HMS 62


HMS 62

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SIXTY-SECOND SEASON 1979-80 The HUDDERSFIELD MUSIC SOCIETY WT. 7-30 p.m. VENUE - SEE LIST ENCLOSED

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Monday, 15th October, 1979 THE ORFORD STRING QUARTET Terence Helmer Marcel St-Cyr Andrew Dawes Kenneth Perkins Quartet in B flat major, K.458 Quartet No. 1 .... Quartet in C sharp minor, Op. 131 ... These four young Canadian musicians met at Les Jeunesses Musicales summer camp at Mount Orford, Quebec, some twelve years ago. They have toured in Europe, across Canada, the U.S. and the U.S.S.R. They have received numerous awards, the most notable being the E.B.U. International String Quartet Competition's first prize and the coveted $20,000 Molson Prize, presented by the Canada Council. ... Mozart R. Murray Schafer Beethoven Thursday, 15th November, 1979 THE HEUTLING STRING QUARTET Werner Heutling Oswald Gattermann Erich Bohlscheid Konrad Haesler Quartet in D major, Op. 18, No. 3 .... Quartet No. 3 Op. 30 ...... Quartet in G major, Op. 161 .... Beethoven Schönberg .... Schubert The Heutling Quartet was formed in Hanover in 1958. They made their London debut in 1961 and last played for the Society in 1965. This concert has been arranged through, and with the financial help of, the Goethe Institute. Monday, 3rd December, 1979 THE LANDINI CONSORT Nowell, Nowell! Mediaeval and Renaissance Music for the Feast of Christmas. The members of the Landini Consort first met in 1972 to perform mediaeval, renaissance and early baroque music, using replicas of the original instruments. They have appeared extensively throughout Britain including performances at the Aldeburgh, Cheltenham and Harrogate Festivals.

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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 £.. Name Address (BLOCK LETERS PLEASE) Cheques should be made payable to "The Huddersfield Music Society" will not be issued unless requested Receipts President: EDWARD GLENDINNING, Esq. Vice-President: J. C. S. SMITH, Esq. Joint Hon. Secretaries: Mrs. J. de Nikitin-Solsky 37 Gynn Lane, Honley, HD7 2LE Tel. Hudds. 661696 Mrs. E. Glendinning 2 Sunny Bank Road, Edgerton HD3 3DE Tel. Hudds. 22612 Hon. Treasurer: P. Michael Lord, Esq. National Westminster Bank Ltd. 132 Huddersfield Road, Mirfield WF14 8AL Tel. Mirfield 493188 Executive Committee: H. J. Black S. H. Crowther D. Dugdale Miss M. A. Freeman G. W. Maskell P. Michelson S. Rothery E. C. Shaw Mrs. C. Stephenson J. G. Sykes Mrs. J. H. Sykes W. E. Thompson Ladies' Committee: Miss M. A. Freeman Chairman Miss I. Bratman Mrs. A. Crowther Mrs. S. H. Crowther Miss K. Evans Mrs. E. Glendinning Miss M. Hamer Mrs. J. de Nikitin-Solsky Mrs. J. Shires Mrs. J. H. Sykes Mrs. C. Stephenson

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Monday, 14th January, 1980 THE LINDSAY STRING QUARTET Peter Cropper Ronald Birks Quartet in G major, K.387. Quartet No. 3 ... Quartet in A minor, Op. 132 Roger Bigley Bernard Gregor-Smith Mozart Hugh Wood Beethoven What can be said about the Lindsay String Quartet who have visited us so many times except to say that they have a growing international reputation and commitments? In 1981, the centenary year of Bartok, will be issued the Lindsay's recording by Decca of all his six quartets. Monday, 4th February, 1980 THE SHEFFIELD UNIVERSITY PIANO TRIO Colin Carr Rosemary Furniss Peter Hill Trio in B major, Op. 8 .... Trio in B flat major, Op. 99 ..... Brahms ... Schubert Rosemary Furniss and Colin Carr are both graduates of the Yehudi Menuhin School of Music, and Peter Hill is a lecturer in the Department of Music, Sheffield. All three have given numerous recitals and broad- casts throughout Europe and America. Monday, 10th March, 1980 IAN and JENNIFER PARTRIDGE The principal item in this recital is the song cycle "Die Schöne Müllerin" by Schubert has lan Partridge one of the best-known tenors of our time attained international recognition as a concert, oratorio and, above all, Lieder singer. He has received the widest acclaim from recitals in German, English and French songs and from his Evangelist's rôle in the two Bach Passions. He is fortunate in having a most sympathetic pianist in his sister, Jennifer. G of the Town Hall for extensive repairs the closure the 39 ELEM soouOD Suose sta Owing to venues

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Owing to the closure of the Town Hall for extensive repairs the venues for this season's concerts will be :- Monday, October 15 Thursday, November 15 Monday, December 3 Monday, January 14 Monday, February 4 Monday, March 10 All at 7.30 p.m. Highfield St. James's Church is in Waverley Road, off New North Road I enclose £. Highfield St. James's Church 11 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 Double (Single) Season Tickets in payment for Venn Street Arts Centre Highfield St. James's Church Venn Street Arts Centre 11 To assist the Treasurer, please enclose this form. Name Address

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SEASON TICKETS Double £12.00 (for two persons not necessarily of one family) Single Student MEMBERS LAST SEASON'S 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. Treasurer not later than 30th September, AFTER WHICH DATE NO RETURNED TICKETS CAN BE ACCEPTED. TICKETS £7.00 £3.00 (Season/Single) obtainable from: Hon. Secretary (Tel. 661696) Huddersfield Information Centre Albion Street (Tel. 37461 Ext. 285) J. Wood & Sons Ltd. (Tel. 27455) or at the door. Student tickets are obtainable from the School of Music or at the door. Double (Single) Season Tickets To the Hon. Treasurer, The Huddersfield Music Society, National Westminster Bank Ltd. FORM (for the use of PRESENT MEMBERS ONLY) 132 Huddersfield Road, Mirfield, WF14 8AL in payment for REMITTANCE I enclose £. Name Address To assist the Treasurer, please enclose this form.

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COVENANTED GIFTS The Committee appeals 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: Dr. H. J. BLACK G. R. BOOTH, Esq. F. BRATMAN, Esq. Dr. M. C. BRIERLY J. F. CROSSLEY, Esq. A. G. CROWTHER, Esq. Mrs. A. CROWTHER DAVID DUGDALE, Esq. P. G. C. FORBES, Esq. EDWARD GLENDINNING, Esq. THE GOETHE INSTITUTE KIRKLEES LEISURE SERVICES P. MICHAEL LORD, Esq. NATIONAL FEDERATION OF MUSIC SOCIETIES S. ROTHERY, Esq. F. ROWCLIFFE, Esq. (Hon. Vice-President) The Rt. Hon. THE LORD SAVILE, J.P., D.L. (Hon. Vice-President) Mrs. C. STEPHENSON S. SUTCLIFFE, Esq. J. G. SYKES, Esq. W. E. THOMPSON, Esq. J. J. VALNER, Esq. YORKSHIRE ARTS ASSOCIATION 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.

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/ - (test de THE Highfield Jude Andrew Dawes Kenneth Perkins fisher edt ddiw vibasd beebat tįybuda Joerg of quora visse gaitab tud HUDDERSFIELD Quartet No. 1 Isoov ****** Sixty-second Season 1979-80 St. James' United Reformed Church F Monday, 15th October, 1979 MUSIC SOCIETY ni Jofraud dan violin violin THE ORFORD STRING QUARTET ***** awoda ad bro 108000 S VITSO 21 S ***** 200 Quartet in Bb major, K 458 (The Hunt) DEN di mi daidrs no es au igani eid eos 10 ENT "1foami Interval Quartet in C sharp minor, op. 131 tog (1) fbob asw bors $8 bas Sort i srow yodd Dog's off3 waa Soył nodd Terence Helmer Marcel St-Cyr IS viola 'cello 230 10 ofta odt at off asw ered! Programme danya s moxt mens defugnidelb Sat) stoteen nue s'nbys mort 1) Toveb ett nagod oten to Mozart ol TO tod exsogas (tresoM) of wol"? R. Murray Schafer CY-OSTA up on onw eno Ji aslova jud as Isso retis bogolovob doldw I dt ovag bis aow Ted Beethoven 11tb dold enoloo orasining obretoq USURE H The Orford Quartet is described as Canada's foremost quartet not so modest a claim as might be thought, but on the strength of their recent playing, they deserve a bolder title. They won the European Broadcasting Union competition five years ago and their recording of the Debussy and Ravel quartets (Decca) is said to coob be one of the best in the catalogue. They have been together since 1965. Earlier this month they gave the first two concerts og of the whole Beethoven cycle, which they are performing at the Tod Wigmore Hall. In addition to teaching at the University of Toronto, where they have been Quartet in Residence since 1968, SIW they devote much of their free time to working with promising dovob young string players. you end gros-fot blons POTT som snotollob to nottenidmob vgasd e" - Jnemovom dayil "quod eupaonbyell bas acond d

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20 Quartet in Bb major, K 458 (The Hunt) Allegro vivace assai Minuet and Trio Adagio Hosudo berto Allegro assai Mozart (1756-1791) (Last performed in 1974 by the Melos Quartet of Stuttgart) This quartet is the fourth of a set of six which appeared in 1782 and was dedicated to his "dear friend Haydn" with the remark that they were the fruits of long and careful study; indeed, hardly another of Mozart's manuscripts shows so many alterations and erasures. Mozart's work as a composer of quartets can be divided into two periods. There are 15 early quartets written between 1770-73; then 1782 saw the appearance of the first "great" quartets. There was little in the style of the early group to distinguish them from a symphony or even a divertimento. from Haydn's Sun Quartets (1772) and Mozart's Haydn Quartets, chamber music began its development on its own lines. "Now he (Mozart) appears before us as an artist in the modern Beethoven sense one who no longer takes his inspiration from external sources but seeks it within himself". The new vocal style which developed after Mozart's Italian tours, influenced his instrumental works and gave them "that specifically Mozartian cantabile colouring which differentiates his art from that of all his contemporaries". But dating Abert writes: The first movement of this Quartet, known as "The Hunt" because of the suggestion of a hunting-song in its opening theme, recalls Haydn both in the style of the theme and in the light and innocent gaiety of the movement; the more characteristic Mozart does not appear until the development section. The Minuet and Trio form the second movement instead of being in the usual third position. The slow movement is perhaps the most impressive of the whole work. Einstein points out that the theme is based on the motiv of the Agnus Dei from the Litaniae Laurentanae, which Mozart wrote in 1774, and he finds that same atmosphere of intimate, devotional prayer in the Adagio. The theme of the finale is taken. from an old folk-song; the movement has the same spirit as the first movement - "a happy combination of delicious Mozartian roguishness and Haydnesque humour". (Abert) C.A.S. Quartet N

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1791) 3. su sud er yd Quartet No. 1 oxew yorld be R. Murray Schafer (born 1933) nevordeed Its mo R. Murray Schafer is one of Canada's best known composers; he is also a novelist, an innovative music educator, and, as founder of the World Soundscape Project, a tireless crusader against noise pollution. He founded the Ten Centuries Concerts series in Toronto which presented concerts of contemporary and unjustly neglected. older music. He was, for two years, Artist-in-residence at Memorial University, Newfoundland and subsequently professor in the Communications Department at Simon Frazer University in British ovom Columbia.dup Tonta A on ot bobnetni ew bas onts A nt nedd haw sfer oftamed ezofo A. (SEE .go) d add orj ner This quartet was commissioned in 1970 by the Purcell String reed Quartet of Vancouver. It is based on a twelve note row, with the first seven notes forming a descending chromatic scale. The opening has a texture of taut sound clusters, the intensity of which mounts as the instruments move into higher registers. *was* The transition to the second section is heralded by the first violin, with a lyrical melody. The three lower instruments glide from a simple chord through ascending mictrotones. A long section in unison becomes increasingly agitated and is interrupted by the loud snap of a cello string, intended to represent the click of a camera shutter. The work concludes with a series of "Snapshots" of previous material. ed laord of Intlob on ai bajo alt to dn from ONT **** ***** INTERVAL OF 15 MINUTES ** ***********: bridt to eoneb Quartet in C sharp minor, op. 131 etdT .notam A met I l show end of "Indrog (mot sttua) Jromo **** oftyd toaviy bas apontigt! Beethoven (1770-1827) FOCOL TA as of absol Info.lv on Adagio ma non troppod bowoflot at bas yaus soth Allegro molto adagio nomovon dixte of tossede olgaba Isnit ondo Andante ma non troppo e molto cantabile orgelle onim rade Dat (tot Allegro moderato stanoa overl Presto ont yd botanick Adagio quasi un poco andante tod Allegro a 37063 totam siA) at it to oforiw odTo I go odt to eonon Ital Iol Is it d tomos (Last performed in 1967 by the Vlach Quartet) KO atd to deodsong

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4。 The great triptych formed by the three Quartets Opp. 130, 131 and 132 dates from the years 1825-6 and they were written almost simultaneously. In them all Beethoven used great originality of design. He abandoned the number and order of quartet movements and, in their freedom and changing moods, he approached more nearly to the form of the older suite. The A minor quartet has 5 movements, the B flat has 6 and the C sharp minor has 7; yet og in the last quartet of all (Op. 135) there is a return to the older four-movement plan. The close connection between the three works is emphasised by the fact that Beethoven even interchanged movements between them; the Tedesca of Op. 130 was originally written in A minor and was intended for the A minor quartet (Op. 132). A close thematic relationship between the three has been pointed out. These quartets are all the works of Beethoven's time of deafness, when he listened with "the inner ear and imagined only spiritual or ideal forms in the movement of the music" In imaginative quality they are, as Heine said, not sounds but the ghosts of sounds. Of the three quartets this one in C sharp minor "is deserving of special attention, for its conception and the resulting form are absolutely new, and no composer since Beethoven has had the or courage to make use of the inventions to be found in it". (d'Indy) plotis od bebrejat Although this quartet is marked as having 7 movements, there 00 is no definite break between any of them. The form of each roveng movement of this curious structure should be noted. The grave portal" to the work is a fugue of great dignity. The second movement (Suite form) in the key of D major, is a dance of lightness and vivacity. The third movement is very short, only 11 bars in length; in reality, a recitative with a cadenza for the violin. It leads to an Air with variations in A major. This dies away and is followed by a brilliant and, witty scherzo in E major. The sixth movement is a short and mysterious adagio (Aria form) in G sharp minor, abruptly changing to the final allegro in C sharp minor. Here for the first time we have sonata- form. The whole of this triumphant movement is dominated by the influence of the opening fugue subject "So closes the quartet which, if Karl Holz is to be believed, Beethoven said was the greatest of his last compositions". (Kerman). C.A.S. HUDDERSF

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almost 130, 131 of HUDDERSFIELD MUSIC SOCIETY NEXT CONCERT Thursday, 15th November at Highfield St. James' Church at 7.30 p.m. THE HEUTLING STRING QUARTET (Beethoven Schoenberg 5. HUDDERSFIELD GRAMOPHONE SOCIETY Monday, 29th October at 7.30 p.m. HUDDERSFIELD THESPIANS November 19th 24th Arts Centre, Venn St. at 7.30 p.m. **CANDIDA OP Mozart/Prokofiev Monday 12th November at 7.30 p.m. Schubort) George Bernard Shaw Waverley House Gerard Callaghan and Jack Haigh Grieg & his Music & Early Beethoven 4tets G. & C. Parry HALIFAX PHILHARMONIC CLUB Thursday, 18th October at 7.30 p.m. Orford String Quartet (Mozart, Murray Schafer & Beethoven op. 59 59 no. 2) Harrison House, Halifax. ELLAND & DISTRICT PHILHARMONIC SOCIETY November 9th at 7.30 p.m. Kathryn Stott - piano. United Reformed Church, Huddersfield Road, Elland.

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08. Je dosud somst, blods Hi Ja odmevol dysbazul? sauch venoval bos gara[[O byste mq DES J .je never (s da hy exime ada brs[1³ YTSIDOR 08. dows - der SOM ajedi nevordeod yirs & oleum at à goito MORGONATO CITTERETIUR s rodojo 60 Jes roll q0E. J's redmet rol disi ysbroM m.q 08. Je sodoje di81 ysbeadT Fada broln novonteel & re M) YTHI002 OTMOMSAHITHI TODITIO & CHATTI 2 Todnovoll

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(5581-05) 0 (Jedynu) THE mort med s HUDDERSFIELD MUSIC SOCIETY **** Sixty-second Season 1979-80 otom Highfield St. James United Reformed Church @ Thursday, 15th November 1979 G be vIbigby saw bra vbiqer oord Werner Heutling en Oswald Gattermann tq ed of via odd to exit ond di Jnanimob end no ajuste Gnomovom Jerih eldl vd Quartet in D major, op. <**** atq! THE HEUTLING STRING QUARTET 1081 bote dug 68 mort ebrionop *** ben nevento od onid etdi va 0081 of Berl realvorani Teelvoramb bas telasta Jnstiftid s as stine.IV violin Erich Bohlscheider violaem violingo Konrad Haesler cello h d Programme ammo ant jetuand Freq Jasl) Interval 0 Bi StedTa siq Quartet in G major, op. 161 Je A mort onols niforv tol petroloog s 18 No. 3M yo bys ydy Beethoven ei one to romted bontsdere ond rovo orgil nilov oviterboob odt noto 'Quartet No. 3 op. 30 (1927) Schoenberg D Totem of asw jedTEMP up toogo IsobyD erTad, bezdomo nabr bommelg ribsord on orna dd to vi info of memo a ondd med Schubert yd betourtenoo at delt in No mored much sa odt The Heutling Quartet was formed in Hanover in 1958. They made their London debut in 1961 and played for the Huddersfield Music Club in 1965, when their programme was Haydn, Berg and Schubert. We are pleased to welcome them again after this long gap, and grateful to the Goethe beo Institute for making the concert available and giving us substantial financial help. ober SHOP. 710

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20 Quartet in D major, op. 18 No. 3 Allegro Andante con moto Allegro minore Presto C Beethoven (1770-1827) maggiore (Last performed in 1962 by the Tatrai String Quartet) The manuscripts of the six quartets, op. 18, which were published in 1801 by a Vienna firm have been lost, and we can only conclude from Beethoven's sketchbooks that he worked at them from 1798 to 1800. By this time, Beethoven had established himself in Vienna as a brilliant pianist and improviser, and was rapidly making a name for himself as a composer, having piblished the three trios op. 1, the piano sonatas op. 2, 7 and 13 (Pathetique), the first violin and cello sonatas and the Bb piano concerto. The D major quartet was probably the first of the six to be composed. The lyrical opening allegro starts on the dominant with a poetic rise for violin alone from A to G. This first movement is unlike any by Haydn or Mozart; the theme is hardly defined by the decorative violin figure over the sustained harmony of the lower parts. The broadly planned Andante in Bb has something of the romantic solemnity of the Largo in the piano sonata op. 7. The 12- bar theme, begun by the second violin and taken up at the fifth bar by the first, is constructed with great subtlety. The third movement (not called Scherzo) has undertones of pathos and elusive rhythms. The short minor section is based on the same four-note figure as Bach's famous Chaconne. The 6/8 Presto, a concise sonata-form piece, evidently made a strong impression on Schubert, who perhaps unconsciously echoed it in the Finale of his G major quartet", to be heard later in the programme, (Basil Lam)

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Quartet no. 3 op. 30 (1927) 3. Moderato ebont 63 Adagio odom obdg du ad (oddergolfs) of Intermezzo - Allegro moderato Rondo: molto mcderato A (de (First performance at these concerts) frog desi) da During 1927, Schoenberg taught composition at the Prussian Academy of Arts in Berlin. His third quartet was first performed on 19th September in Vienna by the Kolisch Quartet. It is based. on a 12-note set which is used throughout.dto w d boretto on bedalidua Jon a 1281 I Schoenberg (1874-1951) Schoenberg was distrustful of talking about the sources of his inspiration. In 1932 he wrote to Rudolf Kolisch: "You have rightly worked out the series in my string quartet ... You must have gone to a great deal of trouble, and I don't think I'd have the patience to do it... I can't utter too many warnings against overrating these analyses, since after all they only lead to what I have always been dead against: seeing how it is done; whereas I have always helped people to see what it is! I can't say ittat often enough: My works are twelve-note compositions, not twelve- note compositions". gap. Lleuadipir ne tiv mot stanoe nt et tromovom Jax11 ont en Briefly: the first movement sets thrusting ostinato patterns against cantabile melody; the second, adagio, is a set of da variations. After a ternary Intermezzo, the work concludes with a sonata-rondo. pat reddo odj ***** ajanudduo Jnelolv yd neslord ootud et Schoenberg linked the first movement with a childhood recollect- ion of a picture representing the legend of The Phantom Ship, showing the Captain nailed to the mast by his mutinous crew. Perhaps this gave rise to the powerful rhythmic tension between ostinato and melody. vyrono saolbarod to bas no. bas noftrieval to ried at ago singe noowded 20sentetis INTERVAL OF FIFTEEN **** ** ***** MINUTES *** B

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Quartet in G major, Op. 161 4. (yser Schubert (1797-1828) Allegro molto moderato ebolf Andante un poco moto of Scherzo (allegro vivace) and Trio (allegretto) Allegro assai offom tobroll (Last performed in 1975 by the Gabrieli String Quartet) In the summer of 1826, Schubert wrote this, his last, quartet. It is believed that its first movement was performed at the pap celebrated Invitation Concert in March 1828; in the same year, he offered it with other works, in vain, to the publisher, Schott. It was not published until 1851. to geotros est trodie go ovar It has been said that Schubert's string quartets are eat eld essentially orchestral in character. This might certainly apply to the G major quartet. "The orchestral character of the worked is apparent in the unison passages, in the agitated tremoli in melody and accompaniment and in the groupings of question and ovo answer. The first movement, in particular, is dependent upon the interplay of harmonic light and shade, upon the interchange of major and minor within the narrowest compass". (Einstein) no nod to aroldteogmoo ojog The first movement is in sonata form with an unusually long exposition. Einstein asserts that the slightly agitated Andante in Eb became the model for many of Brahms' movements, romances or orchestral ballades, in which an elegiac melody predominated in v the bass with decorative embroidery by the other instruments. How The calm of this movement is twice broken by violent outbursts to which end with harmonies so strange that some critics have com- pared them with harmonies of Bartok. 1 bq 90% of avonidum etd CO of boften atstos) oft grtwore The Scherzo and Trio is followed by a lengthy rondo, full o of invention and of boundless energy, violent in rhythm and nitao adventurous in harmony. It, again, like the first movemont, alternates between the major and minor keys. It ends with a coda in G major. JAVARTHI

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HUDDERSFIELD MUSIC SOCIETY Next Concert MONDAY, 3rd DECEMBER at 7.30 THE LANDINI CONSORT "NOWELL, NOWELL!" Mediaeval and Renaissance Music for the Feast of Christmas. at 5. HUDDERSFIELD THESPIANS VENN STREET ARTS CENTRE *** *** 19th 24th November CANDIDA by George Bernard Shaw Arts Centre, Venn Street at 7.30 p.m. HUDDERSFIELD GRAMOPHONE SOCIETY 16th November 1979 at 7.30 p.m. The Greatest Achievement" (Goetterdaemmerung) P. Serotsky Waverley House, New North Road. HALIFAX PHILHARMONIC CLUB 29th November at 7.30 p.m. EDER STRING QUARTET (Haydn, Bartok & Mozart) Harrison House, Halifax.

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HUDDERSFIELD MUSIC SOCIETY 62nd Season, 1979-80 **** ***: Venn Street Arts Centre bron Monday 3rd December, 1979 mim THE LANDINI CONSORT *** ** ** Richard Hill Rogers Covey-Crump Margaret McCaul Medieval and Renaissance Music for the Feast of Christmas (222-5 Hugh Cherry John Bryan Peter Syrus (T) SMMASDOR9 Countertenor Tenor Director Viols, Rebecs, Medieval Fiddle, Lute, Gittern, Citole, Psalteries, Recorders, Cornamuse, Crumhorns, Shawms, Curtal & Percussion. The members of the Landini Consort first met in 1972 to perform medieval, renaissance and early baroque music, using replicas of the original instruments. The Consort has appeared extensively through- out Britain, including performances at the Aldeburgh, Cheltenham and Harrogate Festivals, and has given several concerts in London at the Purcell Room and Wigmore Hall. Over the last two years the Consort has embarked on an international career, giving concerts in Germany, Belgium, Yugoslavia, Switzerland and France, where it recently performed in the prestigious Festival Estival de Paris. The Landini Consort has recorded for the BBC, Belgian Radio and West German Radio, and is closely associated with the York Early Music Festival which has attracted world-wide attention for its courses and concerts. Records by the Landini Consort include a programme of medieval and renaissance music for the feast of Christmas, songs and dances from 14th century Italy, and the Play of Daniel'. Following its current tour of Yorkshire with 'Nowell, Nowell the Landini Consort will take its Christmas programmes on tour in Holland, Belgium, Luxemburg and Germany, and ends its December activities with a concert in the Wigmore Hall's Christmas season. BITHO

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2. PROGRAMME (Translations of the texts of foreign vocal pieces will be read during the concert) Medieval Songs from France and England (all anonymous) Orientis partibus (conductus a 3; Song of the Ass from an early 13th century Beauvais carnival) Angelus ad virginem (i: a 2; 13th century English) (ii: aa 3; 14th century English) In Rama sonat gemitus (monophonic lament; late 12th century Scottish) 12th century French) Verbum patris humanator (conductus a 3; Carols and Dances from Lutheran Germany In dulci jubilo (a 4) Carmen I (a 4) Ein Kindelein so löbelich (a 5) Carmen II (a 4) Joseph, lieber Joseph mein (a 5) Johann Walther (1496-1570) Ludwig Senfl (c. 1492-1555) Walther Senfl Walther Fifteenth Century English Carols Nowell, Nowell: tidings true (monophonic; performed instrumentally) anon. There is no rose of such virtue Nowell, Nowell: out of your sleep arise and wake Nesciens mater (antiphon a 3; Old Hall Manuscript) Nova, Nova (monophonic) **** INTERVAL ******** anon anon anon Byttering (c.1420) anon Music from Elizabethan England Lullaby, my sweet little baby (consort song a 5; Psalmes Sonets and Songs' 1588) William Byrd (1543-1623) Come mad boys, be glad boys, for Christmas is here anon (traditional English ballad) Bonny Sweet Robin (fantasia a 4) Thomas Simpson (c.1600) Sweet was the song the Virgin sung (Ballet lute-book lullaby) Lully, lullay, thou little tiny child (Coventry Carol) anon anon Car

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will Carols and Dances from Renaissance Spain anon E la don don, Verges Maria (villancico a 4) Danza alta (a 3; on 'La Spagna) Franciso de la Torre (c.1490) Dadme albricias, hijos d'Eva (villancico a 4) La Spagna (basse danse a 4) Riu, riu chiu (villancico a 4) PROGRAMME NOTES 3. ** ********** anon anon anon NOWELL, NOWELL 2 Christmas has been celebrated in poetry and song from the 2003 earliest days of the Christian Church: this programme shows some- thing of the variety of musical styles, both sacred and secular, which accompanied the festivities through the middle ages and renaissance. The first group is framed by examples of the conductus or processional. Orientis partibus was first sung by the sub-deacons of Beauvais Cathedral in the thirteenth century and describes the arrival of the ass with gifts for the holy infant. The brays of the animals are vividly wrought into this cheerfully dissonant piece; these astringent sounds are a far cry from the contemporary English piece which follows. The popularity of Angelus ad virginem was such that it survived the thirteenth century into the fourteenth, and may be found in many manuscripts with both Latin and Middle-English words. The later three-part version with the melody as the middle part of a string of warm and mellifluous first-inversion chords is mentioned in Chaucer's The Miller's Tale where the poore scholar sings the tune swetely to the accompaniment of psaltery. The fifteenth century English carol was a form generally associated with dancing in a large circle and extremely popular at Christmas and other feast days. It usually alternated between narrative verses and a repeated burden, often scoring the different sections for different numbers of voices. Christmas music of the first half of the sixteenth century stems here from two countries; Germany and Spain. In this particular repertoire their musical styles have almost nothing in common. The Spanish villancicos preserve much of the popular and rustic elements of medieval music, and their compelling syncopations and lively rhythms welcome the addition of percussion. The mood of all three villancicos, which come from a collection published in Venice in 1556, is neither

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4。 manifestly sacred nor secular: this lack of a clear dividing line was another characteristic of much earlier music. The dances in the Spanish group date from about 1500 and are both based on a slow-moving tenor called La Spagna. The basse danse often used such melodies as the basis for improvisation; spontaneity is perhaps the single most obvious attribute of the instrumental and vocal works of the Spanish renaissance. In contrast, Christmas music in Lutheran Germany was a more serious and studied affair, not so surprising in view of Luther's opinion that polyphony was a divine gift to mankind. Luther sought the assistance of his closest musical collaborator, Johann Walther, to provide him with music for the reformed liturgy. The three carols here, from the Geistliches Gesangbüchlein published in Wittenberg in 1551 but written nearly thirty years earlier, fall into two basic styles which were common property to both the sacred and secular vocal music of renaissance Germany. In dulci jubilo is a straightforward chorale, placing the well-known melody in the tenor part, while Ein Kindelein and Joseph, lieber betray the influence of the secular tenor-lied where slow-moving tenor lines provide a foil for more active and complex lines with her imitation. Det The latest music in this programme comes from Elizabethan England in the last decade of the sixteenth century. Sweet was the song survives in a variety of sources as a solo song to the lute, for four voices and for one voice and four viols. It is from this five-part consort song that this version is made, adding the bass viol played lyra fashion. The Coventry Carol started life in the fifteenth century pageant of the Shearmen and Tailors, though the version used for this performance was not written down until 1591. Simpson's fantasia is based on the melody Bonny sweet Robin which was used for all manner of doos ballad texts: Come mad boys provides a contrast to the more sober lullabies. Tar tod) **** *** of[oo s

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HUDDERSFIELD MUSIC SOCIETY *** HUDDERSFIELD THE SPIANS LINDSAY STRING QUARTET Quartet in F after piano Sonata Op 14 No. 1 Quartet in G major K 387 Quartet in A minor, op. 132 5. NEXT CONCERT **** January 14th 19th at 7.30 p.m. HUDDERSFIELD GRAMOPHONE SOCIETY Highfield St. James' Church, Waverley Road, off New North Road. at 7.30 p.m. "Dear Daddy" by Dennis Cannan January 7th at 7.30 p.m. **** HALIFAX PHILHARMONIC CLUB 12th December at 7.30 p.m. Monday 14th Jan, 1980 Music of the Hills" Brian Jenkinson ELLAND & DISTRICT MUSIC, SOCIETY 18th January 1980 at 7.30 p.m. Venn Street Arts Contre Beethoven Mozart Beethoven THE ENON WIND OCTET (Beethoven, Stamitz, Jacob, Hummel, Mozart) Waverley House, New North Road. Harrison House, Harrison Road, Halifax. THE BOCHMANN STRING QUARTET Provident United Reformed Church, Huddersfield Road, Elland.

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soll woll thobsof yarov doron comste bokong PH Sine zelfall brol InoveW. (ssol omdoost d Al Med 08. 38 dy visust SULTO DIMONRAILTINI XATIJAH dom bemsetel beita je bivost bsol ble ftesebbul (novodjoel) YTHICO DIUM TOTT & MALE

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THE HUDDERSFIELD MUSIC SOCIETY Peter Cropper Ronald Birks 62nd Season 1979-80 Highfield St. James' United Reformed Church Monday, 14th January, 1980 THE LINDSAY STRING QUARTET ** ** Interval violino Roger Bigley violin Bo Bernard Gregor-Smith Programmes of fol Quartet in F major after piano sonata Op. 14 No. 1 Quartet in G major, K 387 Dyhfuld Church viola cello Beethoven Mozart Quartet in A minor, Op. 132 The Lindsay Quartet makes tonight its fifth appearance at these concerts. How fortunate we are to have this distinguished ensemble so near at hand and so well supported by the Yorkshire Arts Association, to whom we are grateful for help with this concert. Beethoven The quartet was formed in 1966 and has held University posts at Keele, Sheffield and Manchester. Their tours abroad to America, the Far East, Australia and Europe - have had very great success. 9 The Quartet's recent recording of Tippett's three quartets won a Sunday Times accolade - "one of the year's most desirable records and in May they gave the first performance of his 4th quartet at the Bath Festival. They have just celebrated Tippett's 75th birthday in with a programme including this quartet at the Queen Elizabeth Hall, London. They are currently recording for Enigma Records all the Beethoven quartets and will mark Bartok's centenary with a recording of his six quartets in 1981.

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2. Quartet in F major after piano sonata Op 14 No. 1 in E major. Beethoven (1770-1827) Allegro Allegretto Rondo allegro comodo (First performance at these concerts) Quartet in G Major K 387 Mozart (1756-1791) Allegro vivace assai Menuetto and trio Andante cantabile. Molto allegro (Last performed in 1968 by the Janacek Quartet) Mozart's 25 string quartets can be divided into two sharply defined groups. The first group of 15, all dating from the early 1770's, are not string quartets in the modern sense. They could be better described as divertimenti or even symphonies for strings. Later the quartets written in Italy show a great advance and much Italian influence; the latest, written in Vienna, prove that Mozart had now met Haydn and was much influenced by him. After a lapse of some ten years the second group - the 10 "great quartets, began to appear in 1782. This was the period immediately following Mozart's marriage; not many works date from this time but his output was by no means negligible since the first 6 quartets dedicated, to his dear friend Haydn", were then written. Now "Mozart had completely found himself - scarcely any works of his are more personal than these quartets. This time he learned as a master from a master; he did not imitate; he yielded nothing of his personality". (Einstein). It has been suggested that Mozart's "passion for counterpoint, the outcome of his studies of Bach and Handel, may have influenced him as much as the example of Haydn's own quartets toward resorting to a form of composition in which it can be turned to such wonderful account in the interweaving of the four voices". (Hussey). It is difficult now to understand why such works as the " great" quartets, with their crystal clarity and their consummate beauty should have aroused the storm of criticism which greeted them on their first hearing. L

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3. 2000 The Quartet to be played tonight is the first of the ten. In it, as in all the remaining ones, Mozart shows a seriousness of purpose, even though the mood be cheerful, far removed from the elegant graces of his "gallant" style. The first movement, in sonata form, opens with a cheerful and robust subject, which later has touches of what Einstein calls Mozart's uncanny concealed chromaticism; all the four instruments now play an equally important part. The closely-spaced second subject has more grace and delicacy. The minuet, based on a strongly accented ascending scale passage, d opens in almost fugal style; the vitality and humour of the Minuet takes yet another form in the Trio. The Andante has much graceful figuration particularly for the first violin; the whole movement. has "a mood of extraordinary exaltation such as we find, outside. Mozart, only in the later works of Beethoven". (Hussey). The brilliant Finale begins as a strict fugue and yet the movement is cast in sonata form. The chromatic passages from the Minuet appear during its course. One could well believe that this movement owes something to the finales of Haydn. The swiftness and gaiety of the tempo conceals much of the elaborate and intricate workmanship. **** INTERVAL OF TEN MINUTES ***** ******* beef doldw ogsbasq Quartet in A minor, Op. 132ter to vot, od Beethoven (1770-1827) Assai sostenuto - allegro Allegro ma non tanto Molto Adagio - Heilige Gedanksang Alla marcia, assai vivace Allegro appassionato (Last performed in 1962 by the Strauss Quartet) After an interval of fourteen years during which he wrote no chamber music, Beethoven devoted himself from 1824 to 1826 almost entirely to the composition of his last five string quartets - works which express the quintessence of his human and artistic knowledge. Hadow wrote "Beethoven's last period is like the second part of Faust. There is no music in the world mcre difficult to understand, none of which the genius is more unearthly, more super-human. It contains passages to which we can no more apply our ordinary standards of beauty than we can to the earthquake or the thunder-storm; it contains phrases, like the cynicism of Goethe, which, till we

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comprehend them better, we can only regard as harsh or grim or crabbed; at times it rises into melody the like of which the world has never known and will never know again". The first movement of this quartet has a remarkable form. It opens with a very short and slow introduction founded upon a four-note motive (G sharp, A. F, E) which is like "the mysterious voice of an oracle speaking of things beyond the reach of thought". These four notes recur throughout the movement, binding it into a whole, and followed each time by successive expositions of the main first and second subjects. An allegro takes the place of the usual Scherzo; the trio section reminds one of a country waltz with its drone bass. The role of the dance is very important in the late Beethoven quartets. Beethoven entitled the slow movement "A Song of Thanks- giving offered to the Divinity for recovery from sickness, in the Lydian mode". Just before writing this quartet Beethoven anbrab had suffered from a severe illness, therefore we may read into this portion a personal expression of feeling. Technically, this movement is an aria in five sections; the final section, marked to be played with deepest feeling, is truly celestial. A short march, in abrupt contrast, ends with a recitative passage which leads directly into the final Allegro movement. This is a rondo in which the joy of returning life and health is depicted with radiancy. *** *** *** *** HUDDERSFIELD MUSIC SOCIETY *** 4. *** *** *** AT *** *** *** *** *** *** *** C.A.S. *** Sheffield University Piano Trio (Brahms in B major Schubert in Bb major) Monday, 4th February, 1980 at *** *** VENN STREET ARTS CENTRE NEXT CONCERT *** *** *** 7.30 p.m. *** *** 06220 *** *** *** ԼՈՒ

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he or HUDDERSFIELD THESPIANS *** *** January 14th - 19th, 1980 at 7.30 p.m. *** *** *** *** *** HUDDERSFIELD GRAMOPHONE SOCIETY *** *** *** *** Monday, 21st January, 1980 at 7.30 p.m. "Dear Daddy Venn Street Arts Centre HALIFAX PHILHARMONIC CLUB 5. *** **** *** *** **** *** Chamber and Orchestral Friday, 18th January, 1980 at 7.30 p.m. *** *** *** Waverley House, New North Road. 08 by Dennis Cannon *** *** *** ELLAND & DISTRICT MUSIC SOCIETY (Boccherini, Tippett No. 4 and Schubert Quintet) *** *** Lindsay String Quartet with Douglas Cummings, cello. Harrison House, Harrison Road, Halifax. Len Nixon *** *** *** *** *** *** Bochmann String Quartet Friday, 18th January, 1980 at 7.30 p.m. Provident U.R. Church, Huddersfield Road, Elland. *** *** *** *** *** *** ***

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92 C fa YT1008 DICUM TOTaid VEAUNE b gabroll

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(VRBLÄTEST. THE conero **** HUDDERSFIELD MUSIC SOCIETYnt obrt ons M Sixty-second Season 1979-80 Monday, 4th February 1980. Venn Street Arts Centre THE SHEFFIELD UNIVERSITY PIANO TRIO Rosemary Furniss Colin Carr Peter Hill Trio in B major, Op. 8 ond antons 0:21 [no. Programme at Interval Trio in Bb major, Op. 99 D898 *** violin cello piano w noidneja Brahms H nottoos mo atd Schubert 18 1 The Sheffield University Piano Trio was formed in 1978 to succeed the Lindsay Quartet as artists-in-residence at Sheffield University. The violinist and cellist, Rosemary Furniss and Colin Carr, are both former students at the Yehudi Menuhin School. The pianist, Peter Hill has been a lecturer at the University since 1976. The Trio's repertoire for the 1979-80 season includes the fo complete cycle of Beethoven's trios, works by Schubert and Brahms, and twentieth century music by Bartok, Messiaen and Alexander Goehr. huo

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Piano Trio in B major, Op. 8 20 Brahms (1833-1897) Allegro con brio Scherzo allegro molto Adagio Allegro (First performance at these concerts) The trio in B major was composed twice. The first version, nearly a third longer than the present lengthy one, was written mainly during 1853. Almost as soon as it was published, in 1854, Brahms was lamenting to Joachim that he ought to have withheld it, that he would alter it if he only had the chance. His chance came thirty-six years later, after he had already composed the second and third trios. The second version is a product of his ripest maturity. His first intention was merely to "comb and arrange its hair a little", rather than to "provide it with a wig". He started making his corrections on a copy of the original score, but soon. found that there were too many changes. He had to begin a new manuscript, and when he had finished, the musical landscape of the trio was completely altered. - The first movement begins with the long and marvellously original opening shared by cello and piano. The violin, at first silent, enters finally and adds its warm third voice as the melody grows into a great unison statement. Part of what goes into an inspired job of revising consists of knowing what to leave alone. The scherzo was the only move- ment to escape the composer's editorial pen, but here the 57 year old Brahms could not possibly have improved on the 20 year old. This scherzo is all kinetic excitement, filled with a weird menace that is somehow inseparable from a Mendelssohnian grace. The strings move in small confined patterns from which the piano breaks away in chilling, diminished-seventh arpeggios. From the cold out-doors of the scherzo, we are suddenly ushered into the warm and brilliant ball-room scene of a trio. Here Brahms writes one of his great waltzes - a typically Brahmsian one. In this scherzo and trio, the difficult problem of balancing two strings with a piano is fully solved. A coda - the only 1889 addition brings the movement to an end with quicksilver agility. TH

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3. The Adagio begins in an almost religiously contemplative mood. The piano's long-sustained descending chords are answered by the comforting upward-turning phrases of the strings. The middle section, written in the tenor clef, is an eloquent song in G minor for the cello. The last movement, like the scherzo, is in B minor. As in the first movement, the cello is brought to the fore, accompanied by light piano triplets. The vialin's first appearance is reserved for bar 18, and its delayed entry, against continuing triplets in the piano and plucked bass notes in the cello, produces a fine effect. The bright, energetic second theme is in the major. Interval for Coffee Piano Trio in Bb major, Op. 99 D898 D.J. Schubert (1797-1828) Allegro moderato Andante un poco mosso Scherzo, (allegro) and trio Rondo (allegro vivace) (Last performed in 1941 by the Holst Trio - Henry Holst, Helen Just and Phyllis Sellick) "A glance at Schubert's Trio in B flat and the wretchedness of human existence disappears, and all the world glows fresh and bright again!" So wrote Robert Schumann. The composer of this lovely work died of typhoid fever at the age of 31, after suffering the ravages of loneliness, poverty and disease. A measure of the misery he must sometimes have felt is conveyed by the work he composed immediately before the trio, Die Winterreise, but no trace of the "wretchedness of human existence" can be detected in this trio. Some of the happiest hours of Schubert's life were spent in the houses of his friends in musical evenings - Schubertiades. Both his piano trios were composed for such occasions and were inspired by his friendship with Ignaz Schuppanzigh, violin, Joseph Linke, cello and Karl Maria von Bocklet, piano. The Bb trio seems not to have been published until 1836, eight years after Schubert's death. The publisher was Diabelli, who had frequently paid pittances for some of Schubert's greatest works. One scholar has estimated that Schubert was paid in his whole life- time the total sum of £575.

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4。 on The Bb trio is a blissfully happy work, rich in cheerful melody, unusually diatonic for Schubert, although full of characteristic modulations and key switches. The principal tune sails in at once, all sunshine and swagger, while the punctuating figure in the left-hand piano part enhances the elan of the tune. Schubert's favourite triplets, as well as the dotted rhythm of the figure, are at once in evidence". (W. Mann) The strings take the lead as in the "Trout" Quintet. They generally present the themes and the piano takes them up after- wards. Particularly prominent is the way the cello is used; for this does not merely present a doubling of the piano part, as in the great majority of the corresponding works of the Viennese classical school; rather Schubert takes the cello part, in a soloistic and at times virtuoso manner, up into the high positions. In the first movement, the second subject is first stated by the cello, and in the Andante, the cello opens the string-dialogue with the main theme, before the piano takes it In this way, this trio played a large part in the raising of the cello to one of the most popular solo instruments. over. $g *** *** *** *** *** HUDDERSFIELD MUSIC SOCIETY *** *** *** Monday, 10th March, 1980 at 7.30 p.m. at Venn Street Arts Centre *** *** *** *** IAN & JENNIFER PARTRIDGE I say "Die Schöne Müllerin" *** *** *** HUDDERSFIELD THESPIANS March 3rd 8th at 7.30 p.m. Next Concert: at Venn Street Arts Centre *** *** *** *** G.B. *** *** *** *** Schubert. *** *** "Butterflies are Free" by Leonard Gershe ***