HMS 58


The Huddersfield Music Society, HMS 58

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L....i... HUDDERSFIELD MUSIC SOCIETY Brochure 58 Season's programmes 1975-1976 > x-rite colorchecker H > x-rite SW MSCCPPCC0613 bre the the L iself ime, 3t9 hope the 5 food Died ne; th orld a)

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FIFTY-EIGHTH SEASON 1975-1976 The Huddersfield Music Society d (Viola) (Cello) WT. -1785) i ed a lar at the usic, the he and He himself lhaus and rse of time, er a at Zerbst; asschule 7.30 p.m. AREA TOWN HALL, HUDDERSFIELD (entrance in Corporation Street) and to the cantatas ed in the copied or is 29 ing them all time; suite, po era, witho

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FIFTY-EIGHTH SEASON 1975-1976 The Huddersfield Music Society WT. 7.30 p.m. AREA TOWN HALL, HUDDERSFIELD (entrance in Corporation Street)

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Monday, October 27th, 1975 THE BENTHIEN STRING QUARTET Monday, November 17th, 1975 THE BERNEDE STRING QUARTET Ulrich Benthien ........... Violin J. C. Bernede Violin Rudolf Maria Muller ... Violin Marcel Charpentier Violin Martin Ledig Viola Michel Laleouse Viola Edwin Koch Cello Paul Boufil Cello J. F. Fasch Quartet in D minor Quartet in E flat major Op. 74 Beth 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. Haydn Quartet in B flat Op. 76 No. 4 ("The Sunrise") Quartet in D major Op. 45 (1932) .... 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 intonation and balance, its technical 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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n el n 0 n n e S e 1 e e C t S e THE HUDDERSFIELD MUSIC SOCIETY (Founded as The Huddersfield Music Club by Dr. Eaglefield Hull in 1918) President Vice-President W. E. Thompson, Esq., F.R.C.S. Miss E. K. Sawers, M.A. 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 Hon. Auditor: P. Sturgess, Esq., F.I.B. S. H. Crowther David Dugdale P. G. C. Forbes, M.A., A.R.C.O. Executive Committee: Mrs. E. Glendinning E. Glendinning I. M. Lee P. Michelson 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, J.P., LL.B. Miss M. Hamer 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.

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Monday, December 8th, 1975 THE GABRIELI STRING QUARTET Monday, January 19th, 1976 FRANCOIS DUCHABLE 32 Variations in C minor on an original theme.... ... Beethoven Ballade No. 4 in F minor Kenneth Sillito Violin Brendan O'Reilly Violin Ian Jewel Viola Op. 52 Keith Harvey Cello Nocturne in D flat major Op. 27 No. 2 Mazurka in F sharp minor Op. 59 No. 3 Tri Chopin Tri Tri N dn Sel en to om in pe its he tet ch he be tic to out is mal Its Cal re Quartet in F major Op. 18 No. 1 .... "The Bullfighter's Prayer" for String Quartet Quartet in G major D887. Schubert Beethoven Three Etudes, Op. 25 Toccata, Op. 7 Turina Four pieces from Schumann Fantasiestucke, Op. 12 pop L'Isle joyeuse this Debussy app Soiree dans Grenade the for Ravel So cor 196 the for ens 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. Jeux d'eau Alborada del Gracioso 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 1968, and in 1973 Laureat of the Fondation Sacha Schneider. continued-> rec Pro Tel und per Fra his Fes Phi 197 him ma per fac his SO gre 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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1 e | e d a 1 י Monday, February THE ORION PIAN Peter Thomas Sharon McKinley Ian 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 I recorded for the Programme and have Television. ( E REMITTANCE 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 FRANCOIS DUC recit His concert career under way with performances and b France and Belgium and his first appearance i 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 Name.. Address To assist the Treasurer, please enclose this form. APPLICATION FORM (for the use of NEW MEMBERS ONLY) To the Hon. Secretary, 3a Vernon Avenue, Huddersfield, HD1 5QD Please send me ........ Double (Single) Season Tickets for which I enclose £......... Name Address Cheques should be made payable to "The Huddersfield Music Society" Receipts will not be issued unless requested (BLOCK LETTERS PLEASE)

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Monday, February 9th, 1976 THE ORION PIANO TRIO Peter Thomas Violin n Sharon McKinley Cello Ian Brown Piano Trio in C Major, K.548 n Trio Mozart Camilleri Monday, March 15th, 1976 THE NORTHERN SINFONIA ENSEMBLE Leader Barry Wilde Double SEASON TICKETS ..... £6.00 (for two persons not necessarily of one Single Student family) £3.50 £1.00 n Бу D- e g n e al e d ne ne en ne in re d S. ed al els ne 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. In 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." 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. (may be obtained from the School of Music, Polytechnic or from the Hon. Secretaries) Single Ticket Student Ticket (Bona fide Students under 21) ..£1.00 .. 30p 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.

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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.

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THE HUDDERSFIELD MUSIC SOCIETY ********************************* Fifty-eighth Season 1975-76 Area, Town Hall Monday, October 27th 1975 THE BENTHIEN STRING QUARTET ********************** Peter Heidrich (Violin) ***** gde Claus Conrad (Viola) Ulrich Benthien (Violin) Programme I Edwin Kock (Cello) Quartet in D minor Largo Largo Allegro J.F. Fasch (1688-1785) - Allegro (First performance at these Concerts) 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 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 believed to be the earliest example of that form preceeding the 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, with its popular dance melodies, or to the sonata di camera, with di its more serious and largely contrapuntal style.

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2. II. Quartet in E flat major Op. 74 (The Harp) Poco adagio Allegro Adagio ma non troppo Presto Allegretto con variazoini Beethoven (1770-1827) (Last performed in 1970 by the Lindsay String Quartet) - 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 fourth secti main theme twice, without The wor

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0-1827) 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 ********************************** III Quartet in A major Op. 41 No. 3 cod Schumann (1810-1856) Andante espressivo Assai agitato Adagio molto - Allegro molto moderato Un poco adagio Tempo risoluto Allegro molto vivace (Last performed in 1964 by the Benthien String Quartet) 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 trios 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). The Quartet in A major opens with a slow introduction, in vague tonality, in which is heard the interval of a falling fifth,

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Qua Q 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 4 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. The Society is deeply appreciative of the Assistance toward the promotion of this Concert given by the Goethe Institute of York. Area, Town Hall ****************** THE HUDDERSFIELD MUSIC SOCIETY ********************************* Monday Evenings at 7.30. 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 - yids THE NEW BUDAPEST STRING QUARTET whose highly successful appearance last season will be remembered $ ougav

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This part in original no 5. Quartet in G minor Op. 74 No. 3 Quartet in D major K.575 Quartet Quartet in C minor (Quartetsatz) Haydn Mozart Lutoslawski Schubert 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. and at the door. Student tickets 30p from the School of Music 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. 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. THE HALIFAX PHILHARMONIC CLUB ******************************** Heath Grammar School Saturday November 1st at 7.30 THE AULOS ENSEMBLE The Emperor Waltz Strauss/Schoenberg

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Chanson Madecasses Fantasia in F minor Pierrot Lunaire 6. Ravel Mozart /Goehr Schoenberg 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 December 1st. Ravel as Orchestrator. Annual Subscription £1.50 (from Jan 1st 90p). Citizens half feo. Secretary Mr. D. Bostock, Huddersfield, HD3 3AF. Presented by Mr. Haigh. Students and Senior 16 Imperial Road, THE HUDDERSFIELD THESPIANS *************************** Welfare Centre, Zetland Street. 17th-22nd November (excepting Thursday) at 7.30 THE ASPERN PAPERS by Michael Redgrave Tickets 30p from Woods, 67 New Street.

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THE HUDDERSFIELD MUSIC SOCIETY וווו WT.

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(Owing to ring Qu

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THE HUDDERSFIELD MUSIC SOCIETY ********************************* Fifty-eighth Season 1975-76 dMonday, November 17th 1975. updat mbyll mort (Owing to the cancellation of their tour of England, the Bernede String Quartet is unable to fulfil its engagement) Jaom THE NEW BUDAPEST STRING Isogge to yox QUARTET + be o ************************************ Andras Kiss (Violin) Pal Andrassy (Violin) II Tivadar Popa (Viola) Tibor Parkanyi (Cello) Programme I addere.I EA Haydn (1732-1809) Quartet in G minor Op. 74 No. 3 (The Rider) Allegro T Largo assai Menuetto. Allegretto Finale. Vivace te (Last performed in 1967 by the Zagreb String Quartet) Haydn wrote 15 string quartets during the last period of his 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?

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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. (of) Free godŕT.. Quartet in D major K. 575 (0-1) mbal II Allegretto I Andante ed Minuet and Trio Allegro (loty) af assbo Mozart (1756-1791) .of.qo rommt Jode00 (Last performed in 1961 by the Janacek String Quartet) 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 abd played by the cello in all three quartets that Mozart had his be royal patron in mind. Moreover, for the first quartet the King a sent Mozart a kind letter of thanks, a gold snuff box and 100 friedrichs d'or. redmedo eid of to Einstein remarks that "these quartets are slightly concertante and yet they are the purest chamber music...these are three works that originated under the most dreadful spiritual bo.com oppression and yet rise to the heights of pure felicity". The beau reference to "oppression" of course refers to Mozart's desperate an financial position, the long drawn-out uncertainty of obtaining a suitable position from the Emperor and his wife's constant illnesses. Istetut boabat aasq 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 Tom movements typical more int is enri the wa

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n th ionship nticis on, movements". 30 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. bra mob ********************************** COFFEE INTERVAL OF FIFTEEN MINUTES Quartet ******* ******************* III Jab Lutoslawski (b. 1913) Joup bovala od ot Introductory Movement Tento on Main Movement 21oyal (First performance at these concerts) w Tedjo dose Jono ond 03 yeup ord 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 p 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. 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 One time he made use of the 12-tone method but soon abandoned it. 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.

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at With Jeux Venetiens (1961) for chamber orchestra Lutoslawski began his explorations into the realm of "aleatory technique". xo 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 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 de are cast in the role of independent musicians who are exploringgod 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 of intensity. at oleum IV Quartettsatz in C minor Op.posth. Hob Allegro assai Schubert (1797-1828) T edt (Last performed in 1962 by the Tatrai String Quartet) Between 1812-17 Schubert wrote some 11 string quartets. These were chiefly intended for some practice and are obviously red works less mature than the songs and piano pieces of the same (810 period, and in which Schubert was gradually feeling his wayongya 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 become the completion of the work. "A whole world divides the youthful quartets from the quartet fragment of 1820...the string quartet M The Lds

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lawski to 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. 1 360 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 Load Piano Recital February 9th. THE ORION PIANO TRIO March 15th. 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

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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. bas noltsxsfor THE HALIFAX PHILHARMONIC CLUB ******************************** Lecture Hall, Harrison House. Thursday November 27th at 7.30 lomiza.inst fred THE TRIO LA SERATA Gervase de Peyer (Clarinet), Gwenneth Prior (Piano) Susan Daniel ogo (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. THE HUDDERSFIELD 6 Jason GRAMOPHONE SOCIETY ************************************** Waverley House, New North Road. December 1st. Ravel as Orchestrator December 15th. emo More Bargain Issues 101 December 29th. My Favourite Thing of soy des Judob ad obem Monday Evenings at 7.30 (Mr, J. Haigh) (Mr. D. Bostock) (Miss O. Haigh) sy oma odgori bate solom Annual Subscription £1.50 (from January 1st 90p). Students and ad Senior Citizens half fee. Refreshments. Secretary: Mr. D. Bostock 16 Imperial Road, Huddersfield, HD3 3AF. THE HUDDERSFIELD THESPIANS ************************** H Welfare Centre, Zetland Street. by Jetapan(excepting Thursday at 7.30) TH THE ASPERN PAPERS Inttool ons Michael Redgrave 17th-22nd November Tickets 30p from Woods, 67 New Street. BHT Morali Toob odds bos Joo toob od te zo oiau to fooded odd mot qof adeo abook mot 13 adoo ofte dobud

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THE HUDDERSFIELD MUSIC SOCIETY ********************************* Fifty-eighth Season 1975-76ego ed to aired ond od bore floq ever Monday, December 8th 1975 to frentevom ex Area, Town Hall Itin emer This Concert is sponsored by the Kirklees Leisure Services THE GABRIELI STRING QUARTETO edT nottan ********************** stedt duo go *****: Kenneth Sillito (Violin) Brondan O'Reilly (Violin) Ian Jewel (Viola) Keith Harvey (Cello) front galytsup Bed or Programme sy noo olgab odr I ofagoteasqqs be soutells ve of are Quartet in F major Op.18 No.1 Beethoven (1770-1827) ent es Allegro con brio Adagio affecttuoso ed appassionato tofsoa Scherzo and Trio Allegro (Last performed in 1964 by the Loewenguth String Quartet) 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, had been composed for strings in combination with the piano or for opiano combined with wind instruments. Up to that time Beethoven's intorests, both as a composer and an executant, had been almost sod ebus exclusively concerned with the piano. Now, come to his full maturity, music for strings alono - in its most porfect form, the ed string quartet absorbed all his interest in chamber music, and pl the early quartets of Op.18 led to "the last five which represent the coping-stone of his whole life's work. Everything he wrote, -duo everything ho experienced or achieved, is expressed in this sories of works" (Bokker). ed ° ecoue bib od wol Iame al jug Perhaps the Quartet No.1 (actually the second in order of forw composition but placed at the head of the series it is said, byvb be the advico of the violinist Schuppanzigh) is the finest of the Jan set; it is the best-known and the best-loved. It is certainly com the biggest and most impressive. All naturally show the odd influence of Haydn and Mozart; but who before Beethoven would wo have taken a simple, almost banal, little tune, as in the firstfe

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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"? idiom for 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 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 two final movements are perhaps less remarkable. The Finale develops into a large sonata-rondo, probably designed to balance the that on a scale to scale of the first movement. II La Oración del Torero (The Bullfighter's Prayer) Joaquin Turina (1882-1949) (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. odt "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 lasts absol evoca vils pre ted

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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 V 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.) • ********************************** ybofom onigolo COFFEE INTERVAL OF FIFTEEN MINUTES rodjo od ********************************** bodadige ne qd bobiven III to Quartet in G major Op.161 oved altro once dan Ed Schubert (1797-1828) (Toni) Uszodo of Allegro molto moderato ed odd ddby modd box Andante un poco moto no b modnedq" att a Scherzo (Allegro vivace) and Trio (Allegretto) Isunne tel AJ by Allegro assai od mort of aonit pain Jud -barod (Last performed in 1970 by the Tel-Aviv String Quartet) 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; ain the same year Schubert offered it with other works in vain bto the publisher Schott. It was not published until 1851. Idea It has been said that Schubert's string quartets are 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, odj 1

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ALTERNATIVO 40 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 hoove -Jo with an un 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. Einstoin asserts that the slightly agitated Andante in E flat "became the model for many of Brahms's movements, romances or orchestral ballados in which an ologiac 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 some critics have compared them with the harmonies of Bartok. In the Schorzo (B minor). with its Trio (G major) which res somblos a Lander, Einstoin finds LAENDER somothing of Schumann's capriciousness. Kahl calls it a "phantom from the regions of ghostly romance". The Finale is a lengthy rondo, full of invention and of bound- loss energy, violent in rhythm and adventurous in harmony. It again, liko the first movoment, altornates botweon the major and minor koys. It ends with a coda in G major. This is, porhaps, Schubort's finest quartet with its mastorful and assured handling, its cohesion its wide sweep, its bold idoas and, above all, the ondloss fertility of his invention. ************************** **************************************** Since its London debut in 1967 the Gabrieli String Quartot 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 rocoivod 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 tho U.S. as well as returning to many countries in Europe. The Quartet records exclusively for Decca. ******************************************************** ************* you add at dedcoup stdd to oudol oldaton odfocA ong as row a cob gribe dododo Todos at to 000xd y orodwon at orod (notant)

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olf, on 1824 Dove gthy Aroa, Town Hall. 5. THE HUDDERSFIELD MUSIC SOCIETY ******************** January 19th ***** Monday Evenings at 7.30 FRANCOIS DUCHABLE Piano Recital. Works by Beethoven, Chopin, Schumann, Debussy and Ravel. February 9th. March 15th. bas sinoda THE ORION PIANO TRIO tand 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 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. SHT Generous support is also given by the Yorkshire Arts Association. Photography and Tape recording forbidden. WSD 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 Goldstone (Piano) Single tickets £1.00 Students 30p from Mrs. Hanson, 23 The Croscont, Hipperholme, Halifax and at the door.

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ESTHE HUDDERSFIELD ********* 6. GRAMOPHONE SOCIETY ********* HIGH woT SOTA Docomber 15th.OR More Bargain Issues Waverley House, New North Road. Monday Evenings at 7.30 (Mr. D. Bostock) December 29th. My Favourite Thing January 19th. (Miss Olwen Haigh) W Anniversaries MOTHO (Mr. Jenkinson)surdo HOM SHT Annual subscriptions £1.50 (from Jan 1st 90p). Students and Senior Citizens half fee. Refreshments. 00.13 add fanta Secretary: Mr. D. Bostock, 16 Imperial Road, Huddersfield, HD3 3AF, totoo olauM to nofdstobo [note of ahmt dwadroom and to daoo add browo drodque soviy bede THE HUDDERSFIELD THESPIANS **************************** Welfare Centre, Zetland Street 26th-31st January to (excepting Thursday) at 7.30 QUID THE THWARTING OF BARON BOLLIGREW by Robert Bolt Job Tickets 30p from Woods, 67 New Street. of IIHI (one) onotablo yoddy (our) YAKIAD 2315 yd a ba Jo ES Hobu 00.13 ag cob odd je brezstichomfodroqq.

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THE HUDDERSFIELD MUSIC SOCIETY *********************************d to odga Season 1975-76 dose cont at ud af roc awolfot moderov youred Fifty-eighth londons yd bewellot toad at todtaget bequery Area, Town Hallwat yaw and vo movily al edt et noite Monday, January 19th. 1976 as down a trice s of ordersqa olodw odd of vin odd ddiw FRANCOIS DUCHABLE ***************** Programme I you votem odt at text carev Jadd moqu odd at fronovom vola mot bas de do Thirty-two Variations in C minor on an original theme (081-0181) tod Beethoven (1770-1827). (Last performed in 1967 by Allan Schiller) of 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 hissed thought in different guises. It would be no exaggeration to say t that Beethoven, with sole exception of Bach and his Goldberg Variations, was the first and greatest master of this formed dit Tho Thirty-Two Variations date from 1806. This was a voryog fruitful period in Beethoven's life, including, as it does, the toge piano concerto in G, the violin concerto in D, the fourth symphony and the Appassionata sonata. Je od dew vd among on 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 Chaconne time. Indeed, the very short- ness of that theme - eight bars - lends itself to that treatment.

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2. 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. II 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 Chopin (1810-1849) The name Ballade, as applied to music and especially to the re Ballados 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". 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 st t their perf a set of delicacy

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e; each r in unity a is 25 Qe 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. id tuods go. 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 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. 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.occio int (TERE Toccata Op.7 ************************************ COFFEE INTERVAL OF FIFTEEN MINUTES *********** belfso alls e ******************* use 'b xvol Schumann (1810-1856)IA III Four pieces from Fantasiestucko Op.12 new use 'bub hupe Des Abends by dono Aufschwang Warum Traumenswirren aom old aged at JI .ofeum casq egrassq 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 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 by written in fairly strict sonata form.sex t The eight pieces of Fantasiestucke were composed in 1837; they were dedicated to Anna Robina Laidlaw, an Englishwoman and a

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4. brilliant pianist, much admired by Schumann. The work follows the composition of Carneval. Schumann always spoke with great to toas satisfaction about this work saying that "it had flowed from his ob pen with perfect ease and was spontaneous and expressive". odt at mid odt to deed Jerit od L'Isle joyeuse Soiree dans Granade (Estampes) IVedo A Jon Jon jo od danef Debussy (1862-1918) ofte Protostado daom od od of Until the age of 40 Debussy had written very little of snotten significance for the piano - a surprising thought since he is so o important in the history of piano music. L'Isle joyeuse (1904) was inspired by Watteau's Embarquement pour Cythere. It is bas 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 dance, with the sound of a serenader thrumming his mandoline.ob De Falla called it "characteristically Spanish in every detail"yet at that time, Debussy had never visited the country. Jeux d'eau Alborada del gracioso Ravel (1875-1937) ном for Jeux d'eau was written in 1901 and has as its subtitle i 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 or 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 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. - that He believe than the FR

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om his fob t to foes llows the odT 5. He believed that Man's interpretation of Nature has more value than the thing per se". 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. Monday Evenings at 7.30 February 9th THE ORION PIANO TRIO Mozart Camilleri Beethoven Trio in C major K.548 Trio Trio in E flat major Op.70 No.2 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

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6. only son at CONTRAPUNCTI (presented by the Contempory Music Network and the Yorkshire Arts a bog Septet Association) da ti dad obem 0.8.8 od Stravinsky bra Ariadne an at mod aow of Gordon Crosse Introduction and Allegro Capriccio orod at me odd Ravel Janacek These are given by a group of this country's most outstanding young playors. T Tickets 80p from the School of Music. odt Bid THE HALIFAX PHILHARMONIC CLUB ******************************** obam 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, Hipperholmo and at the door. THE HUDDERSFIELD ****************: Waverley House, New North Road. del GRAMOPHONE SOCIETY *********** Monday Evenings at 7.30 of February 2nd. Anniversarios (Mr. Brian Jonkinson) 16th. Vocal and Orchestral (Miss E. Williams) Annual Subscription £1.50 (from Jan 1st 90p) Students and Sonior Citizens half fee. Secretary: Mr. D. Bostock, 16 Imperial Road, or da bo to HD3 3AF. doldw of THE HUDDERSFIELD THESPIANS **************************** Welfare Centre, Zetland Street 26th-31st January (excepting Thurs) cals at at 7.30 THE THWARTING OF BARON BOLLIGREW by Robert Bolt Tickets 30p from Woods, 67 New Street.

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[[ at do THE HUDDERSFIELD MUSIC SOCIETY ************* ********* Fifty-eighth Season 1975-76 Jue dem odd Jeme Area, Town Hall mood and od to safbede xot ago to Monday, February 9th 1976 bebas en bedtrosob THE ORION PIANO TRIO ************************** Peter Thomas (Violin) Sharon McKinley (Cello) Ian Brown (Piano) Programme I Trio in C major K.548 ed vd of ons.tq Allegro Andante cantabile Allegro бло Mozart (1756-1791) Chamber music, as the name implies, was originally secular instrumental music written for performance in the home as opposed to the vast bulk of music written for the church or for religious occasions. It was largely a matter of home music-making by amateurs until the complexities of Beethoven's chamber works demanded the o 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 begins 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. 1o The Trio in C, K.548, together with a second (K.564) wore the last that he wroto; 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. boobat al Iden

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of the high The first variation; twe The third movo introduction. waltz, with a onally 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". II Trio in E flat major Op. 70 No. 2 Poco sostenuto Allegretto Beethoven (1770-1827) Allegro ma non troppo Allegretto ma non troppo Allegro 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. 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. 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- 550

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in the s texture", 3. ut of the highest quality. seanoqat red cH home de 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, 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. sobj ********************************** t comCOFFEE INTERVAL OF FIFTEEN MINUTES Trio in A minor ********************************** III eta Moderes de no boboPantoum: assez vif edT Ravel (1875-1937) Passacaille: tres large Finale: anime se (Last performed in 1972 by the Czech Piano Trio) abbs at (assd Ravel was born in the Basque village of Ciboure. His father was a Swiss engineer, 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. rearoo 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

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Jel 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 w savoir of his trio for the pouvoir of his more youthful Quartets" as (M.Goss).tone broose 9 The 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. 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 7/4 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 the way in which the strings are treated with equal authority and power. *******> add 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. op de ono a Lovat free pd boxigent as odd bombe Isvall #2 one of relata dom al Area, Town Ha

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ts 047 es". at -риетон out. Bu Area, Town Hall. THE 5. HUDDERSFIELD MUSIC SOCIETY *************** ******* Monday Evenings at 7.30 March 15th THE NORTHERN SINFONIA ENSEMBLE ****************************** Sextet No. 1 in B flat Op.18 Prelude and Scherzo Op.11 Octet in E flat Op.20 Brahms Shostakovich Mendelssohn 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. Photography and tape-recording is forbidden. THE HALIFAX PHILHARMONIC CLUB ******************************** Lecture Hall, Harrison House, Harrison Road. Saturday, 28th AOC February at 7.30. THE ALBAN BERG STRING QUARTET ************ **************** Quartet in B flat K.589 Quartet Op.3 Quartet in C minor Op.51 No.1 Mozart Alban Berg Brahms Single tickets £1.00 Students 30p from Mrs. Hanson, 23 The Crescent, Hipperholme, Halifax and at the door.

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.2 6. THE HUDDERSFIELD GRAMOPHONE SOCIETY ************************************** Waverley House, New North Road. Monday Evenings at 7.30 February 16th. Vocal and Orchestral (Miss Williams) March 1st. Keyboard Music (Mr. Chilvers) March 15th. New Releases from C.B.S. (Mr. Burford) Annual Subscription £1.50 (from Jan 1st 90p) Students and Senior Citizens half fee. Secretary:- osed to deep add bisw Je to tontic Mr. D. Bostock, 16 Imperial Road, HD3 3AF. I add yo novia oals at de THE HUDDERSFIELD THESPIANS bae verodon ************************** Y.M.C.A. Theatro. XATLIAH March 22nd - 27th at 7.30 RED PEPPERS FUMED OAK WAYS AND MEANS ********************* Three One Act Plays by Noel Coward Tickets 30p from Woods, 67 New Street. mor go anebo cob odd da biste 00, 19 afgh mogli d

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THE HUDDERSFIELD MUSIC SOCIETY ************************************ Fifty-eighth Season 1975-76 Area, Town Hall Monday, March 15th 1976 THE NORTHERN SINFONIA ENSEMBLE ************************************ Barry Wilde (Leader) Sydney Mann Richard Panting) Violins Prunella Pacey) Violas Antony Cullen ) Martin Hughes Alan Turner ) Ruth Bennett) Cellos Programme I Sextet in B flat Op,18 Brahms (1833-1897) Allegro ma non troppo Andante ma moderato Allegro molto Poco allegro e grazioso 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 modium 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

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2. its original form. A magical variation for the first viola 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. The finale is a rondo (Poco allegretto e grazioso) - - a 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 ************************************ Prelude and Scherzo Op.11 II 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 an 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 caroor 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 contempor generated medium w

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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 of Octet in E flat Op.20 III. of 200 Mendelssohn (1809-1847) Allegro moderato ma con fuoco Andante Scherzo (Allegro leggierissimo) Finale (Presto) 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%;B 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 bolongs to the Romantic poriod. 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

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4. Midsummer Night's Dream, music written shortly afterwards. - 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 ************************************ Area, Town Hall. MUSIC SOCIETY 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 29th. DELME STRING QUARTET 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. Generous support is also given by the Yorkshire Arts Association. PHOTOGRAPHY AND TAPE_RECORDING FORBIDDEN.

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0% 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. Saturday, May 22nd. Town Hall 7.30 p.m. The Huddersfield Arts Council prosent 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) Single tickets £1, Students 30p from Mrs. Hanson, 23 The Crescent, Hipporholme, Haydn Tippott Schubert Halifax, and at the door.

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6. THE HUDDERSFIELD GRAMOPHONE SOCIETY *************************** ******* Monday Evenings at 7.30. From Renaussence to Baroque (Mr. Battye) Waverley House, New North Road. March 29th. April 5th. April 26th. May 3rd. Scientists and Music (Mr. Raw) Technical Evening (Mr. Bostock) Music from the New World (Mr. Serotsky) Annual Subscription £1.50 (from Jan 1st 90p) Students and Senior Citizens half feo. Secretary: Mr. D. Bostock, 16 Imperial Road, HD3 3AF. Y.M.C.A. Theatre THE HUDDERSFIELD THESPIANS ************************** Red Peppers Fumed Oak Ways and Means March 22nd 27th at 7.30 Three One Act Plays by Noel Coward dog Tickets 30p from Woods, 67 New Street.