|
loading...|
|
HMS 60 |
|
|
1 HMS_60_0001 |
▲back to top |
Ocr'd Text:
DIAMOND JUBILEE SEASON
1977-78
The
Huddersfield Music
Society
WT.
7-30 p.m.
AREA, TOWN HALL, HUDDERSFIELD
(entrance in Corporation Street)
|
|
2 HMS_60_0002 |
▲back to top |
Ocr'd Text:
Friday, 21st October, 1977
THE NEW BUDAPEST
STRING
QUARTET
Andras Kiss
...... Violin
Pal Andrassy
Violin
Tivadar Popa
Viola
Tibor Parkanyi ........ Cello
Quartet in G major,
Op. 18, No. 2 ....
Quartet in B flat major,
Op. 18, No. 6 ..
.... Beethoven
Beethoven
Quartet in F major,
Op. 59, No. 1 ..... ...... Beethoven
The Society will welcome another visit
from this Hungarian quartet who played
for us in 1974 on their first visit to Great
Britain, and again in 1975 when they
introduced to us a quartet by Lutos-
lawski.
This season their programme is to be
all Beethoven. The variety in these
works should provide an interesting
study and an enjoyable musical experi-
ence.
Monday, 14th November, 1977
THE RICHARDS
PIANO QUARTET
Violin
Viola
Bernard Richards ...
Cello
Bernard Roberts ......... Piano
Nona Liddell
Jean Stewart
Piano Quartet in G minor,
K. 478......
Piano Quartet (1942).
Piano Quartet in C minor,
Op. 15......
Mozart
Martinu
Faure
In spite of there being a rich reper-
toire for this type of ensemble, this is
the first time in these sixty years that
the Society have engaged a piano
quartet.
In "The Times" this British group
were described as "a fine stylish
ensemble who perform with an easy
naturalness, a nice blend of informality
and spirited intensity". With a some-
what unusual programme this should
be a memorable occasion.
|
|
3 HMS_60_0003 |
▲back to top |
Ocr'd Text:
Monday, 5th December, 1977
THE GUARNERIUS
STRING QUARTET
Jurgen Hess
Violin
Violin
Michael Freyhan
Roger Best
Viola
Patricia Cartwright .... Viola
Benjamin Kennard ...... Cello
Fantazia Upon One Note ...... Purcell
Quintet in C major, K. 515 ...... Mozart
Passacaglia for String Quintet ......
Patricia Cartwright
Quintet in E flat, Op. 97 ......... Dvorak
Here again we have a form of
ensemble new to the Society. Formerly
we have had performances by quartets
with an additional player. The Guar-
nerius are accustomed to playing as a
quintet and there have been apprecia-
tive
from
comments
other music
societies.
It will be noticed that the third work
in the programme is by one of the viola
players.
Monday, 16th January, 1978
THE GABRIELI ENSEMBLE
Kenneth Sillito
Keith Harvey
Keith Puddy
John Streets
Trio in E minor,
Op. 90 (Dumky)
Violin
... Cello
Clarinet
Piano
Dvorak
Quatuor pour la Fin du Temps ...
Messiaen
The Gabrieli Ensemble was formed in
1962 with a view to offering audiences
interesting and well-balanced pro-
grammes in which various combinations
for violin, cello, clarinet and piano are
presented. Each of the four players has
had a most distinguished career and
their ensemble reputation is world-wide.
Members will recall the wonderful
performance by the ensemble in 1973
of Messiaen's Quartet for the End of
Time and by special request they will
repeat this outstanding work.
It has been possible to engage this
famous ensemble a second time through
the generosity of Borval Fabrics Ltd.
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
the February concert is part of the Northern Contemporary Music Circuit
which is organised and supported financially by that Association.
()
S
C
in
A
S
E
S
S
F
h
W
S
|
|
4 HMS_60_0004 |
▲back to top |
Ocr'd Text:
siaen) in Paris.
with Yvonne Loriod
At the present time h
ham Orchestra.
(the
I enclose £.
Philharmonic and the
sions and also with the R
soloist with the Hallé on
Bach to Messiaen. He ha
His repertoire is very
City
va
To assist the Treasurer, please enclose this form.
REMITTANCE
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
Double (Single) Season Tickets
Name...
Address
studied under Derrick Wyr
Manchester College of Mu
ing at Chetham's School a
chester in 1953. He recei
Peter Donohoe was b
Name
Address
("Hammerklavier")
Sonata in B flat major, Op
La Fauvette des Jardins ..
APPLICATION FORM (for the use of NEW MEMBERS ONLY)
To the Hon. Secretary, 37 Gynn Lane, Honley, Huddersfield HD7 2LE
Please send me
Double (Single) Season Tickets for which I enclose £.
Cheques should be made payable to "The Huddersfield Music Society"
Receipts will not be issued unless requested
Sonata No. 2
Sonatine
(BLOCK LETTERS PLEASE)
PETER DONO
Monday, 6th Febru
|
|
5 HMS_60_0005 |
▲back to top |
Ocr'd Text:
X
1
S
6
Monday, 6th February, 1978
PETER DONOHOE
Ravel
Tippett
La Fauvette des Jardins ...... Messiaen
Sonata in B flat major, Op. 106
("Hammerklavier")
Sonatine
Sonata No. 2
......
Beethoven
Peter Donohoe was born in Man-
chester in 1953. He received his train-
ing at Chetham's School and the Royal
Manchester College of Music where he
studied under Derrick Wyndham.
His repertoire is very varied - from
Bach to Messiaen. He has played as
soloist with the Hallé on several occa-
sions and also with the Royal Liverpool
Philharmonic and the City of Birming-
ham Orchestra.
At the present time he is working
with Yvonne Loriod (the wife of Mes-
siaen) in Paris.
Wednesday, 22nd March, 1978
THE LINDSAY
STRING QUARTET
Peter Cropper
Ronald Birks
Violin
Violin
Viola
Roger Bigley
Bernard Gregor-Smith ... Cello
...
Quartet in C major, Op. 54,
No. 2
Haydn
Quartet in E flat major, K. 428... Mozart
Serenade
Wolf
Quartet in A minor, Op. 29 ... Schubert
.....
....
This is the fourth Music Society con-
cert by the Lindsay String Quartet since
their formation in 1966 and during that
period they have attained a European
reputation.
In 1973 they toured Italy and were
chosen by the British Council to repre-
sent their country at "Interforum '73"
- a showcase for young artists in the
Esterhazy Palace in Hungary.
This season, in addition to numerous
appearances in their own country, the
quartet are making a second tour of
Italy and are also playing in Germany,
Holland, Paris and Vienna.
SEASON TICKETS
Double
£10.00
(for two persons not necessarily of one
family)
..
£5.50
Single
Student
£2.50
(may be obtained from the School of
Music, Polytechnic or from the Hon.
Secretaries)
Single Ticket
Student Ticket
....
(Full-time Students)
ACCEPTED.
£1.25
... £0.50
LAST SEASON'S 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 7th October, AFTER WHICH DATE
NO RETURNED TICKETS CAN BE
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
|
|
6 HMS_60_0006 |
▲back to top |
Ocr'd Text:
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.
THE SOCIETY IS GRATEFUL FOR FINANCIAL HELP
FROM THE FOLLOWING:
The Rt. Hon. THE LORD SAVILE, J.P., D.L.
G. R. BOOTH, Esq.
BORVAL FABRICS LTD.
F. BRATMAN, Esq.
Dr. M. C. BRIERLY
A. G. CROWTHER, Esq.
DAVID DUGDALE, Esq.
P. G. C. FORBES, Esq.
EDWARD GLENDINNING, Esq.
KIRKLEES LEISURE SERVICES
P. MICHAEL LORD, Esq.
NATIONAL FEDERATION OF MUSIC SOCIETIES
NATIONAL WESTMINSTER BANK LTD.
S. ROTHERY, Esq.
S. M. SELKA, Esq.
Mrs. C. STEPHENSON
S. SUTCLIFFE, Esq.
J. G. SYKES, Esq.
W. E. THOMPSON, Esq.
J. J. VALNER, Esq.
YORKSHIRE ARTS ASSOCIATION
|
|
7 HMS_60_0007 |
▲back to top |
Ocr'd Text:
THE HUDDERSFIELD MUSIC SOCIETY
*****
(980-05 ****
***:
THE NEW
Andras Kiss
Pal. Andrassy
Sixtieth Season 1977/78
Friday, 21st October, 1977
m.adi
Town Hall
***:
**
BUDAPEST
violin
bol
violin
STRING
Programme
Quartet in G major, Op.18 No.2
Quartet in B flat major, Op.18 No.6
Quartet in F major, Op.59 No.1
(Rasumovsky)
***
******
Fend)
QUARTET
Tivadar Popa ...
viola
G
Tibor Parkanyi . cello
*****
JESU
Beethoven
Beethoven
Beethoven
IT
The New Budapest String Quartet was formed in 1970 and played
for us first in 1974. They returned in 1975 and we welcome them
again tonight when they will open our Silver Jubilee Season with
an all Beethoven concert, consisting of three of the seventeen
works which he wrote in this genre. Although the Op. 18 quartets
are not numbered in order of composition, No. 2 does in fact appear
to have been written before No. 6, so we will be hearing the
quartets in the order in which Beethoven wrote them. It might be
interesting to bear their respective dates in mind: 1799;
1799; 1800
and 1806.
|
|
8 HMS_60_0008 |
▲back to top |
Ocr'd Text:
20
Beethoven (1770-1827)
Quartet in G major, Op.18 No.2
Allegro
Adagio cantabile
1
Adagio cantabile
Allegro molto quasi presto
(Last performed in 1950 by the Barylli Quartet)
Of the Op.18 quartets, No.2 is probably most akin to the
spirit of Haydn and Mozart. The exposition of the first movement
is full of neatly answering phrases, which have been likened to
guests bowing and curtseying to each other at an eightoonth
century social gathering. This has led to the seldom used nick-
name of the "compliments" quartet. The development takes the
music away from this mood of simple elegance, to a passage of
considerable agitation. The movement ends with a simple state-
ment of its main theme a device Beethoven used again in the
first movement of the eighth symphony.
The slow movement is curious in that the adagio cantabile
is abruptly interrupted by a brief allegro section, after which
the original tompo returns to close the movement. It is a
scheme later superbly used by Berwald in the Sinfonie Singuliere.
The idea may have originated in the curious finale of Haydn's
string quartet, Op.54 No.2 - which we are to hear in the last
recital of this series.
The witty figuration of the scherzo has been likened to
the cracking of a whip. The trio section starts off with stark
simplicity, but leads on to elaborate ornamentation. The nature
of the opening theme of the finale somehow makes one expect a
rondo, but in fact the movement is in sonata form. It returns
to the gay mood of the opening of the quartet, but there is an
increase of momentum to create a brilliant conclusion.
Quartet in B flat major, Op.18 No.6
Allegro con brio
Adagio ma non troppo
Scherzo: Allegro
Adagio leading to Allegrotto quasi allogro
(Last performed in 1958 by the Pro Musica Quartet)
Beethoven
Th
within
Beethov
|
|
9 HMS_60_0009 |
▲back to top |
Ocr'd Text:
(7)
3.
This is a work which combines many diverse moods and styles
within its compass
to such an extent that some writers on
Beethoven find it disunified. The earlier mcvements are in the
eighteenth century tradition, but the finale in some ways
anticipates Beethoven's last quartets.mo LIA
The first movement is an example of Beethoven's skill at
making the simple and obvious sound interesting. The first
subject is full of sparkle, and has an affinity with the
corresponding theme of the second symphony. This leads on to a
very simple tune as second subject. The development mainly relies
on the first subject much ornamented by scale passages.
recapitulation is fairly conventional, and the movement ends
abruptly without a coda,
The
The slow movement is built on two themes: the first, naively
simple, the second poignant and plaintive. They receive increasing
ornamentation as the movement progresses, and both play a part in
the coda.
3000EL
There is a tantalising opening to the scherzo. Although it
is actually in 3/4 time, the ear is half inclined to hear it as
6/8 due to the triplets played by the viola and 'cello. The
interest is further enhanced by the excessive syncopation. Then
suddenly at the fifteenth measure everything becomes straightf
forward. It is like someone deliberately making something
complicated in order to make one feel stupid. The humour of the
trio is loss sophisticated.
out
It is in the finale that Beethoven shows his greatest
originality, and this is the movement which anticipates some of
the devices of the last quartets. It starts with a long adagio
introduction entitled by Beethoven "La Malinconia", and given the
added instruction to be played with the greatest delicacy". The
passage is romarkable for its daring modulations. An ascending
soction leads into the main body of the movement, which sets off
with a danco-liko tune. The gay rondo proceeds to a crescendo,
and is then surprisingly interrupted by ten bars of adagio related
to the "La Malinconia" introduction. There follow four rather
subdued bars of the dance theme; another two bars of adagio; and
a final return to the rondo theme. Near the end there is a threat
of yet another return to the melancholy mood, but the music changes
its mind, and terminates in a vivacious prestissimo.
|
|
10 HMS_60_0010 |
▲back to top |
Ocr'd Text:
***
4.
***
COFFEE INTERVAL OF FIFTEEN MINUTES
***** :
***
Quartet in F major, Op.59 No. 1 (rasumovsky) doo Beethoven
Allegro
is tbla enovo Allegretto vivace e sempre scherzando ent
Adagio molto e mesto
Theme Russe - Allegro
performed in 1966 by the Alberni Quartet)
va
(Last
This is the first of the three quartets which Beethoven to
dedicated to Count Rasumovsky, at that time Russian Ambassador
in Vienna. As a compliment to the Count it was Beethoven's
intention to incorporate a Russian folk song into each quartet -
although in fact he omitted to do so in No.3. The first one in
F is amongst the most expansive of Beethoven's quartets. It is
at the opposite extreme to the technique of the first movement
of the fifth symphony. Instead of the short incisive figures
and the compressed momentum, we have flowing melodies and
unexpected turns of mood. An unusual feature is that all the
movements are in sonata form.
Tho first movement starts with the 'cello playing the main
theme beneath a beating rhythm on the second violin and viola.
The theme is then played above the beating rhythm by the first
violin, and the passage builds up to a fortissimo. This is
followed by a passage based on a subsidiary theme. The second
subject is also flowing and lyrical, so that the contrasts of
the movement are largoly achieved by the treatment and not by the
thomes themselves. Towards the end of the exposition, is a
passage where high and low chords alternate. They have the int
effect of impeding the momentum like a dam across a river, and s
make the following music sound all the more flowing by contrast.
The reappearance of the main theme makes one suppose that
this is a repeat of the exposition, but in fact the theme leads
straight into the developmont. This makes much use of a triplet
figure taken from the first subject. In the middle of the
development the momentum is again interrupted and the section.
ends with a descending arpeggio to bring us back to the main
theme and the recapitulation. There follows the coda, when, for
тиомлеч
|
|
11 HMS_60_0011 |
▲back to top |
Ocr'd Text:
hoven
5.
the first and only time in the movement, we hear a fully
harmonised account of the main theme.
The order of the two middle Movements is reversed, so that
the scherzo comes second and the slow movement third, a procedure
which tends to be associated with works of unusual length and
ambition. For the first time in quartet literature the usual
scherzo pattern (scherzo trio repeat of scherzo) is disponsod
with, and the whole movement is written in a loose sonata form.
A very insistent rhythm is hammered out by the cello in the
first three bars, and although many themes and fragments go to
mako up the piece, this rhythm tends to be heard by the mind's
ear throughout. The mood varies from titanic forcefulness, to
whimsical humour, and several passages of magical lightness which
prefigure the scherzi of Mendelssohn.
No such variety of mood characterizes the adagio. It is
melancholy, throughout, and only Beethoven's harmonic subtlety
avoids monotony. The movement ends with a passage for solo
violin, preparing the way for the finale - which follows without
a break.
This is the movement where Beethoven introduces the
Russian folk song. The original song was a sad lament for a
soldier prematurely aged by the rigours of war, but Beethoven
completely transforms it into a dance-like theme. We hear it
at the beginning of the movement played on the 'cello beneath
a trill on the first violin, sounding all the more gay after
the sombre adagio. The festive mood continues throughout the
movement, and only in the coda do we hear the theme in its
original slow tempo- but this is abruptly interrupted, and
nine bars of presto round off the quartet.
|
|
12 HMS_60_0012 |
▲back to top |
Ocr'd Text:
NEXT CONCERT
6.
HUDDERSFIELD MUSIC SOCIETY
*****
Wonos boa frontar
Monday, 14th November at 7.30
THE RICHARDS PIANO QUARTET will play three
he works not previously heard at these concerts:
MOZART in G minor
MARTINU (1942)
FAURE in C minor.
Tickets £1.25 (students 50p) from Woods Music Shop or at the door.
bisod
Huddersfield Thespians "The Sunshino Boys" by Neil Simon
Venn Street Arts Centre at 7.30
date?
Huddersfield Gramophone Society Waverley House, New North Road
at 7.30
Oct. 31 Programme by Bill Bryant, details to be announced.
Nov. 8 Visit to Mirfield ... The Mikado
Toe
OV
Halifax Philharmonic Club Lecture Hall, Harrison House, Halifax.
Nov. 26 at 7.30 The Vermeer Quartet. All Beethoven concert.
237
|
|
13 HMS_60_0013 |
▲back to top |
Ocr'd Text:
Nona Liddell
Jean Stewart
THE HUDDERSFIELD MUSIC SOCIETY
Sixtieth Season 1977/78
Monday, 14th November, 1977
tobrol
Town
THE RICHARDS PIANO QUARTET
violin
viola
Hall
Programme
Piano Quartet in G minor K478
Piano Quartet (1942)
Piano Quartet in C minor opus 15
***
of Bernard Richards
Bernard Roberts.
0009
cello
piano
Mozart
Martinu
Faure
The Richards Piano Quartet is composed of four well-known
chamber music players. Nona Liddell trained at the Royal Academy
of Music and was for some years the leader of the English String
Quartet. Jean Stewart was a pupil of Isolde Menges at the Royal
College of Music and has had several works dedicated to her
notably Vaughan-Williams' second string quartet.
Aze
Bernard Richards studied with Ivor James at the Royal
College and played in the International String Quartet, who gave
us a concert in 1935. He is now a professor at the Guildhall
School of Music. Bernard Roberts learnt from Eric Harrison at
the R.C.M. and then with Ferdinand Rauter. He is a distinguished
soloist, having received much praise for his performance of all
the Beethoven sonatas, and he also plays in duos and trios.
All tonight's works are being performed for the first time
at these concerts.
|
|
14 HMS_60_0014 |
▲back to top |
Ocr'd Text:
2.
Piano quartet in G minor K478
Allegro
Andante
Rondo: Allegro non troppo
Mozart's piano quartet in G minor was the earliest important
work to be written in this genre, It was the first of three
commissioned by the publisher Franz Hoffmeister. Mozart
completed it in October 1785, but the publisher considered the
work too serious and difficult, so the composer did not hold him
to his contract the second quartet was therefore published by
Artaria. Mozart may also have written a third piano quartot which
has since been lost.
Mozart (1756-1791)
The first movement starts with a brief omphatic statement by
all the instruments, followed by an answering downward arpeggio on
the piano. The movement is unusual amongst Mozart's works in
being unithematic- the second subject is derived from the first.
It has a serious intensity which partly explains Hoffmoistor's
attitude.
The andante is in the relative major - B flat
B flat and is in
modified sonata form. The opening subject is first played by tho
piano alono, and is then repeated with the addition of the
strings.
Piano Quartet No. 1
The finale is a sonata-rondo in the tonic major, It is the
most cheerful part of the work with many beautiful themes.
dise
***
Martinu (1890-1959)
Poco allegro
Adagio
Allegretto poco moderato
Bohuslav Martinu was Czochoslovakian by birth, but spont
much of his later life in Franco and America. He composed in a
wide range of forms: symphonies; concorti; oporas; ballots and
film music as well as a considerablo body of chamber works.
Mar
1942, sh
|
|
15 HMS_60_0015 |
▲back to top |
Ocr'd Text:
1791)
3.
Martinu composed his first piano quartet in the spring of
1942, shortly after settling in America, and it was first
performed at the Berkshire Music Centre in Lonox, Massachusetts.
The first movement starts with the violin announcing a jorky
three-note figuro, which is then echoed by the viola. This leads
at once to a more lyrical passage, but the three note motive
rocurs throughout the movement, blending with traces of Moravian
folk song.
adrste jotkaup on noiferatonado
The adagio is curious in that for most of its duration only
the strings are playing. It starts off with a long expressive
passage, and only about half way through does the piano appear -
playing rapid roulades against tho muted strings. But it soon
falls silent, to allow the strings to complete the movement alone.
3.0
The finalo reversos this process starting and onding with
the piano alone. The piano first introduces a rocking thomo, loof
and this is then developed by all the instruments in increasingly
luxuriant harmony. The tempo accolorates and upward rushing
scales are passed between the instruments. At the climax there a
is a fortissimo roappearance of the previously subdued theme of
the first movomont. There follows a briof andante, and then
the allogrotto roturns to complote tho quartot.
INTERVAL
Piano quartot No. 1 in C minor Op.15
Allegro molto modorato
Scherzo: Allogro vivo
Adagio
Allegro molto
og Faure (1845-1924)
Faure was one of those composers who wore content to pour
their own musical personalities into the forms and traditions
they inherited. He remained somewhat aloof from the contemporary
tronds, concontrating on a straightforward perfection of form,
|
|
16 HMS_60_0016 |
▲back to top |
Ocr'd Text:
4.
which avoids extremes of emotionalism, Like Bruckner he was a
professional organist who wrote almost nothing for the organ,
Although he composed a wide range of music, he is mainly
romombered today for his famous setting of the Requiem, the chamber
works, piano music and songs. This piano quartet was composod in
1879.
HUDDERSFI
Characteristically the quartet starts off by plunging straight
into the beautiful opening theme which is played by the strings in
unison, with syncopatod chords from the piano. The contrastod
second subject is delicate and wistful. The dovelopment makos use
of both subjocts, and there are some exquisite poetic passages
whoro the piano is used in a harp-like manner.
The scherzo is full of wit and sparklo, porhaps showing
some influence of Faure's teacher Saint-Saons, and appearing to
look forward to the musical humour of Poulenc. The piano ripplos
away, whilst the strings alternate bowed and pizzicato sections.
The romantic trio soction is built out of themes of deceptivo
simplicity.
Tho adagio starts with a restful theme on the 'collo, and
the mood of peaceful moditation persists throughout.
Many elements go into the finale. The opening is dance like,
and somewhat in the manner of a mazurka. This gives way to
lyricism, and passages of dialogue betwo on the piano and strings.
The work ends with forceful coda.
**
|
|
17 HMS_60_0017 |
▲back to top |
Ocr'd Text:
2.
sa
HUDDERSFIELD MUSIC SOCIETY
Next concert, Monday, 5th December, 1977.
THE GUARNERIUS STRING QUINTET
*****
Purcell Fantasia, Mozart in C, Cartwright Passacaglia, Dvorak in
Eb.
Tickets £1.25 (students 50p) from Woods Music Shop or at the door.
HUDDERSFIELD THESPIANS
5.
"The Sunshine Boys" November 21st - 26th.
Venn Street Arts Centre at 7.30 p.m.
HUDDERSFIFTD GRAMOPHONE SOCIETY
Waverley House, New North Road.
"The Development of the Kettle Drum in
symphonic music"
28th November at 7.30 p.m.
HALIFAX PHILHARMONIC CLUB
Jack Haigh
Harrison House at 7.30 p.m.
Vermeer Quartet
Beethoven Op. 18 No.1, Op.74 and Op.59 No. 1.
ELLAND & DISTRICT MUSIC SOCIETY December 9th at 7.30 p.m.
RUTH NYE - Piano
Provident United Reform Church, Huddersfield Road.
|
|
18 HMS_60_0018 |
▲back to top |
Ocr'd Text:
308 DICUM G
FURTHER CONCERTS of Huddersfield Music Society in 1978.
Monday, 16th January
Monday, 6th February
Wednesday, 22nd March
6.
***
Jos
:**
THE SOCIETY IS GRATEFUL FOR FINANCIAL HELP FROM THE FOLLOWING:
The Rt. Hon. THE LORD SAVILE, J.P., D.L.
G. R. BOOTH Esq.
BORVAL FABRICS LTD.
F. BRATMAN, Esq.
Dr. M. C. BRIERLY.
A. G. CROWTHER, Esq.
DAVID DUGDALE, Esq.
P. G. C. FORBES, Esq.
datello EDWARD GLENDINNING, Esq.
KIRKLEES LEISURE SERVICES
Gabrieli Ensemble
Peter Donohoe - Piano
Lindsay String Quartet
P. MICHAEL LORD, Esq.
NATIONAL FEDERATION OF MUSIC SOCIETIES
NATIONAL WESTMINSTER BANK LTD.
S. ROTHERY, Esq. q
S. M. SELKA, Esq.
Mrs. C. STEPHENSON. ITI008 DICUM TORTOR & CHALTE
S. SUTCLIFFE, Esq.
Y HIUA
J. G. SYKES, Esq.
W. E. THOMPSON, Esq.
J. J. VALNER, Esq.
YORKSHIRE ARTS ASSOCIATION
|
|
19 HMS_60_0019 |
▲back to top |
Ocr'd Text:
(R-820) THE HUDDERSFIELD MUSIC SOCIETY ohd no standast
***
**
Web Sixtieth
Sixtieth Season 1977/78
Season 1977/78 malzemet A
bojenstags anottoos lo sedmuns ont be
at bebiylb esetq Istauqartmoo
Xindl noyt om
1977 bus Iqmet d‡od nt
December,
sofquexe aid bosogmos
rea-bim and at
**
Jurgen Hess
Michael Freyhan
Monday, 5th
anothosa quot of mi
gu bas not THE GUARNERIUS STRING
****
sol qu gatw
violin
violin
al bas
Town Hall
Fantasia upon One Note
Quintet in C major K515
**
Benjamin Kennard
IM anveig to do
Programme
Passacaglia for String Quintet
Quintet in Eb opus 97 A tofdownel!
**
OVOI odalvont t
af etoll on no siestus
QUINTET
abeoqe tedd
ons
****
viola
Roger Best
Patricia Cartwright
viola
celloted to one and doel
Jadwenoa erld and
Purcell
22 5 m dodatno Mozart
**** ***
Patricia Cartwright
Dvorak
**
The Society has, from time to time, included quintets in
String Quartet programmes, when an additional viola or cello has
joined a Quartet, as, for instance, when Cecil Aronowitz, viola,
and Douglas Cummings, cello, played with the Lindsay String Quartet
in 1976 and 1977, respectively. one is met oud enthasol yd
The Guarnerius Quintet was formed with the object of special-
ising in the fine repertoire of works for two violins, two violas
and cello. Tonight's programme is of works which we have not had
before at these concerts, one, the Passacaglia, being by one ofom
the viola players of the Quintot. od gated oiani't ont - admomorOSI
odd to robro foortoo ont of as tromoorasath onoz at eronT
boooca es Jountm odt aan nolitho fexti ont edremovom obbi aud
TOVODHnodibox atrid wollo? santbrooor bas soroos from bus
Best
|
|
20 HMS_60_0020 |
▲back to top |
Ocr'd Text:
Fantasia on one note
Purcell (1658-1695)
A fantasia, in the older sense of the word, was a
contrapuntal piece divided into a number of sections contrasted
in both tempi and textures. The form originally came from Italy
in the mid-seventeenth century, and Purcell composed his examples
in the late 1670s, when it was already becoming cbsolete. The
Fantasia on One Note is a brief work divided into four sections,
their speeds being indicated in a mixture of Italian and English:
andante; brisk; slow and quick with a final slowing up for
the brief codetta. The composer did not specify which instruments
were to play the various parts. The work owes its title to the
fact that one of them (the second viola in modern performances)
has the somewhat monotonous job of playing middle C throughout.
*** ****
20
String Quintet in C K515
***
Andan te
Allegro
Mozart (1756-1791)
Allegro
Menuetto: Allegretto
остар
Mozart wrote two string quintets during the spring of 1787; Dmx,
the C major completed on April 19th, and the G minor which he
finished on May 16th. As with several other similarly paired works
by Mozart, the two form an antithesis: the melancholy of the G
minor contrasting with the expansive confident manner of the
piece which we are to hear tonight.
the pagina-
the andante
This quintet is in fact the longest of all Mozart's four
movement instrumental works. The length is mainly in the outer
movements the finale being the longest instrumental movement
Mozart ever composed.
last2
супра
chamber worke
There is some disagreement as to the correct order of the
two middle movements. The first edition has the minuet as second,
and most scores and recordings follow this tradition. However
cerig
|
|
21 HMS_60_0021 |
▲back to top |
Ocr'd Text:
3-1695)
3.
the pagination of Mozart's autograph suggests that he intended
the andante to come second, and the minuet third. HOT AI
HOT AITOA9422.19
The first movement starts with a rising confident figure
on the 'cello accompanied by a throbbing rhythm on the middle
strings. The 'cello is answered plaintively by the first violin
a beautiful example of the change of mood which often occurs
within a Mozartian melody. After a bar's rest the theme is
repeated but with the difference that it is now in C minor,
and the collo and first violin have swopped over their figures.
The exposition is very expansive and includes two further
important themes - one with an affinity to the "whispering theme
of the Marriage of Figaro Overture. This theme also features in
the very dramatic development, and recurs yet again in the coda -
where it leads to a very gentle close.
201
12
noddh
to
15
This mood of gentle relaxation continues in the minuet.
The trio section is unusually long and varied. A passage of
ambiguous tonality leads somewhat unexpectedly to a delightfully
catchy tune.
feug
07
The boautiful andante for the most part takes the form of
a dialogue between the first violin and the first viola. During
many passages they throw phrases to and fro between each other,
whilst the other instruments have to be content with a very
subsorviont role.
20
INTERVAL
ob Joold
me doofdre
The finale starts off with a tune of typical Mozartian protam
gaiety. It leads one to expect a brief light-hearted rondo, but
in fact far greater complexity lies ahead. The movement is a
sort of sonata-rondo, with a set of variations taking the place
of the development section. Dospite some passagos of agitation, da
the work is finally rounded off in the mood of confident 13
optimism with which it began.
|
|
22 HMS_60_0022 |
▲back to top |
Ocr'd Text:
4.
bobnojmt on dedt afsogaus dangora a dosol
PASSACAGLIA FOR STRING QUINTET ond bas
PATRICIA CARTWRIGHT
to finaler ond
6.3
Written in 1973 for the Guarnerius String Quintet, this short
work sees the 18th-century passacaglia (an Italian dance in
triple time, constructed on a ground-bass) through 20th-century
eyes. The treatment of the theme and its eight variations is
serial, the tone-row recurring throughout the work in several
disguises to explore the many sonorities of five stringed
instruments.
Gal
*****
bo ***
String quintet in E flat op.97
nt eoutsol oefs omond
****
bodsoqot
Dvorak (1841-1904) ONT
60 37
ant
10 ogsbrall one to
ongolovob oljemarb vev odj
rov a of absol diorow
Allegro non tanto
Allegro vivo nogo Lov
Larghetto
Finale allegro giusto
olin
of
tounix odiacountinoo
This is one of the group works which express Dvorak's
feelings for America, and are coloured to some extent by
American native music. It was written whilst the composer was
Vhod
on holiday at Spillville in Iowa, and a holiday mood pervades
it. As with the rest of Dvorak's "American" music there are no
direct quotations. The affinity with negro music is achieved
more subtly by such devices as the use of the pentatonic scale,
syncopations, and dotted rythms.
Solleb
noe
The opening movement starts with the viola hinting at the
main theme, but the proper first subject does not begin untilbede
bar 29. Two tunes form the second subject, and the thematic
material has an affinity with the opening movement of the New
World Symphony.eod-ddgh 1
bool JI Joing
The second movement is a strongly pulsed scherzo. It to
starts with a drum-like rhythm on the second viola, followed
at the fifth bar by a lively spiccato tune on the first violin.
e
to
The trio
potom Suor
|
|
23 HMS_60_0023 |
▲back to top |
Ocr'd Text:
ort
WRIGHT
The trio section is in relaxing contrast, with a beautiful
long melody on the first viola.
5.
Spor The third movement is marked larghetto, and comprises a
theme and five variations. The theme was written down by
Dvorak before he left Prague. The fact that it fits the mood
of the rest of the work, shows the impossibility of being
dogmatic about the relative influences of Bohemia and America
on the music Dvorak wrote at this time. The fourth variation
is particularly striking with the melody line played by the
'cello, against an expressive tromolo on the other instruments.
The original theme comes back to round off the movement.
The finale is a delightful rondo, with a very sprightly
dance tune as its recurring thome.
**
HUDDERSFIELD MUSIC SOCIETY
brol dirall wall
Next concert Monday, 16th January, 1978
A special concert kindly sponsored by Borval Fabrics Ltd.
TO DINO
THE GABRIELI ENSEMBLE
(violin, clarinet, collo and piano)
Dumky Trio Dvorak and Quatuor pour la Fin du Temps Messiaen
Tickets £1.25 (student 50p) from Woods Music Shop or at the door.
|
|
24 HMS_60_0024 |
▲back to top |
Ocr'd Text:
HUDDERSFIELD THESPIANS
6.
HUDDERSFIELD GRAMOPHONE SOCIETY
obr
s soeliquos bts Crown Matrimoniali 16th 21st Jan. 1978
web no
Vro
gaixofes ni al m
de Venn Street Arts Centre at 7.30 p.m.
vtilidteeoqui
hol et orcted birmov
la row odd to Jeor odd to
bus simodod to soonouitat
of
noktabrav dot on omit eind de adow clerova 6tam ort no
yd boyalq ontfybolow out the ..
swoiting at
Jednomurjent onto ont no fomort ovlasorgzo no dentage of foo
Jromovom ond The buoy of Nond soos omond fentgiro off
monte (Bach,
nob de
* Om
Christmas Party
Waverley House, New North Road at 7.30 p.m.
"My Favourite New Record" 9th January
og Hob a et olent? odl
gaboo ati as out oodab
12th December
odl
bd aofids Invio y bosonoge hablono Intooge. A
HALIFAX PHILHARMONIC CLUB Thursday 15th December, 1977
I
Canta
Colin Carr - Cello. Francis Grier - Piano.
Boothoven, Debussy,
Shostakovich)
Harrison House, Harrison Road at 7.30 p.m.no
CLICTURA COQUN
e) 28,13 ET
|
|
25 HMS_60_0025 |
▲back to top |
Ocr'd Text:
(HORI-HABE)
(HORT-1481) THE HUDDERSFIELD MUSIC SOCIETY .o oht onsi
******
obaSixtieth Season 1977/78
Monday,
16th Jo
Town HallsbøÅ
THE GABRIELI ENSEMBLE
****
January, 1978
**
odd yd svet ni Keith Puddy)
John Streets
olnoval? to more
bry
Kenneth Sillito (violin
Keith Harvey
cello
Bosogat, dobb
odd boar ybsoris bad brev Programme dy vlodonsion osmoth
Dvorak
Quatuor pour la Fin du Temps de a
Moedt ofenm
Trio in E minor opus 90 (Dumky)on ofgnis dvit to ofi
ਤ on
show ozdno odt ottorerog smub od to dirige ond del od
sub to folg ont gatod Intervallud to oft ont dt gr
Estig
Messiaen
clarinet
piano
aveir ombe mi exsogge
vdivortb yas of oub
This concert is sponsored by Borval Fabrics Ltd for the Diamond d
Jhobnogob Jubilee Season
booma Ded
*******
****
***
1tb at Ifs Gisord
The four members of the Gabrieli Ensemble have been playing
together since 1963. Each is a distinguished musician in his own
right, and the Ensemble as a whole, in its various combinations of
duo, trio and quartet, has won an enviable reputation in Great
BREVESNO DOLITO
Britain, Europe and South America.
33s werb
Lutq!
This is the Ensomble's second visit to Huddersfield to play
[Loo
the Messiaen Quatuor; their many performances have won great
acclaim, notably from Olivior Messiaen, who wrote in 1973: do ddiw
ta gaigo Te olduob
"For the Gabrioli Ensemble:
ot
who have played this difficult work so many times and who have
moved me to tears by this magnificont performance. Thanks to all
four of them from the bottom of my heart with my admiration and my
thanks, and hoping that my music, its colours, its rhythms and its
chords will for a long time bring them some joy.
ta
to Tolmiw off gatuh ouger at boeoaroo any obed pinn on
dodhup Thank you and Bravo! od Juods auld al 31
410-0081
Mergong enom desf at brson ow rożdwa
bread
Olivier Messiaen."
|
|
26 HMS_60_0026 |
▲back to top |
Ocr'd Text:
2.
Piano trio No. 4 in E minor op. 90 (Dumky) Dvorak (1841-1904)
1
Lento maestoso - Allegro
Poco adagio
Andante
Andante moderato
Allegrowan
Lento maestoso
(Last performed in 1972 by the Czech Trio) othe
A dumka is a form of Slavonic folk ballad which juxtaposes
intense melancholy with wild gaiety. Dvorak had already used the
word as the title of five single movements, but in the trio in E
minor he let the spirit of the dumka permeate the entire work,
giving it the title of "Dumky" - this being the plural of dumka.
del It appears in some ways a rather confusing work at a first
hearing. This is not due to any difficulty in the music itself,
but rather that the work as a whole is somewhat delicately 00
balanced between being a collection of independent pieces, and a
unified entity. There are six movements (the first three played
without a break) all in different keys, and with several changes
of mood within each movement. There is an overflowing of
thomatic beauty and a richness of ideas, more fully appreciated
at every hearing.
Barf
P
A detailed analysis of such a work would make monotonous
reading, so it is probably more helpful to draw attention to
: some of its more striking features: the elegiac passage on the
cello with which it starts; the second movement where affinities
with Schubert's "Death and the maiden" quartet may occur to the
listener; the double stopping pizzicato passage on the 'cello in
the third movement where one might be forgiven for thinking a
guitar had joined the trio; the march-liko opening and sparkling
middle section of the fourth movement; the scherzo part of the
fifth movement, and the expressive piano passage accompanied by
a tremolo on the cello in the finale.
1
The Dumky trio was composed in Prague during the winter of
1890-91. It is thus about two years earlier than the quintot
which we heard in last month's programme.
*****
5
Quatuor
|
|
27 HMS_60_0027 |
▲back to top |
Ocr'd Text:
1904)
3.
COFFEE INTERVAL OF 15 MINUTES
****
******
Quatuor pour la Fin du Temps odd Olivier Messiaen (born 1908)
Crystal liturgy
Vocalise...
oxh" pont brot Abyss of the birds
broIntermezzo
al
In praise of the eternity of Jesus
Dance of fury...
Cluster of rainbows...
-
10
In praise of the immortality of Jesus.
odbor(Last performed in 1973 by the Gabrieli Ensemble)
Both the outward form and the inward inspiration of this work
were greatly influenced by the circumstances in which it was written.
During the years 1940 to 1942 the French composor Messiaen (then
in his early thirties) was a prisoner of war in a prison camp in
Silesia. Amongst his fellow prisoners was a violinist, a 'collist
and a clarinettist whilst he himself played the piano. Messiaen
wished to compose a work for this group, and, as he explains in the
quartet's lengthy preface, the privations of prison life made him
wish to express the things in life which for him were basic.
Messiaen feels an affinity between sounds and colours. One morning
he was lucky enough to see a beautiful display of the northern lights,
and the vivid green and violet colours seem to have been linked in
his mind with certain sounds, and also with the passage in the Book
of Revelations, chapter ten, which gives the quartet its title:
erre
COFLOO
Thoroda odt to ga
"I saw a mighty angel come down from heaven, clothed with a
cloud and a rainbow was upon his head, and his face was as it were
the sun, and his feet as pillars of fire. He set his right foot
upon the sea, and his left foot on the earth, and standing upon the
sea and upon the earth, lifted up his hand to heaven, and swore by
Him that liveth for ever, saying: 'there shall be time no longer;
but in the days of the trumpet of the seventh angel, the mystery of
God shall be finished "
The work was first performed in January 1941 before an
audience of five thousand prisoners. Despite the temperature being
-30°C, it was received enthusiastically.
ord
abrodo vd
|
|
28 HMS_60_0028 |
▲back to top |
Ocr'd Text:
4。
1
The quartet is a long work lasting about an hour, and is
divided into eight movements, Although described as a quartet,
only four of the movements use the full complement of players.aug
Here are details of each movement:
10
1. Crystal Liturgy. Clarinet and violin play florid lines "like
a bird" over ostinato chords for the piano and an ostinato in
harmonics for the 'cello. ord
2
2. Vocalise, for the Angel who announces the end of Time. A
ternary movement, the outer sections representing the majesty of
the Angol, and the inner section representing the "impalpable
harmonies of the heavens". The melody, plainsong in character,
is played by the strings muted and in unison accompanied by
cascading chords on the piano which represent drops of water in
a rainbow.
med
3 Abyss of the birds. Again a ternary movement for solo
clarinet, starting and ending with a slow melody the sadness.
and desolation of Time with a bird-like middle section the
desire for joy and light. quora atid not know
4. Intermezzo. A Scherzo without the piano, in rondo-like form,
described by the composer as less inward-looking than the other
movements, but connected with them by references to their themes.
This movement was the first to be composed and performed in the
prison. The rest of the work was added when his fellow prisoners.
asked Messiaen to write more
5. In praise of the Eternity of Jesus. 'Cello and piano alone.
The slow, majestic melody of the cello, accompanied by soft
chords on the piano, signifies Jesus the Word.
8
6. Dance of Fury, for the seven trumpets. A movement, elaborato
and formal in construction for all four instruments in unison
throughout, to suggest the sound of gongs and trumpets. Mill
7. Cluster of rainbows, for the Angel who announces the end of
Time. An even more elaborate movement with thematic references bob
to the first second and sixth movements.
8. In praise of the Immortality of Jesus. A binary movement ofbur
for violin and piano alone. The violin has a very sweet melody
marked "expressif, paradisiaque" accompanied by chords on tho
piano
I pue
|
|
29 HMS_60_0029 |
▲back to top |
Ocr'd Text:
rs.
tet,
is
piano. This movement represents Jesus the Man, now resurrected
and immortal - the end of Time.
HUDDERSFIELD MUSIC SOCIETY
Next Concert: Monday, 6th February, 1978 at 7.30 p.m.
piano.
5.
March 22nd.
PETER DONOHOE
Works by Ravel, Tippett, Messiaen and Beethoven.
Tickets £1.25 (students 50p) from Woods Music Schop and at the
door.
HUDDERSFIELD THESPIANS
LINDSAY STRING QUARTET
A Viennese concert of music by Haydn, Mozart, Wolf and Schubert.
CROWN MATRIMONIAL
**
Venn Street Arts Centre at 7.30 p.m.
HUDDERSFIELD GRAMOPHONE SOCIETY
Waverley House, New North Road.
HALIFAX PHILHARMONIC CLUB
ROMANTIC MUSIC FROM RUSSIA
16th-21st January
Wednesday,
23rd January
L. Nixon
25th January
at 7.30 p.m.
THE RIJ NMOND PERCUSSION ENSEMBLE
at Heath Grammar School, Free School Lane, Halifax.
ELLAND & DISTRICT MUSIC SOCIETY
January 20th at 7.30 p.m.
MAUREEN SMITH - violin & KEITH SWALLOW piano
United Provident Church, Huddersfield Road, Elland.
|
|
30 HMS_60_0030 |
▲back to top |
Ocr'd Text:
O WON N
ist jois-door
12
13 atreel edno novom airT onsig
omt to bro odd - Istimmt bes
eftovodios bas noctenoll tooqi love yd astrol
edd da bre godot oten shool mort (q02 adobuda) 25. 13 adodot
noob
..
rodulo ban low sol abysH vd olemm to zoomoo ozemno EVA
Vebeonbol
YTHIDOR OTRUM CETTES QUE
mag 08. de ostmo atal doorde mov
YTHICOR TOHTOMATO CID
bao troll voll ouell vo frevall
titel ons foodo?
foodbl
To disoll de
baniid bool bolerobbH Houd nobivor botoll
|
|
31 HMS_60_0031 |
▲back to top |
Ocr'd Text:
Lovel ****
ado
Sonatine
Sonata No. 2
HUDDERSFIELD MUSIC SOCIETY
***
60th Season 1977/78
Monday, 6th February, 1978
De
TOWN HALL
Toval
Association.
Sons Ltd.
be
taum on
La Fauvette des Jardins
Iq
**
edir
PETER DONOHOE
****
PROGRAMME
si
e'Lovel
**
Sonata in Bb major, Op. 106 (Hammerklavier)
1011eq Jasl
aaw entienos
edd wr oals de
1 od
101 no
douborini jer Tippett
Messiaen
itsno?
vol Joolzed odd to Levretat edt afnemevom
Interval
Hled gnitelttato to n
iw sex
JI I
toento
Ravel
to
ed aete Ig
Ins belfort noo
This concert is part of the Northern Contemporary Music Circuit
no idosa or
which is organised and supported financially by the Yorkshi
Arts
In
Beethoven
Generous aid has also been given by Benjamin Shaw &
000.ta
nivom fitiv
theod
Tromover davit edt, to
PETER DONOHOE was born in Manchester in 1953. He received his
training at Chetham's School of Music and the Royal Manchester
**
College of Music, where he studied under Derrick Wyndham. He has
recently been working under Yvonne Loricd, the wife of Olivier
Messiaen, in Paris.
|
|
32 HMS_60_0032 |
▲back to top |
Ocr'd Text:
Sonatine
2.
YTIEDOR DIRUM GITTI
******** Ravel (1875-1937)
Modere
Mouvement de Menuet
Anime
Last performed
in 1949 by Alfred Blumen
The sonatine was composed in 1905 when Ravel was thirty - the
year which also saw the row with the Paris Conservatoire over his
application for the Prix de Rome. The first movement was
originally written as an entry for a competition held by the
Weekly Critical Revue. This magazine folded up before the
competition was judged, but Ravel added the other two movements to
form the sonatine. It is a work which has constituted many young
pianists! first introduction to Ravel's piano music. It adheres
to classical models as far as form is concerned.. In all of the
movements the interval of the perfect fourth plays a prominent
part.
nay A theme based on a falling fourth starts off the first
movement, and leads to a second subject of great simplicity. A
quiet restrained passage ends the exposition, which is then
repeated. The middle section is brief and in a mood of
controlled agitation. A pianissimo coda completes the movement.
Jer
The second movement is a minuet without any trio section.
It is almost like a miniature sonata form, except that the
second subject is really just another version of the first
making the piece unithematic.
The finale is full of scintillating brilliance. The
second subject is a version in 5/4 time of the opening theme
of the first movement. We hear it first with moving semi-
TIN
quavers, and then in block chords. The movement ends with a
coda marked "tres anime"
****
the opera
sonata,
eight
themes
Sonata No. 2
Tippett (b.1905)
This one movement piano sonata was first performed by
Margaret Kitchin at the 1962 Edinburgh Festival - although
composed considerably earlier. It was a sort of by-product of
Se
|
|
33 HMS_60_0033 |
▲back to top |
Ocr'd Text:
75-1937)
3.
50
the opera "King Priam", with which it has thematic links. The
sonata, as the composer explains, proceeds by statement. About
eight separate ideas are introduced (one could hardly call thom
themes) and they reappear with variations, additions and subtractions.
to form a sort of mosaic. Towards the end the bits of mosaic get
shorter, and the greater intensity forms a sort of climax.
olaq odt
Messiaen (b.1908)
**
La Fauvette des Jardins
(The Garden Warbler)
odon
Messiaen composed the main body of the "Catalogue d' oiseaux**
(Catalogue of birds) during 1956-8. In 1970, twelve years later,
he added "La Fauvette des Jardins" as a sort of postscript.
Although the title only montions a single bird - the piece is
a sort of tone poem for solo piano depicting a mountain lake in the
Dauphine in France throughout an entire day. During its course there
are approximations of many other bird songs, but the garden warbler
is a recurring idea.
As with most of his works, Messiaen has provided a lengthy
explanation, of which the following is a brief paraphrase.
OLO
It is night time in early summer, and we are beside the Lake of
Laffrey boneath the mountain of the Grand Serre. In the dim moonlight
we can see the wavelets on the lake breaking beneath the surrounding
willows. A quail and a nightingale are singing.
bueblo.cm
At dawn we hear the garden warbler amongst the bushes - first a
few preliminary trials, and then a solo. As the sunrise becomes
brighter the warbler is joined by a wren, a blackbird and a green
woodpecker: whilst a lark climbs up into the sky.
181
As the morning progresses, storm clouds gather threateningly, and
the lake divides into bands of green and violet. Two chaffinches
hold a dialogue in the gloom, and we hear the grating cry of the great
reed warbler.
arr
But the storm does not break, and sunlight reappears. A golden
oriole flies over, and we hear the raucous caws of the carrion crows,
and the harsh alarm of the red-backed shrike.
By afternoon all is peaceful. The sunlight is warm, the mountain
sides glow intensely green, and the lake is turned to peacock blue.
Above, a kite flies around in big circles; and below, the silence
is only disturbed by the songs of the chaffinches, and the repeated
|
|
34 HMS_60_0034 |
▲back to top |
Ocr'd Text:
notes of the yellowhammers.
At dusk the garden warbler sings once more and so do the
blackcap, the nightingale and the green woodpecker. Then, when
it is almost dark, we hear the call of the tawny owl.
€ 4.
od ni ostmis
Finally it is night once more, and the lake is only feebly orie
lit by the pale moonlight.
reldrev
**** ***
INTERVAL
********
anibret
and beaocuIOO
Piano sonata in B flat Op. 106 (Hammerklavier) Beethoven (1770-0)
antbasb zob odjeves
1827) or
B
Allegro
Scherzo: assai vivace
Adagio sostenuto
Largo allegro
ata
strong
immedia
ascend
ag.
(Last performed in 1937 by Moritz Rosenthal)
to
6
at
200
The Hammerklavier occupies a special position in Beethoven's
output of piano sonatas. Composed contemporaneously with the
ninth symphony
with which it has some affinities it is the
largest of his works in this genre both in overall length, and in
the majesty of its conception.
It also makes the fullest use of
the instrument itself. Pianos had developed considerably during ow
Beethoven's lifetime, and early in 1818, whilst at work on the w
Hammerklavier, he received one of the latest models as a present
from the English firm of Thomas Broadwood. He was now able to
exploit expressive possibilities which were not possible on the
pianos of his early composing career, both as regards the span
(over six octaves) and the dynamic range.
ow
br Two further points might perhaps usefully be made before
describing the individual movements. Firstly the title
Firstly the title of ent
Jeet Hammerklavier" is merely the German word for piano. Beethoven
used it in the titles of several of his later piano sonatas -
prefering it to the Italian "pianoforte" - but it has only stuck
to the Op. 106. Secondly this is one of the works for which we
have Beethoven's original metronome marks, although pianists
usually take the first movement considerably slower than
indicated.
The assertive opening figure contains the germ of the first
movement, and to some extent of the whole sonata. With its vino al
|
|
35 HMS_60_0035 |
▲back to top |
Ocr'd Text:
hen
the
rogo
5.
strong rhythm and the significant pause between the phrases, it
immediately impresses itself on the mind. It also uses the
ascending and descending thirds, a feature of several of the valo
our sonata's important themes. The ethereal second subject is in
G major
the sub-mediant of the main key. It ends with three
steps upward - G - A - B flat; for a repeat of the exposition.
At the beginning of the development there are four more steps
G - A - B - C - D. The music soon shifts from D to E flat for a
brief fugal treatment of the opening figure. It is almost like a
short "trailer" for the finale. During the remainder of the
development we pass through a wide range of tonalities, ending
with an enharmonic modulation from B major back into the home key
for the recapitulation. Ano!
The scherzo is remarkably brief. The main theme has the
ascending and descending thirds noted earlier. The trio section
ends with an ascending scale across the complete keyboard.
The adagio is a sonata movement of great length and intense
beauty. It opened up possibilities of musical control over a vast
time scale, which were not fully followed up until the latter half
of the nineteenth century (Wagner, Bruckner and Mahler).
Superficially it may seem strange that such a long movoment should
contain so little variation of mood. Beethoven's full tempo
marking reads "adagio e sostenuto - appassionato e con molto
sentimento", and the feeling of deep meditative emotion is almost
unbroken. It is music which demands of the performer an absolute
surrender to the flow of Beethoven's inspiration; and only the
listener who is completely absorbed can hope to experience its
full intensity. An interesting insight into Beethoven's
creativity is provided by the fact that the two opening notes
were only added about six months after the rest of the sonata was
completed. Beethoven's pupil, Ferdinand Ries, was very surprised
when they appeared after the rest of the work was engraved, and
even more surprised at the way they enhanced the opening theme.
The finale is one of the fruits of Beethoven's ambition in
his later years to incorporate fugue into sonata structure. It
starts with one of those curious passages where fast and slow
tempi alternate within a very short space. (The finale of the
string quartet Op. 18 No. 6 which we heard in the first of this
season's concerts, provides another example.) The purpose of
this is to lead the listener away from the mood and tonality of
the adagio. Once in B flat, the fugue commences. Beethoven
subjects his material to a great range of fugal manipulation:
|
|
36 HMS_60_0036 |
▲back to top |
Ocr'd Text:
6.
stretto; inversion; metrical dislocation and retrogression. Some
tranquil relief is provided by the hymn-like third subject. Trills
play a prominent part in Beethoven's later piano music, and in this
movement they have an effect of generating a momentum which continues
right up to the final fortissimo chords.
0 - brewqu aqoja
da
HUDDERSFIELD MUSIC SOCIETY Final concert:of Diamond Jubilee Season.
Line Nooa oraum on
Wednesday, 22nd March, 1978 LINDSAY STRING QUARTET
and
vi to bud
j" fora
Works by Haydn, Mozart, Wolf and Schubert. 01
ADI
stoti pasq ew fromqolovob
Please note change of daynomresine as div
Arts Centre, Venn Street at 7.30 p.m. o
Antony Schaffer 6 - 11 March
bas ga
AT
gatbr
HUDDERSFIELD THESPIANS
ont and SLEUTH" bu
moltoos ofr
HUDDERSFIELD GRAMOPHONE SOCIETY
nel
to Jr
***
February 24th
Jaomls
no id
Wednesday 8th February "Sir John Barbirolli"
Monday, 20th February Hungarian Evoning
***
(rofdal
HALIFAX PHILHARMONIC CLUB Harrison House at 7.30 p.m.
Grondbed. .boom
MUSICA ANTIQUA AMSTERDAM gabs
aeton gri
stano odi to
Friday, 3rd March
br
***
Waverley House, New North Road.
om stsnoe s af at 7.30 p.m.
sod
Paul Serotsky
H. Truscotte omt
1
we
works by Handel, Telemann, Couperin, Purcell, Bach.
end vino bas
HoidaTigan
ELLAND & DISTRICT MUSIC SOCIETY.
5 E
skrow oft
beoradno
VI
Hagtatat
at. Tot
United Reform Church, Huddersfield Road at 7.30 p.m.
VINO
bato Iquoo
vert norw
govo
nedfordnu
Apmmm
WISSEMA STRING QUARTET
ni noidides a nov
8 to sifurt
atd
oxudouide, stedoe oint ougut odstogtoont of erroy total ein
vole bas jest oronw consenso suohuo onort to ono rith aduate
od to ofsnit odT) .ooge drone voy a midiw oderetle Igmod
add to denti.odd at bes
do friw d
8100 fotsup galite
to onoging out (.elquaxo Toddons sobivong atreonon a noasce
to Henot bas boom od mort yews zonoje, odd bool of at atid
ooremo out of
novoddood
ont con0 olasbe add
no Ata Lugtaom Legut to ogner teorgs of Istrojen aid adoot due
|
|
37 HMS_60_0037 |
▲back to top |
Ocr'd Text:
1.
dgoso b
(e
(2081-SEY HUDDERSFIELD MUSIC SOCIETY
****
ST
to causood ac
In Isoque
dootdure
***
60th Season 1977/78
Wednesday, 22nd March, 1978
THE LINDSAY STRING QUARTET
****
Peter Cropper
al
Ronald Birks
TOWN HALL OF
odd ddiw droms ofgeri
ent to boost moloz
Roger Bigley
Bernard Gregor-Smith
***
brdbee
a est d
Programme
Quartet in C major, op. 54, no. 2
ovis dot Quartet in Eb major, K 428
Serenade
Interval
**
E
jetreup gris
defisup
fit bns
fosredo oft ead ofgabs ont
TB gntysiq ntolv J
IV
Isofaum
Lue
tbob ein
sonontmoq
violin
OR
violin
viola
cello to
Haydn
Mozart
do tabeq Wolf
ev
3s
17
neg
Ig
Tullbla boar
otrolni bna dodged
dotdw Journa 18 28 jt
Quartet in A minor, op. 29 Jon bib
brodoved you out
Schubert
I
bewolfot
segnale The Lindsay String Quartet appears at this concert by boot
special arrangement with the Yorkshire Arts Association.or
30
bs of sloed og ev Bas
blewroll
|
|
38 HMS_60_0038 |
▲back to top |
Ocr'd Text:
String quartet in C. Op. 54 No. 2
20
Joseph Haydn
(1732-1809)
Vivace
Adagio
Menuetto allegretto
Finale adagio - presto - adagio
This is one of twelve quartets which Haydn wrote during the
years 1788 to 1790, and dedicated to Johann Tost. Tost had been
at one time a violinist in Prince Esterhazy's orchestra, but he
left the musical profession to become a merchant, and achieved
sufficient prosperity to patronise the arts. Perhaps because of
his dedicatee's skill as a violinist, Haydn gave an especial
prominence to the first violin in these quartets.
The first movement has a strongly rhythmic first subject
contrasted with a melodious second. The development is brief
and devoted to the first subject, but the material from the
second subject is expanded in the recapitulation. The whole
movement is full of acrobatics for the first violin - with
plenty of shakes and trills.
The adagio has the character of a tragic lament, with the
first violin playing arabesques above the solemn tread of the
other instruments.
***
The minuet has a gentle jogging rhythm. The trio uses
material derived from the minuet, but with harmonies which give
it a contrasted painful character.
The finale is a very curious movement. It is a form which
Berwald later used skilfully in his Septet and Sinfonie
Singuliere. Haydn may have intended it as an experiment, which,
significantly, he did not repeat. It starts off with forty bars
of adagio in C major, followed by a modulation to C minor, and a
further fifteen bars of adagio. Then abruptly the tempo changes.
to presto, with a gay little tune in C major of the type Haydn
often used for rondo finales. However this does not last long,
and we go back to adagio for the end of the movement
String
|
|
39 HMS_60_0039 |
▲back to top |
Ocr'd Text:
3.
String quartet No. 16 in E flat K 428
rog rol
odj mi ji robte
can
yd vobaiw a 'ybel s di
nt odefqmoo as J
beyomload sex
Allegro ma non troppo
Andante con moto
Menuetto
Allegro vivace
allegretto
Mozart (1756-1791)
2
to dreomoo
Je eroob to Juo
panes rettso
colti toatt
their
This is the third of the set of six quartets which Mozart
dedicated to Haydn. The dedication is partly an acknowledgement by
Mozart of his debt to the older composer, and especially to the
qp. 33 quartets; and partly an appreciation of their growing
personal friendship. They were not all written together
composition being in fact spread over three years (1782-85), and
they were first performed in 1785 at Mozart's Vienna home, in the
presence of both Haydn and the composer's father Leopold. It was
on this occasion that Haydn made his famous remark to Leopold:
"Before God and as an honest man, I tell you that your son is the
greatest composer known to me either in person or by name.
He has
taste, and what is more, the most profound knowledge of composition".
The opening movement starts with a chromatic theme in which
some have found foreshadowings of Schoenberg. Following a
characteristic trill, the second subject is largely based on a
gruppetto figure. The development is brief, but makes use of both
subjects. tim doda
dodzsup gabte to ooolg Jaorg ferit
da
The chromaticism of the andante con moto is so extreme that it
has been compared with that of "Tristan and Isolde". eid m DI
alarmon
The humourous opening of the minuet feels like a return to
normality. A more plaintive mood characterises the trio section.
anso
***
boaog
Witty good humour also pervades the finale, which is a sonata
movement without a development section. The second subject uses a
gruppetto figure, and somewhat echoes the second subject of the first
movement. The opening theme of the finale comes back again in the
coda.
***
doua
Italian serenade.
Wolf (1860-1903)
This quartet movement was composed by Wolf in three days (May
2nd - 4th) 1887). Five years later he orchestrated it, and then
decided to regard it as the first movement of a three movement work.
He therefore began both a slow movement and a tarantella finale
but they were left unfinished. Hoos dromooloveb odno13 Feoqxo
inoo viesino bra
501
sement grinego eri acolovob sodint shop ond nois In
|
|
40 HMS_60_0040 |
▲back to top |
Ocr'd Text:
E 4.
651
(reAlthough the composer's
Although the composer's later plans suggest the Mozartian de
concept of a serenade (a suite of light pieces for performance
out of doors at night) it seems best to consider it in the
earlier sense - as music to be played beneath a lady's windor by
a group of admirers, and to regard the movement as complete in
itself. Like some of Picasso's paintings, it takes a hackneyed
romantic idea, and then glorifies and ridicules it at the same
yo time. The players start off in a merry light-hearted manner, with
pizzicatos creating the illusion that a guitar is amongst them.
After a while the gaiety subsides, and the cello makes three.co
passionate entreaties to the lady above accompanied by sniggers
from the other instruments. Presumably the appeals are responded
to, for the merriment is resumed, and the little piece is rounded
off with a few final twangs on the "guitar". tod to sonoa orq
tasooo aldt no
bus bod erol.8"
on jaotcom
Schubert (1797-1828)
20 ***
#5
************
odt at noe quoy Jed p
INTERVAL
********* ***
redj be om ot
eman yd so nos
String quartet no. 13 in A minor (D 804)
Jezli
den
********
-
***
***
tamo
I bowot over erros
allegrot oldaltetostado
rited to our soxam Judo Allegro moderato IT oft offegguts
omodi otte
santvollo?
ho beakd vlogas! at
Tops
at Menuetto -
Schubert's first great piece of string quartet music was the
quartet movement in C minor composed in 1820. There was then a
lull in his interest in the genre. In 1823 however, he became
friendly with the violinist and quartet leader Ignaz Schuppanzigh,
and this seems to have been the immediate impulse behind the A
minor quartet composed early in 1824.
composed early in 1824. The Schuppanzigh Quartet
gave the work a public performance on March 15th of that year,
and it of the only two pieces of Schubert's chamber
music to be published in his lifetime.
was on
200
ent me free
olsnit of
Despite Schubert's preoccupation with lieder, it is unusual
for one of his instrumental works to begin with such a song-
like opening as does this quartet. There are two bars of nehatI
introductory "accompaniment" on the other three instruments,
and then the first violin begins its singing theme above. The
second subject, which is in
s in the relative major, also has this
TES
song-like character and undergoes some development within the
exposition. The development section proper is fairly short,
and entirely confined to the first subject. After the recapit-
ulation, the coda further develops the opening theme.
on
Allegro ma non troppo
Andante
best
|
|
41 HMS_60_0041 |
▲back to top |
Ocr'd Text:
he
rmance
artiande
5.
The form of the andante is somewhat curious, but seems to be
best regarded as a greatly modified sonata movement, with the
development section interpolated between the first and second
subjects in the recapitulation. However the rhythm and character
of the main theme so permeates the movement, that one might be
forgiven for mistaking it for a theme and variations. This main
theme is one which Schubert had already used in the entracte from
Rosamunde, and he was to use it again, slightly altered, in the
Impromptu in B flat. It has a rhythm which often fascinated
Schubert one long note followed by two short ones. It occurs in
several of his works, and is the unifying factor in the "Wanderer
Fantasia".
Ak
The minuet expresses a mood of sadness throughout. A three
note figure heard on the 'cello at the outset acts as a motto
for the minuet section. The trio, in the tonic major, does
nothing to alleviate the gloom: as has often been noted, Schubert
can sound more melancholy in the major than in the minor.
The finale opens with a tune which one could imagine as the
background to the type of peasant merry-making depicted in the
paintings of Breughel, but more sombre elements soon intrude. In
form this is in the same type of modified sonata movement that we
have already encountered in the andante.
****
HUDDERSFIELD MUSIC SOCIETY
Monday, 23rd Octobor
Monday, 13th November
Friday, 8th December
Monday, 15th January 1979
Monday, 19th February 1979
Monday, 19th March 1979
**
**
Programme for 61st Season 1978/9
Pro Arte String Quartet
Leon Goossens, Oboe.
with Keith Swallow.
Fitzwilliam String Quartet.
Kodaly String Quartet
Academy of Ancient Music
Pascal Devoyon, Piano.
****
|
|
42 HMS_60_0042 |
▲back to top |
Ocr'd Text:
HUDDERSFIELD THESPIANS
1st 6th May
EAT
HALIFAX PHILHARMONIC CLUB
Thursday, March 23rd.
od
A
26.
The Boy Friend
elsper
LINDSAY STRING QUARTET
Paul Cropper (viola)
toplant
HUDDERSFIELD GRAMOPHONE SOCIETY
GURRELIEDER
bra
Venn Street Arts Centre.
prod
MOZART: Quartet in Eb and Quintets in C maj. & G mi.
THURSTONLAND COMMUNITY ASSOCIATION
Concert at Thurstonland School
on
Harrison House. 7.30 p.m.
og to gyd
om dudledguord to ag
Wednesday, 5th April be Waverley House, New North Road To
at 7.30 p.m.
Janet Johnston
Prabu Singh
Alison Battye
John Battye
Jack Haigh
with
edT
ogli otom
Joga, Jaunim ond rot
Paul Serotsky
T3ID02
7.30 p.m.
piano
00 breSvoboll
HJEL
soprano
piano
clarinet
bass/baritonede der
Friday, 28th April at 8 p.m.
M
at det vabol
Jovebnomf