HMS 45


HMS 45

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THE HUDDERSFIELD MUSIC SOCIETY AGHOM (Founded as The Huddersfield Music Club by Dr. Eaglefield Hull in 1918) 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. FIVE President Vice-President FOR THE FORTY-FIFTH SEASON. 1962-63, to be given in THE MAYOR'S RECEPTION ROOM TOWN HALL On MONDAY EVENINGS at 7-30 p.m. A SERIES OF S. H. CROWTHER DAVID DUGDALE Mrs. E. GLENDINNING E. GLENDINNING CONCERTS Honorary Vice-Presidents : DAME MYRA HESS, BENJAMIN BRITTEN, F. W. GADSBY, Cir. F. ROWCLIFFE. Mrs. BRANSOM Mrs. S. H. CROWTHER Mrs. N. CULLEY Hon. Secretaries : Miss C. ALISON SHAW, 3a Vernon Avenue. Tel. Hudd. 7433. STANLEY G. WATSON, 342 New Hey Road. Tel. Milnsbridge 1706. Hon. Treasurer: F. W. PHILIPS, National Provincial Bank, King Street. Mrs. F. A. DAWSON Miss K. EVANS Mrs. E. FENNER Mrs. EAGLEFIELD HULL E. D. SPENCER, Esq. Committee : Mrs. D. HIRST, J.P. Miss Z. E. HULL P. L. MICHELSON MAX SELKA E. C. SHAW W. E. THOMPSON Mrs. S. G. WATSON C. R. WOOD Ladies' Committee: Chairman: Mrs. D. HIRST, J.P. Mrs. A. E. HORSFALL Mrs. A. E. HULL Miss Z. E. HULL Mrs. A. W. KAYE Miss H. LODGE Mrs. MARKS Miss E. K. SAWERS Miss A. SHAW Mrs. J. SHIRES Mrs. E. D. SPENCER Miss W. TOWNSEND Hon. Secretary: Mrs. E. GLENDINNING Hon. Treasurer: Mrs. S. G. WATSON

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MONDAY, 8th OCTOBER, 1962 EVELYN ROTHWELL AND VALDA AVELING Oboe and Piano Recital Sonata for Oboe and Piano in C major Sonata for Piano No. 7 in D major Sonata for Oboe and Piano Sonata for Oboe and Piano Suite of old French Pieces MONDAY, 12th NOVEMBER, 1962 THE TATRAI STRING Quartet in E flat major Op. 33 No. 2 Quartet in D major Op. 18 No. 3 Quartettsatz in C minor Op. posth. Quartet in F major MONDAY, 3rd DECEMBER, 1962 Chromatic Fantasia and Fugue Variations in F minor DAVID WILDE Piano Recital Sonata in D minor Op. 31 No. 2 Sonata No. 3 in B minor Op. 58 Hindemith arr. Evelyn Rothwell Loeillet Haydn Arnold Cooke MONDAY, 14th JANUARY, 1963 Works by Chopin and Liszt THE OROMONTE (Piano, Viola and Cello) Serenade in C major Op. 10 Duo for Violin and Cello Op. 7 Trio in C minor Op. 9 No. 3 QUARTET Haydn Beethoven Schubert Ravel Bach Haydn. Beethoven Chopin TRIO Dohnanyi Kodaly Beethoven

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1 MONDAY, 11th MARCH, 1963 THE WEINER STRING STRING Quartet in D major Op. 64 No. 5 (The Lark) Haydn Quartet Op. 10 No. 2 Kodaly Quartet in B flat Op. 130 Beethoven NEW MEMBERS will be welcomed by the Society; and it will be appreciated if they will kindly complete the slip hereunder and forward it, together with the appropriate remittance (40/- per Season Ticket), to the Hon. Secretary as addressed. To the Hon. Secretary, 342 New Hey Road, Salendine Nook, Huddersfield. QUARTET I should be glad if you would send me ..... for the 1962-63 Season Name THE HUDDERSFIELD MUSIC SOCIETY Address .... ticket (s) ....... Please complete in BLOCK LETTERS; state whether Mr., Mrs., or Miss; make cheques payable to "The Huddersfield Music Society"

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As you were a Member last Season, ......tickets for the 1962-63 Season are enclosed herewith; and it is requested that the appropriate remittance (40/- per ticket) be forwarded to the Hon. Treasurer (Mr. F. W. Philips) at the National Provincial Bank Ltd., King Street, Huddersfield, before the date of the FIRST Concert, cheques being made payable to "The Huddersfield Music Society." In the event of any of the tickets not being required this Season, they should be returned to Mr. S. G. Watson, 342 New Hey Road, Huddersfield not later than September 29th after which date it will be assumed that they will be retained and paid for. THE HUDDERSFIELD MUSIC SOCIETY Season tickets (and single tickets at 8/6 per Concert) will also be available at Messrs. J. Wood & Sons, 67 New Street, Huddersfield, or at the door. Please send a prospectus to the following: Name Address Name Address Signaturel

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THE HUDDER FIELD MUSIC SOCIETY Forty-Fifth Season 1962-63 Mayor's Reception Room, Town Hall. Monday 12th November, 1962. THE TATRAI STRING QUARTET. Vilmos Tatrai (Violin) Mihaly Szicz (Violin) Gyorgy Konrad (Viola) Ede Banda (Cello) PROGRAMME I Quartet in E flat major Op. 33 No. 2. Haydn (1732-1809) llegro moderato, cantabile Allegro. Scherzo. Largo sostenuto Finale. Presto. (Last performed in 1941 by the Griller String Quartet) This Quartet is the second of a set of six. 1781-2 the Grand Duke Paul visited Vienna twice. musical performances were given in his honour and in them these quartets, which Haydn dedicated to him, were included. They are, therefore, known as the Russian Quartets. Another neme given to this set is Gli Scherzi as it was in these works that Haydn first gave the name Scherzo to the older Minuet and Trio movement. There is, however, little change in its character; it the Scherzo as it became in In Many has no real relationship to the hands of Beethoven. Nine years had elapsed since the appearance of Haydn's previous quartets Op. 20. Geiringer suggests that Haydn felt that no further progress along the lines of Op. 20 was possible and that time was needed before he could find a solution to this problem. Haydn himself said that the Rarsien Quartets were written in an entirely new and particular manner'. The contrapuntal style of Op. 20 ended the domination of the first violin; the same thing is now done but in a different fashion. All instruments are given an equal share and even the accompanying parts are based on motives taken from the main subjects. The problem which Haydn had now solved was that of the use and development of the subjects in a way hitherto unknown.

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e Quar eventh f second vi or les The voice con

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ine first movement is, of course, in sonata form. The Scherzo is still essentially a Minuct and Trio in rather quicker tempo. Tovey remarks tht in the slow movements of these quartets Haydn has solved another problem; he now realises that a bar of slow music is not a bar of quick music played slowly but an altogether bigger thing'. 'In music slowness either means bigness or it means emptiness .... From Op. 33 onward we may be certain that no slow movement of Haydn, however un important, will stagnate'. The Finale, rondo with two episodes, is known as 'The Joke¹. This comes in the code. a short adagio episode, the eight bars of the main subject are repeated, two bars at a time with two bars rest between. When the subject is completed, Haydn rests for three bars; finally he whispers pienissimo the first two bars again and disappears into silence. After II Quartet in E flat major Op. 18 No. 3 Beethoven (1770-1827) Allegro Andante con moto Allegro Presto (Last performed in 1957 by the Vegh String Quartet) The six quartets forming Op. 18 were written in 1800-1. part from an early quintet (Op. 4) and three trios, these were Beethoven's first works for strings not in combination with other instruments. Beethoven was, in his early years, a virtuoso of the piano and his real pre-occupation was with piano music. These quartets therefore mark the commencement of the only type of chamber music which kept his attention to the last, and which were to lead to the final five quartets, the 'coping stone of his whole life's work! Chamber music for strings alone is, indeed, the very heart and kernel of Beethoven's creative work." (Bekker). 11 the quartets of Op. 18 are written in major keys with the exception of No. 4; all are, in general, graceful and gay in mood. They were not written in the numbered order, No. 3 being the earliest of the set. They were published in two parts and were dedicated to Prince Lobkovitz, one of Beethoven's princely patrons in Vienna.

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e Quar seventh second vi or les The voice con

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The Quartet No. 3, opening boldly with a leap of a seventh for the first violin, which is imitated by the second violin and the viola, is very Mozartian in style; The voice is the voice of Beethoven, the idiom is more or less that of the 18th century' (Haddow). The ndante con moto in E flat opens with a lovely melody on the G string for the second violin; it has qualities of beauty and expressiveness which atone for the rather dispropor- tion te length of the fourth section; the poetic peroration happily redresses the balance (d'Indy). The first section of the llegro (Scherzo), again in D major, has a contrasting section in D minor. The Finale, full of light and shade, is a movement very characteristic of the youthful Beethoven. INTERVAL OF TEN MINUTES III Quartetsatz in C minor Op. posth. llegro assai Schubert (1797-1828) (First performance at these Concerts) Between 1812-17 Schubert wrote some eleven string quartets. These were chiefly intended for home practice and are obviously works, less mature than the songs and piano pieces of the same period, in which Schubert was gradually feeling his way towards his ultimate mastery of the form. ..fter 1817 Schubert wrote no chamber music until 1820 when the Quartet movement in C minor appeared. whole world divides the youthful quartets from the quartet fragment of 1820....the string quartet which speaks the language of the soul's confessional (Kahl). The work opens with a mysterious, swelling tremolo which later yields to a smoother and more peaceful theme; soon the shifting, everchanging chromatic colourings return until with the real second subject comes complete spiritual adjustment, relaxation and calm, and now the yearning for inward peace, expressed by straining suspensions suddenly loses all touch with earth, and the motion dies down into calm and measured cadences in an ethereal pianissimo'. The opening tremolos are not repeated after the restless development section; they are kept for the

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works. uǝu83A onflict 3q 127 D

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final bars. Kahl asks if the peaceful resolution of this conflict was to have been found in the second movement, a fragment of which is included in the list of the complete works. Quartet in F major Allegro moderato Assez vif - Tres rythme Tres lent Vif et agite (Last performed in 1956 by the Quatuor Haydn) It was ..1though Ravel is one of the most important French composers, he was not of purely French origin; his father was French-Swiss while his mother was Basque. from the latter that he inherited so many of the southern traits to be found in his music - the feeling for light and colour and the complex rhythms. But the virtues of the French culture are added to these - craftmanship, restraint, fastidiousness, intelligence, wit and unerring taste and balance. His output was relatively not large, and he only wrote one work for string quartet. 4 IV This quartet, written in 1902-3, is dedicated to his master, Cabriel Faure; and its first movement, in sonata form, opens in almost a Feure-like manner. It soon developes its own character and style, with many changes of colour and tempo. The second movement is a really original Scherzo, with a pizzicato opening and a contrasting section of such melodic charm. The slow movement is comp lex in style with fleeting references to the first movement; it ends with a wonderful raising of all four instruments to their highest registers. The final movement, in 5/8 time, is by turns stormy and calm; both its main subjects have references to material in the first movement - e method of thematic development which is to be found in much of Ravel's music. I Ravel (1875-1937) 1 1 THE T TRAI QUARTET fter many years of experience. which they gained as leading orchestra members, chamber musicians and soloists, these four exceptional and mature artists came together under the leadership of Vilmos Tatrai

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digit coubor ni bomsotzeg fand) n 1946. their ta work. Internat 1957 I

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dow in 1946. Their rapid rise is attributable not only to their talents but also to their enormous capacity for work. In 1948 they gained the first prize in the International Bartok Competition but it was not till 1957 that they made their first appearance outside their own country; since then they have frequently played throughout Europe. They made their first visit to England in 1960. The leading Hungarian composer, Laszlo Lajthe, writes of this Quartet: 1 Without doubt, the Tatrai Quartet will confirm the good name of the Hungarians in the art of interpretation in every concert hall in the world and will rank with the leading quartets'. 1 1 1 1 1 } 8 I I 0 # 1 1 1

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S, JOA

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THE HUDDERSFIELD MUSIC SOCIETY Mayor's Reception Room, Town Hall. Monday Evenings 7.30. December 3rd Chromatic Fantasia and Fugue Variations in F minor Sonata in D minor Op.31 No.2 Sonata No. 3 in B minor Op. 58 January 21st D.VID WILDE Piano Recital. February 11th March 11th Works by Chopin and Liszt. EVELYN ROTHWELL and V. LD. OROMONTE TRIO Bach Haydn Beethoven Chopin (Violin, Viola and Cello) THE WEINER STRING NRTET. Single tickets 8/6d. from Woods, 67 New Street and at the door. VELING (Oboe and Piano). BILLY LIAR THE HALIF X PHILHARMONIC CLUB Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Rood. Friday Evenings at 7.30 December 14th THE CLASSICAL CURTET OF MADRID Quartet in G minor Op. 77 No. 1 Quartet No. 2 (Intimate Letters) quartet to be announced later. Single tickets 7/6d. from David Dugdale, Esq., 291 F 291 Willowfield Road, Halifax and at the door. Haydn Janacek THE HUDDERSFIELD THESPINS St. Patrick's Hall. December 3rd-8th at 7.30 p.m. by Keith Waterhouse and Willis Hill Tickets 4/-d. and 2/6d. from Woods, 67 New Street.

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foly

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THE HUDDERSFIELD MUSIC SOCIETY Forty-fifth Season 1962-63. Mayor's Reception Room, Town Hall. Monday 3rd December, 1962. DAVID WILDE. Piano Recital Chromatic Fantasia and Fugue (Last performed in 1947 by Moiseiwitsch) Bach (1685-1770) The date of the composition of the Fantasia and Fugue cannot be exactly fixed. According to Schweitzer: "It probably dates from the same epoch-1720- as the great G minor organ Fantasia. It has a kind of inner affinity with this work but in both, the recitative style is carried over to an instrumental medium." If this date is correct, this work must have been written in the Cothen period (1717-23) during which Bach produced so much instrumental music, including part of the "48" and the French and English Suites. The early fantasia, a composition unrestricted by any formal plan, independant of words and therefore essentially instrumental, rose to great importance under the school of German organ- ists, whose earlier master was Buxtehude. To this German school, Bach added the grace and freedom of the Italian masters; he also transferred this organ form to the harpsichord. The effective contrast between the extreme freedom of the fantasia and the strictest of all forms, the fugue, should be noted. The Chromatic Fantasia itself is largely built up- on the falling chromatic scale, a device used by Bach to depict grief and suffering. According to Busoni, it falls into four main sections: Chorale (arpeggio), Recitative and Coda. The General impression is one of

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disquiet extreme subject form; an and two : 9

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disquiet and pathos; the modulations are daring in the extreme, The chromatic scale is used again in the subject of the great three-part fugue but in a rising form; and much use is made of a rythmic figure (a quaver and two semi-quavers), a device used repeatedly by Bach to signify joy and consolation. We may therefore reason- ably conclude that the work as a whole, represents the passage from grief and suffering to consolation and triumph. Variations in F minor Haydn (1732-1809) Haydn, as one might expect in a composer with so strong a feeling for melody, was much attracted by the variation form. Though he did not write as many sets as Mozart did, and though some of them are slight and elementary, when Haydn applied himself seriously to the task, he produced works of great interest and variety. Particularly noticeable, are the freedom with which he treats his theme (a freedom comparable with the variations of Beethoven, Schuman and Brahms), and the original means by which he combines the separate parts in to an organic whole. The variations if F minor were written in 1793. "They belong to the type of variations with two themes. in which Haydn proved particularly successful. The main theme is in the style of a funeral march and is followed by a trio in D major. Each of the two ideas is varied twice and a most imaginative coda ends the composition. In the aspect of harmony and colour, this important work anticipates the first beginnings of the romantic style." (Geiringer).

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offt AS opens calls by the fate.

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Rolland 4 opens with two lento bars of introduction calls these a sovereign command "It must be ", followed by the struggles of the suffering soul to escape from fate. This conflict dominates the whole movement. curious and significant proof of the personal intensity of this movement is the fact that in the notebooks it appears in an almost complete form, as if it had sprung spontaneously from Beethoven's consciousness and not gradually evolved as so many of his other works had been. The following is Roland's description of the two re- maining movements, movements of perfect beauty: "The suave adagio, with its Elysian peace, its arial balance goes on feet of velvet, in a half light that only once or twice rises to a forte, seven or eight times to a sforzando, as if with the weary sighs of a breast opprossed with ecstasy and fades slowly into sleep with a sigh of happiness. The final allegretto is a Midsummer Night's Dream caprice" Interval of ten minutes Sonata No.3 in B minor Op.58 A Chopin (1810-1849) Allegro maestoso Scherzo. Molto vivace Largo Finale Presto non tanto (Last performed in 1949 by Alexandr Helmann) Chopin wrote three piano sonatas. The first (C minor) dates from 1828 but was not published till after his death; the second (B flat minor with the Funeral March)appeared in 1840; the third (B minor) was composed in 1844. Of the second sonata, Schumann said that Chopin had bound four of his maddest children to- gether and had entitled them sonata. The movements of this third sonata too, have little unity, but against that can be placed the independence and originality of Chopin's musical imagination, the poetry of his

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A do Iw (e18-0181) nagodo 00 YEE qe genibus ording t to keep

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Indeed, acc- genious and the richness of his inspiration. ording to one authority, the composer found it difficult to keep the profusion of his thoughts within due bounds. The first movement is perhaps the most important of the four. It has a bold and virile opening; this is elaborated and extended to some length before the appearance of the cantilena, which Huneker called "an aubade, a Nocturne of the morn. There is a morning fresh- ness in its hue and scent, and when it bursts, a parterre of roses." The graceful figure which opens the Scherzo, Huneker says is "light as a harebell in the soft breeze"; the trio is quiet and sustained. The largo is a nocturne in all but name; Nieck calls it a reverie rather than a composition. After eight powerful bars, the Finale opens with its agitated theme. This recurs three times in varying form, the links being brilliant and elaborate passages. It has been said that this movement is one of the most difficult of Chopin's works to play. Two Studies (i) G flat major Op.10 No.5 (ii) E major Op.10 No.3 Hungarian Rhapsody No.12. Chopin Liszt (1811-1886) DAVID WILDE was born at Stretford in 1935. He played the piano at the age of three and had regular lessons when he was five. His first public appearance was at the age of seven. When he was ten he made his first broadcast and also played to Solomon who recommended him to his principal teacher, Reizenstein. In 1948 he won an open scholarship to Manchester R.C.M. where he studied piano with Iso Elinson and composition with Richard Hall. During this period, he was awarded the Walter Dayas Medal, presented triennially to the College' most outstanding pianist. After completing his military service, he returned to College for a short period and also studied with Badura- Skoda and Gordon Green. In 1959 he joined th B.B.C. in Glasgow as a staff accompanist; he resigned three years later in order to devote himself to the solo concert work.

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In 19 Liszt Gabos

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In 1961 he won the equal second prize in the London Liszt Competition and the equal first prize with Gabos, in the Budapest International Liszt Bartok. Competition. In 1962, he was awarded first place in the Queen's Prize Competition at the R.C.M. He has played at the Edinburgh Festival and with all the leading orchestras in the country. THE HUDDERSFIELD MUSIC SOCIETY Mayor's Reception Room, Town Hall. Monday evenings at 7.30 January 21st EVELYN ROTHWELL & VALDA AVELING Oboe & Piano Recital Sonata for Oboe & Piano Piano Sonata No.7 in D major Sonata for Oboe & Piano Sonata for Oboe & Piano Suite of old French Pieces Loeillet Haudn Arnold Cooke THE WEINER STRING QUARTET Hindemith arr. Evelyn Rothwell. February 11th. THE OROMONTE TRIO (Violin, viola and cello) March 11th Tickets 8/6d each from Woods, 67 New Street and at the door.

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Lectur

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THE HALIFAX PHILHARMONIC CLUB. Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road, Friday evenings at 7.30. December 14th. THE CLASSICAL QUARTET OF MADRID Quartet in G minor Op.77 No.1 Quartet No.2 (Intimate Letters) A quartet - To be announced later Single tickets 7/6d from David Dugdale Esq., 291 Willow- field Road, Halifax, and at the door. THE HUDDERSFIELD THESPIANS St. Patrick's Hall December 3rd - 8th at 7.30 Haydn Janacek BILLY LIAR by Keith Waterhouse and Willis Hall. Tickets 4/-d and 2/6d from Woods, 67 New Street.

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THE HUDDERSFIELD MUSIC Forty-fifth Season 1962-63 Mayor's Reception Room, Monday January 21st 1963 SOCIETY 0 Evelyn Rothwell (Oboe) THE DUO QUILLANCIA PROGRAMME Valda Aveling (Piano) Sonata for Oboe and Piano in C Major Largo Cantabile Allegro Largo espressivo Loeillet (1680-1730) From an early In 1702 Jean-Baptiste Loeillet, a Flemish flautist, aboe player and composer was born at Ghent. age he was celebrated for his compositions. he went to Paris and to London in 1705, where he joined the orchestra of the King's Theatre in the Haymarket. In London, too, he started concerts at which the works of Corelli, in particular, a chamber After a period spent as were made known. musician to the Elector of Bavaria, he returned to Loeillet wrote a number London where he later died. of works for flute, oboe and violin with a continuo (figured bass); his oboe sonatas cularly attractive specimens of his work. are parti-

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2000 217

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Piano Sonata No.7 in D major Allegro Adagio Haydn (1732-1809) Haydn wrote sopatas for the piano throughout his long life; the Collected Edition contains no less than 52. Although Domenico Scarlatti and two of Bach's sons Friedemann and Carl Phillip Emanuel - had earlier all written works for the clavier which were tending toward the sonata proper, it was Haydn who first gave the classical sonata its essential form and design, gradu- ally fixing its structural basis, its key relationships, the construction and development of its theme, and the form and balance of the different movements. Many of us are still apt, perhaps, to think of Haydn principally an amiable, rather un sophisticated forerunner of 962 Mozart and Beethoven. This is a complete misconception of his genious, only to be accounted for by the facti that the effortlessness and spontaneity of his writing easily deludes us into an impression of naivete. truth, he was a greater originator than either Mozart or Beethoven; he creasted sonata form, then adopted it, expanded it and experimented with it." (Hutcheson) .th And all this with a gaiety and charm, a grace and wis which, allied to his musicianship, shows most truly his unique sweetness and strength of character. Sonata for Oboe and Piano of whicArnold Cooke (b.1906) Allegro Adagio AL Allegro vivace Arnold Cooke was born at Gomersal. educated at Repton and Cambridge and from 1929 to 1932 he studied under Hindemith at the High School for Music U

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6A LR Ids the ne [9] is dissoM nm 30 x

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in Berlin. Returning to England, he became Director of Music at the Festival Theatre at Cambridge and was for five years professor of harmony and composition at the Manchester Royal College of Music. The period of study in Germany, and particularly his studies with indemith, have undoubtedly influenced Cooke's work, but the virility and individuality of his music has by no means been lessened thereby. has written an opera "Mary Barton" (based on Mrs Gaskell's book), a symphony (first head in 1949), oboe concerto, a clarinet concerto, a cantata "Holderneth," songs and much chamber music which includes a piano quintet first performed at the Cambridge Festival for which it was commissioned. The Sonata for Oboe and Piano was written in 1962 especially for the Duo quillancia to whom it is dedicated. It was first performed in Munich in that year. Tonight we have the honour of hearing its first performance in this country. Dr.Cooke has himself very kindly supplied the following information about the Sonata; This work, begun about a year ago, was written specially for the present players, who have already performed it in Germany. It is intended for oboe and harpsichord or piano. It is in three movements, the first in sonata form having a slow introduction, to which allusion is made again near the end of the movement. The second movement is based on an extended melody for the oboe and has a more agitated middle section. The finale is a rondo, the main theme of which is given to the oboe with accompanying chords on the piano." INTERVAL OF TEN MINUTES IV and Sonata for Oboe and Piano lindemith (b.1895) Munther Sehr langsam und lebhaft Hindemith is one of the best-known composers of

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to ni modern Germany. He was born at Ilanau and studied at Frankfurt. From 1915 to 1923 be first led and then conducted the Frankfurt Opera. He later joined the Amar String Quartet as the viola player. fine performer on that instrument; he is a good pianist and a clarinet player; has also played percussion instruments. Hindemith taught composition he at the Berlin High School of Music from 1927, but the Nazis prescribed his work as degenerate art. years after 1933 he lived in Turkey in order to reor ganise Turkish musical education, In 1939 he emigrated to America where he now lives. Hindemith is a rapid and facile writer and his output is remarkable. He has 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. His music has humour, vitality and rhythmic power but little sentiment, though some of his later work is said to show an erotic lo tendency o He is much attracted by changer music; has, in fact, written chamber music for every instru- ment including the hekelphone. Between 1937 and 1942 Hindemith wrote sonatas for wind instruments (flute, oboe, bassoon, clarinet, horn, trumpet, English horn and trombone) and piano. The obce and piano Senata dates from 1939. V Suite of Old French Pieces Les Tendres Plaintes. Les Fiires arr.Evelyn Rothwell Couperin Rameau Dandrieu EVELYN ROTHWELL, internationally known as one of the few great living oboe virtuosi, began her career

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through cheer chance by taking up the study of this instrument at 17 because her school (Downe House, Newbury) needed an oboe player. Within a year she won a scholarship to the Royal College of Music. immediately established her reputation through per- formances and recordings at home and abroad. Many works have been written for her, and when the Oboe Concerto by Mozart was discovered in 1948, after having been lost since the eighteenth century, she was entrusted with its first performance at the Mozarteum in Salzburg. She has appeared at all important centres of music and has frequently appeared with her distinguished husband, Sir John Barbirolli. VALDA AVELING was born in Sydney and studied piano, violin, composition and conducting at the New South Wales Conservatorium of Music, later coming to England to continue her studies. She has appeared with most of the major orchestras and has given many important first performances, including the Khachaturian Concerto and the xxx * Concerto Symphonique by Bloch. She is well known everywhere as a recitalist, giving recitals on the piano, harpsichord and clavichord and occasionally combining these instruments in one recital. She has made an intensive study of the clavichord and the harpsichord and is recognised as authority on these instruments and their music. THE HUDDERSFIELD Mayor's Reception Room, Town Hall Monday Evenings February 11th THE OROMONTE TRIO (Violin, Viola and Cello) Seranade in C Major Op.10 Duo for Violin and Cello Op.7 Trio in C minor Op.8 No.3 1 Dohnanyi Kodaly Beethoven PLEASE NOTE CHANCE OF DATE OF THIS CONCERT

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02 March

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March 11th THE WEINER SERING QUARTET Single tickets 8/6 fram Woods, 67 New Street or at the door. HALIFAX PHILHARMONIC Lecture Hall of the Halifax Literary and Philosophics Society, Harrison Road. Friday Evenings at 7.30 January 25th THE SMETANA STRING QUARTET Quartet in C major K.465 Quartet No.2 (Intimate Letters) A Quartete to be announced later Single tickets 7/6 from David Dugdale Esq.. Willowfild Road, Halifax, or at the door. HUDDERSFIELD THESPIANS St. Patrick's Hall TWELF TH Mozart Janacek 0 Shakespeare Tickets 3/- and 2/6 from Woods, 67 New Street

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THE HUDDERSFIELD MUSIC SOCIETY Forty-fifth Season 1962-63 Mayor's Reception Room Town Hall, Monday 11th February, 1963 *** THE OROMONTE STRING TRIO Parry Hart (Violin) Margaret Major (Viola) Bruno Schrecker (Cello) PROGRAMME I Serenade in C Major Op.10 ** Tema con variazioni Finale: Rondo Dohnanyi (1877-1960) Alla Marcia Romanza: Adagio non troppo quasi andante Scherzo: Vivace (Last performed in 1948 by the Pasquier Trio) Dohnanyi, born in Pressburg (Hungary) was a distinguished pianist and composer. He studied in Pressburg and Budapest and later under d'Albert. He appeared as a pianist in 1897 and was quickly recognized as an artist of the highest rank, with brilliant technique, exquisite beauty of tone and deeply poetical interpretations.

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4700 2- His first compositione date from student days. The early works show the influence of Brahms but later his Hungarian nationality became more clearly marked. His music has originality and vivacity as well as a romantic beauty and grace. While Dohnanyi has written operas, ballets, concertos and symphonies, from the first his main pre-occupation has been with chamber and piano music. It is remarkable that such a distinguished pianist has written so effectively and with such understanding of, and sympathy for, string instruments. The title of "Serenade", as applied to instrumental music, usually denotes a work which is made up of a number of short and varied movements. Dohnanyi's Serenade in C major, though an early work, already foreshadows his later style. It opens with a dramatic march movement. "Nobody would believe a periori that a march could adequately represent a da capo after a trio by three meditative murmurs of its first bar followed by a figure like a sneeze; but such is the end of the first movement of this serenade; and the finale, after a vigorous career as a fully developed rondo, ends by bursting into the trio of the march. This dies away and the work ends with the same figure as the march, but without alluding to the first theme" (Tovey). It may be noticed that, by beginning and ending with a March, Dohnanyi is following the plan of the classical serenades and cassations. The lyrical second movement "ends on the dominant with an effect akin to that of the Mixolydian mode and also to the tendencies of much recent Spanish music." (Tovey).

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- 3- The third movement is a scherzo in fugal style. The beautiful theme and variations form the fourth movement, the most romantic movement of the work. The witty rondo-finale, with its return to the trio of the opening march, brings the Serenade to its conclusion. II Duo for Violin and Cello Op.7 Kodaly (b.1882) Allegro serioso non troppo Adagio Maestoso e largamente ma non troppo lento - Presto (First performance at these Concerts) Zoltan Kodaly is a contemporary of Bartok. (1881-1945) and both men shared a deep interest in the study and collection of the folk-songs of their native Hungary. To their careful and scientific research the history of pure Magyar folk-music owes a great debt. Of the two Kodaly is perhaps the more typically Hungarian, though in his early years his music owed some debt both to the Romantics and to Debussy. His compositions are particularly notable for his superb handling of the instruments, all of which are asked to give to the fullest possible extent the very essence of their characters and to express to the limit of their powers the deepest inspiration of the composer.

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- 4 - The Duo for Violin and Cello (written 1907) is the first of the modern examples of this once- popular combination. "With Kodaly the inter-relation of the two instruments is based on perfect equality; each is the natural complement of the other, and everything is made to subserve a single principle, that of obtaining the ideal tone colour and form in an ensemble made up of two contrasting and yet parallel elements." (Waldbauer) The first movement is an example of Kodaly's herioc style; the main theme "is at once suggestive of epic struggles." The slow movement, one of Kodaly's finest and most elaborate adagios, opens with a singing and passionate theme for the cello; later the violin takes the same theme up to the highest registers. After a turbulent and dramatic section, the calmer mood returns, but sinks before the end into deep melancholy. Kodaly's slow movements hold a particular place in his music "with their unique intensity and lyrical fervour. Some of these strike an unaccustomed note in the "instrumental speaking-voice" adopted". The third movement opens with a survey of the previous themes treated in an improvisatory fashion. The Presto, a whirling yet heroic dance, with themes of abvious folk-song origin, has a contrasting section of less feverish character. INTERVAL OF TEN MINUTES

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- 5 -- III Trio in C minor Op.9 No.3 Beethoven (1770-1827) Allegro con spirito Adagio con espressione Scherzo: Allegro molto e vivace Finale: Presto (Last performed in 1945 by the Carter String Trio) This Tric is the third of a set of three written in 1797. Beethoven wrote five string trios before turning to the string quartet. It has been suggested that these trios were studies in preparation for the larger form, though, in reality, it is more difficult to write rich and sonorous music, with variety of texture, for three instruments than for four. One probable reason for the change was that by the end of the eighteenth century the string trio had begun to drop out of fashion, being considered more suitable for the "galant" style than for the "new music". The Trios of Op.9 have suffered undeserved neglect; in some ways they are more mature than, and surpass, the quartets of Op.18. The Trio in C major is perhaps the finest of the three. It opens with an impressive unison theme very typical of the later Beethoven; the whole movement, with its use of sforzandi, is full of dramatic contrasts. The Adagio is one of the most tuneful and beautiful of Beethoven's adagio movements. The Scherzo is, unusually, written in 6/8 time. The themes of the vigorous Finale are rather reminiscent of those in other works. The finale of the Pathetique Sonata, in the same key was said to have originally been sketched for piano trio. It may be that the present finale replaced the original plan

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- 6- Shere THE OROMONTE TRIO. The Players have strong connections with the Netherlands Chamber Orchestra whose moving spirit is Szymon Goldberg - hence their name translated from German. PERRY HART was born in Australia and studied at the Sydney Conservatorium, in Europe and in the U.S.A. with Szymon Goldberg. She has been a member of the Netherlands Chamber Orchestra since 1955. MARGARET MAJOR was born at Coventry and studied at the R.C.M. with Frederick Riddle. She is the principal viola of the Netherlands Chamber Orchestra. BRUNO SCHRECKER was born at Frankfurt and came to England in 1935. He studied at the R.C.M. with Ivor James and later with Casals. As a member of the Peter Gibbs String Quartet he has toured extensively. Since 1960 the Trio is resident in London. *** Cont THE HUDDERSFIELD MUSIC SOCIETY Mayor's Reception Room, Town Hall March 11th, 1963 THE WEINER STRING QUARTET ** ** Monday Evenings at 7.30 Quartet in D major Op.64 No.5 (The Lark) Quartet Op.10 No.2 Quartet in B flat Op.130 ** Single tickets 8/6 from Woods, 67 New Street and at the door. Haydn Kodaly Beethoven

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THE HALIFAX PHILHARMONIC CLUB - 7 - Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road. Friday Evenings at 7.30. GILLIAN SANSOM (Violin) and Sonata in E flat K. 380 Sonata in D major Op.12 No.1 Sonata in A minor Five Madrigal Stanzas Sonata in G minor *** ALASDAIR GRAHAM (Piano) Single tickets 7/6 from David Dugdale Esq., 291 Willowfield Road, Halifax, and at the door. THE HUDDERSFIELD THESPIANS * St. Patrick's Hall March 4th to 9th THE CAPTIVES Mozart Beethoven Schumann Martinu Debussy by CHARLOTTE HASTINGS Tickets 4/- and 2/6 from Woods, 67 New Street.

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THE HUDDERSFIELD MUSIC SOCIETY Forty-fifth Season 1962/63 Mayor's Reception Room **** Monday 11th March 1963 ****** *** Town Hall THE WEINER STRING QUARTET zsef Szasz (Violin) Janos Jzekacs (Viola) Programme I ** Istvan Varkonyi (Violin) Arpad Szasz (Cello.) Quartet in D major Op.64 No.5 (The Lark) Allegro moderato Adagio cantabile Minuet and Trio inale Presto (Last performed in 1961 by the Janacek String Quartet) Haydn (1732-1809) In 1789 the six quartets of Opp. 54 and 55 were published and were followed the next year by the six quartets of Op. 64. All twelve quartets were dedicated to Johann Tost. Tost was a violinist who married a rich girl and became a respected cloth merchant; it is possible that he was the same Tost who was a member of the Esterhazy orchestra from 1783 to 1789. All twelve quartets are closely interrelated, though, in fact the six of Op.64 really belong to Haydn's last period of compo- sition. A characteristic they all share in common is the fre- quent use of one single subject upon which the whole movement is based. They are full, too, of delightful little surprises and all have a brilliant and prominent part for the first violin. The "Lark" Quartet gets its name from the beautiful soaring melody for the violin with which the first movement opens; and the moment when it returns at the beginning of the recapitulation brings all the delight of fulfilled expectation. But the rich new expansion of the second subject which follows is a wholly unexpected development, and its climax is succeded by the most surprising stroke of all, as the first subject sails calmly in

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once more and starts a brand new, and this time, closely con- densed recapitulation. The effect of spontaneity and spacious- ness combined with close unity thus achieved is unique; Haydn never wrote another movement like it" (R. Hughes). The adagio cantibile is one of the movements which betrays the fact that Haydn used so frequently to compose at the piano. The Finale is a brilliant perpetuum mobile in which the flying semiquavers suddenly turn into a fugato, a device much loved by Haydn. II Quartet No.2 in D major Op.10 Allegro Andante quasi recitativo Allegro giocoso (Last performed in 1947 by the Hungarian String Quartet). Kodaly (b.1882) Eric Blom sums up Kodaly's music as follows; "Kodaly's music is distinguished by an originality that appears startling at first hearing, but on closer acquaintance reveals a certain. leaning towards tradition. He does not abandon tonality and accepted forms, but creates a new music of astonishing vitality within their limits. His instrumental writing is extremely interesting, and there is a close interdepdendence between his creative impulse and the particular medium chosen for its ex- pression. The piano pieces are predominantly harmonic and percussive, the string quartets contrapuntal and the pieces for solo string instruments abound in appropriate technical prob- lems and striking effects." This exacting second string quartet is dated 1918 (ten years. after the first quartet), and is a striking and virile example of this form of art. While the first quartet has a youthful buoyancy, the second has a prevailing mood of melancholy and mysticism and "is rather based on a tragic conception of man in conflict with the world." Both quartets are alike in that the themes employed have a subtle connection with each other. The second quartet has three movements though the second runs into the third without any real break; each movement is constructed not on conventional lines but is modelled and adapted to express Kodaly's thought and material. istic feature the way in which Its sco ring has one character- any two of the four instruments

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are grouped together to work in contrast with the other two. more serene. The first movement has three main subjects; the first sombre and tragic, the second dramatic and tense, the third The development section is introduced by a short cello solo. "The slow movement is, again, a specimen unique of its kind in chamber music. Kodaly's instrumental speaking voice - the parlando or recitative - creates its own world of form and expression here...With the two strangely expressive chords of the ninth with which it opens, the hearer is at once in the presence of dawn in a strange world. The monologue of the first violin is like a distant signal. This phrase is a muffled parlando, but the call evokes a responce from the cello which repeats the signal amid mystic chords on the violins and viola." (Waldbauer). Throughout the movement the instruments converse with each other. Towards the end, a dance motive on the muted second violin foreshadows the coming of the final allegro. This, again in D major, is inspired by dance rythms, full of capricious humour and the work ends with a rapid whilrwind close. Interval of ten minutes III Beethoven (1770-1827) Quartet in B flat major Op.130 Adagio ma non troppo - Allegro Presto Andante conmoto ma non troppe Alla danza tedesca: Allegro assai Cavatina: Adagio Molto espressivo Finale: Allegro. (Last performed in 1951 by the Amadeus String Quartet) The years 1824-26 saw the appearance of Beethoven's last string quartets. Perhaps Op.130, though written under most dis- tressing conditions of illness, anxiety and complete deafness, is the greatest of them all. It has six movements instead of the traditional four. Thus Beethoven has, as it were, returned to the older form of the Suite, breaking away from the classical structure in order to express himself more fully, just as in the late piano sonatas, he abandoned regular sonata form to return to the free fantasia.

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The opening movement makes great use of the Adagio intro- duction in combination with the first subject; the second subject is one of wonderful beauty. Some listeners have compared the movement to a struggle between two instincts - one gently pleading the other inexorably violent - in the same individual. The Presto (a Scherzo) is humerous and fanciful; the subtle Andante, half playful and half tender. A German country dance produces the rythm of the fourth movement. The Cavatina is the emotional climax of the work and is one of the most supreme things in all music, full of the most noble expressivness and of an almost un- earthly serenity. Of it, Beethoven said to Holz "Never did music of mine make so deep an impression on me, even the remembrance of the emotions it aroused always cost me a tear." This serenity is interupted by a strange episode marked by Beethoven as "Beklemmt"; this is translated by Newman as "with a tightening of the heart. Beethoven had intended the "Gross Fuge" Op.133, the fugue which is the crown of the whole work and in which the essence of it is to be found, to form the finale of this quartet, but he yielded to the solicitations of his friends and publishers and wrote - his last completed work - a new finale, one so exuberant that it is difficult to believe it to be the work of a man already stricken by a fatal illness. Specht calls this movement a "defiant Dance of Death". PARA ****** THE WEINER STRING QUARTET. Leo Weiner, the composer and teacher celebrated his "Golden Wedding" with the Budapest Franz Liszt High School of Music in 1958. A Professor of Theory and Composition, he was especially interested in Chamber Music. He taught a sense of balance and clarity in ensemble playing and imbued a serious comprehension of the stylistic problems involved. Among his greatest successes as a teacher was the Lener Quartet. In view of his jubilee as a Professor, it was an act of the deepest respect and gratitude that the last string quartet to be trained by him, took his name, and started their promising career as the Weiner Quartet. In their first year (1958) they won the liege Prize for String Quartets.

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B0828 These concerts standard Committee wi The

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THE HUDDERSFIELD MUSIC SOCIETY These concerts will be continued next season but once again the Committee wish to emphasise the fact that in order for the standard to remain at its high level, increased support is vital. The Hon. Secretaries will be glad to receive names and addresses of people interested in Chamber Music at its best. The following artists and ensembles have been engaged for the 1963-64 Season: October 14th November 11th December 16th January 27th March 2nd Stephen Bishop The Vlach String Quartet Osian Ellis The Parrenin String Quartet Engagement pending ** St. Patrick's Hall Piano Recital ***** Harp and Songs THE HUDDERSFIELD THESPIANS April 22nd to 27th LADY WINDERMERE'S FAN. by Oscar Wilde Tickets 4/-d and 2/6d from Woods, 67 New Street, Huddersfield.

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