HMS 56


The Huddersfield Music Society, HMS 56

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HUDDERSFIELD MUSIC SOCIETY Brochure 56 Season's programmes 1973 - 1974 19.11.73 18.2.74. HN Pages 3+4 Missing 2 puces (Nin recorded u and catalogue booh on the database, but not programme itemised colorchecker Xx.rite + Moller-Cout) are L +. ▬▬ >) Sm mple in wing he on ng MSCCPPCC0613 S

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FIFTY-SIXTH SEASON 1973-1974 The Huddersfield Music Society WT. 7.30 p.m. AREA TOWN HALL, HUDDERSFIELD (entrance in Corporation Street) eradi -1750) the 1 example cita in following of the eation or ducing are dance ta re their works 856) n the on a pupil

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FIFTY-SIXTH SEASON 1973-1974 The Huddersfield Music Society 7.30 p.m. WT. AREA TOWN HALL, HUDDERSFIELD (entrance in Corporation Street) LA

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Monday, October 8th, 1973 ANNE QUEFFELEC Bach Schumann Liszt Liszt Partita No. 1 in B flat Etudes Symphoniques La jeux d'eau de la villa d'Este La valle d'Obermann St. Francois de Paule marchant sur les flots Liszt Premiere communion de la vierge Noel (from 'Vingt Regards sur l'enfant Jesus') Messiaen Anne Queffelec made her debut at these concerts some years ago and all who were present will be delighted to have the opportunity of hearing her again. She was among the finalists in the Leeds International Piano Competi- tion and the deep impression she made then, and in the T.V. performance which followed, has helped to make her one of the most sought-after pianists in this country. Monday, November 19th, 1973 THE GABRIELI ENSEMBLE Keith Puddy Kenneth Sillito Keith Harvey John Streets Clarinet Violin Cello Piano Piano Trio No. 1 in G major ... Haydn Trio in A minor Op. 114 ......Brahms Quatour pour la fin du temps ...Messiaen The Gabrieli Ensemble was formed in 1962 with a view to offering audiences interesting and well-balanced programmes in which various combinations for violin, cello, clarinet and piano are presented. Each of the four players has had a most distinguished career and their ensemble reputation is now world-wide. We are particularly fortunate in being introduced by them to an important work by Messiaen - perhaps France's leading composer. Messiaen wrote the following inscription to the Ensemble: "For the Gabrieli En- semble who have played this difficult work so many times and who have moved me to tears by this magnificent performance in March 1973, at Cardiff. Thanks to all four of them from the bottom of my heart". 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.

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3 ydn hms maen din ces mes Olin, ted. nost mble in an ser. tion En- cult ave Cent diff. the THE HUDDERSFIELD MUSIC SOCIETY (Founded as The Huddersfield Music Club by Dr. Eaglefield Hull in 1918) President Vice-President Honorary Vice-Presidents: Benjamin Britten, Esq., O.M., C.H., F. Rowcliffe, Esq. The Rt. Hon. The Lord Savile, J.P., D.L. Joint Hon. Secretaries: Mrs. J. de Nikitin-Solsky, 37 Gynn Lane, Honley, HD7 2LE. Tel. Hudd. 61696. Miss C. Alison Shaw, 3a Vernon Avenue, HD1 5QD. Tel. Hudd. 27470 Hon. Treasurer: P. Michael Lord, Esq., National Westminster Bank Ltd., 22 John William Street, HD1 1BJ. Tel. Hudd. 28654. R. Barraclough S. H. Crowther David Dugdale P. G. C. Forbes, Edward Glendinning, Esq. W. E. Thompson, Esq. M.A., A.R.C.O. Miss I. Bratman Mrs. A. Crowther Mrs. S. H. Crowther Miss K. Evans, B.A. Executive Committee: Mrs. E. Glendinning I. M. Lee S. Rothery Miss E. K. Sawers Ladies' Committee: Chairman: Mrs. J. Shires Miss M. A. Freeman, LL.B. Miss M. Hamer Mrs. D. Hirst, J.P. Max Selka E. C. Shaw Mrs. J. Shires J. J. Valner Mrs. S. G. Watson Miss C. A. Shaw Mrs. J. H. Sykes Miss W. Townsend Mrs. S. G. Watson Hon. Secretary: Mrs. E. Glendinning Hon. Treasurer: Miss E. K. Sawers

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73 ayda hms Blaen nces mes olin, ated. most mble 10 an ser. tion En- cult cent diff. the Monday, December 3rd, 1973 THE YOUNG ARTISTS Programme to be announced later For a number of seasons this Society has presented, thanks to the kind co- operation of Mr. Forbes, outstanding students at the Huddersfield Polytechnic. It has been decided this year to widen the scope of this Concert. Students of the School of Music will again appear and, with them, students from the Northern College of Music (Manchester), Cheet- ham's School and Miss Fanny Waterman. We believe that this arrangement will add variety and interest to the Concert, and it is confidently hoped that a large audience will support and encourage these gifted young people on the threshold of their careers. The date of this Concert has been changed from December 10th. Monday, January 14th, 1974 THE FITZWILLIAM STRING QUARTET Nicholas Dowding John Phillips Alan George Ioan Davies Violin Violin Viola Cello Quartet in C major Op. 76 No. 3 Haydn Quartet No. 13. Shostakovich Chacony in G minor... Purcell Quartet in E minor Op. 59 No. 2 Beethoven A characteristic of musical life in Cambridge is that old friends and ac- quaintances from the National Youth Orchestra suddenly find themselves to- gether again; it was out of this situation that the Quartet was born in 1969. In 1971 the Quartet was selected from several outstanding applications to be the Quartet in Residence at the Univer- sity of York. They are sponsored by the Yorkshire Arts Association, Yorkshire Television and the University itself. Since then their reputation has grown steadily and the repertoire constantly widened. The Quartet was honoured by being permitted to give the British premiere of Shostakovich's latest Quartet (No. 13). The composer himself was present during its performance at York. Please Note.-This Concert will be held in the Mayor's Reception Room (ent- trance in Ramsden Street). 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. S I I a I t L I C I S t C V I

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members please endeavo TO ALL MEMBERS. I enclose £. modern composers. works have been created struments. of earlier music, a number ( transcriptions, arranged by Both players are virtuosi As well as ma que ensemble of viol da gan makes us recall, by its sour usual combination of instru his brother together to pre Piano Trio, Sasa Vectomov ance last season as cellist c Following his very succes i REMITTANCE FORM (for the use of PRESENT MEMBERS ONLY) To the Hon. Treasurer, The Huddersfield Music Society, National Westminster Bank Ltd., 22 John William Street, HD1 1BJ in payment for Double (Single) Season Tickets To assist the Treasurer, please enclose this form. Name. Address Suita Espanola ................ Rumanian Dances... Das Kinderlieder Suite ...... Seguido Espanola APPLICATION FORM (for the use of NEW MEMBERS ONLY) To the Hon. Secretary, 3a Vernon Avenue, Huddersfield, HD1 5QD Please send me Double (Single) Season Tickets for which I enclose £. Name Address Cheques should be made payable to "The Huddersfield Music Society" Receipts will not be issued unless requested Sasa Vectomov Vladimir Vectomov (BLOCK LETTERS PLEASE) THE PRAGUE Monday, February 18

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Monday, February 18th, 1974 THE PRAGUE DUO Sasa Vectomov Vladimir Vectomov Seguido Espanola Das Kinderlieder Suite Rumanian Dances Suita Espanola Cello Guitar Nin Moller-Cont Bartok de Falla Following his very successful appear- ance last season as cellist of the Czech Piano Trio, Sasa Vectomov comes with his brother together to present an un- usual combination of instruments which makes us recall, by its sound, the baro- que ensemble of viol da gamba and lute. Both players are virtuosi on their in- struments. As well as making use of transcriptions, arranged by their father, of earlier music, a number of interesting works have been created for them by modern composers. Monday, March 18th, 1974 THE MELOS STRING QUARTET OF STUTTGART Wilhelm Melcher Gerhard Voss Hermann Voss Peter Buck Violin Violin Viola Cello Quartet in B flat major K.458 (The Hunt) Quartet No. 2 "Intimate Letters" Mozart Janacek Quartet in D minor Op. posth. Schubert (Death and the Maiden) This Quartet, now universally ac- claimed as Germany's finest quartet of the younger generation, first met in 1965. All were members of two well- known Chamber Orchestras; they now devote themselves solely to their activit- ies as a String Quartet. Their first con- cert was given in 1966 and their success was immediate. Since then they have won many international prizes and awards and have toured extensively in Europe, South America, Africa, Russia, and the Near and Middle East. They have had the great honour of being in- vited to give the bi-centenary concert in Beethoven's house in Bonn. This Concert is part of an extensive visit to Yorkshire by the Quartet made possible by a generous financial guaran- tee from the Goethe Institute of York. TO ALL MEMBERS. An increase in membership is most essential. Could each members please endeavour to obtain at least ONE new member? SEASON TICKETS Double £5.50 (for two persons not necessarily of one family) Single Student (may be obtained from the School of Music, Polytechnic or from the Hon. Secretaries) Single Ticket Student Ticket £3.30 £1.00 (Bona fide Students under 21) 85p 20p All ticket prices inclusive of VAT Reg. No. 184 1975 34 LAST SEASONS MEMBERS Tickets as issued last year to all exist- ing 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 either from the Hon. Secretary (using the appropriate form overleaf) or from Messrs. J. Wood and Sons, 67 New Street, Huddersfield, or at the door. Student single tickets are obtainable only at the School of Music or in bulk from the Hon. Secretary and at the door. This perforated slip should be for- warded as soon as possible, please. Multi-Storey Car Park in close proximity to the Hall.

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PATRONS The Rt. Hon. THE LORD SAVILE, J.P., D.L. G. R. BOOTH, Esq. DAVID DUGDALE, Esq. P. G. C. FORBES, Esq., M.A., A.R.C.O. EDWARD GLENDINNING, Esq. P. MICHAEL LORD, Esq. Miss E. K. SAWERS MAX SELKA, Esq. Miss C. A. SHAW E. C. SHAW, Esq.

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THE HUDDERSFIELD MUSIC SOCIETY ************************************ Fifty-sixth Season 1973-74 dd Area, Town Hall Monday, October 8th 1973 Partita No. 1 in B flat berfel ANNE QUEFFELEC *************** Etudes Symphoniques Op.13 Piano Recital Programme I Prelude Allemande Courante Sarabande Menuet I and II Gigue The name Partita is an Italian word, now obsolete, for the Suite. In his use of this title Bach followed the style and example of his predecessor Kuhnau. Bach wrote this, his first, Partita in 1726 and continued producing one Partita each year for the following five years. He published the set of six (how fond Bach was of the numbor six and its multiples) in 1731 under the title of Klaviorubung, composed, said the title, for the "montal rocreation of art-lovers". The work created a great sensation; "such excellent clavichord compositions had never before been seen or hoard". Bach's later French and English Suites, while introducing nower dances, kept more rigidly to tradition. The Partitas are romarkable for their irregularities; both the names and the dance a forms vary greatly, with greater froedom of treatment and more elaborate rhythms than are found in the later Suites. From their extraordinary fineness of invention and workmanship, without evidence to the contrary, one might think that they were the works of a later period. II Bach (1685-1750) m gege goo Schumann (1810-1856) (Last performed in 1947 by Solomon) Love of a woman was a great inspiration to Schumann. In the case of the Etudes Symphoniques the inspirer was Ernestine von Frick with whom he had fallen in love. She came in 1834 as a pupil

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2. to Friedrich Wieck, the father of Clara whom Schumann was to marry in 1840. Ernestine's father was Baron von Frick, a Bohemian nobleman, who as an amateur played the flute and composed music. He sent an original theme with variations to Wieck and Schumann for criticism. Schumann was attracted by this theme and decided himself to write variations upon it. He first thought of entitling the work "Variations Pathetiques" from that, and from the final title "Etudes Symphoniques" we can deduce the fact that the Variations possess a general under- current of pathos and are remarkable for the orchestral treat- ment of the piano. Schumann's duel personality - Florestan, the man of action, and Eusebius, the man of dreams shows itself clearly too. The Etudes Symphoniques were composed in 1834, published three years later and revised in 1852. The work consists of the theme, nine variations, two intermezzi (between the second and third and the seventh and eighth variations and an almost independent Finale. It was dedicated to Schumann's English friend, Sterndale Bennett, and, as a delicate reference to him, the Finale opens with a stirring melody taken from Marschner's opera "Der Templer and die Judin" (a version of "Ivanhoe") which accompanies the words "Who is the honoured Knight?" (Richard Coeur-de-Lion) and the chorus Rejoice, proud England". The work was not at first popular and Schumann himself advised Clara not to play it as he doubted if it were suitable for public performance and if his hearers would understand it. It was not until Rubinstein included the Etudes in his series of great historical programmes in 1885-86 that the full significance of this great work was revealed. ********************************** COFFEE INTERVAL OF 15 MINUTES. ********************************** III Les jeux d'eaux de la villa d'Este La vallee d'Obermann St. Francois de Paule marchant sur les flots) Liszt (1811-1886) Whatever one may think of Liszt as a composer (and it must not be forgotten that Wagner, Debussy and even later composers owed much to the daring harmonies found in his later works) it cannot be denied that his music is piano music par excellence. can the monimental edition, b The f

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3. Nor can the piano works of a composer to which an intellect as monumental as Busoni's devoted such care in the preparation of and edition, be lightly dismissed. The first two pieces to be played this evening are both taken from the Annees de Pelerinage. The two first books of this worko form the first body of Liszt's really impressive and original compositions. The first book, from which the Vallee d'Obermann is taken, deals with Swiss scenes. They originally appeared as an album of pieces in 1835; the final form, largely rewritten and with some omissions, appeared in 1952. If the idea now seems old-s fashioned, Switzerland was then the land of romance, Turner was then producing his pictures of mountain scenery; in music, this s whcle scheme was one of complete originality. It bears comparison with the much later Iberia by Albenez. Obermann" refers to a ontol book of philosophical romantic letters about Nature by Senancourt; this piece is the most extended and impressive piece of the set. edi A second set of Annees - this time Italian was published in 1848. The third Annee (again Italian) did not appear until 1890 though its publication had been intended and prepared by Liszt himself before his death. All the pieces had previously appeared separately. These last two sets show Liszt's abiding love of Italy. Of the seven pieces "Les jeux d'eaux forms the summit. Busoni called it "the model for all musical fountains which have ever flowed"; it is unsurpassed even by Debussy and Ravel. dod "St. Francois de Paule marchant sur les flots", one of the most striking of Liszt's mature compositions, dates from 1866. It was inspired by a drawing which hung in his study at Weimar. Sacheverell Sitwell writes: "There is nothing more original in the whole piano repertory... the second of them (performed this evening) is a truly extraordinary production. (They) seem to belong to the art of the Jesuits, to the painting and architecture of the Seicento (It is) taken from the life of the Calabrian saint, founder of the Mendicant Order of Minims, a frequent subject of that wild and fantastic painter Magnasco, who seems to hover between El Greco and Salvador Rosa. The mention of his name will perhaps give an indication of the strange atmosphere of "St. Francois". As pictorial suggestion, as direct interpretation of the story into f music, as creation of immediate visual effect by that means, this piece of music is without precedent". IV Premiere Communion de la vierge Noel (from "Vingt Regards sur l'Enfant Jesus") Messiaen (b. 1908)

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4. Olivier Messiaen, half Flemish and half Provencal in origin, the son of a professor of literature and Cecile Sauvage, the poet, is one of the outstanding figures of modern French music. The last time his music was performed at a concert of this Society was in 1950; this year we are fortunate enough to be able twice to become further acquainted with his music. Messiaen began to play the piano and to compose at the age of 8. He entered the Paris Conservatoire in 1919, where Dukas was one of his teachers, continuing his studies there until 1930 and winning many prizes. In 1931 he became the organist of the Trinite in Paris and in the same year his first orchestral work was performed. He became a professor at the Ecole Normale and the Schola Cantorum; he was one of the co-founders of the Jeune-France group who were in the vanguard of modern French music. He has travelled widely particularly in connection with the performance of his own works. He has also written extensively about these compositions; he gives them descriptive titles and much picturesque explanation. Essentially a mystic, perhaps one of the most remarkable features of this unusual man is his devotion to the Catholic Church and its dogmas. He does not write Masses for church services but all his work is permeated with deep religious feeling and he believes that it should be wholly devoted to the service of the Church. importan hour Messiaen is certainly a leader of modern French music. In his work for the organ, some see the infleunce of Franck but he goes much further than Franck in his feeling for timbre and organ registration. He is rather to be considered as the successor of Debussy but he explores realms of sound and emotions which Debussy never knew. Messiaen does not reject the older rules of harmony and form but he expands and adds to them. He makes use of plain-song and has experimented with atonal music. In particular he has been much influenced by Hindu music, especially by its rhythms; he insists that what distinguishes his music from other contemporary music is its rhythmic novelty. Melody, rhythm and rainbow colouring are all to be found in his music. Much of his work shows his deop love de of, and interest in Nature; much of his inspiration is derived from bird-song using an almost literal transcription of it at times. A prisoner of war for two years, in 1943-44 during the occupation of Paris by the Germans, Messiaen wrote two 11

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in, com ·5. important piano works "Visions de l'Amen (for 2 pianos lasting 1 hour in performance) and "Vingt Regards sur L'Enfant Jesus" lasting, in its entirety 2 hours in performance) from which tonight's piece is taken. Both are based upon motto themes of deep theological significance. ANNE QUEFFELEC. was born in Paris in 1948. The name is of Breton origin, the family having lived in Britanny until this century. She began to study at the age of 5; at the age of 16 she went to the Paris Conservatoire where, after one year, she won the first prize. At 17 she took her Baccalaurat de Philosophie. She was a student at master-classes of Paul Badura- Skoda, Demus and Alfred Brendel. In 1968 she won the most important prize of the German Music Competition at Munich. The deep impression that her appearance made at a recent Leeds Piano Competition has made her one of the most sought after young pianists in this country. *********** *********** ********************* Area, Town Hall. THE HUDDERSFIELD MUSIC SOCIETY December 3rd. January 14th. ************************************ February 18th. March 11th. Clarinet, Violin Cello and Piano November 19th. THE GABRIELI ENSEMBLE Piano Trio No. 1 in G major Trio in A minor Op. 114 Quatuor pour la fin du temps Monday Evenings at 7.30 ********************* Haydn Brahms Messiaen The Young Artists The Fitzwilliam String Quartet (Mayor's Reception Room) The Prague Duo (Cello and Guitar) The Melos String Quartet of Stuttgart. Season tickets for the remaining 5 concerts £4.56 (double), £2.75 (single). Single tickets 85p (All prices inclusive of VAT) from Woods, 67 New Street and at the door. The National Federation of Music Societies, to which this Society is affiliated, gives support towards the cost of these Concerts with funds provided by the Arts Council of Great Britain.

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6. Generous support is also given by the Yorkshire Arts Association. THE HALIFAX PHILHARMONIC CLUB ******************************** Lecture Hall, Harrison House, Harrison Road. THE LINDSAY STRING QUARTET with JANET HILTON (Clarinet) Clarinet Quintet String Quartet No. 2 Clarinet Quintet Saturday November 3rd at 7.30 p.m. Tickets 80p (students 30p) from Mrs. Hanson, 23 The Crescent, Hipperholme, Halifax and at the door. THE HUDDERSFIELD GRAMOPHONE SOCIETY ************************************* Waverley House, New North Road. October 15th President's Evening. Monday Evenings at 7.30 Symphony No. 1 Elgar, Alboni and Tallis. Presented by Miss Williams. Octobor 29th. Members' Choice. November 5th. For Children of all Ages Bizet, Prokofiev and The Arts Centre, Queen Street Brahms A. Goehr Mozart - Walton. Presented by Mr. Jenkinson. Annual Subscription £1.20 from Jan. 1st 70p. Students and Senior Citizens, half fee. Socrotary: Mr. D. Bostock, 16 Imporial Road, Huddersfield HD3 3AF THE HUDDERSFIELD THESPIANS ************************** 8th 14th October at 7.30 CHARLEY'S AUNT by Brandon Thomas. Single tickets 30p from Woods, 67 New Street. Reduction on block bookings for 10 or more people on application to: Mrs. Tinsley, 9 Woodbine Road, Fartown.

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THE HUDDERSFIELD ************************************ MUSIC Fifty-sixth Season 1973-74 Area, Town Hall Monday, November 19th 1973 THE GABRIELI ENSEMBLE ******** *********** Keith Puddy (Clarinet) Keith Harvey (Cello) Trio No. 1 in G major Programme I SOCIETY Kenneth Sillito (Violin) John Streets (Piano) II Andante Poco Adagio Finale Rondo all' Ongarese (Rondo) Haydn (1732-1809) The piano Trio has grown out of the early sonata a tre in the contrapuntal style of Bach for two violins and a figured bass for the clavier; sonata form was adopted for it as it was for the quartet. Haydn, in his early years, wrote a few Trios obviously then with little interest in that form. But 15 of his Trios date from the nineties. These are entirely different both in scale and in content; now each of the three instruments begin to reveal a new individuality and responsibility. In particular, their wealth of modulation is to be noted, again proving the new importance which is attached to this form of composition. The Trio in G major is a particularly charming example with the lovely theme and variations of the first movement, the simple yet eloquent melodies of the slow movement and the gaiety of the final rondo. Trio in A minor Op. 114 Allegro Adagio Andante grazioso Allegro Brahms (1833-1897) Brahms came relatively late in life to the use of the clarinet in chamber music. He had heard the wonderful playing of Muhlfeld

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2. of the Meiningen orchestra and this awakened in him a love of this beautiful and expressive instrument. Four works resulted from this inspiration - the Trio, the Quintet and two Sonatas for clarinet and piano. The Trio, shortly to be followed by the Quintet, was written in Ischl during the summer of 1891. Richard Specht gives an ornamental and rather sentimental account of it, but, however over-coloured, it does give a sympathetic impression of this lovely music: "Each movement is a love poem of unspeakable tenderness. The first is shy and gladly hopeful at once; its chief subject, rising in an arpeggio of the tonic chord of A minor and then descending through three diatonic notes, is like an expectant upward glance. followed by a stooping for a kiss, the second, in the relative major, has a simple animation and becomes so quietly exal in an expression of modest yearning that it smites the heart. What follows is more a spinning out than a development of the themes, and this gives the movement the effect of an extended song which the romantic and captivating sound of the clarinet removes into a sphere of dreams and magic. The Adagio glows so fervently in its uniterrupted singing as to oppress the hearer's breast deliciously; he would be, indeed unwilling to toar himself. away from it did not the lovliest intermezzo come to lead him into a land of love where there is no delusion; it is the most gracious and wistful of dance songs and you drink it in as a butterfly sips honey ..... The Finale may be accepted as a remembrance of childhood: a theme from Schumann's Album for the Young colours the principal subject and there are children's games of wild rides and roundelays while a tear seems to fall; into the composer's grey beard". ********************************** COFFEE INTERVAL OF FIFTEEN MINUTES ********************************** Messiaen (b. 1908) Liturgie de Cristal Vocalise, pour l'Ange qui annonce la fin dur Temps. Quatuor pour la fin du Temps Abime des Oiseaux Intermede Louange a l'Eternite de Jesus Danse de la Fureur pour les sept trompettes Fouillis d'arcs-on-ciel pour l'Ange qui annonce la fin du Temps

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5. KEITH PUDDY was chosen by Barbirolli to be principal clarinet of the Halle Orchestra and he has since toured the world with the L.S.O. He is a founder member of the New London Wind Ensemble and a solo player of wide renown. KENNETH SILLITO studied in London and Rome, winning numerous prizes. He is leader of the Gabrieli String Quartet and co-leader of the English Chamber Orchestra as well as being a distinguished soloist. KEITH HARVEY won the Suggia scholarship at the R.A.M. with many other awards. At 21 he became principal cello of the L.P.O. but later retired to devote himself to chamber music. He is now first cellist of the English Chamber Orchestra and cellist of the Gabrieli String Quartet. JOHN STREETS studied in London and Rome. He is widely known as a distinguished accompanist for many internationally famous artists. He is Director of Opera and a fellow of the R.A.M. THE HUDDERSFIELD MUSIC SOCIETY ************************************ Area, Town Hall. January 14th February 18th March 18th. Monday Evenings at 7.30 December 3rd. YOUNG ARTISTS The programme will include piano solos, duos for flute and piano and cello and piano and the Madrigal Group (Conductor, Richard Steinitz). All are advanced students from the Polytechnic School of Music, the Royal Northern College of Music, Chetham's School and Miss Fanny Waterman. THE FIT ZWILLIAM STRING QUARTET THE PRAGUE DUO. Cello and Guitar THE MELOS STRING QUARTET OF STUTTGART. Single tickets 85p from Woods, 67 New Street and at the door. The National Federation of Music Societies, to which this Society is affiliated, gives support towards the cost of 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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Preliminary Notice 6. ****************** A SPECIAL CONCERT will be given by the KONTARSKY PIANO TRIO on Monday, January 28th in the Area, Town Hall at 7.30 p.m. The Huddersfield Music Society and the Polytechnic School of Music are presenting this Concert sponsored by the York Centre of the Goethe Institute of Manchester which is most generously supplying these eminent artists. Fuller details will be given in due course. THE HALIFAX PHILHARMONIC CLUB ***************************** Lecture Hall, Harrison House, Harrison Road. Wednesday, January 16th at 7.30 p.m. THE BARTOK STRING QUARTET Quartet in F major K.590 Quartet No. 2 Op.17 Quartet in A minor Op. 132 Tickets 80p (students 30p) from Mrs. Hanson, 23 The Crescent, Hipperholme, Halifax and at the door. THE HUDDERSFIELD GRAMOPHONE SOCIETY *********************************** Waverley House, New North Road. November 26th. Gounod and Beethoven. December 17th. January 7th. Monday Evenings at 7.30 Presented by Mr. Chilvers Carry on Christmas. Presented by Mr. Bostock Centenaries. Presented by Mr. Jenkinson Mozart Bartok Beethoven. Annual Subscription £1.20 after January 1st 70p. Students and Senior Citizens half fee. Secretary: Mr. D. Bostock, 16 Imperial Road, Huddersfield HD3 3AF THE HUDDERSFIELD THESPIANS ************************** The Arts Centre, Queen Street November 19th-24th at 7.30 THE PRIME OF MISS JEAN BRODIE By Jay Presson Allen adapted from the novel by Muriel Spark Tickets 30p from Woods, 67 New Street. Reduction on block. bookings for 10 or more people on application to Mrs. Tinsley, 9 Woodbine Road, Fartown.

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THE HUDDERSFIELD MUSIC SOCIETY ************************************ Fifty-sixth Season 1973-74 (0481-3181) atoo Area, Town Hall JoW obertse Monday December 3rd 1973 edt eint bra sebeIfsa etowy niqono THE YOUNG ARTISTSebells on 8481 ******************* eoq belled Isnott thert rabrogels and visuer t cono brolynsd to Haup sot at fedt 'ybolom at Jeft de blot nomel toonth's I of moda ow bolem atit to sugh ont dit date gabinoge Programme English Madrigals sorit dewond ozom ouro alovcem to brief odd rodas Ibid bas grof odd [Is John Bennet (1570-d?) John Farmer (17th Cent) onsig Francis Pilkington 20 sense TOWO zebly. Hoon OB BÌ Istinezse A. S Weep, O mine eyes t Fair Phyllis Rest, sweet nymph Down in a Valley The Madrigal Group conotuot Conductor: Richard Steinitz II Flateb eaft (b. ?-1638) John Wilbye (1574-1638) Piano Solos Sonata in D major K.576 oube IssIMozart (1756-1791) Heanid Allegroot to Adagio Allegretto duonT no aid tot, brar ma kao teaey qui, This Sonata, written in 1789, was the last that Mozart composed. "I am composing", he wrote "six easy sonatas forta Princess Friederike" (of Prussia). But this was the only one to be completed and it is anything but "easy". As in so many ow of Mozart's later works, it starts with a theme which is immediately reapeated at a higher scale. Much use is made of counterpoint, perhaps inspired by Mozart's recent visit to esta Leipzig, with its memories of Bach. The beautiful Adagio, full of "deep longing and consolation", is one of Mozart's finest. The finale combines the sweetness of piano sonorities with the Janca

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2. fine detail of a string Trio" (Einstein). Chopin (1818-1849) Ballade No. 4 in F minor Op. 52 Chopin wrote 4 Ballades and this, the last, dates from 1843. The Ballade in music has not the narrower sense of traditional ballad poetry; its musical scope is so much wider; it usually has a legendary origin and beauty is an essential quality of it. Langford once wrote: The Fourth Ballade is a direct lament, told at first in a melody that is like a speaking sigh. With the figuration of this melody we seem to enter the land of marvels once more, though the note of romantic lament is never broken in all the long and brilliant climax and coda. There is nothing more beautiful in the whole realm of piano music than these Ballades", Valerie Ashworth Sonata for Flute and Piano III Poulenc (1899-1963) Allegro malincolicó Cantilena Presto giocoso Poulenc had a classical education though he had piano lessons from Vines and in various ways managed to equip himself for his work. He was a member of group known as "Les Six" formed under the guidance of Satie and later much under the influence of Cocteau. Though all six united in their cry of back to simplicity as opposed to the prevailing impressionism, they were rather united by their friendship than by any similarities in their work. Poulenc wrote quite an amount of chamber music in his more serious style and most of these works are distinguished by a sweetness of melody and harmony. This Sonata was written in 1957 in memory of Mrs. Elizabeth Sprague Coolidge, that great American patron of chamber music. It can perhaps be considered more as a "homage" than an "elegy", being, on the whole light and witty in style in spite of the direction "malincolico" of the first movement. That movement is in a loose type of sonata form. The Cant: unusuall has refe

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3. The Cantilena had charm and sentiment; the piano part is unusually marked "doucement baigne de pedale". The rapid finale has references to the themes of the first movement. ValzognÏ J. Edward Mallinson Faye Caleyo *********** ****** COFFEE INTERVAL OF FIFTEEN MINUTES auoisy ************************************* Sonata in G minor Op. 19 Flute Piano - ************* IV. bude 018 ne bo Rachmaninov (1873-1943) Scherzo Adagio Allegro donaMofauM to Lento - Allegro moderato Rachmaninov, composer, pianist and conductor, was the son of a captain in the Imperial Guard and a descendant of a noble and wealthy family. His early years were devoted to composition, usually playing his own music, but in later years, forced largely by economic necessity, he became one of the greatest pianists of all time. His life ended in exile in America but his heart was ever in Russia. He wrote little or no chamber music, the two outstanding works being the Elegiac Trio (in memory of Tchaikovsky) and this Sonata for cello and piano. The Sonata is one of Rachmaninov's finest works; it was written in 1901 at the same time as the second piano Concerto a period of his finest inspiration - and shows with it a general elegiac and tragical mood. It is essentially a grateful work for the performers but has, as all As his compositions have, difficulties of a virtuoso standard. might be expected, the piano part plays a most important role though it is worthily matched by the beauty and nobility of the writing for the cello. Lesley Shrigley-Jones Cello adoxold Jrobat? Martin Roscoe Piano

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V. bus ado ber on off olenti biger ofT ofnboq ob ongled tromsonob" baxus vilsneum Yugoslav Folk Songs ************** 4. NoentifsM on The Madrigal Group Matyas Seiber (1904-1960) THE YOUNG ARTISTS. These musicians come from various centres. The Madrigal Group, Edward Mallinson and Faye Caley are students at the School of Music, Huddersfield Polytechnic. Lesley Shrigley-Jones and Martin Roscoe are students from the Royal Northern College of Music, Manchester. The former was one of the cellists to appear in Tortelier's Master Class on B.B.C.-T.V. Valerie Ashworth is a student at Chetham's School Manchester and a pupil of Miss Fanny Waterman. 3002 ********* ************************************************************** doz od zawodowbros bus Jelns to removoninsydos bus ofdon THE HUDDERSFIELD MUSIC SOCIETY Quartet in C major Op. 76 No. 3 Quartet No. 13 Chacony in G minor Quartet in E minor Op. 59 No. 2 February 18th. ************************************ S tataso a lo Theater Mayor's Reception Room, Town Hall (PLEASE NOTE) ud som Monday January 14th THE FITZWILLIAM STRING QUARTET teab misove 7.30 p.m. vttassoon omongo do on to a Haydn z H Shostakovich ow bne Purcell Beethoven THE PRAGUE DUO Cello and Guitar Homog (In the Area) The Nat Societ these Great March 18th. THE MELOS QUARTET OF STUTTGART Single tickets 85p from Woods, 67 New Street and at the door. Student tickets 20p from the School of Music and at the door.

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LUBUND so oft The National Federation of Music Societies to which this Society is affiliated, gives support toward the cost of these concerts with funds provided by the Arts Council of Great Britain. Generous support is also given by the Yorkshire Arts Association. ******* Area, Town Hall. 5. ******** ******************: SPECIAL CONCERT AN EVENING WITH THE KONTARSKY TRIO- Tickets, to include wine and chesse during the interval, 80p: (Students 40p) from Woods, 67 New Street and the School of Music. Monday, January 28th at 7.30 THE HALIFAX PHILHARMONIC CLUB ******************************** Quartet in F major K.590 Quartet No. 2 Op. 17 Quartet in A minor Op. 132 ******** Lecture Hall, Harrison House, Harrison Road, January 16th at 7.30 THE BARTOK STRING QUARTET ****** Wednesday, Mozart Bartok Beethoven Tickets 60p (students 30p) from Mrs. Hanson, 23 The Crescent Hipperholme, Halifax and at the door.

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6. food tou to THE HUDDERSFIELD GRAMOPHONE SOCIETY at dolo Clanto************************************** Waverley House, New North Road. Afdesrollodtyd nov December 17th. Carry on Christmas. January 7th. Centenaries. spoo January 21st. Mendelssohn. ********* Monday Evenings at 7.30 obis af froggra avotoned notatoos BA Presented by Mr. Bostock Presented by Mr. Jenkinson Arbre Presented by Mr. Nixon and Mr. Chilvers. Annual Subscription £1,20 after January 1st 70p. Students and Senior Citizens half fee. Secretary: Mr. D. Bostock, 16 Imperial Road, Huddersfield HD3 3AF. ******************************************************* THE HUDDERSFIELD THESPIANS **************************** Yabaombel The Arts Centre, Queen Street. ornfood January 14th-19th at 7.30 SAY WHO YOU ARE by Keith Waterhouse and Willis Hall stodol Tickets 30p from Woods, 67 New Street. Reduction on block bookings for 10 or more people on application to Mrs. Tinsley, 9 Woodbine Road, Fartown.

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(zear-e231) (ez THE HUDDERSFIELD MUSIC SOCIETY ************************************ Fifty-sixth Season 1973-74 Mayor's Reception Room, Town Hall Monday January 14th 1974 THE FITZWILLIAM STRING QUARTET ****************************** Nicholas Dowding (Violin) John Phillips (Violin) Programme Ie IobartA Alan George Ioan Davios Quartet in C major Op. 76 No. 3 (The Emperor) at Haydn (1732-1809) tom ano.fed IPa (0801 10 Allegro Poco adagio cantabile Minuet and Trio Presto (Viola) d (Cello) - tot asteno? St (ogal) Intifreed bre (last performed in 1934 by the Brosa String Quartet) Haydn brought the form of the string quartet to perfection. "It was from Haydn", said Mozart, "that I first learnt the true way to compose quartets". And in his quartets Haydn shows all his qualities of lucidity, perfect finish, inexhaustible invention, humour and freshness. His themes are often shorter and more pithy than Mozart's and have a greater rhythmic elasticity. He was,O indeed, the inventor of the rhetorical pause. He divided the musical interest equally between the four instruments thus fore-om shadowing the modern quartet. coquit. This quartet is the third of a set of six, dedicated to Count Erdody and written after Haydn's second visit to London. The first movement is vigorous and animated, with sudden contrasts of tone and springing rhythmic passages. The second movement is an air - Haydn's own Austrian National Anthem with four variations; the first is a duet between the violins, the second having the air while the first weaves a counterpoint above it; in the second the cello has the theme with three parts added above; in the third the theme The is given to the viola, and in the fourth to the first violin. Minuet is vivacious with a more delicate Trio. The work ends with an animated finale in which much use is made of running tripletova figures.

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Chacony 2. H Quartet in B flat minor Op. 138 II (Last performed in 1942 by the Blech String Quartet) The Chaconne is an obsolete dance probably of Spanish origin usually in 3/4 time and of slow movement. But the feature which has elevated it above the usual dance type is the construction of the music of a "ground bass" - a recurrent staple of melody over which the other parts are woven. Purcell excelled in this particular species of variation form, two well-known examples being the "Lament" from the opera Dido and Aeneas and his setting of Ken's Evening Hymn. Purcell (1659-1695) Of Purcell's music Arundel says "it is all admirable fresh, dramatic, sincere and masterly". The earlier works (the fantasies of 1680) still belong more nearly to the old school of music "apt for viols and voices". Later examples, such as the 12 Sonatas for three instruments (1683), the 10 Sonatas for four instruments (1690) and the lovely Pavan and Chacony, are important and beautiful stages in the development of the modern string quartet. III Shostakovich (b.1906) (First performance at these Concerts) During the earlier part of his career Shostakovich was something of a musical revolutionary, but after Stalin and his companions had publically attacked him for his modernism he modified his style somewhat. Since that time it has remained fairly constant, although the degree of harmonic adventurousness varies from work to work. Given that there is little variation in musical style the quartets cover a remarkable range of expression even within some of the individual compositions themselves. Despite this, the impression one has at the end of almost all these pieces is that the predominant note is one of intense seriousness. During the past few years the more elegiac side seems to have taken over completely, so that the subject of Death is never far away (it actually forms the central theme of the vocal Symphony No. 14). All this coincides with a progressively less tonally-orientated harmonic language, such that the main works of this period are all based on twelve- note rows (without actually resorting to the serial methods of Schoen rio

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-1695) 3. Schoenberg. The thirteenth quartet belongs in every way to this most recent period of composition; yet it is never uncommon to find passages in a Shostakovich score which seems to relate to earlier works; in fact the second subject appears to be a combination of motifs from the fourth and eighth quartets: this passage finally comes to sup rest on a pedal E over which the first violin taps out the most es characteristic Shostakovich rhythm of all. None of this would have seemed out of place in the eleventh quartet, but here it becomes an obsession, eventually being hammered out in chords of super-xe imposed minor ninths, which are then scattered into pizzicato brow Klangfarbenmelodie. This quartet is cast in a single arch-likotts movement in which the beat remains constant throughout (the basic tempo is Adagio); we have now reached the central section of the work (which moves at exactly double speed), and the next 140 bars are completely dominated by an ostinato figure which suggests the Sibelius of the tone-poems. This whole passage adds a completely new dimension to Shostakovich's musical language: it is quito unlike anything else he has written before. The extended three- ebrodo part trills which follow provide what is possibly the most uncomfortable moment in a piece whose darkness seems utterly impenetrable by even the faintest ray of hope. After a heartbea rending recapitulation of the opening themes the viola emerges once more to carry the music higher and higher as if to disappear ... odt Although composed in 1970 the thirteenth quartet did not reach this country until November 1972, when it was given its British premiere in Harrogate by the Fitzwilliam String Quartet. The performance was repeated the following week in York, with the composer in the audience. phiq(Alan George. Copyright 1972) ********************************** COFFEE INTERVAL OF FIFTEEN MINUTES ********************************** IV bo0 Quartet in E minor Op. 59 No. 2 Allegro Molto adagio 12 mom Beethoven (1770-1827) ud med Allegretto Presto (Last performed in 1963 by the Vlach String Quartet)

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4. The three Rasumovsky Quartets of Op. 59 were written inodol 1806, almost at the end of Beethoven's middle period. They were commissioned by and dedicated to, Count Rasumovsky who had come to Vienna in 1792 as the Russian ambassadorl The Count was himself a violinist, playing the second violin in his own quartet, which at one time was led by Schuppanzigh, the celebrated Austrian violinist. Rasumovsky asked Beethoven to include some Russian airs and these are found in Nos. 1 and 2. do "These quartets are in some ways the most wholly successful in existence. It has been argued (but not by me) that in the wonderful late quartots Beethoven overstrained the medium and attempted the impossible, but no one could deny the complete success of these three works; Beethoven found heights never before scaled by man and reached the top with triumphant ease". (Roger Fiske). The first movement of this second quartet, in sonata form, has dark and passionate moods contrasted with happy and smooth melody. It opens, as the Eroica Symphony does, with two dramatic chords. These are followed by a "breathless broken phrase" whose presence is felt rhythmically even through the smoother eq second subject. The development section is based chiefly upon the opening figure and fragments of the first subject. In this movement Beethoven, for some reason, reverts to the older custom of repeating the entire recapitulation and return section as well as the more usual repetition of the first section only before reaching the coda. The beautiful long-drawn Adagio (E major), marked to be played with great feeling, has a more dramatic middle section, q whose main theme has, in d'Indy's opinion, some analogy with goo the heroic themes of Wagner. The thrice-repeated Allegretto (E minor) really a Scherzo as conceived by Beethoven with its restless rhythms has a contrasting Trio in the major key into which the Russian tune is introduced. It is the well known "Slava" (Glory) which is also found in Boris Godunov, Tchaikovsky's Mazeppa and in several of Rimsky-Korsakov's works. In its original form it is a great stirring patriotic hymn but here its character is completely changed. As with many of the other national tunes which Beethoven used, he either misunderstood their character or else he purposely completely altered them. - const

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were in 5. The Finale is in one of Beethoven's happiest moods. In construction, it is a combination of first movement and rondo 20 form. *************************************************************** THE FITZWILLIAM STRING QUARTET, which started in Cambridge in 1968 is now in residence at York University with financial backing from the Yorkshire Arts Association and Yorkshire Television. Their growing reputation as one of the most exciting young groups in British music today was confirmed when they gave the U.K. premiere of the latest Shostakovich String Quartet. Gerald Larner in the Guardian wrote "The Fitzwilliam String Quartet played with the complete dedication which, having asked Shostakovich for permission to give this tool performance, they owed him. They also played with an under- standing which exceeded their obligation and which won them much respect". As well as their affinity with the works of this composer, they have a wide and carefully chosen repertoire both of classical and modern music. The beautiful instruments they play on are Italian. This Concert has received special assistance from the Yorkshire Arts Association for which the Society wishes to express its gratitude. THE HUDDERSFIELD MUSIC SOCIETY ************************************ Area, Town Hall o THE PRAGUE DUO Seguido Espanola Das Kinderlieder Suite Rumanian Dances Suita Espanola Monday, Cello and Guitar February 18th at 7.30 Nin hoft Moller-Cont Bartok *** de Falla March 18th. THE MELOS STRING QUARTET OF STUTTGART Single tickets 85p from Woods, 67 New Street and at the door. Student tickets 20p from the School of Music and at the door. The National Federation of Music Societies to which this Society is affiliated, gives support toward the cost of these concerts with funds provided by the Arts Council of Great Britain. Generous support is also given by the Yorkshire Arts Association

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Area, Town Hall. SPECIAL 6. AN EVENING WITH THE KONTARSKY TRIO Trio in C major K.548 Trio in C minor Op. 66 Trio in B major Op. 99. Mozart Mendelssohn Schubert E This Concert has been made possible through the generosity of the Goethe Institute. Tickets, to include wine and cheese in therefor interval, 80p, students 40p from Woods, 67 New Street and the foxo School of Music.de THE HALIFAX PHILHARMONIC CLUB CONCERT Monday, January 28th at 7.30. ******************************** Lecture Hall, Harrison House, Harrison Road. Quartet in F major K. 590 Quartet No. 2 Op. 17 Quartet in A minor Op. 132 mod now THE BARTOK STRING QUARTET Wednesday, January 16th at 7.30. Beethoven Tickets 60p (students 30p) from Mrs. Hanson, 23 The Crescent, Hipperholme, Halifax and at the door. THE HUDDERSFIELD GRAMOPHONE SOCIETY ************************************** Waverley House, New North Road. BA Mozart vedd Bartok Monday Evenings at 7.30 January 21st Mendelssohn. Presented by Mr. Nixon and Mr. Chilvers February 4th Hermann Goetz A talk by Mr. Harold Truscott A The Arts Centre, Queen Street Annual subscription £1.20 after Jan. 1st 70p. Students and Senior Citizens half fee. Secretary Mr. D. Bostock, 16 Imperial Road, Huddersfield HD3 3AF. FOOTORO THE HUDDERSFIELD THESPIANS ******************* ******** January 14th-24th at 7.30 SAY WHO YOU ARE by Keith Waterhouse and Willis Hall. Tickets 30p from Woods, 67 New Street. Reduction on block bookings for 10 people or more on application to Mrs. Tinsley, po 9 Woodbine Road, Fartown. SP

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YAA Design Unit An Evening with the Kontarsky Trio Cancelled Promoted by Huddersfield Music Society and the School of Music Huddersfield Polytechnic MO

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YAA Design Unit An Evening with the Kontarsky Trio Promoted by Huddersfield Music Society and the School of Music Huddersfield Polytechnic

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YAA Design Unit An Evening with the Kontarsky Trio Promoted by Huddersfield Music Society and the School of Music Huddersfield Polytechnic Town Hall Area Huddersfield Tickets to include wine and cheese in the interval at 80p and 40p (students) obtainable from Wood's Music Shop 67 New Street, the School of Music Huddersfield Polytechnic the secretaries of Huddersfield Music Society Mrs J de Nikitin-Solsky (Tel Huddersfield 61696) or Miss Alison Shaw (Tel Huddersfield 27470) Alfons Kontarsky, well known for his piano duo with his brother joined forces with violinist Saschko Gawriloff, appointed leader of the Berlin Philharmonic when only 19, and cellist Klaus Storck in 1970. Monday 28 January at 7.30pm Programme Trio in C major K548 Mozart Trio in C minor Op 66 Mendelssohn Trio in B major Op 99 Schubert This concert has been made possible through the generosity of the Goethe Institut. For further details of the work of the Institut please contact Dr Richard Schneider Director Goethe Institut 86 Micklegate. York

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Ar Tr Tr Tr Th Go in Sc Le Qu Qu Qu Ti Hi Wa Ja Fe An Ci Hu Th Ti bo 9 W end yd nevig bais et roqqa aroteno

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THE HUDDERSFIELD MUSIC SOCIETY ************************************ Area, Town Hall Monday, February 18th 1974 THE PRAGUE STRING DUO ************************ Sasa Vectomov (Cello) Sonata in G minor Programme I Grave Allegro Adagio Allegro [moj ort Vladimir Vectomov (Guitar) Henry Eccles (1640-1742) The title "Sonata" was first applied merely to distinguish something which was to be played in contrast to something designed to be sung (Cantata). Originally of one movement only, the influence of the Suite crept in, resulting in contrasting movements usually based upon dance forms. But the sonata soon developed a character of its own. Under Corelli the usual form consisted of four movements, the first being a slow one followed by alternating fast and slow movements and already, particularly in the first movement, one sees the first traces of sonata form (two subjects, a development section and a recapitulation) beginning to appear as well as some feeling of key relationships. This Sonata by Henry Eccles shows the sonata in its early development. He was the second son of Samuel Eccles, a teacher of the virginal and lute, and the younger brother of John, a prolific composer for the theatre. He was a violinist of great ability and was a member of the King's Band from 1674-1710. He considered connby himself unappreciated in England and went to Paris, becoming a member of the French King's Band. Much under the influence of Corelli, while there he produced two books of 12 solos for the peb violin and in 1723 his two books of solos for the viola, or violto appeared. In these sonatas the solo instrument was supported by a figured bass, well adapted for arrangement for the guitar..

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2. II third beat Is Suite the first Jig, an o forms the part is b- Chaconne for solo guitar. J.S. Bach (1685-1750) The Chaconne is an obsolete dance of Spanish origin. It is usually in 3/4 time with an accent on the second beat of the bar; the tempo is slow. It closely resembles the Passacaglia, both being variations on a "ground Bass" though in general the Passacaglia is slower and more stately; in the Chaconne the thome invariably is used in the bass while in the Passacaglia it can be used in any part, frequently with much ornamentation. One assumes that the Chaconne to be heard tonight is an arrangement of Bach's great Chaconne from the Suite for solo violin. III. Suite No. 5 in C minor for solo Cello J.S. Bach (1685-1750) Prelude Allemande Courante Sarabande Gavotte I Gavotte II Gigue Bach wrote six Suites for solo cello. They date from his Cothen period (1717-1723). Spitta remarks that, compared to passionate fire and warmth of the Suites and Sonatas for solo violin, those for the cello are "softened down to quiet beauty and a generally serene grandeur". In their way they are certainly as perfect. Chord-playing is little used in thom nor is there any use of polophony: this is explained by the construction of the bow at that period. This Suite starts with a lengthy Prelude; thereafter the dances are admirably contrasted. The Allemande is a dance of German origin in moderate 4/4 time. It is used in most suites as the first part unless there is a Prelude. The Courante, a dance popular in the 17th century in 3/2 time usually consisting of two parts of equal length, each repeated. The Sarabande, a slow dance in triple rhythm, possibly of Spanish origin but more probably coming from the East, is a regular feature of the Suite.. In the 17th century it became an English country dance. The Gavotto is a French dance in animated 4/4 time, beginning on the

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ba It is 750) 3. third beat. It has two sections, each of which is repeated; in this Suite it might almost be considered as a Minuet and Trio as the first Gavotte is repeated after the second one. The Gigue, or Jig, an old dance in animated binary form in triple time, regularly forms the finalo of the Suite. Here, as in most cases, the second part is built on the inversion of the theme of the first. Le Conte ********************************** COFFEE INTERVAL OF FIFTEEN MINUTES ********************************** IV ob Hooana 62 Con moto Con moto Allegro Leos Janacek (1854-1928) Janacek, one of the great names of Czech music, was of humble origin. His father and grandfather were village schoolmasters of the class from which so much of the musical culture of Bohemia has sprung. He became a chorister of the Community of the Austin Friars in Brno; later he attended an organ school in Prague but his poverty was such that it was not until he was 25 that he was able to continue his musical training at the Leipzig Conservatoire. He then went to Vienna with a view to becoming a piano virtuoso but he was forced to return to Brno in 1881. There he was active as a teacher as well as organising concerts which brought the finest music within the reach of all, and he began his researches in to folk music. Janacek's choral music and operas are perhaps his most characteristic works. In many respects he is a unique figure in musical history; he made a lifolong study of the cadences of the human voice, animal sounds and nature which influenced his mode of expression. Allied to that was his fondness for Slavonic folk- songs and dances. Janacek wrote relatively little chamber music, the best known being the 2 string quartets and a violin sonata, all of which date from his later years. In 1908 he wrote a piano trio based on Tolstoy's Kreutzer Sonata; this he destroyed but much later it became the basis of his first string quartet. Thus his first extant chamber work is Le Conte (The Fairy Tale) for cello and piano, originally entitled "The Story of Czar Berendei", based upon antant epic poem of that name by Zhukovsky. This poem tells of the young Czarevitch, promised as a ransom to Koshchei, ruler of the under-

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4 Suite Populaire Espagnole world, who sets out to meet Koshchei. He finds a lake where he sees 30 ducklings swimming in the water and 30 white dresses lying on the banks. When the ducklings emerge and put on the dresses they turn into beautiful maidens; he falls in love with the most beautiful, Koshchei's daughter. With her help Czarevitch Ivan accomplishes the tasks set him by Koshchei: they flee; are separated and the princess changes, in her grief, into a blue flower. On her release, Ivan remembers her and the usual happy ending follows. Janacek does not follow the tale closely and he was wise to retitle the work "A Fairy Tale". But in the tender and beautiful themes the lovers are certainly depicted as is their flight, their soparation and their reunion. Each movement fades away, which enhances the Russian character of the legend and the fairy-tale atmosphere. V Manuel de Falla (1876-1946) Le Drap Mauresque Berceuse Chanson Polo Asturiana Jota He later returned to De Falla was born at Cadiz and began to study in Madrid at the age of 8 where his subjects were piano and composition. In 1905 he won a prize in a national opera competition with La Vida Breve, the work destined to be the foundation of his musical fame. He lived for some years in Paris where Debussy, Ravel and Dukas gave him help and encouragement. Spain (Grenada) but at the outbreak of the Civil War, he settled in South America. His work is extremely individual and its conciseness and sense of form distinguish it from the work of other Spanish composers, as does his much more subtle treatment of these dances and pictures of his native land with all their colour and sense of poetry. All his music is strongly influenced by the rhythms of the castanets and the qualities of the guitar, both of which he treated seriously as musical instruments. THE B combina tic *********************** of viola created fo their fat

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th he 5. THE BROTHERS VECTOMOV combine to form an uncommon m combination of cello and guitar reminiscent of the baroque duo of viola da gamba and lute. Many modern works have been created for this combination in addition to which Ivan Vectomov, their father, himself a fine musician and for a long time concert master of the Czech Philharmonic Orchestra, has transcribed many traditional works for his sons. SASAV VECTOMOV was born in Prague in 1930. He studied there, in Moscow and in Chigiana with Professor Navarra. VLADIMIR VECTOMOV was also born in Prague in 1946 where he studied continuing in Mexico with Professor Lopez Rames. THE HUDDERSFIELD MUSIC SOCIETY ********************************* Area, Town Hall. Monday Evenings at 7.30 March 18th. THE MELOS STRING QUARTET OF STUTTGART Quartet in B flat major K.458 (The Hunt) Quartet No. 2 "Intimate Letters" Quartet in D minor Op.posth (Death and the Maiden) Single tickets 85p from Woods, 67 New Street and at the door. Students 20p from the School of Music and at the door. Mozart Janacek Schubert. The National Federation of Music Societies, to which this Society is affiliated, gives support toward the cost of these Concerts with funds provided by the Arts Council of Great Britain. Generous support is also given by the Yorkshire Arts Association THE HALIFAX PHILHARMONIC CLUB ******************************** Lecture Hall, Harrison Road. Wednesday, March 13th at 7.30 QUARTET OF STUTTGART THE MELOS STRING Quartet in E major Op. 125 No. 2) Quartetsatz in C minor Op.posth Quartet in G major Op. 161 ) Tickets 80p (students 30p) from Mrs. Hanson, 23 the Crescent, Schubert

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6. Hipperholme, Halifax and at the door. THE HUDDERSFIELD GRAMOPHONE SOCIETY ************************************** Waverley House, New North Road. Monday Evenings at 7.30 February 26th. Chamber Music and Opera. Presented by Miss French Music. Presented by Mr. Flux Williams. March 4th. Annual Subscription £1.20 from January 1st 70p. Senior Citizens half fee. Road, Huddersfield HD3 3AF. Students and Secretary Mr. D. Bostock, 16 Imperial THE HUDDERSFIELD THESPIANS **************************** The Arts Centre, Queon Street. AFTER HAGGERTY March 4th 9th. - 1 by David Mercer Single tickets 30p from Woods, 67 New Street. Reduction on block bookings for 10 or more people on application to Mrs. Tinsley 9 Woodbine Road, Fartown.

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THE HUDDERSFIELD MUSIC SOCIETY ************************************ Wilhelm Melchor Gerhard Voss Fifty-sixth Season 1973-74 Area, Town Hall Monday, March 18th 1974 fod to f THE MELOS STRING QUARTET OF STUTTGART ****************************************** (Violin) (Violin) On this visit to Britain, the Melos Quartet of Stuttgart is giving a series of six concerts in Yorkshire, which has been made possible through erous help from the Goethe Institute, York, and the Yorkshire Arts Association. Programme I Quartet in B flat major K. 458 (The Hunt) Hermann Voss (Viola) Peter Buck (Cello) Allegro vivace assai Minuet and Trio Mozart (1756-1791) Adagio Allegro assai (Last performed in 1969 by the Gabrieli String Quartet) This quartet is the fourth of a set of six which appeared in 1782 and was dedicated to his dear friend Haydn" with the remark that they were the fruits of long and careful study; indeed, hardly another of Mozart's manuscripts shows so many alterations and erasures. Mozart's work as a composer of quartets can be divided into two periods. There are 15 early quartets written between 1770 und 1773; then 1782 saw the appearance of the first "great" quartets. There was little in the style of the early group to distinguish them from a symphony or even a divertimento. But dating from Haydn's Sun Quartets (1772) and Mozart's Haydn Quartets, chamber music began its development on its own lines. Abert writes: "Now he (Mozart) appears before us as an artist in the modern Beethoven sense one who no longer takes his inspiration from external sources but seeks it within himself". The new vocal style, which appeared after Mozart's Italian tours, influenced his instrumental works and gave them "that specifically Mozartian cantabile colouring which differentiates his art from that of all his contempories".

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2. The first movement on this Quartet, known as "The Hunt" because of the suggestion of a hunting-song in its opening theme, recalls Haydn both in the style of the theme and in the light and innocent gaiety of the movement; the more characteristic Mozart does not appear until the development section. The Minuet and Trio form the second movement instead of being in the usual third position. The slow movement is perhaps the most impressive of the whole work. Einstein points out that the theme is based on the motiv of the Agnus Dei from the Litaniae Laurentanas, which Mozart wrote in 1774, and he finds that same atmosphere of intimate, devotional prayer in the Adagio. The theme of the finale is taken from an old folk-song; the movement has the same spirit as the first movement "a happy combination of delicious Mozartian roguishness and Haydnesque Humour", (Abert) Quartet No. 2 "Intimate Letters" II Andante con moto Allegro Adagio Vivace Moderato Adagio Allegro Allegro Andante Adagio (Last performed in 1971 by the Georgian String Quartet) - - - - Janacek (1853-1928) - Leos Janacek was born in Moravia, the seventh child of a poor family. His father and grandfather were both village schoolmasters of the class from which so much of the musical culture of Bohemia has sprung. He became a chorister in the Community of the Austin Friars in Brno where he worked under Krizkovsky, a precursor of Smetana and a writer of highly dramatic choral music. Later Janacek attended an organ school in Prague but his poverty was such that it was not until he was 25 that he was able to continue his musical training at Leipzig Conservatoire. There he studied conducting and theory under Reinecke and made one appearance as a pianist. He then went to Vienna with a view to becoming a piano virtuoso but he was forced to return to Brno in 1881. There he was active as a teacher as well as organising concerts which brought the finest music within the reach of all, and he began his researches into folk-music from which his own characteristic style was largely evolved. Jana character musical hi vigon

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at Chome, 3. Janacek's choral music and operas are perhaps his most characteristic works. In many respects he is a unique figure in musical history. Although old in years Janacek wrote with the vigour of youth and was entirely modern in style. Among his distinguishing qualities are formal precision and terseness of expression (as instanced in his abrupt closes); purity of tone- colour, each instrument being treated as a human voice without dependence upon the normal harmonic scheme; boldness and variety of rhythm, the result of a strong natural instinct strengthened by a lifelong study of the cadences of the human voice, animal sounds and nature; fondness for Slavonic folk-songs and dances; and finally a trick of harping upon one short reiterated motif. These things bring him into line with most advanced schools in spite of the fact that he never becomes atonal". (Max Brod). Janacek wrote relatively little pure instrumental music. He did, however, write 2 string quartets and a violin sonata; all are works of extreme originality. Both quartets are really programme music and the second, following Smetana's example, is autobiographical. This second quartet was Janacek's last work completed only a few months before his death. It was inspired by his love for a young woman, Kamila Stossl, and was entitled on the manuscript "Love Letters". The composer later changed this title to discourage vulgar curiosity about his inmost feelings, and in the final version, the viola was substituted for the viol d'amore. This quartet has actually no connection with the classical quartet form except that it contains 4 movements. They do not conform to any pattern or sequence and all have amazingly fluctuating tempi. But such is the sheer musical power of the work that it exists as pure music and needs no programme to make it intelligible to the listener. Technically this work represents the extreme limits of Janacek's writing of abstract music. No definite key can be established though perhaps the key of D flat is the most prominent. This key, in Janacek's other works, is generally employed to suggest tenderness and love. In construction the general principle is the use of a theme which is repeated with different harmonic colourings and values. Throughout the work the most minute interpretive directions are given to the players. The first movement describes the meeting with the loved one; the socond pictures an idyllic summer spent in the country. The third-movement is, in general, gay and is in fact difficult to understand in the light of the programme. The finale, in the form of a kind of rondo, gives the impression of the fulfilment of their love.

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4. mi oft orphoset ed, adosgaer ynen nie row ********************************** COFFEE INTERVAL OF FIFTEEN MINUTES ********************************** III Quartet in D minor Op.posth. (Death and the Maiden) oito Schubert (1797-1828) brugeb dacdt Allegro Andante con moto Scherzo Trio Presto - (Last performed in 1969 by the Dekany String Quartet) od This Quartet was written at the period when Beethoven was creating his last quartets and it is interesting to compare the bib difference in conception and technique between the two masters.exow "It would be tempting to compare the "seriousness" of Beethoven's Op. 95 with the seriousness of the D minor quartet. seriousness is free from pathos; he is more spontaneous; he Schubert's goes deeper and deliberately avoids the optimistic or triumphant aid note on which Beethoven ends" (Einstein). Kahl points out that while Beethoven's ideal was that of a lineal quartet style and that th he was moving in the direction of sound free from sensuousness, Schubert kept before himself as an ideal rather the arrangement of parts in layers. "Hero are beautiful ideas, boldness and big- ness of reach and grasp and entirely new chamber-harmony with chords rich and romantic in themselves and not the necessary and logical outcome of part-writing". If so, It was not until 1824 that Schubert turned in earnest to the writing of string quartets, and within the next two years he wrote three. This quartet remained in manuscript until 1851. Certainly the struggle with death is the theme of the first movement. death is treated with defiance. To that challenge is opposed a delightful theme in the relative minor key. The development combines the themes in masterly fashion with enchanting modulations. The chorale-like setting of Death's words from Schubert's own song is the theme for the 5 variations of the slow movement. What Schubert could only suggest in the song here finds expression in a fuller, freer, wordless sphere. He doos not write programme music nor do we need to know the song, but we feel unmistakably in this music the symbols of inevitability and consolation". (Einstein). According the sharpl in the

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5. According to Heuss "Death as the Demon Fiddler" is the theme of the sharply contrasting Scherzo. The in the character of a Dance of Death; in the inexorable uniform rhythm of the tarantella. The whole work if filled and unified with one consistent and compelling idea. ******************* THE MELOS QUARTET OF STUTTGART has since its first concert in 1966 established itself as the leading German quartet of its generation. It has toured throughout Europe, both Americas and the Middle East, and was chosen to play at Beethoven's house in Bonn for the bi-centenary celebrations. It will shortly have made complete records of all the Schubert, Beethoven and Bartok quartets. The Quartet first visited this country in 1969. WILHELM MELCHER was born in 1940 at Hamburg. At the age of 10 he commenced his studies at the Hamburg Conservatoire, later he went to the Academia di S.Cecilia in Rome and worked with Pina Carmirelli and the Quartetto Italiano. He became the first violin of the Hamburg Symphony Orchestra and later of the Wurtemberg Chamber Orchestra. He, like the other members of the Quartet, devotes himself entirely to chamber music. He plays a violin by Matteo Goffriller. Finale is most definitely ghastly visions whirl past GERHARD VOSS was born in 1939 in Burscheid. He studied at the Robert Schumann Conservatoire in Dusseldorf, at the Cologne Conservatoire and later at Freiburg with Sandor Vegh. He, too, was first violin of the Wurtemberg Chamber Orchestra. He plays a violin by Francesco Ruggieri. HERMANN VOSS was born at Brunen in 1934. He studied at Dusseldorf and Freiburg, and with Casals at summer courses in Switzerland. He was solo violinist with the Stuttgart Chamber Orchestra. His viola is by Carlo Ferdinando Landolfi. PETER BUCK was born at Stuttgart in 1937 where he studied at the Conservatoire. He was solo cellist with the Wurtemberg Chamber Orchestra. His cello is by Francesco Ruggieri. ******************* October 14th. November 11th. December 16th. January 20th. February 17th. THE HUDDERSFIELD MUSIC Season 1974-75 ************************************ SOCIETY Jean-Rudolph Kars The New Budapest String Quartet To be announced later Piano Recital The Medici String Quartet The Scholars

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6. March 24th. The Lindsay String Quartet with Cecil Aronowitz (Viola) The National Federation of Music Societies, to which this Society is affiliated, gives support toward the cost of these concerts with funds provided by the Arts Council of Great Britain. Generous support is also given by the Yorkshire Arts Association. THE HALIFAX PHILHARMONIC CLUB ******************************** St. Jude's Church THE KINGS SINGERS Music from the Court of Henry III Italian, English and French Madrigals Works by Penderecki, Pulenc and Alan Ridout ICH Tickets 80p (Students 30p) from Mrs. Hanson, 23 The Crescent, Hipperholme, Halifax and at the door. THE HUDDERSFIELD GRAMOPHONE SOCIETY ************************************** Waverley House, New North Road. March 25th. April 1st. April 5th-8th, April 22nd. May 6th. Thursday, April 4th at 7.30 Monday Evenings at 7.30 Beethoven. Presented by Mr. Emberson Piano and Orchestral. Presented by Mr. Haigh N.F.G.S. Musical Weekend Orchestral Music. Presented by Mr. Finnarty Secretary's Evening Annual Subscription Citizens half fee. Huddersfield HD3 3AF. £1.20 from Jan. 1st 70p. Students and Senior Secretary: Mr. D. Bostock, 16 Imperial Road, THE HUDDERSFIELD THE SPIANS ************************** The Arts Centre, Queen Street. Ball April 22nd BLYTHE SPIRIT **** by Noel Coward € 27th at 7.30 p.m. Single tickets 30p from Woods, 67 New Street. Reduction on block bookings for 10 or more people on application to Mrs. Tinsley, 9 Woodbine Road, Fartown.