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Ocr'd Text:
IND
Huddersfield
Music Society
Centenary
Celebration o
Season
Te
2017 - 2018
21
25
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St Paul's Hall, Huddersfield
All concerts start at 7.30pm
Given in association with the
"Music at the University of Huddersfield"
Evening Concert Series
Car parking is available in the Multi-Storey car park across Queensgate
from St Paul's for a small fee.
The car park is attended and lit.
Concerts usually end at about 9.30pm.
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SETFELD
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WACHE.CA
ST. PAUL'S HAL!
www.huddersfield-music-society.org.uk
Registered Charity 529340
President: Stephen Smith
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Ocr'd Text:
Monday 16 October 2017
Angela Hewitt (Piano)
J.S. Bach:
Partita no 3 in A minor, BWV 827
Partita no 5 in G major, BWV 829
Partie in A major, BWV 832
Partita no 6 in E minor, BWV 830
Monday 6 November 2017
Atrium String Quartet
Schubert: Quartet in A minor
D.804 "Rosamunde"
Shostakovich: Quartet
no 8 in C minor, op 110
Beethoven: Quartet in
B flat, op 130
Monday 4 December 2017
Gould Piano Trio
Beethoven: Piano Trio in D
major, op 70 no 1 "Ghost"
Mark Simpson: New work
Mendelssohn: Piano Trio
no 1 in D minor, op 49
Angela Hewitt is one of the
world's leading pianists whose
performances of Bach have
established her among his
foremost interpreters. We are
thrilled to welcome her to open
our prestigious season following
previous recitals in 2001 and
2003.
The Atrium String Quartet
is one of the most inspiring,
dynamic and charismatic
ensembles on the current
musical scene, and has been
highly acclaimed by audiences
and critics alike. They have pre-
viously played for us in 2006,
2008 and 2012.
The Gould Piano Trio,
recently compared to the great
Beaux Arts Trio for their musical
fire and dedication to chamber
music, has been at the forefront
of the international music
scene for over twenty years.
They have played for us seven
times since 1993.
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Monday 29 January 2018
Michael Collins (Clarinet)
and Brodsky Quartet
Programme to include:
Mozart: Clarinet Quintet
Brahms: Clarinet Quintet
Monday 12 February 2018
Sacconi Quartet
Suk: Meditation on the Old
Czech Hymn "St Wenceslas"
Debussy: String Quartet in
G minor
Beethoven: String Quartet in
C# minor, op 131
Monday 12 March 2018
Andrew Brownell
Benjamin Frith (Two Pianos)
Mozart: Sonata in D, K448
Brahms: Variations on a
Theme of Haydn, op 56b
Debussy: En Blanc et Noir
Gershwin: An American in Paris
ka
The well-established Brodsky
Quartet played for us in 1984.
When aged 16, Michael
Collins won the woodwind prize
in the first BBC Young Musician of
the Year competition. He played
here in 1994, 1996 and recently
with piano in 2014.
The Sacconi Quartet was
formed in 2001, and is known
throughout the world for the
style, creativity and integrity
of its performances. We have
previously enjoyed their
committed playing in 2004,
2007 and 2013.
Benjamin Frith, also a mem-
ber of the Gould Piano Trio, has
played here as a soloist in 1984
and 2001. Andrew Brownell
won second prize in the LIPC
in 2006, and pursues an active
and varied international career.
He has played previously for the
Society in 2009 and 2012.
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Monday 23 April 2018
Prazak Quartet
Smetana: String Quartet
no 2 in D minor
Janacek: String Quartet
no 2 "Intimate Letters"
Dvorak: String Quartet
in C major, op 61
IND
Ticket Prices
Subscriber Ticket: £105
Single Ticket: £20
Student Subscriber Ticket: £20
Student Single Ticket: £5
The Prazak Quartet,
established in 1972, is one of
the world's leading chamber
ensembles. These old friends of
the Society will be playing an all-
Czech concert. We have heard
them here no fewer than ten
times between 1985 and 2012.
Tickets may be obtained by using the
form overleaf or at the door
Please post this form with a cheque payable to
Huddersfield Music Society
Quarry House, Hoyle Ing, Linthwaite
Huddersfield HD7 5RX
Email hudds_music_soc@yahoo.co.uk
Single concert tickets may be bought online
using the link on our website
www.huddersfield-music-society.org.uk
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BUFFET SUPPER
In the Creative Arts Building, University of Huddersfield
Starts at 6.30pm
for.........
Centenary Celebration Event
Monday 8 January 2018
Two Musical interludes by Jonathan Fisher and David Allsopp.
Advanced purchase of tickets essential.
Address
Tickets: £20
Includes: Wine or a soft drink on arrival,
Hot and cold Buffet (seating at tables available).
Email.........
Name …....
Please send .......... Subscriber tickets @ £105
Single concert tickets @ £20
Postcode .......
BOOKING FORM
....Buffet Supper Tickets @ £20
..... Telephone .....
.....(dates)
I enclose cheque... Total
Please note that we are currently unable to accept credit cards.
£..........
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We acknowledge with thanks support from the
University of Huddersfield to which the Society is affiliated.
The Society is grateful for financial help from our donors which makes this
series possible and for support from:
Making Music
(National Federation of Music Societies)
NB This brochure is published in good faith, but we reserve the right to alter
the artists or programmes for any concert should circumstances beyond our
control make this necessary. Please check the Society's website:
www.huddersfield-music-society.org.uk
Dr A. Eaglefield Hull
1876-1928
Ticket Prices
Subscriber Ticket: £105
Single Ticket: £20
Student Subscriber Ticket: £20
Student Single Ticket: £5
The Huddersfield Music Society was founded by Dr
Arthur Eaglefield Hull in 1918, and the first concert
was held on 20 November of that year.
The Society has continued to hold concerts each
season since that date, including during the War
years.
For the history of the Society, please
see our web page:
http://www.huddersfield-music-society.org.uk/
history.html
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Arthur Grumiaux
Artur Rubinstein
Benjamin Britten and Peter Pears
Rose Consort
Paul Robeson
Dennis Brain
www.corbisy
The Lindsays
Some of the artists
who have performed
for us during
the last 100 years
The King's Singers
Julian Bream
000
M
Pablo Casals
Dame Myra Hess
John Ogdon
Kathleen Ferrier
Shears
X
Amadeus Quartet
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Ocr'd Text:
HUDDERSFIELD
MUSIC SOCIETY
LIL.
II
WT.
CENTENARY SEASON
2017 - 2018
St. Paul's Concert Hall, Queensgate
Monday 7.30pm
www.huddersfield-music-society.org.uk
Registered Charity 529340
President: Stephen Smith
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Secretary
David Allsopp
Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk
Committee
President
Stephen Smith
Vice President
P Michael Lord
Alastair Cridland
34, Hoyle Ing, Linthwaite, Huddersfield. HD7 5RX
Tel: 01484 845407 Email: alastair@cridland.net
ARTS
Treasurer
Tel: 01484 845407 Email: verity@cridland.net
and
Membership Secretary
Verity Cridland
John Bryan, Helen Howden, Joe Kerrigan,
Hilary Norcliffe, Christine Stanton,
Christine Stead, Julian Rushton,
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated.
COUNCIL
The Society is grateful for financial help from our donors.
which makes this series possible,
ENGLAND
and for practical assistance with
from Hilary Norcliffe,
database
Archivist.
ex our
Making
Music
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Huddersfield Music Society
Seard thund
Angela Hewitt
We are very grateful to an anonymous
donor for sponsoring this concert
St Paul's Hall
Monday 16 October 2017
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yleiboa Angela Hewitt
€1
Angela's award-winning cycle for Hyperion
Records of all the major keyboard works of Bach
has been described as "one of the record glories
of our age" (The Sunday Times). Her much-
awaited recording of Bach's "Art of Fugue" ap-
peared in 2014, and immediately hit the charts in
the UK and USA. Her discography also includes
albums of Couperin, Rameau, Mozart,
Beethoven, Chopin, Schumann, Liszt, Fauré, De-
bussy, Chabrier, Ravel, and Granados. New re-
leases include her first disc of Scarlatti Sonatas,
and her sixth volume of Beethoven Sonatas (in-
cluding "Les Adieux"). Last year Angela was
inducted into Gramophone Magazine's "Hall of
Fame" thanks to her popularity with music lovers.
around the world. Her second recording of
O Maiwolf
Bach's Goldberg Variations was released last year.
Born into a musical family, Angela began her piano studies aged three, perform-
ing in public at four and a year later winning her first scholarship. She then went
on to learn with French pianist, Jean-Paul Sévilla. In 1985 she won the Toronto
International Bach Piano Competition. (Angela played for HMS in 2001 and
2003.)
In July 2005, Angela launched the Trasimeno Music Festival in the heart of
Umbria near Perugia. An annual event, it draws an international audience to the
Castle of the Knights of Malta in Magione, on the shores of Lake Trasimeno.
Seven concerts in seven days feature Hewitt as a recitalist, chamber musician,
song accompanist, and conductor, working with both established and young
artists of her choosing.
Named Artist of the Year at the 2006 Gramophone Awards, she was awarded
an OBE in the Queen's Birthday Honours in 2006. In 2015 Angela was
promoted to a Companion of the Order of Canada. She is a member of the Royal
Society of Canada, has seven honorary doctorates, and is a Visiting Fellow of
Peterhouse College in Cambridge.
"A taxi driver in Atlanta, Georgia once asked me what I did for a living. When
I told her, she replied 'That sounds relaxin'."
www.angelahewitt.com
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Bach Recital
Angela Hewitt
Ole Christiansen
"This work caused quite a sensation among his [Bach's] contemporaries in the
world of music: such splendid keyboard compositions had never previously
been seen or heard. Whoever learned to perform any of these pieces to a high
standard could make his fortune in the world."
Johann Forkel (1749-1818)
The above quotation was written about the published set of six Partitas by an
admirer and promoter of Bach's music. Linking together a set of dance move-
ments to form a suite in a common key was unexceptional in the eighteenth
century (the most familiar being the Allemande, Corrente, Sarabande and
Gigue), but nobody had anticipated such an innovative collection as these by J
S Bach. The set of Partitas increased public respect for the composer, extending
the interest in his music to a wider public. Each Partita is ambitious and original,
containing a mix of European styles. The set was aimed at professional per-
formance, the technical demands being beyond the capabilities of most amateur
keyboard players.
Bach began the set in 1727, indicating that it would contain seven Partitas, in a
newspaper advertisement which he took out in 1730. Instead, he composed a
Partita (called French Overture) and the Italian Concerto. These, unlike the
Partitas, require a harpsichord with two manuals to play piano and forte. The
Partitas were published as the first set of Klavierübung (keyboard studies); the
French Overture and Italian Concerto formed the second set.
The conventional (and some less so) dances of these Partitas are supplemented
by some more disparate movements which also include highly complex fugues.
Apart from Partita No 6, this music has not been played at HMS before.
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Johann Sebastian Bach
Partita no 3 in A minor, BWV 827
1 Fantasia
2 Allemande
3 Corrente
4 Sarabande
Partita no 5 in G major, BWV 829
1 Praeambulum
2 Allemande
3 Corrente
4 Sarabande
5 Burlesca
6 Scherzo
7 Gigue
Contrasting speeds and styles between movements is one key to the appeal of
this work. The opening Fantasia is a sparkling two-part invention and the
Allemande, of traditionally German origin, is in this case very French with fluid
and expressive melodic lines, inviting the customary improvisation and decora-
tion from the player. In contrast, a light and fast Corrente follows. Its energetic
leaping dance style is evident from the dotted figures in both parts. The gentle
Sarabande features decorative triplets in its melodic lines and, like the upcom-
ing Scherzo, it goes to the relative major key at the half way point. (More
common was a modulation to the closely related dominant key). The somewhat
extravagant title of Burlesca is unusual for what is simply a minuet in construc-
tion and style. The suite ends with a buoyant Scherzo followed by an animated
and rhythmic Gigue. This final movement reveals some extraordinary counter-
point, captivating in its arpeggio based opening subject which Bach develops in
the three voices, the second of which has the theme upside-down.
1685-1750
4
5 Tempo di menuetto
6 Passepied
7 Gigue
Angela Hewitt writes, "....The key of G major always seems to inspire Bach to
write music of great radiance, joy, gentleness and technical display (the 'Gold-
berg' Variations and the fifth French Suite come immediately to mind)".
There seems to be a clear sense of direction from the start of the opening
Prelude movement, which features virtuoso scales and arpeggios encompassing
the whole keyboard available to Bach. Even more delightful is the visual and
graceful effect of the hands crossing in their own balletic movements. The
AL
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2
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Ì
}
Allemande combines dotted rhythms with florid triplet movement whilst retain-
ing a graceful vitality. A vivacious Corrente has a simpler texture in two parts
and is succeeded by a poised Sarabande. The movement title, Tempo di
menuetto, seems to imply that it is not the conventional eighteenth-century
minuet in spite of its familiar triple time pulse. Its rising and falling arpeggio
lines create delightful cross rhythms simply by the physical division of notes
between the two hands, certainly unfamiliar territory for this particular dance.
The ensuing Passepied was an idiosyncratic eighteenth-century dance in triple
time, but conspicuous for the fact that its dancers followed a rather deliberate
and characteristic cross stepping style, often with one foot striking the other.
Bach never fails to provide an impressive finale and with the Gigue he turns
towards an intense fugal movement with two subjects, completing the work in
a miracle of concentration and originality.
Partie in A major, BWV 832 (c. 1707)
1 Allemande
2 Air pour les trompettes
3 Sarabande
INTERVAL
-
Note by Angela Hewitt © 2004, reprinted courtesy of Hyperion Records Ltd:
The Partie in A major, BWV 832, could and has been called 'Suite'. Two of its
movements (the Allemande and the Air) appear in the Möller Manuscript
(another collection of keyboard works put together by Johann Christoph Bach)
under that title. It is definitely a suite in the French style
a precursor to the
French Suites with its standard movements of Allemande, Sarabande and
Gigue, to which is added a characteristic Bourrée. In place of a courante,
however, Bach writes an 'Air pour les trompettes', which is really what made
me want to play this suite. It is quite unique in Bach's solo keyboard music and
deserves to be heard. The mood reminds me of the final movements of the
Capriccio on the Departure of a Beloved Brother, BWV 993, and the posthorn
we hear there makes another appearance in bar 21 of this Air. It is by far the
most original part of the work. This suite was for a long time thought to be by
Telemann.
4 Bourrée
5 Gigue
5
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Partita no 6 in E minor, BWV 830
Last performed at HMS by the Angela Dale, February 2, 1957
1 Toccata
2 Allemande
3 Corrente
4 Air
5 Sarabande
6 Tempo di Gavotta
7 Gigue
The final Partita of the set is of such great bravura and character that Bach
appears to break even his own rules, not only with distinctive dance styles but
especially in the first and final movements whose conception is dynamic and
progressive. Wonderfully intricate part-writing is only one element of his
realisation of a grand and radical work which is a masterpiece way beyond the
original humble conception of a suite.
The opening Toccata is in three sections like a majestic French overture with
the elaborate displays of the first and third sections enclosing a complex central
three-part fugue. The deceptively simple three-note 'sighing' motif, from which
the entire fugue subject is built, evolves endlessly, demanding huge dexterity
from the keyboard player in its execution of the three parts. This movement is
a work of art in itself - Bach perhaps wrote it with vocal parts in his mind,
achieving clarity and shape despite the complexity of the counterpoint.
An endlessly melodic Allemande recalls Bach's vocal lines in a stream of
arioso melody. Likewise the gracious Corrente has a curious syncopated.
soprano melody above a typical bass line which captures the harmonies within
its regular quaver movement. Following this, the simpler harmonic construction
of the Air with polished bass part leads to the resplendent chords of an auda-
cious Sarabande, its decorative melodic line and lingering discords introducing
a dramatic quality to the movement. The contrasting Gavotte is unusual for its
combination of triplet movement and dotted rhythms within its two parts, the
lower one forming a bass line as well as supplying the second part. Finally, the
Gigue of equal stature to the first movement, offers another intoxicating three-
part fugue which builds towards both climax and conclusion of the work. The
chromatic subject is angular and tolerates no nonsense in its flawless presenta-
tion.
Partita programme notes by C. Stanton
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1
1
7
Music Society News
Welcome to the one hundredth season of the Huddersfield Music Society.
With your help and support we hope to continue for many more seasons
to come!
Subscription Tickets are on sale both before the concert and in the
interval. They are priced at £105 for the seven concerts so if you have paid
£20 for a single ticket for this concert you can convert to a season ticket
for £85. A bargain not to be missed or, indeed, repeated.
The Atrium Quartet have a new first violinist, Nikita Boriso-Glebsky,
the exciting young Russian winner of the international Jean Sibelius and
Fritz Kreisler violin competitions. He has also been awarded top prizes in
the nine other prestigious violin contests including the Tchaikovsky, the
Queen Elisabeth and the Monte Carlo Violin Masters competitions. As a
result of this prestigious change they will now play Beethoven's quartet
in G major, Op 18 No 2 instead of Op 130.
Centenary Celebration Buffet Supper. As advertised in this season's
brochure we are holding a Centenary Celebration Buffet Supper on
Monday January 8, 2018 in the foyer of the Creative Arts Building in the
University.
On arrival at 6.30 there will be a glass of wine or a soft drink. A sit-down
buffet of hot and cold food will be served from 7.00pm. Further drinks
can be purchased at a bar.
There will be a musical interlude by Jonathan Fisher between courses, and
the evening will finish with David Allsopp, Secretary, playing, in his
inimitable style, suitable popular music to send us on our way.
Tickets are available at £20 a head in advance from Verity Cridland,
Quarry House, Hoyle Ing, Linthwaite HD7 5RX and will be sold at the
next few concerts. Why not get together a table (of up to 10 people) and
invite your friends to celebrate our centenary, welcome the New Year and
end the festive season with a bang?
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Forthcoming Local Events
Halifax Philharmonic Club Friday, October 20, 2017, 7:30
Square Chapel Arts Centre, Halifax
Vogler Quartet, with Jonathan Ware, piano
Dvorak
Quartet in E major op. 80
Shostakovich
Quartet No. 11
Brahms
Piano Quintet in F minor op. 34
Tickets, £19, concessions £17,
available from the Square Chapel Box Office, telephone 01422 349422
Saddleworth Concerts Society Wednesday, October 25, 7:30
Millgate Arts Centre, Delph, Saddleworth.
The Leonora Trio
Beethoven
Poulenc
Janácek
Brahms
Trio in B flat major, op. 11
Sonata for clarinet and piano in B flat, FP 184
Pohádka (Fairy Tale) for cello and piano
Clarinet Trio in A minor, op. 114
See www.saddleworthconcertssociety.org.uk for ticket details.
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Grappolo
italian ristorante
Yo
nethertoncrossprinters
BROADBENT
Huddersfield Music Society is very grateful to the businesses
and anonymous donors for financial assistance and advice and practical help,
without whom this Celebratory Centenary Season would have been impossible.
O
BOLSTER MOOR FARM SHOP
Quality Guaranteed
THE KEYS
RESTAURANT
COFFEE HOUSE
FOOTBALL LO008 #G 2017
Juncti in Fraternitate
'United in Brotherhood'
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Season's Performances
Monday 16 October 2017
ANGELA HEWITT (Piano)
J.S. Bach: Partita no 3 in A minor, BWV 827
artita no 5 in G major, BWV 829
Partie in A major, BWV 832 Partita no 6 in E minor, BWV 830
Monday 6 November 2017
ATRIUM STRING QUARTET
Schubert: Quartet in A minor D.804 ("Rosamunde")
Shostakovich: String Quartet no 8 in C minor, op 110
Beethoven: Quartet in G major, op 18 no 2
Monday 4 December 2017
GOULD PIANO TRIO
Beethoven: Piano Trio in D major, op 70 no 1 (Ghost)
Mark Simpson: New work
Mendelssohn: Piano Trio no 1 in D minor, op 49
Monday 29 January 2018
MICHAEL COLLINS (Clarinet) AND BRODSKY QUARTET
Brahms: B minor Clarinet Quintet
Br Mozart: Clarinet Quintet
Shostakovich: String Quartet no 11 F minor, op 22
Monday 12 February 2018
SACCONI QUARTET
Suk: Meditation on the Old Czech Hymn "St Wenceslas"
Debussy: String Quartet in G minor
Beethoven: String Quartet in C# minor, op 131
Monday 12 March 2018
ANDREW BROWNELL AND BENJAMIN FRITH (Two Pianos)
Mozart: Sonata in D, K448
Brahms: Variations on a Theme of Haydn, op 56b
Debussy: En Blanc et Noir Gershwin: An American in Paris
Monday 23 April 2018
PRAZAK QUARTET
Smetana: String Quartet no 2 in D minor
Janacek: String Quartet no 2 "Intimate Letters"
Dvorak: String Quartet in C major, op 61
NB This schedule is published good faith but we reserve the right to alter the artists or
programme for any concert should circumstances beyond our control make this necessary.
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Ocr'd Text:
HUDDERSFIELD
MUSIC SOCIETY
W
II
WT.
CENTENARY SEASON
2017 - 2018
St. Paul's Concert Hall, Queensgate
Monday 7.30pm
www.huddersfield-music-society.org.uk
Registered Charity 529340
President: Stephen Smith
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Ocr'd Text:
Secretary
David Allsopp
Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk
Committee
President
Stephen Smith
Vice President
P Michael Lord
Alastair Cridland
34, Hoyle Ing, Linthwaite, Huddersfield. HD7 5RX
Tel: 01484 845407 Email: alastair@cridland.net
ARTS
Treasurer
Tel: 01484 845407 Email: verity@cridland.net
and
COUNCIL
Membership Secretary
Verity Cridland
John Bryan, Helen Howden, Joe Kerrigan,
Hilary Norcliffe, Christine Stanton,
Christine Stead, Julian Rushton,
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated.
ENGLAND
The Society is grateful for financial help from our donors
which makes this series possible,
and for practical assistance with our database
from Hilary Norcliffe, Society Archivist.
Making
Music
THE NATIONAL FEDERATION
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Ocr'd Text:
Huddersfield Music Society
Apini
Great to
perform here
again!
Anna
Atrium String Quartet
Dimon
We are very grateful to an anonymous
donor for sponsoring this concert
thom now
Thanks!
2
St Paul's Hall
Monday 6 November 2017
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Ocr'd Text:
visibo Atrium String Quartet
This is the fourth visit to the Huddersfield Music Society by the Atrium
quartet who last came to us in January 2012. The quartet was formed while
the players were studying at the St Petersburg Conservatoire in 2000 where
they graduated in 2003. They then continued their studies in Amsterdam,
at the Netherland String Quartet Academy, and at the Conservatoire Hanns
Eisler in Berlin. They currently reside in Berlin.
The Atrium Quartet is a winner of two of the most prestigious international
competitions for string quartet: first prize and audience prize of the 9th
London International String Quartet Competition in 2003 and Grand-Prix
of the 5th International String Quartet Competition in Bordeaux in 2007.
Recent highlights for the Atrium Quartet have included recitals at the
Wigmore Hall and Royal Festival Hall, the Library of Congress in Wash-
ington, the Frick Collection in New York, and Les Invalides in Paris. As
well as at the Concertgebouw in Amsterdam, the Conservatoire de Mu-
sique de Genève, the Palau Musica Catalana and L'Auditori in Barcelona,
and the Philharmonic and Mariinsky Concert halls in St Petersburg. They
have also played recitals at prestigious festivals such as the Beethovenfest,
the Schleswig-Holstein, the Mecklenburg-Vorpommern, the Schwetzingen
in Germany, and the Colmar & Luberon festivals in France.
Concerts have been scheduled in the 2016-2017 season at the Russian
Spring Festival in Radialsystem Berlin, and in London's Wigmore Hall.
They are also playing in the Netherlands, Germany, Finland, Austria and
Russia.
The Atrium have an impressive collection of recordings on CD recorded
over the past 15 years.
The three regular members of the quartet, Anton Ilyunin, Dimitry Pitulko
and Anna Gorelova are tonight joined by Nikita Boriso-Glebsky, the
winner of the international Jean Sibelius violin competition and the inter-
national Fritz Kreisler violin competition. He has also been awarded top
prizes in the nine other prestigious violin contests including the Tchaiko-
vsky, the Queen Elisabeth and the Monte Carlo violin masters competitions.
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Quartet in G major, op 18 no 2
Last performed at HMS by the Takács Quartet, November 29, 1999
1 Allegro
2 Adagio cantabile
Beethoven 1770-1827
3 Scherzo: Allegro
4 Allegro molo, quasi Presto
Beethoven's set of opus 18 quartets is the work of a young composer, but
these quartets are not the work of a novice. At thirty years old he had already
written piano and violin sonatas, piano trios and three accomplished string
trios. He therefore understood his instrumental resources so that composing
string quartets would seem the natural progression for him, especially given
the motivation supplied by Mozart and Haydn's excellent examples of the
same genre. This set was dedicated to Prince Lobkovitz, who had commis-
sioned Haydn's last two quartets.
The opening of the first movement is relaxed in style with its elegant and
distinctive flourish then repeated upside down. Linking this to a more playful
second subject there is a transitional passage beginning with three assertive
unison crotchets, later to prove fruitful as a starting point for the last move-
ment. In the development there is a hushed sotto voce section based around
the dotted rhythm from the first subject. Intensity builds and the recapitulation
comes as something of a relief, this time allowing for other parts to enjoy the
possibilities of that opening flourish.
The second movement has a smooth serenity created by a sustained harmonic
texture. Without preparation, a middle section of semiquaver brilliance breaks
in, providing contrast of an extreme nature. With the return of the first section
the first violin periodically rises out of the texture in soaring embellishment,
to which the cello responds.
A scintillating scherzo derives largely from an opening motif which is distrib-
uted throughout the parts in a call and response manner. The middle section
has the more relaxed temperament of a minuet, featuring triplets, and there is
an extended and charming link back into the first part.
The last movement has the strong duple rhythm so much favoured by Haydn.
in his final movements. Its energy is at once evident in the main theme
introduced by the cello and this is subsequently rarely absent from the texture.
Characteristic of the composer is the feeling of impetuosity compounded by
swift key changes, sudden accents and continual switches of mood. The
expectations of an ending are briefly and typically delayed by the introduc-
tion of a new idea before the work concludes in a flurry of excitement.
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String Quartet No.8
Last performed at HMS by the Carducci Quartet, March 2, 2009
1 Largo
2 Allegro molto
3 Allegretto
4 Largo
5 Largo
If Shostakovich's symphonies are a musical chronicle of his time, his quartets
are the confessional diaries of a great soul. Manashir Abraham Lakubov
Shostakovich 1882-1971
This quartet was written after the composer's second visit to the ruined city of
Dresden in the summer of 1960 and was dedicated "to the victims of fascism
and war". Whether Shostakovich himself or the authorities imposed this dedica-
tion is a curious question. According to his friend Lev Lebedinsky, Shostakov-
ich viewed the quartet as his epitaph, so it is no surprise that its content is highly
personal and indeed autobiographical, containing quotations from his earlier
works. In common with much of his output, the music reflects the hardship in
which he grew up and his struggle to conform to standards set by the Soviet
regime whilst remaining true to his artistic integrity; an impossible endeavour
in which he often failed.
The movements are linked together to form a single entity. The first movement
opens with Shostakovich's signature theme of DSCH, (D, E flat, C, and B
natural), used as a motto throughout the work and as a basis for much develop-
ment. The music is highly introspective and in spite of a poignant violin melody
from his first symphony there is little relief from the harsh realities of life.
Aggressive repeated chords cut in at the start of the second movement, which,
with its gradually rising pitch, leads to a strongly rhythmic Jewish sounding
theme taken from an earlier piano trio. After this, the music becomes increas-
ingly passionate until an abrupt change into 3/4 time prepares for the start of the
third movement, whose melody again evolves from the DSCH motto. The
composer's contempt for the authorities is barely disguised in its wry and
slightly grotesque waltz.
Later in this movement, Shostakovich recalls the main theme of his cello
concerto, and after some development he begins the fourth movement with the
concerto theme played at a very slow speed and joined by the same harsh chords
from the start of the second movement. The music proceeds with fervent
intensity, its mood often severely oppressive. A fifth movement largo ends the
quartet in sombre mood, giving eloquent expression to Shostakovich's feelings
of futility.
INTERVAL
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Quartet in A minor, D804 (Rosamunde)
Last performed at HMS by the Heath Quartet, December 5, 2011
1 Allegro non troppo
2 Andante
3 Menuetto - Trio: Allegretto
4 Allegro moderato
Meine Ruh' ist hin, Mein Herz ist schwer,
Ich finde sie nimmer und nimmer mehr.
My peace is gone, my heart is heavy,
I will never find it again.
Schubert 1797-1828
This yearning couplet from the beginning of his song,Gretchen am Spinnrade,
also in A minor, indicates Schubert's state of mind when he wrote to tell his
friend in 1824 of the newly written A minor and G minor quartets. His admis-
sion to feelings of despair and misery are certainly reflected in this quartet and
references to other Lieder exist also in the second and third movements.
The restless accompaniment figure in the two opening bars of the second violin
part are very similar to the piano introduction of Gretchen and there is an
additional throbbing figure in the two lower parts. These important ideas open
the first movement beneath the simple triadic melody. Melodic ideas, one
distinguished by a trill and the other a rising triplet, follow. All of these ideas
are assimilated into the development, making this quartet a fine successor to
those of Haydn and Beethoven.
The theme of the slow movement, originally composed for some incidental
music he wrote for an undistinguished play called 'Rosamunde, Princess of
Cyprus', is a familiar one, also used in Schubert's third piano impromptu. He
employs it here in an increasingly contrapuntal manner.
The minuet is certainly not typical of its genre in its strangely rhetorical cello
opening, its simple texture and modal writing. Extreme and sudden modula-
tions occur in the second section. The trio does nothing to contradict a sense of
wistfulness, despite a move to A major, and its third beat sforzandi (accents or
forced notes) are unsettling.
Finally, with a move to A major there is a change of mood in the last movement.
Use of dotted rhythms, simple textures and themes recall the jauntiness of the
Trout quintet, which he had composed five years earlier.
5
Programme notes by C. Stanton
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Forthcoming Local Events
Halifax Philharmonic Club Friday, November 10, 2017, 7:30
Square Chapel Arts Centre, Halifax
Matthew Truscott, violin
Robin Ireland, viola
Richard Lester, cello
Beethoven Trio in G major op.9 no.1
Bach
Goldberg Variations (arr. Dimitry Sitkovetsky)
Tickets, £19, concessions £17,
available from the Square Chapel Box Office, telephone 01422 349422
Philharmonic
ORCHESTR
TCHAIKOVSKY
MAHLER
Robert Guy
Emily Sharrat
Slava Sidorenko
Huddersfield Town Hall
Saturday November 11, 2017, 7:30
Piano Concerto No 1
Symphony No 7
Conductor
Leader
Soloist
Tickets, £5 to £15, are available through Kirklees box office, the
information centre in the library, on-line, or at the door.
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Music Society News
Centenary Celebration Buffet Supper.
Please join us for this celebration on January 8th in the Creative Arts
Building at the university.
This is not a fund-raising event, but a social celebration for the Society.
We will be joined by The Mayor of Kirklees, a Deputy Lord Lieutenant
of West Yorkshire, and the Vice Chancellor of the University. The menu
has something for everyone, but does not include turkey! There will be
two musical interludes.
This is a wonderful opportunity to meet other like-minded people who we
see at the concerts, but never talk to!
Tickets priced at £20 are available from Verity at the November concert,
and Alastair at the December one, or by post.
Tickets should be purchased by December 15.
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Grappolo
italian ristorante
nethertoncrossprinters
BROADBENT
Huddersfield Music Society is very grateful to the businesses
and anonymous donors for financial assistance and advice and practical help,
without whom this Celebratory Centenary Season would have been impossible.
THE KEYS
RESTAURANT
COFFEE HOUSE
BOLSTER MOOR FARM SHOP
Quality Guaranteed
NOTEIN PRASSINITATE
Juncti in Fraternitate
'United in Brotherhood'
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Season's Performances
Monday 16 October 2017
ANGELA HEWITT (Piano)
J.S. Bach: Partita no 3 in A minor, BWV 827
Partita no 5 in G major, BWV 829
Partie in A major, BWV 832 Partita no 6 in E minor, BWV 830
Monday 6 November 2017
ATRIUM STRING QUARTET
Schubert: Quartet in A minor D.804 ("Rosamunde")
Shostakovich: String Quartet no 8 in C minor, op 110
Beethoven: Quartet in G major, op 18 no 2
Monday 4 December 2017
GOULD PIANO TRIO
Beethoven: Piano Trio in D major, op 70 no 1 (Ghost)
Mark Simpson: New work
Mendelssohn: Piano Trio no 1 in D minor, op 49
Monday 29 January 2018
MICHAEL COLLINS (Clarinet) AND BRODSKY QUARTET
Brahms: B minor Clarinet Quintet
Mozart: Clarinet Quintet
Shostakovich: String Quartet no 11 F minor, op 22
Monday 12 February 2018
SACCONI QUARTET
Suk: Meditation on the Old Czech Hymn "St Wenceslas"
Debussy: String Quartet in G minor
Beethoven: String Quartet in C# minor, op 131
Monday 12 March 2018
ANDREW BROWNELL AND BENJAMIN FRITH (Two Pianos)
Mozart: Sonata in D, K448
Brahms: Variations on a Theme of Haydn, op 56b
Debussy: En Blanc et Noir Gershwin: An American in Paris
Monday 23 April 2018
PRAZAK QUARTET
Smetana: String Quartet no 2 in D minor
Janacek: String Quartet no 2 "Intimate Letters'
Dvorak: String Quartet in C major, op 61
99
NB This schedule is published good faith but we reserve the right to alter the artists or
programme for any concert should circumstances beyond our control make this necessary.
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HUDDERSFIELD
MUSIC SOCIETY
17
IL
WT.
CENTENARY SEASON
2017 - 2018
St. Paul's Concert Hall, Queensgate
Monday 7.30pm
www.huddersfield-music-society.org.uk
Registered Charity 529340
President: Stephen Smith
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Secretary
David Allsopp
Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk
Committee
President
Stephen Smith
Vice President
P Michael Lord
Alastair Cridland
34, Hoyle Ing, Linthwaite, Huddersfield. HD7 5RX
Tel: 01484 845407 Email: alastair@cridland.net
ARTS
Treasurer
Membership Secretary
Verity Cridland
Tel: 01484 845407 Email: verity@cridland.net
and
John Bryan, Helen Howden, Joe Kerrigan,
Hilary Norcliffe, Christine Stanton,
Christine Stead, Julian Rushton,
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated.
COUNCIL
ENGLAND
The Society is grateful for financial help from our donors
which makes this series possible,
and for practical assistance with our database
from Hilary Norcliffe, Society Archivist.
2
Making
Music
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G
Huddersfield Music Society
on
With congratulations
your Centerary!
Gould Piano Trio
Вой
più
langanin dritt
An
fray Gould
The Mayor's Concert
(G
We are grateful to Councillor Mrs Christine Iredale, the
Mayor of Kirklees, for personally sponsoring this concert.
St Paul's Hall
Monday 4 December 2017
Ne
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Gould Piano Trio
Lucy Gould, violin
Alice Neary, cello
Benjamin Frith, piano
The Gould Trio have been friends of
the Society since they were formed
in 1993 having visited us on no less
than seven occasions starting in No-
vember of that year. As they are now
approaching their silver anniversary
it seems appropriate that they are
performing for us during our centenary celebrations.
Over the years they have built a high reputation, and recorded many CDs,
covering both the standard repertoire and more modern pieces, including
those they have commissioned.
2
As Robert Battey wrote, following a concert in Washington, in 2014, 'This
group demonstrated, phrase by phrase, what is missing when this music is
played by soloists who rehearse a few times together. Pianist Benjamin
Frith, violinist Lucy Gould and cellist Alice Neary have high-level profes-
sional credentials, including occasional solo engagements with orchestras.
But what they produce, after playing for 20 years together, is simply
extraordinary..... the combination of jeweler-like precision and a musical
fire that ignites from the first bar."
The trio were the first ensemble to record the complete cycle of Brahms'
piano trios, including his two surviving early essays in the genre and the
famous clarinet and horn trios (with Robert Plane and David Pyatt respective-
ly). They are now published in a set with the piano quartets (with David
Adams, viola). An endeavour close to their hearts in recent years has been to
reinstate the late British Romantics in the catalogue with Stanford, Bax, and
Ireland appearing on Naxos and Cyril Scott on Chandos. Their homage to
Messiaen in his centenary year, Quatour pour la fin du temps on Chandos,
was described by BBC Music Magazine as 'the best modern account' of the
work.
I
a
C
P
th
ti
a
B
Co
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Piano trio in D major op 70 no 1 'Ghost'
Last performed at HMS by the Fujita Piano Trio, March 9, 2015
1 Allegro vivace e con brio
2 Largo assai ed espressivo
3 Presto
Beethoven 1770-1827
This work is one of two piano trios composed in 1808 during the period in
which Beethoven produced his fourth, fifth and sixth symphonies. Dedicated
to his close friend, the Hungarian Countess Marie von Erdödy, it was greeted
with enthusiastic pleasure by her at its first performance at her house. It is a
work of great charisma and dignity, owing its nickname to the strange and
unprecedented effects in the piano part of the second movement.
The first movement plunges in with a rhythmic statement based upon a D major
chord, from which the distinctive opening motif will reappear constantly in its
development. A more lyrical second subject follows, and thereafter extended
and complex development in which the contrapuntal treatment of the first
subject is intensive. Dramatic key changes are employed to extraordinary
effect. In the recapitulation Beethoven characteristically contrasts passages of
great beauty with others of sheer driving force before ending the movement
spectacularly in the same fashion as it began.
The eerie music of the second movement in the key of D minor is remarkable
and highly unusual. Unfolding in the piano part, the accompaniment is con-
structed from long passages of tremolos. An atmosphere of suspense and
mystery is created through its shifting harmonies and changing textures. Occa-
sionally things go bump in the night' with sudden effects and dramatic
gestures from the piano, which otherwise provides a harmonic underflow
against which the instruments converse.
An energetic theme opens the sparkling third movement and breaks the tension
of the previous movement. However the pauses between the opening
phrases introduce their own element of drama. This is indeed a movement for
the piano, its energy and impetus continually taking the music in new direc-
tions. The movement proceeds towards the end with increasing exuberance, but
always retaining that element of unpredictability which is so typical of the
mature composer. A final thrilling passage brings the work to its fitting
conclusion.
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After Avedon (2017)
Mark Simpson
After Avedon is a reaction to four photographs by the influential American
photographer Richard Avedon. They were part of the 'Nothing Personal' exhibi-
tion I saw in Munich in 2015.
I wanted to find a subject matter that would allow me to creatively respond to
the three instruments without recourse to the historical baggage of the 'Piano
Trio'. With each photograph I responded to the human qualities of each protag-
onist and attempted to bring them to life in music.
1. The Duke and Duchess of Windsor, Waldorf Astoria, Suite 28A, New York,
16th April 1957.
In Wallis and Edward there seems to me to be pained resignation of their love
for each other. As if somehow the shadow of the abdication remains in their
eyes. It was this emotional character between them that I wanted to portray. The
piece has a slow, steady piano ostinato with highly expressive melodies alter-
nating between the two instruments.
2. Ronald Fischer, Beekeeper, Davis, California, 9th May 1981
In Ronald Fischer I tried to capture what I see as a calm, collected, inner
complexity trapped in a skin of agitated bees. It is this juxtaposition that I
explore in the work.
3. Francis Bacon, artist, Paris, 11th April 1979
In Francis Bacon's portrait the dark, troubled inner-workings of his mind seem
to be painted across his face. I allow a suppressed rumbling expressive force to
break out later in this piece. Only to be interrupted by an angular, piercing
brutality.
4. Peter Orlovsky and Allen Ginsberg, New York, 30th December, 1963,
Contact book.
In Ginsberg and Orlovksy I wanted to capture a camp playfulness between these
two lovers coupled with a more serious sense of belonging together.
O Mark Simpson 2017
Beyond
Borders
PRS Foundation
Mark Simpson's new work has been commissioned
by the Gould Piano Trio with funding from the
PRS Foundation scheme 'Beyond Borders'.
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Mark Simpson was born in Liverpool in
1988. In 2006, aged 17, Mark became the
first ever winner of both the BBC Young
Musician and BBC Proms/Guardian Young
Composer of the Year Competitions. He
went on to read Music at St. Catherine's
College, Oxford, graduating with first class
honours, before undertaking postgraduate
studies in composition with Julian Ander-
son at the Guildhall School of Music and
Drama.
Mark Simpson
Now emerged as a major new voice, both
as a composer and clarinettist, in 2012
Mark was selected for representation by
YCAT and joined the BBC Radio 3 New
Generation Artist Scheme. He went on to
embark on a full publishing relationship with Boosey & Hawkes, and in 2014.
won a Borletti-Buitoni Trust Fellowship Award. He was also the recipient of
the 2010 Royal Philharmonic Society Composition Award, which led to the
premiere of a new ensemble work, Lethe, at the Royal Festival Hall, London.
In 2015 Mark was appointed Composer in Association with the BBC Philhar-
monic, a position he will hold for four years.
Times critic Richard Morrison said "Mark Simpson's oratorio The Immortal is
the most thrilling new choral work I have heard for years. At 26, what a
prospect he is".
Other recent commissions include sparks, which was premiered at the Last
Night of the Proms by the BBC Symphony Orchestra and Jiří
Bělohlávek; Exile for the National Youth Choirs at the Royal Albert
Hall; Salvator Mundi for the Choir of Christchurch Cathedral,
Oxford; Geysir for Britten Sinfonia and Night Music for cellist Leonard
Elschenbroich, first performed at the Wigmore Hall, London. His orchestral
work a mirror-fragment... received its London premiere with the BBC Sym-
phony Orchestra at the Barbican in April 2013.
Taken from https://marksimpsonmusic.com
INTERVAL
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Piano trio in D minor op 49
Last performed at HMS by the Fujita Piano Trio, March 22, 2010.
1 Molto allegro et agitato
2 Andante con moto tranquillo
3 Scherzo: Leggiero e vivace
4 Finale: Allegro quasi appassionato
Mendelssohn 1809-1847
Mendelssohn was fundamentally close to the eighteenth century in his use of
form and harmony. His engaging melodies and arpeggiated accompaniments.
derived from eighteenth century harmony define his style, and also suggest
'parlour' music with its classical figuration rather than the full-blown Romanti-
cism of Chopin and Liszt. In this instance he was writing for an instrument
which was fast gaining popularity in a domestic setting and no longer the sole
preserve of the wealthy aristocracy.
The first movement in D minor flows seamlessly from one idea to another, its
rich piano writing largely dominating the texture. Its two extended melodic
main ideas are treated in the manner of classical sonata form and they are
developed in the more turbulent central section. The opening theme returns in
the cello with a countermelody in the violin part, and the repeat is ever more
extravagant, ending in a blaze of decoration and embellishment.
A mood of exquisite relaxation permeates the second movement in B flat major
- a marked contrast to the driven nature and tension of the first. The opening
played by the piano could easily be a Song without Words, the two stringed
instruments almost just a pleasant addition to the movement, permitted to echo
the tunes which the piano initiates.
Whilst Mendelssohn manifests the classical spirit, his claim to true originality
is in the delicately poetic scoring of his Scherzo. Its gossamer light texture
echoes the unique style of his Midsummer Night's Dream fragile fairy music,
where the instrumental lines dart around with mercurial fleetness.
There is little respite for the pianist, pushed to the limits in the D minor Finale
with challenging and showy passage work. The cello and violin also have some
contrasting and expressive melodic material, but no-one could deny that this is
a work for the piano virtuoso, moving as it does with increasing pace towards a
brilliant and tumultuous conclusion.
Programme notes by C. Stanton
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Music Society News
Next concert - Michael Collins and the Brodsky Quartet
For our next concert, on January 29, 2018, we are welcoming the
return of Michael Collins with the Brodsky Quartet. They are playing
the Brahms and Mozart quintets and also the Shostakovich string
quartet no 11 in what is sure to be a very exciting evening. Don't miss
it!
Centenary Celebration Buffet Supper.
Please join us for this celebration on January 8th in the Creative Arts
Building at the university.
This is not a fund-raising event, but a social celebration for the Society.
We will be joined by The Mayor of Kirklees, a Deputy Lord Lieutenant
of West Yorkshire, and the Vice Chancellor of the University. There will
be a seated hot and cold buffet, with plenty of choice, and two musical
interludes, one classical, one popular.
This is a wonderful opportunity to meet other like-minded people who we
see at the concerts, but never talk to! Bring some friends and make up a
table.
Tickets priced at £20 to include a drink on arrival, are available from
Verity at the concert, or by post.
Numbers are limited and tickets must be purchased by December 15.
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Ocr'd Text:
Grappolo
italian ristorante
BROADBENT
nethertoncrossprinters
TRAR.
Huddersfield Music Society is very grateful to the businesses
and anonymous donors for financial assistance and advice and practical help,
without whom this Celebratory Centenary Season would have been impossible.
THE KEYS
RESTAURANT
COFFEE HOUSE
BOLSTER MOOR FARM SHOP
Quality Guaranteed
SY FOOTBALL LODOS NG 901,
Juncti in Fraternitate
'United in Brotherhood'
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Ocr'd Text:
Forthcoming Local Events
Philharmonic
ORCHEST
Huddersfield Parish Church
Sunday, December 10, 2017, 2:30
A varied afternoon concert to put you in the Christmas spirit, including
Torelli's trumpet concerto, Rosetti's concerto for two horns, Rimsky-Korsa-
kov's Capriccio Espagnol, Williams' Harry Potter Suite, Berlin's White
Christmas, and other Christmas music for audience participation.
Tickets, £10, are available through Kirklees box office, or at the door.
Accompanied children are very welcome and are FREE.
Saddleworth Concerts Society Wednesday, December 13, 7:30
Millgate Arts Centre, Delph, Saddleworth.
The Gildas String Quartet
Haydn
Adès
Ravel
String quartet op 74, No 1 in C major
"The Four Quarters" for String Quartet op. 28
String Quartet in F major
See www.saddleworthconcertssociety.org.uk for ticket details.
8
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Season's Performances
Monday 16 October 2017
ANGELA HEWITT (Piano)
J.S. Bach: Partita no 3 in A minor, BWV 827
Partita no 5 in G major, BWV 829
Partie in A major, BWV 832 Partita no 6 in E minor, BWV 830
Monday 6 November 2017
ATRIUM STRING QUARTET
Schubert: Quartet in A minor D.804 ("Rosamunde")
Shostakovich: String Quartet no 8 in C minor, op 110
Beethoven: Quartet in G major, op 18 no 2
Monday 4 December 2017
GOULD PIANO TRIO
Beethoven: Piano Trio in D major, op 70 no 1 (Ghost)
Mark Simpson: New work
Mendelssohn: Piano Trio no 1 in D minor, op 49
Monday 29 January 2018
MICHAEL COLLINS (Clarinet) AND BRODSKY QUARTET
Brahms: B minor Clarinet Quintet
Mozart: Clarinet Quintet
Shostakovich: String Quartet no 11 F minor, op 22
Monday 12 February 2018
SACCONI QUARTET
Suk: Meditation on the Old Czech Hymn "St Wenceslas"
Debussy: String Quartet in G minor
Beethoven: String Quartet in C# minor, op 131
Monday 12 March 2018
ANDREW BROWNELL AND BENJAMIN FRITH (Two Pianos)
Mozart: Sonata in D, K448
Brahms: Variations on a Theme of Haydn, op 56b
Debussy: En Blanc et Noir Gershwin: An American in Paris
Monday 23 April 2018
PRAZAK QUARTET
Smetana: String Quartet no 2 in D minor
Janacek: String Quartet no 2 "Intimate Letters"
Dvorak: String Quartet in C major, op 61
NB This schedule is published good faith but we reserve the right to alter the artists or
programme for any concert should circumstances beyond our control make this necessary.
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Ocr'd Text:
HUDDERSFIELD
MUSIC SOCIETY
17
LL
WT.
CENTENARY SEASON
2017 - 2018
St. Paul's Concert Hall, Queensgate
Monday 7.30pm
www.huddersfield-music-society.org.uk
Registered Charity 529340
President: Stephen Smith
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Ocr'd Text:
Secretary
David Allsopp
Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk
Committee
President
Stephen Smith
Vice President
P Michael Lord
Alastair Cridland
34, Hoyle Ing, Linthwaite, Huddersfield. HD7 5RX
Tel: 01484 845407 Email: alastair@cridland.net
ARTS
Treasurer
Tel: 01484 845407 Email: verity@cridland.net
and
COUNCIL
Membership Secretary
Verity Cridland
John Bryan, Helen Howden, Joe Kerrigan,
Hilary Norcliffe, Christine Stanton,
Christine Stead, Julian Rushton,
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated.
ENGLAND
The Society is grateful for financial help from our donors.
which makes this series possible,
and for practical assistance with our database
from Hilary Norcliffe, Society Archivist.
14
Making
Music
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Huddersfield Music Society
Brodsky Quartet with
Michael Collins (clarinet)
Kindly sponsored by
Thomas Broadbent & Sons Ltd
St Paul's Hall
Monday 29 January 2018
у см
CELEBRATING
السلسلة
♡
BROADBENT
Separation Technology
150 YE
YEARS
established 1864
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Daniel Rowland - violin
Ian Belton - violin
Paul Cassidy - viola
Jacqueline Thomas - cello
Brodsky Quartet
The Brodsky Quartet was formed in 1972 by a brother and sister and a couple
of their friends at college. During their career of more than 45 years they have
played around the world as well as around the UK performing at more than
3000 concerts. They are often on the radio and have made over 60 recordings.
Besides the classical repertoire of quartets by Schubert, Beethoven, Tchaiko-
vsky, Britten, Schoenberg, Zemlinsky, Webern and Bartok they have twice
recorded the complete cycle of Shostakovich quartets for which they are
particularly admired.
In addition to the classical works they have had many collaborations with
performers and composers from other musical fields including Elvis Costello,
and Sir Paul McCartney with whom they performed at a concert in St James'
Palace in the presence of Prince Charles, and later for the Memorial Concert of
Linda McCartney. Other modern composers have not suffered, and the group
are keen to encourage more works for the string quartet, with or without the
addition of other instruments and voices.
Daniel Rowland plays a violin made by Lorenzo Storioni of Cremona in 1793;
Ian Belton's violin is by Gio. Paolo Maggini c.1615; Paul Cassidy plays on La
Delfina viola, c. 1720, courtesy of Sra. Delfina Entrecanales; Jacqueline Thomas
plays a cello made by Thomas Perry in 1785.
Michael Collins
Michael Collins needs no introduction to regular members of the Music Society.
Since winning the woodwind section of the BBC Young Musicians Competi-
tion in 1978 he has pursued a high level career as one of the leading clarinettists
of his generation. He has performed for the society several times before, most
recently in January 2014 when he played with his regular accompanist, the
pianist Michael McHale.
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String Quartet no 11 in F minor op 122
Last performed at HMS by the Cassia Quartet, January 23, 2017
1
2
3
4
5
6
7
Introduction - Andantino
Scherzo - Allegretto
Recitative - Adagio
Étude - Allegro
Humoresque - Allegro
Elegy - Adagio
Finale - Moderato
Shostakovich 1906-1975
Shostakovich's eleventh quartet was dedicated to the memory of his friend,
Vasili Shirinsky, second violinist and co-founder of the Beethoven Quartet,
who had died at the age of 65 in 1965. The composer did not begin writing
string quartets until after completing five symphonies and it may also be helpful
to remember that he had also written a vast quantity of film music when this
work was composed. His later quartets tend to be much more bleak and
minimal, (perhaps evocative of the late quartets of Beethoven) reflecting the
terrors of living in Stalin's Russia.
Like many of his other later works, this quartet has a set of shorter movements
with descriptive titles, played without a break. In contributing to the whole work
the units are often thematically linked; for instance the opening theme is heard
in a darker form in the Elegy, and the finale in recalling the Scherzo, Étude and
Humoresque.
From the outset the hopelessness of Shostakovich's world is presented through
sparse textures and angular melodic lines which together create harmonic
dissonance. Gentle throbbing chords, finally captured in a single repeated note
from the viola, move towards the second movement, which is powered by a
childlike and repetitive theme. The third movement, highly rhetorical in style,
explodes in frenzied motifs accompanied by harsh and sustained harmonies.
Both fourth and fifth movements are built upon ostinato patterns, the former
being a fast chromatic run from second violin and the latter a slower two-note
ostinato. This last dies away to the insistent bass line of the sixth movement, a
funeral march evoking darkness and despair. Anguished and impassioned solos.
abound as the music proceeds into a muted epilogue. It recalls the repetitive
Scherzo theme against a sustained single bass note. Noteworthy is the striking
change in the harmonies which move in parallel lines near the end, perhaps an
indication of some hope in, for the composer, a precarious world.
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Clarinet Quintet in A major, K 581
Last performed at HMS by the Sacconi Quartet and David Campbell, January 15, 2007
1 Allegro
2 Larghetto
3 Menuetto
4 Allegretto con variazioni
Mozart 1756-1791
This work was completed in 1789 as the result of Mozart's friendship with
Anton Stadler, accomplished clarinettist and member of the Viennese court
orchestra. Mozart's choice in combining a clarinet with a string quartet was
original and his success in composing this clarinet quintet created a model for
later composers such as Brahms, Hindemith and Weber. He relished the clari-
net's tonal qualities, its potential to play solos like the other members of the
woodwind family and its expressive warmth in the middle register and versatil-
ity in an accompanying role in its lower register. In other words its timbre could
both blend with the strings and offer a wide colour spectrum as soloist.
From the calm string opening the clarinet emerges in graceful arpeggios,
moving to the minor key in its second theme. The strings sometimes play
harmonies beneath the clarinet melody but often they play contrapuntal lines in
conversion with the clarinet.
The clarinet opens the tranquil second movement with a suspended line of
hypnotic beauty above muted string harmonies, also using its lower voice to
comment beneath the strings. The embellishment is elegant, typical of Mozart's
operatic arioso style. Close to the end, chains of dissonances highlight the
emotion of the movement.
The stylish minuet of the third movement has two trios unusually, the second in
Ländler style. The clarinet is notably absent in the first, but it introduces a
seductive theme in the second which invites exchange and display from the
other instruments.
Another quasi-operatic theme is the basis for a set of four variations, the first of
which introduces more clarinet display. In the second the violin opens with a
solo, beneath which there is an interesting triplet motive in thirds from second
violin and viola. A curiously repetitive viola part lends an air of melancholy to
the mood of the third variation and, in the fourth, clarinet and first violin share
the spotlight. After a pause a peaceful Adagio recalls the sinuous clarinet lines
of the second movement. The final coda is a spritely and varied repeat of the
original theme.
INTERVAL
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Clarinet Quintet in B minor opus 115
Last performed at HMS by Quatuor Parisii and Michael Collins, March 7, 1994
1 Allegro
2 Adagio - Più lento
3 Andantino - Presto, non assai, ma con sentimento
4 Con moto
Brahms 1833-1897
The clarinet often takes the lead, yet its part is likewise enmeshed in the
intricate polyphonic fabric of the strings a texture exuding a melancholy
autumn mood, glowing darkly like a fire's embers.
-
Eva Blaskewitz 2013
Brahms produced three of his greatest works at the end of his life after declaring
his intention to 'relax' and stop composing at the age of 57. Like Mozart's, this
quintet was inspired by an individual player, in this case the glorious sound of
clarinettist Richard Mühlfeld in Meiningen in Southern Germany. Brahms
chose to compose his three final chamber works for the clarinet, including a trio
for piano, clarinet and cello, and two sonatas for clarinet and piano. The
potential for combining the distinctive instrumental tone colour of the clarinet
with strings seemed to inspire a fresh approach to his composing from Brahms.
The first movement is in extended sonata form which means that motifs recur
throughout. The opening is dark and intensely brooding in the key of B minor
but the entry of the clarinet brings a kind of serenity. The textures are often
intricate and richly romantic, the melodies rhapsodic and there are also mo-
ments of tranquillity. There is a particularly beautiful chorale-like passage in the
development where violin and clarinet reflect above a gently rhythmic under-
tow before a gradual return to the recapitulation with two violins playing the
opening clarinet theme.
5
For the tranquil second movement in B major the strings are muted. This has a
central section in B minor with a gypsy flavour in its improvisatory clarinet
solos which blossom and unfurl from the tremolo string texture. First violin and
occasionally cello also converse with the clarinet which rises to rest and pause
at the end.
The D major key of the third movement releases a pastoral mood with a new
freedom of melody. Instruments frequently combine in pairs and threes and it
moves to a new Presto section in duple time where the strings provoke witty
and swift comments from the clarinet.
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A wistful theme leads to a set of five variations in the fourth movement. The
first has a strong cello part and the second has a conspicuous syncopated
accompaniment from second violin and viola. The third variation, with engag-
ing violin and clarinet parts, is restrained and light textured, and the two
instruments continue to exchange short phrases in a radiant fourth. Back in the
triple time of the first movement with pizzicato cello part, the fifth variation
introduces a feeling of optimism. After a mysterious coda with reminiscences
of the first movement, the work finishes with two equivocal chords.
Programme notes by C. Stanton
Philharmonic
Holst
Bizet
Grieg
Stravinsky
Parry
ORCHEST
Conductor
Compere
RA
An afternoon concert designed to introduce children, of all ages, to the joys
of live classical music while entertaining the more senior members of the
family. Bring your children and grandchildren to our family friendly concert
of the year.
Huddersfield Town Hall
Sunday February 11, 2:30
Mars - The Bringer of War (from The Planets Suite)
Excerpts from Carmen, including the Toreador Song
In the Hall of the Mountain King (Peer Gynt Suite)
Danse Infernale (from The Firebird)
Jack's the Lad (Hornpipe from Fantasia on Sea Songs)
and other pieces from the BBC's Ten Pieces Concept
Robert Guy
Thom Meredith
Tickets, £10 to £15, children and students £5, are available through Kirklees
box office, the information centre in the library, on-line, or at the door.
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Music Society News
Left to right: the Mayor's Consort,
Professor John Bryan, the Mayor,
Stephen Smith, President of the Music
Society, the Deputy Lieutenant, and the
Deputy Vice Chancellor of the University
Some sixty people attended a fine buffet supper on January 8th in the presence
of a Deputy Lieutenant of West Yorkshire and Her Worship the Mayor of
Kirklees to celebrate this centenary season of the society. We are grateful to the
university for allowing us to use the atrium of the Creative Arts Building which
was beautifully laid out by the university's catering staff. A most enjoyable
evening was had by all. Special thanks are due to Jonathan Fisher who played
pieces by Bach, Chopin and Gershwin in between courses and to Jane Fielding
and David Allsopp who serenaded us at the end.
Today's concert marks the halfway point of the season. Our next concert in only
two weeks time is a welcome return of the Sacconi Quartet who have played for
us several times since they launched their careers in 2001. They are now
established as one of the leading British quartets with a worldwide reputation
for their fresh and imaginative approach.
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Halifax Philharmonic Club
Square Chapel Arts Centre, Halifax
Other Local Events
Amy Harman - bassoon
Adam Walker - flute
James Baillieu - piano
Beethoven
Debussy
Poulenc
Dutillieux
Weber
Friday, February 9, 7:30
The Eblana String Trio
Trio in G major, WoO 37
Syrinx
Flute Sonata
Tickets, £19, concessions £17, students £5
available from the Square Chapel Box Office, telephone 01422 349422
Beethoven
Moeran
Mozart
Sarabande et Cortége for bassoon and piano
Trio in G minor
Saddleworth Concerts Society Wednesday, February 14, 7:30
Millgate Arts Centre, Delph, Saddleworth
Trio in D major, op. 9 no 2
Trio in G major
Divertimento in E flat, K563
See www.saddleworthconcertssociety.org.uk for ticket details
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Grappolo
italian ristorante
Yo
nethertoncrossprinters
BROADBENT
Huddersfield Music Society is very grateful to the businesses
and anonymous donors for financial assistance and advice and practical help,
without whom this Celebratory Centenary Season would have been impossible.
D
BOLSTER MOOR FARM SHOP
Quality Guaranteed
THE KEYS
RESTAURANT
COFFEE HOUSE
FOOTBALL LOS08 a 981,
Juneti in Fraternitate
'United in Brotherhood'
S
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Season's Performances
Monday 16 October 2017
ANGELA HEWITT (Piano)
J.S. Bach: Partita no 3 in A minor, BWV 827
Partita no 5 in G major, BWV 829
Partie in A major, BWV 832 Partita no 6 in E minor, BWV 830
Monday 6 November 2017
ATRIUM STRING QUARTET
Schubert: Quartet in A minor D.804 ("Rosamunde")
Shostakovich: String Quartet no 8 in C minor, op 110
Beethoven: Quartet in G major, op 18 no 2
Monday 4 December 2017
GOULD PIANO TRIO
Beethoven: Piano Trio in D major, op 70 no 1 (Ghost)
Mark Simpson: New work
Mendelssohn: Piano Trio no 1 in D minor, op 49
Monday 29 January 2018
MICHAEL COLLINS (Clarinet) AND BRODSKY QUARTET
Brahms: B minor Clarinet Quintet
Mozart: Clarinet Quintet
Shostakovich: String Quartet no 11 F minor, op 22
Monday 12 February 2018
SACCONI QUARTET
Suk: Meditation on the Old Czech Hymn "St Wenceslas"
Debussy: String Quartet in G minor
Beethoven: String Quartet in C# minor, op 131
Monday 12 March 2018
ANDREW BROWNELL AND BENJAMIN FRITH (Two Pianos)
Mozart: Sonata in D, K448
Brahms: Variations on a Theme of Haydn, op 56b
Debussy: En Blanc et Noir Gershwin: An American in Paris
Monday 23 April 2018
PRAZAK QUARTET
Smetana: String Quartet no 2 in D minor
Janacek: String Quartet no 2 "Intimate Letters"
Dvorak: String Quartet in C major, op 61
NB This schedule is published good faith but we reserve the right to alter the artists or
programme for any concert should circumstances beyond our control make this necessary.
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HUDDERSFIELD
MUSIC SOCIETY
WT.
CENTENARY SEASON
2017 - 2018
St. Paul's Concert Hall, Queensgate
Monday 7.30pm
www.huddersfield-music-society.org.uk
Registered Charity 529340
President: Stephen Smith
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Secretary
David Allsopp
Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk
Committee
President
Stephen Smith
Vice President
P Michael Lord
Alastair Cridland
34, Hoyle Ing, Linthwaite, Huddersfield. HD7 5RX
Tel: 01484 845407 Email: alastair@cridland.net
ARTS
Treasurer
Tel: 01484 845407 Email: verity@cridland.net
and
COUNCIL
Membership Secretary
Verity Cridland
John Bryan, Helen Howden, Joe Kerrigan,
Hilary Norcliffe, Christine Stanton,
Christine Stead, Julian Rushton,
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated.
ENGLAND
The Society is grateful for financial help from our donors
possible,
and for practical ass fee
which makes this series ch
with
from Hilary
2x our
database
Archivist.
Making
Music
THE NATIONAL FEDERATION
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Huddersfield Music Society
Sacconi Quartet
Kindly sponsored by
Grappolo's Restaurant
St Paul's Hall
Monday 12 February 2018
Grappolo
italian ristorante
Lockwood
01484 513783
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Ben Hancox - violin
Hannah Dawson - violin
Robin Ashwell - viola
Pierre Doumenge - cello
Sacconi Quartet
The award-winning Sacconi Quartet is recognised for its compelling ensem-
ble, consistently communicating with a fresh and imaginative approach. The
Quartet have enjoyed a highly successful international career, performing
regularly throughout Europe, at London's major venues, in recordings and on
radio broadcasts. The Sacconi is Quartet in Association at the Royal College
of Music.
Formed in 2001 in the Royal College of Music, the Sacconi Quartet first
played for HMS in 2004 and has played for us several times since, each time
to considerable acclaim. Tonight's performance includes cellist Pierre Dou-
menge, replacing Cara Berridge who is on maternity leave. Pierre has played
in the quartet many times before including a long stint for Cara's first baby.
2017 saw the release of three new CDs by the Quartet. In Damascus, their CD
of music by Jonathan Dove included the title piece commissioned by the
quartet and featured Mark Padmore and Charles Owen. It hit the Classical
Top Ten and was chosen by Gramophone Magazine as their Recording of the
Month. Later in 2017 they released their complete recording of Graham
Fitkin's string quartets on Signum. Their CD of three of John McCabe's
quintets on NMC featuring the composer on piano in The Woman by the Sea,
horn player David Pyatt in the Horn Quintet written for him and the Sacconis,
and Roderick Williams in Silver Nocturnes, was also released. Many other of
their CDs are still available featuring works by Haydn, Beethoven, Men-
delssohn, Ravel, and Finzi among others.
The Sacconi Chamber Music Festival takes place in Folkestone in the third
weekend in May each year. It celebrated its tenth year in 2017 with sell-out
concerts and collaborations with Alasdair Beatson, Leon Bosch and Lavinia
Meijer. It is now firmly established among the UK's major chamber music
festivals, and attracts audiences from far and near for its vibrant atmosphere
and dynamic programming. 2018's festival will see Graham Fitkin as com-
poser in residence, and collaborations with the London Bridge Trio and others.
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Meditation on the old Czech hymn 'St Wenceslas', op 35a
Josef Suk 1874-1935
First performance at Huddersfield Music Society
Wenceslas was a Duke of Bohemia assassinated in 935. He was posthu-
mously declared to be a king and later adopted as a patron saint. When
Archduke Franz Ferdinand, heir to the throne of the Austro-Hungarian
Empire, was murdered in Sarajevo, Bosnia, on June 28th, 1914, Suk was
deeply affected by the incident heralding the start of World War One.
Clearly this cataclysmic event resonated for him with the historical tragedy
and resulted in this heartfelt piece for string quartet in 1914, using the
twelfth century chorale of St Wenceslas, patron saint of Bohemia as its
foundation. The chorale is still popular, often sung in Czech religious
services and was considered for a national anthem in 1918.
Suk himself was the second violinist of the Bohemia Quartet for 40 years
and a pupil of Dvorak, eventually marrying his daughter. He wrote less.
chamber music than Dvorak, his output comprising two quartets and three
short quartet pieces, of which this is one. The intense single movement is
roughly divided into three sections.
The first seven notes are those of the ancient chorale, stated by a muted
viola followed by the other instruments weaving in close legato counter-
point. With the introduction of pizzicato chords in the lower parts, repeated
triplet harmonies enter in the second violin part and the melodies become
wider-ranging as the music begins to build towards a new section. The first
violin is poised high and, as the volume and intensity build, mutes come off
and the speed increases. The music becomes passionate, its textures often
rich with repetition. Finally there is a return to the recognisable chorale tune
and the first violin rises again into its highest range above equally fervent
statements from the other instruments. The music broadens and draws
towards a quiet pianissimo ending on a shimmering major chord.
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String quartet in G minor, op 10
Last performed at HMS by the Cassia String Quartet, January 19, 2015
1 Animé et très animé
2
3
4
Assez vif. Très rhythmé
Très lent
Vif et agité
Claude Debussy 1862-1918
I am more and more convinced that music, by its very nature, is something
that cannot be cast into a traditional and fixed form. It is made up of colors
and rhythms. Debussy
Debussy's sole string quartet was first performed in Paris in 1893, defining
a threshold into a new twentieth century musical language. Its unique tonal
qualities and subtlety of colour characterise a fresh and unique idiom of
musical expression. His melodic lines are inventive, springing from their
own unconventional harmonies. Despite its contemporary language howev-
er, the quartet is structured in a four movement classical design.
The entire quartet springs from the rhythmic energy of its first theme and its
subsequent drama is the result of its evolvement in character, shape and
colour throughout the work, especially in the first movement.
The viola opens the second movement scherzo with a spirited version of this
main theme presented against pizzicato accompaniment. A contrasting
legato middle section seems redolent of the Eastern cultures with which
Debussy was fascinated, especially after his visit to the 1889 Exposition
Universelle, (a world fair held in Paris), where he was particularly inspired
by a Javanese gamelan orchestra.
A single viola line, again derived from the opening theme, introduces a
muted slow movement which is understated and expressive in its polypho-
ny. The melodic spotlight shifts between players as the movement builds
briefly to a restrained climax, then retreats though eloquent solos into
hushed compliance.
The last movement begins slowly with a solitary cello line which, joined by
the other instruments, creates singular effects with parallel and descending
chromatic lines. The original theme returns in spritely fashion, initially
played by the cello, and the final section is one of dazzling light and colour.
Its angular melodies contrast with more lyrical ones, and continually shift-
ing textures propel the movement towards an intoxicating conclusion.
INTERVAL
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1
String Quartet in C sharp minor, op 131
Last performed at HMS by the Herold String Quartet, February 9, 2009
1 Adagio ma non troppo e molto espressivo may
2 Allegro molto vivace
3 Allegro moderato
4 Andante ma non troppo e molto cantabile (Theme and variations)
5 Presto
6 Adagio quasi un poco andante
7 Allegro
Beethoven 1770-1827
The C sharp minor quartet was considered by Beethoven to be his greatest
work, written between 1825 and 1826. It was the only one of his final four
quartets to remain unperformed during his lifetime until his memorial
service. Composing it after the ninth symphony in 1824, the composer
moved to a more intimate form of expression with his late quartets. His
increasing deafness and personal difficulties affected him severely to the
point of contemplating suicide. Nevertheless, these late quartets display
astonishing eloquence and intensity as well as consummate craftsmanship.
The seven contrasting movements of this quartet are played without a break.
A solemn fugal opening serves as a meditative introduction, its independent
parts creating a shifting palette of harmonic colour. From within its contra-
puntal texture the allegro lilting major theme of an optimistic second
movement emerges. Its final two gentle D major chords turn to two arresting
forte chords in B minor, heralding a very brief third movement.
The fourth and central movement is a theme and variations, a form which
seemed to offer a depth of expression to Beethoven in his later years (for
example, the Diabelli variations for piano and the slow movement of the
opus 127 quartet). The D major theme is simple, initially shared by the two
intertwining violins. A first variation has a contrapuntal texture, whilst the
second contains a measured accompaniment, mostly in measured chords in
the inner parts. A third has a crisp rhythm with flowing melodic lines and
dissolves into a fugal Adagio fourth variation with a flowing texture. The
fifth variation displays a curious rhythmic unrest, due to its very short
phrases starting always on a weak beat. Repeated chords mark the start of
the sixth variation with later interruptions from a semiquaver cello motif.
Long first violin trills anticipate the final restatement of the original, but now
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altered theme.
After the central movement, three continuous movements complete the
work - the fifth movement, a wild Presto followed by the sixth, an intense
Adagio. With the intervention of an imperative three-note motive stated in
unison, the final movement begins. A recurring passage in dotted rhythms
is interspersed with contrasting episodes often in a major key, surely
Beethoven's representation of triumph over adversity.
Halifax Philharmonic Club
Square Chapel Arts Centre, Halifax
Fretwork
Programme notes by C. Stanton
Friday, March 2, 7:30
Asako Morikawa, Reiko Ichnise, Sam Stadlen, Emily Ashton, Richard
Boothby viols and Narrator
'The World encompassed': Sir Francis Drake's Circumnavigation of the Globe
Few ensembles can match the range of Fretwork's repertory which spans
the first printed music of 1501 in Venice to new music commissioned by the
group. The breadth of the repertoire has taken them all over the world in the
25 years since their debut and their recordings of the classic English viol
repertory - Purcell, Gibbons, Lawes and Byrd - have become the benchmark
by which others are judged. The consort has recently been awarded the
RPO Music Ensemble Award.
6
Tickets, £19, concessions £17, students £5
available from the Square Chapel Box Office, telephone 01422 349422
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1
5
J
7
S
e
ol
-k
Music Society News
Our next concert on March 12 is a rare opportunity, courtesy of the
University of Huddersfield, to hear a pair of matched concert grand
pianos.
E
Andrew Brownell and Benjamin Frith will be playing works from Mo-
zart through to Gershwin. You may recognise Ben Frith as he last played
for us only in December as a member of the Gould Piano Trio. Andrew
has also played for us previously, in 2009 and 2012, after taking second
prize in the 2006 Leeds International Piano Competition.
The Centenary celebrations have provided an excellent opportunity to
explore the Music Society archive and share some of its contents with a
wider audience. We are fortunate that so much exists, but there is always
space for more. If you have anything relating to the Society: pro-
grammes, tickets, flyers, newspaper articles, they will be gratefully
received and could make a significant contribution to the collection for
future audiences. Hilary Norcliffe, the Society Archivist, will be delight-
ed to discuss any aspect of the archive. Do contact her after the concert.
There are copies of the History of the Society and Centenary Snippets
still available should you wish to take them.
Saddleworth Concerts Society Wednesday, February 14, 7:30
Millgate Arts Centre, Delph, Saddleworth
The Eblana String Trio
Beethoven
Moeran
Mozart
Trio in D major, op. 9 no 2
Trio in G major
Divertimento in E flat, K563
See www.saddleworthconcertssociety.org.uk for ticket details
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8
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Grappolo
italian ristorante
Ta
nethertoncrossprinters
BROADBENT
Huddersfield Music Society is very grateful to the businesses
and anonymous donors for financial assistance and advice and practical help,
without whom this Celebratory Centenary Season would have been impossible.
THE KEYS
RESTAURANT
COFFEE HOUSE
O
BOLSTER MOOR FARM SHOP
Quality Guaranteed
ROSY FOOTBALL LODGS NG 9617
Juncti in Fraternitate
'United in Brotherhood'
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Season's Performances
Monday 16 October 2017
ANGELA HEWITT (Piano)
J.S. Bach: Partita no 3 in A minor, BWV 827
Partita no 5 in G major, BWV 829
Partie in A major, BWV 832 Partita no 6 in E minor, BWV 830
Monday 6 November 2017
ATRIUM STRING QUARTET
Schubert: Quartet in A minor D.804 ("Rosamunde")
Shostakovich: String Quartet no 8 in C minor, op 110
Beethoven: Quartet in G major, op 18 no 2
Monday 4 December 2017
GOULD PIANO TRIO
Beethoven: Piano Trio in D major, op 70 no 1 (Ghost)
Mark Simpson: New work
Mendelssohn: Piano Trio no 1 in D minor, op 49
A
Monday 29 January 2018
MICHAEL COLLINS (Clarinet) AND BRODSKY QUARTET
Brahms: B minor Clarinet Quintet
CUST
Mozart: Clarinet Quintet
Shostakovich: String Quartet no 11 F minor, op 22
Monday 12 February 2018
SACCONI QUARTET
Suk: Meditation on the Old Czech Hymn "St Wenceslas"
Debussy: String Quartet in G minor
Beethoven: String Quartet in C# minor, op 131
Monday 12 March 2018
ANDREW BROWNELL AND BENJAMIN FRITH (Two Pianos)
Mozart: Sonata in D, K448
Brahms: Variations on a Theme of Haydn, op 56b
Debussy: En Blanc et Noir Gershwin: An American in Paris
Monday 23 April 2018
PRAZAK QUARTET
Smetana: String Quartet no 2 in D minor
Janacek: String Quartet no 2 "Intimate Letters"
Dvorak: String Quartet in C major, op 61
NB This schedule is published good faith but we reserve the right to alter the artists or
programme for any concert should circumstances beyond our control make this necessary.
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HUDDERSFIELD
MUSIC SOCIETY
IL
1)
WT.
CENTENARY SEASON
2017 - 2018
St. Paul's Concert Hall, Queensgate
Monday 7.30pm
www.huddersfield-music-society.org.uk
Registered Charity 529340
President: Stephen Smith
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Secretary
David Allsopp
Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk
Committee
President
Stephen Smith
Vice President
P Michael Lord
Alastair Cridland
34, Hoyle Ing, Linthwaite, Huddersfield. HD7 5RX
Tel: 01484 845407 Email: alastair@cridland.net
ARTS
Treasurer
Membership Secretary
Verity Cridland
Tel: 01484 845407 Email: verity@cridland.net
and
John Bryan, Helen Howden, Joe Kerrigan,
Hilary Norcliffe, Christine Stanton,
Christine Stead, Julian Rushton,
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated.
COUNCIL
ENGLAND
The Society is grateful for financial help from our donors.
which makes this series possible,
and for practical assistance with our database
from Hilary Norcliffe, Society Archivist.
2
Making
Music
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Huddersfield Music Society
Andrew Brownell
Benjamin Frith
Rugby Football Lodge Concert
Anden Brownell
SOSY FOOTBALL LODGE NO. 1,
Juncti in Fraternitate
'United in Brotherhood
Brijuni Ind
St Paul's Hall
Monday 12 March 2018
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visibo Andrew Brownell bbuH
Benjamin Frith
The inspiration for tonight's
concert came from a discovery
that Andrew and Benjamin had
played together on a Pleyel
Double Piano of 1928. This
piano was the rather extravagant
whim of the French firm and
consisted of a large rectangular
instrument with a keyboard at both ends, each with its own set of strings.
Only a few were made and even fewer remain in a working condition. We
hope that you will enjoy tonight's concert played in a more conventional
manner.
Since his 2nd Prize finish at the 2006 Leeds International Piano Competition,
Andrew Brownell has played to enthusiastic audiences across North Americal
and Europe, and the press regularly remark on his musical integrity, beauty
of tone, and scholarly insight. Following his success in Leeds the Society
invited him to play in 2009 and he returned in 2012. In addition to his busy
performance schedule he is an assistant professor at the Butler School of
Music, The University of Texas at Austin.
Benjamin Frith was encouraged by his teacher, Fanny Waterman, to pursue
a musical career after winning the UK Dudley National Piano Competition
at 14. He has since recorded 17 solo discs and performed with many of the
great orchestras and conductors. At 20 he became a Mozart Memorial Prize
winner and was invited by Sir Peter Pears to appear at the Aldeburgh
Festival. He achieved international recognition by sharing top prize in the
1986 Busoni International Piano Competition, and 1st prize in the 1989
Arthur Rubinstein International Piano Masters Competition, making his
debut at the Edinburgh Festival in 1992 with Beethoven's Diabelli
Variations. He has played for the Society many times as a soloist and, in
1998, became a member of the Gould Piano Trio, who played for us last
December.
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S
d
:1
S
t
d
r
2
1
1,
a
y
y
y
f
e
1
2
e
1
e
9
S
i
n
st
Tonight's Programme
The history of the piano duet is as old as the piano itself and the repertoire
of works for piano duet or two pianos has also been increased by a large
number of valuable arrangements and transcriptions of major orchestral
works. Tonight's programme offers the opportunity to hear piano duos
from three centuries, each highlighting the potential of a changing instru-
ment through the years.
All of tonight's composers were pianists: Brahms realised his symphonies
at the piano, Debussy invented an entirely new and imaginative language
for it, and Gershwin was a jazz pianist and composer who emigrated to the
United States of America, entertaining high society with his sparkling
arrangements and improvisations. Mozart first exposed his talents as per-
former and improviser when he travelled to the courts of Europe as a child
with his sister. As a brilliant improviser, he could endlessly produce
graceful and stylish melodies and sparkling virtuoso passages to please his
audiences, as well as showing immense powers of memory; likewise
Gershwin, as an emigré, was taken to the hearts of wealthy and influential
society. Both Brahms and Debussy were virtuoso pianists who premiered
many of their own works.
The change in musical styles is easily discernible, as each piece reflects the
period in which it was composed, also revealing the response of pianist-
composers to the changing potential and popularity of the instrument. The
first two pieces, composed almost a hundred years apart, are part of the
same tradition: the last two, composed within ten years of one another,
highlight the individuality of two twentieth century composers working in
two vastly different musical environments.
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Sonata in D, K448
composed 1781
Last performed at HMS by Benjamin Frith and Peter Hill, March 5, 2001
1 Allegro con spirito
2 Andante
3 Molto allegro
Mozart 1746 - 1791
After a commanding opening an exuberant first subject theme predicts the
spirit of this popular work. It sparkles with the playful interchange of
themes throughout the first movement, changing to relaxed and extended
melody in the second. An equally effervescent third movement concludes
the duo, with captivating melodies and cascades of semiquavers exchanged
in breathtaking pianistic banter. Whilst achieving a perfect sonata in
Classical style, Mozart has created a work overflowing with vitality.
Haydn Variations, op 56b composed 1873
Last performed at HMS by the Scott Brothers piano duo, October 5, 2009
Best known as a set of orchestral variations, this arrangement was drafted
for piano duo by Brahms in 1873. Like Beethoven, he was adept at
composing disparate variations upon a basic theme, which in this case is a
simple harmonised melody of ten bars, played twice either side of a
modulating 'middle eight' section.
Brahms 1833 - 1897
The eight variations display rhythmic and harmonic variety, each present-
ing a different character. The first is in a flowing major key and the second
is a brief and forceful minor variation, where most phrases are character-
ised by an arresting sforzando chord. Number three returns to an imper-
turbable flowing major key and the fourth is in the wistful minor key. The
fifth exhibits a playful unpredictability in its accents and jabbing chords,
followed by a sixth variation which captures a sense of grandeur in its huge
chords. The lilting and intensely beautiful seventh is followed by a final
variation which is rapid and light.
INTERVAL
The finale is itself a set of variations, with the opening five bass notes
forming a ground bass to form a foundation for repetition with changing
texture and harmonies.
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7
)
En blanc et noir
composed 1915
Last performed at HMS by Benjamin Frith and Peter Hill, March 5, 2001
Debussy 1862-1918
1 Avec emportement (dedicated to Koussevitsky)
2 Lent. Sombre
3 Scherzando (dedicated to Stravinsky)
Debussy wrote many works for piano, or for two pianos as in this case.
Many have evocative titles, for example the Petite Suite for piano duet, the
Children's Corner suite and two sets of Images for solo piano. Tonight's
En blanc et noir is one of Debussy's last works, completed at the end of his
life when he was stricken with cancer. This final illness seemed to inspire
a creative urgency in him, resulting in his Études for piano, a sonata for
viola, flute and harp, and cello and violin sonatas.
This work is a sonata but in a different sense to the Mozart duo as it does
not adhere to any conventional structural rules in each movement. Com-
poser Ned Rorem once made a crucial observation about its musical style:
'This suite is formed not from broad strokes but from dozens of sparkling
mosaics, here glued together by an expert sense of keyboard writing'. In
other words, the music is like a series of kaleidoscopic sound pictures
skilfully linked together. Exotic elements of Debussy's style are detectable
in his mysterious chord progressions built from scales which were futuris-
tic, and enhanced by a growing range of piano sonorities.
The first movement is a waltz with images of war in its military sounding
motifs, increasing in speed and grandeur through its imaginative episodes.
The second was a highly personal movement and considered by the com-
poser to be the finest of the three. It was dedicated to his close friend
Jacques Charlot, who was killed in World War one. The bugle of war is
still present and there is a quote from the Lutheran chorale 'Ein feste Burg',
a symbol of Lutheran tradition. The third movement is one of sparkling
virtuosity, illustrating Debussy's belief in 'la règle de l'ouïe', (the rule of
hearing). It is, as always, a tribute to the sensual sounds produced from his
own imagination, in his own words, for 'mon plaisir'. This movement
perhaps demonstrates that twenty fingers can produce even more ravishing
sounds than just ten!
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An American in Paris
First performance at Huddersfield Music Society
composed 1925
Gershwin 1898 - 1937
'My purpose here is to portray the impression of an American visitor in
Paris as he strolls about the city and listens to various street noises and
absorbs the French atmosphere'.
George Gershwin
Gershwin's statement rings true and although the orchestral version was
premiered in 1929, the two piano arrangement is equally effective on
instruments which can access virtually an orchestral range of sounds to
illustrate a dramatic portrayal of the city. The arrangement which is the
composer's own was made early on, but it disappeared, only to be discov-
ered more than fifty years later and recorded for the first time by the
Labèque sisters in 1984. The duo piano arrangement is particularly apt, not
only in realising the piano's capacity for extended jazz chords, but in its
capacity for rhythmic effects in the varied and colourful work.
Gershwin wrote popular songs and shows but always considered himself
to be a serious composer. He had stayed in Paris hoping to study with
Nadia Boulanger and Ravel, but both rejected him on the grounds that any
attempt to guide his composing would interfere with his already estab-
lished and very individual style. This work elicits the listener's imagination
in its two main contrasting sections, reflecting Paris by day and by night,
with accompanying distinctive sounds such as the Parisian taxi horns.
Programme notes by C. Stanton
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7
n
d
Music Society News
We are proud and very excited to reveal the concerts for next season which
are listed on separate sheets available from the programme sellers. For the
first time for several years we have been able to agree the pieces to be
played with the performers at this early stage. It is perhaps inevitable that
we will be asked to accept some changes as time passes although we try to
keep these to the minimum. We will be producing the usual brochure to
gain maximum publicity in due course. We are sure that you will agree that
the season challenges the quality and variety of this Centenary Season.
The committee have decided to keep the ticket prices the same at £105
which is a saving of 25% on the single tickets and we will give a free
'guest' ticket for the third and fifth concerts. The tickets are on sale before
the start of this concert and in the interval and will be on sale during the
next concert. Please remember to bring your cheque books with you!
Halifax Philharmonic Club
Square Chapel Arts Centre, Halifax
Ensemble 360
Poulenc
Wagner
Elgar
Sextet for piano and wind op. 100
Siegfried Idyll
Piano Quintet in A minor op.84
Friday, March 23, 7:30
Ensemble 360 was formed in 2005 and is based at 'Music in the Round' in
Sheffield. The ensemble is truly international with players from across
Europe and in its usual makeup consists of five string, five wind players and
a pianist. Outside Ensemble 360 the musicians all have highly successful
careers holding principla positions in orchestras. such as the Deutsche
Kammerphilharmonie, English National Opera, London Philharmonic Or-
chestra, Camerata Bern, Royal Scottish National Orchestra and Manchester
Camerata. They have performed as chamber musicians and soloists at
many of the top venues and festivals across the UK as well as Europe,
America and Japan.
Tickets, £19, concessions £17, students £5
available from the Square Chapel Box Office, telephone 01422 349422
7
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spo
Slaithwaite
Philharmonic
Orchestra
Conductor
Leader
Bassoon
Slaithwaite Philharmonic Orchestra
The Symphony Orchestra of the Colne Valley
Saturday, 14 April, 7.30 pm
Huddersfield Town Hall
Benjamin Ellin
Michele Northam
Vicki Chandler
Bassoon Concerto in E minor
Symphony No 4 (Italian)
Vivaldi
Mendelssohn
Tchaikovsky Symphony No 4
Fate knocks on the door in Tchaikovsky's 4th Symphony. Univer-
sally popular and both devastating and euphoric this, along with
Mendelssohn and Vivaldi, should bring about a fresh energy for the
Spring and Summer of 2018.
Tickets, £12.50 to £18.50, concessions £9.50 to £10.50, are available through
Kirklees box office, the information centre in the library, on-line, or at the door.
www.spo.org.uk
Saddleworth Concerts Society
Millgate Arts Centre, Delph, Saddleworth
Wednesday, March 21, 7:30
The RNCM Sing Opera and Musicals
Four vocal students and piano accompanist from the Royal Northern Col-
lege of Music perform operatic extracts and arias, and songs from the shows
in a concert which is sure to have something to please everyone.
See
www.saddleworthconcertssociety.org.uk
for ticket details
8
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Grappolo
italian ristorante
#
nethertoncrossprinters
BROADBENT
Huddersfield Music Society is very grateful to the businesses
and anonymous donors for financial assistance and advice and practical help,
without whom this Celebratory Centenary Season would have been impossible.
THE KEYS
RESTAURANT
COFFEE HOUSE
D
BOLSTER MOOR FARM SHOP
Quality Guaranteed.
GIORY FOOTRALL LOGOF ND FIE
Juncti in Fraternitate
'United in Brotherhood'
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Season's Performances
Monday 16 October 2017
ANGELA HEWITT (Piano)
J.S. Bach: Partita no 3 in A minor, BWV 827
Partita no 5 in G major, BWV 829
Partie in A major, BWV 832 Partita no 6 in E minor, BWV 830
Monday 6 November 2017
ATRIUM STRING QUARTET
Schubert: Quartet in A minor D.804 ("Rosamunde")
Shostakovich: String Quartet no 8 in C minor, op 110
Beethoven: Quartet in G major, op 18 no 2
Monday 4 December 2017
GOULD PIANO TRIO
Beethoven: Piano Trio in D major, op 70 no 1 (Ghost)
Mark Simpson: New work
Mendelssohn: Piano Trio no 1 in D minor, op 49
Monday 29 January 2018
MICHAEL COLLINS (Clarinet) AND BRODSKY QUARTET
Brahms: B minor Clarinet Quintet
Mozart: Clarinet Quintet
CBS
Shostakovich: String Quartet no 11 F minor, op 22
Monday 12 February 2018
SACCONI QUARTET
Suk: Meditation on the Old Czech Hymn "St Wenceslas"
Debussy: String Quartet in G minor
Beethoven: String Quartet in C# minor, op 131
11
Monday 12 March 2018
ANDREW BROWNELL AND BENJAMIN FRITH (Two Pianos)
Mozart: Sonata in D, K448
Brahms: Variations on a Theme of Haydn, op 56b
Debussy: En Blanc et Noir Gershwin: An American in Paris
M.P
Monday 23 April 2018
PRAZAK QUARTET
Smetana: String Quartet no 2 in D minor
Janacek: String Quartet no 2 "Intimate Letters"
Dvorak: String Quartet in C major, op 61
NB This schedule is published good faith but we reserve the right to alter the artists or
programme for any concert should circumstances beyond our control make this necessary.
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HUDDERSFIELD
MUSIC SOCIETY
17
LL
WT.
CENTENARY SEASON
2017 - 2018
St. Paul's Concert Hall, Queensgate
Monday 7.30pm
www.huddersfield-music-society.org.uk
Registered Charity 529340
President: Stephen Smith
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Secretary
David Allsopp
Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk
Committee
President
Stephen Smith
Vice President
P Michael Lord
Alastair Cridland
34, Hoyle Ing, Linthwaite, Huddersfield. HD7 5RX
Tel: 01484 845407 Email: alastair@cridland.net
ARTS
Treasurer
Membership Secretary
Verity Cridland
Tel: 01484 845407 Email: verity@cridland.net
and
John Bryan, Helen Howden, Joe Kerrigan,
Hilary Norcliffe, Christine Stanton,
Christine Stead, Julian Rushton,
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated.
COUNCIL
ENGLAND
The Society is grateful for financial help from our donors
which makes this series possible,
and for practical assistance with our database
from Hilary Norcliffe, Society Archivist.
Making
Music
м
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Huddersfield Music Society
Jans
Prazak Quartet
Conditiond
&
зов эрот
Kindly sponsored by an
anonymous donor in
memory of his late wife
dr
Jack M
аи
Michal Kau
St Paul's Hall
Monday 23 April 2018
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Prazak Quartet
Jana Vonášková, violin
Vlastimil Holek, violin
Josef Kluson, viola
Michal Kanka, cello
The Prazak Quartet-one of today's leading international chamber music
ensembles-was established in 1972 while its members were students at the
Prague Conservatory. Since then, the quartet has gained attention for its
place in the unique Czech quartet tradition, and for its musical virtuosity.
The 1974 Czech Music Year saw the Prazak Quartet receive the first prize
at the Prague Conservatory Chamber Music Competition. Within twelve
months their international career had been launched with a performance at
the 1975 Prague Spring Music Festival. In 1978 the quartet took the first
prize at the Evian String Quartet Competition as well as a special prize
awarded by Radio France for the best recording during the competition.
Further prizes were awarded at various other Czech competitions.
For more than 30 years, the Prazak Quartet has been at home on music
stages worldwide. They are regular guests in the major European musical
capitals and have toured extensively in North America. The Prazak Quartet
records exclusively for Praga/Harmonia Mundi which, to date, has released
more than 30 award-winning CDs in addition to numerous radio recordings
in France, Germany, the Netherlands, and the Czech Republic
In 2015 the Prazak Quartet, like the Janacek and Guarneri Quartets before
them, opened a new chapter in their career by turning to youth and welcom-
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ing as leader the excellent violinist, Jana Vonaskova. A graduate of the
Royal College of Music in London, she was a member of the Smetana Trio
for 9 years.
After two years of intensive study re-learning the repertoire in its new
line-up, the quartet has once again taken to the international stage with great
success. The spirit, freshness and agility of youth combine with the
extensive experience of the ensemble's founder-members to produce a
renewed sound and energy and a sense of unity and togetherness that is truly
remarkable. World tours to the United States and Japan and performances
in Europe have been greeted with enthusiasm and numerous invitations.
The quartet have played for the Huddersfield Music Society no less than ten
times since 1985 and we welcome the opportunity to hear them again under
their new leader.
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Quartet no 2 in D minor
Last performed at HMS by the Herold String Quartet, February 9, 2009
Bedřich Smetana 1824-1884
1 Allegro
2 Allegro moderato - Andante cantabile
3 Allegro non piu moderato, ma agitato e con fuoco
4 Presto - Allegro - Moderato allegro - con fuoco
This quartet was composed just over a year before the composer's death,
after Smetana had gone completely deaf. It contains "a whirlwind of music"
in his own words. Its vigour is extraordinary for a man so close to the end
of his life and it shows his impeccable and operatic sense of timing. The
work also has resonances with Beethoven's opus 131 in that its content
reflects the inner conflict which had dominated the composer's life since
the start of his illness.
There are two contrasting passages at the start of the first movement - an
arresting triplet opening passage which precedes a section of extraordinary
melodic and harmonic beauty. These two ideas provide the basis for much
development.
The second movement is a wonderfully boisterous polka with a contrasting
calmer section. The underlying passion emerges through its adroit counter-
point and nostalgia permeates its textures.
The composer's personal struggles with himself can be easily detected
behind the furious opening of the third movement, where the intensity
remains ever present, even in the quieter passages.
Brilliance and sentiment are combined in the last movement but Smetana
completes the quartet with a suitably defiant ending!
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Quartet no 2 'Intimate Letters'
Last performed at HMS by the Endellion String Quartet, February 23, 2009
1 Andante-Allegro
2 Adagio
3 Moderato
4 Allegro
Janáček's second string quartet was first performed a month after the
composer had died. As with his first quartet it was inspired by an obsessive
love for Kamila Stösslová, a married woman who was thirty eight years his
junior. She became his muse for the last decade of his life but it appears to
have been a one-sided relationship, albeit one that aroused powerful feel-
ings in the composer, inspiring immense creativity. Both string quartets are
therefore highly personal and emotional works and this one was composed
in the last year of his life. During this period Janáček found time to compose
the ever-popular works of the Glagolitic Mass and the Sinfonietta.
Janáček 1854 - 1928
The work is divided into four movements and its flexible melodic lines
reflect the composer's strong alliance with the countryside. Their essence
recalls his fascination with speech idioms and language, and his absorption
with the sounds of nature. His colourful twentieth century harmonic lan-
guage is moulded from the essential characteristics of folk music, often
employing modality but still retaining a fundamental tonal feel.
The quartet has a motto which is presented at the start and used for
development in all the movements, each having its own free and extended
form and moving beyond the conventional structures of quartet writing.
Janáček's unique and expressive textures, his individual melodic ideas and
personal emotions replace the classical reliance on the rigour of form. The
viola plays a prominent part, for example, in the opening melody of the
second movement. (Janáček originally wished to use a viola d'amore but
instead he often marks the part sul ponticello (play as closely as possible to
the bridge), the result being an idiosyncratic thin and brittle tone.
Of the third movement Janáček wrote to Kamila, "Today I have succeeded
in writing a piece in which the earth begins to tremble... Here I can find a
place for my most beautiful melodies", and of the Finale, "It shall reflect
the anguish I feel about you".
INTERVAL
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String quartet in C major, op 61
First performance at Huddersfield Music Society
1 Allegro
2 Poco adagio e molto cantabile
3 Scherzo: Allegro vivo
4 Finale: Vivace
Dvorak 1841 - 1904
Following the tradition of string quartet style after Beethoven and Schubert
was never going to be easy but Dvorak achieved it with some success,
adapting his lyrical spontaneity to work within the broad principles of a
classical structure, much as did Brahms before him. Dvorak was befriended.
and championed by the older composer, who similarly had found a way to
accommodate his personal romantic style within classical forms.
Dvorak composed much chamber music throughout his life, and this, one
of his most significant quartets, was completed in 1881 and first performed
by the Joachim quartet in Berlin. Neither did he abandon his innate Czech
musical traditions and styles in achieving a compromise; in this work they
are mostly in evidence in the third movement trio and the Finale.
In the first movement, the opening phrase of the first subject rises in C
major and its triplet and dotted note rhythms are fundamental to the rest of
the movement. The accompanying triplet pedal notes in viola and cello bear
this out, and the dotted rhythms lead to a smoother and more lyrical second
subject. Dvorak extends and develops these themes with the mastery of a
classical composer, retaining the integral sense of drama but with an
additional rich harmonic inventiveness and visits to remote keys. In the
spirit of the classical quartet there is an equal exchange of ideas between the
four parts.
The beguiling violin duet at the start of the second movement would have
done Beethoven credit. Its flowing and intimate lyricism is supported by
calm triplet arpeggios in the lower parts. The delicate tracery of the voices
intertwine tirelessly, coloured by an evolving keyscape.
A rising theme within a flurry of triplets is introduced by the viola and,
punctuated with pizzicato articulation, immediately confirms the playful
features of a scherzo. This effervescent third movement conveys excite-
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ment, its lively character followed by a contrasting and gentler trio in A
major which reflects the composer's admiration for Schubert. Influences of
folk music are also revealed in the simple repetition of phrases, use of
harmonics and simple rhythmic ideas.
The final movement sets off in a crisp duple rhythm, apparently a simple
and uncomplicated dance movement reflecting Dvorak's heritage. But as
with the other movements, it has a rigour and shape which confirm its
Austrian and German roots of string quartet writing and which connect with
the composers who originally invented and nurtured the genre.
Programme notes by C. Stanton
DERSFIELD
Philharmonic
aan H
Stravinsky
Walton
Conductor
Soloist
CCH
ORCHEST
A
Firebird Suite
Belshazzar's Feast
Huddersfield Town Hall
Saturday 28 April 2018, 7.30
Robert Guy
Stuart Orme - baritone
HUDDERSFIELD
CHORAL SOCIETY
Stravinsky's sparkling ballet music was commissioned by Diaghilev
in 1913 for the Paris-based Ballet Russe. This is followed in the
second half by Walton's dramatic cantata Belshazzars's Feast for
which we are joined by Huddersfield Choral Society.
Tickets, £15 to £20, children and students £5, are available through Kirklees
box office, the information centre in the library, on-line, or at the door.
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Music Society News
As this is the last concert of the season may we take the opportunity to
thank you for your support. It is a delight to see so many of you attend
the concerts together with so many visitors. Your continued support will
ensure that the society will continue to provide top quality chamber
music for many years to come.
Lists of our concerts for next season are still available and we will be
sending out the brochures during the summer. We have kept the ticket
price for the seven concerts at £105 and are giving a free guest ticket to
each subscriber for the third and fifth concerts. Do please invite a friend
to make use of these tickets. It is one of the few ways in which we can
make people aware of the society. It is easy to live in Huddersfield for
many years without knowing that there is a professional chamber concert
series nearby. The tickets for next season are on sale before the concert,
and during the interval, and can be obtained afterwards from the treasurer
at the address in the front of this programme.
Best wishes for summer. We look forward to seeing you all in October at
the first concert of the one hundred and first season.
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BROADBENT
Huddersfield Music Society is very grateful to the businesse
sses
and anonymous donors for financial assistance and advice and practical help,
without whom this Celebratory Centenary Season would have been impossible.
A
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BOLSTER MOOR FARM SHOP
Quality Guaranteed
THE KEYS
RESTAURANT
COFFEE HOUSE
CIMRY FOOTBALL 109F NA Pit
NON IN PRAISEMITATE
'United in Brotherhood'
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Season's Performances
Monday 16 October 2017
ANGELA HEWITT (Piano)
J.S. Bach: Partita no 3 in A minor, BWV 827
Partita no 5 in G major, BWV 829
Partie in A major, BWV 832 Partita no 6 in E minor, BWV 830
Monday 6 November 2017
ATRIUM STRING QUARTET
Schubert: Quartet in A minor D.804 ("Rosamunde")
Shostakovich: String Quartet no 8 in C minor, op 110
Beethoven: Quartet in G major, op 18 no 2
Monday 4 December 2017
GOULD PIANO TRIO
Beethoven: Piano Trio in D major, op 70 no 1 (Ghost)
Mark Simpson: New work
Mendelssohn: Piano Trio no 1 in D minor, op 49
Monday 29 January 2018
MICHAEL COLLINS (Clarinet) AND BRODSKY QUARTET
Brahms: B minor Clarinet Quintet
Mozart: Clarinet Quintet
Shostakovich: String Quartet no 11 F minor, op 22
Monday 12 February 2018
SACCONI QUARTET
Suk: Meditation on the Old Czech Hymn "St Wenceslas"
Debussy: String Quartet in G minor
Beethoven: String Quartet in C# minor, op 131
Monday 12 March 2018
ANDREW BROWNELL AND BENJAMIN FRITH (Two Pianos)
Mozart: Sonata in D, K448
Brahms: Variations on a Theme of Haydn, op 56b
Debussy: En Blanc et Noir Gershwin: An American in Paris
M.P
Monday 23 April 2018
PRAZAK QUARTET
Smetana: String Quartet no 2 in D minor
Janacek: String Quartet no 2 "Intimate Letters"
Dvorak: String Quartet in C major, op 61
NB This schedule is published good faith but we reserve the right to alter the artists or
programme for any concert should circumstances beyond our control make this necessary.