FIFTY-NINTH SEASON 1976-1977 The Huddersfield Music Society W 7.30 p.m. WT. AREA TOWN HALL, HUDDERSFIELD (entrance in Corporation Street)

Monday, September 27th, 1976 ROBERTO BRAVO Sonata in D minor, Op. 31, No.2.... Beethoven Sonata para piano 1952... Ginastera Pictures from an exhibition Moussorgsky Roberto Bravo was born in San- tiago, Chile, where he made his pro- fessional debut at the age of 12 while a pupil of Rudolph Lehmann at the Chilean National Conservatory. He won several piano competitions and scholarship that took him to New York where he continued his studies with Claudio Arrau. a He subsequently spent two years in Poland at the Warsaw Conservatory with Mme. Margerita Trombini Kazuro. During this time he was invited to per- form at the Duzniki International Chopin Festival together with major soloists from the USSR, Poland and he received Czechoslovakia, when praise from critics and public alike. He has been back several times to play with major Polish orchestras, to give recitals and to record for Polish Radio. He continued studies in Moscow at the Tchaikovsky Conservatory with Alexis Nasedkin and won first prizes at the international piano competitions of Orense, in 1971, Monza in 1972, second prizes at Casella, in 1972, and Gottschalk (USA) in 1970 and the Gold Medal at the Viotti competition in 1972. His career includes performances in Austria, Austria, Poland, Spain, Italy, Por- tugal, East Germany and South America. Monday, November 8th, 1976 KEITH SWALLOW AND THE AMPHION WIND QUINTET David Nicholson .. Robin Miller Janet Hilton Flute Oboe Clarinet Christopher Griffiths ....... Horn Melville Jerome Bassoon Keith Swallow ...... Piano Quintet in E flat for piano and wind K. 542 Mozart .... Wind Quintet.. Richard Rodney Bennett "The Blue Fired rake" (for clarinet and piano written for Keith Swallow and Janet Hilton) Trevor Hold Summer Music for Wind Quintet Samuel Barber Sextet for piano and wind .... Poulenc Keith Swallow is, of course, well known to us locally, but also much further afield. During last summer he performed at three international fes- tivals Harrogate, the Three Choirs (Worcester) and Besancon, France. We remember with pleasure a concert in 1974 when he gave a recital with Janet Hilton. Now she is with him again but this time as a member of the Amphion Wind Quintet. These distin- guished musicians are also the prin- cipal wind players of the Scottish Chamber Orchestra, and they bring to the ensemble a wealth of experience based on individual careers in chamber music and as soloists. 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.

t THE HUDDERSFIELD MUSIC SOCIETY (Founded as The Huddersfield Music Club by Dr. Eaglefield Hull in 1918) President Vice-President Honorary Vice-Presidents: Baron Britten of Aldeburgh, 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. Hudds. 661696 Mrs. E. Glendinning, 2 Sunny Bank Road, Edgerton HD3 3DE Tel. Hudds. 22612 Publicity Officer: J. C. S. Smith, Esq., B.A., 99 Park Road, Elland HX5 9HZ Tel. Elland 5804 Dr. H. J. Black, M.R.C., Path. Mrs. A. Crowther S. H. Crowther Hon. Treasurer: P. Michael Lord, Esq., National Westminster Bank Ltd., 132 Huddersfield Road, Mirfield WF14 8AL. Miss I. Bratman Mrs. S. H. Crowther Miss K. Evans, B.A. Miss E. K. Sawers, M.A. Hon. Auditor: P. Sturgess, Esq., F.I.B. Executive Committee: David Dugdale P. G. C. Forbes, M.A., A.R.C.O. E. Glendinning P. Michelson J. J. Valner, Esq. J.P., LL.B. Ladies' Committee: Chairman: Mrs. A. Crowther Miss M. A. Freeman, Miss M. Hamer Tel. Mirfield 493188 S. Rothery, M.A., C.A. E. C. Shaw W. E. Thompson, F.R.C.S. Mrs. J. de Nikitin-Solsky Mrs. J. Shires Mrs. J. H. Sykes Hon. Secretary: Mrs. E. Glendinning Hon. Treasurer: Miss E. K. Sawers, M.A.

76 ET zart nett Hold ber enc well uch he fes- oirs nce. cert with gain the stin- prin- tish to nce ber Monday, November 29th, 1976 THE DELME STRING QUARTET Galina Solodchin ... David Ogden John Underwood Joy Hall Violin Violin Viola Cello Quartet in F major, Op. 77, No. 2 Haydn Theme and Variations ........ Rawsthorne Quartet No. 2 McCabe Quartet in D major, Op. 44, No. 1 .... Mendelssohn The Delme Quartet was formed in 1962 and has been in the forefront of British quartets ever since, appearing in the Edinburgh International Festival, the Bath Festival, and many other major musical events abroad as well as in Britain. The Quartet is also affiliated to Jack Brymer, Alan Civil, Gwydion Brooke, and Adrian Beers, and this distinguished ensemble enables the Quartet to extend their repertoire to such works as the Schubert Octet, the Beethoven Septet, and various wind quintets and quartets. Monday, January 24th, 1977 CECIL ARONOWITZ AND NICOLA GRUNBERG Sonata in G major (Viola and Piano) Marcello Sonata for Viola and Grand Piano .... Shostakovich "Marchenbilder" (Viola and Piano) Schumann Sonata in A minor ("Arpeggione") for Viola and Piano Schubert Members will remember the brill- iant recital when Cecil Aronowitz played with the Lindsay String Quartet at the end of the 1974-75 season. This time he is accompanied by his wife, Nicola Grunberg, who also performs both as a soloist and in chamber music. The Sonata for Viola and Grand Piano included in the programme is the last work which Shostakovich wrote. It was given its first British performance by this duo in the Jubilee Hall at Aldeburgh on June 14th, 1976. 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 and both the November concerts are part of the Northern Contemporary Music Circuit which is organised and supported financially by that Association.

lo ch in rt 11- tz et is e, S er d e e. e at Monday, February 1 THE BARTOK ST QUARTET Peter Komlos ...... Sandor Devich Geza Nemeth ...... Karoly Botvay Quartet No. 2 in D minor, Quartet No. 2, Op. 17 (191 Quartet in B flat major, Op the "Grosse Fuge," Op Founded by students pest "Ferenc Liszt" Acad this Quartet, which now the five or six finest in th made appearances in European country includin and has gained the high Australia, Canada, Japan, I Singapore and the U.S.A. ticipated in such high-ra national festivals as t | Helsinki, Schwetzingen, Ascona, Adelaide, Aix Menton, and at the Expo treal. In 1970 the Hunga ment decorated the Bartok its highest award, the K In the same year the Qu vited to play at the Gala C U.N. Headquarters in N mark the 22nd Anniver: Proclamation of the Univ ation of Human Rights. The Society could r gaged this world-famous out the assistance of Kirl Services and we are mos them for their generosity ation. Double (Single) Season Tickets FORM (for the use of PRESENT MEMBERS ONLY) To the Hon. Treasurer, The Huddersfield Music Society, National Westminster Bank Ltd., 132 Huddersfield Road, Mirfield WF14 8AL in payment for REMITTANCE I enclose £. Name.. Address To assist the Treasurer, please enclose this form. APPLICATION FORM (for the use of NEW MEMBERS ONLY) Double (Single) Season Tickets for which I enclose £....... To the Hon. Secretary, 37 Gynn Lane, Honley, Huddersfield HD7 2LE Please send me ...... Address Name (BLOCK LETTERS PLEASE) Cheques should be made payable to "The Huddersfield Music Society" Receipts will not be issued unless requested

ello ich _nn ert ill- itz tet his fe, ms er nd he te. ce at Monday, February 14th, 1977 THE BARTOK STRING QUARTET Peter Komlos Sandor Devich Geza Nemeth Karoly Botvay Violin Violin Viola Cello Quartet No. 2 in D minor, K. 421 Mozart Quartet No. 2, Op. 17 (1917) .... Bartok Quartet in B flat major, Op. 130 with the "Grosse Fuge," Op. 133 Beethoven Founded by students of the Buda- pest "Ferenc Liszt" Academy in 1957, this Quartet, which now ranks among the five or six finest in the world, has made appearances in nearly every European country including the USSR, and has gained the highest praise in Australia, Canada, Japan, New Zealand, Singapore and the U.S.A. It has par- ticipated in such high-ranking Inter- national festivals as the Spoleto, Schwetzingen, Edinburgh, Ascona, Adelaide, Aix-en-Provence, Menton, and at the Expo '67 in Mon- treal. In 1970 the Hungarian Govern- ment decorated the Bartok Quartet with its highest award, the Kossuth Prize. In the same year the Quartet was in- vited to play at the Gala Concert at the U.N. Headquarters in New York to mark the 22nd the 22nd Anniversary of the Proclamation of the Universal Declar- ation of Human Rights. Helsinki, The Society could not have en- gaged this world-famous Quartet with- out the assistance of Kirklees Leisure Services and we are most grateful to them for their generosity and co-oper- ation. Monday, March 14th, 1977 THE LINDSAY STRING QUARTET AND DOUGLAS CUMMINGS Peter Cropper Ronald Birks Roger Bigley Bernard Gregor-Smith Douglas Cummings .... Violin Violin Viola Cello Cello Quartet in A major, Op. 20, No. 6 .... Haydn Tippett Quartet No.1 Quintet in C major Op. 163... Schubert This quartet was first formed at the R.A.M. where they studied chamber music with Sidney Griller. There they won all prizes for quartet playing and were later invited to Budapest to take part in the first Bartok Seminar under Vilmos Tatrai. On leaving the Academy they were awarded a Leverhulme Fellowship to become resident Quartet at Keele University for three years. They were prize winners at the 1969 Liege International competition, the youngest quartet competing and the first English quartet to win a prize there. In 1972 they became resident Quartet at Sheffield University for two years and were subsequently invited to remain for a further three years. cellist Orchestra. They have toured extensively in Europe and the United States, and are visiting Australia in 1977. Their Decca recording of Tippett Quartets was widely acclaimed "one of the year's most desirable records". (Sunday Times). Douglas Cummings is the principal in the London Symphony SEASON TICKETS Double £7.00 (for two persons not necessarily of one family) Single £4.00 Student £1.50 (may be obtained from the School of Music, Polytechnic or from the Hon. Secretaries) Single Ticket Student Ticket .. £1.00 .......... 50p (Bona fide Students under 21) 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 20th 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. Secretaries 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.

PATRONS The Rt. Hon. THE LORD SAVILE, J.P., D.L. G. R. BOOTH, Esq. F. BRATMAN, 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. S. ROTHERY, Esq., M.A., C.A. Miss E. K. SAWERS, M.A. MAX SELKA, Esq. S. SUTCLIFFE, Esq. J. H. SYKES, Esq. W. E. THOMPSON, Esq., F.R.C.S.

7 7 THE HUDDERSFIELD MUSIC SOCIETY *** *** **** Fano Fifty-ninth Season 1976-77 Area ... Town Hall 100 -Jar on Monday, September 27th 1976- ROBERTO BRAVO to Live in************** Programme I The right to live r Sonata in D minor, Op. 31, No. 2 m. mem. Heron shaw. 08 Beethoven (1770-1827) Allegro o Adagio obly Allegretto me (Last performed in 1962 by David Wilde) This is one of the few works of Beethoven which have a definite non-musical source for their inspiration. In answer to a question about it Beethoven replied: "read Shakespeare's The Tempest". It may be that the first movement has something of Prospero's spell and the resultant storm, and Tovey has suggested linking the beautiful second subject of the adagio with the character of Miranda. Some have tried to give it the title of "Tempest Sonata", but the name has never stuck. It is probably this absence of a nickname which has prevented such an obviously appealing work from aspiring to the popularity of the "Appassionata" and "Moonlight" sonatas. The opening movement is remarkable for its abrupt changes of mood: there are no less than five tempo markings for the first eight bars. The first subject comprises two contrasted ideas: a soft upward arpeggio marked largo, and an agitated quaver theme. Later the arpoggio figure reappears, this time marked allegro, and with an answering theme in the right hand. During the transition the music moves to A minor. In the second subject three elements are used, the predominant mood being akin to the agitated quaver theme heard earlier. The development starts with three arpeggios spread over four octaves, which take the music to F sharp major. The following allegro contains a dialogue between the two elements of the first subject. A slow recitative-like passage leads into the recapitulation, in which Beethoven omits all the material from the first subject which he has already used in the development.

2. TOGE The slow movement is purely lyrical in character. It is in sonata form, but minus development, and with a lengthy coda. The finale is of the moto perpetuo variety, almost entirely based on a reiterated four note motive. Little relief is provided by the development or the coda, but somehow the rest- less rippling movement manages to avoid monotony. II Sonata para piano 1952 Allegro marcato Scherzo Ginastera (born 1916) Presto misterioso Adagio molto appassionato Ruvido ed ostinato Alberto Ginastera was born in Buenos Aires in 1916, and is one of the leading contemporary Latin American composers. He is extremely prolific and highly versatile having written music in almost every possible category. It This piano sonata was commissioned by the Carnegie Institute and the Pennsylvania College of Women, for the Contemporary Music Festival held at Pittsburgh in 1952. comes at a time in Ginastera's career when he was moving away from the nationalism of his earlier work, in the direction of a more international style - including some use of twelve tone composition. The first movement with its unambiguous percussive character, is very much in the Spanish/Latin American tradi- tion of piano writing. In the second movement some use is made of serial technique. It is a fleeting unearthly scherzo marked "presto misterioso". The third movement (adagio molto appassionato) starts with a figure reminiscent of a player tuning a guitar. It is in an essentially plaintive manner. The finale (ruvido ed ostinato) is in the style of a malambo a male tap dance, traditionally performed to win the favours of women. With its restless rhythm it brings the sonata to a fiery conclusion. Pictures f ***** COFFEE INTERVAL OF FIFTEEN MINUTES ** to ӘЧІ

entirely hy coda. It is 3. III Pictures from an exhibition Moussorgsky (1835 - 1881) Youthi (Last performed in 1972 by Anthony Goldstone) The exhibition in question was of the drawings, paintings and stage designs of Victor Hartmann, and was held in St. Petersburg (now Leningrad) in February 1874 - shortly after the artist's death. Mussorgsky had been Hartmann's friend, and he lent one of his own pictures to the exhibition. The music portrays the composer wandering around looking at the exhibits, as well as the pictures themselves. There are thus various promenades" all different as well as the ten pieces portraying the actual pictures. The work is remarkably modern: Mussorgsky disregarded any of the then rules interfered with his expression. Freud of composition if they Promenade The composer struts into the exhibition in a somewhat ungainly manner. (The theme of this piece recurs in some form in all the later promenades, as well as in "The Great gate of Kiev"). Gnomes The gnome shambles along clumsily - portrayed musically by pauses and frequent changes of speed. Promenade Less extrovert than the first promenade - as of anticipating the mood of the next picture. The Old Castle A medieval Italian Castle, in front of which sits a troubadour singing a plaintive song. Promenade The composer walks noisily to the next picture. The Tuileries (children quarrelling after plav) In an avenue of the Tuileries gardens in Paris, nurses attempt to keep a group of quarrelling children in order. Bydlo A large Polish cattle waggon pulled by oxen moves lumberingly along a country lane, and then fades into the distance. Promenade Mussorgsky walks pianissimo to the next picture. Ballot of the chicks in their shells The unhatched chicks peck at their shells impatient to see the daylight. Two Polish Jews one rich the other poor. A dialogue between the pompous rich Jew (heard first) and the snivelling poor one. Finally the rich one shakes the poor one off abruptly. (This was the picture which Mussorgsky himself owned).

4. Promenade Proud to have seen his own picture on exhibit, Mussorgsky moves self-importantly on to the next one. Limoges, the market place The market women gossip, shout their wares and argue in a furious sequence of semi-quavers. Catacombs The catacombs of Paris - the skulls dimly lit by the light of a lantern. Con Mortuis in Lingua Mortua This is a sort of promenade, but primarily expresses the effect of the preceeding picture. Mussorgsky wrote in his original manuscript: "the creative spirit of the dead Hartmann leads me towards the skulls and calls to them: the skulls begin to glow faintly from within". The Hut on fowl's legs (Baba Yaga) Not so much a portrayal of the hut, as of its inhabitant the witch Baba-Yaga. We hear her hurtling through the air astride a mortar, which she uses both for transportation, and for grinding human bodies in her pestel. The Great gate of Kiev An immense procession moves in triumph slowly through the great gate, while church bells sound out their greeting. ** * ROBERTO BRAVO was born in Santiago, Chile, where he made his professional debut at the age of 12, while a pupil of Rudolph Lehmann at the Chile National Conservatory. He won several piano competitions and a scholarship which took him to New York where he studied with Claudio Arrau. viland After a further two years at Warsaw Conservatory, during which time he performed at the Duzniki International Chopin Festival, he studied at the Tchaikovsky Conservatory in Moscow and won many first prizes in Europe and the U.S.A. He has since performed in Austria, Poland, Spain, Italy, Portugal, East Germany and South America. During the concert, Roberto Bravo will play a piece in memory of Miss Alison Shaw, who died on 21st June 1976. Miss Shaw was on the committee of this society for 45 years and as Hon. Secretary for the last 15 years, has done an immense amount of work for music in Huddersfield. 1 L - Area

ut their t, 5. THE HUDDERSFIELD MUSIC SOCIETY ** Area Town Hall November 8th KEITH SWALLOW AND THE AMPHION WIND QUINTET (in association with the Yorkshire Arts * Monday Evenings at 7.30 p.m. November 29th The Delme String Quartet Quintet for piano and wind Wind Quintet The Blue Firedrake (for clarinet & piano) Trevor Hold Summer Music for Wind Quintet Samuel Barber Poulenc Sextet for piano and wind January 24th February 14th March 14th Association) Mozart Richard Rodney Bennett (in association with the Yorkshire Arts Cecil Aronowitz and Nicola Grunberg The Bartok String Quartet (in association with Kirklees Leisure Services) The Lindsay String Quartet and Douglas Cummings (Cello) (in association with the Yorkshire Arts Association) Season tickets for the remaining 5 concerts £6.00 (double) £3.50 (single). Single tickets £1 from Woods, 67 New Street, & at the door. Students 50p from the School of Music & 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. Association) Generous support is also given by the Yorkshire Arts Association and Kirklees Leisure Services. It is an offence (punishable by fine and/or imprisonment) against the provisions 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.

THE HUDDERSFIELD 6. GRAMOPHONE SOCIETY **** Waverley House, New North Road Wednesday, 6th October Music with a French Flavour Tuesday, 12th October Visit to Mirfield Gramophone Bruckner and Stravinsky "Going Up" up a Harrison House. Monday, 25th October Annual subscription £1.50 (90p from 1st Jan 1977). Students and Senior Citizens half price. Secretary Mr. D. Bostock, 16 Imperial Road, Huddersfield. THE HUDDERSFIELD THESPIANS **** *** ******** Arts Centre, Venn St. Huddersfield. 11th-16th October at 7.30 p.m. Lloyd George knew my Father by W. Douglas-Home Tickets 40p from Woods, 67 New Street. HALIFAX PHILHARMONIC CLUB **** at 7.30 p.m. Clifford Thompson Society Mrs. M. Myers Mr. E.T. Bryant ** Saturday, 16th October, 7.30 p.m. The Kreuzberger String Quartet (Mozart, Hindemith and Schubert) Friday, 5th November, 7.30 p.m. The Amphion Wind Quintet toob (Rimsky-Korsakov, Berio, Lutoslawski, Britten & Mozart) ta Tickets £1.00 students 50p from Mrs. Hanson, 23 The Crescent, on Hipperholme, Halifax and at the door. ELLAND AND DISTRICT MUSIC SOCIETY **** ** ** Providence United Reform Church, Huddersfield Road, Elland. Friday, 15th October, 1976 at 7.30 p.m. RICHARD MARKHAM Piano Tickets 65p. Students 35p at the door.

Is THE HUDDERSFIELD MUSIC MUSIC SOCIETY *** **** Fifty-ninth Season 1976/77 Town Hall Monday, 8th November, 1976 Keith Swallow and the Amphion Wind Quintet **** ** **** **: **** David Nicholson Robin Miller Janet Hilton fad Melville Jerome Keith Swallow Christopher Griffiths Ioanoind **** medo Programme Quintet in Eb for piano and wind K 452 Wind Quintet The Blue Firedrake" for clarinet & Piano COFFEE Summer Music for Wind Quintet w Bonen Sextet for piano and Wind Flute T Oboe Clarinet Horn oves Bassoon Piano ***** ** **** INTERVAL FIFTEEN ** IsqmsH MINUTES ****** to loa as OT2 Mozart Richard Rodney Bennett Trevor Hold to Isqion Samuel Barber Francis Poulnec This concert is part of the Northern Contemporary Music Circuit which is organised and supported financially by the Yorkshire Arts Association. Comoo Jrasollf

2. DAVID NICHOLSON studied with Geoffrey Gilbert and Rampal and concentrates mainly on chamber music. ROBIN MILLER has played with Ballet Rambert and Sadlers Wells and as co-principal of the B.B.C. Symphony Orchestra. JANET HILTON studied in Manchester and Vienna and has appeared as soloist at the Bath, Harrogate and Cheltenham Festivals. In 1974 she gave a recital for this society with Keith Swallow. Jean-Pierre CHRISTOPHER GRIFFITHS studied with Barry Tuckwell at the Royal Academy of Music. Like the other members of the quintet, he is a principal of the Scottish Chamber Orchestra. MELVILLE JEROME gave up Electrical Engineering to study the bassoon with Birnstingl at the Guildhall School of Music. KEITH SWALLOW is soloist, accompanist and chamber music player. He has recorded the complete piano works of Holst and a group of Mendelssohn's Songs without Words. Last summer he played at the Harrogate, Three Choirs and Besancon International Festivals. We are very happy to welcome him again to our concerts. P 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 and Kirklees Leisure Services. **** No recordings may be made of a musical performance without the prior written permission of the performers. Quintet for piano & wind in Eb K452 Largo - Allegro moderato Larghetto Allegretto Mozart (1756-1791) *** Mozart completed the piano and wind quintet on March 30th 1784, and it was first performed two days later at an immensely eouoo Suot ԼԱՎ ԴԱՏոօզդ On Ap it the be

1s erre 3. long concert at the National Court Theatre in Vienna. The composer thought highly of the work. On April 10th he wrote in a letter to his father: "I consider it the best thing I have so far written". This a significant remark when one considers the vast amount of music Mozart had written by the time he was twenty eight. The artistic delicacy however makes one realise what he meant. The work is scored for oboe, clarinet, horn, bassoon and piano. The piano is not allowed to dominate, but blends in with the other instruments as an equal partner - although it is usually used to introduce a new theme. The first movement starts with twenty bars of largo introduction which hints at the material to be used later. The allegro moderato opens with a type of theme Mozart used several times; two bars of a somewhat hesitant nature on the piano, answered by a more assertive phrase on the whole ensemble; then two more somewhat. hesitant bars on the wind alone, answered once again by the whole ensemble. This alternation of hesitancy and assertiveness tends to characterize the whole movement. The slow movement is marked larghetto, and is in the related key of B flat. It is plaintive in mood, and the tone is set at once by the rather sad descending theme with which it opens. As the music unfolds, there are some beautiful passages where each instrument appears as a soloist with only the piano accompanying. The writing for the horn is particularly exquisite. The finale is a rondo markod allegretto. It is rather longer and more subdued than is usual with Mozart, although some harmonious touches are provided by the bassoon. It was this work which formed the model for Beethoven's similarly instrumented quintet Op. 16. The two pieces are a favourite coupling on long playing records. *** T Wind Quintet ** II ** Notturno 1 molto lento Molto Vivace Notturno 2 lento Variations Richard Rodney Bennett (b.1936)

4 uI 4. Richard Rodney Bennett came into prominence in the 1950's whilst still in his late teens, and has since proved to be one of the most versatile and prolific of contemporary British composers. In addition to his "serious" compositions, he has written a lot of music for children, as well as over thirty film scores. These latter have included "Far from the Maddening Crowd" and "Billy Liar", whilst his first film score was for a history of insurance - surely an unlikely source for musical inspiration! The wind quintet was composed during 1967 and 1968. It was commissioned by the Koussevitzky Foundation, and is dedicated to the memory of Serge and Natalie Koussevitzky. The instrumentation is for flute, oboe, clarinet in B flat, bassoon and horn in F. The first and third movements are noctures, do whilst the finale is a theme followed by thirty two continuous variations. Throughout it shows Bennett's very personal use of the twelve tone system. III The Blue Firedrake Trevor Hold (b. 1939) Trevor Hold was born at Northampton - a town that was also the birthplace of Alwyn and Rubbra. He was educated at Nottingham University, and currently lectures at Leicester University. "The Blue Firedrake" was specially composed for Janet Hilton and Keith Swallow in 1969. The literary minded who wish to read up about blue firedrakes can be referred to Ben Jonson's unfinished play "The Sad Shepherd" a quotation from which heads the score. Bird watchers are advised to pursue the - matter no further. Many composers such as Respighi and Messiaen have attempted to portray actual birds in music. The problem with this is that the music has to sound vaguely like the bird it claims to represent. Trevor Hold has avoided such limitations by taking the mythological firedrake as his subject - thus allowing him- self complete freedom in composition without offending the ornithologists. The basic form of the work is very simple. It is in one movement, with long cadenzas for the clarinet at the beginning and end. Sandwiched between these is a set of what might very loosely be termed variations. sounds. "chords instrum

has h be one 1950's 5. they are In the opening cadenza the clarinet makes various bird-like sounds. There are moments when the instrument plays pseudo "chords". Then in comes the piano with a crash. The two instruments are not to be thought of as complimentary: antagonistic. The piano represents something like a fox chasing the mythical bird. The music becomes faster and faster until there is a general "free for all". The piano and the clarinet are instructed to play quite independently. The piano plays a free rhythm and as fast as possible; the clarinettist has various fragments which she can repeat as often as needed. Presumably the fox never catches the bird, as she is still sing- ing at the end. Coffee Interval 15 minutes IV Surmer Music for wind quintet Samuel Barber (b.1910) Samuel Barber is one of the best known of contemporary American composers. His music is generally speaking lyrical and expressive, and relatively traditional in its technique. The "Summer Music" was commissioned by the Chamber Music Society of Detroit, and was first performed at the Detroit Institute of Arts in March 1956. It is a single movement work expressive of the joys of summer-time. The music starts off gently with the tempo marking "slow and indolent", but by bar eight "a little motion is required, and thereafter the pace becomes increasingly fast. Accompanying these changes of speed are many switches of time signature; 4/4 to 5/4 to 3/4 to 2/4 ng a and brief passages in 7/16 and 3/16. Towards the end the process goes into reverse, until the original tempo of the opening is restored. Sextet for piano and wind V Francis Poulenc (1899-1963) Allegro vivace Divertissement Finale-prestissimo

6. Francis Poulenc was one of "les six" - the group of French composers who sought to bring humour, clarity and lyricism back into music, in opposition to the impressionist approach of Debussy and his followers. The sextet was originally written in 1932, but for some reason Poulenc was dissatisfied with it and rewrote it seven years later. He was apparently never quite pleased with the sextet - although it is extremely difficult to see why.200 The first movement consists of two fast outer sections - full of wit and gaiety, and between them a slow lyrical passage - preluded by a long solo for the bassoon. This movement includes recollections from Poulenc's satirical cantata "Le Bal Masque". The layout of the second movement is the exact opposite of the first; a fast humourous section framed by passages of groat lyrical beauty. The opening theme played by the oboe is particularly exquisite. The finale is a rondo with a spiky irreverent main theme. In the closing pages however the music reverts to a mood of quiet meditation. **Delme Quartet HUDDERSFIELD MUSIC SOCIETY next concert November 29th at 7.30 p.m. HUDDERSFIELD GRAMOPHONE SOCIETY, Waverley House, Now North Road 7.30 Nov. 10th. Nielson & Sibelius - Nov. 15th Mozart & Karg-Elert. HUDDERSFIELD THESPIANS, Arts Centre, Venn St. Nov. 22nd-27th. 7.30 The Day after the Fair by Thomas Hardy. Tickets 40p from Woods, 67 New Street. HALIFAX PHILHARMONIC CLUB, Harrison House, December 9th 1976. Felicity Lott - Soprano. Richard Jackson - baritone. Graham Johnson - piano. Wolf. Italienisches Liederbuch ELLAND & DISTRICT MUSIC SOCIETY, Provident United Reform Church, Huddersfield Road, Elland. Tickets 65p. Friday, 19th November 1976 at 7.30 p.m. Amphion Wind Quintet and Keith Swallow. Students 35p and at the door.

(te THE HUDDERSFIELD MUSIC SOCIETY ** Galina Solodchin David Ogden ** **** Fifty-ninth Season 1976/77 Town Hall on EOTC Monday, 29th November, 1976 THE DELME STRING QUARTET ***** violin violin Quartet in F op. 77 No. 2 Theme and Variations Quartet No. 2 rivd Quartet in D, Op. 44, No. 1 Interval benn John Underwood Stephen Orton form of Intro viola violoncello Haydn Raws thorne McCabe Mendelssohn This concert is part of the Northern Contemporary Music Circuit which is organised and supported financially by the Yorkshire Arts Association. sotda.trigoar 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.foot due baboos don Generous support is also given by the Yorkshire Arts Association and Kirklees Leisure Services. on by one -UTASHLIC AUS motheoco odd dem odd to The Delme Quartet was formed in 1962 and has appeared in the Edinburgh International Festival, the Bath Festival and many other musical events abroad and in Britain.

2. String Quartet in F major Op. 77 No. 2. Joseph Haydn (1732-1809) Allegro moderato Menuetto. Presto ma non troppo Andante Finale. Vivace assai The m of a grou Formally (Last performed in 1959 by the Laurance Turner Quartet) Haydn's interest in the string quartet seems to have been originally stimulated by a summer visit to the home of a certain Baron von Furnberg. A group of four players were in the habit of making music in the evenings: the baron's steward, the parish priest, a local 'cellist and the composer himself. It was probably for this group that Haydn wrote the first of his so called "divertimenti a quattro" sometime in the early 1750's. Almost half a century later he wrote his quartet in F major Op. 77 No. 2- the last completed essay in the form to which he had contributed so much. The quartet is one of a set commissioned by Prince Lobkowitz (also remembered in musical history as a patron of Beethoven). It was probably intended to be a set of six, but due to Haydn's declining health and absorption in "The Seasons" only two were completed. (The middle movements of an unfinished third quartet were later published as Haydn's Op. 103). The second movement is a fast minuet, with an idyllic pianissimo trio in D flat major. The quartet as a whole is in Haydn's rustic unsophisticated vein, and this feeling is impressed on the listener right away by the easy-going opening theme of the first movement. The second subject starts with a rising sotto voce phrase clearly derived from the first. The development makes much use of a rhythmic pattern of three quavers followed by two crotchets pattern which has already been heard in the first subject. The recapitulation repeats most of the material of the exposition, and there is a short, decided coda. a cross ted s'

1809) 3. The main theme of the andante has an ambling tread reminiscent of a group of weary travellers going home along a country road. Formally the movement is interesting in that it is something of a cross between theme and variations and sonata. The second variation is particularly delightful with the theme taken by the 'cello, whilst the first violin weaves a pattern of demi-semiquavers high above. GSMP The finale starts with a "call to attention" type of chord familiar in country dances. What follows is a rustic dance movement in triple time, full of gaiety and momentum. II String Quartet No. 1 (Theme and Variations) Alan Rawsthorne (1905 – 1971) Alan Rawsthorne was born at Haslingden in Lancashire. Due to parental opposition and an early ambition to be a dentist, he came to music somewhat late. However he eventually went to study at the Royal Manchester College of Music. Unlike most of the English composers of the earlier twentieth century there is nothing specifically English about Rawsthorne's music. The greatest influence or possibly just affinity to be Hindemith. His works are almost entirely instrumental, and bear formal titles giving no indication of extra-musical inspiration. appears The first string quartet was composed in 1939 when the composer was 34. It is a single movement work comprising a theme and six variations. The tempo markings of the variations are as follows:- 1. L'istesso tempo. 2. Andante appassionato. 3. Allegro 4. Adagio; poco misterioso. 5. Allegro preciso. 6. Prestissimo. The last variation combines with a coda. It is music which requires several hearings for its full appreciation. Those who wish to pursue the matter further can be referred to the Alberni String Quartet's recording of the three. Rawsthorne quartets. vino e

4. String Quartet No. 2. John McCabe (b. 1939) Like Rawsthorne McCabe is a Lancastrian, having been born at Huyton. He studied music at Manchester and Munich, and was for a time pianist in residence at University College, Cardiff. Since then he has been a full time composer and performer. As a composer McCabe is essentially traditionalist, with a lot of emphasis on texture and instrumental colour. His output is considerable and varied, and includes quite a lot of music for children. *** ****** **** ******** COFFEE INTERVAL FIFTEEN MINUTES *** String Quartet in D major Op. 44 No. 1 Mendelssohn (1809-1847) ING Molto allegro vivace Monuetto un poco allegro Andante espressivo ma con moto Presto con brio Mozart (First performance at these concerts) Mendelssohn had the misfortune to be too successful. He was amazingly precocious as a composer, and some of his finest works were written in late adolescence notably the Midsummer Night's Dream Overture and the Octet. Judged solely by their teenage achievements, only Mozart, Schubert and Arriaga will stand comparison. By his late twenties however his popularity as a composer, conductor and pianist had turned his life into a busy whirl of musical and social events, involving a great deal of travel. The strain on his nervous energy almost certainly had a damping effect on his creativity. His death at the agoge of 38 was in a sense a greater tragedy than the early deaths of for TITNI

5. Mozart and Schubert, in that one feels Mendelssohn never quite fulfilled himself. The string quartet in D was written in 1838, near the start of this period of overactivity. It is one of three quartets Op. 44. Although known as No. 1, it was the last to be composed. The first movement has well contrasted subjects; the first exuberant and wave-like with downward flowing arpeggios, the second moving severely through close intervals. The development is elaborate and makes use of the linking figures as well as the main subject. The second movement is a minuet - an unusual feature for a nineteenth century quartet. In the trio section use is mado of the drone a country dance device which Haydn had used in the "London" symphony. The slow movement is an expressive andante in abbreviated sonata form. Trenut For the finale we have a lively saltarello similar to the one that rounds off the Italian symphony. It is a piece requiring a high degree of skill on the part of the performers. No recordings may be made of a musical performance without the prior written permission of the performers. Next concert Monday, 24th January, 1977 Cecil Aronowitz and Nicola Gruenberg. Sonata in G major Sonata for Viola and grand piano Marchenbilder Sonata in A minor (Aspeggione) Marcello Shostakovich Schumann Schubert

Waverley House, December 1st. 13th. January 5th 1977 17th. bad novell de hin Harrison House HUDDERSFIELD GRAMOPHONE SOCIETY New North Road, 6. Arts Centre, Venn Stroet. January 14th. "Late Developers" Christmas Party Monteverdi's Vespers Music for the Silver Screen HUDDERSFIELD THESPIANS A Resounding Tinkle The Real Inspector Hound HALIFAX PHILHARMONIC CLUB Felicity Lott Richard Jackson Graham Johnson to a at Ji Italienisches Liederbuch bla to - Wolf January 17th - 22nd. Soprano Baritone Piano amb 310 ab 7.30 p.m. December 9th. Modi tol Musica Reservata (15th & 16th C. Music) ELLAND & DISTRICT MUSIC SOCIETY Provident United Reform Church, Huddersfield Road, Elland. January 28th. Lindsay String Quartet

THE HUDDERSFIELD MUSIC SOCIETY *** Fifty-ninth Season 1976/77 Town Hall blo Monday, 24th January, 1977 Cecil Aronowitz Home Nicola Grunberg Interval ● Marchenbilder" Sonata in A minor (Arpeggione) ● Programme Sonata in G major for viola and pianoh Sonata for viola and grand piano → ** Viola Piano Marcello Shostakovich Schumann Schubert 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 and Kirklees Leisure Services. Cecil Aronowitz was born in South Africa of Russian/Lithuanian parentage. He was a founder member of the Melos Ensemble and Pro-Arte piano quartet, and principal viola of the English Chamber Orchestra. He was for 25 years Professor of viola and chamber music at the Royal College of Music, London and is now Head of the string faculty at the Royal Northern College of Music in Manchester. His wife, Nicola Grunberg, started to learn the piano at an early age, learnt from Fanny Waterman and appeared on B.B.C. Television. In 1962, she won a scholarship to the Royal College of Music, to study with Lamar Crowson and another scholarship to study in Tel Aviv with Professor Barenboim. She performs both as soloist and in chamber music.

Sonata in G major Andante Allegro Grave Allegro - 2- Benedetto Marcello (1686-1739) Marcello appears to have been a man of great ability and versatility. He was a lawyer by profession and held important. government posts in the Venetian administration. He is mainly remembered, however, as a poet and composer. He composed fifty psalm settings as well as a considerable body of instrumental music. The sonata in G (also known in a cello and piano version) is in four short movements, in the basic pattern: slow fast - slow fast. Moderato Allegretto Adagio Sonata for viola and grand piano op. 147. Dmitri Shostakovich (1906-1975) This work was completed just before the composer's death in August 1975, and was first performed two months later in Leningrad by its dedicatee, Fyodor Drozhinin. Its first British performance was given by tonight's artists at Aldeburgh in June 1976. It is a virtuoso work for the viola and includes two cadenzas. The piano's role is important but passive. The second movement is a scherzo and the finale bears the inscrip- tion: "In memory of the great Beethoven". It includes allusions to the opening movement of the Moonlight Sonata'. Interval of fifteen minutes Marchenbilder (Fairy tale pictures) Nicht schnell (not fast) Lebhaft (Lively) Robert Schumann (1810-1856) Schumann

586-1739) - 3- Rasch Langsam mit melancholischem Ausdruck (slow with melancholy expression) (quick) Schumann composed this work in 1851, shortly after becoming musical director at Dusseldorf. The movements are respectively in D mi., F maj., D mi. and D maj., two fast movements, enclosed by two slow ones an unusual pattern. Schumann does not appear to have indicated exactly what fairy tale picture each piece represents. It can only be said that, like several of his works, they express an artistic re-creation of the world of childhood imaginings. Scnata in A minor (Arpeggione) Allegro moderato Adagio Allegretto Franz Schubert (1797-1828) Schubert wrote this sonata in November 1824 for the arpeggione. This was an instrument invented in the previous year by Johann Stauffer a violin and guitar maker. It was, roughly speaking, a hybrid of a cello and a guitar - having six strings and frets on the fingerboard, but being played with a bow. The arpeggione would be forgotten today were in not for this single work. The sonata has in fact been recorded on the original instrument, but nowadays it is usually performed on the cello. Judged by the one recording, the arpeggione had a certain gritty rustic quality, which is enhanced by Schubert's melodic line. The sonata has a remarkable unity. This is partly explained by the affinity of the main themes of each movement: they all start with an ascending figure and progress through a series of musical "arches". It is one of the works in which Schubert comes closest to Beethoven; the broad melodies have a similarity to those of Beethoven's early second period. The first movement starts with the piano quietly introducing the main theme, which is then taken up by the viola. In the second subject, the jovial easy-going Viennese side of Schubert's character breaks through. The development starts with the viola playing pizzicato. It makes an unusually large amount of use of the second subject. The movement ends with a somewhat languorous coda.

- 4 In the adagio, the music comes closest to Beethoven - the resemblance of the main theme to that of the slow movement of the second symphony is particularly striking. It is a piece of un- broken serenity, which can only be criticised for its brevity. The adagio leads straight into the finale. Both subjects of this movement have a strong affinity with their counterpartsraum in the first movement. There is also a pizzicato passage which somewhat mirrors the one heard earlier. *** ********** No recordings may be made of a musical performance without the prior written permission of the performers. **** Next concert: *** BARTOK STRING QUARTET. 14th February, 1977 at Mozart in D minor K.421 Bartok No. 2 Beethoven Op. 130 with "Grosse Fuge" Op. 133 *** Huddersfield Gramophone Society, Waverley House, New North Rd. 7.30 p.m. 2nd. February "Felt & Wire" Jack Haigh. **** **** *** Huddersfield Thespians, Arts Centre, Venn St. March 7th 12th The Relapse... Vanburgh. Tickets 40p from Woods. *** ***** Halifax Philharmonic Club, Harrison House, Halifax. 7.30 p.m. February 11th. The Smetana Quartet Beethoven Op. 18 No. 5 Janacek 2 & Smetana 2. Tickets £1 & 50p from Mrs. Hanson, 23 The Crescent, Hipperholme. 7.30 p.m.me :* **** Elland & District Music Society. Provident United Reform Church, Huddersfield Road, Elland. January 28th. The Lindsay Quartet. Tickets 65p and 35p at the door. * C

THE HUDDERSFIELD MUSIC SOCIETY ** Potor Komlos Sandor Dovich Goza Nomoth Karoly Botvay int Fifty-ninth Season 1976-77 Monday, 14th February, 1977 Town Hall This concert is sponsored by the Kirklees Leisure Services ED THE BARTOK STRING QUARTET ** violin violin viola cello D) feb ***** ****** Quartet in D minor, K421 Quartet No. 2 in A minor, Op. 17 Intorval Quartet in Bb major Op. 130 with Grosse Fuge *********** * ** (Guarneri del Gosu, 1736) (Gio. Battista Guadagnini, 1774) (Lorenzo Storioni, 1787) (Domonicus Montagnana, 1730) 3 → OIC Io Mozart w Bartok Haf Beethoven s odi nt CO The Bartok Quartet was founded by students of the Budapest t "Ferenc Liszt Academy of Music in 1957. and achiovod its first international success at Liege in 1964, when it was awarded 1st prize at the International Music Competition for string quartets. The quartet has recorded the works of Mozart, Beethoven, Brahms, Haydn and Schubert for Hungaroton and all the Bartok. quartets for Erato (E.M.I.). It has porformed in nearly every European country and has re- peatedly been invited to many major international festivals in- cluding the Opening Festival of the new Sydney Opera House. 20

Quartet in D minor, K 421 2. Mozart (1756-1791) Allegro Andanto Monuotto- Allegretto Allegro ma non troppo (Last performed in 1968 by the Benthien Quartet) The we the corresp The f played soft part accom The mutual influence of Haydn and Mozart was somothing rather unusual in artistic history. For an older man to influence a younger contemporary is common enough, but in their case, the process worked in reverse as well. Mozart composed six quartots during 1783-1784, following a study of Haydn's output until then (i.e. up to Op. 33). Haydn became their dedicateo, and in his delightfully whimsical dedica- tion Mozart referred to the quartets as his six sons going out into the great world, and needing the protection and guidance of an older and wiser man. The work we are to hear tonight is the second of this series. Thore is a tradition that it was composed whilst Mozart's wife, Constanze, was giving birth to their first child. Whether or not by conscious intention, the work has a unifying figure which recurs in various forms in all four move- ments. This is a triplet of repeated notes. It appears first in the codetta of the opening subject, roappears in modified forms in both the second and third movements, and comes back in its original form in the closing bars of the finalo. The first movement sets the mood of melancholy which porvades the whole work. It begins with the first violin stealing in "sotto voce" with a rather angular theme. There is an asconding melody for second subject, and the oxposition onds with the first appearance of the triplet referred to above. This figuro is bandied about amongst the instrumonts a good deal in the development, and appears again in the coda. The slow movement is in F major and 6/8 time. It makes much use of an ascending semi-quaver figure, consisting of the spread out notes of the common chord. An unusual feature appears in bars 47 and 48, where both first and second violins have to play throo-note chords.

791) 3. The weary restlessness of the minuet anticipates the mood of the corresponding movement in the symphony No. 40. The trio is played softly throughout, with the three lower strings for the most part accompanying the first violin pizzicato. The finale was possibly based on that of Haydn's quartet Op. 33 No. 5. Like the slow movement, it is in 6/8 time and it consists of four variations on a siciliano-like theme. There is a long coda and perhaps the most memorable passage of the entire work occurs at the end, when an insistent four note figure is repeated many times (i.e. the semi-quaver "motto" triplet plus a quaver). It is as if the painful element, which has hitherto been subdued, finally demands this stark expression of itself. Quartet No. 2 in A minor, Op. 17. Bela Bartok (1881-1945) Moderato Allegro molto capriccioso Lento (Last performed in 1969 by the Gabrieli Quartet) Bela Bartok was interested in the composition of string quartets throughout his creative life. He wrote his first essay in the form when he was 18, but later suppressed it. He wrote six extant quartets and in the last year of his life, was planning a seventh. The second quartet was completed in 1917, towards the end of an intensive study of Hungarian folk music. The quartet reflects this preoccupation particularly in the second movement. If one must describe the first movement in terms of form, it can be said to approximate to the development section of a sonata. There is nothing that could be called a theme, and the material used can only be termed motives. The most important of these is stated by the first violin in the second bar. It consists of five notes; two ascending fourths, a falling minor second and a falling fourth. The music becomes more harsh, and then suddenly relaxes in a passage, which, heard out of context, could be mistaken for Vaughan Williams. The harsh element recurs several times, much use being made of consecutive tritones, but the movement ends serenely. The Hungarian folk dance element comes to the fore in the second movement. It has tremendous rhythmic drive. One curious feature is the way in which many sections are suspended over a single repeated note. At one point, the second violin repeats D (in two

4. octaves) over 150 times. This forces a tonal level on the listener's ear(so completely that no chromaticism can dislodge it. The movement ends in a quietly played shimmering prestissimo. Like het The quartet belongs to that select batch of musical works which end in a slow movement. It has a chain-like structure, which sounds to the ear somewhat like a set of variations. sections are linked only by brief motival allusions. The 20 COFFEE INTERVAL OF 15 MINUTES Quartot in Bb major, Op. 130 Beethoven (1770-1827) Second move Adagio ma non troppo - Allegro Presto Andante con moto, ma non troppo Alla danza tedesca, Allegro assai Cavatina. Adagio molto espressivo Grosse Fuge Op. 133 (Last performed in 1937 by the Kolisch Quartet) This quartet was composed after Beethoven had recovered from a serious illness. Although it is a mistake to read auto- biographical expression too literally into music, the first five movements do seem to be suffused with a sense of thankfulness for recovered wellbeing. They arise from the side of Beethoven's creativity which had produced the Pastoral symphony and the Spring sonata, being full of beautiful, simple melody capable of immediate appreciation. First Movomont: The opening movement, with its frequent changes of tempo, is in some ways reminiscent of the first movement of the piano sonata, Op. 31 No. 2 which we heard in the first recital of this series. It is written in a very loose sonata form. The first 14 bars are marked adagio ma non troppo, and are in 3/4 time. They are not really introductory, as the material forms an integral part of the movement. There follows what appears to be an abrupt change to allegro and common time. To the ear, however, there is a feeling of continuity. This characterises the whole movement; no less than fifteon tompo changes in a relatively short movement might be expected to lead to chaos, yet the music has its own easy inevitability. Many of the moods, and at least one of tho odpot actual themes of the subsequent movements are anticipatod. betoogor τποο ut ST example of The f

simo. ge 5. Second movement: This is a sort of scherzo, but the main section is in common time, not triple as one would expect. The trio is an example of brevity being the soul of wit. The third is a cheerful slow movement, its main themo having something of a march about it - but of a very informal nature. The whole piece is full of a gentle casual humour. The fourth movement was originally composed in a slightly different form for the Op. 132 quartet (an earlier work despite its opus number). Its title indicates that it is in the style of a German dance. It has a delightfully simple main theme, somewhat akin to "Oranges and lemons". There is a curious passage towards the end, where the theme is split into fragments played in an unexpected order, each by a different single instrument. The Cavatina is best left un-analysed; suffice it to say that it is one of the most moving passages in all music. The Grosse Fuge, Beethoven's original finale, was, at the first performance, treated with some misgivings by the audience because of its length and difficulty, and Beethoven's publisher persuaded him to write a substituto. This, an allegro, is totally unlike the fugue, being light-hearted and written in his earlier style in fact the main theme is positively Haydnesque. Like many great works of art, Op. 130 is capable of being approciatod at different levels. In a sense it is a delightful divortimento, full of straightforward tunos; it is also a profound spiritual expression. Both views are tonable depending on the mood of the listener. Playing the substituted finalo emphasises the former; using the fugue stresses the latter. It is certainly an extraordinary pioce of music, and has porhaps provoked greater extromes of hostility and admiration than any other work. It is not a singlo fugue, but a vast move- mont incorporating elements of fugue, sonata and scherzo. Aftor 30 bars of introduction, we plunge into the first fugue. Beethoven had expressed struggle in music before, but never with such a sense of pain and exhaustion. The second fugue, marked meno mosso, provides some welcome relief. It is followed by a scherzo version of the first motives. Finally there is a roturn to Bb for a brief summary of both subjects.

6. The Grosse Fuge is hard to listen to and even harder to play. There are those who think that the substituted finale makes a more fitting conclusion to what has gone before. However, it is good that we should sometimes get a chance to hear the quartet as Beethoven originally wrote it. Next concert Monday, 14th March in the Town Hall at 7.30 p.m. Lindsay Quartet with Douglas Cummings, 'cello Quartet in A op. 20 no. 6 Quartet no. 1 Quintet in C op. 163 orodj Huddersfield Gramophone Society, Waverley House, February 21. March 2. Haydn Tippott Schubert Little known composers The symphonies of Mahler orj Huddersfield Thespians Arts Centre, Venn Streot. The Rolapso Halifax Philharmonic Club Harrison House. Elland & District Music Society New North Road. Lindsay Quartet Haydn, Tippott and Schubert Op. 161. Anne-Marie Connors and Keith Swallow bro ort Harold Truscott Paul Serotsky Jad March 7th - 12th. March 18th Prov. United Roform Church. Huddersfield Road, Vrem ostal March 18th. NE 1q no