HMS 57


The Huddersfield Music Society, HMS 57

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> x-rite HUDDERSFIELD MUSIC SOCIETY Brochure 57th Season's programmes 1974-1975 17·2·75 5715 correction The two wordsworth songs are Op 92, nor op 97. H.Narcliffe Archivist :ey- S9 ° y n but ba er S colorchecker SW ןווווןוווןוווווווווווווווווווווווווווווווווון. MSCCPPCC0613 h e al nded g wn r- r-

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AUO FIFTY-SEVENTH SEASON 1974-1975 s edi of The Huddersfield Music Society 10 oug as of ell- 5-1750). 7.30 p.m. WT. AREA TOWN HALL, HUDDERSFIELD (entrance in Corporation Street) osing key- to, truments, eys for une. To olved by ibration uning, but been gener d Clavier ter) was the seal be founded ranging y unknown scholar- counter- rmonies, th its ill with exercise he

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T niloi FIFTY-SEVENTH SEASON 1974-1975 The Huddersfield Music Society WT. 7.30 p.m. AREA TOWN HALL, HUDDERSFIELD (entrance in Corporation Street)

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Monday, October 14th, 1974 £105 14th, 1974 Monday, November 11th, 1974 JEAN-RODOLPHE KARS Preludes and Fugues Nos. 1, 2, 3 and 4 (Bk.1) ... Bach Sonata in E flat major (Les Adieux) THE NEW BUDAPEST STRING QUARTET Andras Kiss....... Violin Sonata in B minor Beethoven Liszt Gyorgy Albert ...... Violin Tivadar Popa ..... Viola Tamas Koo............ Cello 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. 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. 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. M

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n THE HUDDERSFIELD MUSIC SOCIETY (Founded as The Huddersfield Music Club by Dr. Eaglefield Hull in 1918) President Vice-President W. E. Thompson, Esq. Miss E. K. Sawers Honorary Vice-Presidents: Benjamin Britten, Esq., O.M., C.H., F. Rowcliffe, Esq. The Rt. Hon. The Lord Savile, J.P., D.L. ns k he est di- g. he in [a- The Joint Hon. Secretaries: Mrs. J. de Nikitin-Solsky, 37 Gynn Lane, Honley, HD7 2LE. Tel. Hudd. 61696. Miss C. Alison Shaw, 3a Vernon Avenue, HD1 5QD. Tel. Hudd. 27470 Hon. Treasurer: P. Michael Lord, Esq., National Westminster Bank Ltd., 8 Southgate Elland HX5 0BW. Tel. Elland 2070 Hon. Auditor: P. Sturgess, Esq., F.I.B. ti- he ry. he ny he eat R. Barraclough S. H. Crowther David Dugdale P. G. C. Forbes, Executive Committee: Mrs. E. Glendinning E. Glendinning I. M. Lee P. Michelson M.A., A.R.C.O. S. Rothery E. C. Shaw J. C. S. Smith, B.A. Mrs. J. H. Sykes J. J. Valner Miss I. Bratman Mrs. A. Crowther Mrs. S. H. Crowther Ladies' Committee: Chairman: Mrs. J. H. Sykes Miss K. Evans, B.A. Miss M. A. Freeman, Miss M. Hamer Miss C. A. Shaw LL.B. Mrs. J. Shires Hon. Secretary: Mrs. E. Glendinning Hon. Treasurer: Miss E. K. Sawers

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صداع Clarinet Monday, December 16th, 1974 JANET HILTON KEITH SWALLOW Piano Monday, January 20th, 1975 THE MEDICI STRING QUARTET Cydn ms tok the gest adi- ing. the in uta- the Deti- The ary. the any the reat 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. Paul Robertson David Matthews Paul Silverthorne Anthony Lewis Violin Violin Viola Cello Quartet in E flat major Op. 33 No. 2 (The Joke) Quartet No. 1 in E minor (From my Life). Quartet in F major Haydn S th 0 Smetana Ravel Se SI na b fa b in 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. CI el CI 18 S al by W gr of VO m 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. by op an of be C SH B F T M ch pr ar pu

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950 Monday, February 17 THE SCHOLA Shelagh Molyneux Nigel Dixon Robin Doveton Mezz 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 C bridge. They made their L in 1970 with such success tha critic observed that there enjoyment to make even a critic want to hear this gramme again straight off". Scholars decided to expand already extensive and varie by introducing a female voi were fortunate to discove 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 A BETWEEN JANUARY 20 FOR RESERVED SEATS THE BALCONY OR TI Members may, at the sam chase additional seats at t prices: Balcony £1, first area area 60p. Plans will open to public on January 27th. To the Hon. Treasurer, The Huddersfield Music Society, National Westminster Bank Ltd., REMITTANCE FORM (for the use of PRESENT MEMBERS ONLY) 8 Southgate, Elland HX5 OBW I enclose £... payment for To assist the Treasurer, please enclose this form. Name. Double (Single) Season Tickets Address ......... APPLICATION FORM (for the use of NEW MEMBERS ONLY) To the Hon. Secretary, 3a Vernon Avenue, Huddersfield, HD1 5QD Please send me ........ Double (Single) Season Tickets for which I enclose £. Name Address Cheques should be made payable to "The Huddersfield Music Society" (BLOCK LETTERS PLEASE) Receipts will not be issued unless requested

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€450 Monday, February 17th, 1975 THE SCHOLARS Shelagh Molyneux Mezzo Soprano Nigel Dixon Monday, March 24th, 1975 THE LINDSAY STRING QUARTET with CECIL ARONOWITZ Double SEASON TICKETS ...... £6.00 (for two persons not necessarily of one family) Single £3.50 .... Alto Robin Doveton Michael Leighton Jones Tenor Baritone Student £1.00 David Van Asch Bass Peter Cropper Violin (may be obtained from the School of Music, Polytechnic or from the Hon. Ronald Birks Violin Secretaries) Roger Bigley Viola Single Ticket 85p Cecil Aronowitz Viola Student Ticket 20p Bernard Gregor-Smith Cello 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. Quintet in E flat K.614 Quartet in F minor Op. 95 Quintet in G minor K.516 (Bona fide Students under 21) FEBRUARY CONCERT Mozart Beethoven Mozart Balcony First Area Second Area ........ 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. £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.

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arer татялио 19 one ИОТІН ТИЛЬ WOLIAW2 HIDDI PATRONS The Rt. Hon. THE LORD SAVILE, J.P., D.L. G. R. BOOTH, Esq. DAVID DUGDALE, Esq. P. G. C. FORBES, Esq., M.A., A.R.C.O. EDWARD GLENDINNING, Esq. P. MICHAEL LORD, Esq. Miss M. E. PORRITT Miss E. K. SAWERS MAX SELKA, Esq. Miss C. A. SHAW A 078

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THE HUDDERSFIELD MUSIC SOCIETY ************************************ nood Fifty-seventh Season 1974-75 Area Town Hall Monday, October 14th 1974 JEAN RODOLPH KARS Programme шот To oviesong as of Preludes and Fugues Nos. 1,2,3 and 4 (Book 1) from "The Well- Tempered Clavier" grote Bach (1685-1750). i. ii. iii. C major C minor 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 ontm 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. vortasb blow ang odd ed 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

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The to which is the os which it follows e (1° Abs 2. 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)

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The pared sport- Le, is The 3. The Sonata opens with three descending notes G.F.E. flat to which Beethoven affixed the motto Lebewohl (Farewell). This is the ossence of the whole sonata and the generating impulse upon which it is founded. After a short introduction the Allegro follows onding with an usually lengthy coda. The second movement (1'Absonce) is an intormozzo; the recapitulation of its main theme is interrupted by a change leading to the finale. The Finale (lo Retour) is again in sonata form. ********************************** oddnings COFFEE INTERVAL OF FIFTEEN MINUTES od to axed wol A ********************************** III dobry "omed! by Jetup wom Liszt (1811-1886) Sonata in B minor Lento assai - Allegro energico Andante sostenuto Allegro energico Stretta quasi presto Allegro moderato. now (Last performed in 1938 by Simon Barer) ΠΟΥ "If wo 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 ideadore destined to inspire so many succeeding composers. From the expressive point of view, I see 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. bas 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

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40 motive is heard becoming a kind of motto-thome 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-themo, now quiet and peaceful. (088 - 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- ance of the complete "Vingt regards sur l'Enfant Jesus" in London in 1972. Kars first captured the imagination of the 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 and has appeared at the Edinburgh, Bath and York Festivals. has toured widely throughout the world. He has made recordings of the complete piano works of Schonberg and further plans include the recording of the works of Liszt.ds He ob **************************************************************** THE HUDDERSFIELD MUSIC SOCIETY ************************************ Area Town Hall. b Monday Evenings at 7.30 p.m. November 11th. THE NEW BUDAPEST STRING QUARTET Quart

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a The lop- an 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 Haydn Brahms Bartok (in association with The Huddersfield Examiner) March 24th. The Lindsay String Quartet with Cecil Aronowitz (Viola) 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

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6, 80p. Students 30p. from Mrs. Hanson, 23 The Crescent, Hipperholme, Halifax and at the door. THE HUDDERSFIELD GRAMOPHONE SOCIETY ************************************** Waverley House, New North Road. Monday Evenings at 7.30 October 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. 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. 00.0 bris

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oved dad THE add buonos HUDDERSFIELD MUSIC SOCIETY ********************************* Fifty-seventh Season 1974-75 Aroa. Town Hall blastMonday, November 11th 1974 boau doum 02 ode I topu do hosed THE NEW BUDAPEST STRING QUARTET ******************************* Andras Kiss (Violin) Jozsef Gazsik (Violin) zom dom Tivadar Popa (Viola) Tibor Parkanyi (Cello) Programme I ond yea bab Quartet in G major Op. 77 No. 1 Ha Haydn (1732-1809) Allegro moderato (9081-8881) ame Adagio atm A at dete Presto (Minuet and Trio) Presto og tobom fabr odforge (Last performed in 1936 by the Weiss String Quartet) Oosv.tv Among the wealth of music which Haydn's genius poured out there aro 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- ion by Haydn who indeed used that form, 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 remomborod that Haydn was completing The Seasons.

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UI connect of No. The qu modif The first and last movements of both quartets of Op. 77 are perfect examples of Haydn's mastery of sonata-form and both havo 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%;B 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- ancos 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 uso is made of a dialogue stylo. Quartet in A minor. Op. 51 No. 2 II IDA Allegro non troppo Brahms (1833-1897) Andante moderato Quasi Menuetto, moderato Allegrotto vivace Allegro non assai (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, tho 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 Vienna 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 were 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".

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havo 77 are 1 In both the quartets of Op. 51 there is a close thematic and connection between the movements. The main theme of the finale I 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 movement is gentle 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 offoct. "In place of a scherzo, the third movement is a slow minuet with pathetically drooping cadencos alternating with a polyphonic trio in duple time and running rhythm twico interrupted by the minuot-tempo with a combination of the two themos, wonderfully transforming that trio". (Tovey). The Finale is a spirited rondo with a flavour of Hungarian music ********************************** COFFEE INTERVAL OF FIFTEEN MINUTES ven ********************************** doors f Quartet No. 6 rod or lates Bartok (1881-1945) tud Mesto. om Mesto. Vivaco Marcia Burletto Mesto. Mesto. (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%;B in the second, we have the early Bartok in the first movement, while in the following move- monts the now harsh and astringent elemonts appear. The third and fourth quartets, particularly the latter, show Bartok at his most extrome; it is suggested that in these he explored the extromo limits of discord. "Their strange and disturbing idiom is far romoved from the bounds of musical experience".vtrob 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 quartot domovom

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has a now lyric quality, a clearer texture, a warmer and more mellow feeling and a simplicity and sorenity which makes it tho crown of his chamber music. Those quartet have often been compared with the quartots of Beethoven; Bartok, too, sooms to express his most ossontial thoughts through the medium of the string quartet and whether wo liko them or not, they are of supremo importance. Matyas Soibor writes: "In more than one rospect we are reminded of Beethoven: 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 tho string quartets of Bartok will be lookod upon as the most out- standing and significant works of our time". - obeer 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-movemont form. All the dovices of the carlior quartets are hore glissandi, improvisatory passages, dance rhythms, percussive rhythms, imitations and inversions, the uso of fragments of the theme - but transformed 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 each movoment and contains as well "gorm" 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 puro 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 othor hand than Bartok's could havo written it". (E. Holm). After the motto comes a short introduction partly in unison, which hints at the main thome and "recalls 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 theme, 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 general mood of this movement is vigorous and even gay. bad Th the ce accom is ha

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ore tho of 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. Tho 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 agitated tremolos and strummed chords. This is followed by the return of the March in a greatly changed form. This movement is sad, bitter and grotesque. The Burletta (lit.a boisterous scherzo) follows after yot anothor version of the motto. This, too, is a harsh and bitter movemont, perhaps even more tragic. Relief is given by a lirical andantino in the centre, derivod from the theme of the first movement. This gentle theme tries three times to break the savage mood of tho coda. The last movement is tragic too, but in it the tragedy is uttored quietly and with tenderness and poignancy. The whole movement is derived from the motto - a deeply satisfying climax. Thoro is a sinister shudder in tho tremolo chords, sul ponticollo on the last page, and after a last heartrending 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 tho "Carlo Jachine International Competition for string quartets in Rome. It has appeared widely throughout Europe and this year makos it debut in Great Britain. Area. Town Hall. THE HUDDERSFIELD MUSIC SOCIETY ********************************* Monday Evenings at 7.30 Decomber 16th. JANET HILTON (Clarinet) and KEITH SWALLOW (Piano) Grand Duo Concertant Op. 48 Three Sonatas Promiore Rhapsodie for Clarinet and Piano Sonatina for Clarinet and Piano Sonata No. 1 in F minor Op. 120 Webor Scarlatti Dobussy Martinu Brahms

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January 20th February 17th. The Medici String Quarteton as of The Scholars (in association with the Huddersfield Examiner) March 24th. The Lindsay String Quartet with Cecil Aronowitz thofom ofanetescq bored tg-did a sad offoo od (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. booLot The National Fodoration of Music Societies, to which this Society is affiliated, gives support toward the cost of these Concerts with funds providod by the Arts Council of Great Britain. odom od 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, Saxophonos, 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 yok off no GRAMOPHONE SOCIETY Monday Evonings at 7.30 p.m. Waverloy House, New North Road. Novomber 18th. Mainly Strings. Presented by Mr. Finnorty. December 2nd. Spanish Evening. Presented by Mr. Emberson. December 9th. Stops 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, Huddersfiold. THE HUDDERSFIELD THESPIANS The Arts Centre, Queen Street. November 18th - 25th. at 7.30 p.m. дио TUMAG TIME AND THE CONWAYS by J.B. Priostley Tickets 30p. from Woods, 67 New Street. has denize not ide amiona 40 Ton of adeno

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THE HUDDERSFIELD To assed********************************** MUSIC SOCIETY of mod bet Fifty-seventh Season 1974-75eddad y abri relvalo os Area Town Hall. mata aldaMonday, December 16th 1974 Livebed to boas yogba bar Haneye.D JANET HILTON (Clarinet). or exteno" bas apelle med vod 980 ved brodo KEITH SWALLOW (Piano) edi mogu bomo zenev toe V Grand Duo Concertante Op. 48 sod mwab belitos" Programme I Allegro con fuoco Andante con moto Rondo bobreq Jadd to ted to antron one to robom Weber (1786-1826) 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 more ove 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. Three Sonatas slam II (i) F minor Scarlatti (1685-1757) (ii) G major (iii) B flat major 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

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2. SH 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) 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 or chestra. 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 ********************************** Sonati

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er 0 3. IV. Sonatina for clarinet and piano Moderato Andante Martinu (1890-1959) Poco allegro amo 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 how 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 country. He early went to Paris where he was much influenced by 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 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 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. V. Sonata in F minor Op. 120 No. 1 as of Brahms (1833-1897). omo Allegro appassionato Andante un poco adagio

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(ezel_0087) Vivace. 4。 Allegretto grazioso Опл 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 porformance 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 scherzo the most deliciously Viennese of all Brahms's works. The finale, in rondo form with very whimsical themes, is high comedy of the wittiest kind". (Tovey) ************* *********** JANET HILTON's reputation as one of the finest young clarinettists in Britain has grown steadily from the days when receive techr Kel aged 17

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5. aged 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, Koith 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 Colloge 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. He has won a well-deserved reputation as a fine pianist and a very gifted musician. THE HUDDERSFIELD MUSIC SOCIETY ****************************** Area. Town Hall January 20th 1975 THE MEDICI STRING Monday Evenings at 7.30 QUARTET Quartet in E flat major Op. 33 No. 2 (The Joke) Quartet No. 1 in E minor (From my Life) 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 tho 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. March 24th. THE LINDSAY STRING QUARTET with CECIL ARONOWITZ (Viola)

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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. 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 Haydn bris Quartet No. 1 Op. 7 Bartok Beethoven 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 ************************************** 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. January 13th-18th at 7.30. HOW THE OTHER HALF LOVES by Alan Ayckbourn. Tickets 30p. from Woods, 67 New Street, Huddersfield. (IoV)

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THE HUDDERSFIELD ********************************* MUSIC SOCIETY Area, Town Hall at 7.30 PLEASE NOTE: Monday, January 20th 1975. rodo 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)A Paul Silverthorne (Viola) Anthony Lowis (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 it 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 anys answer to that problem could be found. Haydn himself said that the Russian Quartets were "written in an entirely new and e particular manner". The end of the domination of the first violin was now complete and all instruments have an equal share

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ря 2. T 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 episode 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 whispers 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 tho 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 modium. 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

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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". ples Both the quartets bear the title "Aus moinen Lebon" (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 losser-known quartet is an attempt, he says, to describe "the 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%;B 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 collapse, is also introduced. ********************************** COFFEE INTERVAL OF FIFTEEN MINUTES ********************************** Lefdabano Quartet in F Major III Ravel (1875-1937) Allegro moderato Assoz vif - Tros rythmo Tros lont buil Vif et agite (Last performed in 1962 by the Tatrai String Quartet)

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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 master, Gabrilo Faure, and its first movement opens in almost a Fauro- 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 instrumonts to their highest register. The final movement, in 5/8 timo, 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. OT THE MEDICI STRING QUARTET was formed in the summer of 1971 by four students at the Royal Academy of Music. Trained by 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 the Budapest International Quartet Competition. 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. 10

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riss posers 5. 08 Madrigals Sections from the Byrd Three-part Mass Contemporary Songs Folk Songs Spirituals Close Harmony 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 Fedoration 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 Mozart Stravinsky Philip Wilby Messiaen **************************************************************** THE HALIFAX PHILHARMONIC CLUB ******************************** Lecture Hall, Harrison Road. 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

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6. Single tickets 80p. Students 30p from Mrs. Hanson, 23 The Crescent, Hipperholme, Halifax and at the door. THE HUDDERSFIELD GRAMOPHONE SOCIETY ******** ***************** Waverley House, New North Road. Monday Evenings at 7.30. January 27th Building a Library Presented by Mr. Bostock February 10th Two Swiss Composers rs Presented by Mr. Truscott February 24th Centenaries Presented by Mr. Nixon March 17th Operetta Annual subscription £1.50 (from January 1st 90p) Senior Citizens half fee. Refreshments. President and Secretary: Mr. D. Bostock, 16 Imperial Road, Huddersfield HD3 3AF. Presented by Miss Roberts Students and THE HUDDERSFIELD THESPIANS **************************** The Arts Contre, Queen Street. March 3rd - 8th at 7.30 GASLIGHT A Victorian Thriller by Patrick Hamilton Tickets 30p from Woods, 67 New Street, Huddersfield.

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F16-172-1975. THE HUDDERSFIELD EXAMINER in conjunction with THE HUDDERSFIELD MUSIC SOCIETY presents THE SCHOLARS Monday 17th February 1975 7.30pm AT THE TOWN HALL, HUDDERSFIELD.

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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, bom 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.

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PROGRAMME 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! Sacred Music Fire! Thomas Morley (1557-1603) Kyrie, Gloria, Sanctus and Agnus Dei from the Mass for Three Voices Comtemporary Songs Two "Herrick Songs" Op. 30 Music thou queen of heaven To music William Byrd (1543-1623) Christopher Brown (b. 1943) Two "Seasonal Songs" Op. 97 William Wordsworth (b. 1908) Spring (Thomas Nash) Winter (Thomas Hood) INTERVAL Folk Songs A collection of British Folk Songs for solo voices Spirituals Humble By and By Dry Bones In Lighter Mood A selection of songs from the lighter side of The Scholars' repertoire arr. Bartholomew arr. Naylor arr. Sells/Doveton

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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.

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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) Allegretto ma non troppo Allegro con brio 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". This is one of the shortest of the quartets, not because of shortage of material but because of the extreme conciseness feeling of the Bekker sexdxe jo

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ave a un- of expression; 3. 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 sees 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 ********************************** Quintet in G minor K.516 Allegro III Minuet and Trio ed Adagio ma non troppo Adagio Allegro Mozart (1756 - 1791) Abort writes: "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 expresses 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

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invite under το 40 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 poriod. 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. can Бав bra 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 sombro mood. The Minuet continues the defiant mood but fades away into a quiet Trio in which some sort of feeling 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 bu 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 finalo (some- thing, which at the point, is rare with Mozart), with its basso ostinato and its hammered quavers, retains the tragic 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 they studied chamber music with Sidney Griller. At the R.A.M. exa they won all the prizes for quartot playing. They were thon

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-st 5. invited to Budapest to take part in the first Bartok Sominar under Vilmos Tatrai, where they commenced their detailed study of the Bartok quartets. On leaving the R.A.M. they were awarded a Leverhulme Fellowship to become resident Quartet at Koolo 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 Liogo International Competition, the youngest quartot compoting and the first English Quartot to win a prizo there. In 1972 the Quartet spent 2 valuable months in America at tho 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. CECIL ARONOWITZ was born in South Africa of Russian/ Lithuanian parentage. He started piano and violin lessons at an early age and won scholarship at the R.C.M. with the great pedagogue, Achille Rivarde. His studies were interrupted 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 Collogo of Music in Manchester. THE HUDDERSFIELD MUSIC SOCIETY ********************************* Aroa, Town Hall Season 1975-6 Monday Evenings at 7.30

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Octobor 27th Novombor 17th December 8th January 19th February 9th March 15th 6. BENTHIEN STRING QUARTET BERNEDE STRING QUARTET GABRIELI STRING QUARTET FRANCOIS DUCHABLE. ORION PIANO TRIO Piano Recital NORTHERN SYMPHONIA STRING OCTET 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. THE HUDDERSFIELD GRAMOPHONE SOCIETY ************************************** Waverley House, New North Road. Monday Evenings at 7.30 April 4th-7th April 7th N.F.G.S. Musical Weekend Chamber Music and Lieder. Presented by Mr. Dearnley April 21st May 5th Lady Composers. Presented by Miss Haigh Dylan Thomas. Presented by Miss Trotter Annual subscription £1.20 (from Jan 1st 70p). Students and Sonior Citizens half fee. Refreshments. Secretary Mr. D. Bostock, 16 Imperial Road, Huddersfield, HD3 3AF. THE HUDDERSFIELD THESPIANS **************************** The Arts Contro, Queen Street. 40 April 21st 26th. A VOYAGE ROUND MY FATHER BY JOHN MORTIMER Tickets 30p from Woods, 67 Now Street.