HUDDERSFIELD MUSIC SOCIETY 1984/85 SEASON SPECIAL MEMBERS' DOUBLE DISCOUNT 44% OFF! FIVE FREE TICKETS SAVE £17

FROM STRENGTH TO STRENGTH The sixty-sixth season proved to be enormously enjoyable and attracted many new subscribers. Now we are moving to the beautiful St. Paul's Hall, Huddersfield Polytechnic, and we offer an equally exciting and varied series of concerts ranging from solo piano to wind septet. The new venue not only pleases the eye and ear; it is also much more comfortable. I am sure the season provides something for everyone and offers the chance to hear some of our finest artists perform a superb selection of chamber music. Those of you who are already subscribers know the advantage of subscription-in particular the substantial saving on the price of individual tickets. It is an opportunity which I hope you will not miss. We rely on our subscribers for their support in putting on concerts of high quality but we are also very grateful for the financial help we receive from the National Federation of Music Societies, the Yorkshire Arts Association and Kirklees Metropolitan Council. Please join us for what promises to be a wonderful season. Jestond com yeus J. Gordon Sykes Chairman Huddersfield Music Society REPRESE 1 23456 7 JOIN US... HERE ARE 7 REASONS WHY YOU SHOULD... You enjoy a massive 44% discount with a double subscription - a saving of £17, equivalent to five free tickets. You gain two free seats with a single subscription-a saving of over 30%. You only need to book once for the whole season. Your admission is guaranteed and tickets posted to you in advance. Huddersfield Music Society offers you a balanced series of concerts of a very high standard for very low prices. You are part of an audience looked upon by visiting artists with respect, for it's warmth and discrimination. All this season's concerts will be held in the beautiful and comfortable setting of St. Paul's Hall, Huddersfield Polytechnic. Send in your application before 17th September and have the chance of winning a £15 record token. BOOKING DETAILS Double subscriptions: 2 tickets for all 6 concerts Single subscriptions: 1 ticket for all 6 concerts £12.50 you save £6.50 Single tickets for each concert, if available: £3.00 except Feb. 18th £4.00. Students half price. (Single tickets may be purchased by using the booking form, or from the Huddersfield Information Centre, Albion Street, Tel. Huddersfield (0484) 22133 (Saturdays 32177) or at the door on the night of the concert). BOOKING & MEMBERSHIP FORM Cheques payable to 'The Huddersfield Music Society' Post this form with payment and SAE to: Mrs. L. Sutcliffe, 49 Benomley Road, Almondbury, Huddersfield HD5 8LS. Tel. Huddersfield (0484) 41700. Remember: All applications received before 17th September will automatically enter the draw for a £15 | record token. | Name | Address £21 you save £17 | Postcode Tel: I wish to join the Huddersfield Music Society Please send me Quantity Double subscription ticket @£21 Single subscription ticket @ £12.50 Single ticket Date & Quantity Total £ р

HUDDERSFIELD MUSIC SOCIETY ST. PAUL'S HALL POLYTECHNIC Benjamin Frith comes from Sheffield and studied the piano with Fanny Waterman. In 1972 he won the National Concerto Competition and, following this, gave a recital at the Harrogate Festival. He has won many awards, including the 1983 National Federation of Music Societies Award for Young Artists (piano). Benjamin Frith opens his programme with the most popular of Bach's keyboard suites, followed by two outstanding incidental works by Beethoven. In addition to playing the work commissioned by the National Federation of Music Societies in the year of his award, he plays an interesting selection of favourite pieces by Chopin, Liszt and Rachmaninov. 1984/85 SEASON Monday 15th October 1984 7.30 pm BENJAMIN FRITH piano Bach Beethoven D Cooper Chopin Liszt French Suite no 2 in C minor Rondo in G major op 51 no 2 Six Bagatelles op 126 Work commissioned for N.F.M.S.Award Scherzo no 2 in B flat minor Two Etudes op 10 nos 3&4 Concert paraphrase on Verdi's "Rigoletto" Rachmaninov Two preludes op 23 nos 4 & 2 Monday 26th November 1984 7.30 pm THE NASH ENSEMBLE OF LONDON PIANO TRIO Haydn Trio no 1 in G major (Gypsy Rondo) Trio in Cop 87 Brahms Mendelssohn Trio in D minor op 49 Monday 10th December 1984 7.30pm EDER STRING QUARTET OF HUNGARY Haydn Ravel Beethoven Quartetin C major op 59 no 3 Quartet in D minor op 76 no 5 Quartet in F major Monday 21st January 1985 7.30pm HANSON STRING QUARTET with OLGA FRANSSEN, guitar Boccherini Debussy Castelnuovo- Tedesco Guitar Quintet in C major String Quartet in G minor Guitar Quintet Monday 18th February 1985 7.30pm ACADEMY OF ST. MARTIN IN THE FIELDS STRING SEXTET Mozart Schoenberg Brahms String Quintet in C major K515 String Sextetop4 "Verklaerte Nacht" String Sextet in G major op 36 Monday 4th March 1985 7.30pm JANACEK ENSEMBLE Ibert Mozart Taffenel Quintet for wind Poulenc Sextuorfor piano and wind Sextetforwind "Mladi" Janacek Full Booking Details Overleaf Three short pieces for wind quintet Quintet for piano and wind in Eflat K 452 The Nash Ensemble is firmly established as one of Britain's most distinguished, versatile and enterprising groups. It takes its name from the beautiful Nash terraces around the Royal Academy of Music, where the group was formed in 1964. The Nash Ensemble has performed in most European countries and in 1981 toured in the U.S.A. The New York Times wrote: "This was musicianship with feeling and heart, the kind of music-making one hears from old recordings of chamber groups from the 1930's, but all too rarely today, at least in the U.S." The piano trio is an ever-popular form of chamber music and this concert contains three of the finest works repertoire. Haydn's delightful "Gypsy Rondo "Trio is followed by the richly sonorous Brahms C major and the melodious and dramatic trio by Mendelssohn. This will be another evening of particular pleasure. The Eder String Quartet was formed in 1972 at the Ferenc Liszt Academy of Music in Budapest. Subscribers who heard the Budapest String Trio last season need hardly be told what splendid music-making to expect from this source. The Quartet was trained by Andras Mihaly who also taught the Bartok and Kodaly String Quartets, and in 1976 it gained first prize in the Evian International Competition. It has since toured in Europe, the U.S.A. Australia and New Zealand. Haydn's Quartet opus 76 no 5 is one of the finest he wrote, being particularly notable for the poignant slow movement. Ravel's only essay in the genre typifies the imaginative and inventive writing of the French School. And what more magnificent close to a concert than Beethoven's mighty Rasoumovsky no 3? Since its formation in 1977, the Hanson Quartet has been fast establishing itself as one of Britain's most interesting and talented young ensembles. The Quartet came together at the Royal Academy of Music and in 1979 was joint first prize winner in the National String Quartet Competition run by the Young Musicians Symphony Orchestra. Olga Franssen is a member of the Amsterdam Guitar Trio. The centrepiece of this programme is the other great French string quartet, the G minor by Debussy; it is framed by the light-hearted Boccherini Guitar Quintet and an interesting and tuneful 20th century guitar quintet written by the Florentine composer, Castelnuovo-Tedesco, at the request of the great guitarist, Segovia. The Academy of St. Martin in the Fields was formed in 1959 with the aim of performing without conductor. However, as the repertoire widened and the Ensemble grew, it was decided to form a separate chamber ensemble, using the principals of the larger orchestra. The leader, Kenneth Sillitoe, is also the leader of the Gabrieli Quartet. Mozart's glorious C major Quintet (with two violas) makes a wonderful introduction to this concert which also includes Schoenberg's work for string sextet, composed when he was still in his Romantic period, and the rarely played G major Sextet of Brahms, a work of almost symphonic proportions. AntionanTravel The Janacek Ensemble consists of the five standard wind instruments-flute, oboe, clarinet, horn and bassoon-plus bass clarinet and piano. The players are graduates of the Royal Northern College of Music and formed the Ensemble in 1981. The Ensemble presents what is, sadly, Mozart's only composition for piano and wind instruments; the programme also includes the fitting celebration of Youth by Janacek, after whom the Ensemble is named, and Poulenc's Sextuor for piano and wind quintet, a work imbued with the composer's characteristic gaiety and wit. DAN L 403 1 شد

OUR CONCERT SEASON Monday 15th October 1984 7.30pm BENJAMIN FRITH piano Monday 26th November 1984 7.30pm THE NASH ENSEMBLE OF LONDON PIANO TRIO Monday 10th December 1984 7.30pm EDER STRING QUARTET OF HUNGARY Monday 21st January 1985 7.30 pm HANSON STRING QUARTET with OLGA FRANSSEN, guitar Monday 18th February 1985 7.30pm ACADEMY OF ST. MARTIN IN THE FIELDS STRING SEXTET Monday 4th March 1985 7.30 pm JANACEK ENSEMBLE WHERE TO FIND US Huddersfield Town Centre MANCHESTER MANCHESTER ROAD A62 A616 CHAPEL HILL Car park QUEEN ST. STA UEENSGATE D ST. PAUL'S HALL QUEENSGATE POLYTECHNIC BUS STATION CASTLEGATE A629 WAKEFIELD ROAD WAKEFIELD AND SHEFFIELD SOUTHGATE M62 WEST TRINITY STREET NEW RAILWAY STATION NORTH ROAD LEEDS HALIFAX & M62 חר ROAD Wal A62 ST JOHN'S RD LEEDS Z St. Paul's Hall, Polytechnic The Society reserves the right to vary the artists or programmes without notice. HUDDERSFIELD MUSIC SOCIETY HUDDERSFIELD MUSIC SOCIETY 1984/85 SEASON SPECIAL MEMBERS' DOUBLE DISCOUNT 44% OFF! FIVE FREE TICKETS SAVE £17

THE HUDDERSFIELD MUSIC SOCIETY W D 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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(0251-2881) HUDDERSFIELD MUSIC SOCIETY stive donery *** beouborint dong Sixty-seventh Season 1984 1985 ni vi de bas bas ad Monday, 15th October, 1984 St. Paul's Hall, Polytechnic oll tend BENJAMIN FRITH - Piano Programme French Suite no 2 in C minor Rondo in G major, op 51 no 2 Six Bagatelles, op 126 *** Interval Piano Fantasy Scherzo no 2 in B flat minor Two Studies, op 10 nos 3 & 4 Concert Paraphrase on Verdi's "Rigoletto" Two Preludes, op 23 nos 4 & 2 barrofre Bach Beethoven David Cooper Chopin Liszt Rachmaninov b In October 1983 Benjamin Frith won the National Federation of Music Societies Award for young Concert Artists, and in the same year, took part in several of Fanny Waterman's televised "Piano Progress" programmes, having studied with this internationally famous teacher since childhood. Since winning the National Concerto Competition at the age of 14, he has gained a great many awards and prizes and played in many orchestral and solo concerts. Future engagements include concerto concerts at the Queen Elizabeth and Usher Halls and recitals at the Wigmore Hall.

2. French Suite no 2 in C minor BWV 813 Bach (1685-1750) Allemande - Courante - Sarabande - Air Menuet Gigue With the English and French Suites, Bach introduced a new form of composition, the Dance Suite, which was to be developed by him in his maturity, notably in the sonatas and partitas for solo violin and the suites for solo cello. The six French Suites are shorter and simpler than the English set which preceded them. No. 2 uses the four basic dances plus an air and a menuet; the French names may have been responsible for the designation of the whole set, BWV 812-817, as French Suites. They were probably meant as technical exercise and entertainment for members of Bach's household and give a good idea of the kind of music Bach liked to have performed in his own home. Rondo in G major op 51 no 2 Six Bagatelles op 126 Beethoven (1770-1827) Very few of Beethoven's occasional pieces for the piano reach the level of the sonatas or the best variations but there are exceptions, including the two Rondos of op 51 and the three sets of Bagatelles which he himself had a high regard for. In the G major Rondo Beethoven's genius manifests itself in a form which is closely related to sonata and symphony (one cannot imagine him writing successful nocturnes or mazurkas); the piece is a gently flowing lyric with a more animated middle section. The word bagatelle can be defined as "a short piece of pianoforte music in a light style". The six Bagatelles, op 126, were composed at about the same time as the ninth Symphony in 1823 and show Beethoven at his most eloquent. In no sense are they profound but they are far more than trifles and could even be considered as the progenitor of the etude. The fourth in the set, which alternates between major and minor keys, is particularly compelling. J.C.S.S.

3. Interval Piano Fantasy (Commissioned by N.F.M.S.) as these out David Cooper (b. 1956) David Cooper was born in Yorkshire but spent his formative years in Belfast. After obtaining his music degree at Leeds, he was awarded a D. Phil in Composition by York University, where he studied with David Blake. The Piano Fantasy is an interpretation of his opera, "Belisa", which explores the confrontation of the intellectual and the physical embodied by an old man and a young wife. In discovering Eros through his young wife, the man's overriding concern in the opera is to give his wife a soul, which is achieved in the denouement through his own self-sacrifice. The formal shape of the piano piece falls into four distinct sections; the first, toccata or cappriccio-like, is intensely physical, faintly suggesting perhaps the keyboard writing of Scarlatti. The second is like a distant slow waltz in various forms this material constitutes one of the main structural pillars of the opera and is closely associated with the erotic element of the drama. A brilliant scherzo, utilising the upper reaches of the w keyboard, forms the third, whilst the final section is very slow and sustained, presenting the more spiritually inclined music of the drama, and canod at perhaps be seen as the final victory of the Anima over the Animus. D. Cooper

4. Scherzo no 2 in B flat minor Two Studies op 10 nos. 3 & 4 Chopin (1810-1849) As Vladimir Ashkenazy reminds us "scherzo" did not necessarily mean "joke" in music by the time Chopin wrote his first scherzo. One has only to remember the Scherzos of the fifth and ninth Symphonies of Beethoven where the composer gives these movements a special new meaning which it is impossible to associate with a light character, let alone a joke. The second Scherzo (the most popular of the four) is basically in ABA form and the drama of the piece unfolds by the gradual accumulation of emotion rather than by its sudden release. The Scherzo ends in obvious triumph in the relative major. The two sets of Etudes (op 10 & op 25) will always rank among the most masterly writing for the pianoforte. At the age of 19 Chopin heard Paganini play in Warsaw and he was so impressed by the famous violinist's virtuosity that he decided to write a series of studies for the piano. The first set was dedicated to his friend Liszt and was published in 1833. The third study in E opens with what Chopin himself considered the loveliest melody he ever penned. No. 4 in C sharp minor demands the highest degree of virtuosity with rapid fingerwork. in both hands. J.C.S.S.

5. Concert Paraphrase on Verdi's "Rigoletto" Liszt (1811-1887) Liszt's operatic transcriptions were responsible for much of his popularity with the public, and for a great part of his income from the publishers. "They may best be compared, perhaps, in their effect and intention, to engravings of famous pictures. These could be bought and hung on the wall and something of the original picture was preserved in them, while they may have been excellent and masterly engravings in themselves. If this comparison is at all accurate, then Liszt was the greatest and most temperamental engraver there has ever been"! The transcriptions differ, from the simple embroidery upon some operatic air to the complete transcription of an entire overture, and from the blending together of two or more of the chief moments of an opera, to the evocation of its whole atmosphere......In all, he wrote fantasies on some 40 operas". S. Sitwell. The Rigoletto Paraphrase is a brilliant, but subtle evocation of the celebrated quartet from the opera. al osis at fogaire auctaned

6. Two Preludes op 23 nos 4 & 2 Rachmaninov (1873-1943) 62 Rachmaninov was a brilliant pianist but he cared still more about composition, and in a particularly creative period (1904) he wrote the 10 Preludes of op 23. By 1910 he had completed another set of 13 preludes which with the early C sharp minor prelude of 1892 meant that he had completed a set of 24 preludes in all the major and onts minor keys as Chopin had done in his op 28 half a century before. JISOROD The fourth Prelude in D major evokes a picture of idyllic happiness with a beautiful descant added to the main melody on its return. The second Prelude in B flat major is a technical tour de force where the magnificent opening and closing sections are separated by a lyrical episode containing exquisite figuration derived from the Prelude's initial challenge. J.C.S.S. 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 Kirklees Leisure Services.

7. HUDDERSFIELD MUSIC Monday, 26th November, 1984 at - St. Paul's Hall at 7.30 p.m. NASH ENSEMBLE PIANO TRIO Haydn in G, Brahms in C op 87 and Mendelssohn in D mi. op 49 ELLAND & DISTRICT MUSIC SOCIETY e SOCIETY Friday 19th October, 1984 at - Parochial Hall, Westgate, Elland at 7.30 p.m. JEREMY CARTER - piano Haydn, Beethoven (Pathetique) Brahms (Handel Variations), Kenneth Leighton and Chopin. HALIFAX PHILHARMONIC CLUB Friday, 9th November, 1984 at - Harrison House, at 7.30 p.m. CAROLINE DALE & KEITH SWALLOW cello and piano Vivaldi, Beethoven, Martinu and Prokofiev

THE SOCIETY IS GRATEFUL FOR FINANCIAL HELP FROM THE FOLLOWING: 1131003 (Hon. Vice-President) * * * * * * * * * The Rt. Hon. The Lord Savile, J.P., D.L. * * Edward Glendinning P. Michael Lord P.L. Michelson * Reliance Gear Co. Ltd. * K. Beaumont H.J. Black G.R. Booth Mrs. E. Crossland J.F. Crossley A.G. Crowther * Mrs. A. Crowther David Dugdale S. Rothery J.C.S. Smith S.L. Henderson Smith * Mrs. C. Stephenson J.G. Sykes W.E. Thompson H. Marshall Williams C. England Miss M.A. Freeman (9 Denotes Covenants by H

HUDDERSFIELD MUSIC SOCIETY *** Sixty-seventh Season 1984-1985 Monday, 10th December 1984 St. Paul's Hall, Polytechnic EDER STRING QUARTET OF HUNGARY Pal Eder violin Erika Toth violin Programme Quartet in D major, op 76 no. 5 Quartet in F major. Interval Quartet in C major, op 59 no. 3 Sandor Papp Gyorgy Eder viola cello Haydn Ravel Beethoven The Eder Quartet was formed in 1972 at the Ferenc Liszt Academy of Music in Budapest. Trained by Andras Mihaly, who also taught the Bartok and Kodaly Quartets, the Eder gained first prize in the Evian International Competition and has toured in Europe, the U.S.A., Australia and New Zealand. The Eder Quartet regularly gives highly acclaimed performances in Hungary's concert halls, and on the Hungarian radio and T.V.

composed period as same set was B 2. Quartet in D major, op. 76 no. 5 Haydn (1732-1809) Allegretto allegro Largo cantabile e mesto Minuet and trio Finale presto (Last performed in 1971 by the Georgian Quartet) This quartet is the fifth of a set of six, dedicated to Count Erdody, and written after Haydn's second visit to London. They were written during the years 1797 and 1798 and are contemporaneous with "The Creation". Great though the preceeding quartets had been, Geiringer remarks that "if an appropriate motto be sought for this series, the word 'Excelsior should be first choice. Everything here is condensed and intensified, the expression more personal and direct". The first movement has a light-hearted dance theme, which proceeds through a series of variations. In the second movement the first violin opens with a slow singing melody in the key of F sharp major; this is one of the great melodies of music, full of emotion and beauty. It is developed at length and in its course it is twice reduced to an almost static state. The theme of the minuet is clearly derived from that of the slow movement; the Trio, in a contrasting minor key, has an important cello part. The Finale is founded upon a folk-dance, the Kolo, which comes from Bosnia and Dalmatia. It makes a bright and happy ending to one of Haydn's finest quartets. C.A.S.

Quartet in F major 3. Ravel (1875-1937) Allegro moderato Assez vif - tres rhythme Tres lent Vif et agite (Last performed in 1975 by the Medici Quartet) Two great string quartets were produced by French composers at the end of the 19th and beginning of the 20th centuries: Debussy's in G minor in 1893 and Ravel's in 1903. Superficially similar in style, the two works are different in concept, the Ravel being a work of great clarity, precision, passion and vitality. In each case, the composer wrote only one quartet and both are important in the history of the form. The quartet opens with an undulating theme, shared by the two violins. The second subject is introduced pianissimo by the first violin and the movement, in sonata form, is based on these two themes. The use of plucked strings in chamber music first appears in the so-called Serenade by Haydn; then Beethoven wrote his Rasoumovsky quartets, in no. 3 of which the cello plays pizzicato for most of the slow movement. The violin concerto has two plucked notes in the finale and not until op. 135 does Beethoven have all four instruments playing pizzicato together, in the final coda. Both Debussy and Ravel have made extraordinarily effective use of pizzicato for their second movements. In the Ravel, the use of cross- accentuation adds to the novel effect. The third movement, muted, atmospheric, contains fleet- ing references to the first an idea greatly favoured by Cesar Franck, that master of the cyclical form. The last movement was a startling innovation in 1903, being written in 5/8 time, and again the cyclical form is evident. The Debussy Quartet is to form the centre-piece of the next concert on January 21st 1985. Interval

4. Quartet in C major, op. 59 no. 3 Beethoven (1770-1827) Introduzione - allegro vivace Andante con moto quasi allegretto Menuet and trio Allegro molto (Last performed in 1971 by the Kodaly Quartet) ver nerel As the leader of the Lindsay Quartet pointed out in his notes for the Beethoven Cycle, Mozart's only quartet with a slow introduction ("Dissonance") and this, Beethoven's first, are both in the key of C major and both composers seem to try to get as far away from the key as possible. Arriving at the allegro vivace, the true key is pounded out by the cello on its open C string and the stage is set for a happy movement. There follows a lyrical andante in which the cello is used like a drum, recalling the opening of the violin concerto. The weaving tune on the violin is taken up by the cello, whose pizzicato completes the phrase and links it to the next. Iq The third movement is unusual - a minuet in the old style, grazioso and with a boldly contrasted trio section; the coda leads straight into one of the most exciting fugues ever written, born of a single idea and sounding magnificent. 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. ni Generous support is also given by the Yorkshire Arts Association and by Kirklees Leisure Services.

bas HUDDERSFIELD MUSIC SOCIETY ofgns Sixty-seventh Season Marcia Crayford and Monday, 26th November 1984 St. Paul's Hall, Polytechnic 1984-1985 NASH ENSEMBLE PIANO TRIO violin Christopher van Kampen Ian Brown piano Trio in G major Trio in C major, op 87 Programme Interval cello Inalt odd to v Haydn Brahms Trio in D minor, op 49 The Nash Ensemble of London is a most distinguished part of the musical establishment. Their frequent performances on radio and their wide travels have made them internationally famous; their repertoire is vast and the number of players elastic. Mendelssohn We are pleased to welcome three members of the Ensemble to our concert season. Ian Brown pays us his third visit, having come as pianist of the Orion Trio in 1970 and 1976 when our concerts were held in the Town Hall. The Ensemble is currently giving a series of concerts at the Wigmore Hall, featuring Italian music from colgaxo Boccherini to Berio.

Trio in G major 2. Haydn (1732-1809) Andante Poco adagio Finale - Rondo all' Ongarese (Last performed in 1973 by the Gabrieli Ensemble) Haydn's piano trios dating from the 1790's are very different from his early 'sonate a tre' both in scale and in content; now each of the three instruments begins to reveal a new individuality and responsibility. In particular, their wealth of modulation is to be noted, proving the new importance which is attached to this form of composition. The trio in G major is a particularly charming example with the lovely theme and variations of the first movement, the simple yet eloquent melodies of the slow movement and the gaiety of the final rondo. - C.A.S. Piano Trio in C major, op 87 Allegro Andante con moto Scherzo presto Finale allegro giocoso (Last performed in 1981 by the Schneider Trio) Brahms (1833-1897) • Between 1811, when Beethoven produced his great opus 97 "The Archduke", and 1883 which saw the publication of Brahms opus 87, the output of major works for piano trio was not large. Beethoven had developed the balanced chamber music form which Haydn and Mozart had explored, and opened the way for the great Schubert and Mendelssohn examples. Dvorak's first major piano trio was published also in 1883 and the "Dumky" in 1891.

3. Brahms composed chamber music all through his life, starting with the first version of the piano trio in B major, op. 8, which he later revised extensively. The two string sextets, op. 18 and 36, the horn trio, three piano quartets, the piano quintet and three string quartets all preceded the trio in C major, which closely followed the second piano concerto, op. 83 in B flat. Brahms makes his strings play in octaves for much of the course of the work. They open the first movement with a bold statement which is very thoroughly developed. The second movement is a theme of Hungarian rhythm and five variations. The movement "makes a swan-like end, fading in music" and is followed by a ghostly scherzo, an affair of fleeting shadows; the trio section, by contrast, is full of daylight - calm and strong. calm and strong. Once more, in the finale, Brahms uses his strings in octaves, but the long, winding first subject is later broken up into triplets and detached quavers alternating between piano and strings. The coda is typical Brahms in its warmth and romantic atmosphere. Interval Piano Trio in D minor, op 49 Mendelssohn (1809-1847) Molto allegro ed agitato Andante con moto tranquillo Scherzo leggiero e vivace Finale - allegro assai appassionato (First performance at these concerts) Felix Mendelssohn-Bartholdy was born into a cultured Jewish family of Berlin. His grandfather, Moses, a writer and philosopher, known as "the German Socrates", spent much of his life improving the status of the Jewish people in Germany. By the time Felix was born, in 1809, there was a considerable improvement in their status, but even so Felix' father, Abraham, a banker, deemed it

4. Ils ofeus deodo wise to have all his children baptised, so that Felix grew up a Protestant and married the daughter of a clergyman of the French Reformed Church. lup In 1835, Mendelssohn was appointed conductor of the Leipzig Gewandhaus Concerts, one of the highest ranking musical posts in Europe. Abraham was prompted to write: "Once I was the son of a famous father; now I am the father of a famous son". Now no longer the child prodigy, celebrated for his overtures, the Midsummernight's Dream music and the string octet, Mendelssohn had a very responsible post which he filled brilliantly, introducing a tremendous variety of music largely by his contemporaries to the Leipzig concerts. In 1839 he wrote this first piano trio. A later one in C minor has only recently approached it in popularity. The construction of the D minor is masterly the opening agitato with its exciting surge of melody, the "song inte without words" andante, the sparkling scherzo and the mon dynamic finale all make a richly satisfying work. (48) (81) 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, im a ni oixT Generous support is also given by the Yorkshire Arts Association and Kirklees Leisure Services.

HUDDERSFIELD MUSIC SOCIETY ***** Sixty-seventh Season 1984 1985 Monday, 21st January, 1985 St. Paul's Hall, Polytechnic HANSON STRING QUARTET & OLGA FRANNSEN, guitar Peter Hanson violin Theresa Ward violin Yuko Inoue viola Lionel Handy cello Programme Guitar Quintet in C major bys String Quartet in G minor Guitar Quintet Interval Boccherini Debussy Castelnuovo-Tedesco Formed at the Royal Academy of Music in 1977 under Sydney Griller, the Hanson String Quartet won both quartet prizes and came joint first in the Young Musician's Symphony Orchestra Quartet Competition. Awards from the Leverhulme and Countess of Munster Trusts enabled the quartet to continue studying; they spent several weeks at Aldeburgh with the Janacek and Vermeer quartets, followed by some intensive study of the Bartok quartets in Hungary with Vilmos Tatrai, himself closely connected with Bartok. The Hanson String Quartet has subsequently travelled the country giving recitals in Music Societies and Festivals, and at present is affiliated to Bath College. Olga Franssen studied at the Sweelinck Conservatory in Amsterdam with Gerard Gest and Guido Topper and is a member of the Amsterdam Guitar Trio.

2. Quintet for guitar and string quartet GUE Boccherini (1743-1805) Pastorale Allegro maestoso Grave fandango (First performance at these concerts) Luigi Boccherini was born in Lucca and learnt to play the cello and the double bass. At the age of 25 he moved to Spain, married a Spaniard and worked under the patronage of the Infante, Don Luis, brother of the king. Except for some years spent as court composer to Frederick of Prussia, Spain was his home until his death in Madrid in 1805. A contemporary of Haydn, he was Haydn's most serious rival, but his removal to Spain took him out of the main stream of musical development, and his rather lighter weight caused a fellow-musician to dub him "the wife of Haydn". Nevertheless, he had a very individual style of phrasing, taking a particular interest in the texture of the music and the dynamics. Quartet in G minor, op. 10 Boccherini is said to have written over 100 string quintets and almost as many string quartets. It would seem that the guitar quintets must be arrangements that he made himself. The C major quintet is especially famous for its fandango finale a lively Spanish dance, possibly of Moorish origin. - Debussy (1862-1918) Anime et tres decide Assez vif et bien rhythme Andantino doucement expressif Tres modere (Last performed in 1972 by the Aeolian Quartet) Claude Debussy, perhaps the most influential French composer of his generation, sprang from a family of no particular musical talent. After a conventional training, he settled down to a retired life of composition, never

3. holding any official appointment and rarely appearing in public. His work can roughly be divided into three periods; the first a period of immaturity lasting until about 1890, then some twenty years of mature work and, finally, a few last years of declining health and activity. His early work showed traces of external influences but he soon evolved a style and process of thought entirely his own. No composer ever had a keener or more subtle feeling for beauty, colour, poetic suggestiveness and atmosphere; added to these was a perfect genius for craftsmanship. This quartet - his only composition in this form, was written in 1893, early in his finest period. In it, Debussy uses the cyclic principle. The gay and rhythmic first movement opens with the theme, the transformation of which is the basis of the whole work. The scherzo is directly derived from that theme. The dreamy third movement fore- shadows "L'Apres-midi d'un Faune" which immediately followed the quartet. The impetuous finale again contains a further transformation of the opening theme. C.A.S. Fifteen years after its composition, Debussy attempted a piano transcription of the quartet, but, as can easily. be imagined, found it a difficult task. There exists, how- ever, an effective transcription of the slow movement for organ. Interval Quintet for guitar and string quartet Castelnuovo-Tedesco (1895-1968) Allegro vivo e schietto Andante mesto Scherzo Finale allegro con spirito alla marcia allegro con fuoco (First performance at these concerts) Castelnuovo-Tedesco was born in Florence, where he lived until 1939, when anti-Semitism drove him to leave Europe for the United States. He became an American Citizen in 1946 and settled in Beverley Hills, California, working for some years with a film company. He composed easily and was not much given to self-criticism, but showed much promise as a young composer, particularly in his many

4. req 10000 songs of which the set of 33 Shakespeare had great success. hovove no Castelnuovo-Tedesco did not play the guitar himself, but wrote this work in 1950 at the request of Segovia. It was first performed on April 26th 1951. It is a "conversation of friends" all instruments being of equal importance, not in any way a guitar concerto and shows polished craftsmanship. The trio of the third movement is a habanera. 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 Monday, 18th February, 1985. St. Paul's Hall, Polytechnic at 7.30 p.m. ACADEMY OF ST. MARTIN IN THE FIELDS String quintet in C, Mozart; "Verklaerte Nacht", sextet, Schoenberg; String sextet in B flat, Brahms. Tickets for this concert - £5 (students £2) are on sale from the Treasurer tonight and from the Information Centre, Albion Street, Huddersfield.

HUDDERSFIELD MUSIC SOCIETY *** Sixty-seventh Season 1984-1985 Monday, 18th February, 1985 St. Paul's Hall, Polytechnic. ACADEMY OF ST. MARTIN IN THE FIELDS STRING SEXTET **** *************************************** Kenneth Sillito Malcolm Latchem violin violin Denis Vigay Roger Smith Programme String Quintet in C major K 515 "Verklaerte Nacht" op. 4 **** Interval String Sextet in G major op. 36 Stephen Shingles viola Anthony Jenkins viola cello cello Mozart Schoenberg Brahms The Academy of St. Martin in the Fields Chamber Ensemble was created in 1967 with the purpose of performing the larger chamber works, from quintets to octets, with players who customarily work together, instead of the usual string quartet with additional guests. Made up of the principals from the larger orchestra, the Chamber Ensemble usually tours as a string octet. It has visited Germany annually for the past six years, toured in Spain, Norway, Yugoslavia and Switzerland, and has twice toured North America with great success. This concert is presented by the Huddersfield Music Society in conjunction with the Huddersfield Polytechnic and with their very generous support.

2. Mozart (1756-1791) String Quintet in C major K 515 Allegro Menuetto; allegretto Andante Allegro (Last performed in 1977 by the Guarnerius Quintet) In 1787 Mozart returned from Prague where he had conducted the Prague Symphony, K 504, with a commission to write an opera Don Giovanni. Saddened by the death of his third child, and disappointed in the financial results of "Figaro", he desperately needed to earn money, and, although the autumn was the deadline for the new opera, in April and May of that year he found time not only to give lessons to a 16 year old boy from the Rhineland, one Ludwig van Beethoven, but also to embark on the writing of two of his greatest chamber works, the string quintets in G minor and C major. Mozart's last two symphonies are also in G minor and C major, composed the following year. The addition of a viola to the string quartet resulted in an extraordinary enlargement of scale this C major quintet being the longest of all Mozart's chamber works. The theme of the first movement consists of two contrasting ideas a rising arpeggio on the cello, answered by a lyrical figure on the violin, accompanied by rhythmic quavers in the other parts. After a short pause, the roles of cello and violin are reversed, but now in C minor. The menuetto has an unusually extended trio in F and and this movement is an effective interlude between the dramatic first movement and Mozart's "love song to the viola", a slow movement which is almost entirely a duet this time between violin and viola and incorporating cadenza-like passages for both instruments, giving a S W a C } I

3. concertante style to the movement, reminiscent of the much earlier Sinfonia Concertante for violin and orchestra. The finale recalls that of the C major Quartet (Dissonance), a kind of sonata/rondo, opening with a tune of typically Mozartian gaiety which is twisted and turned and developed to make a joyous conclusion to this great work. Verklaerte Nacht (Transfigured Night) op. 4 Schoenberg (1874-1951) (First performance at these concerts) Schoenberg is, of course, famous as the innovator of the twelve-tone system, although other composers, notably Strauss, had experimented with it. Not until 1909, however, did the composer make the definite break with the old forms, while averring that "there is still plenty of good music to be written in C major"! Transfigured Night was composed ten years before the break, a full-length tone-poem for string sextet and the first piece of chamber music to be overtly programmatic. In its late Romantic style it seems to follow on from Wagner's Tristan and Isolde, staged forty years previously, and its lush harmony makes its reception. in Vienna in 1903 hardly credible "radical and cacophonous" was the verdict. The basis of the work is a poem by Richard Dehmel which tells the story of a man and a woman walking through a wood at night. She tells him she is pregnant, but her child will not be his and she is tormented by guilt. He comforts her, tells her to cast away her fear, and says that, because of his love for her, the child will become his. She feels redeemed by his love and as they walk in the moonlight, the night becomes transfigured. The peom has five stanzas: the short first one sets the scene with a descending theme played pianissimo over a pedal D. The music rises to a climax, incorporating the characteristic Wagnerian turn, which recurs frequently in

4. the piece. Over a tremolo base, the woman's speech begins with grief-laden accents and after a tender melody on the violin, develops into frenzied self- reproach. After this long section, the short third stanza again presents the picture of the moonlit night with the original descending theme and then the man's response opens with a warm hymn-like passage and a love duet follows in which the woman's themes are trans- figured, notably in the marvellous passage where the second violin plays arpeggios over pizzicato notes and (12 tremolos on the violas and harp-like chords on the cellos, and the first violin soars above with a luminous melody. After these richly glowing pages, the first theme returns and, again, the colourfully accompanied soaring violin melody completes the poem. Schoenberg re-scored the work for string orchestra in 1917 and revised it in 1943. The music remains in six parts, but with double basses strengthening the lowest one. The effect is richer and perhaps more emotional, but the original sextet makes the contra- puntal mastery more apparent. Interval String Sextet in G major, op. 36 Brahms (1833-1897) Allegro non troppo Scherzo (allegro non troppo) Poco adagio Poco allegro (Last performed in 1981 by the Aulos Ensemble) The circumstances of the birth of this sextet are interesting: Brahms, having spent a summer holiday with Professor von Siebold (of Gottingen University), whose

5. daughter Agathe would obviously have been willing to marry him, wrote to her later saying: 'I love you, but I cannot wear fetters'. Then he plunged secretly into the composition of this work, and when it was finished wrote to a friend: 'Here I have freed myself from my last love'. Agathe's name is spelt out (with the substitution of aD for the T) in one of the themes of the first movement. The opening of this movement takes us by surprise. It is as though we had entered a room where the players were in the middle of a movement. The viola tremolo and the immediate modulation are what make it so, but the effect is magical: so much seems to have been said already. When the first three movements were completed, Brahms sent them to Clara Schumann. She was enthusiastic: 'Such a great work in hand, and nobody had any idea of its existence! ... The spirit of the first movement, so soft and gentle, attracts me intensely. The development, too, is entrancing ... with you it seems as though each theme attains the real fulness of expression during the process, and that constitutes the special charm of it'. The second movement is misnamed scherzo; it is in fact serious, with more than a touch of melancholy. The middle section by contrast, starts as a galumphing dance in G major, but the gaiety is short-lived. The third movement is a deeply felt and very concentrated Theme and Variations. There are five in all; the first four in E minor, the fifth in E major, followed by a beautiful long-drawn coda. The last movement, completed a year later than the rest, is an entirely satisfying blend of brilliance and warm lyricism, and a perfect match for the other movements. G.J.B. The National Federation of Music Societies, to which this Society is affiliated, supports these concerts with funds

6. 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, 4th March, 1985 St. Paul's Hall, Polytechnic at 7.30 p.m. JANACEK ENSEMBLE (flute, oboe, 2 clarinets, horn, bassoon and piano) Ibert, Mozart, Taffanel, Poulenc and Janacek KIRKLEES ORCHESTRAL CONCERTS Tuesday, 5th March, 1985 Town Hall at 7.30 p.m. HALLE ORCHESTRA conductor: solo piano: Matthias Barnett Stephen Bishop-Kovacevich Rossini, Beethoven Concerto in C major, Haydn Symphony no. 60, and Stravinsky: the Firebird.

HALIFAX PHILHARMONIC CLUB Friday, 8th March, 1985 Harrison Hall at 7.30 p.m. NASH ENSEMBLE & MARTYN HILL - tenor Beethoven, Warlock, Schubert, Vaughan Williams and Mozart. HUDDERSFIELD MUSIC SOCIETY 7. Next Season's concerts: Monday, 14th October, 1985 Monday, 4th November, 1985 Monday, 2nd December, 1985 Monday, 20th January, 1986 Monday, 24th February, 1986 Monday, 24th March, 1986 Prazak Quartet of Prague Salzburg Residenz Solisten Lorraine Mc Aslan violin (Winner of N.F.M.S. Award 1984) and John Blakely piano Budapest String Trio Purcell Quartet (Early Music) Lindsay String Quartet

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

HUDDERSFIELD MUSIC SOCIETY ***: *** Sixty-seventh Season 1984 - 1985 Monday, 4th March, 1985 St. Paul's Hall, Polytechnic *** THE JANACEK ENSEMBLE oboe Conrad Marshall flute Sebastiano Cipolla Edward Kay Peter Richards David Baker piano Stephen Moore clarinets clarinets Hailey Lowe Simon Parkin Programme **** Trois pieces breve. Quintet for piano, oboe, clarinet, bassoon and horn Quintet for wind Interval arer at Sextuor for piano & wind quintet "Mladi" (Youth) for wind sextet clarinets horn bassoon J. Ibert Mozart P. Taffanel F. Poulenc L. Janacek The Janacek Ensemble was formed in 1981 from recent graduates of the Royal Northern College of Music now professionally active in the North of England. The wind players are all free-lancers with the major orchestras of the region and also give recitals. The pianist is on the faculty of the College and also of the Yehudi Menuhin School and is a composer. The Ensemble hopes to encourage new works in the medium.

2. Trois Pieces Breves for wind quintet J. Ibert (1890-1962) Allegro Andante Assez lent allegro scherzando (First performance at these concerts) Jacques Ibert was born in Paris, but spent the years from 1937 to 1960 in Rome, where he was the Director of the Academie de France. He is known for his operas, especially "Le Roi d'Yvetot", ballets, incidental music, songs and piano music and for chamber music, much of it for wind instruments. Quintet for piano and wind in E flat, K 452 - Mozart (1756-1791) Largo allegretto moderato Larghetto Allegretto (Last performed in 1976 by the Amphion Wind Quintet) Mozart completed the piano and wind quintet on March 30th 1784, and it was first performed two days later at an immensely long concert at the National Court Theatre in Vienna. The composer thought highly of the work. On April 10th he wrote in a letter to his father: "I consider it the best thing I have so far written". This is a significant remark when one considers the vast amount of music Mozart had written by the time he was twenty eight. The artistic delicacy however makes one realise what he meant. The work is scored for oboe, clarinet, horn, bassoon and piano. The piano is not allowed to dominate, but blends in with the other instruments as an equal partner, although it is usually used to introduce a new theme.

3. The first movement starts with twenty bars of largo introduction which hints at the material to be used later. The allegro moderato opens with a type of theme Mozart used several times; two bars of a somewhat hesitant nature on the piano, answered by a more assertive phrase on the whole ensemble; then two more somewhat hesitant bars on the wind alone, answered once again by the whole ensemble. This alternation of hesitancy and assertiveness tends to characterize the whole movement. The slow movement is marked larghetto, and is in the related key of B flat. It is plaintive in mood, and the tone is set at once by the rather sad descending theme with which it opens. As the music unfolds, there are some beautiful passages where each instrument appears as a soloist with only the piano accompanying. The writing for the horn is particularly exquisite. The finale is a rondo marked allegretto. It is rather longer and more subdued than is usual with Mozart, although some harmonious touches are provided by the bassoon. It was this work which formed the model for Beethoven's similarly instrumented quintet op. 16. The two pieces are a favourite coupling on long playing records. Quintet for wind I.E. P. Taffanel (1844-1908) (First performance at these concerts) Born in Bordeaux in 1844, Taffanel was regarded as the father of the modern French school of flute playing, and was part-author of a Methode complete' for the instrument. His concern for polished wind playing led to his founding of the Societe des Instruments a Vent and he wrote much excellent chamber music for wind instruments. Interval

Ho Sextuor for piano and wind quintet Allegro Andante Vivace Allegro animato F. Poulenc (1899-1963) (Last performed in 1976 by the Amphion Wind Quintet and Keith Swallow) Francis 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. The sextet was originally written in 1932, but for some reason Poulenc was dissatisfied with it and rewrote it seven years later. The first movement consists of two fast outer sections full of wit and gaiety, and between them a slow lyrical passage - preluded by a long solo for the bassoon. This movement includes recollections from Poulenc's satirical cantata "Le Bal Masque". The layout of the second movement is the exact opposite of the first; a fast humourous section framed by passages of great lyrical beauty. The finale is a rondo with a spiky irreverent main theme. In the closing pages however the music reverts to a mood of quiet meditation. I.E.

5. "Mladi" (Youth) Sextet for wind instruments Janacek (1854-1928) (flute/piccolo, oboe, clarinet, horn, bassoon & bass clarinet) Allegro Andante sostenuto Vivace Allegro animato (First performance at these concerts) Leos Janacek was born in Huckvaldy, Moravia, a sheep- rearing district, where his father was the schoolmaster. Music played a large part in the family life. Janacek stayed in Huckvaldy until he was ll, and though he was based for the rest of his life in Brno, 100 miles to the south, the influence of his native village remained with him and he paid it frequent visits. A prodigious organist himself, his compositions range over a wide field operas, cantatas, choruses, folk music, orchestral, chamber and instrumental music. From 1923 to 1926, operas occupied most of his time, but in July, 1924, he celebrated his birthday by composing this lively wind sextet. Ian Horsburgh writes: "The main oboe theme of the first movement enters without any preamble. Janacek enjoys himself with the occasional disruption to the rhythmic flow, the effective use of trills which abound throughout the whole work, and a brief horn cadenza. A second theme, first played by the oboe and clarinet, attempts to introduce a note of sobriety, but humorous digs from the bass clarinet maintain the prevailing jollity". The second movement is a theme with three variations. There is a recurring bar in 17/16 time (an extra semi- quaver in a descending horn passage). In the third movement

6. the first theme is the "March of the Blue Boys" written in the previous May. The opening theme on the flute dominates the final movement and the first movement theme is quoted on the oboe. This happy work was composed during the period in which Janacek was working on his opera, "The Makropulos Case", which depicts the misery and torment of ever- lasting youth, represented by a woman who lives for 300 years. The composer was 70 years old at the time and died four years later. 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. NEXT SEASON'S PROGRAMME AT THE MUSIC SOCIETY Monday, 14th October, 1985 කහ Monday, 4th November, 1985 Monday, 2nd December, 1985 PRAZAK STRING QUARTET from Czechoslovakia SALZBURG RESIDENZ SOLISTEN (flute, oboe, violin, viola, cello and piano) LORRAINE MCASLAN violin 1st prize-winner of N.F.M.S. Award 1984 JOHN BLAKELY piano

7. NEXT SEASON'S PROGRAMME contd Monday, 20th January, 1986 Monday, 24th February, 1986 KIRKLEES ORCHES TRAL CONCERTS 00 Monday, 24th March, 1986 Brochures will be sent to all on the mailing list. Please contact Mrs. L. Sutcliffe, Membership Secretary, 49 Huddersfield if you wish your Benomley Road, Almondbury, name to be added. BUDAPEST STRING TRIO (violin, viola, cello) PURCELL QUARTET (Baroque violins, gamba and harpsichord) LINDSAY STRING QUARTET Tuesday, 5th March, 1985. Town Hall at 7.30 p.m. HALLE ORCHESTRA conductor Mathias Bamert. Stephen Bishop-Kovacevich - piano. ELLAND & DISTRICT MUSIC SOCIETY Friday, 15th March, 1985. Semiramide: Rossini, Piano concerto no. 1; Beethoven, Symphony no. 60 in C: Haydn, Suite "The Firebird"; Stravinsky. HALIFAX PHILHARMONIC CLUB Friday, 8th March, 1985. Parochial Hall, Westgate, Elland at 7.30 p.m. FAIRFIELD STRING QUARTET Mozart: K 465, Shostakovich no. 12, Beethoven op. 59 no. 2 Harrison House, Halifax at 7.30 p.m. NASH ENSEMBLE & MARTYN HILL tenor (Beethoven, Warlock, Schubert, Vaughan Williams & Mozart) Friday, 12th April LINDSAY QUARTET (Haydn, Maxwell Davies & Schubert op. 161)

THE SOCIETY IS GRATEFUL FOR FINANCIAL HELP FROM THE FOLLOWING: (rár . 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 A.G. Crowther * Mrs. A. Crowther * David Dugdale * C. England * Miss M.A. Freeman * Edward Glendinning * P. Michael Lord * Reliance Gear Co. Ltd. * S. Rothery * J.C.S. Smith * S.L. Henderson Smith * Mrs. C. Stephenson * J.G. Sykes * Mrs. E.R. Taylor * W.E. Thompson * H. Marshall Williams * Denotes Covenants ol ad of omen 2