2LE. Tel. Hudd. 61696. Hon. Treasurer: V. Tolchard, National Westminster Bank, King Street, HD1 2AY ut as g- R. Barraclough David Dugdale Miss K. Evans, B.A. P. G. C. Forbes, Executive Committee: Mrs. E. Glendinning I. M. Lee M.A., A.R.C.O. S. Rothery Miss E. K. Sawers Max Selka E. C. Shaw W. E. Thompson J. J. Valner Mrs. S. G. Watson S. G. Watson Miss I. Bratman Mrs. A. Crowther Ladies' Committee: Chairman: Miss K. Evans, B.A. Mrs. S. H. Crowther Miss M. A. Freeman, LL.B. Miss M. Hamer Mrs. D. Hirst, J.P. Miss E. K. Sawers 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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December 13th 1971 CONCERT BY STUDENTS OF THE SCHOOL OF MUSIC, HUDDERSFIELD POLYTECHNIC Programme to be announced later. January 10th 1972 THE AEOLIAN STRING QUARTET Emanuel Hurwitz Violin Margaret Major Violin Raymond Keenlyside Viola Derek Simpson Cello Quartet in G major Op. 76 No. 1 dn ch ek IS d. "y. ut as 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, Huddersfield Polytechnic. It is one of the aims of this Society not only to present concerts of out- standing 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. Haydn Commissioned Quartet Douglas Young Quartet in G minor Op. 10 No. 1 Debussy The Aeolian String Quartet has a world-wide reputation with a full- time programme of concert giving, broadcasting and recording. This year they have been joined by Emanuel Hurwitz, one of the coun- try's leading chamber musicians and soloists. An outstanding feature of this Concert will be the first performance of a new Quartet by DOUGLAS YOUNG commissioned by this Society with, as an award, funds provided by the Arts Council of Great Britain. This brilliant young musician is rapidly becoming recog- nised by competent judges as composer with a great future. He has been described as "showing an amazing maturity as well as an abundance of invention." We are honoured to be associated with the production of an important new work. Please note. This Concert will be held in the Area of the Town Hall. 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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TO ALL MEMBERS. each member please e 709 es es c February 14th ALLAN SCHI Prelude and Fugue in D Prelude and Fugue in F Sonata No. 6 in A major Meditation sur un motif Poissons d'or (Images) Suite Espanola tours now extend throug tras, all over the coun recitals and with the lea generation. He has play of the outstanding pia has now established hir ity. Starting as a child a programme of refreshi re-appearance at these C Allan Schiller makes REMITTANCE FORM (for the use of PRESENT MEMBERS ONLY) To the Hon. Treasurer, National Westminster Bank, King Street, Huddersfield, HD1 2AY. I enclose £... Double (Single) Season Tickets in payment for Name Address APPLICATION FORM (for the use of NEW MEMBERS ONLY) To the Hon. Secretary, 3a Vernon Avenue, Huddersfield, HD1 5QD Double (Single) Season Tickets for which I enclose £.. Please send me Name Address Cheques should be made payable to "The Huddersfield Music Society" Receipts will not be issued unless requested (BLOCK LETTERS PLEASE)

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February 14th 1972 ALLAN SCHILLER Prelude and Fugue in D major Bk. II Bach Prelude and Fugue in F major Shostakovich March 6th 1972 MARISA ROBLES Harp CHRISTOPHER HYDE-SMITH Flute SEASON TICKETS Double £4-50 (for two persons not necessarily of one family) Single £2-50 65p .15p Single tickets (Bona fide Students under 21) Student tickets Sonata for Harp and Flute Sonata No. 6 in A major Op. 82 Krumpholtz Prokofiev Harp: Passacaglia Poissons d'or (Images) n Debussy La Source Handel Hasselmans Third Concert only Flute: Single tickets 50p Meditation sur un motif de Debussy Fantasy No. 6 in D minor Student tickets 10p Kodaly Telemann Suite Espanola Albeniz Fantasy Sonata: Naiades (1971) Episodes William Alwyn John Metcalf Student Season Tickets are not issued. Flute: Syrinx a y 1- S a S n n e e a d Allan Schiller makes a welcome re-appearance at these Concerts with a programme of refreshing original- ity. Starting as a child prodigy, he has now established himself as one of the outstanding pianists of his generation. He has played, both in recitals and with the leading orches- tras, all over the country and his tours now extend throughout Europe. Danse de la Chevre Harp: Zortziko Song in the Night Little Suite Debussy Honegger Guridi Salzedo G. Walters Again an unusual combination of instruments played by artists appear- ing for the first time at these Concerts. Several of the works to be performed have been written expressly for them. Marisa Robles was born in Spain and started her studies at the age of 7 at the Madrid Royal Conservatoire where 15 years later she was appointed professor. For the past 7 years she has made her home in England. One critic wrote: "I never hope to hear better harp play- ing than this." Her husband, Chris- topher Hyde-Smith, is the principal flute with the London Mozart Players and Professor of Flute at the R.C.M. in addition to making many appearances as a soloist and chamber music player. TO ALL MEMBERS. An increase in membership is most essential. Could each member please endeavour to obtain at least ONE new member. are LAST SEASON'S MEMBERS Tickets as issued last year to all existing members 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. as This perforated slip should be forwarded as soon possible, please. Multi-Storey Car Park in close proximity to Hall

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THE HUDDERSFIELD MUSIC SOCIETY ************************************ Fifty-fourth Season 1971-72 Mayor's Reception Room, Town Hall Monday, October 4th 1971 THE ALDHAM TRIO ****************** Janet Craxton (Oboe) Martin Gatt (Bassoon) Alan Richardson (Piano) Programme Trio in B flat major Op.11 Beethoven (1770-1827) Allegro con brio Adagio Tema con variazioni (Last performed in 1961 by the Fell-Hall-Hopkins Trio) This Trio, originally written for piano, clarinet or violin and cello in 1798 and dedicated to the Grafin von Thunn, the mother of Princess Lichnowsky, preceded the appearance of the first string quartets Op.18 by three years. This was a period when Beethoven himself was still a virtuoso of the piano and preoccupied with his own instrument both as a composer and a performer. In this Trio the piano certainly has the most important and brilliant share, the other instruments, however, playing a part "in the thematic develop- ment which is notably delicate and intricate". (Bekker). Possibly because of the technical limitations of the wind instruments at that time, the Trio appears to be a simpler work than the three earlier string trios Op.9 and on that account it pleased the contemporary critics better who already found Beethoven's music "too scholarly and difficult". The first movement, the most serious of the three, is in the usual sonata form, but already showing original touches of harmony and modulation. The graceful Adagio, with its effective and elaborate piano part, echoes the theme of the minuet of the Sonatina Op.47; Beethoven used this theme again as the basis of the minuet on the Quintet Op.16. The subject of the finale is founded upon a theme from Weigl's opera The Corsair. There are nine variations and an allegro coda.

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then nternatio 2. C.P.E. Bach (1714-1788) Sonata in C minor for Oboe and Piano Adagio Allegro Vivace and Three Variations Four of Bach's sons were composers and musicians but most outstanding was the second son Carl Philipp Emanuel, born of the first wife in Weimar. His musical precocity was remarkable. He studied clavier and organ at the Thomasschule under his father's direction. He entered the University of Frankfort where he became domestic musician to the Crown Prince Frederick of Prussia. On the latter's accession to the throne, Bach followed him to Berlin. The rigid discipline of the court and Frederick's determination to direct the music entirely according to his own way, made the appointment an unhappy one, but it was not until 1767 that he was able to move to Hamburg, taking Telemann's place there and where he remained for the rest of his life. His keyboard virtuosity was astonishing and in improvisation he had no rivals. His "Essay on the True Method of Playing the Clavier is famous as the first authorative exposition of the art. But more important than that was the originality and independence of his music; he was the true father of the new style of "classical" music, a fact which Haydn freely acknowledged when he wrote "I owe all I know to Carl Philipp Emanuel". His music flowed with a natural, limpid grace, free from all contrapuntal complications and, thus full attention could be given to balance and proportion of phrases and rhythms and to the development of the motiv. It was to him that we owe the architecture of sonata form, in particular to the growth of the development section. Piano solos. Two Arabesques Two Preludes Sonata for Bassoon and Piano Debussy (1862-1918) Rachmaninoff (1873-1943) Alan Richardson Moderato Allegro (Scherzando e giocoso) Vivace Alan Richardson was born and educated in Edinburgh where he became assistant pianist to the Edinburgh B.B.C. Studio, 1926-28. He later settled in London where he studied with Harold Craxton and at the R.C.M. Ho started composing at the age of 30 and

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1788) 3. since then has produced many works. He appeared at the Edinburgh International Festival in 1949, playing his own works. ********************************** COFFEE INTERVAL OF FIFTEEN MINUTES **************> Sonata for Oboe and Bassoon in C minor Grave Allegro ******* Heinichen (1683-1729) Larghetto e cantabile Allegro Johann David Heinichen was famous in his own day as a composer and theorist. He studied at the Leipzig Thomasschule under Schelle and Kuhnau. His career was first that of a lawyer but he soon returned to Leipzig where he composed several operas and directed concerts. At the same time he was engaged on his best known fod theoretical work - a valuable explanation of through-bass. In 1711 he was able to visit Italy where, at Venice, he composed and od produced two operas; later he moved to Rome. He returned to Dresden where in 1717 he was appointed Kapellmeister, his duties being to conduct the opera and to supervise the music of the church. He left behind him a large number of works including 55 masses, motets, operas, church music, solos and duets. Three Pieces for Oboe and Bassoon Allegro Larghetto Vivace Bow OLFT MAHLIA SHT rot of Gordon Jacob (b.1895) Gordon Jacob is a Londoner and started to compose at the age of 10. During the 1914 war he was a prisoner for two years, and in his camp he suceeded in creating a prisoners' orchestra. It was not until a year after his return that he entered the R.C.M. where he studied composition under Stanford, harmony and counterpoint under Herbert Howells and conducting under Boult. Throughout his career he has been much involved in the writing of music for use with films, a work which requires a special technique. He is recognised as an authority on orchestration. Jacob has perhaps not had the recognition due to him. He has written much music which shows no "modern" tendencies but which is frosh and pleasing and has a vitality, clarity and lightness which is altogether admirable.

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4. Trio for Piano, Oboe and Bassoon owe yra Lento . Presto - Andante con moto Rondo Tres vif Poulenc (1899-1963) (Last performed in 1952 by the Camden Trio) Their Poulenc belonged to "Les Six" - a group of young French musicians formed in 1917 who were in revolt against the Impressionism which dominated French music at that time. war-cry was "Back to simplicity". Among them, Poulenc and Auric in particular favoured terseness and clarity and Poulenc was greatly interested in what might be called the folk-music of his time in other words, songs made and sung in the streets. Traces of these are to be found in the melodies he uses. He disliked harmonic richness, preferring clean and simple lines. Both grace and wit are to be found in his music. Perhaps Poulenc's greatest achievement lies in his vocal compositions but he also wrote a considerable number of chamber works, many for bunusual combinations of instruments. This Trio dates from 1924 1926 and, though it is a comparatively early work, it bears the stamp of maturity. It marks an advance on his earlier works both in extent and importance and its slow movement is particularly fine. THE ALDHAM TRIO was formed in 1969 and is sometimos regarded as an ensemble for connoisseurs. Whilst the original repertoire is somewhat limited, they give as much interest and variety as possible to their programmes. As well as the printed programme they like to give comments prior to each item thus narrowing the gap between performers and listeners. JANET CRAXTON, the daughter of Harold Craxton, is Fellow and Professor at the R.A.M. Up till 1963 she was in turn principal oboist with the Halle Orchestra, the London Mozart Players and the B.B.C. Symphony Orchestra. ALAN RICHARDSON, married to Janet Craxton, is well known everywhere as a composer-pianist MARTIN GATT is the principal bassoon player of the English Chamber Orchestra.

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-1963) 5. THE HUDDERSFIELD MUSIC SOCIETY ************************************ Mayor's Reception Room, Town Hall. Monday Evenings at 7.30 November 1st. THE GEORGIAN STRING QUARTET Quartet in D major Op.76 No. 5 Quartet No. 12 Quartet No. 2 (Intimate Letters) Haydn Shostakovich Janacek December 13th. STUDENTS OF THE SCHOOL OF MUSIC, HUDDERSFIELD POLYTECHNIC January 10th. THE AEOLIAN STRING QUARTET February 14th. ALLAN SCHILLER Piano Recital March 6th. MARISA ROBLES AND CHRISTOPHER HYDE_SMITH Harp and Flute. Please Note. Season Tickets for the remaining 5 Concerts, Double £3.75 (two persons), Single £2.10 (one porson) and single tickets 65p from Woods, 67 New Street and at the door. The National Federation of Music Societios, to which this Society is affiliated, gives support towards the cost of the 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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THE HUDDERSFIELD 6. GRAMOPHONE SOCIETY ************************************** Waverley House, New North Road. Monday Evenings at 7.30 October 11th. Smetana. Presented by Mr. Ian Emberson October 12th. (Tuesday) Visit to Mirfield. October 25th. Mozart and Hummel. Presented by Mr. H. Carter and Mr. Nixon. Annual Subscription £1.20 from January 1st 70p. Students and Sonior Citizens half fee. Hon. Socretary Mr. D. Bostock, 16 Imperial Road, Huddersfield HD3 3AF. THE HUDDERSFIELD THESPIANS ************************** The Arts Centre, Queen Street. October 4th 9th at 7.30 THE LION IN WINTER A historical comedy by James Goldman - Tickets 25p from Woods, 67 New Street (Concessionary prices on Mondays for Senior Citizens).

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9210THE HUDDERSFIELD MUSIC SOCIETY ************************************ Fifty-fourth Season 1971 - 72 Mayor's Reception Room, Town Hall Monday November 1st 1971 THE GEORGIAN STRING QUARTET ****************************** Sylvia Cleaver (Violin) Stephen Srawley (Violin) Programme I Quartet in D major Op.76 No. 5 Simon Whistler (Viola) David Smith (Cello) Haydn (1732-1809) Allegretto Allegro Largo, cantabile o mesto Minuet and Trio Finale: Presto (Last performed in 1936 by the Lener String Quartet) Haydn brought the form of the string quartet to perfection. "It was from Haydn", said Mozart that I first learnt the true way to compose quartets". And in his quartets Haydn shows all his qualities of lucidity, perfect finish, inexhaustible invention, humour and freshness. His themes are often shorter and more pithy than Mozart's and have a greater rhythmic elasticity. He was, indeed, the inventor of the rhetorical pause. He divided the musical interest more equally between the four instruments, this foreshadowing the poly- phony of the modern quartet. This quartet is the fifth of a set of six, dedicated to Count Erdody, and written after Haydn's second visit to London. These wore the last quartets which Haydn wrote with the exception of the two of Op. 77. They were written during the years 1797-8 and are therefore contemporaneous with "The Creation. Great though the preceeding quartets had been, Geiringer remarks that "if an appropriate motto be sought for this series the word "Excelsior should be the first choice. Everything here is condensed and intensified, the expression more personal and direct". The first movement has a light-hearted dance theme, which procedes through a series of variations. In the second movement the first violin opens with slow singing melody in the key of F sharp major; this is one of the great molodies of music, full of omotion

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2. and beauty. It is developed at length and in its course it is twice reduced to an almost static state. The theme of the Minuet is clearly derived from that of the slow movement%; the Trio, in a contrasting minor key, has an important cello part. The Finale is founded upon a folk-dance, the Kolo, which comes from Bosnia and Dalmatia. It makes a bright and happy ending to one of Haydn's finest quartets. Quartet in D flat No. 12 Op. 133 II Moderato Allegretto Shostakovitch (b.1906) (First performance at these Concerts) The two movements of this quartet are cast in a form typical of Shostakovitch. The first movement opens with a motif character- ised by wide intervals on the cello. The movements proceed as a trio for the first couple of minutes, the appearing until the thirty-fourth bar. The movement is short, almost a prelude to the lengthy second movement. second violin not This opens with a motif, again statod on the cello, the rhythm of which pervades the whole movement. There is a thrilling moment where the three lower instruments rush around with sextuplet scales under a powerful melody on the first violin. As might be expected with Shostakovitch, there is a long Adagio soction in the middle of the movement, whore the solo collo plays a sad drawn-out melody while the other instruments provide an atmospheric accompaniment. There is also a momentary return of the theme of the first movement before the quartet ends with the rhythm hoard at the opening of the movement.. (Notos by Stephen Srawley) ************************************** COFFEE INTERVAL OF FIFTEEN MINUTES ************************************** Quartot No. 2 "Intimate Letters" III Andante con moto Adagio Vivace - Janacok (1853-1928) Allegro

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nia Finale Lo, in Minuet e it is 3. Adagio Allegro - Allegro Andante - - Adagio Moderato (Last performed in 1967 by the Vlach String Quartet) Leos Janacek was born at Hukvaldy (North Moravia), the seventh child of a poor family. His father and grandfather were both villago schoolmasters of the class from which so much of the musical culture of Bohemia has sprung. He became a chorister in the Community of the Austin Friars in Brno where he worked under Krizkovsky, a precursor of Smetana and a writer of highly dramatic choral music. Later Janacek attended an organ school in Prague but his poverty was such that it was not until he was 25 that ho was able to continue his musical training at Leipzig Conservatoire. Thero he studied conducting and theory under Reinecke and made one appearance as a pianist. He then went to Vienna with a view to b becoming a piano virtuoso but he was forced to return to Brno in zom 1881. There he was active as a teacher as well as organising concerts which brought the finest music within the reach of all, and he began his researches into folk-music from which his own charactoristic style was largely evolvod. Janacek's choral music and operas are perhaps his most characteristic works. In many respects he is a unique figure inf musical history. Although old in years Janacek wrote with the vigour of youth and was entirely modern in style. Among his distinguishing qualities are formal precision and tersoness of expression (as instanced in his abrupt closes); purity of tone- colour, each instrument being treated as a human voice without dependence upon the normal harmonic scheme; boldness and variety of rhythm, the result of a strong natural instinct strengthened by a lifelong study of cadences of the human voice, animal sounds and naturo; fondness for Slavonic folk-songs and dances; and finally a trick of harping upon one short reiterated motif. These things bring him into line with most advanced schools in spite of the fact that ho never becomes atonal". (Max Brod) Janacek wrote relatively little puro instrumental music. Ho did, however, write 2 string quartets and a violin sonata; all aro works of extreme originality. Both quartets are really programme music and the second, following Smetana's example, is autobiograph- ical. This second quartet was Janacok's last work completed only a few months before his death. It was inspired by his love for a young woman, Kamila Stossl, and was entitled in the manuscript

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4. "Love Letters". The composer later changed this title to discourage vulgar curiosity about his inmost feelings, and in the final version the viola was substituted for the viola d'amore. This quartet has actually no connection with the classical quartot except that it contains 4 movements. They do not conform to any established pattern or sequence and all have amazingly fluctuating tempi. But such is the sheer musical power of this work that it exists as pure music and needs no programme to make it intelligible to the listener. Technically this work represents the extrome limits of Janacek's writing of abstract music. No definite key can be established though perhaps the key of D flat is the most prominent. This, in Janacok's other works is generally employed to suggest tenderness and love. In construction the general principle is the use of a thome which is repeated with different harmonic colourings and values. Throughout the work the most minuto interpretive directions are given to the players. The first movement describes the meeting with the loved one; the second pictures an idyllic summer spent in the country. The third movement is, in general, gay and is, in fact, difficult to under- stand in the light of the programme. The finale, in the form of a kind of rondo, gives the impression of the fulfilment of their love. THE GEORGIAN STRING QUARTET is acknowledged as one of the leading young Quartets of the country. As well as giving concerts in Europe, it has toured extensively throughout Great Britain and has just finished a third yoar at Nottingham University. ***************************************************************** THE HUDDERSFIELD MUSIC SOCIETY ********************************** Mayor's Reception Room, Town Hall. December 13th. Monday Evenings at 7.30. CONCERT BY STUDENTS OF THE SCHOOL OF MUSIC, HUDDERSFIELD POLY. January 10th. THE AEOLIAN STRING QUARTET February 14th. ALLAN SCHILLER Piano Recital March 6th. MARISA ROBLES AND CHRISTOPHER HYDE SMITH Harp and Flute TECHNIC Single t 67 New The Na

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5. Single tickets for the next concert 50p from Messrs. Woods, 67 Now Street and at the door. The National Federation of Music Societies, to which this Society is affiliated, gives support toward the cost of the Concerts with funds provided by the Arts Council of Groat Britain. Generous support is also given by the Yorkshire Arts Association. THE HUDDERSFIELD GRAMOPHONE SOCIETY ************************************* Waverley House, New North Road. Monday Evenings at 7.30 November 15th. French Evening. Presented by Mr. S. Hoskins and November 26th. (Friday) Silver Jubilee Dinner Miss Hill December 6th. Homage to Stravinsky. Presented by Mr. D. Bostock. Annual Subscription £1.20 from January 1st 70p. Students and Senior Citizens half fee. Hon. Secretary: Mr. D. Bostock, 16 Imperial Road, Huddersfield HD3 3AF

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6. THE HALIFAX PHILHARMONIC CLUB ******************************** The Lecture Hall, Harrison Road. Tuesday November 9th at 7.30 pm. THE TALICH STRING QUARTET Quartet in E flat major Op. 58 No. 2 Quartet No. 2 "Intimate Letters" Quartet in E flat major Op.127 Boccherini Janacek Beethoven Single tickets 65p (students 20p) from Mrs. Hanson, 23 The Crescent, Hipperholme, Halifax or at the door. 20 THE HUDDERSFIELD THESPIANS **************************** The Arts Centre, Queen Street. Come Laughing Homo by November 22nd - 27th. Keith Waterhouse and Willis Hall Tickets 25p from Woods, 67 New Street (Concessionary prices for Senior Citizens on Mondays.

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THE HUDDERSFIELD MUSIC SOCIETY Fifty-fourth Season Mayor's Reception Room, Town Hall Monday 13th December 1971 7.30.p.m. CONCERT by STUDENTS OF THE SCHOOL OF MUSIC HUDDERSFIELD POLYTECHNIC and TECHNICAL COLLEGE Programme 2p HUDDERSFIELD

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PROGRAMME Sonata no. 2 in E flat major Allegro moderato; siciliano; allegro - flute piano Edward Mallinson Martyn Syers Bach Lost is my quiet Let us wander not unseen Purcell Purcell Handel 0 lovely peace letter duet (from the Marriage of Figaro) Mozart Carole Whyld Jane Oakland - sopranos Stephen Williams piano Sonata in E minor op. 38 Allegro non troppo; allegretto quasi Minuetto; allegro. Helen Oddy cello Ronald Newton piano Brahms

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AMORES (1) (2) Solo for prepared piano. Trio (tom toms) (3) Trio (wood blocks) (4) Solo for prepared piano Ronald Newton - piano Fiona Ewen Martin Stockdale David Bateman DIVERTISSEMENT (1) Introduction (2) (3) Nocturne (4) Valse (6) Finale Nigel Street Sylvia Devine John Cage percussion Cortege (5) Parade Ibert flute - piccolo clarinet Valerie Fitchett - bassoon Janice Offord Timothy Hawes Graham Bolton horn trumpet trombone Fiona Ewen, David Bateman & Martin Stockdale percussion Martyn Syers piano Michael Rigg, Annamaria McCool & Catherine Frankland violins Hilary Jackson & Alan Williams Helen Oddy and Glyn Jones John Wilkinson Conductor violas cellos double-bass Barrie Webb

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THE HUDDERSFIELD MUSIC SOCIETY Area, Town Hall Monday 10th January 1972 Haydn THE AEOLIAN STRING QUARTET Quartet in G major Up. 75 No.1. Quartet Douglas Young (The first performance of a work commissioned by this Society with funds provided by the Arts Council of Great Britain) Quartet in G minor Op. 10 February 14th ALLAN SCHILLER Debussy Piano Recital March 6th MARISA RUBLIS and CHRISTOPHER HYDE-SMITH Harp and Flute Recital Single tickets 65p from Woods, 67 New Street and at the door The National Federation of Music Societies, to which this Society is affiliated, gives support towards the cost of the Concerts with funds provided by the A.C.G.B. Generous support is also given by the Yorkshire Arts Association. THE HUDDERSFIELD GRAMOPHONE SOCIETY Waverley House, New North Road December 20th January 3rd Monday Evenings at 7.30 Christmas Programme fresented by Mr Basil Cook Orchestral Music (Bruch, Brahms and Mozart) Presented by Mr H N Bostock Annual Subscription £1.20, from January 1st. 70p. Students and Senior Citizens half fee. - Hon. Secretary Mr. D. Bostock 16 Imperial Road. Huddersfield THE HALIFAX PHILHARMONIC CLUB St. Jude's Church, Halifax. THE MELOS ENSEMBLE Septet in B flat major Saturday January 22nd at 7.3 Berwald

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THE HUDDERSFIELD MUSIC SOCIETY ****** **************** Fifty-fourth Season 1971-72 Area Town Hall Monday January 10th 1972 AEOLIAN STRING ******************************** THE Emanuel Hurwitz (Violin) QUARTET Raymond Keonlyside (Violin) Margaret Major (Viola) Derek Simpson (Cello) Programme I Quartet in G major Op.76 No. 1 Haydn (1732-1808) Allegro con spirito Adagio sostenuto Menuetto: Presto Finale: Allegro ma non troppo (Last performed in 1958 by the Carmirelli String Quartet) Among the wealth of music that Haydn's genius poured out, there are known to be 77 string quartets, 104 symphonies and 52 sonatas for the piano. In spite of this enormous number of compositions, practically all in sonata form, Haydn's inspiration never seems to falter; each work possesses its own individual charm to an amazing extent. пису The six quartets of Op.76 were written during the years 1797-8, and were dedicated to Count Erdody. These were Haydn's last string quartets except for the two of Op.77 and all belong to the period when he was at the absolute summit of his powers. The quartets of Op.76 wore contemporaneous with "The Creation" and Geiringer points out that tho last movemonts, of two of them are based on the idea expressed in the immortal passage from minor to major to the words "Lot there be light". Great though the proccoding quartets had been, Geiringor romarks that "if an appropriate motto be sought for this serios (Op.76) the word "Excelsior" should be the first choice. Everything here is condensed and intensified, the expression more personal and direct". The first movement of the Quartet No.1 opens, unusually for Haydn, with a short chordal introduction. The cello immediately announces the first theme which is repeated in fugal fashion by the other instruments. The short, deeply expressive slow movement opens

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2. Three times instrume other ti cues fro with a tonder chorale-like theme; this is thrice popeated in the course of the movement, each time fading into passages of light, delicate figuration. The Trio remains but the Minuet has IS become a one-beat-in-a-bar Scherzo, much like those of the young Beethoven. Although the work is based on the major key, Haydn starts the vigorous finale in the key of G minor a feature only imitated by Mendelssohn in his Italian Symphony and by Brahms in his B major Trio and F major Symphony. This does not, however, signify a completo change of mood but acts as a kind of retardation before the final solution. Here in the second half, the key passes from minor to major completing the architecture of the work. Hero, again, Haydn's shows his consummate feeling for key relationship showing. Essay for a String Quartet II Douglas Young (b. 1947) First Performance CAS (This work was commissioned by the Huddersfield Music Society with funds provided by the Arts Council of Great Britain) Shortly before beginning work on my String Quartet I attended a performance of Mozart's Piano Quartet in G minor. Although I knew the work quite well from gramophone records, I was immonsoly struck by a quality in the work which had previously failed to register with me. It was above all the dramatic quality of the music which impressed me and, particularly, the way in which this was expressed through the interplay of the performers' personal- ities. No form of music-making has lost so much from radio and gramophone transcription as chamber music, because an essential part of the experience is in scoing the group of porformers reacting to each other within the "scenario" of the music. This consideration dominated my thoughts while writing my Quartet. I wished to create a form which would encompass tho maximum degree of dramatic intorplay between the four instrum- entalists. At cortain timos I wished the players to unite in a common point of view, at other times to seem completely indepon- dant of each other; and, of course, to include all nuancos isted between these extremes. All this manifests itself on a toch- 8 nical lovel in various ways, the most evident being the rhythmic construction of the work. The instruments only occasionally join in a common tempo; still loss frequently in a common rhythmic articulation. Often two or three independant tempi (each with contrasting musical gestures) are divided among the instruments% and at the conclusion of the work all four Th

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3° instruments play separato musical idoas in independant tempi. At other times all sense of pulse is suspondod, the players reacting to cues from one another in a quasi improvisatory manner. The form of the work is founded on similar ideas. It is not concerned with a progressive development of a number of clearly defined themes, but rather with the continual ebb and flow of waves of sound built from small melodic and rhythmic cells. The music is always in a state of flux accelerating, slowing down - echoing earlier passages, foreshadowing future ones - contradicting itself - pausing equivocably.. The title "Essay" was chosen because the work is short and I) extremely concentrated. It represents my thoughts in this medium for the time being; but already I can see elements in it which deserve extension and elaboration. Should the work be given again in a year's time I would be surprised if it had not grown considerably. The work is too labyrinthine for a traditional programme-note description to be of much help to the listener. But the idiom of the piece may have points of contact with the composers who interest me most at the present: Elliot Carter, Pierre Boulez and Peter Maxwell Davies.dj I am deeply indebted to the Aeolian String Quartet for under- taking the first performance and to the Huddersfield Music Society for commissioning it and to whom it is respectfully dedicated.food (Douglas Young) defi ********************************** COFFEE INTERVAL OF 15 MINUTES tto ogoffo y********************************** effo Isvoll odd Quartot in G minor Op.10 a feel to HT III Anime et tres decide MUOY BAIDUOG Debussy (1862-1918) An oved Assez vif at bien rythme Andantino doucement expressif Tres modero (Last performed in 1968 by the Wissema String Quartot) odd Claude Debussy, perhaps the most influential French composer of his generation, sprang from a family of no particular musical talent. After a convontional training, he settled down to a retired life of composition never holding any official appointment and rarely appearing in public. His work can roughly be divided into three periods; the first, a period of immaturity lasting until about 1890, then some twenty years of mature work and finally a few last years of declining health and activity. His early work showed traces anoiae moo ee lumes of in has 15 ung

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I : 4. of external influences but he soon evolved a style and process of thought entirely his own. No composer ever had a keener or more subtle feeling for beauty, colour, poetic suggestiveness and atmosphere%; added to these went a perfect genius for craftsmanship. This Quartet - - his only composition in this form - was written in 1893, the early years of his finest period. In it Debussy uses the "cyclic principle". Yet "the impression created is not a work of contrasts and logical development but a sort of visionary work based upon the transformation of a single thome". (Lockspeiser). The gay and rhythmic first movement opens with the 10"motto" of the whole work. The theme of the Scherzo - a movement of pure fantasy is directly derived from that theme. The third movement is a dreamy Nocturne. The composition of the quartet was immediately followed by that of L'Apres-midi d'un Faune; this slow movement clearly foreshadows the later development. The impetuous finale again contains a further transformation of the "motto" But, apart from the details of its construction, the quartet is a work of sheer elusive beauty; it "moves like a young fawn, spins the gayest, most silken, most golden of spider- webs, fills one with delights of taste and smell and sight and touch". (Rozenfeld). DOUGLAS YOUNG. Among the newest generation of British composers, few have received such critical acclaim as Douglas Young. Born in London in 1947, he studied at Trinity College of Music and later won a scholarship to the Royal College. While still a student, his Sonata for String Trio brought him a Cobbett memorial prize. More recently his outstanding abilities have gained further recognition with the Karl Rankl prize for the orchestral work "Departure", written for the Scottish National Orchestra and a B.B.C. award for his setting of Yeat's poem The dancing days are gone". The fluency and vitality of his music has brought a natural association with ballet "The Listeners", choreographed in 1969 for the Royal Ballet School, and "Pasiphae", a ballet based on the Minoan Legend, commiss- ioned by the Royal Ballet Choreographic Group and now in the repertoire of the Bavarian State Theatre, Munich. Other commissions include a setting for chorus and orchestra of "Sir Patrick Spens" for the London Borough of Newham and a large scale cantata "Of Birds and Beasts". Mr. Young is at present 00 working on an opera and fulfilling two further orchestral to Y commissions. - THE AEOL of the reputat

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or ess 50 THE AEOLIAN STRING QUARTET has for some time been regarded as one of the finest string quartets ever formed in Britain and now their reputation is world-wide. In 1966 the Quartet made its first coast to coast tour of U.S.A. and Canada; this has since become a regular event in their activities. They toured Mexico in 1969 and Australia in 1971 as well as under-taking many engagements in Europe. There is little that the members of the Quartet have not achieved in Great Britain. They have a regular series of concerts in the Queen Elizabeth Hall, London. Their very success- ful debut at the Edinburgh Festival was followed by an immediato invitation to return to Edinburgh for the 1972 Festival. They have appeared at all the other leading festivals, as a quartet at the Promenade concerts and have made innumerable recordings for the B.B.C. Future plans include the recording of the Mozart String Quartets with a major international company. In 1970 they were awarded honorary degrees by Newcastle University. The members of the quartet were all well known as chamber music players and teachers before they formed the Aeolian Quartet. The former leader Sydney Humphries left this year to take up a teach- ing post in Canada. His place has been taken by Emanuel Hurwitz; he holds a special place in British music as one of the country's finest chamber musicians and soloists. THE HUDDERSFIELD MUSIC SOCIETY ****************************** Mayor's Reception Room, Town Hall February 14th. ALLAN SCHILLER Monday Evenings at 7.30 Piano Recital Prelude and Fugue in D major Bk. II Bach off Shostakovich Prelude and Fugue in F major Sonata No. 6 in A major Op.82 Poissons d'or (Images) Meditation sur un motif de Debussy Suite Espanola March 6th. Prokofiev Debussy Kodaly Albeniz MARIA ROBLES AND CHRISTOPHER HYDE SMITH - Harp and Flute. Single tickets 65p from Messrs. Woods, 67 New Street 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 by the Arts Council of Great Britain. Generous support is also given by the Yorkshire Arts Association

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THE HUDDERSFIELD 6. GRAMOPHONE SOCIETY ************************************** Waverley House, New North Road. Monday Evenings at 7.30 January 17th. Chamber Music and Song. Presented by Mr. M. Hampshiro and Mr. K. Dearnley. 31st. English Composers. Presented by Mrs. D. Roberts.a Annual subscription £1.20, from January 1st 70p. Students and Senior Citizens half fee. Hon. Secretary: Mr. D. Bostock, 16 Imporial Road, Huddersfield, HD3 3AF. St. Jude's Church THE HALIFAX PHILHARMONIC CLUB ******************************** Saturday January 22nd at 7.30 p.m. THE MELOS ENSEMBLE Septet in B flat major Septet in E flat Op.20 Berwald Beethoven Single tickets 65p from Mrs. Hanson, 23 The Crescent, Hipperholme, Halifax and at the door. THE HUDDERSFIELD THESPIANS ************************** The Arts Centre, Queen Street January 17th-22nd at 7.30 RING ROUND THE MOON by Jean Anouilh (translated by Christopher Fry) Tickets 25p from Messrs. Woods, 67 New Street (Concessionary prices for Senior Citizens on Mondays) THE AEOL of the reputat

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mpsh 30 5° THE AEOLIAN STRING QUARTET has for some time been regarded as one of the finest string quartets ever formed in Britain and now their reputation is world-wide. In 1966 the Quartet made its first coast to coast tour of U.S.A. and Canada; this has since become a regular event in their activities. They toured Mexico in 1969 and Australia in 1971 as well as under-taking many engagements in Europe. There is little that the members of the Quartet have not achieved in Great Britain. They have a regular series of concerts in the Queen Elizabeth Hall, London. Their very success- ful debut at the Edinburgh Festival was followed by an immediate invitation to roturn to Edinburgh for the 1972 Festival. They have appeared at all the other leading festivals, as a quartet at the Promenade concerts and have made innumerable recordings for the B.B.C. Future plans include the recording of the Mozart String Quartets with a major international company. In 1970 they were awarded honorary degrees by Newcastle University. The members of the quartet were all well known as chamber music players and teachers before they formed the Acolian Quartet. Tho former leader Sydney Humphries left this year to take up a teach- ing post in Canada. His place has been taken by Emanuel Hurwitz; he holds a special place in British music as one of the country's finest chamber musicians and soloists. THE HUDDERSFIELD MUSIC SOCIETY ****************************** Mayor's Reception Room, Town Hall February 14th. ALLAN SCHILLER Monday Evenings at 7.30 Piano Recital Prelude and Fugue in D major Bk. II Prelude and Fugue in F major Sonata No. 6 in A major Op.82 Poissons d'or (Images) Meditation sur un motif de Debussy Suite Espanola March 6th. Shostakovich Bach Prokofiev Debussy Kodaly Albeniz MARIA ROBLES AND CHRISTOPHER HYDE-SMITH Harp and - Flute. Single tickets 65p from Messrs. Woods, 67 Now Street 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 by the Arts Council of Great Britain. Generous support is also given by the Yorkshire Arts Association

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THE HUDDERSFIELD 6. GRAMOPHONE SOCIETY bold won************************************** Waverley House, New North Road. January 17th. Monday Evenings at 7.30 Chamber Music and Song. Presented by Mr. M. Hampshire and Mr. K. Dearnley. 31st. English Composers. Presented by Mrs. D. Roberts. Annual subscription £1.20, from January 1st 70p. Students and Senior Citizens half fee. Hon. Secretary: Mr. D. Bostock, 16 Imperial Road, Huddersfield, HD3 3AF. THE HALIFAX PHILHARMONIC CLUB ******************************** Saturday January 22nd at 7.30 p.m. St. Jude's Church THE MELOS ENSEMBLE Septet in B flat major Septet in E flat Op.20 Berwald Beethoven Single tickets 65p from Mrs. Hanson, 23 The Crescent, Hipperholme, Halifax and at the door. THE HUDDERSFIELD THESPIANS ************************** The Arts Centro, Queen Street January 17th-22nd at 7.30 RING ROUND THE MOON by Лобой ye Jean Anouilh (translated by Christopher Fry) Tickets 25p from Messrs. Woods, 67 New Street (Concessionary prices for Senior Citizens on Mondays)

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THE HUDDERSFIELD MUSIC SOCIETY *******************************wall dat die Fifty-fourth Season 1971-72 bo to obam et sem doull Mayor's Reception Room Town Hall Comoxxooxs offe no novo ved rol Monday February 14th 1972 ALLAN SCHILLER ************** Programme Prelude and Fugue in D major Bk.II Chipar tod Bach (1685-1750) At Coethen in 1720 Bach began to keep a musical note book for his 10 year old son, Wilhelm Friedeman. It consisted of a series of of exercises in all the 24 keys both major and minor with Bach's usual pious heading "In Jesus's Name". From this beginning The 're Well-Tempered Clavier grew. In its completed and much expanded voda form camo the appearance of the first book in 1722; the second book did not appear until 20 years later. These two works were landmarks in the history of music. Not only did they set the seal upon a method of tuning upon which all later music was to be based but also they contained a wealth of mood and emotion, ranging from tho most sublime to the lightest and gayest, formally unknown and lator never surpassed, and an equal wealth of musical scholarship, dofining and establishing for all time instrumental counterpoint of and fugue. The D major Prelude is like a brilliant toccata. The four-q/ part fuguo is a dignifiod piece of musical architecture; almost q every note is related to the theme, evon the episodes being formed from sections of it and stretti abound. Prelude and Fugue in F major Op. 87 bowort tish bas ibyog" odt Shostakovich (b.1906) snol Shostakovich has written a considerable amount of music for b the piano. As carly as 1932-3 he wrote a set of 24 Preludes (Op.34) but it was not until 1951 that this set of 24 Preludes and Fugues in, as with Bach, all the 24 keys was completed. It is too immensely interesting to hear these two works in the same form played in the same programmo and to contrast the effects and styles of the old and new master. Only one other composer-Hindomith in his Ludus Tonalis has attempted a somewhat similar feat. The Preludes themselves take many different forms; none are essentially d contrapuntal in character; some are pure introductions to the Fugue, others are in sharp contrast, others hint at the fugal -

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1721 0182. subject to follow, others have no apparent connection at all. Much use is made of modulation and chromatic colouring. The Fugues range from 2 to 5 voices, the majority being in 3 or 40 Some are extremely adventurous using a wide range of key and colour. They cannot be considered as purely contrapuntal works for they cover an area of scale, colouring and emotion far wider than Bach did. The Prelude and Fugue in F major (No. 23 of the set) are both tranquil and slow-moving. The Prelude opens with a short smooth theme which returns after a contrasting and chromatically coloured episode. The theme of the 3-voice Fugue, too, is smooth; the rhythm of its first two bars persists almost throughout in many guises and with chromatic changes. Both Prelude and Fugue are shadowy in effect; nowhere does the volume of tono arise above mezzo forte. Sonata No. 6 in A major Op. 82 Allegro moderato Allegretto Prokofiev (1891-1953) Tempo di valso lentissimo Vivace In 1939 Prokofiev decided to compose 3 piano sonatas, a form which he had long neglected. Themes for these had long been stored in his mind as was his usual custom, but the first sonata (performed tonight) was not completed until 1940%; the second appearance in 1942 and the third in 1944. In this Sonata Prokofiev demonstrates all his old love for piano virtuosity which he showed in his earlier years. "Miakovsky commented on the "power and daring" of this music and also the novelty of the style which he called a mixture of the old and new Prokofiev. Indeed certain features of Prokofiev's earlier writing, such as rigid harmonies and barbaric rhythms (1st movement) and light texture in the style of Scarlatti (finale) are strangely combined here with profound lyricism and mature emotion. Sonata is interesting for the unusual complexity of its content and the extreme sharpness of its contrasts. For all its complexity, one can sense a hidden programme in the arrangement of its musical images, which range from the frighteningly harsh to the delicately lyrical". (Nestyev). This The opening theme of the first movement, a warlike march in contrast the second theme is is brutal in its power; fu by trained devels out the pitch θάτρητου

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Pr I S чт t all. X 3° The f restrained and devoid of emotion. These two themes clash through- out the movemont. Much use is made of contrapuntal devices. development section makes use chiefly of the second theme accompanied by restloss, hammering ostinato figures. This section rises to a pitch of fury made the greater by various percussive devices including even blows by the fist. After a lull the main theme returns but again the coda is full of storm and fury. The second movement is in complete contrast with its dance-like gaiety. It has a rhythmic grace and charm which recalls some of Prokofiev's earlier music. The third movement, "a lyrical nocturne in the rhythm of a slow waltz is equally appealing. In the sensuous yet austere play of its harmonic colours and in the fresh lyricism of its molody, this music resembles the romantic passages of Romeo and Juliet, suggesting a theatrical scene filled with clandestine trysts and lovers' sighs. The rich and vivid harmony, with its wealth of polyphonic writing in the inner voices, differentiates the two middle movements from the terrifying clashes of sound in the first". The finale opens in gay and lighthearted mood with swiftly running passages. A dramatic change follows in the rocapitulation. The warlike sounds of the first movement return again and their terrifying power remains even when the principal thomes recur in the recapitulation. "The frenzied images of evil, temporarily displaced by the warm lyricism and gentle humour of the middle movements, again triumph at the end of the finale, and the Sonata concludes on a note of gloom and unconcealed anxiety". (Nestyev). In all, a work of great interest and power calling for a dazzling display of piano virtuosity. COFFEE INTERVAL OF FIFTEEN MINUTES ********************************** Poisson d'or (from Images Bk.II) Debussy (1862-1918) X The two sets of Images were written in 1905 and 1907. In them the impressionistic subjects are treated with great skill and poetic sensibility; added to that, they mark a significant advance in tho treatment of the piano. The inspiration of Poisson d'or has been ascribed to a piece of Oriental lacquer or embroidery in Debussy's possession representing a leaping water faun, but the music surely suggests more nearly its specific title - the flashing movement of the fish in the glitter of the water. Whatever its origin may be, it is a piece of rare fantasy. lasig dal Meditation sur un motif de Debussy. Kodaly (1882-1967) Kodaly has written relatively little for the piano but what he

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4. has produced has been beautifully written and displays a new kind of piano technique. In 1907 Kodaly paid a visit to Paris where he made the acquaintance of many French musicians and led him to make an intensive study of the work of Debussy whom he greatly admired and whose work was at that time virtually unknown in Hungary. This admiration, which Kodaly retained all his life, There was a was followed by the composition of the Meditation. natural link between Magyar music and Debussy in the use made by both of the pentatonic scale. Suite Espanola Alboniz (1860-1909.) Granada Cataluna Sevilla Cadiz bgs Asturias Aragon An infant prodigy, Albeniz made his first appearance as pianist and composer at the age of 7. He studied at the Madrid Conservatoire, later at Brussels and Leipzig and with Liszt at Weimar. After touring, he settled down to teach at Barcelona and Madrid but left soon and spent the remainder of his life in Paris and London. His friendship with Debussy led him to tho composition of very many attractive piano pieces. In spite of his restless life and the many influences on him, the Spanish elomont remainod constant. Although his output, including operas, was quite large, he will be best remembered for his piano compositions which are obviously the work of a fine virtuoso of the instrument. **************************** ALLAN SCHILLER was born in Leeds in 1943. He made his first concert appearance with a professional orchestra at the age of 10, the conductor being Sir John Barbirolli. As a child prodigy he played not only in many parts of the country as woll as making a gramophone recording, but also as a soloist with the National Youth Orchestra on outstandingly successful tours of the Continent. At 16 he began to study with Denis Matthews he had first begun his studies with Fanny Waterman and he later became the first British pianist to be accepted as a full-time student at the Moscow Conservatoiro. After this he studied for a further year with Agosti in Rome before returning od of Jud one end of Гелов azoq England in Piano Medal. as a child pr generation. ntry in ras

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We Lod eyeb коарка: STI new 5. to England in 1965. In 1966 he was awarded the Harriet Cohen Piano Modal. Allan Schiller has established himself no longer as a child prodigy but as one of the oustanding pianists of his generation. In the last few years he has played all over the country in recitals and in concertos with the leading symphony orchestras. THE HUDDERSFIELD MUSIC SOCIETY ****************************** Mayor's Reception Room, Town Hall. Monday, March 6th. Monday Evenings at 7.30 MARISA ROBLES and CHRISTOPHER HYDE_SMITH Harp and Flute Recital. Works by Krumpholtz, Handel, Hasselmans Telemann, William Alwyn, John Metcalf, Debussy, Honnoger, Guridi, Salzedo and G. Waltors. Single tickets 65p from Messrs. Woods, 67 New Street 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 by the Arts Council of Great Britain. Generous support is also given by the Yorkshire Arts Association THE HUDDERSFIELD GRAMOPHONE SOCIETY ************************************* Waverley House, Now North Road. February 21st. Wilhelm Stenhammer. Monday Evenings at 7.30 Presented by Mr. H. Truscott Annual subscription £1.20 from January 1st 70p. Students and Senior Citizens half fee. Two visits permitted without obligation. Hon. Secretary: Mr. D. Bostock, 16 Imperial Road, Huddersfield HD3 3AF.

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6. THE HALIFAX PHILHARMONIC CLUB ******************************** nt bag of LaboM one bidos es The Lecture Hall Friday February 11th Harrison Road. 7.30 p.m. THE BARTOK STRING QUARTET Quartet in E flat major K.428 Quartet No. 1 Op. 7 Quartet in F major Op.59 No. 1 Mozart Bartok Beethoven exovel Single tickets 65p from Mrs. Hanson, 23 The Crescent, Hipporholmo. Halifax and at the door. TobacH THE HORBURY CONCERT ******* SOCIETY **************** Horbury Secondary School. Saturday March 11th at 7.30 p.m. ERIC HILL Guitar Recital qua Tickets 50p, 40p, 30p. Hon. Secretary: Mrs. Audsley, 25 Tithe Barn Street, Horbury, Wakefield. THE HUDDERSFIELD THESPIANS ************************** Enova yabuc The Arts Centro, Queen Street. March 6-11th at 7.30 LITTLE MALCOLM AND HIS STRUGGLE AGAINST THE EUNUCHS A Comedy by David Halliwell Tickets 25p from Messrs. Woods, 67 New Street (Concessionary price for Senior Citizens on Mondays)

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THE HUDDERSFIELD MUSIC SOCIETY ****************************** Fifty-fourth Season 1971-72 Mayor's Reception Room, Town Hall Monday March 6th 1972 MARISA ROBLES AND CHRISTOPHER HYDE-SMITH **************************************** Programme Sonata for Harp and Flute Allegro Lugors Krumpholtz (c.1745-1790) bas Romanze Tempo di menuetto (Rondo) Krumpholtz was a famous Bohemian harpist. From 1773-1776 he was a member of Prince Esterhazy's chapel, taking lessons in composition from Haydn and seeking to make improvements in the Construction of his own instrument - the harp. He later settled in Paris as a teacher and a virtuoso. His wife was said to be an evon finer harpist than himself but after her elopement, he drowned himself in the Seine. His brother Walter was a violinist in Vienna and an intimate of Beethoven's. Krumpholtz wrote a number of compositions which include 6 concertos, 32 sonatas for harp and violin, a quartet for harp and strings and symphonies for harp and small orchestra. Harp: Passacaglia La Source Handel (1685-1759) Hasselmans (1845-1912) Hasselmans, a Belgian by birth but later a naturalised b Frenchman, early showed conspicuous virtuosity, He settled in Paris where he became professor of the harp at the Conservatoire in 1884 until his death. It was largely due to his efforts that the revival in harp-playing was started. His works have made pleasing additions to the repertoire of that instrument and his own playing inspired many compositions by other musicians who dedicated these works to him. Flute: Fantasy No. 6 in D minor for unaccompanied flute Telemann (1681-1727)

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2. Dolce Allegro Spirituoso Telemann was born in Hamburg. Without receiving any regular instruction but by the diligent study of scores, he trained himself as a musician. In 1700 while a student of languages and science at Leipzig University, he was appointed organist of the Neukirche; thereafter he held similar posts returning finally to end his career in Hamburg. A lengthy visit to Paris gave him keen appreciation of French music and taste. The number of his compositions was so enormous that it was stated that he himself could not count them all, and Handel, too, commented upon his facility. As well as a mass of church music, orotorios cantatas and services. Telemann also wrote an astonishing number of operas. (*) Fantasy Sonata: Naiades (1971) William Alwyn (b.1905) In one movement (Works marked (*) have all been written for Maria Robles and Christopher Hyde-Smith) Alwyn studied at the R.C.M. with flute, piano and composition as his subjects, the last under McEwen; he was awarded the Costa Scholarship. He has written a considerable amount of music, including string quartets, as well as music for films. COFFEE INTERVAL OF 15 MINUTES ************************************ (*) Episodes John Metcalf Cadenzas Collages (Commissioned for the Cardiff Festival 1971) Flute:

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Flute: Syrinx 3. _Debussy (1862-1918) Danse de la Chevre Harp: (*) Zortziko mod Honneger (1892-1955) Guridi (b. 1880) HADE Guridi, a Spaniard of Basque origin, studied in Paris, Brussels and Cologne. His work is principally based on Basque songs. Zortziki is a Basque dancing-song now usually in 5/8 time. Song in the Night. Salzedo (b.1886) Salzedo is a French-born harpist resident in the U.S.A. He went to Now York on Toscanini's invitation to become the first harpist at the Metropolitan Opera, later becoming professor of the harp at the Julliard School. He has written much for his instrument, introducing many new effects. He has shown great interest in modern music and, with Verese, founded the International Composers' Guild. (*) Little Suito ovig of Alle gro Lento boob Allegro con ritmico Allegretto con semplice. G. Waltors Is to on ******************************************************************** MARISA ROBLES began her musical studies at the age of 5. When 9 she won the first prize of the year on Radio National of Spain at 15 she completed her studies at the Madrid Royal Conservatoiro with the Premiere Prix and First Medal; at the age of 21 she was appointed Professor of Harp at that institution. Nearly every Spanish composer has written works for her. For the past 7 years she has made her home in England where she has given many concerts as well as on the Continent. She is Harp Tutor to

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4. the National Youth Orchestra and is now appointed Professor of Harp at the R.C.M. She is married to Christopher Hyde-Smith with whom she frequently plays. CHRISTOPHER HYDE-SMITH was born in Egypt and educated at Eton. From there he won a scholarship to the R.C.M. where he is now Professor of Flute. Formally engaged in orchestral work, he now concentrates on solo playing and chamber music; since 2 1961 he has been principal flute with the London Mozart Players. He has toured Russia with an ensemble directed by Benjamin Britten. He broadcasts frequently, particularly with Charles Spinks, harpsichordist. He has also toured Spain with his wife with great success. ********************************************** ********* THE HUDDERSFIELD MUSIC SOCIETY ****************************** Fifty-fifth Season 1972-73 The Committee are very pleased to announce that the following arrangements are in process of completion 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 support by bringing these concerts to the notice of all interested music lovers. This aid will, indood, be greatly appreciated. October 9th November 17th December 4th January 15th THE CZECH TRIO (Piano, Violin and Cello) ANTHONY GOLDSTONE Piano Recital THE STUDENTS' CONCERT THE ALBERNI STRING QUARTET February 12th THE TALICH STRING QUARTET April 2nd. THE KING'S SINGERS (The first Concert of the Huddersfield Festival of the Arts) под Tickets Hon. S 56

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5. The Tickets will be sent in due course to all present members. Hon. Secretaries, Miss 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. THE HALIFAX PHILHARMONIC CLUB ***************************** Lecture Hall, Harrison Road. Wednesday March 22nd at 7.30 STUDENTS OF THE HUDDERSFIELD POLYTECHNIC Single tickets 50p (Students 20p) from Mrs. Hanson, 23 The Crescent, Hipperholme, Halifax and at the door. THE HUDDERSFIELD GRAMOPHONE SOCIETY ************************************** Waverley House, New North Road. March 13th. Members' Choice March 27th. April 10th. April 24th. May 8th Monday Evenings at 7.30 Orchestral Music (Presented by Mr. K. Chilvers) Choral Music (Presented by Miss E. Williams) Bloch and Beethoven (Presented by Mr. B. Jenkinson) Technical Evening (Presented by Mr. D. Bostock) Annual subscription £1.20 after Jan 1st 70p. Students and Senior Citizens half fee. Refreshments. Two visits permitted

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6. without obligation. Hon. Secretary Mr. D. Bostock, 16 Imperial Road, Huddersfield HD3 3AF. егода HORBURY CONCERT SOCIETY *********************** Horbury Secondary School Saturday March 11th at 7.30 ERIC HILL Guitar Recital Tickets 50p 40p 30p. Hon. Secretary, Mrs. Audsley, 25 Tithe Barn Road, Horbury, Wakefield. THE HUDDERSFIELD THESPIANS *************************** food The Arts Centre, Queen Street. March 6th 11th. (Owing to power cuts, Tuesday performance at 8.15, no performance on Friday, other evenings at 7.30) LITTLE MALCOLM AND HIS STRUGGLE AGAINST THE EUNUCHS A Comody by David Halliwell Tickets 25p from Messrs. Woods, 67 New Street. dedua Isunn bodd immoq adie prof. Med as on