HUDDERSFIELD MUSIC SOCIETY 1983/84 SEASON *₁ IL SPECIAL MEMBERS' DOUBLE DISCOUNT 44% OFF FIVE FREE TICKETS SAVE £14 NO MEMBERSHIP CHARGES

OUR FINEST SEASON YET It gives me the greatest pleasure to introduce this the sixty-sixth season of concerts promoted by the Huddresfield Music Society. Each concert in our programme promises to be an exceptional event. From abroad we welcome two of the great chamber music ensembles of the present generation. Musica Antiqua of Cologne, Europe's leading group specialising in authentic performance, and the Budapest String Trio, which in a very short period has established its pre-eminence on the continent. Our guests from this country are equally distinguished - the Lindsay String Quartet has been hailed as the finest quartet of its generation, and with good reason as you will hear. Among younger quartets there can be no doubt about the leading position gained by the Brodsky Quartet from Manchester: an outstanding group by any standards. The first two concerts of our season are given by two of the brightest young stars among British soloists: the pianist Paul Coker, a winner of the BBC Young Musicians Competition and the regular partner of Yehudi Menuhin, and the brilliant clarinettist Janet Hilton. With Yorkshire born Keith Swallow, Miss Hilton offers one of the most exciting of the season's programmes with music ranging from Weber to Messiaen by way of Finzi. I am sure you will not wish to miss this fine opportunity to enjoy such a superb series of concerts. I strongly urge you to join us for this season: the advantages of membership are numerous, but above all it entitles each member to a very substantial saving (at no extra cost) on the price of individual tickets. My committee is grateful for financial assistance from the National Federation of Music Societies (with funds provided by the Arts Council of Great Britain), to Kirklees Metropolitan Council, Huddersfield Polytechnic, and the Goethe Institute for their generous support of the concert by Musica Antiqua of Cologne, and to the Yorkshire Arts Association for a marketing award. I look forward to welcoming you to a memorable season of great music. fame . L. Michels и Paul L. Michelson. Chairman Huddersfield Music Society 23 4 5 6 7 JOIN US... HERE ARE 7 REASON WHY YOU SHOULD Enjoy a massive 44% discount with a double subscription - a saving of £14, equivalent to five free tickets. Gain 2 free seats with a single subscription - a saving of over 30%! You need make only one booking for the entire season! You are guaranteed a seat at all six concerts and you receive your tickets in advance by post! You have the opportunity of enjoying a well-balanced programme of some of the finest music ever composed, performed by the cream of Europe's musicians! You will join a discriminating friendly and appreciative audience. (Refreshments may be purchased during the interval). Send in your application before 17th September and have the chance of winning a £15 record token. BOOKING DETAILS Double subscription: 2 tickets for all 6 concerts Single subscription: 1 ticket for all 6 concerts £18 £11 Single tickets for each concert if available; £2.50. 3 Oct/14 Nov/20 Feb/19 March £3.00. 5 Dec/2 Feb (Single tickets may be purchased by using the booking form, or from the Huddersfield Information Centre, Albion Street Tel. No. Huddersfield 22133 (Saturdays 32177) or at the door on the night of each concert). Double subscription ticket @ £18 Single subscription ticket @ £11 you save £14 you save £5 BOOKING & MEMBERSHIP FORM Single ticket (if available) Cheques payable to 'The Huddersfield Music Society'. Post this form with payment and SAE to: Mrs. R.E. Ashton, Thunderbridge, Kirkburton, Nr. Huddersfield. Remember: All applications for season tickets received before 17th September will automatically enter the grand draw for a £15 record token. | Name ....... Address Postcode........ Tel...... I wish to join the Huddersfield Music Society Please send me Quantity Date & Quantity Total £ р

HUDDERSFIELD MUSIC SOCIETY Monday 3 October 1983 7.30 pm Venn Street Arts Centre, Huddersfield PAUL COKER piano Beethoven Beethoven Chopin Chopin Chopin Paul Coker studied at the Yehudi Menuhin School with Louis Kentner, and subsequently in America in an English Speaking Scholarship. In 1978 he was a joint winner of the BBC 'Young Musician of the Year' Weber Messiaen Brahms Poulenc Finzi Monday 14 November 1983 7.30 pm St. Paul's Hall, Huddersfield JANET HILTON clarinet KEITH SWALLOW piano 11 Bagatelles Op 119 Sonata in F minor Op 57 Appassionata Fantaisie in F minor Op 49 Berceuse in D flat Op 57 Sonata No 2 in B flat minor Op 35 Funeral March Janet Hilton has firmly established herself as this country's most outstanding clarinet player of the younger generation. Her numerous recital Haydn Bartok Beethoven Monday 5 December 1983 7.30 pm Venn Street Arts Centre, Huddersfield LINDSAY STRING QUARTET Quartet in F Op 77 No 2 Quartet No 3 Quartet in F Op 135 Theme and Variations Op 33 'Abime des Oiseaux' Sonata No 2 in E flat Op 120 No 2 Sonata for clarinet and piano 5 Bagatelles Vivaldi The Lindsay String Quartet, formed in 1966 at the Royal Academy of Music, became Quartet-in-Residence at Keele University in 1967, followed by Sheffield University in 1972 and since 1978 Manchester University. In 1973 the Quartet won international recognition at the first 'Interforum for Young Musicians' in Hungary. Following this major success it rapidly built up a strong Thursday 2 February 1984 7.30 pm St. Paul's Hall, Huddersfield MUSICA ANTIQUA OF COLOGNE Vivaldi Vivaldi Concerto in G for flute, two violins and continuo Sonata in D minor Op 1 No 12'La Follia' for two violins and continuo Concerto in D for flute, two violins and continuo The Musical Offering BWV 1079 J.S. Bach Musica Antiqua of Cologne is now recognised as the pre-eminent group in Europe specialising in the Mozart Kodaly Dohnanyi Monday 20 February 1984 7.30 pm Venn Street Arts Centre, Huddersfield BUDAPEST STRING TRIO Haydn Stravinsky Janacek Schubert Divertimento in E flat K563 Intermezzo for string trio Serenade in C Op 10 Monday 19 March 1984 7.30 pm Venn Street Arts Centre, Huddersfield Quartet in B flat Op 76 No 4 The Sunrise Three pieces for string quartet (1914) Quartet No 1 Quartet in A minor D804 1983/84 SEASON competition, and winner of the National Federation of Music Societies concert award. Still only 24, Paul has already given over two hundred recitals and concert performances in the United Kingdom alone. In addition he plays regularly with Yehudi Menuhin: together they have toured throughout Europe and the USA. Paul Coker's programme is built around two major works by masters of the keyboard: Beethoven's Appassionata and Chopin's Funeral March sonatas. These are complemented by some of the finest miniatures ever written for the piano, eleven of Beethoven's Bagatelles, and Chopin's romantic Fantaisie and Berceuse. FULL BOOKING DETAIL OVERLEAF appearances both at home and abroad have received unanimous praise from critics and audiences alike. She has made numerous recordings including the Weber concertos and Brahms clarinet quintet. Keith Swallow is one of the North's busiest and most versatile musicians; he is much in demand as an accompanist, chamber music player and soloist. Hel performs regularly throughout Britain, France and Germany and broadcasts frequently. The music to be played by Janet Hilton and Keith Swallow ranges from Weber's elegant Theme and Variations to Poulenc's witty sonata, and includes the rich romanticism of Brahms' second sonata, one of his last and finest works. reputation at home and abroad, touring regularly in Europe, the USA and Australia, as well as throughout the United Kingdom. The Lindsay has made many broadcasts and records, which together with the Quartet's concerts, receive consistently high praise. To quote The Sunday Times: 'A Quartet of Masters - their Beethoven playing made the heart lift ...' The Lindsay Quartet's programme contains works by three masters of the string quartet, Haydn, Beethoven and Bartok, each of whom extended the boundaries of the form with the invention and originality of genius. authentic performance of baroque music. Formed in 1973 its members have combined research into the correct style of the performance of eighteenth century music with an exciting programme of concert giving which has taken them all over the world. Musica Antiqua's numerous recordings have received great acclaim from the critics, and have won many major awards. The group's programme contains music by the two giants of baroque music: Vivaldi whose works possess a typically Italian vivacity, and J.S. Bach. The Musical Offering is one of his greatest and most sublime works, once heard never forgotten. The Brodsky Quartet has rapidly established itself as one of this country's most outstanding young quartets. The Quartet has studied with the Amadeus and BRODSKY STRING QUARTET Vermeer Quartets, gained the Yehudi Menuhin Prize at the first String Quartet Competition, and recently participated in the European Broadcasting Union's Quartet Festival at Cambridge. Presented in association with the Goethe Institute, Kirklees Metropolitan Council, and Huddersfield Polytechnic. Formed in 1980 in Munich, the Budapest Trio has already done much to focus enthusiastic attention on the medium of the string trio. Its members are all highly distinguished instrumentalists in their own right, with active careers as soloists throughout Europe. The Trio has performed with great success in Germany, Italy and Mexico, and has given broadcasts and master classes in all these countries. This concert will form part of the group's first visit to the United Kingdom and promises to be a most exciting event. The works to be performed include two lighthearted and romantic works from Hungary, as well as Mozart's mighty Divertimento, one of his finest compositions. Among the Quartet's awards are the Barbirolli Prize, the Czechoslovak Contemporary Music Award, and the Janacek Medal at the Evian International String Quartet Competition. The music to be performed by the Brodsky Quartet ranges from the serene vision of Schubert's great A minor quartet, to the impassioned intensity of Janacek's first quartet. WELL SALL ...

OUR CONCERT SEASON Monday 3 October 1983 7.30 pm PAUL COKER piano Monday 14 November 1983 7.30 pm JANET HILTON clarinet KEITH SWALLOW piano Monday 5 December 1983 7.30 pm LINDSAY STRING QUARTET Thursday 2 February 1984 7.30 pm MUSICA ANTIQUA OF COLOGNE Monday 20 February 1984 7.30 pm BUDAPEST STRING TRIO Monday 19 March 1984 7.30 pm BRODSKY STRING QUARTET WHERE TO FIND US Huddersfield Town Centre NCHESTER ROAD A62 A616 CHAPEL HILL Car park QUEEN ST. STA. ST. PAUL'S HALL QUEENSGATE CASTLEGATE JO A629 WAKEFIELD ROAD 2- SOUTHGATE NEW RAILWAY STATION VENN STREET ARTS CENTRE (with car park) NORTH ROAD LEEDS ROAD A62 Venn Street Arts Centre and St. Paul's Hall, Huddersfield. ST JOHN'S RD z→→ HUDDERSFIELD MUSIC SOCIETY The Society reserves the right to vary the artists or programmes without notice. HUDDERSFIELD MUSIC SOCIETY 1983/84 SEASON ik SPECIAL MEMBERS' DOUBLE DISCOUNT 44% OFF FIVE FREE TICKETS SAVE £14 NO MEMBERSHIP CHARGES

(VS81-0yyt) nevod novoritool HUDDERSFIELD MUSIC SOCIETY ****.qo ceffetagad it (adsnotee Bagà) 2.40 onim 1 at stano Sixty-sixth Season OTSATTA 2 odom 1983-1984 20 oqqot nom am oIIA Monday, Venn 3rd October, 1983 (nomolo 200 NE DEMTO lveq fasi) 21 Street Arts Centre Lebror benA yd setort so eftit od evrozob I PAUL COKER i stano2 od 2000 Of vino db of boriosida menstieg omsoed tedt stenoiaa sqqÀ tadt bawol yates Itqug al disob a'novodtee sedis annoy stance adj...now end to webasrg odt of softant, ob dom blb ti of as net oa fnow novodteel Programme remedioni dove og absor -ovom batdd odd to orgelfs odd no toqmab "oggott non em s Jug 11 Bagatelles, op. 119 g Joodidors ed novor Beethovenom Ita shortesagh odt uttlob duodd hw nove jud son Sonata in F minor, op. 57 (Appassionata) o Isten Beethoven Vawe zovig #homevom stanoa Isotassio od to gatanfged of omorit Isatontag atI .one Intervalors to rejostedo ofasd odt oxif ji bavote semont vrstbiedra ont aids off angior JanFantaisie in F minor, op. 491oqa mort Jooqxo I . Chopin to Berceuse, op. 57etbormt om Jug fit anfaniged omtee Chopin t a Sonata no. 1 in B flat minore auoietav od... Chopin tolice s fotom nert otom nofto at onfee instq a'novodjool dari owe to misox oldayo s wo att to nismob s setonob 3 sonstq brs Paul Coker studied at the Yehudi Menuhin School with bas Louis Kentner and subsequently in America. In 1978 he was at joint winner of the B.B.C. "Young Musician of the Year" competition, and winner of the National Federation of Music Societies concert award. He plays regularly with Yehudi Menuhin, and together they have toured in Europe and the U.S.A. note v gaidisq aew ovog ovlazeqe Jaw setisen ow ylbetoogxent revide Nevorteel to broro dinevee bene inimib end at bedente onco bas anomeb qu benutnoo Ide brodo dadt Jedudo bas redel av ex bodo Isni emədi TOTOJ

2. YTISCE DIRUM CITEASCICUL 11 Bagatelles, op. 119. Sonata in F minor, Beethoven (1770-1827) op. 57. (Appassionata) Beethoven x 12 Allegro assai Andante con moto Allegro ma non troppo BRONE reboo (Last performed in 1945 by Solomon) 90 From notes by Alfred Brendel:- Does the Sonata in F minor, op. 57, deserve the title Appassionata that became permanently attached to it only 10 years after Beethoven's death? His pupil, Czerny, found that it did not do justice to the grandeur of the work...the sonata needs no such incitement; in fact, Beethoven went so far as to put a "ma non troppo" damper on the allegro of the third move- ment... Beethoven, the architect, permits no hysterical trans- ports. But even without delirium the "Appassionata" was still the most elemental outburst that had ever happened on the piano. The beginning of the classical sonata movement gives away the basic character of the piece at once. Its principal theme reigns like a king; the subsidiary themes surround it like courtiers. I expect from a performance of the Appassionata that the pianissimo beginning will put me immediately into a state of intentness...The mysterious unrest of this beginning reminds us that Beethoven's pianissimo is often more than merely a softer piano; it denotes a domain of its own, a cryptic realm of awe and shuddering, to which the entrance of the second theme and the start of the finale also belong. e bas tominell atuol agody jutot The second movement is a set of variations in increasing rhythmic foreshortening. First with measured tread, then in a calmly mounting wave, variations unfold, ultimately returning to a parting version of the theme. Its final chords make us shiver unexpectedly; we realise what expressive power was concentrated in the diminished seventh chord. For Beethoven, Weber and Schubert that chord still conjured up demons and terror.

3. YTHTO02 012IN AUT The excitement imparted by the finale is different from that of the first movement: the latter makes its impression by huge explosions and contrasts, the former by the uniformity of its semi- quaver motion; the torment is prolonged and intensified by the repetition of th the development and recapitulation whic development and recapitulation which is expressly demanded in the autograph. A new theme of Russian flavour in the final presto betrays the proximity of the Rasumovsky quartets. Jedren godt year Interval 801edmoood divebooki Fantaisie in F minor, op 49 Berceuse in D flat, op 57 fa Sonata in B flat minor op 35 (Funeral March) Jeogebra T Chopin (1810-1849) 48enChopin beh at bied od Chopin e II Chopinfoo GANT 4801 Vodo dios ysboll Grave m2 plebo Scherzo todo med et JooseFinale. 06. de one atracnob (Last performed in 1979 by Bernard Roberts) Joxe 4801 none dei vabroll Marche Funebre aid e wrote two, against Beethoven's thirty-two. The For Chopin the sonata is no longer the favourite medium that it was for Beethoven; funeral march of no. 1 gives us the measure of the change of outlook; Beethoven's funeral march (in the A flat sonata) is impersonal - a tribute to any high achievement, which might have been inspired by a hero of antiquity. Chopin's is entirely personal. His is the tribute occasioned by the death of one near and much loved. It has lost some- thing of grandeur and acquired a wider range. The whole of this sonata is permeated by the poignant tragedy of the third movement. It seems that the march was written first, probably in 1838 in Majorca and the other three movements added the following year. The work opens with a four bar introduction which leads into a breathless main theme, followed by a tender second subject and a more buoyant third theme. Chopin's grim scherzo is of a piece with the rest of the work; the middle section is a complete contrast. Then comes the funeral march, a tribute of sorrow, and the brief last move- ment, "a-rhythmic, shorn of all harmony, of dynamic effects, a magnificent piece of daring", (Bonavia) concludes the sonata.

Io HUDDERSFIELD MUSIC SOCIETY ** E BISHE dd yd bettaqui nomodtoxe erfl Remaining concerts this season :dremevom Janti edi ********** etaaxtnoo has anotaofqxe ******* 4. vleesiaxe af do vizë NO IN edt be Monday, 14th November, 1983.Janet Hilton, clarinet and vap Keith Swallow, piano noteger en This concert will be held in St. Paul's Hall, Polytechnic.smeb Jou eup plavomidas ent viimixo to ed avended odaetq Lenti Monday, 5th December, 1983.Evie Lindsay String Quartet (Q481-0181) igodo mont It efetsins! Tel Thursday, 2nd February, 1984. Musica Antiqua of Cologne This concert will be held in St. Paul's Hall, Polytechnic. No (Coral Ienenu!) Budapest String Trio Monday, 20th February, 1984. Monday, 19th March, 1984. endom SVAID osted Brodsky String Quartet odorsM Concerts are at 7.30 p.m. at Venn Street Arts Centre except where otherwise stated, Single ticket holders for this concert (October 3rd) may exchange their tickets for season tickets on payment of the difference. See syllabus.es tot asw 2200 [two to egredo ort to evasom odd er eevią I edd ar esvia I on to focos Istou? Iagoeneant at (stenoa dalt A ont at) dos Istomut a 'nevondeof Kirklees Orchestral Concerts removo idos dat we of studied studiat odt at et Tanpatog vferire at a'riqod vtiupitns to orod Saturday, 8th October, at 7.30 p.m. to disab edt yd berolasooo doo w .Halle Orchestratupos bue webasty to gahit to begs Conductor - Jacek Kasprzyk Pianist - Peter Donohoe nettbw Town Hall, dan Huddersfield. Jremevom babit ed et bobbs etnomevos eordt vendo en bas soote mt 881 nt vida do tq e Teey antwo[fot Halifax Philharmonic Club Philh Norw no R portat ad suot a fthe enego Now off. Friday, October 7th at 7.30 p.m. bewo Lotomont nism eas Intserd ont diw sosie St. Martin's-in-the-Fields Chamber Ensemble dnsyond medT Jastroo edel(Mozart, Schoenberg, Tchaikovsky)ow end to Jast -evon Harrison House, Halifax.on to studi dotam Istort ont cemoo safoelte omarryb toyromisd IIs 10 roda oddi-s" nom stanos ort esbufonos (atvano)"tab to ooolg nooihingan seno O

HUDDERSFIELD MUSIC SOCIETY (assi-dəri) edell stoals a bebraget t drongo Leve Sixty-sixth Season 100 1983 1984 EE me to amid boane Monday, 14th November 1983 Janet Hilton Keith Swallow *** s no enolistus V St. Paul's Hall, Polytechnic Din Sonata for clarinet & piano Five Bagatelles clarinet piano vise ne m dood redeW itetev novoz ototy bre "snev[12" 8 broll Jao Programme it Jant au aflet noe o Variations on a theme op. 33 ve ord mo "Abime des Oiseaux" (Abyss of the Birds) from the Quartet for the End of Time Sonata in Eb, op. 120 no. 2 Interval menime TOUJAUQ doo Weber Messiaen < Brahms < asb onida Poulenc vbbil dial yd 8yet mt berrol Finzi After two years in America, Janet Hilton returned to this country in 1982. Her recent activities in Britain include concerts at the Cheltenham Festival with the Pauk Kirshbaum Frankel Trio, Northern Sinfonia and Keith Swallow, the City of London Festival and St. John's Smith Square, a Scottish tour with Scottish Baroque Ensemble and many B.B.C. recordings and recitals. on Keith Swallow makes a welcome return to our series of concerts. Within his very versatile career as soloist, chamber music player and accompanist, his partnership with Janet Hilton is long-standing.

YTETDOR OT 2. 03 Variations on a theme op. 33 Weber (1766-1826) It is, perhaps, surprising to find that Weber, sometimes called the Father of Romanticism, was contemporary with Beethoven and even pre-deceased him. Pre-eminently a composer of opera, Weber was also a virtuoso pianist and conductor and a highly regarded music critic. To him is largely due the development of German opera in Dresden, where before his arrival the Italian influence was paramount. Weber took the theme of his opus 33 from an early opera, "Silvana" and wrote seven variations on it. He was in Prague at the time, with his great friend Baermann, the famous clarinettist, whose son tells us that the work was composed on the eve of a big party and was played at the party by his father, with Weber at the piano. "Abime des Oiseaux" From the Quatuor pour la fin du Temps" Messiaen (b. 1908) (Last performed in 1978 by Keith Puddy of the Gabrieli Ensemble) 00 Both the outward form and the inward inspiration of this work were greatly influenced by the circumstances in which it was written. During the years 1940 to 1942 the French composer Messiaen (then in his early thirties) was a prisoner of war in a prison camp in Silesia. Amongst his fellow prisoners was a violinist, a 'cellist and a clarinettist whilst he himself played the piano. Messiaen wished to compose a work for this group, and

3. as he explains in the quartet's lengthy preface, the privations of prison life made him wish to express the things in life which for him were basic. Messiaen feels an affinity between sounds and colours. One morning he was lucky enough to see a beautiful display of the northern lights, and the vivid green and violet colours seem to have been linked in his mind with certain sounds, and also with the passage in the Book of Revelations, chapter ten, which gives the quartet its title: bea tofarm atd fo end "I saw a mighty angel come down from heaven, clothed with a cloud and a rainbow was upon his head, and his face was as it were the sun, and his feet as pillars of fire. He set his right foot upon the sea, and his left foot on the earth, and standing upon the sea and upon the earth, lifted up his hand to heaven, and swore by Him that liveth for ever, saying: there shall be time no longer; but in the days of the trumpet of the seventh angel, the mystery of God shall be finished CR SME The work was first performed in January 1941 before an audience of five thousand prisoners. Despite the temperature being -30°C, it was received go enthusiastically. The quartet is a long work lasting about an hour, and is divided into eight movements, of which abge Abyss of the birds is a ternary movement for solo clarinet, starting and ending with a slow melody - the sadness and desolation of Time with a bird-like middle section the desire for joy and light.

4. Sonata in Eb for clarinet & piano, op.120 no. 2 Brahms (1833-1897) obsm Allegro amabile do Loo Allegro appassionato Andante con moto (Last performed in 1958 by Jack Brymer) on to When Brahms visited Meiningen in 1891, he was deeply impressed by the wonderful playing of the clarinettist Muhlfeld, a member of the court orchestra. Inspired by this musician, Brahms wrote the four late works for clarinet - the Trio op. 114, the Quintet op. 115 and the two sonátas op. 120 for clarinet and piano. These sonatas, the last chamber music of Brahms, were both written in the summer of 1894. Previous to these works, Brahms had never used the clarinet in chamber music; "thenceforth he bestowed his love upon this melancholy singer of the orchestra, whose tone was particularly appropriate for the serious mood of his later compositions" (Tovey). Muhlfeld himself took part in the first performances of these clarinet works, and to the last remained a great friend of Brahms. It opens The sonata in Eb has three movements. with a quiet first movement; the mysterious triplet episode in the development section is worthy of note. It is followed by an impassioned scherzo-like movement in E flat minor, with a sonorous trio in B major. The last movement is a set of variations upon an andante theme in 6/8 time. This movement is predominantly slow, in contrast to the usual procedure. It seems fitting that Brahms should have ended his great series of chamber music works with a movement, almost an epilogue, whose character is deeply pensive and reflective; fitting, too, that the last movement should be in to

5. variation form, a form to which Brahms was so greatly attached and of which he was so supreme a master. C.A.S. ******** INTERVAL Sonata for clarinet and piano * Five Bagatelles bas fo Allegro tristamente Romanza Allegro con fuoco bas eo ID od ta ben g Before he was a composer, Francis Poulenc was a pianist and after attaining maturity as a composer, he was still a pianist. Nearly all his compositions were for keyboard with or without other instruments or voice; we remember his celebrated partnership with Pierre Bernac. But he had a particular fondness for woodwind. Poulenc (1899-1963) The clarinet sonata was composed in 1962 and is one of a set of sonatas for woodwind and piano, which, like Debussy, he did not live to complete. 1. Prelude 2. Romance 3. Carol 4. Forlana 5. Fughetta Poulenc was one of "les Six"- the group of French composers who sought to bring humour, clarity and lyricism back into music, in opposition to the impressionist approach of Debussy and his followers. 08 Finzi (1901-1956) D

VI 6. laina 2.A. Gerald Finzi began his musical career by studying music with Edward Bairstow in York. He was living in Harrogate at the time, but after his father died when Finzi was eight and his three elder brothers were killed in the first war, he moved South and devoted himself to composition, which he taught for a time at the Royal Academy of Music. ew geotov no The Bagatelles were written in 1941 and 1942, shortly after the "Dies Natalis" which is to be performed at the Glee and Madrigal concert in the Town Hall on 13th December. * ta The National Federation of Music Societies, to which de this Society is affiliated, supports these concerts with funds provided by the Arts Council of Great Britain.molesont ent Generous support is also given by the Yorkshire Artsv Association and Kirklees Leisure Services.

7. HUDDERSFIELD MUSIC SOCIETY Haydn Bartok Monday, 5th December, 1983 at Arts Centre, Venn Street at 7.30 p.m. LINDSAY STRING QUARTET ***** RI Quartet in F op. 77 no. 2 Quartet no. 3 Beethoven Quartet in F op. 135 KIRKLEES LEISURE SERVICES Wednesday, 23rd November, 1983 at the Town Hall at 7.30 p.m. B.B.C. PHILHARMONIC ORCHESTRA Ives, Gershwin, Elliott Carter and Bernstein ELLAND & DISTRICT MUSIC SOCIETY Friday, 25th November, 1983 at 7.30 p.m. Parochial Hall, Westgate, Elland. Joanna Borrett Timothy Carey Vivaldi, Bunting, Beethoven, Schumann, Rachmaninov cello piano HALIFAX PHILHARMONIC CLUB Thursday, 8th December, 1983 at Harrison House, Harrison Rd. Halifax. FAIRFIELD STRING QUARTET Mozart, Watkins, Kodaly, Borodin on

THE SOCIETY IS GRATEFUL FOR FINANCIAL HELP FROM THE FOLLOWING: The Rt. Hon. The Lord Savile, J.P., D.L. (Hon. Vice-President) is doo K, Beaumont * * K. * H.J. Black * G.R. Booth * F. Bratman * Mrs. E. Crossland od sou i * J.F. Crossley A.G. Crowther * * Mrs. A. Crowther DIVAGE UII INATA * David Dugdale OC.C. England en de tochvoll Syabaombol 6801 * Miss M.A. Freeman * Edward Glendinning jokatdated sevi VI * P. Michael Lord *P.L. Michelson H* Reliance Gear Co. Ltd. er rednovoll rides * S. Rothery * J.C.S. Smith * S.L. Henderson Smith TRACTOR * Mrs. C. Stephenson * J.G. Sykes .b nost* W.E. Thompson *W.E. *H. Marshall Williams 2801 doood die ysbrolf TO Denotes Covenants 1002 DT8UM TOTTI (MALESI Vous all ob vdjoměT BUTO DIMOMAAHIIHI XAZILIAH Thompson da 8e1 Todine od d8ysbedT Bl 8tblsvtV

abysH riqesob HUDDERSFIELD MUSIC SOCIETY ** oggo non Sixty-sixth Season Peter Cropper on Ronald Birks odi of COM Monday, 5th December 1983 Venn Street Arts Centre P 1983-1984 7910 (dodreu) iute med LINDSAY STRING x ejelambo of digne Is QUARTET Quartet in F op. 77 no. 2 Quartet no. 3 m ** Programme bonorea Iq Viola Violin e Roger Bigley olayda Violin th Bernard Gregor Smith ancello Jeju grija molted Jes) onT novorfood to Interval edt eigns en Haydn Bartok evra omed emn omne Quartet in F op. 135 hyov omse ond tbladue ni dobi oals at treme The Lindsay Quartet has recently returned from the U.S.A., where they concluded their tour with a concert in New York at the Frick Collection. At the beginning of last month they gave three concerts in Germany and they are currently recording Beethoven's Razoumovsky Quartets for Academy Sound and Vision. Its to Introbnow Jeol azad ol Janit odt at ord Tol'oltamontcom! Joot dua baoose bree Beethoven The Lindsay String Quartet appears at this concert by special arrangement with the Yorkshire Arts Association. Jetup odj Le m The National Federation of Music Societies, to which this Society is affiliated, supports these concerts by funds provided by the Arts Council of Great Britain.

2. String Quartet in F major op. 77 no. 2 Joseph Haydn (1732-1809) Allegro moderato Menuetto, presto ma non troppo Andante Finale, vivace assai (Last performed in 1976 by the Delme String Quartet) Opus 77 (1799) was planned as a set of six, but Haydn's physical and nervous stamina were no longer equal to his still unspent creative impulse, and the two great works we possess are all he had the strength to complete. The set was commissioned by Prince Lobkovitz, also a patron of Beethoven. The quartet in F is Haydn's last essay in the form to which he had contributed so much. From one angle, the first movement may be described as 'monothematic', for the same theme serves as both edero first and second subject: the same, yet miraculously different. But the movement is also rich in subsidiary themes and it is from these that the development mainly springs. The scherzo is a triumph of thematic concentrationsg and rhythmic wit... the source of it all is to be found in the first four bars. Most wonderful of all is the Trio's sudden drop into D flat. The slow movement evolves as a wonderful blend of loca rondo and variation form, all growing from the quiet persistent melody given out, at first, in spare two-part harmony by violin and cello. The finale starts with a call to attention like the opening of a country dance. There follows a rustic dance movement in triple time, full of gaiety and momentum. C t

3. String Quartet no. 3 Bela Bartok (1881-1945) Prima parte - Seconda parte - Recapitulazione - Coda della prima parte (First performance at these concerts) The quartet no. 3 was completed in 1927, following closely the first piano concerto. Bartok entered the quartet in a competition sponsored by The Musical Fund Society of Philadelphia, and shared the first prize with Alfredo Casella, winning 3000 dollars - a considerable help to him in his usually straitened circumstances. It was first performed by the Waldbauer-Kerpely (Hungarian) Quartet in February, 1929, in the Wigmore Hall, London. Two days later, it was performed by the Vienna Quartet in Frankfurt and this Quartet, led by Rudolph Kolisch, became enthusiastic propagandists of Bartok's chamber music. Of Bartok's six quartets, the third is the most. concentrated and intense. It is in one movement, yet divided into four sections which follow without a break slow fast slow fast. The work opens moderato, with a canon; the second part shows elements of both sonata and variation form; the Recapitulazione condenses and re-organises the material from the first part and the Coda incorporates a variety of canons and fugatos based on motifs from the second part. Bartok's Quartet no. 3 is generally considered his most "difficult"; it is also his shortest, due to the extreme concentration of the musical material. From romanticism in the first and second quartets, Bartok had a phase of technical experiment and intellectual abstraction epitomised in the third, then gradually relaxed and returned to a more lyrical expression in the later ones. Perhaps this reputation for difficulty is the reason that this is the only quartet of Bartok which has not been heard at these concerts before; the first quartet (1908) was played for us in 1925

by the Hungarian String Quartet; in the intervening fifty-eight years, repetition and a nearer acquaintance with late Beethoven have considerably affected our listening. dedi (atroo 4. **** INTERVAL ******** *** String Quartet in F major, op. 135 E ed Ludwig van Beethoven (1770-1827) Allegretto Vivace to adelbagage Lento assai, cantante e tranquillo Grave, ma non troppo tratto - Allegro (Der schwer geffasste Entschluss) dant (last performed in 1959 by the Amadeus Quartet) IsoThe composition of the five quartets, Op. 127, 130, 131, 132, 135 and the fugue 133, occupied the last three years of Beethoven's life. Setting aside all the other cono ideas in his mind, the Master devoted himself entirely to the quartets, beginning work on them in the summer of 1824 and finishing them in November, 1826, hardly four months before his death. They grew to maturity in the no midst of all the sufferings of mind and body that made these last three years one long agony". (Marliave). Fourteen years had elapsed since the middle period quartets, op. 59, 1-3, op. 74 and op. 95 and the ninth symphony was finished in 1823.

5. DH Like Haydn's op. 77 no. 2, and also in F major, op. 135 was the last of the composer's completed quartets; (the alternative finale to op. 130 followed). Harold Truscott avers that it is not a third period work at áll, nor a first or second period, but the beginning of a new, fourth phase, and calls it a comedy of the spirit, albeit basically serious. Beethoven has returned to the four-movement form and the work is the shortest of these last quartets. The first movement is built up on a single theme and developed with extraordinary fulness of inventive power. The second opens with two simultaneous themes- syncopated minims on the violin and staccato crotchets on the cello. The Trio contains a strange fortissimo passage for the ba violin, carried on for forty-eight bars above a unison. accompaniment. The Lento is the heart of the work very short, in the form of free variations, but of an indescribable poignancy. I The last movement is famous for its introductory question: Must it be? and the answer: It must be! It must be! written by the composer at the beginning of the movement. The movement is joyous; there is a popular march-type theme introduced by the cello and repeated by the violin. What was der schwer gefasste Entschluss (the difficult resolve)? Was it a deep psychological question or perhaps no enigma at all, a quite trivial problem? There is endless speculation on the subject. For the leader of the Lindsay Quartet it is "surely the philosophical question that we ask ourselves all the time". vaba tul 8

HUDDERSFIELD MUSIC SOCIETY masy Thursday, 2nd February, 1984 in St. Paul's Hall, Polytechnic at 7.30 p.m. 6. MUSICA ANTIQUA OF COLOGNE ***** ** Bach: ******** Vivaldi Concerto for flute, 2 violins and continuo Sonata "La Follia" for 2 violins & continuo Concerto in D for 2 violins & continuo The Musical Offering Leveb This concert is being given in conjunction with The Polytechnic Music Department, Kirklees Leisure Services and by courtesy of the Goethe Institute, Manchester. Kirklees Leisure Services Friday, 13th January, 1984 at the Town Hall, 7.30 p.m. Halle Orchestra Conductor: Patrick Thomas; Pianist: Stephen Hough Tintagel Bax; Conc. no. 2 Liszt; Symphony no. 7 Dvorak Elland & District Music Society Friday, 27th January, 1984, Parochial Hall, Westgate, Elland, at 7.30 p.m. Stewart Buchanan, baritone & Bryan Evans, piano Purcell, Schubert, G. Butterworth, Barber, Berkeley, Ravel Halifax Philharmonic Club Thursday, 8th December, 1983 at Harrison House, Halifax at 7.30 p.m. FAIRFIELD STRING QUARTET Quartet in B flat (the Hunt) Quartet Quartet no. 2 op. 10 Quartet no. 2 in D Mozart Michael Blake Watkins Kodaly Borodin

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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 * H.J. Black * G.R. Booth * F. Bratman * Mrs. E. Crossland * J.F. Crossley es el necuted A.G. Crowther * Mrs. A. Crowther * David Dugdale todo stints ne * C. England oot ILw voy 23 yino * Miss M.A. Freeman not bede Edward Glendinning * *P. Michael Lord P.L. Michelson evo Ils not goblood vol *Reliance Gear Co. Ltd. ubong atal ext * S. Rothery * J.C.S. Smith azosoba * S.L. Henderson Smith en v² est A * Jedto to 23 bas Juomoeid tovbs etdi * Mrs. C. Stephens on canol obyged girlatrodimelf 208 video Y * J.G. Sykes * W.E. Thompson * H, Marshall Williams Dènotes Covenants .E

HUDDERSFIELD MUSIC SOCIETY Sixty-sixth Season, 1983-1984 THURSDAY, 2nd FEBRUARY, 1984 St. Paul's Hall, Polytechnic MUSICA ANTIQUA coviy OF COLOGNE Wilbert Hazelzet Traversflöte Reinhard Goebel Barockvioline Barockvioline Barockvioloncello Hajo Bäss Phoebe Carrai Andreas Staier Cembalo Programme Concerto in G major, RV 102 Sonata in D minor, RV 63 "La Follia" Concerto in D major, RV 89 Interval Vivaldi A Musical Offering Bach Musica Antiqua of Cologne was founded in 1973 and devotes itself to the interpretation on original instruments of chamber works dating from the 17th and 18th centuries. Their first appearance in England was at the Queen Elizabeth Hall in 1979, followed by five concerts at the Holland Festival. They have since toured in many countries: U.S.A., Canada, South America, India, Korea, Hongkong and Japan. The leader of the Ensemble, Reinhard Goebel, studied with Saschko Gavriloff and Marie Leonhardt (Amsterdam). This concert is promoted by Huddersfield Music Society jointly with Kirklees Leisure Services, the Polytechnic and the Goethe Institute of Manchester. For the loan of the harpischord and for St. Paul's Hall, we are indebted to the Polytechnic.

Antonio Vivaldi (1678-1741) Concerto in G major RV 102 for transverse flute, two violins and continuo Allegro Adagio Vivace - Arietta - Minuetto Sonata in D minor, RV 63 "La Follia" Concerto in D major, RV 89 for transverse flute, two violins and continuo B Allegro assai Cantabile Andante e poco vivace - Allegro The variations of form, scoring and imaginative con- ception of Vivaldi's 500-odd concertos are prodigious. Over 350 of these were for violin and strings, about 40 were double concertos and 30 were for three solo instruments and strings, among which the clarinet makes its earliest appearance. Of the 90 sonatas, RV 63 takes its theme, "La Follia", from Corelli's work for guitar, written in 1700. There were two dance forms bearing this name (mad or empty-headed), one in Spain (Folias Espaniolas) in the early 17th century, which was fast and noisy, and a later adaptation by French composers in which the dotted rhythm of the first and third bars was introduced. This became known as Folias Italianas. Corelli used this form for his famous variations. Vivaldi, who lived in Venice most of his life, though he died in Vienna, was the most original and influential Italian composer of his generation. He laid the founda- tions for mature baroque concertos and his contribution to musical styles in technique and practice of orches- tration was substantial. INTERVAL OF 15 MINUTES

J. S. Bach (1685-1750) Ein Musikalisches Opfer BWV 1079 1. Ricercar a 3 (Cembalo) Canones diversi super Thema Regium 2. Canon 1 (Violine 1/11) 3. Canon 2 (Violine 1/11, violoncello, cembalo) 4. Canon 3 (Traversflöte, violine 1/11) 5. Canon 4 (Violine 1/11, violoncello) 6. Canon 5 (Violine, cembalo) 7. Fuga Canonica (Traversflöte, violine, cembalo) 8. Canon perpetuus (Traversflöte, violine, violoncello) 9. Canon perpetuus (Traversflöte, violine, violoncello, cembalo) 10. Canon a 2 (Cembalo) 11. Canon a 4 (Violine 1/11, cembalo) 12. Sonata sopr' Il Soggetto Reale (Traversflöte, violine, violoncello) 13. Ricercar a 6 (Cembalo) The Musical Offering is among the greatest of Bach's works. The occasion of its composition was a visit by the composer to King Frederick the Great at Potsdam, when the King himself gave Bach this "truly royal theme". Bach improvised variations for his royal host and on his return to Leipzig, composed the rest of the cycle and had it engraved and dedicated it to the King on 7th July, 1747, two months after his visit to Potsdam.

The first and last Ricercar are written for clavier; the other eleven parts are chamber music composi- tions, two of which, the Trio and one canon, expressly prescribe the use of flute for the top voice; while in the others no instrumentation is indicated, the highest part can be taken by this, the King's favourite instru- ment. The Trio for flute, violin and harpsichord is the heart of the whole work and the last Ricercar, in six parts, belongs to the most outstanding fugues Bach ever wrote. It is a work of the largest proportions, one of the greatest monuments of polyphonic music. The National Federation of Music Societies, to which this Society is affiliated, supports these concerts with funds provided by the Arts Council of Great Britain. Generous support is also given by the Yorkshire Arts Association and by Kirklees Leisure Services. HUDDERSFIELD MUSIC SOCIETY Next Concert: MONDAY, 20th FEBRUARY, 1984 at Venn Street Arts Centre at 7-30 p.m. Budapest String Trio Mozart Divertimento in Eb. Intermezzo for String Trio Kodaly Serenade in C Dohnanyi HALIFAX PHILHARMONIC CLUB FRIDAY, 10th FEBRUARY, 1984 at 7-30 p.m. at Harrison House, Harrison Road, Halifax Amsterdam Loeki Stardust Quartet Music for four recorders by Bach, Byrd, Coperario, Frescobaldi, Locke, Mondrup, Hirose and Stevie Wonder.

1 C HUDDERSFIELD MUSIC SOCIETY * (reyr-deyr) so Sixty-sixth Season a ameoa I **** 1983-1984 20th February, 1984 Monday, 20th Foun Venn Street Arts Centre C olinodius" no Ferenc Kiss (1 ("adnemo Tivadar Popa Peter Wopke BUDAPEST STRING vď 28rf at be Intermezzo Serenade in C major op 10 y TRIO violinomolzeq fanl) violin viola cello Programme lo 12 Divertimento for String Trio in E flat K 563 Interval 01 Mozarteub Dohnanyi Kodalyerit trf This concert forms part of the trio's first visit to the United Kingdom. volom Formed in 1980 in Munich, the Budapest Trio has ITE already done much to focus enthusiastic attention on the medium of the string trio. Its members are all highly distinguished instrumentalists with active careers as soloists in Europe. Tivadar Popa will be remembered as the violist with the New Budapest String Quartet on its several visits to this Society's concerts. The National Federation of Music Societies, to which this Society is affiliated, supports these concerts with funds provided by the Arts Council of Great Britain. MA Generous support is also given by the Yorkshire Arts Association and Kirklees Leisure Services.

YTT1003 TDI 2. Divertimento for String Trio in Eb K 563. Mozart (1756-1791) Allegro Adagio Menuetto and Trio Andante Menuetto and Trios 1 and 11 Allegro (Last performed in 1981 by "Apollo's Banquet" on "authentic instruments") Mozart wrote this peerless string trio towards the end of his life, at a time of illness and dire poverty. It seems a strange name for a work of such depth and beauty, but this is due to its form of six movements. It was preceded by the opera "Don Giovanni", the two great string quintets in C and G minor and the three last symphonies in 1787 and followed in 1789 by the three "Prussian" quartets. It is the longest of his chamber works and is pure string trio, in that Mozart does not attempt to thicken the texture by a liberal use of double-stopping. Indeed, in the fourth movement, he takes the surprising step of writing the 32 bar melody in octave unison for violin and viola, as though three instruments were too many for his purpose. The following three-part harmony sounds all the richer for this; movement is a theme and variations. this The opening movement is in sonata form and makes marked use of arpeggios; likewise in the adagio the theme is an arpeggio (in rising form) first given to the cello and subsequently richly embellished by the violin. There are two decorative minuets, one with two trios, and the finale is a joyful rondo. Mozart played the viola and his affection for it shows in this unusually rich opportunity for the instrument. The Divertimento is the only string trio Mozart wrote and he dedicated it to his friend and fellow-Mason Michael Puchberg. Interval In Se B r B B C 11 H V W t a

1) C and of sa s is oper minor 39 by string ture bar three g rked an re two is a hows The e hberg Intermezzo (1905) Serenade in C major op 10 Marcia Romanza Scherzo 3. Zoltan Kodaly (1882-1967) naom Erno von Dohnanyi (1877-1960) Tema con Variazioni; andante con moto Rondo Finale; allegro vivace (Last performed in 1965, by the Wissema String Trio) These two works are by two of the four most influential Hungarian composers. Kodaly and Dohnanyi, with Bartok and Weiner, brought Hungarian music to international repute and radically improved the teaching and practice of music in Hungary. Bartok and Kodaly are associated in our minds with folk music and indeed they were responsible for cataloguing over 10,000 melodies from Hungarian folklore, "an unique and monolithic example of diligence", as their fellow countryman, Antal Dorati somewhat ruefully put it. Kodaly first came to public notice with his Psalmus Hungaricus of 1921. Conducted by Dohnanyi, to mark the union of Buda, Pest and Obuda into Budapest in 1923, it was a resounding success and, with Hary Janos, in 1926, brought Kodaly international recognition. Dohnanyi was born in Bratislava and moved to Budapest where he became a professor in the Academy of Music. He was a very fine pianist and was noted for his playing of all Mozart's and Beethoven's sonatas. The size and choice of his repertoire was unique in his time. In 1947 he left Hungary for Argentina and in 1949 settled in Tallahassee, Florida, at the Florida State University. The trio is his fourth work for chamber ensemble. He wrote two piano quintets, three string quartets and a sextet between 1895 and 1935 and the string trio in 1902. A short march opens the work. The following Romance has an animated and dramatic middle section. The scherzo, in fugal style, is followed by a theme with five variations, in which the theme is shared among the three instruments. The bustling finale develops into a re-statement of the opening march, to conclude the work.

4. HUDDERSFIELD MUSIC SOCIETY Next concert: Monday, 20th February at 7.30 p.m. Venn St. Arts Centre. BRODSKY STRING QUARTET Quartet in B flat op 76 no 4 (The Sunrise) Three pieces for String quartet (1914) Quartet no. 1 Quartet in A minor D804 Following this concert, wine and cheese will be served in the common room and we hope the audience will take advantage of this opportunity to meet other subscribers. Tickets are on sale now and will be £l. Please buy now so that we may have some idea of numbers. KIRKLEES LEISURE SERVICES Saturday, 3rd March 1984 at 7.30 p.m. at the Town Hall Orchestra of St. John's Smith Square cond. John Lubbock solo piano Mozart Programme. Mitsuka Uchida HALIFAX PHILHARMONIC CLUB Friday, 9th March 1984 at 7.30 p.m. Hanson String Quartet (Haydn op. 76 no. 1, Britten no. 1, Haydn Stravinsky Janacek Schubert Harrison House, Harrison Road, Halifax. Dvorak in F op 96) ELLAND & DISTRICT MUSIC SOCIETY Friday, 16th March 1984 at 7.30 p.m. Parochial Hall, Westgate, Elland. Fairfield String Quartet (Haydn op 20 no 4, Mendelssohn op 13, Schubert in ora D minor) WHE FOL

cre. dn sky cek ert in 7 SO 11 ubbock m ) THE SOCIETY IS GRATEFUL FOR FINANCIAL HELP FROM THE FOLLOWING: * K. Beaumont * H.J. Black * G.R. Booth * F. Bratman * Mrs. E. Crossland J.F. Crossley A.G. Crowther Mrs. A. Crowther David Dugdale * The Rt. Hon. The Lord Savile, J.P., D.L. (Hon. Vice-President) * * C. England * Miss M.A. Freeman * * P.L. Michelson * Reliance Gear Co. Ltd. * S. Rothery * Edward Glendinning P. Michael Lord J.C.S. Smith S.L. Henderson Smith * Mrs. C. Stephenson * J.G. Sykes * W.E. Thompson * H. Marshall Williams * *Denotes Covenants

(éc HUDDERSFIELD MUSIC SOCIETY Michael Thomas AGN Ian Belton zle Ter Brodsky String Quartet bas Sixty-sixth Season 1983-1984 201 Monday, 19th March, 1984 Venn Street Arts Centre violin violin Programme Cost dokriv Quartet in B flat, op 76 no 4 Three Pieces for String Quartet Quartet no 1 sasnie d Quartet in A minor D 804 *** rolzoq fasi Paul Cassidy viola Jacqueline Thomas cello BIL eldt at xrow alabyall 10 disq toont ont to Haydn Stravinsky Janacek mx nomidemoa al ded Inogo bankateve viders Interval afin abrodo bied gnof #ootdwe Desuda aldt mol bovineb snied homevom Tomi Schubert q doome s ro bensd at them The Brodsky Quartet was formed in 1972, has toured all Nominated by the ob bas AIGI mi bea over Europe and has won many awards. International Broadcasting Authority, the quartet recently co took part in the E.B.U.'s Quartet Days in Cambridge, the final concert of which was broadcast. of The Brodsky Quartet is named after Adolf Brodsky, the Russian violinist to whom Tchaikovsky dedicated his violin concerto, and former Principal of the Royal Manchester of absor College of Music. midd sifflad These concerts are subsidised by the National Federation of Music Societies with funds provided by the Arts Council of Great Britain. Generous support is also given by Yorkshire Arts Association and Kirklees Leisure Services. (ener at al) iq

2. Quartet in B flat major op. 76 no. 4 (Sunrise) Haydn (1732-1809) Allegro con spirito Adagio Menuet and Trio Allegro ma non troppo (Last performed in 1971 by the Kodaly Quartet) The six quartets of opus 76 were begun in 1797 six years after the death of Mozart and the year of Schubert's birth; Beethoven began his six quartets opus 18 about this time. The whole of opus 76 forms the crown of Haydn's work in this form and all the quartets have a richness of the inner parts which had never hitherto been known. 19 This quartet is sometimes known as "The Sunrise" from its remarkably sustained opening; the lower strings have long held chords while the violin sings a soaring phrase. There is no second subject proper, the whole movement being derived from this phrase. The short but expressive slow movement is based on a smooth, rising theme whose reappearances are linked by more agitated passages. The menuet and trio are straightforward, but one is reminded once again of Haydn's love for the menuet and of how much of its development from the simple dance- lood form is due to him. The Finale is in three sections: in the first, the theme is given out by the first violin; the second has fresh material in the tonic minor key and leads to a recapitulation of the first section. The coda gradually increases in speed and brings the work to a brilliant conclusion. Three Pieces for Quartet Stravinsky (1882-1971) T 1. Danse 25 2. Excentrique totesup 3. Cantique (Last performed by the Amadeus Quartet in 1949) Stravinsky has written little chamber music proper; these pieces were composed in 1914 and dedicated to Ansermet and are from the period of the Rite of Spring. They have been described as fragments from the writer's 10 no al Or an ot th pi Th an Qu WO: Be spa in ma wa CO in CO hi se WO in as Th Wi: se

3. notebook, for this material has taken various forms. In 1929 all three re-appeared in Stravinsky's Four Studies for Orchestra, emphasising their contrasting popular, fantastic and liturgical moods. Also, material is used from them for other works the Symphony in C, the Symphony of Psalms, and the Symphonies of Wind Instruments. The first and third pieces are typical of the Stravinsky of the folk-song period. The second has deliberately strange and eccentric intonations, 1900 and shows traces of Schoenberg's atonality. ome C.A.S.eup edi Janacek (1854-1928) Jan Quartet no. 1 (inspired by Tolstoy's story, Kreutzer Sonata) Adagio con moto Con moto Con moto (vivace; andante) 1600) A Con moto (adagio) (First performance at these concerts) 189 at der mt 68 sognoo food The subtitle was given by the composer, although the lam work contains no recognisable musical reference to ra, I Beethoven's best known violin sonata. The four movements span a wide range of intense emotions with the fourth ending in tragic despair. I asd opis The story by Tolstoy is of a woman disillusioned by her marriage and deceived by her lover, rather as Katya Kabanova was in the opera of that name which Janacek had just completed. The quartet is very much in the terse yet intensely emotional style of Janacek's later years and contains several technical innovations for the players.edurial The string quartet is a medium Janacek reserved until his last, highly creative, years. He wrote only two the second, "Intimate Letters" expresses his feeling for a young woman, to whom he wrote that in this first quartet he "had in mind an unhappy, tortured, beaten woman, beaten to death as Tolstoy describes her". C.A.S. 13 and Interval The interval will be short to allow for the Cheese and Wine party which follows the concert, but coffee will be served. Es

Quartet in A minor D 804 Schubert (1797-1828) looded on asdqme sitaodoro oa.IA .aboom isoigand if bas Menuetto allegro deniva dquyä edt - exzow gento baldi bas da Allegro moderato botro (Last performed by the Lindsay Quartet in 1978) asosiq tovno balV to aoinode aoinodgaya su 4. E rol mo Igo Allegro Andante 30 Schubert's first great piece of quartet music was the quartet Movement in C minor, composed in 1820. There was then a lull in his interest in the genre. In 1823, however, he became friendly with the violinist and quartet leader, Ignaz Schuppanzigh, and this seems to have been the immediate impulse behind the A minor Quartet, composed early in 1824. The Schuppanzigh Quartet gave the first performance in public on March 15th that year, (almost exactly 160 years ago) and it was one of the only two pieces of Schubert's chamber music to be published in his lifetime. ITG Despite Schubert's preoccupation with lieder, it is now unusual for one of his instrumental works to begin with a song-like opening as does this quartet. The second b subject, in the relative major, also has this song-like character. svom The second movement is an andante in which the rhythm and character of the main theme so permeate the movement, that one might be forgiven for mistaking itbeteiquoo. for a theme and variations. This theme is one which the Entr'acte from Schubert has already used in Rosamunde, and he was to use it again, slightly altered, in the Impromptu in B flat. It has a rhythm which often fascinated Schubert - one long note followed by two short ones. of stroo eri trod dem broosa mody of memow The minuet expresses a mood of sadness throughout, baim at and the Trio (in the major) does nothing to alleviatedrafo an the gloom; as has often been remarked, Schubert can sound more melancholy in the major than in the minor. The finale is the same kind of modified sonata form that we have already met in the andante.

bo red ja SPECIAL CONCERT OF BEETHOVEN TRIOS Monday, 30th April 1984 St. Paul's Hall, Polytechnic V Piano Trio in G major op ac fent be segge Adagio Allegro vivace 1 no 2 even Largo bus bent tat,edt Piano trio in E flat op 70 no 2 Scherzo Presto Bemi yteloo? edt tot boyalq odv ILIH oil onsit ting Allegretto Allegretto Allegro Poco sostenuto - Allegro ma non troppo PETER CROPPER violin oth po2 olaM Allegro moderato Scherzo Andante cantabile Allegro moderato sayt Isten taom ed? Interval folyonalq xol nettimy stanon vitse erit mort beqoIevob Piano Trio in B flat op 97 (The Archduke)s elvta eldste PETER HILL sonoo fasq etsaibrodus sted bas fa 08 BERNARD GREGOR-SMITH cello piano steb Iq div otni dounim to ostorios s sendt vino asd I on Of

2. A Beethoven Festival featuring the chamber music for piano, strings and wind opens at the Crucible Studio, Sheffield on May 20th and the Huddersfield Music Society offers tonight an appetizer in the shape of three piano trios. SH Peter Cropper and Bernard Gregor-Smith need little introduction to Huddersfield audiences. leader and cellist of the internationally known Lindsay Quartet, they have appeared many times at our concerts. As For the Beethoven Trios they combine with Peter Hill who played for the Society in 1980 as pianist of the Sheffield University Piano Trio. He has a considerable reputation as soloist with a very wide repertoire and since 1976 has been on the staff of the Music Department of Sheffield University. * * The most usual type of instrumental trio is written for piano, violin and cello. It is developed from the early sonata in the contrapuntal style, and, usually, for two stringed instruments with a figured bass (harpsichord). The early trios were largely for piano with the strings playing a very subordinate part. Beethoven was the first to achieve the difficult objective of a duly proportioned interest and balance of tonal effect. He wrote, in all, six trios for piano, violin and cello. Opus 1 no 2 has four movements, a departure from the normal practice up to this period. Haydn and Mozart limited all their chamber music with piano to three movements, whilst their string quartets always had four. Beethoven also introduced a scherzo or minuet into the piano trio, though opus 70 no 1 has only three movements.

J 3. 10 Opus 1 consists of three trios written in 1792; then followed a long break until 1808 when the two opus 70 appeared; the last trio, opus 97, dates from 1811. Beethoven's chamber music can be divided into three main groups: (i) for wind instruments, sometimes supported by piano and strings, (ii) for piano and strings, (iii) for strings only. He began from the first to cultivate all three types; gradually a kind of selection was made in the orderly course of his development. Interest in the first group ceased in 1800 never to be revived. The second group lasted longer- until the time when his capacity as a pianist began to diminish through his increasing deafness. Apart from that, his own mental growth was leading him to the realization that the use of the piano in chamber music was not the ideal means for the attainment of his ultimate object - the expression of absolute abstraction in music. It appears that the two trios of opus 70 may have been intended to take the form of piano sonatas. The structure of op 70 no 2 points towards the coming piano works. A happy mood prevails throughout the entire work and it is noticeable that, although there are four movements, the slow movement is omitted and is replaced by an allegretto with two themes, one major, one minor, and variations on both. The first movement (like that of op 1 no 2) has a slow introduction, a most unusual feature in piano trios. The Trio in B flat, op 97, belongs to the close of Beethoven's second period. The 7th and 8th symphonies and the Trio were the major works of the year 1811. The Trio has all the great qualities of this period as well as a distinct leaning, particularly in the slow movement, towards the intensity of Beethoven's last works. It is dedicated to the Archduke Rudolph, younger brother of the Emperor of Austria and a keen amateur musician. It was first publicly performed in 1814 by Schuppanzigh and Linke (first violin and cellist of the Rasoumovsky Quartet) with Beethoven himself at the piano. A few months later the composer made his last appearance in public as a pianist in the same work and with the same colleagues.

MOT, AS Of Sugo 4. A HUDDERSFIELD MUSIC SOCIETY SEASON 1984-85 Monday, 15th October 1984 Monday, 10th December 1984 Haydn, Ravel, Beethoven. Monday, 21st January 1985 anoo I augo Cos nem Bach, Beethoven, Chopin, Liszt, Rachmaninov. notoelen ed Monday, 26th November 1984 NASH ENSEMBLE PIANO TRIO Haydn, Brahms, Mendelssohn. Boccherini, Debussy, Monday, 18th February 1985 at m. BENJAMIN FRITH sd Mozart, Schoenberg, Brahms af asw. dt. HUNGARY OF 2009 EDER QUARTET OF COMUN HANSON STRING QUARTET with OLGA FRANNSEN, guitar Castelnuovo-Tedesco. 000 ACADEMY OF ST. MARTIN IN THE FIELDS STRING SEXTET bebretmi Monday, 4th March 1985 Ibert, Mozart, Taffenel, Poulenc, Janacek JANACEK ENSEMBLE All concerts wat St. Paul's Hall, Polytechnic at at 7.30 p.m. oirl erit solbob Enderr, to Brochures will be sent to everyone on the mailing list; please leave your name and address if you are not on it, and would like a brochure. (11)