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Huddersfield
Music Society
[[|
WT.
Founded 1918
2019-2020
St Paul's Hall, Huddersfield
All concerts start at 7.30 pm
Benjamin Grosvenor
Svetlana Mochalova and Slava Sidorenko
Jennifer Pike and Jeremy Pike
Castalian String Quartet
Barbican String Quartet
A Deux Duo
Fitzroy Quartet
Given in association with the
"Music at the University of Huddersfield"
Evening Concert Series
www.huddersfield-music-society.org.uk
Registered Charity 529340
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Monday 14 October 2019
Benjamin Grosvenor (piano)
British pianist Benjamin Grosvenor is internationally
recognised for his electrifying performances.
Schumann: Blumenstuck, op 19
Schumann: Kreisleriana
Janacek: Piano Sonata 1.X.1905 The Street
Prokofiev: Visions fugitives, op 22
Liszt: Reminiscences de Norma (Berlin)
Monday 4 November 2019
Svetlana Mochalova (cello)
Slava Sidorenko (Piano)
Russian cellist Svetlana Mochalova and Ukrainian
pianist Slava Sidorenko first met at the
Royal Northern College of Music.
hen
Bridge: Sonata in D minor for cello and piano
Piatigorsky: Variations on a Paganini Theme
Rachmaninov: Do Not Sing To Me, My Beauty
Debussy: Sonata in D minor for cello and piano
Rachmaninov: Sonata in D minor for cello and piano
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0)
ally
n
0
M
Huddersfield
Music Society
IL
Founded 1918
WI.
2019-2020
SHAR
Booking form
(to be detached)
en-
dud
Mik
Blick
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Monday 2 December 2019
Jennifer Pike (violin)
Jeremy Pike (piano)
Jennifer became the youngest winner of BBC Young
Musician of the year when aged 12. She is
accompanied by her father.
Mozart: Sonata in G major, K301
Jeremy Pike: Violin Sonata
Elgar: Violin Sonata in E minor, op 82
Rozsa: Variations on a Hungarian Peasant Song, op 4
Monday 14 January 2020
Castalian String Quartet
Formed in 2011, the Castalian Quartet
has performed widely throughout Europe.
Haydn: Quartet in F major, op 77 no2
Dutilleux: Quartet Ainsi la nuit
Beethoven: Quartet in A minor, op 132
Monday 3 February 2020
Barbican String Quartet
The Barbican Quartet was founded at the
Guildhall School of Music and Drama,
based in London.
M
SURET
你
Mozart: Quartet in E flat major, K428
Bartok: Quartet no 5
Schumann: Quartet no 1 in A minor, op 41 no1
Monday 16 March 2020
A Deux Duo
Mark Taylor (flute) Gabriella Jones (harp)
From the moment they first played together
they had a spark and formed the A Deux Duo.
***
French Fantaisie
Debussy: L'apres-midi d'un faune
Ibert: Entr' acte for flute and harp
and music by Chaminard, Saint Saens and others
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Booking Arrangements Tickets
Subscriber Ticket
Single Concert Ticket
Concerts 1 & 3
Student Subscriber Ticket
Single Student Ticket
Tickets for individual concerts can be obtained
at the door, from the address below 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
Quarry House, Hoyle Ing, Linthwaite
Huddersfield HD7 5RX
Email: hudds_music_soc@yahoo.co.uk
Please send ............ subscriber tickets
Please send
for
Name
...
Address
Postcode
Email
Donation
...........
Booking Form
I enclose cheque
single concert tickets
........
£115
£22
£25
......
£20
£5
Telephone
Total £
We are unable to accept credit cards.
(dates)
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 6 April 2020
Fitzroy Quartet
The Fitzroy Quartet was formed at the
Royal Academy of Music in 2014.
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
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
Concerts 1 & 3
Student Subscriber Ticket
Single Student Ticket
NEW NORN
Mem
no
Tickets
Subscriber tickets may be obtained from
Quarry House, Hoyle Ing, Linthwaite
Huddersfield HD7 5RX
or on the door at the first concert.
pca-na
Tickets for individual concerts can be obtained at
the door, from the above address or online using
the link on our website.
www.huddersfield-music-society.org.uk
SENESTER
NORTE
10084
00000
000
DOL
SOA
200
SUD
30
£115
£22
BUNGA
F/CAR PARK
£25
List Wick Char
£20
£5
TO WAKEFIELD
SHEFFIELD
Boerem
ST. PAUL'S HALL
UNIVERSITY OF
HUDDERSFIELD
Car parking is available in the Multi-Storey car park
across Queensgate from St Paul's for a small fee.
The car park is attended and lit.
Concerts usually end at about 9.30pm.
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Huddersfield
Music Society
U
WT.
Founded 1918
2019-2020 Season
St. Paul's Concert Hall, Queensgate
Mondays 7.30 pm
ta
www.huddersfield -music-society.org.uk
Registered Charity 529340
President: Stephen Smith 5
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Secretary
David Allsopp
Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk
Committee
President
Stephen Smith
Treasurer
Alastair Cridland
34, Hoyle Ing, Linthwaite, Huddersfield. HD7 5RX
Tel: 01484 845407 Email: alastair@cridland.net
ARTS
Membership Secretary
Verity Cridland
Tel: 01484 845407 Email: verity@cridland.net
Hilary Norcliffe (Society Archivist)
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.
and
The Society is grateful for financial help from our donors
which makes this series possible.
COUNCIL
ENGLAND
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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Huddersfield Music Society
Bat
рати
ay
Trover
Benjamin Grosvenor
We are grateful that tonight's concert has
been sponsored by an anonymous donor.
St Paul's Hall
Monday 14 October 2019
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P Michael Lord
Michael Lord, who died in April this year, was the Society's treasurer
for 40 years and was a stalwart supporter throughout this time.
This concert is dedicated to his memory.
Music Society News
Welcome to the one hundred and second season. We hope that you
had an enjoyable and musical summer - or maybe you missed us!
We have an exciting and interesting season for you including a
number of young artists who have already made their names as top
performers in the musical life of this country and abroad. No-one
more than Benjamin Grosvenor who plays for us tonight.
As I am sure that our President will point out before the beginning of
the concert, if you have purchased a ticket for this concert only, we
will be happy to convert it to a season ticket giving you six further
concerts for a price of just £90.
As advertised, our AGM is taking place in the Creative Arts Building in
the University next Monday, October 15, at 7pm. Do come and share
ideas about the next season.
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Benjamin Grosvenor
British pianist Benjamin Grosvenor is internationally recognised for his
electrifying performances, distinctive sound and insightful interpretations.
His virtuosic command over the most arduous technical complexities.
underpins the remarkable depth and understanding of his music making.
Described as "one in a million...several million" by The Independent, his
"astounding technical gifts, the freshness of his imagination, his intense
concentration, the absence of any kind of show, and the unmistakable
sense of poetic immersion directed solely at the realization of music" have
been lauded by Süddeutsche Zeitung.
Benjamin first came to prominence as the outstanding winner of the
Keyboard Final of the 2004 BBC Young Musician Competition at the age
of eleven, and he was invited to perform with the BBC Symphony Orches-
tra at the First Night of the 2011 BBC Proms aged just nineteen. A pianist
of widespread international acclaim, he was announced as the inaugural
recipient of The Ronnie and Lawrence Ackman Classical Piano Prize with
the New York Philharmonic in 2016.
Recent and forthcoming concerto highlights include engagements with the
Boston and Chicago Symphony Orchestras, The Philadelphia Orchestra,
Pittsburgh Symphony Orchestra, Gürzenich-Orchestra Cologne, Orches-
tre Philharmonique de Radio France, Hallé Orchestra, Orquesta Nacional
de España, Filarmonica della Scala, Orchestra della Svizzera Italiana,
London Philharmonic Orchestra, and the London, City of Birmingham,
San Francisco, and Washington National Symphony Orchestras as well as
a tour of China with Britten Sinfonia. Benjamin works with such esteemed
conductors as Andrey Boreyko, Semyon Bychkov, Riccardo Chailly, Elim
Chan, Sir Mark Elder, Edward Gardner, Alan Gilbert, Manfred Honeck,
Vladimir Jurowski, Andrew Manze, Ludovic Morlot, Kent Nagano, Sir
Roger Norrington, Gianandrea Noseda, Andrés Orozco-Estrada,
François Xavier Roth, Esa-Pekka Salonen, Leonard Slatkin, Nathalie Stut-
zmann, Michael Tilson Thomas, Krzysztof Urbański, and Kazuki Yamada.
Among Benjamin's major recital dates in the 2019/20 season are Lon-
don's Wigmore Hall, Théâtre des Champs Elysées Paris, Munich's Herku-
lessaal, Cologne Philharmonie, Palau de la Música Catalana Barcelona,
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New York's distinguished Peoples' Symphony Concerts, Vancouver Re-
cital Series, Atlanta's Spivey Hall and Teatro Petruzzelli Bari. Also a keen
chamber musician, the season sees Benjamin embark on a North American
duo tour with violinist Hyeyoon Park, join musicians of the Lucerne
Festival Soloists for a performance at the new Andermatt Concert Hall
and, together with Hyeyoon Park, Timothy Ridout and Kian Soltani,
return to the International Chamber Music Season at London's Southbank
Centre for a quartet programme featuring works by Strauss and Brahms.
In 2011 Benjamin signed to Decca Classics, becoming the youngest
British musician ever, and the first British pianist in almost 60 years, to
sign to the label. Benjamin's most recent CD on the label, Homages,
explores works in which celebrated composers pay tribute to their prede-
cessors, and includes Busoni's transcription of Bach's great solo violin
Chaconne, Franck's Choral, Prelude and Fugue and Liszt's tribute to
Italian folk song, Venezia e Napoli. Named Instrumental Recording of the
Month in BBC Music Magazine, the disc was also awarded a Diapason
d'Or, with Diapason's critic declaring that "his pianistic ingenuity, his
lyrical voice and aristocratic distinction remind one of the young Josef
Hofmann or Ignaz Friedman. The whole recital is charged with Romantic
élan."
During his sensational career to date, Benjamin has received Gramo-
phone's Young Artist of the Year and Instrumental Awards, a Classic
Brits Critics' Award, UK Critics' Circle Award for Exceptional Young
Talent and a Diapason d'Or Jeune Talent Award. He has been featured in
two BBC television documentaries, BBC Breakfast and The Andrew Marr
Show, as well as in CNN's Human to Hero series. The youngest of five
brothers, Benjamin began playing the piano aged 6. He studied at the
Royal Academy of Music with Christopher Elton and Daniel-Ben Pienaar,
where he graduated in 2012 with the 'Queen's Commendation for Excel-
lence' and in 2016 was awarded a Fellowship from the institution. Ben-
jamin has been supported since 2013 by EFG International, the widely
respected global private banking group.
4
© 2019 Benjamin Grosvenor
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Blumenstück,
op 19
First performance at HMS.
Programme Notes
Blumenstück is the German word for a still-life picture of flowers, but rather than
being a literal description of flowers, this piece was interpreted by Schumann as
representing romantic emotions on seeing a bouquet of flowers given to someone
in love. Perhaps the different sections of this beautiful piece are glimpses of
Schumann's love for Clara. Both this piece and Kreisleriana were inevitably
presented to her when they married in 1840, a year after its composition.
Schumann described it as variations although there isn't the customary main
theme. However there is a second slightly slower section which recurs and also a
falling four-note motif at the beginning which weaves its way all through the work.
Kreisleriana, op 16
Last performed at HMS by Leon McCawley, February 27, 1995
Schumann 1810 - 1856
I'm overflowing with music and beautiful melodies now - imagine, since my last
letter I've finished another whole notebook of new pieces. I intend to call it
Kreisleriana. You and one of your ideas play the main role in it, and I want to
dedicate it to you - yes, to you and nobody else - and then you will smile so sweetly
when you discover yourself in it. (Schumann)
Schumann regarded this collection as one of his best piano works. It was composed
in 1838 and made popular by an irresistible energy and melodic flow. The compos-
er was inspired by the writings of ETA Hoffman, and in particular, the character
of Johannes Kreisler, an artistic personality subject to huge mood swings, as
indeed was Schumann. The music reflects the intensity of the composer's own
emotionally unstable state, swinging wildly between moods of abject despair and
manic joy. Clara Wieck was the daughter of his piano teacher, and his muse. Into
these portraits he has poured all his feelings for her. (Unfortunately her father was
not keen to encourage the relationship.)
The volatility of emotion within this eight-movement work is present from the start
in its immediate outpouring of notes, after which it retreats into the introspective
moods of his alter-ego which are introvert and often poignant. Immense technical
demands are made upon the pianist who frequently has to single out one voice from
two or three contrapuntal lines, and Schumann's admiration for Bachian textures
is clearly demonstrated in these pieces. In addition, the occasional but considerable
rhythmic disparity between the hands contributes to the extremes of expression.
INTERVAL
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Janácek: Piano Sonata 1.X.1905 'The Street'
Last performed at HMS by Antti Siirala, October 16, 2004
1 Premonition. Con moto
2 Death. Adagio
This sonata was born out of a traumatic event in the lives of Janácek and his
contemporaries in the manner that many other twentieth century works of art
responded to a political event or situation. A worker taking part in a peaceful
demonstration calling for a second Czech university was brutally stabbed to death
with a bayonet, an outrage which aroused fear and horror and generated a new
musical language from Janácek. His belief that musical notes "mean nothing at all
unless they are steeped in life, blood and nature" enabled him to create an almost
photographic representation of the abomination, translating human experience
directly into music.
1854-1928
In the first movement the expression of overwhelming pain and pathos can be
detected in its repetition of motivic melodies, which are developed to encompass
a spectrum of emotions. Other indications of disquiet lie beneath the textures in the
uneasy accompaniments, sometimes leading to passionate and eloquent declama-
tion.
The simply crafted opening phrases of the second movement express the pointless-
ness of the death in their pathos and melancholy. Later the movement intensifies,
its textures becoming more concentrated and revealing sensations of anguish, then
releasing these extremes of emotion before returning once more to the quiet
despair of the opening.
Prokofiev: Visions fugitives, op 22
Last performed at HMS by Nicolas Orloff, February 13, 1935
1891 - 1953
There is considerable skill and subtlety not only in the harmonic transitions
between one piece and the next, but in creating a coherent emotional journey
overall. (Daniel Jaffé)
6
Whilst composing this set of pieces Prokofiev was witnessing the period of the
Russian Revolution. These were troubled times and his personal career had suf-
fered some disappointment, in particular for a continuing lack of success for his
opera 'The Gambler', as well as a disastrous and blighted love affair, both of which
had left him in a state of depression. Having composed two piano sonatas and at
work on the next two, he gathered himself together and set to work on the Visions
Fugitives, completing them over two years between 1915 and 1917.
Ea
sna
en
'th
WI
WI
ha
E
ar
pe
th
re
T
ir
L
Fi
L
u
b
с
C
C
E
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1928
and his
of art
ceful
death
new
at all
most
ence
mbe
pass
the
ma-
ess-
fies,
then
quiet
953
tions
urney
of the
suf-
for his
which
and at
isions
Each of these brief characterful pieces is a glimpse into a mood rather like an aural
snapshot. Prokofiev's biographer also describes them aptly as 'something like
entries in a diary', and the translation of the original Russian title literally means
'things flying past'. Each miniature prelude pursues a single pianistic technique
with its own subtle shadings and rhythmic flexibility. Many pieces of the set were
written by the composer with particular friends in mind, and their often dissonant
harmonies are reminiscent of the composer Ravel.
Every piece was scrupulously dated; those written earlier in 1915 tend to be lighter
and more playful; others written later reflect the unsettling feelings of a difficult
period. Number 19 was composed after he witnessed the fighting in the streets at
the time of the February Revolution - its aggression was explained by Prokofiev as
reflecting upon the disturbing feelings of the crowd rather than the actual fighting.
There is more about the interesting life of pianist Nicholas Orloff (Nikolai Orlov)
in a small archive display in the foyer.
Liszt: Réminiscences de Norma (Bellini)
First performance at HMS.
1811-1886
Liszt's piano transcriptions amount to at least half of his output for the piano
unsurprisingly, as he earned his living by teaching the instrument and giving
brilliant virtuoso improvisations in a variety of European cities. The theatricality
of his own original performances translates into pieces of elaborate and conspicu-
ous display.
Also known as a Grande Fantaisie, this single work encompasses a staged drama
of its own, built upon several operatic themes. It displays not only every virtuoso
device of sparkling display and harmonic extravagance, but also visits moments of
extreme tragedy and emotion. Sometimes the pianist is asked to achieve the
impossible, such as the facility to play extended chords in one hand whilst negoti-
ating a delicate decorative virtuosic line in the other; or negotiating large stretches
in both hands and being adept at moving from one extreme of the keyboard to
another. Acknowledging that he has only two hands, the composer expects a
performer to play passages which are equivalent of three; for instance sharing a big
tune in the centre of the keyboard between the hands whilst pursuing independent
lines above and below!
From within this virtuosic display the concert going public of those times would
have immediately recognised original and popular operatic themes, Despite what
may seem like elaborate exhibitionism in some respects, the music contains an
inherent beauty and integrity.
Programme notes by C Stanton
7
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Halifax Philharmonic Club
Square Chapel Arts Centre, Halifax
Nicolas Daniel and the Britten Oboe Quartet
Phantasy Quartet
Oboe Quartet
Cor Anglais Quartet
Machair to Myrrh for string trio
Oboe Quartet
Quartet in C, K171
Moeran
Mark Simpson
Françaix
Jacqueline Shave
Lennox Berkeley
Mozart
Other Local Concerts
Tickets, £20, concessions £18, students £5, children under 16 £2.
available from the Square Chapel Box Office, telephone 01422 349422
spo
Slaithwaite
Philharmonic
Orchestra
Slaithwaite Philharmonic Orchestra
The Symphony Orchestra of the Colne Valley
Prokofiev
Ravel
Sibelius
Friday, October 18, 7:30
Saturday, 19 October, 7.30
Huddersfield Town Hall
Conductor
Leader
Piano
Suite from Lieutenant Kije
Piano Concerto in G
Symphony No 1
Benjamin Ellin
Michele Northam
Olga Jegunova
8
Tickets, £13.00 to £19.00, concessions £10.00 to £11.00, students £8.00 to
£5.00 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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yn'
X
08:
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Season's Performances
14th October 2019
BENJAMIN GROSVENOR (piano)
Schumann: Blumenstück, op 19 Schumann: Kreisleriana
Janáček: Piano Sonata 1.X.1905 The Street
Prokofiev: Visions fugitives, op 22
Liszt: Réminiscences de Norma (Bellini)
4th November 2019
SVETLANA MOCHALOVA (cello) SLAVA SIDORENKO (piano)
Frank Bridge: Sonata in D minor for cello and piano
Piatigorsky: Variations on a Paganini Theme
Rachmaninov: Do Not Sing to Me, My Beauty
Debussy: Sonata in D minor for cello and piano
Rachmaninov: Sonata in G minor for cello & piano
2nd December 2019
JENNIFER PIKE (violin) JEREMY PIKE (piano)
Mozart: Sonata in G major, K301
Jeremy Pike: Violin Sonata
Elgar: Violin Sonata in E minor, op 82
Rózsa: Variations on a Hungarian Peasant Song, op 4
13th January 2020
CASTALIAN STRING QUARTET
Haydn: String Quartet in F major, op 77 no 2
Dutilleux: String Quartet Ainsi la nuit
Beethoven: String Quartet in A minor, op 132
3rd February 2020
BARBICAN STRING QUARTET
Beethoven: String Quartet no 1 in F major, op 18 no 1
Bartók: String Quartet no 5
Schumann: String Quartet no 1 in A minor, op 41 no 1
16th March 2020
À DEUX DUO
MARK TAYLOR (flute) GABRIELLA JONES (harp)
French Fantaisie
Debussy: Prélude à L'Après-midi d'un faune Marcel Grandjany: Rhapsody for harp
Saint-Saëns: Sonata in D major Chaminade: Concertino
Jacques Ibert: Entr'acte for flute and harp
Jean Cras: Suite en duo Debussy: Syrinx
Françoix Borne: Fantaisie brilliante sur Carmen
6th 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
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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Ocr'd Text:
Huddersfield
Music Society
U ¶
WI
Founded 1918
2019-2020 Season
St. Paul's Concert Hall, Queensgate
Mondays 7.30 pm
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
Treasurer
Alastair Cridland
34, Hoyle Ing, Linthwaite, Huddersfield. HD7 5RX
Tel: 01484 845407 Email: alastair@cridland.net
ARTS
Membership Secretary
Verity Cridland
Tel: 01484 845407 Email: verity@cridland.net
Hilary Norcliffe (Society Archivist)
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.
and
The Society is grateful for financial help from our donors
which makes this series possible.
COUNCIL
ENGLAND
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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Ocr'd Text:
Huddersfield Music Society
Svetlana Mochalova (cello)
Slava Sidorenko (piano)
With very best wishes,
Slowa
Svetlana
164
Thank you very much for having us.
St Paul's Hall
Monday 4 November 2019
H
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Ocr'd Text:
Svetlana Mochalova
and
Slava Sidorenko
Russian cellist Svetlana Mochalova and Ukrainian pianist Slava Sidorenko
first met at the Royal Northern College of Music. A musical relationship
blossomed into a personal relationship and the couple are now married.
Between them, they've won multiple awards and performed at venues.
including the Purcell Room, the Barbican, Wigmore Hall and Glastonbury.
Their debut CD, 'Rachmaninoff, was released in January 2018.
Svetlana Mochalova started to play cello at the age of five studying with her
mother Tatiana Tumaeva and Alexander Pokrovsky. The following year she
joined a specialist music school in Voronezh, Russia. At the age of eight she
started competing in national and international competitions and aged 11
made her debut with Voronezh Symphony Orchestra, followed by a per-
formance of Saint-Saëns Cello Concerto in Voronezh Town Hall a year
later. Regular performances with various orchestras in Russia and the UK
have followed ever since. In 2001 Svetlana received a full scholarship to
study at The Purcell School, under Natalia Pavlutskaya. A scholarship to the
Royal Northern College of Music saw her studying with Hannah Roberts
from 2006, and Svetlana graduated with first class honours prior to complet-
ing a Master of Music in Solo Performance with distinction.
Recently described by Robert Beale for the Manchester Evening News as "a
young pianist set to make a major impact", Slava Sidorenko began his
musical education at the age of five in Kharkov, Ukraine. In 2003 he was
awarded an Associated Board (ABRSM) full scholarship to study with
Norma Fisher at the Royal Northern College of Music, where he won many
major awards including the coveted RNCM Gold Medal. His studies contin-
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The ho
ued until 2010 on the first RNCM International Artist Diploma Course with
the generous support of the Royal Northern College of Music, the Musicians.
Benevolent Fund's MBF Music Education Award, the Philharmonia Or-
chestra Martin Musical Scholarship Fund, The Worshipful Company of
Musicians and The Boise Foundation.
Slava has appeared as recital and concerto soloist in the Ukraine, Germany,
Italy, France and many parts of the UK. He made his debut in 2009 at the
Wigmore Hall, as winner of the Jacques Samuel Intercollegiate Piano
Competition, (the CD "Live at Wigmore Hall" was released the following
year), receiving glowing reviews and at the Bridgewater Hall. He performed
with major orchestras including City of Birmingham Symphony Orchestra.
Members who come to the Huddersfield Symphony Orchestra series will
remember his wonderful playing of Gershwin's Rhapsody in Blue and his
Piano Concerto in 2016, and Tchaikovsky's Piano Concerto No 1 in 2018.
He will also be playing the Shostakovich 2nd piano concerto with the Square
Chapel Orchestra on June 21, 2020. Something to look forward to!
Music Society News
There has been a change to the programme for this evening. At the request
of the performers the Piatigorsky variations have been substituted by Men-
delssohn's Variations Concertantes. We apologise for any disappointment
this has caused. Giulietta von Mendelssohn-Gordigani (1871-1955), who
last played this piece for us in 1930, was married to Felix Mendelssohn's
first cousin twice removed (hence the surname). When he died in 1917 she
married Gaspar Cassadó, the cellist, who was 26 years her junior.
We had an enjoyable AGM as a result of which we shall be putting a differ-
ent selection of CDs out for sale at each concert. Any not sold at the end of
each concert will be given to charity shops.
We also discussed the membership of the committee. In addition to the 3
officers we also have 7 other members, as shown on the inside front cover,
and we are looking for one more. If you are interested in classical music
(you do not have to be an expert) and would like to see how the Society is
organised do please talk to a committee member. We only have 3 meetings
a year.
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Tonight's Programme
Song 'Do not sing to me my beauty'
Variations Concertantes op 17
Sonata in D minor for cello and piano
INTERVAL
Sonata in D minor for cello and piano
Sonata in G minor for cello and piano
Notes
Song 'Do not sing to me my beauty'
First performance at HMS.
Rachmaninov
Mendelssohn
Frank Bridge
Debussy
Rachmaninov
Rachmaninov 1873 - 1943
This romantic melody, transcribed from one of Rachmaninov's many songs,
may be familiar - much as his wordless 'Vocalise', which has similarly been
purloined as a romantic solo in different arrangements. The poetry of this
particular song was written by Alexander Pushkin, whose influence upon the
development of Russian music cannot be denied. Arrangers in general have
found Rachmaninov's nostalgic harmonies and beautiful lines impossible to
resist.
4
Variations Concertantes op 17
Mendelssohn 1809-1847
Last performed at HMS by Gaspar Cassadó and Giulietta von Mendelssohn-Gordigani, February 19, 1930
This set of variations was composed when the composer was just twenty
years old. Based on a perfectly proportioned theme in two halves, the theme
is presented by both piano and cello, followed by eight variations.
Numbers two and three are playful and the third is accompanied by a
decorative cello line. The fourth is marked allegro con fuoco (fast and fiery)
with an elaborate piano part, and leads directly into the spirited fifth with a
pizzicato cello line. After a calm sixth variation, a dynamic and extended
seventh in the minor key has another impressive piano part. The eighth
variation is a final statement of the theme with an impressive coda.
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0
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Sonata in D minor for cello and piano Frank Bridge 1879 - 1941
First performance at HMS.
1 Allegro ben moderato
2 Adagio ma non troppo - Molto allegro e agitato
This sonata took Bridge four years to complete, starting before World War 1.
The music is quite typical of the early twentieth century with its very
English approach to harmony and also the rhapsodic element which Bridge
and other composers explored in their compositions.
An intense and expansive cello theme which opens the work is supported by
delicate figuration in the piano part. Both parts have an improvisatory
element, embracing extravagant harmonies and ecstatic piano figuration.
against the soaring cello line. In the middle of the movement a period of
calm takes over, creating a feeling of serenity with tentative lyricism in both.
piano and cello parts; moments of absorption occur where the movement
almost ceases. An increase in speed introduces a playful element between
the instruments as the music returns to its former intensity. Fragmentary
ideas from the first section are re-introduced and the movement ends peace-
fully after a complete re-statement of the opening theme.
The second movement opens with a captivating piano solo, to which the
cello responds. That this music is born of a composer who was greatly
depressed by the futility of war is easy to comprehend. From within its
lingering and evocative lines the music portrays a state of unease and
apprehension. Any sense of competition between the instruments is absent.
An agitated rhythmic passage from the piano signals the contrasting final
movement where the cello recalls the opening melody of the first movement,
but the music continues to retreat back into rhapsodic character again.
Moments of reflection exist within the building intensity and elaborate
passage work of the piano part. There is a final passage of tranquillity before
the passionate conclusion.
INTERVAL
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Sonata in D minor for cello and piano
Last performed at HMS by Laura van de Heijden and Tom Poster, March 27.2017
1 Prologue: Lent, sostenuto e molto risoluto
2 Sérénade: Modérément animé
3 Finale: Animé, léger et nerveux
This short sonata was planned to be one of six 'sonates pour divers instru-
ments' composed by Debussy at the end of his life. Three were completed,
the other two being for violin and for flute, viola and harp. This second cello
sonata is subtitled Pierrot fait fou avec la lune and reflects a late nineteenth
and twentieth century interest in reviving the Renaissance Commedia
dell'arte characters with Pierrot as the colourful clown. Despite its compar-
ative brevity the work is intense, a distillation of his composing technique,
as with other late works such as his piano trio and string quartet.
Debussy 1862 - 1918
A kind of Baroque decorative turn calls for attention in the piano and as the
cello enters, its flexible melodic lines are constructed from fragmentary
phrases such as the drooping motif from the cello leading to fluent and
extended exchange. Further energy and fervour is generated from a rising
four-note scale in the cello part. The music is a reminder of the continually
transient textures of Debussy's ephemeral and exotic soundworld, reflecting
his pianistic repertoire. A gentle and reflective ending on the cello recalls the
opening piano embellishment, ultimately concluding on a magical major
chord.
In the Sérénade the players interconnect through distinctive and imaginative
instrumental effects such as the slides and pizzicato on the cello. Moments
of tenderness and more bizarre behaviour alternate before a hazy ending.
The Finale is a dance movement with a regular and strong rhythm at the
start, and it has a challenging and elaborate piano part. Strong rhythm rules
mostly throughout this movement, giving way to a central section of expres-
sive rubato and a chromatic cello line before returning to the rhythmic
ascendancy of the beginning. This is a unique and visionary sonata confirm-
ing Debussy's place in musical history as one of only a handful of truly
innovative composers.
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Sonata in G minor for cello and piano
Last performed at HMS by Ariana Kashefi and Timothy End, December 8, 2014
1 Lento - Allegro moderato
2 Allegro scherzando
3 Andante
4 Allegro mosso
Rachmaninov 1873 - 1943
Rachmaninov played the piano part for the first performance of this sonata
in 1901, composed soon after the first performance of his highly successful
second piano concerto. He takes over where Beethoven left off, increasing
the demands upon both instruments. Many themes originate in the piano part
and are expanded by the cello. Both instruments exploit the virtuosic possi-
bilities and challenge technical limits.
A melancholy introduction unwinds into brisk opening chords of an emo-
tional Allegro moderato in which the music moves fluently between soaring
and passionate melodic material and quieter, more contemplative chromatic
sections, visiting many keys in true Romantic tradition. The development.
section is richly embellished with displays of virtuosity, particularly in the
piano part.
In contrast, the second movement is at first one of rhythmic and playful
energy, leading to its polar opposite with a second tender, romantic melody,
exploring both the cantabile possibilities of the cello and its capacity for
extremes of pitch, dynamics and colour. The extravagant harmonic variety
in this movement and the following is typical of Rachmaninov.
A slow movement lingeringly unfolds, its beguiling melody tinged with
melancholy and accompanied by subtle and sensuous harmonies. Two
ecstatic climaxes demonstrate Rachmaninov's perfect control of his material.
A passage of furious and frenzied virtuosity opens the fourth movement in
G major, contrasting with the understated simplicity of a second melodic
idea which is underpinned by a dominant pedal note on D. The drama is
increased by extreme contrasts, as brilliant sections alternate with more
contemplative material. Speed, too, is important and its careful restraint
towards the end only serves to enhance the excitement and finality of the
closing vivace section.
galime notes by bration
7
Programme notes by C Stanton
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Other Local Concerts
Halifax Philharmonic Club
Square Chapel Arts Centre, Halifax
Sacconi Quartet
Rachmaninov
Helen Grime
Beethoven
Mendelssohn
String Quartet no 1 (Romance)
String Quartet
Quartet in F minor, op 95 (Serioso)
Quartet no 1 in E flat op 12
Friday, November 22, 7:30
Tickets, £20, concessions £18, students £5, children under 16 £2.
available from the Square Chapel Box Office, telephone 01422 349422
Saddleworth Concerts Society Wednesday, November 6, 7:30
Millgate Arts Centre, Delph, Saddleworth
John Hallam and the Chris Holmes Trio
A jazz evening with John Hallam (clarinet and saxophones) and the Chris
Holmes Trio comprising Chris Holmes (piano), Dave Turner (double bass),
and Paul Tuite (drums).
Their programme includes melodic standards, tunes from the Great Ameri-
can Song Book and some more contemporary compositions.
See www.saddleworth concertssociety.org.uk for ticket details or
telephone Millgate Arts Centre box office: 01457 874644
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:30
30
s),
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Season's Performances
14th October 2019
BENJAMIN GROSVENOR (piano)
Schumann: Blumenstück, op 19 Schumann: Kreisleriana
Janáček: Piano Sonata 1.X.1905 The Street
Prokofiev: Visions fugitives, op 22
Liszt: Réminiscences de Norma (Bellini)
4th November 2019
SVETLANA MOCHALOVA (cello) SLAVA SIDORENKO (piano)
Frank Bridge: Sonata in D minor for cello and piano
Piatigorsky: Variations on a Paganini Theme
Rachmaninov: Do Not Sing to Me, My Beauty
Debussy: Sonata in D minor for cello and piano
Rachmaninov: Sonata in G minor for cello & piano
2nd December 2019
JENNIFER PIKE (violin) JEREMY PIKE (piano)
Mozart: Sonata in G major, K301
Jeremy Pike: Violin Sonata
Elgar: Violin Sonata in E minor, op 82
Rózsa: Variations on a Hungarian Peasant Song, op 4
13th January 2020
CASTALIAN STRING QUARTET
Haydn: String Quartet in F major, op 77 no 2
Dutilleux: String Quartet Ainsi la nuit
Beethoven: String Quartet in A minor, op 132
3rd February 2020
BARBICAN STRING QUARTET
Beethoven: String Quartet no 1 in F major, op 18 no 1
Bartók: String Quartet no 5
Schumann: String Quartet no 1 in A minor, op 41 no 1
16th March 2020
À DEUX DUO
MARK TAYLOR (flute) GABRIELLA JONES (harp)
French Fantaisie
Debussy: Prélude à L'Après-midi d'un faune Marcel Grandjany: Rhapsody for harp
Saint-Saëns: Sonata in D major Chaminade: Concertino
Jacques Ibert: Entr'acte for flute and harp
Jean Cras: Suite en duo Debussy: Syrinx
Françoix Borne: Fantaisie brilliante sur Carmen
6th 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
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
uun
WT.
Founded 1918
2019-2020 Season
St. Paul's Concert Hall, Queensgate
Mondays 7.30 pm
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
Treasurer
Alastair Cridland
34, Hoyle Ing, Linthwaite, Huddersfield. HD7 5RX
Tel: 01484 845407 Email: alastair@cridland.net
ARTS
Membership Secretary
Verity Cridland
Tel: 01484 845407 Email: verity@cridland.net
Hilary Norcliffe (Society Archivist)
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.
and
The Society is grateful for financial help from our donors
which makes this series possible.
COUNCIL
ENGLAND
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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1
Huddersfield Music Society
much
Thank Jo go the
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Jennifer Pike violin
Jeremy Pike piano
Jeny Poli
St Paul's Hall
Monday 2 December 2019
194
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welcome.
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visibo
Tonight's
PerformersbbuH
Jennifer Pike began playing the violin at the age of five, and after audition-
ing at the age of eight she gained a place at Chetham's School of Music in
Manchester. At the age of ten she was chosen to play at a concert attended
by the Prince of Wales at the Royal Opera House, Covent Garden. She soon
made her concerto debut, playing Haydn's Violin Concerto in G with her
school orchestra. She has studied with David Takeno in London, and was
awarded a scholarship to study at the Guildhall School of Music and Drama.
She graduated with First Class Honours in Music from Lady Margaret Hall,
Oxford in 2012.
Her extensive discography includes recordings with Chandos, Sony and
ABC Classics. She has recorded with the Bergen Symphony and Sir An-
drew Davis, the BBC Philharmonic and Rumon Gamba, the Tasmanian
Symphony Orchestra and the City of Birmingham Symphony and Edward
Gardner.
In 2002 Jennifer became the thirteenth person to win the BBC Young
Musician of the Year Award, following her performance of Mendelssohn's
Violin Concerto with the BBC Symphony Orchestra conducted by Sir
Andrew Davis. Aged twelve at the time, she was the youngest winner of the
competition for six years. Earlier the same year she also won fourth prize in
the Junior Section of the Yehudi Menuhin International Violin Competition.
Following her success in the BBC Young Musician of the Year, Pike has
played in concerts and recitals in major venues all over the world. In July
2005 when she took part in the BBC Proms in the Royal Albert Hall, and in
November 2005 she made her evening recital debut in the Wigmore Hall,
both to great critical acclaim.
On 19 April 2012, she took part in a live concert in Glasgow, accompanied
by the BBC Scottish Symphony Orchestra under the direction of Andrew
Manze. The programme, which was aired through BBC Radio 3, included
music of Bach and Vaughan Williams. On 4 August 2014, Jennifer per-
formed Vaughan Williams's The Lark Ascending at the service of commem-
oration for the 100th anniversary of World War One at Westminster Abbey.
pursues a career as a solo artist.
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Jeremy Pike, composer and piano, studied piano with Christopher Elton
and violin at the Junior Department of the Royal Academy of Music whilst
taking composition lessons with Bryan Kelly and Sir Lennox Berkeley. At
the age of seventeen he went to read music on an open scholarship at King's
College, Cambridge, where he studied piano with Phyllis Palmer and
composition with Gordon Crosse. He continued his studies in composition
and conducting on a postgraduate scholarship at the Royal Academy of
Music. In 1979 he won the annual Polish government scholarship to study
composition with the celebrated Polish composer Henryk Górecki at the
Katowice Academy of Music.
Since 1989 he has taught at Chetham's School of Music in Manchester,
where he has been Head of Composition since 1993. His extensive list of
compositions includes orchestral, instrumental and vocal music and he
regularly gives recitals with artists, including his daughter Jennifer, and
broadcasts on BBC Radio 3.
Music Society News
Our next concert is a recital by the Castalian String Quartet on
Monday 13 January. Monday 14 January, as shown in the
brochure, does not exist this year! We are sorry for the confu-
sion. The Quartet are playing Haydn, Dutilleux and Beethoven
as shown on the back of this programme.
Subscribers have guest tickets for this concert. Please give
these to anybody who might be interested. We depend on
existing members to spread the word and increase our audience.
As at the last concert we have a selection of CDs on sale in the
foyer. The ones that were left unsold after the last concert have
been given to a charity shop as any that are left this time will be.
Please take any that appeal to you in return for a small donation.
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Sonata in G, K301
Mozart 1756 - 1791
Last performed at HMS by Denes Zsigmondy and Anneliese Nissen, November 17, 1969
1 Allegro con spirito
2 Allegro
This sonata is the first of a set of six composed by Mozart in his early
twenties. His departure from under the guardianship of Leopold at the
time of composing was a significant step to independence, and his
intentions were to make his way to Paris in order to compose opera.
Travelling there via Mannheim, with only his mother in attendance, he
continued to earn his living through teaching, performing and compos-
ing, and this set of sonatas was completed with his arrival in Paris in
1778. His experience in composing keyboard sonatas and string quartets
was undoubtedly influential and perhaps he enjoyed the addition of the
violin to the keyboard part. Certainly it may have offered an alternative
in creating repertoire for his pupils.
The sonata has two movements only, the first opening with a wonderfully
lyrical violin melody. Other subsequent melodic ideas are brief and
memorable, affording Mozart the freedom to repeat and develop them
later in related keys. When the opening theme returns it is played by the
piano. The movement adheres to the Classical sonata structure in com-
mon use for first movements of symphonies, concertos and other instru-
mental works in several movements.
The second movement is a gentle dance in triple time whose two G major
sections enclose a central minor section. The two instruments continually
exchange solo and accompanying roles, lending spontaneity to the music.
4
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Sonata for Violin and Piano
First performance at Huddersfield Music Society.
1. Moderato con moto
2. Largo
3. Allegro molto
This sonata for violin and piano is an exploration of the use of traditional
forms and tonalities alongside contemporary techniques. It was written
in 2015 especially to celebrate my sixtieth birthday, and is a work in
which I explore some of my musical roots and influences. These include
my long-held passion for both English and French music of the early
twentieth century, as well as my more recent fascination with the use of
repeated ideas and motives as favoured by composers including my
former teacher, Henryk Górecki. Jennifer and I gave the première in
Lincoln in January 2016 and it was performed a few days later in
Manchester as part of the New Music North West Festival.
Jeremy Pike
The two opening ideas - a rising motive in the piano and a falling broken
chord theme in the violin are used as a basis for most of the material in
the sonata, undergoing a variety of transformations, as for example in the
inversion of the broken chord used for the second principle theme. The
descending broken chord appears again in the violin melody in the
second movement, whilst both ideas undergo much more subtle and
disguised manifestations in the second and third movements. The second
movement is characterized by contrasting lines - a lyrical violin part over
cold, slow moving harmonies in the piano. The finale takes the chords
from the opening of the slow movement and treats them as rapid, repeat-
ed figures, and as the movement builds more references to earlier themes
are woven into the texture.
INTERVAL
5
Programme note by Jeremy Pike
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Violin Sonata in E minor, op 82
Last performed at HMS by Martyn Jackson and Petr Limonov, February 2, 2014.
1 Allegro
2 Romance. Andante
3 Allegro non troppo
Elgar 1857-1934
This work was written in 1918, one of Elgar's four final compositions.
The composer wrote it in Sussex where Lady Elgar had acquired a house
called 'Brinkwells' for her husband, who had been suffering from a
period of non-creativity. His inspiration flowed freely once more and the
result was this sonata and his string quartet and piano quintet, composed
more or less concurrently. Closely following was the cello concerto in a
final late burst of creativity. Each work contains a similar vein of nostal-
gic melancholy. The sonata was first performed publicly by the famous
violinist Albert Sammons with pianist William Murdoch; Sammons was
a great champion of Elgar's music and made the first recording of his
violin concerto.
The sonata opens with a passionate main theme featuring a heroic
upward leap, subsequently to be developed. The lyrical second subject
enters, also fearlessly leaping upwards. Both subjects are closely related,
the second growing from an inversion of the first. The palate of
harmonies in the development section is ambitious, the parts winding
chromatically and creating colour through many transitioning keys. The
instruments respond closely to one another, sometimes dovetailing or
playing in canon.
In contrast to the first movement, the restrained opening of this romantic
slow movement initially explores the lowest violin range within re-
strained range of dynamics. The music seems to be less decisive with
gently searching qualities. Opportunities abound to exploit the sweetest
tone of the violin as well as its virtuoso possibilities. The resonant chords
and broken chord harmonies of the piano part are richly expressive.
The piano writing in the last movement returns to its heroic nature, (not
unlike that of the piano quintet), setting off at a brisk pace. Changes in
tempo and subtleties of timbre are plentiful. Huge chords support ardent
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4
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1.
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violin melody at its most passionate, but Elgar does not hesitate to pause
or linger over moments of great tenderness. The reintroduction of the
slow movement tune close to the end was significant in that it was added
by Elgar when he learned that, sadly, the dedicatee, violin soloist, Marie
Joshua, had died before she could enjoy playing the work. Notably the
work begins in a minor key but the final movement concludes in an
optimistic E major.
Variations on a Hungarian Peasant Song op 4 Rozsa 1907 - 1995
First performance at Huddersfield Music Society.
Miklós Rózsa is probably best known for his film scores for some of
Hollywood's most lavish epics. They include The Thief of Bagdad,
Jungle Book, Julius Caesar, Ben-Hur (for which he was awarded his
third Oscar), El Cid and Madame Bovary, to name but a few from his vast
output. He had a particular interest in the re-creation of ancient music for
films and had copies of ancient Roman instruments made in order to
bring a kind of authenticity to what were largely speculative musical
styles existing in early Roman cultures.
The folk music of his upbringing in the Mátra Mountains in Hungary
inevitably had an influence upon in his composing style and he studied
the violin and composition, following a career composing for the concert
hall as well as working in the film industry. Indeed he was not the first
composer to follow parallel careers of this sort; Takemitsu, Bernstein,
Eric Coates, Copland and Andre Previn all pursued both disciplines.
Tonight's work was originally scored for solo violin with orchestra. Its
folk influences are present in its rhythms, melodies and colours. The
simplicity of the original theme stated by the violin provides the basis for
subsequent variation and much lively display, as well as for expressive
melodic lines. The individual variations are clearly delineated, usually
exploring a single mood or violin technique, and there is clear dramatic
momentum to throughout.
Programme notes, other than Pike Sonata, by C Stanton
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Other Local Concerts
Halifax Philharmonic Club
Square Chapel Arts Centre, Halifax
Gould Piano Trio, with Juliette Bausor flute
Piano Trio in A Hob. 15 no. 9
Haydn
Weber
Flute Trio in G minor
Beethoven
Symphony no. 3 in E flat ('Eroica') arranged for piano
trio and flute
Tickets, £20, concessions £18, students £5, children under 16 £2.
available from the Square Chapel Box Office, telephone 01422 349422
Strauss
The Viennese Family
Rita Castro Blanco
Kirsty Chappell
Rowena Burton
an H
Friday, December 6, 7:30
UD
ORCHESTRA
Sunday, December 8, 2.30pm in Huddersfield Parish Church
Conductor
Leader
Alto
8
Philharmonic
A programme including The Emperor Waltz, Thunder and Lightening Polka,
excerpts from Die Fleidermaus and the Radetsky March, plus a little Lehar
and a modicum of Mozart.
Tickets £10, accompanied children free, are available through Kirklees box
office on line (plus 10% booking fee), or at the door.
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Season's Performances
14th October 2019
BENJAMIN GROSVENOR (piano)
Schumann: Blumenstück, op 19 Schumann: Kreisleriana
Janáček: Piano Sonata 1.X.1905 The Street
Prokofiev: Visions fugitives, op 22
Liszt: Réminiscences de Norma (Bellini)
4th November 2019
SVETLANA MOCHALOVA (cello) SLAVA SIDORENKO (piano)
Frank Bridge: Sonata in D minor for cello and piano
Piatigorsky: Variations on a Paganini Theme
Rachmaninov: Do Not Sing to Me, My Beauty
Debussy: Sonata in D minor for cello and piano
Rachmaninov: Sonata in G minor for cello & piano
2nd December 2019
JENNIFER PIKE (violin) JEREMY PIKE (piano)
Mozart: Sonata in G major, K301
Jeremy Pike: Violin Sonata
Elgar: Violin Sonata in E minor, op 82
Rózsa: Variations on a Hungarian Peasant Song, op 4
13th January 2020
CASTALIAN STRING QUARTET
Haydn: String Quartet in F major, op 77 no 2
Dutilleux: String Quartet Ainsi la nuit
Beethoven: String Quartet in A minor, op 132
3rd February 2020
BARBICAN STRING QUARTET
Beethoven: String Quartet no 1 in F major, op 18 no 1
Bartók: String Quartet no 5
Schumann: String Quartet no 1 in A minor, op 41 no 1
16th March 2020
À DEUX DUO
MARK TAYLOR (flute) GABRIELLA JONES (harp)
French Fantaisie
Debussy: Prélude à L'Après-midi d'un faune
Marcel Grandjany: Rhapsody for harp
Chaminade: Concertino
Saint-Saëns: Sonata in D major
Jacques Ibert: Entr'acte for flute and harp
Jean Cras: Suite en duo Debussy: Syrinx
Françoix Borne: Fantaisie brilliante sur Carmen
6th 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
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
I
WT.
Founded 1918
2019-2020 Season
20
St. Paul's Concert Hall, Queensgate
Mondays 7.30 pm
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
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
Hilary Norcliffe (Society Archivist)
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
Skin Hellwhipe
непре
Clin Am
своитол
Castalian String Quartet
St Paul's Hall
Monday 13 January 2020
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The Castalian String Quartet
Royal Philharmonic Society Young Artists 2019
Sini Simonen, violin
Daniel Roberts, violin
Charlotte Bonneton, viola
Christopher Graves, cello
The European Ensemble are 'truly fused together as one'. They show an
immense dedication to whatever music they perform, across a broad
repertoire from Haydn to Thomas Adès. (BBC Music Magazine, January
2020).
In November 2019 the Castalian String Quartet won the prestigious
Royal Philharmonic Society's Young Artists Award given in association
with Radio 3. Previous awards include the 2018 inaugural Merito String
Quartet & Valentin Erben Prize, and a Borletti-Buitoni Trust Fellowship.
Unlike most young quartets who are assembled at music colleges by
far-sighted tutors, this quartet, one Finnish, one French, one Welsh and
one probably English, self-assembled when their paths crossed in Lon-
don. Today they all live in London and practise in Kensington.
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Over the past year, the Quartet has given its debut North American
recitals at The Philips Collection (Washington D.C.), Lincoln Center
(N.Y.), Middlebury College (Vermont), Salle Bourgie (Montreal), Van-
couver Recital Series and Banff International String Quartet Festival.
Other 2018/19 highlights included a return to the Aldeburgh Festival, the
complete Haydn Op.76 quartets at Wigmore Hall and recitals at
Konzerthaus Vienna, Auditorium du Louvre (Paris), Flagey (Brussels)
and the Tel Aviv Museum of Art.
This season they will perform a Brahms and Schumann chamber music
cycle at Wigmore Hall, collaborating with Stephen Hough, Cédric Tib-
erghien, Michael Collins, Nils Mönkemeyer, Isabel Charisius and Ursula
Smith.
In 2020 they will make their debut at Carnegie Hall and take part in the
Simmenauer International Beethoven Quartet series. They will give
recitals across Europe including the Philharmonie in Paris, the Heidel-
berger-Frühling, Rheingau, Mosel and Dresden Festivals, and return to
Israel. They are also playing at Saddleworth in February - see page 8.
Music Society News
Welcome back to our subscribers after the Christmas and New
Year celebrations, and an especial welcome to subscribers'
guests. We hope that you all enjoy the concert.
We start the second half of the season with a performance by one
of the rising stars of the quartet scene. Definitely one to watch or,
at any rate listen to, in the future.
We are still offering second-hand CDs for sale in the foyer. Do
please take any that interest you in return for a small donation. It is
a completely new selection from those on sale in previous
concerts. Any left after each concert get taken to a different local
charity shop.
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String Quartet in F major, op 77 no 2
Last performed at HMS by the Atrium String Quartet, March 7, 2008
1 Allegro moderato
Menuet: Presto
2
Haydn 1732 - 1809
3
Andante
4 Finale: Vivace assai
Beethoven's patron Prince Lobkowitz commissioned opus 77, but Haydn
completed only two quartets of his usual six. He was nearing the end of
his vast output of string quartets but was still to produce the "Seasons"
oratorio and two very beautiful Masses.
In the first movement a falling opening phrase with a turn on the first note
returns to play an important part in the development. Despite the gentle
nature of both main subjects, a darker mood insinuates itself into the
development section to produce passages of prolonged tension and drama.
The Menuet is more of a scherzo in character, its playfulness displayed
in an insistent two-beat staccato figure. Haydn is never predictable
however, and its spirited, frolicsome progress is arrested temporarily
before returning to the instrumental jesting. A more static and settled trio
in the remote key of D flat major is secured by long pedal notes in the
cello part.
A wonderfully spare duet between first violin and cello opens the re-
strained and solemn Andante. It has a falling theme with a turn not unlike
that of the first movement and the theme is harmonically enriched with
chromatic chords in its final statement.
Humour is restored in a dance finale imbued with rusticity, reminding us
of a composer who never forgot his countryside origins. Yet the music is
also sophisticated, demonstrating his perfect command of counterpoint.
Both styles are contributory in defining the essence of Haydn's achieve-
ment.
4
This concentrated and elaborate musical composition is surely astonish-
ing for a composer of seventy years, and it is not difficult to understand
why Haydn did not go on to complete a third quartet in the set.
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String Quartet Ainsi la nuit
First performance at Huddersfield Music Society
Nocturne
Miroir d'espace
Litanies
Litanies II
Constellations
Nocturne II
Temps suspendu
Dutilleux 1916 - 2013
These briefest of musical thoughts each have
the feeling of a recaptured emotional memory
This description, written by Mark Steinberg, is of Webern's 'Six Baga-
telles', the inspiration for Ainsi la nuit. Henri Dutilleux had studied the
work of Bartok and Webern as well as Beethoven's string quartets. First
performed in 1977 and with an undeniably French sound, this follows (at
a distance) in the footsteps of Debussy and Ravel.
The 1960s and 70s generated not only unprecedented new trends in
popular music, but they displayed equal diversity and growth in the
contemporary serious' musical scene of experimental music, which
often challenged conventional ways of organising sound. Composers
such as the American John Cage, Harrison Birtwistle in Britain, Messiaen,
Xenakis, Boulez and Stockhausen in Europe were some of the familiar
names leading musical creativity in new directions. Many of these com-
posers have visited this town in order to have their works played at our
very own Huddersfield Contemporary Music Festival, and Dutilleux's
compositions were almost certainly performed here.
Henri Dutilleux was fascinated by Proust and his theories of memory
upon which the piece is based - it is a musical manifestation of Proust's
'involuntary memory'. Capturing the idea of unfolding lost memories,
the composer employs what he calls 'croissance progressive' or 'gradual
growth' of musical cells. For instance, the swelling of the opening chords
to a sudden intensity and concluding with an intense cluster of plucked
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strings provides just one example of a recurring auditory recollection;
despite subtleties of variation or growth it remains recognisable and
returns to haunt the listener's memory. This particular musical cell also
supplies a kind of pivot chord around which other ideas seem to circle.
Therefore rather than following a formal construction the music could be
described perhaps as 'living in the moment'. Each of seven sections has
its own clear disposition; for instance, in simplest terms, the slowest one
is the second and the fifth the most dynamic. Together the seven sections
form a single movement work whose slow transformation is brought
about by the progressive growth of reiterated and changing musical
ideas.
In addition, Dutilleux was experimenting with contemporary string writ-
ing and sounds; for example, recognisable pizzicato and harmonics, but
he also explores extreme registers of the instruments in the process of his
subtle re-forming of musical ideas.
Without any knowledge of its structural details, however, this music is
still undeniably compelling and seductive to the ear.
INTERVAL
String quartet in A minor, op 132
Last performed at HMS by the Quartetto di Cremona October 10, 2016
Beethoven 1770-1827
1 Assai sostenuto - Allegro
2 Allegro ma non tanto
3 Heiliger Dankgesang eines Genesenen an die Gottheil,
in der lydischen Tonart: Molto adagio - Andante
4 Alla marcia, assai vivace
5 Allegro appassionato
This work is the second of a group of three quartets composed by
Beethoven towards the end of his life between 1822 and 1825. All three
share a common theme or 'motto' of four notes, constructed from the top
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1
of the harmonic minor scale, and they are dedicated to Prince Galitzin,
an amateur cellist and admirer.
The dark and sombre opening of the first movement is constructed from
a rising version of the motto which pervades the movement. Its profound
feelings of unrest and despair are attributable to the pain of Beethoven's
illness of 1824. In turn plaintive then stoic, a depth of feeling is reflected
in the complexity of the counterpoint and through its extremes of expres-
sion.
A movement of comparative peace and simplicity follows in the guise of
a slow scherzo and trio in the major key. The pastoral nature of the trio
is largely due to the sound of a drone instrument and is said to be an
adaptation of a German dance Beethoven had composed some years
earlier.
The third movement entitled, 'A song of thanksgiving' begins with a
rising sixth which introduces a feeling of hopefulness into a uniquely
extended and profound movement beginning in the Lydian mode. After
a lengthy passage the music breaks into a kind of enraptured dance
section bearing the title, "Feeling new strength". The alternation of these
two contrasting ideas enable the listener to empathise with a man who
has suffered and recovered from a debilitating illness. Certainly this
movement must be one of Beethoven's longest and most intense, provid-
ing an emotional centre to the whole quartet.
A brief and cheerful march movement with dotted rhythms follows,
which, as it becomes more dramatic, leads into the final movement in
triple time and beginning with a slightly sad lilting dance which serves
as a returning rondo theme. Alternating sections return the music to the
often dissonant and complex counterpoint of the opening movement. In
its final section the pace quickens to finish compellingly in the major key
with an orchestral-like flourish.
Programme notes by C. Stanton
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Halifax Philharmonic Club
Square Chapel Arts Centre, Halifax
Dover Quartet
Mozart
Britten
Brahms
Other Local Concerts
Adagio and Fugue in C minor, K456
String Quartet no 1
Quartet in B flat op 67
Tickets, £20, concessions £18, students £5, children under 16 £2.
available from the Square Chapel Box Office, telephone 01422 349422
Schumann
Janáček
Brahms
Saddleworth Concerts Society Wednesday, February 19, 7:30
Millgate Arts Centre, Delph, Saddleworth
The Castalian Quartet
Friday, January 17, 7:30
Quartet no 2 in F, op 41 no 2
Quartet no 1, 'Kreutzer Sonata'
Quartet no 3 in B flat, op 67
A welcome return of the Castalian with a completely different programme
to tonight.
See www.saddleworthconcertssociety.org.uk for ticket details, or
telephone Millgate Arts Centre box office: 01457 874644
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Season's Performances
14th October 2019
BENJAMIN GROSVENOR (piano)
Schumann: Blumenstück, op 19 Schumann: Kreisleriana
Janáček: Piano Sonata 1.X.1905 The Street
Prokofiev: Visions fugitives, op 22
Liszt: Réminiscences de Norma (Bellini)
4th November 2019
SVETLANA MOCHALOVA (cello) SLAVA SIDORENKO (piano)
Frank Bridge: Sonata in D minor for cello and piano
Piatigorsky: Variations on a Paganini Theme
Rachmaninov: Do Not Sing to Me, My Beauty
Debussy: Sonata in D minor for cello and piano
Rachmaninov: Sonata in G minor for cello & piano
2nd December 2019
JENNIFER PIKE (violin) JEREMY PIKE (piano)
Mozart: Sonata in G major, K301
Jeremy Pike: Violin Sonata
Elgar: Violin Sonata in E minor, op 82
Rózsa: Variations on a Hungarian Peasant Song, op 4
13th January 2020
CASTALIAN STRING QUARTET
Haydn: String Quartet in F major, op 77 no 2
Dutilleux: String Quartet Ainsi la nuit
Beethoven: String Quartet in A minor, op 132
3rd February 2020
BARBICAN STRING QUARTET
Beethoven: String Quartet no 1 in F major, op 18 no 1
Bartók: String Quartet no 5
Schumann: String Quartet no 1 in A minor, op 41 no 1
16th March 2020
À DEUX DUO
MARK TAYLOR (flute) GABRIELLA JONES (harp)
French Fantaisie
Debussy: Prélude à L'Après-midi d'un faune Marcel Grandjany: Rhapsody for harp
Saint-Saëns: Sonata in D major Chaminade: Concertino
Jacques Ibert: Entr'acte for flute and harp
Jean Cras: Suite en duo Debussy: Syrinx
Françoix Borne: Fantaisie brilliante sur Carmen
6th 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
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
LLL
WT.
Founded 1918
2019-2020 Season
St. Paul's Concert Hall, Queensgate
Mondays 7.30 pm
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
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
Hilary Norcliffe (Society Archivist)
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
In Gogh
duny
The Barbican String Quartet
Barbican
winner of the
St Martin's Chamber Music Competition 2018
Dakteri
Aug
St Paul's Hall
Monday 3 February 2020
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The Barbican String Quartet
Amarins Wierdsma and Tim Crawford, violins
Christoph Slenczka, viola
Yoanna Prodanova, cellist
The London based Barbican String Quartet is an exciting young ensem-
ble quickly establishing themselves internationally. Claimed for their
"gusto, comradeship and sharp attack" (The Times) and "blazing and
unusually forthright performance" (The Telegraph) the quartet was
formed at the Guildhall School of Music and Drama and it consists of
violinists Amarins Wierdsma and Tim Crawford, violist Christoph Slen-
czka and cellist Yoanna Prodanova.
First prize winners of the 2019 Joseph Joachim International Chamber
Music Competition as well as the 2018 St Martin in the Fields Chamber
Music Competition, the Barbican Quartet are Young Artists in the St
John Smith's Square scheme in 2020. They made their Wigmore Hall
début on 2017 thanks to the Maisie Lewis Award, and were 2016 Park
Lane Group artists. In 2018 the Royal Philharmonic Society awarded
them the Albert and Eugenie Frost Prize.
The Barbican Quartet has appeared in such festivals as the Montreal
International String Quartet Academy, IMS Prussia Cove, Harmos Festi-
val, Portugal and also undertaken a residency in Aldeburgh in 2017.
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Their performances have been broadcast on BBC Radio 3 as a part of the
Barbican Total Immersion and BBC Proms.
The Barbican quartet currently studies with Günter Pichler at the Reina
Sofia String Quartet Academy in Madrid, and they regularly work with
members of the Belcea quartet thanks to the Belcea Quartet Charitable
Trust. Among their mentors are Alasdair Tait, Andras Keller, David
Waterman, Ferenc Rados and Rita Wagner. They are very grateful to the
Hattori Trust for their support, and to the Dutch Instrument Foundation.
for the use of Amarins' Guadagnini violin and the Canimex Group
(Canada) for the loan of Yoanna's Gagliano cello.
Music Society News
The next concert in the series is on March 16, 2020, and will be a
flute and harp recital by the A Deux Duo, Mark Taylor and Gabriella
Jones, entitled French Fantasie. This is the second of the concerts
for which subscribers have guest tickets to give away. Please pass
them on to your friends, especially those who have not been to one
of our concerts before. This should be an easy introduction to
classical music from two talented performers.
We will be announcing the players for the next season and selling
season tickets for it. As usual the brochure detailing the music to
be played will be sent to subscribers during the summer.
Do, please, remember to bring your cheque books.
This is the last concert during which we are selling CDs. We will
announce the money raised in the next programme. Thank you all
for your support.
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String Quartet in Bb major, K589
Last performed at HMS by the Quartetto di Cremona, October 10, 2016
1 Allegro
2 Larghetto
3 Menuetto: Moderato
4 Allegro assai
Mozart 1756 - 1791
......the texture flows with a seductive smoothness that almost conceals the
music's originality. (Julian Rushton: Mozart)
The second quartet from the set of three so-called 'Prussian' quartets was
composed in Vienna for the King of Prussia, Frederick William II, whose
proclivity for playing the cello challenged Mozart to write special parts for
him. This work has melodies which soar upwards into the higher register of
the cello, sometimes resulting in lighter and more transparent textures where
the viola, on occasion, takes over the bass line beneath the cello voice. There
is, however, matching virtuosity in the first violin part and Mozart didn't
sacrifice his (and Haydn's) aims to retain the equality of the four voices.
The first movement begins in a smooth singing style, the cello rising into the
treble register, initiating conversational exchange of short phrases. Triplet
scale passages accompany and link themes, and in the development the key
moves into the minor, sounding more tentative and exploratory.
A calm and sustained cello tune with balanced melodic phrases opens the
slow movement, accompanied by the second violin and viola. The first
violin later joins the cello in duet.
The gracious, although atypical, minuet is established by a firm opening
chord and there is again much duetting between the first viola and cello. It
is left to the viola to conclude with two flawless phrases, one ascending and
the second descending. An unexpectedly long trio follows, which, although
fast and light, has many dramatic moments. The first violin part is often
virtuosic and the music moves to unexpected keys, including a sudden
modulation to the distant D flat major.
The spirited opening theme of the fourth movement is derived from that of
the first, and its exchange between the instruments (often inverted) results in
flawless counterpoint and translucent textures. Following after so much
elation the movement's ending is almost nonchalant.
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)
String Quartet no 5
Last performed at HMS by the Chilingirian String Quartet, March 10, 2003
1 Allegro
2 Adagio molto
3 Scherzo. Alla Bulgharese (Vivace)
4 Andante
5 Finale: Allegro vivace
Bartok composed six string quartets, each one characteristic of a differ-
ent stage in his development, in much the same way that Haydn's string
quartets represent his artistic progress. His pioneering work in the collec-
tion of folk music provided an unending inspiration for Bartok's com-
posing. This fifth quartet was written in 1934.
Bartok 1881 - 1945
The work in five movements firstly demonstrates the composer's fasci-
nation with symmetry, fundamental not only to each individual move-
ment, but also resulting in an overall 'arch' form, where the third
movement folk-inspired Scherzo forms a central pivotal point to the
whole work. The second and fourth movements are closely allied by
mood and atmosphere, and the first is balanced by an equally strong final
movement of classical construction. Each of the three central movements.
has a ternary form structure - ABA.
The first movement introduces three main themes, the first of which
opens the quartet with a rapid and intense repetition of single notes,
followed by some extreme effects. The second has a syncopated rhyth-
mic figure and the third has quieter, flowing triplet melodies. These
themes are developed in the central section and then recaptured in
reverse order at the end. The raw dissonance of the string playing plus its
electrifying asymmetric rhythms contribute to the excitement of this
movement, but contrasting colours are supplied in intimate winding
chromatic melodies.
The second movement is an example of Bartok's night music', its
atmospheric trills, pizzicato slides and other fragmentary expressive
effects rendering an eerie and sinister representation of night, favoured
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by the composer in other slow movements such as his 'Music for Strings,
Percussion and Celeste'.
Do not expect to hear the regular rhythms of a conventional scherzo - this
one has asymmetrical Bulgarian folk rhythms introduced first by pizzi-
cato chords. A magical trio with swirling chromatic lines is initiated by
a viola drone before returning to its uninhibited folk rhythms.
More nocturnal representation invades the fourth movement whose
unique and thrilling soundscape balances that of the second.
The last movement is another largely unrestrained tour de force. Instru-
mental slides and other effects abound. The counterpoint and constantly
changing speeds create a kind of dynamic contrapuntal frenzy which
eventually lead into series of savagely dissonant repeated chords, calling
a temporary halt. Bartok saves his biggest surprise until close to the end;
the introduction of an innocent childlike tune by the second violin is
incongruous and deliciously out of place. Similarly artless is the conclu-
sion - just a simple scale of B flat major.
INTERVAL
Halifax Philharmonic Club
Square Chapel Arts Centre, Halifax
The Elias String Quartet
Beethoven String Quartet in C major op. 59 no 3 "Rasumovsky"
Beethoven String Quartet in C sharp minor op. 131
·
Friday, February 7, 7:30
Tickets, £20, concessions £18, students £5, children under 16 £2.
available from the Square Chapel Box Office, telephone 01422 349422
6
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S
String Quartet in A minor, op 41 no 1
Last performed at HMS by the Atrium String Quartet, October 16, 2006
1 Introduzione. Andante espressivo-Allegro
2 Scherzo. Presto-Intermezzo
3 Adagio
4 Presto
Schumann 1820-1856
All statig
Schumann was encouraged by Mendelssohn's example to widen the
scope of his composing in 1840. His admiration for Mendelssohn, 'he's
a true god', led him to try new genres including the composition of
extensive Lieder cycles and the three quartets of opus 41.
At the start of the first movement a gently falling melody descends from
the first violin to the cello. The movement not only reveals a grasp of
contrapuntal textures, due to Schumann's study of Bach, but also follows
the example of his great predecessors who expanded a string quartet
form to achieve intimacy as well as developing a taut but flexible
structure within the context of a Classical sonata form movement.
The impetuosity of the Scherzo, resonant with the music of Men-
delssohn's Midsummer Night's Dream, contrasts with a flowing but
slightly weary intermezzo.
The third movement is an Adagio of full-blown Romantic lyricism, the
gentle accompanying triplets and sudden bursts of dramatic rhetoric
evocative of his piano music and songs.
A final Presto of enchanting vitality also contains a sense of weight and
importance, creating a balance with the preceding movements. It is,
however, a movement with the sense of urgency and the drive of a Haydn
finale. Close to the end a surreal, chorale-like section interrupts its
turbulence, preparing for the final vibrant buoyancy of its ending.
7
Programme notes by C. Stanton
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Other Local Concerts
Pirate Gold
Our February afternoon concert has become a family favourite, an
ideal first concert for children or grandchildren, with the Town Hall
providing a great venue where they can experience live orchestral
music in an informal setting
Music will include Pirates of the Caribbean, The Pirates of Penzance,
Jaws (unless we find a crocodile in time), sea shanties and much
more. Weigh anchor and hoist the mizzen - everything's shipshape
for a musical adventure with our Pirate King. You might want to dress
up for the occasion and be ready to come up on stage to join in the
music.
Sunday, February 9, 2.30pm
in Huddersfield Town Hall
Tickets from £12, children £5, (plus 10%
booking fee), are available through
Kirklees box office, online or at the door.
Saddleworth Concerts Society
Millgate Arts Centre, Delph, Saddleworth
The Castalian Quartet
Schumann
Janáček
Brahms
Quartet no 2 in F, op 41 no 2
Quartet no 1, 'Kreutzer Sonata'
Quartet no 3 in B flat, op 67
E FR
8
Philharmonic
ORCHEST
Wednesday, February 19, 7:30
A4 Brass Quartet
Wednesday, March 11, 7.30
New music and arrangements for cornet, tenor horn, baritone and euphonium
by top brass band players and award-winning graduates of the RNCM.
See www.saddleworthconcertssociety.org.uk for ticket details, or
telephone Millgate Arts Centre box office: 01457 874644
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Season's Performances
14th October 2019
BENJAMIN GROSVENOR (piano)
Schumann: Blumenstück, op 19 Schumann: Kreisleriana
Janáček: Piano Sonata 1.X.1905 The Street
Prokofiev: Visions fugitives, op 22
Liszt: Réminiscences de Norma (Bellini)
4th November 2019
SVETLANA MOCHALOVA (cello) SLAVA SIDORENKO (piano)
Frank Bridge: Sonata in D minor for cello and piano
Piatigorsky: Variations on a Paganini Theme
Rachmaninov: Do Not Sing to Me, My Beauty
Debussy: Sonata in D minor for cello and piano
Rachmaninov: Sonata in G minor for cello & piano
d
2nd December 2019
JENNIFER PIKE (violin) JEREMY PIKE (piano)
Mozart: Sonata in G major, K301
Jeremy Pike: Violin Sonata
Elgar: Violin Sonata in E minor, op 82
Rózsa: Variations on a Hungarian Peasant Song, op 4
13th January 2020
CASTALIAN STRING QUARTET
Haydn: String Quartet in F major, op 77 no 2
Dutilleux: String Quartet Ainsi la nuit
Beethoven: String Quartet in A minor, op 132
3rd February 2020
BARBICAN STRING QUARTET
Beethoven: String Quartet no 1 in F major, op 18 no 1
Bartók: String Quartet no 5
Schumann: String Quartet no 1 in A minor, op 41 no 1
16th March 2020
À DEUX DUO
MARK TAYLOR (flute) GABRIELLA JONES (harp)
French Fantaisie
Debussy: Prélude à L'Après-midi d'un faune Marcel Grandjany: Rhapsody for harp
Saint-Saëns: Sonata in D major Chaminade: Concertino
Jacques Ibert: Entr'acte for flute and harp
Jean Cras: Suite en duo Debussy: Syrinx
Françoix Borne: Fantaisie brilliante sur Carmen
6th 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
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.