HMS 51


HMS 51

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FIFTY-FIRST SEASON 1968-1969 The Huddersfield Music Society 1 is 13THAUO The Monday Concerts 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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As a happy introduction to what is hoped will be the second fifty years of this Society's existence, the Committee are gratified to announce that the first Concert of the Season, to be given by the Janacek String Quartet, will inaugurate the "Week's Festival of the Arts" promoted by the Huddersfield Arts Council as part of the celebrations marking the Centenary of the Incorporation of the Borough. It is confidently expected that this Concert will attract a wide measure of support and will serve as an introduction to the delights of Chamber Music to many who have, perhaps, not hitherto fully appreciated how great this pleasure can be. For this particular occasion, the Concert will be held in the area of the Town Hall (entrance in Corporation Street) and for Season ticket holders will constitute the first Concert of their Season. The JANACEK STRING QUARTET needs no introduction to the Members. Coming from Czecho-Slovakia, it is one of the finest String Quartets in existence and it plays with a mastery and a depth of understanding which is undoubtedly enhanced by the fact that all four players perform from memory. We have already had a much-appreciated visit from the Wissema Trio. They now come to us as the WISSEMA STRING QUARTET, an ensemble which is rapidly acquiring an outstanding reputation, particularly in the field of contemporary music. FRITZ and NATASHA MAGG make their first appearance at these concerts in a Recital for Cello and Piano. Both are Viennese by birth and, after a most distinguished career there and throughout Europe, are now domiciled in the United States. Both possess superb techniques, and the closeness and artistry of their collaboration could not be excelled. KEITH SWALLOW is known everywhere as a fine pianist and as a most sensitive and distinguished musician of whom Hud- dersfield may justly be proud. On this occasion he will be joined by CAROLINE CRAWSHAW, a young soprano, born in 1941. After a brilliant opening to her career, she is already among the front rank of young singers in this country today. Their programme is an exceptionally interesting one. The DEKANY STRING QUARTET, an ensemble founded in 1962, is also a newcomer to these Concerts. All are Hungarian in origin but are now resident in Holland. One of the most technically accomplished quartets, these young musicians have already gained a fine reputation for maturity of style and beauty of interpretation. Members will recall with pleasure the Concerts given in previous years by the STUDENTS FROM 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 Concerts of outstanding interest 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. Coffee and biscuits will be served during the interval, price 1/-

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(Pro REMITTANCE FORM (for the use of PRESENT MEMBERS ONLY) To the Hon. Treasurer, National Provincial Bank, King Street, Huddersfield, HD1 2AY 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, HD1 5QD 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 Conce

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All Concerts on Monday Evenings at 7-30 ★ PROGRAMMES October 14th, 1968 Quartet in G major K. 387 ..... Quartet in A minor Op. 29 Quartet in E flat major Op. 51 December 2nd, 1968 THE JANACEK STRING QUARTET November 4th, 1968 THE WISSEMA STRING QUARTET Quartet in B flat major K.589 Mozart Quartet No. 8 Op. 110 Quartet in G minor January 27th, 1969 February 17th, 1969 Mozart Schubert Dvorak ... .... Shostakovich Debussy CONCERT BY STUDENTS FROM THE SCHOOL OF MUSIC HUDDERSFIELD COLLEGE OF TECHNOLOGY FRITZ AND NATASHA MAGG Sonata No. 1 in F major Op. 5 Beethoven Sonata No. 4 in C major Op. 102, No. 1 ...... Beethoven 12 Variations in F major on "Ein Madchen" from "The Magic Flute" Sonata No. 3 in A major Op. 69 Four Intermezzi Op. 4 Song Cycle "The Poet's Echo" (1967).. The Story of Babar, the little Elephant Songs by Mahler and de Falla Elizabethan Lute Songs March 17th, 1969 Quartet in E flat major Op. 33 No. 2 Quartet in F major Op. 41 No. 2 Quartet in F minor Op. 95 CAROLINE CRAWSHAW AND KEITH SWALLOW Beethoven Beethoven THE DEKANY STRING QUARTET (Programmes subject to alteration) Schumann Britten Poulenc Haydn .... Schumann Beethoven Season ticket Single ticket Student's ticket 42/0 .. 10/6 3/6 3rd Concert only Single ticket Student's ticket .... 5/0 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 20th, after which date no returned tickets can be accepted. This perforated slip should be forwarded as soon as possible, please.

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THE HUDDERSFIELD MUSIC SOCIETY (Founded as The Huddersfield Music Club by Dr. Eaglefield Hull in 1918) President @0 Vice-President .. Stanley G. Watson, Esq. Sidney H. Crowther, Esq. AO ORISTE Honorary Vice-Presidents: Benjamin Britten, Esq., O.M., C.H., F. Rowcliffe, Esq., The Rt. Hon. The Lord Savile, J.P., D.L. Joint Hon. Secretaries: 14.01.20 Miss C. Alison Shaw, 3a Vernon Avenue, HD1 5QD. Tel. Hudd. 27470 Mrs. J. de Nikitin-Solsky, 37 Gynn Lane, Honley, HD7 2LE. Tel. Hudd. 61696 Hon. Treasurer: P. J. Gregory, National Provincial Bank, King Street, HD1 2AY Executive Committee: R. Barraclough Mrs. S. H. Crowther David Dugdale P. G. C. Forbes, M.A., A.R.C.o. S. Rothery Miss I. Bratman Mrs. A. Crowther Mrs. N. Culley Mrs. F. A. Dawson Miss K. Evans Mrs. E. Glendinning E. Glendinning 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. Freeman, LL.B. Miss E.K. Sawers Miss M. Hamer Miss C. A. Shaw Mrs. D. Hirst, J.P. Mrs. J. Shires Mrs. A. E. Horsfall Mrs. J. H. Sykes Miss W. Townsend Hon. Secretary: Mrs. E. Glendinning Hon. Treasurer: Mrs. S. G. Watson

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THE HUDDERSFIELD MUSIC SOCIETY *** **** Jiri Travnicek (Violin) Adolf Sykora (Violin) *** Fifty-first Seasion 1968-69 Town Hall Monday, October 14th 1968. Quartet in G major K.387 THE JANACEK STRING QUARTET ****** **** ***** Jiri Kratochvil (Viola) Karel Krafka (Cello) Programme I Mozart (1756-1791) Allegro vivace assai Menuetto and Trio Andante cantabile Molto allegro (Last performed in 1965 by the Arriaga String Quartet) Mozart's 25 string quartots can be divided into two sharply defined groups. The first group of 15, all dating from the early 1770's, are not string quartets in the modern sonse. They could be better described as divertimenti or even symphonios for strings. Later the quartets written in Italy show a great advance and much Italian influence; the latest, written in Vienna, prove that Mozart had now met Haydn and was much influenced by him. • Togart's After a lapse of some ten years the second group the 10 "great" quartots began to appear in 1782. This was the period immediately following Mozart's marriage; not many works date from this time but his output was by no means nogligible since the first 6 quartets dedicated, to his dear friend Haydn", were thon writton. Now "Mozart had completely found himself scarcely any works of his are more personal than these quartets. This time he learned as a master from a master; he did not imitate; he yielded nothing of his personality". (Einstoin). It has been suggested that Mozart's "passion for countorpoint, the outcome of his studios of Bach and Handel, may have influenced him as much as the oxample of Haydn's own quartots toward resorting to a form of composition in which it can be turned to such wonderful account in the interweaving

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20 of the four voices" (Hussey). It is difficult now to understand why such works as the "great" quartets, with their crystal clarity and their consummate beauty should have aroused the storm of criticism which groeted them on their first hearing. The Quartet to be played tonight is the first of the ten. In it, as in all the remaining ones, Mozart shows a seriousness of purpose, even though the mood be cheerful, far removed from the elegant graces of his "gallant" style. The first movement, in sonata form, opens with a cheerful and robust subject, which later has touches of what Einstein calls Mozart's uncanny concealed chromaticism; all the four instruments now play an equally important part. The closely-spaced socond subject has more grace and delicacy. The minuet, based on a strongly accented ascending scale passage, opens in almost fugal style; the vitality and humour of the Minuct takes yet another form in the Trio. The Andante has much graceful figuration particularly for the first violing extraordinary exaltation such as we find, outside Mozart, only in the later works of Beethoven" (Hussey). The brilliant Finclo begins as a strict fugue and yet the movement is cast in sonata form. The chromatic passages from the Minuet appear during its One could well believe that this movement owes some- thing to the finales of Haydn. The swiftness and gaiety of the tempo concoals much of the olaborate and intricate workmanship. the whole movoment has "a mood" of course, II Quartot in A minor Op.29 Schubert (1797-1828) Allegro ma no troppo Andan to Minuet and Trio Allegro moderato (Last performed in 1956 by the Stross String Quartet) P This beautiful and intonsely personal Quartet in A. minor has been described as one of the most characteristic works of any composer. It is a maturo work written in 182. It had its first performance that year by Schuppanzigh and his quartet (the work. is bdicated to Schuppanzigh). It was published the following year and is in fact, the only quartet to be published in Schubert's lifetime. Proviously Schubert had written a certain amount of chamber music but his total work in that form is relatively only a small proportion of his entire output. Small though this is, it includes some of the finest and most beloved chamber music that has ever been writton. Schubort had earlier written in his i not unti Quartoti chamber

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orm and 3. written string quartots most of which wore ideal for performance in his immediato circle (he himself played the viola), but it was not until 1820 when he wrote the single movemont known as the Quartottsatz that he reveals his mastery of the form. No further chamber music was written till 1824 when the Quartet Op.29 appeared and the Quartet in D minor (Death and the Maiden) was first written or planned. That was a time of illness and deep depression which is proved by the lotters full of possimism which ho wroto. He was further deprossod by the departure of most of his friends from Vienna and it was during this period of solitude that these quartots were conceived. In the magical first movement the dreamy molody of the first violin soars above the throbbing accompaniment of the viola and cello and the swaying line of the second violin; as Haddow says, "the rhythm stirs and quivers round the melody like the voices of the forest round the nightingalo". This mood of depression is omphasi sod by the similarity of the rocking figures played by the socond violin to the accompanimont of Grotchon am Spinnrade writton 10 years carlier. Fow quartets have so simple an oponing, yot the accompanimont sots the whole mood. Schubort's magical mastory of the art of modulation, particularly in a swinging between the major and minor modes, is shown throughout and nowhere more clearly than in the short and hositant development section. The gontlo Andante opens with a variant of a theme from Rosa- munde which Schubort again used for the piano Impromptu Op. 142. At each reappearance the theme is expanded and intensified. Even this sorono movement is tinged with wistfulness, The Minuet, with its surprising changos of key and the expressive and doeply personal feeling of the melody, is, in spite of its apparent simplicity, one of Schubert's most inspired movements. It is based upon a direct use of the phrase which Schubert used in his setting of Schiller's "Gods of Grooco" to the words "Beauteous world, whore art thou? Come again, 0 lovely age of Nature's blossoming" This quotation corresponds completely with what wo know about Schubert's state of mind whon the quartot was writton. A gloam of hope shows in the lovely modulation which opens the second section but the clouds return and the greyness of the first movement still covers everything. In contrast, the Trio gives the impression of Austrian rural life, The Finale, with its sparkling rhythms and capricious accents and coloured throughout with the Hungarian spirit, brings the work to a warm, exhilarating conclusion. Some critics have thought that this movomont does not suitably end a work which has the emotional

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4. qualities of the proceeding movements. But perhaps it should be regarded as psychologically correct slackoning of the tonsion and as such it is in completo accord with what we know of Schubort's character. Coffee Interval of 15 minutes III Quartet in E flat major Op.51 Allegro ma non troppo Dumka. Dvorak (1841-1904) Andante con moto vivace Romanza. Andante con moto Finale. Allegro assai (first performance at these concerts) prop The Quart Dvorak, together with Smetana was one of the founders of the esta modern school of Czech music and one of the great, as well as one of the most individual of 19th century composers. In his youth he had a long struggle against poverty and it was not until 1857 that he was able to receive a regular education in music at the Organ School in Prague. He began to compose from an early age though later many of those compositions were destroyed. Until 1873 while he was still a viola player in a Czech orchestra under the direction of Smetana, he was little known even in his own country and it was some years later before he became known abroad. This was largely due to the influence of Brahms who early recognised his great talents. Dvorak first came to England in 1884 to conduct some of his own works and he made other visits in lator years; soveral of his masterpieces wore composed for the English music festivals. (From 1892 till 1895 he was director of the National Institute of Music in New York and on his return home, he became director and professor of composition at tho Prague Conservatoire.) "Dvorak was one of those great croativo artists who live, fool and think in music. Music was his lifc-blood, his whole inner existence; (Sourok). and only in music could he fully express himself" Though his materpieces cover every branch of the art he is at his best and finest in the realm of chamber music. In it one finds to perfection the grace and freshness of his musical ideas, his wondorfully coloured harmony and his foeling for beautiful instrumental effects, all produced with the greatest simplicity and clarity. His chamber works number 30 and their composition extends throughout his career. Jo sonbox ou SMC 40 with the sti fooling. 20

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ion The Quartet Op.51 was written in 1897 and no work of Dvorak's ows more of the beauty and freshness of his music. It was startod at the request of Joan Beker, loader of the Florentine Quartet, with the stipulation that it should be specifically "Slavonic" in fooling. This presented no problems to Dvorak, stooped as he was in his natural culture. The prevailing mood of the Quartet is one of charm and humour. The first movement, made light and frosh with its arpoggio texture, opons in loisurely fashion and its growing animation loads to the second subject which appears, first in a polka-like rhythm. The dovolopmont principally usos the first subject; the recapitulation is shortened but with an extended coda. The second movement is very original. It opens with A Dunka (a lamont) in G minor in which the violin and the viola have a dialoguo supported by pizzicato chords for the collo. For the second section the theme is hoard in G major in 3/8 time totally transformed into a Furiant a lively Czoch dance with a charactor- istic effect of cross rhythms. Humour is absent in the slow movement in B flat which is a Romance - a poetic nocturne simplo and sorono in stylo. The Finale is based upon another Czech dance, the Skocna. This bounding, leaping music eventually becomes a Furiant. Echoes are heard of the Dunka and of a figure from the theme of the first movement. The excitement rises steadily and the close is wildly joyous. ********* ********* ****** **** THE JANACEK STRING QUARTET was formed in 1947 by pupils of Professor Czorny's chamber music class at the Conservatoire of Music in Brno. The youthful Quartet could look back on much noto- worthy musical activity when its members graduated from the Conservatoire and became loadors of their respoctivo string sections in the Brno Stato Philharmonic Orchestra, while cont inuing their work as a quartet. They chose the name of Janacok the greatest Moravian composor. Their first tours abroad took place in 1949 and 1951; since then they have played in more than 40 countries in all 5 continents. Now they rank as one of the leading quartets of the world. The Quartet play all the works in their ropertoire by heart and thus achieve a rare unison and direct contact with their audience. *** THE HUDDERSFIELD MUSIC SOCIETY *******************: Mayor's Reception Room, Town Hall. November 4th. Monday Evenings at 7.30 THE WISSEMA STRING QUARTET Quartet in B flat K.589 Quartet No. 8 Op.110 Mozart Shostakovich

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6. Quartet in G minor Debussy December 2nd STUDENTS OF THE SCHOOL OF MUSIC, COLLEGE OF TECHNOLOGY. January 27th. FRITZ AND NATASHA MAGG Cello and Piano Recital. February 17th. CAROLINE CRAWSHAW AND KEITH SWALLOW Vocal and Piano Recital. March 17th. THE DEKANY STRING QUARTET Soasons tickets for the romaining FIVE Concorts 35/- single tickets 10/6 from Woods, 67 Now Stroot and at the door. ******* **** ***** HALIFAX PHILHARMONIC CLUB Lecture Hall of the Halifax Litorary and Philosophical Socioty, Harrison Road. Friday November 1st at 7.30 p.m. John Franca (Cello) and Guthrie Luke (Piano) Gamba Sonata in D major Sonata in G Op.5 No.2 3 Fantasiestucke Op.73 Sonata in F major Op.99. Bach Beethoven Schumann Brahms Single tickets 10/- from David Dugdalo Esq., 96 Willowfiold Road, Halifax or at the door. THE HUDDERSFIELD THESPIANS - St. Patrick's Hall Nov. 25th - 30th. at 7.30 pm. "THE KILLING OF SISTER GEORGE" by Frank Marcus Tickets 5/ (reserved) 2/6 (unreserved) (On Monday nights only, unreserved seats 2/-, Old Ago Ponsionors 1/-) from Woods, 67 Now St. ****** ******* ************** THE HUDDERSFIELD GRAMOPHONE SOCIETY - Now North Rd. Baptist Chapel. Monday Evenings at 7.30. October 21st. Mr. R.K.B. Aldridge on the influence of the visual arts on music. Subscription 15/- half season 10/- (including refreshments). Two visits pormitted without obligation, Details from Mr. D. Bostock, 16 Imporial Rd. Huddersfield, HD3 3AF. *********** *********

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ci GY. OF 7. HUDDERSFIELD COUNTY BOROUGH CENTENARY CONCERTS FESTIVAL OF THE ARTS arranged by the Huddersfield Arts Council (Chairman Mr. S.H. Crowther) in the Town Hall at 7.30 p.m. Tuesday, Oct. 15th. The Huddersfield Thespians in THE HOLLOW CROWN" SONGS FROM THE SHOWS Wednesday Oct 16th. Thursday Oct. 17th. "THE HOLLOW CROWN" (Ropoat) Friday Oct. 18th. YOUNG ARTISTS OF PROMISE Saturday Oct. 19th. SOUNDING BRASS AND VOICES Tickets available from Room 222, Civic Centre, High Street and local agents. Pricos 2/6., 4/95/m., and 6/-. Tuosday Oct. 15th. Lunch-Hour Rocital Thursday Oct. 17th. Lunch-Hour Rocital Admission Free ROGERI TRIO PHILIP CHALLIS

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THE HUDDERSFIELD MUSIC SOCIETY ***** *** Fifty-first Seasion 1968-69 Mayor's Reception Room Town Hall Monday November 4th 1968 THE WISSEMA STRING QUARTET ******* **** Nella issema (Violin) Fay Campey (Violin) Programme I Quartet in B flat major K.589 Allegro Larghetto ** Minuet and Trio Allegro assai Ludmila Navratil (Viola) Paul Ward (Cello) Mozart (1756-1791) This quartet is the second of a set of three written between 1789-90; these were the last string quartets which Mozart wrote. They are known as the Prussian Quartets. The King of Prussia himself played the cello and although the dedication to him does not appear in the first edition, it is evident from the prominent part given to the cello in all three quartets that Mozart had his royal patron in mind. Moreover, for the first quartet the King sent to Mozart a kind letter of thanks, a gold snuff box and 100 friedrichs d'Or. Einstein romarks that "these quartets are slightly concertante a and yet they are the purest chamber music... these are three works that originated under the most dreadful spiritual oppression and yet rise to the heights of pure felicity. The reference to "oppression" of course moans Mozart's desperate financial position at that time, the long drawn out uncertainty of obtaining a suitable position from the Emperor and his wife's constant illnesses. This, the second, quartet, is perhaps the lightost of the three and all its movements are instinct with the joy of life. But, even so, there is much more subtlety in that "lightness" than in corresponding works of Mozart's earlier years. It has been suggested

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20 that if Mozart had lived longer, this might have been the opening of a new development in his music. The first movement, in sonata form, makes much use of counterpoint particularly in the develop- ment section; it is all so lightly and gracefully done that its skill and art could pass by almost unnoticed. The slow movement has cantilenas and passages of dolightful molody; much importance is given to the cello and much use is made of its high register. This movement reminds one of Langford's penetrating remark, "Other mon compose music, Mozart is music". The Minuet and Trio form the most unusual movement of the work. Both are exceptionally long, almost reaching the dimensions of a Finale in the older style, and the Trio reminds one of the music of the 3 Genii in the Magic Flute. The Finale, a rondo, is almost reminiscent of Haydn; hore the contrapuntal element is more strongly marked and it occurs even in the opening theme itself. The theme is treated with the greatest skill. It appears in various forms including inversion and even in as romote a key as D flat major. II Quartot Nc. 8 Op. 110 Largo Allogro molto Allegretto Shostakovich (b.1906) 211:2 Largo Largo (Last performed in 1964 by the Alberni String Quartet) Dimitri Shostakovich was born in Leningrad. He ontered tho Conservatoire there in 1919 and studied with Glazunov and Steinborg. He left in 1925 having already written a large amount of music. Two of his operas brought him in to conflict with the Soviet authorities (in 1930 and 1935). In each case he acknowledged his "orror" and endeavoured to make his music conform 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 up to the prosent produced 13. But he has also given much attention to chamber music, a form which in general secms loss congonial to Soviet composers, and he has shown in it an equal understanding and mastery. His output includes 8 string quartots, a piano trio, a piano quintet, a string octet and a Sonata for cello and piano. He was, however, fairly late in his career in writing for string quartet, the first dating from 1938.

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3. The Quartet to be performed tonight is his latest one. It and the Quartet No. 7 were both written in 1960 and have many points of similarity. Quartet No. 8 is dominated by the melodic motiv D.E. flat. C.B. (in Gorman D.S.C.H. - standing for Dimitri Shostakovich); the 7th Quartot uses the same motiv but in a different order. Quartet No. 8 has an autobiographical element; as well as the composer's "signature" it contains quotations from the Piano Trio, the opera Lady Macbeth, and the 1st and 10th Symphonics. It is dedicated to the momory of those who died in the struggle against Nazism. Its mood is "dominated by the thought of the victims of war, and it voors, as one English critic remarked, "betwoon sad rumination, angor and a kind of nervous obsession" (Boris Schwarz) Tho first movomont is "a kind of contrapuntal preludo" based upon the D.S.C.H. motiv. The second movement is powerful and is constructed in sonata-form. It leads directly to the rhythmic, waltz-inspired Allegretto, which has the D.S.C.H. motiv in diminution. Thereafter no less than two slow movements follow. The first is doclamatory in stylo; the D.S.C.H. motiv appears in the middlo section but on a higher pitch. There is also a quotation from a patriotic song "Crushed by the weight of long bondage". The D.S.C.H. reappears and leads to the finale, which is a fugue based on the same motiv and, in the coda, several passages from the first movement are heard, thus "strengthening the aural impression of the Quartet as a work not in five separate movoments but in a single monothematic movement containing several extended variation like episodes of contrasting tempi". (I.I. Martinov) Coffee Interval of fifteen minutes III Quartet in G minor Op.10 Debussy (1862-1918) Anime et tres docide Assez vif et bien rythme Andantino doucement expressif Tres modere (Last performed in 1959 by the Locwenguth String Quartet) Claude Dobussy, perhaps the most influential French composer of his gonoration, sprang from a family of no particular music talent. After a conventional training, he settled down to a retired life of composition, novor holding any official appointment and rarely appearing in public. His work can roughly be divided into three periods; the first, a period of immaturity lasting up

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4. about 1890, then some 20 years of mature work and finally a few last years of declining health and activity. His early works showed traces of external influences but he soon evolved a style and process of thought entirely his own. No composer over had a keener or more subtle feeling for beauty, colour, pootic suggest- iveness and atmosphere; added to these went a perfect genius for craftsmanship. - was This Quartet - his only composition on that form written in 1893, the carly part of his finest period. In it Dobussy uses the "cyclic principlo". Yet "the impression created is not a work of contrasts and logical development, but a sort of visionary work based upon the transformation of a single thome" (Lockspeiser). The gay and rhythmic first movemont opens with the "motto" of the whole work. The theme of the Scherzo movement of pure fantasy is directly derived from that motto. The third movement is a dreamy Nocture. The composition of the quartet was immediately followed by that of L'Apros-midi d'un Faune; this slow movement clearly foroshadows the later dovolop- ment. The impetuous finale again contains a further transform- ation of the motto. But apart from dotails of construction, the quartet is a work of shoor, olusive beauty; it "movos like a young fawn, spins the gayest, most silkon, most golden of spider- wobs; fills one with delights of taste and smell and sight and touch". (Rosonfold). ************ **** <**** NELLA WISSEMA was leader of the Charles Kreitzer Quartet (1945-61) and also of her own Piano Trio. She was a frequent porformer with the South African Broadcasting Company and played with principal orchestras in South Africa as a soloist. In recent years she has played with the principal British Orchestras and has given recitals in many cities. FAY CAMPEY was born in Lincolnshire. She studied at the Dalcroze College of Eurhymics and by the age of 19 had gained porformers A.R.C.M., L.R.A.M. and the Dalcroze Certificate. She then studiod the violin with Endre Wolf and was a member of the Laurance Turner String Quartet for several years. She now leads the Manchester Mozart Orchestra. LUDM parents, under Pau Orchestra Mancheste:

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le a ME 5. LUDMILA NAVRATIL was born in Roumania of Czech and Hungarian parents, She studied at the Royal Manchester College of Music under Paul Cropper and Frederick Riddle and joined the Halle Orchestra in 1954. She is at present principal viola with the Manchester Mozart Orchestra. PAUL WARD is a well-known cellist in Manchester and has been a member of the Halle Orchestra (1948-54). He was for many years cellist of the Turnor String Quartet and recently became Musical Director of the Manchester Mozart Orchestra. *** Mayor's Reception Room, Town Hall. Maroh 17th. THE HUDDERSFIELD MUSIC SOCIETY December 2nd. CONCERT BY STUDENTS FROM THE SCHOOL OF MUSIC HUDDERSFIELD COLLEGE OF TECHNOLOGY January 27th. FRITZ. AND NATASHA MAGG Collo and Piano Recital February 17th. CAROLINE CRAWSHAW AND KEITH SWALLOW Song and Piano Recital. *** **** THE DEKANY STRING QUARTET. Single tickets 10/6 from Woods, 67 Now St. or at the door. *** Monday Evonings at 7.30. Quartet in D minor K.421 Quartet No. 6 Quartet in F major Op.59 No. 1 THE HALIFAX PHILHARMONIC CLUB *** The Lecture Hall, Harrison Road, Halifax. November 30th. THE BARTOK STRING QUARTET ****** ****** 7.30 p.m. Single tickets 10/- from David Dugdalo Esq., 96 Willowfield Road, Halifax or at the door. Mozart Bartok Beethoven

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THE HUDDERSFIELD GRAMOPHONE SOCIETY New North Road Baptist Sunday School. November 11th, Rossini 6. Now Stroot. November 25th. Mirfield Visit. English Music. Subscription 15/- half season 10/- (including rofreshmonts). Two visits permitted without obligation. Details from Mr. D. Bostock 16 Imperial Road, Huddorsfield, HD3 3AF. ******* St. Patrick's Hall. Monday Evenings at 7.30. THE THE HUDDERSFIELD THESPIANS November 25th KILLING OF SISTER GEORGE by Frank Marcus * 30th. at 7.30 p.m. Tickets 5/- (resorved) 2/6 (unreserved) (On Monday nights only, unresorved seats 2/- Old Age Pensioners 1/-) from Woods, 67

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THE HUDDERSFIELD MUSIC SOCIETY Fifty first Season 1968-69 CONCERT by STUDENTS of the SCHOOL OF MUSIC HUDDERSFIELD COLLEGE OF TECHNOLOGY Mayor's Reception Room, Town Hall, Huddersfield. MONDAY 2nd DECEMBER, 1968. at 7.30.p.m.

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PROGRAMME. Sonata for Two Cellos in G minor. Lento. Allegro. Largo. Fugue, Rayford Kitchen, Clare Wright. Cellos. Peter Seymour. Piano. IN WENIG THREE CAROLS. Hodie A Spotless rose is blowing O Little One Sweet. Trio in G major. Andante. Rondo all'ongarese. Handel. THE MADRIGAL GROUP. Poco dagio. Cantabile. Sweelinck Herbert Howells harm. J.S. Bach. COFFEE INTERVAL of 15 MINUTES. Haydn Paul Pearce Violin. Clare Wright Cello. Stuart Littlewood piano.

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Sonata in F sharp minor. Sonata in C major. Hungarian Rhapsody No. 14. Angela Squire FOUR SONGS. The Letter Duet (Marriage of Figaro) Yvonne Adshead and Janet Ross. Gretchen at the Spinning Wheel. Yvonne Adshead The Modest Heart. Morgenmusik piano. Janet Ross L Let the bright seraphim. soprano. soprano Moderato. Lied. Con moto. Scarlatti Scarlatti Liszt. Mozart UST Schubert Wolf Handel. Janet Ross - soprano. Yvonne Adshead - trumpet Peter Seymour - accompanist Hindemith Peter Merrick. Peter Marsh. - trumpets Leslie Storey, Christopher Hague - trombones.

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FUTURE DATES. THE HUDDERSFIELD MUSIC SOCIETY. Mayor's Reception Room, Town Hall. JANUARY 27th. .fo FRITZ and NATASHA MAGG from The Magic Flute Sonata No. 3 in A major Op.69 Sonata No.1. in F major Op. 8. Sonata No. 4. in C major Op. 102 No.1 Beethoven 12 Variations on "Ein Madchen" Monday Evenings at 7.30. The Lecture Hall, Harrison Road. JANUARY 22nd. THE AEOLIAN STRING QUARTET Cello and Piano Recital. FEBRUARY 17th. CAROLINE CRAWSHAW and KEITH SWALLOW Song and Piano Recital. MARCH 17th. THE DEKANY STRING QUARTET Single tickets 10/6 from Woods, 67 New Street and at the door. Quartet in D minor K.428 Quartet No.6 bredial Quartet in F major Op.59 No.1 Beethoven Beethoven Beethoven THE HALIFAX PHILHARMONIC CLUB 7.30.p.m. Mozart Bartok Beethoven Single tickets 10/- from David Dugdale Esq., 96, Willowfield Road. Halifax, or at the door. THE HUDDERSFIELD GRAMOPHONE SOCIETY. New North Road Baptist Sunday School. President's Evening. December 9th. December 16th. January 6th. The Spirit of the Place. Liszt and Mahler. January 20th Mozart. Subscription 15/-, half season 10/- (including refreshments.) Two visits permitted without obligation... Details from Mr. D. Bostock, 16 Imperial Road, Huddersfield. HD33AF THE HUDDERSFIELD THESPIANS St. Patrick's Hall. WOMAN IN A DRESSING GOWNanuary 20th-25th. Monday Evenings at 7.30.

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THE HUDDERSFIELD MUSIC SOCIETY *** Fifty-first Season 1968-69 Mayor's Reception Room, Town Hall, Monday January 27th 1969 FRITZ MAGG (Cello) Programme I Sonata in F major Op. 5 No. 1 NATASHA MAGG (Piano) Beethoven (1776-1827) Adagio sostenuto Allegro Allegro vivace (First performance at these Concerts) The composition of works for cello and piano presents many special problems which have become increasingly apparent due to the lack of balance in tone quality between the two instruments. The cello, like all other string instruments, has remained practically unaltered while the modern piano has developed into an instrument of great power and resonance. It is true that the piano of Beethoven's time was of much less power but even then the difficulties of balance existed. Haydn in general used the cello merely as a support for the bass. Mozart gave it much more importance and freedom, but it is not until the first sonatas of Beethoven that any true combination of the two instruments in an equal partnership was arrived at. It is interesting to note how, from the first, Beethoven uses all the registers of the cello freely, how he deals with the problem of bringing out the singing qualities of the cello, often at a pitch which with difficulty penetrates the volume of the piano tone, and how carefully he clarifies and lightens the more powerful and ringing qualities of the piano. Between the years 1796-1815 Beethoven wrote 5 sonatas for cello and piano. The two sonatas Op. 5 were written during a visit to Berlin in 1796 and were dedicated to King Frederick William II,

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2. himself a cello player and to whom Mozart had dedicated his "Prussian" string quartets six years previously. As in the case of so many of Beethoven's duo sonatas, they were written with a particular player in mind; this time it was Dupont, a French cellist, then in Berlin and considered to be the origin- ator of modern cello technique. Because of their peculiar problems Beethoven composed these sonatas with a different effect in mind from the violin sonatas, which are essentially brilliant virtuoso concert pieces.] In some ways the cello sonatas, so widely spaced in time, are more effective than the more rapidly composed violin sonatas. They have a deeper significance and a richer variety of form; and once the problem of the balance of the instruments was solved, the cello proved to be a more ideal instrument for the chamber duo with its noble and varied tone characteristics than the brilliancy and more piercing qualities of the violin. [To quote D'Indy "It would seem that the composer, attracted by the tenor voice of this of the instrument, has done his best to bring out this singing quality by means of broad, slow phrases, and to give it more importance et. than the element of virtuosity. This tendency explains why three of the sonatas open with long and often pathetic introductions, and also why the second subjects of the quick movements - the expressive subjects are treated at much greater length than in the other sonatas", The Sonata Op. 5 No. 1 opens with an impressive unison passage for the two instruments. This slow introduction of some 34 bars really forms a separate movement which leads with only a slight pause into the Allegro. Dramatic and colourful, it is almost an improvisation in style and reminds one that this work was written while Beethoven was at the height of his career as a concert pianist. The Allegro is in sonata form; the main theme is first heard on the piano and, after a short bridge passage, it is repeated by the cello. A short adagio passage leads to a brilliant coda. The finale is a rondo with extended episodes. The theme is first heard in canon between the two instruments. The whole brilliant movement has perhaps less musical interest, being in reality a more conventional piece of virtuoso display II Sonata in C major Op. 102 No. 1 Andante Allegro vivace Beethoven. i

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1 3. Adagio Tempo d'Andante Allegro vivace (Last performed in 1959 by Rohan de Saram) The two Sonatas Opp. 1 and 2 were composed in 1817, a year in which Beethoven wrote little, and were the last major works for piano combined with strings. They are dedicated to the Countess Marie Erdody and it is possible that the cellist which Beethoven had in mind was Linke, a member of the Rasumowsky Quartet. Beethoven himself described this Sonata No. 1 as a free sonata". It is certainly almost a Fantasy in form and seems to resemble an intimate dialogue between the two instruments rather than the usual duo sonata, Bekker describes it as "almost baroque in style whose dry musical exterior conceals an imaginative impulse which reaches out boldly beyond the limits of conventional expression". The opening is again a long slow introduction with swaying themes which bring out in full the cantilena qualities of the cello. The theme of the Allegro is vigorous and rhythmical and is later dominated by a persistant triplet figure. Much use is made in the development section of the rhythm of the main subject. What corresponds to the slow movement is a short Adagio, decorated with beautiful delicate figuration, based largely upon the theme of the introduction. The tempo quickens to a Tempo d'andante section which leads after a long trill to the final Allegro. The opening of this movement is fugal in character and its themes are bright and vigorous. Long-held cello notes interrupt this vivacity, the fifth being the introduction to the final coda. Coffee Interval of 15 minutes III Twelve Variations in F major Op. 66 Beethoven. (First performance at these Concerts) It is interesting to have an opportunity of hearing this little-known work. The theme "Ein Madchen oder Weibchen" is taken from Mozart's opera The Magic Flute, and was written in 1797. Other occasions upon which Beethoven made use of Mozart's themes are Twelve Variations in F upon "Se vual ballare" (violin and piano 1792) and Sovon Variations in F flat upon "Bei Mannern, welche liobo fuhlen (collo and piano 1801). It is generally considered that these works woro intended for private performance.

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Sonata in A major Op. 69 4. IV. Allegro ma non tanto Scherzo - Allegro molto Adagio cantabile Allegro vivace Beethoven (Last performed in 1960 by Rohan de Saram) This Sonata Op. 69 appeared in 1809 and was dedicated to Baron von Gleichenstein, a faithful friend who performed all manner of duties - secretary, messenger, attorney, buyer and keeper of the purse for Beethoven. In contrast, this work opens vigorously and boldly with the first part of the theme stated by the unaccompanied cello and then continued by the piano over a low cello pedal. This is immediately repeated with the instruments reversed. The remainder of the movement keeps to regular sonata-form. The Scherzo, unusually extended and in the key of the tonic minor, takes the place of the second movement. The slow movement is so brief that it really only forms an introduction to the joyous finalo. Apart from these few differences, Beethoven constructs the work on the usual classical lines, giving us strong, virile subjects, developed and contrasted with all his superb craft. There are also some very delightful conversations" between the two instruments, a form of art in which Beethoven and Mozart have no equals. FRITZ MAGG was born and educated in Vienna. He continued his studies in Cologne, Berlin and Paris. At the age of 20 he was appointed solo cellist of the Vienna Symphony Orchestra and began a distinguished career as a soloist. He has lived in the United States since 1938. He has been first cellist with the Metropolitan Opera Company and played with the Gordon and Berkshire String Quartets as well as soloist with many orchestras and with Natasha Magg in sonata recitals. Since 1948 he has been Professor of Cello and Chamber Music at Indiana University. He plays a cello made by Stradivarius in 1698. NATASHA MAGG was born in Austria. After studies at the Vienna Academy under Franz Schmidt and Emil von Sauer she began her concert career at an early age. She continued her concert activities in the United States where she has lived since 1938. Like her 1 piano rec

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- 5- Like her husband Fritz Magg, with whom she plays many cello and piano recitals, she teaches at Indiana University. THE HUDDERSFIELD MUSIC SOCIETY **** *** Mayor's Reception Room, Town Hall. Monday Evenings at 7.30 p.m. February 17th CAROLINE CRAWSHAW AND KEITH SWALLOW The programme will include works by Schumann, Poulenc, Britten, de Falla, Haydn, Beethoven and Elizabethan lute songs. March 17th THE DEKANY STRING QUARTET Single tickets 10/6 from Messrs. Woods, 67 New Street and at the door. THE HALIFAX PHILHARMONIC CLUB *** *** *********: The Lecture Hall, Harrison Road Friday February 28th 7.30 p.m. CONCERT BY STUDENTS OF THE SCHOOL OF MUSIC HUDDERSFIELD COLLEGE OF TECHNOLOGY Single tickets 10/- from David Dugdale Esq., 96 Willowfield Rd., Halifax and at the door.

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- 6- THE HUDDERSFIELD GRAMOPHONE SOCIETY *** **** New North Baptist Sunday School February 10th. Music with a Literary Theme Miss E. Williams St. Patrick's Hall Monday Evenings at 7.30 Subscription 15/- half season 10/- (including refreshments). Two visits permitted without obligation. Details from Mr. D. Bostock 16 Imperial Road, Huddersfield, HD3 3AF. presented by THE HUDDERSFIELD THESPIANS *** ***** by Robert Bolt A MAN FOR ALL SEASONS **** March 3rd 8th. Tickets 5/- (reserved) 2/6 (unreserved) On Monday nights only, unreserved seats 2/-. Old Age Pensioners 1/- from Messrs. Woods, 67 New Street.

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THE HUDDERSFIELD MUSIC SOCIETY ++- +++ Fifty-first Season 1968-69 Mayor's Reception Room, Town Hall, Monday, February 17th 1969 CAROLINE CRAWSHAW (Soprano) Elizabethan Lute Songs Come again Programme Four Intermezzi Op. 4 E minor C major D minor B minor I Go to bed, sweet Muse Shaded with olive trees When Laura smiles +++ II KEITH SWALLOW (Piano) Dowland (1563-1626) Robert Jones (d.circa 1617) Thomas Greaves (17th cent) Philip Rosseter (1575-1623) Schumann (1810-1856) The bulk of Schumann's piano music was written between 1830-39. Throughout these years he wrote nothing but music for the piano and this was followed after his marriage, between 1840-42 by an equal outpouring of songs. The group of Intermezzi Op. 4 was written in 1832 and consists of two books of six Intermezzi each. Schumann described them as "longer Papillons". Their form is simple - in general, a main theme with one and sometimes two alternative sections and a return to the main theme. Both Schumann and Brahms used the title "Intermezzo" to denote an Independent and romantic piece of small dimensions, as opposed to its true meaning of an entreact. 68

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Five Songs to poems by Friedrich Ruckert Mahler (1860-1911) 1911) Ich atmet' einen linden Duft Liebst du um Schonheit Blicke mir nicht in die Lieder Ich bin der Welt abhenden gekommen Um Mitternacht 2. III Coffee Interval of 15 minutes The Story of Babar, the little elephant Poulenc (1899- 1963) for piano and narrator. Words by Jean de Brunhoff. English version by Nelly Rieu. V. Song Cycle: The Poet's Echo (1967) Britten (b.1913) Setting of poems by Pushkin, English translation by Peter Pears. Echo My heart .... Angel The Nightingale and the Rose IV. * Epigram Lines written during a sleepless night Seven Spanish Songs * The subject of this epigram was Count M.S. Vorontsov, Pushkin's chief in Odessa. He was brought up in England (Half a milord') and had financial interest in Odessa (Half a boss'). Manual de Falla (1876-1946) El Pano Moruno Seguidilla Murciana Asturiana Jota Nana Cancion Polo IV Ilk bega dra CAROLINE

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911) 3. CAROLINE CRAWSHAW was born at Ilkley in 1941 and educated at Ilkley Grammar School. Coming from a musical family, she began piano lessons at the age of 6, violin, speech and drama lessons followed and later singing under the guidance of Honor Shepherd. In 1960 she was awarded a scholarship to study singing at the Royal Manchester College of Music under Elsie Thurston. During her college career Caroline Crawshaw gained the A.R.M.C.M. Diploma both in performing and teaching and won many prizes, including the Imperial League of Opera Prize and the Curtis Gold Medal, the award given to the outstanding singer of the year. 1965 she was awarded second prize from an entry of 700 in the English Song Competition organised by the B.B.C. Since leaving college in 1965 she has sung with leading Choral Societies and Music Clubs and appeared on tele- vision. Recent engagements include recitals at the Wigmore Hall, the Cheltenham and Harrogate Festivals and several appearances with the Halle Orchestra. In July In 1968 she took part in the Henry Wood Promenade concert given in memory of Sir Malcolm Sargent. KEITH SWALLOW won a West Riding Scholarship at the age of 16 and went to study at the Royal Manchester College of Music under Claude 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, the provinces and in Germany with great success and has played concertos with many leading orchestras. He has done much work with the B.B.C. and has established a fine reputation no only as soloist but also as an ensemble player and an accompanist. THE HUDDERSFIELD MUSIC SOCIETY +++++++++++++++ +++++ ++++++ Monday Evening at 7.30 Mayor's Reception Room, Town Hall. March 17th. THE DEKANY STRING QUARTET Quartet in E. flat Op. 33 No. 2 (The Joke) Quartet in F major Op. 41 No. 2 Quartet in F minor Op. 95 Haydn Schumann Beethoven Single tickets 10/6 from Messrs. Woods, 67 New Street and at the door.

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THE HALIFAX PHILHARMONIC CLUB ++++++++++- 4. +++++++++++++++ The Lecture Hall, Harrison Road Friday, February 28th. CONCERT BY STUDENTS OF THE SCHOOL OF MUSIC, HUDDERSFIELD COLLEGE OF TECHNOLOGY. Single tickets 10/- from David Dugdale Esq., 96 Willowfield Road, Halifax or at the door. THE HUDDERSFIELD GRAMOPHONE SOCIETY +++++++++++++++++++++++++++++ 7.30 p.m. New North Road Baptist School Monday Evenings at 7.30 February 24th. Franz Schmidt (1874-1939) by Mr. Harold Truscott. March 10th. Berlioz by Mr. D.T. Sleath Subscription 15/- half season 10/- (including refreshments) Two visits without obligation. Details from Mr. D. Bostock 16 Imperial Road, Huddersfield, HD3 3AF. St. Patrick's Hall THE HUDDERSFIELD THESPIANS ++++++++++++++++++++++++++ March 3rd - 8th. A MAN FOR ALL SEASONS by Robert Bolt Tickets 5/- (reserved) 2/6 (unreserved). On Monday nights only, unreserved seats 2/-, Old Age Pensioners 1/- from Messrs. Woods, 67 New Street.

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THE HUDDERSFIELD MUSIC SOCIETY * Fifty-first Season 1968-69 Mayor's Reception Room, Town Hall Monday March 17th 1969 THE DEKANY STRING QUARTET **** <*** Harry Curby (Violin) Peter Aslay (Violin) Quartet in C major K.465 Programme I www Adagio Allegro Andante cantabile Minuet and Trio Allegro molto Ervin Schiffer (Viola) Gyorgy Schiffer (Cello) Mozart (1756-1791) (Last performed in 1955 by the Carmirelli String Quartet) The Quartet in C is the last of a set of six written between 1783-85 and dedicated to Haydn; the whole set forms one of the finest monuments which one composer has ever erected to the honour of another. The three last quartets of this set were played for the first time in Vienna in 1785 when Haydn said to Mozart's father: "Before God and as an honest man, I tell you that your son is the greatest composer known to me either in person or by name. He has taste and, what is more, the most profound knowledge of composition". Einstein observes that no more profound comment could be made about Mozart. "Genius and art combined; the "gallant (perhaps best translated as "courtly style") and the "learned" the two extremes into which music during this period threatened to split re-united". This quartet is the only one of the six to open with a slow introduction. The so-called dissonances in it were considered on its appearance to be so peculiar that one princely amateur tore up the parts in fury at the outrage and copies were returned from Italy for correction. We now realise that these

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2. discords qare the outcome of Mozart's deep contrapuntal studies, and that the "ugliness" is part of its beauty and therefore aesthetically correct. Beethoven was the first fully to introduce the sense of personal struggle into his music, but the Introduction to this quartet surely shows that "Mozart was moving with his times toward the conception of self-expression in art which was to dominate the composers of the nineteenth century" (Hussey). Apart from the unusual introduction there is little in the quartet which requires comment. The general effect is "a noble, manly cheerfulness rising in the Andante to an almost super-human serenity, the kind of cheerfulness which in art or life appears only as the result of previous pain or strife". (Jahn). II Six Bagatelles Op. 9 Anton Webern (1883-1945) (first performance at these concerts) Webern was born in Vienna where he studied musicology with Adler and took the Ph.D. degree at Vienna University in 1906. He was the first to follow Schonberg's lead into new paths, Berg being the second, and both were the most faithful of disciples. But Webern's experiments took the form of a new scale based rather upon tone-qualities than upon tone-pitch. Frequently almost every note of the melody is given to a different instrument each in a different tone colour, which gives to the music an expressiveness and fluidity which was entirely new. Most of Webern's works are short and transparent in sound, yet into this miniature scale he compressed an infinite range of expression with the utmost delicacy and intimacy. He was a man of great intellect and breadth of culture; Erwin Stein called him the composer of the pianissimo expressivo The Six Bagatelles were written in 1913. In these "Webern states his ultimate point in the minute forms. The number of bars in the movements are respectively: 10.8.9.8.13.9. This is also the first real statement of his use of Klangfarbenmelodie as an integral part of the structure. Sensitive playing will show a line between these apparently unrelated notes. A melodic line is traced through the texture..... The quartet of players is here unified to the function of one player. Each quaver has its own dynamic marking and intensity". (Iain Hamilton). Quartet

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6 3. III Quartet No. 7 in F sharp Op. 108 Allegretto Lento Allegro Shostakovich (b. 1906) (First performance at these Concerts) Shostakovich was born in Leningrad. A prolific composer, later in his career he has given much attention to chamber music, a form which in general seems less congenial to Soviet composers. His first string quartet dates from 1938. The Quartet No. 7 and the Quartet No. 8 were both written in 1960 and have many points of similarity. Both are dominated by the melodic motiv D.E flat.C.B. (in German D.S.C.H., standing for Dimitri Shostakovich) but in Quartet No. 7 the order is changed to E flat D.C.B, and appears in many transpositions and inversions. The three movements are played without a break and the work is comparable in mood and character to the compact and cheerful Quartet No. 1. The first movement is in sonata-form but without the develop- ment section. The principal theme is obviously derived from the four-note motto theme which itself appears later in the course of the movement. A descending phrase from the coda to the second subject provides the inspiration for the first theme of the slow movement a Lento in simple ternary-form. The motto theme is used here mainly in the accompanying parts and provides the beginning of the vigorous subject of the fugue of the third movement the introduction to the fugue resembles the inversion of the main theme of the first movement and the continuation of the fugue-theme is a variation of the theme of the second movement. A quiet coda, derived from the first movement, appears to be bringing the work to its conclusion, but it is followed by a long final section based on the fugue-theme but now transformed and extended into a waltz-like tune; further themes from earlier movements complete the material. Shostakovich is very fond of this method of thematic unification and this quartet is one of his finest examples of this form of composition. *** Coffee Interval of 15 Minutes

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4. IV Quartet in D minor Op.posth. (Death and the Maiden) Allegro Andante con moto Scherzo - Trio Presto Schubert (1797-1828) (Last performed in 1965 by the Heutling String Quartet) This Quartet was written at the period when Beethoven was creating his last quartets, and it is interesting to compare the difference in conception and technique between the two masters. "It would be tempting to compare the "seriousness" of Beethoven's Op.95 with seriousness of the D minor quartet. Schubert's seriousness is free from pathos; he is more spontaneous; he goes deeper and deliberately avoids the optimistic or triumphant note on which Beethoven ends. (Einstein). Kahl has pointed out that while Beethoven's ideal was that of a lineal quartet style and that he was moving in the direction of sound free from sensuousness, Schubert kept before him as an ideal..... rather the obtaining of colour offects, as in the orchestra, by the arrangement of parts in layers. Here are beautiful ideas, bold- ness and bigness of reach and grasp, and entirely new chamber- harmony with chords rich and romantic in themselves and not the necessary and logical outcome of part-writing". It was not until 1824 that Schubert turned in earnest to the writing of string quartets, and within the next two years he wrote three. This quartet remained in manuscript till 1851. Certainly the struggle with death is the theme of the first move- ment. If so, death is treated with defiance. To that challenge is opposed a delightful theme in the relative minor key. The development combines the themes in masterly fashion with enchanting modulations. The chorale-like setting of Death's words from Schubert's own song is the theme for the 5 variations of the slow movement. "What Schubert could only suggest in the song here finds expression in a fuller, freer, wordless sphere. He does not write programme music nor do we need to know the song, but we feel unmistakably in this music the symbols of inevitability and consolation". (Einstein). According to Heuss Death as the Demon Fiddler" is the theme of the sharply contrasting Scherzo. "The Finale is most definitely in the char the = work

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t 5. character of a Dance of Death; ghastly visions whirl past in the inexorable uniform rhythm of the tarantella". The whole work is filled and unified with one consistent and compelling idea. THE DEKANY STRING QUARTET was originally formed in 1962 by 4 young Hungarians who settled in Holland. Recently HARRY CURBY has become the leader. He was born in Australia of Czecho- Slovak parents. He began to play at the age of 5. He has studied in Belgium, Vienna and London and was a pupil of Leo Cherniavski, himself a pupil of Auer. For 6 years he was leader of the Sydney String Quartet and a professor at the Conservatoire there. PETER ASLAY is a graduate of the Franz Liszt Academy of Music in Budapest. He has appeared with various chamber music groups in Hungary, Czecho-Slovakia, Austria, Germany and Australia His instrument is a Giovanni Battista Rogieri. ERVIN SCHIFFER is also a graduate of the Franz Liszt Academy. He won first prize at the International Competition in Budapest in 1953. He, too, has played in chamber music groups throughout Europe. He plays on a Gio Paolo Maggini. GYORGY SCHIFFER is another graduate of the Franz Liszt Academy before finishing his studies in Paris. He has a wide European reputation. His instrument is a Matteo Gofriller. THE HUDDERSFIELD MUSIC SOCIETY *** ** Season 1969-70 October 20th. THE GABRIELI STRING QUARTET <*** At this Concert the Quartet commissioned by the Society from John Tavener to mark the Golden Jubilee will be given its first performance. November 17th, December 15th. TECHNOLOGY. January 12th. THE STADLER TRIO (Clarinet, Viola and Piano) First appearance at these concerts) THE TALICH STRING QUARTET. First appearance at these concerts. STUDENTS OF THE SCHOOL OF MUSIC, COLLEGE OF

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6. February 9th. DAVID WILDE Piano Recital String Quarter 9th. THE TEL-AVIV (Clarinet, Viola and Piano) First appearance at these Concerts. March Tickets will sent in due course to all present Members. The Hon. Sec Miss C.A. Shaw, 3a Vernon Avenue, HD1 5QD and Mrs. J. de Nikitin-Solsky, 37 Gynn Lane, Honley HD7 2LE or any member of the Committee would be very glad to receive names and addresses to which prospectuses may be sent. THE HUDDERSFIELD GRAMOPHONE SOCIETY *** *** ******** New North Road Baptist School March 24th Choral Music April 14th Wakefield Visit April 18th Century Music "Sir Adrian" April 28th May 12th Chamber Music Monday Evenings at 7.30 St. Patrick's Hall Subscription 15/- half season 10/- (including refreshments). Two visits without obligation. Details from Mr. D. Bostock, 16 Imperial Road, Huddersfield, HD3 3AF. THE HUDDERSFIELD THESPIANS **** **** *** ***** April 21st 26th BOEING BOEING A Comedy by Marc Camoletti and Beverley Cross Tickets 5/- (reserved) 2/6 (unreserved) (On Monday nights only, unreserved seats 2/- Old Age Pensioners 1/-) from Woods, 67 New Street.