HMS 61


HMS 61

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SIXTY-FIRST SEASON 1978-79 The Huddersfield Music Society T 7-30 p.m. WT. AREA, TOWN HALL, HUDDERSFIELD (entrance in Corporation Street)

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Monday, 23rd October, 1978 THE PRO ARTE STRING QUARTET Harald Herzl ..... Michael Roider ..... Werner Christof..... Waldemar Thilo Quartet in G major, Op. 76, No.1 .... Quartet No.2 in D Minor, K.421 ...... Quartet in E Flat Major, Op. 51 ...... ... Violin ... Violin .... Viola .... Cello ..... Haydn Mozart Dvorak The Pro Arte Quartet was founded in 1973 by four Saltzburg string players all from the renowned academy of music, the "Mozarteum". They specialise in the great Viennese classical composers, and Mozart genius loci is given particular impor- tance in their repertoire. - as — The Quartet plays regularly in the cycle of Salzburg's Schlosskonzerte", in the Mirabell Palace and the Arch- bishop's residence, as well as in the Herrenchiemsee Castle in Germany. They recently undertook a highly successful tour of Germany, France and Italy and have made recordings. for Austrian Radio and German Television. Monday, 13th November, 1978 LEON GOOSSENS Accompanied By Keith Swallow We are happy to give a welcome once more to Leon Goossens - the celebra- ted master of the oboe. His last visit to our Society was in 1944 when he shared a programme with Kathleen Ferrier and Ivor Newton. With him on this occasion is Keith Swallow who has been his accompanist in recent recitals. In 1950 Mr. Goossens received the CBE for services to music and in 1954 the Cobbett Medal for services to Chamber Music.

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78 once ebra- t visit en he hleen m on o has citals. the 1954 es to THE HUDDERSFIELD MUSIC SOCIETY (Founded as The Huddersfield Music Club by Dr. Eaglefield Hull in 1918) President: EDWARD GLENDINNING, ESQ. Vice-President: J.C.S. SMITH, ESQ. F. Rowcliffe, Esq. Honorary Vice-Presidents: Joint Hon. Secretaries: Mrs. J. de Nikitin-Solsky, 37 Gynn Lane, Honley, HD7 2LE Tel. Hudds. 661696 The Rt. Hon. The Lord Savile, J.P., D. L. Mrs. E. Glendinning, 2 Sunny Bank Road, Edgerton, HD3 3DE Tel. Hudds. 22612 Publicity Officer: J.C.S. Smith, Esq., 99 Park Road, Elland, HX5 9HZ Tel. Elland 75804 H.J. Black S.H. Crowther D. Dugdale Miss M.A. Freeman Hon. Treasurer: P. Michael Lord, Esq., National Westminster Bank Ltd. 132 Huddersfield Road, Mirfield, WF14 8AL Miss I. Bratman Mrs. A. Crowther Mrs. S.H. Crowther Hon. Auditor: P. Sturgess, Esq. Executive Committee: P. Michelson S. Rothery E.C. Shaw Mrs. C. Stephenson Ladies' Committee Chairman: Miss M. A. Freeman Miss K. Evans Mrs. E. Glendinning Miss M. Hamer Tel. Mirfield 493188 J.G. Sykes Mrs. J.H. Sykes W.E. Thompson Mrs. J. de Nikitin-Solsky Mrs. J. Shires Hon. Secretary: Mrs. J. H. Sykes Hon. Treasurer: Mrs. C. Stephenson

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78 Once ebra- visit n he leen on has tals. the 954 to Friday, 8th December, 1978 THE FITZWILLIAM STRING QUARTET Christopher Rowland ....... Jonathan Sparey Alan George... loan Davies ...... Violin Violin Viola Cello Quartet in D Major, Op. 76, No.5 ...... Quartet No. II..............Shostakovich Quartet in D Minor (Voces Intimae) .... Haydn Sibelius Since their last visit in 1974, the Fitzwilliam String Quartet have given concerts throughout the British Isles and they broadcast regularly for the BBC. In 1976 they fulfilled an invita- tion to tour in the USSR and they returned there in the Spring of this year. They have always been closely associated with the music of Shosta- kovich and have recorded all his quartets. Following the success of these records they have been offered an exclusive contract with Decca, beginning with the Franck, Delius, Sibelius and Borodin Quartets. The third disc in the Shostakovich series (Quartets 4 & 12) gained the 1977 "gramophone award" for the best chamber music record of the year. Monday, 15th January, 1979 THE DELME STRING QUARTET Galina Solodchin ...... David Ogden ...... John Underwood Stephen Orton .... Quartet No.2 …..... .......Martinu Quartet in F Minor, Op.95.. Beethoven Quartet in A Flat Major, Op. 105 ....... Violin Violin Viola Cello .... Dvorak The Delme Quartet was formed in 1962 and took its name from the founder leader, Granville Delme Jones. In 1967 they were the first string quar-- tet to be attached to a university, (Sussex) as artists in residence - an idea which has since spread throughout the country. The artists are now per- forming Fellows in the music depart- ment of Lancaster University and contribute regularly to the University's international subscription concerts. 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 who are collaborating with the Society in the December and February concerts. A Pro of E Jame Moni Polly Jane Chris The was centu 'old' Dr. more Conc as t patro conti This Acad audie music time speci and playi ment

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ET plin plin ola ello inu ven rak in the es. ar- Y₁ an ut er- rt- and 's Monday, 19th February, 1979 THE ACADEMY OF ANCIENT MUSIC MUSIC AT COURT A Programme of Music from the Courts of Europe during the 17th and 18th Centuries James Bowman .......... Counter Tenor Monica Huggett ......... Baroque Violin Polly Waterfield ......... Baroque Violin Jane Ryan ....... ....Viola da Gamba Christopher Hogwood ..... Harpsichord was The original Academy of Ancient Music established in the eighteenth century for the purpose of performing 'old' music - defined by their director Dr. Pepusch, as anything composed more than twenty years earlier. Their Concerts of Ancient Music (later known as the King's Concerts) were well patronised by London society and continued until 1848. This recent modern revival of the Academy is dedicated to giving audiences an authentic experience of music as it would have sounded at the time it was written. It brings together specialists in every branch of baroque and early classical performance style, playing authentic and original instru- ments of the appropriate period. Monday, 19th March, 1979 PASCAL DEVOYON Suite Bergamasque........ Debussy Sonata in C Minor, K 457 ........Mozart Variations and Fugue on a Theme of Handel Op. 24 ..... ..... Brahms Pascal Devoyon, 3rd prizewinner in the Leeds International Piano Competition in 1975, and 2nd prizwinner in the Tchaikowsky Piano Competition is a young French pianist with an out- standing career as both concerto soloist and recitalist. In addition to the Tchaikowsky and Leeds prizes he was awarded 2nd prize in both the Viotti and Busoni competitions in 1973 and 1974 respectively. In 1978 his engage- ments included concert tours of Italy, Japan, the Netherlands, France and Britain. Future engagements include a return visit to Japan and a visit to India.

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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. 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 S. ROTHERY, Esq. S.M. SELKA, Esq. BENJ. SHAW & SONS LTD. Mrs. C. STEPHENSON S. SUTCLIFFE, Esq. J.G. SYKES, Esq. W.E. THOMPSON, Esq. J.J. VALNER, Esq. YORKSHIRE ARTS ASSOCIATION

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(208F-SEVI) 2730 HUDDERSFIELD MUSIC SOCIETY *** 雲*** *** ** Monday, 23rd 61st Season 1978/79 daxit off an THEODO PRO 1978/79 detrauf antide odit mome TOWN October, HALL toon ARTE STRING gribobora od devont JJom rov Quartet in G Major, Opus 76, No. 1 1978 (dotzen) netfood oft yd Syer at borokrog teal) syet Harald Herzl Violin Yoshitake Shindow orowd .00 10 ad Orow of .00 10 aora Violin 10 Werner Christof to fimmte edt de esv abysh are oft de asv aby Viola 8-VOTI T Waldemar Thilooo oow you? you? vboby Violoncello trobbob boand to to ad movom Jasl odi bas PROGRAMMEE od mt boas orqxe sobi odj i eredt jel" abrow.ort of QUARTET Quartet in Eb Major, Opus 51 **** tanodat br brs besnobnoo.at Quartet No. 2 in D Minor, K 421 meg Interval need her atotraup bo Haydn aofroa Mozart bo Dvorak toq Lagot om The Pro Arte Quartet was founded in 1973 by four Salzburg string players from the renowned Academy of Music, the Mozarteum. cossodos, red-odd. t-tsod-onos a fountil on noiteng novondeo goy old to ocor They specialise in the great Viennese classical composers, and Mozart, as genius loci, is given particular importance in lo their repertoire. .qtdenottsfer

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atat 2.190 String Quartet in G major, op. 76, No. 1 Allegro con Spirito Adagio Sostenuto Menuetto Presto & Trio Finale Allegro non troppo (Last performed in 1972 by the Aeolian Quartot) - Joseph Haydn (1732-1809) The six quartets of Op. 76 were written during the years 1797-8 when Haydn was at the summit of his powers, and were dedicated to Count Erdody. They were contemporary with "The Creation" and the last movements of two of them are based on the idea expressed in the immortal passage from minor to major to the words "Let there be Light". Great though the preceding quartets had been, "if an appropriate motto be sought for this sories, the word "Excelsior" should be the first choice. Every- thing here is condensed and intensified, the expression more personal and direct", (Geiringor) The first movement of Quartet No. 1 opens with three chords, followed immediately by the cello announcing the first thomo, which is repeated in fugal fashion by the othor instruments. The slow movement is a tonder chorale-like thomo repeated three times with passages of light, delicate figuration. The Minuet is a one-beat-in-the-bar schorzo, much like those of the young Boothoven. The finale bogins in G minor, but passos into G major, completing the architecture of the work and showing Haydn's consummate feeling for key bus relationship. C.A.S. String S

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(9) aydn 3. (drodA) #troduriol to rennuretot ent -out bas tyd saefteen not II ont syttitupward to boom ser Is String Quartet in D Minor, K 421 Genee odt duiw vinololv gar ordr oldenorio grillst att ddiw Jount ofeum-ot tela Iqmba at ont zobaviog doldy mehmřesog to s'ntlw anotta Allegro Moderatoond to omord ont aasd EE ango atd at obyellyd Andanteont olamit odd to Jaosatnimos at a'dasoM bus vos sonh Minuet and Trio estado od dud 2.0M am Allegretto ma non troppo afredoarerio nwo entsorg hd le ni an og att dflvw.oot ofcebal od? of and asgnado pimenyb Jroup sat de Mozart (1756-1791) (Last performed in 1968 by the Benthien Quartet) 2STUMIM 21 10 IA In 1781, Haydn wrote his six "Russian" Quartets, Op. 33. These had a profound influence upon Mozart who, as a mark of homage, dedicated his six great quartets written between 1783 and 1785, to his "dear friend, Haydn". But it was homage paid by a master to a master and undoubtedly made a signal advance in the history of chamber music.bl Einstein makes some interesting and pertinent comparisons between the two composers: "The circle of "possible" keys is much narrower for Mozart than for Haydn, but though these keys are numerically few, each is a much more extended, richer, more fruitful field and has much wider boundaries. And so Mozart becomes the more daring and sensitivo harmonist; Haydn commands all sevon colours of the rainbow, but not the irridescent all palette of Mozart. Haydn is a lover of nature; he draws in- spiration from moving about in the open air; he eavosdrops on peasants at their festivities. The Creation and the Seasons are full of observations and impressions that could be gained by a person living in the country. Mozart could never have written such works as these two; he was an indoor composer, whose I music was stimulated only by music itself". Jesu enttieto do te ntiset at "ofnova 12" VIIsoftic 0 on bedrezero ainT The D minor quartot is essentially based on a tragic note, not emotional but "dominated by a subdued, morose pathos which occasionally turns into sullon murmuring. The sudden jerk from F maj. into E flat at the beginning of the development (1st movement) gives a sinister thrill, and Mozart, the harmonist, now

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4. appears in all his greatness - the forerunner of Schubert" (Abert) The Andante, too,wwith its persistent, restless rhythm and fro- quent dynamic changes, has no real mood of trauquility; the middle section in A flat is a notably romantic touch. The Trio is simple, plain folk-music, contrasting violently with the sense of pessimism which pervades the Minuet with its falling chromatic bass. The theme of the Finale four variations with a coda - is reminiscent of the finale theme used by Haydn in his opus 33 No. 5, but the change from a major to a minor key and Mozart's own characteristic chromaticism transforms it. C.A.S. TO COFFEE INTERVAL OF 15 MINUTES ***** ** Quartet in E flat major, Op. 51 1891 Allegro ma non troppo redeem Dumka. Andante con moto - vivace Andante con moto Romanza Finale.- Allegro assai I) Dvorak (1841-1904) antoa lin et (Last performed in 1968 by the Janacek Quartet) avell eaeds produ growin a pol (lam the sa doum Oom Dvorak, together with Smetana, was one of the founders of the modern school of Czech music and one of the greatest, as well as one of the most individual, of 19th century composers. He first came to England in 1884 to conduct some of his own works, and he made other visits in later years. Several of his masterpieces were composed for English Music Festivals. The quartet Op. 51 was written in 1897 and no work of Dvorak's shows more of the beauty and freshness of his work. It was started at the request of Jean Beker, leader of the doua Florentine Quartet, with the stipulation that it should be ofaum specifically "Slavonic" in feeling. This presented no problems to Dvorak, steeped as he was in his national culture. sq ceorom boubora syd bo jud Isroidomo don mort The prevailing mood of the quartet is one of charm and 5000 humour. The first movement, made light and fresh with its I arpeggio texture, opens in leisurely fashion, and its (domovom

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the d fro- 88 (Abert) growing animation leads to a second subject which appears in a polka-like rhythm. The second movement opens with a Dumka (lament) in which the violin and viola have a dialogue. For the second section, the theme is heard in G major in /3/8 time and totally transformed into a Furiant. The slow movement is a poetic nocturne and the Finale, based on another Czech dance is a bounding, leaping movement. The close is wildly joyous. C.A.S. FURTHER CONCERTS THIS SEASON Leon Goossens Oboe with Keith Swallow Fitzwilliam Quartet Delme Quartet Academy of Ancient Music Pascal Devoyon pianoero HUDDERSFIELD THESPIANS October 9th 14th 5. of Season and single tickets may be obtained from Woods Music Shop and from the Hon. Secretary, or at the door. *** Monday, 13th November *** Friday, 8th December. Monday, 15th January, 1979. Monday, 19th February 1979. Monday, 19th March 1979. ******* Arsenic and Old Lace Venn Street Arts Centre at 7.30 p.m. J. Kesselring Tickets 60p from Woods.

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6. exseqga doit dostdura broose s of ebeof noidentre antwory HUDDERSFIELD GRAMOPHONE SOCIETY t-sifoq s (troms.) October 30th at 7.30 p.m. syo Waverley House, New North Road. *** HALIFAX PHILHARMONIC CLUB Friday, October 13th 1978 ** Friday, 13th October 1978 Harrison House, Harrison Road, Halifax. neonat 7.30 p.m. Tickets from Mrs. Hanson, 23 The Crescent, Hipperholme. ELLAND & DISTRICT MUSIC SOCIETY Mirfield's Choice J. Sheard and P. Storey Excerpts from English Opera. Visitors welcome. ******** ** SIGHT SAVING ASSOCIATION Wednesday, October 25th. 999 English Taskin Players (Handel, Loeillet, Tartini, Telemann, Ibert, Bach) *** Syrinx Trio (soprano, clarinet & piano)COUR Providence United Reformed Church, Huddersfield Road at 7.30 p.m. ******* ******** Town Hall Reception Room at 7.30 p.m. Nosso ent mort bris *** -S js extre nimeV Music and Poetry Evening and Picture Display. 80p.

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Huddersfield Music Society LEON GOOSENS accompanied by KEITH SWALLOW 1 Portrait by June Mendoza 1977 Monday 13th November 1978 at 7.30 p.m. Huddersfield Town Hall

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LEON GOOSSENS comes from a celebrated musical family which, in three generations, produced no less than nine artists, all of the first rank. When he was ten years old Goossens was encouraged to study the oboe and, under his parents' strict supervision, gained a considerable reputation at an exceptionally early age, as a wind player. He played with the Liverpool Symphony Orchestra under Sir Thomas Beecham when he was only twelve and at sixteen Sir Henry Wood appointed him Principal Oboe in the Queen's Hall Orchestra - perhaps the most coveted post of the day, in music. Later, Goossens gave up most of his orchestral playing to concentrate on solo work and chamber music. It is in these where his true greatness lies. There had never been an Oboist of his stature; he revealed for the first time the full capacities of the instrument. His rapid tonguing and fluent finger work enlarged its technical possibilities, and he refined the hitherto broad harsh tone into the beautiful pure round sound so distinctive of the oboe today. Above all, his personality enlarged that of his instrument. Many composers, including Vaughan Williams, Bax, Britten, Bliss, Jacob, Elgar, Eugene Goossens, Alan Richardson, Scott, Boughton, Strauss, Arnold Cooke and Wilfred Josephs and others, have written for his instrument and he has appeared in most of the cities of the world. In 1950 he received the CBE in the New Year's Honours List for services to Music and in 1954 he received the Cobbett Medal for services to Chamber Music. HUDDERSFIELD MUSIC SOCIETY NEXT CONCERT Friday 8th December 1978 at 7.30 p.m. THE FITZWILLIAM STRING QUARTET (Please note Friday) HUDDERSFIELD THESPIANS November 20th-25th TABLE MANNERS by Alan Ayckbourne Venn Street Arts Centre at 7.30 p.m. Tickets 60p from Woods Music Shop HUDDERSFIELD GRAMOPHONE SOCIETY November 27th PIANOS AND PIANISTS Ken Chilvers Waverley House, New North Road at 7.30 p p.m. HALIFAX PHILHARMONIC CLUB November 16th THE BARTOK STRING QUARTET (Hadyn, Bartok & Schubert) November 30th THE FITZWILLIAM STRING QUARTET (Mozart, Shostakovich & Sibelius) Harrison House, Harrison Road, Halifax at 7.30 p.m. ELLAND & DISTRICT MUSIC SOCIETY Friday 17th November 1978 at 7.30 p.m. United Reformed Church, Huddersfield Road THE FITZWILLIAM STRING QUARTET

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******* ****** IsnottametnI man Sixty-first Season bra Friday, 8th December 1978 Town Hall ohro Y d's Thdastro Y Jomognevis (36 ** HUDDERSFIELD MUSIC SOCIETY ******** (2081-Sey1) abysH S THE FITZWILLIAM STRING QUARTET ***** ***** and Christopher Rowland Jonathan Sparey Alan George Ioan Davies ofJorge [[A mert eont2 WooaoM OM do twrsW ja ajedrsup eved bas, Isvideo! "ol- [ftwatt oft FT bas jeuneM Feet! elsni *** Programme at y Quartet in D major, op. 76 No. 5 Quartet in F minor, No. 11, op. 122 Interval [e dhod Quartet in D minor, op. 56 (Voces Intimae) ay ago Totem a mi LIA motsioossA atzA extdaxzoy ert ridiw en Cat jatusu gabata Violin Violin 73 Viola Cello Jasl) BuHaydn brooca a Shostakovich Jogoo 012 Ind at non Sibelius Lowd cont bovlove olyde brotsong nove The Fitzwilliam String Quartet started its professional life in 1971 as Quartet-in-Residence at the University of York, having previously played together as undergraduates at Cambridge. In August 1974 the quartet re-formed with two now violinists and moved to a similar post at the University of Warwick. Six months later they made their first record for Decca, which has since been awarded a "Grand Prix du Disque" by the Academie Charles Cros, Paris, and a "Grammy" nomination by the National Academy of Recording Arts and Sciences in California. The Quartet returned to their residency at York in October 1977. Since their formation they have become closely associated with the music of Dmitri Shostakovich, who personally sent his last three quartets to them as they were completed, enabling them to give these works their British premieres. In November 1972 he visited the quartet in York, specifically to hear their performance of No. 13, after which their friendship developed through regular correspondence; at the time of his death they were about to spend a week with him in

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YTSTOOR DIRUM 2. KATEGOUH Moscow. Since then they have presented the complete cycle of his quartets at Warwick and at the 1976 Cheltenham International Festival, and have recently finished recording them all on Decca's "L'Oiseau-Lyre" label. The Fitzwilliam Quartet, currently in residence at York University with funds provided by the University and the Yorkshire Arts Association, appears at this concert by special arrangement with the Yorkshire Arts Association. I String Quartet in D major, op. 76, No. 5 Allegretto Allegro Largo, cantabile e mesto Menuet and Trio Finale Presto Haydn (1732-1809) neol (Last performed in 1971 by the Georgian String Quartet) The quartets op. 74, 76 and 77, which Haydn composed after returning from his second visit to London, are among the finest works in his entire output. They represent the summit cf his career as an instrumental composer, in which the formal mastery of the twelve Salomon symphonies, together with the perfection of quartet style evolved in op. 74, is carried to an even greater degree of sublimity. Job.ter Thi quartet is the fifth of a set of six, dedicated to Count Erdody, and written in the years 1797/8, six years after the death of Mozart and two years before Beethoven began his six quartets op. 18. In the first movement of No. 5, Haydn abandoned the usual sonata allegro and improvised a replacement which is basically a simple ternary form with a quick coda, combined with a variation technique which continues the single - theme form of his sonata movements. - The Largo is one of the greatest of all his slow movements; it seems to glow with the mellowness of an old man who knows that all the years of struggle and misory have been worthwhile. This movement is in the key of F sharp major, and the abundance of double-sharp signs (i.e. crosses) resulting has acquired for the work the somewhat unfortunate nick-name of The Graveyard' one hopes that this is of no significance to the performers. tackling this piece! The menuet is less like a scherzo than one in

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is 3. one or two of Haydn's other movements of this type especially so in the trio, with its peculiar veiled quality. Haydn really was the master when it came to writing a successful finale; this one, starting with a flourish and continuing with a scrap of folk tune, sweeps one off one's feet in a flood of boisterous wit. tb ofgsba og om oftergo LIA Quartet No. 11 in F minor, Op. 122 on Shostakovich (1906-1975) Introduction (Andantino) - Scherzo (Allegretto) - Recitative (Adagio) Etude (Allegro) - Humoresque (Allegro) - Elegy (Adagio) - Finale (Moderato). gal 64 07 Ja fe doldw galzub ub bobreq Isnottienes (First performance at these concerts) OXIN bo breg The II para In d. codd The eleventh quartet was composed in 1966 and dedicated to the memory of Vassily Petrovich Shirinsky who, as second violinist of the Beethoven String Quartet, had taken part in the first performances cf virtually all this work's predecessors. Not surprisingly, the character of the music is predominantly elegiac, but in a rather different way from what one might normally expect of a memorial piece; apart from the Elegy there is little trace of the sorrow or tragedy which one naturally associates with death; instead the music has a strangely withdrawn, almost whimsical, feeling which in the end is deeply touching. In this way it strongly resembles the seventh quartet, which arose out of similar circumstances, and for which the composer had a special affection. Those who know Shostakovich only through his large-scale symphonies will find here an aspect of his musical personality which might mildly surprise them. voi CH aj of The quartet takes the form of a short suite of seven continuous movements; the texture is as simple as could be imagined, being for the most part no more than straightforward melody-with-accompaniment. The danger of diffuseness is avoided by basing the whole work on a very small number of thematic ideas, so that all the movements have a strong relationship with each other though in a more subtle way. than is at first apparent.) slonoUT mort omod mutes arou vidgtle and otom of TO deorofat ed frigin I **** *w atdt aidd ni vtisnot of COFFEE INTERVAL OF FIFTEEN MINUTES boonelist vignora ****** aston ettdy odd no to Yosm of movalt yasm ********** Telpoi** offeosfolv ed elamexe rotaetbofem ent

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4. oe vELa tooges - gyd sind to an Iom condo a ubyall to oud to ono III ileup believ "Voces Intimae" - Quartet in D minor, op. 56 att ditw Sibelius (1865-1957) Andante - Allegro molto moderato Vivace Adagio di molto Allegretto ma pesante Iw gnita to eno aqoows (avel-boet) dolvoda Allegro Tomb at 11 olf Jetramp (otash (Last performed in 1964 by the Benthien String Quartet) "Voces Intimae" (1909) was written towards the end of a transitional period during which, in the very simplest terms, Romanticism had gradually been giving way to Classicism. One of the quartet's most striking characteristics is the very real sense of inward communion between the four 'voices', and this is evident right from the start as violin and cello softly ruminate on what course the music should take. The main Allegro is in fairly simple sonata-form, but with charactistically blurred outlines; the chorale-like conclusion leads straight into the ensuing Vivace, which immediately sounds like the more familiar Sibelius, with its rustling string writing (it is built almost entirely on material from the preceding movement). This fleet, shadowy piece is over in a flash, and the Adagio quickly suggests more serious matters. The lush harmony and scoring of much of this movement looks back OSUD to the elegiac type of slow music for strings which was so common with the late nineteenth-century Scandinavian composers - such as Grieg, Svendsen, and the younger Sibelius himself. The fourth movement sets off as a heavy-footed scherzo, but soon settles into that peculiarly hypnotic monotony which is so characteristic and which conceals the underlying build-up of tension, so that movom the sustained climax which results is truly menacing in its unexpected power. From first to last the finale is a thrilling T moto perpetuo which brings to mind the last of Sibelius's four rov orchestral legends ("Lemminkainen's Return"), depicting the hero's adventurous return home from Tuonela (Hell). at It might be interesting to note the slightly unusual use of tonality in this work: although in D minor it is a D minor strongly influenced by the Dorian mode (i.e. a scale from D to D on the white notes of the piano) and this lends a particular flavour to many of the melodies - for example, the viola/'cello 17

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· 5. theme under the violins' ostinato, near the beginning of the first Allegro. Sibelius experimented further with this technique in his sixth symphony (also in D minor) and the quartet contains many other pointers towards that most representative of his symphonies, particularly the strangely grey landscape of parts of the first, second and fourth movements. ** ** ** Monday, 15th January, 1979. NEXT CONCERT HUDDERSFIELD MUSIC SOCIETY ** ** ** January 16th - 20th HUDDERSFIELD THESPIANS THE DELME QUARTET HAR H Martinu, Beethoven and Dvorak ** ** ** ** ** Venn Street Arts Centre at 7.30 p.m. yes brow ** ** "SUDDENLY AT HOME" 200 ** ** ** ** ** ** A.George ** ** Tickets 60p. at Woods ** ** *was 630 yobit! ** F. Durbridge ** ** ** ** ** rov ** **

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text out to gainsigod odd son 6 anideo anilolv ent tebau emerit 6. aid nt supindood in diw oddzbednombroxo auflodie orgo LEA HUDDERSFIELD GRAMOPHONE SOCIETY (obu a cels) vnodgrze dixře toq estnodqarve December 11th. ad Christmas Party or fo atomovo January 8th. Waverley House, New North Road, at 7.30 p.m. ** ** ** ** HALIFAX PHILHARMONIC CLUB ** ** Harrison House, Halifax. ** ** ** Ja edt velvoidasq on byts bro003 A Pair of Star-crossed Lovers D Paul Serotsky (West Side Story and Romeo and Juliet) ** Friday, 19th January, 1979 THE LINDSAY STRING QUARTET Alban Berg Lyric Suite followed by discussion and repeat of the Suite. ** * ** ** ** ** ** ** ** ** ** ** ** GIMITE ICUH TANONOO ** ** ** ELLAND & DISTRICT MUSIC SOCIETY Friday, 26th January, 1979. PAUL COKER - piano to (Winner of National Federation of Music Societies Award 1978) abool Ja Rd. Providence United Reformed Church, Huddersfield at 7.30 p.m. ^ ** ** ** ** ** MAISHT TOUH ** ** ** ** ** ** ** SM ** OV

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(ezer-00 HUDDERSFIELD MUSIC SOCIETY ***** 20J ** Vojevi vrem bettaly THE DELME beltdea Sixty-first Season 1978-79 odi oals as de cels sew on Monday, 15th January, 1979 nivell valeudod ni bns bovi wod Roof Isool edi to zogee to ogsfftv od ovods Town Hall valeudo omon Isvaunu akrit e # E ** edit etorw od oser I them. Galina Solodchin David Ogden John Underwood Stephen Orton ID 30 *** ... STRING nt gatviris oqo Programme ** gatybuje 10JIA * QUARTET does0 edt benfot ed to set to asegon JedIA dd hw becrow bns ESQI nt eredt no eoner rit Jsory s bad yearde inst-evoll odd tot de violin de bopee Sert troll nt someviolin fer el (5 Quartet No. 2odfood Quartet in F minor, op. 95 ** *** O Interval Quartet in A Flat Major, op. 105 er ni som of antautor vino brs Hot F 0201 at bas[rost twe 2. jedrano noo orge TA adforgoII/ viola cello GO Martinu ni jeda Beethoven Dvorak atottsup ont IIs to Jaofrode rode ent d3 0181 mi nodd brw sw 20 ango of aaof bed revodfood earebed dom The Delme Quartet was formed in 1962 and took its name from the founder leader, Granville Delme Jones. In 1967 they were the first string quartet to be attached to a university (Sussox) aso artists in residence. The Quartet are now performing Fellows in the music department of Lancaster University and contribute odel regularly to the University's international subscription concerts. too at 30 nt ogseasg gakfacris ms ddiw adsde orgolis on Mode bas olfoo vd botsogersfolv odt vd boouborint at Jootdue bnoooe daxit oft no costrve ont of acety of top zovon Judatfoly brooon orodd tart azonoated won a'rovodfeed to evidsothat at Intlolv jI .afsogon on OIS

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Quartet No. 2 bra 2. dreamendu Bohuslav Martinu (1890-1959) (First performance at these concerts) Bohuslav Martinu was the son of a shoemaker who was also the keeper of the local Clock tower. There the family lived, and in this unusual home Bohuslav was born, high above the village of Policka in Eastern Bohemia. After studying violin and composition at Prague Conservatory, he joined the Czech Philharmonic Orchestra and thus visited many European cities, of which Paris became his goal. He settled there in 1923 and worked with Albert Roussel, who, together with Debussy, had a great influence on him. In 1926, he wrote the second string quartet for the Novak-Frank Quartet, who gave it its first performance in Berlin in 1927. Martinu left France in 1940, arriving in the United States in 1941, and only returning to Europe in 1953. He died in Switzerland in 1959. Quartet in F Minor, Op. 95 Beethoven (1770-1827) Allegro con brio Allegretto ma non troppo Allegro assai vivace, ma serioso Larghetto; allegretto agitato - allegro Opus 95 was written in 1810, the shortest of all the quartets not because Beethoven had less to say, but because he said it more concisely; in twenty minutes of music, he spoke volumes. The work is more akin to the late quartets than to those of the composer's middle period. The music constantly avoids the obvious with that touch of perversity that is so enthralling in Beethoven's later works. The allegro starts with an arresting passage in octavos. The second subject is introduced by the viola, repeated by cello and second violin, but never quite rises to the surface on the first violin. It is indicative of Beethoven's new terseness that there are no repeats.

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The slow movement demonstrates Beethoven's increasing interest in fugato. It leads straight into the Scherzo, another of those in which the trio comes round twice. Each recapitulation is a new development of the previous version. The Finale has a short slow introduction; a movement of romantic warmth, it ends with a surprising coda. *** INTERVAL OF FIFTEEN MINUTES **** **** Quartet in Ab major, op. 105 3. onbin Molto vivace Adagio ma non troppo allegro appassionato - Lento e molto cantabile Allegro non tanto he ** Dvorak (1841-1904) (Last performed in 1973 by the Talich String Quartet) In the summer of 1895, after three years in America, Dvorak S returned home to his native Bohemia and soon afterwards wrote the two string quartets - in Ab op 105 and in G op 106, which were his last chamber works. Opus 105 opens with a slow introduction in Ab Minor, a complete contrast to the idyllic and sunny movement which follows. The movement is in regular sonata form. The first and last soctions of the Scherzo are in a lively style derived from the Furiant (a Czech dance rhythm in 3/4 time with a characteristic effect of cross rhythms). The middle section, founded upon a gracious melody, later develops into a two-part canon for the violins. The romantic slow movement, beginning with a theme of folk- song character, becomes ever richer and warmer. While the mood of the whole quartet is happy, this happiness finds its consummation in the pure joy of the Finale. 100

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HUDDERSFIELD MUSIC SOCIETY NEXT CONCERT Monday, 19th February ons ont daterte absef 1979 at 7.30 p.m.xdat et asd of THE ACADEMY OF ANCIENT MUSIC omgo Io houby jai, James Bowman, Christopher Hogwood, Monica Huggett, Polly Waterfield and Jane Ryan 4. A programme of music from the courts of Europe during the 17th & 18th centuries. HUDDERSFIELD THESPIANS Venn Street Arts Centre. odemol aangg"Suddenly at Home" January 16th-20th 1979. at 7.30 p.m. ofgaba of Ed Francis Durbridge. HUDDERSFIELD GRAMOPHONE SOCIETY vd Ever 22nd January French Composers ofis R. Hawley & D. Bostock Len Nixon bermuder 5th February bra almorlod ov 201 Waverley House, New North Road at 7.30 p.m. Mozart 301 do all orow Good 10 2000, co on ynnua bas otflybi ord of HALIFAX PHILHARMONIC CLUB Inger af at Friday, at OBUO nt borrotzoq taal) Jasi) ..notdooe o.fbhi THE LINDSAY STRING QUARTET ting-outs ont Alban Berg Lyric Suite Recital and discussion up gnixte owt axrow rodmedo Jasi ojolamoo s January 19th 1979. dw at 7.30 p.m. bobnuol Tolv odd rol nonso Harrison House, Halifax. somoped netopierio groe ELLAND AND DISTRICT MUSIC SOCIETY vagad at Jodieup old Friday, 26th January, 1979 at 7.30 p.m. PAUL COKER - piano (winner of National Federation of Music Societies' Award) Providence United Reformed Church, Huddersfield Road.

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1 bebeer 32 OT HUDDERSFIELD MUSIC SOCIETY ** 61st Season 1978-79 Monday, 19th February, 1979 Town Hall MUSIC AT COURT A programme of music from the Courts of 20 of Europe during the 17th and 18th centuries. performed by James Bowman Dovo Monica Huggett THE ACADEMY OF ANCIENT MUSIC 0910 to Polly Waterfield ood fr no Jane Ryan Christopher Hogwood 00100008 ** Programme to include: 17th Century: Trio Sonata La Bergamasca Canzona a tre ta Chacony Monodies by Caccini, Sigismondo bos tro Interval vxujnos dJ81 odt mo Istomati Ho Counter tenor Baroque violin Baroque violin Viola da gamba Harpsichord 10 Uccellini to obtol Ian Cavalli 10 ca odd ol y Purcell d'India and Purcell yd Ismig ito bas oftmodus galysiq mort boog odebug 18th Century: Trio Sonata L'Apothoose de Corollius haro Scarlatti en haps. Couperin < Bach L'Infirmata, Vulneratanala mit. Allessandro Lecon de Tenebres No. 2 Couperin

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2. MUSIC AT COURT Music (or, more specifically, the musician) has always needed patrons. Life, even in a garret, has to be sustained by some financial means, and for many centuries the choice was between the Church and the Court. No aristocratic gathering of the Middle Ages, no feast of the Renaissance was complete without its complement of musicians. Patronage was an aspect of power, particularly during those periods when ceremony and ostentation were an essential display of a ruler's position. A practical training in music, even if not displayed in public, was considered necessary for princes in their role as patrons and a ruler needed to be capable of distinguishing the good from the bad without ministerial advice. Even the least musical of monarchs admitted the necessity of being seen to encourage the arts; the prudent ruler romembers the advice a courtier is said to have given to Louis 1V; "Know, Sire, that a king without any taste for music is a crowned ass". Whether moved by prudence or expertise, the courts of Europe present a panorama of onlightened patronage unrivalled by any other institution of the past, and unmatched by any council, corporation or committee of the present. Music at Court presents a sequence of such music from the 17th century in the first part of the programme, concentrating on the courts of Italy and England, and examples of cantata and sonata writing from the 18th century in the second half. Christopher Hogwood. The original Academy of Ancient Music was established in the 18th century for the purpose of performing 'old' music defined by their director, Dr. Popusch, as anything composed more than twenty years earlier! Their Concerts of Ancient Music (later known as the King's Concerts) were well patronized by London Society and continued until 1848. This recent modern revival of the Academy is dedicated to giving audiences an authentic experience of music as it would. have sounded at the time it was written. It brings together specialists in every branch of baroque and early classical performance style, playing authentic and original instruments of the appropriate period. CHRISTOPHER He is well. caster. Si put

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ome s needed 3. CHRISTOPHER HOGWOOD founded the Academy of Ancient Music in 1973. He is well known as a keyboard performer, musicologist and broad- caster. Since 1969 he has presented "The Young Idea" on Radio 3 and is a frequent contributor to other BBC programmes. His book "Music at Court" is the Folio Society 1978 Presentation Volume and the Academy of Ancient Music has recorded a two-record set to accompany it. for JAMES BOWMAN made his debut at Covent Garden in 1972, in Maxwell Davies "Tavorner", and has appeared there and with other major roll opera companies in England and abroad. He has appeared in Promenade concerts, appears frequently on the Sounth Bank, and has toured the Far East, Australia and New Zealand. Britten wrote especially for him in "The Journey of the Magi" and "Death in Venice". MONIC A HUGGETT studied the baroque violin at the Royal Academy of Music and has played in all the regular baroque ensembles in London. She now divides her time equally between the baroque violin and the modern violin, on which she plays in chamber orchestras and ensembles, including the St. John's Smith Square, the Nash Ensemble and the Capricorn. 9 POLLY WATERFIELD studied in Switzerland with Orrea Pernel and at the Royal College of Music with Carl Pini. While at the College, she took up the viol and baroque violin under Francis Baines. Later she attended courses with Sigiswald Kuyken and last year with Harnoncourt in Saltzburg. JANE RYAN has specialized in the viola da gamba and its wide repertoire and is a member of the Consort of Musicke, English Consort and the Julian Bream Consort. She is professor of viol at the Guild- hall School of Music and plays an original instrument made by Nicolas Bertrand in Paris in 1704. *** *** TOT Tand The Academy of Ancient Music is part of the Early Music Network, subsidised by the Yorkshire Arts Association. Other concerts in the Network include three by the Yorkshire Baroque Soloists in Bradford on 7th March, Whitby on the 9th March and Horbury on 10th March and the Quadro Hotteterre in Bradford on 24th March. For further details contact the Music Officer, Y.A.A., Glyde House, Bradford. Tel: Bradford 23051.

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1 4.dt bobnwot GOODOOH OTH HUDDERSFIELD MUSIC SOCIETY Next concert: Monday, 19th March, 1979 at 7.30 p.m.onie 0 TO JE PO PASCAL DEVOYON - Piano Suite Bergamasque Debussy, Sonata K 311 Fugue on a theme of Handel - Brahms. NEXT SEASON'S ARRANGEMENTS Mon. 15th October, 1979. The Beethoven Quartet - U.S.S.R. (to be sordexbrits, brsIgad nt confirmed) The Heutling Quartet - Germany The Landini Consort Jasl s odd be The Lindsay Quartet i tol VII xol The Sheffield University Piano Trio IDDUH A CIVOM Ian & Jennifer Partridge → Lender Recital. ad VIIsloogae Thurs. 15th November 1979 Mon. 3rd December, 1979 Mon. 14th January, 1980 Mon, 4th February, 1980 Mon. 10th March, 1980 Mozart, Variations and "THE SOUND OF STRINGS" 03 NON UA DJ - HUDDERSFIELD THESPIANS deder March 5th 10th at 7.30 p.m. GETTING ON - by Alan Bennett Venn Street Arts Centre, odi in Coro di tubam HUDDERSFIELD GRAMOPHONE SOCIETY 5th March at 7.30 p.m. ayol Paul Serotsky Waverley House, New North Road. St. Jude's Church, Halifax. HALIFAX PHILHARMONIC CLUB b Thursday 8th March at 7.30 p.m. Stoano od to Todmo SOLOISTS THE YORKSHIRE BAROQUE La HJ 12 ² ayudo bobrodds Ist ni bas exioTOOOT HORY ELLAND & DISTRICT MUSIC SOCIETY Friday 2nd March at 7.30 p.m. ofan foorond SHEFFIELD UNIVERSITY PIANO TRIO Iooroa IIad wa Provident United Reformed Church, Huddersfield Road, Elland. o

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ETHIRDMARIA & HUDDERSFIELD HUDDERSFIELD MUSIC SOCIETY DICUM ATACARAQUE SM) (Yare) Jodreu go Sonata in Ab, H.46 vasbr 29 3 1. 06. de Images 1 19th March, 1979 BERNARD ROBERTS - Piano ever PROGRAMME bel Adagio **** Allegro Moderato Sonata in Bb minor, op. 35 Grave Agitato Scherzo Marche Funebre Finale; Presto Finale Presto *** **** *** Coffee Interval ***** Sonata in E major, op. 109 dooteoll a tanud Reflets dans l'Eau Homage a Rameau Mouvement *** CHATS 2MATTE TH 142 al rdzo0 JA inova Haydn TAM ddol.coM Chopin angus $2 Debussy breS Beethoven Vivace ma non troppo Prestissimo Andants molto cantabile ed espressivo S Joyobby Bernard Roberts has very kindly stepped in at the last moment in place of Pascal Devoyon, who has been taken ill.

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HUDDERSFIELD MUSIC SOCIETY OECUM NEXT SEASON'S ARRANGEMENTS 62nd Season 1979-1980 Mon. 15th Oct. 1979 Thurs. 15th Nov. 1979 Mon. 3rd Dec. 1979 Mon. 14th Jan. 1980 Mon. 4th Feb. 1980 Mon. 10th Mar. 1980 La HUDDERSFIELD THESPIANS April 30th May 5th Venn Street Arts Centre. 23rd April € The Beethoven String Quartet (Moscow) The Heutling String Quartet (Germany) The Landini Consort The Lindsay String Quartet same The Sheffield University Piano Trio Ian & Jennifer Partridge - Lieder Recital HUDDERSFIELD GRAMOPHONE SOCIETY "Angels in Love" by Hugh Mills An Evening of Quadrophony HALIFAX PHILHARMONIC CLUB Friday, 6th April Waverley House, New North Road. for de Harrison House, Harrison Road, Halifax. at 7.30 p.m. ovlecer The Sheffield University Piano Trio at 7.30 p.m. Dennis Bostock at 7.30 p.m.