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HUDDERSFIELD MUSIC SOCIETY
Brochure
58th Season's programmes 1975-1976
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FIFTY-EIGHTH SEASON
1975-1976
The
Huddersfield Music
Society
WT.
Chab 7.30 p.m.
AREA TOWN HALL, HUDDERSFIELD
(entrance in Corporation Street)
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Ocr'd Text:
FIFTY-EIGHTH SEASON
1975-1976
The
Huddersfield Music
Society
7.30 p.m.
WT.
AREA TOWN HALL, HUDDERSFIELD
(entrance in Corporation Street)
Ocr'd Text:
Monday, October 27th, 1975
THE BENTHIEN STRING
QUARTET
Ulrich Benthien
Rudolf Maria Muller
Martin Ledig
Edwin Koch
Violin
Violin
Viola
Cello
Quartet in D minor ........ J. F. Fasch
Quartet in E flat major Op. 74
Beethn
Roussel
Quartet in A major Op. 41 No. 3....
Schumann
The
Benthien String Quartet
formed in 1948 owes its international
reputation to the extensive concert
tours which the Ensemble has under-
taken in nearly all European countries.
and in all the most important music
centres in the world. The Quartet is
just as much at home in the Wigmore
Hall in London; in the Mozarteum in
Salzburg; in the Concertgebouw in
Amsterdam as in the concert halls of
New York, Boston, San Francisco,
Sydney and Tokyo. During the 1970-71
season the Quartet earned a tremen-
dous and outstanding success from
appreciative audiences in the main
towns of the U.S.S.R. Besides its
concert commitments the Quartet plays
regularly for German, and for more
than 40 foreign, radio stations and for
T.V. performances. For the B.B.C. in
London alone in recent years over 30
different works from the Quartet's
extensive repertoire have been
recorded.
The Society is deeply appreciative
of the assistance toward the promotion
of this concert given by the Goethe
Institute of York.
The concert will start precisely at
7-30 as it is being recorded for future
broadcasts by the B.B.C.
Monday, November 17th, 1975
THE BERNEDE STRING
QUARTET
J. C. Bernede
Marcel Charpentier
Michel Laleouse
Paul Boufil
Violin
Violin
Viola
Cello
Quartet in B flat Op. 76 No. 4
("The Sunrise")
Quartet in D major Op. 45 (1932)
Haydn
Roussel
Quartet in D major Op. 18 No. 3....
Beethoven
It gives us much pleasure to
introduce this very fine Quartet from
France. Formed in 1964 they are in
regular demand throughout Europe
and overseas. The Quartet started its
career by winning the prize at the
Munich International String Quartet
Competition. In 1969 the French
Government decided to subsidise the
Quartet for a series of concerts to be
given annually in France. One critic
recently wrote: "One cannot listen to
the Bernede String Quartet without
being conscious of the fact that he is
in the presence of such exceptional
talent that it approaches greatness. Its
on and balance, its tech cal
competence and its expressiveness are
superb."
COVENANTED GIFTS. The Committee appeal to all members if possible to
make a special contribution in the form of a Covenant. This would not be
related to the normal subscription and, with the tax benefits accruing to the
Society therefrom, would be a most valuable means of ensuring the
continuance of these Concerts.
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THE HUDDERSFIELD MUSIC SOCIETY
(Founded as The Huddersfield Music Club by Dr. Eaglefield Hull in 1918)
President
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. 661696
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
S. H. Crowther
David Dugdale
P. G. C. Forbes,
W. E. Thompson, Esq., F.R.C.S.
Miss E. K. Sawers, M.A.
M.A., A.R.C.O.
Miss I. Bratman
Mrs. A. Crowther
Mrs. S. H. Crowther
Hon. Auditor:
P. Sturgess, Esq., F.I.B.
Executive Committee:
Mrs. E. Glendinning
E. Glendinning
I. M. Lee
P. Michelson.
S. Rothery
Ladies' Committee:
Chairman: Mrs. J. H. Sykes
Miss K. Evans, B.A.
Miss M. A. Freeman,
J.P., LL.B.
Miss M. Hamer
E. C. Shaw
J. C. S. Smith, B.A.
Mrs. J. H. Sykes
J. J. Valner
Mrs. J. de Nikitin-Solsky
Miss C. A. Shaw
Mrs. J. Shires
Hon. Secretary: Mrs. E. Glendinning
Hon. Treasurer: Miss E. K. Sawers, M.A.
Ocr'd Text:
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Monday, December 8th, 1975
THE GABRIELI STRING
QUARTET
Kenneth Sillito
Violin
Brendan O'Reilly Violin
Viola
Cello
lan Jewel
Keith Harvey
Quartet in F major Op. 18 No. 1....
Beethoven
"The Bullfighter's Prayer" for
String Quartet
Turina
Quartet in G major D887 Schubert
Since its London debut in 1967
the Gabrieli String Quartet has estab-
lished itself as not only the leading
young Quartet in England but also as
one of the finest in Europe. The
Quartet's regular annual series of
concerts at London's Queen Elizabeth
Hall is received with great enthusiasm
by public and critics alike as are its
concerts throughout Europe. The
Quartet's Vienna debut last year was
an outstanding success, soon followed
by a tour of Austria. This year the
Quartet will be travelling further afield
to Australia and the U.S. as well as
returning to many countries in Europe.
The Quartet records exclusively for
Decca. Future plans include a record-
ing of the Schumann Piano Quintet
with Vladimir Ashkenazy.
This concert is sponsored by
Leisure Services of the Kirklees
Metropolitan Council and the Society
is most grateful to them for their
generosity and co-operation.
Monday, January 19th, 1976
FRANCOIS DUCHABLE
32 Variations in C minor on an
original theme
... Beethoven
Ballade No. 4 in F minor
Op. 52
Nocturne in D flat major
Op. 27 No. 2
Mazurka in F sharp minor
Op. 59 No. 3
Three Etudes, Op. 25
Toccata, Op. 7
Four pieces from
Fantasiestucke, Op. 12
L'Isle joyeuse
Soiree dans Grenade
Jeux d'eau
Alborada del Gracioso
Chopin
Schumann
Debussy
Ravel
Francois Duchable made his
British debut last August as part of the
Young Musicians Series of the Harro-
gate Festival. His performance there
made such an impact that a visiting
B.B.C. music producer signed him on
the spot for a broadcast recital the
following day.
Duchable was born into a musical
family in Paris in 1952. He took up the
piano when he was still only four and
at the age of seven played for the
great Joseph Benvenuti and Madelaine
Giradeau-Basset with whom he then
went to study until his entry to the
Conservatoire National Superieur in
Paris in 1964.
His years at the Conservatoire
brought a number of prizes and
awards for his outstanding abilities.
Whilst still a student he was named
Laureat of the Concours International
Reine Elizabeth de Belgique in Brussels
in 1958, and in 1973 Laureat of the
Fondation Sacha Schneider.
continued->
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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Monday, February
THE ORION PIAN
Peter Thomas
Sharon McKinley
lan Brown
******
Trio in C Major, K.548
Trio
Trio in E flat major, Op.
The Piano Trio is
popular form of chamb
this Trio is making a
appearance since they f
the Society in 1970. 1
formed in 1968 and i
Southampton University,
concerts during univers
1969 they were first pri
the B.B.C. Beethoven Tr
for British and (
ensembles. They have l
recorded for the E
Programme and have
Television.
FRANCOIS DUC
His concert career
recit
and b
and
under way with
performances
France and Belgium
his first appearance
Festival Hall in London
Philharmonia Orchestra
1975.
Arthur Rubinstein h
him that at 22 ".... he
mature musician, gifted
perfect technique. To m
faction he knows how to
his exceptional gifts to
so that it will bring th
greatest joy and emotion
The Committee wou
expenses, the subsc
tickets has been inc
becomes
increasingly
FORM (for the use of PRESENT MEMBERS ONLY)
To the Hon. Treasurer, The Huddersfield Music Society, National Westminster Bank Ltd.,
8 Southgate, Elland HX5 OBW
I enclose £............... in payment for ............. Double (Single) Season Tickets
REMITTANCE
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 £.........
Address
Name
(BLOCK LETTERS PLEASE)
Cheques should be made payable to "The Huddersfield Music Society"
Receipts will not be issued unless requested
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Monday, February 9th, 1976
THE ORION PIANO TRIO
Violin
Cello
Piano
Peter Thomas
Sharon McKinley
lan Brown
Trio in C Major, K.548
Mozart
Camilleri
Trio
Trio in E flat major, Op. 70 No. 2....
Beethoven
The Piano Trio is undoubtedly a
popular form of chamber music and.
this Trio is making a welcome re-
appearance since they first played for
the Society in 1970. The Trio was
formed in 1968 and is resident at
Southampton University, giving weekly
concerts during university terms.
1969 they were first prize winners in
the B.B.C. Beethoven Trio Competition
for British and Commonwealth
ensembles. They have broadcast and
recorded for the B.B.C. Music
Programme and have appeared on
Television.
FRANCOIS DUCHABLE
His concert career is now well
under way with recitals, concerto
performances and broadcasts in
France and Belgium and he will make
his first appearance in the Royal
Festival Hall in London with the New
Philharmonia Orchestra in October
1975.
Arthur Rubinstein has written of
him that at 22 "... he is already a
mature musician, gifted with the most
perfect technique. To my great satis-
faction he knows how to make use of
his exceptional gifts to play the music
so that it will bring the listener the
greatest joy and emotion."
Monday, March 15th, 1976
THE NORTHERN SINFONIA
ENSEMBLE
Leader Barry Wilde
Sextet No. 1 in B flat Op. 18. Brahms
Prelude and Scherzo Op. 11...
Shostakovich
Octet in E flat Op. 20.... Mendelssohn
The Ensemble, which is drawn
from the Northern Sinfonia Orchestra,
occupies a unique place in the musical.
life of Great Britain. The stability of the
personnel of the Orchestra for many
years, and its policy of appointing
instrumentalists of soloist and chamber
music calibre, have produced a group
of musicians capable of giving first
class performances of more than a
hundred works for anything from one
to fifteen players.
The Committee would like to point out that, in spite of rapidly rising
expenses, the subscription rates remain unaltered. As the price of single
tickets has been increased, the advantage of purchasing season tickets
becomes increasingly apparent.
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
.£1.00
... 30p
(Bona fide Students under 21)
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 or at the door.
This perforated slip should be for-
warded as soon as possible, please.
Multi-Storey Car Park in close
proximity to the Hall.
Ocr'd Text:
PATRONS
The Rt. Hon. THE LORD SAVILE, J.P., D.L.
R. BARRACLOUGH, Esq.
G. R. BOOTH, Esq.
A. G. CROWTHER, 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, M.A.
MAX SELKA, Esq.
Miss C. A. SHAW
S. SUTCLIFFE, Esq.
W. E. THOMPSON, Esq., F.R.C.S.
Ocr'd Text:
THE HUDDERSFIELD MUSIC SOCIETY
******************** ************
Fifty-eighth Season 1975-76
Area, Town Hall
Monday, October 27th 1975
THE BENTHIEN STRING QUARTET
**********************
******
Ulrich Benthien (Violin)
Peter Heidrich (Violin)
Quartet in D minore
Programme
I
Ove Claus Conrad (Viola)
Edwin Kock (Cello)
Allegro
J.F. Fasch (1688-1785)
Largo
Largo
Allegro
(First performance at these Concerts)
anco
Johann Friedrich Fasch, born near Weimar, was a scholar at the
Thomasschule in Leipzig where he studied law as well as music, the
latter under Kuhnau. Although now a little-known figure, he and
his son had a direct influence upon German musical life. He himself
founded a Collegium musicum", the ancestor of the Gewandhaus
concerts. Later, his son Carl Friedrich, a harpsicordist and pr
composer, founded the Berlin Singakademie, which, in course of time,
was the first to revive Bach's St. Matthew Passion. After a
wandering life, Fasch was appointed Court Kapellmeister at Zerbst;
he was invited to compete for the Cantorship of the Thomasschule
against Bach but he refused to do so.
Fasch's music owes much to the influence of Kuhnau and to the
lighter style of Telleman. Many of his works
masses, cantatas
and motets, overtures, trios, sonatas etc. are preserved in
manuscript. Bach himself thought so highly of Fasch that he copied
out five of his orchestral suites. The Quartet in D minor is obten
believed to be the earliest example of that form preceeding the o
works of Haydn by many years. Haydn fixed that form for all time;
previous to him, the earlier works were more akin to the suite, pore
with its popular dance melodies, or to the sonata di camera, with 50
its more serious and largely contrapuntal style.
-
Ocr'd Text:
II.
Quartet in E flat major Op. 74 (The Harp)
Allegro
Poco adagio
Adagio ma non troppo
Presto
2.
-
-
Allegretto con variazoini
(Last performed in 1970 by the Lindsay String Quartet)
fourth secti
main theme
twice,
without
The wor
Beethoven (1770-1827)
By the years 1807-11 Beethoven seemed to have reached the
summit of his powers in the Mass in C, in piano sonatas, in the
E flat piano concerto in symphonic composition with the Symphony
No. 7 and in chamber music with the Quartets Opp. 74 and 95 and
the Trios Opp. 70 and 97. It could hardly be expected that he
could create a yet greater symphony, greater piano works, and,
as the ultimate achievement, the final string quartets. This was
a period of complete mastery and strength, of relative serenity
and joy, but still in these works can found a foreshadowing of a
"transformation of the creative idea, a transformation to be
completely effected only in the sonatas 1815 and in the last
quartets of 1825" (d'Indy).
The Quartet Op. 74 was written in 1809 and dedicated to
Prince Lobkowitz, one of Beethoven's princely patrons in Vienna.
It is widely known as the Harp Quartet on account of the
pizzicato arpeggios in the first movement. This movement opens
with a rather extended introduction ending with a long ascending
chromatic scale out of which the movement proper suddenly appears.
A simple thematic figure based on the tonic chord is heard,
followed at once by the first subject. The whole development
section is built up from this figure and the first subject.
Before the coda the first violin has a brilliant and cadenza-
like passage -
the only purely virtuoso passage found in
Beethoven's chamber music.
The Adagio in A flat is a "superb example of the lyric
grandeur of Beethoven. The majestic calm preserved unbroken
throughout the movement, causes one to wonder what the slow
movement will become with the Beethoven of the third period
epoch. A noble and melodious phrase asserts itself at the very
outset". (d'Indy). This theme, in varying form, reappears in
the third and fifth sections. The second section (A flat major)
has a new theme which returns in the sixth section, while the
Ocr'd Text:
20-1827)
3.
fourth section (D flat major) has a new phrase derived from the
main theme. The third movement is a Scherzo with the Trio repeated
twice, The keys alternate between C major and minor. This leads
without a break into the Finale - a theme with six variations.
The work ends with a short and brilliant coda.
**********************************
COFFEE INTERVAL OF FIFTEEN MINUTES
**********************************
ad III Jeet
Quartet in A major Op. 41 No. 3 od cod Schumann (1810-1856)
Allegro molto moderato
Andante espressivo
Assai agitato Un poco adagio Tempo risoluto
Adagio molto
Allegro molto vivace
(Last performed in 1964 by the Benthien String Quartet)
en
In his early years Schumann had a strong tendency to devote
himself exclusively during a certain period to one particular type
of composition. Between 1830-9 the piano absorbed all his attention;
1840-2 saw the creation of his great songs; the symphonies appeared
between 1841-2. But 1842 was the year of chamber music and the
string quartet. Coming at that time in his life, it meant that
Schumann undertook this fine and difficult form at the height of
his powers, when his inspiration was unimpaired, his technical skill
and judgement completely formed and his genius "clarified and somewhat
sobered". To prepare himself for this new task Schumann devoted
the spring of 1842 to a close study and re-examination of the quartets
of Mozart and Beethoven. This study completed, the three quartets of
Op.41 were all written in a little over a month, the third in a
matter of days. Schumann's only other remaining chamber music -
a quintet, a quartet and 3 trioi- were all written for strings in
combination with the piano.] It has been said that Schumann's writing
for strings is too pianistic, but, on the appearance of these
quartets, Hauptmann, the critical authority of his time and himself
a fine violinist, was full of praise, for them both technically and
musically. They are, in fact, "beautiful music, strongly original,
strongly characteristic of the composer's innermost nature, highly
imaginative, deeply poetic and laying hold irresistably on the
listener's symphathies". (Aldrich).
prooqqs, futacoodus yldg.hd
The Quartet in A major opens with a slow introduction, in
vague tonality, in which is heard the interval of a falling fifth,
5+
Ocr'd Text:
with its inversion of a rising fourth; this plays a large part in
the following Allegro and, indeed, throughout the Quartet. This
movement is in sonata form. The second movement is a most original
kind of Scherzo. An agitated syncopated theme is followed by
three free variations and a coda. The Adagio opens with a long
flowing melody of 19 bars sung by the first violin; throughout
this rich and colourful movement Schumann is in his most romantic
mood. The music rises to a passionate climax before its peaceful
close. The Finale the longest of the four movements, is a rondo.
If Schumann was Eusebius, here he is Florestan, full of life and
vigour.
****************
The BENTHIEN QUARTET was formed in 1948. Apart from their
own country (the Quartet come from Hamburg) a great reputation
has been established in Britain, Sweden, Denmark, Norway,
Switzerland, Italy, Holland and America. It scored a tremendous
and outstanding success during the 1970-71 season when it visited
the main cities of the U.S.S.R. For the B.B.C. in London alone
in recent years over 30 works from the Quartet's extensive
repertoire have been recorded.
Area, Town Hall
The Society is deeply appreciative of the Assistance toward
the promotion of this Concert given by the Goethe Institute of
York.
******************
THE HUDDERSFIELD MUSIC SOCIETY
Qua
*********************************
Monday Evenings at 7.30.
LLO
November 17th
Owing to the cancellation of their tour in England, the Bernede
String Quartet will be unable to fulfil their engagement. The
Society has fortunately been able to engage
THE NEW BUDAPEST STRING QUARTET
whose highly successful appearance last season will be remembered
LO
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Ocr'd Text:
original
This
part in
5.
Quartet in G minor Op. 74 No. 3
Quartet in D major K.575
Quartet
Quartet in C minor (Quartetsatz)
December 9th. THE GABRIELI STRING QUARTET (Sponsored by Kirklees
Leisure Services)
January 19th. FRANCOIS DUCHABLE. Piano Recital
February 9th. THE ORION PIANO TRIO
March 15th. THE NORTHERN SINPHONIA ENSEMBLE
Season tickets for the remaining 5 concerts £5.00 (double),
£3.00 (single). Single tickets £1.00 from Woods, 67 New Street
and at the door. Student tickets 30p 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
Haydn
Mozart
It is an offence (punishable by fine and/or imprisonment) against
the provision of the Dramatic and Musical Performers Protection
Act 1958 to make any recordings of a musical performance without
obtaining the prior written permission of the performers.
********************************
Lutoslawski
Schubert
Heath Grammar School
The Emperor Waltz
THE AULOS ENSEMBLE
Saturday November 1st at
7.30
Strauss/Schoenberg
Ocr'd Text:
Chanson Madecasses
Fantasia in F minor
Pierrot Lunaire
6.
Tickets £1.00, 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 20th. President's Evening. Mainly Dvorak
November 3rd. But his real name was... Presented by
Mr. Bryant.
November 17th. Opera in English. Presented by Mr. Finnery
Setin
December 1st. Ravel as Orchestrator.
Annual Subscription £1.50 (from Jan 1st 90p).
Citizens half fec. Secretary Mr. D. Bostock,
Huddersfield, HD3 3AF.
Ravel
Mozart /Goehr
Schoenberg
THE HUDDERSFIELD THE SPIANS
***************************
THE ASPERN PAPERS
by Michael Redgrave
predobde
Tickets 30p from Woods, 67 New Street.
Presented by
Mr. Haigh.
POUR 800m
Welfare Centre, Zetland Street. 17th-22nd November (excepting
Thursday) at 7.30
Students and Senior
16 Imperial Road,
Ocr'd Text:
THE
HUDDERSFIELD
MUSIC
SOCIETY
ID
WT.
Ocr'd Text:
THE HUDDERSFIELD MUSIC SOCIETY upà sandt
mbyall mort (1
*********
****************
Fifty-eighth Season 1975-76
du Monday, November 17th 1975
(Owing to the cancellation of their tour of England, the Bernede
String Quartet is unable to fulfil its engagement) wadon vilelooga
Jom THE NEW BUDAPEST STRING QUARTET bo obog
I to yox otomet
dobiv.at vervo
Tivadar Popa (Viola)
Tibor Parkanyi (Cello)
PICCO
************************************
Andras Kiss (Violin)
Pal Andrassy (Violin)
Programme ant
I od Jorge A
Quartet in G minor Op. 74 No. 3 (The Rider)
Allegro
Largo assai
Menuetto. Allegretto
Haydn (1732-1809)
no wted
PrFinale. Vivace
(Last performed in 1967 by the Zagreb String Quartet) A
Haydn wrote 15 string quartets during the last period of his s
life and among these are found some of his finest compositions in
this form. He wrote 6 quartets in 1873; these were the 3 of Op. 71
and the 3 of Op. 74. All are dedicated to Count Apponyi. At this
same period Haydn was deeply involved in orchestral composition and
fresh from experiencing the richness and volume of Salomon's London
orchestra; so it is easy to find in this chamber music a striving
after an almost orchestral type of symphonic sonority. An example
of this occurs in the tremolando which accompanies the great E major
melody of the Largo in this third quartet. Another symphonic device
used in Haydn's symphonies and found only in these quartets, is the
use of an introduction to the first movements. In some cases this
consists merely of a few chords; in others, a short adagio. The
Quartet Op.74 No. 3 known as the Rittquartett, opens with a unison
passage, eight bars long, which is of great importance throughout
the movement; it appears, indeed, to be so integral a part of the
exposition that one is almost surprised not to hear it again re-
peated at the beginning of the recapitulation. At one point in this
movement, the viola part goes below the cello part. Was Haydn
thinking there again in orchestral terms, with the double bass
supplying the true foundation of the chords?"
Ocr'd Text:
2.
These 6 quartets have been hailed as the dawn of romanticism.
In them Haydn makes experiments both in form and key relationship
Another innovation,
which point the way forward to that end.
found particularly in this third quartet and typical of the
romantic period, is the way in which the second subject is
frequently of greater importance than the first subject.
Especially noteworthy in this quartet is the Largo movement in the
remote key of E major. It has been described as of "Miltonic
grandeur" and it certainly ranks among the finest and most serious
movements which Haydn ever wrote.
Quartet in D major K. 575
(06-Seyt) mbyst
II
movements
typical
Mozart (1756-1791)
Allegretto I
Andante ed
Minuet and Trio
Allegro
(Last performed in 1961 by the Janacek String Quartet)
2.o.q0 ronim D at dedi200
PigeLIA
This quartet is the first of a set of 3 written between
1789-90; these were the last quartets which Mozart wrote. They
are known as the Prussian Quartets. The King of Prussia himself
played the cello and though the dedication to him does not appear
in the first edition, it is evident from the prominent part
played by the cello in all three quartets that Mozart had his bas
royal patron in mind. Moreover, for the first quartet the King one a
sent Mozart a kind letter of thanks, a gold snuff box and 100
friedrichs d'or.
ut əлощ
Einstein remarks that "these quartets are slightly ES
concertante and yet they are the purest chamber music...these are
three works that originated under the most dreadful spiritual bo.fem
oppression and yet rise to the heights of pure felicity". The bear
reference to "oppression of course refers to Mozart's desperate ear
financial position, the long drawn-out uncertainty of obtaining a09
suitable position from the Emperor and his wife's constant
illnesses.
3500
Though this first quartet is less exuberant and more
delicate than the other two, "all three are instinctive with the
joy of living". The first and second movements were founded upon
material dating from the happy Milan period, but the Minuet, with
the "royal" solo in the Trio, is completely new. Abert describes
the Finale as "one of the most masterly of Mozart's quartet
is enri
the wa
Ocr'd Text:
on,
ionship
nticis
3.
movements". It is a rondo, contrapuntal in style and, as such
typical of Mozart's later instrumental writings. It is made all the
more interesting by the way in which the main theme, on each return
is enriched and embellished, and the more compact and integrated by
the way in which each episode is derived from, and grows out of,
that theme.
burn
Quartet
**********************************
COFFEE INTERVAL OF FIFTEEN MINUTES
*******
*************************
III
to Lebrojem
teor dworld Iw
theingaro
Bb Lutoslawski (b. 1913)
boyala od of Introductory Movement
Main Movement
Tento on
2010
aroval (First performance at these concerts)
eved vorrente dose to yitnobrogobak
orid Lutoslawski, born in Warsaw, is one of the most important of
modern Polish composers, though his reputation rests mainly upon
about a dozen works most of which were written after 1958. He
began to study music at the age of 6. From 1931-33 he studied
mathematics at the Warsaw University and in 1932 he entered the
Warsaw Conservatoire as a student of piano and composition. He
served in the Polish army during the war and during the German
occupation he earned a meagre living for 5 years by playing in
cafes; he also took part in clandestine concerts in private houses.
It was not until 1945 that he was able to devote himself entirely
to composition. Since then he has been deeply devoted to the cause
of contemporary music, particularly Polish, and he has lectured and
taught both in America and in Europe, including the Dartington
Summer School. He has been awarded honorary doctorates in music in
Cleveland, Warsaw and Lancaster (1975). In England his Paroles up
Tissees (1965) was written for Peter Pears and performed at the
Aldeburgh Festival and a cello concerto (1970) was commissioned by
the Royal Philharmonic Society.
Fenoo boalg
Tojte ono
Japoné
Lutoslawski is a composer who works with extreme care and deli-
beration. Most of his early works (he began to compose at the age
of 8) were destroyed during the war. Between 1941-47 he wrote his
symphony No.1. This work was long considered too "intellectual"
because it did not adhere to the neo-classicism of the Polish music
at that time and it was banned during the Stalin regime. For some
time he made use of the 12-tone method but soon abandoned it. One
of the first most significant works was a Funeral March for string
orchestra (1958) dedicated to the memory of Bartok: this proved to
be the start of his true artistic independence.
Ocr'd Text:
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With Jeux Venetiens (1961) for chamber orchestra Lutoslawski
began his explorations into the realm of "aleatory technique". exom
This, in effect, means that the composer sets out completely to
control all the musical elements (form, melody, harmony etc.)
while allowing the players considerable freedom and independance and
with regard to the space an even orderings of the composer's
material or, as it has been described, "the utilisation of chance
without resignation from the full control over the pitch
organisation and the form of the work.
The String Quartet dating from 1964, makes full use of this
technique. To quote from a letter written by the composer The
piece consists of a sequence of mobiles which are to be played,
one after another, without any pause if there is no other
indication. Within certain points of time, particular players
perform their parts quite independently of each other. They have
to decide separately about the length of the pauses and about the
way of treating ritenutos and accelerandos". "Such a degree of bom
freedom provides a powerful challenge to the players...for they ods
are cast in the role of independent musicians who are exploring god
the range of their own materials whilst reacting as an ensemble
to the overall structure and traditional patterns of string
quartet form (E. Cowie). The result is a work of incredible
variety, strange, elusive, yet with an absorbing sense of latent
power (W.R. Sinclair). As regards the layout, the introductory
movement is almost a precis of the material employed which in the
longer main movement is developed with greater complexity and os of
intensity.
doo Io
IV
xofoob vrstomod
Quartettsatz in C minor Op.posth.
2002
Ontvald
Schubert (1797-1828)
ONTRA BAST WA
Allegro assai
(Last performed in 1962 by the Tatrai String Quartet)
quartet
Between 1812-17 Schubert wrote some 11 string quartets.
These were chiefly intended for some practice and are obviouslyzed
works less mature than the songs and piano pieces of the same (8 to
period, and in which Schubert was gradually feeling his way
toward his ultimante mastery of the form. After 1817 Schubert
wrote no chamber music until 1820 when the quartet movement
appeared. Only a fragment survives of what would possibly have wid
become the completion of the work. "A whole world divides the
youthful quartets from the quartet fragment of 1820...the string o
The
SPI
Ocr'd Text:
to
090
lawski
5.
quartet which speaks the language of the soul's confessional".
(Kahl)
The work opens with a mysterios swelling trenolo which later
yields to a smoother and more peaceful theme; soon the shifting,
everchanging chromatic colourings return until "with the real
second subject comes complete spiritual adjustment, relaxation and
calm and now the yearning for inward peace, expressed by straining
suspensions, suddenly loses all touch with earth and the motion dies
down into calm and measured cadences in an ethereal pianissimo! The
opening tremolos are not repeated after the restless development
section; they are kept for the final bars. Kahl asks if the
peaceful resolution of this conflict was to have been found in the
second movement, a fragment of which is included in the list of
complete works.
THE NEW BUDAPEST STRING QUARTET was formed in 1970 and is
the youngest representative of the world-famous Hungarian tradition
of string quartet playing. The Quartet was a prize winner at the
"Haydn Competition" in Vienna in 1971 and it further increased its
reputation by winning the first prize at the "Carlo Jachino"
international Competition for string quartets in Rome during the
same year. It appears regularly in Hungary and has toured in
America and throughout Europe. It made its debut last year in
this country.
THE HUDDERSFIELD MUSIC SOCIETY
*********************************
Monday, December 8th
THE GABRIELI STRING QUARTET
Quartet in F major Op.18 No. 1
The Bullfighter's Prayer for string quartet
Quartet in D major D.887
Beethoven.
Turina
Schubert.
This Concert is sponsored by the Kirklees Leisure Services
January 19th. FRANCOIS DUCHABLE Josda Piano Recital
February 9th,
March 15th.
THE ORION PIANO TRIO
THE NORTHERN SINPHONIA ENSEMBLE
Single tickets £1 from Woods, 67 New Street and at the door.
Student tickets 30p from the School of Music or at the door.
The National Federation of Music Societies, to which this Society
Ocr'd Text:
6.
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.
Photography and Tape Recording forbidden.
201
bas nolfaxsio THE HALIFAX
PHILHARMONIC CLUB
Iso
Lecture Hall, Harrison House.
Thursday November 27th at 7.30
:lomies insta forod THE TRIO LA SERATA
201
Sreda
Gervase de Peyer (Clarinet), Gwenneth Prior (Piano) Susan Daniel Go
(Soprano)
********************************
Works by Mozart, Weber, Spohr, Ravel, de Falla, Debussy and Schubert.
Single tickets £1, Students 30p from Mrs. Hanson, 23 The Crescent,
Hipperholme, Halifax and at the door.
FIELD GRAMOPHONE SOCIETY
THE HUDDERSFIELD
**************************************
Waverley House, New North Road.
December 1st. Ravel as Orchestrator
December 15th, emo More Bargain Issues 61
December 29th.03 My Favourite Thing
ar soy desi Judob es
ober
Annual Subscription £1.50 (from January 1st 90p). Students and an
Senior Citizens half fee. Refreshments. Secretary: Mr. D. Bostock
16 Imperial Road, Huddersfield, HD3 3AF.
THE HUDDERSFIELD THESPIANS
dozovo
Monday Evenings at 7.30
(Mr, J. Haigh)
Cry
(Mr. D. Bostock)
(Miss 0. Haigh) soy onse
Juodor bra sobrem
************************** H
Welfare Centre, Zetland Street.
17th-22nd November dedu
Jotup (excepting Thursday at 7.30) T
THE ASPERN PAPERS
GUR
TO DOTOR
by
al freono0 MT
Tattoolfons Michael Redgrave
Tickets 30p from Woods, 67 New Street. T
Toob odd ts bos Joo13
Tabook mort 13 adodb ofgnit
toob oft a zo ofan to foodot out most of ededoit d'aobud?
dotood arrit doldw of oldojoo olsu to notebol fenotiel od
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Ocr'd Text:
THE HUDDERSFIELD MUSIC SOCIETY
*********************************
10
Fifty-eighth Season 1975-76nego ed to aired ord
of bore Eloq evan Monday, December 8th 1975 to dremevor extre
Itine emendi BUR
Area, Town Hall
This Concert is sponsored by the Kirklees Leisure Services e
Jotful bas oemo
THE GABRIELI STRING QUARTEToe edt
******************************
idi on ef
oldston et
obfqiroant gatytsup sed
en Programme msg noo ofgabi odano
Kenneth Sillito (Violin)
Brondan O'Reilly (Violin)
gott.
Quartet in F major
of bon
efde bed.ro
Op.18 No.1
Ian Jowel (Viola)
Keith Harvey (Collo)
I fr - ofanoteasqas be osoudfoolis
Beethoven (1770-1827)
Om Isnil ond edi
Allegro con brio
Tegral s otal eqo.loveb
Adagio affecttuoso ed appassionato to ofsoe
Scherzo and Trio
Allegro
(Last performed in 1964 by the Loewenguth String Quartet)oor s
Colors
The six quartets of Op.18 mark an important stage in the
history of music. They were written 1800-1. Hitherto all
Beethoven's chamber music, with exception of the few string trios,
dodhad been composed for strings in combination with the piano or for
of piano combined with wind instruments. Up to that time Beethoven's
intorests, both composer and an executant, had been almost sed
ebus exclusively concerned with the piano. Now, come to his full s
maturity, music for strings alono in its most porfect form, the
e string quartet
absorbed all his interest in chamber music, and
the early quartets of Op.18 led to "the last five which represent w
the coping-stone of his whole life's work. Everything he wrote,
do everything ho experienced or achieved, is expressed in this sories
ou atsegus
of works". (Bekker)...
ed
To ono zaw
Perhaps the Quartet No.1 (actually the second in order of fo
composition but placed at the head of the series it is said, byvb
has the advico of the violinist Schuppanzigh) is the finest of the dan
set; it is the best-known and the best-loved. It is certainly com
the biggest and most impressive. All naturally show the v odd
influence of Haydn and Mozart; but who before Boothoven would wo
have taken a simple, almost banal, little tune, as in the firstleum
Ocr'd Text:
lasts
absol
2.
two bars of the opening movement, and could have drawn from it an
entire movement of considerable length and could have polished the
little theme until it "shone like pure gold"?
-
РООДӘ
II
La Oracion del Torero (The Bullfighter's Prayer) Joaquin Turina
(1882-1949)
22505
and
The tragic intensity of the Adagio is again remarkable.
Beethoven himself said that it was inspired by the tomb scene in
Romeo and Juliet. "It is rich in its woe of regret and wilful resig-
nation. The curious way in which some of the florid phrases end by
throwing out their last note, as though the arms were thrown up in
idiom for
wilfully despairing gesture, is, we think, a very uncommon
music". (Langford). It is notable, too, that so many of Beethoven's
early adagios bear qualifying inscriptions Largo e mesto, Largo
appassionato, Adagio con gran espressione and, here, Adagio
affecttuoso ed appassionato which seem to express his intense desire
to inspire the players to even greater heights of interpretation.
The Finale
0
The two final movements are perhaps less remarkable.
develops into a large sonata-rondo, probably designed to balance the that
on a scale to
scale of the first movement.
(First performance at these Concerts)
Turina was born at Seville and studied there and at Madrid; later
he went to Paris to study under d'Indy. He devoted much of his time to
teaching as well as composition. He has often been compared with de
Falla; their style is different but both men shared a serious attitude
to music as an art and not merely as a diversion. Perhaps his best-
known work is the brilliant orchestral "Procession del Roccio", but he
was deeply interested in chamber music and wrote many songs.
par
"Few Spanish composers have succeeded in writing music that
appeals to more than a nationalistic audience. Turina, though his out-
put is small, was one of the few who did succeed in evolving an idiom
which blends Spanish and foreign elements. His chamber music may be
divided into three groups: those bearing no distinctive mark of
nationalism; those in which nationalism predominates; and a third and
most significant group, though also a very small one, which includes
the Bullfighter's Prayer. In these Turina succeeds in blending his
own nationalistic musical origins with a wider, more cosmopolitan.
musical language.
The short movement entitled La Oracion del Torero
Ocr'd Text:
the
an
3.
lasts only for eight minutes, but, besides being in itself
no absolute music that needs no extra programme, it is as well fiercly
evocative of the nervous tension that accompanies a bullfighter's
preparation for the bullfight and yet provides an insight into that
particularly Spanish reverence for a sport which may seem to out-
siders no more than a brutal spectacle paralleled only by ancient
Roman circuses" (By courtesy of Messrs. H.H.H.)
(wigile only
●
**********************************
bofom onigolo COFFEE INTERVAL OF FIFTEEN MINUTES
***********************************
botadiya me vd bobivore u III to
Quartet in G major Op.161
Boten
so e di iw bus atnomu
Schubert (1797-1828)
fonen diw bro doldwaj tudtao
(TONËN E) USTodo o Allegro molto moderato
abar's 'nicjenta Andante un poco moto
(D) T
mojneriq" & Fan Scherzo (Allegro vivace) and Trio (Allegretto)
Allegro assai
(Last performed in 1970 by the Tel-Aviv String Quartet)
Bonit
i to
Schubert is known to have written 19 string quartets of
which 3 are lost and 4 are incomplete. Of the remainder, all
but 3 were written between the ages of 15 and 19 and were
primarily intended for house performance. In the summer of
1826 and within the space of 10 days, Schubert wrote this, his
last quartet. It is believed that its first movement was
performed at the Celebrated Invitation Concert in March 1828;
in the same year Schubert offered it with other works in vain
to the publisher Schott. It was not published until 1851. Idadao
It has been said that Schubert's string quartets are in tud
essentially orchestral in character. This, if true, might
certainly apply to the G major quartet. "The outward indi-
cations of the "orchestral" character of the work are apparent
in the unison passages, in the agitated tremoli in melody and
accompaniment, in the groupings of question and answer.
These groupings are admittedly connected with the fact that
the first movement, in particular, is entirely dependent upon
****the interplay of harmonic light and shade, upon the inter-*******
change of major and minor within the narrowest compass".
(Einstein). Another notable feature of this quartet is the way
in which, in another sense, Schubert treats this work as pure
chamber music. "There is nowhere any trace of a leading idea,
Ocr'd Text:
ALTERNATIVO
4.
of a song used to bring unity into all movements as in the 1824
quartets. Schubert's quartet writing again dependent on itself, on
the pure musical material and treatment". (Kahl). to otsoove
The first movement is in sonata form with an unusually lengthy
exposition. It is dominated by the alternation of the major and
minor keys, which process is reversed in the recapitulation, thus
changing the whole character. Einstein asserts that the slightly
agitated Andante in E flat "became the model for many of Brahms's
movements, romancos or orchestral ballades in which an olegiac melody
predominates in the bass with decorative embroidery by the other
instruments and with a change of colour provided by an agitated
alternivo". The calm of this movement is twice brokon by violent
outbursts which end with harmonios so strange that somo critics have
compared them with the harmonies of Bartok. In the Schorzo (B minor)
with its Trio (G major) which ressemblos a Lander, Einstoin finds LAENDER
something of Schumann's capriciousness. Kahl calls it a "phantom
from the regions of ghostly romance"eas orgoIIA
The Finalo is a lengthy rondo, full of invention and of bound-
loss energy, violent in rhythm and adventurous in harmony. It again,
like the first movement, alternates between the major and minor
koys. It ends with a coda in G major. This is, porhaps, Schubert's
finest quartet with its mastorful and assurod handling, its cohesion
its wide sweep, its bold idoas and, above all, the endless fertility
of his invention.
r
**********************************************************************
Since its London debut in 1967 the Gabrieli String Quartet has
established itself as not only the leading young Quartet in England
but also as one of the finest in Europe. The Quartet's regular annual
series of concerts at London's Queen Elizabeth Hall is received with
great enthusiasm by public and critics alike as are its concerts
throughout Europe. The Quartet's Vienna debut last year was an out-
standing success, soon followed by a tour of Austria. This year the
Quartet will be travelling further afield to Australia and the U.S.
as well as returning to many countries in Europe. The Quartet
records exclusively for Decca..
******************
****************
************
assgoo Jeovoren ond trid tw sont bre sotem to ogasrio
you add at dad ceup stad to orudent
extq as show at adsord Jodoro
sobt gathsofs 30 000xd as orodvon at orod
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Ocr'd Text:
gthy
pove
olf, on
1824
Area,
Town Hall.
5.
THE CHUDDERSFIELD MUSIC SOCIETY
****
********************
Monday Evenings at 7.30
bool ddroll wolfessiol
January 19th
FRANCOIS DUCHABLE Piano Recital..
Works by Beethoven,
Chopin, Schumann, Debussy and Ravel.
February 9th.
THE ORION PIANO TRIO
March 15th.
THE NORTHERN SINFONIA ENSEMBLE
Single tickets £1.00 from Woods, 67 New Street and at the door.
Student tickets 30p from the School of Music and at the door.
The National Federation of Music Sccieties, 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.
Photography and Tape recording forbidden.
WEIDINICS THE HALIFAX PHILHARMONIC CLUB
******
************************
Locture Hall, Harrison House, Harrison Road. Friday, January 23rd at
7.30
A Master Class by JAMES GALWAY (Flute) with Anthony Goldstono (Piano)
Single tickets £1.00 Students 30p from Mrs. Hanson, 23 The Croscont,
Hipperholme, Halifax and at the door.
Ocr'd Text:
ELS THE
**********
HUDDERSFIELD GRAMOPHONE SOCIETY
de agninov yebroM
Waverloy House, New North Road.
6.
Docomber 15th.o More Bargain Issues
December 29th. My Favourite Thing
*************
Monday Evenings at 7.30
od
J008010 T ES noene
(Mr. D. Bostock)
(Miss Olwen Haigh) W
January 19th. Anniversaries MOTHO (Mr. Jenkinson)
Annual subscriptions £1.50 (from Jan 1st 90p). Students and
Senior Citizens half fee. Refreshments. 00.19 ofd olgate
Secretary: Mr. D. Bostock, 16 Imperial Road, Huddersfield, 2
3AF,
at vjolboa alde dold 63 totoo? olan to noldstobal Isholtell odT
about bw adroonos deord to deop and brewod dodque aoviy bojetitils
med ford to Ihomsob at
ontyd bobtvong
THE
HUDDERSFIELD THESPIANS
****************************
**********
no Mis tooee et or
Welfare Centre, Zetland Street trobo 26th-31st January to
(excepting Thursday) at 7.30
THE THWARTING OF BARON BOLLIGREW
by Robert Bolt
Tickets 30p from Woods, 67 New Street, nosfells outsol
ftv (our) YAKIAD 236 yd sedlo vojar
e mori qe sdnobude 00.13 atoslots ofgate
soob end de bre zstichomfodrogg.i
Ocr'd Text:
THE HUDDERSFIELD MUSIC SOCIETY
*********************************
to odige wi
you 'Fifty-eighth Season 1975-76 awolfol no Melysv
tendons yd bewollo't tloadi
todtaget begory Area, Town Hallow at yow and vd novity at
odt et nott's Monday, January 19th. 1976
nas dome as thica
vool totem odt at dexft
acidsbrev Jadd moqu
FRANCOIS DUCHABLE
s of oldetsqa
olorw odd of
*****************
Programme
I
Thirty-two Variations in C minor on an original theme
(Q81-0181) niqod
(Last performed in 1967 by Allan Schiller) onudboll
Beethoven used the variation form very frequently. For piano
alone and piano in conjunction with other instruments, he left 29
sets, some based on an original theme, others upon a theme chosen
by him. Added to this, there is his use of the variation form in
sonatas, quartets, trios and symphonies. It was a form well-
suited to his type of genius, not only because of his extraordinary
powers in the realm of thematic development but also because of the
way in which he was able to present the essential core of his beled
thought in differont guises. It would be no exaggeration to say her
that Beethoven, with sole exception of Bach and his Goldberg noo ni
Variations, was the first and greatest master of this formed w
-
Beethoven (1770-1827).
Tho Thirty-Two Variations dato from 1806. This was a very loog
fruitful period in Beethoven's life, including, as it does, the ge
piano concerto in G, the violin concerto in D, the fourth symphony
ferit od dot vd among ond
and the Appassionata sonata.
bo It Hab fot
(EPOI)
There are three main forms of variation. First (and weakest)
with the theme preserved throughout with mere changes of
accompaniment above or below it; second, the preservation of the
harmonic basis with the changing and adornment of the melody; and
third, a type peculiar to Beethoven, when everything is changed
and yet the individual theme remains subtly present. Beethoven
used all three methods, the second being his favourite form. These
Variations belong to the second group but so firmly and consistently
does the bass appear, moving with the strong steps of a ground-bass
that they might almost be called a Chaconne; and the theme (an
original one) is itself in Chacorne time. Indeed, the very short-
ness of that theme
eight bars - lends itself to that treatment.
Ocr'd Text:
2.
VPST002.
In spite of this brevity, the work is a model of coherence; each
variation follows perfectly the preceding one and, in turn is
itself followed by another equally complementary. Further unity
is given by the way in which variations are grouped together in
spirit as much as in treatment. The twelfth variation is the
first in the major key and the four that follow are variations
upon that variation, forming a central block, comparable to a
slow movement in the centre of the work and giving to the whole
both contrast and form. The coda really starts with the thirty-
first variation.
Ballade No. 4 in F minor Op. 52
Nocturne in D flat major Op. 27
Mazurka in F sharp minor
Three Etudes Op. 25
No. 10 in B minor
No. 11 in A minor
No. 12 in C minor
II
pe:
a set of
their
delicacy
Chopin (1810-1849)
en The name Ballade, as applied to music and especially to the bre
Ballades of Chopin, should not be confused with traditional
ballad poetry. Chopin used this title for four of his works
pieces of music which are free and declamatory in form, romantic
in conception, strongly coloured with national feeling and filled
with beauty. He himself stated that they were inspired by the
pooms of Mickiewicz, the Polish poet and friend of Chopin who
spent his exile in France and whose poems were founded upon the
rich store of Polish tradition and legend. Chopin indicated
the poems by which the first three Ballades were inspired, but
the fourth one remained unidentified. This fourth Ballade
(1843) is perhaps the most difficult and elusive, as well as
the richest and most elaborate. Langford called "a direct
lament, told at first in a melody that is like a speaking sigh.
With figuration of this melody we seem to enter the land of
marvels once more, though the note of romantic lament is never
broken in all the long and brilliant climax and coda".
M
The Nocturnes reveal one side of Chopin's nature, perhaps.
considered by many to be the most characteristic and beautiful,
but certainly not showing the strength and imagination found in
his greater works. Without doubt they are the most pianistic
works ever written for the piano and it is impossible to imagine
The
17 75.
Ocr'd Text:
ne
r in
unity
is
ee; each
3.
their performance on any other instrument. This Nocturne is one of
a set of two written in 1836; it perfectly exemplifies, in its
delicacy and gentle melancholy, its title.
The Mazurka is a Polish dance of moderate tempo dating from at
least the 16th century. A characteristic of the rhythm is the
tendancy of the strong accent not to fall on the first beat of the
bar. Chopin wrote 51 Mazurkas in all. They are rightly considered
to be the most characteristic of all his works in which the co
national feeling is most intensely conveyed. The Polish
temperament, marked by the sudden contrasting of moods, here finds
its fullest expression. These Mazurkas are full of the unexpected
and harmonically are most daring and advanced.
E
icant anw
The collection of Studies of Op. 25 were published in 1837 but
it is certain that both these and the Studies of Op. 10 were
composed over a rather lengthy period. These works bring an entirely
new concoption to the title "study"; technical problems abound but
their aesthetic qualities are even greater. They have a freshness
and healthy vigour not always found in Chopin's music.de exclo Int
(veer 2581)
**********************************
COFFEE INTERVAL OF FIFTEEN MINUTES
**********************************
III
Isva
Toccata Op.7
Four pieces from Fantasiestucke Op.12
Des Abends
Aufschwang
segWarum
del
Schumann (1810-1856) drá
song off ob ixell to enti odd
eqedieq at JI
deon orld
sme boeuan obeig onT
Traumenswirren op de of bezoga 018 engrazaq olmodelb
The Toccata was composed in 1830, revised in 1833 and published
in 1834. It, therefore belongs to the period 1830-39 when all
Schumann's production consisted of piano compositions. Schumann had
great difficulty in completing it to his own satisfaction and, later,
in finding a publisher. The Toccata is a pure virtuoso piece ol
lacking many of the poetic qualities which are found in so much of
his work. Of it, the composer himself once said "perhaps one of the
most difficult of piano pieces". Most musical of Toccatas, it is iv
written in fairly strict sonata form.
gmt afort of is ont
The eight pieces of Fantasiestucke were composed in 1837; they
were dedicated to Anna Robina Laidlaw, an Englishwoman and a
Ocr'd Text:
4.
brilliant pianist, much admired by Schumann. The work follows the
composition of Carneval. Schumann always spoke with great to foe s
satisfaction about this work saying that "it had flowed from his rob
pen with perfect ease and was spontaneous and
expressive"
ar AXTUEN
piter IVons
He believe
than the
odj dasel
Debussy (1862-1918)
isd
JOH Migong
ofterodostado Jaom ond od of
Until the age of 40 Debussy had written very little of Ismoiden
significance for the piano - a surprising thought since he is so mod
important in the history of piano music. L'Isle joyeuse (1904) h
was inspired by Watteau's Embarquement pour Cythere. It istabas
brilliant and gay but undoubtedly virtuoso writing. It has been
described as "a pleasure-seekers revel". Soiree dans Granade
(1903) shows Debussy's first mastery of the impressionistic genre.
It is one of a set of three pieces, probably the best of them.
It portrays the lights of the city; day is drawing to a peace-
ful close when the inhabitants refresh themselves with song and for
dance, with the sound of a serenader thrumming his mandoline.
De Falla called it "characteristically Spanish in every detail"yet
at that time, Debussy had never visited the country.
Ravel (1875-1937)
L'Isle joyeuse
Soiree dans Granade (Estampes)
Jeux d' eau
Alborada del gracioso
stoopol
Jeux d' eau was written in 1901 and has as its subtitle by woll
the line of Henri de Regnier "Dieu fluvial viant de l'eau qui
le chatouille". It is perhaps the most original of modern French
piano music. The piece caused amazement when it first appeared;
diatonic passages are opposed to strange new harmonies with a
suggestion of polytonality. But all that can be forgotten in
the dazzling picture of the laughing god and the splashing of
the rainbow waters.
Alborada del gracioso (The Jester's Morning Song) is the
fourth of a suite of pieces called Miroirs. In it the Spanish
spirit, so alluring to Ravel, is everywhere present. It is
perhaps the most popular of the set and, with its brilliant
virtuosity, it has appealed to pianists and audiences alike. Jeom
The title Miroirs implies "reality seen in a mirror
that obow
mirror being the artist's soul". It also reveals one of Ravel's
guiding principles: "to him the greatest art was a reflection
of roality rather than an exact duplication of the original.
FR
Ocr'd Text:
om histob
t to Joe &
ollows the
He believed that Man's interpretation of Nature has more value
than the thing per se".
5.
FRANCOIS DUCHABLE made his British debut at Harrogate and
made such an impression that the B.B.C. immediately arranged a
broadcast recital for him. He was born in Paris in 1952 and
began to play the piano at the age of 4. He entered the
Conservatoire National Superieur in 1964 where he won many
important prizes. His concert career is now well under way.
Arthur Rubinstein has written of him that at 22 "he is already
a mature musician gifted with the most perfect technique. To
my great satisfaction he knows how to make the use of his
exceptional gifts to play the music so that it will bring the
listener the greatest joy and emotion".
THE HUDDERSFIELD MUSIC SOCIETY
Area, Town Hall
**********************************
Trio in C major K.548
Trio
Trio in E flat major Op.70 No.2
de Monday Evenings at 7.30
February 9th
THE ORION PIANO TRIO
Mozart
Camilleri
Beethoven
March 15th. THE NORTHERN SINFONIA ENSEMBLE.
Single tickets £1 from Woods, 67 New Street and at the door.
Student tickets 30p 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
concorts with funds provided by the Arts Council of Great
Britain.
Generous support is also given by the Yorkshire Arts Association.
Photography and Tape-recording forbidden.
SPECIAL NOTICE
****************
The Concert Hall, Huddersfield Polytechnic
Tuesday, January
27th at 7.30
Ocr'd Text:
6.
om and stuts CONTRAPUNCTIO
(presented by the Contempory Music Network and the Yorkshire Arts
Association)
bas odegorreH
s bog Septet
0.8.8 or Stravinsky
bra Ariadne at ni mod enw oH Gordon Crosse Jasobserd
Introduction and Allegro ond Ravel
Capriccio orod sagt me
of naged
Janacok
These are given by a group of this country's most outstanding
young players.do Tickets 80p from the School of Music.
THE HALIFAX PHILHARMONIC CLUB
goed ***********************: ********
Lentoliqooxo
Lecture Hall, Harrison House, Harrison Road. Friday, January 23rd
at 7.30
A Master Class by JAMES GALWAY (Flute) with ANTHONY GOLDSTONE
(Piano)
Single tickets £1, Students 30p from Mrs. Hanson, 23 The Crescent,
Hipperholme and at the door.
THE HUDDERSFIELD GRAMOPHONE SOCIETY
******************:
Waverley House, New North Road.
Monday Evenings at 7.30
February 2nd. Anniversaries (Mr. Brian Jenkinson)
Vocal and Orchestral (Miss E. Williams)
16th.
*****************
dozall
Annual Subscription £1.50 (from Jan 1st 90p) Students and Senior
Citizens half fee. Secretary: Mr. D. Bostock, 16 Imperial Road,
HD3 3AF.mot?
doldy of
THE
HUDDERSFIELD THESPIANS
****************************
Welfare Centre, Zetland Street 26th-31st January (excepting Thurs)
als at at 7.30
bas vig
THE THWARTING OF BARON BOLLIGREW
by
Robert Bolt
Tickets 30p from Woods, 67 New Street.
shu IcH roung oft
Ocr'd Text:
THE HUDDERSFIELD MUSIC SOCIETY
******
*************
Fifty-eighth Season 1975-76
Area, Town Hall
Juo deom odt
mood and 31 sojos
od to satbasd Boly.
xet asof the Monday, February 9th 1976 boot as bad trosob
Happrobralobrol danih odt
THE ORION PIANO TRIO
**************************
Peter Thomas (Violin)
Trio in C major K.548
Sharon McKinley (Cello) Ian Brown (Piano)
Programme
I
odderga[IA
.orgoLIA
Allegro
Andante cantabile
2999
Allegro
Mozart (1756-1791)
Chamber music, as the name implies, was originally secular 201
instrumental music written for performance in the home as opposed to
the vast bulk of music written for the church or for religious o
occasions. It was largely a matter of home music-making by amateurs
until the complexities of Beethoven's chamber works demanded the 10
skill of the professional musician. Its origin really sprang from
the works of Kuhnau (1667) and taken a further step by C.P.E. Bach.
From these two composers Haydn derived his inspiration and knowledge,
which in turn led the way to the works of Mozart. With Haydn the
piano trio is, in effect, a violin and piano sonata with the cello
part merely doubling and strengthening the bass. With Mozart the
cello bogins to assume its modern importance and to take its place
equally in the dialogue of the instruments. Mozart's earliest trios
were closely akin to divertimenti and, indeed, were so entitled.
The Trio in G (1786), contemporaneous with his piano quartets, was
the first to be called a Trio.
The Trio in C, K.548, together with a second (K.564) were the
last that he wrote; they appeared in 1788. It is obvious that to
Mozart the trio was a form of losser importance than the quartet,
being slighter in character and usually with a virtuoso-like piano
part. They were really composed for special occasions, such as
parties for his friends, which helps to give them their delightful
lightness and elegance.
Ocr'd Text:
II
Trio in E flat major Op. 70 No. 2
of the high
The first
2.
The Trio to be played tonight has a first movement in
apparently simple sonata form but the development section is full
of variety and imagination. The slow movement, the most out-
standing of the three, is lyrical in character; it has been
described as "endlessly moving in its soft and religious texture".
The final Rondo's description is "a graceful bit of rococo in the
French style".
Poco sostenuto Allegro ma non troppo
Allegretto
Allegretto ma non troppo
Allegro
-
Beethoven (1770-1827)
variation; twe
The third move
waltz, with a
honally a
introduction.
It is most interesting to listen to a piano trio by
Beethoven immediately after one by Mozart. One can then fully
realise how much further Beethoven has taken this form. Now the
instruments each has its own freedom and individuality and the
tonal effect is much more finely balanced. The problems of this
balance remains to this day and a piano trio demands the nicest
of judgement both from the composer and the performers.
This happy
There is a hint, not very fully confirmed, that both the
trios of Op.70 were really intended to take the form of piano
sonatas. Indeed the structure of No.2, with its delicate
transitions of mood and almost idyllic, gay, emotional
character points toward the coming piano works".
mood prevails throughout the entire work and it is noticeable
that, although there are four movements, yet the slow movement
is entirely omitted. In spite of this, thanks to its superb
mastery of form and key, Tovey declared this trio to be "one
of Beethoven's profoundest works". Though it has no movement
comparable to the slow movement of No.1, it is indeed through-
Beethoven left six piano trios. The first three were early.
works published in 1795. During the next 13 years Beethoven
used the piano chiefly as a virtuoso concert instrument or as a
solo instrument allowing free improvisation; but his interest
in purely string ensembles, on a different aesthetic basis,
grew and culminated in the quartets of Op.59 (1807). 1808 saw
the appearance of the two trios of Op.70. In 1811 the last
trio Op.97 was written.
Ocr'd Text:
。
in the
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Jst of S
out of the highest quality.
anoqatbored H
The first movement opens very unusually in a trio, with a slow
introduction. The second can be described as a kind of double
variation; two themes, 9
one major and one minor, are used alternately.
The third movement, neither a Minuet nor a Scherzo, is nearer to the
waltz, with a trio in which the piano and strings are used
antiphonally and great richness of effect is given by much double-
stopping for the strings. The Finale has its second subject in G,
a most unconventional choice of key.
te st
3.
********************************** fchi ed
sobi to acom COFFEE INTERVAL OF FIFTEEN MINUTES
**********************************
od III
Trio in A minor
Italeodgo
Ravel (1875-1937)
Modere dal
Pantoum: assez vif
Passacaille: tres large
Finale: anime
(Last performed in 1972 by the Czech Piano Trio)
Ravel was born in the Basque village of Ciboure. His father was
a Swiss enginoer, born near Annecy and deeply interested in music,
who at one time contemplated adopting the career of a concert pianist.
His mother was born at Ciboure where for generations her people had
been seafaring folk. So that although Ravel is accounted to be one
of the great French composers, his links both with the Swiss and the
Basques were very strong. The family lived in Paris where Ravel
attended the Conservatoire, but throughout his life he continued to
return to the Basque countryside.
Ravel's output was relatively small. A perfectionist, he did
not allow a work to appear until his acute and fastidious faculty
was satisfied. Faure was his master and from him he learnt his sense
of form and his delicate feeling for texture. His music may not have
the sensuous beauty of the music of Debussy but it has a clarity, a
rhythm and a colouring all its own. Ravel's one string quartet was
written in 1902 but it was not until 1915 that the Trio appeared.
"In this composition Ravel admitted that he was inspired by the early
trios of Saint-saens - at least in the form of the work. Ravel's
trio, however, is much simpler in outline; it is remarkable for the
clearness of its style and for the depths which it achieves through
Ocr'd Text:
4.
stark simplicity. He here dispenses with everything which is not
absolutely essential; in general form the Trio continues in the
direction taken first by "Valses nobles et sentimentales". Roland-
Manuel says that it possesses a "magisterial character" far
removed from the melancholy ardour of the String Quartet. He
adds that Ravel often said he would willingly have exchanged the few
savoir of his trio for the pouvoir of his more youthful Quartets"
(M.Goss).store brosse
The Trio in A minor, though based on a well-tried
combination of instruments, is, however full of freshness of idea
and treatment. As in the Quartet the first movement is of
"aphoristic compression yet faithful to the spirit of the classic
plan". The first theme has a striking rhythmic effect in the
division of the 4/4 measure into groups of 3 and 5 quavers. The
second movement "Pantoum" an Eastern dance, is a fantastic
scherzo. The "Passacaille" (an old dance founded on a ground
bass) is less interesting, but the Finale, in 5/4 and 774 time,
has brilliancy and vigour which lead to a striking climax.
Throughout the piano part is written with great skill and
understanding, but much of the originality of the work lies in
as the way in which the strings are treated with equal authority
and power.
9
**********************
Area, Town Ha
THE ORION TRIO was formed in 1968 and is resident at
Southampton University, giving weekly concerts during university
terms. In 1969 they were first prize winners in the B.B.C.
Beethoven Trio Competition for British and Commonwealth
ensembles. Since then they have travelled widely and made many
broadcasts with ever-increasing success.
S
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Area, Town Hall.
THE HUDDERSFIELD MUSIC SOCIETY
************
****************
5.
Sextet No. 1 in B flat Op.18
Prelude and Scherzo Op.11
Octet in E flat Op.20
March 15th
THE NORTHERN SINFONIA ENSEMBLE
******************************
Monday Evenings at 7.30
Single tickets £1.00 from Woods, 67 New Street and at the door.
Student tickets 30p from the School of Music and at the door.
Brahms
Shostakovich
Mendelssohn
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.
Photography and tape-recording is forbidden.
THE ALIFAX PHILHARMONIC CLUB
********************************
Quartet in B flat K.589
Quartet Op.3
Quartet in C minor Op.51 No.1
Lecture Hall, Harrison House, Harrison Road. Saturday, 28th
February at 7.30.
THE ALBAN BERG STRING QUARTET
******************************
Mozart
Alban Berg
Brahms
Single tickets £1.00 Students 30p from Mrs. Hanson, 23 The
Crescent, Hipperholme, Halifax and at the door.
Ocr'd Text:
THE HUDDERSFIELD GRAMOPHONE SOCIETY
**************************************
Waverley House, New North Road.
February 16th.
March 1st.
March 15th.
IVON
26.
TIOMECHA
nce tocant A
Y.M.C.A. Theatro.
Vocal and Orchestral
de2
Annual Subscription £1.50 (from Jan 1st 90p)
Citizens half fee. Secretary: -
Keyboard Music
New Releases from C.B.S.
Monday Evenings at 7.30
(Miss Williams)
(Mr. Chilvers)
(Mr. Burford)
Students and Senior
Mr. D. Bostock,
16 Imperial Road,
HD3 3AF.
faxzol adi yo novia
THE HUDDERSFIELD THESPIANS
**************************
RED PEPPERS
FUMED OAK
WAYS AND MEANS
MACE
at drogowe autorened
March 22nd 27th at 7.30
Tickets 30p from Woods, 67 New Street.
el yło tool
Three One Act Plays by Noel Coward
ali mort go afnobota 00, 13 adeo signa
og deoses)
Ocr'd Text:
THE HUDDERSFIELD MUSIC SOCIETY
************************************
Fifty-eighth Season 1975-76
Area, Town Hall
Monday, March 15th 1976
THE NORTHERN SINFONIA ENSEMBLE
************************************
Sydney Mann
Richard Panting)
Martin Hughes
Barry Wilde (Leader)
Violins
Sextet in B flat Op, 18
Alan Turner)
Ruth Bennett)
Programme
I
Cellos
Allegro ma non troppo
Andante ma moderato,
Allegro molto
Poco allegro e grazioso
Prunella Pacey) Violas
Antony Cullen)
Brahms (1833-1897)
Brahms was nearly thirty when he composed the first of his two
string sextets and it was, in fact, his first published work for
strings alone: another ten years passed before he tackled the even
more demanding medium of the string quartet. This sextet, whose first
performance was lod by Joachim, Brahms's friend and adviser, was an
immediate success and did much to establish his fame.
Although the sextet is in chamber music terms a large ensemble,
in this work it never becomes unwieldy although at times Brahms
achieves the rich sonority of a string orchestra. The first movement
is in characteristic 3/4 time, and is all - or nearly all
Gemutlichkeit, with memorable themes that are sheer joy for string
players to play, some pre-echoing the lyrical beauties of the violin
concerto of 1879. But it is perhaps the lyrical second subject played
over pizzicato accompaniment, which captivates most of all.
A proud theme announced by the first viola forms the basis for
a set of variations (Andante ma moderato), the stern D minor mood
being maintained for some timo; the music becomes less urgent as D
major is reached, although the theme remains confidently poised in
Ocr'd Text:
2.
contempori
A magical variation for the first viola
its original form.
follows before the first cello takes up the minor key again; but
the transformation earlier to the major has had its effect, and
the movement ends with all passion spent.
The third movement is a very brief, vigorous scherzo with a
faster trio section and an even quicker coda.
DUR a
The finale is a rondo (Poco allegretto e grazioso)
favourite marking this, which Brahms in fact often used for his
scherzo movements), the theme undergoing subtle transformation
as the instruments take it up in turn. A quicker pizzicato
passage marks the start of the coda.
Noel Broome.
************************************
A COFFEE INTERVAL OF FIFTEEN MINUTES
************************************
II
generated
medium w
Prelude and Scherzo Op.11
Shostakovich (1906-1975)
The death of Dimitri Shostakovich last year has robbed music
of one of its most prolific and versatile composers, one whose
works have done much to bridge the cultural gap between East and
West
- an achievement not attained without some difficulty. His
earlier career was marred by conflict with the Soviet authorities
and their attempts, during the Stalin era, to dictate ant
inflexible party line to Russian artists. The two pieces for
string octet were written at about the same time as his first
symphony (1924/25) which was to make him famous throughout the
musical world; that is to say, while he was still a student at
the Leningrad Conservatoire.
The passionate intensity of the Adagio sections of the
Prelude, drawing strength from its Bach-inspired outlines, is
characteristic of Shostakovich's highly personal idiom, an idiom
which was to find increasingly dramatic expression as his career
progressed. The centre section is in a faster tempo, its
staccato quavers culminating in a short cadenza for the leader
of the ensemble.
The Allegro molto is angular and fiercly dissonant, the
driving rhythms, mocking glissandi and harsh chording showing the
young composer experimenting with techniques imbibed from eminent
Ocr'd Text:
but
3.
contempories such as Hindemith and Prokofiev. The excitement so
generated was to become typical of many of the string quartets, a
medium which occupied him, along with the symphony, throughout his
life. Not all the quartet movements, however, are as grimly humorous
as this powerful Scherzo. These two pieces, incidentally can some-
times be heard in an effective arrangement for full string orchestra.
Noel Broome to Leo
Octet in E flat Op.20
III.
nob of so
Mendelssohn (1809-1847)
Allegro moderato ma con fuoco
Andante
Scherzo (Allegro leggierissimo)
Finale (Presto)
(bebit
First performed in 1825 at a private concert in the home of
Mendelssohn and his parents, the octet is a remarkable achievement
for a youth, even one as precociously gifted as Mendelssohn. From an
early age he had been accustomed to playing and hearing chamber music
at home, and he in fact played the second viola part in the Octet's
first public performance in 1836. It was written for, and dedicated
to, a violinist friend Eduard Rietz. The ensemble is unusually large
for a chamber music work, but only rarely does the combined sound of
eight stringed instruments verge on the orchestral; for the most part
Mendelssohn's judgement in balancing different groups of players and
creating sonorous but clear textures is infallible.
1) The first movement is finely proportioned, full of stormy
brilliance, contrasting melodic ideas and powerful climaxes;
particularly impressive is the build-up heralding the recapitulation.
The first violin's rising quaver figure, heard at the outset, brings
the movement to an exhilarating close.
2) Mendelssohn's admiration for Bach emerges in the wonderful
polyphonic writing of this Andante, with its subtle interweaving of
melodic lines, but the frequent changes of mood from serenity to
passionate intensity leaves us in no doubt that this music belongs
to the Romantic poriod.
(di dose
3) "Leggierissimo" means, of course, "as lightly as possible"
This mercurial movement, inspired, it is said, by lines from Goethe' S
Faust describing the "floating clouds and training mist" and the elfin
revels of Walpurgisnacht, is obviously a precursor of Mendelssohn's
HOOTORS
Ocr'd Text:
4.
-
Midsummer Night's Dream, music written shortly afterwards.oquetoop,
4) Mendelssohn was also a great admirer of Beethoven - he
even modelled one of his quartets (Op.13) directly upon one of the
late quartets of Beethoven and the latter's influence is
discernible at times in certain passages of this Finale. The
cellos begin the hectic fugue, in their lowest register, and this
vigorous quaver figure is taken up in turn by the other instruments
and continues to dominate the movement. There are characteristic
touches, such as long, melodic lines run over busy, though not
subdued, accompaniments, but the bustling quavers carry the move
ment through to a stirring and triumphant conclusion.
Noel Broome.
(These notes are copyright by the Northern Sinfonia Concert Society
Limited)
THE ENSEMBLE which is drawn from the Northern Sinfonia
Orchestra, occupies a unique place in the musical life of Great
Britain. The stability of the personel of the Orchestra for many
years, and its policy of appointing instrumentalists of solo and
chamber music calibre, have produced a group of musicians capable
of giving first class performances of more than a hundred works
for anything from one to fifteen players.
THE HUDDERSFIELD MUSIC SOCIETY
************************************
Area, Town Hall.
Monday Evenings at 7.30
Season 1976-77
October 18th. ANDRAS SCHIFF (Prizewinner Leeds International Piano
Competition)
November 8th.
KEITH SWALLOW and the AMPHION WIND QUINTET
DELME STRING QUARTET
CO 29th.
January 24th. CECIL ARONOWITZ (Viola) and NICOLA GRUNBERG (Piano):
February 14th. BARTOK STRING QUARTET
March 14th.
LINDSAY STRING QUARTET and THOMAS IGLOY (Cello)
The National Federation of Music Societies, to which this Socioty
is affiliated, gives support toward the cost of these concerts with
funds provided by the Arts Council of Great Britain.
Genorous support is also given by the Yorkshire Arts Association...
PHOTOGRAPHY AND TAPE-RECORDING FORBIDDEN.
Ocr'd Text:
ey
5.
Special Notices
****************
Kirklees Park
(By kind permission of Sir John and Lady Armytage)
June 12th at 7.45 for 8 p.m.
THE LINDSAY STRING QUARTET
**************************
Works by Haydn, Mozart and Beethoven.
Tickets £3.00 to include champagne, wine tasting and light
refreshments. Details from the Yorkshire Arts Association.
Town Hall
Saturday, May 22nd.
7.30 p.m.
The Huddersfield Arts Council present Four Pianos (Eight
Pianists)
Tickets Balcony £1, area 50p from Woods, 67 New Street.
THE HALIFAX PHILHARMONIC CLUB
********************************
Lecture Hall, Harrison House, Harrison Road.
Saturday, 20th
March at 7.30.
THE LINDSAY STRING QUARTET
**************************
Quartet in G minor Op.74 No. 3
Quartet No. 2
Quartet in D minor (Death and the Maiden)
Haydn
Tippott
Schubert
Single tickets £1, Students 30p from Mrs. Hanson,
23 The Crescent,
Hipporholme,
Halifax, and at the door.
Ocr'd Text:
THE HUDDERSFIELD GRAMOPHONE SOCIETY
**************************
*******
Waverley House, New North Road.
6.
March 29th. From Renaussence to Baroque
April 5th. Scientists and Music
April 26th.
May 3rd.
Technical Evening
Music from the New World
Y.M.C.A. Theatre
Monday Evenings at 7.30
£1.50 (from Jan 1st 90p) Students and Senior
Citizens half feo. Secretary: Mr. D. Bostock,
Annual Subscription
16 Imperial Road,
HD3 3AF.
THE HUDDERSFIELD THESPIANS
**************************
(Mr. Battye)
(Mr. Raw)
Tickets 30p from Woods, 67 New Street.
(Mr. Bostock)
(Mr. Serotsky)
March 22nd - 27th at 7.30
Red Peppers
Fumed Oak
Ways and Means
Three One Act Plays by Noel Coward