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FIFTY-EIGHTH SEASON 1975-1976 The Huddersfield Music Society [[[| 7.30 p.m. WT. AREA TOWN HALL, HUDDERSFIELD (entrance in Corporation Street)

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Monday, October 27th, 1975 THE BENTHIEN STRING QUARTET Ulrich Benthien..... Violin Rudolf Maria Muller... Violin Martin Ledig Viola Edwin Koch Cello Quartet in D minor ........ J. F. Fasch Quartet in E flat major Op. 74 Beethoven Roussel Quartet in A major Op. 41 No. 3 Schumann String The Benthien Quartet formed in 1948 owes its international reputation to the extensive concert tours which the Ensemble has under- taken in nearly all European countries and in all the most important music centres in the world. The Quartet is just as much at home in the Wigmore Hall in London; in the Mozarteum in Salzburg; in the Concertgebouw in Amsterdam as in the concert halls of New York, Boston, San Francisco, Sydney and Tokyo. During the 1970-71 season the Quartet earned a tremen- dous and outstanding success from appreciative audiences in the main towns of the U.S.S.R. Besides its concert commitments the Quartet plays regularly for German, and for more than 40 foreign, radio stations and for T.V. performances. For the B.B.C. in London alone in recent years over 30 different works from the Quartet's extensive repertoire have been recorded. The Society is deeply appreciative of the assistance toward the promotion of this concert given by the Goethe Institute of York. The concert will start precisely at 7-30 as it is being recorded for future broadcasts by the B.B.C. Monday, November 17th, 1975 THE BERNEDE STRING QUARTET Violin Charpentier ... Violin Charpentier Viola Cello J. C. Bernede Marcel Michel Laleouse Paul Boufil Quartet in B flat Op. 76 No. 4 ("The Sunrise") Haydn Quartet in D major Op. 45 (1932) .... Roussel Quartet in D major Op. 18 No. 3 Beethoven It gives us much pleasure to introduce this very fine Quartet from France. Formed in 1964 they are in regular demand throughout Europe and overseas. The Quartet started its career by winning the prize at the Munich International String Quartet Competition. In 1969 the French Government decided to subsidise the Quartet for a series of concerts to be given annually in France. One critic recently wrote: "One cannot listen to the Bernede String Quartet without being conscious of the fact that he is in the presence of such exceptional talent that it approaches greatness. Its intonation and balance, its technical competence and its expressiveness are superb." COVENANTED GIFTS. The Committee appeal to all members if possible to make a special contribution in the form of a Covenant. This would not be related to the normal subscription and, with the tax benefits accruing to the Society therefrom, would be a most valuable means of ensuring the continuance of these Concerts.

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n el n O n n e S e et n e e C O t S l S l e 1 THE HUDDERSFIELD MUSIC SOCIETY (Founded as The Huddersfield Music Club by Dr. Eaglefield Hull in 1918) President Vice-President 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: Mrs. J. de Nikitin-Solsky, 37 Gynn Lane, Honley, HD7 2LE. Tel. Hudd. 661696 Miss C. Alison Shaw, 3a Vernon Avenue, HD1 5 QD. Tel. Hudd. 27470 S. H. Crowther David Dugdale P. G. C. Forbes, W. E. Thompson, Esq., F.R.C.S. Hon. Treasurer: P. Michael Lord, Esq., National Westminster Bank Ltd., 8 Southgate Elland HX5 0BW. Tel. Elland 2070 M.A., A.R.C.O. Miss I. Bratman Mrs. A. Crowther Mrs. S. H. Crowther Miss E. K. Sawers, M.A. Hon. Auditor: P. Sturgess, Esq., F.I.B. P. Michelson S. Rothery Executive Committee: Mrs. E. Glendinning E. Glendinning I. M. Lee Ladies' Committee: Chairman: Mrs. J. H. Sykes Miss K. Evans, B.A. Miss M. A. Freeman, J.P., LL.B. Miss M. Hamer E. C. Shaw J. C. S. Smith, B.A. Mrs. J. H. Sykes J. J. Valner Mrs. J. de Nikitin-Solsky Miss C. A. Shaw Mrs. J. Shires Hon. Secretary: Mrs. E. Glendinning Hon. Treasurer: Miss E. K. Sawers, M.A.

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dn Sel en to om in pe its he tet ch he be tic to ut is mal Its cal re Monday, December 8th, 1975 THE GABRIELI STRING QUARTET Kenneth Sillito Brendan O'Reilly lan Jewel Keith Harvey Violin Violin Viola Cello Quartet in F major Op. 18 No. 1 .... Beethoven "The Bullfighter's Prayer" for String Quartet Turina Quartet in G major D887 ... Schubert one Since its London debut in 1967 the Gabrieli String Quartet has estab- lished itself as not only the leading young Quartet in England but also as of the finest in Europe. The Quartet's regular annual series of concerts at London's Queen Elizabeth Hall is received with great enthusiasm by public and critics alike as are its concerts throughout Europe. The Quartet's Vienna debut last year was an outstanding success, soon followed by a tour of Austria. This year the Quartet will be travelling further afield to Australia and the U.S. as well as returning to many countries in Europe. The Quartet records exclusively for Decca. Future plans include a record- ing of the Schumann Piano Quintet with Vladimir Ashkenazy. This concert is sponsored by Leisure Services of the Kirklees Metropolitan Council and the Society is most grateful to them for their generosity and co-operation. Monday, January 19th, 1976 FRANCOIS DUCHABLE 32 Variations in C minor on an original theme Ballade No. 4 in F minor Op. 52 Nocturne in D flat major Op. 27 No. 2 Mazurka in F sharp minor Op. 59 No. 3 Three Etudes, Op. 25 Toccata, Op. 7 Four pieces from Fantasiestucke, Op. 12 L'Isle joyeuse Soiree dans Grenade Jeux d'eau Alborada del Gracioso Beethoven Chopin Schumann Debussy } Ravel Francois Duchable made his British debut last August as part of the Young Musicians Series of the Harro- gate Festival. His performance there made such an impact that a visiting B.B.C. music producer signed him on the spot for a broadcast recital the following day. Duchable was born into a musical family in Paris in 1952. He took up the piano when he was still only four and at the age of seven played for the great Joseph Benvenuti and Madelaine Giradeau-Basset with whom he then went to study until his entry to the Conservatoire National Superieur in Paris in 1964. His years at the Conservatoire brought a number of of prizes and awards for his outstanding abilities. Whilst still a student he was named Laureat of the Concours International Reine Elizabeth de Belgique in Brussels in 1968, and in 1973 Laureat of the Fondation Sacha Schneider. continued-> 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. M Tric Tric Tric pop this app the form Sou con 196 the for ens rec Pro Tel unc per Fra his Fes Phi 197 him mat per fact his SO gre

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1 e e e e 1 Monday, February THE ORION PIAN Peter Thomas Sharon McKinley lan Brown Trio in C Major, K.548 Trio Trio in E flat major, Op. The Piano Trio is popular form of chamb this Trio is making a appearance since they f the Society in 1970. 1 formed in 1968 and i Southampton University, concerts during univers 1969 they were first pri the B.B.C. Beethoven Tr British and ensembles. They have I recorded for the E for ( Programme and have Television. FRANCOIS DUC career recit and His concert under way with performances and b France and Belgium his first appearance i Festival Hall in London Philharmonia Orchestra 1975. Arthur Rubinstein h him that at 22 ".... he mature musician, gifted perfect technique. To m faction he knows how to his exceptional gifts to p so that it will bring th greatest joy and emotion The Committee wou expenses, the subsc tickets has been inc becomes increasingly MEMBERS ONLY) . Double (Single) Season Tickets PRESENT FORM (for the use of To the Hon. Treasurer, The Huddersfield Music Society, National Westminster Bank Ltd., 8 Southgate, Elland HX5 OBW in payment for REMITTANCE I enclose Address Name. To assist the Treasurer, please enclose this form. 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 Address Name (BLOCK LETTERS PLEASE) Receipts will not be issued unless requested Cheques should be made payable to "The Huddersfield Music Society'

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n n n sy el is e 0- e g on ne al ne nd ne ne en ne in re nd PSR6 S. ed al els ne > Monday, February 9th, 1976 THE ORION PIANO TRIO Peter Thomas Violin Cello Sharon McKinley lan Brown Piano Mozart Camilleri Trio in E flat major, Op. 70 No. 2.... Beethoven Trio in C Major, K.548 Trio The Piano Trio is undoubtedly a popular form of chamber music and this Trio is making a welcome re- appearance since they first played for the Society in 1970. The Trio was formed in 1968 and is resident at Southampton University, giving weekly 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. FRANCOIS DUCHABLE under His concert career is now well way with recitals, concerto performances and broadcasts in France and Belgium and he will make his first appearance in the Royal Festival Hall in London with the New Philharmonia Orchestra in October 1975. Arthur Rubinstein has written of him that at 22 "... he is already a mature musician, gifted with the most perfect technique. To my great satis- faction he knows how to make use of his exceptional gifts to play the music so that it will bring the listener the greatest joy and emotion." Monday, March 15th, 1976 THE NORTHERN SINFONIA ENSEMBLE Leader Barry Wilde Sextet No. 1 in B flat Op. 18 .. Brahms Prelude and Scherzo Op. 11 Shostakovich Octet in E flat Op. 20... Mendelssohn The Ensemble, which is drawn from the Northern Sinfonia Orchestra, occupies a unique place in the musical life of Great Britain. The stability of the personnel of the Orchestra for many years, and its policy of appointing instrumentalists of soloist and chamber music calibre, have produced a group of musicians capable of giving first class performances of more than a hundred works for anything from one to fifteen players. The Committee would like to point out that, in spite of rapidly rising expenses, the subscription rates remain unaltered. As the price of single tickets has been increased, the advantage of purchasing season tickets becomes increasingly apparent. 1 SEASON TICKETS Double ... £6.00 (for two persons not necessarily of one family) Single Student £1.00 (may be obtained from the School of Music, Polytechnic or from the Hon. Secretaries) Single Ticket Student Ticket .. £3.50 .... .£1.00 30p (Bona fide Students under 21) All ticket prices inclusive of VAT Reg. No. 184 1975 34 LAST SEASONS MEMBERS Tickets as issued last year to all exist- ing members are enclosed herewith. If they are not required, they must 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 either from the Hon. Secretary (using the appropriate form overleaf) or from Messrs. J. Wood and Sons, 67 New Street, Huddersfield, or at the door. Student single tickets are obtainable only at the School of Music or in bulk from the Hon. Secretary or at the door. This perforated slip should be for- warded as soon as possible, please. Multi-Storey Car Park in close proximity to the Hall.

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PATRONS The Rt. Hon. THE LORD SAVILE, J.P., D.L. R. BARRACLOUGH, Esq. G. R. BOOTH, Esq. A. G. CROWTHER, Esq. DAVID DUGDALE, Esq. P. G. C. FORBES, Esq., M.A., A.R.C.O. EDWARD GLENDINNING, Esq. P. MICHAEL LORD, Esq. Miss M. E. PORRITT Miss E. K. SAWERS, M.A. MAX SELKA, Esq. Miss C. A. SHAW S. SUTCLIFFE, Esq. W. E. THOMPSON, Esq., F.R.C.S.

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K THE HUDDERSFIELD MUSIC SOCIETY **** **** Fifty-eighth Season 1975-76 Area, Town Hall Monday, October 27th 1975 THE BENTHIEN STRING QUARTET *** vd over Ulrich Benthien (Violin) Peter Heidrich (Violin) Quartet in D minor Programme I ** Allegro Jeft #int dedes Claus Conrad (Viola) Edwin Kock (Cello) J.F. Fasch (1688-1785) Largo Largo Allegro (First performance at these Concerts) to obtotader Johann Friedrich Fasch, born near Weimar, was a scholar at the Thomasschule in Leipzig where he studied law as well as music, the latter under Kuhnau. Although now a little-known figure, he and his son had a direct influence upon German musical life. He himself founded a "Collegium musicum", the ancestor of the Gewandhaus concerts. Later, his son Carl Friedrich, a harpsicordist and composer, founded the Berlin Singakademie, which, in course of time, was the first to revive Bach's St. Matthew Passion, After a wandering life, Fasch was appointed Court Kapellmeister at Zerbst; he was invited to compete for the Cantorship of the Thomasschule against Bach but he refused to do so. Fasch's music owes much to the influence of Kuhnau and to the lighter style of Telleman. Many of his works masses, cantatas and motets, overtures, trios, sonatas etc. are preserved in manuscript. Bach himself thought so highly of Fasch that he copied out five of his orchestral suites. The Quartet in D minor is believed to be the earliest example of that form preceeding the works of Haydn by many years. Haydn fixed that form for all time; previous to him, the earlier works were more akin to the suite, with its popular dance melodies, or to the sonata di camera, with its more serious and largely contrapuntal style.d be bet odd orous off:

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2. II. Quartet in E flat major Op. 74 (The Harp) Poco adagio Allegro Adagio ma non troppo Presto fourth sect; main theme twice, without The wor Allegretto con variazoini (Last performed in 1970 by the Lindsay String Quartet) Beethoven (1770-1827) By the years 1807-11 Beethoven seemed to have reached the summit of his powers in the Mass in C, in piano sonatas, in the E flat piano concerto in symphonic composition with the Symphony No. 7 and in chamber music with the Quartets Opp. 74 and 95 and the Trios Opp. 70 and 97. It could hardly be expected that he could create a yet greater symphony, greater piano works, and, as the ultimate achievement, the final string quartets. This was a period of complete mastery and strength, of relative serenity and joy, but still in these works can found a foreshadowing of a "transformation of the creative idea, a transformation to be completely effected only in the sonatas 1815 and in the last quartets of 1825" (d'Indy). L The Quartet Op. 74 was written in 1809 and dedicated to Prince Lobkowitz, one of Beethoven's princely patrons in Vienna. It is widely known as the Harp Quartet on account of the pizzicato arpeggios in the first movement. This movement opens with a rather extended introduction ending with a long ascending chromatic scale out of which the movement proper suddenly appears. A simple thematic figure based on the tonic chord is heard, followed at once by the first subject. The whole development. section is built up from this figure and the first subject. Before the coda the first violin has a brilliant and cadenza- like passage the only purely virtuoso passage found in Beethoven's chamber music. The Adagio in A flat is a "superb example of the lyric grandeur of Beethoven. The majestic calm preserved unbroken throughout the movement, causes one to wonder what the slow movement will become with the Beethoven of the third period epoch. A noble and melodious phrase asserts itself at the very outset". (d'Indy). This theme, in varying form, reappears in the third and fifth sections. The second section (A flat major) has a new theme which returns in the sixth section, while the

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0-1827) 3. fourth section (D flat major) has a new phrase derived from the main theme. The third movement is a Scherzo with the Trio repeated twice, The keys alternate between C major and minor. This leads without a break into the Finale - a theme with six variations. The work ends with a short and brilliant coda. 102 ** ****** *** COFFEE INTERVAL OF FIFTEEN MINUTES **** ** ****** **** *** III Quartet in A major Op. 41 No. 3 od tod Schumann (1810-1856) 1 Andante espressivo - Allegro molto moderato Assai agitato - Un poco adagio - Un poco adagio Tempo risoluto Adagio molto Het Allegro molto vivace duge 10 od (Last performed in 1964 by the Benthien String Quartet) In his early years Schumann had a strong tendency to devote himself exclusively during a certain period to one particular type of composition. Between 1830-9 the piano absorbed all his attention; 1840-2 saw the creation of his great songs; the symphonies appeared between 1841-2. But 1842 was the year of chamber music and the string quartet. Coming at that time in his life, it meant that Schumann undertook this fine and difficult form at the height of his powers, when his inspiration was unimpaired, his technical skill and judgement completely formed and his genius "clarified and somewhat sobered". (To prepare himself for this new task Schumann devoted the spring of 1842 to a close study and re-examination of the quartets of Mozart and Beethoven. This study completed, the three quartets of Op.41 were all written in a little over a month, the third in a matter of days. Schumann's only other remaining chamber music . a quintet, a quartet and 3 trioi- were all written for strings in combination with the piano.] It has been said that Schumann's writing for strings is too pianistic, but, on the appearance of these quartets, Hauptmann, the critical authority of his time and himself a fine violinist, was full of praise, for them both technically and musically. They are, in fact, "beautiful music, strongly original, strongly characteristic of the composer's innermost nature, highly imaginative, deeply poetic and laying hold irresistably on the listener's symphathies". (Aldrich). Fich!! The Quartet in A major opens with a slow introduction, in vague tonality, in which is heard the interval of a falling fifth, 2

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He 4 with its inversion of a rising fourth; this plays a large part in the following Allegro and, indeed, throughout the Quartet. This movement is in sonata form. The second movement is a most original kind of Scherzo. An agitated syncopated theme is followed by three free variations and a coda. The Adagio opens with a long flowing melody of 19 bars sung by the first violin; throughout this rich and colourful movement Schumann is in his most romantic mood. The music rises to a passionate climax before its peaceful close. [The Finale the longest of the four movements, is a rondo. If Schumann was Eusebius, here he is Florestan, full of life and vigour. ** mudo dest The BENTHIEN QUARTET was formed in 1948. Apart from their own country (the Quartet come from Hamburg) a great reputation has been established in Britain, Sweden, Denmark, Norway, Switzerland, Italy, Holland and America. It scored a tremendous and outstanding success during the 1970-71 season when it visited the main cities of the U.S.S.R. For the B.B.C. in London alone in recent years over 30 works from the Quartet's extensive repertoire have been recorded. The Society is deeply appreciative of the Assistance toward the promotion of this Concert given by the Goethe Institute of York. redosd: Area, Town Hall ** *** God THE HUDDERSFIELD MUSIC SOCIETY ***** *** Qua Monday Evenings at 7.30. November 17th bre, omit atd. to Owing to the cancellation of their tour in England, the Bernede String Quartet will be unable to fulfil their engagement. The Society has fortunately been able to engage - THE NEW BUDAPEST STRING QUARTET b whose highly successful appearance last season will be remembered

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y original This part in 5. Quartet in G minor Op. 74 No. 3 Quartet in D major K.575 Quartet Quartet in C minor (Quartetsatz) January 19th. FRANCOIS DUCHABLE. Piano Recital February 9th. THE ORION PIANO TRIO December 9th. THE GABRIELI STRING QUARTET (Sponsored by Kirklees Leisure Services) March 15th. THE NORTHERN SINPHONIA ENSEMBLE 9 Season tickets for the remaining 5 concerts £5.00 (double), £3.00 (single). Single tickets £1.00 from Woods, 67 New Street and at the door. Student tickets 30p from the School of Music and at the door. THE HALIFAX PHILHARMONIC CLUB *** : *** Haydn Mozart 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. It is an offence (punishable by fine and/or imprisonment) against the provision of the Dramatic and Musical Performers Protection Act 1958 to make any recordings of a musical performance without obtaining the prior written permission of the performers. Heath Grammar School Lutoslawski Schubert The Emperor Waltz THE AULOS ENSEMBLE Saturday November 1st at 7.30 Strauss/Schoenberg

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Chanson Madecasses Fantasia in F minor Pierrot Lunaire 6. Tickets £1.00, Students 30p from Mrs. Hanson, 23 The Crescent, co Hipperholme, Halifax and at the door. THE HUDDERSFIELD GRAMOPHONE SOCIETY **** *** Waverley House, New North Road.ra Monday Evenings at 7.30 M October 20th. President's Evening. Mainly Dvorak November 3rd. But his real name was... Presented by Mr. Bryant. Ravel Mozart /Goehr Schoenberg Wol November 17th. Opera in English. Presented by Mr. Finnery December 1st. Ravel as Orchestrator. Presented by Mr. Haigh. 8 000 Students and Senior Secretary Mr. D. Bostock, 16 Imperial Road, Annual Subscription £1.50 (from Jan 1st 90p). Citizens half fec. Huddersfield, HD3 3AF. THE HUDDERSFIELD THE SPIANS **** *** Welfare Centre, Zetland Street. 17th-22nd November (excepting Thursday) at 7.30 THE ASPERN PAPERS by Michael Redgrave Tickets 30p from Woods, 67 New Street.

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THE HUDDERSFIELD MUSIC SOCIETY WT.

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12 (Owing to ng Qu

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toidismos m SV THE HUDDERSFIELD MUSIC SOCIETY *********** THE NEW BUDAPEST STRING *** Andras Kiss (Violin) Pal Andrassy (Violin) Fifty-eighth Season 1975-76 de Monday, November 17th 1975 tov₂.1. [uotteg bago't bolzog oft (Owing to the cancellation of their tour of England, the Bernede String Quartet is unable to fulfil its engagement) Programme I offerge LEA Quartet in G minor Op. 74 No. 3 (The Rider) TEM Allegro Largo assai *** up a szedt am mbyad mort VIIstooges I to yod otomeT QUARTET bro Ji bus **** uobisty do hitrenoVOR Tivadar Popa (Viola) Tibor Parkanyi (Cello) 24 Totam Je Prevo Haydn (1732-1809) Menuetto. Allegretto noowted modd Finale. Vivace (Last performed in 1967 by the Zagreb String Quartet) en Haydn wrote 15 string quartets during the last period of his life and among these are found some of his finest compositions in Ta this form. He wrote 6 quartets in 1873; these were the 3 of Op. 71 and the 3 of Op. 74. All are dedicated to Count Apponyi. At this same period Haydn was deeply involved in orchestral composition and fresh from experiencing the richness and volume of Salomon's London orchestra; so it is easy to find in this chamber music a striving after an almost orchestral type of symphonic sonority. An example of this occurs in the tremolando which accompanies the great E major melody of the Largo in this third quartet. Another symphonic device used in Haydn's symphonies and found only in these quartets, is the use of an introduction to the first movements. In some cases this consists merely of a few chords; in others, a short adagio. The Quartet Op.74 No. 3 known as the Rittquartett, opens with a unison. passage, eight bars long, which is of great importance throughout the movement; it appears, indeed, to be so integral a part of the exposition that one is almost surprised not to hear it again re- peated at the beginning of the recapitulation. At one point in this movement, the viola part goes below the cello part. Was Haydn thinking there again in orchestral terms, with the double bass supplying the true foundation of the chords? deom

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2. These 6 quartets have been hailed as the dawn of romanticism. In them Haydn makes experiments both in form and key relationship which point the way forward to that end, Another innovation, Pagter found particularly in this third quartet and typical of the romantic period, is the way in which the second subject is frequently of greater importance than the first subject. Especially noteworthy in this quartet is the Largo movement in the remote key of E major. It has been described as of "Miltonic grandeur" and it certainly ranks among the finest and most serious movements which Haydn ever wrote. USIOP sq0% 18 (of 199) Fredlys! pd Quartet in D major K. 575 II movements typical Cotto Mozart (1756-1791) Allegretto I Andante d) 2.o Minuet and Trio Allegro 1961 by the Janacek String Quartet) uT әлош dy q0 ronim D ni JotterO LEA ----- (Last performed in This quartet is the first of a set of 3 written between 1789-90; these were the last quartets which Mozart wrote. They are known as the Prussian Quartets. The King of Prussia himself played the cello and though the dedication to him does not appear in the first edition, it is evident from the prominent part played by the cello in all three quartets that Mozart had his bas royal patron in mind. Moreover, for the first quartet the King ones sent Mozart a kind letter of thanks, a gold snuff box and 100 deert. friedrichs d'or. redmedo eidd af baft of vase at d loro. Einstein remarks that "these quartets are slightly e concertante and yet they are the purest chamber music...these are to three works that originated under the most dreadful spiritual bolem oppression and yet rise to the heights of pure felicity". The bear reference to "oppression of course refers to Mozart's desperate ear financial position, the long drawn-out uncertainty of obtaining app suitable position from the Emperor and his wife's constant de TELO illnesses. dw gnol axsd dagto Jrgio ogsaasq boabat Je St Israetat oe ed Though this first quartet is less exuberant and more delicate than the other two, "all three are instinctive with the taimed joy of living". The first and second movements were founded upon material dating from the happy Milan period, but the Minuet, with the "royal" solo in the Trio, is completely new. Abert describes the Finale as "one of the most masterly of Mozart's quartet is enri the wa

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대 ng ionship Enticism 3. movements". It is a rondo, contrapuntal in style and, as such typical of Mozart's later instrumental writings. It is made all the more interesting by the way in which the main theme, on each return is enriched and embellished, and the more compact and integrated by the way in which each episode is derived from, and grows out of, that theme. Ho Quartet ***** COFFEE INTERVAL OF FIFTEEN MINUTES **** III ***** sgor div to Istrojem reor dward Iw bas.no to oar Ilmi soxem sb Lutoslawski (b. 1913) TOBOOMOO odj vd boysia od of Introductory Movement Main Movement ouptadost poa a to adelanoo poelg vas Juodd hw odtons Tofte ono wodio on aoyal (First performance at these concerts) notdagibni HT lup edec ted, moto od Lutoslawski, born in Warsaw, is one of the most important of modern Polish composers, though his reputation rests mainly upon about a dozen works most of which were written after 1958. He began to study music at the age of 6. From 1931-33 he studied mathematics at the Warsaw University and in 1932 he entered the Warsaw Conservatoire as a student of piano and composition. He served in the Polish army during the war and during the German occupation he earned a meagre living for 5 years by playing in cafes; he also took part in clandestine concerts in private houses. It was not until 1945 that he was able to devote himself entirely to composition. Since then he has been deeply devoted to the cause of contemporary music, particularly Polish, and he has lectured and taught both in America and in Europe, including the Dartington Summer School. He has been awarded honorary doctorates in music in Cleveland, Warsaw and Lancaster (1975). In England his Paroles up Tissees (1965) was written for Peter Pears and performed at the Aldeburgh Festival and a cello concerto (1970) was commissioned by the Royal Philharmonic Society. Lutoslawski is a composer who works with extreme care and deli- beration. Most of his early works (he began to compose at the age of 8) were destroyed during the war. Between 1941-47 he wrote his symphony No.1. This work was long considered too "intellectual" because it did not adhere to the neo-classicism of the Polish music For some at that time and it was banned during the Stalin regime. time he made use of the 12-tone method but soon abandoned it. One of the first most significant works was a Funeral March for string orchestra (1958) dedicated to the memory of Bartok: this proved to be the start of his true artistic independence.

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dous es bas olvdant Istnu 4. nooobaor 40 IV I With Jeux Venetiens (1961) for chamber orchestra Lutoslawski began his explorations into the realm of "aleatory technique". exom This, in effect, means that the composer sets out completely to control all the musical elements (form, melody, harmony etc.) while allowing the players considerable freedom and independance and with regard to the space an even orderings of the composer's material or, as it has been described, "the utilisation of chance without resignation from the full control over the pitch organisation and the form of the work. svojoob vIsonon Quartettsatz in C minor Op.posth. dj je be ISUA The String Quartet dating from 1964, makes full use of this technique. To quote from a letter written by the composer "The piece consists of a sequence of mobiles which are to be played, one after another, without any pause if there is no other indication. Within certain points of time, particular players perform their parts quite independently of each other. They have to decide separately about the length of the pauses and about the way of treating ritenutos and accelerandos". "Such a degree of bom freedom provides a powerful challenge to the players...for they ods are cast in the role of independent musicians who are exploring god the range of their own materials whilst reacting as an ensemble to the overall structure and traditional patterns of string quartet form (E. Cowie). The result is a work of incredible variety, strange, elusive, yet with an absorbing sense of latentob power (W.R. Sinclair). As regards the layout, the introductory so movement is almost a precis of the material employed which in the longer main movement is developed with greater complexity ands of intensity.. nb nt ddod Jugust Schubert (1797-1828) 2 Hverd M FT quartet tea humoo Collegro assai 0 0. (Last performed in 1962 by the Tatrai String Quartet) Between 1812-17 Schubert wrote some 11 string quartets. These were chiefly intended for some practice and are obviously red works less mature than the songs and piano pieces of the same (8 to period, and in which Schubert was gradually feeling his way moonve toward his ultimante mastery of the form. After 1817 Schubert wrote no chamber music until 1820 when the quartet movement appeared. Only a fragment survives of what would possibly have become the completion of the work. "A whole world divides the youthful quartets from the quartet fragment of 1820...the string کھاتا 1ds

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to lawskiy 5. quartet which speaks the language of the soul's confessional". (Kahl) The The work opens with a mysterios swelling trenolo which later yields to a smoother and more peaceful theme; soon the shifting, everchanging chromatic colourings return until "with the real second subject comes complete spiritual adjustment, relaxation and calm and now the yearning for inward peace, expressed by straining suspensions, suddenly loses all touch with earth and the motion dies down into calm and measured cadences in an ethereal pianissimo! The opening tremolos are not repeated after the restless development section; they are kept for the final bars. Kahl asks if the peaceful resolution of this conflict was to have been found in the second movement, a fragment of which is included in the list of complete works. THE NEW BUDAPEST STRING QUARTET was formed in 1970 and is the youngest representative of the world-famous Hungarian tradition of string quartet playing. The Quartet was a prize winner at the "Haydn Competition" in Vienna in 1971 and it further increased its reputation by winning the first prize at the "Carlo Jachino" international Competition for string quartets in Rome during the d same year. It appears regularly in Hungary and has toured in dogod America and throughout Europe. It made its debut last year in this country.c THE tad HUDDERSFIELD MUSIC SOCIETY ** Monday, December 8th THE GABRIELI STRING QUARTET Quartet in F major Op.18 No. 1 The Bullfighter's Prayer" for string quartet Quartet in D major D.887 Beethoven. Hel Turina Schubert. This Concert is sponsored by the Kirklees Leisure Services January 19th. FRANCOIS DUCHABLE Loads Piano Recital February 9th, THE ORION PIANO TRIO March 15th. THE NORTHERN SINPHONIA ENSEMBLE Single tickets £1 from Woods, 67 New Street and at the door. Student tickets 30p from the School of Music or at the door. The National Federation of Music Societies, to which this Society

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6. E noen 21 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. Photography and Tape Recording forbidden. bas nolfaxafo THE HALIFAX PHILHARMONIC CLUB **** *** **** n Lecture Hall, Harrison House. feainsta Inered THE TRIO LA SERATA Gervase de Peyer (Clarinet), Gwenneth Prior (Piano) Susan Daniel over (Soprano) Hooa 3 goal Works by Mozart, Weber, Spohr, Ravel, de Falla, Debussy and Schubert. dell end how to drengsit Single tickets £1, Students 30p from Mrs. Hanson, 23 The Crescent, Hipperholme, Halifax and at the door. ITRAUC bne ove mold they od abfoly do gnignedozovo Jootdue baco08 d Thursday November 27th at 7.30 anoteus THE HUDDERSFIELD GRAMOPHONE SOCIETY ****** ********* **** Waverley House, New North Road. ***** hehe to Monday Evenings at 7.30 (Mr, J. Haigh) Daet o (Mr. D. Bostock)ETOJALË (Miss 0. Haigh). soy ome ogoz Juodgrozi bata sottom Annual Subscription £1.50 (from January 1st 90p). Students and add Senior Citizens half fee. Refreshments. Secretary: Mr. D. Bostock 16 Imperial Road, Huddersfield, HD3 3AF. December 1st. Ravel as Orchestrator December 15th. em More Bargain Issues December 29th. My Favourite Thing My Favourite Thing THE HUDDERSFIELD THESPIANS ***** Welfare Centre, Zetland Street. *** ***** 17th-22nd November de Jotup an (excepting Thursday at 7.30) T $88.0 sot (T Ivyo? exatel FD THE ASPERN PAPERS by Ist tool ons Michael Redgrave Tickets 30p from Woods, 67 New Street. oll yo toob oft s to olan to foodo vjotool art doitw of soloiso slap S de vardo I for with Mons abook mot 13 atostolt ofgntë odt most q0 ededloft drobud? to notterobo fanottall odT

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THE HUDDERSFIELD MUSIC SOCIETY ***** ** s 3 mort it Fifty-eighth Season od borie Elog ovan Monday, December 8th 1975-76 nego od to sred and ed 1975 8th 1975 to fremievos ext to ex noda 31 Itine emed ob Area, Town Hall -glaor This Concert is sponsored by the Kirkleos Leisure Services yd bne asasino THE GABRIELI STRING QUARTET QUARTETBrowo edt ons detfub bra oemo nottan *** tedt Juo galwoni? 33 ov efetaog griIan Jewel (Viola) 003eldston at I Keith Harvey (Collo) ano.itqiroant gaiyilsup sed aorgses vitse en Programme ng noo olgsbA ,odenofa I Kenneth Sillito (Violin) Brondan O' Roilly (Violin) orgaba tot in maion Quartet in F major Op.18 No.1 end consEnd of bonglaob ofenoteasqqs be osordiselts ng neve of an Beethoven (1770-1827) eżof eqsifted eis afnemey revom Isnit owd ent Allegro con brio snoe ograf s ojni ago loveb Adagio affecttuoso ed appassionato to ofsoz Scherzo and Trio Allegro (Last performed in 1964 by the Loewenguth String Quartet)0 I Colapso 381 The six quartets of Op.18 mark an important stage in the history of music. They were written 1800-1. Hitherto all Beethoven's chamber music, with exception of the few string trios, had been composed for strings in combination with the piano or for of piano combined with wind instruments. Up to that time Beethoven's interests, both as a composer and an executant, had been almost sed ebus exclusively concerned with the piano. Now, come to his full offe maturity, music for strings alono - in its most porfect form, thot ed string quartet absorbed all his interest in chamber music, and the early quartets of Op.18 led to "the last five which represent w the coping-stone of his whole life's work. Everything he wrote, do everything ho experienced or achieved, is expressed in this sories of works" (Bokker). CO CASCOGS 09 zew..I[sme al dug ed Perhaps tho Quartet No.1 (actually the second in order of forw composition but placed at the head of the series it is said, byvb bns the advice of the violinist Schuppanzigh) is the finest of the fam set; it is the best-known and the best-loved. It is certainly som the biggest and most impressive. All naturally show the odd influence of Haydn and Mozart; but who before Beethoven would have taken a simple, almost banal, little tune, as in the firstim

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lasts no absol YTETOOE DERUL 2. two bars of the opening movement, and could have drawn from it an entire movement of considerable length and could have polished the little theme until it "shone like pure gold"? DE The tragic intensity of the Adagio is again remarkable. Beethoven himself said that it was inspired by the tomb scene in Romeo and Juliet. "It is rich in its woe of regret and wilful resig- nation. The curious way in which some of the florid phrases end by throwing out their last note, as though the arms were thrown up in wilfully despairing gesture, is, we think, a very uncommon idiom for music". (Langford). It is notable, too, that so many of Beethoven's early adagios bear qualifying inscriptions - Largo e mesto, Largo appassionato, Adagio con gran espressione and, here, Adagio affecttuoso ed appassionato ? which seem to express his intense desire to inspire the players to even greater heights of interpretation. Pe II La Oración del Torero (The Bullfighter's Prayer) Joaquin Turina (1882-1949) SC and a The two final movements are perhaps less remarkable. The Finale develops into a large sonata-rondo, probably designed to balance the that on a scale to scale of the first movement. ono? GO (First performance at these Concerts) fe Turina was born at Seville and studied there and at Madrid; later he went to Paris to study under d'Indy. He devoted much of his time to teaching as well as composition. He has often been compared with de Falla; their style is different but both men shared a serious attitude to music as an art and not merely as a diversion. Perhaps his best- known work is the brilliant orchestral Procession del Roccio", but he was deeply interested in chamber music and wrote many songs. ра: pa Few Spanish composers have succeeded in writing music that appeals to more than a nationalistic audience. Turina, though his out- put is small, was one of the few who did succeed in evolving an idiom which blends Spanish and foreign elements. His chamber music may be divided into three groups: those bearing no distinctive mark of nationalism; those in which nationalism predominates; and a third and most significant group, though also a very small one, which includes the Bullfighter's Prayer. In these Turina succeeds in blending his own nationalistic musical origins with a wider, more cosmopolitan · musical language. The short movement entitled La Oracion del Torero

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the an 3. lasts only for eight minutes, but, besides being in itself absolute music that needs no extra programme, it is as well fiercly evocative of the nervous tension that accompanies a bullfighter's we preparation for the bullfight and yet provides an insight into that particularly Spanish reverence for a sport which may seem to out- siders no more than a brutal spectacle paralleled only by ancient Roman circuses". (By courtesy of Messrs. H.H.H.) B reno olorw oft grignado ** ***** od rebrá, bojej ige vingile on FOUGHE **** ***** bolom onigolo COFFEE INTERVAL OF FIFTEEN MINUTES rodjo odd *** III to holatiga ne yd Quartet in G major Op.161 Jomovom Ad eoten Schubert (1797-1828) Is odd ddiw mord boxsqmoo (TONIN) USTodo o Allegro molto moderato abalt fodenta ent, Andante un poco moto y (notem), a dw modnedig" de" sa Scherzo (Allegro vivace) and Trio (Allegretto) Allegro assai *** o br vitaong to -barod (Last performed in 1970 by the Tel-Aviv 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 house performance. In the summer of on 1826 and within the space of 10 days, Schubert wrote this, his last quartet. It is believed 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 until 1851. [datao Isus It has been said that Schubert's string quartets are in tud di bw bov essentially orchestral in character. This, if true, might certainly apply to the G major quartet. "The outward indi-org cations of the "orchestral" character of the work are apparent in the unison passages, in the agitated tremoli in melody and 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 inter- change 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, om

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PALUNYA 4. of a song used to bring unity into all movements as in the 1824 quartets. Schubert's quartet writing again dependent on itself, on the pure musical material and treatment". (Kahl). o Jdatan. The first movement is in sonata form with an unusually lengthy exposition. It is dominated by the alternation of the major and minor keys, which process 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 ballados in which an olegiac melody predominates in the bass with decorative ombroidery by the other instruments and with a change of colour provided by an agitated alterivo". The calm of this movement is twice brokon by violent outbursts which end with harmonios so strange that somo critics have compared them with the harmonies of Bartok. In the Schorzo (B minor) with its Trio (G major) which ressomblos a Lander, Einstoin finds LAENDER something of Schumann's capriciousness. Kahl calls it a "phantom from the regions of ghostly romance".as orgelIA The Finale is a lengthy rondo, full of invention and of bound- loss energy, violent in rhythm and adventurous in harmony. It again, like the first movoment, alternates between the major and minor koys. It ends with a coda in G major. This is, porhaps, Schubort's finost quartet with its mastorful and assured handling, its cohesion its wide sweep, its bold ideas and, above all, the endless fertility of his invention. *** Y ** Since its London debut in 1967 the Gabrieli String Quartet has established itself as not only the leading young Quartet in England but also as one of the finest in Europe. The Quartet's regular annual series of concerts at London's Queen Elizabeth Hall is received with 201 lal great enthusiasm by public and critics alike as are its concerts throughout Europe. The Quartet's Vienna debut last year was an out- standing success, soon followed by a tour of Austria. This year the Quartet will be travelling further afield to Australia and the U.S. as well as returning to many countries in Europe. The Quartet records exclusively for Decca. 08 **: IslabitteG *** ** • Bachoo Jeoworan od ntrittw sont bie totem to ondario your odt at dodcup strit to outsot oldaton roddon (total) erug as show add adsord deododol oantoa tontons at oddy t obt gaibsofs 30 000xd yns ozodwon at orod" sisus sodendo *** *** го.

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Folf, on gthy 18245 Area, Town Hall. 5. THE CHUDDERSFIELD MUSIC SOCIETY * January 19th (Nooveo8 10. FRANCOIS DUCHABLE Piano Recital. Works by Beethoven, Chopin, Schumann, Debussy and Ravel. February 9th.ho THE ORION PIANO TRIO March 15th. Monday Evenings at 7.30 THE NORTHERN SINFONIA ENSEMBLE bus strobuda Jet Single tickets £1.00 from Woods, 67 New Street and at the door. Student tickets 30p from the School of Music 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 by the Arts Council of Great Britain. Generous support is also given by the Yorkshire Arts Association. Photography and Tape recording forbidden. del ** :***** BIDIMOS THE HALIFAX PHILHARMONIC CLUB **** Lecture Hall, Harrison House, Harrison Road. Friday, January 23rd at 7.30 A Master Class by JAMES GALWAY (Flute) with Anthony Goldstono (Piano) Single tickets £1.00 Students 30p from Mrs. Hanson, 23 The Crescent, Hipperholme, Halifax and at the door.

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THE HUDDERSFIELD GRAMOPHONE SOCIETY ** OF. de eaninova vebroM Waverloy House, New North Road. 6. Docomber 15th. More Bargain Issues off December 29th, My Favourite Thing January 19th. nottstooea at or THE *** (Mr. D. Bostock) (Miss Olwen Haigh) xmoW Anniversaries MOTHO (Mr. Jenkinson) Ido MERMS ATMOMIR SHOW T Annual subscriptions £1.50 (from Jan 1st 90p). Students and Senior Citizens half fee. Refreshments. 00.13 adozofd olgnia Secrotary: Mr. D. Bostock, 16 Imperial Road, Huddersfield, a HD3 3AF. at vjolood add dold of oldefoot ofauM to noftstobol Ismoljel odT about bw atroonop seord to daoo add brewot drooque eoviy bojstitite .tatt tor to tomo atrA odtyd bobivong HUDDERSFIELD THESPIANS Welfare Centre, Zetland Street *** ins Iish woTSOTA Monday Evenings at 7.30 ** aque adoromoD 26th-31st January to (excepting Thursday) at 7.30 THE THWARTING OF BARON BOLLIGREW by Robert Bolt Jab Tickets 30p from Woods, 67 New Street. of Ish outool (ons.) omotablo yoddA ddy (our) YAKIAD 23MAt yd ssc10 Total A He moth qoC ad 32 00.13 atoslott olgnt? toob ad te bre xsttichomfodroqqH

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THE HUDDERSFIELD MUSIC SOCIETY ******************** ****** dolayin xed MI ab to odiga mi Fifty-eighth Season 1975-76 o awolfot nosiev dupe fondone yd bewolfot tload at toddoget boquor Area, Town Hall dwat yaw on yo novis al beg odt at noldMonday, January 19th. 1976 as dorm sa titiga m odabis or ***** s of.ofdstAOMO FRANCOIS DUCHABLE ********* oforw odd of griv. **** in od dvsete Programme I 2 metsbrev Jadd noqu and at tromovom wole desrdnos ddod Thirty-two Variations in C minor on an original theme (Q81-0181) atgon (Last performed in 1967 by Allan Schiller) Beethoven used the variation form very frequently. For piano alone and piano in conjunction with other instruments, he left 29 sets, some based on an original theme, others upon a theme chosen by him. Added to this, there is his use of the variation form in sonatas, quartets, trios and symphonies. It was a form well- suited to his type of genius, not only because of his extraordinary powers in the realm of thematic development but also because of the way in which he was able to present the essential core of his thought in different guises. It would be no exaggeration to saytq that Beethovon, with sole exception of Bach and his Goldbergo mi Variations, was the first and greatest master of this form.sod 3 tw d Beethoven (1770-1827). Tho Thirty-Two Variations dato from 1806. This was a vory oog fruitful poriod in Beethoven's life, including, as it does, the toge piano concerto in G, the violin concerto in D, the fourth symphony and the Appassionata sonata. moog ont ALLS, AUTOlahr betido.blou bonne There are three main forms of variation. First (and weakest) with the theme preserved throughout with mere changes of accompaniment above or below it; second, the preservation of the harmonic basis with the changing and adornment of the melody; and third, a type peculiar to Beethoven, when everything is changed and yet the individual theme remains subtly present. Beethoven used all three methods, the second being his favourite form. Variations belong to the second group but so firmly and consistently does the bass appear, moving with the strong steps of a ground-bass that they might almost be called a Chaconne; and the theme (an original one) is itself in Chacone time. Indeed, the very short- ness of that theme eight bars lends itself to that treatment. These

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2. In spite of this brevity, the work is a model of coherence; each variation follows perfectly the preceding one and, in turn is itself followed by another equally complementary. Further unity is given by the way in which variations are grouped together in spirit as much as in treatment. The twelfth variation is the NOT! first in the major key and the four that follow are variations upon that variation, forming a central block, comparable to a slow movement in the centre of the work and giving to the whole both contrast and form. The coda really starts with the thirty- first variation. Ballade No. 4 in F minor Op. 52 Nocturne in D flat major Op. 27 Mazurka in F sharp minor Three Etudes Op. 25tem No. 10 in B minor No. 11 in A minor No. 12 in C minor II Chopin (1810-1849) Et A a se delicacy The Nocturnes reveal one side of Chopin's nature, perhaps considered by many to be the most characteristic and beautiful, but certainly not showing the strength and imagination found in his greater works. Without doubt they are the most pianistic works ever written for the piano and it is impossible to imagine their - Yom The name Ballade, as applied to music and especially to thora Ballades of Chopin, should not be confused with traditional ballad poetry. Chopin used this title for four of his works pieces of music which are free and declamatory in form, romantic in conception, strongly coloured with national feeling and filled with beauty. He himself stated that they were inspired by the pooms of Mickiewicz, the Polish poet and friend of Chopin who spent his exile in France and whose poems were founded upon the rich store of Polish tradition and legend. Chopin indicated the poems by which the first three Ballades were inspired, but the fourth one remained unidentified. This fourth Ballade (1843) is perhaps the most difficult and elusive, as well as the richest and most elaborate. Langford called "a direct lament, told at first in a melody that is like a speaking sigh. With figuration of this melody seem to enter the land of marvels once more, though the note of romantic lament is never broken in all the long and brilliant climax and coda". Wo The 17 75

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is e r in unity e; each 3. their performance on any other instrument. This Nocturne is one of a set of two written in 1836; it perfectly exemplifies, in its moo delicacy and gentle melancholy, its title. eid juoda nottoalettse OV 220 ab oortol The Mazurka is a Polish dance of moderate tempo dating from at least the 16th century. A characteristic of the rhythm is the tendancy of the strong accent not to fall on the first beat of the bar. Chopin wrote 51 Mazurkas in all. They are rightly considered hoyks to be the most characteristic of all his works in which the national fooling is most intensely conveyed. The Polish temperament, marked by the sudden contrasting of moods, here finds its fullest expression. These Mazurkas are full of the unexpected and harmonically are most daring and advanced. wood and dI The collection of Studies of Op. 25 were published in 1837 but it is certain that both these and the Studies of Op. 10 were composed over a rather lengthy period. These works bring an entirely new concoption to the title "study"; technical problems abound but their aesthetic qualities are even greater. They have a freshness and healthy vigour not always found in Chopin's music.god orcio Int mine eit do tw eonsb *** **** ***** ****** COFFEE INTERVAL OF FIFTEEN MINUTES **** *** (peer-2581) Isve! III was 'b xust Schumann (1810-1856) A Toccata Op.7 Four pieces from Fantasiestucke Op.12 m nedhav Bew use *b web dup us Des Abends by Istvit vel" seing off ob imel to oni odt donor Aufschwange daom old agedreq at JI."Il botado of bessegWarumi nodw dromesema boauso opeig oft ofeum casiq Traumenswirren ognsda od beacqgo of beacqgo ora angeetaq otmodatb The Toccata was composed in 1830, revised in 1833 and published in 1834. It, therefore belongs to the period 1830-39 when all of Schumann's production consisted of piano compositions. Schumann had great difficulty in completing it to his own satisfaction and, later, in finding a publisher. The Toccata is a pure virtuoso piece rot lacking many of the poetic qualities which are found in so much of his work. Of it, the composer himself once said "perhaps one of the most difficult of piano pieces". Most musical of Toccatas, it is iv written in fairly strict sonata form. soliqui foras, it is tug The eight pieces of Fantasiestucke were composed in 1837; they were dedicated to Anna Robina Laidlaw, an Englishwoman and a

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4. brilliant pianist, much admired by Schumann. The work follows the composition of Carneval. Schumann always spoke with great to Joe s satisfaction about this work saying that "it had flowed from hisob pen with perfect ease and was spontaneous and expressive". odl PIVOoredo vodneo dobi od desef Ils2, od tom mesos Debussy (1862-1918) Ils at sabuSEM IC JO gond Ifs to pide todossio Jaom odd od od Until the age of 40 Debussy had written very little of Contem significance for the piano a surprising thought since he is so mod important in the history of piano music. L'Isle joyeuse (1904) edh was inspired by Watteau's Embarquement pour Cythere. It is onerad bas brilliant and gay but undoubtedly virtuoso writing.. It has been described as "a pleasure-seekers revel". Soiree dans Granade (1903) shows Debussy's first mastery of the impressionistic genre. It is one of a set of three pieces, probably the best of them. L'Isle joyeuse Soiree dans Granade (Estampes) He believe than the It portrays the lights of the city; day is drawing to a peace- ful close when the inhabitants refresh themselves with song and foris dance, with the sound of a serenader thrumming his mandoline.com bas De Falla called it "characteristically Spanish in every detail"yet at that time, Debussy had never visited the country. Ravel (1875-1937) S.CO Jeux d' eau was written in 1901 and has as its subtitle i wol the line of Henri de Regnier "Dieu fluvial viant de l'eau qui le chatouille". It is perhaps the most original of modern French piano music. The piece caused amazement when it first appeared; diatonic passages are opposed to strange new harmonies with a suggestion of polytonality. But all that can be forgotten in HD the dazzling picture of the laughing god and the splashing of the rainbow waters. Jeux d' eau Alborada del graciosolo2 de Alborada del gracioso (The Jester's Morning Song) is the or fourth of a suite of pieces called Miroirs. In it the Spanish h spirit, so alluring to Ravel, is everywhere present. It is perhaps the most popular of the set and, with its brilliant virtuosity, it has appealed to bless The title Miroirs implies "realists and audiences alike. Jaom seen in a mirror - that mirror being the artist's soul". It also reveals one of Ravel's guiding principles: "to him the greatest art was a reflection of roality rather than an exact duplication of the original. FR S

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om histob the llows He believed that Man's interpretation of Nature has more value than the thing per se". FRANCOIS DUCHABLE made his British debut at Harrogate and made such an impression that the B.B.C. immediately arranged a broadcast recital for him. He was born in Paris in 1952 and began to play the piano at the age of 4. He entered the Conservatoire National Superieur in 1964 where he won many important prizes. His concert career is now well under way. Arthur Rubinstein has written of him that at 22 "he is already a mature musician gifted with the most perfect technique. To my great satisfaction he knows how to make the use of his exceptional gifts to play the music so that it will bring the listener the greatest joy and emotion".oncerts Area, Town Hall 5. THE HUDDERSFIELD MUSIC SOCIETY **** ****** **** Trio in C major K.548 Trio Trio in E flat major Op.70 No.2 he Monday Evenings at 7.300 February 9th THE ORION PIANO TRIO Mozart Camilleri Beethoven March 15th. THE NORTHERN SINFONIA ENSEMBLE. Single tickets £1 from Woods, 67 New Street and at the door. Student tickets 30p from the School of Music and at the door. The National Federation of Music Societies, to which this Society is affiliated, gives support toward the cost of these concorts with funds provided by the Arts Council of Great Britain. Generous support is also given by the Yorkshire Arts Association. Photography and Tape-recording forbidden. SPECIAL NOTICE **** ***** The Concert Hall, Huddersfield Polytechnic Tuesday, January 27th at 7.30

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6. omisy stom end oxutell CONTRAPUNCTI (presented by the Contempory Music Network and the Yorkshire Arts Association) Lenna Jago bog Septet fed tbommt .0.8.8 od Stravinsky bre Ariadne ani ni mtod as oH Gordon Crosse at Judob de to bed and obem ond Ravelsiq Introduction and Allegro Capriccio orod det to Janacokold $9019 Bid TME HALIFAX PHILHARMONIC CLUB **** w.robu [ [[ tas These are given by a group of this country's most outstanding young playors. Tickets 80p from the School of Music. ******* Lecture Hall, Harrison House, Harrison Road. Friday, January 23rd at 7.30 A Master Class by JAMES GALWAY (Flute) with ANTHONY GOLDSTONE THE HUDDERSFIELD GRAMOPHONE SOCIETY **** ******** (Piano) Single tickets £1, Students 30p from Mrs. Hanson, 23 The Crescent, Hipporholmo and at the door.de vurde February 2nd. 16th. Waverley House, Now North Road. Annual Subscription Citizens half fee. othm Monday Evenings at 7.30 Anniversaries (Mr. Brian Jonkinson) ni oft Vocal and Orchestral (Miss E. Williams) IMOUNTE WARHIION ENT LIENSEMKI 1.dore £1.50 (from Jan 1st 90p) Students and Senior Secretary: Mr. D. Bostock, 16 Imperial Road, toob or da bas oferil to HD3 3AF. THE HUDDERSFIELD THESPIANS ***** on) ** Jasob desobserd vaig of naged ***** by Robert Bolt indo Tickets 30p from Woods, 67 New Street. Istobo Ismoil ofT about diw stropnos Welfare Centre, Zetland Street 26th-31st January (excepting Thurs) edd yd novig cele THE THWARTING OF BARON BOLLIGREW via cale af at 7.30 toneD no on

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THE HUDDERSFIELD MUSIC SOCIETY Ifnt et gottees Jure deom Podxod anoist 943 4² 00000 10 Fifty-eighth Season 1975-76 Area, Town Hall rejostno ni Monday, February 9th 1976 32 did IntoorID THE Peter Thomas (Violin) [n] oggom Trio in C major K.548 vd of onsig ut non nas on CAO ORION PIANO TRIO oggort Allegro Andante cantabile Jean Allegro vd ** Sharon McKinley (Cello) Ian Brown (Piano) Programme I ogoff moddergoCIA of obiT ONT bae ydeltev to ond to gathmade as as bedbroeob ob elobrol Ianft edT pte vd ano Mozart (1756-1791) is vlotstbommt novoriteed er Chamber music, as the name implies, was originally secular ser instrumental music written for performance in the home as opposed to the vast bulk of music written for the church or for religious occasions. It was largely a matter of home music-making by amateurs until the complexities of Beethoven's chamber works demanded the skill of the professional musician. Its origin really sprang from the works of Kuhnau (1667) and taken a further step by C.P.E. Bach. From these two composers Haydn derived his inspiration and knowledge, which 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 part merely doubling and strengthening the bass. With Mozart the cello begins to assume its modern importance and to take its place equally in the dialogue of the instruments. Mozart's earliest trios were closely akin to divertimenti and, indeed, were so entitled. The Trio in G (1786), contemporaneous with his piano quartets, was the first to be called a Trio. baobal The Trio in C, K.548, together with a second (K.564) were the last that he wrote; they appeared in 1788. It is obvious that to Mozart the trio was a form of losser importance than the quartet, being slighter in character and usually with a virtuoso-like piano part. They were really composed for special occasions, such as parties for his friends, which helps to give thom their delightful lightness and elegance. Jromov

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II Trio in E flat major Op. 70 No. 2 of the high Beethoven (1770-1827) Poco sostenuto - Allegro ma non troppo Allegretto Allegretto ma non troppo Allegro on The first 2. The Trio to be played tonight has a first movement in apparently simple sonata form but the development section is full of variety and imagination. The slow movement, the most out- standing of the three, is lyrical in character; it has been described as "endlessly moving in its soft and religious texture". The final Rondo's description is "a graceful bit of rococo in the French style". •лстопроfut It is most interesting to listen to a piano trio by Beethoven immediately after one by Mozart. One can then fully realise how much further Beethoven has taken this form. Now the instruments each has its own freedom and individuality and the tonal effect is much more finely balanced. The problems of this balance remains to this day and a piano trio demands the nicest of judgement both from the composer and the performers. Beethoven left six piano trios. The first three were early works published in 1795. During the next 13 years Beethoven used the piano chiefly as a virtuoso concert instrument or as a solo instrument allowing free improvisation; but his interest in purely string ensembles, on a different aesthetic basis, grew and culminated in the quartets of Op.59 (1807). 1808 saw the appearance of the two trios of Op.70. In 1811 the last trio Op.97 was written. There is a hint, not very fully confirmed, that both the trios of Op.70 were really intended to take the form of piano sonatas. Indeed the structure of No.2, with "its delicate transitions of mood and almost idyllic, gay, emotional character points toward the coming piano works". This happy mood prevails throughout the entire work and it is noticeable that, although there are four movements, yet the slow movement is entirely omitted. In spite of this, thanks to its superb mastery of form and key, Tovey declared this trio to be "one of Beethoven's profoundest works". Though it has no movement comparable to the slow movement of No.1, it is indeed through- tw олсш руч7 ӘЧІ variation; onally a waltz, with a

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տվԴ ug ,ᎾᏗᏁᏎxᎾ 33 the st -դոտ գտօա Ա ԴԱԺԱՅA II stuotte 3. seansqaib ezed oH violante desta The first movement opens very unusually in a trio, with a slow introduction. The second can be described as a kind of double variation; two themes, one major and one minor, are used alternately. The third movement, neither a Minuet nor a Scherzo, is nearer to the waltz, with a trio in which the piano and strings are used antiphonally and great richness of effect is given by much double- stopping for the strings. The Finale has its second subject in G, a most unconventional choice of key. out of the highest quality. Trio in A minor ** 2 bas *** COFFEE INTERVAL OF FIFTEEN MINUTES ***: ** IIIet Joy A ** ** Modere Pantoum: assez vif Passacaille: tres large tohet ed to n sord bre qs Ravel (1875-1937) reivib Brooos et (eesd Finale: anime ons you (Last performed in 1972 by the Czech Piano Trio)odgord Dusjerobou Ravel was born in the Basque village of Ciboure. His father was a Swiss engineer, born near Annecy and deeply interested in music, who at one time contemplated adopting the career of a concert pianist. His mother was born at Ciboure where for generations her people had been seafaring folk. So that although Ravel is accounted to be one of the great French composers, his links both with the Swiss and the Basques were very strong. The family lived in Paris where Raveluda attended the Conservatoire, but throughout his life he continued to return to the Basque countryside. Ravel's output was relatively small. A perfectionist, he did not allow a work to appear until his acute and fastidious faculty was satisfied. Faure was his master and from him he learnt his sense of form and his delicate feeling for texture. His music may not have the sensuous beauty of the music of Debussy but it has a clarity, a rhythm and a colouring all its own. Ravel's one string quartet was written in 1902 but it was not until 1915 that the Trio appeared. "In this composition Ravel admitted that he was inspired by the early trios of Saint-saens at least in the form of the work. Ravel's trio, however, is much simpler in outline; it is remarkable for the clearness of its style and for the depths which it achieves through

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€4. stark simplicity. He here dispenses with everything which is not absolutely essential; in general form the Trio continues in the direction taken first by "Valses nobles et sentimentales". Roland- Manuel says that it possesses a "magisterial character" far removed from the melancholy ardour of the String Quartet. He adds that Ravel often said he would willingly have exchanged the w savoir of his trio for the pouvoir of his more youthful Quartetss (M.Goss).stdue br ead of eg The Trio in A minor, though based on a well-tried combination of instruments, is, however full of freshness of idea and treatment. As in the Quartet the first movement is of "aphoristic compression yet faithful to the spirit of the classic plan". The first theme has a striking rhythmic effect in the division of the 4/4 measure into groups of 3 and 5 quavers. The second movement "Pantoum", an Eastern dance, is a fantastic scherzo. The "Passacaille" (an old dance founded on a ground bass) is less interesting, but the Finale, in 5/4 and 774 time, has brilliancy and vigour which lead to a striking climax. Throughout the piano part is written with great skill and understanding, but much of the originality of the work lies in the way in which the strings are treated with equal authority and power. ** **** en anoida Het gr ed of beintroops at BTHE ORION TRIO was formed in 1968 and is resident at Southampton University, giving weekly concerts during university terms. In 1969 they were first prize winners in the B.B.C. Beethoven Trio Competition for British and Commonwealth ensembles. Since then they have travelled widely and made many broadcasts with ever-increasing success. bris, tod **** I Area, Town Ha Js Jom ail reed ont rol ofdatam tontipe nt relante doum el dywords sovo idos di doldw stigob oft tot bus blyta aft Jon sm ofe odsotlob ad bus tot to and 31 Jud yeandou to plzum off to used an 30 mwo aft IIs gatuncfoo a bra oggs oliT od Jedd vd botigant ei toing ton sw jt Jud. SOQI KE Jadi bosdimbs Isvall A

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ts ОЧ? LUGH ATT BJ ef se 88 at eq up senuy you st you Area, Town Hall. THE HUDDERSFIELD MUSIC SOCIETY 5. Sextet No. 1 in B flat Op.18 Prelude and Scherzo Op.11 Octet in E flat Op.20 March 15th THE NORTHERN SINFONIA ENSEMBLE ** ** Monday Evenings at 7.30 ** Single tickets £1.00 from Woods, 67 New Street and at the door. Student tickets 30p from the School of Music and at the door. Brahms Shostakovich Mendelssohn 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. Quartet in B flat K.589 Quartet Op.3 Quartet in C minor Op.51 No.1 Generous support is also given by the Yorkshire Arts Association. Photography and tape-recording is forbidden. THE HALIFAX PHILHARMONIC CLUB **: THE ALBAN BERG STRING QUARTET **: Lecture Hall, Harrison House, Harrison Road. Saturday, 28th February at 7.30. Mozart Alban Berg Brahms Single tickets £1.00 Students 30p from Mrs. Hanson, 23 The Crescent, Hipperholme, Halifax and at the door.

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March 1st. eg Waverley House, New North Road. February 16th. March 15th. .2 THE HUDDERSFIELD GRAMOPHONE SOCIETY 6. Y.M.C.A. Theatre. 183 1 Vocal and Orchestral Tobr Annual Subscription £1.50 (from Jan 1st 90p) Citizens half fee. Secretary:- eboo Keyboard Music New Releases from C.B.S. Monday Evenings at 7.30 (Miss Williams) (Mr. Chilvers) (Mr. Burford) Mr. D. Bostock, 16 Imperial Road, HD3 3AF. note tocant a odsto odd yd novia oala et dogana aproxened THE HUDDERSFIELD THESPIANS bae qergoton *** RED PEPPERS FUMED OAK WAYS AND MEANS MDANS ** ** Students and Senior ven. March 22nd - 27th at 7.30 Hits el votool Three One Act Plays by Noel Coward ROM Tickets 30p from Woods, 67 New Street. [rell ort 1.0M 12.90-tomte noznalazi mort q00 afneboje 00.13 adodol olgnte *cob oft de bus xstill omfodroog teosex

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KOPRIAMENTE UNASSA KAMARCORON THE HUDDERSFIELD MUSIC SOCIETY **** THE *** Sydney Mann Richard Panting) Martin Hughes .:) Fifty-eighth Season 1975-76 Area, Town Hall Monday, March 15th 1976 NORTHERN SINFONIA *** Barry Wilde (Leader) Violins Sextet in B flat Op,18 Alan Turner ) Ruth Bennett) Cellos Programme O I ENSEMBLE Allegro ma non troppo Andante ma moderato. Allegro molto Poco allegro e grazioso F Prunella Pacey) Violas Antony Cullen) Brahms (1833-1897) Brahms was nearly thirty when he composed the first of his two string sextets and it was, in fact, his first published work for strings alone: another ten years passed before he tackled the even more demanding medium of the string quartet. This sextet, whose first performance was lod by Joachim, Brahms's friend and adviser, was an immediate success and did much to establish his fame. Mordw Although the sextet is in chamber music terms a large ensemble, in this work it never becomes unwieldy although at times Brahms achieves the rich sonority of a string orchestra. The first movement is in characteristic 3/4 time, and is all - or nearly all Gemutlichkeit, with memorable themes that are sheer joy for string players to play, some pre-echoing the lyrical beauties of the violin concerto of 1879. But it is perhaps the lyrical second subject played over pizzicato accompaniment, which captivates most of all. A proud theme announced by the first viola forms the basis for a set of variations (Andante ma moderato), the stern D minor mood being maintained for some time; the music becomes less urgent as D major is reached, although the theme remains confidently poised in

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2. its original form. A magical variation for the first viola follows before the first cello takes up the minor key again; but the transformation earlier to the major has had its effect, and the movement ends with all passion spent. The third movement is a very brief, vigorous scherzo with a faster trio section and an even quicker coda. **** a The finale is a rondo (Poco allegretto e grazioso) favourite marking this, which Brahms in fact often used for his scherzo movements), the theme undergoing subtle transformation as the instruments take it up in turn. A quicker pizzicato passage marks the start of the coda. Noel Broome. ** A COFFEE INTERVAL OF FIFTEEN MINUTES **** II contempor generated *** G Prelude and Scherzo Op.11 Shostakovich (1906-1975) The death of Dimitri Shostakovich last year has robbed music of one of its most prolific and versatile composers, one whose works have done much to bridge the cultural gap between East and West - an achievement not attained without some difficulty. His earlier career was marred by conflict with the Soviet authorities and their attempts, during the Stalin era, to dictate an inflexible party line to Russian artists. The two pieces for string octet were written at about the same time as his first symphony (1924/25) which was to make him famous throughout the musical world; that is to say, while he was still a student at the Leningrad Conservatoire. The passionate intensity of the Adagio sections of the Prelude, drawing strength from its Bach-inspired outlines, is characteristic of Shostakovich's highly personal idiom, an idiom which was to find increasingly dramatic expression as his career progressed. The centre section is in a faster tempo, its staccato quavers culminating in a short cadenza for the leader of the ensemble.. The Allegro molto is angular and fiercly dissonant, the driving rhythms, mocking glissandi and harsh chording showing the young composer experimenting with techniques imbibed from eminent шпрош fe.

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d but 3. contempories such as Hindemith and Prokofiev. The excitement so generated was to become typical of many of the string quartets, a medium which occupied him, along with the symphony, throughout his life. Not all the quartet movements, however, are as grimly humorous as this powerful Scherzo. These two pieces, incidentally can some- times be heard in an effective arrangement for full string orchestra. onge Noel Broome also Octet in E flat Op.20 III. Mendelssohn (1809-1847) Allegro moderato ma con fuoco Andante Scherzo (Allegro leggierissimo) Finale (Presto) COME First performed in 1825 at a private concert in the home of Mendelssohn and his parents, the octet is a remarkable achievement for a youth, even one as precociously gifted as Mendelssohn. From an early age he had been accustomed to playing and hearing chamber music at home, and he in fact played the second viola part in the Octet's first public performance in 1836. It was written for, and dedicated to, a violinist friend Eduard Rietz. The ensemble is unusually large for a chamber music work, but only rarely does the combined sound of eight stringed instruments verge on the orchestral; for the most part Mendelssohn's judgement in balancing different groups of players and creating sonorous but clear textures is infallible. 1) The first movement is finely proportioned, full of stormy brilliance, contrasting melodic ideas and powerful climaxes; particularly impressive is the build-up heralding the recapitulation. The first violin's rising quaver figure, heard at the outset, brings the movement to an exhilarating close. 2) Mendelssohn's admiration for Bach emerges in the wonderful polyphonic writing of this Andante, with its subtle interweaving of melodic lines, but the frequent changes of mood from serenity to passionato intensity leaves us in no doubt that this music belongs to the Romantic period. 3) "Leggierissimo" means, of course, "as lightly as possible" This mercurial movement, inspired, it is said, by lines from Goethe's Faust describing the "floating clouds and training mist" and the elfin revels of Walpurgisnacht, is obviously a precursor of Mendelssohn's CMA YHTAROOTOHS

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4. Midsummer Night's Dream, music written shortly afterwards. Poquedop 4) Mendelssohn was also a great admirer of Beethoven he even modelled one of his quartets (Op.13) directly upon one of the late quartets of Beethoven and the latter's influence is discernible at times in certain passages of this Finale. The cellos begin the hectic fugue, in their lowest register, and this vigorous quaver figure is taken up in turn by the other instruments and continues to dominate the movement. There are characteristic touches, such as long, melodic lines run over busy, though not subdued, accompaniments, but the bustling quavers carry the move ment through to a stirring and triumphant conclusion. Noel Broome. (These notes are copyright by the Northern Sinfonia Concert Society Limited) THE ENSEMBLE which is drawn from the Northern Sinfonia Orchestra, occupies a unique place in the musical life of Great Britain. The stability of the personel of the Orchestra for many years, and its policy of appointing instrumentalists of solo and chamber music calibre, have produced a group of musicians capable of giving first class performances of more than a hundred works for anything from one to fifteen players. THE HUDDERSFIELD MUSIC SOCIETY *** Area, Town Hall. > ******* * Monday Evenings at 7.30 Season 1976-77 October 18th. ANDRAS SCHIFF (Prizewinner Leeds International Piano Competition). November 8th. KEITH SWALLOW and the AMPHION WIND QUINTET DELME STRING QUARTET 00 29th. January 24th. CECIL ARONOWITZ (Viola) and NICOLA GRUNBERG (Piano) February 14th. BARTOK STRING QUARTET March 14th. LINDSAY STRING QUARTET and THOMAS IGLOY (Cello) The National Federation of Music Societies, to which this Socioty 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... PHOTOGRAPHY AND TAPE-RECORDING FORBIDDEN.

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he 5. Special Notices ******: **** Kirklees Park (By kind permission of Sir John and Lady Armytage) June 12th at 7.45 for 8 p.m. THE LINDSAY STRING QUARTET ****** Works by Haydn, Mozart and Beothoven. Tickets £3.00 to include champagne, wine tasting and light refreshments. Details from the Yorkshire Arts Association. Town Hall Saturday, May 22nd. 7.30 p.m. The Huddersfield Arts Council present Four Pianos (Eight Pianists) Tickets Balcony £1, area 50p from Woods, 67 New Street. THE HALIFAX PHILHARMONIC CLUB **** ****************** Lecture Hall, Harrison House, Harrison Road. Saturday, 20th March at 7.30. THE LINDSAY STRING QUARTET ** Quartet in G minor Op.74 No. 3 Quartet No. 2 Quartet in D minor (Death and the Maiden) ** Haydn Tippott Schubert Single tickets £1, Students 30p from Mrs. Hanson, 9 23 The Croscent, Hipporholmo, Halifax, and at the door.

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Waverley House, New North Road. THE HUDDERSFIELD GRAMOPHONE SOCIETY 6. March 29th. From Renaussence to Baroque April 5th. Scientists and Music Technical Evening April 26th. May 3rd. Music from the New World Y.M.C.A. Thoatre OF Annual Subscription Citizens half fee. Secretary: Mr. D. Bostock, 16 Imperial Road, HD3 3AF. 03 Monday Evenings at 7.30 THE HUDDERSFIELD THESPIANS ****** ********* XA £1.50 (from Jan 1st 90p) Students and Senior Tickets 30p from Woods, 67 New Street. ** ***** (Mr. Battye) (Mr. Raw) (Mr. Bostock) (Mr. Serotsky) Red Peppers Fumed Oak Ways and Means Three One Act Plays by Noel Coward March 22nd - 27th at 7.30 adole