HMS 43


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THE HUDDERSFIELD MUSIC CLUB (Founded in 1918 by Dr. Eaglefield Hull) The National Federation of Music Societies, to which this Society is affiliated supports these Concerts with funds provided by the Arts Council of Great Britain A SERIES OF Five Concerts FOR THE FORTY THIRD SEASON 1960-61 to be given in THE MAYOR'S RECEPTION ROOM TOWN HALL On MONDAY EVENINGS at 7-30 p.m. President Vice-President .. S. H. CROWTHER DAVID DUGDALE Mrs. E. GLENDINNING E. GLENDINNING Miss Z. E. HULL .. Honorary Vice-Presidents: DAME MYRA HESS, BENJAMIN BRITTEN, F. W. GADSBY Mrs. A. EAGLEFIELD HULL E. D. SPENCER, Esq. Mrs. BRANSOM Mrs. CALVERT Mrs S. H. CROWTHER .. Mrs. F. A. DAWSON Miss K. EVANS Mrs. E. FENNER Committee: P. L. MICHELSON Cr. F. ROWCLIFFE MAX SELKA Miss A. SHAW E. C. SHAW Hon. Secretaries: Mrs. A. E. HULL, 13 Cedar Avenue. Telephone Huddersfield 1094 STANLEY G. WATSON, 342 New Hey Road. Telephone Milnsbridge 1706 Hon. Treasurer: P. S. THEAKER, National Provincial Bank, King Street Mrs. J. SHIRES W. E. THOMPSON Mrs. S. G. WATSON C. R. WOOD Ladies' Committee: Chairman: Mrs. J. SHIRES Mrs. D. HIRST, J.P. Mrs. A. HORSFALL Mrs. A. E. HULL Miss Z. E. HULL Mrs. A. W. KAYE Miss H. LODGE Hon. Secretary: Mrs. E. GLENDINNING Hon. Treasurer: Mrs. S. G. WATSON Mrs. H. ROTHERY Mrs. M. M. SAYER Miss A. SHAW Mrs. E. D. SPENCER Miss W. TOWNSEND The Club is open to everyone

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The Committee is happy to announce another season of Chamber Music Concerts of outstanding merit. The Janacek String Quartet, an ensemble of world-wide repu- tation, is making its first appearance at these concerts. The Trio di Bolzano, a piano trio of superb musicianship, will also be heard for the first time. It is confidently expected that the Loewenguth String Quartet will repeat the deep impression it made some years ago. After their great success last season Rohan de Saram, perhaps the finest cellist of his generation, and Osian Ellis have been re-engaged. The latter will give a Harp Recital, together with folk- songs, which should prove a most rewarding evening. A series of concerts of such quality and interest will, the Committee feel sure, command the approbation of all members, to whom they reiterate their appeal to introduce NEW MEMBERS to the Club. Monday 3rd October 1960 Osian Ellis Harp Recital and Songs Works by J. Parry, C. P. E. Bach, Haydn, Saint-Saens, Hindemith and Roussel Monday 24th October 1960 The Loewenguth String Quartet Two Fugues from The Art of Fugue Bach Quartet in D major K.499 Mozart Quartet in E flat major (The Harp) Op.74 Beethoven Quartet in D minor Op. posth. (Death and the Maiden) Schubert

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Monday 28th November 1960 Rohan de Saram Cello Recital At the piano: Ivor Keys Sonata for cello and piano in A minor Op.69 Suite in D major Sonata for cello and piano Op. 119 Monday 23rd January 1961 Trio di Bolzano Trio in B flat major Op. 97 (The Archduke) Trio in A Trio in E minor Op. 90 (Dumky) Monday 20th February 1961 The Janacek String Quartet Quartet in D major Op. 64 No. 5 Quartet No. 2 "Scarlet Letters" Quartet in E minor Op. 59 No. 2 Beethoven Bach Prokofieff Beethoven Pizzetti Dvorak Haydn Janacek Beethoven

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THE HUDDERSFIELD MUSIC CLUB SUBSCRIPTIONS A member's subscription for the Season is 35/-. Season tickets may be obtained from either of the Hon. Secretaries or from Messrs. J. Wood & Sons Ltd., 67 New Street. As you were a Member last Season ticket (s) for the coming Season are enclosed herewith and it is requested that the appropriate subscription bes forwarded to the Hon. Treasurer (Mr. P. S. Theaker.. National Provincial Bank, King Street, Huddersfield) before the date of the FIRST Concert (3rd October). Cheques should be made payable to "The Huddersfield Music Club". In the event of any of the tickets not being required this year, they must be returned to Mrs. Hull, 13 Cedar Avenue, Huddersfield, not later than 20th September, after which date it will be assumed that they will be retained and paid for. If you were not a member last Season and would like to join the Club, will you please make early application to either of the Hon. Secretaries. We shall greatly appreciate it if you will please pass this Prospectus on to your friends.

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Osian Ellis The Huddersfield Music Club The National Federation of Music Societies to which this Society is affiliated supports these Concerts with funds provided by the Arts Council of Great Britain Mayor's Reception Room, Town Hall 3 PROGRAMME PRICE SIXPENCE bd. 31 1960

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albi nwol incоя понферея H

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THE HUDDERSFIELD MUSIC CLUB Forty-third Season 1960-61. Monday October 3rd 1960 OSIAN ELLIS Harp Recital. OSIAN ELLIS, the son of a Welsh Methodist Minister, was born in 1928 and brought up in North Wales. He studied at the Royal Academy of Music from 1945-1948 after winning two scholarships; while there he gained further distinction by winning the Leney prize as a soloist and the Vivian Dunn prize as an orchestral player. He has not become a permanent member of any orchestra but has played a great deal with all the great London orchestras, particularly the Philharmonia, with whom he toured Europe in 1954 and North America in 1955. He has been in demand in all musical spheres, giving recitals, chamber music concerts, broadcasting and making gramophone records. He has been a Welsh National Eisteddfod adjudicator in 1950-51-52. He is married; his wife is Welsh and is also a musician. A great virtuoso of the harp, he has never sericusly considered himself as a singer, but, springing from a musical Welsh family, there has never been a time when he did not sing. The folk- songs, the traditional songs, the harp music and the "penillion singing" have always been with him; they are part of his heritage and culture. ...

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A

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Allegro Sonata for Harp Programme Allegro moderato. Adagio Allegro This second son of J.S. Bach showed a remarkable musical precosity. "At the age of 11 a swift glance over his father's shoulder enabled him to play forthwith the music he was writing." His compositions, too, date from an early age, his father being his teacher. musical life was passed first at the rigid Prussian Court and then at Hamburg, to which he had gladly escaped. As an executant he excelled at the clavier and the irgan. Extraordinarily prolific as a composer, (b) On a time. Sonata in G major he wrote the best clavier music of his time. He provided a direct link between the style of his father and the new clavier music of the later generation; Haydn, Mozart and Clementi all acknowledged their debt to him. He despised "learned music" and the rigid discipline of counterpoint. "The characteristics of his art are homophonic treatment of thematic material, formality of design and delicacy of workmanship." (Grove) The Sonata to be played tonight is an original composition for the harp. Songs with Harp (a) What then is love but mourning. Fantasie Etude de Concert John Parry (1710-1782) C.P.E.Bach (1714-1788) Allegro Adagio Philip Rosseter (1575-1623) John Attey (d. 1640) Haydn (1732-1809) Minuet and Trio Allegro Saint-Saens (1835-1921) Marcel Tournier (d.1951) Interval of ten minutes.

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Sonata

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Sonata (1939) Moderately fast Lively Very slow Hindemith is one of the best-known composers f modern Germany. He was born at Hanau and studied at Frankfurt. From 1915-23 he first led and then conducted the Frankfurt Opera. He later joined the Amar String Quartet as the viola player. He is a fine performer on that instrument. He has also played percussion instruments; he is a good pianist and a clarinet player. Hindemith is a rapid and facile writer and his output is remarkable. He has His experimented in many styles, including atonality and polytonality, but from 1925 the "back to Bach" movement. has predominated. He has not even disdained a cabaret type of music and he has evidently found inspiration. in the modern age of machinery and materialism. music has humour, vitality and rhythm but little sentiment, though some of his later werk is said to show an erotic tendency. He is much attracted by chamber music and works for a chamber orchestra. Hindemith taught composition at the Berlin Hochschule für Musik from 1927, but the Nazis proscribed his works as degenerate art. For some years after 1933 he was in Turkey in rder to reorganise Turkish musical education. In 1939 he emigrated to the U.S.A. where he now lives. Impromptu Hindemith (B.1895) Roussel (1869-1937) Zabel (1935-1910) Zabel, a virtuose of the harp, was born in Berlin. He later went to Russia where, in 1851, he joined the Royal Ballet Orchestra in (the then) St. Petersburg. In 1862 he became professor of the harp at the Conservatoire there. La Source

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FU : новор V fe Mayor Ос

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THE HUDDERSFIELD MUSIC CLUB Mayor's Reception Room, Town Hall. Monday evenings at 7.30 October 24th THE LOEWENGUTH STRING QUARTET Two Fugues from The Art of Fugue Bach Quartet in D major K.499 Mozart Quartet in E flat major (the harp) Op.74 Beethoven Quartet in D minor Op. posth. (Death and the Maiden) Novr. 28th. ROHAN DE SARAM Janr. 23rd. TRIO DI BOLZANO Febr. 20th. THE JANACEK STRING QUARTET Single tickets 7/6d from Woods, 67 New Street or at door. ✔ 4 Piano Trio in A Toccato a tre Piano Trio Piano Trio in B flat Op. 99 & THE HALIFAX PHILHARMONIC CLUB Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road. evenings at 7.30. Friday October 8th. THE GLASGOW TRIO Schubert Cello Recital. Single tickets from David Dugdale Esq., 291, Willowfield Rd., Halifax or at the door, THE HUDDERSFIELD THESPIANS Haydn Frank Spedding Ravel Schubert October 3rd - 8th at 7.30 p.m. St. Patrick's Hall. DINNER WITH THE FAMILY Tickets 3/6d and 2/-d from Woods, 67 New Street, by JEAN ANOUILH

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Forty-third Season 1960-61 THE LOEWENGUTH STRING QUARTET Alfred Loewenguth Roger Roche Programme I Oct.24. 1960 Jacques Gotovsky Roger Loewenguth Two Fugues from The Art of Fugue Bach (1685-1750) (First performance at these Concerts) The Art of Fugue was the result of a plan which Bach conceived, namely to write a complete work based upon a single subject. The subject he used was not perhaps particularly interesting in itself but, of necessity, one capable of infinite contrapuntal possibilities. The whole work consists of 14 fugues and 4 canons. It was Bachte last composition and the final fugue is unfinished, written in open score but, with two exceptions, it lies well under the pianist's hands. It is, however, ideally adapted for 2 string quartet, which enables the parts to be heard with perfect clarity. Though The Art of Fugue contains examples of every known fugal device, it is no work of academic dryness but rather one which is ideal for concert performance, Quartet in D major K.499 (Hoffmeister) Mozart (1756-1791) Adagio Allegro (Last performed in 1954 by the Vegh String Quartet) The Hoffmeister Quartet was written in 1786, the year of the composition of Figaro.

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an in the orthy of i work wis

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considered than in the words of Einstein: "The Ione quartet worthy of its adlitary position. If Mozart in creating this work wished to pay a debt to his friend and publisher, Hoffmeister, at least he did not make it easy for himself. derod a synthesis of the three difficult" and the three "lighter" quartets of Op.10 (Haydn); and one may regard its beginning as 3 symbol of the spirit of the whole composition; first an easy comfortable unison; then a dialogue carried on now by one pair of instruments, now by the other; turn towards seriousness in minor; resolution of the tension, but in a violin and violin cello an in-stance no one feels to be learned The quartet is at once strict and easy and in many enchanting passages it anticipates Schubert. The minuet is unique. In the main section each voice seems to enact its role unconcerned with the others; the trio, in minor, is a piece of musical wizardry, The Adagio speaks of past sorrow with a heretofore unheard-of depth; and the finale is another of those uncanny movements in which the major mode to reverse its character it is not gay but despairing, or rather it is despairing under a mask of galety despite the resoluteness of the conclusion. mga dep Quartet in E flat major Op.74 (The Harp) Poco adagio - Allegro Adagio ma non troppo is Beethoven (1770- 1827) Allegretto con variazioni (Last performed in 1956 by the Quatuor Haydn) By the years 1807-11 Beethoven seemed to have reached the summit of his powers in the Mass in C, in piano sonatas and the E flat piano concerto, in symphonic composition with the Symphony No.7, and in chamber music with the Quartets Opp. 74 and 95, and the Trios Opp. 70 and It could hardly be expected that he could create yet greater symphony, greater piano works and, summit, the last string quartets. This was a period of complete mastery and strength, of relative serenity and joy, but in these works a a foreshadowing of

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ransformat be comple and in the la

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" transformation of the creative idea, a transformation to be completely effected only in the sonatas of 1815 and in the last quartets of 1825" (d'Indy). The quartet Op.74 was written in 1809 and dedicated. to Prince Lobkowitz, one of Beethoven's princely patrons in Vienna, It is widely known as the Harp Quartet because of the pizzicato arpeggios in the first movement. The first movement opens with a rather extended intro- duction ending with a long ascending chromatic scale out of which the movement proper suddenly appears. thematic figure based on the tonic chord is heard, followed at once by the first subject. succeeded by the second subject. The whole development based on the thematic figure and the first subject. Before the coda the first violin has a brilli- ant cadenza-lle passage the only virtuoso passage found in Beethoven's chamber music. The Adagio in A flat minor is a superb example of the lyric grandeur of Beethoven. The majestic calm, preserved unbroken throughout the movement, causes to wonder what the slow movement will become with the Beethoven of the third epoch. A noble and melodious phrase asserts itself at the very outset." (d'Indy). This theme, in varying form, reappears in the third and fifth sections. The second section (A flat major) has a new theme which returns in the sixth section, while the fourth section (D flat major) has a new phrase derived from the main theme. The third movement is a Scherzo with the Trio repeated twice. The keys alternate between C major and minor. a a break to the leads without The work ends with a theme with six variations. a short and brilliant coda. Interval of ten minutes

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够ar

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Quartet in D minor Op.posth. (Death and the Maiden) Allegro Andante con moto Schubert (1797-1828) (Last performed in 1957 by the Amadeus String Quartet) This quartet was written at the period when Beethoven was creating his last string quartets, and it is interesting to compare the complete difference in conception and technique between the two masters. would be tempting to compare the "seriousnes of Beethoven's Op.95 with the seriousness of the D minor quartet. Schubert's seriousness is free from pathos; he is more spontaneous; he goes deeper and deliberately avoids the optimistic or triumphant note on which Beethoven ends." (Einstela). Kahl has pointed out that while Beethoven's ideal ideal was that of a lineal quartet style and that he moving in the direction of sound free from sensuousness, Schubert "kept before him as an ideal rather the obtaining of colour effects, as in the orchestra, by the arrangement of the parts in layers.' "Here are beautiful ideas, boldness and bigness of reach and grasp, and entirely new chamber- harmony with chords rich and romantic in themselves and not the necessary and logical outcome of part-writing." It was not until 1824 that Schubert turned in earnest to the writing of string quartets, and within the next two years he wrote three. This quartet remained in manuscript till 1851. Kahi considers that the struggle with death is the theme of the first movement. If so, death is treated with defiance. that challenge is opposed a delightful theme in the relative minor. The development combines the themes a masterly fashion with enchanting modulations. The chorale-like setting of Death's words from

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Japqngosa ① 睡

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Schubert's own cong is the theme for the five variations What Schubert could only suggest in the song here finds expression in a fuller, freer, wordless sphere. He does not write programme music nor do we need to know the song, but we feel unmistakably in this music the symbols of inevitability and consolation. According to Heuss "Death as the demon fiddler" is the theme of the sharply contrasting Scherzo. "The Finale is most definitely in the character of a dance of death; ghastly visions whirl past in the inexorable uniform rhythm of the tarantella, compelling idea. THE LOEWENGU TH QUARTET was formed about thirty years ago when its members had just completed their studies at the National Conservatoire of Music, where they had met. Shortly after its formation the Quartet began touring, first of all in France and then in neighbouring countries. Their reputation had rapidly grown throughout Europe when the war interrupted their activities, and it was not until after demobilisation that the members of the ensemble able to resume their career. Loewenguth Quartet was the first French String Quartet to appear in the United States, where they have now toured eight times. They have an extensive repertoire, both classical and In addition to the complete cycle of Beethoven quartets which they have frequently performed in many countries, they have given numerous first performances of modern worke, a few years ago they played 15 quartets by contemporary composers in five recitals.

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Mayor's R

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THE HUDDERSFIELD MUSIC CLUB Mayor's Reception Room, Town Hall, Monday Evenings at 7.30. November 28th Cello Recital Ivor Keys At the piano: Sonata in A major Op.97 (The Archduke) Beethoven Suite in D major Sonata Op.19 ROHAN DE SARAM THE HALIFAX PHILHARMONIC CLUB January 23rd 1961 TRIO DI BOLZANO February 20th 1961 THE JANACEK STRING QUARTET Single tickets 7/6 from Woods, 67 New Street and at the door. December 2nd. THE VIENNA STRING QUARTE T Quartet in B flat K.589 Quartet No.3 quartet in C sharp minor Op.131 Lecture Hall of the Halifax Literary and Philosophical Soc. Harrison Road. Friday Evenings at 7.30 0 Bach THE HUDDERSFIELD Prokofieff St. Patricks Hall Single tickets 7/6 from David Dugdale Esq., 291 Willowfield Road, Halifax, or at the door. 19th at 7.30 p.m. Mozart Beethoven ("The Rape of the Belt" by Benn Levy) Now changed to The Old Ladies" A Drame by Rodney Ackland Tickets 3/6 and 2/- from Woods, 67 New Street.

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३ agre 5

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THE HUDDERSFIELD MUSIC CLUB Forty-third Season 1960-61 Monday, November 28th 1960 ROHAN DE SARAM Cello Recital. At the piano Programme I Sonata for Cello and Piano in A major Op.69. IVOR KEYS Beethoven (1770-1827) Allegro non tanto Scherzo. Allegro molto Adagio cantabile - Allegro vivace (Last performed in 1930 by Gaspar Cassado). The composition of works for cello and piano presents many special problems due to the special tone qualities of the two instruments. The cello, like other string instru- ments, has remained practically unaltered while the modern piano has developed into an instrument of great power and resonance. It is true that the piano of Beethoven's time was one of much less power, but, even at that date, the difficulties of balance existed. In earlier works the part of the cello was that of a support for the bass; it was not until the sonatas of Beethoven that any real combination of the two instruments in an equal partne: ship was arrived at. It is interesting to note how, from the first, Beethoven uses all the registers of the cello freely; how he deals with the problem of bringing out the singing qualities of the cello, often at a pitch which with difficulty penetrates the volume of piano tone; and how carefully he clarifies and lightens the more powerful and ringing tones of the piano. Between the years 1786-1815 Beethoven wrote 5 sonatas for cello and piano. This Sonata Op.69 appeared in 1809 and was dedicated to Baron von Gleichenstein, a faithful friend who performed all manner of duties - secretary, messenger, attorney, buyer and keeper of the purse for -

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ven. ent. : The ic minor ke ile the slow the intoductio constructs the giving us stro trasted with

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comment. eethoven. It contains one or two features worthy of The Scherzo, unusually extended and in the tonic minor key, takes the place of the second movement; while the slow movement is so brief that it merel forms the intoduction to the Finale. Otherwise, Beethoven constructs the sonata on the usual classical lines, giving us strong, virile subjects, developed and con- trasted with all his superb craft. delightful 'conversations between form of art in which Beethoven and There are also very the instruments, a Mozart have no equals. Suite for unaccompanied in D major. II Cello Bach (1685-1750) Prelude Allemande Courante Sarabande Gavotte I and II Gigue (Last performed in 1949 by Pierre Fournier) They date Bach wrote six suites for solo cello. from his Cothen period (1717-23). Spitta remarks that, compared to the passionate warmth and fire of the Suites and Sonatas for solo violin, those for the cello are "softened down to a quiet beauty and a generally serene grandeur". This Suite, the sixth of the set, was originally written for the viola pomposa, an instrument invented by Bach, in size between a viola and a cello and having five strings (an E string added above the A). Spitta considers that the use of such a sonorous and flexible instrument would, in part, prove an inspiration for this work with its "remarkable and quite unique beauty". Interval of ten minutes.

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for Celld C.major Op.11

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Sonata for Cello and Piano in C.major Op.119. III Prokofieff (1891-1953) Andante grave Moderato Allegro ma non troppo (First performance at these Concerts) Prokofieff was born in Ekaterinoslav. a very prolific writer from his earliest days, attempting to write an opera at the age of 9. studied first with Gliere and later at the St. Petersburg Conservatoire under Rimsky-Korsakov and Liadov. During the 1914-1918 war he lived for some time in London; later he went to America via Japan. His opera "The Love for Three Oranges", was produced in Chicago in 1921. He went to Paris the following year, where he became connected with Diaghliev and the Russian Ballet. He returned to Moscow in 1934, where under Soviet pressure, he simplified his piquant style in favour of a more simple and un- sophisticated method of composition. In spite of that, he incurred censure for excessive originality at the notorious Composers' Conference in 1948. He has been even He The Sonata for cello and piano Op.119 was written in 1949. We are indebted to Mr.de Saram for the following note: "The first of the three movements of this Sonata opens with a slow theme in C major, followed by a section somewhat lighter in character in the dominant. Eight bars of unrelated bridge passage or codetta lead to the developement in which the slow subject appears, followed by the second subject, this time supported by flowing piano arpeggious. After a recapitulation, the bridge passage idea returns and leads to a coda, which starts brilliantly and ends quietly. In the second movement in F major, a humorous section is contrasted with a cantabile. section and returns. after it, thus forming a ternary pattern. The third movement has many characteristics and hints at an occasional folk influence. Shortly before the end

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referen after ent, 9 close" ROHAN DE SARA Singhalese parc

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es a reference to the first subject of the first movement, after which a brilliant coda brings the sonata to a close". ROHAN DE SARAM was born in Sheffield in 1939 of Singhalese parents. At an early age he showed remark- able ability for understanding the fundamentals of any knowledge that was imparted to him, as well as skill at sports. In 1947 he began to study the piano in Ceylon with Mrs.H.M.Vander Wall, who gave him an excellant grounding; in 1949 Martin Hohermann of the Warsaw Conservatoire (now of the Boston Symphony Orchestra) started to teach him the cello. Rohan de Saram later studied in Italy with Gaspar Cassado and also Andre Navarro. During 1957 and 1959 he studied with Casals who praised him highly and predicts a brilliant career. He won the Arts Council Suggia Award and studied for one year at the R.A.M. in 1957-8. He has also spent a period of studying conerto work with Sir John Barbirolli. Rohan de Saram has broadcast and televised from many towns in Europe and has made extensive foreign tours. He plays a £900 Gagliano cello, which he practises in a disused private chapel in Oxford.

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'S TH Receptic

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THE HUDDERSFIELD MUSIC CLUB Mayor's Reception Room, Town Hall - Monday Evenings 7.30. January 23rd TRIO DI BOLZANE (Violin, Cello and Piano) Trio in B flat major Op.97 (The Archduke) Trio in A Trio in E minor Op.59 (Dumky) February 20th 1961. THE JANACEK STRING QUARTET Single tickets 7/6 from Woods, 67 New Street and at door THE HALIFAX PHILHARMONIC CLUB Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road. Friday Evenings at 7.30 December 2nd THE VIENNA STRING QUARTET Quartet in B flat K.589 Quartet No.3 Quartet in C sharp minor Op.131 Single tickets 7/6 from David Dugdale Esq., 291 Willowfield Road, Halifax or at the door. THE HUDDERSFIELD THESPIANS St. Patrick's Hall January 23rd-28th Beethoven Pizzetti Dvorak MACBETH by William Shakespeare Tickets 3/6 and 2/- from Woods, 67 New Street. Mozart Hindemith Beethoven At 7.30 p.m.

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THE HUDDERSFIELD MUSIC CLUB. Forty-third Season 1960-61. Monday, January 23rd 1961. TRIO DI BOLZANO. Giannino Carpi Sante Amadori Nunzio Montanari Programme I Violin Cello Piano Trio in B flat major Op.97 (The Archduke) Beethoven (1770-1827) Allegro moderato Scherzo - Allegro. Trio Andante cantabile ma pero con moto Allegro - Presto (Last performed in 1946 by the Budapest Trio) The most usual type of instrumental trio is written for piano, violin and cello. It is developed from the early Sonata written in the contrapuntal style, and, usually, for two strings with a figured bass. (harpsichord.) The early trios were largely works for piano with the two stringed instruments playing a very subordinate part. Beethoven was the first to achieve the difficult objective of a duly proportioned interest and a balance of tonal effect. Beethoven wrote in all six piano trios. His Op. 1 consisted of three trios (1792); then followed a long break till 1808 when the two trios of Op. 90 appeared; the last and greatest trio (Op.97) dates from 1811. Beethoven's chamber music can be divided into three main groups (i) chamber music for wind instruments, occasionally supported by piano and strings (ii) chamber music for piano and strings (iii) chamber music for strings only. He began from the first to cultivate all three types; gradually a kind of selection was made in the orderly course of his development. Interest in the first group ceased in 1800 never to be revived. The second group lasted longer; until the time, indeed, when Beethoven's own capacity as a pianist began. to diminish through his increasing deafness. Apart from that, his own mental growth was leading him to the realization that the use of the piano in chamber music was not the ideal means for the attainment of

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is ultimate G Thi gre Trio w Beethoven'

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2. his ultimate object - the expression of absolute abstraction in music. This Trio in B flat major Op. 97 belongs to the close of Beethoven's second period. The 7th and 8th Symphonies and the Trio were the major works of the year 1811. The Trio has all the great qualities of this period as well as a distinct leaning, particularly in the slow movement, towards the intensity of Beethoven's last works. It is dedicated to the Archduke Rudolph, a pupil of Beethoven's. It was first publically performed in 1814 by Schuppanzigh and Linke (first violin and cellist of the Rasoumoffsky Quartet) with Beethoven himself at the piano. A few months later the composer made his last public appearance as a pianist in the same work and with the same colleagues. The first movement is easy to follow; the second movement is a particularly fine example of a Beethoven Scherzo. It leans towards the folk-song type and has a contrasting Trio with a strange chromatic theme. The slow movement profoundly beautiful - is a set The final movement of five variations upon a simple and noble theme. starts abruptly, and the closing presto is full of Beethoven's mature strength. Trio in A major. II. Pizzetti (b. 1880) Mosso ed Arioso Largo Rhapsodia di Settembre (September Rhapsody) (First performance at these Concerts). Ildebrando Pizzetti, one of the most individual and thoughtful of modern Italian composers, was born in Parma where his father was a teacher of the piano. As a boy his main interes was in the drama and in the writing of plays. At the age of 15 he entered the Conservatoire of Parma where he remained for six years. During that period he attracted some attention with his early operas. Much of his life was spent in teaching, though his work reveals nothing of the pedant. After leaving Parma he went to Florence, later becoming Director of the Milan Conservatoire; in Rome he followed Respighi as professor of composition at the Accadamia di Santa Cecilia. 1948 he became President of the Accedemico d'Italia. He has done a good deal of conducting, particularly of his own operas; his reputation as a writer on musical subjects is considerable. He has written many of his own libretti.

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36 00 pr sta 16 fame will deep the Ital It

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3. thon It is on his work as a composer of opera that Pizzetti's fame will probably rest. Starting from the lyrical point of view of the Italian composer, Pizzetti gradually evolved a more dramatic and deeper approach, particularly in his treatment of recitative and the use of the chorus. Apart from opera, choral works and songs, Pizzetti's output of purely instrumental music is not large; it includes two string quartets, two sonatas (one for violin and piano, the other for cello and piano) and the Trio in A major. These works all reflect the evolution which is found in his dramatic compositions, and, though smaller in number, are of considerable importance in the light they shed on his art. Pizzetti's outlook has been described as "enlightened and liberal conservatism. He admits the claims of modern harmonists, but he expects the idea expressed to be of value, apart from the manner in which it is expressed." The Trio in A major was written in 1925 for the Coolidge Festival of that year; in it is found the fruits of his truly Italian lyrical gifts combined with his later dramatic ideals. INTERVAL OF TEN MINUTES. III. Trio E minor Op.90 (Dumky) de Dvorak (1841-1904) Lento maestoso - Allegro Poco adagio - Vivace non troppo Andante - Vivace non troppo Andante moderato - Allegretto scherzando Lento maestoso - Vivace (First performance at these Concerts.) Together with Smetana, Dvorak was one of the creators of modern Czech music. "Dvorak was one of these creative artists who live, feel and think in music. Music was his life-blood, his whole inner existence; and only in music could he fully express himself. Thus he created spontaneously, without profound and systematic reflection. His inspiration sprang directly from intuitive sources and although on occasion he could be the highly cultivated musician, he rarely permitted the dominence of intellect to guide him. In his admirable versatility Dvorak succeeded in handling every branch of musical art, and in each department he has left works of permanent value". (Sourek)

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4, Perhaps Dvorak's finest compositions are those of "absolute music" and, above all, chamber music, His chamber music output amounts in all to about thirty works. The largest and finest group are those for strings alone, but there is also a considerable and important group of compositions for strings and piano. This group includes four trios, of which the "Dumky Trio" is the last and the best. "Dumky", a word of Little Russian origin, signifies "lament". With Dvorak the characteristic of the Dumky is the alternating of wild gaiety with brooding melancholy; and this accords well with his own temperament, prone as he was to reverie and to outbursts of jovial humour. Dvorak had made use in some movements of earlier works of Dumky, but this Trio is made up entirely of Dumky movements. It contains six in all, each thematically independent and separate though there is a connection in the sequence of keys. In spite of this, the work does not lack cohesion. The first three "Dumka" (E minor, C sharp major and A major) are closely connected by the indication "attacca subito" into a whole which corresponds roughly to the first movement of a sonata. A break is then given between the next two by the direction "after a short pause". The fourth, in D minor, corresponds loosely to the slow movement; the fifth, in E flat major, has the energetic rhythms of a scherzo. The last, in C minor, rounds. off the work by a return to the form and feeling of the opening Dumky. THE TRIO DI BOLZANO. Although this ensemble was formed much earlier, its international activity started in 1953 when its members gave up their careers as soloists to devote themselves. exclusively to concerted music making. Since then, besides appearing regularly in Italy, the ensemble have visited the main European centres as well as the U.S.A. and Great Britain, many times being acclaimed everywhere for their refined and beautifully integrated interpretations. of the classical and modern repertoire. The Trio Di Bolzano first came to England in 1956, since when they have come every year for concerts and broadcasting. The ensemble have recorded exclusively for Vox and Philips.

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THE HUDDERSFIELD MUSIC CLUB. Forty-third Season 1960-61 Monday February 20th 1961 THE JANACEK STRING QUARTET Jiri Travnicek G - Violin Viri Kratochvil - Viola Quartet in D major Op.64 No.5 (The Lark) Programme I Allegro con brio Minuet and Trio Adolf Sykora - Violin Karel Krafka - Cello Haydn (1732-1809) Adagio Presto (Last performed in 1944 by the Griller String Quartet) Among the wealth of music that Haydn's genius poured out, there are known to be 77 string quartets, 104 symphonies, 52 sonatas for the piano and at least 87 works also mostly in a similar sonata form. In spite of this enormous number of compositions, Haydn's inspiration never seems to falter; each work possesses its own individual charm to an amazing extent. The 12 Quartets of Op.54, 55 and 64 are all dedicated to Johann Tost, a wealthy wholesale merchant who is said to have been a professional violinist before he became a man of business. There would seems to be truth in this story as, in all these quartets, the first violin is given a specially brilliant and prominent part. The Quartet to be played tonight is the fifth of

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a set of called n. the soari first vi stac

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a set of six written about 1790. It is often called "The Lark", a name, doubtless, inspired by the soaring and singing melodies given in it to the first violin. The first movement opens with a light staccato passage for the three lower instruments. At the eighth bar the first violin enters with a clear bird-like melody which, by itself, might well have inspired the title. The whole movement is light and airy. The Adagio has a smooth cantabile melody for the first violin, a contrasting portion leads to the return of the first section, with the melody even more richly embroidered. The Minuet and Trio follow the usual pattern, the latter having some pleasing. imitative passages. The Finale is light and staccato with a continuous semiquaver movement - a true per- petuum mobile. II Quartet No.2 "Scarlet Letters" Janacek (1854-1928) Andante con moto - Allegro Adagio - Vivace Moderato Allegro (First performance at these concerts) Adagio - Allegro. Andante - Adagio Leos Janacek was born at Hukvaldy (North Moravia) the seventh child of a poor family. His father and grandfather were both village schoolmasters of the class from which so much of the musical culture of Bohemia has sprung. He became a chorister in the Community of the Austin Friars in Brno, where he worked under Krizkovsky, a precurser of Smetana and a writer of highly dramatic choral music. Later Janacek attended an organ school in Prague, but his poverty was such that it was not until he was 25 that he was able to continue his musical training at Leipzig Conservatoire. Here he studied conducting and theory under Reinecke and made one public appearance as a pianist. He then went to Vienna with

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a view to becoming a piano virtuoso but was forced to return to Brno in 1881. There he was active as a teacher, as well as organizing concerts which brought the finest music within the reach of all, and he began his researches into the folk-music from which his own characteristic style was largely evolved. Janacek's choral music and operas are perhaps his most characteristic works. In his treatment of words and the human voice Janacek evolved a kind of speech- melody which more or lesspermeated his other compositions. This is seen in his "swift eruptive figures, close-knit and elliptical...(His music) is instantly penetrating. There is no spinning out of the lyrical materials, no time spent upon musical dissertation; the dramatic crises are driven home and clinched with breathless rapidity" (Grove). In many respects Janacek is a "unique figure in musical history. Although old in years Janacek wrote with the vigour of youth and was entirely modern in style. Among his distinguishing qualities are formal precision and terseness of expression (as instanced in his abrupt closes); purity of tone-colour, each instrument being treated as a human voice without dependance upon the normal harmonic scheme; boldness and variety of rythm, the result of a strong natural instinct strengthened by a lifelong study and careful record of the cadences of the human voice, animal sounds and nature; fondness for Slavonic folk-songs and dances; and finally, a trick of harping on one short reiterated motif. These things bring him at times into line with most advanced schools, in spite of the fact that he never becomes atonal" (Max Brod). Janacek wrote relatively little pure instrumental music. He did, however, write two string quartets. The first, dating from 1927, was inspired by Tolstoy's Kreutzer Sonata. 1 The second quartet was his last work, completed only a few months before he died. was inspired by his love for a younger woman. Stossel, and was first entitled "Love Letters"...The It Kamile

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In 56 3sodwoo τε8τηλ the fina viola

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composer later changed this title to discourage vulgar curiosity about his inmost feelings and in the final version, the viola was substituted for the viola d'amore. In this quartet the tempo changes frequently and no definate key can be established though, perhaps, the key of D flat is the most prominent. This, in Janacek's other works, is generally employed to suggest tenderness and love. In construction the general principle is the use of a theme which is repeated with different harmonic colourings and variations. Throughout the work the most minute interpretive directions are given to the players. The first movement deals with the meeting with the loved one. The second movement pictures an idyllic summer spent in the country. The third movement is, in general, gay. The fourth movement, in a form of rondo, gives the impression of the ful- filment of their love. Technically this quartet represents the extreme limits of Janacek's writing for abstract music. Interval of ten minutes. Quartet in E minor Op.59 No.2 (Rasumovsky) III Beethoven (1770-1827) Allegro Molto Adagio Allegretto Finale Presto (Last performed in 1954 by the Vegh String Quartet). The three Rasumovsky Quartets of Op.59 were written in 1806 almost at the end of Beethoven's "middle period". They were commissioned by, and dedicated to, Count Rasumovsky, who had come to Vienna in 1792 as the Russian Ambassador. The Count was himself a violinist, playing the second violin in his own quartet which was, at one time, led by

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Schuppanzigh, the celebrated Austrian violinist. Rasumovsky asked Beethoven to include some Russian airs, and these are found in Nos.1 and 2. "These quartets are in some ways the most wholly successful in existence. It has been argued (but not by me) that in the wonderful late quartets Beethoven over- strained the medium and attempted the impossible. But no one could deny the complete success of these three works; Beethoven found heights never before scaled by man and reached the top with triumphant ease." (Roger Fiske). The first movement of this second quartet, in sonata form, has dark passionate noods contrasted with happy and smooth melody. It opens, as the Eroica Symphony does, with dranatic chords which serve to attract immediate attention. The second subject heard in the first violin over a moving accompaniment is graceful. In usual fashion, the developement and re- capitulation sections are repeated before the final chord. The beautiful long-drawn Adagio in the key of E major, marked to be played with great feeling is new and original. The playful and rythmic Allegretto, in E minor, has a contrasting section in the major key. It is in this middle section that Beethoven introduces the Russian tune. It is the well known "Slava" (Glory) which is also found in Boris Godunov, Tchaikovsky's Mazeppa and in several of Rimsky-Korsakov's works. In its original form it is a great stirring patriotic hynn, but here its character is completely changed. As with many of the other national tunes that Beeth- oven used, he either misunderstood their character or else he purposely completely altered them. The Finale is in one of Beethoven's happiest moods. In construc- tion it is in a combination of first movement and rondo forms. THE JANACEK STRING QUARTET was formed in 1947. from pupils of Professor Vasa Czerny's chamber music class at the Conservatoire of Music in Brno, Moravia. The youthful Quartet could look back on much note-

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worthy from th respect Orchest

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worthy musical activity when its members graduated from the Conservatoire and became leaders of their respective string sections in the Brno Symphony Orchestra, while continuing their work as a Quartet. They chose the name of Janacek, the greatest Moravian composer. Their first trips abroad took place in 1949 and 1951. They were then such experienced chamber music players that they felt it necessary, in order further to deepen their interpretations, to play from memory. Since then they have travelled extensively in Europe, America, Africa and the Near East. Their first visit to England was made in 1958. This, their third visit, includes a tour of England and Scotland and Ireland, and they also take part in the new series of chamber music concerts in the Mermaid Theatre.

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Art:

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THE HUDDERSFIELD MUSIC CLUB. Artists for the 1960-61 will be announced in due course. Members may, with the utmost confidence, anticipate a series of recitals as attractive as any of those which have been presented by the Club through- out the past forty-three years. 734 Approbation of the endeavours of the Committee could not be better expressed by our present members than by the introduction of NEW MEMBERS; and particular appeal is therefore made to those who have appreciated these concerts in the past to support us in our efforts in the future. Please give either to the Secretaries or to any member of the Committee,. the names and addresses of any possible new members or of any person who would be interested in the Club. THE__HALIFAX PHILHARMONIC__CLUB. Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road. Friday March 3rd at 7.30 p.m. CECIL ARONOWITZ (Viola) GEORGINA DOBREE (Clarinet) CELIA ARIELI (Piano) The Programme will include the Mozart Clarinet Trio, works for Viola and Piano, Clarinet and Piano and Clarinet and Viola. Single tickets 7/6 from David Dugdale Esq., 192 Willow- field Road, Halifax and at the door. THE HUDDERSFIELD THESPIANS. St. Patrick's Hall March 6th to 11th at 7.30 p.n. "FAREWELL, FAREWELL, EUGENE" Comedy by John Vari Adapted by Rodney Auckland. Tickets 3/6 and 2/- from Woods, 67 New Street.

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