HMS 47


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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 CONCERTS FOR THE FORTY-SEVENTH SEASON. 1964-65, to be given in THE MAYOR'S RECEPTION ROOM TOWN HALL On MONDAY EVENINGS at 7-30 p.m. President Vice-President A SERIES OF S. H. CROWTHER DAVID DUGDALE Mrs. E. GLENDINNING E. GLENDINNING Miss Z. E. HULL Mrs. BRANSOM Miss I. BRATMAN ... Honorary Vice-Presidents : DAME MYRA HESS, BENJAMIN BRITTEN, F. W. GADSBY, F. ROWCLIFFE. Mrs. S. H. CROWTHER Mrs. N. CULLEY Mrs. F. A. DAWSON Miss K. EVANS ... Hon. Secretaries : Miss C. ALISON SHAW, 3a Vernon Avenue. Tel. Hudd. 27470. STANLEY G. WATSON, 342 New Hey Road. Tel. Milnsbridge 1706. Hon. Treasurer: F. W. PHILIPS, National Provincial Bank, King Street. Mrs. EAGLEFIELD HULL STANLEY G. WATSON, Esq. Committee t Dr. C. JONES P. L. MICHELSON S. ROTHERY Miss E. K. SAWERS MAX SELKA E. C. SHAW W. E. THOMPSON Mrs. S. G. WATSON C. R. WOOD Ladies' Committee: Chairman: Miss E. K. SAWERS Mrs. E. FENNER Miss M. A. FREEMAN, LL.B. Miss M. HAMER Mrs. D. HIRST, J.P. Mrs. A. E. HORSFALL Mrs. A. E. HULL Hon. Secretary: Mrs. E. GLENDINNING Hon. Treasurer: Mrs. S. G. WATSON Miss Z. E. HULL Miss H. LODGE Mrs. P. MARKS Miss C. A. SHAW Mrs. J. SHIRES Miss W. TOWNSEND

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MONDAY, OCTOBER 19th, 1964 THE LOEWENGUTH STRING QUARTET Quartet in F major Op. 18 No. 1 Quartet in F minor Op. 95 Quartet in C sharp minor Op. 131 MONDAY, NOVEMBER 16th, 1964 THE BENTHIEN STRING QUARTET Quartet in D minor Op. 56 (Voces intimae) Sibelius Haydn Quartet in E Flat major Op. 64 No. 6 Quartet in A major Op. 41 No. 3 Schumann MONDAY, JANUARY 4th, 1965 STEPHEN BISHOP Piano Recital Beethoven Beethoven Beethoven Two Preludes and Fugues. Bach Variations and Fugue on a Theme of Handel Op. 24 Brahms Sonata in three movements (1924) Sonata in A major Op. 101 MONDAY, FEBRUARY 15th, 1965 Stravinsky Beethoven HORN TRIO SECTION OF THE CONCORDIA ENSEMBLE (Violin, Horn and piano). Sonata for Horn and Piano in F major Op. 17 Beethoven Sonata for Violin and Piano in B flat major K. 454 Mozart Trio for Violin, Horn and Piano in E flat major Op. 40 Brahms

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MONDAY, MARCH 1st, 1965 THE ARRIAGA STRING QUARTET Quartet No. 2 in F sharp major Quartet No. 1 Op. 7 Quartet in G major K. 387 Tippett Bartok Mozart 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.

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THE HUDDERSFIELD MUSIC SOCIETY To All Last Season's Members:- tickets for the 1964-65 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 October 1st 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, Buxton Road, 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? Piano Recital Two Preludes and Fugues Bach Variations and Fugue on a Theme of Handel Op. 24 Brahms Sonata in three movements (1924) Sonata in A major Op. 101 MONDAY, FEBRUARY 15th, 1965 Stravinsky Beethoven HORN TRIO SECTION OF THE CONCORDIA ENSEMBLE (Violin, Horn and piano) Sonata for Horn and Piano in F major Op. 17 Beethoven Sonata for Violin and Piano in B flat major K. 454 Mozart Trio for Violin, Horn and Piano in E flat major Op. 40 Brahms

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THE HUDDERSFIELD MUSIC SOCIETY Forty-seventh Season 1964-1965 Mayor's Reception Room, Town Hall Monday, October 19th 1964 THE LOEWENGUTH STRING QUARTET Alfred Loewenguth (Violin) Jacques Gotkovsky (Violin) Programme 1 Quartet in F major Op.18 No. 1 Roger Roche (Viola) Roger Loewenguth (Cello) Beethoven (1770-1827) Allegro con brio Adagio affecttuoso ed Appassionato Scherzo and Trio Allegro (First performance at these Concerts) The 6 Quartets of Op.18 mark an important stage in the history of music. They were written 1800-1. Hitherto all Beethoven's chamber music, with the exception of the few string trios, had been composed for strings in combination with the piano or for piano combined with wind instruments. Up to that time Beethoven's interest, both as composer and executant, had been almost exclusively concerned with the piano. Now come to his full maturity, music for strings alone - in its perfect form, the string quartet - absorbed all his interest in chamber music, and the early quartets of Op.18 led to "the last five which represent the coping-stone of his whole life's work. Everything he wrote, everything he experienced or achieved, is expressed in this series of works." (Bekker). Perhaps the Quartet No.1 (they were not published in the order of their composition) is the finest of the set. All naturally show the influence of Mozart and Haydn; but who before Beethoven would have taken a simple, almost banal, little tune, as in the first two bars of the opening movement, and could have drawn from it an entire movement and could have polished the little theme till it "shone like pure gold"? The tragic intensity of the adagio is again

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Femarkal tomb sce. regret an tha of the fl

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- 2 remarkable. Beethoven himself said that it was inspired by the tomb scene in Romeo and Juliet. "It is rich in its woe of regret and wilful resignation. The curious way in which some of the florid phrases end by throwing out their last note, as though the arms were thrown up in a wilfully despairing gesture, is, we think, a very uncommon idiom for music. "(Langford). The two final movements are perhaps less remarkable. In the Finale the part given to the viola is notable for its difficulty and its prominence; in a episode in D flat, a melody appears which Beethoven later used in The Men of Prometheus. II Quartet in F minor Op.95 Beethoven Allegro con brio Allegretto ma non troppo Allegro assai vivace ma serioso Larghetto Allegretto agitato - Allegro (last performed in 1957 by the Vegh String Quartet) This quartet was written in 1810, immediately following the Egmont Overture; the next, and final quartets did not appear till 1824. It therefore stands at the end of Beethoven's second period. It was dedicated to Count Niklaus Zmeskall, that fussy yet useful friend whose acquaintance Beethoven made soon. after his arrival in Vienna and with whom friendship remained till the end. Beethoven "proved by the dedication of the superbly tempestuous Quartet in F how well he was disposed to Zmeskell." (Specht) This quartet is the shortest of all the quartets, not because of the lack of material but because of the conciseness of their expression; there are no repeats in it. It points directly toward the style of the last works. It is sometimes called the Seriso Quartet. Bekker sees it as the fruit of a combined mood of retrospection; the battle has been won, but "he became intensely aware of what it had cost him - at the close of the work the spirit of laughter takes charge and is hailed as the solution of life's problems". The short first movement has a brusque, almost gruff, opening in octaves, which dominates the movement with its intense emotional feeling. The second movement, in the unexpected key of D major, is calm and religious in mood; it contains a fine fugue section and is linked to the third movement one of Beethoven's grand scherzi". This scherzo is

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wice in developme slow and . itself, IF

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- 3 3- twice interrupted by trios, the second being a fresh development of the previous one. The last movement has a slow and magnificent, if short, introduction; the finale itself, restless and agitated, is in rondo form and ends with a coda which is almost Italian in its colour and gaiety. Langford, in an article, once emphasised at length the debt succeeding composers owed to Beethoven. Of this final movement he said that it "Cries aloud the indebtedness of the smaller romantic composers". Interval of ten minutes

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Quartet

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- 4 - III Quartet in C,minor Op.131 Beethoven î Adagio ma non troppo e molto espressivo Allegro molto vivace Allegro moderato Andante ma non troppo e molto cantabile Presto Adagio quasi un poco andante Allem. (Last performed in 1947 by the Hungarian String Quartet) The great triptych formed by the three Quartets Opp.130,131 and 132 dates from the years 1825-6 and they were written almost simultaneously. In them all Beethoven used great originality of design. He abandoned the usual number and order of quartet movements, and in their freedom and changing moods, he approached more nearly to the form of the older suite. The A minor quartet has 5 movements, the B flat has 6 and the C sharp minor has 7; and yet in the last quartet of all (Op.135) there is a return to the older form. The close connection between the three works is proved by the fact that Beethoven even interchanged movements between them; the tedesca of Op.130 was originally written in A minor and was intended for the A minor quartet. A close thematic relationship between them has been pointed out. These quartets are all the works of Beethoven's time of deafness, when he listened with "the inward ear and imagined only spiritual or ideal forms in the movement of the music." In imaginative quality they are, as Heine said, "not sounds but the ghosts of sounds." 7 Although the quartet in C sharp minor is marked as having movements there is no definite break between any of them. The grave portal" to the work is a fugue of great dignity. second movement, in the key of D major, is a dance of lightness. and vivacity. The third is very short, only 11 bars in length; in reality, a recitative with a cadenza for the violin. It leads to an air with 7 variations in A major. This dies away and is followed by a brilliant and witty scherzo in E major. No. 6 is a short mysterious adagio, abruptly changing to the final allegro, which ends in C sharp major. That is the only movement which is in sonata-form, though it still possesses a strong element of the dance. In its development much use is made of the opening fugue.

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TH Loeweng Conserv.

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- 5 - Roger THE LOEWENGUTH QUARTET was formed in 1929 by Alfred Loewenguth, who finished his musical studies at the Paris Conservatoire under Andre Touret. He has been much attracted by the dual career of soloist and chamber- musician. Jacques Gotkovsky was a pupil of Lucien Capet, who took great interest in him and taught him the French tradition of the violin. After orchestral experience, he developed a passion for Quartets which has never diminished. He has Roger Roche was a pupil at the Paris Conservatoire. devoted all his time to the Loewenguth Quartet. Loewenguth was also a prizewinner at the Paris Conservatoire, after playing in the Pasdeloup concerts and the Orchestra de The la Suisse Romande, he joined his brother's Quartet. Press of all countries has been unanimous in its recognition of the admirable qualities of each of these artists, which justifies their reputation as members of an accomplished quartet and perfect musicians; the cohesion, spirit and all- embracing conviction which mark their playing; a fine care for construction, and this identification of feeling which confers so persuasive an eloquence on their interpretation. THE HUDDERSFIELD MUSIC SOCIETY Mayor's Reception Room, Town Hall. November 16th Monday Evening at 7.30 THE BENTHIEN STRING QUARTET Quartet in D minor Op.56 (Voces Intimae) Sibelius Quartet in E flat major Op.64 No.6 Quartet in A major Op.41 No.3 Haydn Schumann January 4th February 15th STEPHEN BISHOP Piano Recital HORN TRIO SECTION OF THE CONCORDIA ENSEMBLE (Violin, Horn & Piano) THE ARRIAGA STRING QUARTET March 1st Season tickets (for remaining 4 Concerts) 32/-, single tickets 9/6 from Messrs Woods, Buxton Road or at the door. THE HALIFAX PHILHARMONIC CLUB Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road. Friday Evenings at 7.30 p.n.

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- 6 THE LOEWENGUTH STRING QUARTET Quartet in D major K.575 Quartet No. 8 Quartet in F major Op. 135 THE HUDDERSFIELD THESPIANS Mozart Single tickets 7/6 from David Dugdale Esq. 291 Willowfield Road, Halifax or at the door. St. Patrick's Hall Shostakovich Beethoven November 23rd - 28th at 7.30 p.m. Breaking Point by William Fairchild. Tickets 4/- and 2/6 (on Monday 1/6 for all unreserved seats) from Messrs Woods, Buxton Road. Huddersfield.

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THE HUDDERSFIELD MUSIC SOCIETY Forty-seventh Season 1964-65 Mayor's Reception Room, Town Hall Monday, November 16th 1964 THE BENTHIEN STRING QUARTET Ulrich Benthien (Violin) Rudolph Maria Muller (Violin) Progremme I Quartet in D minor Op. 56 (Voces intimae) Martin Ledig (Viola) Wolfram Hentschel (Cello) Sibelius (1865-1957) Andante - Allegro molto moderato Vivace Adagio di molto Allegretto Allegro (Last performed in 1932 by the Hirsch String Quartet) Although a prolific composer, Sibelius has written very little chamber music. Two early string quartets were never published. The Quartet Voces intimae is his only work in that form, though it is said that in later years Sibelius was working at two string quartets which have never appeared. The Quartet was written in 1909 largely during a stay in London. This was a period in his life when he was threatened by a grave illness (a malignant tumour was later removed), and it is suggested that the more morbid moods in the quartet reflect the anguish he was then enduring. Perhaps it was that anguish which compelled him to express himself in the most intimate and personal of all forms of composition. The Quartet consists of 5 shortish movements. In form it stands between the suite and the classical quartet. None of the movements are in the traditional forms; each has a very definite and distinct style and emotional content. There is no thematic link between them but the unity of the work is created rather by a subtle balance of contrast. Except perhaps in the 3rd movement there are no themes given the importance of, or treated as, first and second subjects, but the music - 1

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grows nat importance extreme pr thematic

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grows naturally from theme to theme, each being of equal importance. The most striking feature of the work is the extreme prevalence of conjunct motion; almost the entire thematic material of all 5 movements is built up from fragments of scale passages. The first movement opens with a short unaccompanied dialogue between the first voolin and the cello. A free development of that theme begins with the Allegro and throughout the movement the spirit of that theme remains combined with new themes which rise out of it. After a coda, it ends with a half-close. The second movement follows without a break. It starts with a shimmering tremolo which persists throughout the movement, and out of which a definite theme gradually emerges. It closes with an abruptness which is very characteristic of Sibelius. The third movement is completely lyrical in character. It is rather more formal in style, but its rhythms and tempi are very varied and much use in made of syncopaticn. The fourth movement more closely resembles the Scherzo; it is more orchestral in style and broader in effect. It, too, ends with a coda, first lento and then stretto. The final movement is "perhaps the most deeply personal and representative movement of the whole quartet, and one that reveals the nationality of Sibelius most unmistakably. It is as much a Finnish epic as any of his symphonic poems based on incidents from the Kalevala." (Eric Blom). Its steadily increasing tempo works up to a final climax. Cecil Gray considers that this quartet ranks with Sibelius's finest achievements of his "middle period". "Why it should be so conspicuously neglected by Quartets, at least in this country, is a mystery, for quite apart from its intrinsic meritem it is beautifully written for the medium and exceedingly effective in performance." II Quartet in E flat major Op.64 No. 6 Allegretto Andante Minuet and Trio Presto Haydn (1732-1809) (First performance at these Concerts) In 1789 Haydn published the 6 Quartets of Opp.54 and 55 and in the following year, the 6 Quartets of Op. 64. All 12 were - 2 - Bow

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BIIIIII гәә әлв LIV it is thou dedicated 10 60 21-89 VIT IS ABL

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dedicated to Johann Tost, a wealthy wholesale merchant who, it is thought, had previously been a professional violinist. All are certainly distinguished by the prominence and brilliance of the first violin parts, and all, as well as the perfect balance of their forms, have an originality of invention and a wealth of variety which mark them as being the works of Haydn's full maturity. Another characteristic of these 12 is the number of movements which are based upon a single theme. The mood of the Quartet in E flat is serene and very intimate, as are all Haydn's quartets in that key. first movement in constructed on the monothematic plan but with a daringly free recapitulation. The lyrical Andante, with its constantly rising arpeggios and its delicate and subtle dissonances, is perhaps the finest movement of the work. A point to be noted in the Trio of the Minuet is the soaring part given to the first violin. Interval of ten minutes. III Quartet in A major Op.41 No. 3 Schumann (1810-1856) Andante espressivo - Allegro molto moderato Assai agitato Un poco adagio - Tempo risoloto Adagio molto Allegro molto vivace. (Last performed in 1933 by the Lener String Quartet) In his early years Schumann had a strong tendency to devote himself exclusively to one particular type of composition. Between 1830-9 the piano absorbed all his attention: 1840-2 saw the creation of his great songs; the symphonies appeared between 1841-51. But 1842 was the year of chamber music and the string quartet. Coming at that time in his life, it meant that Schumann undertook this fine and difficult form at the height of his powers, when his inspiration was unimpaired, his technical skill and judgement completely formed and his genius "clarified and somewhat sobered". To prepare himself for this new task Schumann devoted the spring of 1842 to a close study and re-examination of the quartets of Mozart and Beethoven. This study completed, the three quartets of Op.41 were all written in little over a month, the third - 3 -

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in a matter of days. Schumann's only other remaining chamber music - a quintet, a quartet and a trio were all written for strings in combination with the piano, It has been said that Schumann's writing for strings is too pianistic, but on the appearance of these quartets, Hauptmann, the critical authority of his time and himself a fine violinist, was full of praise for them both technically and musically. They are, in fact, "beautiful music, strongly original, strongly characteristic of the composer's innermost nature, highly imaginative, deeply poetic and laying hold irresistably on the listener's sympathies.? (Aldrich). The Quartet in A major opens with a slow intruduction, in vague tonality, in which occurs the interval of a falling fifth, with its inversion of the rising fourth, plays so large a part in the following Allegro and, indeed, throughout the Quartet. This movement is in sonata form. The second move- ment is a most original kind of Scherzo. An agitated, syncopated theme is followed by three free variations and a coda. The Adagio opens with a long flowing melody of 19 bars sung by the first violin: throughout this rich and colourful movement Schumann is in his most romantic mood. The music rises to a passionate climax before its peaceful close. The Finale, the longest of the four movements, is a rondo. If in the Adagio Schumann was Eusebius, here he is Florestan, full of life and vigour. THE BENTHIEN STRING QUARTET came into being through the boyhood friendship of Ulrich Benthien and Wolfram Hentschel, although it was not until 1948, ten years after they became acquainted, that the ensemble was formed. The Quartet's present personnel has been together since 1952. Apart from their own country (the Quartet come from Hamburg) a great reputation has been established in Britain, Ireland, Sweden, Denmark, Norway, Switzerland, Italy, Holland and France. Ulrich Benthien plays a violin by Carlo Guadagnini, Turin, 1815, Rudolf Maria Muller a violin by Hendrik Jacobs, Amsterdam, 1692; Martin Ledig a viola by Jean Baptiste Vuillaume, Paris, 1834; and Wolfram Hentschel a cello by Giovanni Battista Gabrielli, Florence, 1763. - 4 -

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cro to [Int to lev 90 1825 BIGT et 80 H A Mayor's Recep

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THE HUDDERSFIELD MUSIC SOCIETY January 4th 1965 =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+= Mayor's Reception Room, Town Hall STEPHEN BISHOP Two Preludes and Fugues Variations on Fugue on a theme of Handel Op. 23 Brahms Sonata in three movements (1924) Stravinsky Sonata in A major Op. 101 Beethoven February 15th HORN TRIO SECTION OF THE CONCORDIA EMSEMBLE (Violin, Horn & Piano) Monday Evenings at 7.30 March 1st THE ARRIAGA STRING QUARTET Single tickets 9/6 from Messrs Woods, Buxton Road or at the door. THE HALIFAX PHILHARMONIC CLUB Bach =+=+=+=+=+=+=+=+=+=+=+=+=+=+= Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road. November 28th. THE ALBENERI PIANO TRIO Trio in E flat major Op. 54 No. 3 Trio in A minor Trio in B flat major Op. 127 THE HUDDERSFIELD THESPIANS =+=+=+=+=+=+=+=+=+=+=+=+=+= St. Patrick's Hall Single tickets 7/6 from David Dugdale Esq., 291Willowfield Road, Halifax, or at the door. - 5 - Haydn Ravel Beethoven. Breaking Point by William Fairchild. November 23rd 28th at 7-30 Tickets 4/- and 2/6 (On Monday 1/6 for all unreserved seats) from Messrs. Woods, Buxton Road,

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bol b plenives+2 (48) a ITE E 20 (V) 02 ori

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I THE HUDDERSFIELD MUSIC SOCIETY Forty-seventh Season 1964-65 Mayor's Reception Room, Town Hall Monday January 4th 1965 STEPHEN BISHOP Programme. Two Preludes and Fugues from The Well-Tempered Clavier¹ (i) C sharp major (ii) D major Bach (1685-1750) As early as 1720 Bach had begun the practice of composing keyboard pieces in all the 24 major and minor keys. Hitherto, because of the older mean-tone system of tuning keyed instru- ments, composers had only been able to use a certain number of keys for their compositions as only those keys were perfectly in tune. To overcome this difficulty, equal-temperament tuning was evolved, by which the octave was divided into 12 semitones of equal vibration ratio. This scheme did not give complete perfection in tuning, but it did enable composers to use keys which had hitherto been impossible. The appearance of this first book of The Well-Tempered Clavier in 1722 (the second book did not appear till 20 years later) was a landmark in the history of music. Not only did it set the seal upon a method of tuning upon which all later music was to be founded but also it contained a wealth of mood and emotion, ranging from the most sublime to the lightest and gayest, formerly unknown and later never surpassed, and an equal wealth of musical scholarship, defining and establishing for all time instrumental counterpoint and fugue. The C sharp minor Prelude and Fugue has often been compared in its gravity and grandeur, with the architecture of a Gothic cathedral. The Fugue, with its tiny subject of 4 notes, is one of the only two five-voiced fugues in the whole work. The D major Prelude is like a brilliant toccata; the four-part fugue is less obviously contrapuntal, but its inspiring and vigorous rhythm makes it a most effective piano work.

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ions and Brahms wr Variations on Hamburg in 186

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2 iations and Fugue on a Theme by Handel Op.24. Brahms (1833-1897) (Last performed in 1955 by Rosalyn Tureck) Brahms wrote five sets of great variations of which the Variations on a Theme by Handel was the second. It was written in Hamburg in 1861. When Brahms and Wagner had their only meeting in 1864, this was one of the works which Brahms played. Wagner's comment was: "one sees what can still be done with old forms in the hands of one who knows how to use them." The theme itself is simple - two phrases of 4 bars, each re- peated; it is taken from Handel's 9th Suite in B flat, where it is followed by five simple variations. Brahms gives it twenty-five variations, ending with a massive fugue with a stately coda. Karl Geringer writes: "In this work all the principles of variation followed in the older works are united for the first time. In the great majority of the twenty-five variations the harmonic and periodic structure of the theme is scrupulously preserved, while due regard is paid to the melody. Precisely because of the strict limitations which the master imposed on himself, the wealth of imagination and technical skill which he displays in this work, give it a very special position among his compositions for the piano. It is not easy to say which deserves the greater admiration the logical concatenation of the individual variations, their firm organic cohesion, the profound spiritual vitality of the work or its purely technical effectiveness as piano music. Passing from the quietly gay first variation, still in the spirit of Handel, through the two softly veiled pieces in the minor key (Nos 5 and 6), the trumpet variations (Nos 7 and 8), the delicate canon (No.10), the Siciliana (No.19), the "Musical Box" (No.22) and the great final climax (Nos.23-25)- the whole is a masterpiece, in which the strictest adherence to the rules and the greatest freedom are miraculously balanced." Sonata in three movements (1924) Stravinsky (b.1882) Allegro Adagietto Finale (First performance at these Concerts) Stravinsky has always been deeply interested in the piano, not only as a solo instrument but also as an orchestral instrument which he used in a completely original way. Both Petrushka and The Wedding owe their musical inspiration to the potentialities of the piano, but it is the piano treated purely as a percussion

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ament. it is an pieces, was be followed dedicated to Paris many p

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20 3 strument. An unpublished piano sonata was written in 1904, ut it is an early student work; nothing more, except a few small pieces, was written for solo piano until the Concerto in 1924, to be followed later in that year by the Piano Sonata. This was dedicated to the Princess Edmond de Polignac, in whose house in Paris many private performances of Stravinsky's works had been given before their public performances. About 1920 a change seemed to be apparent in Stravinsky's compositions, which, it was thought, was due to his growing interest in the works of earlier composers, notably Pergolesi, Bach, Handel, Mozart, Weber and even Rossini and Tschaikovsky. This was labelled his Neo-classical period and lasted roughly till 1936. Certainly the influence of both Bach and Beethoven are to be found in this Sonata. Stravinsky himself wrote that before composing it, he examined closely the sonatas of the classical masters "in order to trace the direction and develop- ment of their thought in the solution of the problems presented by that form. I therefore replayed, amongst others, a great many of Beethoven's Sonatas." But though Stravinsky studied the form so carefully, the first movement of his sonata, in particular, does not conform to the classical first movement form. In fact, he uses the term "sonata" rather in its pre- classical meaning as a piece to be played in contrast to one to be sung. All three movements have, however, a recapitulation section, but in each the material is not repeated exactly; instead it has new variations and fresh touches which all tend to give a greater interest to it. The first and third movements, both mostly consisting of two lines of sound, are full of energy and motion; finally "the opaque mass of sound resolves into a perfect concord and the piece ends with an unexpected stillness and silence", (Vlad). The opening theme recurs, in altered form, in the coda of the Finale. "The main interest of the first movement consists in the manipulation of conventional figures of accompaniment and their relation to the harmonic line. The harmonic implications of the right and left hands often fail to coincide; and this gives the music, despite its metrical rigidity, a curiously blurred registration."(White). Beethoven's influence is felt most strongly in the Adagietto; it "contains some of the most intense music in the whole of Stravinsky's work. There is a constant ebb and flow of expression. The player seems to launch into song only to be held up suddenly by the artifical device of a trill, as if giving way to an expressive impulse only to cool off its emotional heat in a little mechanical run, or in the gyrations of an arabesque." (Vlad). Interval of ten minutes.

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yute D C H

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4 ata in A major . 101 tres bon Beethoven (1770-1827) Allegretto ma non troppo Vivace alla Marcia Adagio ma non troppo Allegro Last performed in 1952 by Shura Cherkassky) Quite apart from the music itself, one has only to note the exact and careful directions in his native language which Beethoven has put into the score of this Sonata (I-Etwas lebhaft und mit der innigsten Empfindung. II-Lebhaft Marschmassig. III- Langsam und Sehnsuchtsvoll. IV-Geschwind, doch nicht zu sehr, und mit Einschlossheit) to realise the importance and depth of meaning which he attached to it. The Sonata dates from 1816 and is the first of a group of five sonatas which form the culminating point of Beethoven's piano music. Between 1816 and 1821 he wrote no major works but these sonatas, bringing to them all the experience of his life and art. Beethoven had long since discarded the former sonata plan. Although this Sonata has four movements, the divisions are lightly marked and linked together so that the whole moves towards the climax of the last movement. "The effort to fight a way through dreams and fancies, spiritual, gay and sentimental by turns, to fully conscious creative activity - this forms the poetic "argument" of the work." (Bekker). The opening Allegretto is like a tender, gently-moving song; its parts flow like a string quartet. Beethoven himself described it as "visionary moods". movement, the so-called March, takes the place of the Scherzo. The term Scherzo is only used once in these five sonatas; the boisterous Rhenish humour has gone, to be replaced by some thing much more subtle. The character of a March is only apparent in the rhythm; it is an impressionistic piece, with the melody thrown. in fragments from part to part. A canon forms the contrasting middle section. The short Adagio is full of the yearning with which Beethoven directs it should be played; a short coloratura leads, not to the finale, but to a repetition of the gentle opening theme. The finale itself, in sonata form, shows "rather courageous than joyful determination". The mood is broken by a reference, in augmentation, to the opening theme. Then "a brooding minor fugato begins in the bass and, mounting, weaves a shadowy dance about a single idea, which suddenly with a gesture of elemental force, resumes its former aspect and leads to a jubilant close."

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am STEPHE nis solo ar played the Orchestra. with Lev S

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5 STEPHEN BISHOP was born in Los Angeles in 1940. He made nis solo and orchestral debut at the age of 11, and at 13 he played the Schumann concerto with the San Francisco Symphony Orchestra. At 14 he played the Ravel concerto. He studied with Lev Shorr from 1948 to 1959 when he came to England as a pupil of Myra Hess. Since then he has won great renoun both for his powerful technique and his deeply-felt musical vision. His wife is English and he now lives in London. THE HUDDERSFIELD MUSIC SOCIETY Mayor's Reception Room, Town Hall Monday Evenings at 7.30 February 6th HORN TRIO SECTION OF THE CONCORDIA ENSEMBLE is (Violin, Horn and Piano) Beethoven Sonata in F major for Piano and Horn Op.17 Sonata in B flat major for Violin and Piano K.454 Mozart Trio in E flat major for Violin, Horn and Piano Op.40 Brahms March 1st THE ARRIAGA STRING QUARTET Single tickets 9/6 from Messrs. Woods, 67 New Street or at THE HALIFAX PHILHARMONIC CLUB the door. Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road. Friday Evening at 7.30 January 22nd THE DARTINGTON STRING QUARTET Quartet in E major Op.54 No.3 Quartet in D major Op.44 No.1 Quartet in E flat minor Op.127 Haydn Mendelssohn Beethoven Single tickets 7/6 from David Dugdale Esq., 291 Willowfield Road, Halifax or at the door. THE HUDDERSFIELD THESPIANS St. Patrick's Hall January 18th - 23rd at 7.30 p.m. OUT OF THE CROCODILE A Comedy by Giles Cooper Tickets 4/- and 2/6 (On Monday 1/6 for all unreserved seats) from Messrs. Wood, 67 New Street.

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Find Tres bou Secon tres bon Third Tres bon Forth InTres Tres Tres Tres Tres Bon Bon sith six Teven Eight Tine Ten ca Kaunas

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1 THE HUDDERSFIELD MUSIC SOCI Forty-seventh Season 1964-1 Mayor's Reception Room, Town Hall Monday, February 15th 196 THE HORN TRIO SECTION OF THE CON James Maddocks (Violin) John Burden (Horn) Daphne Ibbott (Piano) Programme I Sonata for Horn and Piano in F major Op. 17. Allegro moderato Poco adagio quasi andant Rondo Allegro moderato (Last performed in 1956 by Dennis Brair Beethoven cultivated three distinct forms of che instruments supported by piano or strings; second, pial strings alone. The start of all three was al but the course of their development varied. first group after 1800 and thereafter used wi orchestral music only. The second group pers the third - strings alone - kept Beethoven's end of his life. The Horn Sonata and the Septet in E fla in 1800 and were therefore the last of Beeth to make use of wind instruments in chamber n sonatas were written as brilliant virtuoso ( marked contrast to the other chamber music : as an end in itself is excluded. The Horn i to this rule. Thirteen horn sonatas are kn these Beethoven's example is outstanding. Beethoven exploits and exhausts the spirits of recognises their tone - character and obtains the effects, is the more amazing." (Bekker). Iany of virtuoso works were written with a particu. CELIA ARIELI OMING TO INDISPOSITION, DAPHNE IBBOTT'S PLACE IS BEING TAKEN BY LE for do ry) nd tten ns (27) Jus Oven's in mind. y tion of ich ents, xquisite

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1 THE HUDDERSFIELD MUSIC SOCIETY T

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1 THE HUDDERSFIELD MUSIC SOCIETY Forty-seventh Season 1964-65. Mayor's Reception Room, Town Hall Monday, February 15th 1965 THE HORN TRIO SECTION OF THE CONCORDIA ENSEMBLE James Maddocks (Violin) John Burden (Horn) Daphne Ibbott (Piano) Programme I Sonata for Horn and Piano in F major Op. 17. Beethoven (1770-1827) Allegro moderato Poco adagio quasi andante Rondo Allegro moderato (Last performed in 1956 by Dennis Brain and Wilfrid Parry) Beethoven cultivated three distinct forms of chamber music; first, wind instruments supported by piano or strings; second, piano and strings; third, strings alone. The start of all three was almost contemporaneous but the course of their development varied. He discarded the first group after 1800 and thereafter used wind instruments for orchestral music only. The second group persisted till 1815; the third - strings alone - kept Beethoven's interest until the end of his life. The Horn Sonata and the Septet in E flat were both written in 1800 and were therefore the last of Beethoven's compositions to make use of wind instruments in chamber music. All the duo sonatas were written as brilliant virtuoso concert pieces in marked contrast to the other chamber music in which virtuosity as an end in itself is excluded. The Horn Sonata is no exception to this rule. Thirteen horn sonatas are known to exist and of these Beethoven's example is outstanding. "The art with which Beethoven exploits and exhausts the spirits of his instruments, recognises their tone - character and obtains the most exquisite effects, is the more amazing." (Bekker). Many of Beethoven's virtuoso works were written with a particular player in mind.

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A horn 1800, h sonata adverti:

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2 A horn player, Giovanni Punto, came from Munich to Vienna in 1800, he became a friend of Beethoven, who promised to write a sonata for his concert. "The concert, including the sonata, was advertised" writes Ferdinand Ries, "but the sonata had not been begun. The day before the performance Beethoven set to work and the sonata was ready for the coneert." The Story may not literally be true, but it seems likely that this work, so clear, well-constructed and effective, was written at high speed. The three movements are closely linked. The second move- ment, in the tonic minor key, follows the first with scarcely any break; while a short cadenza-like passage for the piano leads directly to the Rondo. II. Sonata for Violin and Piano in B flat major K.454 Mozart (1756-1791). Largo Allegro Andante Allegretto - (Last performed in 1944 by Max Rostal and Franz Osborn) Mozart wrote in all 35 sonatas for violin and piano. These fall into four main groups. The earliest examples are really sonatas for piano with a violin obligato, The second group (K.55-60) is of greater importance and owes much to the composer's Italian tour of 1772-3 and to the influence of Corelli and Sammartini; the piano is still however, the main consideration. The third group contains the first examples of the modern conception of two instruments of equal value and importance; these were written in 1778. The fourth and greatest, group belongs to the Viennese period. This sonata (K.454) is included in this group and dates from 1784. It was written for a brilliant young violinist Regina Strinasacchi. In a letter to his father Mozart writes: "We now have here the famous Strinasacchi from Mantua, a very good violinist. She has a great deal of taste and feeling in her playing. I am at this moment composing a sonata which we are going to play together on Thursday at her concert at the theatre." But, once again, the work was only completed in the nick of time. The day before the concert Mozart had only written out the violin part and he played his part from memory with a blank sheet of music paper before him. Again, too, no

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of has tes: "We ca of the two in which one ent arch: or in t

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3 ice of haste is apparent in this fine work. Einstein rites: "We cannot conceive of any more perfect alternation of the two instruments than in the first Allegro, into which one enters through a proud Largo as through a triumphal arch: or in the Rondo, which in its theme, in its divertissements and in its returns to the theme, furnishes ever new and more delightful surprises; nor can we imagine any slow movement - this one is more an Adagio than an Andante - in which feeling and concertante brilliance could be more completely fused." Interval of ten minutes Trio for Violin, Horn and Piano in E flat major Op. 40. Brahms (1833-1897) Andante Scherzo - Allegro - Molto meno allegro Adagio mesto Finale - Allegro con brio (Last performed in 1956 by Dennis Brain and Wilfrid Parry) The horn because of the beautiful and varied quality of its tone, its ability to blend with other instruments, its wide range of pitch and expression, is the only brass instrument which is used to any extent in chamber music. Of the chamber works written for it "greatest of all is the Brahms Trio-Op.40 bringing out all that is lovliest in the cantilena, gayest in the staccato, and deepest in the sustaining quality of the horn. One can hear or play this work again and again only to discover new beauties and carry the theme more lovingly in mind." (Tuthill). This Trio was written in 1865 and had its first perform- ance in Zurich with Hans Richter playing the horn and Von Bulow the piano part. For the Trio Brahms expressly required the use of the natural horn with an E flat crook instead of the ventil horn. "The master's characteristic aversion for outward effects is betrayed here by his express choice of the old-fashioned French horn. Thereby he deprives himself of many technical possibilities, but recovers the original noble tone of the French horn. The spirit of the horn imbues the whole work with a delicate melancholy and an intense feeling for nature." (Geiringer). The Trio has also been called "an Eichendorf romance in four parts, and each is a German wood- land song that wakes old legends which become one with the dear figures of the present and with a dreamer's memories."

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Ime The firs Brahms d thrice repeat sections. Th shine and

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4 The first movement is particularly orginal. For the only time Brahms does not make use of sonata-form, but instead has a thrice repeated Andante with two more agitated contrasting sections. The whole movement gives the impression of the changing sunshine and shadow of a woodland scene. The second movement is a powerfully rhythmic Scherzo broken by a contrasting section after which the Scherzo is repeated. The eighty-six bar slow movement heart-felt and intense, is a requiem written in memory of the composer's mother. Towards the end of it, a theme for violin and horn is heard pianissimo, foreshadowing the theme of the last movement. The Finale, in sonata form, "closes the work in a glorious hunting scene." THE CONCORDIA ENSEMBLE was formed by James Maddocks, who is its Director, and his wife June Mills, a distinguished oboe. player. It consists of nine musicians. JAMES MADDOCKS was trained at the Royal Manchester College o of Music by Henry Holst and later by Max Rostal. At 18 he passed an audition for the Halle Orchestra, Sir Thomas Beecham adjudicating. He has since played in many famous orchestras, but in recent years he has devoted most of his time to solo playing and chamber music. DAPHNE IBBOTT studied at the Royal Acadamy of Music, where she won many prizes. Her great love of all forms of chamber music dates from her early student days. She broadcasts and plays with many different ensembles. JOHN BURDEN was trained at the Royal Acadamy of Music. He was principal horn in the London Symphony Orchestra for some years. He now devotes most of his time to chamber music and recording.

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5 THE HUDDERSFIELD MUSIC SOCIETY Mayor's Reception Room, Town Hall March 1st. THE ARRIAGA STRING QUARTET Quartet No. 2 in F sharp Quartet No. 1 in A minor Op. 7 Quartet No.14 in G major K.387 Monday Evenings at 7.30 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 ELIZABETHAN CONSORT OF VIOLS Tippett Bartok Mozart THE HUDDERSFIELD THESPIANS. March 19th The programme will include works by Purcell and Gibbons. Single tickets 7/6 from David Dugdale Esq., 291 Willowfield Road, Halifax or at the door. St. Patrick's Hall March 1st - 6th THE LITTLE HUT A Comedy translated from the French by ANDRE ROUSSIN. Tickets 4/- and 2/6 (On Monday 1/6 for all unreserved seats) from Messrs. Woods, 67 New Street, Huddersfield.

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/ THE HUDDERSFIELD MUSIC SOCIETY Forty-seventh Season 1964-65 Mayor's Reception Room, Town Hall Monday March 1st 1965 THE ARRIAGA STRING Penelope Howard (Violin) Peter Turton (Violin) Quartet No. 2 in F sharp Programme I QUARTET Joan Bucknall (Viola) Harald Strub (Cello) Tippett (b.1905) Allegro grazioso Andante Presto Allegro Appassionato (First performance at these Concerts) Michael Tippett (Kemp) was born in London. His family is Cornish in origin, a fact which is said to account for "his lineaments and look of a Breton sailor as well as his awareness of the contrasts between the dark side of life (his own phrase) and the light". (Grove). He was educated at Stamford Grammar School and later studied composition under Charles Wood and R.O. Morris and conducting under Boult and Sargent at the R.C.M. For some years he was musical director at Morley College, a post previously held by Holst. It is perhaps as a teacher that his influence has been most widely felt up to the present. He was 29 when his first major work appeared - the now discarded Symphony in B flat. A great humanitarian, he felt deeply the disillusionment and bitterness of the post-war years. Although Tippett's output is not relatively large, he is perhaps one of the strongest and most distinctive personalities in British music today. Much of his music is inspired by the counterpoint and rhythms of the 16th century English composers, the Elizabethan madrigal writers, Purcell and also folk-song. Bach, Hindemith and Stravinsky have also influenced him. On first hearing, his music is not too easy to comprehend, but that could apply to any serious work of art created by an original and subtle mind. Much of his music which looks so difficult becomes, in performance, both clear and smooth. Perhaps the chief characteristic of his style is his rhythmic

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iveness estral WC orettist), present, is d be more widel sonata for fa

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inventiveness and his generally diatonic harmony. He has written orchestral works, operas and choral works (often being his own librettist), and a piano sonata; his chamber music, up to the present, is confined to three string quartets (all of which should be more widely known) dating from 1935, 1942 and 1946, and a sonata for four horns (1955). The second string quartet (1942) is the best known of the three. "Tippett's original polyphonic and rhythmic technique, largely independent of 18th century counterpoint and derived from the renaissance madrigal, may be heard at its attractive best in the second string quartet" (Hugh Wood). The score has a prefatory note which, referring in particular to the first movement, draws attention to the rhythmic qualities of the work and tells us that: "The first movement is partly derived from Madrigal technique where each part may have its own rhythm and the music is propelled by the different accents, which tend to thrust each other forward. The bar lines are thus sometimes only an arbitrary division of time and the proper rhythms are shown in the notation by the grouping of notes and by the bowing". first movement is in sonata form, "With an extended exposition in six well-defined but unified sections that present no marked contrasts of character." In the recapitulation the 3rd, 4th and 6th sections come first followed by the 1st, 2nd and 3rd; the repetition is exact except for changes of key. The slow movement is an expressive fugue in four parts. The scherzo is in three sections; the same theme is repeated but each time rising a third to a higher key. The time signature changes constantly, the bar lines being used merely to point the rhythmic accent. The last movement is "in regular sonata form, with material similar in character to the first movement, except for a contrasting central thematic section( i.e. the beginning of the second subject) dominated by a poignant falling ninth." (Colin Mason) The prefatory note states that this movement needs a decisively sprung rhythm on which virtually the whole movement is based. As a whole it forms an impressive conclusion to a rich and intense work. Bartok (1881-1945) Quartet No. 1 in A minor Op.7 Lento - 2- (Last Bartok II Allegretto Allegro vivace performed in 1929 by the Budapest String Quartet) is the greatest of Hungarian nationalists in music and, at the same time, one of the outstanding composers of our

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His and Strauss greatest in- es. themes ofte harmony bec it d

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3 times. His early work shows the influence of Ziszt, Wagner and Strauss, but his intense interest in folk-music had the greatest influence on the work of his second period. His themes often spring directly from folk-songs. Gradually his harmony became more daring, outspoken and entirely unconvent- ional; it developed finally into a third style of pure abstract music, which, however, still owed a good deal sub- consciously to folk-music. It has been claimed that Bartok's six string quartets are the most important contribution to that form of music since Beethoven's quartets. Quartet No. 1 was written in 1908. The three movements are linked together by the theme first heard in the opening lento introduction; this theme reappears, transformed, as an important subsidiary theme in the second movement and again it becomes the basis of the principal theme of the finale. The first movement, labelled Vonosnegyes, is slow with some fine working of the inner voices. The second movement has a faster pulse, and, after some intense harmony, gives us a glimpse of folk-music methods. The movement ends with a very soft half- cadence, the violins rising to an extreme height. An intraduction, in irregular time, runs into the third movement which opens with the theme in the lower instruments. Modifi- cations of time are too numerous to describe, but the movement is brought to a very strenuous ending on three chords, which almost seem to shout out towards the second quartet, a much more extreme work. The first Quartet is extremely melodious and full of that warm feeling which we are accustomed now to call romantic. Interval of ten minutes III Quartet in G major K.387 Mozart (1756-1791) Allegro vivace assai Menuetto and Trio Andante cantabile Molto allegro (Last performed in 1957 by the Parrenin String Quartet) Mozart's 25 string quartets can be divided into two sharply defined groups. The first group of 15, all dating from the early 1770's can be further sub-divided into three sections. The first consists of three quartets, written in Salzburg and described on the manuscript as "Divertimenti". The description

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is not ac two minue for strin written i chamber n re wri

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4 is not accurate as, for example, a divertimento should have two minuets and these have none; they are, rather, symphonies for strings showing much Italien influence. The second section written in Italy, shows a great advance and is much nearer chamber music in the true sense of the term. The third set were written in Vienna where Mozart met Haydn, and these quartets show most definitely Haydn's influence. After a lapse of nine years the second main group - the 10 "great" quartets began to appear in 1782. The first six were dedicated "To his dear friend Haydn". But now "Mozart had completely found himself- scarcely any works of his are more personal than these three quartets. This time he learned as a master from a master; he did not imitate; he yielded nothing of his personality." (Einstein). The quartet to be played tonight is the first of the set. The first movement, in sonata form, opens with a cheerful and robust subject, which later has touches of what Einstein calls Mozart's uncanny concealed chromatism; all the instruments now play an equally important part. The closely-spaced second subject has more grace and delicacy. The Minuet, based on a strongly accented ascending scale passage, opens in an almost fugal style. The Andante has much graceful figuration particularly for the first violin. The brilliant finale begins as a strict fugue, and yet the movement is cast in sonata form. The chromatic passage of the Minuet reappears in the development section and the coda. The swiftness and gaiety of the tempo conceals much of the elaborate and intricate workmanship. THE ARRIAGE STRING QUARTET was formed in 1958 and has given many recitals in London and the provinces. London recitals have included a number of first performances and, in 1961, a successful debut at the Wigmors Hall inspired admirable comment in the national press. I 1

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Arrang and it is and Zagreb a

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5 THE HUDDERSFIELD MUSIC SOCIETY Arrangements for the 1965-66 Season are now well in hand, and it is hoped that it will include recitals by the Heutling and Zagreb String Quartets, the Emperor Ensemble (wood wind and piano), an eminent pianist and either a third String Quartet or a String Trio. The Committee wish once again to emphasise the fact that increased support is vital. The Hon. Secretary or any member of the Committees would be glad to receive the names and addresses of any people interested in Chamber Music at its best. THE HALIFAX PHILHARMONIC CLUB Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road, Halifax. Friday March 13th at 7.30 p.m. THE ELIZABETHAN CONSORT OF VIOLS The programme will include works by Purcell and Gibbons Single tickets 7/6 from David Dugdale Esq., 291 Willowfield Rd Halifax or at the door. THE HUDDERSFIELD THESPIANS St. Patrick's Hall March 1st - 6th. THE LITTLE HUT A Comedy translated from the French by ANDRE ROUSSIN. Tickets 4/- and 2/6 (on Monday 1/6 for all unreserved seats) from Messrs. Woods, 67 New Street, Huddersfield.

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