HMS 64


HMS 64

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SIXTY-FOURTH SEASON 1981-82 The HUDDERSFIELD MUSIC SOCIETY WT.

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All concerts at the Venn Street Arts Centre at 7.30 p.m. with the exception of this first one which will be held at the Town Hall at 3.00 p.m. SUNDAY AFTERNOON, 25th October 1981, at 3.00 p.m. THE DELME ENSEMBLE THE DELME STRING QUARTET with Jack Brymer (Clarinet) Martin Gatt (Bassoon) Septet in E flat . . . Octet in F.... These distinguished musicians have been engaged as the Music Society's contri- bution to celebrate the Centenary of the Town Hall. This is a rare opportunity to hear these great works, which must be of special interest to all lovers of chamber music. Monday, 16th November, 1981 APOLLO'S BANQUET Monica Huggett (violin) Jan Schlapp (viola) James Brown (Horn) Adrian Beers (Double Bass) Timothy Mason (cello) Quintet for flute, oboe, violin, viola and cello.. Oboe Quartet in F major, K.370. Flute Quartet in D major, K.285 String divertimento in E flat, K.563. . . ● . Sonata No.6 in B flat major. Sonata in A major, Op.69.. Variations on a theme of Rossini Sonata in F major, Op.99 . . . Liza Beznosiuk (flute) Sophia McKenna (oboe) . . .Beethoven . . .Schubert Monday, 7th December, 1981 CAROLINE DALE (Cello) KEITH SWALLOW (Piano) ● 10 Sussmayr Mozart Apollo's Banquet consists of some of the most eminent players of authentic instruments in the UK, all of whom have made a special study of baroque and classical performance. They have come together through mutual affection and respect and, because of this, their stylishness and real enjoyment in playing is communicated vividly to their audiences. . . Mozart Mozart . . ... Vivaldi .Beethoven Martinu ...Brahms ● Caroline won the first prize in the String Section of the BBC Young Musician of the Year Competition in 1978 when she was only 13. She is now a full-time student at the Royal Academy and was, this summer, selected to take part in Pierre Fournier's Master Classes at Aldeburgh. Keith Swallow, who needs no introduction, played with her at her London debut and has been her partner on many other occasions. APPLICATION FORM (for the use of NEW MEMBERS ONLY)

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on 1 7 APPLICATION FORM (for the use of NEW MEMBERS ONLY) To the Hon. Secretary, 37 Gynn Lane, Honley, Huddersfield, HD7 2LE Double (Single) Season Tickets for which I enclose £. Please send me Name Address (BLOCK LETTERS PLEASE) Cheques should be made payable to "The Huddersfield Music Society" will not be issued unless requested Receipts President: J. C. S. SMITH, Esq. Vice-President: P. L. MICHELSON, 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 Huddersfield, 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 J. F. Crossley S. H. Crowther D. Dugdale Miss M. A. Freeman E. Glendinning S. Rothery Mrs. C. Stephenson J. G. Sykes Mrs. J. H. Sykes W. E. Thompson Ladies' Committee: Miss M. A. Freeman Miss I. Bratman Mrs. A. 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 M Chairman 5

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THURSDAY, 14th January, 1982 DENIS EVESQUE AND AGNES HUBER (Piano Duets) Variations in G major, K.501. Polonaise in B flat, D.824 ... Fantaisie in F minor, D.940. Six Epigraphes Antiques.. Ma mere l'Oye . . . Peter Cropper Ronald Birks This concert has been arranged in conjunction with Alliance Francaise, Manchester, and with their financial help. It is the first time the Huddersfield Music Society has presented piano duets and we are happy to have two artists from France where this form of music-making is very popular. Monday, 22nd February, 1982 THE LINDSAY STRING QUARTET Roger Bigley Bernard Gregor-Smith String Quartet in D major, Op.71, No.2. String Quartet in A major, K.464. . String Quartet in C major, Op.59, No.3. Roger Coull Philip Gallaway ● · Monday, 22nd March, 1982 THE COULL STRING QUARTET String Quartet in C major, Op.20, No.2. String Quartet No.4.. String Quartet in G major, Op.106... David Curtis Martin Thomas n . . . Mozart .Schubert . . .Schubert Debussy . . Ravel We are fortunate in having been able to engage again this string quartet of international renown and in a programme which will delight our subscribers. B ● Haydn . . Mozart . . .Beethoven · . ... Haydn Shostakovitch ...Dvorak This young quartet has been resident at Warwick University since 1977 and broadcasts regularly for BBC Radio 3. It is their first appearance at our concerts and we look forward to hearing them.

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Season Double Season Single. Single concert. (Lindsay String Quartet - £2.50) (October Concert - £3, £2, £1) Season ticket TICKETS D STUDENTS ACCEPTED. Single concert. (Lindsay String Quartet - £1.25) Obtainable from: Hon. Secretary (Tel. 661696) (Saturday . . £15.00 or at the door ● Huddersfield Information Centre Albion Street (Tel. 22133, Ext. 685) 32177) £ 9.00 £ 2.00 . . . . £3.00 . £1.00 LAST SEASON'S MEMBERS existing Tickets as issued last year to all members are enclosed herewith. If they are not required, they must be returned to the Hon. Treasurer not later than 26th September, AFTER WHICH DATE NO RETURNED TICKETS CAN BE 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 REMITTANCE Double (Single) Season Tickets in payment for 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: The Rt. Hon. THE LORD SAVILE, J.P., D.L. (Hon. Vice-President) K. BEAUMONT, Esq. Dr. H.J. BLACK G.R. BOOTH, Esq. F. BRATMAN, Esq. Dr. M.C. BRIERLY Mrs. E. CROSSLAND J.F. CROSSLEY, Esq. A.G. CROWTHER, Esq. Mrs. A. CROWTHER DAVID DUGDALE, Esq. C. ENGLAND, Esq. Miss M.A. FREEMAN EDWARD GLENDINNING, Esq. P. MICHAEL LORD, Esq. RELIANCE GEAR CO. LTD. S. ROTHERY, Esq. J.C.S. SMITH, Esq. Dr. S.L.H. SMITH Mrs. C. STEPHENSON J.G. SYKES, Esq. W.E. THOMPSON, Esq. J.J. VALNER, Esq. H. MARSHALL WILLIAMS, Esq. 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 Kirklees Leisure Services and the Yorkshire Arts Association.

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W THE D WY. HUDDERSFIELD MUSIC SOCIETY 20p 1918 - 1981 100 HUDDERSFIELD TOWN HALL CENTENARY 1881-1981

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SIXTY-THREE YEARS OF GREAT MUSIC The Huddersfield Music Society (originally Music Club, and one of the oldest in the country) was founded by Dr. Eaglefield Hull and began with a recital by the Russian tenor, Vladimir Rosing. In this same season, 1918/19, Myra Hess, Albert Sammons, Cyril Scott, Astra Desmond and Joseph Holbrooke also gave concerts. Since then, instrumentalists and singers of international fame have appeared. Among pianists, Cortot, Pouishnoff, Solomon, Rubinstein; singers: Elizabeth Schumann, Isobel Baillie, Kathleen Ferrier, Peter Pears with Benjamin Britten; violinists Szigeti, Grumiaux, Ginette Neveu; cellists Suggia, Casals, Fournier, Tortelier; and most of the great string quartets. The Flonzaley, then the leading quartet in the world, came twice, and in 1927 gave their final recital before retiring. The Lener, Hungarian (who played Bartok's first quartet in 1925), Budapest, Griller, Kolisch, Calvet, Italian, Loewenguth, Amadeus, Vegh, Janacek, Gabrieli, Tel Aviv, Lindsay and Bartok string quartets make a formidable list. Music Society patrons can believe that they have heard recital playing at its finest. The Society always has to budget carefully, to keep ticket prices low, and many recitalists came to Huddersfield before achieving fame. A pianist who now commands a fee of several thousand pounds was engaged by this Society for about £30 in 1929. Our audience may well feel that they get value for money in their enjoyment of great music.

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bas Galina Solodchin Jeremy Painter John Underwood Stephen Orton Septet in Eb, op. 20 HUDDERSFIELD MUSIC SOCIETY Sixty-Fourth Season 1981-82 TOWN HALL CENTENARY CONCERT Sunday, 25th October, 1981 at 3 p.m.Troyer, a OS.go ojäms3 797q82828) violin violin viola cello Octet in F, op. 166, D 803 THE DELME ENSEMBLE PROGRAMME Interval noo smet 23TUMIM 21 30 JAVA ar bns briw ne Jack Brymer Martin Gatt James Brown Adrian Beers Beethoven Schubert Generous support is also given by the Yorkshire Arts Association. clarinet bassoon We are grateful to Kirklees Leisure Services for financial help with this concert. bevolad 10.br610 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. Joda horn double bass

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ear Septet in E flat major, op. 20 Adagio - Allegro con brio Adagio cantabile Tempo di menuetto 102882 Tema con variazione: andante Beethoven (1770-1827) Scherzo: Allegro molto e vivace Andante con moto alla marcia - presto It may be said that the more individual instruments gathered together, the more indistinct becomes the border line between chamber and orchestral music. If the composer tries to combine wind instruments using a pair of each kind, the method of writing will be similar to that for orchestral music, and when wind and strings are combined, they sound like a miniature orchestra. There are certain works, however, such as Beethoven's Septet and Schubert's Octet, which do not depend for their success on any extensivel doubling of parts, and allow of a delicate interplay of ideas, such as is found in all great chamber music. According to tradition, septets and octets are generally much longer than quartets, trios, etc. The famous examples of Beethoven and Schubert have each six movements and each contains a long set of variations and a minuet in addition to a scherzo. Perhaps it was felt in Vienna that if the trouble was taken to assemble so many accomplished performers, it was well to make the most of them! Beethoven's Septet was composed in 1799/80 and was first performed in Vienna on April 2nd 1800 in a concert which also included his third piano concerto and 1st Symphony, among other works! A slow introduction is followed by a lively allegro. The Adagio in Ab, has sustained melodies for violin and clarinet in 9/8 time; it is followed by a well-known menuetto and then comes the theme and variations, said to be from a Rhenish folk tune. There are five variations and a delicate coda, ending, after a pp, with the "Grand Crash", beloved of 18th Century concert goers. The scherzo is the new kind of fast minuet which Beethoven was to popularise in the next decade. The finale begins with a slow march; then the presto, including a short cadenza for the violin, drives the work to an exultant finish. INTERVAL OF 15 MINUTES

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Octet in F major op. 166 (D 803) Adagio allegro Andante un poco mosso Scherzo: allegro vivace Andante Menuetto: allegretto Andante molto - allegro Schubert (1797-1828) The Octet was commissioned from Schubert by Ferdinand, Count Troyer, a clarinettist in the musical establishment of the Archduke Rudolf, who asked for something like the Beethoven Septet. It was performed in April 1827, a few weeks after Beethoven's death. It is a more mature and advanced work than the Septet, being op. 166 compared with op. 20, and one notes the greatly increased importance of the string element by the introduction of a second violin. In the opening adagio the three wind instruments balance the string quartet and the double bass, which holds a pedal note two octaves below the others. In this movement, hints are heard of the main theme of the first movement proper; this is an allegro which opens boldly, the theme being a decorated form of the common chord. In fact, the common chord, in various keys, seems to be the inspiration behind this movement. As in the Beethoven Septet, the violin and clarinet share the beautiful, sustained melody of the adagio. The scherzo's vigorous and rhythmic sweep is softened by an exquisite lyrical episode. In the trio, the treble melody is accompanied by an unflagging march of crotchets in the bass strings. The fourth movement is a set of variations on a theme drawn from one of Schubert's youthful operettas. There are seven variations. In the coda of the menuetto and trio which follow, Schubert combines themes from both, an entirely novel feature in his work, which he never used again. The Octet closes with an allegro in 2/2 time, preceded by an introduction, andante molto in F minor, which re-appears dramatically before the final allegro molto. Although the Septet and Octet were written 180 and 150 years ago respectively, they stand today supreme in their class. What Beethoven and Schubert have done so superbly is little likely to be surpassed.

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(8881-Fer (808 aat.qo 10j6m 7 The Delme String Quartet was formed in 1962 and took its name from the founder leader, Granville Delme Jones. In 1967 they were the first quartet to become attached to a University (Sussex) as artists in residence, an idea which has now spread throughout the country. The artists spent four years as performing fellows at Lancaster University and have now been appointed to the Guildhall School of Music and Drama, where they specialise in teaching string quartet performance. This post is the first of its kind ever to be held by a string quartet at a British College of Music. Jack Brymer was born in South Shields and spent his early years as a school- master. In 1947, he was invited by Sir Thomas Beecham to be principal clarinettist with the R.P.O., a post he occupied for sixteen years. Between 1963 and 1972 he was principal clarinet with the B.B.C.S.O. as well as being a member of the Robles Ensemble and the Delme Ensemble. He was awarded the O.B.E. in 1960. Martin Gatt was born in Aberdeen and became principal bassoon in the L.P.O. aged 21, and remained until 1966. In order to expand his solo and chamber music career, he joined the English Chamber Orchestra and founded, with Barry Tuckwell, the now famous Tuckwell Wind Quintet. He is now principal bassoon in the L.S.O. and professor of bassoon at the Guildhall and Royal Northern College of Music. James Brown has been a member of the Royal Opera House, London Philharmonic and Philharmonia Orchestras, before joining the R.P.O. as principal horn under Beecham. He became Chairman and acting General Manager and left in 1970 to become a free-lance player until 1977, when he joined the L.S.O. He was awarded the O.B.E. in 1967. Adrian Beers was formerly principal double bass in the Philharmonia and English Chamber Orchestras. He was professor of double bass at the Royal College for 18 years and is now senior lecturer at the Royal Northern. He was a founder member of the Melos Ensemble, and is now a member of the Vesuvius, Delme and Gabrieli Ensembles. All Britten's chamber works with double bass were written for him to play at Aldeburgh Festivals.

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The MUSIC SOCIETY season, 1981/82, continues at Venn Street Arts Centre with the following concerts: - Monday, 16th November, 1981 Monday, 7th December, 1981 Thursday, 14th January 1982 Monday, 22nd February 1982 Monday, 22nd March 1982 Apollo's Banquet - A Viennese Evening. Monica Huggett, Jan Schlapp, Timothy Mason, Liza Beznosiuk and Sophia McKenna. Quintet Sussmayer, Oboe quartet, Flute Quartet and String Divertimento - Mozart. Double ticket for season Single ticket for season Caroline Dale, cello, and Keith Swallow, piano. Vivaldi, Beethoven, Martinu, Brahms. - Denis Evesque and Agnes Huber, piano duets. Mozart, Schubert, Debussy and Ravel The Lindsay String Quartet Haydn, Mozart, Beethoven The Coull String Quartet Haydn, Shostakovich, Dvorak Season tickets for the above five concerts can be obtained from the Hon. Secretary, 37 Gynn Lane, Honley, Huddersfield. £13 £ 8 KIRKLEES LEISURE SERVICES ORCHESTRAL CONCERTS 15th November, 1981 at 7.30 p.m. Orchestra of St. John's Smith Square Igor Oistrakh, violin, Natalie Zertsalova, piano. (Haydn and Mozart). Town Hall HUDDERSFIELD GRAMOPHONE SOCIETY Monday, 26th October at 7.30 p.m. Room 18, Town Hall Mirfield's Choice. Gerard Callaghan. (J.S. Mayr's 1st piano concerto). HALIFAX PHILHARMONIC CLUB Friday, 30th October at 7.30 p.m. Orlando String Quartet (Beethoven, Mozart, Debussy) Harrison House, Harrison Road, Halifax

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THE SOCIETY IS GRATEFUL FOR FINANCIAL HELP FROM THE FOLLOWING: - The Rt. Hon. THE LORD SAVILE, J.P., D.L. (Hon. Vice-President) K. BEAUMONT, Esq. Dr. H.J. BLACK G.R. BOOTH, Esq. F. BRATMAN, Esq. Dr. M.C. BRIERLY Mrs. E. CROSSLAND J.F. CROSSLEY, Esq. A.G. CROWTHER, Esq. Mrs. A. CROWTHER DAVID DUGDALE, Esq. C. ENGLAND, Esq. Miss M.A. FREEMAN EDWARD GLENDINNING, Esq. P. MICHAEL LORD, Esq. P.L. MICHELSON, Esq. RELIANCE GEAR CO. Ltd. S. ROTHERY, Esq. J.C.S. SMITH, Esq. Dr. S.L. HENDERSON SMITH Mrs. C. STEPHENSON J.G. SYKES, Esq. W.E. THOMPSON, Esq. J.J. VALNER, Esq. H. MARSHALL WILLIAMS, Esq. 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, there from, would be a most valuable means of ensuring the continuance of these Concerts.

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HUDDERSFIELD MUSIC SOCIETY Sixty-fourth Season bra off ebrevod piloty en je aldatuobada ted to supored bede Monday, 16th November, 1981 bowoa add ad arpoxed mabi emed Ignat seldpeare sodrobno godno Venn Street Arts Centre 1981-82 APOLLO'S BANQUET * *** gad betbude 19AIHOR WAL iv bre nifolv vbute of M.A. odt of grimoo edd to Jeem directed by Monica Huggett emb te bra a ordomu H do nobrod Monica Huggett a violin. Jan Schlapp viola violin ayd Timothy Mason nombre es Liza Beznosiuko Sophia McKenna cello Programme Ifes edt berbuda MORAM YHTOMIT book dull ni iw notoreogmoo els esd bas 0.8. art ddiw so ItemA flute pes oboe A VIENNESE SERENADE Quintet for flute, oboe, violin, viola, cello Oboe Quartet in F major, K 370 Flute Quartet in D major, K 285 Sussmayr Mozart Mozart be thuda Interval 10 Divertimento for String Trio in Eb, K 563 goibeol on ejult vrovi beve atyala et This concert is part of the Early Music Network, which is administered by the Early Music Centre and financially supported by the Arts Council of Great Britain and the Regional Arts 900 ATH908 sw one GAJ 20 Associations. to Mozart bas de od smell of draw ode. Yet MI TO grijesl Apollo's Banquet consists of some of the most eminent roomsd players of authentic instruments in the U.K., all of whom have made a special study of baroque and classical performance.

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YTSIOO2 oreur 2. TOUH gol-yixla MONICA HUGGETT began playing the baroque violin towards the end of her studentship at the R.A.M. was was immediately attracted to the sound. She has played with all the established baroque ensembles in England and is leader of the Amsterdam Baroque Orchestra with whom she is recording the Brandenburg Concertos. THUOMAS JAN SCHLAPP studied English at Edinburgh University before coming to the R.A.M. to study violin and viola with Sidney Humphries and Sidney Griller. She plays with most of the London Chamber orchestras. Her viola is a Joseph Hall of 1770, restored to its original condition by Derek Kessler. so trol offeo B TIMOTHY MASON studied the cello with Maurice Gendron and composition with Hugh Wood. He has toured Europe and Japan with the B.B.C. and has also played in the U.S.A. and Latin America. He now devotes much of his time to chamber music with such groups as Apollo's Banquet, Capricorn and the London Fortepiano Trio. TE LIZA BEZNOSIUK was born of Ukrainian/Irish parents and studied baroque flute with Stephen Preston. She specialises in early flutes and has played and recorded with all the leading baroque orchestras. She is playing an eight-keyed ivory flute by Drouet, made c. 1815. yd ated ta SOPHIA MCKENNA began learning the oboe when she was twelve with Walter Jenke, whose love of 18th century music made a lasting impression on her. In 1975 she went to Vienna to study baroque oboe with Jurg Schaeftlein and 18th century performance practice with Harnoncourt. While there she built her own copy of a baroque oboe under the supervision of Paul Heilpern. ham

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3. Quintetto a Flauto traverso, Oboe, Violino Viola e Violoncello Franz Xaver Sussmayr (1766-1803) Allegro con brio Adagio Rondo allegretto ent (First performance at these concerts) HJ Jab Although Sussmayr's name is not familiar to modern audiences, except for his unfairly notorious completion of Mozart's Requiem, he was a prolific and much loved composer of operas in Vienna and Prague. Born in Schwanenstadt, Upper Austria, in 1766, he met Mozart around 1790, and at first took lessons in composition, but Mozart apparently employed him to compose the recitatives in "La Clemenza di Tito" in 1791. After Mozart's death and a period of study with Salieri, Sussmayr obtained a post as harpsichordist and acting Kappelmeister at the National Theatre in Vienna, becoming full Kappelmeister in 1794 and holding the post until his death in 1803. arted t ove fame, whe At least thirty operas by Sussmayr have survived, along with five masses, two German Requiems and several cantatas. His instrumental music is very little known, but there is a large volume of autograph chamber music in the British Library, including the present Quintet. Scored for an unusual combination, this is a substantial piece with important parts for all the instruments. Exactly when the work was composed is uncertain, but it shows that Sussmayr was familiar with Mozart's music, without the greater composer's gifts of harmony or invention, but with skill, confidence and charm. Each instrument has its turn to shine in the long and lively rondo finale, which culminates in a triple-time version of the theme. Oboe Quartet in F major, K 370 Allegro bra, Boltoon00 stambe Adagio Rondo allegrettoraup eduft esor Mozart (1756-1791) Jerssol actes to plan (First performance at these concerts) beoobcho ARTIOM The oboe quartet was written in Munich in 1781 for Friedrich Ramm, a great virtuoso in the Mannheim Orchestra. Ramm's playing

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4. must have been the inspiration for the unique qualities of this MANO quartet with its frequent use of the highest registers of the oboe, the virtuoso runs, the little languorous chromatic turns of phrase in the oboe part, and, above all, the opportunities for expressive playing. The first Allegro makes every possible use of the striking theme, basically a decorated form of a broken F major chord, including contrapuntal treatment. After the double bar a new theme, based on an inversion of the opening intervals, is fully worked out. The Adagio is in Mozart's most expressive vein, with effective modulation and characteristically wide leaps in the solo part. The oboist is treated like an operatic soloist and there is even a place for the customary cadenza. The sprightly Rondeau allegro, with its theme so admirably suited to the oboe, contains an extraordinary passage where the strangeness of the harmony is given added emphasis by the oboist's breaking into duple time against the steady six- IIeight accompaniment. After some dazzling passage-work, the line quartet comes to a tranquil close with the oboe's highest note, which Mozart has already employed several times, presumably being a speciality of the great Ramm. sievez pas arielupe Flute Quartet in D major K 285 sh viev af ofaup er at ofaum edinst 101 boto02 dat 18 Allegro Adagio au tastroom Rondo allegro ma non troppo 200mA STTOONU Mozart.tamt - Nqs Istinatedre nodw v1J53x1 rotsorg ent (First performance at these concerts) ew Tyenean? eonebs When Mozart visited Mannheim in the winter of 1777 with his Mother, he was understandably impressed by the virtuosity of the famous Mannheim orchestra. Among the distinguished principals was the flautist Johann Baptist Wendling through whom Mozart secured a commission from a rich pupil, an "Indian Dutchman",000 presumably with East Indian connections, who asked for "three short, simple concertos and a couple of quartets for the flute". In these flute quartets and in the two concertos Mozart produced for the "Indian Dutchman", Mozart presents music of great verve, wit and elegance, but never plumbing the emotional depths of the later chamber music. Perhaps this is in response to the request for the "short, simple concertos and a couple of quartets"! In both fast movements, allegro and rondo, the

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THE HUDDERSFIELD MUSIC SOCIETY W WT. The National Federation of Music Societies, to which this Society is affiliated, gives support towards the cost of these concerts with funds provided by the Arts Council of Great Britain. Generous support is also given by the Yorkshire Arts Association and Kirklees Leisure Services.

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(³23) S ord Jac HUDDERSFIELD MUSIC SOCIETY ********* *** Sixty-fourth Season 1981 - 1982100 Monday, 7th December, 1981 geoff Venn Street Arts Centre CAROLINE DALE AND KEITH SWALLOW *********** Programme Sonata no. 6 in Bb major Sonata in A major, op. 69 33 af big Variations on a theme of Rossini Interval ** 62 BA to cello and piano fa odt it grens doan EV Vivaldi Hbfey Beethovendo odob Martinu Sonata in F major, op. 99 Caroline Dale, who, at 13, won the strings section of the B.B.C.'s "Young Musician of the Year" competition in 1978, comes from Middlesborough and is now studying at the Royal Academy of Music. She has recently been awarded the second Julius Isserlis Scholarship of the Royal Philharmonic Society for two years' study abroad, when she will be a pupil of Pierre Fournier. 94 Off Izla Brahms Bd Keith Swallow has partnered Caroline for numerous recitals and makes a welcome re-appearance at the Music Society. Well known for his concerts throughout this country, he has performed in France nd Germany, played concertos with several British orchestras and appeared many timos on television, notably in the B.B.C. Omnibus 1400. programmes. gaigner bas Ivirevod

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Sonata no. 6 in Bb major 2. Antonio Vivaldi (c. 1675-1741) IDOR DIBUM Preludio Allemanda Largo do Corrente 1801 01-ydx/8 Vivaldi was born in Venice and, understandably, spent most of his life there. From 1713 until his death, he was maestro di concerti at the Ospedale della pieta, a foundling hospital for girls, where there was a choir and a good orchestra. The President de Brosses in his Lettres Historiques speaks of his pleasure in Venetian music: "The music par excellence is the music of the Hospitals; the girls sing like angels; they play the violin, the flute, the organ, the hautboy, the violoncello, the bassoon; in short, no instrument is large enough to frighten them" ! The sonata no 6 is the last of a set of sonatas for cello, 2 composed for Vivaldi's intrepid girls at the Pieta. Beethoven (1770-1827) ide com Sonata in A major, op. 69 Allegro non tanto Scherzo. Adagio cantabile Allegro vivace allegro molto tam I nt stano? ed to (Last performed in 1971 by Rohan and Druvi de Saram) The composition of works for cello and piano presents many special problems due to the particular tone qualities of the two instruments. It is true that the piano of Beethoven's time had much less power, but even at that date the difficulties of balance existed. In earlier works, the part of the cello was that of a support of the base; it was not until the sonatas of Beethoven that any real combination of the two instruments in equal partner- ship was arrived at. It is interesting to note how, from the first, Beethoven uses all the registers of the cello freely; how he deals with the problem of bringing out the singing qualities of the cello, often at a pitch which with difficulty penetrates the volume of piano tone; and how carefully he clarifies and lightens the more powerful and ringing tones of the piano.

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1 3. Between the years 1786 and 1815, Beethoven wrote 5 sonatas for cello and piano. This sonata, op. 69, appeared in 1809 and was dedicated to Baron von Gleichenstein, a faithful friend who performed all manner of duties - secretary, messenger, attorney, buyer and keeper of the purse for Beethoven. The first movement opens with the first part of the theme stated by the unaccompanied cello and then continued by the piano over a low cello pedal. This is immediately repeated with the instruments reversed. The scherzo is unusually extended and in the key of the tonic minor. The slow movement is so short that it really only forms an introduction to the finale. Apart from these few differences, the composer has constructed the work on the usual classical lines, giving us strong, virile subjects, developed and contrasted with all his superb craft Bohuslav Martinu (1890-1959) redt Sde C.A.S. (First performance at these concerts) oboatge yox Martinu was born in the belfry of the church in Policka, E.1 Bohemia, the son of a shoemaker who was watchman of the church tower. He left Czechoslovakia for Paris in 1923 and became a pupil of Roussel. At the beginning of the war, he went to the U.S.A. where he lived until 1945. He returned to his native country in 1945 when he was offered the post of Professor of Composition in Prague. Variations on a theme of Rossini The Variations on a theme of Rossini was first performed in this country by Florence Hooton, the teacher of Caroline Dale. There are four variations and a finale. Interval Sonata in F major, op. 99 orld Ig Allegro vivace Adagio affettuoso Ibralga Brahms (1833-1897) Per Jiv Allegro passionato Allegro molto (Last performed in 1955 by Paul Tortelier and Wilfred Parry) Brahms wrote two sonatas for cello and piano. The earlier, in E minor, op. 38 appearod in 1806. Twenty years later, he produced

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2. noorded ia bus affeo 2081 at beweeg tagna e int the 4th Symphony, op. 98, the A major violin sonata, the Trio in becue C minor and this cello sonata, one of the so-called "Swiss works" written during summers spent by the Lake of Thun. "Their forms, though presenting few abnormalities, show all the more clearly in their extraordinary compression, that Brahms never constructed on an a priori scheme and never exactly repeated a form". (Tovey) E 4. 110 The range of the cello in this later sonata is much wider than in the earlier work. The main theme of the first movement has a strikingly broken rhythmic character, which, together with its wide range, helps to give the music that impression of masculine defiance which some critics have heard in it. Another noteworthy feature of the movement is the "whispering chromatic episode at the beginning of the development in the unexpected key of F sharp minor, fore-shadowing the choice of the same key for the slow movement. Another unusual thing is the use made in the first movement of the tremolo both for cello and piano. This at first shocked the orthodox, but Brahms did not hesitate to add two magnificent new colours to the resources of chamber music" (Tovey) bomen HT "This F sharp major slow movement compresses a great amount of design into a small space. The pizzicato here makes a splendid and navel base to the full harmony of the piano and is worked to a tremendous climax when the theme is brought back after the dark depths of the F minor middle episode". (Tovey). An allogro passionato takes the place of the scherzo and the work ends with a rondo. C.A.S. netfodrof Jus ni telinso booubora od model aroy t orj

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HUDDERSFIELD MUSIC SOCIETY Next concert: THURSDAY, 14th January, 1982 @ 7.30. p.m. DENIS EVESQUE and AGNES HUBER Piano duet. Variations in G major Mozart. Polonaise in Bb Schubert. Schubert, Fantaisie in F minor Six Epigraphes antiques Ma mere l'Oye Debussy. Ravel. This concert is promoted by Alliance Francaise, Manchester. After the concert, the audience is invited to take a glass of French wine, kindly supplied by the French Embassy. This will be served in the Common Room, Venn Street Arts Centre. HUDDERSFIELD THESPIANS Jan. 18th – 23rd, 1982 at Venn St. Arts Centre. 7.30 p.m. The Gingerbread Man" by David Wood KIRKLEES LEISURE SERVICES Wed. 16th December, 1981 at Town Hall. 7.30 B.B.C. Northern Symphony Orchestra Piano: Sylvia Kersenbaum Bruckner Symphony no. 3. Conductor: Gunther Herbig Beethoven piano concerto no. 1; HUDDERSFIELD GRAMOPHONE SOCIETY 4th January, 1982 Pour le Pianc Room 18, Town Hall, Ramsden St. Barbara Smithson. Debussy and Ravel entrance. 7.30 p.m. HALIFAX PHILHARMONIC CLUB Friday, 18th December, at 7.30 p.m. Lindsay String Quartet Early and late Haydn. at Harrison House, Harrison Read, Halifax.

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THE SOCIETY IS GRATEFUL FOR FINANCIAL HELP FROM THE FOLLOWING: - The Rt. Hon. The Lord Savile, J.P., D.L. (Hon. Vice-President) K. Beaumont Esq. Dr. H.J. Black G.R. Booth Esq. F. Bratman Esq. Dr. M.C. Brierly Mrs. E, Crossland J.F. Crossley Esq. A.G. Crowther Esq. Mrs. A. Crowther David Dugdale Esq. C. England Esq. Miss M.A. Freeman t Edward Glendinning Esq. P. Michael Lord Esq. P.L. Michelson Esq. Reliance Gear Co. Ltd. S. Rothery Esq. J.C.S. Smith Esq. Dr. S.L. Henderson Smith Mrs. C. Stephenson J.G. Sykes Esq. W.E. Thompson Esq. J.J. Valner Esq. H. Marshall Williams Esq. 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.

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FV HUDDERSFIELD MUSIC SOCIETY no tan SV * Sixty-fourth Season 1981-82 co Thursday, 14th January, 1982 eta ond Venn Street Arts Centre DENIS EVESQUE and AGNES HUBER Cupos no Piano duets Programme Andante and Variations in G major, K 501 Polonaise in Bb.major, D 824 Fantaisie in F minor, D 940 Six Epigraphes Antiques Ma Mere l'Oye ba Interval de miedo 10 (18. go od odt borgog ylentaito te gros ventede Mozart Schubert Schubert a tant a ni :) Debussy Ravel Pr Denis Evesque was born in Besancon and studied in Paris with Marguerite Long, and later in Algiers with Yvonne Tardif, a dist- inguished pupil of Cortot. He has given concerts with many instrumentalists in Europe and S.E. Asia, and gave a recital with his wife Agnes Huber, at the Vienna Summer Music Festival. Agnes Huber was born in Hungary and studied the piano in Sopron and Gyor and at the Academy of Music in Vienna, where she taught from 1975 to 1979. She has performed in chamber music concerts with members of the Vienna Philharmonic Orchestra and the Vienna Kammer- Ensemble. With Denis Evesque she has played piano duets in Vienna, Budapest, London, Edinburgh and Oxford. This concert has been arranged in conjunction with Alliance. Francaise, Manchester, and with their financial help.

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2. Variation in G major, K 501 Tam Mozart (1756-1791) This work, comprising an Andante and five variations, is full of charm and enchanting in performance. Mozart's finest examples of the concertante style are to be found in his works for four hands or two pianos; they are always intended for players of equal importance. Having written some works for four hands at an early age, he composed the greatest works relatively late in his Vienna period: the C major Sonata K 521 was written in May 1787, originally for Francisca von Jacquin, but later dedicated to the Natorp sisters, for whom these variations were also composed. Einstein writes that they were originally intended for two pianos, but presumably at the desire of Mozart's publisher friend, Hoffmeister, they appeared for the more usual combination. rebut P.L.M. Polonaise in B flat, D 824 Schubert (1797-1828) The Polonaises, described by Einstein as "completely pianistic", were composed in 1818 (4 Polonaises, op.75) and in c. 1825 (six, op.61). Rather than true Polonaises, they are considered to be highly original and generally very melodious pieces for piano in Polonaise rhythm. Kathleen Dale, in her essay on Schubert's piano music, draws attention to the Trios of the Polonaises, which are often of even greater attractiveness, yielding many a treasure of harmonic and rhythmic subtlety. Fantasy in F minor, D 940 Allegro Largo Scherzo & Tric Finale This extremely beautiful work, like the "Wanderer Fantasy" was composed in 1828. Intensely poetic in its unusual content and painoforte style, it is as enchanting to players as it is delight- ful to listeners. The haunting opening theme of the first move- ment appears several times during the course of the work, and again in the coda, whilst the two middle sections have little in common with the first and last. Schubert - Einstein writes that Diabelli published the work after Schubert's death and refers to the composer's having intended the work for Countess Caroline Esterhazy. P.L.M.

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1 n Six Epigraphes Antiques 3. Interval Pour invoquer Pan, dieu du vent d'ete To invoke Pan, God of the summer wind Pour un tombeau sans nom For a nameless tomb Pour que la nuit soit propice bet For a propitious night Pour la danseuse aux crotales To the rattle-snake dancer Debussy (1862-1918) Pour 1'Egyptienne To the Egyptian girl Pour remercier la pluie au matin To thank the rain in the morning The Epigraphes Antiques were written as incidental music to six of the Chansons de Bilitis, ten prose poems "d'amour antique" by Pierre Louys. The poems were so called translations from the Greek of a contemporary of Sappho, but in fact were a very successful literary hoax. Louys was a friend of Andre Gide, to whom he dedicated the poems, in memory of Meriem ben Atala, whom he met in Algeria. Gide gives an alluring sketch of her in "Si le grain ne meurt". The original composition, dated 1910, was for two harps, two flutes and celesta. In 1914, Debussy scored six of the poems for piano, four hands, and also for piano solo. There is an orchestral version by Ernest Ansermet. Ma Mere l'Oye Petit Poucet Hop o my thumb Ravel (1875-1937) Pavane de la belle au bois dormant Pavane of the sleeping beauty Laidercnnette, Imperatrice des Pagodes Little Ugly, Empress of the Pagodas

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12 LAVIC4.I Les Entretiens de la Belle et la Bete Conversations of Beauty and the Beast - Le jardin feerique The magic garden Ravel loved children and animals and often tried to capture their spirit as in L'Enfant et les Sortileges and Ma Mere l'Oye. He wrote of this suite "Mother Goose, children's pieces for piano four hands, dates from the year 1908. My intention of awaking the poetry of childhood in these pieces naturally led me to simplify my style and thin out my writing". They were written for the children of his friends the Godebskis, Mimi and Jean, who were 6 and 7 years old when they played them at a concert in Paris in 1910. madd The Pavane is composed in the Aeolian mode, Hop 0° my Thumb in archaic style in C minor; the Empress of the Pagodas uses the Pentatonic scale, mainly the black keys. The fourth, is a slow waltz, in which the bass voice imitates the dark grunting of the Beast until a glissando transforms it into the beautiful prince. The little suite closes with the Fairy Prat Garden. Ravel orchestrated these children's pieces for a ballet performance in 1912, adding a Prelude and the Dance of the Spinning Wheel. 00 After the concert, the audience is invited to take a glass of Grayman Brut, kindly supplied by the French Embassy. This will be served with biscuits by the Ladies' Committee in the Common Room.

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(9081-sert) by HUDDERSFIELD HUDDERSFIELD MUSIC SOCIETY no ***** Sixty-fourth Season 1981-1982 Venn Street Arts Centre Monday, 22nd March at 7.30 THE COULL STRING QUARTET <*** Roger Coull Philip Gallaway Martin Thomas David Curtis 7.30 p.m. Interval String Quartet in G major op. 106 ** violin violin viola cello Programme String Quartet in C major, op. 20 no. 2 String Quartet no. 4 in D major, op. 83 (1949) t Haydn Shostakovich Dvorak Ja The Coull String Quartet was formed in 1974 by students at the Royal Academy of Music, and coached by Sidney Griller. In October, 1977, they took up the post of Quartet in Residence at the University of Warwick, where they give concerts, teach students and lead the sections of the orchestras.

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2. String Quartet in C major, op. 20 no. 2 Moderato Adagio Menuetto allegretto Fuga allegro (First performance at these concerts) Haydn's first 18 quartets are more in the nature of divert- imenti, but in op. 9 and op. 17, we are beginning to approach the true chamber music style. Of the next set of six, op. 20, Rosemary Hughes writes "Even such a transformation as is represented by the quartets of op. 9 and 17, hardly prepares us for the miracle of the next set, op. 20. Here, at last, is the string quartet fully in being as a living entity". Haydn (1732-1809) These works, known as the Sun Quartets (the first publication had a sun on the cover) were composed in 1772. No. 2 opens with a cello solo; the movement is in sonata form. The adagio has an introduction played by all four instruments in unison, before the cello leads off with the theme solo under repeated semi-quavers on the other three instruments. The menuetto leads straight into the final fugue. Three of the op. 20 quartets end with a fugue. In this one, the fugue is "a quattro soggetti". At the end, Haydn's sense of humour provokes the following inscription:- "Laus omnip. Deo. Sic fugit amicus amicum" thus one friend runs away from the other", an apt description of the fugue, where the themes appear repeatedly in the different voices as if fleeing from each other. String Quartet no. 4 in D major, op. 83 (1949) Allegretto Andantino Allegretto Allegretto Shostakovich (1906-1975) (First performance at these concerts) Shostakovich wrote fourteen string quartets, his first appear- ing in 1938, immediately after the fifth Symphony, the work which bears the legend "A Soviet artist's reply to just criticism"

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3. The quartets are remarkably consistent, and not through any lack of formal innovation and individuality; each one has its own distinct plan, most are in some degree cyclic, and all show that intuitive feeling for the sound of string instruments which evidences a truly musical creativeness. The fourth quartet is wholly lyrical. The principal material of the opening movement is like the bagpipe music of some Eastern culture, but as only Shostakovich would have re-created it; the use made of the modal inflections and the frenetic pitch of intensity arrived at after only 30 bars are very characteristic. There is perfect timing in the way this passage yields to a warm espressivo, the effect of which is greatly to modify and subdue the bagpipe music when it returns. The Andantino, in F minor, is one of the most heart-warming of all Shostakovich's slow movements, an ardent lyrical expression with prominence given to the first violin. Instead of a scherzo, there is a classical allegretto in C minor, and this is followed by a very individual finale in which the strains of an Eastern (Caucasian?) folk music are invoked. For the most part sparely textured, but with a central climax that is almost orchestral in character, the finale is based on a number of short re-iterated ideas which are combined in various ways, rather in the manner of a closely controlled improvisation. (Hugh Ottaway, condensed). Interval String Quartet in G major, op. 106 Allegro moderato Adagio ma non troppo Molto vivace Andante sostenuto: Dvorak (1841-1904) allegro con fuoco (Last performed in 1932 by the Kutcher Quartet) The quartet op. 106 was begun in America, as was op. 105, but was largely composed in Czechoslovakia when Dvorak returned in 1895. It was played by the famous Bohemian Quartet in Prague in 1896. The carefree nature of the opening theme of the first movement scarcely prepares one for the powerful structure built up on it; but its rising sixth becomes one of the pillars of the movement.

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4. The second subject seems to express Dvorak's joy at being in his own countryside again. The slow movement is impassioned and full of sorrow and conflict until the triumphant outburst in C major, "a tremendous affirmation of patriotic and spiritual faith. The opening theme, out of which the whole movement grows, is treated with infinite variety and richness of detail and when, after that great climax, the recapitulation begins, the composer is not content with mere repetition, but embellishes and newly develops his theme,... one of the great pages of string quartet literature". (Alec Robertson) After the vivacicus scherzo, the last movement opens dreamily. There is an unexpected entry of the second subject of the first movement, followed by an allusion to the opening subject. Next Season's arrangements ***: Mon. Oct. 25th 1982 ***** Gary Steigerwalt piane Beethoven, Bartok, Brahms, Mc.Cabe, Liszt B mi. Son. Mon. Nov. 29th 1982. Haydn, Tchaikowsky, Mon. Dec. 13th 1982. * * Fitzwilliam Quartet & Allan Schiller, piano.doo Shostakovich piano trio and quintet. op CAPRICORN piano, string trio and double bass Rossini, Dvorak and Schubert - Trout Quintet Mon. Jan. 24th 1983 ONDINE flute, harp and string trio Handel, Beethoven, Mozart, Debussy and Villa Lobos Mon. Feb. 7th 1983: Hanson String Quartet Haydn, op. 54,/2, Bartok no. 2 and Brahms C minor. Thursday March 24th 1983 Ian and Jennifer Partridge Britten (Winter Words) German Lieder and English songs. song Details will be sent to all present subscribers. Others wishing to receive a brochure should apply to Mrs. M. Ashton, Membership Secretary, Thunderbridge, Kirkburton. Tel: Hudds. 602432.