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Ocr'd Text:
SIXTY-FIFTH SEASON
1982-83
The
HUDDERSFIELD
MUSIC SOCIETY
TU
WT.
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All concerts at the Venn Streets Arts Centre, with the exception of the
second one which will be held at the Town Hall, at 7.30 pm
Monday, 25th October 1982
GARY STEIGERWALT (Piano)
Sonata in A major, op. 101. . . .
Suite, op. 14 ...
Klavierstucke, op. 119.
Fantasy on a theme of Liszt
Sonata in B minor ..
D
In 1976, Gary Steigerwalt won the second prize at the Liszt-Bartok International
Piano Competition of Budapest. He studied at the Juilliard School and made his
debut in New York in 1974. This is his second English tour; he is playing also in
London and Leicester and we are delighted to welcome him to open our season
with this virtuoso programme.
Monday, 29th November 1982
FITZWILLIAM STRING QUARTET & ALLAN SCHILLER
Alan George (viola)
loan Davies (cello)
Christopher Rowland (violin)
Jonathan Sparey (violin)
String Quartet in B flat ...
Piano Quintet in G minor, op. 57
Canon in memory of Stravinsky
Piano Quintet in E flat, op. 44
Monday, 13th December 1982
. . Beethoven
Bartok
Brahms
McCabe
... Liszt
This concert has been arranged in collaboration with the Huddersfield
Contemporary Music Festival, director Richard Steinitz
CAPRICORN
The Fitzwilliam Quartet is resident at York University and has become closely
associated with the music of Shostakovich, having played the complete cycle of
his quartets on five occasions.
We are very pleased to have Allan Schiller back after an interval of ten years.
He and the Quartet are presenting a programme of great interest, including the
very appealing Shostakovich and the ever popular Schumann Quintets.
Elizabeth Perry (violin)
Timothy Mason (cello)
.. Tchaikovsky
Shostakovich
Julian Dawson-Lyell (piano)
Duo for cello and double bass
Piano Quartet in E flat, op. 87
Quintet in A, op. 114 (The Trout) ..
. . . Shnitke
Schumann
Simon Rowland-Jones (viola)
Barry Guy (double bass)
.... Rossini
Dvorak
Schubert
Capricorn was formed in 1973 and has established itself in the forefront of young
British ensembles. Their deeply committed playing has made them firm favourites
in Music Societies and Festivals throughout Britain, and they broadcast frequently
for the BBC. This tuneful programme includes one of the best loved works in
the chamber music repertoire, Schubert's Trout Quintet.
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President:
P. L. MICHELSON, Esq.
Vice-President:
J. G. SYKES, Esq.
Hon. Secretary:
Mrs. E. Glendinning
2 Sunny Bank Road, Edgerton
Huddersfield, HD3 3DE
Tel. (0484) 22612
Hon. Membership Secretary
Mrs. R. E. Ashton
Thunderbridge, Kirkburton,
Nr. Huddersfield.
Tel. (0484) 602432
Hon. Treasurer:
P. Michael Lord, Esq.
National Westminster Bank PLC
132 Huddersfield Road, Mirfield
WF14 8AL
Tel. Mirfield 493188
Executive Committee:
J. F. Crossley
D. Dugdale
E. Glendinning
Mrs. J. de Nikitin-Solsky
S. Rothery
J. C. S. Smith
Mrs. C. Stephenson
Mrs. J. H. Sykes
W. E. Thompson
Ladies' Committee:
Mrs. C. Stephenson - Chairman
Mrs. J. H. Sykes - Hon. Secretary
Miss I. Bratman
Miss K. Evans
Miss M. A. Freeman
Mrs. E. Glendinning
Mrs. J. de Nikitin-Solsky
Miss D. Tong
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Monday, 24th January 1983
ONDINE ENSEMBLE
Marianne Ehrhardt (flute)
Susan Drake (harp)
Harp concerto in Bb major.
String Trio in C minor, op. 9, no. 3.
Adagio and Rondo K617
Melissa Phelps (cello)
B
Trio op. 40, for flute, viola, cello.
Quintet Instrumental for flute, string trio and harp
Alexander Balanescu (violin)
Elizabeth Perry (viola)
Peter Hanson (violin)
Theresa Ward (violin)
.
Monday, 7th February 1983
HANSON STRING QUARTET
Quartet in C, op. 54, no. 2 . . . .
Quartet no. 2....
Quartet in C minor, op. 51, no. 1.
Five Songs..
Winter Words
An die ferne Geliebte
Five Mörike Lieder
Six Songs . .
Many excellent works of chamber music suffer undue neglect because they
demand an unusual ensemble. Ondine aims to revive such interesting and
attractive pieces as the Roussel and Villa-Lobos for the enthusiastic and discerning
concert-goer, as well as presenting the great works of the known repertoire.
...... Handel
. Beethoven
.
Mozart
Roussel
Villa-Lobos
-
.
Peter Lale (viola)
Martin Loveday (cello)
B
The Hanson Quartet was formed in 1977 at the Royal Academy of Music. In
1981 they attended a Bartok Seminar in Hungary. Their recent Wigmore Hall
recital received very good notices in the National Press.
a
Thursday, 24th March 1983
IAN PARTRIDGE (tenor) JENNIFER PARTRIDGE (piano)
Haydn
Bartok
Brahms
... Schubert
Britten
Beethoven
.. Wolf
Peter Warlock
This well-established partnership of brother and sister is known to music lovers
throughout the British Isles and abroad for their sensitive performances. After
their memorable "Schöne Müllerin" two years ago, we warmly welcome this
return visit.
Season
Season
Single
† A
Season
Single
Tick
mem
are
the
30
NO
ACC
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TICKETS
Season Double ....
Season Single...
(NO INCREASE!)
Single Concert
† A Double Season Ticket gives you
the six concerts at half price
STUDENTS
Season ticket ...
Single concert. . .
. . . . £15.00
. . . £ 9.00
ACCEPTED.
. . . £ 2.50
Obtainable from:
Hon. Membership Secretary
(Tel. 602432)
or at the door
. . . . £ 3.00
£ 1.00
Huddersfield Information Centre
Albion Street
(Tel. 22133, Ext. 685)
(Saturday 32177)
LAST SEASON'S MEMBERS
Tickets as issued last year to all existing
members are enclosed herewith. If they
are not required, please return them to
the Hon. Treasurer not later than
30 September, AFTER WHICH DATE
NO RETURNED TICKETS CAN BE
To the Hon. Membership Secretary, Mrs R.E. Ashton, Thunderbridge
Kirkburton, Nr Huddersfield
REMITTANCE FORM
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"
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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.
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.
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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Ocr'd Text:
THE
HUDDERSFIELD
MUSIC
SOCIETY
III
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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HUDDERSFIELD MUSIC SOCIETY
****
(1481-1181) *********
Sixty-fifth Season
1982-3
besognoo asy row aft
Monday, 25th October, 1982 bns vodomye didtoo3
atea sordi adot ndose IsbroM
GARY STEIGERWALT evnt wo ald to esmedd no
as
Ifnd drao
Piano
on
[is ongia edt tot soldatrav
Hat
bo
Variations Serieuses
Bag
Suite, Op. 14
Klavierstucke, Op. 119
fonamme
Programme
Ji as
ors acoltsbrev od A
on fasoxo sonha 0 to you
em gried 2000sqarounidhoo
nočem eno od ga Mendelssohn
ouings dihy sbne doldy Bartok v
slanit odeo Brahms o
e
others V
(2401-1881) slotral Interval
Fantasy on a theme of Liszt
Sonetto 104 del Petrarca
Fantasia quasi Sonata; Apres une lecture de Dante
Olm
McCabe
Liszt
Liszt
Gary Steigerwalt comes from Pennsylvania. He holds a
dectorate from the Juilliard School of New York, where he studied
with the late Irwin Freundlich. He was the first American to
win a prize in the Liszt-Bartok International Piano Competition
of Budapest, receiving both the second prize and an unprecedented
special prize for Bartok and contemporary music interpretation.
He is at present touring England and playing for the BBC.
Ivja refonte o at tt
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Variations Serieuses, Op. 54
YMEROOR 012.M arsenaOUR
(First performance at these concerts)
Coses
This work was composed in 1841, one year before the
Scottish symphony and two before the piano trio in D minor.
Mendelssohn wrote three sets of variations for the piano, all
on themes of his own invention, but only this set has survived
in the concert hall.
Suite, Op. 14
ødsDoM
All the 17 variations are in 2/4 time and are in the same
is in D major. They are
key of D minor, except no. 14, which is ter variations 13 and
continuous pauses being marked only after variations 13 and
14, (thus isolating the one major variation) and the 17th
variation which ends with a pause, as it were to gather breath
for the presto finale.
2
1.
2.
Mendelssohn (1811-1847)
Javieta Bartok (1881-1945)
Allegretto
Scherzo
3906f, pn
Allegro molto
3.
4. Sostenuto
dseid to snedd a no vestasi
Bergl
etsmod
(First performance at these concerts)
06
berbum, od
Londre
This suite was written in 1916, five years after the
Allegro Barbaro. Bartok said of it "When this work was
composed, I had in mind the refining of piano technique, the
SIMO
COLOMA
1852
changing of piano technique into a more transparent style, a
style of the late romantic period; i.e. innessential
ornaments like broken chords and other figures are omitted and
it is a simpler style".
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3.
Starting from a moderately fast, dance-like beginning, the
composition accelerates movement by movement, and then in the deno
last, abruptly slows. In this respect, it is related to the
second string quartet, of 1920, which is to be played later in
our season.
dorotheyd emood no beasd oond to erro Jargo, a tit
Klavierstucke, Op. 11900mA" odd to omalov
emafov
1. Intermezzo in B minor
Brahms (1833-1897)
verli olan 46
2.
OPCI
LIA.Cattotii
(alled')
Intermezzo in E minorsig oneto as beggars
Intermezzo in C minor metrodas as mot
Rhapsody in E flat major edt oxeriqeonts
Treg wo and over vedt....stonos
bom (Last performed in 1963 by Stephen Bishop) ontt ence oft ja
a dosade 3.
bro sepolg onsitas
4.
am
intabro sfedd dood verd dofde mori abrow
The title, intermezzo, as first used by Schumann and Brahms,
bears no relation to the original meaning of the word an
interlude in a dramatic work affording contrast and relief. With
Brahms in particular, it implies a rather short piano piece,
improvisatory in style, intensely intimate and contemplative.
No
intermezzi have these qualities more markedly than these three,
which are among Brahms last compositions.
Podpeared
Maret eder
The Rhapsody, again a title divorced from its original meaning,
cwes its modern usage to Liszt. Brahms adopted this title, which
he usually gave to a piano piece abrupt and passionate in character.
The Rhapsody opus 119 is perhaps Brahms finest and most extended
LOVE JENN e90eid en to
example.bedamedde need cove bed
C.A.S. orft t
to aosode odd no ofgel
ve bad di esiti gat
Interval
!
Fantasy on a theme of Lisztudotus
edd lo embi edt is
10 tobe McCabe (born 1939)
todolV vd me
edd to bad ebam
... oinal ob
John McCabe was born in Huyton. He is a noted pianist and
a specialist on Haydn's piano works.
(First performance at these concerts)
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4。
matsed eXtI-sonsb ,dest viefarsbow
Sonetto No. 104 del Petrarca om yd Jomevom Liszt (1811-1886) po
tres (Last performed in 1953 by Noel Mewton-Wood) brosos
This Sonnet, one of three based on poems by Petrarch, is
included in the second volume of the "Annees de Pelerinage" ovs[X
(L'Italie). All three were first written as songs and later
arranged as piano pieces. "In their earlier version, they
form an astonishing transition into musical form of the
atmosphere, the sentiment, the shape, even, of Petrarch's
sonnets....they have their own perfection as piano pieces and
at the same time, the sunburnt and fiery romance of the rhymed
words from which they took their origin".
yd bearn
(Sacheverell Sitwell)
to grisen sneg.
tation bae daeadroo gatbrotts
ecolg orin tuoda, red
Fantasia quasi Sonata;
136
Apres une Lecture de Dante.
ant visenebr efyde
cord seedt (First performance at these concerts)
Liszt
tricen
eti
ni
faoqmoo desi 'anderd gnome ere dold
"This is a piece of inordinate length, and of tempestuous,
stormy character. It is among the most remarkable productions
in the whole of romantic art; and were it possible, by some
magical transmutation in time, to hear Liszt play, this is one
of the pieces that every lover of Liszt would wish to include
in the programme. Nothing like it had ever been attempted
before in music. It was written at Bellagio, on the shores of
Lake Como, at the time of the birth of his daughter, Cosima.
ON
Liszt was an ardent reader of Dante, but for this purpose, hehe!
made use of the poem by Victor Hugo, called D'apres une lecture
de Dante The air of damnation hangs over it and the images
are of the Vortex and the Whirlwind". mb wrod saw
row (Sacheverell Sitwell) hoege s
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5.
HUDDERSFIELD MUSIC SOCIETY
Next Concert:
Monday, 29th November, 1982 at 7.30 p.m. in the TOWN HALL
The FITZWILLIAM QUARTET with ALLAN SCHILLER
The programme includes two short movements by Tchaikovsky and
Shnitke and the piano quintets of Shostakovich and Schumann.
This concert has been arranged in association with the
Huddersfield Contemporary Music Festival.
KIRKLEES LEISURE SERVICES
Saturday, 30th October, at 7.30 p.m. in the Town Hall
Halle Orchestra - cond. Okko Kamu
Cecile Ousset piano
Romeo & Juliet, Tchaikovsky;
and symphony by Grieg.
Sunday, 7th November, 1982
Rachmaninov's 3rd piano concerto;
Royal Danish Orchestra with Stephen Bishop-Kovacevich
Nielsen, Schumann, Wagner and Tchaikovsky.
THE POLYTECHNIC, HUDDERSFIELD
Tuesday, 2nd November at 7.30 p.m. in St. Paul's Hall
"Born 1882⁰9
Stravinsky's Petrouchka, Kodaly's Missa Brevis, Grainger's
"A Lincolnshire Posy"
Orchestra, chorus and symphonic band of the Dept. of Music.
HALIFAX PHILHARMONIC CLUB
Friday, 29th October, 1982 at 7.30 p.m.
The Franz Schubert Quartet
Haydn, Schubert and Brahms.
HUDDERSFIELD THESPIANS
21st 27th November, 1982 at 7.30 p.m. in Arts Centre, Venn Street.
"The Corn is Green"
by Emlyn Williams
Harrison House, Harrison Rd.
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)
bus levo K, Beaumont, Esq.
K.
K.
Dr. H.J. Black
G.R. Booth, Esq.
F. Bratman, Esq.
Dr. M.C. Brierley
Mrs. E. Crossland
J.F. Crossley, Esq. c.Y
A.G. Crowther, Esq.
Mrs.
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.
193 J.J. Valner, Esq.
ng
fattuta
31
nue
Isy
08 noafo HI
IXIOS TH
H. Marshall Williams, Esq.
con
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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Ocr'd Text:
THE
HUDDERSFIELD
MUSIC
SOCIETY
m
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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HUDDERSFIELD MUSIC SOCIETY
***
** *****
gebSixty-fifth Season
Christopher Rowland
Jonathan Sparey
1982-83
Monday, 29th November, 1982
Town Hall
FITZWILLIAM STRING QUARTET & ALLAN SCHILLER (piano)
*****
violin
violin
Alan George
Ioan Davies
ro
Programme artott feocroo
do
String Quartet in B flat major
Piano Quintet in G minor, op. 57
Interval
DE
***
olem 2005
Canon in memory of Stravinsky
Piano Quintet in E flat major, op. 44
**
eo
***
lavo:fedoT as
***
viola
123
cello
Tchaikovsky
Shostakovich
This concert has been arranged in collaboration with the
Huddersfield Contemporary Music Festival, director Richard Steinitz.
Shnitke
Schumann
beaso
The Fitzwilliam Quartet started its professional life in 1971
as Quartet-in-residence at the University of York, After some change
of personnel in 1974, the Quartet went to Warwick University. Three
years later, the quartet returned to its post at York, where its
contribution to the life and work of the University has now been
recognised in the creation of a permanent residency.
Allan Schiller was born in Leeds; his first teacher was Fanny
Waterman and subsequently he studied with Denis Matthews in London
and Guido Agosti in Rome. For two years he was at the Moscow State
Conservatoire. He has recently returned from his third major tour
of the U.S.S.R.
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2.
02 02
Quartet in B flat major (1865)
Tchaikovsky (1840-1893)
Adagio misterioso allegro con moto - adagio misterioso
(First performance at these concerts)
Of all the very greatest composers, Tchaikovsky is possibly
the least comprehensively known and understood; one could list
about fifteen works which everybody knows inside out most of
them orchestral. But there is so much more than that, and
amongst all this relatively unknown music are the five full-
scale chamber works; only five, it is true, which suggests that
Tchaikovsky felt far less at home in such limited surroundings;
he seemed to sport a particular contempt for solo piano with
orchestra, and for chamber works with strings!
One of the compositions he produced as a student (no doubt
a course requirement) was a string quartet in B flat, first
performed by colleagues at the Conservatoire; this despite the
medium's being anathema to him. Only the first movement in on
survives, as Tchaikovsky destroyed however much of the work he
completed. But this dis-membered torso does make an eminently
satisfying whole, with its main allegro flanked by slow musicions
which begins rather like a grave Orthodox chorale...This
symmetrical type of first movement form was also employed in
Quartets 2 and 3, together with the second symphony the
"Little Russian", which shares with this quartet the use of
Ukrainian folk material; here the first subject of the allegro
is based on such a melody which was evidently a favourite of
Tchaikovsky's as he arranged it for chorus as well as incorpor-.
ating it in his op. 1 no. 1, the "Scherzo a la Russe" for piano.
egnIts character certainly permeates this lively and resourceful
os allegro, for which we owe gratitude to a group of women singing to
at work in the garden of his sister's estate in Kamenka • so
often a haven for Piotr Ilyich during the more troubled years roo
ahead.
yonebleordner
to Hisexo odd ni beaingoo01
ww
Bon
Piano Quintet in G minor, op. 57
Shostakovich (1906-1975)
mabaod tu event Prelude lento poco più messo a
-
IdeosA
Fugue adagio
of roten bai Scherzo allegrettonocer and oll
Intermezzo - lento
Finale allegretto
(First performance at these concerts)
f
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3.
....A considerable redressing of balance occurred during the latter half
of Shostakovich's career, in that where he was once regarded as arom
composer of large scale orchestral works, he is now seen to have been
equally concerned with chamber music forms. Most of the evidence for
this lies in the magnificent series of fifteen string quartets, which
accounted for an increasingly significant proportion of his creative
energy during the final years of his life. In the light of this it may
now seem surprising that he should choose to compose a piano quintet
before he
nad produced a major string quartet (Quartet no 1, which
appeared two years earlier, is a touchingly modest affair)....
FRUNT
Perhaps the secret lies in the fact that the piano was the
composer's own instrument....The composer, himself, with the Beethoven
Quartet, gave the first performance at the Moscow Festival of Soviet
Music on 23rd November, 1940, and such was its instant success that the
scherzo and finale had to be repeated....The pianist launches the
action in grand improvisatory manner, as if anticipating one of the op.
87 Preludes and Fugues of 1950-51.
307
daha f
POLUD
In the same way the tremendous entry of the strings presents a sound
very familiar from any of the middle period quartets; but it is the
fusion of the two which is so exciting, and already by the end of this
very wide-ranging overture we have been treated to a richly varied
display of the kinds of textures we are to encounter later during the
course of the work most of them far removed from the nineteenth
century concept of the piano quintet. The complementary fugue which
follows is a moving testament to Shostakovich's gift for reaching the
heart through the most rigorous of formal structures... The entry of the
piano in the exposition, after the four previous entries have all but
dispelled our awareness of being involved in a quintet, is one of the
most inspired moments in chamber music, elevating feelings and emotions
20
to sublime regions where consciousness of the passing of time seems
eternally suspended.
The five-movement structure was a favourite of Shostakovich during
his thirties, as was the type of scherzo which now restores our sense
of reality and the present. For once, however, we have an example which
appears to be free of that biting irony which elsewhere is almost an
inherent characteristic of such movements, so that on this occasion the
riotous good humour and sense of fun really are genuine....
A period of reflective meditation is provided by the intermezzo's
endless lines of sweetly nostalgic cantilena; feelings become im-
passioned, but soon subside into a kind of contemplative restlessness,
out of which the finale drowsily emerges, groping at first, but
gradually acquiring a new confidence. Like the quintet as a whole, this
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4.
to grifesother alderoblego o
movement explores an amazing range of contrasts, embracing the
crudely boisterous, through a smoky chromaticism, to a lullaby of
childlike innocence which eventually vanishes in the merest wisp
of sound.
Interval
bedeut
yer Canon in memory of I.F. Stravinsky (b.1882) Alfred Shnitke (b.1934)
(First performance at these concerts)
ro
At the end of our first visit to the U.S.S.R. in November,
1976 we spent an anfernoon at the House of Composers in Moscow...
We were treated to about five hours of quartet music, but for us
the most striking and memorable contribution was this brief piece
by Alfred Shnitke. He was probably the youngest of those present
and represents a marked turning away from the post-Shostakovich
idiom from which so many of his older colleagues seem unable to
break free... During the past few years the Fitzwilliam Quartet
have developed a personal friendship with Alfred Shnitke, and in
May 1979 he was our guest at York University for a few days.
This piece, composed in 1971, is in essence a single line of
music with each player moving in succession from one note to the
next, (hence the description "canon") creating a series of blurred
harmonies which are continually shifting like quicksand.
Piano Quintet in E flat major, op. 44 Schumann (1810-1856)
en anrio Allegro brilliant
odd to yedne In modo d'una marcia - un poco
Scherzo molto vivace
Allegro ma non troppo
ent
(Last performed in 1959 by Keith Swallow & the Laurance Turner of
String Quartet)
- un poco largamente - agitato
largamente
traod
bollega.tb
b
do obviously felt completely at home when writing for the keyboard; 10
more significant was the fact that the piano was also Clara's
eddinstrument, so that composing directly for her was bound to lift
him above himself....This piano quintet written in 1842 was the
first great work of its kind (Schubert's Trout Quintet was for a
slightly different combination) and served as a model for all
those that followed it....
Bhub Schumann was invariably at his best when composing for the
piano....It was not just that he was himself a pianist, and
These were happy times for Robert. His intense love for
aheClara had at last found fulfilment in marriage, since which time,
music had poured from him at a phenominal rate. Schauffler, in
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5.
his illuminating book on the composer, has suggested that the fifths
motif (quoted from Haydn's D minor quartet, op. 76 no. 2), which appears
in so many of Schumann's compositions, constitutes a private greeting to
his wife; sure enough it turns up in the first trio of the scherzo
movement. But all was not radiance and joy in Schumann's life; even as
early as 1841, he seemed to have premonitions of his eventual fate;
"time presses and night begins to fall" (letter to a friend). Not long
after the composition of the Quintet, he was to suffer his first serious
breakdown, and the gloomy tone of the Marcia might well be the result of
an unconscious foreboding. These thoughts are quickly dispelled in the
succeeding movements, and the magnificent fugal apotheosis (combining
the principal themes of the first movement and finale) seems powerful
enough to banish them forever.
From Programme notes by Alan George
***
***
***
HUDDERSFIELD MUSIC SOCIETY remaining concerts of 1982/3 season
Monday, December 13th 1982:
Capricorn
Monday, January 24th 1983:
Monday, February 7th 1983:
Thursday, March 24th 1983:
-
piano, string trio & double bass
(including Schubert's Trout Quintet)
Ondine Ensemble - flute harp & str. trio
Hanson String Quartet - Haydn, Bartok,
Brahms.
Ian & Jennifer Partridge
songs by
Schubert, Britten, Beethoven Wolf
and Peter Warlock
All concerts at Venn Street Arts Centre, price £2.50. Part season
tickets for four concerts £7.00. Tickets obtainable from Information
Centre or from Mrs. Ashton, Hudds. 602432.
HUDDERSFIELD CONTEMPORARY MUSIC FESTIVALD
Tuesday, 30th November, 1982 at the Town Hall at 1 p.m.
R.N.C.M. Wind Ensemble
Tickets £1 (40p)
St. Paul's Hall at 7.30 p.m. LONDON SINFONIETTA cond. Anthony Pay
Britten, Maw, Shostakovich
HALIFAX PHILHARMONIC CLUB
Thursday, 9th December, 1982, The Hunt Trio - soprano, oboe, piano
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 M.
Mrs. E. Crossland
J.F. Crossley, Esq.
A.G. Crowther, Esq.
Mrs. A. Crowther
David Dugdale, Esq.
C. England, Esq.
HORASE
amed afdvob & Miss M.A. Freeman
groI Jolf, (bre
asrohree dext and
animidnos) a
Introvog Boso
LOW
Edward Glendinning, Esq.
P. Michael Lord, Esq.
P.L. Michelson, Esq. 1500
Reliance Gear Co. Ltd.
S. Rothery, Esq.
J.C.S. Smith, Esq.
Dr. S.L. Henderson Smith
de Mrs. C. Stephenson
doo Iza J.G. Sykes, Esq.
nouses Je! W.E. Thompson, Esq.
odamot no J.J. Valner, Esq.
H. Marshall Williams, Esq.
Tod
rete
bra mie
yeb
Yab
A Jeonja anoV da attoonoo ITA
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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(388) - SOVE) HUDDERSFIELD MUSIC SOCIETY
*******
HUDDERSFIELD MUSIC SOCIETYbbs offee tot op
***
Elisabeth Perry
Timothy Mason
****
Sixty-fifth Season
19TOLIA
1982-1983
(atroonoo short toneel)
Monday, 13th December, 1982
natinti odd
ne Arts Centre, Venn Street
gatod soman sorg odd aolonto Isoleum at georde
mozaiq zand ofdrob erroust odd
Tom
Julian
nomo fe& blvaltoime CAPRICORN
di vrlo of rows bes
Ig
whadd
violin
cello
Jonogar
sr bis Inins AT Intes of
ono
nofasivoo, asw oub odi
allfoo xuodame neod s 2nw offw
Simon Rowland-Jones Nonviola
tvat astffme'l vil
13.Isow do trina
i gove
Barry Guy
double bass
***
Dawson-Lyell piano
Programme horTA
Duo for cello and double bass stobom drgoIIA
Piano Quartet in Eb, op. 76
onde ocorld fa
te
Trout Quintet in A major, op. 114
IT at Jojzer0 ons 19
Rossini
Dvorak
bollso brodeemod T Interval dispod lerov 4881 MI
Schubert
ougert ni Jom
to ord 6020gmoo od..A.B.U od
com Capricorn was formed in 1973 and has since established itself
in the forefront of younger British chamber ensembles, well-known
for its deeply committed playing of a wide repertoire of music from
the classics to today's avant-garde. This year they have appeared
at the Bath and Edinburgh Festivals, giving a staged performance of
Peter Maxwell Davies's Songs for a Mad King and Schoenberg's
Pierrot Lunaire.
Jostup
bird
IT &
ogne lab
To atehenop from vom Jarft ord to onod? Ingatonta on
oviesve ne fus adreng out ont sobiviidus doldwaganda ant
aboo bre dhomao Loveb, dol onsig ode mort oartouset Intelg bas
bosaotopo al notdono to agar, obbe Aenebt osor no 3d ons
Ilot tofbanl gaterra
ys of med
APTO
dd at drome
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Duo for cello and double basse Rossini (1792-1868)
A
Allegro
Andante molto a
Allegro molto
(First performance at these concerts)
(1
This work was written in London in 1824 when the Italian
influence was strong in musical circles, the great names being
Rossini, Paganini and Dragonetti, the famous double bass player.
The duo was commissioned by the banker, Sir David Salomons,
who was a keen amateur cellist and wanted a work to play with
Dragonotti. It was probably performed at one of the many musical
evenings to which wealthy families invited artists of repute to
perform.
OOP
Piano Quartet in E flat, op. 87
Iloyd-spaux getir
Allegro con fuoco
Lento
Dvorak (1841 - 1904)
Allegro moderato grazioso
Allegro ma non troppo
(First performance at these concerts)
has to Lion not onl
500 oant
In 1884 Dvorak bought himself a small homestead called
Vysoka near the town of Pribram, where he lived and worked when
not in Prague. During the next six years, before his stay in
the U.S.A., he composed the piano quintet, the piano quartet and
the Dumky Trio, the Terzetto for two violins and viola, the three
overtures "Amid nature" and the G major symphony, besides
numerous small works for voice, piano and piano duet. During
this period, he also made many visits to England, to the
Birmingham, Worcester and Leeds Festivals and often to London. de
20
auto
The E flat piano quartet, his second, was published in 1889.
The principal theme of the first movement consists of a challenge
from the strings, which subdivides into two parts, and an evasive
and playful response from the piano. Both development and coda
are built on these ideas. A wide range of emotion is expressed
in the Lento and a charming Landler follows. The Finale is a
sonata-form movement in the unusual key of Eb minor.
Interval
¡
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1
Į
Trout Quintet in A major, op. 114
maroo
Allegro vivace $80
Andante
Scherzo: presto
Theme and variations andantino
V be to Finale: allegro giusto
(First performance at these concerts)
200
Schubert (1797-1828)
adds vehnol
300
"In the summer of 1819 Schubert and his friend Vogl went for
a walking tour together in Upper Austria. One of the places they
visited was Steyr where there was a flourishing musical community,
presided over by Sylvester Paumgartner, a wealthy amateur who
played the cello. It seems that he and his friend were playing
Hummel's Piano Quintet, and wanted another work for the same
unusual combination of instruments: instead of a second violin,
Hummel had used a double bass. The greater weight of string
sonority makes a fuller contrast to the resources of the piano,
and is particularly suited to antiphony between piano and strings.
Schubert's ear nevertheless told him that, with a growling double
bass in the company, he must be cautious with the bass register of
the piano, and so we find a large proportion of the piano part
written in the treble clef, and often in octaves between left and
right hand". (William Mann)
di
No autograph score of the Trout quintet exists; it is
supposed that Schubert wrote out the parts without making a score
and he no doubt played the piano part by heart.
The name "Die Forelle" comes from the song, written in 1817,
which Schubert uses as the theme of the variation movement. Of
the few great chamber works using songs as a basis for a movement,
Schubert is responsible for two, the other one being the D minor
quartet, Death and the Maiden. Haydn, of course, wrote the
Emperor quartet, using the national hymn, and Brahms uses his
Regenlied for the last movement of the sonata in G for violin and
piano. It would appear to be a successful form of composition.
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HUDDERSFIELD MUSIC SOCIETY 411.go Totem A at Jodato Juor?
Monday, 24th January, 1983 at 7.30 p.m.
ONDINE ENSEMBLE
online Flute, harp and string trio.
Works by Handel, Beethoven, Mozart, Roussel and Villa-Lobos.
3-4026
(adrendoo
KIRKLEES ORCHESTRAL CONCERTS
201
Jrodude2 2181 to noua odd MD"
Sunday, 16th January, 1983 at 7.30 p.m.mt vedtegod wod gabllow a
trummoo Isofaum Kirklees Youth Orchestra redu
ofw turojams vitiser
ydisows
Tens Tegus! Tadeaviy
Town Hall. araw baebut ad bas od Jad amosa JI
yed? saw betteiv
yo xovo bebraetg
sevo
offes et boys lo
odt not show reddone badnaw bas dotato one a fommun
HUDDERSFIELD THESPIANS notent tatmowitent to notandmoo Invaunu
17th 22nd January, 1983 at 7.30 p.m. and eldroh a bear bad Ismaul
onsiq er Io aeotu0801
Jasid noo selluis estan vihronos
de bas
bas one "Children's Day"ne of Waterhouse and Hall al bre
tedd
Arts Centre, Venn Street. med blot ezofodtieven to a redurioe
end
no by ano duso ad deum of quo ont at aand
um com ogsal a brit ew oa bas ansiq odt
ed
HUDDERSFIELD GRAMOPHONE SOCIETY
to bustolo elderd ert at nedbr
Monday, 20th December, 1982 at 7.30 p.m. matFW),"bged trigin
"My Musical Milestones" by Clifford Thompson and Paul Serotsky
Juo, adory frodudod Jedd becoggia
Central Library, Princess Alexandra Walk. bevafo Janob or of bus
quodd tw
erol ei" pHSM SNT
10 emerij
3
HUDDERSFIELD METHODIST CHOIR
as asau frodudo Nober
22nd December, 1982 at 7.15 p.m. gritar axrow neditero doorg
€ sild
Carol Concert o eldren
toi efdienogeer at reduio?
shadbiel ait had dre@tedraup
an ceau anda bas meyd Isolden en getan formoup Tox90nd
HALIFAX PHILHARMONIC CLUB or to Jromovon deal odd toi bollnosof
I opova stod of zeogas blow I one by
Saturday, 22nd January, 1983 at 7.30 p.m.
Town Hall
Ondine
(Flute, clarinet, harp and strings)
Works by Rossini, Debussy, Grech, Roussel, Villa-Lobos & Ravel
Harrison House, Harrison Road, Halifax.
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THE
HUDDERSFIELD
MUSIC
SOCIETY
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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(at
HUDDERSFIELD MUSIC SOCIETY
IebrsH to
Marianne Ehrhardt
Alexander Balanescu
Sixty-fifth Season
OTA
1982-83 Hal
Monday, 24th January, 1983
ONDINE ENSEMBLE
flute
violin
dar..I
Melissa Phelps
of mah
BEVE
Harp concerto in B flat major
String Trio op. 9 no. 3 in C minor
Adagio and Rondo K617
Programme
os orgelfc
ofer
***
tert
**
cello
COLL
goald to d
Interval
JerPI)
Susan Drake
60220
harp
Elisabeth Perry 900 viola
ASIA
ostado?
to en
Trio op. 40 for flute, viola, cello
Quintette Instrumental for flute, string trio & harp Villa-Lobos
Font berolreg Jani)
Roussel
7
a nevodjes.to
go momim 0 moi Handel
Beethoven
Mozart
Ondine, the capricious sylph in de la Motte Fouque's fairy
tale, is a suitable patron for an ensemble of such atmospheric UOS
delicacy as a combination of flute, strings and harp. Jusq
Founded in 1979, Ondine has already scored wide-ranging
success in England and the major London concert halls. In 1982
the Ensemble toured Germany and they have been invited to repeat
their visit in 1983 and 1984. Future plans include tours of
Europe and the U.S.A.
68
[Mt of mose-yedd colgge
to ensam omosed bas Ieh
ansom
to ago.
aqode o.Idrob
ofteredt odd to
outsood new patroy a 10 arow don't get goed T
ਦੋ
bad yabrde ni
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DI 2. CI
Harp Concerto in B flat major
HORA.
Andante allegro
Larghetto ser
8801
80 Allegro moderato
Handel (1685-1759)
(First performance at these concerts)
GMIOMO
Although one might recognise this work as one of Handel's
organ concertos, originally he wrote the piece for the harp.
The concerto is dedicated to the Welsh harpist, William Powell,
and received its first performances when played as entr'acte
in Handel's oratorium, Alexander's Feast. Virtuoso harpists,
however, were very rare in Powell's days, so Handel published
it eventually as no. 6 of his op. 4 organ concertos in 1738.
String Trio in C minor, op. 9 no. 3 tot Beethoven (1770-1827) H
Jass
Allegro con spirito om e
Adagio con espressione
Scherzo: allegro molto e vivace
Finale: presto
(last performed in 1963 by the Cromonte String Trio)
Ibaanof
COULE
All five of Beethoven's string trios are early works -
composed between 1796 and 1798, soon after his arrival in
Vienna. It is remarkable that Beethoven chose this most
difficult musical medium to introduce himself to the Viennese
public. All classical composition is basically founded on
of treb
four-part harmony. Therefore, creating full sonority with only
three string instruments, yet keeping the interest of each
individual part alive is a problem difficult to solve.
Beethoven
never known to choose an easy option - seems to
have been attracted by this particular challenge. Unlike many
of the less energetic talents around him, he avoids all obvious
means of creating sonority or momentum. Whenever he uses o
double stops or arpeggios they seem to fulfill an organic need
of the thematic material and become means of expression to an
extent unknown before.
Thus, the Op. 9 trios, though works of a young man, became
classical monuments in string trio writing.
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3.
Adagio and Rondo K617 for flute, string trio
osolas and harp
(First performance at these concerts)
o o o ol
Mozart (1756-1791)
The Adagio and Rondo was originally composed for glass
harmonica with an accompanying quartet in May 1791- a few months
before the end of Mozart's life. bead
The history of this work is tender and engaging as it was
composed for a blind Viennese girl, Marianne Kirchgassner, who
offered its first performance on 19 August 1791. dades tra
Glass harmonicas became a topic of conversation in 'high
society at the end of the 18th century. They were "much admired
for their great sweetness and delicacy of tone", as a concert-goer
commented on hearing the instrument for the first time at a
performance in Philadelphia in 1764.
SLOW
America played a major part in popularising the instrument,
since it was the American statesman Benjamin Franklin who more or
less invented it. On his journey to England in 1767, he heard an
Irishman perform on musical glasses - glasses filled to different
levels with water and made to sound by the friction of wetted fingers
on their rims. This appealed to Franklin's musical and scientific
senses and he devised a mechanised, less cumbersome, version of this
instrument. The real breakthrough came some twenty years later,
when a Hamburg instrument maker managed to attach a keyboard to
Franklin's model. In this form it soon had a considerable, if short-
Fra gar
IS
lived, vogue.
939
Mozart was familiar with the instrument, having himself played
it at a garden concert in Vienna when he was 17. History informs us
that his father wanted to buy him one, but could not afford it.
omand
Alas, glass harmonicas are no longer fashionable. Mozart's
piece, however, is too beautiful to be neglected. Of all modern
instruments, the harp comes closest to effecting the exquisite
delicacy of a glass harmonica, so it seems a legitimate choice for
modern performances of this work.
nonton ald bns both reddet Interval
aoueg of bd gath
m.t
SCIIV no lasotorq oldstoogeon
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4.
Trio op. 40 for flute, viola & cello Roussel (1869-1937)
(hevi-days) 3 o
12
Allegro grazioso
Andante
Idropi
Allegro non troppo
28
(First performance at these concerts)
Trio op. 40 was composed and first performed in 1929 whented
Roussel was 60 years old; the work is dedicated to Elizabeth.
Sprague Coolidge who also commissioned it.
Toroq taxi1)
Elizabeth S. Coolidge was one of America's musical beratto
pioneers. She built and endowed the auditorium in the Music
Division of the Library of Congress and commissioned works from
numerous composers world-wide. Being asked by such a
distinguished patron to contribute this trio for her concerts
reflects the high reputation Roussel enjoyed in the musical
life of his time - including the New World.
di
bot, In
Starting on a musical career late in life after leaving
the French Navy for health reasons, Roussel wrote music of
singular clarity and elegance.
Jon
Op. 40 is a work of maturity in classical form and style.vel
The lively thematic material of the two outer movements todd no
at develops towards well controlled and well placed climaxes,
while the central Andante flows with exquisite beauty and
sensitivity.
bed
Quintette Instrumental for flute,
boyalg foemid anivad
string trio and harp
aff.I
+
F
di
Allegro non
Lento
Villa-Lobos (1889-1959)
tu us
te
troppo
Holocal
mid yu
Allegro poco moderato
(First performance at these concerts)
om
tq
dent
Heitor Villa-Lobos, born in 1887 in Rio de Janeiro,
revealed early in childhood a keen musical interest which hisob
father encouraged by arranging for him tuition in several
instruments. When Heitor was 10 his father died and his mother
put a stop to further musical studies, wanting him to pursue a
respectable profession. Villa-Lobos, it seems didn't like that
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5.
prospect at all! He often slipped away from home to play with street
musicians and when 16 ran away for good.
For a while he pursued formal musical studies but did not take much
interest in them. All his life he preferred to rely on his own
intellectual perceptions for a tutor! During o
the next 15 years he
undertook three long explorations in Brazil, collecting a goodly store
of Afro-Brazilian folk music and composing his own works. In 1923 he
travelled to Europe for the first time where he was introduced to the
music of Debussy and Ravel. On returning to Brazil in 1930 he began
to compose his most famous series - Bacchianas Brasileiras -
influenced by Bach.
breleees0
Widely acknowledged as Brazil's most respected composer by the 1930's
Villa-Lobos was appointed Superintendent of Musical Education in Rio
de Janeiro; from this position he introduced numerous reforms and
much European music in his country. A prolific composer until his
death in 1959 he was commissioned by members of the French radio
orchestra to write the Quintette Instrumental, finishing it in 1957.
This quintet is full of the vitality and passionate romantic colouring
of so many of his compositions.
HUDDERSFIELD MUSIC-SOCIETY Next concert:
Monday, 7th February, 1983 at 7.30 p.m.
Haydn, op. 54 no. 2;
HANSON STRING QUARTET
I
Bartok no. 2; Brahms op. 51 no. 1.
Arts Centre, Venn Street.
KIRKLEES LEISURE SERVICES
4th February, 1983 at 7.30 p.m.
Royal Liverpool Philharmonic Orchestra with IAN HOBSON (piano)
All Beethoven concert.
Town Hall.
HUDDERSFIELD GRAMOPHONE SOCIETY 31st January 1983 at 7.30 p.m.
"Damsels in Distress" Phyllis Allen. (Strauss, Schoenberg,
Fionod
43
Central Library, Princess Alexandra Walk,
Puccini)
HALIFAX PHILHARMONIC CLUB
Friday, 18th February, 1983 at 7.30 p.m.
Lindsay String Quartet with Simon Rowland-Jones (viola)
(Mozart, Stravinsky, Kurtag, Mozart)
Harrison House, Harrison Road, Halifax.
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bogglie notio oH
THE SOCIETY IS GRATEFUL FOR FINANCIAL HELP FROM THE FOLLOWING:
b tyd notbute Ceptau Lo
boue
afhdw 's 40
The Rt. Hon. The Lord Savile, J.P., D.L. at jeogejut
(Hon. Vice-President)
21
oroja viboog
ed eser
I.
101 anoidqooreg Indoofledat
K. Beaumont, Esq. anotarolqxo grof bonit doodrobar
Dr. H.J. Blackoo bus stem fet stitas-ort to
edt of becubordG.R. Booth, Esq. de art rot oqese of bollevent
god of Ocet F. Bratman, Esq.torn love bite yesudod to ofe
astio Dr. M.C. Brierly
zobroz avomat deem afd otaqmos of
Mrs. E. Crossland
rond vd boonop.lt!
**oter on yd J.F. Crossley, Esq. Itsayd as bogboivomlos viobiW
a
off at noldsoub A.G. Crowther, Esq. toque botaloage sey sodol. IIV
be anyolor Mrs. A. Crowther ad noflacq eldd or 20tore eb
at ttu vee David Dugdale, Esq.uoo aid ni olemn naegom dom
ofby nono-C. England, Esq.
C. England, Esq. yd benotee Imroo asw/or el at désob
.9201 at di Miss M.A, Freeman I added and offrw of teorioso
gabruofco oftnam Edward Glendinning, Esq. od to 102 at Jotutup ald
P. Michael Lord, Esq..anottheoquos, atd to yow oa to
P.L. Michelson, Esq.
Reliance Gear Co. Ltd.
S. Rothery, Esq.
J.C.S. Smith, Esq.
Dr. S.L. Henderson Smith MAR
Mrs. C. Stephenson
T36 8801 carredo dyabnoM
Son 2.qo bysH
on dowel
J.G. Sykes, Esq. exto ad
W.E. Thompson, Esq.
J.J. Valner, Esq.
(oneta) H. Marshall Williams, Esq.
6002010
dachow
COVENANTED GIFTS
OC.Y de Beb
troved Itd Icoqrov Isyoll
novodjool ITA
The Committee appeals to all members if possible to make a s
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 Isrdno
means of ensuring the continuance of these Concerts. ARTIN XAULIAH
(eloty) sono b-bas Ivo nom12 diw dodreu Bai
plentverde dr
geter
xelfall bro
grede veebm.bl
noapalloerol dos ven
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THE
HUDDERSFIELD
MUSIC
SOCIETY
11
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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HUDDERSFIELD MUSIC SOCIETY
*******: ****? *****
***:
(esst-pest) odurio2
Liebesbotschaft
Erlafsee
Der Fischer
Das Fischermaedchen
Die Forelle
Winter Words:
Sixty-fifth Season
Thursday, 24th March, 1983
Venn Street Arts Centrere blood an
IAN PARTRIDGE - tenor
*****
**
1982-1983wo2) Jarosdodendo hi
An die ferne Geliebte
Moerike Lieder:
Sweet and twenty
Sleep
OY OS
JENNIFER PARTRIDGE - piano
****
**
Programme
Io
T
o ay dahi modd deater Schubert
samarblad to do ad te orfe medh
pabaids haod tod egited ore nach
refe ytbi
At day-close in November.
Midnight on the Great Western voled
Wagtail and baby
The little old table ovol 10 amserb sega tre
The choirmaster's burial
Proud songsters
At the railway station
Before life and after
Interval
ka na Britten
My own country
As ever I saw
To the memory of a great singer
Pretty ringtime
da Beethoven
Wolf
Nimmersatte Liebe
Begegnung
Schlafendes Jesuskind evobarle buofo ord
Fussreise
Verborgenheit
Warlock
bas at issed ye dgtl at en
62
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2.
Liebesbotschaft (Schwanengesang D. 957) Schubert (1797-1828)
Love's Message
Murmuring brooklet, so silvery and clear, V
are you hastening to my beloved so merrily and fast?
Ah, dearest brook, be my messenger,
bring her greetings from afar.
All the flowers in her garden
which she wears so prettily at her heart
and her roses in their crimson glow;
brooklet, refresh them with your cool water.
When she sits on your bank, dreaming
when she hangs her head thinking of me
comfort her with a friendly glance,
for her lover will return soon.
When the sun sinks in rosy rays,
cradle my beloved into slumber.
Murmur gently to her until she sleeps;
whisper dreams of love into her ear. T
Erlafsee
The Lake of Erlaf
My heart is light; my heart is sad
by the still water of Erlaf.
In the holy silence of the pine trees,
etd
under the blue vault of the sky,
the cloud shadows flit over the smooth mirror
of the lake.
Fresh breezes lightly ruffle the surface
and the sun's golden glimmer fades.
My heart is light; my heart is sad
by the still water of Erlaf.
200
Rellstab.
Rellstab.
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Der Fischer
3.
The Fisherman
I
The water murmured, the water swelled. A fisherman sat
peacefully watching his rod, his heart at rest. And as he sat
and listened, the flood parted and out of the flowing waves a
water nymph appeared,
She sang to him, she spoke to him, saying: why do you entice my
brood with human wit and cunning to die in the heat? If only you
knew how happy the fishes are on the river bed, you would dive
down as you are and feel such well-being for yourself.
Do not the beloved sun and moon seek refreshment in the sea? Do
their faces not rise again, twice as beautiful, from the waves?
Does the deep blue of this watery heaven not tempt you? Does
your own countenance not tempt you down into this everlasting
dew?
She
The water murmured, the water swelled, and wetted his bare foot.
His heart filled with longing as for a lover's greeting.
sang to him, she spoke to him and he was lost. Half dragged,
half willing, down he sank, never to be seen again.
Das Fischermaedchen (Schwanengesang) ha
The Fisher maiden
VINO
My lovely fishermaiden et
ao drive your boat to the shore;
come and sit beside me
we'll dally hand in hand.
a
Come, lean your head on my heart
and be not too afraid
for daily you entrust yourself
without fear to the stormy sea.
Goethe.
and many a precious pearl
lies in its depths.
My heart is just like the sea,
It has its storms and ebb and flood,
ag
lyde Espor
Heine.
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4.
Die Forelle The Trout
Within a sparkling streamlet
That sang its merry song,
I marked a silver troutlet
Like arrow speed along.
04
Beside the brook I lingered his bodaq boolt ori bontoteil bra
And watched the playful trout
bor
That all among the shallows t
Was darting in and out. fb
1.
With rod and line there waited an angler by the brook,
All eager he to capture the fish upon his hook.
While clear the water floweth and fair the cloudless sky,
His labour will be fruitless, the trout is safe, thought I.
The angler loses patience; he stirs the stream
And makes the limpid shining water all black and muddy seem.ob
"I have him", quoth the stranger, as swift his line he cast;
And heeding not the danger, the trout was caught at last.
Christian Schubart.
Winter Words op. 52
Benjamin Britten (1913-1976)
words by Thomas Hardy (1840-1928)
From the early Auden settings our Hunting Fathers, op. 8
(1936) to the Burns songs op. 92 written shortly before his
death, the composition of song cycles and sets runs through
Britten's creative life as an almost unbroken thread. Only
Winters Words, composed in 1953 to words by Thomas Hardy, stands
alone with no other cycle or set of songs between 1947 and 1957.
It was a time given to the composition of choral works and
operas, of which Billy Budd (1951) deserves mention here as it
was in this opera that Britten developed an extremely flexible
vocal style, whose continuous arioso enabled him to express
both the poetic and prosaic qualities of Hardy's poetry.
Winter Words" was written in the last year of Hardy's life.
Each song takes its departure from a piece of natural
description:
AT DAY CLOSE IN NOVEMBER takes its cue from the line "the pines
like waltzers waiting" and is a spectral waltz.
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0
5.
MIDNIGHT ON THE GREAT WESTERN: the train's whistle and the
rattling of the points are realistically imitated by the piano, but
it is the melismata of the word "journeying" in the line "the
journeying boy" that haunts the memory of the weariness of all
fedop geD sosa tel
night journeys.
WAGTAIL AND BABY imitates the wagtail's run ando be
THE LITTLE OLD TABLE the creak that is discussed in the poem.
THE CHOIRMASTER'S BURIAL or THE TENORMAN'S SONG is a ghosty story
and the spectral playing and singing at his grave is a feature of
this, the most moving of the songs.
PROUD SONGSTERS (thrushes, finches and nightingales) echoes with
the singing of the bird and
AT THE RAILWAY STATION or THE CONVICT AND BOY WITH THE VIOLIN, the
somewhat bitter story of the boy and the convict, imitates the sound
of the violin, while the voice part catches with uncanny sensitivity
the naive accents of the boy.
BEFORE LIFE AND AFTER is purely musical, but the last question finds
the piano imitating the voice part as if music rather than words must
give voice to the doubt. pah reddo, m
Peter J. Pirie
(from an
An die ferne Gellebte
Album of English Songs - Enigma Classics)
Ian and Jennifer Partridge.
ghn Jesi moje In
Interval
aniquews Beethoven (1770-1827)
To the distant beloved (1816)
1. From this hill I look across the mountains and send my songs to
my beloved. May my music bridge the distance between us.
2. Where the mountains rise high, there dwells my love; Oh that I
were there.
3.
Ye brooks, birds, clouds and breezes, carry my kisses and sighs
to the beloved.
4. These gentle winds will toy with her tresses; this brook will
mirror her form.
SH
5.
Spring has returned with her flowers and blue skies. The swallows
joyfully make their nests; only we remain sadly parted. Jadd
6. Accept these songs, my love, and when you sing them to your
lute, they shall lessen the distance of space and time.
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6.
Five Moerike Lieder (1888) on
Nimmersatte Liebe Insatiable Love
For such is love! for such is love!
Mere kisses can't content it;
Who could with water fill a sieve,
What fool would ere attempt it?
A thousand years thou mightest try sotto
And kiss for all eternity,
Still could'st thou not content it.
Oh love, oh love, each hour is filled pr
With new and wondrous yearning; renonli
Our lips were sore that we had sealed,
This day, with kisses burning.
The maiden like a lamb held still,
That feels the blade descending,
She drank in kisses with the thrill
Hugo Wolf (1860-1903)
Of pain and rapture blending.
abon
For such is love, as every age and all who know can prove,
Not even Solomon the sage in other wise made love.
Begegnung The Meeting
201
laureb bos
What dreadful storm last night was raging
until the morning light appeared!
The uninvited broom was sweeping
and soon the streets and chimneys cleared!
Now down the street a maid comes wandering,
glances round half timidly;
Like roses that the wind's been blowing,
thus glow her cheeks so tenderly.
With rapid steps, a youth advances
radiant with joy his love to greet;
With what embarrassed joyful glances
the two young knowing rogues do meet! ffwable eftnog oood?
He seems to ask with voice so tender,
If she's had time her hair to comb,
that last night got in sad disorder
when swept the storm wind through her room..
ag
41
ta
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7.
The youth of kisses still is dreaming
that he exchanged with her last night;
He stands, transfixed with grace so charming
meanwhile she whisks past out of sight.
Schlafendes Jesuskind Sleeping Christchild om
Blessed Virgin's heavenly child:
How calmly on the wood of anguish dost thou slumber,
That the fervent master musing, gave thee
as a fitting pillow for thy dreamings.
Flow ret thou, e'en in the bud enfolded
bearest thou the glory of the Father, erwsb
If one could but picture all the wondrous visions
seen behind that brow, those long dark lashes, fr
changing oft in sweet succession.
Blessed Virgin's heavenly child.
(P
1000
Fussreise Wandering
When with my new-cut walking staff forth I saunter early
over hill and valley, through woods lies my path:
then, like birds in their arbor sing with secret thrill,
or as grapes of golden colour wondrous rapture feel,
When the morning sun appeareth.
Thus my inmost soul doth waken,
Is with feverish longing shaken,
In the springtime, in the autumn,
Strains of paradise he heareth.
vdnew brs deat
So art thou not quite so bad, O soul called sinful,
As the teachers stern would have it;
Still dost love and still dost sing
e o t
I
And with praise thy voice doth ring,
As when first the great world was created,
For thy dear creator and thy keeper.
T
If he would but grant me, that my whole life might be,
Full of effort gently tiring, such a perfect morning wandering.
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fg.tar
gafortado os 8.
Verborgenheit Secrecy
8.g dir bextement obrede olf
Tempt me not, 0 world again -
Lure me not with joys that perish;
Let my heart, unspoken, cherish
All its rapture, all its pain.
Only dreaming brings me rest,
Only then a ray of gladness,
Sent from heaven, cheers my sadness,
Lights the gloom within my breast.
Tempt me not, 0 world again,
Lure me not with joys that perish;
Let my heart, unspoken, cherish
All its rapture, all its pain.
Unknown grief consumes my days;
T'is with eyes all veiled by sorrow
11
That, when dawns each hopeless morrow add tod deosed
On the glorious sun I gaze.
TO
of
Jue
sebaotsides
vi
[H
gatement
na Lid
Sweet and Twenty Peter Warlock (1894-1931) 2
Sleep te boles
My own Country
As ever I saw
To the Memory of a great Singer estar dhe bal
Pretty Ringtime
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NEXT SEASON'S PROGRAMMEH
***:
*****
Monday, 3rd October, 1983
Monday, 14th November, 1983
Monday, 5th December, 1983
THURSDAY, 2nd February, 1984
Monday, 20th February, 1984
Monday, 19th March, 1984
AIOMAMIY FOR JUSTASO er 100 FT
FAUL COKER - piano
JANET HILTON & KEITH SWALLOW
clarinet and piano
LINDSAY STRING QUARTET
balzat
The two concerts on Nov. 14th and Feb, 2nd will be held
in St. Paul's Hall, Polytechnic, Huddersfield.
HUDDERSFIELD THESPIANS
April 24th - 30th at 7.30 p.m.
MUSICA ANTIQUA OF COLOGNE
BUDAPEST STRING TRIO
BRODSKY STRING QUARTET
STRINGER'S LAST STAND
HUDDERSFIELD GRAMOPHONE SOCIETY
28th March at 7.30 p.m.
pellsby bivsl
Arts Centre, Venn Street.
HUDDERSFIELD METHODIST CHOIR
Stan Barstow
KIRKLEES LEISURE SERVICES
Friday, 6th May at 7.30 p.m.
CITY OF BIRMINGHAM SYMPHONY ORCHESTRA,
solo piano Janis Vakarelis
Saturday, 7th May at 7.15 p.m.
Central Library fo
A NIGHT AT THE OPERA
(Kathleen Ferrier and Enrico Caruso)
Richard Hinchcliffe
Town Hall
Bome il
(Stravinsky, Prokofiev, Shostakovich)
21
SIMON RATTLE
Town Hall
de MERRIE ENGLAND by Edward German
HALIFAX PHILHARMONIC CLUB
Thursday, 31st March at 7.30 p.m. Harrison House, Halifax.
BRODSKY STRING QUARTET
(Haydn, Bartok, Mendelssohn)
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THE SOCIETY IS GRATEFUL FOR FINANCIAL HELP FROM THE FOLLOWING:
The Rt. Hon. The Lord Savile, J.P., D.L.
HOJIA (Hon. Vice-President)
on K. Beaumont Esq.
Dr. H.J. Black TI
O G.R. Booth, Esq.UN
F. Bratman, Esq.QUE
Dr. M.C. Brierly CORE
Mrs. E. Crossland
bied od J.F. Crossley, Esq.
ed
Thilod
ERRI
A.G. Crowther, Esq. adecvlo
Mrs. A. Crowther
J.G. Sykes, Esq.
W.E. Thompson, Esq.
J.J. Valner, Esq.
rollo totoo cut on
KITD02
Evolated
COVENANTED GIFTS
Dr. S.L. Henderson Smithe
Mrs. C. Stephenson
David Dugdale, Esq.
C. England, Esq.
Mode Miss M.A. Freeman A 2
Edward Glendinning, Esq.
P. Michael Lord, Esq.
P.L. Michelson, Esq. HORTOMARD (LISTEN COUR
Reliance Gear Co. Ltd.
S. Rothery, Esq.
J.C.S. Smith, Esq.
eeft 2 yebroM
6M
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PENT QURTE RECIGUE
* OC.Y do doc - dass Ih
THEOM A
IsHaust.18 m
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REDIVIER STUBIAL CRUISIN
08.7 de
FO,
H. Marshall Williams, Esq. afasb onsig ofoe
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plentys102
MOHS HOME NO ITIO
THTRAUO DISTE
(niosa Lobiold Noted movel)
Febno
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.
DE