HUDDERSFIELD MUSIC SOCIETY 1985/86 SEASON 烹 SPECIAL MEMBERS' DOUBLE DISCOUNT SAVE £17 40% OFF! FIVE FREE TICKETS

Dear Music-lover, Those of you who have subscribed to the Huddersfield Music Society in the past need no reminding of the high standard and wide variety of the concerts the Society promotes. Our 68th season promises a tremendous range of talents and music - from a violin and piano recital to an evening of mixed ensembles of wind, string and keyboard instruments, as well as renowned string quartets and string and piano trios. All our concerts will be held in the delightful setting of St Paul's Hall at the Polytechnic, a venue which has proved immensely popular with our patrons since we moved there last year. The 1985-86 season provides even better value than before. With the generous assistance of the Goethe Institute we are pleased to offer subscribers an extra concert in the series. At the same time we are able to maintain the substantial discounts available to those who subscribe for the whole series. It is the support of our subscribers as well as the generous financial assistance we receive from the Yorkshire Arts Association, the National Federation of Music Societies and Kirklees Metropolitan Council, which enables us to promote concerts of international standard on the doorstep of all music-lovers who live in and around West Yorkshire, at reasonable prices. We do hope that you will join us in yet another series of first class musical performances. Your support helps us to keep music alive and well in the region. Jorzon J. Gordon Sykes Chairman Huddersfield Music Society 1 2 3 4 5 JOIN US... SUPERB LIVE MUSIC AT BARGAIN PRICES FIVE GOOD REASONS FOR SUBSCRIBING A substantial saving of £17 on a double ticket worth more than 5 free tickets. Two free seats with a single subscription - a saving of £7. You only need to book once for the whole season. Your admission is guaranteed and tickets posted to you in advance. All this season's concerts will be held in the beautiful and comfortable setting of St Paul's Hall, Huddersfield Polytechnic. BOOKING DETAILS Double subscription: 2 tickets for all 7 concerts Single subscription: 1 ticket for all 7 concerts Single ticket for each concert, if available: £25 You save £17 (Single tickets may be purchased by using the booking form or from Huddersfield Information Centre, Albion Street, Tel. Huddersfield 22133, extension 685 (Saturdays 23877) or at the door on the night of the concert.) Name ..... Address £14 You save £7 Enquiries: Hon. Membership Secretary (0484) 41700 or Hon. Secretary (0484) 22612 £3.00, students half price BOOKING & MEMBERSHIP FORM Cheques payable to 'The Huddersfield Music Society. Post this form with payment to: Mrs L. Sutcliffe, 49 Benomley Road, Almondbury, Huddersfield HD5 8LS Telephone Huddersfield (0484) 41700. Season tickets to be paid for or returned by 15th October, 1985. Double subscription ticket @£25 Single subscription ticket @ £14 Single ticket Postcode Telephone I wish to join the Huddersfield Music Society Please send me Quantity @ce Date & Quantity Total £

HUDDERSFIELD MUSIC SOCIETY 1985/86 SEASON ST PAUL'S HALL POLYTECHNIC Monday 14th October 1985 7.30pm PRAZAK STRING QUARTET OF PRAGUE Mozart Janacek Dvorak Monday 4th November 1985 7.30pm SALZBURG RESIDENZ SOLISTEN and ROBIN COLVILL Haydn Mozart Mahler Quartet in D major K575 Quartet no 2 "Intimate letters" Quartet in F major op 96 "American" Beethoven Adagio & allegro für die Spieluhr Stücke für die Flötenuhr Flute quartet in C major K285b Piano quartet in G minor K478 Oboe quartet in F major K370 Quartet movement for piano and strings Monday 11th November 1985 7.30pm ABEGG PIANO TRIO Beethoven Trio in D major op 70 no 1 "The Ghost" Ravel Trio in A minor Schumann Trio in D minor op 63 In association with the Goethe-Institut, Manchester Monday 2nd December 1985 7.30pm LORRAINE MCASLAN and NIGEL CLAYTON Violin and piano Beethoven Sonata in D major op 12 no 1 Brahms Sonata in A major op 100 Paganini Caprices nos 17 & 24 for violin Franck Sonata in A major Mozart Kokai Monday 20th January 1986 7.30pm BUDAPEST STRING TRIO Divertimento in Eb K229 Serenade Beethoven Trio in D op 9 no 2 Françaix Trio (1933) Monday 24th February 1986 7.30pm THE PURCELL QUARTET Haydn Britten Schubert "The Devil's Trill" Virtuoso Baroque Chamber Music from Italy, France, Germany and England This concert is part of the Early Music Network touring scheme, financially supported by the Arts Council of Great Britain. Monday 24th March 1986 7.30pm LINDSAY STRING QUARTET Quartet in Bb op 50 no 1 Quartet no 2 in C major op 36 Quartet in D minor "Death and the Maiden" This concert is organised with the support of Yorkshire Arts. supported by Yorkshire ARTS "Performance of startling cohesion, force and passion (Financial Times), "Perfect understanding" (La Suisse), 'Among the best on the international scene today' (L'Aurore): this fine ensemble plays three outstanding quartets. Opening with the first of the three quartets which Mozart dedicated to the King of Prussia, the Prazak turns to its own country and brings its special understanding to the moving quartet of Janacek's last years and the much loved 'American' quartet by Dvorak Formed in Hanover in 1976, this young German Trio has won golden reviews: "wholehearted commitment to the music" (Heidelberger Tageblatt), "inspiration, warmth and animation" (Frankfurter Allgemeine Zeitung), "youthful elan and astonishingly mature sensitivity' (Wiesbaden Kurier). Named after the famous piano variations by Schumann, the Trio ends a splendid programme with the most celebrated of Schumann's piano trios. NATIONAL FEDERATION OF MUSIC SOCIETIES NEMS By popular request, these famous artists return to the. Music Society to give another recital of great works in this special medium. G Their fine performance of the Mozart two years ago induced us to ask for this superlative work again. The Trio op 9 no 2 is one of Beethoven's early masterpieces. TI "Great string quartets are the result of dedicated teamwork by four players who become a single entity when performing, yet are each technically brilliant and musically perceptive." These exacting requirements are fulfilled in the Lindsay Quartet - internationally acclaimed and particularly associated with Yorkshire. 4 One of Austria's finest chamber ensembles from the Salzburg Mozarteum flute, oboe, violin, viola & cello together with the Scottish pianist, Robin Colvill who studied there on an Austrian Government scholar- ship. Their programme includes the Britten Quartet no 2, the performance of which has earned them great praise. The last work in the programme, Schubert's great D minor quartet, makes a dramatic end to the season's concerts. This is a wholly Viennese evening which promises "the succulent sort of sparkle only Austrian musicians could manage" (The Times 1984). The Ensemble are neard all together in the first and last items and the programme includes the G minor piano quartet, the pinnacle of the piano quartet repertoire. 1935 1985 JUBILEE This concert is being given with the support of of the National Federation of Music Societies, to which this society is affiliated. This concert is sponsored by Marshall, Mills & Sykes. "Many string players have been honoured in these pages; not many are as worthy of attention as Lorraine McAslan" (Strad magazine). This Glasgow- born artist was the winner of the National Federation of Music Societies Award in 1984 and has been described by Isaac Stern as "uniquely gifted". She and Nigel Clayton play three well-loved sonatas for violin and piano and Miss McAslan also plays two brilliant violin pieces - ideal vehicles for her "perfect intonation and radiant tone quality" (Strad). The Purcell Quartet, two violins, viola da gamba and harpsichord, will play music by composers of the period 1620 to 1770: Rosenmüller, Scarlatti, Biber, Locatelli, Tartini (The Devil's Trill sonata), Forqueray and Purcell (the Golden Sonata). The beautiful two-manual harpsichord was made by Michael Johnson in 1981 and is played by Robert Woolley, one of Britain's leading harpsichordists. 01 Tickets: £3 students £1.50 from Information Centre, Albion Street or at the door. Season tickets for 7 concerts £14 or £25 for two from Mrs L. Sutcliffe, Tel. 41700, 49 Benomley Road, Almondbury, Huddersfield.

OUR CONCERT SEASON WHERE TO FIND US Monday 14th October 1985 7.30pm PRAZAK STRING QUARTET OF PRAGUE Monday 4th November 1985 7.30pm SALZBURG RESIDENZ SOLISTEN Monday 11th November 1985 7.30pm ABEGG PIANO TRIO OF HANOVER Monday 2nd December 1985 7.30pm LORRAINE MCASLAN & NIGEL CLAYTON violin and piano Monday 20th January 1986 7.30pm BUDAPEST STRING TRIO Monday 24th February 1986 7.30pm THE PURCELL QUARTET Monday 24th March 1986 7.30pm LINDSAY STRING QUARTET HUDDERSFIELD MANCHESTER MANCHESTER RD A A616 CHAPEL HILL Car park QUEEN ST SOUTH QUEENSGATE FIRE STATION MAMA MARKET HALL T ST. PAUL'S HALL POLYTECHNIC QUEENS GATE BUS STATION A629 WAKEFIELD RD CASTLEGATE I WAKEFIELD AND SHEFFIELD SOUTHGATE M62 WEST A640 NEW NORTH ROAD RAILWAY STATION Lid SPORTS CENTRE LEEDS RD A62 - HALIFAX & M62 A629 NI 4 ST JOHN'S RD LEEDS M1 TOWN CENTRE HUDDERSFIELD MUSIC SOCIETY St Paul's Hall, Polytechnic The Society reserves the right to vary the artists or programmes without notice. HUDDERSFIELD MUSIC SOCIETY 1985/86 SEASON BUK ZÁ SPECIAL MEMBERS' DOUBLE DISCOUNT SAVE £17 40% OFF! FIVE FREE TICKETS

THE HUDDERSFIELD MUSIC SOCIETY WT. in association with Marshall Mills & Sykes

HUDDERSFIELD MUSIC SOCIETY next concert: Monday 11th November 1985 at 7.30 pm - St Paul's Hall, Polytechnic THE ABEGG PIANO TRIO Beethoven op 70 no 1, Ravel in A minor & Schumann in D minor Tickets £3 (students £1.50) at the door or at Information Centre, Albion Street, Huddersfield. KIRKLEES ORCHESTRAL CONCERTS Thursday 14th November 1985 at 7.30 pm - Town Hall, Town Hall, Huddersfield FINNISH NATIONAL RADIO SYMPHONY ORCHESTRA Soloist: Marisa Robles - harp Sibelius symphony no 5, Rodrigo Concierto de Aranjuez and Tchaikovsky symphony no 5 HALIFAX PHILHARMONIC CLUB Friday 15th November 1985. at 7.30 pm - Harrison House, Harrison Road, Halifax JONATHAN REES violin and MICHAEL FREYHAN piano Bach in G minor (unaccompanied), Prokoviev in D & Franck in A

ING HUDDERSFIELD MUSIC SOCIETY Helmut Klöckl Otfried Ruprecht Sixty-eighth Season 1985 1986 Monday 4th November 1985 St Paul's Hall, Polytechnic THE SALZBURG RESIDENZ SOLISTEN with Robin Colvill (piano) GRAND flute oboe Cornelius Herrmann 6 Stücke für die Flötenuhr Flute quartet in C major K285b Piano quartet in G minor K478 PROGRAMME Roland Baldini Harald Nerat cello Oboe quartet in F major K370 Piano quartet (1876) Adagio & allegro für die Spieluhr Bodevoida Interval violin viola Haydn arr. Nerat Mozart Mozart Mozart Mahler Beethoven arr. Nerat We acknowledge with thanks sponsorship for this concert by Marshall Mills & Sykes, Solicitors The Yorkshire Arts Association gives support towards the cost of these concerts concerts with funds provided by the Arts Council of Great Britain. The Society acknowledges with thanks the support of the Huddersfield Polytechnic to which this Society is affiliated.

The Salzburg Residenz Solisten are one of Austria's finest chamber ensembles. They take their name from the Salzburg Residenz where Mozart himself performed. Each member is a principal player with the distinguished Salzburg Mozarteum Orchestra and a soloist in his own right. Austrian As an ensemble they have given numerous concerts in festivals and castles throughout Austria, Germany, Italy and Switzerland, including frequent broadcasts for for Austrian radio. In Salzburg itself they are regular guests at the famous Schloss Mirabell concert series. The founder and viola player of the group, Harald Nerat, has chosen and arranged several pieces by Haydn, Beethoven and Mozart which display the unique artistry of this ensemble. Robin Colvill studied at the Royal Scottish Academy of Music with Miles Coverdale and Lawrence Glover. As winner of an Austrian Government Scholarship he completed his studies at the Salzburg Mozarteum with Professor Hans Leygraf. During his three years in Salzburg he gave numerous concerts in Austria and broadcast for Austrian and Bavarian radio. On graduating from the Mozarteum he was appointed guest Professor of Piano at the Carl Orff Institute, Salzburg. He quickly launched into a solo career, playing concerts in Austria, Germany, France and Great Britain. The Salzburg Residenz Solisten first toured Great Britain with Robin Colvill in February 1984 with enormous success. This is their second tour of the UK and is sponsored by Bosendörfer Pianos. Josef Haydn (1732-1809) Mechanical reproduction of music (which is perpetuated in this century by its modern equivalent electronics) goes back at least to the 14th century, but it was in the 18th century that the old principle of the revolving barrel with pins became popular in the home (presumably stately) in the guise of musical clocks. These were generally wind instruments in effect and the Germans called them Flötenuhr (flute-clocks) and Handel, Mozart and Haydn, among others, wrote specifically for them. 6 STÜCKE FÜR DIE FLOTENUHR The pieces, of course, are left to posterity to arrange in any way its musicians may fancy - tonight's instruments, including as they do two of the wind variety, should provide an apt and genial sound. FLUTE QUARTET IN C MAJOR K285b Mozart (1756-1791) Mozart was visiting Mannheim in 1777 when he received a commission to compose two flute concertos and four flute quartets for a rich Dutchman, Mr de Jean. The works were still not finished in 1778, and it took a rebuke from his father in the form of a sharp letter before the commission was completed, and not before there had been some haggling over how much money was due and how many works had been requested.

This particular flute quartet is regarded by Helmut Klöckl as the best of the four, and he plays on a wooden flute of the nineteenth century to come closest to the sound which Mozart knew. PIANO QUARTET IN G MINOR K478 Allegro Rondo : Allegro In 1785 this, the first of Mozart's piano quartets, was published. It is difficult to believe that this was a new medium for him, so easily did he overcome the difficulties of balance between the instruments. Until this time, works for piano and two or more stringed instruments had almost appeared as miniature piano concertos, but right from this first work, Mozart ensured that each instrument was independent and equal no longer were the strings treated as mere accompanists. Andante Mozart The G minor quartet certainly began a new phase in the history of chamber music and the majority of Viennese amateur musicians found the work too difficult to play. After a performance in 1788 a report appeared in the 'Journal des Luxos und der Modern': "There has been published recently a Quadro which is most ingeniously contrived, and which in performance requires the utmost precision in in all four parts. Even in a successful rendering, however, it could and would give pleasure only to connoisseurs in 'musica di camera'." Mozart's "fateful key" of of G minor minor is relieved by the B flat Andante and the lighter mood of the closing Rondo. Interval - OBOE QUARTET IN F MAJOR K370 Allegro Adagio Rondo : Allegro Mozart wrote this work in Munich in 1781. It was conceived for the oboe virtuoso Friedrich Ramm, whom Mozart admired. The oboe is very much the leader, although perhaps no more SO than the first violin usually is in the string quartets of that period. The D minor Adagio is only 37 bars long, so the gay spirit of the two Allegros predominates; the latter is an especially delightful and original Rondo. Mozart PIANO QUARTET (1876) Mahler (1860-1911) It is not generally known that, apart from at least four "youth" symphonies, Mahler composed a series of chamber works. This dates from the period between 1875 1875 (the year Mahler entered the Conservatory at the age of fifteen) and approximately 1883. of these scores, however, he later destroyed; other sections are reckoned today to be missing. Many

The Piano Quartet in one movement is referred to by Natalie Bauer- Lechner in her book, 'Memories of Gustav Mahler': "The best of them all was a piano quartet composed during of the four years spent at the Conservatory, and which excited a good deal of enthusiasm. Graedener kept it with him for months and it pleased him so, that he had it performed at Billroth's. In the end I sent the quartet to Moscow for a competition and it got lost." Mahler was only sixteen years old when he composed this piece, but it is remarkably well written by any standards. From the magical and melancholic opening theme on the piano (later transformed to appear in a more heroic version) to the Bach toccata-like middle section and then back again to the beautiful sinking close, this is a piece of true merit, and perhaps it is surprising that it was not published until 1973, nearly a hundred years after its composition. ADAGIO UND ALLEGRO FÜR DIE SPIELUHR Organ-clocks were popular in Austria and Germany during the later 18th century and throughout the Biedermeier period, being prized as conspicuous-consumption items by the well-to-do and the nobility. They were a form of musical-box in which a small pipe organ was activated by a clockwork-powered barrel-and-pin mechanism. Naturally, much original music was written for them by the composers patronised by their proud owners, from J C Bach to Beethoven and beyond. Some of these instruments were capable of coping with quite lengthy and elaborate compositions (indeed, two of Mozart's so transcend their medium that they have become staple fare for concert organists). Beethoven (1770-1827) Beethoven wrote three charming pieces for organ-clock in 1799, and two of these are heard this evening in arrangements by Harald Nerat. R Colvill

THE SOCIETY IS GRATEFUL FOR FINANCIAL HELP FROM THE FOLLOWING: The Rt Hon The Lord Savile JP, DL (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 Limited * S Rothery *J C S Smith * S L Henderson Smith * Mrs C Stephenson * J G Sykes * Mrs E R Taylor * WE Thompson *H Marshall Williams * Denotes covenants

pizzeria mario and nino Pizzeria Sole Mio Imperial Arcade, Market Street, Huddersfield. Tel: Hudds. 42828 HOURS OF OPENING Monday-closed all day Tuesday - Friday 12.00 2.30 p.m. 5.30-11.30 p.m. Saturday 12.00-11.30 p.m. Sunday 5.30-11.00 p.m. TRATTORIA ALLA SCALA FUT sole mio TRY SOMETHING NEW? HAVE A PIZZA, A GLASS OF WINE HAVE FUN! Home made Pastas Genuine Italian Pizza Special of the day Take away for one or for the family - Party take away catered for. TRATTORIA TRATTORIA ALLA SCALA HOURS OF OPENING: Monday - Closed all day Tuesday - Saturday 12-30 2-30 p.m. 6-00-11-00 p.m. Sunday 12-00- 2-30 p.m. ● 12 ZETLAND STREET HUDDERSFIELD WEST YORKSHIRE Telephone: (0484) 515161

HUDDERSFIELD MUSIC SOCIETY rabatek ** (ISV 80 Ulrich Beetz. 02 Sixty-eighth Season Monday 11th November 1985 St. Paul's Hall Polytechnic 1985-1986 THE ABEGG PIANO TRIO violin Gerrit Zitterbart 90 adilau Programme Trio in D major op 70 no. 1 Trio in A minor Interval am 0 at ofT Birgit Erichson y cello piano 10 al Beethoven Ravel Trio in D minor op 63 sode odl This concert is presented in association with the Goethe Institute, Manchester. Schumann Although the ABEGG TRIO belongs among the younger German ensembles, it has already drawn impressive inter- national recognition. Since its formation in 1976 at the Musikhochschule in Hanover, the Trio has garnered numerous awards. The Trio has toured extensively in Europe, with numerous radio broadcasts, and in 1984 made a tour of the United States. +941998 The Yorkshire Arts Association gives support towards the cost of these concerts with funds provided by the Arts Council of Great Britain. The Society acknowledges with thanks the support of the Huddersfield Polytechnic to which this Society is affiliated.

2. Trio in D major op 70 no. 1 (The Ghost) Beethoven (1770-1827) Allegro vivace e con brio Largo assai ed espressivo Presto (Last performed in 1972 by the Czech Trio) The Trio op 70 no. 1 was written in 1808, very shortly after the three string quartets op 59, the 4th 10 and 5th symphonies, 4th piano concerto and the violin concerto, and at a time when the composer could hear very little of what he wrote. Unlike the other five complete trios, it has only three movements and of these, the middle one is unprecedented and rather dwarfs the other two. In both first and second movements the two contrasted themes are announced almost together at the beginning. The short first movement opens with a vigorous theme stated by all three instruments in octaves and out of the final bar a lyrical tune emerges on the cello. The development is condensed, more a weaving of themes, and the movement ends with a coda derived from the two themes in reverse order. The Largo begins with three notes, falling and rising, played very slowly indeed by the strings in octaves, answered by the piano, sotto voce, rising and falling. These two phrases are the heart of the matter. This must be one of the slowest movements ever written it is in 2/4 time but each crochet lasts 4 or 5 seconds, so that Beethoven has to resort to large numbers of hemi-demi-semi quavers to get any impression of movement, a forbidding sight for the players and the piano score must be one of the blackest ever. The listener, however, is conscious only of the drama and mysterious gloom of this tremendous piece. Beethoven's sketches for it are he

3. on the same page of his notebook as a sketch for the witches' chorus of a projected opera on Macbeth, also in D minor. The other-worldly atmosphere of the Largo has caused the whole work to be named the "Ghost" Trio. Trio in A minor (1914) ba Ravel (1875-1937) Modéré Pantoum assez vif Passacaille - très large Final - anime (Last performed in 1976 by the Orion Trio) Very few major composers in the early part of this century wrote piano trios Debussy, Stravinsky, Bartok, Kodaly, Prokofiev, Schoenberg, Berg, Webern, Hindemi th none of these composers has left us a piano trio; Janacek intended one but changed it to a string quartet. Martinu wrote several and Shostakovich two one in his student days. The medium is difficult; Ravel has said that the violin and piano are essentially incompatible, meaning that the tempered intervals on the piano clashing with the untempered on the stringed instrument. 900 - di yd 810 ml ba With his extraordinary ear for orchestration, he Ravel was the man to take up the challenge. He uses the piano harmonically but avoids chords with the strings preferring to have them play in octaves, so that the strings are often only a single part, but strong enough to balance the powerful piano. This work was a long time in gestation; on one occasion Ravel said it was finished except for the themes! which it may well have been, as the structure of a piece was usually his first consideration.

4. The quiet opening is in 8/8 time divided into three groups of quavers: 3 : 2 : 3, with the bass giving the four beats of the bar. The strings take up the theme at the interval of two octaves. In this movement the composer used themes from his native Basque country. Pantoum is a word given to a type of Malayan poetry in which the second and fourth lines of each verse are repeated as the first and third of the following one. There is some, rather complicated, parallel with this form in the music; elements of the first part of the movement are carried over into the contrasting middle section, where the piano has a chorale-like theme in which three bars of piano equal eight for the strings. The roles are later reversed. The third movement is not a strict passacaglia; The theme, after being stated in the bass of the piano, is repeated by the cello, but with the third statement, on the violin, it becomes altered. With each state- ment, the theme rises in pitch and then descends to its original register, The Finale alternates between five and seven beats to a bar, some of the material recalling themes of the first movement. 59 Trio in D minor op 63 Interval 9788 Schumann (1810-1856) q Mit Energie und Leidenschaft Lebhaft, doch nicht zu schnell Langsam, mit inniger Empfindung Mit Feuer (Last performed in 1918 by the Defauw, Doehaerd, Holbrooke Piano Trio)

1 5. TOM In November 1918 the first concert of the 118300UH Huddersfield Music Club was promoted in the Freemasons Hall, Fitzwilliam Street. It consisted of a recital by the great Russian tenor, Vladimir Rosing and was followed in December by a piano trio concert in which the first item was the Schumann Trio in D minor. Tonight, 67 years later, the Huddersfield Music Society (as it became known in 1961) presents the work for the IM second time. › @ ml sismo? Schumann's great name is associated mainly with songs and piano music. A considerable pianist himself, he seemed happier with this instrument than with string or symphonic works and his greatest chamber work is generally agreed to be the piano quintet, written in 1842. In that year he also wrote the piano quartet and three string quartets, op 41 and, a lesser work, the Fantasies tucke for piano trio. SE Five years later, after completing the piano concerto, Schumann turned again to chamber music and DIADI produced the first of three piano trios. The D minor trio is orthodox in form; there is a tendency for the u strings to be incidental to the piano, the cello frequently doubling the piano part. However there is an episode in the first movement where the strings play 'on the bridge' and the piano staccato high in the treble, which shows a new appreciation of tone colour.ve The harmonic idiom of this trio is rich and expressive and the bright Finale seems to express a Beethoven-like defiance of Fate.

HUDDERSFIELD MUSIC SOCIETY sria next Bo NCA Monday, 2nd. December 1985 at 7.30 p.m. LORRAINE MCASLAN NIGEL CLAYTON Beethoven Brahms Paganini Franck *** 6. violin 219bou di piano ***** Sonata in D op 12 no 1 Sonata in A op 100 Caprices nos 17 & 24 for violin Sonata in A or KIRKLEES ORCHESTRAL CONCERTS *** Thursday, 14th November 1985 at 7.30 p.m. Town Hall, Huddersfield. Symphony no 5; Sibelius (solo harp: Marisa Robles) FINNISH NATIONAL RADIO SYMPHONY ej concert: bus agroa boma jove so grinda bu *** SYMPHONY ORCHESTRA *** Concierto de Aranjuez; Rodrigo AUT Symphony no 5; Tchaikovsky

ELLAND & DISTRICT MUSIC SOCIETY Friday, 6th December 1985 at 7.30 p.m. Parochial Hall, Westgate, Elland. LORRAINE MCASLAN Mozart: Dvorak: Kreisler Walton: and NIGEL CLAYTON 7. Sonata in E minor Sonatina in G op 100 Liebesleid and Schon Rosmarin Sonata *** HALIFAX PHILHARMONIC CLUB JONATHAN REES violin MICHAEL FREYHAN piano Friday, 15th November 1985 at 7.30 p.m. Harrison Hall, Harrison Road, Halifax. stakest Unaccompanied Sonata in G minor Sonata in D Sonata in A Bach Prokofiev Franck

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 9.08. 36 * G.R. Booth * Mrs. E. Crossland J.F. Crossley A.G. Crowther * Mrs. A. Crowther * D. Dugdale * C. England * Miss M.A. Freeman * E. Glendinning * P. Michael Lord P.L. Michelson * Reliance Gear Co. Ltd.THOMAHITHS XARLIAH * S. Rothery * J.C.S. Smith 22 * S.L. Henderson Smith * Mrs. C. Stephenson * J.G. Sykes * Mrs. E.R. Taylor * W.E. Thompson * H. Marshall Williams * Denotes Covenants 30 no2 191 OL

srij ig T1 HUDDERSFIELD MUSIC SOCIETY Sixty-eighth Season 1985-1986 ni Loiv Monday, 2nd December, 1985 St. Paul's Hall, Polytechnic LORRAINE McASLAN NIGEL CLAYTON Programme 699 TH Sonata in D major, op 12 no. 1 Sonata in A major, op 100 Caprices nos. 17 & 24 Sonata in A major Interval o violin piano 10 ansga 6002 bolasg Beethoven Brahms y qol Paganini Cesar Franck This concert is being given with the support of the National Federation of Music Societies, to which this Society is affiliated. sg Lorraine McAslan was born in Glasgow and studied with David Martin of the R.A.M. and later in New York with Dorothy Delay. She was the winner of the National Federation of Music Societies Award for Strings in 1984. Nigel Clayton studied at the R.C.M. with Stephen Savage and Angus Morrison. He has toured the British Isles, U.S.A. and India, both as soloist and in sonata work with the clarinettist, Michael Collins and the cellist Anup Biswas. The Yorkshire Arts Association gives support towards the cost of these concerts with funds provided by the Arts Council of Great Britain. The Society acknowledges with thanks the support of the Huddersfield Polytechnic to which this Society is affiliated.

Sonata in D major op 12 no. 1 Beethoven (1770-1827) (1797) Allegro con brio Tema con Variationi Rondo allegro Beethoven wrote ten sonatas for violin and piano, the first three being op 12 and the last op 96, so that the The genre spans the greater part of his creative life. structural development over the ten is obvious, the early ones stemming directly from Mozart's last three and the last, op 96, already wearing the mantle of the late period. The three, op 12, were dedicated to Salieri of whom, evidently, no harmful innuendos were heard 6 or 7 years after Mozart's death! Indeed Beethoven admired him greatly. There are three movements in this sonata, the first vigorous and in regular sonata form. The second, a theme and four variations, shows already Beethoven's genius in this form. One of the most memorable movements in these early sonatas is this last one, a rondo of infectious gaiety. Sonata in A major op 100 Brahms (1833-1897) Adagio amabile Andante tranquillo - vivace Allegretto gracioso (quasi andante) This, the second of Brahms' three sonatas for violin and piano, is the work of a happy composer. Written in 1887 when Brahms was on holiday at Lake Thun in Switzerland, it is often called the "Mastersingers Sonata" owing to the similarity of the opening bars to the Prize Song. The second theme recalls one of his songs: "Wie Melodien zieht es". The second movement shows an interesting experiment in form; the andante alternates with a lively scherzo, the two parts being subtly changed at each re-appearance, finishing with a condensed version of the scherzo theme as coda.

The last movement has the violin playing in its low register for the most part and ends in very rich harmony a deeply thoughtful rondo movement. Interval Two Caprices nos. 17 & 24 for solo violin Paganini (1784-1840) Paganini's 24 Caprices are frankly designed for the virtuoso violinist to show off technical proficiency. All manner of difficulties and dangers are challenged both in fingering and bowing. But, fortunately, Paganini was not only "fit for stratagems and spoils"; he had "music in himself" and so these engaging pieces have endured and have given much more pleasure than anguish and inspired many other composers to write innumerable transcriptions and variations, particularly of no 24. Sonata in A major Cesar Franck (1822-1890) ar Allegretto ben moderato Allegro Recitativo - Fantasia Allegretto poco mosso Cesar Franck was Flemish in origin, but became a naturalised Frenchman. He entered the Paris Conservatoire at the age of 17 and studied piano, organ and composition. This sonata, written in 1886, a year before the Brahms A major, is one of the crowning achievements of a long and arduous career. From the pure poetry of the opening move- ment with the questioning tone of the first bars and the wistful ending, through the dramatic second, the lyrical recitative, to the final joyful canon, the work is extra- ordinarily fresh and radiant for a man of 64 whose life had been largely concerned with church music as organist and choirmaster in addition to being organ professor at the Conservatoire. The first movement is a kind of prelude and the two themes belong individually to the two instruments, rarely changing hands. It is most unlike the usual first movement of a sonata, but seems to pave the way for the more imposing second, a fiery allegro in the minor key, ending in a tempestuous assertion of the major. The third movement has the character of an improvisa- tion developing into a lyrical episode where the themes

first appear which are to form the contrast with the m famous canon theme. All the movements are linked together in this way, the third introducing recollections of the poetic first and robust second. The final move- ment must be the best known of any violin sonata, the melody in canon at the octave being particularly "singable". Sadly, Franck wrote only this sonata for the medium; he was struck by an omnibus five years later and sustained injuries from which he eventually died. ----000--- NEXT CONCERT: Monday, 20th January, 1986 at 7.30 p.m. BUDAPEST STRING TRIO Mozart: Divertimento Kokai Serenade Monday, 24th February PURCELL QUARTET (Early Music) Monday, 24th March Trio op 9 no 2 Trio (1933) LINDSAY STRING QUARTET KIRKLEES ORCHESTRAL CONCERTS Friday, 10th January, 1986 at 7.30 p.m. Vi lo Town Hall, Huddersfield. HALIFAX PHILHARMONIC CLUB Friday, 13th December at 7.30 p.m. Harrison House, Harrison Road, Halifax. Ivorgmi no lo Beethoven Francaix domsrl rees0 HALLE ORCHESTRA om 283 Cond: Lawrence Foster (Beethoven: Pastoral Symphony, Enesco: Suite, Richard Strauss: Till Eulenspiegel) ml s18002 11 AURIOL STRING QUARTET (Malipiero, Boccherini, Puccini, Mendelssohn, Respighi)

HUDDERSFIELD MUSIC SOCIETY ***** Sixty-eighth Season 1985-1986 Monday, 20th January, 1986 St. Paul's Hall, Polytechnic THE DELME STRING QUARTET Galina Solodchin violin Jeremy Painter violin williams Rudapest St. Taio 2 Programme String Quartet in D minor op 42 String Quartet in F op 18 no 1 Interval String Quartet in G op 106 John Underwood viola Stephen Orton, cello Robert Bailey. Haydn Beethoven Dvorak The Delme Quartet was formed in 1962 and took its name from the founder leader, Granville Delme Jones. In 1967 they were the first quartet to become attached to a university (Sussex) as Artists in Residence, an idea which has now spread throughout the country. The Delme have travelled extensively and played at all the major music festivals in the Western world, including Edinburgh, Berlin and Salzburg, where they are considered leading interpreters of Haydn's works. We are very grateful to the Delme Quartet for stepping in at such short notice after the unavoidable cancellation of the Budapest String Trio and we welcome them warmly.d Iov

Quartet in D minor op 42 121 Haydn (1732-1809) Andante ed innocentemente Menuetto allegretto Adagio e cantabile. Finale presto (First performance at these concerts) Haydn wrote 83 string quartets - this one is no 43. Coming between the set of six "Russian" quartets, op 33 and the six quartets op 50, dedicated to the King of Prussia, this quartet is a sort of foreign body within the whole set of 83. The terse construction of its four movements is a marked change from the op 33 which Haydn himself said were "written in an entirely new and particular manner", with thematic development an important feature. It was at one time thought that this was an early work, but the autograph in the State Library, Berlin, bears the date 1785, and many features attest a work of Haydn's maturity, in spite of the seeming simplicity of style. Most unusually both first and last movements end pianissimo. Beethoven (1770-1827) Quartet in F major op 18 no 1 Allegro con brio Adagio affettuoso ed appassionato Scherzo and trio Allegro (Last performed in 1975 by the Gabrieli Quartet) The six quartets of op 18 mark an important stage in the history of music. They were written in 1800-1801. Hitherto all Beethoven's chamber music, with the exception of the string trios, had been composed for strings in combination with piano or wind instruments. Up to that time, Beethoven's interests, both as a composer and an executant, had been almost exclusively concerned with the piano. Now, come to his full maturity, music for strings alone in its most perfect form, the string quartet - absorbed all his interest in chamber music. C A W 1 m 1 F E E [

The quartet op 18 no 1 (actually the second in order of composition) is the biggest and most impressive of the set. All naturally show the influence of Haydn and Mozart; but who before Beethoven would have taken a simple, almost banal, little tune, as in the first two bars of the opening move- ment and drawn from it an entire movement of considerable length, and polished the little theme until it shone like pure gold? The tragic intensity of the adagio is again remarkable. Beethoven himself said that it was inspired by the tomb scene in Romeo and Juliet. It is notable that so many of Beethoven's early adagios bear qualifying inscriptions - Largo e mesto, Largo appassionato, Adagio con gran espressione and here, Adagio affettuoso ed appassionato which seem to express his intense desire to inspire the players to even greater heights of interpretation. The two final movements are, perhaps, less remarkable. The Finale develops in to a large sonata-rondo, on a scale to balance that of the first movement. Quartet in G major op 106 Interval C.A.S. Dvorak (1841-1904) Allegro moderato Adagio ma non troppo Molto vivace Andante sostenuto: allegro con fuoco (Last performed in 1982 by the Coull Quartet) Dvorak's last two quartets were written on his return from U.S.A. in 1895 and reflect his joy at being home again. The G major opens with a carefree theme a rising sixth which is one of the pillars of the movement. The second subject, in triplets over the 2/4 time, is a serene and beautiful melody suggesting that Dvorak was again at peace with his surroundings...a great movement, which is followed by a superb adagio, in the form of free variations on two closely related themes, one minor, one major, outstanding for its depth of feeling. There is a passage in this move- ment reminiscent of the D minor symphony, in the first variation, like a deep sigh. The emotional fervour and dramatic tension grow through the variations and the opening theme is treated with infinite variety and richness of detail.

30 As Alec Robertson writes "to follow so sublime a movement cannot have been easy, but the rough gestures of the scherzo are surely exactly right". The Finale ILA opens dreamily but after six bars becomes allegro con fuoco. Surprisingly, the triplet second subject of the first movement is introduced, followed by an allusion to the opening rising sixth. It has been said that in this work "Dvorak aimed at the stars and there are not many who do that with so impressive a measure of success". ***** **f*f NEXT CONCERT: Monday, 24th February 1986 at 7.30 p.m. THE PURCELL QUARTET "The Devil's Trill" - Virtuoso Baroque Chamber Music from Italy, France, Germany and England. FINAL CONCERT: *** Monday, 24th March 1986 at 7.30 p.m. THE LINDSAY QUARTET Haydn op 50 no 1, Britten no 3, Schubert in D minor ("Death and the Maiden") KIRKLEES OR CHE STRAL CONCERTS Friday, 14th February 1986 at 7.30 p.m. Town Hall, Huddersfield. ENGLISH NORTHERN PHILHARMONIA (Opera North) Cond: Elgar Howarth, Chorus of Opera North & Soloists Suite No 4 in G (Mozartiana) Tchaikovsky Requiem Mozart ELLAND & DISTRICT MUSIC SOCIETY Friday, February 7th 1986 at 7.30 p.m. Parochial Hall, Westgate, Elland. YORKSHIRE BRASS QUINTET HALIFAX PHILHARMONIC CLUB Friday, 24th January 1986 at 7.30 p.m. Harrison House, Harrison Road, Halifax. A MASTER CLASS with disqo 10 90 BETTY BANNERMAN (mezzo-contralto). MICHAEL HANCOCK (piano) lus. od

HUDDERSFIELD MUSIC SOCIETY kataka rakakakakakakak Sixty-eighth Season 1985-1986 Monday, 24th February 1986 St. Paul's Hall, Polytechnic THE PURCELL QUARTET Catherine Mackintosh violin Richard Boothby viola da gamba Elizabeth Wallfisch violin Robert Woolley harpsichord THE DEVIL'S TRILL Virtuoso Baroque Chamber Music from Italy, France, Germany and England. 'The Devil's Trill' - Virtuoso Baroque Chamber Music. Instrumental virtuosity must have its origin in the birth of instrumental playing itself and the need to play instruments at all is, at the same time, a substitute for singing and a desire to find means to go beyond the limita- tions of the voice. Yet for all the ability to go higher, faster, lower, etc., most early treatises on the subject agree that an instrumentalist's goal is the true imitation of the voice. The next, equally fundamental aspect to instrumental virtuosity, is improvisation. Here is something very close to how jazz players work: Oscar Peterson's brilliance as a pianist doesn't really rest solely on his astonishing piano technique, but on the way this facility sets no limits, indeed encourages, his amazing invention. Playing and com- posing are one, indivisible thing for him and for most com- posers from the 16th century through to the middle of the 19th. Scarcely any composers of genius, up to about 100 years ago, were not primarily virtuoso performers and very often they wrote exclusively for their own instrument, as in the case of Forqueray, Locatelli and Tartini - and almost, of Biber and Scarlatti. Purcell, alone of tonight's com- posers, was thought to have so surpassing a genius for com- position, as to put even his singing in the shade. The fount of the specifically violinistic virtuosity highlighted in this programme was, of course, Italy. Italy was where the baroque style itself was fashioned and was the

violinists to play them. home of the first violin makers and of the virtuoso This vivid style of playing spread throughout Europe, first to Austria, where Biber was working, then Germany where Rosenmueller returned after 20 years in Venice, and on to England, where Purcell sought to imitate the "Fam'd Italian masters', and finally to France in the first half of the 18th century, where Louis XIVth's court had successfully fought the irresistible Italian fire for more than 70 years and tried to provide imitations with their own virtuoso instrument, the Basse de Viole or Viola da Gamba. 1. Sonata Nr. 1V a 3 from 12 Sonate a 2, 3, 4, & 5 Stromenti da Arco e Altri 1682 in C major. Johann Rossenmueller (1620-1684) Presto Adagio - Presto Johann Rosenmueller was born near Zwickau and held his first appointments in Leipzig, at the Thomasschule. Later he became organist at the Nikolaikirche, and a promising church career seemed about to be crowned with cantorate of the Thomaskirche (later to be Bach's post in Leipzig) when, in 1665, he and several schoolboys were arrested and imprisoned on charges of homosexuality. He escaped from prison and from Germany, and settled in Venice, where he stayed for over 20 years. Though he later returned to Germany, tonight's sonata comes from a collection written in Venice and published in Nuernberg in 1682. It is wholly Italian in conception but with characteristically bizarre. touches. 2. Two Sonatas for harpsichord Domenico Scarlatti (1685-1757) Scarlatti's 600-odd sonatas (some of them very odd!) are part of a body of works by baroque composers which have been continuously played since their composition (like those of his two co-tercentenarians). Scarlatti exerted tremendous influence over the development of keyboard music, not only in Spain and Portugal, where he spent most of his life, but also in England, where several composers, notably Arne, show his influence. W e K r S t C I C i 2 I C S

e 3. Sonata Rappresentativa for violin & b.c. Heinrich Biber (1644-1704) Heinrich Ignaz Franz von Biber, the outstanding violin virtuoso of the 17th century, was born in Bohemia and was employed at the court of Count Liechtenstein-Kastelkorn at Kromeriz in central Moravia. His fame as a violinist spread rapidly after his appointment in 1670 to the court at Saltzburg. In 1690 he was raised to the nobility. This sonata, from the Komeriz collection, is for normally tuned violin instead of the more frequent scordatura, and is one of the best examples of the extensive 17th century repertoire imitating bird and animal sounds. 4. Sonata a tre in D major Pietro Locatelli (1695-1764) If Biber was the outstanding violin virtuoso of the 17th Century then Locatelli holds that position in the 18th. It is possible that he studied with Corelli in 1711, and soon after progressed through Italy and Germany, augmenting his reputation all the while and reached Amsterdam in 1729. Here he stayed for the rest of his life, teaching, playing and composing. Contemporaries found his playing stunning in its virtuosity yet sweet in expression and tone: De Blainville claimed that Locatelli playing an opening adagio from Corelli's Op. 5 "would make a canary fall from its perch in a swoon of pleasure". Interval 5. Sonata for violin and b.c. Guiseppe Tartini (1692-1770) Tartini was born in Pirano. After dabbling in the Church, Law and Swordsmanship, he decided to study the violin and in 1720 started a career as a virtuoso violinist in and around Padua; he seems to have begun composing about 1728 and the Devil's Trill sonata was probably composed about 1745, even though Burney claimed that Tartini had radically changed his style by then, from florid works to sweet and simple charm. One revealing expression of his personality was his habit of adding poetic mottoes to his works, couched in a secret cipher - most refer to operas by Metastasio. He died in 1770 of gangrene from an ulcerated foot.

6. Pieces de Viole from the 5th Suite in C minor. La Rameau; La Silva; Jupiter Antoine Forqueray (1671-1745) Forqueray is without doubt the Franz Liszt of the viola da gamba. All that survives from this fascinating composer is one publication, made by his son after his father's death, consisting of 5 extraordinary suites for viola da gamba and continuo. His son also made harpsichord transcriptions of all the suites, for the gamba was losing popularity by the time of publication, 1747. These suites are evidence of Forqueray's phenomenal skill as a gambist and of his quite exceptional imagination. No other gamba composer has made such high demands on the player and the music explores the sonority of the instrument in quite new ways. 1 7. "The Golden Sonata" from Sonnatas in 4 parts' 1696 in F major Henry Purcell (1659-1695) Purcell's 10 four-part sonatas were published posthumously in 1697 by his wife, Frances, but it seems likely that at least some of the sonatas were written in the early 1680's, when Purcell was engaged upon other instrumental projects - the Fantasias and the twelve three- part sonatas. The "Golden Sonata", however, seems to have been written later than the others, though when, it is impossible to say. It acquired a particular popularity even in Purcell's lifetime and its nickname was adopted then or soon afterwards the copy of the 1697 publication in the British Library has written above it in an 18th century hand, "called for its excellence the Golden Sonata". *** *** NEXT CONCERT Monday, March 24th 1986 at 7.30 p.m. *** **f*f **f*f THE LINDSAY STRING QUARTET Haydn op 50 no 1; Britten no 2; Schubert in D minor (Death and the Maiden)

Peter Cropper Ronald Birks HUDDERSFIELD MUSIC SOCIETY Sixty-eighth Season 1985-1986 Monday, 24th March, 1986 St. Paul's Hall, Polytechnic THE LINDSAY STRING QUARTET violin violin Robin Ireland Bernard Gregor-Smith Programme Quartet in B flat op 50 no. 1 Quartet no. 3 op 94 Interval Quartet in D minor (Death & the Maiden) viola cello Haydn Britten Schubert The Lindsay Quartet's activities in Yorkshire, whilst a relatively small part of their international scenario, have earned them a unique place in the chamber music of the North of England. They have already had a busy time this year elsewhere - Zurich, France, Stockholm, Finland, the Wigmore Hall, Warsaw, Lyons, not to mention the B.B.C. and a Hotel Weekend in Taunton. In May of this year they are to present a Mozart Festival in Sheffield. We are pleased to welcome them again to Huddersfield with special mention of their new viola player, Robin Ireland. This concert is organised with the support of Yorkshire Arts. The Society acknowledges the support of the Huddersfield Polytechnic to which this Society is affiliated.

Quartet in B flat, op 50 no. 1 Allegro Adagio non lento Menuetto & trio Finale vivace (First performance at these concerts) Haydn (1732-1809) Haydn's six quartets op 50 were written between 1784 and 1787, so that they are contemporary with Mozart's famous six, dedicated to Haydn. The opus 50 are a varied group and are not able for Haydn's exploration of the one-theme structure, where the movement is entirely evolved from a single theme. The first movement of this quartet is built on the little phrase played by the first violin after two bars of crotchet B flats on the cello and on the triplet transformation thereof. Likewise in the last movement, the main subject stated in the first bars is developed in whole or in part throughout the movement. The slow movement is a set of variations on a simple melody four variations of which the second is in the minor key - the first time Haydn has used this device. The menuetto is of a straightforward nature with a rather humorous trio. - This set of six quartets is dedicated to the King of Prussia whose patronage of the Arts, not to mention his skill on the cello, inspired so much of the music of this period. X String Quartet no. 3 op 94 Benjamin Britten (1913-1976) Duets Ostinato Solo Burlesque Recitative & Passacaglia (La Serenissima) these contestuted). Kancellerine tasl (First performance at these concerts) Three quartets by Britten are firmly established in the chamber music repertoire: no 1 was first heard in Los Angeles in 1941, no 2 was written in 1945 after Britten's return from the United States in 1942 and no. 3 thirty years

$ This third later in 1975. Three quartets are not many for so hard- working a composer but Britten was very closely associated with song and wrote extensively for the opera house. This third quartet owes its inspiration to, and is indeed a distillation of the drama of Britten's last opera, Death in Venice (1973). Based on the story by Thomas Mann, the opera depicts Venice, the city, and the writer, Aschenbach, whose yearning after beauty centres on the young boy, Tadzio. There is no doubt that Acquaintance with the opera is a help in appreciating this work. the quartet. The first movement opens with undulating seconds, suggesting the lapping of water on stone. This movement pairs the four instruments of the quartet in all six possible ways. There is here the serenity of Venice, the tortured soul of Aschenbach and the calm of his love for the boy. The second movement is short and the Ostinato is of repeated intervals of the seventh, with a lyrical episode in the middle of the movement. Solo is the apex of the work. It is played very high on the violin and accompanied by very slow single notes of arpeggio, which rise up to the level of the solo, where- upon the violin breaks into a rapturous cadenza and the accompaniment becomes aleatory, i.e. freely timed within the framework set by the solo. The music gradually eases down to the opening calm. The Burlesque is reminiscent of Shostakovich but without the Russians's grimness. The trio section has the second violin playing with the wood of the bow and the viola "whistling" on the strings behind the bridge. La Serenissima refers to Venice - the movement was composed during a holiday in the city. Each instrument plays a short recitative quoting from the opera the cello the barcarolle theme depicting Aschenbach's journeys by gondola, the second violin the theme of yearning, the first violin a pizzicato version of the chorale "Phaedrus learned what beauty is..." and the viola the motif of the cholera epidemic which invaded the city. These are followed by one of Britten's favourite forms a passacaglia, over the undulating seconds of the first movement. The work ends on an unresolved chord, of which the composer said "I want the work to end with a question". P.T.O. * -

The quartet is dedicated to the late Hans Keller. Britten heard only one play through, by the Amadeus, who also gave the first performance on 19th December, 1976, a fortnight after Britten's death. Interval Quartet in D minor (Death & the Maiden) Schubert (1797-1828) Allegro Andante con moto Scherzo and Trio Presto go (Last performed in 1974 by the Melos Quartet in Stuttgart) Schubert's three most important string quartets, A minor, op 29, D minor and G major, op 161 were written between 1824 and 1826, during the period in which Beethoven was writing his last quartets. Schubert intended the two earlier quartets to form his opus 29, together with a third which was not, apparently, written down. The A minor and the G major were publicly performed during his lifetime, but this one not until 1833, five years after Schubert's death. The D minor quartet was begun in March 1824. On the 31st of that month, Schubert was writing to his friend, the painter, Kupelweiser "I feel myself to be the most unhappy and wretched creature in the world. Imagine a man whose health will never be right again and who, in sheer despair over this, ever makes things worse and worse instead of better... I ask you, is he not a miserable, unhappy being? My peace is gone, my heart is sore...Each night on retiring to bed I hope I may not wake again, and each morning recalls yesterday's grief... I have tried my hand at several instrumental works, for I wrote two quartets (the A minor and D minor) and an octet and I want to write another quartet - in fact I intend to pave my way towards grand symphony in that manner", In February, 1828, he offered the D minor and G major quartets to Messrs. Schott, but they did not fancy them! The firm of Czerny eventually published the D minor in 1831 as one of the flood of posthumous masterpieces by Schubert which then emerged in such profusion that connoisseurs began to wonder if they were all genuine. Like the later G major quartet, this one opens with a w dramatic call to attention, boldly rhythmic with a prominent