HMS 55


The Huddersfield Music Society, HMS 55

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HUDDERSFIELD MUSIC SOCIETY Brochure 55th Season's programmes 1972-1973 > x-rite colorchecker L > x-rite SW MSCCPPCC0613 mm pow 27) S nata or • he 10 it bra oc r orms 10 moo Cerest Lance bedd colte arly en solo ely nated e of Isupe

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FIFTY-FIFTH SEASON 1972-1973 The Huddersfield Music Society WT. som JI ello) odt 770-1827) trio is rly Sonata vier (or cello). s of the 20 hat the o ovements was for log dest forms e piano The Monday Concerts 7-30 p.m. MAYOR'S RECEPTION ROOM, TOWN HALL, HUDDERSFIELD freedom he interest of balance t of add ere early ethoven b as a solo n purely culminated arance of 7 was Jus Loupe

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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 Ivan Straus Violin Sasha Vectomov Cello Josef Palenicek Piano November 13th 1972 ANTHONY GOLDSTONE Schubert Six Moments Musicaux... Sonata in A flat Op. 110. Beethoven Pictures at an Exhibition.... Mussorgsky Ravel Trio in D major Op. 70 No. 1 Beethoven Trio in A minor 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. 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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E THE HUDDERSFIELD MUSIC SOCIETY (Founded as The Huddersfield Music Club by Dr. Eaglefield Hull in 1918) ubert hoven rgsky President Vice-President pear time, Edward Glendinning, Esq. W. E. Thompson, Esq. Honorary Vice-Presidents: Benjamin Britten, Esq., O.M., C.H., F. Rowcliffe, Esq. The Rt. Hon. The Lord Savile, J.P., D.L. not 0, as pro- ght." " orm- ture eady and 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 Executive Committee: P. G. C. Forbes, M.A., A.R.C.O. Miss E. K. Sawers Max Selka Mrs. E. Glendinning E. C. Shaw R. Barraclough S. H. Crowther David Dugdale Miss K. Evans, B.A. I. M. Lee S. Rothery J. J. Valner Mrs. S. G. Watson Miss I. Bratman Mrs. A. Crowther Mrs. S. H. Crowther Ladies' Committee: Chairman: Miss K. Evans, B.A. 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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E ubert oven moky December 4th 1972 CONCERT BY STUDENTS OF THE SCHOOL OF MUSIC, HUDDERSFIELD POLYTECHNIC January 15th 1973 THE ALBERNI STRING QUARTET Howard Davies Violin Peter Pople Violin Berian Evans Viola Gregory Baron Cello pear- Programme to be announced later. time, not 0,28 pro- ght." orm- ture eady and 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. Quartet in G major Op. 64 No. 4 Haydn Quartet in F sharp minor No. 2 Quartet in B flat major Op. 130 ( Tippett 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. ( J 0 p T b T t C re 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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י t 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 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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dn ett en ng he as he ne as x- st nt ey m- en all February 12th 1973 THE TALICH STRING QUARTET April 2nd 1973 THE KING'S SINGERS SEASON TICKETS Double £5 (for two persons not necessarily of one family) Nigel Perrin Counter-tenor Single Alastair Hume Petr Messiereur Counter-tenor Violin Jan Kvapil Violin Alastair Thompson Tenor Jan Talich Viola Anthony Holt Baritone Euzen Rattay Cello Simon Carrington Brian Kay Baritone Bass £3 Single tickets Student tickets 75p 15p (Bona fide Students under 21) 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. 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. Third Concert only Single tickets 50p 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 soon as possible, please. Multi-Storey Car Park in close proximity to Hall

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92 THE HUDDERSFIELD MUSIC SOCIETY ****************************** Fifty-fifth Season 1972-73 Mayor's Reception Room, Town Hall, Monday, October 9th 1972. *********************************** THE CZECH TRIO J ****************** .txt eff brid be dealt fograf Joel நாம் Jaom JI od Sasha Vectomov (Cello) Ivan Straus (Violin) Josef Palenicek (Piano) Programme Trio in D major Op. 70 No. 1 I Allegro vivace e con brio Largo assai ed espressivo Presto Beethoven (1770-1827) (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 keyboard instrument. It was not until the time of Haydn that the three instruments began to attain to some independence of movement and character, and sonata form was adopted for trios as it was for o quartets. Haydn's Trios, though they are "full of his grandest forms and most pregnant ideas" (Tovey), are really sonatas for the piano w with violin and cello parts which are still little more than accompaniments. Mozart gave to the cello part an increasing importance, but it was left for Beethoven to give complete freedom 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 judgement both from the composer and the performers.o 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 t written. Towo bas du Loupe

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2. The Trio Op. 70 No. 1 keeps to the three movement form. The 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. Trio in A minor Modere II Ravel (1875-1937) 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 En

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ch in The re e 3. red Coffee Interval of fifteen minutes ********************************** Trio in E minor Op. 90 (Dumky) 1 III Lento maestoso Allegro Dvorak (1841-1904) Poco adagio - Vivace non troppo BIT 2 Andante - Vivace non troppo 3 Andante moderato 4 Allegro Lento maestoso - Allegretto scherzando Vivace (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 permitted the dominonce 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 Dumky 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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40 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. Monday Evenings at 7.30 November 13th. ANTHONY GOLDSTONE Piano Recital Six Moments Musicaux Sonata in A flat Op. 110 Pictures at an Exhibition December 4th. Schubert Beethoven Mussorgsky 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. A The Na

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rk Che 5. 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. 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 Tenor Keith Swallow 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. THE HUDDERSFIELD GRAMOPHONE SOCIETY ************************************** Waverley House, New North Road. 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 bad Town Hall Monday, November 13th 1972 ANTHONY GOLDSTONE ****************** Piano Recital Programme I Moments Musicaux Op. 94 (9581-091) 1. C major 2. A flat major Lenig bro dused et votno bre Schubert (1797-1828) nt adeno ovi 3. F minor 4. C sharp minorom 5. F minor 6. A flat major A 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 w delight and inspiration, but he was never in any sense of the d word a virtuoso. He was happiest to make music within an intimate circle%3B 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 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 es date from Schubert's last years. Their form is not entirely

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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. II Sonata in A flat major Op. 110 Beethoven (1770-1827) Molto cantabile molto espressivo Allegro molto. Adagio ma non troppo Arioso dolente Fuga Allegro ma non troppo (Last performed in 1943 by Franz Osborn) 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. 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. In the earlier work Beethoven had It is a The first movement opens simply and directly. lyrical and straightforward movement, full of grace and sensibility. Bekker compares it to the dawn of a beautiful day. The se still

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3. The second movement - a spirited scherzo in 8-bar rhythm 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. ****************************** ело COFFEE INTERVAL OF 15 MINUTES ******************************* off cogom III Pictures at an Exhibition Mussorgsky (1835-1881) (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. and qida

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40 Introduction Promenade. 1. Gnomus. A drawing representing a little goblin taking crooked steps with his little mis-shapen legs. 2. Il Vecchio Castello. A medieval castle beneath which a troubadour sings his songs. 3. 4. 5. At the Tuilleries. Children quarrelling over their games. A path in the gardens of the Tuilleries with a crowd of children and nurses. Bydlo. A polish cart with enormous wheels drawn by oxen. Ballet of Chickens in their Shells. for a stage scene in the ballet of Trilby. 6. Samuel Goldenberg and Schmuile. prosperous, the other needy. A sketch by Hartmann Two Polish Jews, one 7. Limoges. The Market. Two women wrangling furiously in the market. 8. 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 tho construction of an entrance gate for the city of Kieff in the massive Russian style. Robe ANTHONY GOLDSTONE was born in Liverpool in 1944. He gained scholarships to Manchester Grammar School and then to the at 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. *********** ********************* THE HUDDERSFIELD MUSIC SOCIETY **************** *********** Town Hall Monday Evenings at 7.30 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. January 15th.. February 12th. April 2nd. 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 ***************************** St. Jude's Church, Savile Park. THE BARTOK STRING QUARTET Quartet in D major Op. 20. No. 4 Quartet Quartet in B flat major Op. 130 with the Grosse Fuge Op. 133. Single tickets 70p (students 20p) from Mrs. Hanson, 23 The Crescent, Hipperholme, Halifax or at the door. Friday November 17th at 7.30. Haydn Durko Beethoven

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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 no 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 RATTLE OF A SIMPLE MAN Single tickets 30p. by Charles Dyer Reduced rates for Senior Citizens on Mondays. Tickets from Woods, 67 New Street, Huddersfield.

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(saer) ATAMOR THE HUDDERSFIELD MUSIC SOCIETY foll Fifty-fifth Season 1972-73 MONDAY 4th December 1972 dacil оп таб ол толпой eriod ind bynwoll antona STUDENTS of the SCHOOL OF MUSIC HUDDERSFIELD POLYTECHNIC дол ontonodior ΠΟΛΛ MOHT 2018 EVIT Town Hall Iluddersfield 05 tonsilly moon nottori signball A 7.30.p.m. OfTroll орлотот Device ed IIEW

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SONATA (1962) PROGRAMME Poulenc Allegro tristamente; Romanza; Allegro con fuoco Roger Ileaton Michael Holloway clarinet piano SONGS The Widow bird Fear no more the heat o' the sun Sonnet no. 104 Howard Briggs Faye Caley baritone piano FIVE PIECES for TROMBONE QUARTET Villancico Villancico The Queen of England's Pavane Frottola An Example of Tripla Barrie Webb Richard Wall Terence Taylor Howells Finzi Nash Encina Encina Anon Tromboncino Anon Alan Death - trombones INTERVAL 15 minutes - during which coffee will be served

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1003 DIGIT La terrasse des audiences du clair de lune; Ondine General Lavine - eccentric Stephen Willians piano SONGS Hark the Echoing Mystery's Song Dido's Lanent Alleluia Susan Longden Faye Caley THREE PIECES FOR BRASS Allegro giocoso Lento sostenuto Allegro soprano piano Roderick Franks - Brian Robinson Janice Webster horn Terence Taylor Richard Wall Robert Lennon - tuba dinole Barrie Webb conductor Debussy Purcell Peter Holt - trumpets - trombones 6.1. vd shoot host (wy bad! no other boobox). 900 stoot ofsale

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THE HUDDERSFIELD MUSIC SOCIETY. Town Hall Mondays 7.30.p.m. JANUARY 15th. THE ALBERNI STRING QUARTET jemu ob Quartet in G major op. 64 No.4 The Quartet in F sharp minor No.2. Quartet in B flat major op. 130 Haydn 00 Tippett Beethoven 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. 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) Terence Weil Quintet in C major op. 37 No. 1 Quintet in D major K. 593 22 Sextet in B flat major op. 18 0300 (cello) Boccherini Mozart T Brahms Singletickets 70p (students 20p) from Mrs. Ilanson, 23 The Crescent, Hipperholme, Halifax, and at the door. THE HUDDERSFIELD GRAMOPHIONE SOCIETY Waverley House, New North Road Monday evenings at 7.30. ased December 11th do Visit to Wakefield December 18th January 1st Christmas Programme Late Romantics presented by Mr Iaigh and Mr Sleath THE HUDDERSFIELD THESPIANS The Arts Centre, Queen Street THE MAYERLING AFFAIR by R.F. Delderfield January 15th - 20th at 7.30. 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 Monday, January 15th 1973 THE ALBERNI STRING QUARTET ***************************** Howard Davis (Violin) Peter Pople (Violin) Hall Berian Evans (Viola) Gregory Baron (Cello) Programme I Quartet in G major Op. 64 No. 4 Haydn (1732-1809) Allegro con brio Minuet and Trio 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 the so 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-g balanced musical form show Haydn at the summit of his quartet prod- uction ... the second half dozen belong to the last period of the 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 o 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. Quartet in F sharp minor No. 2 II. Allegro grazioso Andante Presto Allegro appassionato Tippett (b. 1905) (Last performed in 1965 by the Arriaga String Quartet) 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 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 generally sona and chora sonata. deserve

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h uc 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 sometimes 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 character". 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%;B 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. at a Coffee Interval of 15 minutes ***************************** III Quartet in B flat major Op. 130 how I dI Adagio ma non troppo Presto Beethoven (1770-1827) - Allegro Andante con moto ma non troppo. Alla danza tedesca. Allegro assai Cavatina. Adagio molto espressivo Allegro bre xow to 20onem dett

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4. (Last performed in 1951 by the Amadeus String Quartet) The years 1824-26 saw the appearance of Beethoven's last 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. -O 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 providos the rhythm of the fourth movement. The Cavatina is tbe 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 serenity 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 was - 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. The repertoire is very extensive, ranging from Purcell to many 1 first performances of works by contemporary composers. It played all the la with grea How R.A.M.

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5. all the later Boothoven quartets during the recent bi-centenary with great acclaim. Howard Davis studied in Birmingham before going to the R.A.M. Ho plays on a violin by Giovanni Grancino (Milan 1697) Peter Pople was born in Essex 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. Monday Evenings at 7.30 THE TALICH STRING QUARTET Quartet in A major (1730) Quartet in E flat Op. 125 No. 1 Quartet in A flat Op. 105 April 2nd. Jan Zach Schubert Dvorak 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. Wednesday January 24th 7.30 THE AEOLIAN STRING QUARTET with Kenneth Essex (Viola) and Terence Weil (Cello) Quintet in C major Op. 37 No. 1 Quintet in D major K.593 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 Carb ************************************** Waverley Houso, New North Road. January 22nd. GRAMOPHONE SOCIETY Monday Evenings at 7.30) and Mr. Dearnley. Chamber Music and Lieder. Introduced by Mr. Carter 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-foo. Refreshments. Two visits are permitted without obligation. Hon. Secretary: Mr. D. Bostock, 16 Imperial Road, Huddersfield, HD3 3AF. dos mel 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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bisted are THE HUDDERSFIELD MUSIC SOCIETY Izol bad bo Petr Messiereur Jan Keapil ****************************** Fifty-fifth Season 1972-73. Mayor's Reception Room, Town Hall, Monday, February 12th 1973 THE TALICH STRING QUARTET **************************** Violin ow as Je Violin Jan Talich edd Evzen Rattay vba orid redfagot Hoqsol erid to odd rot mol wed Viola Cello Quartet in A major (1770) Programme Jan Zach (1699-1773) no ranot Breve allegro Andante Tempo menuetto Allegro Siciliano Presto 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 beq 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. doidw tfoemid to 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 - 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 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 ob 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 he achieves throughout pure chamber music. The first 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. Coffee Interval of 15 Minutes ****** ******** ** ** ******* III. pao 201 Quartet in A flat Op. 105 Adagio ma non troppo Molto vivace Dvorak (1841-1904) Allegro appassionato Lento e molto cantabile Allegro non tamto UD HOLIAT SHT (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 a

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40 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". bad 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 bosse complete contrast to the idyllic and sunny movement which ob follows. This movement is in regular sonata form. The Scherzo is one is one of Dvorak's finest. The first and last sections are in a lively 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, lator 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 their 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 Area, Town Hall. MUSIC SOCIETY Monday, April 2nd at 7.30 THE KING'S SINGERS Sixteenth Century English and Gorman sacred Motots Italian and French Chamsons Laudes de Saint Antoine de Padue Folk Songs The Musicians of Bremen (1972) Five arrangements in close harmony Poulenc Malcolm Williamson 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 readings, art exhibitions and a Literary Luncheon. Full 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. Friday, February 16th at 7.30 THE TALICH STRING QUARTET Quartet in G minor Op. 74 No. 3 Quartet No. 2 Haydn Martinu Quartet in A flat major Op. 105 Dvorak Tickets 70p (Students 20p) from Mrs. Hanson, 23 The Crescent, Hipperholme, Halifax and at the door. **** THE HUDDERSFIELD GRAMOPHONE SOCIETY *********************************** Waverley House, Now North Road. Monday Evenings at 7.30 ds Jan. 22nd. Chamber music and Lieder. Presented by Mr. Carter and Feb. 5th. Roy Harris. Mr. Dearnley 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 Annual 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. THE HUDDERSFIELD THESPIANS ************************** The Arts Centre, Queen Street. A PLAZA SUITE ofT March 5th 10th at 7.30 bas dozdo by Neil Simon Job Tickets 30p (Reduced rates for Senior Citizens on Mondays) from Woods, 67 New Street.

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zozof THE HUDDERSFIELD MUSIC SOCIETY ****************************** Fifty-fifth Season 1972-73 Area Town Hall Monday, April 2nd 1973. THE KING'S SINGERS ******************** Nigel Perrin. (Counter tenor) Alastair Hume (Counter tenor) Alastair Thompson (Tenor) at addyfob vignificatip. Anthony Holt (Baritone) Simon Carrington (Baritone) Brian Kay (Bass) This Concert forms part of Festival 173 Programme Sixteenth Century English and German sacred Motets Factus est repente Jesu dulcis memoria add Ave Maria Sustinuimus pacem Italian Madrigals and French Chansons этом Byrd (1543-1623) Handel (1685-1759) Handel Parsons (d.1570) Contrappunto bestiale alle mente Banchieri (1567-1634) (The animals improvise counterpoint) Matona mia cara Il est bel et bon La guerre Laudes de Saint Antoine de Padoue O Jesu O proles Laus regi Si quaris Lassus (1532-1594) Passereau Jannequin (1475-1560) Poulenc (1899-1963) Poulenc wrote a number of sacred works for unaccompanied 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 1'Esprit". Poulencs's concern for clear prosody no doubt influenced the homophonic nature of his choral style. He -

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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 is 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.) 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 OF 15 MINUTES The Musicians of Bremen (1972) Malcolm Williamson (b.1931) Commissioned by the King's Singers. A setting of one of the more familiar Grimm's Fairy Tales. A note Whe Singe ould

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esy loses A note from the composer 3. 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 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 time than the actual composition of the first version. As it is, in the final version there is a superimposition of mode The upon mode and not a single accidental in the entire work. text is my very free adaption of several versions of the story. 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 different styles ranging from austere serialism to pop tunes modelled on Richard Rodgers. Often different Williamsons jostle together disconcertingly. - a night-club pianist and the pious Catholic organist; music pours from both. The key 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 - -

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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 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 Gowors, 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 quartot 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. OW

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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 5QD). 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 Mozart Quartet No. 6 in F major Rossini

43 The Huddersfield Music Society, HMS 55, Page 43

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THE HALIFAX PHILHARMONIC CLUB ***************************** Syrinx for solo Flute Quintet 6. contd .... Divertimento for Flute, Oboe and Clarinet Deux Pieces In tool one Density 21.5 for solo flute Mladi Suite bas Debussy Neilson Arnold 38 Ropartz Varese Janacek 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. April 13th 16th. Details of the weekend at Hoddesdon from - April 16th, April 30th. the Secretary. Isoqgs Oratorio. Presented by Mr. Carter Technical Evening. Presented by Mr. Bostock edieq odgodt oved 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. THE HUDDERSFIELD THESPIANS **************************** The Arts Centre, Queen Street. bob April 30th May 5th at 7.30 WHO'S AFRAID OF VIRGINIA WOOLF? by Edward Albee SHT Tickets 30p (Reduced rates for Senior Citizens on Mondays) from Woods, 67 New Street.