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FIFTIETH SEASON
1967-1968
The
Huddersfield Music
Society
nor
Golden Jubilee Season
in the
MAYOR'S RECEPTION ROOM, TOWN HALL,
HUDDERSFIELD
The National Federation of Music Societies, to which this Society is affiliated,
gives support towards the cost of these Concerts with funds provided by the
Arts Council of Great Britain.
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This Season marks the Golden Jubilee of the Society. We have
an unbroken record of Concerts throughout the past 50 years, which,
it can be confidently asserted, equals, if it does not indeed surpass,
the record held by any other similar Society in the country and of
which we may be justly proud. Huddersfield has indeed been
fortunate in being able to hear such music performed by the finest
of the world's musicians. It is our hope that our Society will receive
the public support that it merits.
The Concerts arranged for the forthcoming Season are worthy,
the Committee considers, of such an auspicious occasion.
The VLACH STRING QUARTET from Czecho-Slovakia last
visited us in 1963, and the fine impression they then created will
be remembered by all who heard them.
The ZAGREB STRING QUARTET pay us their first visit.
They come from Jugo-Slavia with a great reputation which was
fully upheld when they last came to England in 1963.
STEPHEN BISHOP was born in the U.S.A. of Jugo-Slav
descent and is now domiciled in London, where at one time he was
a pupil of Dame Myra Hess. The return visit of this distinguished
artist-one of the finest and most musicianly of the pianists of today
-affords a unique opportunity of hearing the incomparable
"Diabelli Variations" of Beethoven, of whose works he is, perhaps,
one of the greatest of modern interpreters.
Much interest has been shown in recent years in wind
instrument Ensembles. The VIENNA WIND QUINTET come from
Vienna, where all the players are members of the famous orchestras
of that city.
The BENTHIEN STRING QUARTET from Hamburg came
to us in 1964. They, too, have a world-wide reputation and parti-
cularly excel in the interpretation of the great classical works.
Members will recall with pleasure the Concert given last
year by the STUDENTS OF THE SCHOOL OF MUSIC OF THE
COLLEGE OF TECHNOLOGY. Thanks to the kind co-operation
of Mr. Forbes, a further Concert will be given by them. It is one
of the aims of this Society not only to present outstanding Concerts
but also to further the cause of music in every way. We believe
that in this Concert one of our ideals is realised and we hope that
members will support and encourage these gifted young artists.
☆
The perforated slip should be returned as soon as possible.
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(Pr
REMITTANCE FORM (for the use of PRESENT MEMBERS ONLY)
To the Hon. Treasurer, National Provincial Bank, King Street, Huddersfield
I enclose £
in payment for
Season tickets.
Name.
Address.
APPLICATION FORM (for the use of NEW MEMBERS ONLY)
To the Hon. Secretary, 3a Vernon Avenue, Huddersfield
Please send me
Season tickets for which I enclose £
Name.
Address.
Cheques should be made payable to "The Huddersfield Music Society"
(BLOCK LETTERS PLEASE)
All Cor
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All Concerts on Monday Evenings at 7-30
October 9th, 1967.
Quartet No. 4
November 6th, 1967.
Quartet No. 2 ("Intimate Letters")
Quartet in C sharp minor Op. 131
December 18th, 1967.
PROGRAMME
January 29th, 1968.
THE VLACH STRING QUARTET
Isa Krejci
Janacek
Beethoven
Quartet in G minor Op. 74 No. 3
Lyrical Quartet Op. 11
Quartet No. 1
THE ZAGREB STRING QUARTET
Haydn
Slavenski
Bartok
March 11th, 1968.
CONCERT BY STUDENTS FROM
THE SCHOOL OF MUSIC
HUDDERSFIELD COLLEGE
OF TECHNOLOGY
STEPHEN BISHOP
Suite "Out of Doors"
Bartok
Variations on a theme by Diabelli Op. 120... Beethoven
February 12th, 1968.
Quintet in G minor Op. 56 No. 2 ........
Quartet for Flute, Oboe, Clarinet and Bassoon
Suite for Quintet "La Cheminee du roi
Jean Francaix
Rene"
Darius Milhaud
Konzertante Musik fur funf Blaser ... Paul Walter Furst
THE VIENNA WIND QUINTET
Franz Danzi
THE BENTHIEN STRING QUARTET
Quartet in D minor K.421
Mozart
Hindemith
Quartet No. 3 Op. 22
Quartet in F major Op 96 (The American) .... Dvorak
....
(Programmes subject to alteration)
42/0
10/6
Student's ticket ....... 3/6
Season ticket
Single ticket
...
3rd Concert only
Single ticket
Student's ticket
(Bona-fide Students
under 21)
5/0
2/6
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
should
required they
be
returned to the Hon. Sec-
retary not later than
September 25th, after which
date no returned tickets
can be accepted.
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THE HUDDERSFIELD MUSIC SOCIETY
(Founded as The Huddersfield Music Club by Dr. Eaglefield Hull in 1918)
President
Vice-President
Mrs. EAGLEFIELD HULL
STANLEY G. WATSON, Esq.
Honorary Vice-Presidents :
BENJAMIN BRITTEN, O.M.,C.H. F. ROWCLIFFE.
The Rt. Hon. The LORD SAVILE, J.P., D.L.
Hon Secretary:
Miss C. ALISON SHAW, 3a Vernon Avenue. Tel. Hudd. 27470.
Hon. Treasurer:
P. J. GREGORY, National Provincial Bank, King Street.
Miss I. BRATMAN
Mrs. N. CULLEY
Mrs. F. A. DAWSON
Miss K. EVANS
Mrs. E. FENNER
R. BARRACLOUGH
Mrs. S. H. CROWTHER
S. H. CROWTHER
DAVID DUGDALE
P. G. C. FORBES, M.A, A.R.C.O S. ROTHERY
Executive Committee:
Mrs. E. GLENDINNING
E. GLENDINNING
Miss Z. E. HULL
P. L. MICHELSON
Miss E. K. SAWERS
MAX SELKA
E. C. SHAW
W. E. THOMPSON
Mrs. S. G. WATSON
Ladies' Committee :
Chairman: Mrs. S. H. CROWTHER
Miss M. A. FRFEMAN, LL.B.
Miss M. HAMER
Mrs. D. HIRST, J.P.
Mrs. A. E. HORSFALL
Mrs. A. E. HULL
Hon. Secretary: Mrs. E. GLENDINNING
Miss Z. E. HULL
Miss C. A. SHAW
Mrs. J. SHIRES
Mrs. J. H. SYKES
Miss W. TOWNSEND
Hon. Treasurer: Mrs. S. G. WATSON
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THE HUDDERSFIELD MUSIC SOCIETY
Quartet No. 4
Fiftieth Season 1967-68
Mayor's Reception Room, Town Hall,
Monday October 9th 1967
THE VLACH STRING QUARTET
Josef Vlach (Violin)
Vaclav Snitil (Violin)
Programme
I
Joseph Kodousek (Viola)
Viktor Moucka (Cello)
Isa Krejci (b.1904)
Lento assai - Allegro molto e feroce
Moderato assai
Scherzino: Prestissimo
Rondo
Allegro vivo
(First performance at these Concerts)
Isa Krejci was born in 1904. His father was a professor of ..
philosophy at the university; his mothor was a fine singer. He
played the violin at the age of 3 and later also the piano and the
organ. As a university student he dovoted himself to history and
musicology whilo at the same timo studying composition and
conducting first under Vaclav Talich at the Prague Conservatoire
and later in Novak's master class. His studios completod, he
conducted in Bratislava and later with the Czechoslovak Radio,
In 1958 he became a producor of opera at the Prague National
Theatre.
Widely known as a conductor and as a practising musician, his
output of compositions is not very large but it includes 3
symphonies, 4 string quartets and other chamber music, while his
splendid "The Revolt in Ephesus" (based on Shakespeare's Comedy
of Errors) is the most successful Czech comic opera.
Although dooply interested in neo-clássicism through his
profound inner sonso of ordor and design and dolighting in the
balanced form and in clarity and economy of instrumentation, he has
a rostlessness of spirit and a widonoss of intorost which givos to
his music a froshnoss and an olomontal force which "fills overy
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2.
croative act of his with a sense of something newly discovered,
something disrupting and inspiring". He has, too, an optimism
which is a raro quality in modern art; he is one of the few
contemporary composers who can write a true Allegro, fresh and
vital in spirit.
II
Quarter No. 2 "Secret Lottors"
Janacek (1854-1928)
Andante con moto - Allegro
Adagio-Poco piu moto - Vivace
Moderato Adagio Allogro
Allegro Andanto Adagio
(Last performed in 1966 by the Janacek String Quartet)
Loos 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 Bohemia has sprung. He became a chorister in
the community of the Austin Friars in Brno, where he worked under
Krizkovsky, a precursor of Smetana and a writer of highly dramatic
music. Later Janacok attonded an organ school in Prague, but his
poverty was so groat that it was not until he was 25 that he was
able to continue his musical training at Leipzig Conservatoire.
Thero ho studied conducting and theory under Reinocke and made one
public appearance as a pianist. He then went to Vienna with a view
to becoming a piano virtuoso but in 1881 he was forced to return to
Brno. There he was active as a teacher as well as organising
concorts which brought the finest music within the roach of all,
and he began his researches into folk-music from which his own
characteristic style was largely evolved.
Janacek's choral music and oporas aro porhaps his most
charactoristio works. In many rospocts he is a unique figure in
musical history. Although old in years Janacek wrote with the
vigour of youth and was entirely modern in style. Among his
distinguishing qualities are formal precision and terseness of
expression (as instanced in his abrupt closes); purity of tone-
colour, each instrument being treated as a human voice without
dopondonco upon the normal harmonic schomo; boldness and varioty
of rhythm, tho rosult of a strong natural instinct strongthonod by
a life-long study and careful record of the cadences of the human
voice, animal sounds and naturo; fondnoss for Slavonic folk-songs
and dances; and finally, a trick of harping on one short reiterated
motif. Those things bring him into line with most advanced schools,
in spite of the fact that he never became atonal". (Max Brod).
Ja
did, h
ом еле
zBoto
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3.
1
Janacok wrote relatively little pure instrumental music. He
did, however, writo two string quartets and a violin sonata; all
are works of extreme originality. Both quartets are really
programmo music, and the second, following Smetana's example, is
autobiographical. This second quartet was Janacek's last work,
completed only a few months before his doath. It was inspirod by
his love for a young woman, Kamila Stossl, and was entitled "Lovo
Lotters on the manuscript. The composer later changod this to
discourage vulgar curiosity about his inmost foolings, and in the
final version the viola was substituted for the Viola d'amore.
This quartet has certainly no connection with the classical
quartet except that it contains 4 movements. These do not conform
to any established pattern or sequence, and all have amazingly
fluctuating tempi. But such is the sheer musical power of this work
that it exists as pure music and needs no programme to make it
intelligible to the listener. Technically this work represents the
extreme limit of Janacok's writing of abstract music.
No definite key can be established though, perhaps, the key
of D flat is the most prominent. This key, in Janacek's other works,
is generally employed to suggest tenderness or 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 interprotive 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 programmo. The final movement,
in the form of a kind of rondo, gives the impression of the
fulfilment of their love.
Intorval of fiftoon minutos.
III
Quartet in C sharp minor Op. 131
Boothoven (1770-1827)
Adagio ma no troppo
Allegro molto vivace
Allegro moderato
Andante ma non troppo e moto cantabile
Presto
Adagio quasi un poco andante
Aleegro
(Last performed in 1964 by the Loewenguth String
Quartet)
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4.
The great triptych formed by the three Quartots Opp. 130, 131
and 132 dates from the years 1825-6 and they were writton almost
simultaneously. In them all Boothoven used great originality of
dosign. He abandoned the number and order of quartot movomonts.
and, in thoir froodom and changing moods, he approached more
nearly to the form of the older suite. The A minor quartet has
5 movements, the B flat has 6 and the C sharp minor has 7; yet
in the last quartet of all (Op. 135) there is a return to the older
four movement plan. The close connection between the three works
is emphasised by the fact that Beethoven even interchanged
movomonts between them; the Todosca of Op. 130 was originally
written in A minor and was intended for the A minor quartet
(Op. 132). A close thematic relationship between the three has
boen pointed out. Thoso quartots are all the works of Beethoven's
time of deafness, whon ho listened with the inner ear and imagined
only spiritual or ideal forms in the movement of the music".
In imaginative quality they are, as Heino said, not sounds but the
ghosts of sounds.
Of the three quartets this one in C sharp minor "is deserving
of special attention, for its conception and the resulting form
are absolutely now, and no composer since Beethoven has had tho
courage to make use of the inventions to be found in it".(d'Indy)
Indood, Tovoy describos it as Beethoven's most unique work..
17
Although this quartot is marked as having 7 movements, there
is no definite break between any of them. The form of each
movement of this curious structure should be noted. The grave
portal" to the work is a fugue of groat dignity. The second
movement (Suite form) in the key of D major, is a dance of
lightness and vivacity. The third movement is very short, only
11 bars in longth; in reality, a recitative with a dadonza for
the violin. It leads to an Air with variations in A major. This
dies away and is followed by a brilliant and, witty shcerzo in E
major. The sixth movoment is a short and mysterious adagio
(Aria form) in G sharp minor, abruptly changing to the final allegro
in C sharp minor. Horo for the first time we have sonata-form.
The whole of this triumphant movement is dominated by the influence
of the opening fugue subject "So closes the quartet which, if Karl
Holz is to be believed, Beethoven said was the greatest of his last
compositions". (Kerman)
*** ***
****
THE VLACH STRING QUARTET was founded in 1950 by Josef Vlach,
all were members of the Czech Chamber Orchestra under the inspired
directio
independ
broadcas
ly t
*****
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19
131
5.
direction of Vaclav Talich. The Quartet is now active as an
indepondant association within the framework of tho Czechoslovac
broadcasting service and are therefore able to devote themselves
fully to their artistic activities. In 1955 the Quartet were
CO
awarded, by unanimous agroemont, the first prize with great
distinction" at Liege. Since then they have played in many
countries and are everywhere recognised as being one of the fore-
most String Quartets of the world.
Josef Vlach was born in 1923 and studied in Prague. He was
formerly the first violin of the Czech Philharmonic Orchestra
and now, as well as being leader of his Quartet, is the artistic
director of the Czech Chamber-music Orchestra.
Vaclav Snitil, born in 1928 is also a noted soloist. He plays
on the famous Italian violin, Paolo Tessore, which belonged to
Jan Kubelik.
Josef Kodousok was born in 1923 and studied in Prague. As one of
the foremost violinists, he was invited to join the Quartet in
1954.
Viktor Moucka, born 1926 is one of the founder members of the
Quartet. Also a soloist, ho plays a boautiful Italian collo by
Tassini.
November 6th
*******
THE HUDDERSFIELD MUSIC SOCIETY
Mayor's Reception Room, Town Hall. Monday Evenings at
7.30 p.m.
THE ZAGREB STRING QUARTET
Quartet in G minor Op. 74 No. 3
Lyrical Quartet Op. 11
Quartet No. 1
***
January 29th
February 12th
Haydn
Slavenski
Bartok
December 18th CONCERT BY STUDENTS OF THE SCHOOL OF MUSIC, COLLEGE
OF TECHNOLOGY
STEPHEN BISHOP Piano Recital
THE VIENNA WIND QUINTET
March 11th
THE BENTHIEN STRING QUARTET
Season tickets for the remaining 5 concerts 35/- single tickets
10/6 from Messrs. J. Wood and Sons Ltd. 67 New Street, Huddersfield
and at the door.
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6.
THE HALIFAX PHILHARMONIC CLUB
**** ******
***
Lecture Hall of the Halifax Literary and Philosophical Society,
Harrison Road.
Thursday, November 9th at 7.30 p.m.
THE ZAGREB STRING QUARTET
Quartet in F major Op.18 No. 1
Divertimento for String Quartet
Quartet in F major Op.135
St. Patrick's Hall
Single tickets 10/- from David Dugdale Esq., 96 Willowfield Road,
Halifax and at the door.
THE HUDDERSFIELD THESPIANS
****:
******
7.30 p.m.
Beethoven
Stravinsky
Beethoven
ALL IN GOOD TIME
by BILL NAUGHTON
October 9th to 14th.
(This is the original play on which the film "The
Family Way" was based)
Tickets 5/- (reserved) and 2/6 (unreserved) (on Monday nights
only, unreserved seats 2/- 0Old Age Pensioners 1/-) from Woods,
67 New Street.
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THE HUDDERSFIELD MUSIC SOCIETY
***
***
*****
Fiftieth Season 1967-68
Mayor's Reception Room, Town Hall,
Monday November 6th 1967
THE ZAGREB STRING QUARTET
**:
Josip Klima (Violin)
Josip Stojanovic (Violin)
Programme
I
Quartot in G minor Op. 74 No. 3
Allegro
Largo assai
**
Ivan Kuzmic (Viola)
Daniel Thune (Cello)
Haydn (1732-1809)
Minuetto. Allegretto
Finale. Vivace.
(First performance at these Concerts)
Haydn wrote 15 string quartets during the last period of his
life and among these are found some of his finest compositions in
this form. He wrote 6 quartots in 1793; those wore the 3 of Op.
71 and the 3 of Op. 74; all are dedicated to Count Apponyi. At
this same period Haydn was deeply involved in orchestral composition
and fresh from experiencing the richness and volume of Salomon's
London orchestra; so it is easy to find in this chamber music a
striving after an almost orchestral type of symphonic sonority. An
example of this occurs in the tremolando which accompanies the
great E major molody of tho Largo of this third quartet. Another
symphonic device used in Haydn's symphonics and found only among
these six quartets is the use of an introduction to the first
movements. In some cases this consists merely of a few chords, in
others, a short adagio. The Quartet Op. 74 No. 3, known as the
Rittquartett, opens with a unison passage, eight bars long, which
is of great importance throughout the movement; it appears, indeed,
so intimate a part of the exposition that one is almost surprised
not to hear it again repeated at the beginning of the recapitulation.
At one point in this movement the viola part goes below the cello
part. Was Haydn thinking there again in orchestral terms, with
the double bass supplying the true foundation of the chords?
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2.
These six quartets have been hailed as part of the dawn of
romanticism; in them Haydn makes experiments both in form and in
key relationship which point the way forward to that end.
Another innovation, found particularly in this third quartet and
typical of the romantic period is the way in which the second
subject is of greater importance than the first subject.
Especially noteworthy in this quartet is the Largo movement in
the remote key of E major; it has been described as "of Miltonic
grandeur" and it certainly ranks among the finest and most serious
movements which Haydn ever wrote.
Lyrical Quartet Op.11
II
Josip Slavenski
Allogro agitato marcato
Andante cantabile
Quasi prestissimo
(First performance at these Concerts)
This, Slavenski's second string quartet, was written in
1928. It was dedicated to the Zika Quartet of Prague, who
performed it for the first time that same year in Prague. It
received its first performance in Yugoslavia in 1930 by the Zagreb
String Quartet in Zagreb. Anti-romantic in style, it is perhaps
Slavenski's masterpiece. It is largely based upon folk-music
though occasionally making use of a kind of impressionism.
this work Slavenski brought into Yugoslav chamber music a new link
with modern tendencies in music.
By
The first movement is founded upon 2 folk-tunes used in their
original form. The first tune is vigcrous and resolute; the
second one, played first by the viola and then by the violin, is
more cantabile in style. A development section follows with
interesting episodes. The first theme re-appears, followod
immediately by the second thome, which is accompanied by motives
derived from the first theme. The movement ends with an unexpected
chromatic change of melody in the higher registers. The slow
movement is broadly melodic,, rising to greater emotion and
becoming more fragmentary in an improvisatory fashion. A roturn
is made to the quieter mood of the opening. This movement is
characteristic of Slavenski's attitude towards music
- as an art
to be approached without sentimentality yet embracing, with all
seriousness, all a man's strength and emotional powers.
oil
style, 1
A fugat
stina
C
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n
3.
The Finale is full of swift movement. It is polyphonic in
style, but yot, at times, giving the impression of an improvisation.
A fugate section is followed by a broad theme accompanied by
ostinato figures which, however, do not impair the pervading
impression of speed. At the ond all dissonanco is resolved into a
final concord.
We are indebted to Kresimir Kovacic for information about
this quartet.
Quartet No. 1
Interval of fiftoen minutos
III
Bartok (1881-1945)
Lento
Allegrotto
Allegro vivace
(Last porformod in 1929 by the Budapest String Quartet)
Bartok is one of the groatost figures in Hungarian music. He
was born in Nagyszentmikos, a village which, by the Treaty of
Trianon in 1920, was torn from Hungary and given tho Rumania.
No one felt this partition more keenly than Bartok. He eventually
went to Budapest to study at the Hungarian Academy of Music
(founded by Liszt) and in his early period of composition the
young Bartok was strongly influenced by Liszt, Wagner and Strauss.
In 1910 when the Hungarian national movomont was at its highest,
Bartok turned his attention to folk music, soon becoming the most
famous collector in Europe. His collections amounted to 2,700
Hungarian folk songs, 3,500 Rumanian and even Arabia was drawn
upon in one of his longer tours when he collected 200 Biskra songs.
The intenso interest in folk music made a marked impression on
Bartok compositions of the second period; gradually, in the
third period, he developed a style peculiarly his own, though still
owing a good deal to the folk music influence.
If Bartok had left no music other than the 6 string quartets,
these alone would have insured his importance in the history of
music. Some critics even consider that the quartets of Bartok
are the only ones comparable with, and in the direct line of
succession. to, the quartets of Beethoven. They cover the whole
span of Bartok's creative life. An early quartet, later suppressed
was written when he was 18; at the time of his death, he was
planning a sovanth quartet of which only a fow motives were sketched.
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4.
The Quartet No. 1 was written in 1908 and already the
freedom and the particular style of Bartok's counterpoint is
present in it. The significance of the contrapuntal approach
can hardly be overestimated. Each player is considered as an
individual, with his own strand in the fabric, this autonomy
brings about a tonal richness comparable to the last quartets
of Beethoven - a richness largely lacking in the nineteenth
century quartot of Mendelssohn, Schubert, Schumann or Brahms,
whatever its othor morits." (Stephens). It is difficult to
explain Bartok's use of tonality; he uses it in the most free
sense so that a work could be described as "on" rather than "in"
a certain key. The first Quartet is "on" A, but this is
complicated by a Chromaticism (an indirect "approach to the
melody note: instead Bartok moves to a note just above or just
below the one apparently aimed for, and only then slips into
the note intended" (Stevens). which usage Bartok later discarded.
Each of Bartok's quartets shows his preoccupation with the
architecture of composition. In the first quartet the
appoggiatura figures of the first movement are the basis of a
four-note motive of the opening bars of the second movement, later
to become the principal theme of the finale. There is also an
ascent from the slow tompo of the start to the speed of the last
movement, and even though slow, the first movement is rhythmically
alive. It opens with a kind of canon for the violins and later
for the viola and cello; the middle section consists of an
impassioned, improvisatory melody for the viola. The second
movement has a faster pulse; it ends with a very soft half-
cadenco, the violins rising to an extreme height. An introduction
in irregular time, runs into the third movement which opens with
the theme in the lower instruments. Modifications of tempo are
too numerous to describe, but the movement is brought to a very
strenuous ending on three chords, which almost seom to shout out
towards the second quartet, a much more extreme work. The two
first movements belong definitely to Bartok's first period; they
are melodious and full of that warm feeling which we are now
accustomed to call romantic. But the last movement is much more
compact and shows in its rhythms and the percussive repetition
of notes the influence of Hungarian folk-music to which Bartok
was then turning.
JOSIP KI
рошло з
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5.
JOSIP KLIMA studies in Zagreb and Paris; while still a student he
formed a String Quartet. For a number of years he was concert
master of the Zagreb Philharmonic Orchestra and the Zagreb Opera,
and from 1954 to 1957, the first violin of the Zagreb Soloists.
He has also appeared as soloist throughout Europe. In 1951 he
went to Tangier as the first violin of the Tangier String Quartet.
From there he went to Cairo and spent two years teaching there.
He has been the leader of this Quartet since 1954.
IVAN KUSMIC, of Anglo-Brazilian descent, studied in Zagreb. In
1956 he was awarded the first prize in the competition for young
Yugoslav musicians. Since student days, he has been deeply
interosted in chamber music and founded a String Quartet. He
has played with the Radio Zagrob Chamber Music Orchestra and with
the Zagreb Soloists. His hobby is submarine fishing.
DANIEL THUNE, one of the best viola players in Yugoslavia, studios
in Zagreb and Ljubljana. He has been a momber of the Radio
Symphony Orchestra and the Zagreb Soloists, and has also played
with the latter as a cembalist. His tours have boon world-wide and
he has also appeared as a conductor.
;-
JOSIP STOJANOVIC, trained in Zagreb, has devoted himself entirely
to playing as a soloist and as a member of the Zagreb String
Quartot. He, too, has tourod many countries as a solo collist.
THE HUDDERSFIELD MUSIC SOCIETY
*****
******
*****
0
Mayor s Reception Room, Town Hall, Monday Evenings at
7.30
CONCERT BY STUDENTS OF THE SCHOOL OF MUSIC, COLLEGE
OF TECHNOLOGY.
December 18th
January 29th
STEPHEN BISHOP Piano Recital
February 12th
THE VIENNA WIND QUINTET
March 11th THE BENTHIEN STRING QUARTET
Single tickets (for the next concert) 5/- from Woods, 67 New
Street, or at the door.
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6.
THE HALIFAX PHILHARMONIC CLUB
********
******
**
<****
Locturo Hall of tho Halifax Literary and Philosophical Society,
Harrison Road.
Thursday November 9th at 7.30 p.m.
THE ZAGREB STRING QUARTET
Quartet in F major Op.18 No. 1
Divertimento for String Quartet
Quartet in F manor Op.133
St. Patrick's Hall
Single tickets 10/- from David Dugdale Esq., 96 Willowfield Road, and
Halifax or at the door.
THE HUDDERSFIELD THESPIANS
***
*****
*********
7.30 p.m.
THE HOMECOMING
by
Beethoven
Stravinsky
Beethoven
Harold Pinter
November 27th to December 2nd
Tickets 5/- (reserved) and 2/6 (unreserved) (on Monday nights
only, unreserved seats 2/- Old Age Pensioners 1/-) from Woods,
67 New Street, Huddersfield.
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Intrada for Brass
beof hoor!!
THE HUDDERSFIELD MUSIC SOCIETY
Mayor's Reception Room, Town Hall
Monday December 18th, 1967 at 7.30.p.m.
Melchior Frank
Janet Smith, Yvonne Adshead, Robert Harrison (Trumpets)
Peter Drinkel, Trevor Thristan, Christopher Hague (Trombones)
Three Carols
Carol Renton (Soprano)
Weep no more
Sweet Venevil
Banana Song
Sonata in F minor Op. 120 No. 1.
PROGRAMME
**
John Sharp (clarinet) Ronald Newton
The Madrigal Group
well o bo
Entrezy tolis en surete bi
Lullay lulla
What cheer?
Benos Richard Simpson, Richard Brabrooke
John Sharp, Stephen Byrne
Ronald Newton
****
Pie Jesu (from The Requiem)
Ich atmet 'einen Linden duft
Widmung
Patricia Thickitt.
INTERVAL of FIFTEEN MINUTES
Three movements from Serenade in D minor Op. 44.
Marcia. Minuetto Trio.
Finale
Patricia Thickitt (Soprano)
Ronald Newton
Canzona prima a cinque
Handel
Delius
Jamaican Folksong
arr. Arthur Benjamin
(piano)
Brahms
Brass Quintet
(Clarinets)
Paul McGilvray, Maureen Kinsey (Bassoons)
Terence Cregan, David Netherwood, Darryl Gee, Andrew Wilkinson (Horns)
Jeffrey Tiler ('Cello) Peter Leah (Double Bass)
Reginald Chapman (Tuba)
Peter
Clare
(Conductor)
(piano)
Rubbra
Kenneth Leighton
William Walton
il eignif
Dvorak
(Oboes)
O lovely peace (from Judas Maccabeus) Handel
Carol Renton (Sopranos)
(piano)
Faure
Mahler
Schumann
Atafetlo
G. Gabrieli
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THE HUDDERSFIELD MUSIC SOCIETY
Mayor's Reception Room, Town Hall.
January 29th, 1968.
Suite "Out of Doors"!
STEPHEN BISHOP
or at the door.
Variations on a theme by Diabelli
Single tickets 10/6 from Woods, 67 New Street or at the door.
******
THE HALIFAX PHILHARMONIC CLUB
*****
*****
St. Patrick's Hall.
Monday Evenings at 7.30.
Piano Recital
Lecture Hall of the Halifax Literary and Philosophical Society, Harrison Road.
Friday January 26th, 1968 at 7.30.p.m.
Students of the School of Music,
Huddersfield College of Technology.
Single tickets 10/- from David Dugdale, Esq., 96, Willowfield Road, Halifax
THE HUDDERSFIELD THESPIANS
***
****
7.30.p.m.
TONS OF MONEY
Bartok.
****
Beethoven
An Aldwych farce by Will Evans and Valentine
JANUARY 15th - 20th, 1968.
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
*****
**********
Fiftieth Season 1967-68
Mayor's Reception Room, Town Hall,
Monday January 29th 1968
Suito "Out of Doors"
STEPHEN BISHOP
************
Piano Recital
Programmo
I
With Drums and Pipes
Barcarolle
Musettes
Music of the Night
The Chase
Bartok (1881-1945)
It is perhaps not always remembered that Bartok, apart from
his work as a composer and his labours as one of the greatest of
collectors of folk-music, was also a very brilliant pianist. It
has beon said that, apart from his own compositions, Scarlatti,
Bach, Beethoven, Liszt and Debussy were the composers whose work he
played most finely. It is rocorded, too, that although the piano
was to him a porcussion instrument, his own playing was not nearly
as porcussive in style as might be imagined; he was, after all, a
pianist of the older school where tone quality was the most important
thing.
His mother, who oked out their livelihood by giving piano
lessons, tells that at the age of one and a half years, Bartok could
recongise any piece that she played and could follow the rhythmic
changes perfectly; at the age of 4 he could play from memory - if
with one finger only at least 40 songs. She gave him his first
piano lesson on his fifth birthday and a month later the two were
able to perform a four-handed piece. His first public appearance as
pianist and composer took place when he was 11. After studying with
various teachers, Bartok ontered the Budapest Academy of Music in
1899 as a student of piano and composition: he had already commenced
giving piano lessons to augment his meagre resources.
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2.
The summer of 1903 was spent working with Dohnanyi in preparation
for a career as a concert pianist. He became à professor of
piano at the Budapest Academy in 1907, with which, in spite of
interruptions caused by illnesses, concert tours and his great
work for folk-music, his connection endured for 30 years. He
rosolutely refused to teach composition, holding that it impaired
his own creative powers, but numbers of pianists of many
nationalities were his pupils.
Variations
Alla M
Poco A
Theme
L'ist
1926 saw a great outpouring of piano compositions including
the Piano Sonata, the Suite "Out of Doors; the Nine Little Piano
Pieces, the Piano Concerto No. 1 and part of the Mikrokosmos;
this was due largely for his need to have now material for his
concerts. For some time before this Bartok had been much
intorosted in pro-Bachian koyboard music and it has been
suggested that the Suite "Out of Doors" was strongly influenced
by this, particularly by Couperin. In spite of this, Bartck's
own particular percussive-repetitive devices are fully exploited
in it. The first part With Drums and Pipes" is very close in
style to the Piano Sonata, with its cluster of tones, its repeated
notes and narrow melodic compass, its podals and ostinatos and its
use of seconds and ninths, The Barcarolle resembles the one in
Mikrokosmos, particularly in its melodic movement in fourths.
"Musettes is reduced to vibrant, almost unmelodic sound; the
drones are there, and the fantastic ornamentations of primitive
wind instruments, but there is almost never a melody. By far the
most striking movement of the Suite is the Music of the Night, in
which Bartok brought into play his extraordinary sensitivity to
the sounds of nature. There had been earlier suggestions in the
third of the Improvisations and elsewhere, but here is brought
into full flower that remarkable nocturnal music which played so
large a part in his writing during the last two decades of his life.
This movement is dedicated "to Ditta" (his wife) and from the
frequent recurrence of this nocturnal mood, and from its final
appearance in the third Piano Concerto, which was designed for the
composer's wife, it is not illogical to postulate an extramusical
connotation aside from the merely pictorial". (Stevens). The final
piece The Chase, has the same characteristics as the opening piece.
"With its galloping ostinatos on E, the keynote being F, the whole
structure is thus anchored to a single note which dominates all but
3 measures of the piece. It has an overwhelming energy which persists
uninterrupted from beginning to end"
Interval of fifteen minutes
******
*****
***
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f
ation
3.
Variations on a theme by Diabelli, Op. 210 Beethoven (1770-1827)
Theme
1. Alla Marcia maestoso
2. Poco Allegro
3. L'istesso tempo
4.
Un poco vivace
Meno
allogro
5. Allegro vivace
6. Allegro ma non troppo e scrioso 22. Allegro molto alla "Notte e
7.
Un poco piu allegro
giorno faticar" di Mozart.
8.
Poco vivace
9. Allegro posante o risoluto
10. Presto
18. Poco moderato
19. Presto
20. Andante
21. Allegro con brio
11. Allegretto
12. Un poco piu moto
13. Vivace
14.
Grave e maestoso
15. Presto schorzando
16.
Allegro
17. L'istesso tempo
23. Allegro assai
24. Fughetta Andante
25. Allegro
26. Allegretto
27. Vivace - L'istesso tempo
28. Allogro
29. Adagio ma non troppo
30. Andante sempre cantabile
31. Largo molto espressivo
32. Fuga Allegro
33. Tempo di Minietto moderato
This is the greatest set of variations ever written and we are
indeed fortunate to hear it tonight played by such a master. In
the winter of 1822-3 Diabelli, a music publisher and writer of
popular and educational music, invited all composers then in Austria
each to contributo a Variation upon a Waltz which he himself had
composed. 51 musicians accepted the invitation, but of these only
the names of Beethoven, Schubert and Liszt (thon aged 11) were
outstanding. After a long delay Diabelli was astonished to receive
from Beethoven not a single Variation but a vast work, one of the
three largest ever written for a single instrument. Diabelli then
published it with a glowing announcement, recognising in it
"Variations of no ordinary type, but a great and important mastor-
piece worthy to be ranked with the imperishable creations of the old
Classics such a work as only Beethoven, the greatest living reprý-
sentative of true art only Beethoven and no other can produce".
That Beethoven could have produced such a work whilst deeply engaged
in the composition of the 9th Symphony is no more amazing than the
fact that he, upon the foundation of a theme which had apparently
had so little to offer in the way of inspiration, was able to make
it the basis of such an extraordinary masterpiece.
Grove remarks that ospecially in these Variations "Beethoven
is making transformations rather than variations. He takes the theme
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4.
in all its phases - harmonic, melodic or rhythmic and having
the idea well in his mind, reproducos it with unlimited variety
in different aspects. At one moment a variation may follow the
melody of the theme, at another the harmonic structure, at another
it will be that some special trait like the persistence of an
inner portion of the harmony in thirds or otherwise is
roproduced. In other cases there are even more complicated reasons
for the connexion, In a few other cases nothing but the strong
points of the periods is indicated, and the hearer is left in doubt
until he hears the strong cadence of the poriod, and thon he feels
himself home again directly, but only immediately to be bowildered
by a fresh stroke of gonius in a direction where he does not
oxpoct it. In almost all the variations cxcopt the Fuguo (NO.32)
the periods are kept quite cloar and match the original faithfully
and this is the strongest point in helping the hearer to follow
the connection. All this is allied to an amazing scheme of
contrast and colour and of omotions ranging from the dramatic and
the majestic to the tender and the playful, even to the humourous
and to the most delicate and subtle of sound croations.
It would be impossible here to trace the course and the
transformations of the theme, but a few Variations might be noted.
The humour of Beethoven is shown so characteristically in Var. 13.
The 20th Var. Tovey describes as one of the most awe-inspiring
passages in music; Var. 22 twists the bass of the theme into a
reference to Mozart's Don Juan. Vars. 29 to 31 form a group of three
slow variations, producing, as Tovey points out, an effect, in spite
of the gigantic dimensions of the work, as weighty as that of a large
slow movement in a sonata. To quote again from Tovey: The 31st
Var. is an extremely rich outpouring of highly ornamentod melody,
which to Beethoven's contemporaries must have been hardly
intelligible, but which wo, who have learnt from Bach that a great
artist's feeling is often more profound where his expression is most
ornato, can recognise for one of the most impassioned uttorancos in
all music". The 32nd Var. has a completo change of koy (E flat).
The structure of the thomo is abandoned and the variation is a double
fuguo, on the first part of the Waltz, treated with all the fugal
devices of stretto and invorsion. "Suddenly there is a grand
dramatic pause. The storm of sound molts away, and, through one of
the most othereal and I am amply justified in saying appallingly
impressive passages over written, we pass quietly to the last
variation. It is a return to the melody of the theme, but a
transfigured melody, in which no trace of things unspiritual is
left". (Tovey).
STEPHE
1940. He m
at 13 playe
with the Sa
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her
e
y
5.
STEPHEN BISHOP was born of Yugoslav parents in Los Angeles in
1940. He made his solo and orchestral debut at the age of 11, and
at 13 played the Schumann Concerto and at 14 the Ravel Concerto, both
with the San Francisco Symphony Orchestra. He studied in America
with Lev Shorr from 1948 to 1955. He then came to London to
further his studies with Myra Hass. His London debut took place
in 1961 and was greeted with critical acclaim. He has quickly
established his reputation as an outstanding exponent of Beethoven
and the classics.
THE HUDDERSFIELD MUSIC SOCIETY
***
*****
**
Mayor's Reception Room, Town Hall. Monday Evenings at 7.30 p.m.
February 12th.
THE VIENNA WIND QUINTET
Quintet in G minor Op. 56 No. 2
Quartet for Flute, oboe, Clarinet and Bassoon
Suite for Quintet "La Cheminee du Roi Rone"
Konzertants Musik fur funf Blaser
Franz Danzi
Jean Francaix
Darius Milhaud
Paul Walter Furst
March 11th.
THE BENTHIEN STRING QUARTET
Single tickets 10/6 from Woods, 67 Now Street and at the door.
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Lecture Hall of
Harrison Road.
6,
THE HALIFAX PHILHARMONIC CLUB
**** ********** ******
the Halifax Literary and Philosophical Society,
Friday February 9th at 7.30
THE VIENNA WIND QUINTET
The programme is expected to consist of wind quitents by the
following composers: Mozart, Rameau, Milhaud, Hindemith and
a wind quarter by Francaix.
Single tickets 10/- from David Dugdale Esq., 96 Willowfield Road,
Halifax or at the door.
St. Patrick's Hall
THE HUDDERSFIELD THESPIANS
*******
*******
7.30 p.m.
UNCLE VANYA by Anton Tchehov
March 4th to 9th
Tickets 5/- (reserved) 2/6 (unreserved) (on Monday nights only,
unreserved seats 2/- 01d Age Pensioners 1/-) from Woods, 67 New
Street.
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THE HUDDERSFIELD MUSIC SOCIETY
********************
***
Fiftieth Season 1967-68
Mayor's Reception Room, Town Hall
Monday February 12th 1968
THE VIENNA WIND QUINTET
**** **
****
**
*******
Gottfried Hechtl (Flute)
Alfred Rose (Clarinot) Friedrich Gablor
Programme
I
Wind Quintot in G minor Op.56 No.2
Allegretto
Andante
Minuct
Allogro
Manfred Kautzky (Oboc)
(Horn) Karl Dvorak (Bassoon)
Allegro
Andante
Franz Danzi (1763-1826)
Danzi, a cellist and composer, was born at Mannheim. He was a
member of the court band at Mannheim and at Munich and later, after a
varied caroor, he was appointed Kapellmoistor to the King of
Wurtonborg. He composed 11 operas and a mass of orchestral, chamber
and church music. His "Singing Exercises" wore in uso for a long
period. He married a distinguished singor and their daughter was
Francesca Lobrun (the wife of Lobrun, one of the groatost of oboc
virtuosi of the 18th century), a celebrated singer and also a pianist
and composer. Danzi was a member of the "Mannheim School", a group
of composers, early exponents of the symphony, so called bocause of
their association with Mannheim. A modern edition of this Quintet
was published in 1914.
II
Quartot for Flute, Oboo, Clarinot and Bassoon. Joan Francaix (b.1912)
Allegro molto
Allegro
Joan Francaix was born at Le Mans where his father was director
of the Conservatoire. He studiod first with his father and later with
Nadia Boulangor from whose teaching he derived inestimable bonofit.
He showed his talonts at an early ago, having a piano suito publishod
at the age of 9. His music is writton in a light neo-classical stylo
in the sano tradition as that of Saugot, Ibort and the early music of
"Les Six. Thoro is, porhaps, some evidence of the influence of
Stravinsky. Although he has a rolatively small musical vocabulary, ho
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20
uses it to extremo advantage and his whole work is marked with a
taste and oleganco, a wit and clarity which is truly Fronch.
Coffee Interval of fifteen minutes
III
Francaix is at his best in works on a smaller scale though he
has also writton ballots, a symphony and a piano concerto. He has,
however, produced much chamber music including a string quartet, a
string trio (played here in 1965 by the Wissena Trio), a wind quintet
various works for other wind ensemblos, a quintot for fluto, harp
and strings and sonatinas for violin and for trumpot, both with
piano.
Suite for Wind Quintet, "La Cheminee du roi Rene" Darius Milhaud
(b. 1892)
Cortogo
Aubade
Jonglours
La Maousinglade
Joutos sur l'Arc
Chasse a valabro
Madrigal
Nocturne
1
Darius Milhaud, of Jowish origin, was born at Aix-en-Provenco.
The Suite, "La Chomince du roi Rono", written in 1939 is descriptive
of aspects of a strect in his nativo and beloved Aix in the 15th
century under King Renc. The work is therefore a suite of movements
related by external, not internal links.
straight.
He is, however, a composer who is not very easy to classify.
In spite of his use of polyphony, he has a great liking for clear
Milhaud was a member of "Les Six" - a vague title which was
invented by the French critic Collet after these young composers had
togothor pulished an album of pieces; the object of this group was
to extend the interest in modern music and to further their own advance.
Milhaud was an extraordinarily prolific composer. It was his youthful
ambition to compose more string quartets that Beethoven did, and by
1951 he had writton 18. Thereaftor he turned his attention to the
writing of quintots, some in unusual combinations. Like many modern
composors Milhaud has boon attracted to the use of wind instruments in
chamber music. Apart from a long list of chamber compositions ho has
written a number of operas and ballets, as well as orchestral works,
songs, piano pieces and incidental music for plays. In his
versatility he has been called the Hindomith of France. The facility
of his writing has porhaps been a danger to him.
jo osn
But he l
his
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3.
straightforward melody and a simplicity which at times makos great
use of tunos which the more sophisticated might tend to despise.
But he has also a vchomonce of utterance whish some critics attribute
to his Jewish origin, which is again shown, they say, by a great
interest in the intellectual probloms of composition. His music is
at times uneven in quality but in his chamber music he has maintained
a consistently high standard.
Konzertante Musik fur funf Blasor
Allogro
Andante con moto
Allegretto
IV
Grave
Allegro vivaco
Paul Walter
Furst was born in Vionna in 1926 and studied at the
Vionna Academy. He was engaged as a viola playor in Munich where in
1957 he wrote this work for wind quintot. Since then he has writton
much chamber music in this and in other forms.
Paul Waltor Furst (b. 1926)
THE VIENNA WIND QUINTET was formed in 1961. It consists of
loading wind playors of tho Vionna Symphony Orchestra and the Vionna
Volksopor. It has already toured throughout Europo with groat
success.
GOTTFRIED HECTL (Fluto) born in 1928, is at prosont professor
at the Staatliche Hochschule fur Music in Graz and solo flutist of
the Vionna Symphony Orchestra.
MANFRED KAVTZKY (Oboe) born in 1932, is sinco 1952 first solo
oboist of the Vienna Volksopor Orchestra.
ALFRED ROSE (Clarinot) born 1930 tras first clarinet with the
Orquestra Sinfonica, Bogota from 1954 to 1959, since 1963 the first
solo clarinot with the Vienna Symphony Orchostra.
FRIEDRICH GABLER, (horn) born 1931 sinco 1950 the first horn of
the Vionna Volksopor Órchostra, and since 1964 a professor at the
Vienna Staatsakadonio.
KARL DVORAK (Passoon) born 1927, since 1946 the first bassoonist
of the Vienna Volksopor Orchestra.
THE HUDDERSFIELD MUSIC SOCIETY
********
************
*****
Mayor's Reception Room, Town Hall.
mi
Quartet in D major K.421
March 11th
Monday Evonings at 7.30
THE BENETHIAN STRING QUARTET
**
**
Mozart
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Quartet No. 3 Op. 22.
Quartot in F major Op. 96 (The American)
Single tickets 10/6 from Woods, 67 Now Stroot and at the door.
A Group of Songs
Three Songs
4.
THE HALIFAX PHILHARMONIC CLUB
A Group of Songs
Aria Almon sc non poss'io"²
Funf Lieder
**
St. Patrick's Hall
************
Lecture Hall of the Halifax Litorary and Philosophical Society,
Harrison Road. Friday March 22nd 7.30 p.m.
MARGARET PRICE (Soprano) and JAMES LOCKHART (Piano)
*******
Early English Composers
Bellini
Wobern
Duparc
Granados
Hindomith
Dvorak
Single tickote 10/- from David Dugdale Esq., 96 Willowfield Road,
Halifax or at the door.
THE HUDDERSFIELD THESPIANS
**:
*******
7.30 p.m.
UNCLE VANYA by Anton Tchehov
March 4th to 9th
Tickets 5/- (rosorved) 2/6 (unreserved) (on Monday nights only
unreserved seats 2/-. Old Age Pensioners 1/-) from Woods,
67 New Street.
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THE HUDDERSFIELD MUSIC SOCIETY
*
****
***
Fiftieth Season 1967-68
Mayor's Reception Room, Town Hall
Monday March 11th 1968
THE BENT THIEN STRING QUARTET
*****
**
***
Ulrich Benthion (Violin)
Rudolf Maria Muller (Violin)
Quartet in D. minor K.421
Programme
I
Allegro moderato
Andante
Minuet and Trio
Martin Ledig (Viola)
Edwin Koch (Cello)
Mozart (1756-1791)
Allogretto ma non troppo
1959 by the Amadeus String Quartet)
(Last performed in
In 1781 Haydn wrote his 6 "Russian" Quartets Op. 33. These had
1785
a profound influence upon Mozart who, as a mark of homage, dedicated
his 6 great Quartets written between 1783185 to his dear friend
Haydn. But it was homage paid by a master to a master; not a
servile imitation but an individual creation, coloured by Mozart's
own "uncanny concealed chromanticism and indubitably making a signal
advance in the history of chamber music. Einstein makes some
interesting and pertinent comparisons between the two composers:
"The circle of "possible" keys is much narrower for Mozart than for
Haydn, but though those keys are numerically few, each is a much more
extended, richer, more fruitful field and has much wider boundaries.
And so Mozart becomes the more daring and sensitive harmonist;
Haydn commands all sovon colours of the rainbow, but not the
iridescont palotto of Mozart. Haydn is a lover of nature; he draws
inspiration from moving about in the open air; he eavesdrops on
peasants at their festivities; The Creation and The Seasons are full
of observations and impressions that could be gained by a person
living in the country. Mozart could never have written such work
as these two. He was an indoor" composer, whose music was
stimulated only by music itself. At the same time his music was not
alone spirit made flesh but also flesh made spirit. From this
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standpoint his contact with Haydn only made his music that much
more Mozartean
The D minor Quartet is essentially based on a tragic note,
not emotional but "donimated by a subdued, morose pathos which
occasionally turns into sullen murmuring. The sudden jerk from
F. major into E flat at the very beginning of the development (1st
movement) gives a sinister thrill, and Mozart the harmonist now
appears in all his greatness - the forerunner of Schubert" (Abert)
The Andante, too, with its persistent, restless rhythm and frequent
dynamic changes, has no real mood of tranquility; the middle section
in A flat is a notably romantic touch. The Trio section of the
Minuot is simple, plain folk-music, contrasting violently with the
sense of pessimism which pervades the Minuet with its falling
chromatic bass. The theme of the Finale-4 variations with a coda
is reminiscent of the finale theme used by Haydn in his Op. 33 no.
5 but the change from a major to a minor key and Mozart's own
characteristic chromaticism transforms it. This thomo is, in fact,
a curiously disquietening Siciliana; only one variation is in a
major key; there is no change of tempo until the broathless, rushing
coda. Abert compared this movement to a weird spirit-dance.
II
Quartot No. 3 Op. 22
Hindemith (1895-1963)
Fugato. Sehr langsame Viertel
Schnelle Achtel. Sehr energisch
Ruhige Viertel. Stets fliessend
Massig Schnelle Viertol
Rondo. Gomachlich und mit Grazie.
(Last performed in 1956 by the Stross String Quartet)
Hindomith, one of the best known and most prolific composers
of modern Germany, was born at Hanau and studied at Frankfort. From
1915-23 he was first violin and later conductor at the Frankfort
Opera. He later joined tho Amar String Quartet as the viola player,
of which instrument he was a very fine performer, a fact which is
reflected in the virtuosity with which he handles the strings in
his compositions. He also played percussion instruments; he was
a good pianist and a clarinet player. Hindemith was a facile and
rapid writer and his output was remarkable. He experimented with
many styles including atonality and polytonality, but from 1925 the
"back to Bach" movement has predominated. He even did not disdain
a cabaret style of music and he evidently found inspiration
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Ocr'd Text:
yo te the sta per tuo pe
III
Quartet in F major Op. 96 (The American)
Lu a ОЧІ
ju307Tezont exom
Allegro ma non troppo
Lento
83
STUI
217T
in the modern age of machinery and materialism. His music has humour
(a quality rather rato in German composors of his period), vitality
and rhythm but little sentiment, though some of his later work is said
to show an erotic tendency. He was much attracted by chamber music
or works for chamber orchestra. In all, he has written 6 string
quartets with an interval of some 18 years between the 4th and 5th.
This quartet dates from 1922 and was first performed by the Amar
Quartot in that same year. Though written very soon after the 2nd
Quartot, it marked a great advance in indivuduality and clarity. It
consists of 5 rather short movements. The first is a Fugato (atonal
i.e. not in any definite key, but with hints of polytonality), mostly
in slow tompo, vory free and modern. This loads directly to tho
second; this is, in effect, a scherzo, brutally powerful and dynamic
with notable unison passages and erratic rhythms; the middle section
is more flowing. The "magical, haunting" slow movement, muted
throughout and marked to be "continually flowing", is in complete
contrast. The fourth is again quick and vigorous; it opons with a
long solo for the cello which returns toward the end accompanied by the
the viola. This movement suggests a toccata-like prelude which leads
to the final movement. This is called a Rondo it opens in polyphonic
style which becomes less marked in the centre section. The direction
is that it is to be played "easily and with grace".
Coffee Interval of 15 minutos
TOMA
Dvorak (1841-1924)
Molto vivace
Vivace ma non troppo
(Last performed in 1958 by the Classical Quartet of Madrid)
This Qhartot, written in 1893, is thought, like the composer's
"New World Symphony", to be founded upon traditional Negro melodies.
Actually the thomes are built upon certain typical features of the
songs of the Negro races, such as the pentatonic scale, and not on the
use of definite songs themselves. Both works were written during a
lengthy stay in America; and though the foreign influence is apparent
in them, Dvorak never loses his intense Czech nationalistic feeling
and his own characteristic style. To quoto Professor Sourek: Dvorak
spent 8 months in the chaos of metropolitan life in a society and
nation quite strange to him, in a journalistic world both sonsational
and polemical, amid vociferous praise and celebrations given in his
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-*-
4:
honour; then suddenly found himself in the strangely quiet
beauty of the heart of America, surrounded by a circle of Czech
agriculturists, worthy farmers, lusty peasants, cheery priests,
and kindly old wives, who listened with tears in their eyes to the
old church music of their native Bohemian villages which the
musician played for thom on the organ at Mass. Here, thon, is
the origin of the fundamental mood which inspired this charming,
quickly written (in 3 days) but detailed work, touched in places
with painful yearning, yet with a smiling, idyllic sentiment
prevailing throughout. Here is the reason why so many of the
ideas in the quartot are simple in substance, and why the themes
are froquently exposed in a kaleidoscopic fashion, without profound
and systematic elaboration and with a proponderance of homophonic
structure. The quartot is interesting harmonically on account of
its swift and unexpected modulations, through related and remote
keys, in which there is a surprising charm of artiface that only
serves the fundamental - as it were, improvised style of the
whole work".
Like the "Aus meinem Leben" Quartet of Dvorak's teacher
Smetana, this work opens with a viola melody, supported with a
wavering violin figure and a low held note for the cello. This
movement is based on 3 main themes. The long-spun melodic line of
the deeply-felt Lento has throughout a persistent rocking accompan-
iment in eight-bar periods. The Scherzo opens in arresting fashion;
the whole movement dances and glitters. Technically it consists of a
a number of miniature variations cleverly constructed upon a single
theme. The Finale is a gay rondo with chorale-like episodes; it
ends with a particularly vivacious coda.
THE BEN THIEN STRING QUARTET came into being through the boy-
hood friendship of Ulrich Benthien and Wolfram Hentschel, though
it was not until 1948 ten years after they became acquainted, that
the ensemble was formed. The Quartet's personal has only changed.
whon Edwin Koch joined them as cellist. Their travels have been
world-wide. Although the Quartet emphasises the music of the
classical and romantic periods, it has wide knowledge and under-
standing of the entire repertoire for string quartet.
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U2020 TO
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1
+
- 5.-
THE HUDDERSFIELD MUSIC SOCIETY
***
****
**
The Monday Concerts
**
The following arrangements have been made for the 1968-69 Season:
Oct. 14th. THE JANACEK STRING QUARTET
This Concert will inaugurate the week's Festival of the
Arts which is being organised by the Huddersfield
Corporation in celebration of the Centenary of the
incorporation of the Borough.
Nov. 4th. THE WISSEMA STRING QUARTET
Dec. 2nd.
CONCERT BY THE STUDENT'S OF THE SCHOOL OF MUSIC,
COLLEGE OF TECHNOLOGY.
Jan. 27th.
Feb. 17th.
Mar. 17th. THE GABRIELI STRING QUARTET
It is anticipated that a Quartet, commissioned by the
Society to celebrate its Golden Jubilee, will be given
its first performance at this Concort.
FRITZ and NATASHA MAGG. Cello and Piano Recital
KEITH SWALLOW and CAROLINE CRAWSHAW Song and
Piano Recital.
Details will be sent as usual to all Members in due
course, and the Hon. Secretary (Miss A. Shaw, 3a
Vernon Avenue) would be glad to receive names and
addresses to which prospectuses about this most
interesting and important Season may be sent.
***
nouoy
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THE HALIFAX PHILHARMONIC CLUB
**:
*******
**** **** *********
Lecture Hall of the Halifax Litorary and Philosophical Society,
Harrison Road,
Friday, March 2nd at 7.30
MARGARET PRICE (Sopranc) and JAMES LOCKHART (Piano)
A Group of Songs.
Aria Almon se non poss'io
Funf Lieder
A Group of Songs.
Three Songs
-6-
****
St. Patrick's Hall
Single tickets 10/- from David Dugdale Esq., 96 Willowfield Road,
Halifax and at the door.
***
Early English Composers
Bellini
***
Webern
Duparc
Granados
THE HUDDERSFIELD THESPIANS
**:
***
April 29th May 4th at 7.30
REBECCA
by Daphno du Maurior
Tickets 5/- (reserved) 2/6 (unreserved) (on Monday night only,
unreserved seats 2/- Old Ago Ponsioners 41/-) from Woods, 67 New
Street.