FIFTY-THIRD SEASON 1970-1971 The Huddersfield Music Society 1 The Monday Concerts in the WT. 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. Generous support is also given by the Yorkshire Arts Association.

Thanks to support from the N.F.M.S. and the Y.A.A. it has been possible, in spite of sharply rising costs, to retain the price of tickets as in the previous Season. The Committee would like to point out the considerable advantage to be obtained by the purchase of Season Tickets (details opposite) as compared with the price of Single Tickets. Now that the Society is registered as a Charity, the tax benefits accruing from covenanted gifts are available to us and the Committee invite your generous support by this means. The Hon. Secretary will be pleased to furnish the necessary form on request. To ensure the continuance of these Concerts it is necessary to increase the membership and this objective would best be achieved by the active co-operation of all members in using their influence to this end. WILL EACH MEMBER PLEASE ENDEAVOUR TO OBTAIN ONE NEW MEMBER. The Committee are happy to announce a Season of Concerts of great variety and exceptional musical interest. With one exception only, all the artists appearing are new to the Society. The LINDSAY STRING QUARTET, a group youthful but brimful of talent, all former students at the R.A.M., was formed some three years ago. One critic says "they are without any doubt the most promising of the younger generation of string quartet players. It is almost impossible to fault them on technique, ensemble or tone". It is now some years since the Society has had a concert by a Piano Trio. The ORION PIANO TRIO was formed in 1968. The following year they were the first prize winners in the B.B.C. Competition for British and Commonwealth Ensembles, and since then they have given many successful concerts. ANNE QUEFFELEC is one of the most sought-after young pianists in the country. Breton in origin, at the age of 20 she won the most important of the German music competitions in Munich. and the deep impression which she made as an outstanding artist at the Leeds Piano Competition will be remembered by all who heard her. ROHAN DE SARAM, accompanied by his brother, pays a welcome return visit. Since his last appearance he has played all over the world, fully justifying the remark of his master, Pablo Casals, that "there are few of his generation who have such gifts". The SEBESTYEN STRING QUARTET, a young Hungarian ensemble, make their first appearance in England this year. They were formed in 1966 and that year gained the special diploma at the Geneva International Competition for String Quartets. Since then they have given concerts all over Europe. 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 HUDDERSFIELD POLYTECHNIC. It is one of the aims of this Society not only to present Concerts of outstanding interest and of a type not elsewhere to be heard in the town 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/-

een Kets the Son ets. ing our to to his NE Eat he ful rs ng le 10 ar sh my ts st da 0 me d. e n 1 1 All Concert October 19th, 1970 Quartet in F min Quartet in A min Quartet in E flat r November 16th, 1970 Trio in G major Trio in E minor O Trio in E flat Op. December 14th, 1970 1971 Partitia No. 2 in Impromptus Four Two Sonatas January 11th, Miroirs Masques Two Studies February 8th, 1971 Sonata in F majoi Sonata (1915)...... Sonata in C major Sonata in C majo March 15th, 1971 Quartet in B flat i Quartet No. 2...... Quartet in E min (Progr (for the use of PRESENT Double (Single) Season Tickets To the Hon. Treasurer, National Westminster Bank, King Street, Huddersfield, HD1 2AY. I enclose £. in payment for FORM REMITTANCE MEMBERS ONLY) Name Address Double (Single) Season Tickets for which I enclose £.. APPLICATION FORM (for the use of NEW MEMBERS ONLY) To the Hon. Secretary, 3a Vernon Avenue, Huddersfield, HD1 5QD Please send me Name Address (BLOCK LETTERS PLEASE) Cheques should be made payable to "The Huddersfield Music Society" Receipts will not be issued unless requested

All Concerts on Monday Evenings at 7-30. October 19th, 1970 November 16th, 1970 Quartet in F minor Op. 20 No. 5..... Quartet in A minor Quartet in E flat major Op. 74 (The Harp) Beethoven December 14th, 1970 January 11th, 1971 Trio in G major K. 496 Trio in E minor Op. 67 Trio in E flat Op. 100 PROGRAMMES Miroirs Masques Two Studies THE LINDSAY STRING QUARTET February 8th, 1971 ...... Partitia No. 2 in C minor Four Impromptus Op. 90 Two Sonatas March 15th, 1971 CONCERT BY STUDENTS OF THE SCHOOL OF MUSIC, HUDDERSFIELD POLYTECHNIC THE ORION PIANO TRIO ...... Mozart Shostakovitch Schubert ANNE QUEFFELEC. Piano Recital Bach Schubert Scarlatti Ravel Debussy Debussy Sonata in F major Op. 6......... Sonata (1915) Haydn Walton ROHAN AND DRUVI DE SARAM, Cello and Piano Recital Sonata in C major Op. 102 No. 2 Sonata in C major Op. 65 Quartet in B flat major Op. 76 No. 4 Quartet No. 2.......... Quartet in E minor Op. 59 No. 2.... Kodaly THE SEBESTYEN STRING QUARTET (Programmes subject to alteration) Strauss Debussy Beethoven Britten Haydn Kodaly Beethoven SEASON TICKETS Double ..... 90/0 (for two persons not necessarily of one family) Single ..... .... 50/0 Single tickets 12/6 3/6 .... Student tickets (Bona fide Students under 21) Third Concert only Single tickets Student tickets Student Season Tickets are not issued. .... 10/0 2/6 LAST SEASON'S MEMBERS Tickets as issued last year to all existing members are enclosed herewith. If they are not required they should be returned to the Hon. Secretary not later than September 30th AFTER WHICH DATE NO RETURNED TICKETS CAN BE ACCEPTED. NEW MEMBERS New members are welcomed. Tickets can be obtained by them either from the Hon. Secretary (using the appropri- ate form overleaf) or from Messrs. J. Wood and Sons, 67 New Street, Huddersfield or at the door. Individual student tickets are obtainable only at the door or in bulk from the Hon. Secretary. as soon as This perforated slip should be forwarded possible, please. Multi-Storey Car Park in close proximity to Hall

THE HUDDERSFIELD MUSIC SOCIETY (Founded as The Huddersfield Music Club by Dr. Eaglefield Hull in 1918) President ... Vice-President .... ... .... R. Barraclough David Dugdale Miss K. Evans, B.A. P. G. C. Forbes, .... .... Honorary Vice-Presidents: Benjamin Britten, Esq., O.M., C.H., F. Rowcliffe, Esq. The Rt. Hon. The Lord Savile, J.P., D.L. M.A., A.R.C.O. .... Joint Hon. Secretaries: Miss C. Alison Shaw, 3a Vernon Avenue, HD1 5 QD. Tel. Hudd. 27470 BH Mrs. J. de Nikitin-Solsky, 37 Gynn Lane, Honley, HD7 2LE. Tel. Hudd. 61696. Sidney H. Crowther, Esq. Edward Glendinning, Esq. Hon. Treasurer: V. Tolchard, National Westminster Bank, King Street, HD1 2AY Miss I. Bratman Mrs. A. Crowther Mrs. S. H. Crowther Miss M. A. Freeman, LL.B. Executive Committee: Mrs. E. Glendinning S. Rothery Miss E. K. Sawers Max Selka Ladies' Committee: Chairman: Miss K. Evans, B.A. 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 S. G. Watson 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

THE HUDDERSFIELD MUSIC SOCIETY **: Fifty-third Season Mayor's Reception Room, Town Hall Monday October 19th 1970 THE LINDSAY STRING QUARTET ** Programme I Quartet in F minor Op.20 No.5. Allegro Minuet and Trio *** *** Haydn (1732-1809) Adagio Finale. Fuga a due Soggetti (Last performed in 1958 by the Quartet Pro Musica) The 6 Quartets of Op.20 were written in 1772. They were known as the Sun Quartets - a good name which, however, owes its real origin to the picture of a rising sun printed on the title page of the first edition. Haydn's previous quartets (Op.18) were dated 1771, and though both they and the Quartets Op.9 were true string quartets and not divertimenti, Op. 20 shows an amazing advance. "It is a threefold miracle. Here at last is the string quartet fully in being as a living entity. The concertante style has brought release, counterpoint has given cohesion and strength to the individual parts, but now there is added a sudden realisation of the character and tone quality of string texture as such coupled, paradoxically, with a far keener awareness of the essential personality of each instrument. Structurally Haydn now shows a far stronger grasp of general design and of the potentialities of development latent in. individual themes. And, in the last resort, it is his own musical personality which the se developments manifest and which now stands before us in its full stature. The sheer range of mood and tempo alone is startling." (R.Hughes). The main characteristic of the Quartet in F minor (then an usual choice of key) has been described as "Profound and poignant disquiet." This is exemplified by the way in which, in the first movement, the major second subject returns in the minor

- 2 - key; then it is further developed and followed by a coda in which by means of a remote key, the sense of mystery is still more deepened. The Minuet and Tric too, have dark shadows. The tender and graceful Adagio in F major, with its delicate figurations for the violin, brings a welcome relief. The Finale, again a great contrast, is a fugue with two subjects, the first of which. bears a marked resemblance to that on which Handel based his chorus "And with His stripes" in the Messiah. Out of the 6 quartets of Op.20, 3 have fugue finales. "But their historical importance, as Tovey points out, transcended the immediate technical achievement, in that they effectively establish fugue texture henceforth as a normal resource of sonata style. Indeed, the influence of this set on the whole subsequent development of chamber music remains unsurpassed" (R. Hughes). Tovey also describes this fugue as being "a sublimation of an emotion of almost tragic pathos". All three of these final fugues are directed to be played sotto voce until a sudden forte leads to a coda in a less strictly contrapuntal style. II Quartet in A minor Allegro assai Presto Lento William Walton (b.1902) Allegro molto (Last performed in 1949 by the Bloch String Quartet) Walton's Quartet in A minor was first performed in 1947 in the B.B.C. Third Programme. Considerable interest was aroused by this new work for it was Walton's first major composition since the Violin Concerto of 1939. During the war years Walton had written a few smaller pieces, but mostly he was engaged on film music. In addition, this quartet is his first mature chamber music composition (an earlier string quartet written many years ago is now disowned). while his piano quartet is also a very carly work. The composition of this quartet occupied the best part of a year, being completed in the early spring of 1947. It is of interest to note that the slow movement was the first movement to be written and that the themes of this movement and of two other movements were invented in one day. The balance of the whole work is clear, since the first and the third movements are on an extended scale, while flanking these are the deliberately light-weight second and fourth movements. The key of the work

- 5 - THE HUDDERSFIELD MUSIC SOCIETY ***** <******* Mayor's Recoption Room, Town Hall. Trio in G major K. 496 Trio in E minor Op.67 Trio in E flat Op.100 November 16th. THE ORION PIANO TRIO *** ***** Octet Octet Monday Evonings at 7.30. December 14th. January 11th. February 8th. March 15th. PLEASE NOTE. SEASON TICKETS FOR THE REMAINING 5 CONCERTS, DOUBLE (FOR 2 PERSONS) 75/- SINGLE (1 PERSON) 40/- Single tickots 12/6 from Woods, 67 New Streot, and at the door. CONCERT BY STUDENTS OF THE SCHOOL OF MUSIC HUDDERSFIELD POLYTECHNIC ANNE QUEFFELEC Piano Recital ROHAN AND DRUVI DE SARAM Cello and Piano Rocital THE SEBESTYEN STRING QUARTET The National Federation of Music Societies to which this Socioty is affiliatod, givos support toward tho cost of these Concerts with funds provided by the Arts Council of Great Britain, Generous support is also given by the Yorkshire Arts Association. Tho Parish Church, Halifax. Mozart Shostakovitch Schubert THE HALIFAX PHILHARMONIC CLUB *** *** Friday, Novombor 13th at 7.30 THE MELOS ENSEMBLE *** ** *** Wellesz Schubort Single tickets 12/6 from Mrs. R.S. Hanson, 23 The Crescent, Hipporholme, Halifax or at the door.

THE HUDDERSFIELD GRAMOPHONE SOCIETY *** -6-- Waverley House, New North Road. October 26th. Novombor 9th. THE YOUNGER PIANIST (Mr. J. Haigh) **: THE **** Annual subscription £1 (from Jan 1st 12/6) Students and Old Age Ponsioners half foo. Two visits allowed without obligation. Socrotary D. Bostock Esq., 16 Imperial Road, Huddersfield. HD3 3AF. Monday evenings at 7.30 HANDEL, MOZART AND HAYDN (Miss M.J. Hill) The Parish Hall, Vonn Street. **** *** HUDDERSFIELD THESPIANS ****** *** November 16th - 21st at 7.30 LETS ALL GO DOWN THE STRAND by HUGH AND MARGARET WILLIAMS. Tickots 5/- (concession night is Monday) from Woods, 67 New Street.

THE HUDDERSFIELD MUSIC SOCIETY **** Peter Thomas (Violin) **** Fifty- third Season Mayor's Reception Room, Town Hall, Monday November 16th 1970 ****: THE ORION PIANO TRIO ** ** Sharon McKinley (Cello) Ian Brown (Piano) Programme I Trio in G major K.496 4 Allegro Andante Allegretto Mozart (1756-1791) Chamber music, as its name implies, was originally instrumental music written essentially for performance in the home, sometimes for performance by professional musicians for their wealthy patrons, sometimes for performance by gifted amateurs. Its origin really springs from the works of Johann Kuhnau (1667) and taken a further step by C.P.E. Bach: from these two composers Haydn derived his inspiration and his knowledge and in turn led the way to the works of Mozart, With Haydn the piano trio is, in effect, a violin and piano sonata with the cello merely doubling and strengthening the bass parte With Mozart the cello began to assume its modern importance and to tako its place equally in the dialogue of the instruments. Mozart wrote in all 35 piano trios; he obviously considered them to be of losser importance than the piano quartots, many being lighter in character. His first trio, completed in 1776, was entitled "Diverti- mento", which perhaps better describes its character. The Trio in. G minor K.496, written 10 years later and contemporaneous with the piano quartets, is the first to be named as a Trio and to be worthy of taking its place in the repertoire of chamber music as we now understand the term. In the first movement a long piano solo introduces the main subject; this is then repeated by the violin. In this movement the cello part is definitely the least important of the three instruments and keeps close to its old role of doubling the bass, though in the development section there is some approach toward three-part counter-

Trio in E minor Op.67 suou e to Tento to 20 -a point. Much more use is made of this in the Andante ful movement with much delicate figuration. The finale theme with variations opens cheerfully but a sudden change to G minor brings in a fresh and contrasting mood of gloom; this section shows Mozart's power of depicting emotion. An adagio variation follows which comes as a welcome relief, but, in spite of the renewed vigour, a hint of the gloom appoars again, barely to be banished by the short and spirited coda.. II Arst movement: mounting excite and of the immu forces of evil Andante Moderato - Poco piu mosso Allegro con brio Largo allogrotto grace. a Shostakovitch (b.1906) Although Shostakovitch is best known as a composer of symphonies, he has devoted considerable attention to chamber music. He has written some 10 string quartets, a Piano Trio, a Piano Quintet, a String Octet and a Sonata for cello and piano. In all these he shows that he is a master of this genre as woll as of orchestral composition. The Piano Trio Op.67 was written in 1944 during the war years and at the same time as the 8th Symphony. Both exhibit the prevailing mood at that time of stress, anxiety and tragedy. All four movements of the Trio show great originality both in conception and treatment "particularly the finale, whose awe-inspiring grandeur makes it a unique example of its kind". I.I. Martinov considers that the first movement may be thought of as an elegy, the second would seem to be a scherzo of impetuous urgency and the third a mournful dialogue between the violin and the cello against a background of sombre choral harmonies on the piano". He continues "From the very outset of the first move... ment, the listener's attention is arrested by the unusual tonal quality achieved by combining tremolo passages in the cello with notos scored for the violin in a low register (G string only). This creates the impression that the instruments have changed. places in the score. The pure and haunting melody carries tonal rominiscences of the lyrical qualities of Russian folk-song. CO The third movement "loads directly into a broadly dovolopod finale, introducing us to that world of eerie, foreboding shapes which invaded Shostakovitch's music during the years of the war (cf. the opening movement of the 7th Symphony). The theme of the finale is angular and menacing, and it developes with a mochani- cal, rhythmic motion, accompanied by weird, automatic reptitions of contrapuntal elements the combined effect of which evokes the

ain, dagio 19 change to alo - a - a grace. this te 3. a monstrous procession and fills the imagination with a frieze of cruel and sinister shapes. In the coda the theme of the first movement returns once more, but now imbued with a sense of mounting excitement, symbolic of the noblest aspirations of humanity and of the immutable will which can withstand the onslaught of the forces of evil and destruction. CO Coffee Interval of 15 minutes III Trio No. 2 in E flat Op.100 Allegro Andante con moto Schubert (1797-1828) Scherzo (Allegro moderato) Allegro moderato Though Schubert was himself a pianist and wrote much for that instrument, he wrote little for piano in combination with strings. There are only 5 works which fall into that category but, of these, 3 are of great importance - the Piano Quintet and the 2 Piano Trios. Both the Trios were written in 1827; both are lengthy and rich in melodic invention. The Trio in E flat is the later of the two and was published in 1828 by Probst of Leipzig, the composer receiving 20 florins in payment for it. At that time Schubert was much in contact with Bocklet (Piano), Schuppanzigh (violin) and Linke (Cello) and this probably accounts for his immediate interest in this form. The fact that three such fine artists were available to perform the music is certainly one reason for the demands they make upon the players for a perfect performance. Schumann described the first as "passive, feminine and lyrical" and the second as "active, masculine and dramatic". Certainly the second (E flat) is the more brilliant of the two. The first move- ment opens with a motto-like unison passage, almost like the opening of a scherzo, which reappears later in varying forms. This eventually leads to a hesitant, cryptic passage after which the second subject, beautifully lyrical, is heard. The exposition is, according to the then custom, repeated. Much use is made in the development section of the lyrical second subject, accompanied by rippling cascades of triplets for the piano. There is an unusually full repetition of the exposition in the recapitulation section but the changing colouring of the keys robs it of any feeling of monotony. The Andante opens with a melody for the cello with a steady, marching accompaniment for the piano. This theme is supposed to be derived from a Swedish folk-song but its origin has never been

40 traced. In form this movement is a rondo, the thome returning for a third time in a shortened form. If this theme is a simple folk-song, Schubert "developed it into a grandoise ballad, with emotional outbursts and one of his most moving inspirations". The Scherzo reverts to the older, simpler style and much use is made of canon or close imitation between the instruments. The Trio is, in effect, a dance of peasants. The Finale is something between sonata form and rondo form. Its apparently simple opening gives little hint of the length of the movement to follow or of the uses to which themes, such as the "Swedish" melody, are to be put. The changes of key are so constant that the final coda, firmly fixed in E flat, comes as a necessary reminder of the basic key of the work. This is one of those Schubert movements of such heavenly length, in which Schubert's thoughts seem able to go on almost endlessly, pouring out a continual stream of fresh delights and inspirations. ***** **** *** **** THE ORION PIANO TRIO was formed in 1968 and is resident at Southampton University, giving weckly concerts during University terms. In 1969 they were first prize-winners in the B.B.C. Beethoven Trio Competition for British and Commonwealth Ensembles. They have broadcast and recorded for the B.B.C. Music Programme and have appeared on Television. PETER THOMAS was born in S. Wales in 1944. He studied at the R.A.M. from the age of 10 where he won a scholarship. He concluded his studies with Eli Goren. In 1957 he won the Yehudi Menuhin prize at the Bath Festival. For 5 years he was a member of the Allegri String Quartet. SHARON MCKINLEY was born in British Columbia in 1941. Sho studied for 5 years at the Guildhall School of Music with William Pleeth, and won many awards including the coveted Gold Medal. She has appeared in several of Paul Tortellier's televised master classes. After a further period of study in the United States, she returned to Canada to give many concerts there. She is married to Peter Thomas. IAN BROWN was born in Salisbury in 1945 and received his early musical training as a chorister at Salisbury Cathedral. He was also a bassoon player in the National Youth Orchestra of Great Britain. He first studied piano with his father and later at the R.C.M. In 1967 he waw awarded the Tagore Gold Medal and won travelling scholarships to study in Israel with Enrique Barenboim, He has broadcast frequently as a duo partner with his sister, the violinist Iona Brown. Mayor's Reception CONCE

omething The ch use is rations" ballad, with тол ошой 7 Tours & Sto 5. January 11th. February 8th THE HUDDERSFIELD MUSIC SOCIETY ****** *** Mayor's Reception Room, Town Hall. Monday Evenings at 7.30 December 14th. CONCERT BY STUDENTS OF THE SCHOOL OF MUSIC HUDDERSFIELD POLYTECHNIC *** ANNE QUEFFELEC Piano Recital ROHAN AND DRUVI DE SARAM Cello and Piano Recital March 15th. THE SEBESTYEN STRING QUARTET Single tickets for the next Concert 10/- from Woods, 67 New St, and at the door. The National Federation of Music Societies, to which this Society is affiliated, gives support toward the cost of these Concerts with funds provided but the Arts Council of Great Britain. Generous support is also given by the Yorkshire Arts Association. THE HALIFAX PHILHARMONIC CLUB *** *** **** The Lecture Hall, Harrison Road Wednesday December 2nd at 7.30 p.m. THE LINDSAY STRING QUARTET Quartet in F minor Op.20 No. 5 Quartet in A minor, Quartet in E flat Op.74 (The Harp) Haydn Walton Beethoven Single tickets 12/6 (students 2/6) from Mrs. Hanson, 23 The Crescent, Hipperholme, Halifax and at the door.

THE HORBURY CONCERT SOCIETY ***** *** *** *** Horbury Secondary School. 6. Saturday November 28th at 7.30 pm. THE BACCOLIAN SINGERS *** ** ******* Tickots from Mrs. Audsley, 25 Tithe Barn Street, Horbury, Wakefield. THE HUDDERSFIELD GRAMOPHONE SOCIETY **** ** *** Waverley House, New North Road. November 23rd November 30th BEETHOVEN CENTENARY (Mr. D. Bostock) Monday Evenings at 7.30. LEIDER AND HARP MUSIC (Mrs. M. Firth & Mr. H. Carter) Annual Subscription £1 (from Jan 1st 12/6) Students and Old Age Pensioners half fee. Two visits allowed without obligations, Refreshments. Socrotary D. Bostock Esq., 16 Imperial Road, Huddersfield HD3 3AF The Parish House, Venn Street. THE HUDDERSFIELD THESPIANS ** *** November 16th-21st @ 7.30 pm LETS ALL GO DOWN THE STRAND by Hugh and Margaret Williams Tickets 5/- (concession night is Monday) from Woods, 67 New St.

F. IMMARDOTY THE HUDDERSFIELD MUSIC SOCIETY Fifty-third Season Mayor's Reception Room, nasmuro a MONDAY 14th DECEMBER, orge.ILA - eftdejnso ogrelI orgeLIA - ovia oviaserqae ogral Town Hallworzu sfeme! od0 s01-0 mt etenoa basISTI U dooInsW¶ gaumb.BW niefaol mobiel! 1970 fb nà giroa CONCERT BY STUDENTS OF THE SCHOOL OF MUSIC, HUDDERSFIELD Los di 18 . batezq olaum birolt en del amo toll T aof denst YOTEM JE anoa violone.CoM Coffee interval of 15 minutes JAVASIVI sand derst

Sonata in C for Oboe and Piano Largo cantabile - Allegro Largo espressivo- Allegro Pamela Burrows (Oboe) Trevor Walker (Piano) Songs. PROGRAMME Widmung Heiden Roslein An die Musik Seligkeit Janet Ross (Soprano) Fantasie in C minor Songs. Schumann Schubert MED Schubert Schubert Martyn Syers (Piano) Elisabeth Bolter (Piano) Loiellet Let the florid music praise B. Britten Her Song J. Ireland The First Mercy P. Warlock Melancholy Song A Hopkins Janet Ross (Soprano) Martyn Syers (Piano) INTERVAL Mozart Sor Anr 11TH Tur

Sonata in G minor for Violin and Piano Andante Allegro Adagio Allegretto a *** "Thou very, God and David's Son." (from Cantata No.23) Turmmusik - Anna Maria McCool (Violin) Donald Cullington (Piano) Handel J.S. Bach Janet Ross (Soprano) Anita Morton (Contralto) Pamela Burrows, David Glossop (Oboes) Helen Oddy (Cello) Ronald Newton (Piano) Heinrich Kaspar Schmidt Stephen Rapp, Kevin Bclton, William Sartin Paul Sydney, Trevor Lax (Trumpets) Graham Bolton (Trombone)

1 THE HUDDERSFIELD MUSIC SOCIETY Mayor's Reception Room, Town Hall JANUARY 11th. ANNE QUEFFELEC Partita No. 2 in C minor Four Impromptus Op. 90. Two Sonatas Miroirs Masques ) Two Etudes ) FEBRUARY 8th MARCH 15th Pngs Piano Recital FR oigs Monday Evenings 7.30. Piano Quintet in F minor Op. 34 Piano Quartet in G minor K.478 lov Bach stacol ROHAN and DRUVI DE SARAM Cello and Piano Recital THE SEBESTYEN STRING QUARTET Single tickets 12/6 from Woods 67 New Street, and at the door (students 3/6 at the door) 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. General support is also given by the Yorkshire Arts Association. THE HALIFAX PHILHARMONIC CLUB Lecture Hall, Harrison Road. THE LANCASTER ENSEMBLE Schubert -Scarlattitasbal Ravel (mbre Debussy IIA hammarT Brahms voMozart norgeta Piano Quintet in G minor Shostakovich Single tickets 12/6 (students 2/6) from Mrs. Hanson, I meriend 23 The Crescent, Hipperholme, Halifax or at the door. THE HORBURY CONCERT SOCIETY Horbury Secondary School Saturday January 23rd at 7.30. THE MELOS ENSEMBLE Tickets from Mrs. Audsley, 25 Tithe Barn Street, Horbury, Wakefield. THE HUDDERSFIELD GRAMOPHONE SOCIETY Waverley House, New North Road. Monday Evenings at 7.30. JANUARY 4th Handel and Vaughan Williams (H.Carter and J.Haigh) Subscription (from Jan. 1st.) 12/6d. Students and 0.A.P's. half fee. Two visits allowed without obligation. Refreshments. Secretary. D. Bostock, Esq., 16 Imperial Road, Huddersfield HD3 34 Parish House, Venn Street. THE HUDDERSFIELD THESPIANS. LORD ARTHUR SAVILLE'S CRIME January 18th - 23rd at 7.30.pom. Adapted by Constance Cox from a story by Cscar Wilde. Tickets 5/- (Concessicn night is Monday) from Woods, 67 New Street.

THE HUDDERSFIELD MUSIC SOCIETY ** ****: **** ** Fifty-third Season Mayor's Reception Room, Town Hall Monday, January 11th. 1971 ANNE QUEFFELEC *** ** Partita No. 2 in C. Minor Programme Sinfonie Allemande Courante Sarabende Rondeau Caprice Bach (1685-1750) The term Partita is said to have first been used early in the 17th. century by street players to signify the collections of dance tunes they performed. Being itinerant musicians, these collections spread widely and as these collections gradually assumed the impor- tance of an art form, they became known in England as lessons, in Italy as sonate da camera and in France as ordres. All these were united under the general term of suites. There was no regular dance pattern; effective use was made of contrast frequently with some freer form of introduction and conclusion. Bach uses the name Partita in two ways; for the clavier as a suite of dances and for the organ as sets of variations upon chorales. He wrote six Parti- tas, the first in 1726 and another followed each suceeding year. (One notes by the way Bach's fondness for sets of 6 6 French Suites, 6 English Suites, 6 Suites for solo violin and for solo cello and 6 Brandenburg Concertos, to name but a few). The Partitas, works of great charm and ingenuity, were united in the first volume of the Klavierubung and a seventh appeared in the second part of that work. Although the Suite is in itself a complete art form, its greatest historical importance lies in the fact that from it the sonata was gradually evolved. Four Impromptus Op. 90 C. minor E flat major G flat major Schubert (1797-1828)

20 A flat minor As the name would imply, the title "Impromptu" could best be given to music played extempore, and it therefore follows that the written Impromptu must have some of the varied and wayward charm of extempore composition. Schubert himself did not give this title to the pieces of Op.90; it was, in fact, so christened by his publishers, Haslingers, who also took it upon themselves to change the key of the third piece from G flat to G. The manu- script is undated. Although Impromptu was not an altogether mis- taken title, bearing in mind the personal and intimate expression of the music, all Schubert's Impromptus have a definite formal structure, each differing from the other. Each is of sufficient length and importance to form a movement of a sonata; all, curi- ously enough, are written in a flat key. The first opens in the style of a ballad but soon shows itself to be variations upon two major and minor themes. In the lengthy coda, major and minor are inextricably blended. Throughout con- tinuity is given by the ceaselessly moving accompaniment. The second is in episodical form. Starting in E flat major, it soon changes to the tonic minor, and after an unexpected modulation to B minor for the episode, it ends in the minor key. This piece calls for the most delicate and lightest of execution. The third, more pastoral in character, has a ceaseless triplet quaver flow from the first bar to the last one. The fourth is, in reality, a Scherzo and Trio strongly contrasted in character. In contrast to the first Impromptu, this one starts in the minor mode, changing unexpectedly to the major. Three Sonatas F major L 382 E major L 430 D.major L 424 Scarlatti (1685-1757) Alessandro Scarlatti (1659-1725), although a most important figure in the history of opera, is now best remembered as the father of his more famous son Domenico, Domenico wrote upward of 500 pieces for the harpsichord now called sonatas though they originally had the modest name of Esercisi. He was a friend and contempory of Handel with whom he held a contest in Rome; it was impossible to decide who the victor was on the harpsichord but no doubt that Handel was the superior on the organ, Scarlatti declaring that such playing was hitherto unknown. Scarlatti spent many years of his life in the service of the court in Madrid b because Sca audience players.

be 3. Madrid but returned home to Naples to die impoverished, largely because of his gambling habits. Scarlatti might be called the first of the virtuoso clavier players. He had a technique then so remarkable that his Italian audiences were convinced that he was "possessed of the devil." His "Sonatas" are short works, but full of grace, harm and gaiety; they contain effects and devices which were really revolutionary at that period. Although written for the harpsichord they lose nothing of their grace and effectiveness when performed upon the modern piano. COFFEE INTERVAL OF 15 MINUTES Miroirs Noctuelles Oiseaux tristes Une barque sur l'ocean Alborada del Gracioso La Vallee des cloches Ravel (1875-1937) Ravel, of Basque origin, went to study in Paris at the age of 12. In 1905, when already a well-known composer, he was turned down by the Conservatoire after the examination for the coveted Prix de Rome. This caused such a stir of protest that the Director was forced to resign. Ravel was deeply hurt by this affair but it did nothing to hinder the world-wide fame which came to him. The great- est influences in his life came from Saint-Saens, Liszt, Debussy and the Russian masters. The names of Ravel and Debussy are often linked together but the differences between the two are really more apparent than the resemblances. Ravel had an ascetic and aristo- cratic turn of mind; Debussy was a vcluptuary. Cardus once wrote that the difference between the two was as great as the difference between a solid and an essence or between a man of the world and a man aloof. Ravel's output is relatively small. He was a member of a group of young Parisian intellectuals, rebels against convention, who called themselves "Les Apaches". One evening he arrived at their meeting place carrying a newly-written piano piece - Oiseaux tristes the second of the charming suite called Miroirs; each of the pieces is dedicated to a member of the Apaches. This Suite marked a great advance in Ravel's career and many critics considered it to be the beginning of a new type of piano music. The title shows one of his guiding principles: that the greatest art is a reflection of reality rather than reality itself. "He believed that man's interpretation of Nature has more value than the thing per se." (M. Goss). "Noctuelles" has been described as "an inextricable mass of

4. curves drowned in a sonorous flood of audacious intervals which "Oiseaux interrupt the fluttering of nocturnal butterflies." tristes Ravel considered to be the most typical piece of the group; he said it represented birds lost in a dark forest during the hottest hours of summer. The titles of the third and fifth pieces explain themselves. "Alborada del Graciosd shows how throughly Ravel has absorbed the spirit of Spanish music. Masques Debussy (1862-1918) Debussy was a wholly original composer. Cardus wrote: "De- bussy came from nowhere. Of all music extant to 1870 there is not a hint of his advent," Chopin and Liszt had opened new worlds of piano possibilities; Debussy opened yet another one. Yet he wrote. little for piano in his earlier years. Before 1903 most of his songs but only 5 piano works had appeared. "Masques" dates from 1904 and is on a larger scale than any piano music he had written previously. It calls for considerable technical ability and por- trays a fantastic and wayward mood. It abounds in rhythmic subtle- ties. Two Studes Chopin (1810-1849) Op. 25. No. 6 in G. Sharp minor Op. 10. No. 5 in G. Flat major ANNE QUEFFELEC was born in Paris in 1948; her family is Breton in origin. She began her studies at the age of 5 and at 16 she entered the Paris Conservatoire, winnning the first prize the following year. She also studied chamber music and again won the first prize in this field when she was 18. The previous year she gained her Baccalaureat de Philosophie. She has studied in master-classes with Paul Badura-Skoda, Joerg Demus and Alfred Brendel. In 1918 she entered the most important of German music competitions at Munich where she again won the first prize. This year she made her debut with outstanding success in Vienna. She entered for the most recent Leeds Piano Competition where her appearances made a deep impression and has made her one of the most sought-after young pianists in this country. Mayor's Re

ng ch THE HUDDERSFIELD MUSIC SOCIETY ***: ****** Mayor's Reception Room, Town Hall. Monday Evenings at 7.30. March 8th. ROHAN AND DRUVI DE SARAM Sonata in A major Op.69 Sonata Finale Sonata in C major (from Sonata Op.8 for solo cello) Cello and Piano Recital March 15th. THE KODALY STRING QUARTET (formerly known as The Sebestyen Quartet). Single tickets 12/6 from Woods, 67 New Street or at the door. 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. Generous support is also given by the Yorkshire Arts Association. THE HALIFAX PHILHARMONIC CLUB 粟*** ***** ** The Lecture Hall, Harrison Road. Friday, January 15th at 7.30 THE LANCASTER ENSEMBLE Beethoven Debussy Kodaly Britten Piano Quintet in F minor Op. 34 Piano Quartet in G minor K.478 Piano Quintet in G minor Brahms Mozart Shostakovich Single tickets 12/6 from Mrs. S.R. Hanson, 23 The Crescent, Hipperholme, Halifax or at the door. THE HUDDERSFIELD GRAMOPHONE SOCIETY **** **** Waverley House, New North Road, *** January 18th. Percy Grainger (Mrs. Monday Evening at 7.30 Roberts & Miss Adamson) February 1st. Nicolas Medtner (Mr. Harold Truscott)

Subscriptions (from January 1st.) 12/6. Students and Old Age pensioners half fee. Two visits allowed without obligation. Secretary, D. Bostock Esq., 16 Imperial Road, Huddersfield, HD3 3AF THE HORBURY CONCERT SOCIETY ** :** *** Horbury Secondary School January 23rd. Tickets 13/-; 10/- & 7/- (Reductions for retired persons and students) from Mrs. M.J. Audsley, 25 Tithe Barn Street, Horbury, Wakefield. THE MELOS ENSEMBLE THE HUDDERSFIELD THESPIANS ** The Parish House, Venn Street. 7.30 p.me ** January 18th-23rd at 7.30 p.me LORD ARTHUR SAVILLE'S CRIME Adapted by Constance Cox from a story by Oscar Wilde. Tickets 5/- (Concession night is Monday) from Woods, 67 New Street.

THE HUDDERSFIELD MUSIC SOCIETY *** Fifty-third Season Mayor's Reception Room, Town Hall Monday February 8th 1971. ROHAN AND DRUVI DE SARAM **** *** *** Cello and Piano Recital Programme I Sonata in A major Op.69 Beethoven (1770-1827) Allegro non tanto Scherzo. Allegro molto Adagio cantabile - Allegro vivace The composition of works for cello and piano presents many special problems due to the special tone qualities of the two instruments. The cello, like 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 an instrument of much less power, but, even at that date the difficulties of balance existed. In earlier works the part of the cello was that of a support for the bass; it was not until the sonatas of Beethoven that any real 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 piano tone; and how carefully he clarifies and lightens the more powerful and ringing tones of the piano. Between the years 1786-1815 Beethoven wrote 5 sonatas for cello and piano. This Sonata Op.69 appeared in 1809 and was dedicated to Baron von Gleichenstein, a faithful friend who performed all manner of duties for Beethoven - secretary, messenger, attorney, buyer and keeper of the purse. It is not known for whom, or for what occasion, it was written. Its general character is quiet and dignified with no extremes of emotion. It contains one or two features worthy of comment. The Scherzo, with its delightful theme in ascending syncopated rhythms in the tonic minor key, is unusually extended and takes the place of the

- 2 - second movement while the slow movement is so brief that it merely forms the introduction to the Finale. Otherwise, Beethoven constructs the sonata on the usual classical lines, giving us strong virile subjects, developed and contrasted with all his superb skill. There was also very delightful "conversations" between the instruments, a form of art in which Mozart and Beethoven have no equals. II Sonata Prologue Serenade Finale themes nigh-spirit Debussy (1862-1918) This Sonata is one of Debussy's last works. It dates from 1915 when, after a period of unproductiveness, Debussy wrote in rapid succession the Douze Etudes, "En blanc et noir" and two sonatas, one for cello and piano and the other for flute, viola and harp. Earlier in that year he had written, "I want to work, not so much for myself but to give proof, however small it may be, that even if there were thirty million Boches, French thought will not be destroyed". Debussy had, in fact, planned to write "Six Sonatas pour divers instruments par Claude Debussy musician francais" but only three of the six were completed. For some years before he died, Debussy had suffered from a painful and terrible malady and possibly, in spite of their creative inspiration and originality, one may feel in these latest works some of the weariness and sickness that oppressed him. As Andres Suares wrote, it is often "la douleur qui parle". This Sonata is Debussy's only work for cello and piano. It was originally intended that it should be entitled "Pierrot fache avec la lune". Its basis therefore lies in Italian comedy and throughout his life Debussy was haunted by the symbolic figure of Harlequin. The first movement is very short and almost in the form of a soliloquy. In spite of its brevity the cello part has extraordinary eloquence; the serenity is only broken by one short dramatic outburst. Fragments of themes from earlier works appear in it. The Serenade, tinged with something like bitter- ness and tragedy, possesses more than a hint of 18th century elegance. Vallas writes of its "pathetic banter". A kind of humour is shown in the way in which the cello imitates the sound of the guitar, the mandoline, the flute and even the tambourine. The third movement has some slight affinity with sonata-form and Perhaps its marked con

ith وڈ t - 3- its themes have almost a folk-song flavour. Although in general high-spirited the pathetic figure of Harlequin is never far distant. Perhaps its most inspired section is a short passage of 12 bars marked con morbidezza. Coffee Interval of 15 minutes III Finale from Sonata Op. 8 for solo cello Kodaly (1882-1967) Eric Blum sums up Kodaly's music as follows: "Kodaly's music is distinguished by an originality that appears startling at first hearing, but on closer acquaintance reveals a certain leading towards tradition. He does not abandon tonality and accepted forms but creates a new music of astonishing vitality within their limits. His instrumental writing is extremely interesting and there is a close interdependence between his creative impulse and the particular medium chosen for its expression. The piano pieces are predominately harmonic and percussive, the string quartets contrapuntal and the pieces for solo string instruments abound in appropriate technical problems and striking effects". akce QU The Sonata Op. 8 dates from 1915 and belongs to a group of chamber music works written between 1914-20 all exclusively written for string instruments. By then Kodaly had evolved a mature personal style and now displayed his originality of conception. Apart from 3 Suites by Max Reger, this is the first major work for solo cello since Bach, though later Hindemith followed with the same form. Bartok wrote of this Sonata: "Here Kodaly is expressing, with the simplest possible technical means, ideas that are entirely original. It is precisely the complexity of the problem that offered him the opportunity of creating an original and unusual style, with its surprising effects of vocal type; though quite apart from these effects, the musical value of the work is brilliantly apparent". In this Sonata Kodaly revives the use of scordatura which is a retuning of the two lower strings from C-G to B-F sharp. The three movements differ considerably in character, but the third movement, apart from its musical value, with its dazzling virtuosity, a revelation of the capabilities of it is a severe test for the player and a delight for the cello; the listener. Sonata for Cello and Piano IV Dialogo Scherzo pizzicato Britten (b. 1913)

- 4 - Elegia Marcia Moto perpetuo (First performance at these Concerts) Since the war Britten has written little chamber music for his main interest has lain in the field of opera. This Sonata was written in 1961 for the Russian cellist Rostropovich Bartok was a composer who had not been greatly admired by Britten, but there is no doubt that the influence of Bartok is felt here, particularly in the use of adjacent major and minor seconds, the use of mirror inversions and polymodality and. particularly in the fourth movement, with its Bartokian form of wit and humour. Britten does not, however follow Bartok in relating the themes of the various movements though some are obviously derived from a common source. The first movement is in regular classical sonata form including even the double-bar repetition of the exposition. It opens with a theme for the cello based on the major second supported by a scale bass for the piano; these two features are prominent throughout the movement. There are 3 contrasting and subsidiary themes derived from the opening material but the recapitulation is principally based on the main theme in augmentation. The second movement is pizzicato for the cello throughout, with mirror inversions and poly- modality. Much use of mirror inversions also occur in the third movement. The fourth movement is a march with a trio though the march is completely transformed in the da capo section. The last movement is based on one theme only, confined to a small compass and moving almost completely by step from one tone to the next one. ROHAN DE SARAM was born in England in 1939 of Cingalese parents. A child prodigy, he gave his first concert at the age of 10. At 12 he was in Italy studying with Gasper Cassado; at the age of 14 after a B.B.C. television performance, it was said in the London press "A child plays, and we are reminded of a miracle". His first performance at the Royal Festival Hall took place when he was 16; his Wigmore Hall debut, with brilliant press critiques, at 18 he was followed by Promenade concerts at the Royal Albert Hall. Studies then followed with Andre Navarro and with Pablo Casals himself, who wrote of him. "There are few of his generation who have such gifts". At 20 de Saram n | ремо[[OJ Russia an over IL

- 5- de Saram made his debut in New York (Carnegie Hall); this was followed by tours in America, England, Italy, Canada, Germany, Russia and Switzerland. He has played with major orchestras all over the world. In 1968 he completed a tour of 30 concerts in Australia and in 1969 he had a tour of 7 concerts in the Soviet Union with his young brother DRUVI who is 22. Druvi is a pupil of Maria Curcio and has been a finalist at the Commonwealth Contest in 1968 and 1969. THE HUDDERSFIELD MUSIC SOCIETY ** ******* Monday Evenings at 7.30 ***** Mayor's Reception Room, Town Hall. March 15th KODALY STRING QUARTET THE Quartet in B flat major Op.76 No. 4 Quartet No. 2 Quartet in C major Op.59 No.3 Single tickets 62 p (12/6) from Woods, 67 New Street or at the door. Haydn Kodaly Beethoven The National Federation of Music Societies, to which this Society is affiliated, gives support toward the cost of these Concerts with funds provided by the Arts Council of Great Britain. Generous support is also given by the Yorkshire Arts Association. THE HALIFAX PHILHARMONIC ****CLUB ** The Lecture Hall, Harrison Road. Tuesday March 9th at 7.30 THE TATRAI STRING QUARTET Quartet in B flat Op.50 No.1 Quartet No. 2 Quartet in F Op. 18 No. 1 Haydn Kodaly Beethoven Single tickets 62 p (12/6) from Mrs. Hanson, 23 The Crescent, Hipperholme, Halifax or at the door.

THE HORBURY CONCERT SOCIETY Horbury Secondary School -6- YFRAH NEAMAN Violin ILSE WOLF Soprano PAUL HAMBURGER Piano *** Saturday February 20th at 7.30 Tickets from Mrs. Audsley, 25 Tithe Barn Street, Horbury, Wakefield. Waverley House, New North Road. THE HUDDERSFIELD GRAMOPHONE SOCIETY Monday Evenings at 7.30. February 15th ORCHESTRAL MUSIC (Miss E. Williams) ANNIVERSARIES (Mr. B. Jenkinson) March 1st Annual Subscription £1 (from Jan 1st (50p) Students and Old Age Pensioners half fee. Two visits allowed without obligation, Refreshments. Secretary, D. Bostock Esq., 16 Imperial Road, Huddersfield HD3 3AF The Parish House, Venn Street. THE HUDDERSFIELD THESPIANS **** March 1st - 6th at 7.30 THE ANNIVERSARY by Bill MacIlwraith. Tickets 25p (5/-) (Concession night is Monday) from Woods, 67 New Street.

THE HUDDERSFIELD MUSIC SOCIETY Fifty-third Season 1970-71 Mayor's Reception Room, Town Hall Monday, March 15th, 1971 THE KODALY STRING QUARTET Karoly Duska (Violin) Tamas Szabo (Violin) Programme I Quartet in B flat major Op.76 No.4 Gabor Fias Yanos Devich Viola) - Cello) Haydn (1732-1809). Allegro con spirito Adagio Minuet and Trio Allegro ma non troppo (Last performed in 1949 by the Amadeus String Quartet) The six quartets of Op.76 were written in 1797-8 and were contemporaneous with "The Creation". Haydn wrote only two more string quartets and the unfinished Op. 103. The whole of Op. 76 forms the crown of Haydn's work in this form; "everything here is condensed and intensified, the expression more personal and direct." (Geiringer). All, too, have a richness of the inner parts which had hitherto never been known. This quartet, the fourth of the set, is sometimes known as "The Sunrise" from its remarkably sustained opening; the lower strings have long, held chords while the violin sings a soaring phrase. There is no second subject proper, the whole movement being derived from this phrase. The short but expressive slow movement is based on a smooth, rising phrase whose reappearances are linked by more agitated passages, The Minuet and Trio are straightforward, but one is reminded once again of Haydn's love for the Minuet and how much of its development from the simple dance-form is due to him. The Finale is in three sections. In the first, the theme is given out by the first violin; the second

2. has fresh material in the tonic minor key and leads to a re- capitulation of the first section. The coda gradually increases in speed and brings the work to a brilliant con- clusion. II Quartet No.2 in D major Op. 10 Allegro Andante quasi recitativo Allegro giocoso (Last performed in 1963 by the Weiner String Quartet) Kodaly (1882-1967) Zoltan Kodaly was a contempory of Bartok (1881-1945) and both men shared a deep interest in the study and collection of the folk-songs of their native Hungary. To their careful and scientific research the history of pure Magyar folk-music owes a great debt. Of the two Kodaly is perhaps the more typically Hungarian, though in his early years his music showed some influence both of the Romantics and of Debussy. His composi- tions are particularly notable for his superb handling of the instruments, all of which are asked to give to the fullest possible extent the very essence of their characters and to express to the limit of their powers the deepest inspiration of the composer. The following extract from Grove's Diction- ary admirably sums up Kodaly's work: "Kodaly's music is dis- tinguished by an originality that appears startling at first hearing but on closer acquaintance it reveals a certain lean- ing toward tradition. He does not abandon tonality and accepted forms but creates a new music of astonishing vitality within their limits. His instrumental writing is extremely interesting and there is a close interdependance between his creative impulse and the particular medium chosen for its expression. The piano pieces are predominantly harmonic and percussive, the string quartets contrapuntal and the pieces for solo string instruments abound is appropriate problems and striking effects." (E. Blum). Kodaly wrote only two string quartets. This exacting second quartet is dated 1918, ten years after the first and it is a striking and virile example of this form of art. While the first quartet has a youthful buoyancy, the second has a prevailing mood of melancholy and mysticism and "is rather quartet η ποτλοιπο Moto sed on a oth ments though each movemen

3. based on a tragic conception of man in conflict with the world." Both quartets are alike in that the themes employed have a subtle connection with each other. This second quartet has three move- ments though the second runs into the third without any real break; each movement is constructed not on conventional lines but is modelled and adapted to express Kodaly's thought and material. Its scoring has one characteristic feature the way in which any two of the four instruments are grouped together to work in contrast with the other two. Of this Quartet Laszlo Eosze writes: "What comes as a surprise ... is the profound identification he (Kodaly) achieves between his own personal utterance and the spirit of folk music. Here the essence of folk-song is transmuted into the stylistic elements of an art music perfectly adpated to classical forms in a way that is only possible for a composer to whom folk- music has become his mother tongue.' The first movement has three main subjects; the first, sombre and tragic, the second dramatic and tense, the third more serene, The development section is introduced by a short cello solo. slow movement is, again, a specimen unique of its kind in chamber music. Kodaly's instrumental speaking voice the parlando or recitative - creates its own world of form and expression here.... With the two strangely expressive chords of the ninth with which it opens, the hearer is at once in the presence of dawn in a strange world. The monologue of the first violin is like a distant signal. This phrase is a muffled parlando but the call evokes a response from the cello which repeats the signal and mystic chords on the violin and viola". (Waldbauer). Throughout the movement the instruments converse with each other. Towards the end, a dance motive fore-shadows the coming of the final Allegro. This Finale, in sonata form though without a development section and again in D major, is inspired by dance rhythms, full of caprici- ous humour, and the work ends with a rapid whirlwind close. Coffee Interval of 15 minutes. 豬*** ******** *** Quartet in C Major Op.59 No.3 III Introduzione. Allegro vivace "The Beethoven (1770-1827) Andante con moto quasi allegretto Menuet and Trio Allegro molto (Last performed in 1967 by the Tatrai String Quartet)

4. This quartet, the third of the Rasoumovsky set, was written in 1806 and therefore belongs to Beethoven's second period. Langford once described it as being among Beethoven's most glorious and happy works, Bekker finds in all three quartets a central idea of triumph which gives rise to their monumental style. "It is an idea which strains the form of the string quartet to the uttermost, and the result is a series of works of a majesty and expressive power such as no one before Beethoven had dreamed of obtaining from four string instruments." The first movement is in sonata form. It has an intro- duction clean out of the tonic key but it leans gradually towards it. Two chords, much used in later sections lead to the principal subject played by the first violin. This move- ment shows Beethoven in one of his happiest moods. The Andante is in a modified sonata form though in mood and spirit it is lyrical; it has been called one of the first romantic movements in music. In some earlier quartets Beethoven had begun to abandon the Minuet and Trio movement in favour of the Scherzo...Here he returns to it for the last time, but with a difference. This is a Menuetto grazioso, far removed from the old simple dance form. A coda of 18 bars leads directly into the last movement a lengthy and massive fugue which has yet some slight resemblance sonata form. Of this movement Langford once wrote: "The last movement is a movement born of a single idea, if ever there was one. This singleness was one of Beethoven's great contributions to music. Beethoven, when he found his full strength, hewed his music out of the block. Single, yet exhaustless in resource and power, his music in such move- ments as he gives us here, become vast and, in its sublime unity, like the sea." to ****** ** THE KODALY STRING QUARTET. This exciting young String Quartet was first formed in Budapest in 1966 as the Sebestyen String Quartet. Recently it has been re-formed with a new leader and has now been honoured to receive the name of one of Hungary's greatest composers, Zoltan Kodaly. They have already won many awards and have toured Europe with excep- tional success. They make their debut in England this month.

ad en's po 5. THE HUDDERSFIELD MUSIC SOCIETY *** Fifty-fourth Season 1971-72 October 4th. November 1st. December 13th. January 10th. *** The Committee are very pleased to announce that the following arrangements have been completed for the forthcoming Season and they invite members not only to continue their support by once again taking season tickets, but also to give the Society material assistance by persuading others to do the same. This aid will, indeed, be greatly appreciated. THE ALDHAM TRIO (Oboe, Bassoon and Piano) THE ROBLES DUO (Harp and Flute) THE STUDENTS' CONCERT THE AEOLIAN STRING QUARTET At this Concert it is hoped that the String Quartet commissioned by the Society from Douglas Young will be given its first performance. February 14th. ALLAN SCHILLER. Piano Recital March 13th. THE GEORGIAN 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 receive names and addresses to which prospectuses may be sent, The National Federation of Music Societies, to which this Society is affiliated, gives support toward the cost of these Concerts with funds provided by the Arts Council of Great Britain. Generous support is also given by the Yorkshire Arts Association,

THE HORBURY CONCERT SOCIETY *** Horbury Secondary School 6. 7 *** Saturday, March 29th at 7.30 CYRIL SMITH and PHYLLIS SELLICK Three Hands One Piano Tickets from Mrs. Audsley, 25 Tithe Barn Street, Horbury, Wakefield. *** THE HUDDERSFIELD GRAMOPHONE SOCIETY **** ** Waverley House, New North Road Monday evenings. at 7.30 March 22nd, Mozart and Bruckner (Mr. K. Dearnley) March 29th. Schubert and Tchaikovsky (Mrs. J. Sleath) April 18th. The Conductor Speaks (Mr. A. Butterworth) May 10th. Technical Evening (Mr. D. Bostock) Annual Subscription £1 (from Jan. 1st. 50p) Students and Old Age Pensioners half fee. obligation. Two visits allowed without Secretary: D. Bostock Esq., Refreshments. 16 Imperial Road, Huddersfield HD 3 3AF. The Parish House, Venn Street. THE HUDDERSFIELD THE SPIANS —***** The Queen and the Rebels by Hugo Betti April 19th 24th. Tickets 25p (concession night is Monday) from Woods, 67 New Street,