HMS 57


The Huddersfield Music Society, HMS 57

1 The Huddersfield Music Society, HMS 57, Page 1

▲back to top
Ocr'd Text:
HUDDERSFIELD MUSIC SOCIETY Brochure 57th Season's programmes 1974-1975 17-2.75 5715 correction H. Norelife Archivist colorchecker The two wordsworth songs are ораг, по ор 97. Xx-rite ww MSCCPPCC0613 .................. 1903SW tey S9 O y n but er S al nded g wn r- r- h e

2 The Huddersfield Music Society, HMS 57, Page 2

▲back to top
Ocr'd Text:
FIFTY-SEVENTH SEASON 1974-1975 The Huddersfield Music Society 4 7.30 p.m. WT. AREA TOWN HALL, HUDDERSFIELD (entrance in Corporation Street) 2098 [pof ell- 5-1750). osing key- to, truments, eys for une. To olved by ibration uning, but been comm Es002 d Clavier ter) was the seal be founded ranging y unknown scholar- counter- rmonies, th its ill with exercise he

3 The Huddersfield Music Society, HMS 57, Page 3

▲back to top
Ocr'd Text:
FIFTY-SEVENTH SEASON MAU MINTA 1974-1975 The Huddersfield Music Society 1 7.30 p.m. WT. tog AREA TOWN HALL, HUDDERSFIELD (entrance in Corporation Street) H eu:21

4 The Huddersfield Music Society, HMS 57, Page 4

▲back to top
Ocr'd Text:
fiso 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,

5 The Huddersfield Music Society, HMS 57, Page 5

▲back to top
Ocr'd Text:
In ns ok he est di- g. he in a- he ti- he ry. he ny he eat 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

6 The Huddersfield Music Society, HMS 57, Page 6

▲back to top
Ocr'd Text:
4 ydn ms tok the gest adi- ing. the in uta- the Deti- The cary. the any the reat s 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. S th 02 se SI na be fa b in CI er CI gr Sc al by W VO gr of VO m b op an of be C SE BI F TI M ch pr ar pu

7 The Huddersfield Music Society, HMS 57, Page 7

▲back to top
Ocr'd Text:
£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

8 The Huddersfield Music Society, HMS 57, Page 8

▲back to top
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.

9 The Huddersfield Music Society, HMS 57, Page 9

▲back to top
Ocr'd Text:
arer los constaboM TITAUO PATRONS noaldo Ius T- 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. Aver dial 19m990 yabuoM Joniza MOTIH TIMAL WOIIAW2 HKD P. MICHAEL LORD, Esq. Miss M. E. PORRITT Miss E. K. SAWERS MAX SELKA, Esq. Miss C. A. SHAW ballitlal llow rised and noiloilong and I nisi 10 lolionuo ana noilipozzA 2A stidado Y sill yd novia oals zi noqqua aurorono

10 The Huddersfield Music Society, HMS 57, Page 10

▲back to top
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

11 The Huddersfield Music Society, HMS 57, Page 11

▲back to top
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.

12 The Huddersfield Music Society, HMS 57, Page 12

▲back to top
Ocr'd Text:
- The pared sport- The Le, is 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

13 The Huddersfield Music Society, HMS 57, Page 13

▲back to top
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

14 The Huddersfield Music Society, HMS 57, Page 14

▲back to top
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

15 The Huddersfield Music Society, HMS 57, Page 15

▲back to top
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 ->

16 The Huddersfield Music Society, HMS 57, Page 16

▲back to top
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 okul read 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.

17 The Huddersfield Music Society, HMS 57, Page 17

▲back to top
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".

18 The Huddersfield Music Society, HMS 57, Page 18

▲back to top
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

19 The Huddersfield Music Society, HMS 57, Page 19

▲back to top
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

20 The Huddersfield Music Society, HMS 57, Page 20

▲back to top
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.

21 The Huddersfield Music Society, HMS 57, Page 21

▲back to top
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

22 The Huddersfield Music Society, HMS 57, Page 22

▲back to top
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

23 The Huddersfield Music Society, HMS 57, Page 23

▲back to top
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 **********************************

24 The Huddersfield Music Society, HMS 57, Page 24

▲back to top
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

25 The Huddersfield Music Society, HMS 57, Page 25

▲back to top
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

26 The Huddersfield Music Society, HMS 57, Page 26

▲back to top
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)

27 The Huddersfield Music Society, HMS 57, Page 27

▲back to top
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

28 The Huddersfield Music Society, HMS 57, Page 28

▲back to top
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

29 The Huddersfield Music Society, HMS 57, Page 29

▲back to top
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

30 The Huddersfield Music Society, HMS 57, Page 30

▲back to top
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)

31 The Huddersfield Music Society, HMS 57, Page 31

▲back to top
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.

32 The Huddersfield Music Society, HMS 57, Page 32

▲back to top
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

33 The Huddersfield Music Society, HMS 57, Page 33

▲back to top
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.

34 The Huddersfield Music Society, HMS 57, Page 34

▲back to top
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.

35 The Huddersfield Music Society, HMS 57, Page 35

▲back to top
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.

36 The Huddersfield Music Society, HMS 57, Page 36

▲back to top
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

37 The Huddersfield Music Society, HMS 57, Page 37

▲back to top
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.

38 The Huddersfield Music Society, HMS 57, Page 38

▲back to top
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".

39 The Huddersfield Music Society, HMS 57, Page 39

▲back to top
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

40 The Huddersfield Music Society, HMS 57, Page 40

▲back to top
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

41 The Huddersfield Music Society, HMS 57, Page 41

▲back to top
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

42 The Huddersfield Music Society, HMS 57, Page 42

▲back to top
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

43 The Huddersfield Music Society, HMS 57, Page 43

▲back to top
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.