HMS 52


HMS 52

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FIFTY-SECOND SEASON 1969-1970 The Huddersfield Music Society 30% 10 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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It is with much regret that the Committee are obliged this Season to raise the price of tickets. The increase in costs has risen so considerably in the past few years that they feel that at least some part of that increase must, unfortunately, be passed on to the Members. Details of the new prices are shown opposite, and the Committee would like to point out the advantage to be gained by the "Double Season ticket" and, similarly, the advantages of purchasing a Season ticket rather than tickets for single concerts. The Committee again commend to your notice the scheme for gifts by Covenant to the Society. The Committee are happy to announce a Season of Concerts of superlative musical interest and one worthy of the widest support. The Season starts with a welcome return visit by the GABRIELI STRING QUARTET. Although only formed in 1966 these dedicated chamber music musicians have, even in so short a time, become recognised both in this country and on the Continent as one of the finest of British String Quartets, outstanding in their interpretation of modern as well as classical music. To mark the importance of this occasion, the concert will be held in the area of the Town Hall and a number of distinguished guests are being invited to attend. The TALICH STRING QUARTET are QUARTET are newcomers from Czecho-Slovakia. Although the average age of its members is 22, they have already been hailed as worthy successors to the famous Smetana and Janacek Quartets. The STADLER TRIO, also making a first appearance at these Concerts, was formed in 1967 and promises an evening of fine chamber music in one of its less usual combinations. DAVID WILDE, whose appearance some years ago will be remembered with pleasure, returns again with an interesting and unusual programme. In the intervening years he has greatly increased his reputation as a fine musician and an outstanding pianist. The TEL AVIV STRING QUARTET, three of whose members are Tel-Aviv born, have made many appearances in this country since their foundation in 1959. During their tour last season they were received everywhere with the greatest enthusiasm and delight. Thanks to the kind co-operation of Mr. Forbes, it has been the custom for some years past to include a concert by the STUDENTS OF THE SCHOOL OF MUSIC OF THE COLLEGE OF TECHNOLOGY. 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 being realised and we confidently hope that all members will support and encourage these gifted young artists. Coffee and biscuits will be served during the interval, price 1/-

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All Concert: October 20th, 1969 Quartet in B flat r Quartet No. 2 Italian Serenade Quartet in F mino November 17th, 1969 Quartet in C mino Quartet No. 2 .. Quartet No. 1 in E December 15th, 1969 January 12th, 1970 (Vic 4 Pieces for Clarin Duo Concertante Trio (1969) ..... Sonata No. 1 for Trio in E flat K.4 February 9th, 1970 Partita No. 1 in I Organ Prelude an 2 Transcendental Ostinato; Serenade in A ... Boating 3 Intermezzi ..... Dance Suite March 9th, 1970 Quartet in F maj Quartet No. 1 ... Quartet in G majo (Progra APPLICATION FORM To the Hon. Secretary, 3a Vernon Avenue, Huddersfield, HD1 5QD Single Double Season tickets for which I enclose £ Please send me Name. Address. (BLOCK LETTERS PLEASE) Cheques should be made payable to "The Huddersfield Music Society" Unless requested, no receipts will be issued for payments made by cheque.

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All Concerts on Monday Evenings at 7-30 ☆ PROGRAMMES October 20th, 1969 Quartet in B flat major K.458 (The Hunt) Quartet No. 2 Italian Serenade Quartet in F minor Op. 95 November 17th, 1969 THE GABRIELI STRING QUARTET Mozart Bartok Hugo Wolf Beethoven .. ..... February 9th, 1970 Quartet in C minor Op. 18 No. 4 Quartet No. 2 Quartet No. 1 in E minor (From my Life) .... December 15th, 1969 March 9th, 1970 THE TALICH STRING QUARTET January 12th, 1970 (Viola, Clarinet and Piano) 4 Pieces for Clarinet, Viola and Piano Op. 83 Max Bruch Duo Concertante for Clarinet and Piano Weber Trio (1969) Gordon Jacob Sonata No. 1 for Viola and Piano Martinu Trio in E flat K.498 Mozart ...... CONCERT BY STUDENTS FROM THE SCHOOL OF MUSIC HUDDERSFIELD COLLEGE OF TECHNOLOGY (Piano Recital) Partita No. 1 in B flat major Organ Prelude and Fugue in A minor 2 Transcendental Studies Ostinato; Boating (from Mikrocosmos) Serenade in A 3 Intermezzi Dance Suite Beethoven Martinu Smetana THE STADLER TRIO Quartet in F major Op. 74 No. 2 Quartet No. 1 .... Quartet in G major Op. 161 DAVID WILDE Bach Bach-Liszt Liszt Bartok Stravinsky John McCabe Bartok THE TEL AVIV STRING QUARTET (Programmes subject to alteration) Haydn Joseph Tal Schubert Season tickets 50/- & 90/- Single ticket 12/6 Student ticket 3/6 3rd Concert only Single ticket Student ticket ... 5/- 2/6 ..... (Bona-fide Students under 21) Student Season tickets are not issued Last Season's Members Tickets are NOT being for- warded with the prospectus to members this season. A new system for the sale of tickets is now in operation. A Double Season ticket for two persons (not necessarily of the same family) is now being issued at 90/- (i.e. 45/- per person). A Single Season ticket (for person) is issued at 50/-. Will all members PLEASE return the Application Form (overleaf) as soon as possible in the enclosed stamped and addressed envelope to the Hon. Secretary, stating the kind and number of tickets required. one New Members New members are welcomed. Season tickets (Double or Single) and tickets for single concerts (the latter issued immediately after the pre- ceding Concert) can be obtained from the Hon. Secretary (using the form overleaf for Season tickets) or from Messrs. J. Wood and Sons, 67 New Street, Huddersfield or at the door. Individual Student tickets are obtainable at the door only (or in bulk from the Hon. Secretary).

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THE HUDDERSFIELD MUSIC SOCIETY (Founded as The Huddersfield Music Club by Dr. Eaglefield Hull in 1918) President ... Vice-President ... ... Stanley G. Watson, Esq. Sidney H. Crowther, Esq. 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: 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: V. Tolchard, National Provincial Bank, King Street, HD1 2AY Executive Committee: R. Barraclough David Dugdale Mrs. E. Glendinning E. Glendinning S. Rothery Miss K. Evans, B.A. P. G. C. Forbes, M.A., A.R.C.O. Miss E. K. Sawers Max Selka Ladies' Committee: Chairman: Miss K. Evans, Miss I. Bratman Mrs. A. Crowther Mrs. S. H. Crowther Miss M. A. Freeman, LL.B. Miss M. Hamer Mrs. D. Hirst, J.P. Miss E.K. Sawers E. C. Shaw W. E. Thompson J. J. Valner Mrs. S. G. Watson B.A. Miss C. A. Shaw Mrs. J. Shires 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 * Fifty-second Season 1969-70 Town Hall Area Monday October 20th 1969 THE GABRIELI STRING QUARTET *** <** **** Kenneth Sillito (Violin) Brendan O'Reilly (Violin) 84 Programme I Quartet in B flat major K.458 (The Hunt) <*** Allegro vivace assai Minuet and Trio **** Ian Jewel (Viola) Keith Harvey (Cello) Mozart (1756-1791) Adegio Allegro assai (Last performed in 1959 by the Loewenguth String Quartet) This quartet is the fourth of a set of six which appeared in 1782 and was dedicated to his "dear friend Haydn" with the remark that they were the fruits of long and careful study; indeed, hardly another of Mozart's manuscripts shows so many alterations and erasures, Mozart's work as a composer of quartets can be divided into two periods. There are 15 early quartets written between 1770-73; then 1782 saw the appearance of the first "great" quartets. There was little in the style of the early group to distinguish them from a symphony or even a divertimento. But dating from Haydn's Sun Quartets (1772) and Mozart's Haydn Quartets, chamber music began its development on its own lines. Abert writes: he (Mozart) appears before us as an artist in the modern Beethoven sense one who no longer takes his inspiration from external sources but seeks it within himself". The new vocal style, which developed after Mozart's Italian tours, influenced his instrumental works and gave them that specifically Mozartian cantabile colouring which differentiates his art from that of all his contemporarios". Now The first movement of this Quartet, known as "The Hunt" because of the suggestion of a hunting-song in its opening theme, recalls

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2 - Haydn both in the style of the theme and in the light and innocent gaiety of the movement; the more characteristic Mozart does not appear until the development section. The Minuet and Trio form the second movement instead of being in the usual third position. The slow movement is perhaps the most impressive of the whole work. Einstein points out that the theme is based on the motiv of the Agnus Dei from the Litaniae Laurentanae, which Mozart wrote in 1774, and he finds that same atmosphere of intimate, devotional prayer in the Adagio. The theme of the finale is taken from an old folk-song; the movement has the same spirit as the first movement "a happy combination of delicious Mozartian roguishness. and Haydnesque humour". (Abert). Italian Serenade in G minor Hugo Wolf (1860-1903) (Last performed in 1959 by the Loewenguth String Quartet) II It is as a writer of songs that Hugo Wolf is best known; a power of creating an exquisite union between poetry and music constituted his unique genius. His only instrumental works are an early symphonic poom "Penthesilia", a still earlier string quartet and this Italian Serenade. Through out his life Wolf was obsessed with the idea of composing an orchestral work in which he could express his passionate love for the South. The Serenade was first written for string quartet, the manuscript dating from 1887. Some years later Wolf took up the work again; he re-arranged it for a small orchestra (strings with solo viola, 2 flutes, oboes, bassoons and horns) and sketched out two further movements, an adagio and a tarantella. It is interesting to note that the latter work coincided with the production of the two books of Italian songs. Both the quartet and the orchestral version, the latter arranged by Max Reger, were published after the composer's death. The Serenade is a wholly beautiful little piece in rondo form perfect and complete in itself, full of Wolf's love for Italy, which meant to him a land of sunlight, colour, gaiety, passion and charm, *** ***** ******* ***** COFFEE INTERVAL OF 15 MINUTES **** ** Quartet No

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ot The m the ocent Quartet No. 2 Op.17 - 3- III Bartok (1881-1945) Moderato Allego molto capriccioso Lento (Last performed in 1953 by the Vegh String Quartet) Bartok wrote six string quartets, the first dated 1908 and the last 1941. They therefore run throughout the main course of his life as a composer, and through them his entire development, both spiritual and technical, can be traced. They are also his most characteristic and important works. "The natural astringency of his mind, the uncompromising disregard of established rules of harmony and cadence and the lonely austerity which pervades so much of his music all combine to create as powerful an impression of novelty as modern music has to offer....What he required was a form which blended intimacy with power; the string quartet and the concerto met this need". (Crankshaw). His melodic thinking was strongly influenced by his researches into Hungarian folk- music (note his fondness for the interval of a fourth), but its influence remained in his work as a flavour rather than in any use of traditional melodies. He himself explained that it had shown him the possibility of complete omancipation from the tyranny of major and minor modes and that now form of scales, thus acquired, opened up new melodic and harmonic potentialities. Bartok is essentially a linear (i.c. a contrapuntal) composer. Kodaly ascribes his dissonances to melodic origins and "applies to him what was formerly said of Bach, and that with him (Bartok) there are not only passing notes but passing phrases; that a suspension may be not merely a note but an entire passage". From the same folk-origin, Bartok, though often keeping the insistent brutal stresses, evolved a very elastic conception of rhythm which amounts at times to a kind of rubato on a vast scale. Bartok's themes tend to be fragmentary; he "shares with Sibelius the art of evolving fabrics of complex beauty from initial strands of thought of disarming simplicity". His use of ornaments, particularly a triplet figure, is very characteristic, and his use of trills, to give emotional significance, recalls that of Beethoven. of the second Quartet (1917) Culshaw writes; "It is a key work; it is a kind of stylistic pivot, since in embodies in its first movement the lyrical modern Bartok, and in its second the

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- 4 - more percussive, angular and harsh aspects of his work". There are still traces of a cyclic connection between the movements. The first is concise in form and thematically developed, but in some respects the least easily accessible of the three. The Scherzo is ruggedly jovial piece of folk-dance type. The Finale is a plaintive rhapsody, an extension of the mood that is encountered in the earlier dirges for the piano. IV Beethoven (1770-1827) Quartet in F minor Op.95 Allegro con brio Allegretto ma non troppo Allegro assai vivace ma serioso Largetto Allegretto agitato - Allegro (Last performed in 1964 by the Loowonguth String Quartet) colour This quartet was written in 1810 immediately following the Egmont Overture; the next and final quartets, did not appeal until 1824. It stands, therefore, at the end of Beethoven's second period. It was dedicated to Count Niklaus Zmeskall, that fussy yet useful friend whose acquaintanco Beethoven made shortly after his arrival in Vienna and with whom friendship remained until the end. Beethoven "proved by the dedication of the superbly tompostuous Quartet in F how well He was disposed to Zmeskall" (Specht). This quartet is one of the shortest of the quartets, not because of lack of material but because of the conciseness of expression; there are few repeats in it. It points directly towards the style of the last works. It is sometimes called the Serioso Quartet, Bekker sees it as the fruit of a combined mood of retrospection; the battle has been won but he became intensely aware of what it had cost him - at the close of the work the spirit of laughter takes charge and is hailed as the solution of life's problems" The short first movement has a brusque, almost gruff, opening in octaves which dominates the movement with its intense emotional feelings. The second movement, in the unexpected key of D major, is calm and religious in mood; it contains a fine fugel section and is linked to one of Beethoven's grand scherzi. This scherzo is twice interrupted by trios, the second being a fresh development of the previous one. The last movement has a slow and magnificent if short, introduction; the finale itself, restless and agitated, is in rondo form and ends with a coda which is almost Italian in passende Beethoven. indebtedne. The G

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le in re - 5- its colour and vivacity. Langford, in an article, once emphasised at length the debt that suceeding composers owed to Beethoven. Of this finale he said that it cries aloud the indebtedness of the smaller romantic composers". *** The Gabrieli Ensemble was formed in 1963 and from it in 1966 emerged the GABRIELI STRING QUARTET. The close association of these musicians gives to their Quartet an understanding and unanimity found only in the finest of chamber music ensembles. KENNETH SILLITO is co-leader of the English Chamber Orchestra He studied in London, winning many prizes, and later in Rome. BRENDAN O'REILLY studied at the Royal Academies of Ireland and London and later in Brussels under Andre Gertler where he won the Premier Prix. He has a wide experience in chamber ensembles and is attached to the Royal Philharmonic Orchestra and the Menuhin Orchestra. IAN JEWEL studied at the R.C.M. with Cecil Aronowitz and won many prizes. Later he studied in Italy; he now devotes himself to chamber music. KEITH HARVEY won the Suggia Scholarship at the R.A.M. He was the youngest-ever principal cellist of the London Philharmonic Orchestra and later with the English Chamber Orchestra where he now appears principally in a solo capacity. ******* ***** *********** ***: ***** ***** The Huddersfield Music Society wish to acknowledge with gratitude the generous assistance given to them by the Directors of the Huddersfield Examiner. **** **** Mayor's Reception Room, Town Hall. January 12th. February 9th. 00 *** THE HUDDERSFIELD MUSIC SOCIETY Monday Evenings at 7.30 Quartet in C minor Op.18 No. 4 Quartet No. 2 (1925) Quartet No. 1 in E minor ("From my Life") December 15th. November 17th. THE TALICH STRING QUARTET Beethoven Martinu Smetana STUDENTS OF THE SCHOOL OF MUSIC, COLLEGE OF TECHNOLOGY THE STADLER TRIO (Viola, Clarinet and Piano) DAVID WILDE Piano Recital

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- 6- March 9th. THE TEL AVIV STRING QUARTET PLEASE NOTE, SEASON TICKETS FOR THE REMAINING 5 CONCERTS, DOUBLE (FOR 2 PERSONS) 75/- SINGLE (1 PERSON) 40/- and single tickets 12/6 from Woods, 67 New Street or at the door. THE HALIFAX PHILHARMONIC CLUB The Lecturo Hall, Harrison Road. November 11th at 7.30 THE TALICH STRING QUARTET Op.76 No. 5 Quartet in D major Quartet No. 2 Quartet No. 1 in E minor ("From my Life") Single tickets 10/- students 2/6 from David Dugdale Esq., 96 Willowfield Road, Halifax or at the door. THE HUDDERSFIELD GRAMOPHONE SOCIETY Waverley House, New North Road. Monday Evening at 7.30 October 27th. Music for Strings presented by Mr. K. Dearnley. November 10th. Oratorio (Elgar's The Kingdom) presented by Mrs. D. Roberts. Haydn Martinu Smetana Students and Old Annual subscription £1, after Jan. 1st 12/6d. Age Pensioners half-fee. Refreshments. Two visits permitted without obligation. Hon. Secretary, D. Bostock Esq., 16 Imperial Road. Huddersfield HD3 3AF. THE HUDDERSFIELD THESPIANS St. Patrick's Hall. November 24th - 29th at 7.30 WHEN WE ARE MARRIED by J.B. PRIESTLEY Tickets 5/- (reserved) 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 *** ******* ****** Fifty-second Season 1969-70 Mayor's Reception Room Town Hall Monday November 17th 1969 (Owing to illness the TALICH STRING QUARTET are unable to appear) mo ***** *** **** *** ****** DENES ZSIGMONDY AND ANNELIESE NISSEN ** **** ****** ******* Violin and Piano Recital Programme I Sonata in A minor Op. 105 Schumann (1810-1856) Mit leidenschaftlichen Ausdrucke Allegretto Lebhaft (First performance at these Concerts) In spite of Schumann's love for the use of the piano in combination with other instruments, he only wrote 2 Sonatas for violin and piano. Both were written in 1851 in Dusseldorf. This was an unhappy period in Schumann's life. The gradual onset of his mental disease had begun to show itself though, as yet, his music still kept its characteristic blend of power and energy, dreams and wistfulness; the classical forms remain though deeply tinged with romanticism. Both Sonatas are true chamber music in the way in which the two instruments exchange their thoughts and interests. The first movement of Sonata Op. 105 opens with a passionate melody, so full of musical possibilities that it supplies the basis of the second theme in C major as well as much of the development and the coda. That melody is particularly significant when it appears in A major - Schumann's "key of the sun" full of warmth and glowing. The second movement is pastoral in feeling; it recalls the charm of Schumann's earlier music. Just before the coda there is a pedal point of F and a sudden hush while the violin recalls the first theme. According to Fanny Davies's

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- 2 - recollection, when Joachim played it, "it seemed as though everything came to a standstill in order to listen to this melody from afar". The noble and impressive Finale follows directly. In this movement the main theme of the opening move- ment again returns, thus forming as early instance of the cyclic form. Sonata for Solo Violin II Bartok (1881-1945) Tempo di ciaccona Fuga. Risoluto non troppo vivo Melodia. Adagio Presto (First performance at these Concerts) This work, the last which Bartok completed, was commissioned by Menuhin and written in America in 1944; 944; it received its first performance the same year. A Sonata for a solo string instrument presents enormous and almost insuperable problems. In this case they are superbly solved though at times it seems as if the concept in Bartok's mind almost exceeded human possibilities and that it stretched them to the uttermost. Although himself not a violinist, Bartok, nevertheless, discovered new possibilities in the instrument. The Sonata is, in fact, one of Bartok's most demanding compositions as far as the performer is concerned. Bartok himself was pleased with the work. It received a mixed reception; one writer said that it was "a test for the ears, the intelligence and the receptiveness of the most learn ed listener". But in the 25 years that have since elapsed, we have learnt much about the work of Bartok and have become able to appreciate him as he really is one of the greatest composers of our century, The first movement is headed "in chaconne tempo", which is a clue rather to the pace than to the form. It is in sonata form with the character of a chaconne. Its main divisions are marked by the appearance of the broad multiple-stopped theme with which it opens. The key is G, first in the major and then in the minor. The Magyar folk-song influence is shown by the extensive use of seconds, fourths and sevenths, as well as by the rhythmic patterns. Its range is extreme and every device of sonority and dynamic contrasts is used. The F rather as not heard compass a parts th

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- 3- The Fugue is very free in form; one writer describes it rather as a "fugal fantasy" for, at times, the fugal material is not heard at all. The subject is chromatic and of limited compass and has constant modifications. It is really in three parts though, in the exposition, four voices are heard. The Melodia is constructed on the usual A.B.A. principle using themes with long curving chromatic lines. The middle section (B) is The mostly in double or triple stopping decorated with trills. skill with which Bartok varies the theme of its return should be noted. The Finale, a scherzo-like rondo, is perhaps the easiest movement to understand. The first theme reminds one of the Prestissimo con sordino movement from the Fourth Quartet; the second is a folk-like tune in the Phrygian mode; the third, a simple song-like tune. All three are combined in the coda. Sonata in G minor K. 301 III Allegro con spirito Allegro (Last performed in 1933 by Henry Holst) Mozart (1756-1791) During his stay in Mannheim and in Paris in 1778 Mozart wrote six sonatas for clavier and violin. He received 15 louis d'or in payment for them. These works came at the commencement of Mozart's mature life as a composer. All, except one, have two movements; all, except one, have a dance form for the second movement. They follow the French rather than the Italian model. Hitherto in duos the role of the violin was merely to supply occasional interjections or imitations to the piano part. These Sonatas are the first true concertante sonatas in which the violin begins to have a real and equal partnership with the piano. Coffee Interval of fifteen minutes IV Sonata in C minor Op. 30 No. 2 Allegro con brio Adagio cantabile Scherzo and Trio Beethoven (1770-1827) Allegro (Last performed in 1961 by Tessa Robbins and Robin Wood)

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- 4- Beethoven's nine sonatas for violin and piano were all written between 1788 and 1803, the tenth, and last, not appearing until 1812. At this period of his life Beethoven was still a virtuoso pianist and had many opportunities of giving concerts with players of other instruments. It is known that many of his duo sonatas were written with a par- ticular player in mind. Bekker points out that "the marked difference between these works and the chamber music proper is highly interesting. The latter aims at the exclusion of virtuosity as an end in itself, while the duo sonatas make a point of preserving it, and their whole structure show an unmistakable trend to the form of double concerto without orchestral accompaniment." The violin and piano sonatas are particularly fine examples of "concert pieces" and their effect is, in general, one of brilliance and vir- tuosity. The 3 Sonatas of Op. 30 were written in 1802 and therefore belong to Beethoven's "middle period". They are dedicated to the Emperor Alexander of Russia. D'Indy finds this Sonata No. 2 essentially military in spirit. The first movement in sonata form, with its rhythms like trumpet calls, its sharply pointed phrases, its stormy episodes, the mournful new theme of the development section and its triumphant close, paints for D'Indy a complete picture of martial strife, The second movement is an expres- sive aria in 5 linked sections; it, too, has its dramatic moments. The Scherzo, pointed and rhythmical, has a Trio, with canonic imitations between the violin and the piano bass. The sombre, energetic and passionate Finale is a rondo, again with beating, drum-like rhythms and trumpet calls. "Then after the fourth refrain, all the themes of victory are mingled in a glowing final presto which forms a worthy conclusion to this fine work." V Ravel (1875-1937) (Last performed in 1946 by Arthur Grumiaux) Tzigane was written in 1924, originally with lute accompaniment and later transcribed for the orchestra. Ravel had an extraordinary gift for assimilating the rhythmic language and colour of countries whose music he admired and using that gift to reproduce it in his own Tzigane ork in a v Gypsy music alone, the develop th a dazz

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- 5- work in a very individual manner. Tzigane shows his love for Gypsy music. It starts with a long recitative for the violin alone, the kind of improvisation which Gypsies de to develop their melodies. The slow tempo gradually increased to a dazzling whirlwind of sound, which requires so superb a violin technique that one rarely has the good fortune to hear this piece. DENES ZSIGMONDY, deeply moving musician of great integrity, entered the Franz Liszt Academy in Budapest when he was 14. His exceptional talent was early recognised by Carl Fleash. He won a scholarship abroad and received further inspira- tion from Zino Francescatti. He has given concerts. all over Europe, the U.S.A., Latin America and the Far East and and has appeared as soloist with all the leading European orchestras. In London in 1968 his performance of the Bartok Sonata for Solo Violin was described as "breath-taking". BOWE ANNELIESE NISSEN studied both singing and piano in the master classes of Clara Schumann's pupil, Walter Lampe at the Munich Academy of Music. She gave up her career as a soloist in order to form a permanent duo with Zsigmondy. This duo has received every- where the highest praise for its ensemble and its musicianship. THE HUDDERSFIELD MUSIC SOCIETY ********* Mayor's Reception Room, Town Hall. January 12th. February 9th. December 15th. **** Monday Evenings at 7.30 CONCERT BY STUDENTS OF THE SCHOOL OF MUSIC, COLLEGE OF TECHNOLOGY. THE STADLER TRIO (Viola, Clarinet and Piano) DAVID WILDE, Piano Recital March 9th. THE TEL AVIV STRING QUARTET. Single tickets for the next concert 5/- from Messrs. J. Wood and Sons, 67 New Street and at the door.

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- 6- THE HALIFAX PHILHARMONIC CLUB ***** ** The Lecture Hall, ******* Harrison Road. Friday, December 19th at 7.30 ENDRE WOLF (Violin) and CLIFTON HELLIWELL (Piano) Sonata in B flat K.378 Unaccompanied Sonata No. 1 in C minor Sonata Four Pieces Sonata in D minor Op. 108 THE HUDDERSFIELD GRAMOPHONE SOCIETY *** ******* ***** Single tickets 10/- students 2/6d from David Dugdale Esq., 96, Willowfield Road, Halifax or at the door. Waverley House, New North Road. Monday Evenings at 7.30 November 24th. Vice-President's Evening (Music by pianist composers) December 8th. "Sir Thomas". Programme of records made by Sir Thomas Beecham, selected by Mr. J. Haigh. St. Patrick's Hall Mozart. Bach. Annual subscription 1 after Jan. 1st 12/6. Students and Old Age Pensioners half fee. Refreshments. Two visits permitted without obligation, Hon, Socretary: D. Bostock Esq., 16 Imporial Road, Huddersfield, HD3 3AF. THE HUDDERSFIELD THESPIANS Debussy. Webern. Brahms. *** WHEN WE ARE MARRIED by J.B. Priestley November 24th - 29th at 7.30 Tickets 5/-(reserved) 2/6 (unroserved). On Monday nights only, unreserved seats 2/- Old Age Pensioners 1/- from Messrs. J. Wood and Sons, 67 New Street.

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hy HUDDERSFIELD MUSIC SOCIETY amet nedqueV CONCERT by the Gowe. A dzsuda STUDENTS of the SCHOOL OF MUSIC COLLEGE OF TECHNOLOGY on MONDAY 15th DECEMBER, 1969 (ons ET) at 7.30.p.m. in the bredo i Price 3d. my (ezer) fo.C gowed MAYOR'S RECEPTION ROOM, TOWN HALL mo Ita

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PROGRAMME Sonata in G major Largo. Vivace. Adagio. Presto Richard Brabrooke. Stuart Littlewood John Sellars (Piano) Silent Noon Sappische Ode Sad is the woman's Lot Sonata (1939) Anita Morton (Contralto) Martyn Syers (Piano), V CMD J.S. Bach (Obces) R. Vaughan Williams Brahms sullivan Hindemith Bassig bewegt • lebhaft Ruhig bewegt Lebha ft langsam - lebhaft lebhaft etwas breiter Richard Bennett (Horn) Martyn Syers (Piano)

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Le Secret Au Bord de l'eau Apies un Reve The first mercy (Soprano) Martyn Syers (Piano) Janet Ross Janet Ross O $6 "Le baiser de L'Enfant Jesus"! 17 Qui tollis (Petite Messe Solemnelle) Rossini A Legend The Three Kings The Virgin's Cradle Hymn Anita Morton Faure et magnum mysterium Faure Faure Warlock (from "Vingt Regards sur L'Enfant Jesus") David Dear (Piano) Messiaen Tschaikowsky Peter Cornelius Edmund Rubbra Christobal Morales The Madrigal Group Conductor: Patrick C. Forbes

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THE HUDDERSFIELD MUSIC SOCIETY. Monday 12th January, 1970 at 7.30.pom. THE STADLER TRIO. (Clarinet, Viola and Piano) 4 Pieces for Clarinet, Viola and Piano Op. 81. Duo Concertante for Clarinet and Piano as Sonata for Clarinet and Viola (first performance) Sonata No. 1. for Viola and Piano Trio in E flat K. 498.a) Sonata in B flat K. 378. Unaccompanied Sonata No.1. in C minor Single tickets 12/6 from Woods, 67 New Street, and at the door. Sonata 4 Pieces Sonata in D minor Op. 108 Max Bruch Weber THE HALIFAX PHILHARMONIC CLUB. Lecture Hall, Harrison Rd Friday 19th December at 7.30. ENDRE WOLF (Violin) and CLIFTON HELLIWELL (Piano) Elizabeth Maclond H Martinu Mozart muroja THE HUDDERSFIELD THESFIANS, St. Patrick's Hall. January 19th - 24th. Mozart Bach Single tickets 10/- students 2/6 from David Dugdale, Esq. 96, Willowfield Road, Halifax and at the door. Debussy Webern Brahms THE HUDDERSFIELD GRAMOPHONE SOCIETY. Waverley House, New North Road. Monday Evenings at 7.30. men O December 22nd. Technical Retrospect, with some favourite January 5th. Scandinavian Music Discs Annual subscription £1 after January 1st 12/6d. Students and Old Age Pensioners half fee. Refreshments. Two visits permitted without obligation. Hon. Secretary: D. Bostock Esq., 16, Imperial Road, Huddersfield HD3 3AF

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THE HUDDERSFIELD MUSIC SOCIETY ++++++++++++++++++++++ Fifty-second Season 1969-70 Mayor's Reception Room, Town Hall Monday January 12th 1970 THE STADLER TRIO ++ Martin Ronchetti (Clarinet) +++++ Martin Jones (Piano) Programme I ++++ John White (Viola) Four Pieces for Clarinet, Viola and Piano Op. 83 Max Bruch (1838-1920) Andante Allegro con moto Nocturne. Andante con moto Allegro agitato Alle gro And ante Rondo Max Bruch is principally known as a composer of choral works and violin concertos but he did write a certain amount of chamber music, of which not all has ever been published. These four pieces are taken from a set of eight which Bruch wrote late in life (1910) and in which he shows his masterly handling of his inspired melodies and his deep understanding of the instruments for which he was writing. II Grand Duo Concertante for Clarinet and Piano Op. 48 (1786-1826) Weber Weber wrote little chamber music and eertainly this Duo is his most valuable work in that form. It was written between 1815 and 1816 the movements being completed in the reverse order. It is, in reality, a sonata though both instruments are written in a most virtuoso style. The first movement has a

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2 vigorous opening theme followed by a graceful second subject. The melody of the Andante is truly inspired and has a con- trasting and more dramatic middle section. The final rondo has brilliant passage-work; one contrasting section has a beautiful melody which is treated in an almost ope ratic style. III Sonata for Clarinet and Viola Elizabeth Maconchy (b. 1907) leggiero-Andante Tempo libero. Poco lento-Presto Sostenuto - Allegro - Andante sostenuto. Allegro molto ritmico - Poco meno mosso - Allegro molto Moderato - Allegro ritmico Meno mosso. summer) perform Three q (This work has been specially written for members of the Stadler Trio and receives its FIRST ERFORMANCE tonight). The Sonata has the character of a dialogue - a conver- sation, at times argumentative, impassioned or light-hearted between the two protagonists. In the first movement clarinet and viola exchange expres- sive rhapsodic phrases (written without bar lines) with brief interjections of a presto staccato figure. The movement is built mainly from these two contrasting ideas. The second movement is scherzo and slow movement combined. The Scherzo, an allegro ritmico, mainly in 7/8 time, opens and closes the movement. The slow movement consists of two short sections, free and impassioned, separated by a scherzando passage. An opening senza misura paragraph provides the material of the last movement. A vigorously argued allegro develops from the dotted-note motif. More introspective digressions derive from the arpeggio figure of the opening. movement ends quietly, having resolved the argument. (Elizabeth Maconchy). The ELIZABETH MA CONCHY is best known for her chamber music which includes nine string quartets and works for many other ensembles as well as for string orchestra. She has also written a considerable amount of orchestral music, some choral works (a recent one for the Three Choirs Festival last to th

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ondo on- bject. - 3- summer), and four one-act ope ras, all of which have been performed: "The Sofa" has had two broadcasts lately and "The Three Strangers" was recorded by the B.B.C. in October. She has written music since the age of six; she came to the R.C.M. from Ireland when she was sixteen, having only once heard an orchestra. Her first public performance was of a piano concerto in Prague, and a few months later Sir Henry Wood gave "The Land" at the Proms. Performances followed at home and abroad, including several I.S.C.M. Festivals. Coffee Interval of fifteen minutes IV Sonata No. 1 (1955) for Viola and Piano Martinu (1890-1959) Poco andante - Moderato Allegro non troppo Moderato Allegro Martinu, the son of a shoemaker, was born in a small room at the top of the village church in the remote Moravian village of Policka. He was a delicate child and for the first 6 years of his life he never came down to the level of the street; later he was carried down daily to attend school and to receive violin lessons from the village tailor. He gave his first concert at the age of 15 and the villagers then clubbed together to raise funds to send him to Prague to study. There one of his teachers was Suk, the son-in-law of Dvorak. Mos t of his life was spent away from his native country. He early went to Paris where he was much influenced by French music becoming a pupil of Roussel. He remained in France until the second World War when he emigrated for its duration to the United States. Thereafter, although he divided his time between America, Italy and France, he never lost his love for his native land and his music became ever more coloured with its national characteristics and more deeply rooted in its folk music. He is, in fact the best-known representative of modern Czechoslovak music after Janacek and comparable in stature and power with Bartok. ✓ B - Martinu was a most prolific composer. He produced over 150 major works, including 12 ope ras, 11 Ballets, 20 orchestral works including 6 symphonies, 20 concertos for various solo instruments and 50 chamber works including 7 string quartets. With such an extraordinary output, it follows inevitably that

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- 4 some of his music is rather uneven in quality, but Ansermet believes that the lack of adequate appreciation of so fine a composer is one of the great tragedies of 20th Century music. His work is much influenced by outvide events a such as war, literature, painting and personal relation- ships. His melodies are fresh and spontaneous and derive much from Moravian folk-songs with their strong intervals; his harmonies are basically not chromatic; his rhythms are pointed and vigorous and he shows in some works a gay and rhythmic wit; in all, his works have a refreshing clarity of texture and form. Trio in E flat K.498 Andante Menuetto Rondo. V Allegretto THE STA noox Ifan The How refreshing to end this interesting programme with such a work as this by Mozart! The Trio was written immediately before the two great trios for piano, violin and cello K.502 and 542 and it prepares the way for them. It is a work of infinite friendship and love, written for the Jacquin family - Francisca, the daughter, playing the clavier, Mozart himself the viola and Anton Stadler the clarinet. The Andante is "full of proud assurance" with a persistent grupetto (an ornamental form of "turn"). This movement is unique in Mozart's works as is the Minuet. latter is no longer a dance form but transformed into a passionate piece of music "which is at the same time bliss- ful and a little defiant and is another miracle of contrapuntal "learned" animation, although its "learning" is not apparent on the surface. What is one to say of the Finale, a rondo that sings from beginning to end, with a new motiv, after the minor episode, which then, gently triumphant, dominates the whole last part of the movement? How well Mozart now understands not only how to end a work but how to close it, with a distillation of melodic and contrapuntal beauty that does not merely satisfy the listener but leaves him enchanted! The last word that music can utter as an expression of the feeling of form is here spoken". (Einstein). clarinettis fol Mozart (1756-1791) ma 10 100 [ensnun great succ ortant

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B y fine ermet THE STADLER TRIO, named after the famous Viennese Clarinettist Anton Stadler, was formed in 1967. This unusual combination of instruments has already achieved great success and have already given first performances of important new works. MARTIN RONCHETTI, born in Amphill, studied with John Myatt and later with John Davies at the R.C.M. He was a prize- winner at the 1963 Royal Liverpool Philharmonic Society's Young Soloists Competition, and was appointed principal clarinet in the B.B.C. Northern Orchestra. He has been in a similar position with the L.S.O. and now with the London Philharmonic Orchestra. In 1960 he formed a duo with Martin Jones. He has appeared many times as soloist with en- sembles including the London Mozart Players and the Allegri String Quartet. - 5 - JOHN WHITE comes from Yorkshire. He received his first training at the School of Music in Huddersfield. He won a scholarship to the R.A.M. where he studied und er Watson Forbes. He was a founder member of the Alberni String Quartet with whom he played from 1961-67. Since then he has devoted his time to freelance work with the London Orchestras, chamber music and teaching. MARTIN JONES born in Whitney, began his musical education as a choral Scholar at Magdalen College School. In 1957 he won a scholarship to the R.A.M. where he studied with Guy Jons on and Gordon Green and composition with Lennox Berkley. In 1968 he won the coveted Myra Hess prize. He has recently undertaken American tours including an appearance at the Carnegie Hall. THE HUDDERSFIELD MUSIC SOCIETY ++++ ·++++ ++++++++++++++ Mayor's Reception Room, Town Hall. Monday Evenings at 7.30 February 9th. DAVID WIIDE Piano Recital Partita No. 1 in B flat major Organ Prelude and Fugue in A minor Two Transcendental Studies Ostinato: Boating (from Mikrocosmos) Serenade Bach Bach-Liszt Liszt Bartok Stravinsky

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Three Intermezzi Dance Suite - 6- March 9th THE TEL-AVIV STRING QUARTET Single tickets 12/6 from Woods, 67 New Street or at the door. THE HALIFAX PHILHARMONIC CLUB +++++++++++++++++++++++++++++ The Lecture Hall Adagio for Cor Anglais and String K.580 Trio in D major Op. 8 Oboe Quartet Saturday Jan 17th at 7.30 THE WISSEMA STRING TRIO and JANET CRAXTON (Oboe) Serenade for String Trio in C major Op. 10 Oboe Quartet in F major K.370 John McCabe Bartok Harrison Road Single tickets 10/- students 2/6 from David Dugdale Eso., 96 Willowfield Road, Halifax or at the door. THE HUDDERSFIELD GRAMOPHONE SOCIETY St. Patrick's Hall Mozart Beethoven Lennox Berkley Dohnanyi Mozart +++++++++++++++++++++++++++++++++++ Waverley House, New North Road. Monday Evenings t 7.30 THE HUDDERSFIELD THE SPIANS ++++++++++ ++++++++++++++ January 19th Britten and Respighi (Mr. H.S. Hopkins) to on February 2nd. Orchestral Music (Mrs. J. Slenth) Annual subscription £1, after Jan 1st 12/6. Students and Old Age Pensioners half fee. Refreshments. Two visits permitted without obligation. Hon. Secretary D. Bostock Esq., 16 Imperial Road, Huddersfield HD3 3AF January 19th - 24th @ 7.30 THE IMPORTANCE OF BEING EARNEST by Oscar Wilde Tickets 5/- (reserved) 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 Fifty-second Season 1969-70 Mayor's Reception Room, Town Hall Monday February 9th 1970 DAVID WILDE Piano Recital Partita No. 1 in B flat major Prelude Allemande Courante Sarabande Minuets I and II Gigue PROGRAMME 1 Bach (1685-1750) The name Partitia is an Italian word, now obsolete, for the Suite. In his use of this title Bach followed the style and the example of his predecessor Kuhnau Bach wrote this, his first, Partitia in 1791 and one Partitia each year for the following 5 years. He published the set of 6 (how fond Bach was of the number 6 and its multiples) in 1791 under the title of Klavierubung, composed, said the title, for "the mental recreations of art- lovers." The work made a great sensation; "such excellent calvi- chord compositions had never before been seen or heard" Bach's later French and English Suites, while introducing newer dances, kept more rigidly to tradition. The Partitas are more remark- able for their irregularities, both the names and the dance-forms vary greatly, with greater freedom of treatment and more elaborate rhythms than is found in the later Suites. From their extraord- inary fineness of invention and workmanship, without evidence to the contrary, one might think that they were the works of a later period. II Chromatic Fantasia and Fugue Bach The date of the composition of this work cannot be exactly

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- 2 - "It probably dates from the fixed. According to Schweitzer: same epoch - 1720- as the great G minor Organ Fantasia. It has a kind of inner affinity with this work but in both, the recitative style is carried over to an instrumental medium". If this date is correct, this work must have been written in the Cothen period (1717-23) during which Bach produced so much instrumental music including part of the "48" and the French and English Suites. The early fantasia-form, a composition unrestricted by any formal plan, independent of words and there- fore essentially instrumental, rose to great importance under the school of German organists, whose early master was Buxte- hude. To this German school Bach added the grace and freedom of the Italian masters; he also transferred this organ form to. the harpsichord. The effective contrast between the extreme freedom of the Fantasia and the strictest of all forms, the F. ugue, is noteworthy. Two Transcendental Studies Al- The Chromatic Fantasia itself is largely built upon the falling chromatic scale, a device used by Bach to depict grief and suffering. According to Busoni, it falls into 4 main sec- tions: Chorale, Arpeggio, Recitative and Coda. The general impression is one of disquiet and pathos; the modulations are daring in the extreme. The chromatic scale is used again in the subject of the great three-part fugue but in a rising form; much use is made of a rhythmic figure (a quaver and two semi- quavers), a device used repeatedly by Bach to signify joy and consolation. We may therefore reasonably conclude that the work as a whole represents the passage from grief and suffering to consolation and triumph. III Harmonies du Soir Mazeppa all ar are mu colour breat Mazep Liszt (1811-1886) Liszt made a number of versions of his Transcendental Studies, "the final and tremendous affirmation of his technical improvements and inventions." (Sitwell). They first appeared as Op. 1 in 1827 (Liszt was 16). They were withdrawn in 1830, and 6 of them rewritten, enlarged and dedicated to Czerny, were re-issued in 1831. They were further revised and increas- ed again to 12 in number in 1839; this was their fullest and most complicated form. A further revision was made in 1854, with some simplification of their difficulties.

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uch in 11 the It n the -3- Although these pieces demand the finest of techniques, not all are bravura in style; the difficulties, as always with Liszt are musical as well as technical. Harmonies du Soir, "a richly coloured poem, covers the range of piano sonorities from softest breath to resounding fullness" (Hutcheson). The subject of Mazeppa (Mazeppa who survived his punishment of being lashed naked to the back of a wild horse to become a Cossack chief) had a great fascination for the Romantic poets particularly Byr on and Victor Hugo. Liszt himself seems haunted by it for not only does the piece receive many revisions but later was also the subject of one of his Symphonic Poems. Coffee Interval of 15 minutes IV Bartok (1881-1945) 3 (from Mikrocosmos) About 1926 Bartok, himself a fine pianist, began work on a collection of piano pieces which he eventually entitled Mikrocosmos: they were "designed to introduce young pianists to the technical and musical problems of contemporary music." The first 2 volume's consisting of 66 pieces, were dedicated to his son Peter, who said that as the set progressed, it far outstripped his technical powers. Throughout the years further pieces were added to Mikrocosmos making in all a total of 153 and ranging from elementary difficulty to concert pieces call- ing for the finest piano techniques. Not only are these pieces of val ue technically but they also provide an acquaintance with all the essential qualities of 20th century music. Bitonality, whole-tone scales, contrapuntal devices, subtle rhythmic. patterns all are found in them. Some are pentatonic or modal; some are based on Hungarian folk-songs; some are intended to serve as exercises in all problems of piano technique. But, like the Studies of Chopin, their musical worth is far greater than their technical or historical values. Bartok himself played many of them at concerts; he transcribed 7 for 2 pianos and Tibor Serly made transcriptions of others for string quartet and orchestra. Ostinato Boating Serenade in A Hymne Romance V Stravinsky (b. 1882)

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Rondoletto Cadenza Finale - 4- Stravinsky wrote the Serenade in Nice in 1924 and dedicated it to his wife. The title is not used quite in its customary sense which implies the performance by a collection of instru- ments at some festive occasion in an al fresco setting of an unspecified number of short pieces. Instead Stravinsky wished "to represent some of the more typical moments connected with the 18th century musical festivals." The The Hymn is a solemn entry in a style of massive simpli- city and grandeur with contrapuntal implications. The Romance, "a solo of ceremonial homage paid by the artist to the guests, " opens and closes with a cadenza; the central portion has marked contrasts of sostenuto and staccato playing. Rondetto, a dance, is a two-part invention with moments of off-beat accentuations. The Cadenza Finale, a kind of "ornate signature with numerous carefully inscribed flourishes," was the first of the Serenade to be written and is "a delightful fantasy on a kind of descending chimes motif." Dance Suite Three Intermezzi John McCabe (b. 1939) John McCabe is one of the most successful of the younger generation of British composers. He was born in Liverpool and studied at Manchester University and at the Manchester Royal College of Music with Thomas Pitfield for composition. His music covers a wide range of forms and is heard in many coun- tries. His many important works include his Symphony No. 1 (Elegy) which was commissioned by the Halle Concert Society and received its first performance in 1966 at the Cheltenham Festival under Sir John Barbirolli. Moderato Allegro molto Allegro vivace Molto tranquillo Comodo Finale: Allegro VI VII Jo Jur8zeu. Bartok The Dance Suite was originally written for orchestra and . was commissioned to celebrate the fiftieth anniversary of the the materia work rathe and Roman: Bartok's

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tru- mary icated - 5- merging of Buda and Pest. Because of the close-knit use of the material, it can be heard as a continuous, uninterrupted work rather than as a Suite. Inspiration is drawn from Magyar and Romanian sources and the first and fourth parts show Bartok's interest in Arabic music. DAVID WILDE was born at Stretford, Lancs. in 1935 and began his studies with Franz Reizenstein some 10 years later. From 1943-53 he studied at the Manchester R. C.M. with Iso Ellinson and Richard Hall (composition) and began his pro- fessional career in 1956. Amongst international prizes gained was first prize in Liszt-Bartok International competition in Budapest in 1961 which he shared with Gabor Gabos. Nadia Boulanger, the principal jury member, subsequently invited him to take part in a T.V. programme celebrating her 75th birth- day and to study with her in Paris during 1963. His concert repertoire is very extensive. He has played at several Edinburgh Festivals and has also appeared at the Promenade concerts and the Cheltenham Festival. THE HUDDERSFIELD MUSIC SOCIETY ** ** Mayor's Reception Room, Town Hall Monday Evenings at 7.30 March 9th. THE TEL AVIV STRING QUARTET Quartet in F. major Op. 74 No. 2 Quartet No. 1 Quartet in G major Op. 161 Single tickets 12/6 from Messrs. J. Wood and Sons Ltd., 76 New Street and at the door. THE HALIFAX PHILHARMONIC CLUB *******: The Lecture Hall, Haydn Joseph Tal Schubert Harrison Road Thursday, February 12th. at 7.30

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STUDENTS OF THE HUDDERSFIELD COLLEGE OF TECHNOLOGY *** - 6 - ** Single tickets 10/- from David Dugdale Esq., 96 Willowfield Road, Halifax and at the door. THE HUDDERSFIELD GRAMOPHONE SOCIETY Waverley House, New North Road. February 16th. March 2nd. St. Patrick's Hall. Monday Evenings at 7.30 Little known Composers (Mr. H. Truscott) Music on American-Indian themes (Mr. B. Jenkinson) Annual Subscription £1 after January 1st. 12/6. Students and Old Age Pensioners half fee. Refreshments. Two visits per- mitted without obligation. Hon. Secretary: D. Bostock Esq., 16 Imperial Road, Huddersfield, HD3 3AF. THE HUDDERSFIELD THESPIANS **** March 2nd. - 7th at 7.30 FLOWERING CHERRY by Robert Bolt. Tickets 5/- (reserved), 2/6 (unreserved). On Monday nights only, unreserved seats 2/-. Old Age Pensioners 1/- from Messrs. J. Wood and Sons Ltd., 67 New Street.

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THE HUDDERSFIELD MUSIC SOCIETY Fifty-second Season 1969-70 Mayor's Reception Room, Town Hall Monday March 9th 1970 THE TEL-AVIV STRING QUARTET Chaim Taub (Violin) Menachem Breuer (Violin) *** Programme I Quartet in F major Op.74 No.2. Daniel Benyamini (Viola) Uzi Wiesel (Cello) Haydn (1732-1809) Allegro spiritoso Andante grazioso Menuet and Trio Finale: Presto (Last performed in 1962 by the Strauss String Quartet) In 1793 Haydn wrote six string quartets, the three of Op.71 and the three of Op.74; all six were dedicated to Count Apponyi. At that period Haydn was much preoccupied with orchestral composi- tion and in all these quartets he seems to be striving towards an almost orchestral sonority of effect. This is, at times, so These marked as almost to exceed the bounds of quartet writing. six quartets have another feature in common which is found nowhere else in Haydn's quartets - all begin with a form of introduction, Sometimes this is a a feature so important in the symphonies. chord or a series of chords, sometimes even an adagio passage but in this quartet Op.74 No.2 the introduction takes the form of a unison passage of no less than eight bars for all four instruments which assumes great importance in the following movement. Tovey called this quartet "a neglected masterpiece". One striking feature, form is clear and requires no comment. however, is the unusual key relationship between the Minuet (F major) and the Trio (D flat major), a daring innovation which alone would mark this quartet as a product of Haydn's later years. Its

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Quartet No. 1 - 2- II Joseph Tal (b. 1910) The Lento-Allegro-Lento (First performance at these Concerts) Joseph Tal (originally Gruental) was born in Posnan and went as a child to Berlin. He was a graduate of the Berlin Hochschule both in composition and musical pedagogy. He is also a pianist, a harpist and a conductor. He emigrated to Israel in 1934 where, instead of pursuing his musical career, he decided first to do his part in the building of his country by joining a After a year and a half of kibbutz labour, he was invited to join the Jerusalem Conservatoire and later became the director of the Israel Academy of Music which post he held till 1954. In 1951 he was appointed to the Hebrew University of Jerusalem as their first university lecturer in music. Latterly he has devoted himself to the Centre of Electronic Music, an institute which he himself created. kibbutz. Although deeply He has written many works in the traditional media and, although Schoenberg was undoubtedly an early influence on him, much of his music is not dodecaphonically conceived. Although his best-known Symphony No.1 (1952) is based on a Persian- Jewish lament, his "exceedingly well-wrought" Quartet No. 1 only shows its Jewish influence in a few motivs. He draws much inspiration from the text of the Bible. interested in electronic music, he apparently views it with the same de tatchment with which he viewed the music of Schoenberg. "Imbued with the kind of realism found only in the true idealist, Tal is indeed a liberal in the realm of artistic endeavour where extremism often goes on a rampage. Combining a good deal of modesty with a strong sense of personal value, he impresses even those who find his music rather forbidding and exerts a far more powerful influence on the younger generation than some of his more "successful" colleagues who intoxicate a gullible public with their facile "Mediterranean" orientalism". (A.L. Ringer). Notable among is works are 2 Symphonies, piano concerti, string quartets, sonata for piano, sonata for violin and piano, for viola and piano, a choreographic poe m "Exodus" for baritone and orchestra, "Saul at Endor", a dramatic cantata, a concerto for cello and string orchestra (twelve-tone music) and 2 electronic works. movement a strin cellist το

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- 3 - The String Quartet No. 1 was written in 1954. It has one movement only. About this work Mr. Tal writes: "This movement for a string quartet was written as memorial to Joseph Weissgerber, cellist and member of the Israel Philharmonic Orchestra. Symbolically the composition gives a certain predominance to the D part of the cello, otherwise the piece is based on the technique of utmost utilisation of interval progressions, which crystallises into motivic essences providing the thematic material for the one movement development. ". Coffee Interval of 15 minutes. Quartet in G major Op.161 III Allegro molto moderato Andante un poco moto Scherzo: Allegro assai Allegro assai Schubert (1797-1828) (Last performed in 1958 by the Carnirelli String Quartet) Schubert is known to have written 19 string quartets of which 3 are lost and 4 are incomplete. Of the remainder all but 3 were written between the ages of 15 and 19 and were primarily intended for home performance. In the summer of 1826 and within the space It is believed of 10 days, Schubert wrote this, his last quartet. that its first movement was performed at the celebrated Invitation Concert in March 1828, in the same year Schubert offered it with other works in vain to the publisher Schott. It was not published till 1851. It has been said that Schubert's string quartets are essent- ially orchestral in character. This, if true, might certainly apply to the G major quartet. "The outward indications of the "orchestral" character of the work are apparent in the unison passages, in the agitated tremoli in melody or accompaniment, in the groupings of question and answer. These groupings are admittedly connected with the fact that the first movement, in particular, is entirely dependent upon the interplay of harmonic light and shade, upon the interchange of major and minor within the narrowest compass" (Einstein). Another notable feature of this quartet is the way in which, in another sense, Schubert treats this work as pure chamber music. "There is nowhere any trace of a leading idea, of a song used to bring unity into all the move_ ments as in the 1824 quartets. Schubert's quartet writing was

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- 4 - A2°t at moti ano and I toll dedo aninda o again dependent on itself, on the pure musical material and treatment. "(Kahl). The first movement is in sonata form with an un- bas tailles visoifoday? 150m 30 usually lengthy exposition. It is dominated by the d alternation of the major and minor keys, which process and to tang is reversed in the recapitulation, thus changing the whole character. Einstein asserts that the slightly agitated Andante in E flat "became the model for many of Brahms's movements, romances or orchestral ballads in which an elegiac melody predominates in the bass with decorative embroidery by the other instruments and with a chance of colour provided by an agitated alternivo". The calm of this movement is twice broken by violent outbursts which end with harmonies so strange that some critics have compared them with the harmonies of Bartok. In the Scherzo (B minor) with its Trio (G major), which ressembles a Landler, Einstein finds something of Schumann's capriciousness. Kahl calls it a "phantom) from the regions of ghostly romance. The Finale is a length rondo, full of invention and of boundless energy, violent in rhythm and adventurous in od bzw harmony. It, again like the first movement, alternates emon xot between the major and minor keys. It ends with a coda in 5 Of 10 G major. This is, perhaps, Schubert's finest quartet, with its masterful and assured handling, its cohesion, its wide sweep, its bold ideas and, above all, the endless fertility of his inspiration. doa von mi dreom00 The TEL-AVIV STRING QUARTET was founded in 1959. Its members were born in Tel-Aviv and even as children made music together. They studied at the Tel-Aviv Conservatoire and later attended the various Academies of Music in Israel. Today they occupy the highest musical positions as soloists, concertimasters and teachers. The Quartet became one of the leading ensembles of the musical life of their country. In 1962 they started their world-wide tours in Australia and the Far East and have since appeared with the greatest acclaim in the major cities of Europe and America. Chaim Taub also continued his studies at the To list Juil

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tromovon - 5- Juilliard School of Music and was a member of the Pittsburgh Orchestra, he later joined the Israel Philharmonic Orchestra as concertmaster. Both Manachem Breuer and Daniel Benymini have leading positions in the same Orchestra. Uzi Wiesel too studied at the Juilliard School and has won prizes such as the Piatiagorsky award and the Pablo Casals International Concours; he has also studied with Casals. He is at present head of the Cello Department at the Tel-Aviv University. *** THE HUDDERSFIELD MUSIC SOCIETY *** Season 1970-71 October 19th. THE LINDSAY STRING QUARTET November 16th. THE ORION PIANO TRIO ** December 14th. THE STUDENTS' CONCERT January 11th. ANNE QUEFFELEC Piano Recital. February 8th. ROHAN DE SARAM Cello Recital March 15th. THE SEBESTYEN STRING QUARTET Tickets will be sent in due course to all present members. The Hon. Secretaries Miss. C. A. Shaw, 3A Vernon Avenue, Huddersfield 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 recieve names and addresses to which prospectuses may by sent. Early application is advisable.

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THE HUDDERSFIELD GRAMOPHONE SOCIETY *** -6- Waverley House, New North Road. Monday Evenings at 7.30. March 16th. French Music (Mr. L. Nixon) April 6th. Dvorak, Strauss and Shostakovitch (Miss E. Williams) April 20th. Opera Tosca (Mr. H. Carter) 4th. Beethoven (The President) May Annual subscription £1. after January 1st. 12/6d. Students and Two visits permitted Old Age Pensioners half fee. Refreshments. without obligation. Hon. Secretary; D. Bostock Esq., 16 Imperial Road, Huddersfield, HD3 3AF. St. Patrick's Hall THE HUDDERSFIELD THESPIANS ***: April 20th. - 25th. OLIVER A musical show by Lionel Bart. Details of prices and booking date will be announced later.