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HUDDERSFIELD
MUSIC
SOCIETY
1986-87 SEASON
ST. PAUL'S HALL
HUDDERSFIELD POLYTECHNIC M
N
Special Discount for Subscribers
Double Season Ticket-45% OFF-Saving £22
Single Season Ticket-38% OFF-Saving £9.50
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TICKET PRICES:
DOUBLE SUBSCRIPTION
2 tickets for all 7 concerts
SINGLE SUBSCRIPTION
1 ticket for all 7 concerts
SINGLE TICKET FOR EACH CONCERT
If available
Enquiries: Hon. Membership Secretary Huddersfield 541700
or Hon. Secretary
Huddersfield 22612
£3.50
STUDENTS: single tickets (subscription or single) half price.
(Single tickets may be purchased by using the booking form or from
Huddersfield Information Centre, Albion St., Tel. Huddersfield 22133
extension 685 (Saturdays 23877) or at the door on the night of the
concert.)
BENEFITS FOR SUBSCRIBERS. As well as enjoying
substantial discounts (see front) subscribers are guaranteed
admission and preferential seating.
Name ....
BOOKING AND
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) 541700.
Season tickets to be paid for or returned by 14th October, 1986.
Address
Postcode.......
Telephone
I wish to join the Huddersfield Music Society
Please send me
Quantity
Double subscription
ticket
Single subscription
ticket
£27
Single ticket
£15
Date & Quantity
Total
£ p
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5
0
MONDAY 23rd FEBRUARY 1987 7.30p.m.
THE MOSCOW QUARTET
Quartet No. 7
Quartet No. 2
Quartet No. 3 in Eb minor, Op. 30
Shostakovich
Shnitke
Tchaikowsky
This internationally distinguished quartet offers an
exciting evening of Russian music, a fitting programme for
the first Russian String Quartet ever to appear at the
Huddersfield Music Society's concerts.
MONDAY 30th MARCH 1987 7.30p.m.
PASCAL ROGÉ
Kinderszenen
Sonata in C minor, Op. 111
Préludes Book 1
Schumann
Beethoven
Debussy
His piano playing is "as perfect and lustrous
as a string of pearls, but by no means as plain" (The Times).
A performance by such a renowned virtuoso promises a
stimulating and satisfying final concert in a season of
great distinction.
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27
15
50
MONDAY 13th OCTOBER 1986 7.30p.m.
THE KEGELSTATT TRIO
Trio in Eb K498 (The Kegelstatt)
Capriccio for solo clarinet
Märchenerzählungen
Mozart
Sutermeister
Schumann
Shostakovich
Sonata for viola and piano
Three pieces for viola, clarinet and piano Bruch
Ruth Ellis, Rosemary Sanderson and John Gough, each of
whom has already won acclaim as a soloist, have been
playing together with great success since 1982. Their
programme includes solo and duo works as well as trios by
Mozart, Bruch and Schumann.
MONDAY 10th NOVEMBER 1986 7.30p.m.
THE GABRIELI CONSORT
AND PLAYERS
"Monteverdi and Grandi at Venice"
This young and exciting group of singers and players.
celebrate the anniversary of the birth of Grandi, second
only to Monteverdi as the greatest Italian composer of the
early baroque, with a richly varied programme of both
sacred and secular music.
“The Rider" Quartet, Op. 74 No. 3.
Quartet in E minor, Op. 44 No. 2
Piano Quintet Op. 81 in A major
supported by
Yorkshire
ARTS
This concert is promoted jointly with
Kirklees Leisure Services.
MONDAY 8th DECEMBER 1986 7.30p.m.
THE FAIRFIELD QUARTET
AND BENJAMIN FRITH
Haydn
Mendelssohn
Dvorak
The members of the Fairfield Quartet, acknowledged as
"exceptional talents both as individuals and as a rigorously
integrated ensemble" (Daily Telegraph), are joined for the
last item of what promises to be a most enjoyable
programme by Benjamin Frith, whose solo performance at
this Society's concerts two seasons ago was so warmly
received.
M
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Q
Q
FEES
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ас
M
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PPS
TOO & CHS
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SO
th
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y
MONDAY 12th JANUARY 1987 7.30p.m.
THE ALBERNI STRING
QUARTET
Quartet in D minor K421
Quartet (1947)
Quartet in A minor, Op. 132
Mozart
Walton
Beethoven
This is an irresistible opportunity to hear an ensemble
"reflecting some of the finest qualities of the British
musical tradition" (Washington Post) and playing
masterpieces by Mozart and Beethoven as well as
Walton's String Quartet, one of his greatest
achievements.
MONDAY 2nd FEBRUARY 1987 7.30p.m.
CHRISTOPHER MARWOOD
AND REBECCA HOLT
Sonata in C major, Op. 102 No. 1
"Après un rêve" and "Papillon"
Passacaglia
Polonaise Brillante
Sonata in E minor
Beethoven
Fauré
Walton
Chopin
Brahms
The Countess of Munster Trust has made awards to many
promising young artists at the start of distinguished
careers. The Trust's sponsorship, which we gratefully
acknowledge, enables us to present this concert in which
Christopher Marwood, who has studied with Florence
Hooton and David Strange and won many prizes, performs
some of the outstanding works in the cello repertoire, with
the pianist, Rebecca Holt
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HUDDERSFIELD
MUSIC
SOCIETY
President: J. Gordon Sykes
Hon. Secretary: Mrs. M. S. Glendinning
Hon. Treasurer: P. Michael Lord
WHERE TO FIND US
HUDDERSFIELD
MANCHESTER
MANCHESTER RD A62
A616 CHAPEL HILL
Car
park
QUEEN ST SOUTH
QUEENSGATE
FIRE
STATION
T
ST. PAUL'S
HALL
MARKET
HALL
POLYTECHNIC
QUEENSGATE
BUS STATION
CASTLEGATE
H
4629 WAKEFIELD RD
M1
WAKEFIELD
AND SHEFFIELD
SOUTHGATE
We gratefully acknowledge the support of:
Huddersfield Polytechnic
M62 WEST
A640
Kirklees Leisure Services
National Federation of Music Societies
Yorkshire Arts Association
NEW NORTH ROAD
RAILWAY STATION
SPORTS
CENTRE
M
LEEDS RO A62
HALIFAX
& M62
A629
NI
ST JOHN'S RD
TOWN CENTRE
LEEDS
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(1071-3851) HUDDERSFIELD
HUDDERSFIELD MUSIC SOCIETY
***
00
Sixty-ninth Season
1986 - 1987
Monday, 13th October, 1986
der St. Paul's Hall, Polytechnic
THE KEGELSTATT TRIO
Rosemary Sanderson. viola
John Gough
Ruth Ellis
piano
Programme
Trio in E flat K 498 (Kegelstatt)
Capriccio for solo clarinet ble
Märchenerzählungen
Interval
Sonata for viola & piano
Three pieces for viola, clarinet & piano
THE
valls oli Mozart
dalin Sutermeister
Schumann
clarinet
VI
Shostakovich
Max Bruch
The members of the Kegelstatt Trio began playing together
in 1982 during post-graduate study at the Royal Northern
College of Music. As well as performing as a trio, they
have performed extensively throughout the country as solo
and duo recitalists.
Ivozqmi al
Rosemary Sanderson was at the Royal Academy before going
to the R.N.C.M. and later studied with Atar Arad and took
part in masterclasses in Siena with Bruno Giuranna and in
attia a
the Mozarteum, Salzburg.
Ruth Ellis is on the staff at the R.N.C.M. and is professor
of clarinet at Keele University. She plays with the
Manchester Camerata and Mozart Orchestra.
John Gough was the first pianist to graduate from the
R.N.C.M. with a first class Honours Degree and the coveted
Performance Diploma with Distinction. He frequently plays.
on Radio 3 and has appeared with the Halle Wind Soloists.
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Trio in E flat K 498 (The Kegelstatt)
Andante
Menuetto & Trio
Allegretto
Mozart (1756-1791)
(First performance at these concerts)
Composed in Vienna in 1786, the year of the first
performances of the Marriage of Figaro, the "Kegelstatt"
Trio was one of many keyboard chamber music works Mozart
composed between 1785 and 1788. During this period he also
wrote three piano trios, two piano quartets and two piano
duet sonatas.
The work seems to have been given the nickname "Kegelstatt"
"Skittle alley", because Mozart was said to have
composed it whilst playing skittles!
The first movement is typically economic in its use of
material, both in the treatment of the opening ornamented
phrase and the lyrical second subject. The middle movement
is a large scale Minuet and Trio, the latter contrasting
the legato figure introduced by the clarinet with the lively
triplet passages in the viola. The Finale is in Rondo form
the theme of which is a flowing melody which each instrument
enjoys during the course of the movement. The episodes
include florid solo piano passage work, and a sternly
dramatic C minor section dominated by the viola. The music
is brimming over with melodic invention.
91
Capriccio for solo clarinet
Sutermeister (b. 1910)
Heinrich Sutermeister was born in Switzerland in 1910. He
was a pupil of Carl Orff, and is thought of primarily as a
composer of opera.
The Capriccio was especially written as a test piece for the
Geneva International Music Competition of 1947. It uses the
A clarinet, the more mellow sounding of the two, the B flat
being a much "brighter" instrument. The piece is
constructed of four or five clearly delineated sections;
there are frequent rubato passages, unusual rhythmic patterns
and a wide dynamic range. The prevailing atmosphere created
should be generally high spirited and jovial, conveying both
humour and a certain improvisatory style.
M
11
W
T
I
SI
f
er
It
th
WI
TH
ti
li
re
in
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y
t
e
e
ms
d
h
Märchenerzählungen op 132
Schumann (1810-1856)
Four pieces for clarinet, viola & piano
(First performance at these concerts)
Märchenerzählungen was composed in 1853 during Schumann's
last period of creative activity in Düsseldorf. Its title
"Fairy tales", is similar to the Märchenbilder Opus 113
for viola and piano of 1851, and like so many of Schumann's
works signifies the influence of literature on his work.
The first movement is fanciful in character. The second
is martial with a more gently melodic middle section.
The third is a slow dreamy movement, and the work has a
lively finale, with some echoes of the piano concerto.
Shostakovich (1906-1975)
Sonata for viola and piano
Op 147
Moderato
Allegretto
Adagio
(Last performed in 1977 by Cecil Aronowitz & Nicola
Gruenberg)
Shostakovich wrote this sonata for Fjodor Drushinin, a close
friend and member of the Beethoven Quartet, a Russian
ensemble associated with Shostakovich's quartets.
It was written in 1975, the year of the composer's death and
the final movement is dedicated to the memory of Beethoven
with many references to the "Moonlight" Sonata.
The first movement, moderato, is at times contemplative, at
times emotional; the second movement is a rustic scherzo-
like movement. The finale begins with an expressive
recitative for solo viola and contains moments of great
intensity and beauty in hommage to Beethoven.
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Three of Eight Pieces for clarinet, viola
and piano op 83
donck
Max Bruch (1838-1920)
Jeniusio vol sosi
No. 2 in B minor
No. 5 in F minor
No. 7 in B major
1 (First performance at these concerts)
Max Bruch was born in Cologne in 1838, where he studied
composition with Ferdinand Hiller and piano with Reinecke
and Breunung. His compositions include three operas,
numerous sacred and secular choral works, songs and
instrumental works. Only a handful of his works are now
performed regularly, perhaps the best known being two works
for violin and orchestra, the concerto and the Scottish
Fantasy.
Bruch's musical posts included conductor of Liverpool
Philharmonic Society from 1881-3, and Professor at Berlin
Academy from 1891.
These Eight Pieces for clarinet, viola and piano Opus 83
were written in Berlin in 1910, and they exemplify Bruch's
tuneful style and affinities with the folk music of various
countries. No. 5 is entitled Rumanian Melody and No. 7
is a lively scherzo.
fefef
The Yorkshire Arts Association gives support towards the
cost of these concerts with funds provided by the Arts
Council of Great Britain.
da
The Huddersfield Music Society acknowledges with thanks the
support of the Huddersfield Polytechnic to which this
Society is affiliated.
To subscribers:
Many of the artists at our concerts need
to stay overnight in Huddersfield. With hotel costs as they
are, the Society likes to offer private hospitality as far
as possible. This is particularly welcome to people from
overseas and can be rewarding to the hosts. Any subscriber
who would be interested to offer hospitality is asked please
to get in touch with Mrs. Glendinning, Hudds. 22612.
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THE
HUDDERSFIELD
MUSIC
SOCIETY
W
D
WT.
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HUDDERSFIELD MUSIC SOCIETY
**
Sixty-ninth Season
1986 - 1987
Monday, 10th November 1986
St. Paul's Hall, Polytechnic
GABRIELI CONSORT and PLAYERS
Paul McCreesh - director
Susan Hemington Jones - soprano
John Mark Ainsley - tenor
Angus Smith tenor
Alan Ewing bass
Helen Orsler - violin
Jeremy West - cornett
Susan Addison - sackbut
Paul McCreesh - bass violins
Frances Kelly - double harp
Bernard Robertson - organ
MONTEVERDI and GRANDI at VENICE
Sacred and secular music from seventeenth century Venice,
including works by Monteverdi, Grandi, Picchi, Marini,
Castello, Cesare, Finetti, de Selma e Salaverde and
Giovanni Gabrieli.
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2.
PROGRAMME
Sinfonia Terzo Tuono a4 (1655)
Tu dormi, ah crudo core (1619)
Sonata 10 a3 due violini e fagotto (1629)
10%
Spine care e soave (1622)
Vientene, o mia crudel (1629)
Taci, Armelin (1624)
Sonata la Hieronyma (1621) TOOM Ivel
Rose, rose beate (1622)
Gira il nemico (1638)
Sonata 14 a4 doi soprani e due tromboni
overo violete (1629)
Non havea Febo ancora (lamento della ninfa)
(1638)
Clio INTERVAL
0 Domine Jesu Christe (1597)
Canzona 12 a4 doi tromboni & doi violini (1625)
Plorabo die ac nocte (1619)
Canzona a doi bassi (1638)
O Maria, qui rapis corda hominum (1621)
Salvum me fac Deus (1629)
O quam tu pulchra es (1625)
Sonata 1 a due soprani (1621)
Hodie Christus natus est (1615)
Marini
Monteverdi
Castello
Grandi
Grandi
Monteverdi
Cesare
Grandi
Monteverdi
Castello
Monteverdi
G. Gabrieli
Picchi
Grandi
Bartolomeo
Finetti
Grandi
Grandi
Castello
G. Gabrieli
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3.
The Gabrieli Consort and Players were founded by Paul
McCreesh in 1982 and are now widely regarded as the
finest 'second generation' early music ensemble in
Britain. Based around a consort of young singers, the
smaller group specialises in Venetian consort music,
but in its larger form the Gabrieli ensembles have
performed Bach's B minor mass, polychoral music by the
Gabrielis and music by Purcell. Last month they made
their Early Music Centre Festival debut at Westminster
Abbey in a vast Venetian vespers programme from St.
Mark's. They have recently made their first record, of
oratorios by Carissimi, and this, their first Early
Music Network tour, is the season's longest. Next year
they will present a Monteverdi and Carissimi series at
the Wigmore Hall, and will also appear at the York
Early Music Festival as well as opening Youth and
Music's acclaimed Cushion Concert series at the Royal
Academy of Arts.
Paul McCreesh was born in London in 1960. He read
music at Manchester University where he studied 'cello
with Bernard Gregor Smith, began researching
seventeenth-century music, formed his own semi-
professional chamber choir and the first baroque
orchestra in the city. On returning to London he
formed the Gabrieli Consort and Players.
Above all a versatile musician, Paul McCreesh is
actively involved in several areas of work for his
ensemble, including considerable research, editing
most of its repertoire, playing both 'cello and tenor
violin as well as conducting. He also enjoys a
reputation for his work in the field of education, as
teacher, conductor and more recently in workshops with
the Gabrieli Players.
This concert is part of the Early Music Network touring
scheme financially supported by the Arts Council of Great
Britain, and is organised with the support of Kirklees
Leisure Services.
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4.
Alessandro Grandi was probably born in 1586 and this
programme marks his anniversary in offering a varied
selection of music from the Serenissima Repubblica,
alongside those of Monteverdi and other Venetian
contemporaries.
Few Italian cities, if any, could rival Venice's
musical life in the early seventeenth century. As well
as being a major centre of music publishing, Venice's
numerous churches often hired musicians, and there were
considerable freelance opportunities at religious
confraternities and in the palaces of noblemen and
ambassadors. Socially these musicians must have formed
a close community - almost all of these composers worked
in some capacity at the Basilica of St Mark, where
Monteverdi served as maestro di cappella and Grandi as
vice-maestro.
The first half of the programme offers some interesting
comparisons between these composers in the field of
secular music. Monteverdi's 'Tu dormi, ah crudo core' is
not too far removed from the earlier Mantuan madrigals,
but both this and the famous 'Lamento della ninfa' show
an intensity rarely found in Grandi's secular music.
Even so, there is a new beauty in the simplicity of the
aria 'Vientene, o mia crudel'; here, and in the duets
'Spine care e soave' and 'Rose, rose beate', Monteverdi's
essentially 'madrigalian' approach to poetry has been
replaced by a desire for clearer textures and, above
all, attractive melodies. One wonders whether Grandi
might have become a popular opera composer had he lived
ada decade longer.
da
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Tu dormi
You sleep, aloenoo on ai
Ah cruel heart,
You sleep because in you Love sleeps.
Vientone
(
og 01 noliaens
mi
TRANSLATIONS
crudel
Spine care e soavi
Sweet and bewitching Arrows, that heal as they strike,
And wound as they depart;
What new miracle is this:
To withdraw so as not to wound, whilst it is the wounding that brings nourishment!
by Peggy Forsyth
I weep,
And my tearful wails,
Because you are deaf to them
Are carried, Alas! in vain upon the air.
Ah! Well may my cries
noslog Exhale pitiful sighs,
But my laments only serve
To make you yet more cruel.
Strike then, strike
This innocent heart
With the accustomed zeal!
Sweet and welcome Arrows
Pierce and do not flee! csid asso
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Tu dormi
You sleep,
Ah cruel heart,
You sleep because in you Love sleeps.
Vientene, o mia crudel
TRANSLATIONS
Ah! Well may my cries
Exhale pitiful sighs,
But my laments only serve
To make you yet more cruel.
Spine care e soavi
Sweet and bewitching Arrows, that heal as they strike,
And wound as they depart;
What new miracle is this:
To withdraw so as not to wound, whilst it is the wounding that brings nourishment!
I weep,
And my tearful wails,
Because you are deaf to them
Are carried, Alas! in vain upon the air.
Strike then, strike
This innocent heart
by Peggy Forsyth
1.
Come then, my cruel one,
Come to your faithful one,
Alas! Lydia, come,
Do not scorn, but acknowledge the great love
Of one who honours you,
One who adores you;
If you delight in his pain,
Pitiless and disloyal one,
Proud tigress, of what use is
your beauty whom will it captivate?
With the accustomed zeal!
Sweet and welcome Arrows
Pierce and do not flee!
2. 3.
113300
Stay now, O my sun,
Hear me at least,
bande I
Tell me why it is that from me
You seek only my pain, my death.
From you I do not claim
Neither do I ask
For any gift of Love
Nor recompense of mercy,
I ask only your pardon
Should my love give you pain.
4.
2.
Come to me, my beloved,
For pity's sake hear me,
Turn from your cruelty
Look me in the face, Alas!
Look at me at least,
Do not flee cruel one, Alas!
Do not go, do not turn away, cease your running; See, you will discover my love.
Yet, now you go,
But you neither look,
Nor wish to listen,
You, cruel one,
Neither have you any care
For this poor heart
Hourly tormented
Are more relentlessly heartless
Than Nymph that ever lived,
By such bitter grief.
Unhappy me, for I love you.
For you will not give me comfort.
continued overleaf ..
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5.
Look upon my dying,
See at least, my end,
Hear my sighings for you
And my last departing breath, Alas!
When I am dead
You will come to see
That by your wound
I was unjustly killed,
And then there will be
No time for comfort.
Taci, Armelin
Be silent, Armelin, be silent,
do not disturb me
now that I stand before my beloved
to tell her my grief and my pain.
Rose rose beate
Gira il nemico
First Part
Love, the insidious enemy, circles
the fortress of my heart
Make haste, for he is not far off:
Arm yourselves!
ROATA 2.
Second Part
We must not let him come near, he must
not scale
our weak defences,
let us sally forth bravely;
saddle the horses!
Third Part
His weapons are real, he approaches
the wall with his whole army.
Make haste, for he is close
Every man to his post!
6.
Consider then Lydia,
That the continuous mourning for a death
Believe me, Alas! is no consolation,
No compensation for great love.
Now, whilst yet I live
Do not allow my heart
To be infected
Roses, blessed roses,
Wanton little daughters
of the earth and of the sun,
The perfumed sweetness
Which you breathe from your bosom
Gives to us
All that the sun, the breeze and the rain have given you.
With the cruel
And bitter poison
of your absence.
Be silent, Armelin, be silent,
do not bark
when I wish to steal two more kisses from her.
Ah so you will not be quiet, you little
beast,
you malicious, treacherous Cerebus.
Fourth Part
He means to assault the stronghold of
my eyes
with bold attack.
Make haste, he is here, there's no
mistake.
To horse, to horse!
Fifth Part
It is too late, alas, in an instant
he has become the master of my heart.
Take to your heels, save yoursslves if
you can.
Run away!
amento d.
Sixth and Final Part
My heart, you flee in vain, you die
I hear the cruel tyrant
the victor, already within the walls.
crying "fire, slaughter!"
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Lamento della ninfa
O Domine Jesu Christe
3.
Phoebus had not yet
brought his light back to the world
when a young maiden
left her dwelling;
her grief could be seen
on her pale face,
and she often loosed
a great sigh from her heart
as she wandered here and there,
treading on the flowers,
lamenting her lost love
thus:
Love (she said stopping
and gazing at the skies),
Love, where is the faith
the traitor swore? (unhappy maiden!)
Let my love return to me
as he was before,
or kill me, so that I
suffer torment no longer. (Unhappy maiden!)
No, I don't want him to sigh
except far from me (Unhappy maiden!)
nor that he will tell me,
in faith, of his
torments.
(Unhappy maiden, ah no longer
can she bear such coldness).
Because I am consumed with love for him,
he is proud,
and if I flee from him
he will beg for my love again. (Unhappy maiden!)
If his new love
be fairer than I,
Love does not hold in his breast
a more faithful love than mine.
You shall never have such sweet
kisses from those lips,
nor more tender. Ah be silent (Unhappy maiden!)
be silent, for you know it full well.
Thus, amidst her angry tears
she lifted her voice to heaven.
In this way in the hearts of lovers
does Love mix flames and ice.
O Lord Jesus Christ I adore you, wounded on the cross and tainted with gall and
vinegar: I pray to you that your wounds might heal my soul.
Plorabo die ac nocte
Day and night shall I weep for the prince of my people who has been killed. For what
is there for me in heaven, and what did I wish for thee on earth? See, all ye
people, if there be any sorrow like unto my sorrow. My soul refuses to be comforted
because they have taken away my Lord, and I know not where they have placed Him.
Night and day shall I weep for the prince of my people who has been killed. How was it
that Thou, strong in battle, wert struck and killed? I shall lament for Thee, my good
Jesus, so becoming and so kind. See, all ye people, if there be any sorrow like unto
my sorrow. 0 Jesus, my Son, who may grant that I may die for Thee? And all people
know it, because there is no sorrow like unto my (thy) sorrow.
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O Maria, quae rapis corda hominum
O Maria, who steals the hearts of men, have you not stolen mine, my mistress?
Where shall I search that I may find it? When I ask for it you smile at me, when
I beg for it you embrace me, and all at once, stupefied, I am at peace.
Salvum me fac Deus
4.
for the waters have penetrated even to
I am plunged deep into the mud and can get
Save me 0 God,
my soul.
no grip. I am submerged in the depths of my sea and
the tempest overwhelms me. In my labours I have called
till my throat is hoarse. My sight is failing me
whilst I hope in the Lord.
O quam tu pulchra es
Behold, thou art fair, my love, my dove, my beauty; behold
thou art fair.
Thou hast doves' eyes, thy hair is as a flock of goats, thy
teeth are like a flock of shorn sheep.
Come with me from Lebanon, my spouse, my dove, my beauty;
come thou shalt be crowned with a wreath.
my fair and spotless one; arise,
come, for I am sick with love.
Arise, make haste, my beloved,
Hodie Christus natus est
This day Christ was born: this day the Saviour appeared: this
day the angels sing on earth and the archangels rejoice: this
day the just exult saying: Glory to God in the highest and on
earth peace to men of goodwill.
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Con
Come
1.
then,
my
cruel
one,
N
1.
D
<
5.
Of course, the vast majority of this repertoire deals.
with one theme that of love (usually unrequited),
and one feels that some settings are a little tongue-
in-cheek. Monteverdi, inventor of the famous 'war-
like' madrigals seems to have enjoyed a little self-
da parody in his setting of 'Gira il nemico'. 'Taci,
Armelin' is a delightfully ludicrous madrigal for the
popular trio of male voices.
The instrumental music in tonight's programme remains
comparatively unknown, and yet this marvellous
repertoire is uniquely Venetian in its brilliant
virtuosity and flamboyant colour. Dario Castello,
probably a player at St. Mark's, is an important
figure (his sonatas 'in stil moderno' were re-
printed throughout Europe), as is Biagio Marini,hin
another St. Mark's musician and one of the earliest
violin virtuosi. Picchi was an organist at the
confraternity of San Rocco. Bartolomeo de Selma e
Salaverde was a Spanish bassoon virtuoso of
slightly tenuous Venetian connections, but he did bas
work in the city in the 1630's, publishing a large op
volume of instrumental music there in 1638. In
spite of considerable effort by this writer to
prove otherwise, Cesare - a cornettist who worked
at Udine and in Austria - seems to have had no
connections with Venice at all!
INTERVAL
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6.
The second half of the programme explores the vast corpus
of sacred music written not only for liturgical use, but
also for 'spiritual recreation' in confraternities and
private homes. There is evidence that groups of four
singers and four players would perform at these
confraternities, often part of the company of musicians
at St. Mark's.
Recent research has shown that Grandi was admitted to St.
Mark's as early as 1604; it is therefore probable that
he studied under Giovanni Gabrieli, renowned both as
organist and teacher. Two of Gabrieli's works are
included tonight - an expressive setting of 'O Domine Jesu
Christe and the Christmas motet 'Hodie Christus natus est'.
'O Maria, qui rapis corda hominum' is a charming Marian
motet by Finetti, a monk and organist at Monteverdi's
parish church of the Frari.
context.
Unlike Monteverdi, Grandi seems most inspired in sacred
music. 'Plorabo die ac nocte'is a highly emotional plaint
of the Virgin, well illustrating the growing dramatic
power of the motet and putting Monteverdi's lament in
Here too the lower voices comment on the scene,
and indeed emotions run so high that the soprano fails to
complete the final word! 'Salvum me fac Deus' is an
equally vivid motet for virtuoso basso profundo,
suggesting that there must have been some extremely,
talented singers in the city. 'O quam tu pulchra es
perfectly captures the exquisite eroticism of the Song of
Songs text, and is typically Venetian in its sensual
approach to Marian worship. Grandi may not have had
Monteverdi's genius, but surely these wonderful works
demand some reassessment of this fine composer.
•
Paul McCreesh 1986.
I am indebted to Jerome Roche, John Whenham and Nigel
Fortune for their interest and assistance in providing
transcriptions.
PM.
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S
7.
NEXT MONDAY AT ST. PAUL'S at 7.30 p.m.
17th Nov Futurities - Jazz, poetry & dance theatre
24th Nov Masque & Metamorphosis
Northern Sinfonia with Heinz Holliger, oboe
Ernst Kovacic & Bradley Creswick, violins
(Lutoslawski, Casken, Blake & Schnittke)
HUDDERSFIELD MUSIC SOCIETY - next concert 8th December
at 7.30 p.m.
FAIRFIELD QUARTET with BENJAMIN FRITH - piano
Haydn op 74 no 3, Mendelssohn op 44 no 2, Dvorak piano
quintet
KIRKLEES ORCHESTRAL CONCERTS - 26th November at
at 7.30 p.m.
B.B.C. Symphony Orchestra cond. Lutoslawski
with Heinz Holliger and Ursula Holliger - oboe & harp
LUTOSLAWSKI
Concerto for Orchestra, concerto for oboe & harp,
symphony no. 3.
Town Hall, Huddersfield.
ELLAND & DISTRICT MUSIC SOCIETY - 28th November at
7.30 p.m.
CHRISTINE BUNNING - soprano & DAVID MASON - piano
Haydn, Mozart, Debussy, Wagner (Wesendonk) Seiber &
Britten.
Parochoal Hall, Westgate, Elland.
HALIFAX PHILHARMONIC CLUB - Friday, 14th November at
7.30 p.m.
HANSON QUARTER with SIMON RAWSON - viola
Mozart quintet in C, Kodaly quartet, Brahms quintet in G
Harrison House, Halifax.
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The Society is grateful for financial help
from:
The Rt. Hon. the Lord Savile, J.P., D.L.
admsoed (Hon. Vice President).
K. Beaumont
H.J. Black
Mrs. E. Crossland
J.F. Crossley
Mrs. A. Crowther
D. Dugdale
C. England.
Miss M.A. Freeman
E. Glendinning
P. Michael Lord
P.L. Michelson
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
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pizzeria
mario
and
nino
Pizzeria Sole Mio
Imperial Arcade,
Market Street,
Huddersfield.
Tel: Hudds. 542828
HOURS OF OPENING
Monday - 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
SALE OF
AVON
sole mio
TRY SOMETHING NEW?
HAVE A PIZZA, A GLASS
OF WINE HAVE FUN!
3
Home made Pastas
Genuine Italian Pizza
Special of the day
Take away for one or for the
family - Party take away
catered for.
STORANA
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
12-002-30 p.m.
12 ZETLAND STREET
HUDDERSFIELD WEST YORKSHIRE
Telephone: (0484) 515161
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(POSI-SEXI) mbye HUDDERSFIELD
bysh
HUDDERSFIELD MUSIC SOCIETY
Ruth Ehrlich
Jennifer Goodson v.
Sixty-ninth Season
1986-1987
Monday, 8th December 1986
St. Paul's Hall, Polytechnic
V.
Katin.
Catherme Marwood
THE FAIRFIELD QUARTET
and
ula.
BENJAMIN FRITH - piano Julia De Brulais
e.
Programme
bri Quartet in G minor op 74 no 3
In Quartet in E minor op 44 no 2
Interval
Quintet in A for piano & strings op 81
Haydn
Mendelssohn
Dvorak
The Fairfield Quartet was formed in 1979 and, like
so many famous string quartets, studied with Sidney
Griller at the Royal Academy of Music. The Quartet has
toured several European countries and played with
distinguished soloists such as Jack Brymer and Peter
Tonight the Quartet is joined by Ben Frith who a
recently won joint top prize in the 1986 Busoni
International Piano Competition. Patrons will remember
his enjoyable recital for the Music Society two years
ago. We congratulate him on this major success in
Bologna.
The Yorkshire Arts Association gives support towards
the cost of these concerts with funds provided by the
Arts Council of Great Britain.
The Huddersfield Music Society acknowledges the
support of the Huddersfield Polytechnic, to which this
Society is affiliated.
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Quartet in G mi. op 74 no 30
Allegro
Largo assai
Menuetto. Allegretto
Allegretto Trio
Finale allegro con brio
(Last performed in 1975 by the New Budapest Quartet)
Haydn wrote 14 string quartets during the last ten
years of the century - six of them in 1793, the two sets
op 71 and op 74. All are dedicated to Count Apponyi. At
this time, Haydn was deeply involved in orchestral
composition and fresh from experiencing the richness and
volume of Salomon's London orchestra; so it is easy to find
in this chamber music a striving after an almost orchestral
type of symphonic sonority. A device used in his symphonies
and found in only these quartets is the use of an
introduction to the first movements. In some cases this
consists merely of a few chords; in others a short adagio.
Haydn (1732-1809)
Opus 74 no 3 opens with a vigorous eight-bar passage,
initially in unison, but diverging into harmony at the
sixth bar. This passage is of great import throughout the
movement and is indeed the central subject of the develop-
ment, so that, while seeming to be another "introduction",
it is in fact an integral part of the movement and the
first note of each bar sets the arpeggio theme for the
subsequent entries.
The Largo is of a grandeur seldom equalled even by
Haydn. Interesting is his use, when embellishing the theme,
of the symphonic device of intensifying the shape by having
all the players play demisemiquavers, though pianissimo.
The finale gives the quartet its name, The Rider. The
urgent rhythm brings its own excitement to conclude one of
Haydn's finest quartets.
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.d
S
Quartet in E minor op 44 no 2
Allegro assai
Scherzo allegro di molto
Andante
Presto agitato ent
(First performance at these concerts)
Mendelssohn (1809-1847)
Mendelssohn's fame as a composer of chamber music
rests largely on his widely popular string octet and D
minor piano trio. There is, however, a very considerable
body of chamber music which attests his greatness in this
field although it attracts relatively few performances,
witness that this is the first performance of this
quartet in the 68 years of concerts featuring most of the
great quartets of the 18th, 19th and 20th centuries. In
fact, all three of his op 44 can be heard in the near
neighbourhood this month: the first at Halifax on the
19th and the third at Saddleworth on the 10th December.
Apart from the Octet and Trio, Mendelssohn left us
another trio, two string quintets, three piano quartets
and eight string quartets of which six are full, four-
movement works.
Of the three op 44, no 2 was composed first. Ten
years had lapsed since the death of Beethoven in 1827,
and his late quartets were still not known to many
people and were certainly not regarded as "normal"
string quartets. So that the classical form which
Mendelssohn continued and developed did not seem
retrogressive, and his treatment of quartet form was
full of character and individuality. In particular, he
developed the scherzo into a movement of style with an
entirely new mode of expression.
The first movement of this E minor quartet opens
without introduction into the first theme. The two
themes are fairly closely related. The scherzo
follows; the slow movement is a song shared by violin
and cello. The swift last movement is a great test of
staying power!
Interval
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Quintet in A major op 81
Allegro ma non tanto
odlom Dumka;
Dvorak (1841-1904)
andante con moto
Scherzo
Finale; allegro
(Last performed in 1951 by the Quintette de l'Atelier)
Furiant;
Furiant;
molto vivace
written
Fifty years have elapsed since the Mendelssohn was
Brahms is at the height of his powers and Wagner
has been dead 4 years when Dvorak brings out his master-
piece for piano and string quartet.
In 1884, soon after the first of his many English
tours, Dvorak bought a property in a village of Southern
Bohemia. Here he spent the spring, summer and autumn for
many years, taking long walks in the woods and raising
pigeons. The charm of this country life had a great effect
on his work and here Dvorak wrote much of his chamber
music.
The form of the quintet is classical but with the
composer's characteristic stamp on it. The first movement,
albeit in sonata form, is sectional in the writing, but the
great drive of the tunes, the rhythms and the dynamics arry
it forward so that its episodic nature is not obvious or
disturbing, and the climax is full of high spirits.
The "Dumka" is a type of Slavonic ballad with
alternating slow and fast tempi. In this case, the move-
ment is a set of variations on two themes. For the Scherzo,
Dvorak uses a variant of the Czech dance "Furiant". It
opens with eight bars for string quartet which the piano
repeats and the cello follows with a joyful waltz. The
slower middle section
themes.
is a syncopated version of the same
Finally a Polka a boisterous peasant movement,
amusingly interrupted by a foray into the academic world in
the shape of an extended fugato. The music seems to "wind
down", then erupts into a joyous ending.
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Howard Davis
9 Peter Pople
HUDDERSFIELD MUSIC SOCIETY
Sixty-ninth Season
Monday, 12th January, 1987
St. Paul's Hall, Polytechnic
1986-1987
THE ALBERNI QUARTET
violin
violin
Quartet in D minor K421
Quartet (1947)
Quartet in A minor op 132
Programme
Interval
Roger Best
David Smith
viola
cello
Mozart
Walton
Beethoven
box The Alberni Quartet is resident in the new town of
Harlow and is sponsored by Harlow District Council. This,
and aid from Eastern Arts Association, have enabled the
quartet to travel widely. Concert tours have taken the
quartet to the Far East, Australia, New Zealand, Europe
and the U.S. The Alberni last played for the Huddersfield
Music Society in October, 1980, when they included in their
programme Britten's second quartet.
The Yorkshire Arts Association gives support toward the
cost of these concerts with funds provided by the Arts
Council of Great Britain.
The Society acknowledges the support of the Huddersfield
Polytechnic, to which this Society is affiliated.
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Quartet in D minor K421
2.
Mozart (1756-1791)
Allegro moderato
Andante
Minuet & trio
Allegretto ma non troppo
(Last performed in 1978 by the Pro Arte Quartet of Salzburg)
Mozart's D minor quartet was written during a period
of great problems, emotional and musical. Dismissed by the
Archbishop of Salzburg, he settled in Vienna, where he
spent the rest of his life. He married Constanze Weber,
much against his father's wishes; he became famous as
pianist and composer of piano concertos; and he met
Haydn!
Shortly before the meeting, Haydn had published his
six quartets op 33 which inspired the younger man to
compose the six which he dedicated to Haydn "the fruit
of long and laborious endeavour". Haydn had so mastered
the art of quartet writing as to be able to give to all
four instruments an equal share wherever appropriate. This
new approach and the more extended development of themes
made the stylistic appeal to Mozart which lay behind the
dedication.
The D minor is the second of the six and is said to
have been written at the time of the birth of Constanze's
first child. It seems that Mozart's fertile invention was
a worry to his contemporaries: "He leaves his hearer out
of breath, for hardly has he grasped one beautiful thought
than another of greater fascination dispels the first, and
this goes on throughout, so that in the end it is
impossible to retain any one of these beautiful melodies".
(Dittersdorf). The Magazin der Musik goes further: "It
is a pity that he aims too high in his artful and truly
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8)
e
S
3.
beautiful compositions, in order to become a new creator,
whereby it must be said that feeling and heart profit.
little; his new Quartets for 2 violins, viola and bass
may well be called too highly seasoned and whose
palate can endure this for long?". Well, we can endure!
Analysis of such a work seems graceless, but one
might mention one or two landmarks: in the first
movement, the broken triplet figures in the development
tossed among the four instruments and used very
effectively in the coda; the rising chords of the to
Andante; the trio in which the first violin, later
joined by the viola plays a leaping melody over
pizzicato in the other strings, and the Siciliano odus
theme of the last movement with four variations and a
coda.
Quartet in A minor no 2 William Walton (1902-1983)
Allegro assai
Presto
Lento
Allegro molto.
(Last performed in 1970 by the Lindsay String Quartet)
Walton's Quartet in A minor was first performed
Considerable ob
in 1947 in the B.B.C. Third Programme.
interest was aroused by this new work for it was
Walton's first major composition since the Violino
Concerto of 1939. During the war years Walton had
written a few smaller pieces, but mostly he was
engaged on film music. In addition, this quartet is be
his first mature chamber music composition (an
earlier string quartet written many years ago was eril
later disowned), while his piano quartet is also a
very early work.
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4.
The composition of this quartet occupied the
best part of a year, being completed in the early
spring of 1947. The balance of the whole work is
clear, since the first and the third movements are on
an extended scale, while flanking these are the
deliberately light-weight second and fourth movements.
The key of the work is strongly A minor, with the slow
movement in F major. Just as the key scheme presents
no problem, so the music is a straightforward piece
of quartet writing with no tricks or outré devices.
First movement - The expressive and long first
subject is stated by the viola with a counter-melody
in rather quicker motion on the second violin.
A piu
mosso section, strongly rhythmic and rather angular,
introduces the second subject. The first subject after
its return, is treated fugally in diminution.
Second movement - A Scherzo in rapid 3/8 time with
a certain amount of syncopation. The music is some-
what comparable to the Scherzo of Walton's Symphony.
Third movement - The unreservedly romantic slow
movement is perhaps the most impressive of the whole
work, and it certainly must rate high among all
Walton's writing. Again, as in the first movement,
the viola is given the opening theme against suspended
chords in the other strings. It is taken up by the
first violin and the viola in octaves and a high passage
for first violin alone leads to the second subject
long soaring tune once more for the viola with a very
simple pizzicato accompaniment on the cello. On
recapitulation, the first subject is played by the
cello in its high register, the second subject by the
first violin.
a
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aid tol de 5.
Fourth movement - A rondo with strongly accented
rhythms, both on and off beats. The gentler legato
subject is introduced by the second violin, but is
only briefly treated. The pungent rhythms of the
opening are maintained to the end. (Copyright by the
Oxford University Press).
Interval
Quartet in A minor op 132
Beethoven (1770-1827)
aq
Assai sostenuto - allegro
Allegro ma non tanto
Molto adagio
Andante
Alla marcia assai vivace
Allegro appassionato
(Last performed in 1980 by the Lindsay Quartet)
In 1822 the violist, Zeuner, and the cellist,
Prince Galitzin, of the St. Petersburg Quartet
attended a performance of Weber's Freischütz whichiqsa
so impressed the latter that he proposed to buy the
score. Whereupon Zeuner remarked that he would do
better to spend his money on commissioning some new
string quartets from Beethoven, "by which the whole
world would profit". Happily, Galitzin followed the
advice and the result is opp. 127, 132, 130, 131,
135 and the fugue, 133, in that order, the
composition of which occupied Beethoven for the last w
three years of his life.
"They grew to maturity in the midst of all the
sufferings of mind and body that made these last three
years one long agony; ill, poverty-stricken and
alone, he found in these intensely moving adagios and
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6.
pain-wracked allegros an outlet for his anguish of hope
and distress. The five works are intimately linked with
the daily existence of one of the greatest and most
desolate figures in history, during the saddest period
of his life; they are in every respect the last
revelations of his spirit, inspiring the listener to
admiration mingled with infinite pity and awe.
Fourteen years had passed since the series of
quartets op 59, 74 & 95, years in which Beethoven touched
the pinnacle of his glory and plumbed the depths of
desolation. Success came first; at the height of his
most brilliant phase, he composed the Archduke Trio, and
the 7th and 8th symphonies. Freed from material cares,
he was surrounded by an atmosphere of warmth and
affection in a circle of devoted friends.
In 1814 Lichnowsky died, and the loss of his most.
zealous patron marks the beginning of a succession of
troubles and disasters. One by one his other patrons
disappeared, as Rasoumovsky left Vienna, Lobkovitz died,
his friends left the city; he was cut off from the world
by his absolute deafness and after 1816 writing was his
only means of communication with his fellow-men. From 1816-
1820 he was engaged in the dreadful lawsuit over his
nephew and was often in very bad health. But in 1818 he
regained his strength and produced two masterpieces: the
Mass in D and the Ninth Symphony". (Joseph de Marliave)
Beethoven composed the A minor quartet in 1825 after
a long illness. On page 60 of the manuscript are the
following words: Heiliger Dankgesang an die Gottheit eines
Genesenen, in der Lydischen Tonart.. (Song of thanksgiving
to the Deity on recovery from an illness, written in the
Lydian mode). This refers to the adagio theme of the slow
movement and the mode is the scale of F but with a B
natural. This famous movement is the climax of the quartet.
Towards the end of his life, Beethoven wrote to Bettina
von Arnim: "I am Bacchus incarnate, to give humanity wine
to drown its sorrow" and "He who divines the secret of my
music is delivered from the misery that haunts the world".
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NEXT MONDAY AT ST. PAUL'S
STUDENTS ON STAGE
Music from advanced students about to enter the music
profession.
7.30 p.m.
Huddersfield Polytechnic
HUDDERSFIELD MUSIC SOCIETY next concert Monday,
2nd February. 7.30 p.m.
CHRISTOPHER MARWOOD cello & REBECCA HOLT piano
Beethoven Sonata op 102 no 1
Schumann Fantasies tucke
Ginastera Pampeana
7.
Tippett Ritual Dances
Mozart
Dvorak
Town Hall, Huddersfield.
KIRKLEES ORCHESTRAL CONCERTS
Saturday, 17th January at 7.30 p.m.
B.B.C. PHILHARMONIC ORCHESTRA cond: Edward Downes
Chopin Polonaise Brillante
Brahms Sonata in E minor
Violin concerto in D
Symphony no 9 (from the New World)
Schumann
Butterworth
Schubert
Cornelius
Harrison House, Halifax.
violin: Mayumi Fujikawa
ELLAND & DISTRICT MUSIC SOCIETY
Friday, 30th January at 7.30 p.m.
ARIANA
Susie Beddow harp & Aidan Goetzee flute
Parochial Hall, Westgate, Elland.
HALIFAX PHILHARMONIC CLUB Friday,
HENRY HERFORD baritone & ROGER VIGNOLES piano
Liederkreis
A Shropshire Lad
Schwanengesang
Weinachtslieder
23rd January @ 7.30 p.m.
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3
The Society is grateful for financial help from:
The Rt. Hon. the Lord Savile, J.P., D.L.
(Hon. Vice-President).
20
K. Beaumont
H.J. Black
Mrs. E. Crossland
J.F. Crossley
Mrs. A. Crowther
D. Dugdale
C. England
Miss M.A. Freeman
E. Glendinning
P. Michael Lord
P.L. Michelson
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
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THE
HUDDERSFIELD
MUSIC
SOCIETY
W
WT.
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HUDDERSFIELD MUSIC SOCIETY
akakakak
(TS81-01T1) HUDDERSFIELD
Sixty-ninth Season
1986-1987
Monday, 2nd February, 1987
St. Paul's Hall, Polytechnic
Christopher Marwood. • cello
Rebecca Holt
piano
Programmm
Sonata in C major op 102 no 1
Fantasies tücke
Pampeana
Polonaise Brillante
Interval
Beethoven
Schumann
Ginastera
330 Chopin
16
ano Sonata in E minor op 38
Christopher Marwood graduated in modern languages
at Cambridge in 1983 and studied the cello at the Royal
Acadamy of Music with Florence Hooton and David Strange
and subsequently, in London, with Ralph Kirshbaum. He
has won many awards and competitions and made his concert
debut in 1985 with the London Soloists Chamber Orchestra.
Brahms
Rebecca Holt studied at the Guildhall School of Music
and Drama, and has won the European Music for Youth and
International Young Concert Artists Accompanist Prize.
This concert is sponsored by the Countess of Munster
Musical Trust.
The Society is grateful for the support of Yorkshire
Arts and of the Huddersfield Polytechnic to which this
society is affiliated.
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Sonata in C major, op 102 no 1
Beethoven (1770-1827)
allegro vivace
Andante
Adagio tempo d'andante - allegro vivace
(Last performed in 1969 by Fritz & Natasha Magg)
Beethoven's five sonatas for cello and piano are
dispersed through his compositions - two in the early
period, op 5, one in the middle, op 69 and two late, op
102, composed in 1815. The opus 5 works were remarkable
for their time, opus 69 is probably the most popular, and
the opus 102 show plainly the characteristics we recognise
in the string quartets and piano sonatas, the integration.
of the two parts contributing greatly to these find works
for the medium.
Clearly, when Beethoven wrote his opus 5, the cello
must have attained the status of a solo instrument. No
composer since Bach had produced works of such maturity, not
to say difficulty, for it, and no doubt the existence of
good cellists had its effect on Beethoven as his compositions
must have had on the standard of playing.
Opus 102 no 1 opens with a long slow introduction with
themes which bring out in full the cantilena qualities of
the cello. The theme of the Allegro is vigorous and
rhythmical and is later dominated by a persistent triplet
figure. Much use is made in the development section of the
rhythm of the main subject. What corresponds to the slow
movement is a fairly short Adagio, decorated with beautiful,
delicate figuration, based largely on the theme of the
introduction. The tempo quickens to andante, leading with
a trill into the Allegro. The opening of this movement is
fugal in character and its themes are bright and vigorous.
Held cello notes interrupt this vivacity and introduce the
coda.
Fantasiestücke op 73
Schumann (1810-1856)
Zart mit Ausdrück
Lebhaft, leicht
Rasch, mit Feuer
(Last performed in 1932 by Gaspar Cassado and Guilietta
von Mendelssohn-Gordigliani)
Pa
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ye
19
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ce
:)
not
ions
th
he
ul,
1
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1
1
Alberto Ginastera (1916-1983)
Ginastera was born in Buenos Aires, where he lived,
except for two years in New York, until 1971. In that
year he moved to Geneva and lived there until his death in
1983. Much of his life was spent in teaching and he
founded several music schools. His compositions include
operas, concertos and chamber music.
Pampeana
Polonaise Brillante
020 Chopin (1810-1849)
(Last performed in 1949 by Pierre Fournier & Ernest Lush)
Interval
Brahms (1833-1897)
Sonata in E minor op 38
Allegro
Allegro quasi menuetto
Allegro non troppo
(Last performed in 1952 by William Pleeth & Margaret Good)
Brahms wrote only two sonatas for cello and piano, the
E minor and one in F major, op 99. The work was begun in
1862, shortly after the Piano Quintet and the String Sextet
in G, and before the Horn Trio and the German Requiem. An
Adagio movement was discarded and the finale was written in
1865. The sonata was thought by Geiringer to be an act of
homage to Bach, because the main theme of the first move-
ment is closely related to the "Contrapunctus 111" from
the Art of Fugue, while the subject of the Finale is like
the "Contrapunctus X111" from the same work.
There is no slow movement; a graceful minuet is
followed by a contrasting trio and the third movement is
a strict fugue with a free middle section and a da capo.
The piano opens with a running triplet subject in the bass;
it is answered by the cello entry and the third voice is
heard in the treble of the piano. A brilliant coda
concludes the work.
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Next Monday at St. PAUL'S
Organ Recital Catherine Ennis
(Bach, Mendelssohn, Schumann & Guilmant)
HUDDERSFIELD MUSIC SOCIETY
Monday, 23rd February, 1987 at 7.30 p.m.
THE MOSCOW STRING
Quartet no 7
Quartet no 2
Quartet no 3 in Eb minor
KIRKLEES ORCHESTRAL CONCERTS
next concert
Wednesday, 18th February, 7.30 p.m.
Guitar - David Russell
Town Hall, Huddersfield.
7.30 p.m.
ENGLISH NORTHERN PHILHARMONIA (Opera North)
Symphony no 35 'Haffner'
Guitar concerto
Suite Romeo & Juliet
Suite Daphnis & Chloe
HALIFAX PHILHARMONIC CLUB
Friday, 20 th February at 7.30 p.m.
Quartet no 7
Quartet no 2
Quartet in Bb minor
Harrison House, Halifax.
QUARTET
QUARTET opisnofol
Shostakovich
Schnittke
Tchaikovsky
THE MOSCOW STRING QUARTET
Mozart
Villa Lobos
Prokofiev
Ravel
Shostakovich
Schnittke
Tchaikovsky
deel)
A
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ہو
کے
ہ
x
ه ه ه ه
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pizzeria
mario
and
nino
Pizzeria Sole Mio
Imperial Arcade,
Market Street,
Huddersfield.
Tel: Hudds. 542828
HOURS OF OPENING
Monday - 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
A4
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.
●
STORAN
TRATTORIA
TRATTORIA ALLA SCALA
HOURS OF OPENING: Monday Closed all day
Tuesday - Saturday 12-30- 2-30 p.m.
6-0011-00 p.m.
Sunday
12-00- 2-30 p.m.
12 ZETLAND STREET
HUDDERSFIELD WEST YORKSHIRE
Telephone: (0484) 515161
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THE
HUDDERSFIELD
MUSIC
SOCIETY
1
[I]
WT.
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HUDDERSFIELD MUSIC SOCIETY
****
Sixty-ninth Season
1986-1987
SOCIETY E
Programme
Monday, 23rd February, 1987
St. Paul's Hall, Polytechnic
MOSCOW STRING QUARTET
Evguenia Alikhanova violin Tatiana Kokhanovskaia
Valentina Alykova violin Olga Ogranovitch
Quartet no 7 in F sharp minor
Quartet no 2 (1980)
Interval
Quartet in E flat minor, op 30
bak
viola
cello
Shostakovich
Schnittke
Tchaikovsky
The Moscow Quartet was formed in 1975 at the Moscow
Conservatoire and has rapidly gained international acclaim
and distinction. They were prizewinners at the Budapest
International Competition and won both first prize and a
special prize for the best interpretations of both classical
and contemporary repertoire at the Evian International.
Competition. They have made a series of recordings of
Beethoven, Shostakovich and Bartok for radio and television.
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 the co-operation of the
Huddersfield Polytechnic to which this society is
affiliated.
1
AM
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Quartet no 7 in F sharp minor, op. 108
Allegretto
Lento
Shostakovich (1906-1975)
Allegro-allegretto
(Last performed in 1969 by the Dekany Quartet)
In 1960 Dimitri Shostakovich wrote two string quartets
which must to some degree be autobiographical. No 7 was
written in memory of his first wife, Nina, and it manages
to be desolate in an exciting rather than a dreary way.
The tripping figure of the opening in 2/4 time is
played by solo violin and features the composer's initials,
D. S. (Eb) as instanced in so many of his works. The
opening theme is transformed in the recapitulation by being
played pizzicato and in 3/8 time. The three movements are
played without a break and the D.S.
signature occurs in all
movements - at the beginning of the slow as an accompanying
figure and again in the Finale, where the material is
transformed in the recap, the fugue becoming a wraith-like
waltz.
Quartet no 2 (1980) Alfred Garyevich Schnittke (b. 1934)
(First performance at these concerts)
Alfred Schnittke was born in the U.S.S.R. but began
his musical training in Vienna, where his father was
stationed with the Army. On his return to Russia he studied
and then taught at the Moscow Conservatoire until 1972.
Respected for his theories on musical style, he is rated
very highly in his own country, even though his compositions
contain much experimentation in serialism, aleatory
techniques, electronics, etc., which can hardly have
recommended him to the Soviet regime.
Brought to the notice of British audiences by the
Fitzwilliam Quartet, who played his Canon in memory of
Stravinsky in 1982 at the joint Music Society and
Contemporary Music Society concert in the Town Hall,
Schnittke also caused some excitement in the musical
world with a startling cadenza which Gidon Kremer used for
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7
2
his performance of the Beethoven violin concerto.
Schnittke has often been spoken of as the successor
to Shostakovich. Though not a pupil of his, he claims
that his early compositions were much influenced by the
older composer.
The quartet is his second, the first having beenust
written in 1966 (the Canon in 1971). It is written
in memory of Larissa Shepitko, a film director with
whom Schnittke had collaborated.
Interval
Quartet in E flat minor op 30 Tchaikovsky (1840-1893)
Andante sostenuto - allegro moderato
Allegro vivo e scherzando
Andante funebre e doloroso ma con moto
Allegro ma non troppo e risoluto
(First performance at these concerts)
Chamber music in general seems not to have been
congenial to Russian composers before the twentieth
century. Tchaikovsky wrote one piano trio, a sextet for
strings (Souvenir de Florence) and only three string
quartets, whereas Shostakovich produced fifteen.
Tchaikovsky wrote this, his third, string quartet at
the age of 36 in memory of his colleague and friend,
Ferdinand Laub, leader of the quartet which had launched
the first and second quartets in 1871 and 1874.
The first movement is a specific memorial to
Ferdinand Laub an immense valse triste with a slow
introduction and coda. This is followed by a brief
interlude - a scherzo of the delectable nature so
characteristic of the composer.
ab
The slow movement is elegiac, even to the tolling B
flat in the second violin part, but with a cantabile section
in G flat, which relieves the expression of grief.
The quartet ends with a vigorous Russian rondo of
unremitting energy, stilled briefly before the coda with a
fragment from the slow introduction, played pizzicato,
which recalls the feeling which inspired the composition.
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Next Monday at St. Paul's
Polytechnic Choir & Orchestra
Faure
Cesar Franck
Respighi
KIRKLEES ORCHESTRAL CONCERTS
2nd March, 7.30 p.m.
Conductor - Richard Steinitz
Kodaly
Beethoven
Brahms
Tuesday, 31st March at 7.30 p.m.
Requiem Mass
Symphonic Variations
Pines of Rome
BUDAPEST SYMPHONY ORCHESTRA
Cond: Gyorgy Lehel
Town Hall, Huddersfield.
Dances from Galanta
Piano concerto no 4
Symphony no 2
Piano: Jeno Jando
ELLAND & DISTRICT MUSIC SOCIETY
Friday, 13th March at 7.30 p.m.
HANSON STRING QUARTET
Haydn
Kodaly
Beethoven
Parochial Hall, Westgate, Elland.
ni
Quartet in Eb op 64 no 6
Quartet no 2
Quartet in C sharp minor, op 131
up
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THE SOCIETY IS GRATEFUL FOR FINANCIAL HELP FROM:
The Rt. Hon. The Lord Savile, J.P., D.L.
(Hon. Vice-President)
K. Beaumont
H.J. Black
Mrs. E. Crossland
J.F. Crossley
Mrs. A. Crowther
D. Dugdale
C. England.
Miss M.A. Freeman
E. Glendinning
P. Michael Lord
P.L. Michelson
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
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Ocr'd Text:
pizzeria
mario
and
nino
Pizzeria Sole Mio
Imperial Arcade,
Market Street,
Huddersfield.
Tel: Hudds. 542828.
HOURS OF OPENING
Monday - 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
الله
NIVI
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.
IST
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
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THE
HUDDERSFIELD
MUSIC
SOCIETY
W
WT.
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S
HUDDERSFIELD MUSIC SOCIETY
asic Sixty-ninth Season
Monday, 30th March, 1987
St. Paul's Hall, Polytechnic
PASCAL ROGE piano
ada Programme
Sonata in C minor op 111
1986-1987
Preludes Book 1
Interval
012 mov 1933 1
Schumann
Beethoven
adotage Debussy 190
Pascal Rogé was born in Paris in 1951 and represents the
third generation in a family of musicians. He made his
first appearance with orchestra in Paris at 11 and
graduated from the Paris Conservatoire 4 years later. Insig
The most important influence in Rogé's career was
his three years' study with Julius Katchen "Katchen
taught me how to build one piece from the beginning to the
end with one view"
He appears regularly in Paris both with orchestra and
in recital and has played with the Concert ebuw in
Amsterdam and with the Royal Philharmonic in the Far East.
In 1982 he made his debut at the Edinburgh Festival with
the Philharmonia and Simon Rattle.
The Society is grateful for the support of Yorkshire Arts
Association and of the Huddersfield Polytechnic to which
this Society is affiliated.
3
**39*
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Kinderscenen op 15 1008
018UM
Von fremden Ländern und Menschen
Kuriose Geschichte
Hasche-Mann
Bittendes Kind
Glückes genug
Wichtige Begebenheit
Träumerei
Am Kamin
Ritter vom Steckenpferd
Fast zu ernst
Fürchtenmachen
Kind am Einschlummern
Der Dichter spricht.
Schumann (1810-1856)
From foreign lands and
peoples.
A curious story
Blindman's Buff
Entreating Child
Perfect Happiness
An important event
Dreaming
By the Fireside
Knight of the Rocking-
horse
Almost too solemn
To frighten
Child falling asleep.
The Poet speaks
(Last performed in 1949 by Clifford Curzon)
Schumann's intention was to become a professional
pianist; only his misconceived attempt to develop his
finger technique by artificial devices caused him to
renounce this ambition, so that he turned to composition,
and in the first place almost exclusively for the piano.
Nearly all Schumann's works for piano were composed before
1840.
ban The Kinderscenen were written in 1838, two years
before his marriage to Clara and in the same period as the
very different Kreisleriana. Unlike the Album for Young
People, the work is far from being designed for young
fingers. None of these thirteen small masterpieces of
characterisation exceeds two pages of music and in each
case, the names were added after the music was written.
Sona ta
sona ta
work
after
Bee the
two-mo
surpri
the fa
realis
requir
antago
comple
majest
the co
disson
follow
the ba
appear
thunde
melodi
confli
become
in the
variat
indivi
of con
serene
materi
far fr
the ut
uality
which
refere
Sonata
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nd
7
Sonata in C minor op. 111
Beethoven (1770-1827)
Maestoso - Allegro con brio ed appassionato
Arietta Adagio molto semplice e cantabile
(Last performed in 1963 by Stephen Bishop)
This titanic sonata is the last of the 32 piano
sonatas and is considered by many to be the most perfect
work of its kind. It was written in 1821/22 immediately
after the sonatas op 109 and 110 and only five years before
Beethoven's death,
The sonata has only two movements. In itself this
two-movement form in a late Beethoven sonata is not
surprising, but what astonished contemporary musicians was
the fact that the work ended with an adagio. Now we
realise that not only was the conventional finale not
required, but that it would have been definitely
antagonistic to the character of the work, already
complete in itself.
The first movement has a short introduction of
majestic proportions indicating at once the vastness of
the conflict. The opening discord is the most agonising a
dissonance in Beethoven's musical vocabulary. It is
followed by stately chords fading into a deep rumble in
the base, which is interrupted by the dramatic
appearance of the principal subject. This continues in
thundering octave passages, and, after tremendous
melodic leaps, the gentler second subject enters. The
conflict breaks out again and continues until the key
becomes C major and the turmoil sinks into low mutterings.
in the base.
The second movement is an Arietta with five
variations. These are unusual in that each variation is
indivisible from the next, and the whole impression is one
of continuity and organic growth. The song itself is
serene and to be played with much simplicity. Upon this
material a movement is built up which takes the listener
far from the original simplicity of the theme, through
the utmost subtleties of rhythm, into heights of spirit-
uality. Finally comes a long series of trills through
which snatches of the original theme are heard; a brief
reference to the opening brings the movement and the
Sonata - to its perfect close.
C.A.S.
-0.47
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Interval
The Society thanks the ladies of St. John's Church, Newsome,
for providing coffee in the intervals.
Preludes Book 1
Debussy (1862-1918)
Debussy's 24 Preludes were written fairly late in his
not very long life, 1910. The important piano works to
follow were the 12 Etudes in 1915 and the Epigraphes
Antiques and Petite Suite for duet in 1914.
It was
The pieces are very varied here again the composer
added the titles after the music was completed. Debussy od
was a pianist himself, though a very retiring one.
said of his playing: "He was an original virtuoso,
remarkable for the delicacy and mellowness of his touch. He
made one forget that the piano has hammers an effect which
he used to ask his interpreters to aim at and he achieved
particularly characteristic effects by the use of both
pedals". He was more than once accused of maintaining a
continuous pianissimo to the extent of being inaudible. Lon
His great interpreter and champion was Marguerite Long.
The Twelve Preludes of Book 1 are:-
Danceuses de Delph
Voiles
Le vent dans la plaine
Les sons et les parfums tournent dans l'air du soir
Les Collines d'Anacapri
Des pas sur la neige
Ce qu'a vu le vent d'Ouest
La Fille aux cheveux de lin
La Serenade interrompue
La Cathédrale engloutie
La Danse de Puck
Minstrels
Tuesday, 31st March at 7.30 p.m.
BUDAPEST SYMPHONY ORCHESTRA
Kodaly, Beethoven, Brahms.
m
Town Hall
10
cond:
Pianist:
Gyorgy Lehel
Jeno Jando
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e,
e
ch
I
THE SOCIETY IS GRATEFUL FOR FINANCIAL HELP
FROM:
The Rt. Hon. the Lord Savile, J.P., D.L.
(Hon. Vice President).
K. Beaumont
H.J. Black
Mrs. E. Crossland
J.F. Crossley
Mrs. A. Crowther
D. Dugdale
C. England
Miss M.A. Freeman
E. Glendinning
P. Michael Lord
P.L. Michelson
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
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Ocr'd Text:
pizzeria
mario
and
nino
Pizzeria Sole Mio
Imperial Arcade,
Market Street,
WIL
JAIDEANTE NOT THE Sole mio
Huddersfield.
Tel: Hudds. 542828
HOURS OF OPENING
Monday - 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
WUmbria
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
catered for.
Party take away
ISTORAN
TRATTORIA
TRATTORIA ALLA SCALA
HOURS OF OPENING: Monday Closed all day
Tuesday - Saturday 12-30- 2-30 p.m.
6-0011-00 p.m.
Sunday
12-00- 2-30 p.m.
12 ZETLAND STREET
HUDDERSFIELD WEST YORKSHIRE
Telephone: (0484) 515161