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HUDDERSFIELD
MUSIC SOCIETY
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WT
Founded 1918
2018-2019
St Paul's Hall, Huddersfield
All concerts start at 7.30 pm
Given in association with the
"Music at the University of Huddersfield"
Evening Concert Series
www.huddersfield-music-society.org.uk
Registered Charity 529340
President: Stephen Smith
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Monday 15 October 2018
Consone String Quartet
A London based quartet
performing on period instruments.
Haydn: Quartet in D minor op 42
Fanny Mendelssohn: Quartet in E flat major
Haydn: Quartet In D minor op 103 (unfinished)
Felix Mendelssohn: Quartet in E minor op 44 no 2
Monday 5 November 2018
Centenary Concert
Bridge String Quartet, Charles Daniels
(Tenor), Michael Dussek (Piano)
Butterworth: Suite for String Quartet
Butterworth: Songs from A Shropshire Lad
Gurney: Three songs
Elgar: Piano Quintet in A minor op 84
Vaughan Williams: On Wenlock Edge
Monday 10 December 2018
New World Ensemble
A select group of musicians, who are
affiliated to the Orchestra of Opera North.
New World
Ensemble
Haydn: String Quartet in D major op 64 no 5
"The Lark"
Webern: Langsamer satz. (1905) for String Quartet
Schubert: Octet in F major D803
Monday 14 January 2019
Victoria String Quartet
The Victoria String Quartet is a recently formed
group made up of experienced performers
who all teach at the RNCM.
Mozart: Quartet in E flat major K428
Kodály: Quartet no 2 op 10
Brahms: Quartet in A minor op 51 no 2
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Monday 25 February 2019
Solarek Piano Trio
Marina, Miriam and Diana have made it their
mission to give women composers a platform.
Amy Beach: Trio in A minor op 150
Rebecca Clarke: Trio (1923)
Brahms: Trio in C major op 87
Monday 11 March 2019
Allegri String Quartet
The Allegri Quartet is a very well established
British ensemble.
M
Mozart: Quartet in B flat major K458 "The Hunt"
Szymanowski: Quartet no 1 in C major op 37
Beethoven: Quartet in E flat major op 127
HUDDERSFIELD
MUSIC SOCIETY
[
WT
Founded 1918
2018-2019
Booking form
(to be detached)
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BOOKING ARRANGEMENTS
Subscriber Ticket
Single Concert Ticket
Student Season Ticket
Single Student Ticket
Tickets for individual concerts can be obtained
at the door, from the above address or
using the link on our website
www.huddersfield-music-society.org.uk
Please post this form with a cheque payable to
Huddersfield Music Society
for
Quarry House, Hoyle Ing, Linthwaite
Huddersfield HD7 5RX
Email: hudds_music_soc@yahoo.co.uk
TICKETS
Please send ............ subscriber tickets
Please send ............ single concert tickets
Name
Address
Postcode
Email
BOOKING FORM
I enclose cheque
£105
£20
£20
£5
Telephone
Total £
(dates)
We are unable to accept credit cards.
Your contact details will only be used in connection with the Society and will not be
passed on to a third party. Please read the Privacy Policy on our website.
Monday 8 April 2019
Florilegium
(flute/recorder, oboe, violin, cello, harpsichord)
Florilegium, an early music ensemble based in London,
makes a welcome return visit to Huddersfield.
ww
Les nations
Telemann: Quartet in G from Tafelmusik Part 1
Rameau: Pièce de clavecin en concert no 5
Vivaldi: Concerto in G minor RV40
JC Bach: Quintet in D major
Vivaldi: Cello Sonata in E minor RV107
Telemann: Concerto a Quattro in A minor
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)
and the Countess of Munster Trust.
NB This brochure is published in good faith
but we reserve the right to alter the artists
or programme for any concert
should circumstances beyond our control
make this necessary.
Please check the Society's website
www.huddersfield-music-society.org.uk
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Subscriber Ticket
Single Concert Ticket
Student Season Ticket
Single Student Ticket
TICKETS
Subscriber tickets may be obtained from
Quarry House, Hoyle Ing, Linthwaite
Huddersfield HD7 5RX
or on the door at the first concert.
Tickets for individual concerts can be obtained at
the door, from the above address or online using
the link on our website
NEW NOR
www.huddersfield-music-society.org.uk
NORTH
T: BANCHESTED
NOUVIS
UD
Soa
MASZ MANCHEFUCECIL
RAILWAY STATION
Son OOL
3900
30
1008/
00000
1
CAR PARK
165 CHAP
£105
£20
£20
£5
JESUS ADES
RATHGATE
TO LEEDS
LEEDKS ROAD A02
TO WAKEFIELD
& SHEFFIELD
629 WAKKRED RO
ST. PAUL'S HALL
UNIVERSITY OF
HUDDERSFIELD
car park
Car parking is available in the Multi-Storey
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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HUDDERSFIELD
MUSIC SOCIETY
Founded 1918
17
L
WT.
2018-2019 Season
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
ARTS
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
Membership Secretary
Verity Cridland
Tel: 01484 845407 Email: verity@cridland.net
Treasurer
COUNCIL
Hilary Norcliffe (Society Archivist)
Helen Howden, Joe Kerrigan, Chris Robins,
Julian Rushton, Christine Stanton, Christine Stead
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated.
со
The Society is grateful for financial help from our donors
which makes this series possible,
ENGLAND
and
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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V
Huddersfield Music Society
Consone String Quartet
Elitse
Magdalena
Agata
George Har
St Paul's Hall
Monday 15 October 2018
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Consone String Quartet
"The textures were always clear and voice-leading immaculate."
The Strad
Agata Daraskaite, violin
Magdalena Loth-Hill, violin
Elitsa Bogdanova, viola
George Ross, cello
Formed at the Royal College of Music in London, the Consone Quartet
is dedicated to exploring Classical and Early Romantic repertoire on
period instruments. Winner of the 2016 Royal Over-Seas League Ensemble
Prize in London, Consone was also awarded two prizes at the 2015 York
Early Music International Young Artists Competition, including a place
on the 'EEEmerging' Emerging European Ensembles Scheme associated
with the Ambronay Festival in France and six other early music festivals
across Europe.
Recent highlights include an acclaimed debut at London's Wigmore
Hall, performances at Cadogan Hall, St James's Piccadilly, the Queen's
Gallery at Buckingham Palace, and at the Cheltenham, Brighton Early
Music, Lake District Summer Music, Buxton and King's Lynn Festivals,
as well as the Edinburgh Festival Fringe. The Consone Quartet is rapidly
gaining international recognition performing in France, Germany, Austria,
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Music Society News
Welcome to the first concert of the 101st season of the society. Details of
the concerts during the next seven months are on the back cover of the
programme, and on our website, and we are sure that you will not be
disappointed after the centenary season just completed. We have still one
more day to celebrate, the actual one hundredth anniversary of the first
concert in 1918. The Bridge Quartet are performing Vaughan Williams
On Wenlock Edge with Charles Daniels, tenor and Michael Dussek,
piano. A great treat!
A warm welcome too to those of you who have bought tickets for tonight.
We would be delighted to exchange them for season tickets so that the
remaining concerts cost only £14.17 each!
May we also remind you that our AGM is next Monday 22 October at
7:00 pm in the university. Season tickets holders have the chance to talk
to the committee and promote their favourite performers and pieces! We
hope to see you there.
Bulgaria, Slovenia, the Czech Republic, Belgium (AMUZ in Antwerp),
Italy, Switzerland and in spring 2018 they completed their debut tour to
South America performing across Bolivia and Peru.
The Consone Quartet's debut CD, featuring music by Haydn and
Mendelssohn, will be released on the Ambronay Label during the
Festival this month and will be followed by a London launch kindly
hosted by the Royal Over-Seas League in December.
The ensemble regularly collaborates with other musicians, such as the
Fitzwilliam String Quartet, members of the Hanover Band, Mahan Esfahani,
Gillian Keith, Jane Booth, Ashley Solomon, and Colin Lawson. Consone
participated in the "Brighton Early Music Festival Live!" mentoring
scheme and in a number of Chamber Studio masterclasses at King's
Place, London. In 2018 the quartet was selected to become a Concordia
Foundation Artist.
www.consonequartet.com
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String Quartet in D minor, op 42
Last performed at HMS by the Delmé String Quartet, January 20, 1986
1 Andante ed innocentemente
2 Menuetto: Allegretto
3 Adagio e cantabile
4 Finale: Presto
Haydn 1732 - 1809
Like opus 103, this is an isolated quartet and not part of Haydn's usual
set of three or six. It was composed in 1785 and there is some mystery
attached to its provenance, possibly commissioned by somebody in
Spain. It is one of Haydn's less familiar quartets and not often performed,
as the only performance for this society mentioned above bears out.
The first movement appears to be gentle and unassuming, reflecting its
title. But its construction is still masterful, evolving from the two motifs
of the opening theme. Their development is accomplished resulting in
expert polyphony where the motifs intertwine and overlap and the instru-
ment lines are often paired. The textures are uncluttered and parts easily
discernible to the ear.
A brisk and purposeful minuet strides forth to provide a contrasting
second movement with a shift to the minor key in the trio.
The melodic nature of the third movement is one of beauty, expansive in
its slowly unwinding phrases. The lower instruments also have an oppor-
tunity to take over the main melody, allowing the first violin to pursue a
high decorative part.
The bustling and purposeful final movement opens with two short motivic
ideas set against one another in fugal style. Contrasting to this are
affirmative passages of harmonic texture. In true Haydn style the bril-
liance of the writing lies in the vast range of development of the given
material through repetitive, imitative and sequential passages, and
through changing keys. The finish is unexpectedly self-effacing.
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String Quartet in Eb major
First performance at Huddersfield Music Society
1 Adagio non troppo
2 Allegretto - Scherzo
3 Romanze
4 Allegro molto vivace
Fanny Mendelssohn 1805-1847
Fanny Mendelssohn, sister to Felix, was denied the opportunity to pursue
composing as a career, and her brother was perhaps more critical of her
than he ought to have been, given the circumstances of their receiving the
same education. As a female her works were mainly confined to private
and domestic performance, for which reason she wrote many piano
pieces and songs. However, trained in the Classical tradition and admir-
ers of Beethoven's music, both possessed a very individual gift of
romantic expression. This quartet was composed in 1834.
A sighing theme in C minor opens the quartet and is followed by a second
musical idea, a rising motif which flows through all the parts. The speed
and mood are perhaps unexpected for an opening movement, communi-
cating a wistful state of mind and containing heartfelt pauses. Neverthe-
less the movement shows a real grasp for the disciplines of string quartet
writing at that time.
The faster second movement remains in a minor key and the light
rhythms of a scherzo feature pizzicato and repeated notes. This leads to
a sprightly semiquaver fugal theme in C major, led by the viola and
creating a central section of vigour and dramatic effect before a return to
the opening style.
The title of the third movement is appropriate - a sense of eloquent
yearning is revealed in its legato melodies throughout all four voices,
creating an atmosphere of rapt contemplation. The first violin part is
sometimes very high and rhapsodic.
The final movement in Eb major exhibits a particular lightness and
effervescence, a style in which both Fanny and her brother commonly
excelled. The continuous semiquaver scale passages demand a high
degree of agility and rapport from the players and the movement ends in
a mood of rapturous elation.
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String quartet in D minor, op 103
Last performed at HMS by the Fitzwilliam String Quartet, February 22, 1982
1 Andante grazioso
2 Menuetto ma non troppo presto
In 1795 Haydn returned from his travels in England to the employment of
the Esterházy family under his fourth employer, Prince Nicholas II. His
duties were lighter during his declining years but the court was some way
from Vienna and he must have felt isolated. The two movements of opus
103 in D minor turned out to be the final draft of this work, but were only
published after his death as an unfinished quartet. Originally it was intended
to be the third of the opus 77 set, but the fact that Haydn completed only
two of the usual six quartets shows he was slowing down.
Haydn 1732-1809
The gentle andante in B flat major, which was clearly destined to be the
slow movement, presents a directness of expression with which we are
familiar. It moves to a triplet-based middle section, circling through a wide
arc of modulations before returning home.
The minuet is of the old style, in which its minor key and a fiery turn in the
opening motif give it a restless character. The trio provides a contrast before
returning to the minuet.
This constitutes Haydn's final precious offering to humanity in the form
which he invented and made his own - two movements which continue to
validate his mastery.
Other Local Concerts This Week
Saddleworth Concerts Society
Millgate Arts Centre, Delph, Saddleworth
Clare Hammond, piano
Halifax Philharmonic Club
Square Chapel Arts Centre,
Notos Quartet
Haydn, Chopin, Debussy, Rachmaninov
Friday, October 19, 7:30
Wednesday, October 17, 7:30
6
Halifax
Schubert, Hans Gal, Brahms
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309
t of
His
way
pus
nly
ded
nly
he
re
de
he
re
m
to
30
String Quartet in E minor, op 44 no 2
Last performed at HMS by the Coull String Quartet, February 22, 2010
1 Allegro assai appassionato
2 Scherzo: allegro di molto
3 Andante
4 Presto agitato
Mendelssohn 1809-1847
Mendelssohn started work on his opus 44 string quartets during the course
of a blissful honeymoon in the Rhineland in the spring of 1837. Strangely,
however, this one in E minor seems to convey a restlessness and an
underlying anxiety in the first and last movements rather than expressing
feelings of contentment and joy. The two central movements are more like
interludes from the outer movements which are composed in a Classical
style, but defined by their passion and conflict.
The feeling of restlessness in the opening bars is represented in a syncopat-
ed accompaniment and the unsettled mood increases with following passag-
es of turbulent semiquavers. A calmer second subject in E major brings
temporary relief, but the tempestuous nature of the movement quickly
reasserts itself. Towards the end there is a brief return to the more tranquil
theme after which the movement concludes with panache.
The second movement has textures of a typically light scherzo, often known
as Mendelssohn's 'fairy' music. But it is not without some feelings of
disquiet and an inability to settle. There is a contrasting short trio-like
section of gentle melody accompanied by pizzicato notes from the cello.
The third movement abounds with extended lyrical melodies which seem
redolent of the composer's piano pieces 'Songs without Words'. The
rhapsodic beauty of the parts seem to surround the listener and accompany-
ing melodies entwine themselves around the main tune, lending harmonic
support to the beguiling lyricism.
Finally the Presto movement enters in a ferment of unrest. The clearly
distinguishable individual parts of the counterpoint confirm the composer's
admiration for Bach, whose technique he studied rigorously and whose
works were again achieving public recognition, almost entirely due to
Mendelssohn's revival of them. With scarce relief from its agitato marking,
the music hurtles towards a dramatic and breathtaking finish.
Programme notes by C. Stanton
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BRITTEN
WAR REQUIEM
Conductor
Robert Guy
Soprano
Rachel Nicholls
Tenor
Joshua Ellicott
Bass Baritone Matthew Brook
Described in the Sunday Times as the prom that was the most moving of
the season with an interplay of forces managed by Britten with pure genius
at one with his invention of such searing memorable material, this is another
chance to hear the Requiem with the Huddersfield Choral Society, who
performed it in the Albert Hall in September.
Produced in collaboration with the Office of the Mayor of Kirklees, to
commemorate the anniversary of the armistice on the very day it was
signed, the performance includes the New Sinfonia chamber orchestra and
members of local youth choirs. Profits will go to The Royal British Legion.
Sunday, November 11, 3.30pm in Huddersfield Town Hall
Tickets, £22 to £32, children and students £5, are available through Kirklees
box office (01484 225755 or www.tickets.kirklees.gov.uk)
HUDDERSFIELD
CHORAL SOCIETY
8
H
ODERSHIELD
Philharmonic
ORCHESTRA
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Season's Performances
15th October 2018
CONSONE STRING QUARTET
Haydn: Quartet in D minor op 42
Fanny Mendelssohn: Quartet in E flat major
Haydn: Quartet in D minor op 103 (unfinished)
Felix Mendelssohn: Quartet in E minor op 44 no 2
5th November 2018
CENTENARY CONCERT
BRIDGE STRING QUARTET, CHARLES DANIELS (Tenor), MICHAEL DUSSEK (Piano)
Butterworth: Suite for String Quartet
Butterworth: Songs from "A Shropshire Lad"
Gurney: Three songs
Elgar: Piano Quintet in A minor op 84
Vaughan Williams: On Wenlock Edge
10th December 2018
NEW WORLD ENSEMBLE
Haydn: String Quartet in D major op 64 no 5 ("The Lark")
Webern: Langsamer satz. (1905) for String Quartet
Schubert: Octet in F major D803
14th January 2019
VICTORIA STRING QUARTET
Mozart: Quartet in E flat major K428
Kodály: Quartet no 2 op 10
Brahms: Quartet in A minor op 51 no 2
25th February 2019
SOLAREK PIANO TRIO
Amy Beach: Trio in A minor op 150
Rebecca Clarke: Trio (1923)
Brahms: Trio in C major op 87
11th March 2019
ALLEGRI STRING QUARTET
Mozart: Quartet in B flat major K458 ("The Hunt")
Szymanowski: Quartet no 1 in C major op 37
Beethoven: Quartet in E flat major op 127
8th April 2019
FLORILEGIUM (flute/recorder, oboe, violin, cello, harpsichord)
LES NATIONS
Telemann: Quartet in G from Tafelmusik Part 1
Rameau: Pièce de clavecin en concert no 5
Vivaldi: Concerto in G minor RV40 JC Bach: Quintet in D major
Vivaldi: Cello Sonata in E minor RV107 Telemann: Concerto a Quattro in A minor
NB This schedule is published in 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
Founded 1918
1
WT.
2018-2019 Season
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
ARTS
Vice President
P Michael Lord
Treasurer
Alastair Cridland
34, Hoyle Ing, Linthwaite, Huddersfield. HD7 5RX
Tel: 01484 845407 Email: alastair@cridland.net
Membership Secretary
Verity Cridland
Tel: 01484 845407 Email: verity@cridland.net
Hilary Norcliffe (Society Archivist)
Helen Howden, Joe Kerrigan, Chris Robins,
Julian Rushton, Christine Stanton, Christine Stead
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated.
COUNCIL
and
The Society is grateful for financial help from our donors
which makes this series possible,
ENGLAND
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
B
W
H
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Huddersfield Music Society
Centenary Concert
The Bridge String Quartet
Charles Daniels, tenor
Michael Dussek, piano
Delighted to be invited back to
perform for your Centenary Concat
Coli
with
Best wishes !
wonderful to
retum to play
تسلمى
Cathy Sadiend
St Paul's Hall
Michael Schfuld they wilde. Thanks.
Monday 5 November 2018
Michael Dussess
1. All Best
(urgy Whats
treet!
Delighted to sing in
Charles Janic
lovely Waff
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The Bridge String Quartet bull
Michael Dussek, piano
Charles Daniels, tenor
*
Colin Twigg violin 1
Catherine Schofield violin 2
Michael Schofield viola
Lucy Wilding cello
The Bridge String Quartet has en-
joyed a reputation since 1989 as an
ambassador for English music through.
enterprising programming supported
by excellent recordings. They visited
the Huddersfield Music Society in Feb-
ruary 2013 when they played a concert
of mainly English pieces, including
works by Frank Bridge and his pupil
Benjamin Britten. The group has trav-
elled widely to festivals in USA,
France, Spain, Italy, Croatia, Bulgaria
and Kenya and has broadcast English
music live on the BBC and on various continental radio stations.
The history of the Bridge Quartet has been sprinkled with "discoveries", some
of which have now gone into publication, such as Delius' 1888 Quartet and
Alwyn's "Winter Poems", not to mention Bridge's own early works for quartet
and quintet. Their CDs of Frank Bridge's chamber music all received great
critical acclaim.
Charles Daniels studied at King's College, Cambridge, and at the Royal
College of Music in London. He has a prolific recording legacy having made
over ninety recordings ranging from the earliest renaissance music through to
the contemporary repertoire. Charles performs frequently with Netherlands
Baroque Society (Jos van Veldhoven) and makes regular appearances through-
out Canada where he works with Les Voix Baroques, Les Voix Humaines,
Toronto Consort, Tafelmusik and with Early Music Vancouver and at the
Montreal Baroque Festival.
Michael Dussek specialises in chamber music and song accompaniment. For
more than thirty years he has been privileged to perform in the world's major
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concert halls with internationally acclaimed artists. Indeed, while still a student
at the Royal Academy of Music, Michael was invited to act as resident pianist
for Jacqueline du Pré's Masterclasses at Aldeburgh and since then he has played
with many well-known soloists and ensembles including the Chilingirian, Coull
and Dante, and, of course, the Bridge Quartets. Michael is a Fellow of the Royal
Academy of Music, where he is also Head of Piano Accompaniment.
This is not the first time these musicians have performed On Wenlock Edge
together. A past performance enraptured the audience: "here was a performance
which wasn't a singer with five other musicians, it was a true chamber perform-
ance by six equals who worked together with the utmost subtlety and a superb
sense of ensemble". Their recent CD, Heracleitus, commemorates and cele-
brates the talents of a golden generation of English lyricists through the voices
of the greatest song-writer composers of the era: Gurney, Warlock and Butter-
worth,. The lives of two of these, George Butterworth and Ivor Gurney, remain
inextricably linked to the catastrophic 1914-18 conflict played out over the
fields of Flanders.
Music Society News
The first concert organised by the Society was on November 20, 1918. A
programme of 19 songs by Russian composers was sung by the Russian
operatic tenor, Vladimir Rosing. Although he died in 1963 he can still be
heard singing them on YouTube!
To celebrate 100 years of music making, the committee invite you all to have
a glass of wine with them during the interval.
Our next concert on December 10, played by the New World Ensemble, will
include the Schubert Octet in F major. It promises to a fascinating evening.
Make sure it is in your diary.
Other Local Chamber Concerts
Halifax Philharmonic Club
Square Chapel Arts Centre, Halifax
Jerusalem String Quartet
Saddleworth Concerts Society
Millgate Arts Centre, Delph, Saddleworth
Quatuor Danel
Sunday, November 11, 3:30
Haydn, Debussy, Beethoven
Wednesday, December 5, 7:30
Variations on a Russian theme, Shebalin quartet,
Schubert 'Death and the Maiden' quartet
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Introduction
Music from the Great War
The musical destinies of the composers in tonight's programme are
strongly linked and their lives and music display their collective experi-
ence of living though the War of 1914-1918. An important group of
English poets and composers living at the beginning of the twentieth
century also had a profound effect upon the arts and proved crucial to the
development of a new, strongly characteristic language in English song
and music. Sadly, two of tonight's composers suffered early and tragic
deaths.
George Butterworth (1885-1916) served in the trenches at the Battle of
the Somme and was tragically killed by a sniper only three weeks after
receiving the award of the Military Cross. He had destroyed many of his
unfinished manuscripts before he enlisted.
Ivor Gurney (1890-1937) fought, was wounded at the Front and gassed
at Paschendale. He composed at least three hundred songs of which only
a third have been published, and after the war he suffered from severe
mental illness from which he never recovered.
Edward Elgar (1857-1934) was clearly too old to have signed up. As part
of the relief effort he composed a symphonic prelude called 'Polonia' in
aid of the Polish and Belgium Relief funds and wrote 'For the Fallen', a
choral piece composed for performance in Worcester cathedral in aid of
the Red Cross War Depot Fund.
Vaughan Williams (1872-1958) played an active part in the First World
War. serving at the front as an ambulance driver with the British Medical
Corps. He was a pupil of Stanford and Parry at the Royal College of Music
and continued the search for the uniquely English style promoted by his
teachers. He admired the French style, having studied with Ravel for three
months.
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George Butterworth
First performance at Huddersfield Music Society
Suite for string quartet
1 Andante con moto, molto espressivo
2 Scherzando, non allegro
3 Allegro molto
4 Molto moderato ed espressivo
5 Moderato
Butterworth's only surviving chamber work, probably dating from about
1910, did not receive its first performance until 2001, the original score
remaining ninety years in the Bodleian library before permission was
obtained for it to be copied. His enduring interest in folk song had been
developed by association with folk song collector Cecil Sharp and with
fellow enthusiast Ralph Vaughan Williams with whom he travelled to
collect folk songs. Within its five movements this work shows the folk
song influence clearly, but in addition there are influences of French
impressionistic harmonies due to his admiration for Debussy.
The viola opens the work with a folk-like theme which is shared through-
out the parts and visits remote keys. There is an increase in speed and
tension before a calm return to the first theme and a beautiful final chord
built from string harmonics. A dancing melody from the viola opens a
comparatively short second movement whose interest is in its syncopated
and complex rhythms. Possibly it serves more as a gesture to introduce
the third movement rather than existing in its own right. The third move-
ment continues to explore the folk modes with additional excitement
created by playful rhythmic effects. This movement is in typical scherzo
style and form, with a short contrasting section in major and modal key.
A slow and eloquent fourth movement communicates a sense of spacious-
ness and contemplation. It leads directly into a balanced finale which has
close links with the first theme of the opening movement. Sometimes its
melodic lines are distributed contrapuntally but at other times just one part
plays the melody, whilst the others supply harmony in the form of repeti-
tive accompaniment figures. The suite concludes with dramatic announce-
ments of the opening theme.
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On Wenlock Edge
Vaughan Williams
Last performed at HMS by the Sorrel String Quartet,
with John Daszak (tenor), and Paul Janes (piano), January 21, 1991
This deservedly popular song cycle sets six poems from A E Housman’s
collection 'A Shropshire Lad' written in 1896, all the more expressive
because of its unusual setting for voice, string quartet and piano. The
music was composed and first performed in 1909. Housman did not like
his poems set to music, writing to his publisher, 'I am told that composers
in some cases have mutilated my poems - that Vaughan Williams cut two
verses out of 'Is my team ploughing?' I wonder how he would like me to
cut two bars out of his music'.
1 On Wenlock Edge
2 From far, from eve and morning
3 Is my team ploughing
4 Oh when I was in love with you
5 Bredon Hill
6 Clun
An instrumental flourish opens On Wenlock Edge and the continuing
dramatic intensity of the instrumental parts depict storms and gales not
only in the woods but in the metaphorical emotional 'gale of life' in the
poem. It is followed by a calmer setting of From far, from eve and
morning commencing with leisurely spread piano chords. Is my team
ploughing is a dialogue between a dead man and his still living friend and
its bitterness is detectable in the music.
Pizzicato cello chords and light piano figuration bring delicacy and a
playfulness to the memory of love in the brief Oh when I was in love with
you and the sustained chords of the introduction to the fifth song, Bredon
Hill are wonderfully evocative, it being the longest and most intense song
of the set. Its scoring and harmonies sound very French. (Ravel did in fact
play the piano part in the first performance of the cycle.) The recollection
of a former love and a wedding accompanies the introduction of bells in
the piano part, later to change to a single tolling bell of mourning. Clun
begins with a sustained and repetitive instrumental introduction, wistful as
the protagonist recalls earlier times as a young lad. The strings echo the
vocal lines, closing the work in a reverent hush.
INTERVAL
6
F
F
ㅏ
r
t
t
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'S
e
Ke
S
0
0
t
e
d
n
d
a
h
n
g
t
1
1
1
S
e
George Butterworth
First performance at Huddersfield Music Society
Three songs
These songs of George Butterworth's were composed slightly earlier than
Vaughan Williams' cycle just before the war had started, and they recall
pastoral scenes, also being themed with love and loss. They are all Hous-
man settings. This setting of Bredon Hill is very different from that of
Vaughan Williams, with the recollection of a summer Sunday morning in
which the colourful piano part communicates the joy and tragedy of the
poetry. In the fifth verse there is a change of mood, the music slows and
reflects the poet's dark dreams extending into the future, foreseeing his
own death. A sudden piano discord mirrors his wretchedness in the final
verse and the instrument concludes alone in the manner of a Schumann
postlude.
At the start of On the idle hill of summer the piano creates first the languid
heat of the day with sultry harmonies and low pedal notes. Later its
rhythms conjure the sound of marching and the final verse introduces
bugles and fife as representations of war before a return to the dream-like
language at the end. With rue my heart is laden sums up a combined
melancholy and nostalgia in a simple musical setting.
Ivor Gurney
First performance at Huddersfield Music Society
Three songs
Severn Meadows is set to the composer's own words and was composed
in 1917. The music makes direct communication through its flowing vocal
lines and a ruminative, measured piano part. In its reverent declaration of
love, The cloths of heaven (Yeats) has a sustained vocal line ending with
the famous words, 'I have spread my dreams under your feet; tread softly
because you tread on my dreams'.
Written in 1916, By a bierside (John Masefield) is a solemn musing upon
the grandeur of death, with an accompaniment which the composer con-
ceived orchestrally. It was composed whilst resting between periods of
duty on the front line and there is a protracted piano postlude reverberating
with loss. Herbert Howells later did orchestrate this noble song.
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Elgar
First performance at Huddersfield Music Society
Piano Quintet in A minor
1 Moderato
2 Adagio
3 Andante: Allegro
Elgar composed his final three chamber works towards the end of his
artistic life, and this quintet received its first public performance at the
Wigmore Hall in 1919. According to Michael Kennedy, 'There can be
little doubt that the agonies of war are the inspiration behind the first
movement'. It is a chamber work of huge conception where movements
are linked by shared themes.
A cautious four note string motif opens the first movement which returns
throughout the movement. It is followed by a poignant string episode with
doleful cello comment. Several huge piano chords then introduce a slightly
prosaic sounding dance-like tune. This quick interchange of musical ideas
forecasts the material from which the movement is built. The music moves
quickly between sections of bleak apprehension and tempestuousness with
interludes of joviality. It is powerful, expansive music with sweeping
melodies and a wide dynamic range, in which the piano and strings
continually change roles in a kaleidoscope of colour.
The radiant second movement begins with a beautiful viola solo but
includes many other solos for all instruments. It builds towards a faster and
more troubled central section in which the piano part is virtuosic, and Elgar
exploits the instrument's capacity for both rich harmonic figuration and
filigree textures near the end of the movement.
The final movement begins with an arrangement of the ghostly string idea
from the first movement by manner of an introduction. A grand tune
played by the strings follows, accompanied by much brilliance from the
piano. Piano display and virtuosity dominate a movement of seemingly
inexhaustible energy and excitement. In contrast there is a quiet recall of
themes from the beginning of the work before the music returns to revisit
the main themes of this movement, progressing to a finale of imposing
resplendence. One can imagine that this piano quintet with its unabashed
romanticism and extremes of emotion must have been welcomed by a
public which had suffered all the privations and austerity which accompany
war.
Programme notes by C. Stanton
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his
he
be
rst
ts
ns
ith
dy
as
es
th
ng
ut
nd
ar
nd
ea
ne
he
ly
of
sit
ng
ed
a
ny
fon
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Season's Performances
15th October 2018
CONSONE STRING QUARTET
Haydn: Quartet in D minor op 42
Fanny Mendelssohn: Quartet in E flat major
Haydn: Quartet in D minor op 103 (unfinished)
Felix Mendelssohn: Quartet in E minor op 44 no 2
5th November 2018
CENTENARY CONCERT
BRIDGE STRING QUARTET, CHARLES DANIELS (Tenor), MICHAEL DUSSEK (Piano)
Butterworth: Suite for String Quartet
Butterworth: Songs from "A Shropshire Lad"
Gurney: Three songs
Elgar: Piano Quintet in A minor op 84
Vaughan Williams: On Wenlock Edge
10th December 2018
NEW WORLD ENSEMBLE
Haydn: String Quartet in D major op 64 no 5 ("The Lark")
Webern: Langsamer satz. (1905) for String Quartet
Schubert: Octet in F major D803
14th January 2019
VICTORIA STRING QUARTET
Mozart: Quartet in E flat major K428
Kodály: Quartet no 2 op 10
Brahms: Quartet in A minor op 51 no 2
25th February 2019
SOLAREK PIANO TRIO
Amy Beach: Trio in A minor op 150
Rebecca Clarke: Trio (1923)
Brahms: Trio in C major op 87
11th March 2019
ALLEGRI STRING QUARTET
Mozart: Quartet in B flat major K458 ("The Hunt")
Szymanowski: Quartet no 1 in C major op 37
Beethoven: Quartet in E flat major op 127
8th April 2019
FLORILEGIUM (flute/recorder, oboe, violin, cello, harpsichord)
LES NATIONS
Telemann: Quartet in G from Tafelmusik Part 1
Rameau: Pièce de clavecin en concert no 5
Vivaldi: Concerto in G minor RV40 JC Bach: Quintet in D major
Vivaldi: Cello Sonata in E minor RV107 Telemann: Concerto a Quattro in A minor
NB This schedule is published in 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
Founded 1918
T
D
WT.
2018-2019 Season
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
ARTS
Committee
President
Stephen Smith
Treasurer
Alastair Cridland
34, Hoyle Ing, Linthwaite, Huddersfield. HD7 5RX
Tel: 01484 845407 Email: alastair@cridland.net
Vice President
P Michael Lord
Membership Secretary
Verity Cridland
Tel: 01484 845407 Email: verity@cridland.net
Hilary Norcliffe (Society Archivist)
Helen Howden, Joe Kerrigan, Chris Robins,
Julian Rushton, Christine Stanton, Christine Stead
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,
со
and
ENGLAND
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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t
Huddersfield Music Society
To Huddersfeld Music Socialy
Wishing you all hearten
Congratulation on your
Centenery year -
Best
Lise Long
Som Mellor
of wishes.
Andy have
NEW WORLD ENSEMBLE
Karashata
BARONVER
Cammie lanke
ali
St Paul's Hall
Monday 10 December 2018
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New World EnsemblebuH
2018 sees the New World Ensemble celebrate 15 years of making music
with a repertoire ranging from 17th century Venice to the present day.
This select group of musicians, many of whom are soloists in their own
right, are cherry picked from some of Britain's finest musicians and offer
the flexibility to perform in many formats and sizes from a duo up to a
full size chamber orchestra. The players tonight are all contracted to, or
have played with, the Opera North Orchestra.
Andy Long... violin
Catherine Landen ... violin
Katie Stables ... viola
Zöe Long ... cello
Anthony Williams ... bass
Sarah Nixon ... bassoon
David Tollington ... horn
John Mellor ... clarinet
The New World Ensemble have performed, (and made friends) at many
festivals and major venues with their amiable manner and ability to
breathe new life into the standard repertoire as well as recording for the
Naxos, Campion and ASC labels.
The Ensemble has given and recorded many premieres, most notably the
newly discovered string quartet by Sir William Sterndale Bennett, the
Organ concerto and Aria for Strings by Andrew Carter and Geoffrey
Kimpton's violin concerto which was written for and dedicated to the
group.
Next year, Andy Long will be premiering Kevin Malone's violin concerto
and plans are afoot to tour it to the Ukraine and America.
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www.newworldensemble.com
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2
Music Society News
A warm welcome to our subscribers, visitors and guests. You may have
noticed from the lack of advertisements in this programme that the local
music societies are taking a rest until the new year.
Our next concert, on January 14, 2019, will be the Victoria String
Quartet with a programme of Mozart, Kodály and Brahms. The Victoria
Quartet is a new quartet made up of players who have played previously
with other well-known quartets, including the Chilingirian and the
Sorrel, both of which have performed for us before. Details of this
concert, and the rest of the season are printed on the back of this
programme. If you would like tickets for the Victoria Quartet, or any of
the remaining concerts of the season, they are available on the door,
from our treasurer, or through our website, www.huddersfield-music-
society.org.uk
Best wishes for Christmas and the New Year from all of us on the
committee.
Slaithwaite Philharmonic Orchestra
The Symphony Orchestra of the Colne Valley
spo
Slaithwaite
Philharmonic
Orchestra
Saturday 19 January 2019
7.30pm Huddersfield Town Hall
Conductor
Leader
Trombone
Benjamin Ellin
Michele Northam
Katy Jones
Debussy
La Mer
Takemitsu Fantasma/Cantos II for Trombone and Orchestra
Schubert
Symphony No 5
Respighi Roman Festivals
Tickets, £13.00 to £19.00, concessions £10.00 to £11.00, accompanied children
free in stalls, are available through Kirklees box office, the information centre
in the library, on-line, or at the door.
www.spo.org.uk
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String quartet in D major op 64 no 5 (the Lark) Haydn 1732-1809
Last performed at HMS by the Stamic String Quartet, January 30, 2006
1 Allegro moderato
3 Menuetto (Allegro)
2 Adagio cantabile
4 Finale (Vivace)
This quartet is one of six dedicated to Johann Tost, ex-colleague of
Haydn but turned businessman. Tost played in the Esterhazy orchestra
and clearly the spontaneous and creative violin part was written for him
to play.
The nickname 'Lark' is derived from the soaring first violin entry in the
fifth bar above the delicate opening chords. The first movement is in
sonata form and has a curious second subject of gently syncopated
chords, quite unlike the neat dotted rhythms of the first. Triplets add
movement and there follows skilful development, visiting remote keys
before returning to the recapitulation, introduced by loud unison triplets
and where the themes are presented in a different order.
The second movement is in ternary form with major sections framing a
short middle passage in a minor key. Its opening features a searching and
rather wistful violin melody which returns, richly decorated, in the third
section.
A self-assured minuet, characterised by its acciaccaturas (crushed notes)
in the opening theme, displays the contrapuntal textures we expect from
Haydn. It is balanced by a trio in the minor key, once again allowing the
three lower instruments some independence.
Lastly the finale sets off in the style of a perpetuum mobile, scarcely
allowing the listener, let alone the players, to catch breath. Fugato
treatment of a second theme gives each player a chance to play the main
subject against a spiky, syncopated counter-subject. The ending does not
fall short of expectations!
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3
Langsamer Satz. (1905)
Last performed at HMS by the Jubilee String Quartet, October 13, 2014
Anton Webern 1883-1945
My heart was jubilant....... Our love rose to infinite heights and filled
the universe! Two souls were enraptured.
Written by the composer, these words expressed his feelings following
an idyllic holiday in the countryside near Vienna with his cousin, Wil-
helmine Mörtl, later to become his wife. The outcome was this inspired
single movement, composed in 1905, recalling his happiness.
Webern had met Schoenberg in 1904, an event which would later have a
profound effect on his life and composing as he pursued new pathways.
Along with many other twentieth century composers, he was searching
for a new musical language, and with Schoenberg and Berg he explored
a new and completely different method of composing. Nevertheless he
was anchored in the Viennese tradition from which this earlier work
springs, a consequence of his early musical education carried out within
the existing rules and tonality of nineteenth century music. Its musical
language follows in the footsteps of Romantic composers such as
Brahms and Liszt, but it also reflects a compulsion to challenge the rules
derived from a long tradition of keys and harmony; Wagner and Richard
Strauss had similarly sought to extend the possibilities towards the end
of the nineteenth century.
The single movement for string quartet received its first performance in
1962 - in common with many of his other works, it had remained hidden
until he died.
The intense and often dramatic music is a representation of the lovers'
rapture. It is constructed from alluring melodies from which the compos-
er creates a contrapuntal texture. In the intimate and beautiful opening a
graceful melody weaves amongst the three higher parts, only appearing
for the first time in the cello line towards the end as the music becomes
more passionate. A muted section brings the work, inspired by blissful
love, to an ecstatic conclusion.
INTERVAL
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Octet in F major D 803
Last performed at HMS by the Manchester Camerata Ensemble, November 15, 2004
1 Adagio - Allegro
3 Scherzo: Allegro vivace
5 Menuetto: Allegro
Schubert 1797-1828
2 Adagio
4 Andante
6 Andante molto - Allegro
This work was written in the increasingly popular tradition of composing
for larger mixed chamber groups in the eighteenth century with both
wind and strings. Composers like Spohr and Hummel attempted similar
ensembles. Schubert's octet is scored for an ensemble with a string
section like that of a small orchestra which the composer treats in an
orchestral manner.
An arresting start introduces the familiar world of Schubertian melody,
its opening bars calling us to attention and introducing both wind and
strings. Proceeding through a variety of keys this introductory section
prepares the listener for the entry of the memorable main theme. It is a
cheerful Allegro dotted subject and instantly recognisable when it returns
later in the work. The movement proceeds energetically, its vibrant
rhythms driving the music forward. Great attention is paid to the horn and
clarinet whose tones are complimentary, and musical ideas are passed
between strings and wind.
6
A serene clarinet melody, later joined by the first violin in duet, begins
the Adagio, a poetic flow of glorious lyricism over a series of arpeggio
accompaniment in the strings. With its changing keys, the subsequent
melodic exchange between the individual voices creates a landscape of
evolving colours above the arpeggio accompaniments. There are two
contrasting sections moving to different keys within the otherwise serene
movement, the first featuring repeated quavers mostly in the double bass,
and the second is more dramatic with agitated and repeated semiquavers.
Towards the end a cello and double bass mark the rhythm with characterful
pizzicato as more solos guide the movement to a tranquil resolution.
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The third movement scherzo is exuberant and reflects the gregarious
Schubert who often wrote music for his friends with whom he used to go
on walking tours. Its rhythmic impetus comes from a single-bar repeated
rhythm. Reduced instrumentation reveals a trio which is smooth with a
gentle walking cello line whose continuous crotchet patterns provide an
anchor for the smooth upper parts.
The composer chooses an unpretentious Viennese tune from one of his
early operas as the foundation for a set of variations, with each of the two
sections repeated. This simple structure allows the composer to explore
different instrumental combinations. The horn controls the third, and
number four gives space for the cello to sing and soar. The music remains
undisturbed until the introduction of a fifth variation in a minor key,
reminding us of Schubert's predilection for adjacent major and minor
sonorities. Its incessant demi-semiquaver patterns are unsettling but after
pause for reflection, the sixth variation brings the listener back into the
sunlight with graceful decoration.
In an overview of the entire work a gracious fifth movement minuet
supplies balance to the third movement scherzo. Its sweetly lyrical wind
and string exchanges and striking harmonic twists affirm the quintes-
sence of Schubert.
The violence of the bass tremolandos at the start of the last movement
herald another passage of uncertainty (as in the first movement) with an
unsettled adagio leading to a joyous and contrasting allegro. The music
proceeds to the end though spontaneous melody and high spirits. Who
could fail to be exhilarated after such a rich and stimulating journey in
sound?
7
Programme notes by C. Stanton
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A
THE ARTS
SOCIETY
HUDDERSFIELD
The Arts Society is a leading arts charity which opens up the world of
the arts through a network of local societies and national events.
With illustrated monthly lectures given by some of the country's top
experts, together with days of special interest, educational visits and
cultural holidays, the Arts Society is a great way to learn, have fun and
make new and lasting friendships.
The Huddersfield society presents nine lectures a year, each lasting
one hour, in the Spärck-Jones Building at the University of Hudders-
field, and there are also opportunities to learn and socialise further
through days of special interest. Our next lecture is
Behind the Veil: The Art of Persia
given by John Osborne MA(Cantab) on January 17, 2019.
Do come and enjoy the lecture.
Contact Lizzie Booth, 01484 530440, or pay £7.50 at the door.
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Season's Performances
15th October 2018
CONSONE STRING QUARTET
Haydn: Quartet in D minor op 42
Fanny Mendelssohn: Quartet in E flat major
Haydn: Quartet in D minor op 103 (unfinished)
Felix Mendelssohn: Quartet in E minor op 44 no 2
5th November 2018
CENTENARY CONCERT
BRIDGE STRING QUARTET, CHARLES DANIELS (Tenor), MICHAEL DUSSEK (Piano)
Butterworth: Suite for String Quartet
Butterworth: Songs from "A Shropshire Lad”
Gurney: Three songs
Elgar: Piano Quintet in A minor op 84
Vaughan Williams: On Wenlock Edge
10th December 2018
NEW WORLD ENSEMBLE
Haydn: String Quartet in D major op 64 no 5 ("The Lark")
Webern: Langsamer satz. (1905) for String Quartet
Schubert: Octet in F major D803
14th January 2019
VICTORIA STRING QUARTET
Mozart: Quartet in E flat major K428
Kodály: Quartet no 2 op 10
Brahms: Quartet in A minor op 51 no 2
25th February 2019
SOLAREK PIANO TRIO
Amy Beach: Trio in A minor op 150
Rebecca Clarke: Trio (1923)
Brahms: Trio in C major op 87
11th March 2019
ALLEGRI STRING QUARTET
Mozart: Quartet in B flat major K458 ("The Hunt")
Szymanowski: Quartet no 1 in C major op 37
Beethoven: Quartet in E flat major op 127
8th April 2019
FLORILEGIUM (flute/recorder, oboe, violin, cello, harpsichord)
LES NATIONS
Telemann: Quartet in G from Tafelmusik Part 1
Rameau: Pièce de clavecin en concert no 5
Vivaldi: Concerto in G minor RV40 JC Bach: Quintet in D major
Vivaldi: Cello Sonata in E minor RV107 Telemann: Concerto a Quattro in A minor
NB This schedule is published in 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
Founded 1918
UT
WT.
2018-2019 Season
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
ARTS
Vice President
P Michael Lord
Treasurer
Alastair Cridland
34, Hoyle Ing, Linthwaite, Huddersfield. HD7 5RX
Tel: 01484 845407 Email: alastair@cridland.net
Membership Secretary
Verity Cridland
Tel: 01484 845407 Email: verity@cridland.net
Hilary Norcliffe (Society Archivist)
Helen Howden, Joe Kerrigan, Chris Robins,
Julian Rushton, Christine Stanton, Christine Stead
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated.
COUNCIL
and
The Society is grateful for financial help from our donors
which makes this series possible,
ENGLAND
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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Huddersfield Music Society
May thanks for invity us.
Very ber courts
d
Helle
Victoria String Quartet
Ben
منظف
Suivatle
Jen Langridge
les
Sponsored by Cllr Christine Iredale
St Paul's Hall
Monday 14 January 2019
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Victoria String Quartet bbuH
The Victoria String Quartet unites some of the most experienced
chamber musicians in the UK. All four have performed together in
different ensembles for many years. Between them they can boast an
impressive pedigree: The Chilingirian Quartet, The Sorrel Quartet and
Psappha Ensemble, naming just a few.
The Victoria String Quartet is based in Manchester and all four teach at
the Royal Northern College of Music and give masterclasses both in the
UK and internationally.
Benedict Holland, Violin
Ben studied the violin at the Royal Academy of Music with Manoug
Parikian and at the RNCM with Yossi Zivoni. As a chamber musician
he was a founder member of the Matisse Piano Quartet and is a member
of the Pleyel Ensemble. As an orchestral leader he has guest-led many of
the country's major orchestras, including the Hallé, Royal Liverpool
Philharmonic, Northern Sinfonia, Bournemouth Symphony Orchestra,
City of Birmingham Symphony Orchestra, Scottish Ensemble, Orchestra
of Opera North and the BBC Philharmonic Orchestra. He has been the
Leader of Sinfonia ViVa since 2001 and its Artistic Advisor since 2006,
appearing as both director and soloist. Solo appearances have been in
concertos by Weill, Arnold, Vaughan-Williams, Vivaldi and Mozart.
Ben's violin is a rare Rogeri of 1710.
Catherine Yates, Violin
Catherine studied with Malcolm Layfield and Lydia Mordkovich at the
Royal Northern College of Music in Manchester as well as taking further
courses at Yale University and the Britten-Pears School for Advanced
Musical Studies in Aldeburgh. Always a keen chamber musician, she
became a member of the Sorrel Quartet in 1989, performing and broad-
casting both at home and abroad and laying down an extensive and much
acclaimed discography that includes the complete quartets of Shostakov-
ich, the major quartet works of Britten and a much lauded disc of Elgar.
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In July 2007, Catherine was appointed as Principal 2nd Violin with the
Hallé and she held this post for six years prior to her most recent
appointment, that of Deputy Head of Strings at the Royal Northern
College of Music.
Susie Mészáros, Viola
of
Susie is a member of the world renowned Chilingirian Quartet. After her
studies at the Yehudi Menuhin School, she was appointed Principal Viola
with the Camerata Salzburg and was a regular chamber music partner
her teacher, the great Hungarian violinist Sándor Végh. She made her
Wigmore Hall debut as a duo with Yehudi Menuhin in 1977 and per-
formed with Vladimir Spivakov and Arthur Grumiaux. At 17 she won the
Gold Medal at the Royal Over-Seas League competition and was a
finalist in the BBC Young Musician of the Year and played with many
leading chamber ensembles including the Nash Ensemble. Susie was
leader of the Fitzwilliam Quartet, Prometheus Ensemble and concert
master of Kent.
Susie is regularly invited to sit on juries including the Trondheim and
Bordeaux International Quartet competitions, the Royal Overseas
League competition and the 'Help Musicians' awards. She plays on a
viola by Jacob Fendt.
Jennifer Langridge, Cello
Jen studied at the Royal Northern College of Music with Eduardo Vas-
sallo and went on to become a Junior Fellow at the RNCM as part of the
Nossek String Quartet, which had a successful recital career for 10 years
until 1999. Jen has been a member of Psappha Ensemble for 23 years,
touring across Europe, North and South America, Australia, and most
recently to Jerusalem. The group performs regularly on BBC Radio 3 and
has made eight CD recordings. Jen has often performed as a soloist with
Psappha, most notably at the Royal Albert Hall for the BBC Proms in
2004, playing Maxwell Davies' 'Linguae Ignis' for solo cello and
ensemble. Alongside her work with the Victoria Quartet and
Psappha,
Jen is Principal cello with the Northern
Chamber Orchestra. She plays on a Peter Walmsley cello of 1729.
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String quartet in Eb major, K428
Last performed at HMS by the Belcea String Quartet, January 16, 2006
1 Allegro non troppo
2 Andante con moto
3 Menuetto: Allegro
4 Allegro vivace
Mozart 1756-1791
The 1780s were a period of crisis in Mozart's life. He had made clear his
discontent with his post at the Viennese court of the Archbishop of
Salzburg and had been dismissed when the Archbishop visited Vienna.
He remained in the city trying to make a living and married Constanze
Weber, also meeting Haydn and admiring the opus 33 set of string
quartets composed by the older composer. Mozart was inspired to com-
pose his own set of six dedicated to his mentor. In Mozart's own words,
'You, yourself, dearest friend, told me of your satisfaction with them .....
It is this indulgence above all which urges me to commend them to you
and encourages me to hope that they will not seem to you altogether
unworthy of your favour.'
This is the second quartet of the set, written in 1783. The graceful
opening motif is played by all the instruments, later to be played in canon
between lower and upper two instruments at the start of the development.
There is a group of second subject ideas comprising a simple downward
scale and a more extensive melodic theme featuring a decorative turn,
dotted notes and triplets. All of these are employed in the development
section. In particular, the extended arpeggio triplets introduce virtuosity
and are played alongside the turn motif, with both ideas distributed
throughout the four parts. The return to the recapitulation is beautifully
controlled with a simple series of chromatically descending cadences to
arrive back in tonic key.
The contemplative slow movement emanates warmth in its opening bars,
due to the instruments playing in their lower registers. The first violin is
in control of much of the melodic material but there is engaging interplay
between all parts, with weaving phrases and echoes. Continuous move-
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ment in the three lower parts creates rich and warm harmonies but also
introduces some striking chromaticism.
The assertive downward leaps at the start of the third movement create
an energy, and its rhythms, as well as its simple bass lines, are suggestive
of folk music. Similarly, in the trio stationary bass lines underscore the
simple harmonic plan.
A curious little two-note idea followed by a rest is continually repeated
from the start of the last movement and it creates a sense of amusement
with virtuosic semiquaver runs following close behind. Sudden accents
heighten the excitement and there is much sparkling conversation. The
movement is vibrant and witty and the whole work is a fine example of
the composer's craftsmanship, worthy of its dedication.
String quartet no 2 op 10
Last performed at HMS by the Vanburgh String Quartet, February 12, 1990
Kodaly 1882 - 1967
1 Allegro
2 Andante quasi recit. - Andante con moto - Allegro giocoso
Kodaly spent his childhood in a small Hungarian village with strong
economic and cultural ties to Austria. Like many twentieth century
composers he first studied the Classical musical traditions, but later he
became enthused with the traditions of his own culture and set off with
his contemporary, Bartok, to collect home grown folk tunes. This interest
in his own culture was not surprising - other composers in different
countries followed the same path, ingesting and absorbing home-grown
forms into their composing. For example, British composers such as
Butterworth and Vaughan Williams and Tore Takemitsu from Japan did
likewise. In similar fashion the French 'Les Six' composers such as
Poulenc and Milhaud also embraced popular streams of music like jazz
and cafe music in their quest for a unique French style. In addition, as the
opening years of the twentieth century in Europe were politically unsta-
ble, the search for home grown culture and its integration into their own
music enabled composers to achieve a sense of personal and cultural
identity.
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This quartet was composed in 1918, at a time when Vaughan Williams
was achieving popularity in England with the first performance of 'The
Lark Ascending' in 1920. The first movement opens with a richly intense
chord built upwards from the bass, from which angular melodic lines
unfurl one by one. They are emphatic and speech-like, abounding with
light and shade and natural pauses, all of which contribute to the individ-
ual poetic flights of fancy. The music draws on a rich folklore tradition
and the instruments are taken to the edge of their capabilities.
Although the quartet appears to have only two movements, the andante
at the start of the second movement represents a slow movement, with its
apparently inexhaustible supply of melodic inspiration. The music moves
between introspective contemplation and outbursts of passionate intensi-
ty, often alighting and resting on an ambivalent chord.
The start of a gypsy two-beat dance rhythm begins to insinuate itself into
the texture early on with gentle two-beat pizzicato, but the music soon.
returns to its rhapsodic meditation. Eventually the dance returns in
earnest and the allegro section finally takes wing in a repetitive rhythmic
and energetic dance. This alternation of slow and fast sections is similar
to the peasant dance, the Verbunkos, a gypsy dance in two sections; the
first slow, followed by a fast section with virtuosic running-note passag-
es. In the latter the reiteration of the same phrases builds excitement, and
the appearance of a bagpipe-like gypsy drone accompaniment, above
which the solos continue to play, is richly idiosyncratic. After considera-
ble dramatic variation the conclusion is an emphatic unison from all
players.
INTERVAL
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1
String Quartet in A minor, op 51 no 2
Last performed at HMS by the Sacconi String Quartet, January 15, 2007
1 Allegro non troppo
2 Andante moderato
Brahms 1833-1897
3 Quasi Minuetto, moderato
4 Finale: Allegro non assai
Brahms made a significant contribution to the chamber music repertoire
and his three string quartets were completed around 1873. They present-
ed a significant challenge in attempting to extend and renew a form
which had already been brought to such supreme heights by Haydn,
Mozart, Beethoven and Schubert. Until then the bulk of his instrumental
compositions had been centred around the piano, in whose sonorities he
found the perfect means of expression.
Brahms destroyed many early drafts of the quartets. Frequent requests
from the violinist Joachim for string quartets and an awareness of the
expectations placed upon him by his tenure of an important artistic and
conducting post in Vienna, taken up in 1872, finally motivated him to
complete them.
The leisurely first movement has a memorable Schubertian melody for
its second subject and a short development. The main theme of the
wonderfully expressive second movement in A major is introduced by
the viola with accompanying cello counterpoint. This tune passes to the
violin and remains conspicuous within the gentle counterpoint and inter-
play of the movement. There are contrasting passages of a more anxious
nature before an unusual return of the recapitulation main theme in the
key of F major, eventually drawn towards the tonic by a distinctive cello
pedal note.
The title Quasi Minuetto (as if a minuet), makes it clear that the languor-
ous third movement is a substitute for a minuet. It has a livelier and
skittish middle section with snatches of the original tempo inserted
before a return to the opening section.
The Hungarian flavour of the final movement is conveyed through its
resolute and repetitive rhythms. Its dramatic energy is interspersed with
passages of textural richness, cross rhythms, canons and occasional
passages of enormous sensuousness.
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Programme notes by C. Stanton
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FORT-ER Other Local Chamber Music
Halifax Philharmonic Club:
Friday, January 18,
Friday, February 8
Saddleworth Concerts Society
Wednesday, February 13 Trio Volant
Trio Gaspard
Haydn, Ravel, Wolfgang Rihm, Beethoven
Peter Hill and Ben Frith, piano
Rachmaninov, Debussy, Stravinsky
Rossini, Beethoven, Mozart and others
And, of course, our own society's next concert:
Monday, February 25
Solarek Piano Trio
A programme including two women composers who may be
new to you. Details are on the back cover.
Lost in Space
Sunday, February 10, 2.30pm in Huddersfield Town Hall
Robert Guy
Emily Sharratt
Thom Meredith
Conductor
Leader
Compere
NN
Our popular annual concert designed to appeal to children of all ages and
their grown-ups. With music from ET, Star Wars, Star Trek, Dr Who and
others, and the use of an overhead projector. This is an afternoon designed
to introduce everybody to the enjoyment of live orchestral music. Come in
out of the cold, bring your children or grandchildren, and be entertained.
Tickets, £12 to £18, children and students
£5, are available through Kirklees box office
on line, or at the door.
8
UDDER CHIELS
Philharmonic
ORCHESTR
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Season's Performances
15th October 2018
CONSONE STRING QUARTET
Haydn: Quartet in D minor op 42
Fanny Mendelssohn: Quartet in E flat major
Haydn: Quartet in D minor op 103 (unfinished)
Felix Mendelssohn: Quartet in E minor op 44 no 2
5th November 2018
CENTENARY CONCERT
BRIDGE STRING QUARTET, CHARLES DANIELS (Tenor), MICHAEL DUSSEK (Piano)
Butterworth: Suite for String Quartet
Butterworth: Songs from "A Shropshire Lad"
Gurney: Three songs
Elgar: Piano Quintet in A minor op 84
Vaughan Williams: On Wenlock Edge
10th December 2018
NEW WORLD ENSEMBLE
Haydn: String Quartet in D major op 64 no 5 ("The Lark")
Webern: Langsamer satz. (1905) for String Quartet
Schubert: Octet in F major D803
14th January 2019
VICTORIA STRING QUARTET
Mozart: Quartet in E flat major K428
Kodály: Quartet no 2 op 10
Brahms: Quartet in A minor op 51 no 2
25th February 2019
SOLAREK PIANO TRIO
Amy Beach: Trio in A minor op 150
Rebecca Clarke: Trio (1923)
Brahms: Trio in C major op 87
11th March 2019
ALLEGRI STRING QUARTET
Mozart: Quartet in B flat major K458 ("The Hunt")
Szymanowski: Quartet no 1 in C major op 37
Beethoven: Quartet in E flat major op 127
8th April 2019
FLORILEGIUM (flute/recorder, oboe, violin, cello, harpsichord)
LES NATIONS
Telemann: Quartet in G from Tafelmusik Part 1
Rameau: Pièce de clavecin en concert no 5
Vivaldi: Concerto in G minor RV40 JC Bach: Quintet in D major
Vivaldi: Cello Sonata in E minor RV107 Telemann: Concerto a Quattro in A minor
NB This schedule is published in good faith but we reserve the right to alter the artists or programme for
concert should circumstances beyond our control make this necessary.
any
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HUDDERSFIELD
MUSIC SOCIETY
Founded 1918
17
WT.
2018-2019 Season
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
ARTS
Vice President
P Michael Lord
Alastair Cridland
34, Hoyle Ing, Linthwaite, Huddersfield. HD7 5RX
Tel: 01484 845407 Email: alastair@cridland.net
Treasurer
Membership Secretary
Verity Cridland
Tel: 01484 845407 Email: verity@cridland.net
COUNCIL
Hilary Norcliffe (Society Archivist)
Helen Howden, Joe Kerrigan, Chris Robins,
Julian Rushton, Christine Stanton, Christine Stead
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated.
ENGLAND
and
The Society is grateful for financial help from our donors
which makes this series possible,
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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Huddersfield Music Society
(
влив
e
Solarek Piano Trio
Orciare held
чая
Minsan Loubory
St Paul's Hall
Monday 25 February 2019
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visiboa Solarek Piano Trio
Marina Solarek violin
Miriam Lowbury cello
Diana Brekalo piano
This long established group has toured extensively through Britain and
Europe. They have given performances at London's South Bank, St
Johns Smith Square and St. David's Hall, Cardiff.
Marina, Miriam and Diana have made it their mission to give 19th and
20th century women composers like Lili Boulanger, Cecile Chaminade,
Amy Beach, Germaine Taile ferre, Rebecca Clarke and the almost com-
pletely undiscovered Johanna Senfter a platform and their concerts
mostly include at least one unjustly lesser known female composer. This
one includes two!
The trio regularly performs and gives masterclasses in Germany where
they frequently introduce British composers like Alan Bush, Samuel
Coleridge-Taylor, Rebecca Clarke and Frank Bridge. They have toured
France, Spain and the Baltics.
In 2019 the trio will be collaborating with the author Anna Beer, a Fellow
of Kellogg College, University of Oxford, whose 2016 celebration and
exploration of the achievements of female composers through the centu-
ries, 'Sounds and Sweet Airs: the Forgotten Women of Classical Music',
was shortlisted for the RPS Creative Communication prize. Together
with Anna the trio wants to bring these previously neglected composers'
works to new audiences.
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Music Society News
A warm welcome to all of you, whether you are subscribers, single
ticket holders, or guests of our subscribers. We hope that you will all
have a most enjoyable evening.
Next season's concerts are announced today. The season opens with a
recital given by Benjamin Grosvenor. Winner of the keyboard final of
the BBC Young Musicians Competition at the age of 11, he played on
the opening night of the BBC Proms in 2011 aged just 19.
Not to be outdone we have Jennifer Pike at our December concert. Aged
12, she became the youngest-ever winner of the BBC Young Musician
of the Year, and at aged 15 she made an acclaimed début at the BBC
Proms. Other evenings include 3 quartets, a cello recital and a flute and
harp duo.
The artists and dates of the season's concerts are available on the
programme desk.
Although we ask members to come along to our AGM in October we
are always receptive to new ideas. If you have heard a performance on
Radio 3 or attended a concert that you found particularly appealing we
would like to hear about it. Believe it or not we are already thinking
about the 2020-21 season.
Season tickets for next season will be on sale at the March and April
concerts at the price of £115 for the seven concerts. This is £45 discount
on the tickets for single concerts which will be £25 for the two men-
tioned above and £22 for the other five. Unfortunately we can't accept
credit cards yet but please bring cheques with you. Although we have
increased the price of all the tickets the amount still does not cover the
full cost of the concerts. If you are able to add a donation to your
subscription we will be most grateful.
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Piano trio opus 150
First performance at Huddersfield Music Society
1 Allegro
2 Lento espressivo
3 Allegro
Amy Beach 1867 - 1944
Amy Beach was an American composer who strug-
gled to be accepted as a serious composer. In spite
of her obvious gifts from childhood as pianist and
composer she did not receive formal training, sim-
ply for the reason of her gender. She taught herself
through study of other composers such as Bach and
Berlioz and was an able pianist at a young age. Her much older husband
persuaded her to give up performing, but he did however support her
composing. More forthcoming was the support from her publisher
Schmidt, who made it his role to promote women composers at a time
when the American music scene was still dominated by German musicians
and composers. It was brave of him in the light of his German heritage.
Beach's success led her to be one of the most valued and appreciated
women composers of the age and her list of works is impressive.
The idiosyncratic piano part with its rippling patterns at the start was
clearly created by a pianist. The cello and violin melodies are intense and
extended, leaving no doubt as to the romantic nature of this music, with a
possible nod to Fauré in their delicate and impressionistic harmonies. It
also reflects her very strong attachment to melody shown in the many
large and small scale vocal works she had composed. The form is conven-
tional with clear themes and subsequent development.
The slow movement is relaxed but similarly vocal, where string parts
continuously interweave. There is a move to a contrasting central section
which is a light scherzo based upon a folk melody. After a return to the
opening the movement concludes with a brief reference back to the
scherzo.
A four-note repetitive bass in the piano part gives the last movement a
sense of urgency at first, later leading to a quieter and more reflective
section. The ending is truly Romantic with its luxuriant and triumphant
chords.
4
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Piano trio (1921)
First performance at Huddersfield Music Society
1 Moderato ma appassionato
2 Andante molto semplice
3 Allegro vigoroso
Rebecca Clarke 1896 - 1979
Clarke was a gifted viola player who had studied
in London, becoming a soloist and undertaking
tours abroad. Her father was American and her
mother was of German origin. She had already
spent several years in America before she com-
posed this piece, her two brothers having settled
there. Her music, therefore, reveals a diversity of
influences; English from her origins in Britain which included a period
of study with Stanford; Germanic in its new post-Romantic style of
expression; and inclination towards the French textures of Franck and
Debussy, whom she admired. She lived in America at a time when it was
incubating its own vibrant and inclusive culture of the twenties, and the
influence of Eastern European composers like Bartok can also be detect-
ed in Clarke's music. On two occasions her compositions had even been
mistaken for those of Ravel and Bloch. Like Britten, she was stranded in
the United States at the outbreak of the Second World War and remained
permanently, marrying composer and pianist James Friskin.
16
5
The opening is arresting and has huge emotional impact, not least for its
repeated and clashing octaves in the piano part. The predominant feature
throughout the work is a repeated note moving upwards and falling back,
the first often repeated several times. From this an impassioned first
section builds and then fades, revealing a single line bugle call in the
piano part, quoted from Debussy's piano duo En blanc et noir, composed
six years earlier. Both musical ideas continue to permeate all movements
in different guises, becoming insistent and march-like towards the end of
this movement and then almost surreal in presentation as the music slows
down into serenity at the end.
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The second movement is infused with colour created by muted strings
and atmospheric piano accompaniments, and with subtly shifting dynam-
ics. The repeated note motif can still be heard but reduced in speed and
intensity. The mood is often meditative and preoccupied. The piano,
having employed its power and percussive qualities in the first move-
ment, now makes melodic contributions poised above evocative harmo-
nies. The 'motto' theme continues to gently invade the imaginative
textures and the music slows down to allow sad string exchanges of
falling phrases before finally coming to rest on a major chord.
Founded in folk idiom, the last movement's rhythms, scales and harmo-
nies are repetitive and often exuberant. Its robust rhythmic sections
alternate with contrasting passages of impressionist harmonies in the
piano part. As the music relaxes the piano becomes eloquent with fine
filigree finger work above rich bass octaves and the strings coalesce in
fragile modal melodic interchange. There are also contrasting passages
of unison string statements highly evocative of Bartok. The final return
of the bugle call by the piano is unequivocal and reverberant. The violin
and cello continue to develop melodic material, seeming to drift and
pause whilst gentle reiterations of the motto theme bring time almost to
a standstill. A stunning piano glissando (slide) delivers us into the
punishing rhythms of the final bars.
INTERVAL
Saddleworth Concerts Society
Millgate Arts Centre, Delph, Saddleworth
Wednesday, March 13, 7:30
Kosmos Ensemble (violin, viola and accordionist)
An inspirational combination of Tango, Gypsy, Balkan and Japanese music
referencing Classical composers, with fearless improvisation and impecca-
ble technique. Prepare to be intoxicated by entrancing dance rhythms,
soulful improvisation and gypsy passion delivered with inimitable panache
and virtuoso technique.
See
www.saddleworthconcertssociety.org.uk for ticket details
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6
Piano trio in C major, op 87
Last performed at HMS by the Guadagnini String Quartet, December 12, 1991
1 Allegro
2 Andante con moto
3 Presto
4 Allegro giocoso
Brahms 1833-1897
Brahms confessed to Clara Schumann that it was when composing for the
piano that he felt most comfortable. He wrote many chamber works for
piano and mixed ensembles; trios, quartets and a quintet, and also solo
sonatas for violin, cello and clarinet or viola with piano. He also
composed also many beautiful songs with evocative piano parts. In this
work composed in 1883 he has created music which is pulsing with life.
The first movement springs from a wealth of ideas, all to be developed
later. The first theme played by combined violin and cello rises in
confident C major, to be followed by a more gloomy and restrained
second subject which is very characteristic of Brahms with its parallel
chromatic chords and left hand triplets. Then there is a gentle falling tune
in the stringed instruments leading to another expansive and gracious
theme with dotted motifs in the piano part which the strings accompany
with snatches of tune and pizzicato chords. These four musical ideas
create the wealth of material from which a colourful development
springs. There is a virtuosic development. The pianist's huge left hand
chords and octaves display the qualities of a much improved instrument
at the end of the nineteenth century.
At the start of a slow movement in A minor, the strings generate an
extended and sweeping tune followed by a piano solo, whose character-
istic piano part displays Brahms' idiomatic rhythmic combination of two
quavers with a triplet, bringing a sense of forward movement to the
music. More often than not this movement seems to be a duo between the
combined strings and the piano. Contrasting with the broad sustained
nature of the earlier part of this movement there is a hushed chromatic
section without a regular strong pulse in the piano part, above which cello
and violin have short interlocking phrases. After this the return to the
intensity of the beginning is doubly welcome.
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In a presto third movement there is excitement in witty and breathless
banter between voices. A beautiful middle section in C major exploits the
legato tone of all three instruments, becoming grandly eloquent before
being overtaken by the fireworks of the first section again.
The final movement opens with hushed staccato piano chords and
suppressed exchanges between violin and cello, but not for long. The
music swells and retreats until a quiet section in which frenetic piano
arpeggios create a whirlwind of virtuosity, ranging to the outer reaches
of the keyboard. A stunning finale with passionate discussion concludes
in spectacular style.
Halifax Philharmonic Club
Square Chapel Arts Centre, Halifax
Van Kuijk Quartet
Mozart
Ligeti
Schubert
Programme notes by C. Stanton
Friday, March 1, 7:30
Quartet in D minor, K421
Quartet no 1
Quartet in D minor, D810 (Death and the Maiden)
Tickets, £19.50, concessions £17, students £5, children under 16 £2.
available from the Square Chapel Box Office, telephone 01422 349422
Or on-line from the Square Chapel.
8
The Next Society Concert.
Our next concert is given by the Allegri String Quartet. This quartet
goes back many years and is now led by Martyn Jackson who is
well-known to concert goers in Huddersfield as both a recitalist and
soloist.
March 11 at 7.30
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SS
he
re
pu
he
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es
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Con
et
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Season's Performances
15th October 2018
CONSONE STRING QUARTET
Haydn: Quartet in D minor op 42
Fanny Mendelssohn: Quartet in E flat major
Haydn: Quartet in D minor op 103 (unfinished)
Felix Mendelssohn: Quartet in E minor op 44 no 2
5th November 2018
CENTENARY CONCERT
BRIDGE STRING QUARTET, CHARLES DANIELS (Tenor), MICHAEL DUSSEK (Piano)
Butterworth: Suite for String Quartet
Butterworth: Songs from "A Shropshire Lad"
Gurney: Three songs
Elgar: Piano Quintet in A minor op 84
Vaughan Williams: On Wenlock Edge
10th December 2018
NEW WORLD ENSEMBLE
Haydn: String Quartet in D major op 64 no 5 ("The Lark")
Webern: Langsamer satz. (1905) for String Quartet
Schubert: Octet in F major D803
14th January 2019
VICTORIA STRING QUARTET
Mozart: Quartet in E flat major K428
Kodály: Quartet no 2 op 10
Brahms: Quartet in A minor op 51 no 2
25th February 2019
SOLAREK PIANO TRIO
Amy Beach: Trio in A minor op 150
Rebecca Clarke: Trio (1923)
Brahms: Trio in C major op 87
11th March 2019
ALLEGRI STRING QUARTET
Mozart: Quartet in B flat major K458 ("The Hunt")
Szymanowski: Quartet no 1 in C major op 37
Beethoven: Quartet in E flat major op 127
8th April 2019
FLORILEGIUM (flute/recorder, oboe, violin, cello, harpsichord)
LES NATIONS
Telemann: Quartet in G from Tafelmusik Part 1
Rameau: Pièce de clavecin en concert no 5
Vivaldi: Concerto in G minor RV40 JC Bach: Quintet in D major
Vivaldi: Cello Sonata in E minor RV107 Telemann: Concerto a Quattro in A minor
NB This schedule is published in 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
Founded 1918
WT.
2018-2019 Season
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
ARTS
Vice President
P Michael Lord
Treasurer
Alastair Cridland
34, Hoyle Ing, Linthwaite, Huddersfield. HD7 5RX
Tel: 01484 845407 Email: alastair@cridland.net
Membership Secretary
Verity Cridland
Tel: 01484 845407 Email: verity@cridland.net
Hilary Norcliffe (Society Archivist)
Helen Howden, Joe Kerrigan, Chris Robins,
Julian Rushton, Christine Stanton, Christine Stead
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated.
COUNCIL
and
The Society is grateful for financial help from our donors
which makes this series possible,
ENGLAND
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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Huddersfield Music Society
Allegri String Quartet
St Paul's Hall
Monday 11 March 2019
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sibo Allegri String Quartet
Martyn Jackson, violin
Rafael Todes, violin
Dorothea Vogel, viola
Vanessa Lucas-Smith, cello
The Allegri Quartet, in its 65th year, is Britain's oldest chamber group.
Founded in 1953 by Eli Goren and William Pleeth it has played a key role
in the British musical scene, working with composers such as Benjamin
Britten, Michael Tippett, Elizabeth Maconchy, John Woolrich, Peter
Fribbins, Anthony Payne, James MacMillan, Matthew Taylor and most
recently Alec Roth, resulting in new commissions and recordings.
Naturally the membership of the group has changed over the years. The
present line-up includes Martyn Jackson who is well known members
of our society. He played Beethoven and Elgar sonatas for us in February
2014 and, as leader of the Cavaleri Quartet, played Mozart, Szyman-
owsky and Brahms in December 2015. He joined the Allegri Quartet as
first violin in January 2016. Besides his recital work Martyn is also in
demand as a soloist in many violin concertos. He performs on a Jean-
Baptiste Vuillaume kindly on loan to him from Frau Angela Schmeink.
Rafael Todes, second violin, was born in London. He went on to study
Economics at Peterhouse, Cambridge, and music at the Guildhall with
Yfrah Neaman and Jack Glickman. Rafael was chosen by Sir George
Solti to be the only British violinist in the European Chimay Foundation
Competition in Belgium. He was a member of the CBSO under Sir
Simon Rattle and a founder member of the Schidlof String Quartet for
seven years, recording on the Linn label and performing and broadcast-
ing widely throughout Europe and the States. Rafael teaches at the Junior
Royal Academy and at Pro Corda. His violin is by Giovanni Paolo
Maggini of Brescia, circa 1600.
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Music Society News
How quickly the season goes! The daffodils are up and this is the
second last concert of the series. Subscriber tickets for the next season
are on sale in the hall at £115 at this concert and the next. This gives
you a discount of £45 against buying the tickets singly, so if you miss
one or two concerts they are still a bargain. In addition you get a guest
ticket to two concerts for you to give to your friends.
Details of the pieces being played are now available. Although chang-
es to the advertised programme may have to be made by the artists
concerned we try to avoid this as much as possible.
Dorothea Vogel, viola, was born in Switzerland and studied with Rudolf
Weber in Winterthur. After winning first prize in the Swiss Youth
Competition, Dorothea won scholarships to study with Paul Coletti at the
Peabody Institute, USA, and with David Takeno and Micaela Comberti
at the Guildhall School in London. She was a founder member of the
Amar Quartet. Dorothea has played the baroque viola in the Kings
Consort and Florilegium and has been both principal viola in the Gustav
Mahler Orchestra and the World Youth Orchestra in Israel. She has
appeared as a soloist with the Zurich Kammerorchester and at London's
Wigmore Hall. She teaches Chamber Music at Pro Corda. Her viola is by
Ludovico Rastelli, Genoa, circa 1800.
Vanessa Lucas-Smith, cello, is a graduate of the Royal Northern College
of Music, where she studied with Eduardo Vassallo, and later became a
Junior Fellow at Trinity College of Music. Her many college awards
include the Sir John Barbirolli Prize for String Quartet. Vanessa has
performed extensively within the UK, as a founding member of the
Brodowski Quartet, as well as further afield. Highlights include the
Edinburgh, Kronberg and Orlando festivals, plus appearances at Lon-
don's Wigmore Hall, Queen Elizabeth Hall and Purcell Room. Vanessa
teaches cello and chamber music at Trinity College of Music Junior
Department, and is a keen amateur footballer! She plays on a late 18th
century English 'cello by the Forster family.
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String quartet in Bb major, K458 'The Hunt'
Last performed at HMS by the Skampa String Quartet, January 14, 2002
1 Allegro vivace assai
2 Menuetto (Moderato)
3 Adagio
4 Allegro assai
Mozart 1756-1791
Haydn's opus 33 string quartet made a deep impression on Mozart, inspiring
him to emulate the older composer's achievement in the form. He recog-
nised Haydn's works as a very real accomplishment. In 1789 Mozart re-
ceived a request from King Friedrich Wilhelm II (son of Frederick the
Great) to compose some string quartets. Friedrich himself was an amateur
cellist who would be playing them at some point.
The key of B flat major for Mozart was always one of joyous expression.
The nickname derives from the triadic nature of the theme based upon the
limited notes available from a hunting horn.
In the first movement triadic melodies exchange with scale passages and the
lively passage work flows endlessly. The music is imbued with high spirits
and sunshine. The second subject has a little shake at the end and the
melodic motifs are passed around in a game of musical shuttlecock. As the
recapitulation arrives, there is a false start before arriving in the correct key;
musical humour to the order of Haydn.
The flow of the minuet is sometimes disturbed briefly by an unexpected
dramatic accent on the third beat. The lighter trio has continuous quaver
accompaniment and wide leaps in the first violin melody.
The third movement is poised and serious, with some rapturous melodic
contributions from the first violin. Later the cello responds to the violin with
some descending curling lines, and inner parts later combine to follow the
same shapes. There are also serene passages of light repeated semiquavers
in three parts whilst the melody soars in the first violin or cello.
Finally a scampering movement in two halves provides a satisfying conclu-
sion. Its chromaticism lends piquancy to the music and there is a delightful
combination of both sustained and light passage work with engaging con-
versation between voices. And always that delicious element of surprise
when the music does not go in the direction expected!
4
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String Quartet no 1 op 37
Last performed at HMS by the Cavaleri String Quartet, December 7, 2016
1 Lento assai
2 Andantino semplice in modo d'una canzone
3 Vivace
Szymanowski 1882 - 1937
Szymanowski forged a musical idiom that drew together the legacy of a
full-blooded, post-Wagnerian romanticism and the impressionistic
soundscape of modern French music. Jim Samson (The Guardian)
Szymanowski, born in the Ukraine, lived his life against the background of
struggles between Poland and Russia, and World War 1. He visited the
musical centres of Berlin and Leipzig, Paris and London, not to mention Italy
and Sicily before this work was written in 1917. In common with other artists
and intellectuals living through such uncertain times he continued to travel
whilst searching for his own distinctive style. As well as absorbing European
influences the composer also sought a spiritual quality in his life, to which
end he would later explore a fascination for the cultures and spiritual elements
of the Arab and Islamic world. His concern for the future of Polish music was
of chief importance to Szymanowski and he never lost his love for the artistic
culture of the Tatra mountain region, the unique vibrancy of whose songs and
dances captivated him and fed into his wonderfully distinctive compositional
mixed style.
The first movement slow introduction opens with the solo violin poised above
the opulent harmonic accompaniment. A pulsing viola part beneath the main
subject is just one of many effects, as the passion and intensity of the quartet
begin to emerge. The continuing journey through the composer's imaginative
and unique textural soundscapes creates a vividly pictorial movement.
Again the solo upwardly soaring line of first violin invites the listener into a
slow and often ethereal second movement. As the intensity of the music ebbs
and flows, its frequent contrapuntal textures are reminiscent of the French
influence of Debussy and Ravel.
As the last movement begins with a series of canonic entries, its rhythms
recall the simplicity of folk dance. However the parts are intriguingly all
written in different keys, resulting in elusive and imaginative harmonies and
combinations sometimes bordering on the eccentric. The music embraces all
the usual idiosyncratic techniques known to the string family such as pizzica-
to and harmonics, with others perhaps less familiar. The music characteristi-
cally and finally disappears into the ether.
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String quartet in Eb major, op 127
Last performed at HMS by the Belcea String Quartet, January 11, 1999
1 Maestoso
2 Adagio ma non troppo e molto cantabile
3 Scherzando vivace
4 Finale
Beethoven 1770-1827
Beethoven's five 'late' quartets were commissioned by Prince Nikolas
Galitzin, an amateur cellist and admirer. During his final years
Beethoven occupied himself with these concentrated works, at the same
time composing his ninth symphony. Beethoven transformed the string
quartet into something profound, thereby increasing its emotional scope.
He tested the conventions of musical structure as well as exploiting the
technical limits of the instruments. All this was achieved despite personal
feelings of isolation, largely caused by his profound deafness, but also
because his music had fallen out of fashion in Viennese society.
There is a feeling of elation in the slow opening, a compelling group of
chords with the first violin breaking away in a solo rhapsodic line to lead
directly into the main theme. This majestic introduction appears twice
more in different keys. The development of themes tends to be continu-
ous from the start and mainly concerned with the lyrical undulating first
subject. Smaller motifs are passed around the four parts, allowing the
important ones to come to the fore as others fall back to allow them
space. Beethoven's understanding of the potential of this instrumental
combination despite his physical handicap is prodigious.
The second movement Adagio in A flat major is one of Beethoven's
sublime slow movement themes and variations. They are always inspir-
ing and never prosaic. Each subsequent variation has a prevailing mood;
the first, a meditative interplay of parts which increases in dynamic
intensity. There is a radiance to the second enabled by the lightness of its
accompaniment in the two lower parts, above which there is elaborate
passagework for violins. The third is an expressive variation whose
repose and unrelated key give it an ethereal quality, later displaying first
violin and cello dialogue and ending peacefully. The fourth variation is
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7
las
ars
me
ing
be.
he
al
SO
of
ad
ce
nu-
First
the
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en's
Spir
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first
on is
characterised by trill features and arpeggios with sustained cello solo,
and the fifth moves to the distant key of C sharp minor. Finally a return
to the sustained mood of the theme is followed by a coda with semiqua-
ver runs and a restrained final section with repeated notes.
As with Beethoven's ninth symphony, the scherzo movement is in no
way conventional for a third movement. After the opening of four
pizzicato chords it is playful and carefree, leading to an important
dotted-rhythm four-note theme stated by cello and immediately inverted
by viola. This motif forms the basis of endless development, and the
drama is heightened by its prolonged and skilful exploitation. A strange
passage of intoning octaves on the viola and cello interrupts more than
once before the movement hurtles into a dramatic presto instead of the
anticipated trio. From here on nothing is orthodox, with flashbacks to
both sections, not unlike the composer's later symphonic third move-
ments.
The final movement begins with longer, sustained phrases of shapely
melodic material which contains little rhythmic nuggets for future devel-
opment. Following this movement is like being a part of a constantly
moving drama, where events take control and nothing can be taken for
granted. Again, impossible to predict, is a final new section based on
triplet movement. It is comparatively restrained for a coda but arrives at
an unequivocal close on two triple-stopped chords.
7
Programme notes by C. Stanton
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Other Local Concerts
Halifax Philharmonic Club
Square Chapel Arts Centre, Halifax
Vertavo String Quartet
Haydn
Quartet in F minor, op 20 no 5
Quartet in E flat, op 33 no 2 (Joke)
Quartet in F minor, op 74 no 3 (Rider)
Quartet in D, op 64 no 5 (Lark)
Tickets, £19.50, concessions £17, students £5, children under 16 £2.
available from the Square Chapel Box Office, telephone 01422 349422
Kosmos Ensemble
Friday, April 5, 7:30
Saddleworth Concerts Society Wednesday, March 13, 7:30
Millgate Arts Centre, Delph, Saddleworth
programme to be announced by the artists
An inspirational combination of Tango, Gypsy, Balkan and Japanese mu-
sic referencing Classical composers, with fearless improvisation and im-
peccable technique. Prepare to be intoxicated by entrancing dance
rhythms, soulful improvisation and gypsy passion delivered with inimitable
panache and virtuoso technique.
See www.saddleworthconcertssociety.org.uk for ticket details
8
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Season's Performances
15th October 2018
CONSONE STRING QUARTET
Haydn: Quartet in D minor op 42
Fanny Mendelssohn: Quartet in E flat major
Haydn: Quartet in D minor op 103 (unfinished)
Felix Mendelssohn: Quartet in E minor op 44 no 2
5th November 2018
CENTENARY CONCERT
BRIDGE STRING QUARTET, CHARLES DANIELS (Tenor), MICHAEL DUSSEK (Piano)
Butterworth: Suite for String Quartet
Butterworth: Songs from "A Shropshire Lad"
Gurney: Three songs
Elgar: Piano Quintet in A minor op 84
Vaughan Williams: On Wenlock Edge
10th December 2018
NEW WORLD ENSEMBLE
Haydn: String Quartet in D major op 64 no 5 ("The Lark")
Webern: Langsamer satz. (1905) for String Quartet
Schubert: Octet in F major D803
14th January 2019
VICTORIA STRING QUARTET
Mozart: Quartet in E flat major K428
Kodály: Quartet no 2 op 10
Brahms: Quartet in A minor op 51 no 2
25th February 2019
SOLAREK PIANO TRIO
Amy Beach: Trio in A minor op 150
Rebecca Clarke: Trio (1923)
Brahms: Trio in C major op 87
11th March 2019
ALLEGRI STRING QUARTET
Mozart: Quartet in B flat major K458 ("The Hunt")
Szymanowski: Quartet no 1 in C major op 37
Beethoven: Quartet in E flat major op 127
8th April 2019
FLORILEGIUM (flute/recorder, oboe, violin, cello, harpsichord)
LES NATIONS
Telemann: Quartet in G from Tafelmusik Part 1
Rameau: Pièce de clavecin en concert no 5
Vivaldi: Concerto in G minor RV40 JC Bach: Quintet in D major
Vivaldi: Cello Sonata in E minor RV107 Telemann: Concerto a Quattro in A minor
NB This schedule is published in 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
Founded 1918
D
WT.
2018-2019 Season
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
ARTS
Vice President
P Michael Lord
Treasurer
Alastair Cridland
34, Hoyle Ing, Linthwaite, Huddersfield. HD7 5RX
Tel: 01484 845407 Email: alastair@cridland.net
Membership Secretary
Verity Cridland
Tel: 01484 845407 Email: verity@cridland.net
Hilary Norcliffe (Society Archivist)
Helen Howden, Joe Kerrigan, Chris Robins,
Julian Rushton, Christine Stanton, Christine Stead
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated.
COUNCIL
and
The Society is grateful for financial help from our donors
which makes this series possible,
ENGLAND
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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Huddersfield Music Society
with best wishes
fokles Solonen
Florilegium
Alex Bellane
Ban
Eso
BD
are
м
Morscher.
Streal
St Paul's Hall
Monday 8 April 2019
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Programme
Telemann Quartet in G major from Tafelmusik
Part 1 TWV43:G2
Pièces de clavecin en concert, no 5
Concerto in G minor RV107
Rameau
Vivaldi
Florilegium
7
JC Bach
Vivaldi
Telemann
INTERVAL
Quintet in D major, op 22 no 1
Cello Sonata in E minor RV40
Concerto in A minor, TWV43:a3
Florilegium is an early music ensemble founded in 1991 by the
harpsichordist Neal Peres Da Costa and the flautist Ashley Solomon
who is now director of the group. It specialises in period performance
of Baroque and early Romantic chamber music.
Ashley Solomon, flute recorder
Bojan Čičič, violin
Alex Bellamy, oboe
Jennifer Morsches, cello
Pawel Siwczak, harpsichord
Notes: Ⓒ Ashley Solomon 2019
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Georg Philipp Telemann
I. Largo - Allegro - Largo
II.
III. Grave
IV. Vivace
Vivace - Moderate - Vivace
Quartet in G major from Tafelmusik
TWV 43:G2 (pubd. 1733)
In the year 1733, music-lovers can look forward to a grand instrumental
work from Telemann's pen. It will consist of nine large pieces with seven
instruments, and of as many smaller once with one, two, three or four
instruments. The subscription is payable quarterly, and the work will be
issued in three parts, on Ascension Day, at Michaelmas, and at Christmas.
The names of the subscribers will be printed on the cover.
Telemann's self-penned advertisement for his new Tafelmusik was a great
success: over two hundred music-lovers responded to his plea. He mainly
distributed through bookshops in Germany (Berlin, Leipzig, Nuremberg and
Frankfurt) as well as in Amsterdam and London and by the time his Tafel-
musik was published in 1733 his fame had spread far beyond Germany's
borders. Of the 206 subscribers he obtained for his three productions of
Tafelmusik, 52 came from abroad and 33 of these were from France. Using
straightforward forms, the music was accordingly designed for public con-
sumption, yet this collection he called Tafelmusik also promoted the idea of
'mixed taste', employing various national styles and being conceived in its
entirety as an epic chamber-musical compendium. Each of these three
Productions follows the same format of compositional style. They begin
with an Ouverture or Suite and are followed by a Quartet, Concerto, Trio
and Solo ending with the Conclusion from the opening Ouverture.
Telemann's quartets, TWV 43:G2 included, are striking examples of how
contemporary counterpoint, such as the interwoven four-part writing and
new homophonic (or harmonically conceived) styles, could coalesce. This
particular G-major quartet otherwise advances in the customary slow-fast-
slow-fast manner, with the opening two movements further subdivided for
added contrast and distinction. Telemann lived through the declining years
of the Baroque period and witnessed the emergence of a new spirit of
rationalism, which eventually flowered into the Enlightenment. Along this
pathway his music became galant in character, no more so than in this great
Tafelmusik collection and in particular his G major quartet.
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Jean Philippe Rameau
I.
La Forqueray
II.
La Cupis
III. La Marais
Pièces de Clavecin en concerts No.5
(publ. 1741)
Jean Phillip Rameau's reputation as a composer was initially gained
through his compositions for solo harpsichord. It was not until he reached
the age of fifty that he attempted to compose the more fashionable stage
works (Leclair was also 50 when he wrote his only stage work Scylla et
Glaucus). His operatic career began with the Tragedie Hippolyte et
Aricie in 1733. Following this new direction he wrote very little new
music for solo harpsichord. He did make harpsichord arrangements of a
substantial amount of his existing instrumental music and in 1741 he
gave the instrument a central role in his only chamber music work for
several instruments - namely the Pièces de Clavecin en concerts. These
suites, which is what they essentially are, were composed as solo harpsi-
chord pieces. The expression 'en concerts' meaning for 'ensemble play-
ing', the ensemble being formed by the addition of two melodic
instruments, which accompany the obbligato harpsichord. These pieces
were inspired by Mondonville's Pièces de Clavecin en Sonatas that he
wrote in 1734 and which gave a new focus for accompanied keyboard
music. In his preface to the work Rameau claimed that these pieces could
be played as solo harpsichord pieces detailing the small changes neces-
sary if this were done. However, the delicate interplay between the three
instruments is fundamental to their intimate character. That Rameau
published the work in score form without part books with the instruction
that "the violin and viol must above all adapt themselves to the harpsi-
chord" further supports this. Rameau gave various alternatives for the
accompanying instruments and we have chosen to perform the fifth suite
with flute and violin in the accompanying role. Two of the movements in
this suite are named after fellow musicians, the gamba players Forqueray
and Marais. La Cupis was a well-established family of musicians in
France around the time of the composition.
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S
1
Antonio Vivaldi
I.
Allegro
II.
Largo
III. Allegro
Concerto in G minor, RV107
(1705)
Antonio Vivaldi left over twenty works commonly described as 'chamber
concertos'. In essence these recreate the form and style of the normal
Vivaldi concerto for one or more soloists, string orchestra and continuo
in a chamber medium where the orchestra is absent but the soloists
remain. A few of Vivaldi's chamber concertos may have been composed
in the late 1710s, about a decade after his first known concertos emerged,
but most appear from their paper-type, handwriting, and musical and
notational style, to be products of the 1720s. These chamber concertos
were composed by Vivaldi for a variety of instrumental combinations. In
these pieces the composer gives all parts other than the continuo an
obbligato role but brings them together for the ritornellos. Thus, any
given group, ranging in size from three to six players, provides not only
the solo element but also the orchestral one. Within the limits imposed by
these chamber music resources Vivaldi achieves a rich variety of tonal
colours with transparent textures stemming, at least in part, from an
informed knowledge of the instruments for which he was writing. Al-
though Bach, Telemann and several French composers explored the
chamber concerto medium, Italian composers other than Vivaldi appear
to have ignored it. In this sphere, as in so many others, Vivaldi combines
melodic invention and fine craftsmanship with a beguilingly attractive
tonal palette giving each and every one if his chamber concertos its own
distinctive, colourful character. The obbligato parts in the G minor con-
certo are fairly evenly spread with a slight emphasis on virtuoso violin
figures in the initial movement. The Largo, in the rhythm of a siciliano,
also occurs in Vivaldi's Concerto in B flat for oboe and violin (RV548).
Here the lyrical melody is shared between flute and oboe, whilst the violin
and cello provide an accompaniment; the effect is one of Arcadian
enchantment. The work concludes with a chaconne built upon an eight-
bar ostinato bass. The sequence of variations is imaginatively handled by
Vivaldi who introduces several virtuoso flourishes to the instrumental
writing. This effective and somewhat haunting music possesses, perhaps,
a mildly poignant character.
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Johann Christian Bach
Allegro
Andantino
I.
II.
III. Allegro assai
Quintet in D, Op. 22, No. 1
WB 76 (publ. 1785)
Johann Christian Bach was born to Johann Sebastian and Anna Magdalena
Bach in Leipzig, Germany. His distinguished father was already 50 at the
time of his birth. Johann Sebastian first instructed him in music and that
instruction continued until his death. After his father's death, when Johann
Christian was 15, he worked with his second oldest half-brother Carl
Philipp Emanuel Bach, who was twenty-one years his senior and consid-
ered at the time to be the most musically gifted of Bach's sons. He enjoyed
a promising career, first as a composer then as a performer playing
alongside Carl Friedrich Abel, the notable player of the viola da gamba.
He composed cantatas, chamber music, keyboard and orchestral works,
operas and symphonies. JC Bach lived in Italy for many years starting in
1756, studying with Padre Martini in Bologna. He became organist at the
Milan cathedral in 1760. During his time in Italy, he converted from
Lutheranism to Catholicism. In 1762, he travelled to London to première
three operas at the King's Theatre, including Orione on 19 February 1763.
That established his reputation in England, and he became music master
to Queen Charlotte. From 1764 JC Bach together with CF Abel organised
the Bach-Abel Concerts, which became the most famous and the oldest of
the public concerts in London. Johann Christian's highly melodic style
differentiates his works from those of his family. He composed in the
galante style incorporating balanced phrases, emphasis on melody and
accompaniment, without too much contrapuntal complexity. The galante
movement opposed the intricate lines of Baroque music, and instead
placed importance on fluid melodies in periodic phrases. It preceded the
classical style, which fused the galante aesthetics with a renewed interest
in counterpoint. Published posthumously and scored for flute, oboe, vio-
lin, cello and harpsichord, the first quintet of the Op. 22 set was probably
written in the composer's final years. Bach promotes the harpsichord and
occasionally the cello from their traditional continuo roles to become
obbligato instruments: the middle movement's near-operatic interlude is
the most striking example. The outer movements, by contrast, are more
elegant, with attractive, nimble parts throughout. The Andantino's novel
birdsong-like flute, against pizzicato strings, stands out between.
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J
Antonio Vivaldi
I.
Largo
II.
Allegro
III. Largo
IV. Allegro
Cello Sonata in E minor, RV40
When Vivaldi died in Vienna on 27 or 28 July 1741, his family had the
task of disposing of the vast collection of manuscripts (mainly of his own
works but also containing sacred music by other composers) he had left
behind in Venice. By 1745 at the latest these manuscripts, bound into the
twenty-seven volumes today belonging to the Foa and Giordano collec-
tions in the Biblioteca Nazionale of Turin, were in the ownership of a
noble Venetian bibliophile, Jacopo Soranzo. Oddly, these volumes con-
tain few sonatas of any description and none at all for one instrument and
bass. Vivaldi must have retained autograph manuscript of these works in
order to produce neat copies in response to commissions, and one can
only speculate about the reason for their absence. Perhaps they were sold
off separately and subsequently perished. At any rate, their loss means
that it is impossible to gauge with any accuracy how many cello sonatas
Vivaldi produced during his long career as a composer, which began no
later than 1705 (the date of his Op.1) and continued up to his death.
It is certain that Vivaldi was familiar with the technique and idiomatic
qualities of the cello. In his day it was normal for players to have a
working knowledge of all the instruments in the 'family' to which the
one in which they specialised belonged. Moreover, Vivaldi was for
several years the only teacher of stringed instruments at the Pieta, the
famous Venetian institution for foundlings, and it is hardly conceivable
that he gave lessons only on his own instrument, the violin. In fact,
documents establish that he also had to provide tuition on the viola
inglese, a rare instrument with sympathetic strings, for which he earned
a special supplement to his pay. As a matter of course he supplied
concertos, and perhaps also sonatas, to the highly skilled cellists in the
Pieta's all-female orchestra. Once Vivaldi became established as a com-
poser, commissions for cello sonatas from other players or their patrons
began to arrive. Whereas he had two sets of violin sonatas (Op.2 and 5)
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published, he never did the same for his cello sonatas. Presumably, the
market for cello music was too small and too specialized at this time.
Three manuscript collections of Vivaldi's cello sonatas survive. The
most significant, containing six works grouped as a regular set, is owned
by the Bibliotheque Nationale in Paris. It was most probably this very
manuscript which served as the exemplar for an addition of the same
works brought out (almost certainly without the composer's involve-
ment) by the Parisian publisher Charles-Nicolas Le Clerc towards 1740.
In the late 1730s an extraordinary vogue for the cello emerged in Paris
(Le Clerc issued at least twenty-six volumes of cello sonatas between
about 1738 and 1750), giving rise to Hubert Le Blanc's bitter polemic
Defense de la basse de violecontre les entreprises du violon et les
pretensions du violoncel (1740).
an
ER
Philharmonic
ORCHE
Classical music influenced by jazz in the early twentieth century:
Stravinsky
The Ebony Concerto
Shostakovich
Jazz Suite No 2
Glazunov
Respighi
Sara Gibson
Martin Little
Huddersfield Town Hall
Saturday 11 May at 7.30pm
Saxophone Concerto
Pines of Rome
Clarinet
Saxophone
Tickets are available through Kirklees box office, the information centre in the
library, on-line, or at the door.
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the
The
med
very
me
ve-
40.
aris
een
nic
des
he
Georg Philipp Telemann
I.
Adagio
II. Allegro
III. Adagio
IV. Vivace
Concerto a Quattro
TWV 43:a3 (compl. before 1768)
Telemann never travelled to Italy but, in much the same way as Bach,
acquired his knowledge of Italian music through manuscripts circulating
German courts and from visiting Italian musicians. Few concertos of
Telemann so wholeheartedly embrace the sonorities and techniques of
the late Italian Baroque as this concerto in A minor, which is preserved
in a manuscript in the Hessian State Library at Darmstadt. Its form is that
of the chamber concerto where each part, other than the continuo, is
obbligato. In the case of the present work Telemann achieves effective
sonorities through his informed writing for three tonally contrasting solo
instruments: treble recorder, oboe and violin. Such exploitation of tonal
colour was a feature of Italian Baroque music and of Venetian music in
particular, and a close analogy exists between this concerto and the many
examples of Vivaldi's chamber concertos for mixed obbligato instrumen-
tal ensemble. Telemann, unlike Vivaldi, however, remains faithful to the
four-movement layout of the 'sonata da chiesa'. The opening Adagio is
characterised by a gentle undulating motif introduced by the oboe and
taken up first by the violin and lastly by the recorder. The textures
preserve a delicate transparency throughout. The following Allegro is
fugal with episodes of vigorous passagework both in the solo and contin-
uo parts. In the Adagio third movement (C major) Telemann achieves a
notably tender means of expression both through delicately contrived
sonorities and an affecting interweaving of parts. The Vivace finale is the
most extended of the movements and, perhaps, the most Italian. Its
rhythmic energy and unison tutti figures call Vivaldi to mind, as indeed
do the frequent episodes of virtuosic passagework for the three soloists.
Distinction between 'solo' and 'ripieno' is more marked here than in the
previous Allegro, each player being given clearly defined solo episodes.
In the last of these, for violin, Telemann takes Italianate string figurations
to heart in a dazzling display of arpeggio sequences outdistancing in
length, for instance, almost any comparable example by Vivaldi. A full
recapitulation of the 'ritornello' brings this fine work to a conclusion.
Ashley Solomon 2019
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Music Society News
As this season draws to an end, may we on the Committee thank
you all for coming and hope that you all enjoyed the selection of
performers and music that we have provided. Special thanks are
due to those of you who have already bought their season tickets
for next season. We shall, of course, be sending out the new
brochures to everyone on our mailing list when they are available
later in the year.
Our programme for the one hundred and second season, which is
shown opposite, promises to be one of our best. It includes two
young performers who first made their names as winners of the
televised BBC Young Musician of the Year and have since per-
formed in the promenade concerts at a remarkably early age.
We also have a flute and harp duo, three quartets and Svetlana
Mochalova, cello, with her husband Slava Sidorenko. They have
performed at the Purcell Room, the Barbican and Wigmore Hall
among others.
For those of you still to buy tickets they are available at the price
of £105 (students £15) from the desk at this concert, during the
summer by post, or at our first concert. The single tickets will be
£22, £25 for the first and third concerts, (students £5 for each), so
the season tickets represent very good value.
In the meantime, have a good summer and we look forward to
seeing you at our first concert on October 14th.
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)
Huddersfield Music Society
Monday 14 October 2019
Schumann: Blumenstück, op 19
Schumann: Kreisleriana
Season 2019-20
Monday 4 November 2019
Benjamin Grosvenor (piano)
Janácek: Piano Sonata 1.X.1905 The Street
Prokofiev: Visions fugitives, op 22
Liszt: Réminiscences de Norma (Bellini)
Svetlana Mochalova (cello) and
Slava Sidorenko (piano)
Frank Bridge: Sonata in D minor for cello and piano,
Piatigorsky: Variations on a Paganini Theme
Rachmaninov: Song: Do Not Sing to Me, My Beauty
Debussy: Sonata for cello and piano
Rachmaninov: Sonata in D minor for cello & piano
Jennifer Pike (violin) and Jeremy Pike (piano)
Monday 2 December 2019
Programme including the Elgar violin sonata to be confirmed.
Monday 13 January 2020
Haydn: String Quartet in F major, op 77 no 2
Dutilleux: String Quartet Ainsi la nuit
Beethoven: String Quartet in A minor, op 132
Castalian Quartet
Monday 3 February 2020
Mozart: Quartet in E flat major, K428
Bartok: String Quartet no 5
Schumann: String Quartet no 1 in A minor, op 41 no 1
Monday 16 March 2020
Barbican Quartet
Duo À Deux
Mark Taylor (flute) and Gabriella Jones (harp)
French Fantasie
Debussy: L'aprés-midi d'une faune
Camille Saint Saëns: Sonata in D major
Jacques Ibert: Entr'acte
Debussy: Syrinx
Grandjany: Rhapsody for Harp
Chaminade: Concertino
Jean Cras: Suite en Duo
Françoix Borne: Carmen Fantasie
Monday 6 April 2020
Fitzroy Quartet
Haydn: String Quartet in D minor, op 76, no 2 Fifths
Benedict Mason: String Quartet no 1
Schubert: String Quartet no 14 in D minor, Death and the Maiden
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Season's Performances
15th October 2018
CONSONE STRING QUARTET
Haydn: Quartet in D minor op 42
Fanny Mendelssohn: Quartet in E flat major
Haydn: Quartet in D minor op 103 (unfinished)
Felix Mendelssohn: Quartet in E minor op 44 no 2
5th November 2018
CENTENARY CONCERT
BRIDGE STRING QUARTET, CHARLES DANIELS (Tenor), MICHAEL DUSSEK (Piano)
Butterworth: Suite for String Quartet
Butterworth: Songs from "A Shropshire Lad”
Gurney: Three songs
Elgar: Piano Quintet in A minor op 84
Vaughan Williams: On Wenlock Edge
10th December 2018
NEW WORLD ENSEMBLE
Haydn: String Quartet in D major op 64 no 5 ("The Lark")
Webern: Langsamer satz. (1905) for String Quartet
Schubert: Octet in F major D803
14th January 2019
VICTORIA STRING QUARTET
Mozart: Quartet in E flat major K428
Kodály: Quartet no 2 op 10
Brahms: Quartet in A minor op 51 no 2
25th February 2019
SOLAREK PIANO TRIO
Amy Beach: Trio in A minor op 150
Rebecca Clarke: Trio (1923)
Brahms: Trio in C major op 87
11th March 2019
ALLEGRI STRING QUARTET
Mozart: Quartet in B flat major K458 ("The Hunt")
Szymanowski: Quartet no 1 in C major op 37
Beethoven: Quartet in E flat major op 127
8th April 2019
FLORILEGIUM (flute/recorder, oboe, violin, cello, harpsichord)
LES NATIONS
Telemann: Quartet in G from Tafelmusik Part 1
Rameau: Pièce de clavecin en concert no 5
Vivaldi: Concerto in G minor RV40 JC Bach: Quintet in D major
Vivaldi: Cello Sonata in E minor RV107 Telemann: Concerto a Quattro in A minor
NB This schedule is published in good faith but we reserve the right to alter the artists or programme for any
concert should circumstances beyond our control make this necessary.