HMS 49


HMS 49

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FORTY-NINTH SEASON 1966-1967 The Huddersfield Music Society vell SIX 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 JANACEK and the TATRAI STRING QUARTETS are two of the finest String Quartets in existence today. The former, a Czecho-Slovak ensemble, plays with a mastery which is undoubtedly enhanced by the fact that all four players per- form from memory. The latter, Hungarian in origin, is an ensemble of equal musicianship and eminence; they have played together for the past 20 years. The Committee is very happy to be able to bring such artists to these Concerts. The GABRIELI STRING QUARTET is a recently-formed English ensemble, which is rapidly making a great name for itself. All four players have distinguished themselves as soloists and are dedicated chamber musicians. They will be joined by KEITH PUDDY (Clarinet). To hear the performance of two great Clarinet Quintets will certainly be an outstanding musical experience. MAUREEN SMITH and KEITH SWALLOW are well known to local audiences. Maureen Smith will be remembered for her fine concerto playing at a concert in Huddersfield last year. We look forward to a recital by this young and gifted player with the co-operation of such a sensitive and musicianly pianist as Keith Swallow. ALLAN SCHILLER, now a mature artist, has not long returned from intensive study in Russia. We believe that his name will be added to the list of those pianists who have played to our members at an early stage in their outstanding careers. This year a SIXTH CONCERT will be given. This is being arranged with the kind and generous collaboration of Mr. Forbes and will be performed by young musicians now studying in the Department of Music of the Huddersfield College of Technology. We feel that outstanding students of this relatively new and important School of Music should be known to our members, who, we hope, will take advantage of the opportunity of hearing these young people. Please forward the perforated slip as soon as possible.

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All Conc 10th October 1966. Quartet in D n Quartet in A f Quartet No. 2 14th November 196 Quintet in A m Quartet No. 1 Quintet in B m with 6th December 1966. 9th January 1967. MAU Sonata in D maior Sonata No. 2 in Unaccompanied Ningun Rhapsody No. 13th February 1967 Sonata in A m Sonata Suite: Pour le Thirty-two Vai 6th March 1967. Quartet in D n Quartet No. 6 Quartet in C m (Progi MEMBERS ONLY) Season tickets. To the Hon. Treasurer, National Provincial Bank, King Street, Huddersfield I enclose £ in payment for FORM (for the use of PRESENT REMITTANCE Name. Address. APPLICATION FORM (for the use of NEW MEMBERS ONLY) To the Hon. Secretary, 3a Vernon Avenue, Huddersfield Please send me Name. Address. Season tickets for which I enclose £ (BLOCK LETTERS PLEASE) Cheques should be made payable to "The Huddersfield Music Society"

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All Concerts on Monday Evenings at 7-30 10th October 1966. PROGRAMME Quartet in D major Op. 64 No. 5.. Quartet in A flat Op. 105 Quartet No. 2 (Secret Letters) THE JANACEK STRING QUARTET 14th November 1966. THE GABRIELI STRING QUARTET with KEITH PUDDY (Clarinet) Mozart Quintet in A major K. 581 .... Quartet No. 1 in C major Op. 49 ......... Shostakovitch Quintet in B minor Op. 115 Brahms 13th February 1967. Vin th December 1966. CONCERT BY STUDENTS FROM THE MUSIC DEPARTMENT OF THE HUDDERSFIELD COLLEGE OF 9th January 1967. MAUREEN SMITH & KEITH SWALLOW Sonata in D major Sonata No. 2 in A major Op. 100 Unaccompanied Sonata in G No. 1 Ningun Rhapsody No. 1 Sonata in A minor K. 310 ... Sonata Suite: Pour le Piano 6th March 1967. TECHNOLOGY. e Haydn Dvorak Janacek Thirty-two Variations in C minor Quartet in D minor Op. 76 No. 2 Quartet No. 6 ... Quartet in C major Op. 59 ..... Handel Brahms Bach Bloch Bartok ALLAN SCHILLER Mozart Malcolm Williamson Debussy Beethoven THE TATRAI STRING QUARTET (Programmes subject to amendment) Haydn Bartok Beethoven Season ticket Single ticket 1st and 6th Concerts 12/6 2nd, 4th and 5th Concerts 10/6 3rd Concert 40/0 5/0 Student's ticket 3/6 (for 3rd Concert) ... 2/6 (Bona-fide Students under 21) Students' season tickets are not issued. .... With the exception of Students' tickets, all tickets can be obtained from Messrs. J. Wood and Sons, 67 New Street, Huddersfield All tickets are on sale at the door. Tickets are enclosed here- with to all previous members. If they are not required they should be returned to the Hon. Sec- retary not later than September 26th, after which date no returned tickets can be accepted.

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08-X 38 agninsya yabnom no chap THE HUDDERSFIELD MUSIC SOCIETY (Founded as The Huddersfield Music Club by Dr. Eaglefield Hull in 1918) President Vice-President ... T2 Yeau Honorary Vice-Presidents : Mrs. EAGLEFIELD HULL STANLEY G. WATSON, Esq. BENJAMIN BRITTEN, O.M.,C.H. F. ROWCLIFFE. Hon Secretary: Miss C. ALISON SHAW, 3a Vernon Avenue. Tel. Hudd. 27470. T2 YA TA HT 10 TAMTHA Hon. Treasurer: N. T. ATKINSON S. H. CROWTHER DAVID DUGDALE P. G. C. FORBES, M.A., A.R.C.O Mrs. E. GLENDINNING Miss I. BRATMAN Mrs. S. H. CROWTHER Mrs. N. CULLEY Mrs. F. A. DAWSON Miss K. EVANS F. W. PHILIPS, National Provincial Bank, King Street. Executive Committee: E. GLENDINNING Miss Z. E. HULL Dr. C. JONES P. L. MICHELSON S. ROTHERY 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 Miss C. A. SHAW Mrs. J. SHIRES Miss W. TOWNSEND Hon. Secretary: Mrs. E. GLENDINNING Hon. Treasurer: Mrs. S. G. WATSON (insmbnome of toidua zotum

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THE HUDDERSFIELD MUSIC SOCIETY ***** ** ****** Forty-ninth Season 1966-67 Mayor's Reception Room, Town Hall, Monday October 10th. 1966 ****** THE JANACEK STRING Jiri Travnicek (Violin) Jiri Kratochvil (Viola) *** Programmo I Quartet in D major Op.64 No. 5 **** QUARTET Adolf Sykora (Violin) Karol Krafka (Collo) Haydn (1732-1809) Allegro moderato Adagio cantabilo Minuet and Trio Presto (Last performed in 1963 by the Weiner String Quartet) In 1789 the siz quartets of Opp.54 and 55 were published and were followed the next year by the six quartets of Op.64. All twolvo quartets were dedicated to Johann Tost. Tost was a violinist who married a rich wife and became a respected cloth morchant; it is possible that was the samo Tost who was a mombor of the Esterhazy orchestra from 1783 to 1789. All twelvo quartots are closely interrelated, though, in fact, the quartets of Op.64 really belong to Haydn's last poriod of composition. A characteristic they all share in common is the frequent use of one single subject upon which the whole movement is based. They are full, too, of delightful little surprises and all have a brilliant and prominent part for the first violin. The "Lark Quartet" gets its name from the beautiful soaring melody for the first violin with which the first movement opens; and the moment when it returns at the beginning of the recapitulation brings all the delight of fulfilled expectation. But the rich now expansion of the second subject which follows is a wholly unexpected

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20 development, and its climax is succeeded by the most surprising stroke of all, as the first subject sails calmly in once more and starts a brand-new, and this closely condensed, recapitulation. The effect of spontaneity and spaciousness combined with close u ity thus achieved is unique; wrote another movement like it". (R. Hughes). is one of the movements which betrays the fact that Haydn used so frequently to compose at the piano. The Finale is a brilliant perpetuum mobile in which the flying semiquavers turn suddenly into a fugato, a device much loved by Haydn. Haydn never The adagio cantabile The last two quartets of Op. 64 "are a fitting crown to the "high summer phase of Haydn's croative life, for they not only represont his strength of form at its most freo, spontaneous and creative, but also stand out above the others with a certain heightoned radiance of sheer melodic loveliness" (R. Hughos) II Dvorak (1841-1904) Adagio ma non troppo - Allegro appassionato Molto vivace Lento e molto cantabile Allegro non tanto (Last performed in 1963 by tho Vlach String Quartet) Dvorak and Smetana were together the creators of the school of modern Czech music. Sourek writes of Dvorak: "He was one of those great creative artists who live, feel and think in music. Music was his life-blocd, his whole inner existence; and only in music could he fully express himself. Thus he created spontaneously, without profound and systematic reflection. He was at his bost in absolute music, unburdened by any programme and, above all, in chamber music. This branch yielded some of the finest blossoms of his art, flowering in beauty and characteristic fragrance. In absolute music Dvorak's fancy broke out in fresh melodic ideas, in wonderfully coloured harmony and elemental rhythms. Quartet in A flat Op.105 The Scherz are in a 1 3/4 time wa section, fo 2. Dvorak wrote in all thirty chamber music works, including five string quartets (five early quartets remain unpublished). This quartet Op.105 is the last (Op.106 was written earlier) and is dated 1895. Both were written after his roturn from America and one may perhaps read into them the joy of homecoming, with a mind refreshed and reinvigorated, introduction in A flat minor, sunny movement which follows: Quartet Op.105 opons with a slow a complete contrast to the idyllic and this movoment is in regular sonata form. feled

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abi er in 3. The Scherzo is one of Dvorak's finest. The first and last sections are in a lively style dorived from the Furiant (a Czoch dance in 3/4 time with a characteristic offect of cross-rhythms); the middle section, founded upon a gracious molody, lator dovelops into a two- part canon for the violins. The romantic slow movomont, beginning with a theme of folk-song character, becomes ever richer and warmer; after an agitated middle section, this theme returns, gracefully decorated with violin figurations, and pursues a lengthy course, full of delightful and unexpected touches. The Finale, is a free sonata form, is an expression of pure joy, rising, after a wealth of expressive detail, to a final climax of rapture. Intorval of fifteen minutes. Quartet No. 2 "Socrot Letters" Janacek (1854-1928) Andante con moto - Allegro Adagio Vivace Moderato Allogro Adagio - Allegro Andante - Adagio (Last performed in 1961 by the Janacok String. Quartot) Leos Janacek was born at Hukvaldy (North Moravia), the seventh child of a poor family. His father and grandfather were both village schoolmasters of the class from which so much of the musical culture of Bohomia has sprung. He became a chorister in the Community of the Austin Friars in Brno, where he worked under Krizkovsky, a precursor of Smotana and a writor of highly dramatic choral music. Lator Janacek attended an organ school in Prague but his poverty was such that it was not until he was 25 that he was able to continue his musical training at Leipzig Conservatoire. Thore he studied conducting and theory under Reinecke and made one public appearance as a pianist. He then went to Vienna with a view to becoming a piano virtuoso but he was forced to return to Brno in 1881. Thore he was active as a teacher, as well as organising concorts which brought the finest music within the roach of all, and ho bogen his rescarchos into folk-music from which his own characteristic style was largely evolved. Janacok's choral music and operas are perhaps his most characteristic works. In many respocts he is a unique figure in musical history. Although old in years Janacek wrote with the vigour of youth and was entirely modern in stylo. Among his distinguishing qualities are formal precision and tersonoss of expression (as instanced in his abrupt closos) purity of tono- colour, each instrument boing treated as a human voice without

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4。 dependence upon the normal harmonic schome; boldness and varioty of rhythm, the result of a strong natural instinct strongthonod by a lifelong study and careful record of the cadences of the human voice, animal sounds and nature; fondness for Slavonic folk songs and dancos; and, finally, a trick of harping on one short reiterated motif. These things bring him into line with most advanced schools, in spite of the fact that he never became atonal" (Max Brod) Janacek wrote relatively little pure instrumental music. Ho did, however, write two string quartets and a violin sonata; all are works of extremo originality. Both quartets are really programme music, and the second, following Smetana's example, is autobiographical. This second quartet was Janacok's last work, completed only a few months before his death. It was inspired by his love for a young woman, Kamila Stossl, and was entitled in the manuscript "Love Letters". The composer later changed this title to discourago vulgar curiosity about his inmost foclings, and in the final version the viola was substitucd for the viola d'amore. This quartet has actually no connection with the classical quartet excopt that it contains 4 movements. Thoso do not conform to any ostablished pattorn or sequence, and all have amazingly. fluctuating tompi. But such is the shoor musical power of this work that it exists as pure music and needs no programme to make it intolligible to tho listonor. Tochnically this work roprosonts the extreme limits of Janacek's writing of abstract music. No definite koy can be establishod though, porhaps, the key of D flat is the most prominent. This, in Janacek's other works, is generally employed to suggest tendorness and love. In construction the general principle is the use of a theme which is repeated with different harmonic colourings and values. Throughout the work the most minute interpretive directions are given to the players. The first movement describes the meeting with the loved one; the second movement pictures an idyllic summer spent in the country, The third movement, is, in general, gay and is, in fact, difficult to understand in the light of the programme. The final movement, in the form of a kind of rondo, gives the impression of the fulfilment of their love. THE JANACEK STRING QUARTET was formed in 1947 by pupils of Professor Czerny's chambor music class at the Conservatoire of Music in Brno (Moravia). The youthful quartet could look back on much notoworthy musical activity when its members graduated from the Conservatoire and became leaders of their respective string ections in continuing t Janacek, the abroad took

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no .C € nod ariety sections in th continuing the Janacek, the g abroad took pl in more than 4 play all the w a rare unison Mayor's Roco November 14th. December 5th. January 9th. February 13th. March 6th. To all our Members: and particularly to our Now Members THE HUDDERSFIELD MUSIC SOCIETY **** ********* We hope that you have enjoyed the first concert of a Season of fine music, finely performed. Will you please tell all your friends about this Society. Season tickets for the remaining five concerts (35/-) may be obtained from Messrs. Woods, 67, New Street, or at the door. MAUREEN SMITH and KEITH SWALLOW (Violin & Piano) ALLAN SCHILLER (Piano) TATRAI STRING QUARTET. Season tickets for the romaining 5 Concerts 35/- single tickets (for the NEXT CONCERT) 10/6d. from Woods, 67, Now Street, or at the door. *** Town Hall, Huddersfield ****** *** ***** THE AMADEUS STRING QUARTET May 8th. 1967 Presented by Granada Television Mombers of this Society have priority of booking. Tickets 10/- 7/6d. and 5/-

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little na aroful record of the cadences of the a strong natural instinct strengthonod unic schome; boldness and variety f the fact that he never ese things bring him into line wi 1, finally, a trick of harping on ono s and naturo; fondness for Slavonic 5. sections in the Brno State Philharmonic Orchestra while continuing their work as a Quartet. They chose the name of Janacek, the greatest Moravian composer. Their first tours abroad took place in 1949 and 1951; since then they have played in more than 40 countries in all 5 continents. The Quartot play all the works in its repertoire by heart and thus achieve a rare unison and a direct contact with the audience. December 5th. THE ****** Mayor's Reception Room, Town Hall. Monday Evenings at 7-30 November 14th. THE GABRIELI STRING QUARTET with KEITH PUDDY (Clarinot) January 9th. February 13th, March 6th. HUDDERSFIELD MUSIC SOCIETY **** ********** ***** Quintot in A major K.581 Quartot No. 1 in C major Op.49 Quintet in B minor Op.115 Brahms CONCERT BY STUDENTS FROM THE DEPT. OF MUSIC COLLEGE OF TECHNOLOGY. *** MAUREEN SMITH and KEITH SWALLOW (Violin & Piano) ALLAN SCHILLER (Piano) TATRAI STRING QUARTET, Season tickets for the remaining 5 Concerts 35/- single tickets (for the NEXT CONCERT) 10/6d. from Woods, 67, Now Street, or at the door. Mozart **** Town Hall, Huddersfield Shostakovitch *** THE AMADEUS STRING QUARTET May 8th. 1967 Presented by Granada Television Members of this Society have priority of booking. Tickets 10/- 7/6d. and 5/-

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-6. THE HALIFAX PHILHARMONIC SOCIETY **** **************** Lecture Hall of the Halifax Litorary and Philosophical Society, Harrison Road. Friday, Nov. 11² The Gabrieli Strių Juanier with Keith Puddy Friday December 9th. at 7-30 p.m. MICHAEL ROLL (Piano) Fantasia in D minor K.397 Italian Concerto Sonata in F minor Op.57 Works by Chopin and others to be arrangod. St. Patrick's Hall Single tickets 8/6d. from David Dugdalo Esq., 96 Willowfield Road, Halifax and at the door. THE HUDDERSFIELD THESPIANS *** 7-30 p.m. MARY, MARY. A Comody by Joan Korr. Mozart Bach Chopin ** October 10th. tp 15th. Tickots 5/ and 2/6d. (on Monday nights only, unreservod seats 2/- Old Ago Ponsioners 1/-) from Woods, 67, Now Stroct.

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THE HUDDERSFIELD MUSIC SOCIETY ***** **** Forty-ninth Season 1966-67 Mayor's Reception Room, Town Hall Monday November 14th. 1966 **** ********* THE GABRIELI STRING QUARTET ***: (Violin) Kenneth Sillito Claire Simpson (Violin) Quintot in A major K.581 KEITH PUDDY **** **** (Clarinet) Ian Jewel Keith Harvey Programmo I Allegro Larghetto (Viola) (Collo) Mozart (1756-1791) Minuet and Trios 1 and 2 Allegretto con variazioni (First performance at these Concerts) The clarinet, at once an instrument both of melody and accompaniment, is the wind instrument most used in chamber music, largely because of its beautiful tone, its wide compass, its agility, its power of expression and its capacity to blend with strings. At the time of Bach and Handel the clarinet was not then sufficiently developed in its construction and it does not, therefore, share in the use to which those masters put the flute and the oboo. Stamitz (1717-1757) was the first to write a quartet for clarinet and strings, but it was Mozart who first gave to this instrument the commanding position which it now holds among the wind instruments. Mozart used it in a Trio, a Concerto and in this Quintet for clarinet and string quartet, a work which for all time stands as a suprome model. This Quintet, which contains some of Mozart's most serene and lovely music, was written in 1789 and therefore belongs to the last Vienna period. Mozart himself called it the "Stadler Quintet". Stadler was a fine clarinettist, a fellow Mason and an old friond, and yet a thoroughly dospicable character, who sponged on, and stolo

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2. from Mozart without compunction and, when discovered, was forgivon by Mozart time and again. There is no doubt that Mozart owed much of his understanding of the techniquo and possibilitios of tho clarinet to the playing of Stadler. Here is chamber work of the finest kind, even though the clarinet predominates as primus inter pares and is treated as if Mozart were the first to discovor its charm, its soft, sweet breath, its clear depths, its agility" (Einstein). While the clarinet blends perfectly with the strings, Mozart, in his wisdom, used it rather as a contrasting solo voice, giving full play to its wide compass and its variety of expression. The first movement is in a kind of extended sonata form. It opens with a bold theme for strings to which the clarinet replies with rising arpoggios. The second theme, of "an almost morbid beauty", played by the clarinet, is cantabile and delicately adorned with chromatic colouring. Another theme occurs in the coda which is given so much importance in the development that it ranks as a third theme. The larghetto is one long scng for the clarinet broken only in the middle by a dialogue between the clarinet and the first violin. In this movement "the instruments sing for our enchantment as they rarely do even in Mozart's music" (Hussey). The Minuet approachos the scherzo in Beethoven's sense. It is extended by having two trios, the first, for strings alone; in the second, resembling a Lander, the clarinet returns to its early rustic role. The Finale is a theme with four variations and a lengthy coda. The theme itself is naive and childlike and bears a slight resemblance to the opening theme, and indeed, in the course of the variations there seems to be references to the earlier movements. Although the simplicity of the theme is never lost, Mozart develops from it a movement which reveals the full extont of his genius. The coda starts with an adagio section in which the clarinet and the violin again converse; an allegro, based on the main thome, onds the Quintet. Quartet No. 1 in C major Op.49 II Moderato Moderato Allegro molto Allogro Shostakovich (b.1906) (First performace at these Concerts) Dimitri Shostakovich was born in St. Petersburg. He entered the Conservatoire there in 1919 and studied with Glazunov and Steinbor of music. Soviet au OᏘᏘᎾ,, s$q to the

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the much given 30 Steinborg. Ho left in 1925, having already writton a large amount of music. Two of his operas brought him into conflict with the Soviet authorities (in 1930 and 1935). In each case he acknowledged his "orror" and endeavoured to make his music conform more closely to the then rigid official tastes. A prolific composer, Shostakovich is perhaps best known, in England as a writer of symphonies of which he has produced 10. But he has also given much attention to chamber music and has shown an equal understanding and mastery of that form of art. His output includes a number of string quartots, a piano trio, an outstanding piano quintot, a string octet and a Sonata for cello and piano. He was, however, fairly late in his career in writing for string quartot, this first quartet dating from 1938 and, therefore, written between the 5th. and 6th. Symphonies. The second Less emotionally intense than the orchestral works. "the Quartet No. 1 reveals Shostakovich in one of his happiest moods. Few other works have such a wealth of lyrical serenity. Incidentally, the source of his inspiration may be found in Mozart a fact which becomes abundantly clear later, from the finale of the Piano Quintet. The first movement (Moderato) proceeds at a quiet, unhurried pace, and its whole rhythm and character are those of a song. movemont (similarly marked Moderato) is in a wholly different temper, with a strong tendency toward sadness. It is written in the form of set of variations, and the main theme, which is stated first by the viola, is reminiscent of a traditional Russian lamont. The third movement (Allegro molto) is a foathor light schorzo, with some exquisite polyphonic scoring. The finalo re-establishes the unruffled serenity of the opening movement. The score as a whole shows harmony and balance, the contrasts are well-defined but not too harsh, while the economy of technique and the sparing use of expressive means belong to the realm of chamber music par excellence". (I.I. Martinov) Interval of fifteen minutes III Quintot in B minor Op. 115. Brahms (1833-1897) Allogro Adagio Andantino Presto non assai Con moto (Last perferved. in 1932 by the Hirsch String Quarter & Harry Mortimer) Just as the Mozart Quintet owed much to the playing of Stadler so the Brahms Quintet was inspired by the playing of Muhlfeld. He

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Ho was a great clarinettist, a member of the Meiningen Orchestra under von Bulow and a friend of Brahms. His beautiful playing awakened Brahms's love for the instrument and he wrote for Muhfeld the two Sonatas, the Trio and the Quintet. All are works of Brahms's later years. The Quintet, a pearl among Brahms's chamber music, dates from 1891 and its success was immediato. Although Brahms was then no longer young, the work has an originality, inspiration and power perhaps greater than he had earlier shown and possibly the only things that reveal his age are the deep pathos and feeling it contains. The first movement, in sonata form, is sombre. It opens with a four-bar theme of indeterminate tonality thirds and sixths revolving round the dominant and mediant and completed by a melodic fall out of which the whole movement grows. The second subject, almost a barcarolle, is played by the clarinet and tho violin in octaves. A gentle coda ends the movement. The Adagio is perhaps the finest movement of the whole work. In binary form is quito regular but it is unlike anything else in classical music. It has been called a sunset dream of the Puszta; its Hungarian origin is undoubtod. The clarinet plays a pastoral melody supported by the strings which are muted throughout. The middle section is wildly rhapsodical with the clarinot, accompanied by quivering strings, playing fantastic arabosques which are clearly based on the theme of the first movement. The Andantino is original in form. It opens with two smooth themes; after a close a transformation of these thomes into a rapid tempo and pianissimo in tone, form the first part of a binary movement, with a contrasting second subject in syncopated rhythm. It has a complete recapitulation. A vigorous coda follows but the end is quiet, The Finale is based upon a theme of apparent simplicity with five variations of a rondo-like character. A coda derived from the opening theme of the work completes the work, thus ending in the same mood of pathos with which it began. *** ** *** THE GABRIELI STRING QUARTET was founded in 1965 by four young but experienced chamber musicians, taking their names from the established ensemble in which the leader and the cellist Kenn Chamber C professic member of play. Already this quartet promises to become one of this country's outstanding string quartets; all its members are dedicated chamber musicians. All, too, have distinguished themselves as solcists.

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feld 5. Kenneth Sillito is known as the co-leader of the English Chamber Orchestra. Claire Simpson comes from a family of professional musicians in Australia. Ian Jewel, the youngest member of the group, has won many prizes for viola and chamber music. Keith Harvey, principal cellist of the English Chamber Orchestra, relinquished his post as principal cellist of the London Philharmonic Orchestra in order to devote himself to chamber music, Keith Puddy is a member of the Gabrieli Ensemble (founded in 1963 was until recently principal clarinet of the Halle Orchestra. THE HUDDERSFIELD MUSIC SOCIETY ***** *** ***** Mayor's Reception Room, Town Hall. Monday Evenings at 7-30 December 5th. CONCERT BY STUDENTS FROM THE DEPARTMENT OF MUSIC COLLEGE OF TECHNOLOGY. ** The programme will include songs, a group of madrigals brass and horn quartets, piano and oboe solos. The Committee invite the support of all our members for these gifted young students who, we hope, will be the artists of the future. Town Hall January 9th. MAUREEN SMITH and KEITH SWALLOW (Violin and Piano) February 13th. ALLAN SCHILLER (Piano) March 6th. THE TATRAI STRING QUARTET. Single tickets for the NEXT concert 5/- from Woods, 67, Now Street, and at the door. *** THE AMADEUS STRING QUARTET *** May 8th. 1967. Presented by Granada Television. Members of the Society have priority of booking. Tickets 10/- 7/6d. and 5/0d. Vouchers (to obtain priority booking, number tickets unlimited) will be sent to all members in due course.

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6. THE HALIFAX PHILHARMONIC CLUB Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road, Friday December 9th, at 7-30 p.m. MICHEL ROLL (Piano) Fantasia in D minor K.397 Italian Concerto Sonata in F minor Op.57 Works by Chopin and others to be arranged. St. Patrick's Hall Single tickets 8/6d. from David Dugdale Esq., 96, Willowfield Road, Halifax, and at the door. ** *** THE HUDDERSFIELD THESPIANS 7-30 p.m. Mozart Bach Chopin November 21st. to 26th MARIA MARTEN or THE MURDER IN THE RED BARN Tickets 5/- (reserved) and 2/6 (unreserved) (on Monday nights only unreserved seats 2/- Old Age Pensioners 1/-) from Woods, 67 New Streot.

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THE HUDDERSFIELD MUSIC SOCIETY ******* ***** **** ******** Sonata in E flat for Flute and Piano Paulino Frampton Ronald Nowton Mayor's Reception Room, Town Hall Monday December 5th. 1966 at 7.30 p.m. Programme Down by the Sally Gardons The Plough Boy Three Romances for Oboe and Piano Op. 94 Two Kujawiaks David Fieldsend Eileen Bass Nicht Schnell; Einfach, innig: Nicht schnell Lady, when I behold Lullaby, my sweet little baby Bist du bei mir Glynn Butler Harold Truscott The Madrigal Group Tell me, lovely shepherd Alan Stark Interval of fifteen minutes ** By thy banks, gentle Stour Patricia Thickitt Beryl Johnson Judith Lockwood At the piano: Eileen Bass Divertimento for Brass Quartet و له بله ما : Fanfare Aria Scherzo Donald Jones, John Pickles (Trumpets) Terry Cregan (Horn) Trevor Thristan (Trombone) Bach arr. Benjamin Britten arr. Benjamin Britten Schumann Wilbye Byrd N. Kruszynski Boyce arr. E. Poston Boyce arr. E. Poston Bach Geoffrey Burgon

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THE HUDDERSFIELD MUSIC SOCIETY ******* ***** Mayor's Reception Room, Town Hall. January 9th. *** Town Hall Sonata in D major Sonata No. 2 in A major Op.100 Unaccompanied Sonata for Violin in G minor Ningun Rhapsody No. 1 MAUREEN SMITH and KEITH SWALLOW. Violin and Piano Recital St. Patrick's Hall Single tickets 10/6 from Woods, 67 New Street and at the door. *** ****** THE AMADEUS STRING QUARTET Presented by Granada Television. Monday Evenings at 7.30 Members of the Society have priority of booking. Tickets 10/-, 7/6d, 5/0d. Vouchers (to obtain priority booking) will be sent to all members in due course. THE HALIFAX PHILHARMONIC CLUB ***** ****************** ******* MICHAEL ROLL Piano Recital Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road. Friday, December 9th. at 7.30 THE HUDDERSFIELD THESPIANS ***** **** Handel Brahms Fantasia in D minor K.397 Italian Concerto Sonata in F minor Op. 57 Works by Chopin and others to be arranged. Single tickets 8/6 from David Dugdale Esq., 96 Willowfield Road, Halifax and at the door. 7.30 p.m. Bach Bloch Bartok May 8th. 1967. **** HEDDA GABLER by Henrik Ibsen Mozart Bach Chopin January 23rd. to 28th. Tickets 5/- (reserved) and 2/6 (unreserved) (on Monday night only, unreserved seats 2/0d. Old Age Ponsionors 1/-) from Woods, 67, New Stroot.

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THE HUDDERSFIELD MUSIC SOCIETY =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ Forty-ninth Season 1966-67 Mayor's Reception Room, Town Hall Monday January 9th 1967 =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+= MAUREEN SMITH and KEITH SWALLOW Violin and Piano Recital =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+= Sonata in D major Programme I 2 Handel (1685-1759) Adagio Allegro Lorghetto Allegro (Last performed in 1923 by Bessie Rawlins and Harriet Cohen) Handel's reputation as a writer of choral music and operas is so vast and overwhelming that it is easy to forget the mass of chamber music which he left behind him. Forty six solo and trio sonatas are published in the Handel-Gesellschaft and there are still others. These are miniature works compared with his great masterpieces but, in their way, they are no less perfect. Except for the viola da gamba sonata, all are composed with a plain continuo bass from which the keyboard performer filled in the appropriate harmonic accompaniment. This collection includes six sonatas for violin and piano. In his youth Handel played as a violinist in the orchestra of the opera in Hamburg, and in his music he shows his complete understanding of violin technique. All these works are based upon a four-movement plan, the fast and the slow movements alternating. This was the pattern of the sonata da chiesa, established by Corelli in the late 17th. century. The first

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-2- movement is usually prelude-like; the second more fugal in style; the third, lyrical and sometimes acting as a mere link between the other movements (The third movement of the Sonata in D is one of Handel's finest); the fourth, dance-like and animated. Sonata in D major Op.12 No.1 II Beethoven (1770-1827) Allegro con brio Tema con Variazioni Rondo. Allegro Beethoven wrote 10 sonatas for violin and piano and 5 for cello and piano. The three Sonatas of Op.12 were written in rapid succession in 1797 immediately before the composition of the Pathetique Sonata, and were dedicated to Salieri, a composer Viene se in origin, the friend of Haydn, the rival of Mozart and a man whom Beethoven admired and of whom he even called himself the pupil. These duo sonatas span a great part of Beethoven's life and clearly show his creative development. All are, however, essentially concert pieces, and their aim is largely to show the virtuosity of the performers, particularly that of the pianist. The sonatas of Op.12 show no revolutionary tendencies; they follow in direct succession from the duo sonatas of Mozart, though the demands upon the performers are greater. They are fresh, tuneful and inventive and are easy to follow. Sonata No.1 has three movements. The first is vigorous and in regular sonata form. The second movement consists of a theme with five variations; here Beethoven shows a power of expression which marks the movement with his own unmistakable genius, The Finale is a rondo; here again the growing power of Beethoven is clearly apparent. Sonata in unaccomp

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ce 1 in Sonata in G minor for unaccompanied Violin Adagio Fugue -3- Bo III - Sicilano Presto (Last performed in 1938 by Simon Goldberg) In the age of Bach the term "sonata" had not the same meaning which it now possesses. It was still closely linked with the older suite - a collection of dance music though already composers were gradually feeling their way toward the essential nature of the sonata. Bach wrote three "sonatas" and three partites for solo violin; these are usually loosely called six sonatas though the correct arrangement is that each sonata should be followed by a partita. These six sonatas were written in rapid sucession during the "Coethen period" (1717-1723). Just as the organ works belong to the Weimar period and the choral works to the Leipzig period, so the chamber music and clavier works belong largely to this Coethen period. There Bach's sole responsibility was to conduct the Court Capella. Bach himself was an accomplished violinist fully aware of the capabilities of that instrument. It must be remembered that the old bow, with its arched shape and the looser tension of the hairs, made possible a perfection of polyphonic passages and chords which can never be produced to the same extent by the modern bow. Sonata in A major Op.100 Bach (1685-1750) Schweitzer wrote of these works: "We hardly know what to admire most the richness of the invention or the daring of the polyphony that is given to the violin. The more we read, hear and play them, the greater our astonishment becomes." Interval of fifteen minutes. IV Brahms (1833-1897) Adagio amabile Andante tranquillo-Vivace. Allegretto gracioso (quasi Andante) (Last performed in 1959 by Erich Gruenberg and Peter Wallfish)

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-4- This Sonata, together with the cello Sonata Op.99 and the Trio in C major, were all written during a summer holiday of six weeks spent in 1887 at Thun. The 24 works which comprise the chamber music of Brahms probably only represent a quarter of his compositions in this form. Throughout his life and particularly during his last illness, he was at pains ruthlessly to destroy uncompleted or unpublished works. Thus we are left with three sonatas only for violin and piano; this, the second, being, it is known, actually the sixth. These three works of 1887 are, says Tovey, "the tersest of all Brahms's works, the only passage which takes up any room on paper being the "cloud-capped tower" opening of the coda of the A major violin sonata" In spite of this compression, this sonata is full of Brahms's warm and flowing melodies, here often refined to a high degree of delicacy and tenderness. It has sometimes been called the "Meistersinger Sonata" on account of a resemblance between the first three notes of the opening theme and the Preislied. Curiously, the second theme of this movement recalls a theme from one of Brahms's songs, and the scherzo of the second movement has a quotation from Grieg. The first movement is in sonata form with an extended and beautiful coda. The second movement alternates between an andante and a scherzo, the andante theme having a different continuation at each of its appearances. The finale, with so much of the violin part sung in its low register, is a rondo "deeply thoughtful in tone and so terse that a description of its form would convey the impression of a movement three times as long" (Tovey). Of this movement Langford wrote: "The deep and dark subject of the last movement is of a rare beauty, and it has in its darkness the rich glow of some deep empurpled cloud." V Bartok (1881-1945) Rhapsody No.1 Lassu Friss This, the first of two Rhapsodies, was composed by Bartok in 1928. It therefore lies midway between the composition of the third and fourth string quartets. "It was o revision Czardas a u wie dedic Sud

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ES and -5- It was originally written for violin and orchestra but the revision was made by Bartok himself. It follows the regular Czardas dance pattern a slow movement followed by a fast one. It is based prtly on Rumanian instrumental folk- music and, like the second Rhapsody, it is relatively simple though, at the same time, florid and owes much to the gipsy style of music. MAUREEN SMITH was born in Leeds in 1946 and commenced violin lessons with her mother - Eta Cohen at the age of 5. She went to the Royal Manchester College of Music when she was 12 where she studied with Endre Wolf and later with Gyorgy Pauk. She played at her first London concert in 1950 with the National Youth Orchestra under Sir Malcolm Sargent and has toured with them in Poland and Switzerland. She has also played in Israel and Greece as joint so loist with her younger sister, Hazel, In 1965 she won the first prize in the B.B.C. competition for British and Commonwealth violinists. She has appeared with most of the leading orchestras; she has also broadcast and appeared on Television. Last year she made her debut at the Promenade Concerts. KEITH SWALLOW won a West Riding Scholarship at the age of 16 and went to study at the Royal Manchester College of Music under Claud Biggs. There he was awarded prizes and diplomas; he also holds the degree of Master in Music of the Royal College of Music. He has given recitals and concerts in London and the provinces and in Germany with great success and has played concertos with many leading orchestras. has done much work with the B.B.C. and has established a fine reputation not only as a soloist but also as an ensemble player and accompanist. THE HUDDERSFIELD MUSIC SOCIETY Mayor's Reception Room, Town Hall February 13th, ALLAN SCHILLER Sonata in A minor K.310 Sonata Suite: Pour le Piano Thirty-two Variations in C. Minor Monday Evenings at 7.30 Piano Recital Mozart Malcolm Williamson Debussy Beethoven

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6. March 6th. THE TATRAI STRING QUARTET Single tickets for the next concert 10/6 from Woods, 67 New Street and at the door. THE HALIFAX PHILHARMONIC CLUB Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road. Saturday January 21st at 7.30 p.m. THE AEOLIAN STRING QUARTET Quartet in C major Op. 2 No. 2 Quartet No. 6 Op. 26 Quartet in E flat major Op. 127 Single tickets 8/6 from David Dugdale Esq., 96 Willowfield Road, Halifax or at the door. THE HUDDERSFIELD THE SPIANS St. Patrick's Hall 7.30 p.m. HEDDA GABLER Haydn Lutyens Beethoven by Henrik Ibsen January 23rd. to 28th. Tickets 5/- (reserved) and 2/6 (unreserved) (on Monday night only unreserved seats 2/- Old Age Pensioners 1/) from Woods, 67 New Street,

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THE HUDDERSFIELD MUSIC SOCIETY ***** Forty-ninth Season 1966/67 Mayor's Reception Room, Town Hall ***: Monday February 13th. 1967 **** **** Sonata in A minor K.310 ALLAN SCHILLER Piano Rocital **** Programmo I **** ******* Mozart (1756-1791) Allegro maestoso Andante cantabile con espressione Prosto In 1778 Mozart wrote five piano sonatas in Paris. It was a tragic year for him. He and his mother had gone alone to Paris where he found little success and where his mother died. This Allegro Poco lento Allegro ma misurato sonata, the first of the five, is a work which reflects Mozart's mental anguish; this is confirmod by the choice of the key which, for Mozart, is the key of despair. It is the only sonata, excepting the Fantasia and Sonata, which he wrote in the minor mode. All three movements aro masterly, dramatically conceived and demanding a dramatic interpretation. This element of tragedy fills the first movement; the gloom is only slightly relieved by the appearance of the key of C at the and of the exposition section. The slow movement begins more consolingly but one cannot escape from a sensation of strange agitation. The same uncanny feeling persists throughout the shadowy presto, relieved only by a melody in the musette style. "No trace of "sociability is left in this sonata. It is a most personal expression; one may look in vain in all the other works of other composers of this period for anything similar". (Einstein). II Sonata Malcolm Williamson (b.1931)

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2. (First performed at these Concerts) The son 1957 and Schille Malcolm Williamson is a young Australian composer who has been active in this country for several years. He is quite astonishingly prolific and, for this reason alone, he has attracted more notice than most of his contemporics. There is, it seems, nothing to which he is unwilling to turn his hand and his work ranges from simple, jazz influenced hymm tunes to full-scale operas and orchestral works. The influences discernible in his music are equally wide- ranging and are not always absorbed into a fully personal style. The most recent of his five operas, "The Violins of Saint Jacques" contains echoes of Strauss, Puccini and evon Richard Rodgers. It is, however, a romarkable and sorious attempt to communicate with a large audience in that direct way which has eluded most operatic composers of this century. More successful, perhaps because moro modest, is Williamson's beautifully conceived children's opora "The Happy Prince based on a fairy story by Oscar Wilde. This shows the born operatic composer's sure instinct for character- isation and atmosphere. Williamson is only thirty-five and so there is hope that greater self-criticism and smoothness of technique will come with the years. It has not been possible to see the score of the piano sonata, but some knowledge of his other works leads one to expect that it will be direct, exuberant and, by the standards of the avant garde, old-fashioned. N.T. Atkinson. I laboured for a year and a half on my first piano sonata, since it was my first post-student piece, after an apprenticeship in which my music was coloured by many things from medieval techniques to Schoenberg's twelve-tone system. The Sonata is in F major and the shapes follow tradition. The first movement has three distinct ideas which are developed contrapuntally. The slow movement, in F sharp minor is perhaps moro anotionally evocative. It reaches from an extreme tranquility to a strident and rhythmically elaborate climax, then dios away in near-silence. The finale is explosive and fragmented, requiring an even greater virtuosity of the performer than the other movements. The shrapnel-like figurations are relieved by an interlude of running semiquavers which draw the movement and the work to its climax. A statement of the movement's principal theme ends the work. stlane toda

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le ork coms, attracted te ho has 3. The sonata was first performed by me at the Aldeburgh Festival in 1957 and is dedicated to my parents. Malcolm Williamson Allan Schiller. 67. of fifteen minutos III Suite "Pour le Piano Prelude Sarabande Toccata Debussy (1862-1918) Until almost the age of 40 Debussy produced few works for the piano, none of them showing his later and most characteristic style of piano writing. This is all the more strange as ho had already written songs which show his full development and had completed Pelleas. It was not until 1904 that the very individual, even revolutionary, piano works appeared. The Suite "Pour le Piano" (1901) stands between the two groups and upon the threshold of his finest piano works. Although drawing on For this sweis werk For this Suite Debussy turned toward the older suite; Athe three parts have no suggestive title and, as Cortot observed, are apparently inspired only by the rapid and clear pleasure of a play of sounds, or, as in the Sarabande, by the noble and peaceful gravity of an ancestral cadenee". Debussy intended the Prelude as "a demonstration of the suggestive power of virtuosity. A descriptive note appended to the Sarabande suggests that it is a painter's impression of atmosphere. The Toccata, as the name implies, is an example of pianistic virtuosity. IV Thirty-two Variations in C minor Beethoven (1770-1827) Beethoven used the variation form very frequently. For piano alone, and piano in conjunction with other instruments, he left 29 sets, some based on an original theme, others based on a theme of his own. Added to these, there is his use of the variation form in sonatas, quartots, trios and symphonies. It was a form well-suited to his type of genius, not only because of his extraordinary powers in the realm of thematic development but also because of the way in which he was able to present the essential core of his thought in different ways. It would be no exaggeration to say that Beethoven was the first and the greatest master of this form.

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40 The Thirty-Two Variations date from 1806. This was a vory fruitful year in Beethoven's life; in addition to the Variations he produced the piano Concerto in G, the violin Concerto in D; the fourth Symphony and the Leonora Overture No. 2.. There are throo main forms of variation; first, and weakest; with the theme preserved throughout with more changes of accompaniment above and bolow it; socond, to prosorve the harmonic basis and to change and adorn the melody; and third, a type peculiar to Boothoven, when everything is changed and yot the individual thome remains subtly prosent. Beethoven usod all three methods, the second being his favourite form. Thoso Variations bolong to the socond group, but so firmly and consistently does the bass appear, moving with the strong steps of a ground-bass, that they might almost be called a Chaconne; and, indeed, the theme (an original one) is itself in Chaconne time. A strong effect of continuity is given to the work by the way in which the variations are grouped into sets. The Twelfth variation is the first in the major mode and the four that follow it are variations upon that variation, the five together forming the major section of the work. The Coda really begins at variation 31. *** ***** ALLAN SCHILLER, born in 1943, bogan his studios with Fanny Waterman and played his first Mozart concerto at the age of 10 under the baton of Sir John Barbirolli. During his teens he played with many leading orchestras. He became the youngest soloist to win the Harriet Cohen International Commonwealth Award. At the age of 16 an award by the Munster Trust enabled him to continue his studies in London under Denis Matthews. Here he won the a admiration of many leading musicians. During a subsequent visit to Moscow with the National Youth Orchestra he won a place at the Moscow Conservatoire which he accepted and studied there for two and a half years under Professor Morzhanov. A letter from the Minister of Culture to the British Ambassador in Moscow described his final report as being the finest of any foreign student at the Conservatoire and equalling only the best of his own Soviet students. From Moscow Allan Schiller proceeded to Rome where he completed his studies under Maestro Guido Agosti. Mayor's Re S 179

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reakest; in D; ariations a very THE HUDDERSFIELD MUSIC SOCIETY ** *** *** Mayor's Reception Room, Town Hall March 6th. 5. Monday Evenings at 7.30 THE TATRAI STRING QUARTET Quartet in D minor Op. 76 No. 2 Quartet No. 6 Quartet in C major Op. 59 No. 3 St. Patrick's Hall Single tickets for this Concert 12/6 from Woods, 67 New Street and at the door. THE HALIFAX PHILHARMONIC CLUB *** **** *** Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road, Friday March 3rd. at 7.30 Quartot in E flat major K.428 Quartet No. 5 Quartet in E minor Op; 59 No. 2 THE TATRAI STRING QUARTET **** **** 7.30 p.m. MURDER MISTAKEN **** Haydn Bartok Beethoven Single tickets 8/6 from David Dugdale Esq., 96 Willowfiold Road Halifax and at the door. THE HUDDERSFIELD THESPIANS ***: *** Mozart Bartok Beethoven March 6th. to 11th. A thriller by Janet Groen Tickets 5/- (reserved) and 2/6(unreserved) (on Monday Nights only unreserved seats 2/- Old Age Pensioners 1/-)from Woods 67 New Street

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es 18

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THE HUDDERSFIELD MUSIC SOCIETY **: Forty-ninth Season 1966-67 Mayor's Reception Room, Town Hall Monday March 6th 1967. ** THE TATRAI STRING QUARTET **** Vilmos Tatrai (Violin) Mihaly Szues (Violin) Programme I Quartet in D minor Op.76 No. 2 ** **: Gyergy Konrad (Viola) Ede Banda (Cello) Haydn (1732-1809) Allegro Andante a piutosto allegro Minuet and Trio Vivace assai (First performance at these Concerts) Among the wealth of music that Haydn's genius poured cut, there are known to be 77 string quartets, 104 symphonies and 52 sonatas for the piano. In spite of this enormous number of compositions, practically all in scnata form, Haydn's inspiration never seems to falter; each work possesses its own individual charm to an amazing extent. The six quartets of Op.76 were written during the years 1797-8 and were dedicated to Count Erdody. They were Haydn's last quartets except for the two of Op.77. The quartets Op.76 were contemporary with 'The Creation' and Geiringer points out that the last movements of two of them are "based on the idea expressed in the immortal passage from minor to major at the words "Let there be light". Great though the preceeding quartets had been, Geiringer remarks that "if an appropriate motto be sought for this series (Op.76) the word Excelsior should be the first choice. Everything here is condensed and intensified, the expression more personal and direct". To quote Tovey: "The intellectual depths and freedom of the last 20 quartets are among the inexhaustible experiences of art; and Brahms's friends need never have been surprised to find him absorbed in the study of

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2. Wartok's c but this c and more the crow a Haydn quartet". This movement This quartet No. 2 has been called the Quinteten Quartett because of the theme (four notes forming two falling fifths) upon which the whole powerful first movement is based. "is perhaps the most superb feat of concentrated musical thought in all Haydn's quartets" (R. Hughes). The recapitulation section is much compressed to leave space for the fiery coda. This movement is followed by a charming, if less distinguished slow movement. Quartet No. 6 The Minuet is, says Tovey, the most imaginative minuet before Schubert. It points directly towards the Beethoven scherzo. The entire minuet is in canon, the two violins playing the melody in octaves while the viola and the cello, also in octaves, perform the imitation. The Trio has been called the Hexen-Trio (Witches- Trio), possibly because of the melodramatic whispering of the opening bars. The Finale shows Haydn in his most brilliant peasant-dance kind of writing; the syncopations give the music a an almost Hungarian style. It is said that while writing it, Haydn was disturbed by the braying of a donkey; perhaps we are really hearing an echo of the falling fifths of the first movement. II Bartok (1881-1945) Vivace Mesto. Mesto. Marcia Mesto, Burletto Mesto. (Last performed in 1961 by the Janacek String Quartet) John Culshaw remarks that Bartok's true development can be followed in his 6 string quartets. In date they range from 1908 to 1939. "Each quartet leads onwards to new ground or to the resolution of problems unsolved in previous works". The first quartet quartet shows Bartok's melodic and contrapuntal style without the later harshness and acidity; in the second we have the early Bartok in the first movement, while in the following movements the new harsh and astringent elements appear. The third and fourth quartets, particularly the latter, show Bartok at his most extreme; it is suggested that in these he explored the extreme limits of discord. "Their strange and disturbing idiom is far removed from the bounds of musical experience" (Culshaw). The fifth has a softening of expression allied to a growing economy of texture. But when the sixth was written, experiment had ended. The clash of compared 47

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ent upon Et 3. Bartok's counterpoint remains, as does the powerful rhythmic stress, but this quartet has a new lyric quality, a clearer texture, a warmer and more mellow feeling and a simplicity and serenity which makes it the crown of his chamber music. These quartets have often been compared with the quartets of Beethoven, and whether we like them or not, they are of supreme importance. Matyas Seiber writes: "In more than one respect we are reminded of Beethoven: Bartok, too, seems to express his most essential thoughts through the medium of the string quartet. Bartok's style in his quartets, just like Beethoven's, is particularly concentrated and intense, his ideas are most convincing and expressed with the utmost clarity and economy. I believe that for generations to come the string quartets of Bartok will be looked upon as the most outstanding and significant works of our time". The sixth quartet dates from 1939. In place of the "arch" structure Bartok now employs a motto theme which introduces the first three movements and becomes the basis of the finale. There is a return too to the classical four-movement form. All the devices of the earlier quartets are here - glissandi, improvisatory passages, dance rhythms, percussive rhythms, imitations and inversions, the use of fragments of the theme - but transformed into something new. The Quartet opens with the motto theme, a slow and beautifully shaped chromatic melody, a fusion of Magyar music and Bartok himself, lasting for 13 bars for the viola alone. It is "a kind of ritornello that in varied form precedes each movement and contains as well "germ" motives that are transformed in various ways in the course of the quartet. This melody, without tonal implications, is one of the most impressive examples of pure musical invention in twentieth-century music. Its beauty, its logic and its expressive power are the work of sheer genius and inspiration. It is inconceivable that any other hand than Bartok's could have written it". (E. Helm). After the motto comes a short introduction, partly in unison, which hints at the main theme and "recalls in spirit and technique a similar passage in Beethoven's Grosse Fuge". In the course of the movement the main theme undergoes remarkable modifications and developments. It is followed by a second theme, largely of Magyar inspiration; the material of the development section is derived exclusively from this material. A curtailed and varied recapitulation is followed by a coda. The general mood of this movement is vigorous and even gay. The second movement opens with the motto, this time given to the cello with a counter-melody for the first violin and a tremolo accompaniment for the other instruments. The March which follows is harsh and brutal. It has what corresponds to a trio section in which the cello has a high-pitched passionate melody, accompanied by agitated

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4₂ tremolos and strummed chords. This is followed by the return of the March in a greatly changed form. The movement is sad, bitter and grotesque. The Burletta (Lit.a boisterous scherzo) follows after yet another version of the motto. This, too is a harsh and bitter movement, perhaps even more tragic. Relief is given by a lyrical andantino in the centre, derived from the themes of the first movement. This gentle theme tries three times to break the savage mood of the coda. The last movement is tragic too, but in it the tragedy is uttered quietly and with tenderness and poignancy. The whole movement is derived from the motto - a deeply satisfying climax. "There is a sinister shudder in the tremolo chords, sul ponticello, on the last page, and after a last heartrending cry, the movement closes in darkness, on the dying motto" (Mosco Garner) Although there is no definite proof, some writers have been convinced that there is something of a programme even of autobiography in this quartet. in this quartet. The war in Europe had already broken out and we know that Bartok was soon to die, a disappointed lonely, disillusioned man. Interval of fifteen minutes first Beethoven Quartet in C major Op.59 No. 3 Beethoven (1770-1827) Introduzione. Allegro vivace Andante con moto quasi allegretto Menuetto Allegro molto (Last performed in 1957 by the Vegh String Quartet) This quartet, the third of the Rasoumovsky set, was written in 1806 and therefore belongs to Beethoven's second period. Langford once described Op.59 as being among Beethoven's most glorious and happy works. Bekker finds in all three quartets a central idea of triumph which gives rise to their monumental style. "It is an idea which strains the form of the string quartet to the uttermost, and the result is a series of works of a majesty and expressive power such as no one before Beethoven had dreamed of obtaining from four string instruments". The first movement is in sonata form. It has an introduction clean out of the tonic key but it leans gradually towards it. Two chords, much used in later sections, lead to the principal subject played by the first violin. This movement shows Beethoven in one of his happiest moods. The Andante is in a modified sonata form, though in mood and spirit it is lyrical; it has been called one of OU Jo no but with from the

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Ows and itter m of 5. che first romantic movements in music. In some earlier quartets Beethovon had begun to abandon the Minuot and Trio movement in favour of the Schorzo. Hore he returns to it for the last timo, but with a difference. This is a Menuetto grazioso, far romovod from the old, simple dance form. A coda of 6 bars leads directly into the last movomont - a longthy and massivo fuguo, which yot has some slight resemblance to sonata form. Of this movement Langford once wroto: The last movement is a movomont born of a single idoa, if over there was one. This singleness was one of Beethoven's great contributions to music. Beethoven whon ho found his full strongth, howed his music out of the block, Single, yet exhaustloss in rosource and power, his music in such movements as ho gives us hore, becomes vast and, in its sublime unity, like the soa". ***** ****花 **** THE TATRAI STRING QUARTET. Aftor many years of experience which they gainod as leading orchestral members, chambor musicians. and soloists, those four excoptional and mature artists camo together under the leadership of Vilmos Tatrai in 1946. Thoir rapid rise to fame is attributable not only to their talonts but also to thoir onormous capacity for work. In 1948 they gained the first prize in the International Bartok Competition, but it was not till 1957 that they began their most successful and repeated, tours abroad. They first came to England in 1960. Their success was so outstanding that they were invited back the following year for a large tour. They have been back overy year since then with ever increasing success. The leading Hungarian composer, Laszlo Lajtha writes: Without doubt the Tatrai Quartet will confirm the good name of the Hungarians in the art of interpretation in every concert hall in the world. and will rank with the leading Quartets". ***** **** THE HUDDERSFIELD MUSIC SOCIETY ****** GOLDEN JUBILEE SEASON 1967/68 The Committoo are in the process of concluding ongagomonts with artists of world-wide fame in order to make the Golden Jubileo Season ono worthy of this unique occasion and of the long and distinguished history of the Society. Those engago- ments, to be announced in due course, will include famous String Quartots, the Vienna Wind Quintot and a vory distinguished pianist.

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5. The Committee confidently axpoct the full support of all old and new members. COFFEE MORNING AND BRING AND BUY SALE *** Saturday April 8th. 10 a.m. to 12 p.m. Wentworth School, Grconhead Road, (by kind permission of Miss Evans) Cake Stall. Cloth Stall, Tickets 2/6 will be on sale during the interval, or may be obtained from Mrs. Glendinning, 2 Sunnybank Road, Edgerton. (Phone 22612) or from any mombers of the Ladios Committee. St. Patrick's Hall 1 White Elephant Stall. General Stall THE HUDDERSFIELD THESPIANS ****: March 6th, to 11th. MURDER MISTAKEN *** A thrillor by Janet Greon. 7.30 p.m. Tickets 5/- (rosorved) 2/6 (unresorved) from Woods, 67 Now Stroct.