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HUDDERSFIELD MUSIC SOCIETY
Brochure
57th Season's programmes 1974-1975
17-2.75
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FIFTY-SEVENTH SEASON
1974-1975
The
Huddersfield Music
Society
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FIFTY-SEVENTH SEASON
MAU MINTA
1974-1975
The
Huddersfield Music
Society
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7.30 p.m.
WT.
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AREA TOWN HALL, HUDDERSFIELD
(entrance in Corporation Street)
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Ocr'd Text:
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Monday, October 14th, 1974
JEAN-RODOLPHE KARST..
Preludes and Fugues Nos. 1, 2, 3
and 4 (Bk.1)
Sonata in E flat major (Les Adieux)
M
Sonata in B minor
Bach
Beethoven
Liszt
Jean-Rodolphe Kars first captured the
imagination of the musical world when
he reached the finals of the Leeds Inter-
national Piano Competition in 1966, his
sensitive perception, command of con-
temporary idiom, rare poetic concentra-
tion and his superb range of tone col-
ouring drawing immediate attention.
Born in Calcutta in 1947 of Austrian
parents, subsequently settled in Paris, he
began to play the piano at the age of
seven, entering the Paris Conservatoire
at the age of 10, where he was a pupil
of Jean Doyen. He also studied for two
years with the late Julius Katchen, and
in 1964 he won the Premier Prix du
Conservatoire.
£105
Monday, November 11th, 1974
THE NEW BUDAPEST
STRING QUARTET
His particular gift for producing
unique sonorities from the piano has led
to equal success in the works of "im-
pressionistic" composers, notably Liszt,
Ravel and, of course, Debussy. At 27,
Kars has become one of the most popular
young pianists in England.
Andras Kiss
Gyorgy Albert
Tivadar Popa
Tamas Koo
Violin
Violin
Viola
Cello
Quartet in G major Op. 77 No. 1 Haydn.
Quartet in A minor Op. 51 No. 2
Brahms
Bartok
Quartet No. 6
This Quartet was formed in the
autumn of 1970 and is the youngest
representative of the world-famous tradi-
tion of Hungarian string quartet playing.
The Quartet was a prize winner at the
"Haydn Competition" in Vienna in
1971 and it further increased its reputa-
tion by winning the first prize at the
"Carlo Jachino" International Competi-
tion for string quartets in Rome. The
Quartet regularly appears in Hungary.
1973/74 included appearances in the
U.S.A., Eastern Europe, West Germany
and Italy. November, 1974 will be the
Quartet's first appearance in Great
Britain.
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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THE HUDDERSFIELD MUSIC SOCIETY
(Founded as The Huddersfield Music Club by Dr. Eaglefield Hull in 1918)
President
hilo 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
R. Barraclough
S. H. Crowther
David Dugdale
P. G. C. Forbes,
Hon. Treasurer:
P. Michael Lord, Esq., National Westminster Bank Ltd.,
8 Southgate Elland HX5 OBW. Tel. Elland 2070
M.A., A.R.C.O.
Miss I. Bratman
colo Mrs. A. Crowther
Mrs. S. H. Crowther
Hon. Auditor:
P. Sturgess, Esq., F.I.B.
W. E. Thompson, Esq.
Executive Committee:
Mrs. E. Glendinning
E. Glendinning
I. M. Lee
P. Michelson
Ladies' Committee:
Chairman: Mrs. J. H. Sykes
Miss E. K. Sawers
Miss K. Evans, B.A.
Miss M. A. Freeman,
LL.B.
S. Rothery
E. C. Shaw
J. C. S. Smith, B.A.
Mrs. J. H. Sykes
J. J. Valner
Miss M. Hamer
Miss C. A. Shaw
Mrs. J. Shires
Hon. Secretary: Mrs. E. Glendinning
Hon. Treasurer: Miss E. K. Sawers
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Monday, December 16th, 1974
JANET HILTON Clarinet
KEITH SWALLOW Piano
Grand Duo Concertant Op. 48 ... Weber
Three Sonatas ...... ........ Scarlatti
Premiere Rhapsodie for Clarinet and
Piano
... Debussy
Sonatina for Clarinet and Piano Martinu
Sonata No. 1 in F minor, Op. 120
Brahms
Janet Hilton's reputation as one of the
finest young clarinettists in Britain has
grown steadily from the days when, aged
17 and a student at the Royal Man-
chester College of Music, one of her
notices received the following comment
in the Daily Telegraph, "Her technique,
already remarkable, could well take her
into the Kell/ Brymer / de Peyer class".
This prediction has been well fulfilled.
Keith Swallow won a West Riding
Scholarship at the age of 16 and went
to study piano with Claude Biggs at the
Royal Manchester College of Music,
where he was awarded many prizes. A
distinguished musician, he now has a
wide and ever-increasing reputation both
as a solo pianist and in chamber music.
tive
Monday, January 20th, 1975
THE MEDICI STRING
QUARTET
Paul Robertson
David Matthews
Paul Silverthorne
Anthony Lewis
******
Violin
Violin
Viola
Cello
Quartet in E flat major Op. 33 No. 2
(The Joke)
.... Haydn
Quartet No. 1 in E minor (From
my Life)....
Quartet in F major
Smetana
Ravel
This Quartet was formed in the sum-
mer of 1971 by four students of the
Royal Academy of Music. Trained by
Sidney Griller, they have received addi-
tional coaching from the Aeolian Quar-
tet and Sandor Vegh. They have already.
performed with great success throughout
the country. They appeared with much
success at the Harrogate Festival and
have taken part in the Budapest Inter-
national Quartet Competition, and a
brilliant future is everywhere forecast
for this outstanding young ensemble.
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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£450
Monday, February 17
THE SCHOLA
Shelagh Molyneux Mezz
Nigel Dixon
Robin Doveton
Michael Leighton Jones
David Van Asch
Madrigals
Sections from the Byrd 3
Contemporary Songs
Folk Songs
Spirituals
Close Harmony
Since their first concert
Scholars have rapidly est
themselves a considerable r
one of Britain's foremost
sembles. The group. orig
sisted of five male voices :
name from the fact that eac
been a choral scholar in
famous choir of King's Co
bridge. They made their L
in 1970 with such success tha
critic observed that there w
enjoyment to make even a
critic want to hear this
gramme again straight off".
Scholars decided to expand
already extensive and varic
by introducing a female voi
were fortunate to discover
vocal talents of Shelagh Mc
group's repertoire covers sor
of vocal music and is also
volved in the commission.
music.
being
This Concert is
by the Society with the
operation of the Huddersfiel
and gives an opportunity to
of singers of outstanding qu
bers of the Society are ask
CHANGE THE APP
SEASON TICKET SLIP
BETWEEN JANUARY 20
FOR RESERVED SEATS
THE BALCONY OR TI
Members may, at the same
chase additional seats at t
prices: Balcony £1, first area
area 60p. Plans will open to
public on January 27th.
PRESENT MEMBERS ONLY)
Double (Single) Season Tickets
use of
To the Hon. Treasurer, The Huddersfield Music Society, National Westminster Bank Ltd.,
8 Southgate, Elland HX5 OBW
payment for
REMITTANCE FORM (for the
I enclose £.......
Name..
Address.........
To assist the Treasurer, please enclose this form.
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
(BLOCK LETTERS PLEASE)
Cheques should be made payable to "The Huddersfield Music Society"
Receipts will not be issued unless requested
Ocr'd Text:
4450
Monday, February 17th, 1975
THE SCHOLARS
Shelagh Molyneux Mezzo Soprano
Nigel Dixon
Robin Doveton
Alto
Tenor
Michael Leighton Jones Baritone
David Van Asch
Bass
Madrigals
Sections from the Byrd 3 part Mass
Contemporary Songs
Folk Songs
Spirituals
Close Harmony
Since their first concert in 1969 The
Scholars have rapidly established for
themselves a considerable reputation as
one of Britain's foremost vocal en-
sembles. The group originally con-
sisted of five male voices and took its
name from the fact that each singer had
been a choral scholar in the world-
famous choir of King's College, Cam-
bridge. They made their London debut
in 1970 with such success that The Times
critic observed that there was "enough.
enjoyment to make even a debut-sated
critic want to hear this whole pro-
gramme again straight off". In 1972 The
Scholars decided to expand further their
already extensive and varied repertoire
by introducing a female voice and they
were fortunate to discover the many
vocal talents of Shelagh Molyneux. The
group's repertoire covers some 500 years
of vocal music and is also actively in-
volved in the commissioning of new
music.
This Concert is being promoted
by the Society with the generous co-
operation of the Huddersfield Examiner,
and gives an opportunity to hear a group
of singers of outstanding quality. Mem-
bers of the Society are asked TO EX-
CHANGE THE APPROPRIATE
SEASON TICKET SLIP AT WOODS
BETWEEN JANUARY 20th and 25th
FOR RESERVED SEATS EITHER IN
THE BALCONY OR THE AREA.
Members may, at the same time, pur-
chase additional seats at the following
prices: Balcony £1, first area 80p, second
area 60p. Plans will open to the general
public on January 27th.
Monday, March 24th, 1975
THE LINDSAY STRING
QUARTET
with CECIL ARONOWITZ
Peter Cropper
Ronald Birks
Roger Bigley
Cecil Aronowitz
Bernard Gregor-Smith
Violin
Violin
Viola
Viola
Cello
Mozart.
Quintet in E flat K.614.
Quartet in F minor Op. 95
Beethoven
Quintet in G minor K.516. Mozart
This quartet was first formed at the
R.A.M. where they studied chamber
music with Sidney Griller. There they
won all prizes for quartet playing and
were later invited to Budapest to take
part in the first Bartok Seminar under
Vilmos Tatrai. On leaving the Academy
they were awarded a Leverhulme Fellow-
ship to become resident Quartet at Keele
University for three years. They were
prize winners at the 1969 Liege Inter-
national competition, the youngest quar-
tet competing and the first English quar-
tet to win a prize there. In 1972 they
became resident Quartet at Sheffield
University for two years, subsequently in-
vited to remain for a further three years.
They have toured widely in England,
foreign concerts. include the United
States, Hungary, Holland and Scandin-
avia
Cecil Aronowitz was born in South
Africa of Russian Lithuanian parentage.
He started his studies at an early age
and won a Scholarship to study at the
R.C.M. His career was interrupted by
six and a half years of war service and,
on his return, he took up the viola. He
is widely known as an outstanding solo-
ist and chamber music player, and was
a founder member of the Melos En-
semble. He recently left the R.C.M..
where he had been Professor of Viola
and Chamber Music for 25 years, to
become Head of the String Faculty of
the new Royal Northern College of
Music in Manchester.
SEASON TICKETS
Double
£6.00
(for two persons not necessarily of one
family)
Single
£3.50
Student
£1.00
(may be obtained from the School of
Music, Polytechnic or from the Hon.
Secretaries)
Single Ticket
Student Ticket
(Bona fide Students under 21)
FEBRUARY CONCERT
Balcony
First Areal
Second Area
85p
20p
£1.00
80p
60p
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 must 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.
Ocr'd Text:
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The Rt. Hon. THE LORD SAVILE, J.P., D.L.
G. R. BOOTH, Esq.
DAVID DUGDALE, Esq.
164 CE 40-70 P. G. C. FORBES, Esq., M.A., A.R.C.O.
EDWARD GLENDINNING, Esq.
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MOTIH TIMAL
WOIIAW2 HKD
P. MICHAEL LORD, Esq.
Miss M. E. PORRITT
Miss E. K. SAWERS
MAX SELKA, Esq.
Miss C. A. SHAW
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Ocr'd Text:
THE HUDDERSFIELD MUSIC SOCIETY
************************************
Fifty-seventh Season 1974-75
Area Town Hall
Monday, October 14th 1974
JEAN RODOLPH KARS
Programme
I bata
odfoxte eiduob
Preludes and Fugues Nos. 1,2,3 and 4 (Book 1) from "The Well-
trovodfeed Tempered Clavier"
Bach (1685-1750).
C major
C minorrqee sinshaA
i.
ii.
iii. C sharp major
iv. C sharp minor
As early as 1720 Bach had begun the practice of composing key-
board pieces in all the 24 major and minor keys. Hitherto,
because of the older mean-tone system of tuning keyed instruments,
composers had only been able to use a certain number of keys for
their compositions as only those keys were perfectly in tune. To
overcome this difficulty, equal-temperament tuning was evolved by
which the octave was divided into 12 semitones of equal vibration
ratio. This scheme did not give complete perfection in tuning, but
it did enable composers to use keys which previously had been conn
impossible.
The appearance of the first book of The Well-Tempered Clavier
in 1722 (the second book did not appear until 20 years later) was
a landmark in the history of music. Not only did it set the seal
upon a method of tuning upon which all later music was to be founded
but also the work contained a wealth of mood and emotion, ranging
from the most sublime to the lightest and gayest, formerly unknown
and later never surpassed, and an equal wealth of musical scholar-
ship, defining and establishing for all time instrumental counter-
point and fugue.
The first Prelude has a succession of arpeggiated harmonies,
simple yet extremely effective. The four-part Fugue, with its
masterly polyphony, is made the more impressive by the skill with
which Bach makes so much use of stretti, an intellectual exercise
in which, in his hands, the music completely transcends the
Ocr'd Text:
The
to which
is the os
which it
20
technical problems. The C minor Prelude, in toccata style, is
followed by a three-part Fugue, light and piquant in mood. The
flowing Prelude in C sharp major, leads to a graceful and sport-
ive three-part Fugue. The C sharp minor work has been compared
to the architecture of a Gothic cathedral in its splendour. The
Prelude is a lyrical dirge; the Fugue, with its tiny subject of
four notes only, is one of the only five-voiced Fugues in the
whole work. Technically it can be regarded either as a triple
Fugue or as a Fugue with two subjects. Its mood is grave, rising
to an impressive climax combining two subjects in a double stretto.
II.
Sonata in E flat major Op.81 a (Les Adieux) Beethoven (1770-1827).
Adagio
Allegro
Andante espressive
Vivaccissamente
(Last performed in 1949 by Clifford Curzon)
This Sonata was written in 1809, the same year which saw
the production of the Sonatas Opp.78 and 79; almost five years
were to elapse before the appearance of the next Sonata Op.90.
It is the only programme piano work by Beethoven; dedicated to
the Archduke Rudolph, it is a monument to the long friendship
between them. The Archduke, at the age of sixteen, became a
pupil of Beethoven and might, under different circumstances,
himself havo bocome a musician of note. Beethoven dedicated
numerous works to him including the E flat concerto, the violin
sonata Op. 96 the Trio Op. 97, the seventh Symphony and the
Missa Solemnis in D. Tovey observes that all these works have
in common a particular magnificence, wealth of tone and
majestic beauty by which one can almost recognise the patron and
friend to whom they are dedicated.
This Sonata deals with the emotions, rather than the
depiction, of parting, absence and reunion of friends. While
the Archduke was absent, Vienna was being attacked by Napoleon's
forces and Beethoven was tortured by the fear that the noise of
the guns would destroy the remnants of his hearing. "All that
he chose to tell of those terrible days in his music was that he
had said farewell to a dear friend and that he was longing for
that friend's return. For that return he waited and wrote not a
note of the music for it until the happy time had really come".
(Tovey)
SMOTTOJ
(1 Absone.
Ocr'd Text:
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sport-
The
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3.
The Sonata opens with three descending notes - G.F.E. flat -
to which Beethoven affixed the motto Lebowohl (Farewell). This
is the essence of the whole sonata and the generating impulse upon
which it is founded. After a short introduction the Allegro
follows ending with an usually lengthy coda. The second movement
(1 Absence) is an intermozzo; the recapitulation of its main theme
is interrupted by a change leading to the finale. The Finale
(le Retour) is again in sonata form.
HELLO
JunaJaga
**********************************
COFFEE INTERVAL OF FIFTEEN MINUTES od to erad wol A
**********************************
hn, Jelup won
Sonata in B minor
ITI
Liszt (1811-1886)
Lento assai Allegro energico Andante sostenuto -
Allegro energico - Stretta quasi presto Allegro
moderato.
how (Last performed in 1938 by Simon Barer)
-
"If we wish to describe Liszt's Sonata in a word we should say
"Dramatic".....There is not a figure, not a phrase, which is not
derived from one of the principal motives. If similar thematic
labour were the work of a Beethoven or a Schumann we would speak
of it only in terms of breathless admiration. This man who toiled
so magnificently for music and for his instrument, here presents
us with the first example of a sonata in one movement, an idea doro
destined to inspire so many succeeding composers. From the
expressive point of view, I seo in its symphonic unfolding an
illustration of Goethe's Faust. Liszt has summed up all the
feelings of Faust in this Sonata despair, ardour, enthusiasm,
reverie, tenderness and irony". These short extracts from Cortot's
writings express in a few words the general impression of the
Sonata and its historical importance.
The Sonata was composed in 1853 during the period when Liszt
was engaged in the production of his symphonic poems.
It is planned
in one movement, but the successive changes of tempo correspond
roughly to the regular sonata form without breaking the continuity.
The Introduction consists of seven bars in which a descending
73
Ocr'd Text:
motive is heard becoming a kind of motto-theme to the work. The
Allegro has two themes, one in leaping octaves, the second, a
Lisztian version of "Fate knocking at the door".
After develop-
ment comes another entry of the motto-theme which leads to an
expressive second subject marked cantando espressivo. A big
climax completes the first section. The tempo changes to andante
sostenuto; here three subjects appear, one in F sharp being new.
The motto-theme again introduces the Allegro. A fugato follows;
again, the allegro; then a Stretta which quickens to prestissimo.
A few bars of the Andante introduces the epilogue the "knocking
theme" which chords above it. Last of all comes the motto-theme,
now quiet and peaceful.
********
4.
JEAN RODOLPHE KARS was born in Calcutta in 1947 of Austrian
parents, they subsequently settled in Paris where he began to
play the piano at the age of 7, entering the Paris Conservatoire
at the age of 10. There he was a pupil of Jean Doyen. He also
studied for 2 years with the late Julius Katchen and in 1964 he
won the Premier Prix du Conservatoire. In 1968 Kars won the
Oliver Messiaen competition at Royan and since then he has
acquired a special reputation for his interpretation of
Messiaen's works, a reputation further enhanced by his perform-100
ance of the complete "Vingt regards sur l'Enfant Jesus in bab
London in 1972. Kars first captured the imagination of the redal
musical world when he reached the finals of the Leeds Internat-
ional Piano Competition in 1966. He has played with major
orchestras in this country as well as giving numerous recitals au
and has appeared at the Edinburgh, Bath and York Festivals. He ob
has toured widely throughout the world. He has made recordings e
of the complete piano works of Schonberg and further plans
include the recording of the works of Liszt.
m
****************************************************
THE HUDDERSFIELD MUSIC SOCIETY
Area Town Hall.
************************************
-
Monday Evenings at 7.30 p.m.
November 11th.
THE NEW BUDAPEST STRING QUARTET
Quart
Te
Ocr'd Text:
an
a
lop-
Tho
5.
Quartet in G minor Op. 77 No. 1
Quartet in S minor Op. 51 No. 2
Quartet No. 6
December 16th. Janet Hilton and Keith Swallow
January 20th. The Medici String Quartet
February 17th.
The Scholars
(in association with The Huddersfield Examiner)
March 24th, The Lindsay String Quartet with Cocil Aronowitz
(Viola)
Haydn
Brahms
Bartok
Season tickets for the remaining 5 concerts £5.00 (double)
£3.00 (single). 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.
THE HALIFAX PHILHARMONIC CLUB
******
***********************
Lecture Hall, Harrison House, Harrison Road.
Thursday, October 24th at 7.30
HEINZ HOLLIGER (Oboe) and JURG WYRTENBACH (Harpsichord and
Piano)
Works by Bach, Ligeti, Huber, Britten, Stravinsky and Schumann.
Season tickets £6.00 and £3.50. Students £1.00. Single tickets
Ocr'd Text:
6.
80p. Students 30p. from Mrs. Hanson, 23 The Crescent,
Hipperholme, Halifax and at the door.
THE HUDDERSFIELD GRAMOPHONE SOCIETY
**************************************
Monday Evenings at 7.30
October 21st. Popular Classics presented by Mr. Chilvers
November 4th. Welsh Music. Presented by Mr. Jenkinson
November 18th. Mainly Strings. Presented by Mr. Finnery
Annual subscription £1.50 (from Jan 1st 90p). Students and
Senior Citizens half fee. President and Secretary Mr. D. Bostock
16 Imperial Road, HD3 3AF.
Waverley House, New North Road.
THE HUDDERSFIELD THESPIANS
*****************************
The Arts Centre, Queen Street.
November 18th 23rd at
7.30 p.m.
TIME AND THE CONWAYS
by J.B. Priestley.
Tickets from Woods, 67 New Street, Huddersfield.
adnabide
->
Ocr'd Text:
20 Jerk off
br THE
HUDDERSFIELD MUSIC SOCIETY
*********************************
Fifty-seventh Season 1974-75
In troqu
Area. Town Hall
gabinhild ist. Ist Monday, November 11th 1974
doidaarevnos opus o no hosed visg
THE NEW BUDAPEST STRING QUARTET
boar doum 02
Andras Kiss (Violin)
Jozsef Gazsik (Violin)
******************************* ord
Programme
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bab noz tau namont s
Quartet in G major Op. 77 No. 1
(ye81-8881) am
Vorldob
Tivadar Popa (Viola)
Tibor Parkanyi (Cello)
to ofHaydn (1732-1809)
Allegro moderato
Adagio
Presto (Minuet and Trio)
Presto
odforgo (Last performed in 1936 by the Weiss String Quartet)
aim A nt fed1800
Among the wealth of music which Haydn's genius poured out
there are known to be 77 string quartets, 104 symphonies, 52
sonatas for the piano and at least 87 works in a similar form for
other combinations of instruments. Sonata-form (which of course
includes quartets and symphonies as well as the Sonata as we
generally understand the term) was brought to its modern porfect-
who indeed used that as we have seen, so
extensively that it was said Haydn "thinks in sonatas". But in
spite of this great volume of music, Haydn's inspiration never
seemed to falter; each work possesses its own individuality and
charm to an amazing extent.
The quartets of Op. 77 dedicated to Prince Lobkowitz, were
written in 1799 and, with the exception of the uncompleted
quartet of Op. 103 were the last of the long series. It had been
Haydn's intention again to compose a set of six but, though the
creative impulse was still unimpaired, age and growing infirmity
made this impossible. In themselves they indeed form the crown-
ing achievement of a long life. At the same time, it must be
remembered that Haydn was completing The Seasons.
Ocr'd Text:
Quartet in A minor. Op. 51 No. 2
ur
The first and last movements of both quartets of Op. 77 are
perfect examples of Haydn's mastery of sonata-form and both have
Minuets more nearly akin to Scherzi, pointing the way to
Beethoven's work. The two quartets have, however, a marked
difference, No. 1 being more chordal and harmonic with special
emphasis being given to the first violin; in the second the
interest is more widely spaced and more contrapuntal in thinking.
The first movement is largely based on a running conversation
between the violin and the cello; a variation in sonata form is
introduced by the omission of the second subject, so much used
in the development section, from the recapitulation. In the
Adagio the long downward theme is given in unison; later appear-
ances have delicate embroidery by the first violin and there aro
many interesting modulations. The Minuet, or perhaps one might
say the Scherzo, in D major, has a Trio, vigorous and rhythmic,
in E flat. The Finale again opens with a theme in unison and,
again too, much use is made of a dialogue style,
II CA
Allegro non troppo
Andante moderato
connect
of No.
The qu
modif
Brahms (1833-1897)
Quasi Menuetto, moderato - Allegrotto
vivace
Allegro non assai
uc (Last performed in 1964 by the Alborni String Quartet)
Both the quartets which form Op. 51 are dedicated to Dr.
Billroth. He has been described as "the master surgeon and musical
enthusiast". Whether the description be true or not, the fact re-
mains that in the music-room of Billroth's house in Vienna nearly
all the rehearsals of Brahms's new chamber music works took place
and there, too, all musical and scientific Vienną used to gather.
Op. 51 was written in 1873. These were the first string quartets
which Brahms considered worthy of publication and he confessod
that he previously had written and destroyed some twenty others.
The chamber music which preceded these quartets include 2 piano
quartets, a piano quintet, 2 string sextets, 3 trios and a collo
sonata. After a lapse of 8 years, Brahms, having as it werearso
refined his work to the purest and most subtle type of chamber
music, produced Op. 51- this "pearl in the diadem of all chamber
music".
Ocr'd Text:
7
havo
77 are
In both the quartets of Op. 51 there is a close thematic and
connection between the movements. The main theme of the finale or
of No. 2 comos from the 4th and 5th bars of the first movement.
The quavers of the same 4th bar appear in the Minuet and, in a
modified form are the nucleus of the second movoment. The first
movoment is gentlo and caressing; there is no harshness in it.
In form it is particularly close-knit, for the whole movement
springs from the first nine bars of the main theme. The serenity
of the slow movement is broken by a powerful canon between the
first violin and the cello, supported by a tremolo accompaniment
which is almost orchestral in effect. "In placo of a scherzo, the
third movement is a slow minuet with pathetically drooping cadences
alternating with a polyphonic trio in duple time and running rhythm
twice interruptod by the minuot-tempo with a combination of the two
themos, wonderfully transforming that trio". (Tovey). The Finale
is a spiritod rondo with a flavour of Hungarian music
Quartet No. 6
bas eno
**********************************
COFFEE INTERVAL OF FIFTEEN MINUTES
********************************** dej
to audydovleano
Mesto. Vivaco
Mesto. Marcia
to može Mesto.
Mesto.
Burletto
to Bartok (1881-1945)
(Last performed in 1967 by the Tatrai String Quartet)
John Culshaw romarks that Bartok's true development can be
followed in his 6 quartets. In date they range from 1908 to
1939. "Each quartet leads onward to new ground or to the
resolution of problems unsolved in previous works". The first
quartet shows Bartok's melodic and contrapuntal style without
the later harshnoss and acidity; in the second, we have the
early Bartok in the first movement, while in the following move-
ments the now harsh and astringent elements appear. The third
and fourth quartets, particularly the latter, show Bartok at
his most extrome; it is suggested that in these he explored
the extreme limits of discord. "Their strange and disturbing
idiom is far romoved from the bounds of musical experience".
The fifth has a softening of expression alliod to a growing
economy of toxture. But when the sixth was written,
exporimont had ondod. The clash of Bartok's counterpoint re-
mains, as doos the powerful rhythmic stross, but this quartet
Ocr'd Text:
Th
has a now lyric quality, a clearer texture, a warmer and more
mellow feeling and a simplicity and serenity which makes it the top
crown of his chamber music.
Those quartet have often been compared with the quartets of
Beethoven; Bartok, too, sooms to express his most essential
thoughts through the medium of the string quartet and whether we
like them or not, they are of supremo importance. Matyas Seiber
writos: "In more than one respect we are reminded of Boothoven:
Bartok, too, seems to express his most essential thoughts through
tho medium of the string quartot. Bartok's style in his quartets
just like Beethoven's, is particularly concentrated and intense,
his ideas are most convincing and expressed with the utmost
clarity and economy. I believe that for genorations to come the
string quartets of Bartok will be lookod upon as the most out-
standing and significant works of our time".
the ce
accom
is ha
The sixth quartet dates from 1939. In place of the "arch"
structure Bartok now employs a motto theme which introduces the
first three movements and becomes the basis of the fourth. Thoro
is a return, too, to the classical four-movement form. All the
devices of the earlior quartets are hore - glissandi, improvisatory
passages, dance rhythms, percussive rhythms, imitations and
inversions, the uso of fragments of the theme but transformod
into something new. The Quartet opens with a motto thome, a slow
and beautifully shaped chromatic melody, a fusion of Magyar music -
and Bartok himself, lasting for 13 bars for the viola alone. It is
"a kind of ritornello that in varied form precedes cach movoment
and contains as well "germ" motives that are transformed in various
ways in the course of the quartet. This melody, without tonal
implications, is one of the most impressive examples of pure
musical invention in 20th century music. Its beauty, its logic and
its expressive power are the work of sheer genius and inspiration.
It is inconceivable that any other hand than Bartok's could have
written it". (E. Holm). After the motto comes a short introduction
partly in unison, which hints at the main thome and "rocalls in
spirit and techniquo a similar passage in Beethoven's Grosso Fuga".
In the course of the movement the main theme undergoes romarkable
modifications and developments. It is followed by a second thome,
largoly of Magyar inspiration; the material of the development is
derived exclusively from this material. A curtailed and variod
rocapitulation is followed by a coda. The goneral mood of this
movement is vigorous and even gay.
GOON MA
OXO to vano00
Lutrowog oft zoob es entert
Ocr'd Text:
of
tho
ore
This is
The second movement opens with the motto, this timo given to
the cello with a counter-melody for the first violin and a tremolo
accompaniment for the other instruments. The March which follows.
is harsh and brutal. It has what corresponds to a trio section
in which the cello has a high-pitched passionato melody,
accompanied by agitatod tremolos and strummed chords.
followed by the return of the March in a greatly changed form.
This movement is sad, bitter and grotesque. The Burlotta
(lit.a boisterous scherzo) follows after yot anothor version of
the motto. This, too, is a harsh and bitter movement, perhaps
ovon more tragic. Relief is given by a lirical andantino in the
contre, derived from the theme of the first movement. This
gentle theme tries three times to break the savage mood of tho
coda.
oned
The last movement is tragic too, but in it the tragody is
uttored quietly and with tonderness and poignancy. The whole
movement is derived from the motto a deeply satisfying climax.
There is a sinister shudder in the tremolo chords, sul ponticollo
on the last page, and after a last heartronding cry, the movoment
closes in darkness on the dying motto". (Mosco Carner). Although
there is no definito proof, some writers have been convinced that
there is something of a programme - even of autobiography in this
quartet. The war in Europe had already broken out and wo know that
Bartok was soon to die, a disappointed, lonely, disillusionod man.
THE NEW BUDAPEST STRING QUARTET was formed in the autumn of
1970 and is the youngest representative of the world-famous trad-
ition of Hungarian string quartet playing. The Quartet was a prize
winnor at the "Haydn Competition" in Vienna in 1971 and it further
increased its reputation by winning the first prize at the "Carlo
Jachine International Competition for string quartets in Rome.
It has appeared widely throughout Europe and this year makos it
debut in Great Britain.
THE HUDDERSFIELD MUSIC SOCIETY
-
*********************************
Monday Evenings at 7.30
JANET HILTON (Clarinet) and KEITH SWALLOW (Piano)
Webor
Scarlatti
Dobus sy
Martinu
Brahms
Area. Town Hall.
Grand Duo Concertant Op. 48
Three Sonatas
Premiore Rhapsodie for Clarinet and Piano
Sonatina for Clarinet and Piano
Sonata No. 1 in F minor Op. 120
Decomber 16th.
Ocr'd Text:
January 20th
February 17th.
The Medici String Quartetonavon haboos ont
The Scholars (in association with the Huddersfield
Examiner) ortinsono
March 24th.
The Lindsay String Quartet with Cecil Aronowitz
thofen ofanetoscq bored bg-dagida end of foo ode (Viola)
Singlo tickets 85p from Woods, 67 New St. and at the door. Student
tickets 20p. from the School of Music or at the door.
The National Federation of Music Societies, to which this Society
is affiliated, gives support toward the cost of these Concerts with
funds provided by the Arts Council of Great Britain.
Generous support is also given by the Yorkshire Arts Association.
THE HALIFAX PHILHARMONIC CLUB
Heath Grammar School.
Friday, November 22nd at 7.30 p.m.
MATRIX
Soprano, Clarinets, Saxophones, Piano, Percussion. Works by
Lutyens, Janacek, Searle, Dauls and arrangements of 14th. 15th
and 17th molodies.
Single tickets 80p. Students 30p. from Mrs. Hanson, 23 The
Crescent, Hipporhome, Halifax and at the door.
THE HUDDERSFIELD GRAMOPHONE SOCIETY
EBID
Waverloy House, New North Road. Begge Monday Evenings at 7.30 p.m.
November 18th. Mainly Strings. Presented by Mr. Finnerty.
December 2nd. Spanish Evening. Presented by Mr. Emberson.
December 9th. Steps to Parnassus. Presented by Miss Williams.
Annual subscription £1.50 (from Jan 1st 90p) Students and Senior
Citizens half fee. President and Socrotary: Mr. D. Bostock,
16 Imporial Road, Huddersfield.
THE HUDDERSFIELD THESPIANS
The Arts Centre, Queen Street.
rodi
November 18th 25th.
at 7.30 p.m.
ENSIO) MONITH TONAG
TIME AND THE CONWAYS
by JB. Priostley
be dont
Tickets 30p. from Woods, 67 New Street. bas entre not suitsno
Ocr'd Text:
/
THE HUDDERSFIELD MUSIC SOCIETY
to catsood ********************************** of emor borrador
Fifty-seventh Season 1974-75edded grid and
relvalo osoudrian Area Town Hall
catfat etd tar Monday, December 16th 1974
"Ilveb add to boas
Tasw
tylo tog bar JANET HILTON (Clarinet).
vieno linfover !
aof yen3 bror KEITH SWALLOW (Piano)
Programme
I
Grand Duo Concertante Op. 48
Three Sonatas
Allegro con fuoco
Andante con moto
Rondo 40
bart of asove.D
les
(i) F minor
(ii) G major
(iii) B flat major
elle reddoo vedi
bobreg Jadt Is
tradd to gatitor
ne te rrobom
home Weber wrote little chamber music and certainly this Duo is
his most valuable work in that form. It was written between 1815
and 1816, the movements being completed in the reverse order. It
is, in reality, a sonata though both instruments are given music
in a most virtuoso style. The first movement has a vigorous
opening theme followed by a graceful second subject. The melody
of the Andante is truly inspired and has a contrasting and moreove
dramatic middle section. The final Rondo has brilliant passage-vo
work; one contrasting section has a beautiful melody which is
treated in an almost operatic style.
II
Weber (1786-1826)
Scarlatti (1685-1757)q
Alessandro Scarlatti (1659-1725) although a most important
figure in the history of opera, is now best remembered as the father
of his most famous son Domenico. Domenico wrote upward of 500
pieces for the harpsichord; these are now called sonatas but
originally had the modest name of Esercisi. He was a friend and
contemporary of Handel with whom he held a contest in Rome.
impossible to decide who was the victor on the harpsichord but there
was no doubt Handel was the superior on the organ, Scarlatti
declaring that such playing was hitherto unknown. Scarlatti spent
many years of his life in the service of the court in Madrid but
It was
Ocr'd Text:
2.
returned home to Naples to die impoverished, largely because of
his gambling habits.
Scarlatti might be called the first of the virtuoso clavier
players. He had a technique then so remarkable that his Italian
audiences were convinced that he was "possessed of the devil".
His "Sonatas" are short works, but full of grace, charm and gaiety;
they contain effects and devices which were really revolutionary
at that period. Although written for the harpsichord they lose
nothing of their grace and effectiveness when performed upon the
modern piano.
III
Premiere Rhapsodie for clarinet and piano Debussy (1862-1918)
Sonati
Claude Debussy, perhaps the most influential French composer
of his generation sprang from a family of no particular musical
talent. After a conventional training he settled down to a
retired life of composition, never holding any official position
and rarely appearing in public. His work can roughly be divided
into three periods: the first, a period of immaturity lasting
up until about 1890 then some twenty years of mature work and
finally a few last years of declining health and activity. His
early work showed traces of external influences but he soon
evolved a process of thought entirely his own. No composer
ever had a keener or more subtle feeling for beauty, colour,
poetic suggestiveness and atmosphere; added to these went a
perfect genius for craftmanship.
Debussy wrote very little chamber music though several
projects were started and mysteriously never completed. His
one string quartet (1893) was followed by the three sonatas
"pour divers instruments" in 1915-17. The Rhapsodie dates from
1910. That same year saw the production of another work for
clarinet and piano; both were subsequently arranged for clarinet
and orchestra. The Rhapsodie was originally intended as a
competition piece for students at the Conservatoire, where
Debussy adjudicated at the wind instruments examinations. Though
neither are major chamber music works, they are both exquisitely
written for the clarinet with sympathy and insight.
**********************************
COFFEE INTERVAL OF FIFTEEN MINUTES
**********************************
Ocr'd Text:
of
Sonatina for clarinet and
3.
IV.
osols
piano
Moderato
Andante Poco allegro
Martinu, the son of a shoemaker, was born in a small room at
the top of the village church in the remote village of Policka.
He was a delicate child and for the first 6 years of his life he
never came down to the level of the street; later he was carried
daily to attend school and to receive violin lessons from the
village tailor. He gave his first concert at the age of 15 and the
villagers then clubbed together to raise funds to send him to study
in Prague. There one of his teachers was Suk, the son-in-law of
Dvorak. Most of his adult life was spent away from his native di
country. He early went to Paris where he was much influenced by ob
French music, becoming a pupil of Roussel. He remained in France
until the second World War when he emigrated for its duration to
the United States. Thereafter, although he divided his time
between America, Italy and France, he never lost his love for his
native land and his music became even more coloured by its
national characteristics and more deeply rooted in its folk-music.
He is, in fact, the best-known representative of modern Czecho-
slovak music after Janacek and Bartok.
Martinu (1890-1959)
Ma
V.
Sonata in F minor Op. 120 No. 1
Martinu was a most prolific composer. He produced over 150
major works, including 12 operas, 20 concertos for various solo
instruments, 11 ballets, 20 orchestral works including 6 symphonies
and 50 chamber works of which 7 were string quartets. With such
an extraordinary output, it follows almost inevitably that some of
his music is rathor uneven in quality, but Ansermat believes that
the lack of adequate appreciation of so fine a composer is one of
the tragedies of 20th century music. His work is much influencod
by outside events such as war, literature, painting and personal your
relationships. His melodies are fresh and spontaneous and dorive
much from Moravian folk-songs with their strong intervals; his
harmonies are basically not chromatic; his rhythms are pointed
and vigorous and he shows in some of his works a gay and rhythmic
wit. In all, his works have a refreshing clarity of texture and
form.
Brahms (1833-1897).
de avab oddAllegro appassionato
Andante un poco adagio
Ocr'd Text:
4.
Allegretto grazioso
Vivace.
When Brahms visited Meiningen in 1891 he had been deeply
impressed by the wonderful playing of the clarinettist Muhlfeld,
a member of the Court Orchestra. Inspired by this musician Brahms
wrote four late works for clarinet the Trio Op. 114, the
Quintet Op. 115 and the two Sonatas of Op. 120 for clarinet and
piano. These sonatas, the last chamber music of Brahms, were both
written in the summer of 1894. Both show "a wonderful exploitation
of the possibilities of the clarinet, particularly in the
effective change from the higher to the lower registers, coupled
with a certain astringency of tone; a tender melancholy which
seldom breaks out into more energetic or joyous accents and a
splendid perfection of form in all the movements. And yet, amidst
these typical features, what a profusion of individual
attributes". (Goiringer). Previous to this Brahms had never used.
the clarinet in chamber music; "thenceforth he bestowed his love
upon this melancholy singer of the orchestra whose tone was
particularly appropriate for the serious mood of his later
compositions". And thus "he restored wind instruments to their
place in chamber music appointed to them by Mozart". (Tovey).
Muhlfeld himself took part in the first performance of the
clarinet works and, to the last, remained a firm friend of
Brahms.
-
Both the sonatas are terse and concentrated though the
range they cover is wide. "In the F minor Sonata the first
movement is full of passionate melancholy, the coda, with its
strange canonic development of an ornamental figure arising out
of the main themes, being specially impressive. The two middle
movements are both in the same key, A flat major, a thing
unprecendented in four-movement sonatas, and of delicious effect
here where both are so short, the slow movement being an
A-B-A design highly organised in detail, and the schorzo the
The finale,
most deliciously Viennese of all Brahms's works.
in rondo form with very whimsical themes, is high comedy of the
wittiest kind". (Tovey)
aged 17
receiv
techr
Kel
****************************
JANET HILTON's reputation as one of the finest young
clarinettists in Britain has grown steadily from the days when
Ocr'd Text:
5.
agod 17 and a student at the R.M.G.M. one of her performances
received the following comment in the Daily Telegraph "her
technique, already remarkable, could well take her into the
Kell/Brymer/de Peyer class". Whilst still a student Janet
Hilton won 2 major awards, a Boise Foundation Scholarship which
enabled her to study for some months in Vienna, and the N.F.M.S.
award for young artists. Since then she has appeared through-
out the country, at many festivals, with leading orchestras
and quartets, and for the B.B.C. Her name is particularly
associated with the pianist, Keith Swallow.
KEITH SWALLOW won a West Riding Scholarship at the age of
16 and went to study piano with Claud Biggs at the R.M.C.C. where
he was awarded prizes for solo piano and accompanying, the College
diploma for teaching and piano. as well as the M.Mus degree of the
R.C.M. He has given recitals and concerts in London and through
out the country and has appeared many times for the B.B.C. Hei
has won a well-deserved reputation as a fine pianist and a very
gifted musician.
Area. Town Hall
THE HUDDERSFIELD MUSIC SOCIETY
******************************
Monday Evenings at 7.30
January 20th 1975
THE
MEDICI STRING QUARTET
Quartet in E flat major Op. 33 No. 2 (The Joke)
or (From my Life)
Quartet No. 1 in E
Quartet in F major
February 19th. THE SCHOLARS (in association with the
Huddersfield Examiner)
Haydn
Smetana
Ravel
PLEASE NOTE: Members should exchange the appropriate slip from
their tickets at Woods for reserved seats in the
Balcony or the Area from January 20th. They may purchase
additional seats at the same time. Booking for the general
public opens on January 27th. 3 woll
March 24th. THE LINDSAY STRING QUARTET with CECIL ARONOWITZ
(Viola)
Ocr'd Text:
6.
Single tickets for the 4th and 6th concerts 85p from Woods, 67 New
Street and at the door. Student tickets 20p from the School of
Music and at the door.
8400
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.
Friday January 17th at 7.30
THE BARTOK STRING QUARTET
Quartet in D minor Op. 42
Quartet No. 1 Op. 7
Quartet in C sharp minor Op. 131
Single tickets 80p. Students 30p. from Mrs. Hanson, 23 The
Crescent, Hipperholme, Halifax and at the door.
THE HUDDERSFIELD GRAMOPHONE SOCIETY
**************************************
Haydn
Bartok
Beethoven
Waverley House, New North Road.
Monday Evenings at 7.30
December 30th. A Victorian Evening. Presented by Elizabeth Williams
January 13th. Orchestral. Presented by Gordon Hewitt.
Annual subscription £1.50 (from Jan 1st 90p) Students and Senior
Citizens half fee. Refreshments. President and Secretary: Mr. D.
Bostock, 16 Imperial Road, Huddersfield, HD3 3AF.
THE HUDDERSFIELD THESPIANS
****************************
The Arts Centre, Queen Street.no January 13th-18th at 7.30.
HOW THE OTHER HALF LOVES
C
by Alan Ayckbourn.
Tickots 30p. from Woods, 67 New Street, Huddersfield, nego obiding
Ocr'd Text:
THE HUDDERSFIELD MUSIC SOCIETY
*********************************
Town Hall at 7.30
Area,
on Monday, January 20th 1975.
doot
PLEASE NOTE: Members are reminded that their ticket slips for
The Scholars Concert (February 17th) should be exchanged for
reserved seats at Woods, 67 New Street. At the same time
additional seats may be booked. Priority booking for members
between January 20th and January 25th. Plan opens to the general
public on Monday, January 27th.
THE MEDICI STRING QUARTET
****************************
Paul Robertson (Violin)
David Matthews (Violin)
OTE
Paul Silverthorne (Viola)
Anthony Lewis (Cello)
Programme
I
Quartet in E flat major Op. 33 No. 2
(The Joke)
Haydn (1732 - 1809)
Allegro moderato
Scherzo. Allegro
Largo sostenuto
Finale. Presto
(Last performed in 1965 by the Heutling String Quartet)
This Quartet is one of a set of six. They were written in
1781 and dedicated to the Grand Duke Paul who visited Vienna at
that time. They are, therefore, known as the Russian Quartets;
another name given to them is Gli Scherzi as it was in these
quartets that Haydn first gave the title Scherzo to the older A
Minuet and Trio movement. There is, however, little real change
in its character; it has no relationship to the Scherzo as ito
became later in the hands of Beethoven. Nine years had elapsed
since the appearance of Haydn's quartets of Op. 20. It is bowode
possible that Haydn felt that no more progress could be made on
similar lines and that a period of time must pass before anyggs
answer to that problem could be found. Haydn himself said that
the Russian Quartets were "written in an entirely new and
particular manner". The end of the domination of the first
violin was now complete and all instruments have an equal share
Ocr'd Text:
2.
TOR
Restenger
of importance. Thematic development. - a method of breaking up
the subject, developing and re-assembling it in fresh and un-
expected ways is now used to the fullest extent;
even the
purely accompanying parts have their origin in the main subject
in a way hitherto unknown.
The first movement is, of course, in sonata form. The
Scherzo is still essentially a Minuet and Trio in a rather quicker
tempo. Tovey remarks that in the slow movements of these Quartets
Haydn has solved another problem; he now realises that "a bar
of slow music is not a bar of quick music played slowly but an
altogether bigger thing. In music slowness either means bigness
or it means emptiness....from Op. 20 onward we may be cortain
that no slow movement of Haydn's, however unimportant, will
stagnate". The Finale, a rondo with two episodes, is known as
The Joke". This comes in the coda. After a short adagio
opisode the eight bars of the main subject are repeated, two bars
at a time with two bars rest between. When the subject is
completed, Haydn rests for three bars; finally he whispors
pianissimo the first two bars again and disappears into silence.
II.
Quartet No. 1 in E minor (From my Life)
Smetana (1824-1884)
Allegro vivo appassionato
Allogro molto a la Polka
Largo sostenuto
Vivace
(Last performed in 1961 by the Janacek String Quartet)
In spite of being a prolific composer Smetana left only
throe chamber music works - a piano trio and two string quartets.
All three works have a definitely biographical character; they
are, in fact, with the possible exception of Haydn's arrangement
for string quartet of his Seven Last Words, the first programme
music to be written for that medium. In all his work Smotana
showed a preference for programme music. Of this quartet he
wrote "As to the style of my quartet, I gladly leave its
appreciation to others and am not in the least vexed if it does
not please since it stands quite apart from the hitherto
accepted quartet style. I had no intention of writing a quartet
according to recipe and the customary formulas, with which I am
acquainted through the study of them when, in my youth, I learned
Be
Ocr'd Text:
up
3.
musical theory. With me, the form of each musical composition is
the outcome of its subject. Thus it is that this quartet has made
its own form. I wanted to paint in sounds the course of my life".
phen Both the quartets bear the title "Aus meinen Leben" (From my
Life). The first, to be performed tonight, deals with the early
years of Smetana's life though, in the final movement, more than
a hint is given of his approaching deafness. The second and
lesser-known quartet is an attempt, he says, to describe "the bas
whirlwind of music in the head of one who has lost his hearing".
Deafness was not Smetana's only tragedy; mental disorder and
depression led to his death in an asylum.
Although the first quartet is musically satisfying and
complete without any knowledge of the programme", much light is
shed on it by the detailed explanation which Smetana himself gave.
The first movement depicts his early youth, his early love of art,
his romanticism and his unsatisfied longings. The second, Smetana
writes, "recalls memories of my gay life in youth when I used to
write dance music and gave it away right and left to other young
folks, boing known myself as an enthusiastic dancor". Incidentally
this is the first appearance of the Polka in chamber music. The
middle section was a remembrance of the aristocratic circles in
which I lived long years". "The slow movement recalls the bliss
of my first love for a girl who afterwards became my wife". The
last movoment Smotana describes as "the discovery of how to treat
the national material in music; joy at the result of following
this path. After the recapitulation the mood completely changes;
"the interruption" of the catastrophe, the beginning of my deaf-
ness, a glimpse into the melancholy future". The persistent high
note, which heralded the deafness and led to the final mental
collapsc, is also introduced.
**********************************
COFFEE INTERVAL OF FIFTEEN MINUTES
**********************************
III
Quartot in F Major
Ravel (1875-1937) T
Allegro moderato
Assoz vif Tros rythme
Tros lont hull
Vif et agite
(Last performed in 1962 by the Tatrai String Quartet)
Ocr'd Text:
4.
Although Ravel is one of the most important French composers
he was not of purely French origin; his father was Fronch-Swiss
and his mother was Basque. It was from the latter that he
inherited so many of the southern traits to be found in his music
the feeling for light and colour and the complex rhythms. But
the virtues of French culture are added to these craftsmanship,
restraint, fastidiousness, intelligence, wit and unerring taste
and balance, His output was relatively not large and he only
wrote one work for string quartet,
The quartet, written in 1902-3 is dedicated to his mastor,
Gabrilo Faure, and its first movement opens in almost a Faure-
liko manner.
It soon develops its own character and style with
many changes of colour and tempo. The second movement is a
truly original Scherzo with a pizzicato opening and a contrast-
ing section of much melodic charm. The slow movement is
complex in style with fleeting referencos to the first move-
mont; it ends with a wonderful raising of all four instruments
to their highest rogister. The final movement, in 5/8 time, is
by turn stormy and calm; both its main subjects have references
to material in the first movement a method of thematic
development which is to be found in much of Ravel's music.
T THE MEDICI STRING QUARTET was formed in the summer of 1971
by four students at the Royal Academy of Music.
Trained by Jani
Sidney Griller, they have had additional coaching from the
Aeolian Quartet and Sandor Vegh. They have already performed
with great success throughout the country. They won further
renown at the Harrogate Festival and have taken part in tho
Budapost International Quartet tition. A brilliant
future is everywhere forecast for this outstanding young
ensemble.
Town Hall.
THE HUDDERSFIELD MUSIC SOCIETY
-
*********************************
Monday Evenings at 7.30
February 17th 1975.
THE SCHOLARS
in association with the Huddersfield Examiner.
Ocr'd Text:
Criss
posers
67 68 Madrigals
Sections from the Byrd Three-part Mass
Contemporary Songs
Folk Songs
Spirituals
Close Harmony
5.
Reserved seats only. Members should exchange the appropriate
slips at Woods. Single tickets Balcony £1 and 80p, first area
80p, second area 60p. No student tickets.
March 24th. THE LINDSAY STRING QUARTET with CECIL ARONOWITZ
(Viola)
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.
Huddersfield Polytechnic School of Music
****************************************
Wednesday March 5th at 7.30
YORKSHIRE CONTEMPORARY MUSIC NETWORK TOUR
Trio for Clarinet, Viola and Piano K.498
Dances from The Soldier's Tale
Studies for Bass Clarinet, Violin and Piano
Quartet for the End of Time
****************************************************************
THE HALIFAX PHILHARMONIC CLUB
********************************
Lecture Hall, Harrison Road.
Mozart
Stravinsky
Philip Wilby
Messiaen
Thursday February 6th at 7.30
THE SMETANA STRING QUARTET
Quartet in B flat Major Op. 18 No. 6
Quartet No. 1 in E minor
Quartet No. 1 in E minor (From my Life)
Beethoven
Janacek
Smetana
Ocr'd Text:
6.
Single tickets 80p. Students 30p from Mrs. Hanson, 23 The
Crescent, Hipperholme, Halifax and at the door.
THE HUDDERSFIELD GRAMOPHONE
****************
Waverley House, New North Road.
January 27th Building a Library
February 10th Two Swiss Composers
February 24th Centenaries
March 17th Operetta
Annual subscription £1.50 (from January 1st 90p) Students and I
Senior Citizens half fee. Refreshments. President and
Secretary: Mr. D. Bostock, 16 Imperial Road, Huddersfield
HD3 3AF.
SOCIETY
********
THE HUDDERSFIELD THESPIANS
The Arts Contre, Queen Street.
Monday Evenings at 7.30
Presented by Mr. Bostock
Presented by Mr. Truscott
Presented by Mr. Nixon
Presented by Miss Roberts
ODUNG
****************************
GASLIGHT
March 3rd - 8th at 7.30
A Victorian Thriller by Patrick Hamilton
Tickets 30p from Woods, 67 New Street, Huddersfield.
Ocr'd Text:
Il 17° 1975¬.
THE HUDDERSFIELD EXAMINER
in conjunction with
THE HUDDERSFIELD MUSIC SOCIETY
presents
THE SCHOLARS
Monday 17th February 1975 7.30pm
AT THE TOWN HALL, HUDDERSFIELD.
Ocr'd Text:
THE SCHOLARS
Since their first concert in 1969, The Scholars have rapidly
established a considerable reputation as one of Britain's foremost
vocal ensembles and through concerts, radio, television and records
have attracted an enviable following.
The group originally consisted of five male voices and the ensemble
took its name from the fact that each singer had been a choral scholar
in the choir of King's College, Cambridge.
In 1972, however, they decided to expand and develop further
their already extensive and varied repertoire by introducing a female
voice for the first time. Miss Shelagh Molyneux was their choice
and now the group's repertoire covers about five hundred years of
vocal music of every sort.
The Scholars are also actively involved in the commissioning of
new music from British composers and have recently begun to explore
the exciting possibilities of music theatre.
Shelagh Molyneux: Mezzo Soprano, aged 21, born Cheshire. Studied
at Goldsmiths' College, London and Royal College of Music.
Nigel Dixon: Alto, aged 24, born Spalding, Lincolnshire. Studied at
Stamford School, Royal School of Church Music and Durham
University.
Robin Doveton: Tenor, aged 27, born Fulmer, Buckinghamshire.
Studied at Tonbridge School, King's College, Cambridge.
Michael Leighton Jones: Baritone, aged 25, born Wellington, New
Zealand. Studied at Wanganui Collegiate School, Victoria
University of Wellington and Cambridge University.
David Van Asch: Bass, aged 27, born East Anglia. Studied King's
School, Canterbury, King's College, Cambridge.
Ocr'd Text:
Madrigals and Balletts
Now is the month of Maying
O grief, even on the bud
Damon and Phillis
Though Philomena lost her love
Ay me, the fatal arrow
Fire! Fire!
Sacred Music
Comtemporary Songs
Kyrie, Gloria, Sanctus and Agnus Dei
from the Mass for Three Voices William Byrd (1543-1623)
PROGRAMME
Two "Herrick Songs" Op. 30
Folk Songs
Spirituals
Thomas Morley (1557-1603)
Two "Seasonal Songs" Op. 97 William Wordsworth (b. 1908)
Spring (Thomas Nash)
Winter (Thomas Hood)
Music thou queen of heaven
To music
Humble
By and By
Dry Bones.
Christopher Brown (b. 1943)
In Lighter Mood
A collection of British Folk Songs for solo voices
INTERVAL
A selection of songs from the lighter side of
The Scholars' repertoire
arr. Bartholomew
arr. Naylor
arr. Sells/Doveton
Ocr'd Text:
Next Concert
Area, Town Hall
Monday, 24th March, 1975 at 7.30 p.m.
THE LINDSAY STRING QUARTET with CECIL ARONOWITZ (Viola)
Quintet in E flat K.614
Quartet in F minor Op. 95
Quintet in G minor K.516
Mozart
Beethoven
Mozart
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 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.
Ocr'd Text:
THE HUDDERSFIELD MUSIC SOCIETY
*********************************
Fifty-seventh Season 1974-75
Area, Town Hall
Monday, March 24th 1975
THE LINDSAY STRING QUARTET with CECIL ARONOWITZ (Viola)
Roger Bigley (Viola)
Bernard Gregor-Smith (Cello)
(Viola)
Peter Cropper (Violin)
Ronald Birks (Violin)
ev Cecil Aronowitz
Quintet in E flat K. 614
Programme
I
Allegro di molto
Andante
Minuet and Trio
Allegro
Mozart (1756-1791)
teoArg
Mozart wrote in all 5 string quintets. The first (B flat
major K.174) dates from 1773 but there is evidence that this is
really a divortimento changed into a quintet after Mozart first
became acquainted with the string quintet in Italy through the works
of Sammartini. It was not until 1787 in the last Vienna period that
he then reached his full maturity and perhaps influenced by the
works of Boccherini, turned his attention again to this form of
chamber music. Between that year and 1791 Mozart produced four
string quintots which "embodied the deepest thoughts expressed by
him in his chamber music. The addition of the second viola to the
quartet was a legacy from former days but the style was now quite
different. What follows after this is chamber music in the strict
senso; the sound effect is no longer the aim in itself but the port
handmaid of the intellect". (Abert). Above all, this form of drin
chamber music provided Mozart with an opportunity to make full use
of his now consummate contrapuntal skill. "The ease with which the
individual themes wander from one desk to another is remarkable.
The art of counterpoint and other strict forms are here practised
with mastory of technique and a richness of imagination unparalleled
at that period".
Ocr'd Text:
2.
The Quintets K.593 and K.614 were commissioned by an un-
known patron, possibly the Hungarian, Johann Tost; they have a
note to the effect that they were written "at the earnest
solicitation of a musical friend". Quintet K.614 is the last
chamber work which Mozart wrote. It dates from 1791. It is no
sense a "farewell"; the character throughout is joyous, with
wit and charm. The first movement is based almost entirely upon
the main subject, with its twittering trills often accompanied
by a busy semiquaver movement, which persists even right
through the coda. The Andante has an elaborately ornamented
theme which recurs further adorned with delicate variations.
Einstein considers that it "represents a pinnacle of achieve-
ment in the combination of concertante- and chamber-music
elements - it seems like a piece for the middle movement of a
piano concerto, treated in chamber music style: brilliance,
workmanship, repose and joy in creation all together". The
graceful minuet has a bagpipe-like Trio; it seems to recall
in its simple gaiety the minuets of Haydn. The Finale,
apparently simple but with sections of subtle counterpoint,
forms with its wit and vigour, the perfect ending to a work
full of sunshine.
Quartet in F minor Op.95
II
Beethoven (1770-1827)
Allegro con brio
Allegretto ma non troppo
Allegro assai vivace ma serioso
Larghetto Allegretto Allegro
(Last performed in 1969 by the Gabrieli String Quartet)
This quartet was written in 1810 immediately following
the completion of the Egmont Overture; the next and final
quartets did not appear until 1824. It stands, therefore at
the end of Beethoven's second period. It was dedicated to
Count Niklaus Zmeskal, that fussy yet useful friend whose
acquaintance Beethoven made shortly after his arrival in Vienna
and with whom friendship remained to the end. Beethoven
"proved by the dedication of the superbly tempestuous Quartet
in F minor how well he was disposed to Zmeskal".
sexdxo 7o
Jutroof
This is one of the shortest of the quartets, not because
of shortage of material but because of the extreme conciseness
be
of the
Bekker
Ocr'd Text:
ave a
am-
3.
of expression; no note is superfluous, every note is vital and a
feeling of urgency prevails. It points directly towards a style
of the last works. It is sometimes called the Serioso Quartet.
Bekker seos it as the fruit of a mood of introspection! the battle
has been won but "he became intensely aware of what it had cost
him at the close of the work the spirit of laughter takes charge
and is hailed as the solution to life's problems".
The short first movement has a brusque, almost gruff, opening
in octaves which dominates the movement with its intense emotional
feelings. The second movement, in the unexpected key of D major, is
calmer and religious in mood; it contains a fine fugal section and
leads without a pause to one of Beethoven's grand Scherzi. The
Scherzo is twice interrupted by trios, the second one being a more
fully development version of the first. The last movement has a slow
and magnificent, if short, introduction; the finale itself, restless
and agitated, is in rondo form and ends with a coda which is almost
Italian in its colour and vivacity. Langford, in an article, once
emphasised at length the debt that succeeding composers owed to
Beethoven; of this finale he said that it "cried aloud the indebted-
ness of the smaller romantic composers".
**********************************
COFFEE INTERVAL OF FIFTEEN MINUTES
**********************************
III
Quintet in G minor K.516
Allegro
Minuet and Trio
ed Adagio ma non troppo
Adagio Allegro
Mozart (1756-1791)
Abort writos:
The Quintet is the most passionate work that
Mozart wrote in this, his favourite key and one of the most profound
of all his works. It presents a striking refutation of the current
conception of Mozart as an ever-cheerful favourite of the gods and
nothing moro, for it is a piece filled with the resignation of
despair, a struggle with destiny. It does not, as with Boethoven,
carry with it from the outset the certainty of victory but rather
exprosses a solf-tormenting surrender to the inevitable. The joy
of life in the finale celebrates no Beethovenish triumph over a
previous struggle with fate, but is of purely artistic origin; it
Ocr'd Text:
4.
is the pressure of inner creative power which stirs the artist
and simultaneously raises his vitality".
The Quintet is perhaps the high-water mark in Mozart's
chamber music. Written in 1791 after the death of his father
and of his great friend Count von Hatzfelt, it reflects his
tragic mood at that period. And the addition of the viola,
with its more veiled and sombre timbre, to the normal string
quartet gives the work the exact colouring called for by this
mood.com
invito
under
The first movement opens with a broken-up main theme for
the two violins with a hammered bass for a viola; this is
immediately repeated by the violas, the cello supplying the
bass. This mood of sadness, with its downward despairing
curves and plunges, persists. The second subject, unusually in
G minor, has wide leaps adding "a note of defiance to the
hopelessness". The development section is unusually short and
notable for its daring modulations. After a climax, a long
pedal D, with the quaver movement above it, leads to the
recapitulation, again in sombre mood. The Minuet continues
the defiant mood but fades away into a quiet Trio in which to aam
some sort of fooling of resignation seems to appear. The
Andante (E flat major) is introduced by a many-sectioned
Cavatina for the violin; sadnoss is still the underlying
foeling. A second thome in B flat minor brings back the
emotions of the first movement. This is followed by a thome featu
in B flat major which "expresses a passionato yearning such
has not been felt in the quartet". This movement is
characterised throughout by an abundance of conflicting
emotions. The short adagio introduction to the finale (some-
thing, which at the point, is rare with Mozart), with its
basso ostinato and its hammerod quavers, retains the tragick
emotions of the earlier movements. It gradually dies away
until the joyous G major theme of the Finale appears. This
Finale is a rondo. In the episodes, echoes of first movement
themes are heard. These have now lost their tragic intensity
but their use in a transformed guise gives a unity to this
work of such varying and conflicting emotions.
The LINDSAY STRING QUARTET was formed at the R.A.M. whoro to
they studied chambor music with Sidnoy Griller. At the R.A.M. Iverg
they won all the prizes for quartet playing. They were thon
+ JO
I
Ocr'd Text:
-st
5.
invited to Budapest to take part in the first Bartok Sominar
under Vilmos Tatrai, where they commenced their detailod study
of the Bartok quartets. On leaving the R.A.M. they were awarded
a Leverhulme Fellowship to become resident Quartet at Koclo
University for 3 years and they were loaned instruments by the
Gulbenkian Foundation and Mr. Ian Hammond. During this period
they worked under the guidance of Alexandre Moskowsky, formerly
of the Hungarian Quartot. They were prize winners at the 1969
Liege International Competition, the youngest quartet
compoting and the first English Quartot to win a prizo there.
In 1972 the Quartet spent 2 valuable months in America at the
invitation of the Hungarian Quartet. On their return they took
up the post of resident Quartet at Sheffield University. They
have made numerous appearances in London and throughout the
provinces as well as important Continental engagements. In
1973 they were chosen by the British Council to represent
Britain at "Interforum 73", the showcase for young artists
held in the Esterhazy Palace in Hungary. Here they were
generally accepted by critics, musicologists and improssarios-
as being the most promising of the artists taking part.
8
CECIL ARONOWITZ was born in South Africa of Russian/
Lithuanian parentago. He started piano and violin lessons at
an early age and won a scholarship at the R.C.M. with the
great pedagogue, Achille Rivarde. His studies were intorrupted
by six and a half years of war service and he returned to take
up the viola. Everywhere he has made a name for himself as a
soloist and chamber music player. He is a founder member of
Molos Ensemble and the English Chamber Orchestra. He performs
regularly with the Amadeus Quartet in the Quintet repertoire.
He also gives sonata recitals with his wife, the pianist
Nicola Grunberg. He recently left his position as Professor
of Viola and Chamber Music at the R.C.M. to become Head of
the String Faculty of the Royal Northern College of Music in
Manchester.
THE HUDDERSFIELD MUSIC SOCIETY
*********************************
Arca, Town Hall
Season 1975-6
Monday Evenings at
7.30
Ocr'd Text:
Octobor 27th
Novombor 17th
December 8th
January 19th
February 9th
March 15th
The National Federation of Music Societies, with 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.
BENTHIEN STRING QUARTET
BERNEDE STRING QUARTET
GABRIELI STRING QUARTET
FRANCOIS DUCHABLE. Piano Recital
ORION PIANO TRIO
NORTHERN SYMPHONIA STRING OCTET
April 21st
May 5th
6.
THE HUDDERSFIELD GRAMOPHONE SOCIETY
Waverley House, New North Road.
April 4th-7th
April 7th
**************************************
N.F.G.S. Musical Weekend
Chamber Music and Lieder.
Presented by Mr. Dearnley
Lady Composers. Presented by Miss Haigh
Dylan Thomas. Presented by Miss Trotter
Monday Evenings at 7.30
Annual subscription £1.20 (from Jan 1st 70p). Students and
Senior Citizens half fee. Refreshments. Secretary Mr. D.
Bostock, 16 Imperial Road, Huddersfield, HD3 3AF.
THE HUDDERSFIELD THESPIANS
The Arts Contro, Queen Street.
****************************
A VOYAGE ROUND MY FATHER
BY
April 21st - 26th.
JOHN MORTIMER
Tickets 30p from Woods, 67 New Street.