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The Huddersfield Music Society, HMS 55 |
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1 The Huddersfield Music Society, HMS 55, Page 1 |
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HUDDERSFIELD MUSIC SOCIETY
Brochure
55th Season's programmes 1972-1973
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FIFTY-FIFTH SEASON
1972-1973
The
Huddersfield Music
Society
WT.
The Monday Concerts
7-30 p.m.
MAYOR'S RECEPTION ROOM, TOWN HALL,
HUDDERSFIELD
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3 The Huddersfield Music Society, HMS 55, Page 3 |
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FIFTY-FIFTH SEASON
1972-1973
The
Huddersfield Music
Society
WT.
The Monday Concerts
7-30 p.m.
MAYOR'S RECEPTION ROOM, TOWN HALL,
HUDDERSFIELD
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October 9th 1972
THE CZECH PIANO TRIO
Violin
Cello
Piano
Ivan Straus
Sasha Vectomov
Josef Palenicek
Trio in D major Op. 70 No. 1 Beethoven
Trio in A minor
Ravel
Trio Op. 90 (Dumky)
Dvorak
This Trio was originally founded in
Paris before 1939 and is distinguished
by a rare synthesis of innate Slavonic
musicianship and Latin refinement. It
speedily won renown as one of the most
attractive of European chamber music
groups. The founder and inspirer of the
Trio is the pianist and composer Josef
Palenicek. Sasha Vectomov, a pupil of
Rostropovich is one of the finest of Czech
cellists. Ivan Straus is a graduate of the
Moscow Conservatoire and an impor-
tant winner of many international com-
petitions.
November 13th 1972
ANTHONY GOLDSTONE
Six Moments Musicaux
Schubert
Sonata in A flat Op. 110.... Beethoven
Pictures at an Exhibition Mussorgsky
This young English pianist, appear-
ing at these Concerts for the first time,
comes with the reputation of being not
only a considerable virtuoso but also, as
one critic wrote, "a real artist of pro-
found musicianship and rare insight."
The Telegraph critic wrote of his "re-
markable nay, astonishing perform-
ance" and of his "extraordinarily mature.
musical intelligence". He has already.
achieved marked success in Europe and
the U.S.A.
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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and
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.
Edward Glendinning, Esq.
W. E. Thompson, Esq.
Joint Hon. Secretaries:
Mrs. J. de Nikitin-Solsky, 37 Gynn Lane, Honley, HD7 2LE.
Tel. Hudd. 61696.
Miss C. Alison Shaw, 3a Vernon Avenue, HD1 5 QD. Tel. Hudd. 27470
Hon. Treasurer:
P. Michael Lord, National Westminster Bank Ltd., John William Street, HD1 1BJ
R. Barraclough
S. H. Crowther
David Dugdale
Miss K. Evans, B.A.
Executive Committee:
P. G. C. Forbes,
M.A., A.R.C.O.
Mrs. E. Glendinning
I. M. Lee
S. Rothery
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
Miss E. K. Sawers
Max Selka
E. C. Shaw
J. J. Valner
Mrs. 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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December 4th 1972
CONCERT BY STUDENTS
OF THE SCHOOL OF
MUSIC, HUDDERSFIELD
POLYTECHNIC
Programme to be announced later.
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.
January 15th 1973
THE ALBERNI STRING
QUARTET
Howard Davies
Peter Pople
Berian Evans
Gregory Baron
Violin
Violin
Viola
Cello
Quartet in G major Op. 64 No. 4 Haydn.
Quartet in F sharp minor No. 2
Tippett
Quartet in B flat major Op. 130
Beethoven
The Alberni String Quartet, making
a welcome return visit (incidentally the
only return visit of this Season), was
first formed in 1961. Throughout the
years their reputation as one of the
leading British String Quartets has
steadily grown. Their repertoire is ex-
tensive, ranging from Purcell to first
performances of works by important
modern composers. In particular they
received high praise for their perform-
ance of the late quartets of Beethoven
during the bi-centenary year. They all
play upon early Italian instruments.
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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member please endeav
TO ALL MEMBERS.
return visit this Season.
ceived an immediate in
the success was so great
They made their British (
both throughout Europe
They have toured with
player is the nephew of 1
Vaclav Talich. The Q
of the great Czech condi
Janacek Quartets. It has 1
Conservatoire as did the
in 1962 and originated frc.
The Talich String Quart
Please send me
REMITTANCE FORM
(for the use of PRESENT MEMBERS ONLY)
To the Hon. Treasurer, National Westminster Bank Ltd., John William Street, HD1 1BJ
I enclose £.
Double (Single) Season Tickets
in payment for
Name
Address
1
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 £.
Name
Address
t
Cheques should be made payable to "The Huddersfield Music Society"
Receipts will not be issued unless requested
(BLOCK LETTERS PLEASE)
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all
February 12th 1973
THE TALICH STRING
QUARTET
Petr Messiereur
Jan Kvapil
Jan Talich
Euzen Rattay
Violin
Violin
Viola
Cello
Quartet in A major (1730)... Jan Zach
Quartet in E flat Op. 125 No. 1
Schubert
Quartet in A flat Op. 105 ... Dvorak
The Talich String Quartet was formed
in 1962 and originated from the Prague
Conservatoire as did the Smetana and
Janacek Quartets. It has taken the name
of the great Czech conductor, the late
Vaclav Talich. The Quartet's viola
player is the nephew of the conductor.
They have toured with great success
both throughout Europe and America.
They made their British debut in 1971;
the success was so great that they re-
ceived an immediate invitation for a
return visit this Season.
April 2nd 1973
THE KING'S SINGERS
Nigel Perrin Counter-tenor
Alastair Hume Counter-tenor
Alastair Thompson
Anthony Holt
Tenor
Baritone
Simon Carrington Baritone
Brian Kay
Bass
Sixteenth Century English and German
sacred Motets
Italian Madrigals and French Chansons
"Laudes de Saint Antoine de Padoue"
Poulenc
English Folk-songs
"The Musicians of Bremen" (1972)
Malcolm Williamson
Five arrangements in close harmony.
The King's Singers were originally all
Choral Scholars of King's College, Cam-
bridge, but have now admitted an Ox-
ford man into the group. They made
their London debut in 1968 at the
Queen Elizabeth Hall; since then they
have toured the country widely. They
made a highly successful tour of Aus-
tralia and New Zealand and appeared
at the Nottingham and Cheltenham Fes-
tivals; they will shortly undertake a tour
of South Africa. Plans are being made
for a series of recordings covering the
whole range of their repertoire. A
recent Press notice reads: "the con-
certs were made memorable by the
King's Singers who have perfected a
vocal ensemble which for sheer enter-
taining musicality and variety of reper-
toire must be unique ... singers who
have brought the finesse of a great
string quartet to their special medium."
This Concert is given in association
with the Huddersfield Arts Council.
Please note: The Concert will be
given in the Area of the Town Hall.
TO ALL MEMBERS. An increase in membership is most essential. Could each
member please endeavour to obtain at least ONE new member.
SEASON TICKETS
Double
£5
(for two persons not necessarily
of one family)
Single
£3
Single tickets
75p
Student tickets
15p
(Bona fide Students under 21)
Third Concert only
..... 50p
Single tickets
Student tickets
......... 10p
Student Season Tickets.
are not issued.
*******
LAST SEASON'S MEMBERS
Tickets as issued last year to
all 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 as
as soon as
possible, please.
Multi-Storey Car Park in
close proximity to Hall
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THE HUDDERSFIELD MUSIC SOCIETY
******************************
Fifty-fifth Season 1972-73
Mayor's Reception Room, Town Hall,
Monday, October 9th 1972.
***********************************
Ivan Straus (Violin)
THE CZECH TRIO J
******************
Sasha Vectomov (Cello)
neno 03
Josef Palenicek (Piano)
Programme
I
Trio in D major Op. 70 No. 1
Beethoven (1770-1827)
Allegro vivace e con brio
Largo assai ed espressivo
Presto
(Last performed in 1954 by the Robert Masters Trio)
The most usual and important form of the instrumental trio is
for piano violin and cello. It is a development of the early Sonata
a tre in the contrapuntal style and usually written for clavier (or
harpsichord), violin and bass viol (the forerunner of the cello).
In general, the bass viol was used merely to double the bass of the 10
keyboard instrument. It was not until the time of Haydn that the
three instruments began to attain to some independence of movementos
and character, and sonata form was adopted for trios as it was for dog
quartets. Haydn's Trios, though they are "full of his grandest forms
and most pregnant ideas" (Tovey), are really sonatas for the piano
with violin and cello parts which are still little more than pesa
accompaniments. Mozart gave to the cello part an increasing
importance, but it was left for Beethoven to give complete freedomfro
and individuality to all three instruments, to proportion the interest
and to give a just balance of tonal effect. This question of balance
still remains a problem, and a piano trio demands the nicest of Ind
judgement both from the composer and the performers.b
Beethoven left 6 piano trios. The first three Op. 1 were early
works published in 1795. During the next thirteen years Beethoven
used the piano chiefly as a virtuoso concert instrument or as a solo
instrument allowing free improvisation; but his interest in purely
string ensembles, on a different aesthetic basis, grew and culminated
in the string quartets of Op. 59 (1806). 1808 saw the appearance of
the two trios of Op. 70. In 1811 the last piano trio Op. 97 was
written.
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2.
The
The Trio Op. 70 No. 1 keeps to the three movement form.
first and third movements are not richly scored; they are, in
fact, largely contrapuntal and contain much part-writing which
might almost belong to a string quartet. They are really mere
introduction and epilogue to the largo assai ed espressivo, one
of the most wonderful expositions of melancholy in all Beethoven's
work. It has a mystic character which has given the whole Trio
the nickname of the Geister-trio (Ghost trio), and it may be by
no mere chance that the first studies for this largo are found on
the same sheet of paper which contains the sketch in D for Macbeth
(Bekker). Another explanation of the name is that the movement
was inspired by Beethoven's reading of Hamlet.
II
Trio in A minor
Ravel (1875-1937)
Modere
Pantoum assez vif
Passacaille: tres large
Finale: anime
(Last performed in 1937 by the Pougnet-Morrison-Pini Trio)
After the death of Debussy, Ravel became the leading composer
of France. But his output was relatively small. An
experimentalist, he did not allow a work to appear until his acute
and fastidious critical faculty was satisfied. He was not a
polyphonist as Debussy, to a large extent, was. His harmony is
bold though restrained. The rhythms are striking, and these, as
well as his vivid clear colourings, probably came to him through
his Basque (Spanish) ancestry.
The Trio in A minor (1915) though based on a well-used
combination of instruments, is, however, full of freshness of
idea and treatment. As in his string quartet, the first movement
is of "aphoristic compression, yet is faithful to the spirit of
the classic plan". The first theme has a striking rhythmic
effect in the division of the 4/4 measures into groups of three
and five quavers.
The second movement, "Pantoum", an Eastern
danoe is a fantastic scherzo. The "Passacaille" (an old dance
founded upon a ground bass) is less interesting but the Finale
in 5/4 and 7/4 time, has brilliancy and vigour which leads to
a striking climax. Throughout, the piano part is written with
great skill and understanding, but much of the originality of
the work lies in the way in which the strings are treated with
equal authority and power.
Trio in Er
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re
ch
in
The
3.
red odio Coffee Interval of fifteen minutes
**********************************
III
Trio in E minor Op. 90 (Dumky)
1
Lento maestoso Allegro
Poco adagio Vivace non troppo fr
Ca
Dvorak (1841-1904)
z Andante Vivace non troppo
3 Andante moderato
4
Allegro
Allegretto scherzando
Lento maestoso
Vivace
S
(Last performed in 1961 by the Trio di Bolzano)
Together with Smetana, Dvorak was one of the creators of modern
Czech music. "Dvorak was one of those creative artists who live,
feel and think in music. Music was his life blood, his whole inner
existence; and only in music could he fully express himself. Thus
he created spontaneously, without profound and systematic reflection.
His inspiration sprang directly from intuitive sources and although
on occasion he could be the highly cultivated musician, he rarely b
permitted the dominence of intellect to guide him. In his admirable
versatility Dvorak succeeded in handling every branch of musical art,
and in each department he has left works of permanent value"(Sourek).
Perhaps Dvorak's finest compositions are those of "absolute
music" and, above all, chamber music. His chamber music output
amounts in all to about thirty works. The largest and finest group
are those for strings alone, but there is also a considerable and
important group of compositions for strings and piano. This group
includes four trios of which the "Dumky Trio" is the last and the
best.
"Dumky", a word of Little Russian origin, signifies "laments"
and its principal characteristic is the alternation of yearning
melancholy with moods of wild gaiety. This accords well with
Dvorak's own emotional temperament, prone as he was to reverie and
outbursts of jovial humour. Dvorak had made use in some movements
of earlier works of "Dumky" but this Trio is made up entirely of
Dunky movements. It contains six in all, each thematically
independent and separate though there is a connection in the sequence
of the keys employed. In spite of this, the work does not lack
cohesion. The first three "Dumka" (E minor, C sharp minor, and A
major) are closely linked by the indication "attacca-subito" into
a whole which corresponds roughly to the first movement of a sonata.
A break is then given between the next two by the direction "after a
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4.
short pause. The fourth in D minor, corresponds loosely to the
slow movement; the fifth, in E flat major, has the onorgotic
rhythms of a scherzo. The last, in C minor, rounds off the work
by a return to the form and feeling of the opening Dumka.
*********************
THE CZECH TRIO started in Paris shortly before the last war
where all its founder members studied with the most famous
teachers of that time. It has long been established as one of
the finest of European chamber music groups, making extensive
tours in all five continents.
JOSEF PANENICEK is the founder and inspirer of the ensemble.
His career throughout has been that of a solo artist and a player
of chamber music and in both spheres he has achieved world-wide
renown. He is also one of the foremost of Czech composers.
IVAN STRAUS is a graduate of Moscow Conservatoire and the
winner of many important awards.
SASHA VECTOMOV, a pupil of Rostropovich, is one of the
finest of Czech cellists.
THE HUDDERSFIELD MUSIC SOCIETY
******************************
Mayor's Reception Room, Town Hall.
November 13th.
Monday Evenings at 7.30
ANTHONY GOLDSTONE Piano Recital
Six Moments Musicaux
Sonata in A flat Op. 110
Pictures at an Exhibition
Schubert
Beethoven
Mussorgsky
December 4th. STUDENTS OF THE SCHOOL OF MUSIC, HUDDERSFIELD
POLYTECHNIC
January 15th. THE ALBERNI STRING QUARTET
February 12th. THE TALICH STRING QUARTET
April 2nd. THE KING'S SINGERS
Please Note: Season tickets for the remaining 5 concerts.
Double £4.20 (2 persons), Single £2.50. Single tickets 75p
from Woods, 67 New Street and at the door.
The Na
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rk
Che
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 Arts Council of
Great Britain.
5.
Generous support is also given by the Yorkshire Arts
Association.
THE HALIFAX PHILHARMONIC CLUB
********************************
The Lecture Hall, Harrison House, Harrison Road. Friday
October 20th at 7.30
A MASTER CLASS
Huges Cuenod
Keith Swallow
Tenor
Piano
Three pupils from the Huddersfield Polytechnic will be
coached, followed by a Recital of French songs.
Single tickets 70p (students 20p) from Mrs. Hanson, 23 The
Crescent, Hipperholme, Halifax, and at the door.
Waverley House, New North Road.
THE HUDDERSFIELD GRAMOPHONE SOCIETY
**************************************
Monday Evenings at
7.30
October 16th, Choral and Orchestral music.
Hopkins and Mr. Jenkinson.
Presented by Mr.
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6.
October 30th. Early Romantics. Presented by Mr. Chilvers
and Mr. Nixon.
Annual subscription £1.20. Students and Senior Citizens
half fee. Refreshments. Two visits are permitted without
obligation. Hon. Secretary: Mr. D. Bostock, 16 Imperial
Road, Huddersfield, HD3 3AF.
THE HUDDERSFIELD THESPIANS
****************************
The Arts Centre, Queen Street.
November 20th - 25th. at
7.30 p.m.
RATTLE OF A SIMPLE
MAN
by Charles Dyer.
Single tickets 30p.
Reduced rates for Senior Citizens on
Mondays.
Tickets from Woods, 67 New Street
Huddersfield.
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THE HUDDERSFIELD MUSIC SOCIETY
******************************
Fifty-fifth Season 1972-73
Town Hall
Monday, November 13th 1972
ANTHONY GOLDSTONE
******************
Moments Musicaux Op. 94
1.
2,
ovie 3.
4.
5.
Piano Recital
6.
Programme
I
major
A flat major
F minor
C sharp minor
F minor
A flat major
Schubert (1797-1828)
tanoa
Throughout his life Schubert wrote an astonishing number of
works for the piano. In this category one may perhaps include
the wonderful song accompaniments; he also produced, unusually,
a number of piano duets. The piano was an instrument which he
himself loved to play and to which he turned daily for his own sw
delight and inspiration, but he was never in any sense of the of
word a virtuoso. He was happiest to make music within an
intimate circle; he never wrote a concerto, the vehicle of the
virtuoso. It follows therefore that in his piano music one
finds the most intimate expression of his inmost self. As
Kobald writes: "His piano pieces...wring from the soul, are
intimate, dreamy, romantic and inward. Simplicity and noble ver
construction, combined with the brilliancy of tone-painting,
render them musical miracles such as only proceed from the heart
of genius". Few make great demands on technical ability but
they all demand musicianship of the highest quality.
Both the six Moments Musicaux and the eight Impromptus fence
date from Schubert's last years. Their form is not entirely
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2.
original. Rameau, Scarlatti and P.E. Bach had all written
lyrical piano pieces; the works of Worzischek and Tomaschek
were immediate predecessors; Weber himself had written a
"Momento capriccioso". But Schubert added something more to
these. "They are beautiful miniatures tone-poems, intimate
confidences from Schubert's innermost soul; melodies in
chords, elaborated with a delicate filigree of runs and flights
of harmony that bring us straight into the blessed sphere of
romance" (Kobald). In face of this enchantment and all its
diversity, it seems superfluous technically to analyse the form
of these magical pieces, but rather simply to listen to them
and enjoy their beauties.
Sonata in A flat major Op. 110
II
Molto cantabile molto espressivo
Allegro molto.
-
Beethoven (1770-1827)
Adagio ma non troppo - Arioso dolente
Fuga Allegro ma non troppo
(Last performed in 1943 by Franz Osborn)
com
The manuscript of this Sonata is dated 1821. The three
Sonatas Opp. 109, 110 and 111 were all written while Beethoven
was engaged upon the composition of the Missa Solemnis. It is not
too fanciful to find in these piano works much of the sublime and
lofty expression of the great Mass. This last group of Sonatas
is separated from the monumental Hammerklavier Sonata by an
interval of two years.
In the earlier work Beethoven had
stretched the scope of the piano sonata and the possibilities
of the instrument itself to its utmost. For these last works
he returns more nearly to chamber music style, and of the three,
the Sonata Op. 110 is the most restrained and intimate in
expression.
The first movement opens simply and directly. It is a
lyrical and straightforward movement, full of grace and
sensibility. Bekker compares it to the dawn of a beautiful day.
The se
still
nace
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3.
The second movement - a spirited scherzo in 8-bar rhythm-box
still gives no hint of the future developments until the last
spaced chords of the Coda. The slow movement opens with a
most eloquent introduction to which Beethoven has added
unusually detailed and exact indications of expression and of
tempo. After a long pulsing note the recitative merges into
the short Arioso dolente - a most deep and moving expression of
human grief. The Fugue is full of resolution and hope, but it
is interrupted by a return of the Arioso in an even more
poignant and broken form. A passage of detached chords leads
to the return of the Fugue and the work ends serenely and
triumphantly.
******************************
COFFEE INTERVAL OF 15 MINUTES
******************************
anotegaord
of cogomil
Jeftam
Pictures at an Exhibition
Mussorgsky (1835-1881)
C-prod
and pats
(Last performed in 1947 by Moiseiwitsch)
Mussorgsky, regarded in his time as the most truly
national of Russian Composers, was an intimate friend of the
architect and painter, Victor Hartmann. Shortly after Hartmann's
death in 1873 an exhibition of his art was held. Mussorgsky
visited it and translated certain of the pictures into pieces of
music. The resulting work consists of ten sections introduced
and, in many cases, linked by a short section called Promenade,
in which the composer portrays himself walking now right, now
left, now as an idle person, now urged to go near a picture;
at times his joyous appearance is dampened, he thinks with sadness
of his departed friend". Even without explanation, the whole work
remains full of interest and charm; it is an excellent example
of the way in which Mussorgsky so often took his musical
inspiration from a pictorial or literary source rather from any
abstract idea.
JnABjhbnog syne Led
oban od bats sobriot bas ysgoull
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Introduction Promenade.
Gnomus. A drawing representing a little goblin taking
crooked steps with his little mis-shapen legs.
1.
4。
2. Il Vecchio Castello. A medieval castle beneath which a
troubadour sings his songs.
3.
At the Tuilleries. Children quarrelling over their games.
A path in the gardens of the Tuilleries with a crowd of ed
children and nurses.
4.
Bydlo. A polish cart with enormous wheels drawn by oxen.
5. Ballet of Chickens in their Shells. A sketch by Hartmann
for a stage scene in the ballet of Trilby.
6.
7. Limoges. The Market. Two women wrangling furiously in the
market.
8.
Samuel Goldenberg and Schmuile. Two Polish Jews, one
prosperous, the other needy.
The Catacombs. In this drawing Hartmann has represented
himself visiting the Catacombs of Paris by lantern-light.
9. The Hut on Fowls Legs. The design by Hartmann for a clock
in the shape of Baba-Yaga's hut. Baba-Yaga is the old witch
of the children's legends.
10. The Boyatyrs' Gate at Kieff. Hartmann's design for the
construction of an entrance gate for the city of Kieff in the
massive Russian style.
ANTHONY GOLDSTONE was born in Liverpool in 1944. He gained
scholarships to Manchester Grammar School and then to the
Manchester Royal College of Music, where while studying with
Professor Wyndham, he graduated with distinction, having won the
Dayas Gold Medal for pianists the previous year. After leaving
College in 1967 he continued his studies with Maria Curcio in
London. He was prize-winner in international competitions in
Munich and Vienna in 1967 and in 1968 he was awarded a fellow-
ship by the Calouste Gulbenkian Foundation. In addition to ada
many concerto and recital engagements, Anthony Goldstone has
performed and broadcast in Austria, Germany, Canada, Greece,
Hungary and South Africa and he made his first highly successful
Hungary
tour of
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5.
Hungary and South Africa and he made his first highly successful
tour of the U.S.A. in 1968.
***********
Town Hall
***
January 15th..
February 12th.
April 2nd.
THE HUDDERSFIELD MUSIC SOCIETY
******************************
December 4th.
STUDENTS OF THE SCHOOL OF MUSIC.
HUDDERSFIELD POLYTECHNIC.
Single tickets for this Concert 50p (Students 10p at the door) from
Woods, 67 New Street and at the door.
Monday Evenings at 7.30
THE ALBERNI STRING QUARTET
THE TALICH STRING QUARTET
THE KING'S SINGERS
The National Federation of Music Societies, to which this Society
if affiliated, gives support toward 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.
THE HALIFAX PHILHARMONIC CLUB
***************
*****************************
Quartet in D major Op. 20. No. 4
Quartet
St. Jude's Church, Savile Park. Friday November 17th at 7.30.
THE BARTOK STRING QUARTET
Quartet in B flat major Op. 130 with
the Grosse Fuge Op. 133.
Haydn
Durko
Beethoven
Single tickets 70p (students 20p) from Mrs. Hanson, 23 The
Crescent, Hipperholme, Halifax or at the door.
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6.
THE HUDDERSFIELD GRAMOPHONE SOCIETY
**********************
Waverley House, New North Road.
************
Monday Evenings at 7.30
November 20th. Members Choice
November 27th. President's Evening. Mr. Jenkinson
presents early works by well-known
composers.
Annual subscription £1.20. Students and Senior Citizens half
now fee. Refreshments. Two visits are permitted without
obligation. Hon. Secretary: Mr. D. Bostock, 16 Imperial Road,
Huddersfield, HD3 3AF.
THE HUDDERSFIELD THE SPIANS
**************************
The Arts Centre, Queen Street. nev November 20th-25th at 7.30
RATTLE OF A SIMPLE MAN
by
Charles Dyer
Single tickets 30p. Reduced rates for Senior Citizens on
Mondays. Tickets from Woods, 67 New Street, Huddersfield.
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allavoll
THE HUDDERSFIELD MUSIC SOCIETY
Fifty-fifth Season 1972-73
ontono diox
MONDAY 4th December 1972
zonodnost
eriod in
onch
STUDENTS of the SCHOOL OF MUSIC
HUDDERSFIELD POLYTECHNIC
(saet) ATANDE
on tommos
apala byswo!!
od 7.30.p.m.
betico noirle yakub
novel s'ho fyn to meout on
Town Hall
Blottori
Huddersfield
ootorbly
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SONGS
SONATA (1962)
Allegro tristamente; Romanza; Allegro con fuoco
Roger Ileaton
Michael Holloway
PROGRAMME
Howard Briggs
Faye Caley
The Widow bird
Fear no nore the heat of the sun CON
Sonnet no. 104
clarinet
piano
-
baritone
piano
FIVE PIECES for TROMBONE QUARTET
ww
Villancico
Villancico
The Queen of England's Pavane
Frottola
An Example of Tripla
Poulenc
INTERVAL
15 minutes during which coffee
will be served
Howells
Finzi
Nash
Encina
Encina
Anon
Tronboncino
Anon
Barrie Webb Richard Wall
Terence Taylor Alan DeAth- trombones
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La terrasse des audiences du clair de lune;
Ondine
General Lavine
SONGS
P
eccentric
Stephen Willians piano
Hark the Echoing
Mystery's Song
Dido's Lanent
Alleluia
Susan Longden
Faye Caley
THREE PIECES FOR BRASS
Allegro giocoso
Lento sostenuto
Allegro
Roderick Franks
Janice Webster
Terence Taylor
Robert Lennon
-
dinole Barrie Webb
QUO
soprano
piano
soggra
Brian Robinson
horn
Richard Wall
tuba
conductor
Debussy
-
Purcell
Peter Holt
505010
trumpets
trombones
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THE HUDDERSFIELD MUSIC SOCIETY. Town Hall Mondays 7.30.p.m.
JANUARY 15th THE ALBERNI STRING QUARTET
Quartet
in G major op. 64 No.4
in F sharp minor No.2
quer Quartet
Quartet in B flat major op. 130
FEBRUARY 12th THE TALICH STRING QUARTET
APRIL 2nd
THE KING'S SINGERS
Single tickets 75p from Woods 67 New Street and at the door.
Student tickets 15p at the door.
The National Society of Music Societies, to which this Society
is affiliated, gives support to the cost of the Concerts with
funds provided by the Arts Council of Great Britain.
Generous support is also given by the Yorkshire Arts Assoc.
DIVISLIA
THE HALIFAX PHILHARMONIC CLUB St Jude's Church, Savile Park
Wednesday January 24th at 7.30.p.n.
AEOLIAN STRING QUARTET with Kenneth Essex (viola)
(cello)
Terence Weil
1
Quintet in C major op. 37 No.
Quintet in D major K. 593
Sextet in B flat major op. 18
Haydn
Tippett
Beethoven
THE HUDDERSFIELD GRAMOPIIONE SOCIETY
Waverley House, New North Road
Singletickets 70p (students 20p) from
Crescent, Hipperholme, Halifax, and at the door.
221 10 Mozart
Brahms
00000 b orgo LEA
Mrs. Ilanson, 23 The
aerod December 11th Visit to Wakefield
Christmas Programme
December 18th
January 1st
THE HUDDERSFIELD THESPIANS
The Arts Centre, Queen Street
THE MAYERLING AFFAIR
Boccherini
Monday evenings at 7.30.
Late Romantics presented by
Mr Iaigh and Mr Sleath
January 15th
20th at 7.30.
by R.F. Delderfield
Single tickets 30p. (reduced rates on Mondays) from Woods
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THE HUDDERSFIELD MUSIC SOCIETY
******************************
Fifty-fifth Season 1972-73
Mayor's Reception Room, Town Hall
Monday, January 15th 1973
THE ALBERNI STRING QUARTET
*****************************
Howard Davis (Violin)
Peter Pople (Violin)
...
Programme
I
Quartet in G major Op. 64 No. 4
Allegro con brio
Minuet and Trio
due
Berian Evans (Viola)
Gregory Baron (Cello)
Haydn (1732-1809)
Adagio
Presto
(Last performed in 1955 by the Wiener Konzerthaus
String Quartet)
Haydn, who has rightly been called the father of the string
quartet, wrote some 80 works in this form including the unfinished
Op; 103. The 12 earliest quartets show Haydn moving slowly away from
the old divertimento with its many movements towards symphonic sonata
form; in these early works there is no clear distinction between the
style for the string quartet and for the string orchestra. In 1769
the quartets of Op. 9 appeared and these Haydn himself wished to be
regarded as his first in this form. It was not until the quartets
of Op. 20 that Haydn began to reach his full development. 1789 saw
the appearance of the 12 quartets of Opp. 54, 55 and 64. The
boldness and variety of invention in these works and their well-
balanced musical form show Haydn at the summit of his quartet prod-
uction the second half dozen belong to the last period of the op
master's composition" (Geiringer). All 12 were dedicated to Johann
Tost; it is thought that this Tost was a violinist in the Esterhazy
orchestra, who went later to Paris, married a rich girl and became
a respected cloth merchant. All the Tost quartets are full of Doop
charming little surprises and another characteristic is that
frequently the whole movement is based upon the use of a single
subject.
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2.
The
No. 4 opens with a springing tonic chord theme.
exposition ends with a quiet section which might be regarded as
a second subject. The development starts with a fugato based on
this second subject"; a short chromatic passage leads to the
recapitulation. The Minuet is very characteristic of Haydn; in
the airy Trio, the violin throughout has the melody supported by
a pizzicato accompaniment. The adagio is flowing and melodic;
much of the second violin and cello accompaniment is reminiscent
of piano figuration. The work ends with a rondo.
II.
Tippett (b. 1905)
Quartet in F sharp minor No. 2
Allegro grazioso
Andante
Presto
Allegro appassionato
(Last performed in 1965 by the Arriaga String Quartet)
generally
and chora
Michael Tippett (Kemp) was born in London. His family is
Cornish in origin, a fact which is said to account for his
lineaments and look of a Breton sailor as well as his awareness
of the contrasts between the dark side of life (his own phrase)
and the light" (Grove). He was educated at Stamford Grammar
School and later studied composition under Charles Wood and
R.O. Morris and conducting under Boult and Sergent at the R.C.M.
For some years he was musical director at Morley College, a post
previously held by Holst. It is perhaps as a teacher that his
influence has been most widely felt, though of recent years he
has emerged as a composer of outstanding operas. He was 29 when
his first major work appeared the now discarded Symphony in B
flat.
A great humanitarian, he felt deeply the disillusionment
and bitterness of the post-war years.
-
Although Tippett's output is relatively not large, he is
perhaps one of the strongest and most distinctive personalities
in British music today. Much of his music is inspired by the
counterpoint and rhythms of the 16th century English composers,
the Elizabethan madrigal writers, Purcell and also folk song.
Bach, Hindomeith and Stravinsky have also influenced him. On
first hearing, his music is not too easy to comprehend, but that
could apply to any serious work of art created by an original and i
subtle mind. Much of his music which looks so difficult becomes,
in performance, both clear and smooth. Perhaps the chief
characteristic of his style is his rhythmic inventiveness and his
sonata.
deserve
sona
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on
as
3.
generally diatonic harmony. He has written orchestral works, operas
and choral works (often being his own librettist), and a piano
sonata. His chamber music includos 3 string quartets (all of which
deserve to be more widely known) dating from 1935, 1942 and 1946, and
a sonata for 4 horns (1955).
The second string quartet (1942) is the best-known of the three.
"Tippett's original polyphonic and rhythmic technique, largely
independent of 18th contury counterpoint and derived from the
renaissance madrigal, may be heard at its attractive best in the
second string quartet" (Hugh Wood). The score has a prefactory note
which, refering in particular to the first movement, draws attention
to the rhythmic qualities of the work and tells us that: "The first
movement is partly derived from Madrigal technique where each part
may have its own rhythm and the music is propelled by the different
accents which tend to thrust each other forward. The bar lines are
thus sometimos only an arbitrary division of time and the proper
rhythms are shown in the notation by the grouping of notes and by the
bowing". The first movement is in sonata form, "with an extended
exposition in 6 well-defined but unified sections that present no
marked contrasts of charactor". In the recapitulation the 3rd 4th
and 6th sections come first, followed by the 1st, 2nd and 3rd. The
slow movement is an expressive fugue in four parts. The scherzo is in
three sections; the same theme is repeated but each time rising a
third to a higher key. The time signature changes constantly, the bar
lines being used merely to point the rhythmic accent. The last move-
ment is in regular sonata form, with material similar in character
to the first movement, except for a contrasting central thematic
section (i.c. the beginning of the second subject) dominated by a
poignant falling ninth" (Colin Mason). The prefactory note states
that this movement needs a decisively sprung rhythm on which
virtually the whole movement is based. It forms an impressive
conclusion to a rich and intense work.
LE Coffee Interval of 15 minutes
*****************************
******** III
Quartet in B flat major Op. 130
Beethoven (1770-1827)
Adagio ma non troppo - Allegro
Presto
Andante con moto ma non troppo
Alla danza tedesca. Allegro assai
Cavatina. Adagio molto espressivo
Allegro
codro
ba UDD
xogos onl
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4.
Toc (Last performed in 1951 by the Amadeus String Quartet)
The years 1824-26 saw the appearance of Beethoven's last
no tin
string quartets. Perhaps Op. 130 though written under most
distressing conditions of illness, anxiety and complete deafness
is the greatest of them all. It has 6 movements instead of
the traditional 4. Thus Beethoven has, as it were, returned to
the older form of the Suite, breaking away from the classical
quartet in order to express himself more fully, just as in the
later piano sonatas he abandoned regular sonata form to return
to the free fantasia.
The opening movement makes great use of the Adagio
introduction in combination with first subject; the second
subject is of wonderful beauty. Some listeners have compared.
the movement to a struggle between two instincts one gently
pleading, the other inexorably violent in the same individual.
The Presto (a Scherzo) is humourous and fanciful; the subtle
Andante, half playful, half tender. A German country dance
provides the rhythm of the fourth movement. The Cavatina is the
emotional climax of the whole work and is one of the most
supreme things in all music, full of the most noble expressiveness
and of an almost unearthly serenity. Of it Beethoven said to
Holz: "Never did music of mine make so deep an impression on me,
even the remembrance of the emotion it aroused always cost me a
tear". This seronity is interrupted by a strange episode, marked
by Beethoven "beklemmt"; this is translated by Newmann as "with
a tightening at the heart".
Beethoven had intended the "Grosse Fuga" Op. 133, the fugue
which is the crown of the whole work and in which the essence of
it is to found, to form the finale of this quartet. But he
yielded to the solicitations of his friends and publishers and
wrote his last completed work this new finale, one so
exuberant that it is difficult to believe it to be the work of a
man already stricken with a fatal illness. Specht calls this
movement a "defiant Dance of Death",
******************************
THE ALBERNI STRING QUARTET was founded in 1961 by 4 students
at the R.A.M. The Quartet moved to Harlow in 1963 and has enjoyed
the patronage of that town ever since a model of municipal
entorprise and imagination. It has performed in all parts of this
country and the Continent and has travelled as far as New Zealand.
K The repertoire is very extensive, ranging from Purcell to many
1 first performances of works by contemporary composers.
It played
wid
all the la:
Ho
with grea
-
B
R.A.M.
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5.
all the later Beethoven quartets during the recent bi-centenary
with great acclaim.
Howard Davis studied in Birmingham before going to the
R.A.M. He plays on a violin by Giovanni Grancino (Milan 1697)
Peter Pople was born in Essox and studied at the Guildhall
School of music; his violin was made by Paolo Castello
(Gonoa 1778).
Berian Evans left Wales to study at the R.A.M.; he plays
a viola by Giovanni Grancino (Milan 1677).
Gregory Baron studied in South Africa and Switzerland before
going to the R.A.M., his cello was made by Domenico Montagnana
(Venice 1703) and was formerly in the possession of Piatti.
THE HUDDERSFIELD MUSIC SOCIETY
******************************
Mayor's Reception Room, Town Hall.
February 12th.
THE TALICH STRING QUARTET
Quartet in A major (1730)
Quartet in E flat Op. 125 No. 1
Quartet in A flat Op. 105
Monday Evenings at 7.30
April 2nd. THE KING'S SINGERS
Single tickets 75p from Woods, 67 New Street and at the door.
Student's tickets 15p 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
*****************************
St. Jude's Church, Halifax.
Jan Zach
Schubert
Dvorak
Quintet in C major Op. 37 No. 1
Quintet in D major K.593
Wednesday January 24th 7.30
THE AEOLIAN STRING QUARTET
with Kenneth Essex (Viola) and Terence Weil (Collo)
Boccherini
Mozart
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6.
Sextet in B flat major Op. 18
Brahms.
Single tickets 70p (students 20p) from Mrs. Hanson, 23 The Crescent,
Hipperholme, Halifax and at the door.
THE HUDDERSFIELD GRAMOPHONE SOCIETY
**************************************
Waverley Houso, New North Road.
Monday Evenings at 7.30)
January 22nd. Chamber Music and Lieder. Introduced by Mr. Carter
and Mr. Dearnley.
February 5th. Roy Harris. A talk by Mr. Truscott about the music
of this American composer.
Annual subscription £1.20 from January 1st 70p. Students and
Senior Citizens half-fee. Refreshments. Two visits are permitted
without obligation. Hon. Secretary: Mr. D. Bostock, 16 Imperial
Road, Huddersfield, HD3 3AF.
THE HUDDERSFIELD THESPIANS
****************************
The Arts Centre, Queen Street.
January 15th-20th at 7.30
THE MAYERLING AFFAIR
by R.F. Delderfield.
Single tickets 30p (reduced rates for Senior Citizens on Mondays)
from Woods, 67 New Street.
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p
bisted at THE HUDDERSFIELD MUSIC SOCIETY
******************************
Fifty-fifth Season 1972-73.
Mayor's Reception Room, Town Hall,
Monday, February 12th 1973
Petr Messiereur
Jan Keapil
THE TALICH STRING QUARTET
****************************
Violin
Violin
Quartet in A major (1770)
Programme
I
Breve allegro
Andante
Tempo menuetto
Allegro
Siciliano
Presto
Jagod
and Hogsoll
ST MICI Won
sup Jan Talich be Viola
Evzen Rattay
Cello
broodfes
Jan Zach (1699-1773)
Jan Zach was born in Bohemia. His early musical life was
spent in Prague, first as a student and later as a violinist and
organist. He later emigrated to Germany in a search for
financial security and for a wider scope for his talents. He
was appointed director of the Court orchestra in Mainz, a post
which he held for many years until the signs of mental illness
made him leave in 1756. During his stay in Mainz he composed
prolifically and produced works which are considered to beg
artistically his most valuable pieces. Little is known about
his later life though he certainly did spend some time at the
court of the Archbishop of Augsburg and other centres of music.
He also visited Italy and it is thought that he died in St.
Blasien in 1773..
Zach's compositions range from harpsichord solos (which
seem to be the first Czech compositions of that kind) through
trio sonatas and quartets to divertimenti and minature
symphonies. He also wrote numerous sacred choral works mainly
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- 2-
in a late Baroque manner. His instrumental works herald
the advent of a new style with traces of pre-classical elements
together with influences of folk-song idiom. His choral
music shows Italian influences particularly that of the
Neapolitan school. A predecessor of Haydn the "father"
of the string quartet - Zach's chamber music forms a link
between the early Trio sonatas (2 violins and a figured bass
for the harpsichord) and Scarlatti's sonate a quatre. This
new form rapidly gained popularity; it is a real step.
toward the true string quartet as we know it. Even yet the
viola part still depends closely upon the cello, which
frequently was figured, implying that the addition of a
keyboard instrument was permissible.. In addition, Zach makes
effective use of the chromatic scale, employing augmented
seconds and diminished sevenths, all of which provide dramatic
tension. His compositions are distinguished by their
technical perfection and well-devised modulational plan.
II.
Quartet in E flat major Op. 125 No. 1 Schubert (1797-1828)
Allegro moderato
Scherzo and Trio
Adagio
Allegro
Schubert is known to have written 19 string quartets of
which 3 are lost and 4 are incomplete. Of the remainder, all
but 3 were written between the ages of 15 and 19 and were
primarily intended for home performance. Schubert himself was
a chamber music player (his father was a cellist and his 2
brothers were violinists) and he grew up in an atmosphere of
this kind of music. A pleasing picture is drawn of this
family spending their leisure time playing with great zest
the quartets of Haydn, Mozart, Beethoven and later those of
Schubert himself. Although the amount of chamber music which
Schubert wrote is relatively small compared with his full
accomplishment, at least the last 9 works rank among the
masterpieces of all music and are regarded with an intense
love and admiration not surpassed by the works of any other
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ments
1
3
compposer. From the age of 13 Schubert wrote, even if he
did not always complete, two or more chamber works each year,
and thus at an early age, he achieved full mastery of this
medium. Although the earlier works are slighter in scale o
and individuality than the later ones, he founded them upon
the best models and they clearly foretell his later
achievements. They certainly merit much more frequent
performance than they usually receive.
This Quartet though with the Op. number 125, is thought
to have been written in 1813 though it was not published
until after Schubert's death. By that date he had already
written his first symphony and was beginning to work upon
his first opera.
This quartet shows a great advance upon
his earlier ones. Schubert is now sure of himself; he can
put a movement together with skill and conviction and here
The first
he achieves throughout pure chamber music.
movement, with its dramatic pianissimo opening and lyrical
second subject, is in strict sonata form; its short
development section could perhaps reveal the composer's youth.
Much more original is the Scherzo, with its leaping octaves
reminiscent of the first movement; it is splendidly
impetuous, contrasting well with the quieter Trio with its
drone bass. The Adagio is almost an Andante and one feels
here the influence of Beethoven. The very effective Finale
shows Schubert's mastery of rhythmic invention.
Quartet in A flat Op. 105
Coffee Interval of 15 Minutes
****** ******** ** ** *******
III.
Dvorak (1841-1904)
Adagio ma non troppo - Allegro appassionato
Molto vivace
Lento e molto cantabile
tot
Allegro non tamto UO DI
(Last performed in 1966 by the Janacek String Quartet)
Dvorak and Smetana were together the creators of the
school of modern Czech music. Sourek writes of Dvorak: "He
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4.
od 15 nevo
was one of those great creative artists who live, feel and
think in music. Music was his life-blood, his whole inner
existence; and only in music could he fully express himself.
Thus he created spontaneously, without profound and systematic
reflection. He was at his best in absolute music, un-
burdened by any programme, and, above all, in chamber music.
This branch yielded some of the finest blossoms of his
art, flowering in beauty and characteristic fragrance. In
absolute music Dvorak's fancy broke out in fresh melodic
ideas, in wonderfully coloured harmony and elemental
rhythms". bed of
Dvorak wrote in all 30 chamber music works, including
5 string quartets (5 earlier quartets remain unpublished).
This quartet Op. 105 is the last he wrote (Op. 106 was
written earlier). Both were composed after his return from
America and one may perhaps hear in them the joy of home-
coming with a mind refreshed and reinvigorated. Quartet Op.
105 opens with a slow introduction in A flat minor, a bropo
complete contrast to the idyllic and sunny movement which
follows. This movement is in regular sonata form. The
Scherzo
The first and last
is one of Dvorak's finest.
sections are in a
style derived from the Furiant (a
Czech dance in 3/4 time with a characteristic effect of
cross-rhythms). The middle section, founded upon a
gracious melody, later develops into a two-part canon for
the violins. The romantic slow movement, beginning with a
theme of folk-song character, becomes ever richer and
warmer; after an agitated middle section, this theme
returns, gracefully decorated with violin figurations, and
pursues a lengthy course full of delightful and unexpected
touches. The Finale, in free sonata form, is an expression
of pure joy, rising, after a wealth of expressive detail, to
a final climax of rapture.
*********************
THE TALICH STRING QUARTET was founded in 1962 and
originated from the Prague Conservatoire as the Smetana and
Janacek Quartets had also dono. They took the name of the
great Czech conductor, the late Vaclav Talich, whose
nephew plays the viola in the quartet. They made thoir
first
Vienna
succe
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- 5-
first tour of Austria in 1964, winning great acclaim in
Vienna and Saltzburg. Up to 1970 they toured very
successfully in most European countries including Russia
and also in Canada. In 1970 the Quartet became the
Laureate of the International Association of European
Festivals, which means that besides their regular concerts
at home and abroad, they also present many performances
within the framework of various festivals. They made
their British debut in 1971 which led to an immediate
invitation for their return during the 1972-73 season.
******************
*********** *****
THE HUDDERSFIELD MUSIC SOCIETY
Area, Town Hall.
Monday, April 2nd at 7.30
THE KING'S SINGERS
Sixteenth Century English and German sacred Motots
Italian and French Chamsons
Laudes de Saint Antoine de Padue
Poulenc
Folk Songs
The Musicians of Bremen (1972) Malcolm Williamson
Five arrangements in close harmony
The B.B.C. are making a recording of this Concert for a future
broadcast.
Tickets 75p from Woods, 67 New Street and at the door.
This Concert is held in conjunction with the Festival of the
Arts arranged by the Huddersfield Arts Council (Chairman:
Mr. S.H. Crowthor). The Festival will include orchestral
concerts, church and choral music, recitals, drama, poetry
Full
readings, art exhibitions and a Literary Luncheon.
details will be announced in due course.
The National Federation of Music Societies, to which this
Society is affiliated, gives support to the cost of the
Concerts with funds provided by the Arts Council of Great
Britain. Generous support is also given by the Yorkshire
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Arts Association.
- 6-
THE HALIFAX PHILHARMONIC CLUB
*****************************
Harrison House, Harrison Road,
typiscoboire
Friday, February 16th at 7.30
wel
THE TALICH STRING QUARTETNI
Quartet in G minor Op. 74 No. 3
Quartet No. 2
Quartet in A flat major Op. 105
Tickets 70p (Students 20p) from Mrs. Hanson, 23 The Crescent,
Hipperholme, Halifax and at the door.
THE HUDDERSFIELD GRAMOPHONE SOCIETY
Monday Evenings at 7.30
Waverley House, New North Road.
Jan. 22nd. Chamber music and Lieder. Presented by Mr. Carter and
Mr.
Dearnley
***********************************
Feb. 5th. Roy Harris. Presented by Mr. Truscott
Feb. 19th. Rachmaninoff. Presented by Mr. Haigh
Mar. 5th. Words and Music. Presented by Miss Hill
Mar. 26th. Concerto 5 - 20th Century. Presented by Miss Williams
Haydn
Martinu
Dvorak
Annual subscription £1.20 (from Jan 1st 70p) Students and
Senior Citizens half fee. Refreshments. Two visits pe rmitted
without obligation. Hon. Secretary: Mr. D. Bostock,
16, Imperial Road, Huddersfield, HD3 3AF.
THE HUDDERSFIELD THESPIANS
**************************
The Arts Centre, Queen Street.
60 ad A
PLAZA SUITE
by
Neil Simon
March 5th 10th at 7.30
brs doudo
Tickets 30p (Reduced rates for Senior Citizens on Mondays) from
Woods, 67 New Street.
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THE HUDDERSFIELD MUSIC SOCIETY
******************************
Fifty-fifth Season 1972-73
Area Town Hall
Monday, April 2nd 1973
Abof b
THE KING'S SINGERS
********************
Nigel Perrin. (Counter tenor)
Alastair Hume (Counter tenor)
Alastair Thompson (Tenor)
This Concert
d Ave Maria
Factus est repente
Jesu dulcis memoria
Sustinuimus pacem
ms part of Festival 73
Programme
Sixteenth Century English and German sacred Motets
Anthony Holt (Baritone)
Simon Carrington (Baritone)
Brian Kay (Bass)
Italian Madrigals and French Chansons
dt at addyflob
Laudes de Saint Antoine de Padoue
O Jesu
0 proles
Laus regi
Si quaris
Byrd (1543-1623)
Handel (1685-1759)
Handel
Parsons (d.1570)
Contrappunto bestiale alle mente Banchieri (1567-1634)
(The animals improvise counterpoint)
Culto
Matona mia cara
Il est bel et bon
La guerre
Lassus (1532-1594)
Passereau
Jannequin (1475-1560)
Poulenc (1899-1963)
Poulenc wrote a number of sacred works for unaccompanied t
chorus beginning with a Mass in 1937. His Catholicism was less
mystical than Messiaen's, deriving from his veneration for St.
Antony of Padua and St. Francis of Assisi. The intimate lyrical
works celebrating these simple saints breathe a spirit of sincere
forvour but the composer's wit and fondness for jazzy chord
sequences also make themselves felt: as Cocteau wrote of the
humorist who found salvation in the Church "L'esprit chez lui
rejoignit l'Esprit". Poulencs's concern for clear prosody no
He
doubt influenced the homophonie nature of his choral style.
-
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2.
delights in the juxtaposition of chromatic chords with the
simplest diatonic melodies and in all four of the Laudes closes
questioningly with a dominant seventh chord. (F.D. By courtesy
of Messrs. H.H.H.)
The House of Sleepe (1972)
Richard Rodney Bennett (b.1936)
The text is taken from Ovid's Matamorphoses in the 16th
Century translation by Arthur Golding. The lines beginning
"Thus came Iris..." and ending "...with sleepe she spake" are
taken from the translation by John Gower (1330-1408).
Most of this piece uses "time-space" notation in which
the duration of a sound shown by the space it takes up on
the page.
In general the layout of the score should indicate
the freedom of strictness of the notation which, except in
certain areas of precise ensemble, may be freely interpreted".
(R.R.B.)
A note
Whe
The Metamorphoses is one of Ovid's most important works,
consisting of such legends or fables as involved a transfor-
mation. Here Ceyx, drowned at sea, was transformed by the gods
into a kingfisher because of the grief of his wife Alcyone;
but the lines used in this setting depict the world of sleep in
all its silence and mystery.
Richard Rodney Bennett was one of the band of brilliant
Some came from
young students who emerged in the early '60's.
Manchester; others, like Bennett, from the R.A.M., and all were
eager to explore new worlds in music. Perhaps the most
brilliant and outstanding is Bennett - a composer of amazing
fluency, impeccable technique and formidable powers of
imagination. Two years of study with Boulez (1957-59) confirmed
his position as an avant-garde composer but, in addition to that
his music is distinguished by a beauty and depth which is
independent of time or fashion. The House of Sleepe" was
commissioned by the King's Singers with funds provided by the
Arts Council of Great Britain.
COFFEE INTERVAL
The Musicians of Bremen (1972)
Commissioned by the King's Singers.
more familiar Grimm's Fairy Tales.
OF 15 MINUTES
Malcolm Williamson (b.1931)
A setting of one of the
Singe
THOM
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esy
loses
3.
A note from the composer: -
When I received a commission to write a work for the King's
Singers, my first impulse was to write a serious work which
would exercise their considerable talents and would be of a
dramatic operatic nature. However the circumstances of its
premiere (in Australia) and its British premiere (the Serenade
Concert at the Cheltenham Festival) persuaded me that a work you
more in the spirit of a divertisement would fit between their
classical repertoire and their lighter side. The folk tale
of the useless animals setting out to join an orchestra and
accidentally routing a pair of fierce robbers, appealed to me
on many counts. We all at some time wish that we could shed
our ties and become gipsies. Many of us are forced at some
time to become refugees. The animals are both the unwanted
vagrants of the world trying to find for themselves a useful
activity. That they should unwittingly dislodge the wicked
barons of power and establishment strikes a chord of satisfact--
ion in our hearts. We see in contemporary politics, for
example, that the mouse can control the destiny of the lion.
-
The music began in a very complicated shape and the simply-
fying and blanching of the original material took me more
As it
time than the actual composition of the first version.
is, in the final version there is a superimposition of mode
upon mode and not a single accidental in the entire work.
text is my very free adaption of several versions of the story.
The
Malcolm Williamson was born in Australia and has been
resident in this country since 1953. His works include a
symphony, a string quartet and various compositions with
Catholic Church associations. He studied at Sydney
conservatoire with Eugene Goossens, came to Europe to work
with Elizabeth Lutyens, encountered Boulez, returned in 1953
for further study with Lutyens and the Schonberg pupil Erwin
Stein. He is in manners an eclectic, a virtuoso in a dozen odd
different styles ranging from austere serialism to pop tunesom
modelled on Richard Rodgers. Often different Williamsons
jostle together disconcertingly - a night-club pianist and
The key
the pious Catholic organist; music pours from both,
work is English Eccentrics (1964), an episodic opera-diversion
in which Williamson's many strains - witty, exuberant, high-
spirited, melancholy, devout, visionary are balanced within
P
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4.
a structure that calls for all of them". (Andrew Porter:
Contempory Music in Europe).
Arrangements in close harmony.
A selection of pieces from the lighter side of the
repertoire of the King's Singers.
******************************
THE KING'S SINGERS were originally all Choral Scholars of
King's College, Cambridge but have now admitted an Oxford man
into the group. They made their London debut in 1968 at the
Queen Elizabeth Hall where they shared a concert with the
Academy of St. Martin-in-the-Fields. Since then they have m
toured widely in this country singing in Cathedrals, Music
Clubs and Festivals, including the York, Windsor and Three
Choir Festivals.
Their programmes range from entirely sacred recitals
to providing cabaret entertainment on luxury ocean liners.
They have commissioned music of all sorts from a number of
leading English composers including Richard Rodney Bennett,
Peter Dickenson, Patrick Gowers, Alan Ridout, Geoffrey Poole,
and others. Joseph Horovitz has arranged his popular cantata
"Captain Noah and his floating Zoo" especially for them.
One of their recent London concerts attracted the
following notice in "Music and Musicians": The concert was
made memorable by the King's Singers who have perfected a
vocal ensemble which for sheer entertaining musicality and
variety of repertoire must be unique. Sublime performance...
flexibility and colour...tremendous exuberance...were all
examples of first-class artistry by singers who have brought
the finesse of a great string quartet to their special
medium",
In 1971 they appeared at a Promenade Concert with Cleo
Laine and Pierre Boulez. They have toured Europe widely and
last year made a highly successful visit to Australia as well
as appearing at the Nottingham, Cheltenham and Edinburgh
Festivals. In April and May 1973 they are to visit South Africa
and America. They plan return visits to Australia in 1975.
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=).
5.
THE HUDDERSFIELD MUSIC SOCIETY
******************************
Fifty-sixth Season 1973-74
October 8th ANNE QUEFFELEC Piano Recital
November 19th THE GABRIELI ENSEMBLE (Clarinet, Violin, Cello
and Piano)
December 10th YOUNG ARTISTS
January 14th
FITZWILLIAM STRING QUARTET
February 18th PRAGUE DUO (Cello and Guitar)
March 18th MELOS STRING QUARTET (Stutgart)
The Huddersfield Music Society for its next Season offers a
series of outstanding Concerts which, it is certain, will
appeal, as before, to all its members. It is hoped that these
Concerts the only Chamber Music Concerts presented in the
town will also appeal to those attending this concert who
have hitherto perhaps not formed part of the regular member-
ship. New members will be welcomed by the Society and any
further information will gladly be supplied by the Hon.
Secretaries (Mrs. J. de Nikitin-Solsky, 37 Gynn Lane, Honley,
HD7 2LE and Miss A. Shaw, 3A Vernon Avenue, HD1 50D). In due
course tickets will be on sale at Messrs, Woods, 67 New Street,
from the Hon. Secretaries and at the door.
The National Federation of Music Societies, to which this
Society is affiliated, gives support to 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.
THE HALIFAX PHILHARMONIC CLUB
********************************
Harrison House, Harrison Road.
Tuesday April 3rd at 7.30
THE NORTHERN SINFONIA WIND ENSEMBLE
Divertimento for 2 Clarinets and Bassoon in B flat
Quartet No. 6 in F major
Mozart
Rossini
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THE HALIFAX PHILHARMONIC CLUB
*****************************
Syrinx for solo Flute
Quintet
6.
Divertimento for Flute, Oboe and Clarinet
Deux Pieces
Density 21.5 for solo flute
Mladi Suite
contd....
April 16th.
April 30th.
Tickets 70p (students 20p) from Mrs. Hanson, 23 The Crescent,
Hipperholme, Halifax and at the door.
THE HUDDERSFIELD GRAMOPHONE SOCIETY
**************************************
Waverley House, New North Road.
April 13th 16th. Details of the weekend at Hoddesdon from
the Secretary.
Debussy
Neilson
Arnold
8 Ropartz
Varese.
Janacek
The Arts Centre, Queen Street.
Monday Evenings at 7.30
Oratorio. Presented by Mr. Carter
Technical Evening. Presented by Mr. Bostock
odront til oved
THE HUDDERSFIELD THESPIANS
Subscription £1.20 (from Jan. 1st 70p). Students and Senior
Citizens half fee. Refreshments. Two visits permitted without
obligation. Hon. Secretary, Mr. D. Bostock, 16 Imperial Road,
Huddersfield HD3 3AF.
****************************
April 30th May 5th at 7.30
49:2009
WHO'S AFRAID OF VIRGINIA WOOLF ?
and yd nov
by
Edward Albee
Tickets 30p (Reduced rates for Senior Citizens on Mondays) from
Woods, 67 New Street. ATMOMIS