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THE HUDDERSFIELD MUSIC SOCIETY (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-SIXTH SEASON, 1963-64, to be given in THE MAYOR'S RECEPTION ROOM TOWN HALL On MONDAY EVENINGS at 7-30 p.m. A SERIES OF CONCERTS S. H. CROWTHER DAVID DUGDALE Mrs. E. GLENDINNING E. GLENDINNING Mrs. BRANSOM Mrs. S. H. CROWTHER Mrs. N. CULLEY Mrs. F. A. DAWSON Miss K. EVANS Mrs. E. FENNER ... Honorary Vice-Presidents : DAME MYRA HESS, BENJAMIN BRITTEN, F. W. GADSBY, F. ROWCLIFFE. 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. Committee : Mrs. EAGLEFIELD HULL E. D. SPENCER, Esq. Mrs. D. HIRST, J.P. Miss Z. E. HULL Dr. C. JONES P. L. MICHELSON MAX SELKA Miss Z. E. HULL Mrs. A. W. KAYE Miss H. LODGE 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 Mrs. P. MARKS Miss E. K. SAWERS Miss C. 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, OCTOBER 14th, 1963 STEPHEN BISHOP Piano Recital Sonata in D minor Op. 31 No. 2 Drei Klavierstucke Op. posth. Klavierstucke Op. 119 Sonata in C minor Op. 111 MONDAY, NOVEMBER 11th, 1963 THE VLACH STRING QUARTET Beethoven Quartet in E minor Op. 59 No 2 Quartet No 1 Janacek Quartet in A flat major Op. 105 Dvorak MONDAY, DECEMBER 16th, 1963 Beethoven Schubert Brahms Beethoven OSIAN ELLIS Harp and Song Recital Works by Handel, Mozart, Glinka, Dussek, Faure, Debussy, Britten, Eugene Goossens, and William Matthias: Songs and Folk-songs ·O MONDAY, JANUARY 27th, 1964 THE PARRENIN STRING QUARTET Berg Mozart Beethoven Lyric Suite (1926) Quartet in E flat (K. 428) Quartet in F major Op. 135 1 1 | 1 1

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1 MONDAY, MARCH 2nd, 1964 THE ALBERNI STRING QUARTET Quartet in C minor Op. 18 No. 4 Quartet No. 8 Quartet in A minor Op. 51 No. 2 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. I should be glad if you would send me for the 1963-64 Season Name Beethoven Shostakovitch Brahms 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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To our Members:- tickets for the 1963-64 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. Season tickets (and single tickets at 9/6 per Concert) will also be available at Messrs. J. Wood & Sons, 67 New Street, Huddersfield, or at the door. The Committee will be grateful for the names and addresses of possible NEW MEMBERS. Will you help by complet- ing the tear-off section hereunder and sending it to either of the Hon. Secretaries? Please send a prospectus to the following: Name THE HUDDERSFIELD MUSIC SOCIETY Address Name Address ANRANX Member's Signature

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THE HUDDERSFIELD MUSIC SOCIETY bayor's Reception Room, Town Hall Monday, October 14th 1963 STEPHEN BISHOP Largo Adagio Allegretto Piano Recital 1 Sonato in D minor Op.31 No.2 Allegro Beethoven (1770-1827) (Last performed in 1962 by David Wilde) This Senata, together with its companions in G major and E flat, was height of his powers as composer and as yet, comparatively unclouded, was of self-expression and new worlds new worlds to conquer. Onward Beethoven, Beethoven, with the exception of the E flat Sonata Op.31 No.3 and the B fiat major Sonata Op. 106, abandoned completely the regular four movement plan of the sonata. to him that the further development of the piano sonata lay, not in formal construction, but in using the essentially virtuoso character of the instrument to its fullest and most expressive capacity in a style resembling improvisation. Thus the so-called fantasia sonata would give the fullest scope to the imagination of the composer and to the special qualities of the medium which he was employing With this ideal in mind, one can well under- tand why Beethoven himself so often chose to play this Sonata in D major. Beethoven, at the virtuoso, seeking for new As is usually found in Beethoven's groups of composi- tions, the three sonatas of Op. 31 are in marke contrast. No.1 is jovial, No.3 is full of cheerful thoughts, No.2 is dark and terrible rible, the

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Appassionata Sonata, "Read Shakespeare's Tempest" Beethoven himself said when he was asked for a clue to the work. Perhaps further insight into the relationship between this Sonata and Beethoven's own life can be found in the tragic "Heiligenstadt Testament written in the autumn of that same year a cry of anguish and despair. not only at the loss of Giulietta Guiccardo but also for the growing dread and coming certainty of total deafness. Holand calls this the Hecitative Sonata from the character of its first movement; it has no dedication, an unusual thing in a composition of such importance. The first movement opens with two lento bars of intro- duction. These, to Holland, seem to represent a sovereign command "It must be;" what immediately follows are the struggles of the suffering soul to escape from fate. This conflict dominates the whole movement. A curious and significant proof of the personal inteneity of this movement is the fact that in Beethoven's notebooks it appears in an almost complete form, as if it had sprung spontaneously from his consciousness and had not been gradually evolved as so many of his other works had been. The following is Rolland's description of the two remaining movements » movements of a perfect beauty; "the suave adagio, with its Slysian peace, its aerial balance, goes on feet of velvet, is a half-light that only once or twice rises to a forte, seven or eight times to a sforzando - as if with weary sighs of a breast oppressed with eastasy and fades slowly into sleep with a sigh of happiness. The final Allegrette is a Midsummer's Night Dream caprice." Drei Klavierstucke Op.posth. E flat minor E fint major C major Schubert (1797-1828) Allegro assai Allegretto Allegro These three pieces, written only a few months before Schubert's death, much resemble the better known Impromptus. The first piece could either be called an animated Scherzo

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with two more tranquil Trios or a Ronde with two free episodes. The second plete is similar in form but the character of the sections is reserced, the main theme being lyrical and the episodes restless. The third piece again in episodical form, is, with its piquant syncopa- tion, blant Bungarian in character. Klavie INTERVAL OF TEN N Rhapsody in F flat wajez The title Internezzo, às first used by Sebunzen and Brahma, beara no relation to the original meaning of the word - an interlude in a dramatic work affording contrast and reliet. Wich Brahms, in particular, it implies a rather short planb piece, improvisatory in style, intenselv intimate and contemplative. No Intermezzi have these qualities more marked then these three, which are among Brahm's last compositions. The Rhapsody again a title divorced from its original meaning, owes its modern usage to Liszt. Brahms adopted this title, which he usually gevwe to piano piece abrupt and passionate io cbazasteto The Rhapsody of Op.119 is perhaps Brahms' finest and most extended example, Sonate in C minor Op.111 Beethoven (1770-1827) Maestoso - Allegro con brio ed appassionato Arietta Adagio molte semplice e cantabile (Last performed in 1957 by Paul Badura-Skoda) Thes titanic Sonata is the last of the 32 piano sonatas and by many it is considered to be the most perfect work

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di tw of its kind. It as written in 1821-22 immediately after the Sonatas Opp. 109 and 110 and only five years before Beethoven's death. The Sonata has only two movements, In itself this two-movement form in a late Beethoven sonata is not surprising, but what astonished contemporary musicians was the met that the work ended with an Adagio. Now we realize that not only was the conventional finale not required, but that it would have been definitely antagon- istic to the character of the work, already complete in. itself. Linz has described the moods of the two move"> ments as Resistance-Submission or Sansara-Nirvana; which titles, however, though giving an approximate idea of the underlying sentiments, are not universally accepted especially in the case of the second movement, which appears to contain a much more vital and positive meaning. The first movement has a short Introduction of majestic proportions indicating at once the vastness of the conflict. The opening discord is the most agonizing dissonance in Beethoven's musical vocabulary. It is followed by stately chords fading into a deep rumble in the base, which is interrupted by the dramatic appearance of the principal subject, This continues in thundering octave passages, and, after tremendous melodic leaps, the gentier second subject enters, The conflict breaks out again and continues until the key becomes that of C major and the turmoil sinks into low mutterings in the basso According to von Bulow, the second movement in C major should follow without interruption, interruption. It is an Arietta with five variations. These are not the usual variations in the usual meaning of the term for each is indivisable from the next and the whole impression is one of consecutiveness and organic growth, The song itself is serene and noble, marked to be played with much simplicity. Upon this material a movement is built up which takes the listener far from the original simplicity of the theme, through the utmost subtleties of rhythm, into ideal heights of spiritualitv. spiritualitv. long series of trills original theme are heard; Finally through which snatches of the 2

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opening brings the movement and the Sonata - to its perfect close: STEPHEN BISHOP was born in Los Angeles in 1940. He mat his solo and orchestral debut at the age of 11 and at 13 he played the Schumann concerto with the Ban Francisco Symphony Orchestra; when 14 he performed the Ravel Concerto. He studied with Lev Shorr 1948-59 when he came to England as a pupil of Myra Hess. He made bi London debut in 1961. THE HUDDERSFIELD MUSIC SOCIETY Mayor's Reception Room Town Hall November 18th (Please note change of date) THE VLACH SERING QUARTET quartetybarletihor 10p.59 No.2 quartet No.1 Quartet in A flat major Op.105 December 16th January 27th March 2nd Monday Evenings at 7.30 OSIAN ELLIS Beethoven Janacek Harp and Song Recital THE PARREN IN STRING QUARTET THE ALBERNI STRING QUARTET Season tickets (for the four remaining concerts) 32/- single tickets 9/6, from Messrs J, Wood & Sons, 67 New Street and at the door.

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8 THE HALIFAX PHILHARMONIC CLUB Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road. Friday Evenings at 7.30 October 18th THE ROTH 83NING QUARTER Quartet in A minor Op.29 Quartet in F major Quartet in E flat major Op.96 Single tickets 7/6d from David Dugdale, Esq.. 291 Willowfield Road, Halifax, or at the door. Haydn Ravel Dvorak THE HUDDERSFIELD THESPIANS St. Patrick's Hall October 14th - 19th FIVE FINGER EXERCISE BY PETER SHAFFER Tickets 4/- and 2/6d from Messrs, Woods, 67 New Street

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THE HUDDERSFIELD MUSIC SOCIETY, Forty-sixth Season 1963-64 Mayor's Reception Room Town Hall Monday, November 18th, 1963. THE VLACH STRING QUARTET. JOSEF VLACH (Violin) VACLAV SNITIL (Violin) Programme JOSEF KODOUSEK (Viola) VIKTOR MOUCKA (Cello) Quartet in E minor Op. 59 No.2 Allegro Molto adagio Allegretto Presto AS CUS Beethoven (1770-1827) (Last performed in 1961 by the Janacek 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 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

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-2- quartets Beethoven overstrained 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 moods contrasted with happy and smooth melody; it opens, as the Eroica Symphony does, with two dramatic chords. These are followed by a "breathless broken phrase" whose presence is felt rhythmically even through the smoother second subject. The development section is based chiefly on the opening figure and fragments of the first subject. In this movement Beethoven, for some reason, reverts to the older custom of repeating the entire recapitulation and return section as well as the more usual repetition of the first section only, before reaching the coda. The beautiful long- drawn Adagio (E major), marked to be played with great feeling, has a more dramatic middle section whose main theme has, in d'Indy's opinion, some analogy with the heroic themes of Wagner. The thrice-repeated Allegretto (E minor) - really a Scherzo as conceived by Beethoven - with its restless rhythms has a contrasting Trio in the major key into which the Russian tune is introduced. 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 hymn, but here its character is completely changed. As with many of the other national tunes which Beethoven used, he either misunderstood their character or else he purposely completely altered them. The Finale is in one of Beethoven's happiest moods. In construction it is a combination of first movement and rondo forms. 3 S

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Quartet No. 1 Con moto Con moto Con moto Con moto -3- II Janacek (1854-1928) (First performance at these Concerts) Leos Janacek was born in 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. After a bitter struggle against poverty Janacek was able, at the age of 25, to perfect his musical education at Leipzig Conservatoire, where he made one appearance as a pianist. Finding it impossible to continue his career as a virtuoso, he was compelled to return to Brno in 1881. There he was active as a teacher and he began his researches into the folk-music from which his own characteristic style was so largely evolved. Janacek's choral music and operas are perhaps his most characteristic works. In his treatment of words and the human voice he evolved a kind of - speech-melody which more or less permeated all 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

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-4- D dependence upon the normal harmonic scheme; boldness and variety of rhythm, the result of a strong natural instinct strengthened by a lifelong study and careful record of 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; even when he did, the dramatic element was predominant. He did, however, write two string quartets. The second was completed only a few months before his death. The first was written, during one week only, in 1923 when he was 69; in it he is said to have used material from an early piano trio, now lost. It is based, as the Trio was, upon Tolstoy's Kreutzer Sonata. It is "the last link in a spiritual chain which began in 1907 with the intended opera Anna Karenina, included the above mentioned Trio and, in particular, Katya Kabanova, as well as this chamber music counterpart to the opera. All these works contain a female heroine who is unhappily married and, longing for happiness, throws herself into the arms of an unworthy lover and dies tragically. Though it would be futile to recreate, bar by bar, Tolstoy's story in Janacek's music, it would be equally wrong to try to analyse it as purely absolute music. It is probably not far from the truth to assume that the opening theme of the first movement...could be called the theme of the heroine's desire; and the theme of the "seducer" is bery probably the prancing motiv with which the viola begins the second movement, a sort of scherzo" (Vogel). The third movement begins with a canonic duet for the first violin and the cello, which is a distinct reminiscence of the second theme from the first movement of Beethoven's Kreutzer Sonata.

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-5- This Quartet, one of Janacek's finest works, aroused great enthusiasm at its first performance. Every imaginable technical device is used in it but its main strength lies in its emotional content. It "ranges over the whole gamut of the emotions, the ceaseless agitation swelling to a yearning cry, and, finally, in the last movement, to tragic despair."(Max Brod). INTERVAL OF TEN MINUTES, III Quartet in A flat major Op. 105. Dvorak (1841-1904) Adagio ma non troppo - Allegro appassionato Molto vivace Lento e molto cantabile Allegro non tanto (Last performed in 1959 by the Turner String Quartet). Dvorak and Smetana were together the creators of the school of modern Czech music. Sourek writes of Dvorak: "He was one of those great 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. He was at his best in absolute music, unburdened by any programme and, above all, in chamber music. This branch yielded some of the finest blossoms of his art, flowering in beauty and characteristic fragrance, In absolute music Dvorak's fancy broke out in fresh melodic ideas, in wonderfully coloured harmony and elemental rhythms." Dvorak wrote in all thirty chamber music works, including thirteen string quartets (five early

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-6- quartets remain unpublished). This quartet Op.105 is the last (Op.106 was written earlier) and is dated 1895. It opens with a slow introduction in A flat minor, a complete contrast to the idyllic and sunny main movement which follows. This move- ment is in regular sonata form. The Scherzo is one of Dvorak's finest. The first and last sections are in a lively style derived from the Furiant (a Czech dance in 3/4 time with a characteristic effect of cross-rhythms); the middle section, founded upon a gracious melody, later develops into a two-part canon for the violins. The romantic slow movement, beginning with a melody of folk-song character, becomes richer and warmer, and is interrupted by an agitated middle section. The return is delightfully decorated with violin figuration. The finale is an expression of pure joy, rising, after a wealth of expressive detail, to a final climax of rapture! THE VLACH QUARTET was founded by Josef Vlach in 1949. They made their first appearance outside Czechoslovakia in 1955 when they won two first prizes with special distinction at the International String Quartet Competition at Liege and thereafter took their place in the front rank of the world's chamber music Ensembles. Behind this brilliant debut lay six years of systematic and purposeful preparation with all the advantages of the long and glorious tradition of Czech chamber music playing. All four players are natives of Czechoslovakia and were born between the years 1923 and 1928.

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Mayor Town Dece Jan Mar Sir St: L P S

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THE HUDDERSFIELD MUSIC SOCIETY. Mayor's Reception Room, Monday Evenings at 7.30. Town Hall. December 16th. OSIAN ELLIS. Harp and Songs. Works by Handel, Mozart, Glinka, Dussek, Faure, Debussy, Britten, Goossens and William Matthias; Songs and Folk-songs. January 27th THE PARRENIN STRING QUARTET. March 2nd THE ALBERNI STRING QUARTET. Single tickets 9/6 from Messrs. Woods, 67 New Street or at the door. THE HALIFAX PHILHARMONIC CLUB. Lecture hall of the Halifax Literary and Philosophical Society, Harrison Road. Friday Evenings at 7.30. THE ZAGREB STRING QUARTET. Quartet in D minor Op.76 No.2(Fifths) Quartet Op.11. Quartet in F major Op.96 (Nigger) Single tickets 7/6 from David Dugdale Esq., 291, Willowfield Road, Halifax or at the door. THE HUDDERSFIELD THESPIANS. St. Patrick's Hall Haydn Slavenski Dvorak November 25th to 30th at 7.30. THE RELUCTANT DEBUTANTE. A Comedy by William Douglas Home. Tickets 4/6 and 2/6 from Messrs. Woods, 67 New St. I I

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THE HUDDERSFIELD MUSIC SOCIETY Forty-sixth Season 1963-64 Mayor's Reception Room, Town Hall MONDAY DECEMBER 16th. 1963 OSIAN ELLIS Harp and Song Recital Sonata in E major Adagio Allegro Largo Allegro Theme, Variation and Rondo Variations on a Theme of Mozart Sonata in C minor Songs with Harp: Allegro moderato Andantino Rondo I Annabelle Lee The Faery Song The Conclusion (Raleigh) 11 Handel (1685-1759) Mozart (1756-1791) Glinka (1803-1857) Dussek (1770-1812) Henry Leslie (1822-1896) Rutland Boughton (1878-1960) Osian Ellis (b.1928) Interval of ten minutes

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Impromptu Two Arabesques Interlude 0 II Two Ballades Three Improvisations Folk Songs with Harp: Song of the Miller To Lisa 11 }} {} Where is my love? Willy Boy The Watercresses [1 Faure (1845-1924) Debussy (1862-1918) Britten (b.1913) Eugene Goossens (1893-1963) William Mathias (b.1933) arr.Osian Ellis (1 11 11 (1 11 11 OSIAN ELLIS was born and brought up in Wales. He started to play the harp at the age of 10 and at 17 won a scholarship to the R.A.M. where he is now Professor of Harp. He has brought the harp into great prominence with his concert appearances. recitals and broadcasts, and his many television programmes have earned him an ever widening audience. He has appeared at all the great music festivals in Britain, as well as further afield in festivals in Paris, Strasbourg, Vienna, Warsaw, Berlin, Venice and Rome. He is an authority on Welsh folk-music, and 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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THE HUDDERSFIELD MUSIC SOCIETY Mayor's Reception Room. Town Hall Monday Evenings at 7-30 p.m. January 27th. THE PARRENIN STRING QUARTET Lyric Suite (1926) Quartet in E flat K.428 Quartet in F major op. 135 Berg Mozart Beethoven Single tickets 9/6 from Woods, 67 New Street and at the door. THE HALIFAX PHILHARMONIC CLUB Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road. TRIO FROM THE MELOS ENSEMBLE Friday, January 17th. at 7-30 p.m. Richard Adney (Flute) Cecil Aronowit (Viola) Osian Ellis (Harp) The Programme will include the Trio Sonata by Debussy, duos and a group of harp solos. Single tickets 7/6 from David Dugdale Esq., 291, Willowfield Road, Halifax and at the door. THE HUDDERSFIELD THESPIANS St. Patrick's Hall January 20th-25th. at at 7-30 p.m. THE KEEP A Welsh Comedy by Gwyn Thomas Tickets 4/-end 2/6 from Woods, 67, New Street

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148 $0

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THE HUDDERSFIELD MUSIC SOCIETY Forty-sixth Season 1963-1964 Mayor's Reception Room, Town Hall Monday, January 27th 1964 THE STRAUSS STRING QUARTET Ulrich Strauss (Violin) Helmut loever (Violin) Frogramme I Quartet in C minor Op.18 No.4 Parrenin) Konrad Grahe (Viola) Ernest Strauss (Cello) Beethoven (1770-1827) Allegro ma non tanto Scherzo: Andante scherzoso quasi allegretto Minuet and Trio Allegro (Last performance in 1949 by the Blech String Quartet) The six quartets forming Op.18 were written 1798-1800. Apart from an early string quintet (Op.) and three string trios, these were Beethoven's first works for strings not in combi- nation with other instruments. These quartets therefore mark the commencement of the only type of chember music which kept his interest to the last and which were to lead to the last five quartets, which "represent the coping-stone of his whole life's work. Chamber music for strings alone is, indeed, the very heart and kernel of teethoven's creative work." (Bekker) All the quartets of Op.13 are written in major keys with the exception of No.4. All, with the one exception, are gay and joyful. Some authorities think that No.4 was written later than the other five and that the choice of key is significant- a key which Beethoven used so frequently up to 1808 ( 5th Symphony) and then never again till 1821 (Sonata Op. 111). Bekker feels in this quartet "a sense of gnawing inner dis- satisfaction, a desire to meet and overcome difficulties, the spur of ambition and the longing for victory".

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2 The first movement of the quartet is, of course, in sonata form. Its lyrical second subject has a strong affinity with the main theme and is used in the development section, a usage not generally found in works of that period. The moderately-paced Scherzo takes the place of the slow movement; it opens with a fugato. The limuet and Trio, already more intense and less graceful than the traditional type, show Beethoven becoming less enamoured of the numerous repetitions of the older form; the second repeat of the Trio is omitted and the inuet is directed to be repeated at a quicker tempo. The final rondo makes a splendid conclusion to a powerful and emotional work. Quartet No.5 II Bartok (1881-1945) Allegro Adagio molto Scherzo: Alla bulgarese Andante Allegro vivace (First performance at these Concerts) Detween 1908 and 1939 Dartok vrote six string quartets. These "quartets occupy a central position in Bartok's creative career; they form its very backbone, Or to change the metaphor, they may be likened to the pages of a diary to which a great artist confided the most private experiences and adventures of his heart and mind. In point of fact they contain the quintessence of Bartok's musical personality and a series they afford a fascinating study in creative development". (Carner) It has been claimed by many author- ities that these are the most important works in this medium since the quartets of Beethoven. The first two quartets obviously early works; the third and fourth, particularly the former, show Dartok at his most difficult and obscure; it is suggested that in these he explored the extreme limits of dissonance. But for the 5th Quartet (commissioned by the Elizabeth Sprague Coolidge Foundation and written in 1934, si years after the 4th Quartet) Bartok turns once again towards folk-music; his writing becomes more hunen and more heartfelt; are

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C 3 the harmony loses much of its extreme astringency. In later years Bartok confessed that Bach, Beethoven and Debussy had been the masters who had influenced him the most. Here we get the contrapuntal art of Bach, the motive development and reverence for classical forms of Beethoven and, from Debussy, the freedom from the conventional scales and the impression- ism of the "night music" (the slow movements). Like the 4th Quartet, the 5th is in five-movement "arch" form (A.B.C.B.A.). The apex of the work is a Scherzo and Trio, flanked by two slow movements (B), with an opening and closing allegro (A). Ferhaps one night say that the first movement is written on (but not in) B flat. It is essen- tially in sonata form, for Bartok never rejected the classical forms even in his boldest experiments. Three two-bar phrases, which are recognisable as rhythmic patterns rather than melodic phrases, together form the first subject. A short dance-like episode leads to the more lyrical second subject which is subtly based upon one of the two-bar phrases. In the recapitulation the order of the reappearance of the sub- ject is sometimes reversed and all are reintroduced in inverted versions. Thus the recapitulation becomes not only the repetition but also the "mirror" of the exposition. The movement ends with a strange "fortissimo coda" in which the germ of the first part is immediately followed by that of the second. No more original movement can be found in the music of this century". (Crankshaw) The two slow movements are of a "searching beauty". Their thematic material is closely related and their form almost identical, though the Andante is more extended than the Adagio. Bok openings are full of atmosphere, the first with its fragments of motives and trills, the second with its pizzicato notes and slurs; both have a more lyrical middle section based on Magyar-like themes; both contain a chorale- like section, a feature almost invariably associated with Bartok's "night music". These two movements have a serone beauty unequalled in modern music". (Masom) The Scherzo and its Trio form the central core of the work. They are based on Bulgarian rhythms in which the nine or ten

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4 quavers in a bar are grouped into complicated patterns. The Scherzo opens with fleeting arpeggio figures which later become the accompaniment to a vigorous theme of folk- dance type. The Trio opens with the muted 1st violin unceasingly repeating a delicate arabesque, which, when the second violin adds a "mirror" version to it, momentarily rises to a pitch of feverish excitement. The string writing is of a quality and colour hitherto unknown. Mason considers it to be one of the most remarkable pieces of sound ever written for the string quartet. Polyphonic The final movement, also in sonata form, is remotely and subtly based on material from the first movement. almost throughout, it is full of contrapuntal devices, imitations, inversions, stretti canons and the like. The development section contains a most unusual fugue based on the opening theme of the first movement. Introducing the coda there is a short and curious section, clearly in A major, marked Allegretto con indefferenza. It has a trivial tune which is accompanied by banal tonic and dominant harmony marked to be played meccanico. Is this an example of Bartok's humour in the form of a burlesque or "a superficial grimace, done in a moment of distaste for 18th century convensions" (Masom)? Interval of ten minutes Quartet in D major K.575 III Mozart (1756-1791) Allegretto Andante Minuet and Trio Allegro by the Janacek String Quartet) (Last performed in1961 This quartet is the first of a set of three written between 1789-90; these were the last quartets which Mozart wrote. They are known as the Prussian Quartets. The King of Prussia himself played the cello and although the dedication

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to him does not appear in the first edition, it is evident from the predominant part played by the cello in all three quartets that Mozart had his royal patron in mind. More- over, for the first quartet the King sent to Mozart a kind letter of thanks, a gold snuff box and 100 friedrichs d'or. Einstein remarks that "these quartets are slightly concert- ante and yet they are the purest chamber music... these are three works that originated under the most dreadful spiritual oppression and yet rise to heights of pure felicity". "Oppression" of course refers to Mozart's desperate financial position at that time, the long drawn- out uncertainty of obtaining a suitable position from the Emperor and his wife's constant illnesses. Though this first quartet is less exhuberant and more delicate than the other two, "all three are instinctive with the joy of living." The first and second movements were founded on material dating from the happy Milan period, but the Minuet, with the "royal" solo in the Trio, and the finale are completely new. Abert describes the finale as "one of the most masterly of Mozart's quanbet movements. ot It is a rondo, contrapuntal in style and, as such, typical of Mozart's later instrumental writings. It is made all the more interesting by the way in which the main theme, on each return, is enriched and embellished, and the more compact and integrated by the way in which each episode is derived from, and grows out of, that theme. {* ***********

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6 THE STRAUSS STRING QUARTET was formed in 1956 by the twin brother Ulrich and Ernest Strauss (b. 1929 in Saarbrucken), together with Helmut Hoever (b. 1928 in Bonn) and Konrad Grahe (b. 1925 in Frankfurt am Mainz). In order to devote themselves entirely to the interpretation of quartet music, they gave up leading positions in orchestras of established repute. The Quartet soon won international recognition and gave concerts in Italy, Switzerland, Belgium, Holland, England and Germany. Its efforts have been crowned by success by awards won at the Geneva and Munich music contests.

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THE HUDDERSFIELD MUSIC SOCIETY Mayor's Reception Room, Town Hall March 2nd THE ALBERNI STRING QUARTET Quartets by Beethoven, Shostakovich and Brahms Single tickets 9/6 from Woods, Buxton Road, and at the door. THE HALIFAX PHILHARMONIC CLUB Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road. Friday Evenings at 7.30 Monday Evenings at 7.30 THE ALBERNI STRING QUARTET Quartet in C minor Op.18 No.4 Quartet (Theme and Variations) Quartet in A minor Op.51 No.2 March 2nd to 7th Single tickets 7/6 from David Dugdale Esq., 291 Willowfield Road, Halifax or at the door. THE HUDDERSFIELD THESPIANS Beethoven Rawsthorne Brahms St. Patrick's Hall Scenes from "A Man Born to be King" by Dorothy L. Sayers Tickets 4/- and 2/6 from Woods, Buxton Road.

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THE HUDDERSFIELD MUSIC SOCIETY Forty-sixth Season 1963-64 Mayor's Reception Room. Dennis Simons (Violin) Howard Davis (Violin) Town Hall. Monday March 2nd 1964. THE ALBERNI STRING QUARTET Quartet in C major K. 465 Programme I John White (Viola) Gregory Baron (Cello) Mozart (1756-1791) Adagio Allegro Andante cantabile Minuet and Trio Allegro molto (Last performed in 1955 by the Carmirelli String Quartet) The Quartet in C is the last of a set of six written between 1783-85 and dedicated to Haydn; the whole set forms one of the finest monuments which one composer has ever erected to the honour of another. The last three quartets of this set were played for the first time in Vienna in 1785 when Haydn said to Mozart's father: Before God and as an honest man, I tell you that your son is the greatest composer known to me either in person or by name.

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2201 DE TA UNI He has tas of composi enlightened

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He has taste and, what is more, the most profound knowledge of composition'. Einstein observes that no more enlightened comment could be made about Mozart. 'Genius and art combined; the 'gallant' (perhaps best translated as 'courtly style') and the 'learned' the two extremes into which music during this period threatened to split - re-united'. 2 This quartet is the only one of the six which opens with a slow introduction. The so-called dissonances in it were considered on its appearance to be so peculiar that one princely amateur tore up the parts in fury at the outrage We now and copies were returned from Italy for correction. realise that these discords are the outcome of Mozart's deep contrapuntal studies and that the 'ugliness' is part of the beauty and therefore aesthetically right. What remains surprising is that Mozart should have placed such a passage one of the most pessimistic of all his writings- in a quartet which is otherwise so straightforward and unproblematical. //Beethoven was the first fully to introduce the sense of personal struggle into his music, but the introduction to this quartet surely shows that 'Mozart was moving with his times towards the conception of self-expression in art, which was to dominate the composers of the nineteenth century' (Hussey). Apart from the Introduction there is little in the quartet which requires comment. Mozart's colourful use of chromaticism in the Finale may be noted. The general effect is 'a noble, manly cheerfulness rising in the Andante to an almost superhuman serenity, the kind of cheerfulness which in life or art appears only as the result of previous pain or strife'(Jahn). dots Quartet No. 8 II Shostakovitch (b.1906) Largo Allegro molto Andante cantabile Largo Largo

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H 3 (First performance at these Concerts) Dimitri Shostakovich was born in St. Petersburgh. He entered the Conservatoire there in 1919 and studied with Glazunov and Steinberg. He left in 1925, having already written a large amount of music. Two of his operas brought him into conflict with the Soviet authorities (in 1930 and 1935). In each case he acknowledged his 'error' and endeavoured to make his music more in conformity with the then rigid official tastes. A prolific composer, Shostakovich is perhaps best known in England as a writer of symphonies, of which he has produced ten. But he has also given much attention to chamber music and has shown an equal understanding and mastery of that form of art. His output includes 8 string quartets, a piano trio, a piano quintet, a string octet and a Sonata for Cello and Piano. He was, however, fairly late in his career in writing for string quartet, the first dating from 1938. The Quartet to be performed tonight is his latest one. It and Quartet No. 7 were both written in 1960 and have many points of similarity. Quartet No. 8 is dominated by the melodic motiv D.E. flat C.B. (in German D.S.C.H. - standing for Dimitri Shoshtakovich); the 7th Cuartet uses the same motiv but in a different order. Quartet No. 8 has an autobiographical element; as well as the composer's 'signature' it contains quotations from the Piano Trio and the 1st and 10th symphonies. It is dedicated to the memory of those who died in the struggle against Nazism. The first movement is a kind of contrapuntal prelude' based upon the D.S.C.H. motiv. The second movement is powerful and is constructed in sonata-form. It leads directly to the rhythmic, waltz-inspired Allegretto, which has the D.S.C.H. motiv in diminution. Thereafter no less than two slow movements follow. The first is declamatory in style; the D.S.C.H. motiv appears in the middle section but at a higher pitch. In it there is also a quotation from a patriotic song 'Crushed by the weight of long- bondage'.

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The D.S.C.H. reappears and leads to the finale, which is a fugue based on the same motiv and, in the coda, several passages from the first movement are heard, thus ' strengthening the aural impression of the Quartet as a work not in five separate movements but in a single monothematic movement containing several extended variation-like episodes of contrasting tempi 'I.I.Martinov. 4 Interval of ten minutes. III Quartet in A minor Op.51 No.2 Allegro non troppo Andante moderator Brahms (1833-1897) Quasi Menuetto - Allegretto vivace Allegro non assai (Last performed in 1958 by the Quartet Pro Musica) Both the quartets which form Op.51 are dedicated to Dr. Billroth. He has been described as 'the master surgeon and musical enthusiast'. Whether the description be true or not, the fact remains that in the music-room of Billroth's house in Vienna nearly all the rehearsals of Brahms's new chamber works took place, and there, too, all musical and scientific Vienna used to gather. Op.51 was written in 1873. These were the first string quarters which Brahms considered worthy of publication and he confessed that he had previously written and destroyed some twenty others. The chamber music which preceded these quartets includes 2 piano quartets, a piano quintet, 2 string sextets, 3 trios and a cello sonata. After a lapse of 8 years, Brahms, having, as it were, refined his work. to the purest and most subtle type of chamber music, produced Op.51 this 'pearl in the diadem of all chamber music'.

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5 In both the quartets of Op.51 there is a close thematic connection between the movements. The main theme of the finale of No. 2 comes from the 4th and 5th bars of the first movement. The quavers of the same 4th bar appear in the Minuet, and, in a modified form, are the nucleus of the second movement. The first movement is gentle and caressing; there is no harshness in it. In form it is particularly close-knit, for the whole movement springs from the first nine bars of the main theme. The serenity of the slow movement is broken by a powerful canon between the violin and the cello, supported by a tremolo accompaniment which is almost orchestral in effect. 'In place of a scherzo, the third movement is a slow minuet with pathetically drooping cadences, alternating with a polyphonic trio in duple time and running rhythm, twice interrupted by the minuet-tempo with a combination of the two themes, wonderfully transforming that trio'. (Tovey) The finale is a spirited rondo with a flavour of Hungarian music. scholarships. THE ALBERNI STRING QUARTET was formed in 1960 by four students at the Royal Academy of Music. Individually and collectively they have won many prizes and They have given concerts throughout the British Isles and in 1961 they undertook an extensive tour of Germany. In 1962 at the invitation of Sir John Barbirolli they gave a series of recitals at the 4th Buxton International Festival; they appeared in Buxton again in 1963. It is interesting to note that John White was at one time a student in the Music Department of the Huddersfield College of Technology. THE HUDDERSFIELD MUSIC SOCIETY These Concerts will be continued next season but once again the Committee wish to emphasize the fact that in order for the standard to remain at its high level, increased support is vital.

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61 HMS_46_0061

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The Hon. Secretaries will be glad to receive names and addresses of any people interested in Chamber Music at its best. 6 THE HALIFAX PHILHARMONIC CLUB Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road, Halifax. Friday March 13th at 7.30. Quartet in C minor Op.18 No.4 Quartet (Theme and Variations) Quartet in A minor Op.51 No.2 St. Patrick's Hall. THE ALBERNI STRING QUARTET Beethoven. Rawsthorne Brahms. Single tickets 7/6 from David Dugdale Esq. 291 Willowfield Road, Halifax and at the door. THE HUDDERSFIELD THESPIANS March 2nd to 7th at 7.30 Scenes from 'A Man Born to be King'. by Dorothy L. Sayers. Tickets 4/6 and 2/6 from Woods, Buxton Road.

62 HMS_46_0062

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