HMS 48


HMS 48

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FORTY-EIGHTH SEASON 1965-1966 The Huddersfield Music Society Por 10 FIVE CONCERTS in the MAYOR'S RECEPTION ROOM, TOWN HALL, HUDDERSFIELD 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.

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The Concerts announced in this Prospectus represent, once again, a series of Chamber Music Recitals of that high standard and interest which this Society has consistently maintained throughout its long history. It is interesting to note that all the artists engaged for this Season are newcomers to these Concerts. THE WISSEMA STRING TRIO formed by Nella Wissema, includes Ludmila Navratil, whose outstanding viola playing those who attended the Huddersfield Philharmonic Society's concerts last season will recall with pleasure. THE HEUTLING STRING QUARTET has been in existence for nearly seven years. A recent notice in the "Daily Telegraph" described this quartet as "......among the most refined and musicianly to be heard today." JOHN LILL a young player who is now making a great name for himself as a brilliant and interesting pianist. We feel that in him we have found a worthy successor at these Concerts to artists of the calibre of John Ogdon and Stephen Bishop. ZAGREB STRING QUARTET dating, in its present form, from 1954, comes from Jugo Slavia with a great reputation. THE EMPEROR ENSEMBLE promises a most interesting evening giving a rare chance to hear piano and wind instruments in various combinations. We are almost the oldest Chamber Music Society in the country and are now approaching our Golden Jubilee. We therefore confidently invite support for an organisation which provides the sole opportunity in this Town of hearing what is, perhaps, the finest and most rewarding type of music that has ever been evolved. It is only by sustained and enthusiastic support that these Concerts can be continued and their high artistic level maintained. Every year, fees and expenses rise: and it is only with real difficulty that the prices of our tickets are still kept at a level which has not changed since 1961. & Please forward the perforated slip as early as possible

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All Concer 4th OCTOBER, 19 Divertimento Serenade in Trio in G mi Trio in C m 22nd NOVEMBER, Quartet in E Quartet Op. Quartet in D ("Deat 10th JANUARY, 1 Sonata in D Carnaval Of Toccata Op. Gaspard de 7th FEBRUARY, Quartet in I Quartet in E Quartet in C 28th MARCH, 196 Trio in C m Sonate en C Two Roman Trio (flute, Spring rond from Sonata (flut Trio (oboe, Season ticket ............ 40/0 Single ticket ..... ...... 9/6 Student's single ticket 3/6 (Bona-fide student under 21) With the exception of Students' tickets, all tickets can be obtained from Messrs. J. Wood and Sons, 67 New Street, Huddersfield or at the door Tickets are enclosed here- to with all previous members. If they are not required they should be returned to the Hon. Sec- retary not later than September 27th, after which date it will be assumed that they will be retained and paid for

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All Concerts on Monday evenings at 7-30 p.m. 4th OCTOBER, 1965. Divertimento in E flat major K.563 . Serenade in C major Op. 10 Trio in G major Op. 9, No. 1. Trio in C major 10th JANUARY, 1966. PROGRAMME 22nd NOVEMBER, 1965. THE HEUTLING STRING QUARTET Quartet in E flat major Op. 33, No. 2 Quartet Op. 3.... Quartet in D minor Op. 10, No. 1 ("Death and the maiden") .. Sonata in D Op. 10, No. 3 Carnaval Op. 9 Toccata Op. 11 .. Gaspard de la nuit 7th FEBRUARY, 1966. THE WISSEMA STRING TRIO Mozart Dohnanyi Beethoven Francaix 28th MARCH, 1966. THE ZAGREB Quartet in D minor K. 421 ... Quartet in E flat Op. 64 Quartet in C minor Op. 51, No. 1 .. JOHN LILL (Piano Recital) Beethoven Schumann Prokofiev Ravel Haydn A. Berg Sonata (flute and piano) Trio (oboe, bassoon and piano) ... Schubert Spring rondo (flute, oboe and piano) from Serenade No. 9. K.320 STRING QUARTET Mozart . Beethoven Brahms THE EMPEROR ENSEMBLE (Piano, flute, oboe, bassoon) Trio in C minor (flute, oboe, piano) ...... J. J. Quantz Sonate en Concert (flute, bassoon, piano) ...... Damase Two Romances (oboe and piano) Op. 94 ...... Schumann Trio (flute, oboe and bassoon) Vivaldi Mozart Hindemith Poulenc (for the use of PRESENT MEMBERS ONLY) To the Hon. Treasurer, National Provincial Bank. King Street, Huddersfield in payment for I enclose £.......... FORM REMITTANCE tickets. Name.. Address. Name.. Address. APPLICATION FORM (for the use of NEW MEMBERS ONLY) To the Hon. Secretary, 3a Vernon Avenue, Huddersfield tickets for which I enclose £. Please send me (BLOCK LETTERS PLEASE)

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THE HUDDERSFIELD MUSIC SOCIETY (Founded as The Huddersfield Music Club by Dr. Eaglefield Hull in 1918) President Vice-President ... ... N. T. ATKINSON S. H. CROWTHER DAVID DUGDALE Mrs. E. GLENDINNING E. GLENDINNING ... Mrs. BRANSOM Miss I. BRATMAN Mrs. S. H. CROWTHER Mrs. N. CULLEY Mrs. F. A. DAWSON Miss K. EVANS ... ... 600 Honorary Vice-Presidents : DAME MYRA HESS, BENJAMIN BRITTEN, F. W. GADSBY, F. ROWCLIFFE. Mrs. EAGLEFIELD HULL STANLEY G. WATSON, Esq. Hon Secretary: Miss C. ALISON SHAW, 3a Vernon Avenue. Tel. Hudd. 27470. ... Hon. Treasurer: F. W. PHILIPS, National Provincial Bank, King Street. Miss Z. E. HULL Dr. C. JONES P. L. MICHELSON S. ROTHERY Executive Committee: Miss E. K. SAWERS MAX SELKA E. C. SHAW W. E. THOMPSON Mrs. S. G. WATSON 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 Miss Z. E. HULL Miss H. LODGE Mrs. P. MARKS Miss C. A. SHAW Mrs. J. SHIRES Miss W. TOWNSEND Hon. Secretary: Mrs. E. GLENDINNING Hon. Treasurer: Mrs. S. G. WATSON

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THE HUDDERSFIELD MUSIC SOCIETY Forty-eighth Season 1965-66 Mayor's Reception Room, Town Hall. Monday October 4th 1965 THE WISSEMA STRING TRIO Nella Wissema (Violin) Paul Ward (Cello) Ludmila Navratil (Viola) PROGRAMME I Divertimento in E flat major K.563 Allegro Adagio Menuetto Allegretto Andante Menuetto - Allegretto Allegro (Last performed by the Pasquier Trio in 1948) Mozart (1756-1791) The Divertimento, a title loosely used for a work consisting of anything from four to twelve movements, either for strings, or for wind instruments, or for strings and wind in combination, and for a varying number of performers, belonged to the early type of concerted music which was meant to be performed either indoors or outdoors, in the concert room or in Its origin, of course, lies in the Suite, its melodies are often of the folk-song variety; usually it was written for some festive occasion so that it has a light or festive character. Such was the type of Mozart's early Divertimenti, but later he used the title to include works which lie far beyond the merely 'social'. the home. Mozart's great E flat major Trio is true chamber music, differing from the classical four-movement works only It is the in the number and arrangement of the movements. It dates from only string trio which Mozart ever wrote.

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188, midway bett principal feelin Symphonies in E quartets, and fro

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- 2- 1788, midway between the "Hoffmeister" quartet and the "Prussian" quartets, and from the same year as the three last and greatest symphonies in E flat, G minor and C major (Jupiter). The three principal movements the first Allegro, with its depth of feeling, the Adagio, with its exquisite reverie, and the loveable and charming final Rondo - are chamber music of the finest quality. The 'gay' movements are the first Minuet, more florid in style, the second Minuet, with its two trios, and the Andante, a theme with double variations. Einstein sums up the work as follows: "Only a connoisseur can evaluate properly the well- wrought dialogue of this apparently so modest work; each instrument is primus inter pares; every note is significant, every note is a contribution to spiritual and senuous fulfilment in sound....... the finest, most perfect trio ever heard." Serenade in E major Op. 10 Alla marcia II Dohnanyi (1877-1960) Romanza: Adagio non troppo quasi andante Scherzo ; Vivace Thema con variations : Andante con moto Rondo Allegro vivace (Last performed by the Pasquiet Trio in 1948) Dohnanyi, born at Pressburg (Hungary) was a distinguished pianist and composer. He studied in Pressburg and Budapest and later under d'Albert. He appeared as a pianist in 1897 and was quickly recognised as an artist of the highest rank, with brilliant technique, exquisite beauty of tone and deeply poetical in his interpretations. His first compositions date from student days. The early works show the influence of Brahms but later his Hungarian nationality became more clearly marked. His music has originality and vivacity as well as a romantic beauty and grace. While Dohnanyi has written operas, ballets, concertos and symphonies, from the first his main preoccupation was with chamber and piano music. It is remarkable that such a distinguished pianist has written so effectively and with such understanding of, and sympathy with, stringed instruments.

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SI og deal) (oder-rar) vanifol Of dom Srbroe at elda 30 The t. ally denotes hort and varied though an lyrical sec early W

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The The title "serenade", as applied to instrumental music, usually denotes a work which is made up of a large number of Dohnanyi's Serenade in C major, short and varied movements. though an early work, already foreshadows his later style. lyrical second movement "ends on the dominant with an effect akin to that of the Mixolydian mode and also the tendencies of much recent Spanish music" (Tovey). The third movement is a scher in fugal style. The beautiful theme and variations form the The fourth movement, the most romantic movement of the work. witty Rondo, with its return to the trio of opening March, brings the Serenade to its conclusion, INTERVAL OF TEN MINUTES Trio in G major Op.9 No. 1. III Beethoven (1770-1827) Adagio - Allegro con brio Adagio ma non tanto e cantabile Scherzo Allegro Presto (Last performed by the Pasquier Trio in 1954) The three string trios of Op.9 were published in 1798 and were dedicated with a lengthy inscription to Count Browne, Russian officer then living in Vienna and a patron of the arts. Apart from an earlier trio Op.3 and the Serenade Op.8 these are the first of Beethoven's compositions for strings unaccompanied by any other instrument; they lead directly to the first string quartets Op.18. Although the earlier works were effective and, in their way, perfect, the trios of Op.9 far surpass them, and Beethoven himself described them in the dedication as the best of his works. They already show "all the characteristic marks of Beethoven's great works for strings, the absolute intellectual clarity, the firmness of structure, the sure poetic touch" (Bekker). As Cobbett wrote in comparing them to the quartets, they "have more modest qualities though no less perfect of their kind". a

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od of (TSB-OTTI) covonatont of the the grandest s bject starts wi- played first by th The developme subject starts in 1

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- 4 - of the three, on the grandest scale. perhaps the first, in G major, is composed After a slow introduction, the first A new theme follows, subject starts with a four-note figure. The second played first by the cello and repeated by the violin. subject starts in D minor before reaching the key of D major. The development makes use of the four-note figure but the greater part of it is based upon the second theme of the first subject. Some fugal treatment is used. After the recapitulation there is The second movement is in modified sonata form, ending with a coda. The scherzo is conventional; its trio modulates back to the key of the scherzo, which is repeated in a The finale is gay and sparkling and is slightly varied form. again in sonata form. a short coda. Trio in C major IV Jean Francaix (b. 1912) Allegretto vivo Scherzo Andante Rondo (Last performed by the Pasquier Trio in 1948) Francaix, both composer and pianist, was born at Le Mans and studied at the Paris Conservatoire and under Nadia Boulanger. He has written a good deal of music including a symphony for strings and some ballets, one of which, "Le Roi Nu", has been He has also written much performed by the Sadlers Wells Company. chamber music - a string quartet a string quartet a string trio, a wind quintet, other works for wind ensembles, a quintet for flute, harp and strings and sonetinas for trumpet and violin. He "writes neo- classical music belonging to the same tradition as Sauguet's, His French origin Ibert's and the early music of "Les Six". is apparent in the clarity, grace, wit and elegance of his music in which, however, there are traces of the influence of Stravinsky.

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19 bleum Is bra tiv moo 12 The or 1 movement is w waltz at TE A3 1 The on

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- 5 - The String Trio was written in 1946. The first movement is witty and vivacious; the scherzo is in the form of a waltz - or rather, the burlesque of the sentimental dance. The Andante is a lullaby. The final Rondo is based on a polka-like theme, and the whole movement owes much to the inspiration of modern dance rhythms. ---000000000000- NELLA WISSEMA was the leader of the Charles Kreitzer Quartet (1945-61) and also of her own Piano Trio. She was 8. frequent performer for the South African Broadcasting Company and played with the principal orchestras as soloist. In recent years she has played with Halle and Birmingham Orchestras and has given successful Recitals in London and Manchester. LUDMILA NAVRATIL was born in Roumania of Czech and Hungarian parents. She studied at the Royal Manchester College of Music under Paul Cropper and Frederick Riddle and joined the Halle Orchestra in 1954. She is also principal viola with the Manchester Mozart Orchestra. PAUL WARD is a well-known cellist in Manchester and has been a member of the Halle Orchestra (1948-54). He was for many years cellist of the Turner String Quartet and recently became Musical Director of the Manchester Mozart Orchestra. --000000000000----

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() Mayor's Recepti November 22

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January 10th February 7th March 28th - 6- THE HUDDERSFIELD MUSIC SOCIETY Mayor's Reception Room, Town Hall. November 22nd. THE HEUTLING STRING QUARTET Quartet in E flat major Op.33 No. 2. Haydn Alban Berg Quartet Op.3. Quartet in D minor Op. posth. (Death and the Maiden) Schubert Monday Evenings at 7.30 JOHN LILL Piano Recital THE ZAGREB STRING QUARTET THE EMPEROR ENSEMBLE (Piano, Flute, Oboe,; Bassoon) Season tickets for the remaining four concerts 32/-, single tickets 9/6d. from Woods, 67 New Street and at the door. THE HALIFAX PHILHARMONIC CLUB Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road. November 12th Quartet in E flat major Op.64 No. 6. Quartet No. 6. Quartet in A minor Op. 29 St. Patrick's Hall THE PSALLI STRING QUARTET Single tickets 8/6d from David Dugdale Esq., 96 Willowfield Road, Halifax, or at the door. THE HUDDERSFIELD THESPIANS Haydn Villa-Lobos Schubert. October 11th - 16th ALL THINGS BRIGHT AND BEAUTIFUL A Comedy by Keith Waterhouse and Willis Hall Tickets 4/- & 2/6d (on Monday nights only unreserved seats 1/6d) from Woods, 67 New Street.

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I mi ST

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THE HUDDERSFIELD MUSIC SOCIETY Forty-eighth Season 1965/66 Mayor's Reception Room, Town Hall, Monday, November 22nd. 1965. THE HEUTLING STRING QUARTET Werner Heutling (Violin) Oswald Gattermann (Violin) PROGRAMME I Quartet in E flat major Op.33 No. 2 Erich Bohlscheid (Viola) Konrad Haesler (cello) Haydn (1732-1809) Allegro moderato, cantabile Scherzo: Allegro. Largo sostenuto Finale: Presto (Last performed in 1962 by the Tatrai String Quartet) This Quartet is one of a set of six. They were written in 1781 and dedicated to the Grand Duke Paul who visited Vienna at this time. They are, therefore, known as the Russian Quartets; another name given to them is Gli Scherzi as it was in these works that Haydn first gave the title Scherzo to the older Minuet and Trio movement. There is, however, little change in its character; it has no real relationship to the Scherzo as it became in the hands of Beethoven. Nine years had elapsed since the appearance of Haydn's last Quartets Op.20. It is possible that Haydn felt that no more progress could be made on similar lines and that a period of time must pass before any answer to that problem could be found. Haydn himself said that the Russian Quartets were "written in an entirely new and particular manner". The end of the domination of the first violin was complete and all instruments now have an equal share of importance. Thematic development a method of breaking up the subject, developing and re-assembling it in fresh and unexpected ways - is now used to the fullest extent; even the purely accompanying parts have their origin in the main subject in a way hitherto unknown. The first movement is, of course, in sonata form. The Scherzo is still essentially a Minuet and Trio in rather quicker tempo. Tovey remarks that in the slow movements of these quartets Haydn has solved another problem; he now realises that " a bar of slow music is not a bar of quick music played slowly but an altogether bigger thing. In music slowness either means bigness or it means emptiness .From Op.20 onward we may be certain that no slow movement of

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Haydn's, however unimportant, will stagnate". The Finale, a rondo with two episodes is known as "The Joke". This comes in the coda. After a short adagio episode, the eight bars of the main subject are repeated, two bars at a time with two bars rest between. When the subject is completed, Haydn rests for three bars; finally he whispers pianissimo the first two bars again and disappears into silence. Quartet Op.3 II 2. Langsam Massig viertel Alban Berg (1885-1935) (First performed at these Concerts) Alban Berg was born in Vienna; his father was Bavarian in origin, his mother was Viennese. Berg early showed signs of an intense love of music and this was accompanied by an almost equal love of literature in which he was deeply and widely read. As a youth, without any regular instruction, he wrote many songs and duets, but there was no idea of his adopting a career in music and he became a civil servant. In 1909 his brother showed some of the songs to Schonberg, then settled in Vienna and teaching, who was so impressed by them that he invited Berg to become a pupil. It was not till some two years later that Berg decided to devote himself entirely to composition. Berg was compelled to join the army in 1914 but a complete breakdown in health ended his active military career. In 1918 Berg was concerned with the foundation of the Society for private musical performances, whose aim was to make the music of Schonberg and the "second Viennese school" more widely know. For the remainder of his life Berg concentrated exclusively on composing, teaching and writing about music; his whole life was spent in, or near Vienna. It is said that Benjamin Britten, as a young man, wished to go to Vienna to study with Berg. It is interesting to speculate if that had happened, on what lines Britten would have developed. Schonberg was the strongest influence on Berg's life and work. To be a disciple of Schonberg means, in particular, the rejection of the tonal system, basing the music rather upon a twelve-note scale - usually arranged in a particular series or "row" which becomes the basis of the movement or the work which every note of the scale is of equal value and importance. This forces the music into a linear style, and though the dissonances, thus formed may be painful indeed, it gives to the in ed utsou the counte Berg

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ree rest the in a 3. moving parts a vitality and freedom which they had not had since the counterpoint of the pre-classical composers. Berg reserved, intellectual and highly self-critical, left a relatively small output. His most important work is the opera Wozzeck, a second opera Lulu was unfinished. He wrote little chamber music; the Quartet Op.3 (1910), the Lyric Suite a more extended work, in 1926 a chamber concerto for piano, violin, and 13 wind instruments in 1925 and some pieces for clarinet and piano. The Quartet Op. 3 an extraordinary work for a man of 25 was written while Berg was still studying with Schonberg. Of it Schonberg wrote "His String Quartet surprised me in the most unbelievable way by the fullness and unconstraint of its musical language, the strength and sureness of its presentation, its careful working and significant originality". It is in two movements of exceedingly complex construction, abounding in honbergian polyphony, with the characteristic leaps in the melodic line and frequent recourse to all manner of instrumental devices such as flageolet tones etc. There is, however, an undercurrent which links it, both thematically and technically with the Wagnerian past, of which more traces remain than are discerable in Schonberg". (Grove). "Three motives of entirely different character are opposed to each other in the first 3 bars, yet they are related to each other through some formal device or other, inversion, augmentation, or rhythmic completion, and the development unfolds their affinity; the common experiences of disimilar relatives. Music describes the adventures of themes; as Schonberg says" (Erwin Stein). Berg had, too, a great sense of form and colour which has helped to make his music more easily grasped. "In the Quartet come the first examples of his building of enormous emotional climaxes. These are evolved with a logic cf part-writing a rhythmic tautness and an intensity of feeling which, in his later works, make one shudder. The sureness of touch and complete certainty of what he wishes to say give Berg's music an elemental power of the most shattering nature for all its complexity of texture". (Iain Hamilton) Interval of ten minutes

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4. III Quartet in D minor Op.posth. (Death and the Maiden) Schubert (1797-1828) Allegro Andante con moto Scherzo-Trio Presto (Last performed in 1960 by the Loewenguth String Quartet) This Quartet was written at the period when Beethoven was creating his last string quartets, and it is interesting to compare difference in conception and technique between the two masters. "It would be tempting to compare the "seriousness" of Beethoven's Op.95 with the seriousness of the D minor Quartet. Schubert 's seriousness is free from pathos; he is more spontaneous; he goes deeper and deliberately avoids the optimistic or triumphant note on which Beethoven ends". (Einstein). Kahl has pointed out that while Beethoven's ideal was that of a lineal quartet style and that he was "moving in the direction of sound free from sensuousness" Schubert "kept before him as an ideal....rather the obtaining of colour effects, as in the orchestra, by the arrangement of the parts in layers". "Here are beautiful ideas, boldness and bigness of reach and grasp, and entirely new chamber-harmony with chords rich and romantic in themselves and not the necessary and logical out- come of part-writing". It was not until 1824 that Schubert turns in earnest to the writing of string quartets, and within the next two years he wrote three. This quartet remained in manuscript till 1851. Kahl considers that the struggle with death is the theme of the first movement. If so, death is treated with defiance. To that challenge is opposed a delightful theme in the relative minor key. The development combines the themes in a masterly fashion with enchanting modulations. The chorale-like setting of Death's words from Schubert's own song is the theme for the 5 variations of the slow movement. "What Schubert could only suggest in the song here finds expression in a fuller, freer, wordless sphere. He does not write programme music nor do we need to know the song, but we feel unmistakably in this music the symbols of inevitability and consolation", (Einstein). According to Heuss "Death as the Demon Fiddler" is the theme of the sharply contrasting Scherzo "The Finale

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28) 5. is most definitely in the character of a Dance of Death; ghastly visions whirl past in the inexorable uniform rhythm of the tarantella". The whole work is filled and unified with one consistant and compelling idea. THE HEUTLING STRING QUARTET was formed in Hanover in 1958 They made their London debut in 1961. They were among the quartets chosen to take part in the B.B.C. series of international quartets at the Royal Festival Hall in May 1965. WERNER HEUTLING was born in Aue/Erzgebirgr, He studied in Dresden and Cologne and appeared in public for the first time at the age of 9. Since 1956 he has been Professor of the Master. Classes at the State High School for Music, Hanover. In 1950 he won the International Bach Prize, Leipzig. He is well known for both his solo and chamber music playing. OSWALD GATTERMANN was born in Hamburg and studied with Werner Heutling. He is leader of various Symphony Orchestras and also active as a soloist and chamber music player. ERICH BOHLSCHEID was born in Cologne where he studied. He has done much solo playing as well as chamber music. KONRAD HAESLER was born in Weimar and studied in Hamburg, Berlin and Paris with Andre Navarra. He was a member of the Lucerne Festival Strings and is also a successful soloist and chamber music player.

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Mayor's Reception Room, Town Hall. 6. THE HUDDERSFIELD MUSIC SOCIETY January 10th. Sonata in D major Op.10 No.3 Carnaval Op.9 Toccata Op.11 Twelve Studies Op.25 JOHN LILL St. Patrick's Hall Monday Evenings at 7.30 Piano Recital THE ZAGREB STRING QUARTET February 7th. March 28th. THE EMPEROR ENSEMBLE (Piano, Flute, Oboe and Bassoon) Beethoven Schumann Prokofiev Chopin Single tickets 9/6 from Woods, 67 New Street or at the door. THE HALIFAX PHILHARMONIC CLUB Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road. Friday December 10th. ELIZABETH SIMON (Soprano) and KEITH SWALLOW (Piano) Lieder Recital Single tickets 8/6 from David Dugdale Esq., 96 Willowfield Road, Halifax or at the door. THE HUDDERSFIELD TIESPIANS Tickets 4/- and 2/6 (on Monday night 1/6d) from Woods, 67, New Street. November 22nd.-27th. THE PHYSICISTS by Friedrich Durrenmatt. Translated by James Kirkup only, unreserved seats

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THE HUDDERSFIELD MUSIC SOCIETY Forty-eighth Season 1965-66 Mayor's Reception Room, Town Hall Monday January 10th 1966 JOHN LILL Piano Recital PROGRAMME 1 Sonata in D major Op. 10 no.3. Beethoven (1770-1827) Presto Largo e mesto Minuet and trio Allegro (Last performed in 1931 by Dorothy Hesse) The three Sonatas of Op. 10 were all written in 1797. Beethoven has already begun his search for a new conception of the older sonata form. Not only does he now frequently abandon the regular four-movement plan but he also now "attempts a decisive change in the principal movement, constructing the "exposition" upon an entirely new theme. The old type of Sonata built on a dual theme begins gradually to give place to a new form not yet exactly defined, but transcending the two-fold theme and compre- hending an indefinite number of imaginative ideas and thought associations". (Bekker). The Sonata in D is one of the finest works of Beethoven's first period. As Tovey points out, in it "Beethoven's power appears with an intensity which must have come more as a shock than as a revelation to his contempories. It is doubtful whether any part of it except the exquisite minuet can have been accept- able to his contemporaries" It opens abruptly with a stark four- bar theme which dominates the movement; the main theme, rythmically related to the opening, is not heard till the 23rd bar. The second subject is relatively negligible, The marvellous slow movement in D minor is one of Beethoven's finest creations. It is the most tragic piece of music ever written up to that time. He himself called it the presentation of melancholy and said that it "portrayed every subtle shade, every MON

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phase of melancholy." Beethoven only used the term"largo" in three solo piano pieces "as an independent movement it was discarded after Op.10. Did Beethoven come to regard the tremendous pathos of the largo as a piece of youthful rhetoric? Did he find its emotionalism and solemn earnestness over- strained? (Bekker). The charming Minuet has an effective contrasting Trio. The final Rondo grows out of "an urgent aphoristic motive." Tovey finds it to be one of the finest examples of Beethoven's humour and not surpassed, except for its larger scale, even by the Finale of the Eighth Symphony. II Carnaval Op. 9 Schumann (1810-1856) Preambule - Pierrot - Arlequin - Valse Noble - Eusebius - Florestan Coquette Replique Papillons - Lettres Dansantes (A.S.C.H.,S.C.H.A.) Chiarina + Chopin - Estrella Reconnaissance Valse Allemande - Intermezzo - Paganini - Aveu - Promenade Pause Marche - des Davidsbundler contre les Philistins. Pantalon et Colombine (Last performed in 1946 by Pouishnoff) Carnaval is one of Schumann's most characteristic and original works. It was written in 1834-35 and belongs, there- fore, to the period 1830-39 during which Schumann wrote only works for the piano. It is sub-titled "Scenes mignonnes composees pour le piano sur quatre notes"; these notes are A.S.C.H., the name of a town in Bohemia in which Schumann's friend, Ernestine von Fricken, lived; they are also, as Schumann noted, the only musical letters of his own name. In one order or another they appear in almost every section of Carnaval. Schumann was particularly attracted by the practice of translating names and letters of the alphabet into musical notes. Somebody has called Carnaval a glorification of the ballroom of its noisy rejoicings, its motley masquerade and its secret whispering of love. To each of the "pieces" Schumann has given a name or a description, some of the names indicating portraits, such as Estrella (Ernestine von Fricker), Chiarina (Clara Wieck), Florestan and Eusebius (the two sides of Schummann's own character, the former being the fiery thusiast, the latter the gentle dreamer). The Finale dis- cribes the march of the Davidsbundler against their Philistine en- emies. existing less by o their end. The Phili

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oric? ន in nemies. "The Davidsbundler weré", wrote Schumann", an association existing only on the imagination,whose members are recognizable less by outward signs than by an inward resemblance. It will be their endeavour by word and deed to dam up the tide of mediocrity" The Philistines, the mediocrites, represented by the old tune The Grandfather(s Dance, are fianlly routed in a blaze of 'glory. But charming and descriptive as these titles are,Schumann himself admitted that he applied them after the music was written. He wrote "To figure out the Masked Ball will be child's play to you; and I need hardly assure that the putting togdther of the pieces and the superscriptions came about after the composition.. .. For is not music itself always enough and sufficiently expressive?" Coffee Interval of fifteen minutes. III Toccata Op.11 Prokofiev (1891-1953) (Last performed in 1946 By Nicholas Orloff) Prokofiev was born on Ekaterinoslav. He was a very prolific writer from his earliest days, even attempting to write an opera : at the age of 9; when still a student he wrote his first and second piano Concertos (1911 and 1913) while becoming, at the same time, one of Russia's leading pianists. He studied first with Gliere and later at the St. Petersburg Conservatoire under Rimsky-Korsakov and Liadov, but he soon revolted against academicism and attached himself to the followers of Scriabin. During the 1914-18 war he lived for some time in London; later he went to America via Japan. His opera "The Love for the Three Oranges" was produced in 1921 in Chicago. He went to Paris the following year where he became connected with Diaghliev and the Russian Ballet. He returned to Moscow in 1934 where, under Soviet pressure, he simplified his piquant style in favour of a simpler and more unsophisticated method of composition. In spite of that, he incurred censure for excessive originality at the notorious Composer' Conference in 1948. Becoming such a mature musician at so easly age, Prokofiev's music has changed relatively little in style and technique throughout his career, and it is said that it would be almost impossible, without reference to their dates, to arrange his compositions in chronological order. "At the outset Prokofiev himself and his music symbolized a reaction against an aestheticism burdened withphilosophy, literature and mysticism. His task was to bring music back to the world of pure sound. Hence the cutting, direct, squar, cheerful style in contrast to

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the "Arpeggio-ridden" music of his contemporaries; hence the preference for simplified harmonic texture, a clear-cut melody, and the major character of the whole structure; hence also the sectional, sometimes almost mechanical, form of his music" (Nabokov). Prokofiev's piano music is particularly effective - not surprising when one considers his pre-eminence as a pianist and he has exploited the percussive possibilities of the piano with great skill and imagination. Twelve Studies Op25 IV Chopin (1810-1849) (Last performed in 1931 by Egon Petri) Chopin wrote in all 27 Studies for the piano - the twelve of the Op10 the twelve of Op.25 and three "new" studies. They were published respectively in 1833,1837 and 1840, but the dates of their publication do not indicate the approximate dates of their composition. Written in all the various keys, each study presents a special problem of piano technique, but so great are their diversity and their musical aesthetic qualities that this, to the listener, almost passes un- noticed. Chopin was the first composer to combine the se two aims - the advancement of piano technique combined with musical and poetic values of such a high order - and his success was complete. The Studies rank amongst the finest of Chopin's compositions and it is a remarkable comment on his art that it is in his works of the smallest scale that he shows his most supreme genius. The Studies, too, have a freshness and vitality which is sometimes found lacking in his other compositions. College of He gave Berlin in JOHN LILL was born in East London in 1944. He won a scholarship as a junior Exhibitioner at the Royal Music in 1954 where he studied under Harry Platts. his first concert at the age of 9. He appeared in 1961 and was asked to return as a soloist with the Berlin Philharmonic Orchestra. After winning many important scholarships and awards he studied full time at the R.C.M. under Angus Morrison and Lamar Crowson. He made his first official London debut in 1963; since then he has made frequent appearances including visits to Vienna and Brussels. He was described in a recent notice in the Daily Telegraph as "one of our outstanding younger pianists." Mayor's FIL

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rm the THE HUDDERSFIELD MUSIC SOCIETY Mayor's Reception Room, Town Hall. February 7th Quartet in D minor K.421 Quartet in E flat Op.64 Quartet in C minor Op.51 No. 1 March 28th Monday Evenings at 7.30 THE ZAGREB STRING QUARTET THE EMPEROR EMSEMBLE (Piano, flute, oboe, and bassoon) Single tickets 9/6 from Woods, 67 New Street and at the door. February 8th Mozart Beethoven Brahms THE HALIFAX PHILHARMONIC CLUB Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road, at 7.30 p.m. THE ZAGREB STRING QUARTET Quartet in G major Op.18 No.2 Quartet in A major Op. 108 Quartet in A minor Op. 132 Beethoven Shostakovitch Beethoven Single tickets 8/6 from David Dugdale Esq., 96 Willowfield Road, Halifax, or at the door.

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St. Patricks Hall, THE HUDDERSFIELD THESPIANS AN IDEAL HUSBAND by January 17th - 22nd. Oscar Wilde Tickets 4/- and 2/6 (on Monday nights only, unreserved seats 1/6) from Woods, 67 New Street.

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THE HUDDERSFIELD MUSIC SOCIETY Forty-oighth Season 1965 - 66 Mayor's Reception Room, Town Hall Monday February 7th, 1966 Owing to illness the Zagreb String Quartet are unable to come. their place, the Committee have fortunately been able to engage THE ALBERNI STRING QUARTET Dennis Simons (Violin) Howard Davis (Violin) Programme I Quartet in C major Op.33 No.3 (The Bird) Allegro moderato Scherzando. Allegretto In 1 John White (Viola) Gregory Baron (Cello) Haydn (1732-1809) Adagio Finale. Presto (First performance at these Concerts) This quartet is one of a set of six, written in 1791 and dedicated to the Grand Duke Paul who visited Vienna at this time. They are, therefore, known as the Russian Quartets; another name given to them is Gli Scherzi as it was in these works that Haydn first gave the title Scherzo or Scherzando to the older Minuet and Trio move- ment. There is on the whole little change in character; the new move- ment has no real relationship to the Scherzo as it bacame in the hands of Beethoven. Haydn himself said that the Russian Quartets were written in an entirely new and particular manner". The end of the domination of the first violin was complete and all equal share in importance. Thematic development up the subject, developing and re-assembling it in instruments have an a method of breaking fresh and unexpected

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00 223 ays is now parts have the Perhaps t gra by playe

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H ways is now used to the fullest extent; even the accompanying parts have their origin in the subjects in a way hitherto unknown. Perhaps the most delightful quartet in the set is No.3 nicknamed by players as The Bird. One reason for this name is found in the gracenotes in the principal subject of the first movement, another reason being the bird-like duet in the tiny trio section of the Scherzando. But throughout this entrancing quartet a grace and delicacy reminiscent of the birds can be heard. ment Tovey reminds us that this was Joachim's favourite quartet. He continues "It remains one of Haydn's profoundest studies of childhood, trailing clouds of glory at any and every minute". The first move- "one of the quietest and greatest that Haydn had so far achieved" with its less conventional repetitions, is a sonata form. The tiny Scherzando, with its tenderly grave melody on the fourth string and its even tinier trio, is something quite original. slow movement demonstrates Haydn's new and complete mastery of slow tempi. The Finale - one of Haydn's most comic utterances" opening unusually the six-four tonic chord, is a rondo. The pe 2 Quartet No.10 II Shostakovich (B.1906) Andante Allegretto furioso Adagio Allegretto (First performance at these Concerts) Dimitri Shostakovich was born in St. Petersburg, 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. of his operas brought him into conflict with the Soviet authorities. 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 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. His output includes string quartets, a piano trio, a piano quintet, a string octet and a sonata for cello Two

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and paino. string quartet Desmond nor a has

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3 and paino. He was, however, fairly late in his career in writing for string quartet, the first dating from 1938. Desmond Shawe-Taylor writes Shostakovich is neither a revolutionary nor a conventional composer; he is, above all, a natural one. His music has a spontaneity and momentum which have become rare. We are made to feel, usually with admiration, the speed and decision of his writing; he commands an apparently inexhaustible fund of melodic ideas and textural device which only now and then tempts him into mere thoughtless facility. His quartot writing does not follow recognised academic precept; less polyphonic; less argumentative, looser in structure than that of the great German masters, it reminds us that the string quartet has seldom been a favourite medium with Russian composers. The quartet to be performed tonight is Shostakovich's latest work in this form. As it exists, so far, only in manuscript, it is impossible to discuss or to analyse it. Benjamin Britten brought the manuscript to England after a recent visit to Russia, and handed it to the Alberni Quartet for study and performance. We are fortunate in being able to hear an early performance of such a work under such conditions. Coffee interval of fifteen minutes. III Quartet in F major Op.59 No.1 Allegro Allegretto vivace e sempre scherzando Adagio molto e mesto Allegro (Theme russe) (Last performed in 1955 by the Carmirelli String Quartet) Beethoven (1770-1827) Bekker points out that each phase of Beethoven's development is, as it were, summed up and completed by an outpouring of chamber music. Thus the quartets of Op.18 were the culmination of the early symphonies and the phantasy-sonatas. A space of 5 years followed during which the Eroica Symphony, Fidelio, the Leonora overtures and the solo sonatas - all containing an increasingly large concerto element were written. All these works contributed to the growth of these symphonic concerto quartets "which, as in Op. 59, marked so great an advance in that form. 00 The first of these quartets, that in F major, moves emotionally from a quiet consciousness of power to a fantastic and exited display of activity, thence to sorrowful plaints and finally to a sense of

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9-TTON SP ork is in s qsre orpur P llo Quartet cello outs the ri

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4 vigorous well-being." (Bekker). D'Indy remarks that every movement in the work is in sonata form an example of construction rarely to be found in the history of music." This quartet is sometimes called the Cello Quartet owing to the prominence given to that instrument through- out; the first movement opens with a simple but striking theme for the cello, which is immediately repeated by the violin. The Scherzo in B flat is a typical Beethoven scherzo. It has the peculiarity that, with the exception of the second subject, everything in the movement is duplicated. There are two first subjects, two bridge passages and two distinct developments." (d'Indy). The whole movement is linked by a persistant rythmic figure. The Adagio ends with a long cadenza-like passage which leads directly into the Finale. This is based upon Russian folk-song, interrupted later by an expressive second theme. ** THE ALBERNI STRING QUARTET was formed in 1960 by four students at the Royal College of Music. Individually and collectively they have won many prizes and scholarships. They have given concerts through- out the British Isles and in 1961 they undertook an extensive tour of Germany. Their reputation for vital and interesting performances of works of unusual interest is steadily increasing. It is interesting to note that John White was at one time a student in the Music Department of the Huddersfield College of Technology.

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May

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THE HUDDERSFIELD MUSIC SOCIETY Mayor's Reception Room, Town Hall. March 28th The Emperor Ensemble is unfortunately unable to fulfil its engagement. An alternative ensemble will appear in its place on the same date. Details will be announced in the Huddersfield Daily Examiner as soon as possible. Single tickets 9/6d from Woods Music Shop, 67 New Street or at the Door. Monday evenings at 7.30 THE HALIFAX PHILHARMONIC CLUB Lecture Hall of the Halifax Literary and Philosphical Society, Harrison Road, Tuesday February 8th, at 7.30 p.m. THE ALBERNI STRING QUARTET Single tickets 7/6d from David Dugdale Esq., 96 Willowfield Road, Halifax or at the Door. St. Patrick's Hall. THE HUDDERSFIELD THESPIANS February 28th March 5th. THE HOSTAGE by Brendan Behan. Tickets 4/-d and 2/6d (on Monday night only, unreserved seats 1/6d) from Woods Music Shop, 67 New Street, Huddersfield.

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25233 Miss Bedn m