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HUDDERSFIELD
MUSIC
SOCIETY
1987-88 SEASON
MONDAYS AT ST. PAUL'S HALL
HUDDERSFIELD
POLYTECHNIC
*
with
0
ENDELLION QUARTET
Special discount for subscribers
Double Season ticket 43% off Saving £21.00
Single Season ticket 35% off Saving £8.50
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TICKET PRICES
DOUBLE SUBSCRIPTION
2 tickets for all 7 concerts of series
SINGLE SUBSCRIPTION
1 ticket for all 7 concerts of series
Students half price
SINGLE TICKET FOR EACH CONCERT of series
Students
SPECIAL EXTRA CONCERT
Students
Enquiries: Hon. Subscription Secretary
or Hon. Secretary
£5
£2
Single tickets may be purchased by using the booking form
or from Huddersfield Information Centre, Albion St., Tel.
22133, ext. 685 (Saturdays 23877) or at the door on the
night of the concert.
BOOKING FORM
Post this form with payment to Mr. P. Michael Lord,
14 Garsdale Road, Newsome, Huddersfield HD4 6QZ.
Tel: Hudds. 29214 (office Mirfield 494087)
Address
BENEFITS FOR SUBSCRIBERS: As well as enjoying
substantial discounts (see front) subscribers are
guaranteed preferential seating and a discount on tickets
for the special extra concert on Sunday, 4th October 1987
Postcode
N.B. Please enclose S.A.E. if you are asking for tickets to be sent
to you.
Name
Telephone_
*I have received my season ticket(s) for 1987/88
*Please send me: (Delete words not appropriate)
Quantity
Double season ticket
Single season ticket
Single concert ticket
Special concert
Sun. 4th Oct. 1987
Date & Quantity
£28
Hudds. 541700
Hudds. 22612
I enclose cheque (together with
vouchers if applicable)
£16
£3.50
£1.50
£
CH
р
р
Total
Cheques payable to "The Huddersfield Music Society". Season
tickets to be paid for or returned by 25th September 1987.
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£28
£16
8.50
1.50
£5
£2
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SON
MONDAY 8th FEBRUARY 1988 7.30 p.m.
THE VILLIERS PIANO
QUARTET
Piano Quartet in G minor K 478
Phantasy Quartet
Piano Quartet in E flat Op. 47
This Quartet, consisting of four players of
international renown, lives up to and surpasses all
expectations. "With soloists as individually
accomplished as lan Brown, Maureen Smith, Suzie
Mezaros and Alexander Baillie, an evening of assured,
stylish ensemble was a foregone conclusion. Yet such
spontaneous, imaginative warmth and vitality still
came as a surprise - enough to win them a standing
ovation." (Times)
Mozart
Frank Bridge
Schumann
MONDAY 7th MARCH 1988 7.30 p.m.
THE PRAZAK QUARTET
Quartet in C minor Op. 18 no. 4
Lyric Suite
Quartet in E minor (From my Life)
Beethoven
Alban Berg
Smetana
This Czech Quartet made a great impact when they
played in the Society's 1985/86 season. We are sure
their return will be warmly anticipated by those who
were privileged to hear them play on that occasion.
Concerts on intervening Mondays are promoted by
the Polytechnic Music Department and are
advertised in the Department's brochure.
SPECIAL EXTRA CONCERT
SUNDAY 4th OCTOBER 1987 7.30 p.m.
JOHANNES GORITZKI
STRING QUINTET
Quintet for 2 violins, viola & 2 cellos Boccherini
Quintet in C major Op. 163
Schubert
Thanks to sponsorship by the Goethe Institute,
we present an extra concert (NOT part of the
subscription series) by this distinguished quintet, who
are making this one stop in England on their way back
to Germany from a tour in South America.
Tickets may be ordered by using the Booking Form.
Prices £5 (Students £2) Subscribers will find a £2
discount voucher (Students £1) attached to their
season ticket.
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28
£16
8.50
1.50
£5
£2
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MONDAY 5th OCTOBER 1987 7.30 p.m.
THE CHILINGIRIAN
STRING QUARTET
Quartet in C major, Op. 33 No. 3
Quartet No. 2
Quartet in Eb major, Op. 127
Haydn
Bartok
Beethoven
It seems superfluous to say anything by way of
introduction of one of the most distinguished string
quartets in the world, an ensemble of whom The
Observer has said "The Chilis have been hot stuff on
the concert platform for over a decade”!
Truly one of the great quartets.
MONDAY 26th OCTOBER 1987 7.30 p.m.
FRANCIS RAYNER piano
Three Impromptus
Sonata in C major, K 330
Children's Corner
Twenty-four Preludes Op. 28
At only 9 years of age, this gifted pianist won the
National Under 14 Piano Playing Competition. Since
then he has gone on to win prizes at home and abroad
and to establish himself as both a soloist and a
chamber music player of considerable musical worth.
Schubert
Mozart
Debussy
Chopin
MONDAY 16th NOVEMBER 1987 7.30 p.m.
THE WIND SOLOISTS OF
THE CHAMBER
ORCHESTRA OF EUROPE
Octet Op. 103
Beethoven
Villa-Lobos
Trio for oboe, clarinet & bassoon
4th Fugue from the 'Art of Fugue'
Octet (1980)
Serenade in C minor, K 388
Bach arr. O'Neill
Edward McGuire
Mozart
In 1982 the Wind section of the Chamber Orchestra
of Europe formed their own Octet. Since then, they
have achieved an outstanding reputation, equal to that
of their parent orchestra; they have performed
throughout Great Britain and Europe and have made a
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number of recordings which have met with rapturous
reviews.
Their unique quality is best summed up by the Boston
Globe: "The Woodwind Soloists are at once miraculous
individual virtuosi and a superb ensemble".
MONDAY 7th DECEMBER 1987 7.30 p.m.
THE ENDELLION
STRING QUARTET
Three Divertimenti
Quartet in Eb major Op. 76 No. 6
Quartet in A minor Op. 132
Britten
Haydn
Beethoven
In its relatively short life, this highly talented ensemble
has taken the world of chamber music by storm,
attracting praise from all parts of the world.
According to The Listener, "the Endellion is one of
those rare ensembles whom it would be a pleasure to
hear playing an hour of scales and arpeggios, let alone
a recital of actual music".
We are fortunate to hear them in masterpieces of the
quartet repertoire by Haydn, Beethoven and Britten.
MONDAY 18th JANUARY 1988 7.30 p.m.
JEAN OWEN bassoon
HILARY PUNCHON piano
ELIZABETH LAYTON violin
MALCOLM MARTINEAUpiano
Sonata for violin & piano with
bassoon cont:
Suite Italienne
Sonata for bassoon & piano
"Out of" for bassoon & piano
Handel
Stravinsky
Saint-Saens
Sven-David
Sandstrom
Faure
Sonata for violin & piano in A minor
Huddersfield born Jean Owen, Young Commonwealth
Musician of the Year and a former Pearce Prize
winner, gives us a rare opportunity of hearing the
bassoon as a solo instrument. Elizabeth Layton has
already performed with many musicians and
ensembles and was a winner of the Young Concert
Artists Trust Competition.
Financed by The Countess of Munster Trust
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HUDDERSFIELD -
MUSIC
SOCIETY
President: James F. Crossley
Hon. Secretary: Mrs. M. S. Glendinning
Hon. Treasurer: P. Michael Lord
Hon. Subscription Secretary: Mrs. L. Sutcliffe
HUDDERSFIELD
MANCHESTER
MANCHESTER RO A62
A616 CHAPEL HILL
Car
park
QUEEN ST SOUTH'
QUEENSGATE
FIRE
STATION
A
ST. PAUL'S
HALL
MARKET
HALL
POLYTECHNIC
QUEENS GATE
BUS STATION
CASTLEGATE
ICH
A629 WAKEFIELD RO
SOUTHGATE
WAKEFIELD
AND SHEFFIELD
M62 WEST
A640
NORTH ROAD
RAILWAY STATION
10900
We gratefully acknowledge the support of:
Huddersfield Polytechnic
Arts Council of Great Britain
Yorkshire Arts Association
Kirklees Leisure Services
SPORTS
CENTRE
LEEDS RD A62
HALIFAX
& M62
A629
N-
ST JOHN S RD
M1 TOWN CENTRE
LEEDS
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THE
HUDDERSFIELD
MUSIC
SOCIETY
1
WT.
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HUDDERSFIELD MUSIC SOCIETY
SOCIETY dolup gl
Sunday, 4th October 1987
St. Paul's Hall, Polytechnic
JOHANNES GORITZKI STRING QUINTET
Elisabeth Perry
violin
Winfried Rademacher violin
Richard Lester
Programme
Quintet in C major op. 28 no 4
"Tierkreis" (Zodiac)
James Creitz
Johannes Goritzki
Cello
viola
cello
Boccherini
Stockhausen
Interval
Quintet in C major, op. 163 D. 956 2 Schubert
Johannes Goritzki is a well-known solo cellist,
teacher and conductor in Germany and many other European
countries. He has also appeared at the Marlboro Festival
in Vermont, U.S.A. where he performed with Rudolf Serkin,
and at many festivals throughout the world, including the
Menuhin at Gstaad.
Elisabeth Perry was a Menuhin School pupil and also studied
at the Juilliard School in New York. She is well-known as
a chamber music player in this country.
Winfried Rademacher studied with Suk and Milstein and has
been soloist and leader with the Chamber Orchestra of
Europe and the European Community Chamber Orchestra.
teaches at Lubeck.
James Creitz comes from the U.S.A. and studied with Bruno
Giuranna. He is an international chamber music player and
teaches viola and chamber music in Italy.
Richard Lester studied the cello with Johannes Goritzki and
performs in Europe, including Salzburg under Sandor Vegh,
and in Japan.
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2.
String Quintet in C major, op 28 no 4 Boccherini (1743-1805)
Allegro con moto
Menuetto & Trio
binn Grave
Rondo allegro con moto
(Last performed in 1981 by the Aulos Ensemble)
Born in Lucca in 1743, Boccherini studied the cello and
the double-bass and made his name as a virtuoso cellist in
his teens. In 1769 he left Italy and settled in Madrid,
where he composed for his patron, Don Luis, brother to the
King. This was followed by a ten year period in Prussia as
court composer to Frederick William 11. On his return to
Madrid he found himself without patron and eventually died in
poverty.
Boccherini wrote 30 symphonies, 11 cello concertos, 91
string quartets, 154 string quintets, 60 trios, guitar
quintets, operas and church music!
Tierkreis (Zodiac)
Stockhausen (b. 1828)
Aquarius; Pisces; Aries; Taurus; Gemini; Cancer; Leo;
Virgo; Libra; Scorpio; Sagittarius; Capricornus.
(First performance at these concerts)
Not normally associated with string quintets, Karlheinz
Stockhausen was the first composer to have an electronic score,
or diagram, published and is generally regarded as the leader
of the electronic 'avant-garde'.
"In 1975 I composed Music in the Belly' for 6
percussionists, a scenic piece which I heard and saw in 1974
one morning as I awoke. Near the end of the piece, 3 music
boxes are taken out of the stomach of a bird man, who is
suspended above the stage. There is a total of 12 music
boxes......I composed and named the 12 melodies according to
the characteristics of the signs of the zodiac......
In inventing each melody, I thought of the characters of
children, friends and acquaintances who were born under the
various star signs, and I studied the human personalities of
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1
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3.
the star signs more thoroughly.....
The choice of solo instruments, for particular zodiac
melodies as well as the combinations and frequencies of
certain instruments are defined by the characters of the
signs of the zodiac".
(From notes by Stockhausen kindly supplied by
Richard Steinitz)
Interval
String Quintet in C major, op 163 D 956 Schubert (1797-1828)
1. Allegro ma non troppo 3. Scherzo-presto, trio andante
2. Adagio
sostenuto
4. Allegretto
(Last performed in 1977 by the Lindsay Quartet with
Douglas Cummings)
Popularly known as the 'cello quintet', this is generally
thought to be the composer's last work. Its composition is
usually dated as the late summer of 1828, a few months
before his death on November 19th. There is, however,
little known about its origin; it is not mentioned in the
contemporary writings of Schubert's circle of friends, and
the manuscript has disappeared. It received its first
performance in 1850 - 22 years after Schubert's death.
Mozart, in his string quintets, had added an extra viola to
the traditional quartet; Schubert adds a 'cello and uses
the two 'cellos in various ways. Sometimes they move
together in parallel thirds or sixths; at others, one moves
into its upper register whilst the other supports it below.
and occasionally both soar up above the viola line.
instruments.
The first movement starts with a gentle meditative theme
on the first violin above a soft chord on the lower
Very soon the music plunges into an
aggressive dramatic passage, which gives added poignancy
to the contrasted second subject. This starts with a
theme whose beauty even Schubert seldom matched. It is
heard first on the two cellos and is then taken over by the
two violins. The development begins by using a fragment
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from the end of the second subject. Soon the music become s
once more stark and aggressive, until the first violin and
first cello embark on a long soaring passage high above the
other instruments almost as if they had lost sympathy
with them. The recapitulation is full of delicate
instrumental colour. The coda begins in a mood of gloom
and foreboding; then suddenly the skies clear and the move-
ment ends with a reference to the lyrical second subject.
The three middle
The opening of the adagio is difficult to convey in words.
It is in 12/8 time, in the key of E major.
instruments play a slowly shifting melody; above them is a
little broken rhythmic pattern on the violin; below, a
pianissimo pizzicato on the second cello. The music
continues in this serene mood until bar 27; the feeling
then abruptly changes to one of grief and agitation,
accompanied by a modulation to the key of F minor.
Gradually the anguish is subdued and a pianissimo passage
prepares the ear for a return to the mood of the beginning.
First comes a variant on the opening theme, with the first
violin weaving its comments above. Then there is a modified
reprise with the first violin changing so frequently from
bowed playing to pizzicato, that it appears to be
accompanying itself. The closing bars contain a mild threat.
to bring back the F minor passage, but then end serenely.
The opening of the scherzo is strident and harsh, but
Schubert's usual tuneful lyricism soon breaks through. The
trio is a complete contrast: strange and intensely
original. The descending figure on the viola and second cello
set the mood of sombre meditation which pervades the
whole passage.
The light-hearted dance strains of the last movement seem
to form a contrast to the dominant mood of the work. But
even here, gaiety gives way to passages of pathos. After
the whirling dance of the coda the tragic undertone of the
whole is once more emphasised by the appoggiatura on D flat
before the final C is sounded.
This concert is presented in association with the Goethe
Institute of Manchester.
p
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Lo
Mondays at St. Paul's
The Society's season 1987/88 opens tomorrow at 7.30 p.m.
5th October
26th October
16th November
7th December
18th January
8th February
7th March
CHILINGIRIAN QUARTET
Haydn, Bartok and Beethoven
FRANCIS RAYNER
piano recital
Schubert, Mozart, Debussy and Chopin
WIND SOLOISTS of CHAMBER ORCHESTRA
of EUROPE
Beethoven, Villa-Lobos, Bach, McGuire,
Mozart.
ENDELLION STRING QUARTET
Britten, Haydn and Beethoven
JEAN OWEN bassoon & ELIZABETH LAYTON
Handel, Stravinsky, Saint-Saens,
Sandstrom & Faure
VILLIERS PIANO QUARTET
Mozart, Bridge and Schumann
PRAZAK QUARTET (Prague)
Beethoven, Berg and Smetana
violin
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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
ALAT
WIL
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.
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
12-00- 2-30 p.m.
12 ZETLAND STREET
HUDDERSFIELD WEST YORKSHIRE
Telephone: (0484) 515161
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THE
HUDDERSFIELD
MUSIC
SOCIETY
my
WT.
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HUDDERSFIELD MUSIC SOCIETY
*****
Seventieth Season
1987-1988
Monday, 5th October, 1987
THE CHILINGIRIAN STRING QUARTET
Levon Chilingirian
Mark Butler
violin
Programme
Quartet in C major op. 33 no 3
Quartet no 5
Interval
Quartet in Eb major op. 127
Louise Williams viola
Philip de Groote cello
mob Haydn
Bartok
Beethoven
Since its formation in 1971, the Chilingirian
Quartet has become one of the most active string quartets
on the international scene.
The leader, Levon Chilingirian, was born in Cyprus
and the cellist in South Africa. Mark Butler, born in
England, lived in Canada until he came to the Royal
College of Music and Louise Williams studied at the
Royal Academy of Music and the Juilliard School in New
York and used to be a member of the Endellion Quartet as
a violinist.
w yirss
The Society is grateful for the support of Yorkshire
Arts Association and of the Huddersfield Polytechnic to
which this Society is affiliated.
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Quartet in C major op 33 no 3 (The Bird) Haydn (1732-1809)
1. Allegro moderato
3. Adagio
2. Scherzando - allegretto 4. Finale
presto
(Last performed in 1966 by the Alberni Quartet)
This quartet is one of a set of six, written in 1791
and dedicated to the Grand Duke Paul, who visited Vienna
at this time. They are known as the "Russian Quartets" or
"Gli Scherzi" as it was in these works that Haydn first used
the term Scherzo or scherzando for the older menuet & trio,
though there is no real relationship to the scherzo in the
hands of Beethoven.
Haydn himself said that the Russian Quartets were
written "in an entirely new and particular manner". The end
of the domination of the first violin was complete and all
instruments have an equal share in importance. Thematic
development is now used to the fullest extent; even the
accompanying parts have their origin in the subjects in a
way hitherto unknown.
No. 3 is nicknamed "The Bird"; one reason for this name
is found in the gracenotes in the principal subject of the
first movement, another the bird-like duet in the tiny trio
section of the Scherzando. But throughout this delightful
quartet a grace and delicacy reminiscent of the birds can be
heard.
Quartet no 5
1. Allegro
be
2. Adagio molto
Bartok (1881-1945)
alla Bulgarese
3. Scherzo:
4. Andante
MILIUL
5. Allegro vivace
(Last performed in 1964 by the Strauss Quartet)
Between 1908 and 1939 Bartok wrote six string quartets
which occupy a central position in his creative career.
"They contain the quintessence of Bartok's personality and,
as a series, they afford a fascinating study in creative
development" (Carner). Considered to be the most important
works in the medium since those of Beethoven, the first two
are obviously early works; the third and fourth, particularly
the former, the most difficult and obscure.
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e
ny
)
For the 5th quartet (commissioned by the Elizabeth
Sprague Coolidge Foundation and written in 1934, six years
after the fourth quartet) Bartok turns once again to folk-
music; his writing becomes more human and more heartfelt
and the harmony loses much of its extreme astringency. In
later years Bartok said that Bach, Beethoven and Debussy
had influenced him the most. Here we get the contrapuntal
art of Bach, the motive development and classical forms of
Beethoven and the freedom from conventional scales, with
the impressionism of Debussy.
Like the fourth quartet, the fifth is in five move-
ment arch form - A.B.C.B.A.
A.B.C.B.A. The apex of the work is a
scherzo and trio, flanked by two slow movements with an
opening and closing allegro. The first movement opens
with an insistant B flat and is essentially in sonata
form. Three two-bar phrases which are recognisable as
rhythmic patterns rather than melodic phrases together on
form the first subject. A short dance-like episode leads
to the more lyrical second subject which is subtly based
on one of the two-bar phrases. In the recapitulation the
subjects are introduced in inverted versions. The movement
ends with a strange fortissimo coda in which the germ of the
first part is immediately followed by that of the second.
In the two slow movements the thematic material is
closely related and their form almost identical, though the
Andante is more extended than the Adagio. Both openings
are full of atmosphere, the first with its fragments of
motives and trills, the second with its pizzicato notes and
slurs; both have a more lyrical middle section, based on
Magyar-like themes and both contain a chorale-like section.
oliso The Scherzo and its Trio form the central core of the
work. They are based on Bulgarian rhythms in which the
nine quavers in a bar (ten in the trio) are grouped into
complicated patterns. The Scherzo opens with fleeting
arpeggio figures which later become the accompaniment to a
vigorous theme of folk-dance type.
The final movement, also in sonata form, is remotely
and subtly based on material from the first movement. The
development section contains a most unusual fugue on the
opening theme of the first movement. Introducing the coda
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there is a short and curious section, clearly in A major,
marked 'Allegretto con indifferenza!'. It has a trivial
tune accompanied by banal tonic and dominant harmony, suorga
marked to be played 'meccanico'.
Interval
Quartet in E flat op. 127
Beethoven (1770-1827)
S
Maestoso allegro
Adagio ma non troppo e molto cantabile
Scherzo vivace
Finale
(Last performed in 1956 by the Stross Quartet)
odo
Beethoven was actively concerned with quartet writing
at three stages during his life: between 1798 and 1800 -
the six quartets op 18, between 1805 and 1810 - the three
Rasoumovsky, op. 74 and 95 and between 1822 and 1827 - the
five late works, commissioned by and dedicated to Prince
Galitzin.
The quartet in Eb begins with a solemn introductory
which recurs twice during the course of
passage maestoso
the movement, modifying the sonata form of the movement.
The mood is otherwise of a serene and pastoral nature, ending
with a coda founded upon the concluding falling notes of the
main theme.
The Adagio is in the form of a theme and variations,
though not so indicated in the score. Indeed they are hardly
variations in the usual sense, being of very variable length
and having sometimes the most tenuous connection with the
original theme, but are rather transfigurations of it.
The Scherzo has an angular rhythm announced by the cello
and inverted by the viola. A mysterious unison by the lower
strings acts as a kind of recitative interrupting the flow.
The trio is a swirling presto developing into a strong two
bar rhythm towards the end. After the return of the scherzo,
the trio is again introduced briefly, followed by 8 bars of
scherzo.
The Finale opens in unison and then settles down into a
The
rocking arpeggio figure which permeates the movement.
coda, marked allegro commodo, is unusual in being at a slower
tempo and is based on a transformation of the main theme.
HUDDE
Next
Impro
Corne
HALIF
Haydn
Harri
THE
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HUDDERSFIELD MUSIC SOCIETY
Next concert: Monday, 26th October at 7.30 p.m.
FRANCIS RAYNER piano
Impromptus: Schubert, Sonata K 330: Mozart, Children's
Corner: Debussy and Twenty-four Preludes: Chopin.
HALIFAX PHILHARMONIC CLUB Friday, 9th October at 7.30 p.m.
LINDSAY QUARTET
Haydn op 76 no 2; Anthony Gilbert no 2 and Schubert in G.
Harrison House, Harrison Road, Halifax.
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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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
←
188
NIL
sole mio
NARDELN
TRY SOMETHING NEW?
HAVE A PIZZA, A GLASS
OF WINE HAVE FUN!
Home made Pastas
Genuine Italian Pizza
Special of the day 11002
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.
6-0011-00 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
LLL
WT.
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HUDDERSFIELD MUSIC SOCIETY
Seventieth Season
1987-1988
Monday, 26th October, 1987
FRANCIS RAYNER
Piano
Programme
Impromptu in C minor D 899
Impromptu in E flat D899
Impromptu in B flat D 935
Sonata in C major, K 330
Children's Corner
Interval
Schubert
Mozart
Debussy
Twenty-four Preludes Op. 28
Chopin
Francis Rayner started to play the piano at the age of six;
he studied at Chetham's School of Music with Fanny Waterman
and then with Ryszard Bakst and, at the Northern College of
Music, with Renna Kellaway.
Mr. Rayner has won numerous prizes in European competitions
and has given solo and chamber music recitals here and
abroad.
A
The Yorkshire Arts Association gives support towards the
cost of these concerts with funds provided by the Arts
Council of Great Britain.
We acknowledge with thanks the support of the Huddersfield
Polytechnic to which this society is affiliated.
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Three Impromptus
1. C minor D.899
2. E flat major D.899
3. B flat major D. 935
Schubert (1797-1828)
Schubert composed two sets of four impromptus during 1827.
The first was published in the same year, the second in 1839.
The C minor (from the first set) begins with right and left
hand octaves sounded together fortissimo, to be followed by
a sad and bleak funeral march. A codetta leads to a new
melody accompanied by triplets. These ideas re-appear in
various guises as the piece proceeds, modulating in some-
times unexpected directions towards the final re-statement of
of the opening melody and a short coda in the major key.
The E flat impromptu has three main sections in which the
first and third are characterised by rapid scale-like
passages for the right hand. The second section, dramatic
in style, is in the relatively remote key of B minor. This
element is referred to again in the last thirty or so bars.
The impromptu in B flat, from the second set, consists of a
theme, five variations and a coda. The theme and the two
succeeding variations are in B flat major, the third is in
B flat minor and the fourth in the major again. This latter
variation makes no melodic use of the theme itself but
suggests it subtly in the harmony. It is followed by a bridge
passage leading into the final variation and coda.
F.E. Stevens
Sonata in C major, K. 330
Allegro moderato
Andante cantabile
Roque Allegretto
Mozart (1756-1791)
(Last performed in 1950 by Aleksander Helmann)
In 1778 Mozart spent a rather miserable summer in Paris,
accompanied by his mother. He had been refused by Aloysia
Weber, his mother was ill and died during his stay in the
city and he had little success in Paris where the people were
interested only in the struggle for supremacy between Gluck
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9.
of
er
dge
re
:
7
D
and Puccini. During this unhappy period Mozart wrote five
piano sonatas of which this, in C major, is one of the less
sombre ones - "a masterpiece in which every note 'belongs' -
one of the most lovable works Mozart ever wrote".
Children's Corner
1. Doctor Gradus ad Parnassum 12 TA
2.
Jimbo's Lullaby
3.
Serenade for the Doll
4.
The Snow is Dancing
5.
The Little Shepherd
6. Golliwog's Cakewalk
(Einstein)
Debussy (1862-1918)
d
Debussy dedicated this delightful work to his daughter,
Claude-Emma, born in 1905. The dedication "to my dear
little Chouchou, with the tender apologies of her father
for what follows", reflects the sentiment that any young
and happy parent might wish to express by means of a
'home-made present'. Luckily the nature of this particular
gift to a very young child continues to entertain, enchant
and amuse children of all ages, and not least those in
their second childhood!
Interval
F.E.S.
Twenty-Four Preludes op. 28
Chopin (1810-1849)
This set of pieces, one in each of the major and minor keys,
was written between 1836 and 1839 during Chopin's
association with Georges Sand.
Perhaps only the first piece has the character of a true
prelude, with its great arc of pitch and dynamics, rising
and falling to a final point of rest in C major. Each
prelude expresses a distinctive mood by means of a great
variety of form, texture and duration. Numbers 7, 15 (the
Raindrop) and 17 have special appeal; once heard, their
haunting melodies remain firmly in the memory.
F.E.S.
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HUDDERSFIELD MUSIC SOCIETY
Next concert: Monday, 16th November at St. Paul's at
7.30 p.m.
THE WIND SOLOISTS OF THE CHAMBER ORCHESTRA OF EUROPE
Beethoven, Villa-Lobos, Bach, Edward McGuire, Mozart K388 do
NEXT MONDAY AT ST. PAUL'S Novembrr 2nd at 7.30 p.m.
GEOFFREY HAMILTON & KEITH SWALLOW (piano duet) & friends
Mozart, Brahms, Debussy, Raws thorne, Lambert, Poulenc
November 9th. Gillian Weir "Everyman's Bach"
HALIFAX PHILHARMONIC CLUB
Friday, 13th November at 7.30 p.m.
WIND SOLOISTS of CHAMBER ORCHESTRA of EUROPE
Beethoven, Seiber, Bach, McGuire, Mozart K375
Harrison House, Harrison Road, Halifax. Tickets £4
(students £2)
A Little Bit of History
the first ten years:
The Huddersfield Music Club was founded in 1918 by Dr. A.
Eaglefield Hull and opened with a recital by the Russian
tenor, Vladimir Rosing. In the first ten years the Club (to
become the Society in 1961) also presented a wide variety of
artists, among them Myra Hess, Albert Sammons, the Bohemian
Quartet, Hungarian Quartet twice, Lener Quartet, Flonzaley
Quartet 3 times, Suggia twice, Casals, Moiseiwitsch, Cortot,
Lionel Tertis, Jelly d'Aranyi and Elena Gerhardt were stars.
The concerts were held on Wednesday evenings in the
Freemason's Hall, Fitzwilliam Street, and from 1922 in
Highfield Hall.
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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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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
B
G
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.
U
12 ZETLAND STREET
HUDDERSFIELD WEST YORKSHIRE
Telephone: (0484) 515161
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THE
HUDDERSFIELD
MUSIC
SOCIETY
W
WT.
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HUDDERS FIELD MUSIC SOCIETY
Seventieth Season
1987-1988
Monday, 16th November, 1987
WIND SOLOISTS of the CHAMBER ORCHESTRA of EUROPE
Douglas Boyd & Mark Pledger
Richard Hosford & Nicholas Rodwell
Jonathan Williams & Stephen Stirling
Matthew Wilkie & Christopher Gunia
Programme
Octet Op. 103
Trio for oboe, clarinet & bassoon
Interval
**
4th Fugue from Art of Fugue
Octet (1980)
Serenade in C minor K388
oboes
clarinets
horns
bassoons
Beethoven
Villa-Lobos
Bach arr. O'Neill
Edward McGuire
Mozart
The Chamber Orchestra of Europe was formed in 1981 by
a group of young European musicians who set out to create
their own orchestra. In 1982, members of the wind section
formed their own ensemble to perform the Harmoniemusik
repertoire. As members of the orchestra they have toured
in Europe, Japan and Australia and visit the USA annually.
In 1988 they will tour in the USA as an ensemble.
The Wind soloists warmly acknowledge the inspiration
of Alexander Schneider who has worked closely with them,
directing, many of their early concerts and recordings, as
well as the generosity of the Sainsbury Family Charitable
Trust, with whose support their ensemble became established.
This concert is sponsored by the Sainsbury Family Charitable
Trust.
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Octet in E flat, op. 103
Allegro
Andante
Menuetto and Trio
Finale - presto
Beethoven (1770-1827)
From 1784 to 1792 Beethoven was a member of the court
orchestra of the Elector of Bonn, who every day was
entertained by a small orchestra of two oboes, two clarinets
two horns and two bassoons. For this ensemble Beethoven
wrote two pieces: a Rondino and this Octet. In 1792, the
composer moved to Vienna where he found ampler scope for
his talents and it was there, it seems, that he transcribed
the wind octet for string quintet, which bears the opus
number 4 whereas the earlier form was only published much
later and so has a late opus number.
The work was intended for table music and would be
played in a musicians' gallery so that conversation would
not be unduly impeded. Today's audiences are not expected
to emulate the court.
Trio for oboe, clarinet and bassoon
Anime
Languisamente
Villa-Lobos (1887-1959)
Vif
The artistic ambience of Paris during the 1920s was
particularly suitable for the acceptance and promotion of
the exotic works of the Brazilian composer Heitor Villa-
Lobos during his several periods of residency there during
that decade. African music and jazz were particularly in
vogue, and the strange sounds of the music of the East, so
beloved by Debussy, Ravel and other French composers, still
echoed loudly. The clear cut, quixotic melodies of Milhaud
and Poulenc were favoured, while Stravinsky's rhythmic
vitality affected everyone. Villa-Lobos' highly coloured,
rhythmically assured and strangely conceived timbres thus
found an ideal home when he arrived in Paris in 1923.
The composer Jean Wiener organised the first major
Villa-Lobos concert out of Brazil, which took place in Paris
on 9th April 1924. In addition to three Villa-Lobos works,
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7
(
compositions by Stravinsky, Wiener himself and Villa-Lobos
old friend Milhaud were performed.
The concert included the first performance of the 1921
Trio for oboe, clarinet and bassoon. Always fascinated by
the raw sounds of wind instruments, a result of his
involvement with the choros street music groups of Rio de
Janeiro, Villa-Lobos here indulged in harmonic clashes,
rhythmic dexterity and dynamic extremes, all charged with a
particularly Brazilian ethos. Contrapuntal ingenuity is
more than evident, especially in the final movement,
reminding the listener that the Bachianas brasileiras were
even now struggling for birth.
Interval
4th Fugue from 'The Art of the Fugue'
Bach (1685-1750)
arr. Robin O'Neill
"This is Bach's last great composition. The master
seems to have been engaged in this tremendous task after the
completion of the Musical Offering, and in this case too, he
planned to have the work become generally known through
print. He supervised part of the engraving, but before it
was quite finished, and before he even had a chance of
completing his manuscript, death overtook him....neither the
original printing nor the autograph can give an exact idea
of his intentions. There are doubts regarding the order in
which the individual numbers were to be arranged; we do not
know what end the composer planned for his work and it is
possible that even the title was not conceived by him".
(Geiringer)
The composition is a set of contrapuntal variations on
a four bar theme. No indication is given as to what
instruments are to play, though it is probable that Bach
thought of it as a keyboard work. All the possibilities of
fugue are explored. The theme is completely regular and
symmetrical and in the case of the 4th fugue is used in its
inversion.
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Octet (1980)
Serenade in C minor K388 b
Edward McGuire (b. 1948)
Mozart (1756-1791)
Allegro
Andante
Menuetto in canone
Allegro
Mozart wrote the Serenade in C minor in 1782 for the
delectation of the dinner guests of the Prince Liechtenstein.
Today the work hardly sounds appropriate for such a purpose,
but the great range of emotional depths in the composition
would perhaps have been enjoyed by the Prince's guests as a
demonstration of melodic and harmonic riches to say the
least. The serenade was completed in two days, and,
according to a letter Mozart wrote to his father, was
written for wind because the Prince's Kapelle had no
strings'. Later Mozart transcribed the work for string
quintet (2 violas) but string players are always aware of a
an immanent wind sound seeming to reproach them for an
unwarranted intrusion.
The Yorkshire Arts Association gives support towards.
the cost of these concerts with funds provided by the Arts
Council of Great Britain.
We acknowledge the support of the Huddersfield Polytechnic
to which this Society is affiliated.
NEXT MONDAY at ST PAUL'S
367 с
Huddersfield Contemporary Music Festival 23rd Nov. 7.30 pm
ELECTRIC PHOENIX
(Gerald Shapiro, William Duckworth, David Bedford,
Trevor Wishart)
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in.
0₁
3.
HUDDERSFIELD MUSIC SOCIETY
Monday, 7th December at 7.30 p.m.
ENDELLION STRING QUARTET
Three Divertimenti
Quartet op 76 no 6
Quartet op 132
ELLAND & DISTRICT MUSIC SOCIETY
es
Britten
Haydn
Beethoven
Friday, 27th November at 7.30 p.m.
ILEANA RUHEMANN (flute) & JULIUS DRAKE (piano)
(Bach, Roussel, Gluck, Hue, Boehn & Martinu)
Parochial Hall, Westgate, Elland.
HALIFAX PHILHARMONIC CLUB
Friday, 4th December, 1987 at 7.30 p.m.
ENDELLION STRING QUARTET
(Britten, Haydn and Beethoven)
+++
+++
+++
A Little Bit of History the second ten years:
+++
+++
The second ten years of the Music Club included the first
performance of a Bartok Quartet - no 1 op 7, played by the
Budapest Quartet. Four great pianists made their first
appearance at our concerts - Rubinstein, Petri, Rosenthal
and Gieseking. Rubinstein played pieces whereas Petri, in
1931, gave us Bach's Chaconne, the Appassionata, Chopin's 12
studies op 25 and Brahms' Paganini Variations; Gieseking
and Rosenthal each opened with Beethoven's op 111.
The fashion for Early Ilusic seems to have been born in 1928
with a Lute Quartet, followed in 1932 by Dolmetsch on the
harpsichord. Szigeti appeared in 1931, opening with Concerto
in D minor by Bach with pianist Nikita Magaloff, presumably
the arrangement for violin of the keyboard concerto.
The most astonishing programme was in 1934 when Egon Petri
played a Mozart sonata, Beethoven op 110, some Brahms
Intermezzi, 3 pieces of Medtner, 3 of Prokofiev and in the
middle of this Bach's Goldberg Variations! one imagines
without repeats. The concert began at 7.45 p.m....
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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
NII
sole mio
TRY SOMETHING NEW?
HAVE A PIZZA, A GLASS
OF WINE HAVE FUN!
O
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.
6-0011-00 p.m.
Sunday
12-00- 2-30 p.m.
●
12 ZETLAND STREET
HUDDERSFIELD WEST YORKSHIRE
Telephone: (0484) 515161
1
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THE
HUDDERSFIELD
MUSIC
SOCIETY
LLL
WT.
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M
Andrew Watkinson
Ralph de Souza
HUDDERSFIELD MUSIC SOCIETY
Seventieth Season
1987-1988
Monday, 7th December, 1987
ENDELLION STRING QUARTET
violin
violin
Garfield Jackson
David Waterman som
Programme
Three Divertimenti
Quartet in E flat op 76 no 6
Interval
UT
viola
cello
Britten
Haydn
Quartet in A minor op 132
Now in their ninth year, the Endellion Quartet have
established an outstanding national and international
reputation. Three times international prize winners (New
York, London and Portsmouth) they have toured extensively
in U.S.A. Europe and the Far East.
Beethoven
In June last year they were named Quartet in Residence
by South East Arts and are to be Quartet in Residence at the
University of Surrey.
In November last year the Endellion gave a series of
three recitals at the Wigmore Hall to mark the anniversary
of the death of Benjamin Britten. EMI released, at the
same time, the first recordings of the complete string
chamber music of Britten, played by the Endellion; this was
chosen by the Daily Telegraph and the Guardian as Chamber
Music Recording of the Year 1986.
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Three Divertimenti op. post.
March
Waltz
Burlesque
Benjamin Britten (1913-1976)
(First performance at these concerts)
The Divertimenti are a re-working of the 'Alla
Quartetto Serioso' which was performed at the Wigmore Hall
in 1933 by the Stratton Quartet. Originally conceived as a
series of character-movements, entitled "Go play, boy, play",
three movements were rather reluctantly released for
performance by the composer and subsequently withdrawn. In
1936 he revised the work, re-naming it "Three Divertimenti"
but it was never published in his life time.
Into the vigorous march, Britten introduced glissandi
and rescored the harmonics; "whole stretches of the March
show his predilection for euphonious chains of thirds"
(Palmer). A most engaging waltz follows with ample
opportunity for rubato in the romantic style, and the
Burlesque is a 'moto perpetuo' with a tarantella-like theme -
a form which was to be used by Britten a great deal in his
later works. Shortly before the coda there is a striking
passage marked 'cantabile ed esultante', a kind of
remission before the end.
Britten produced his first full string quartet in
1941 and his second and third in 1945 and 1975 respectively.
Quartet in E flat, op 76 no. 6
Haydn (1732-1809)
Allegretto allegro
Fantasia
adagio
Menuetto presto; alternativo
Finale - allegro spirituoso
(First performance at these concerts)
off n
mi
The last quartet of a set of six, this one in E flat
is full of innovations. The opening movement is a set of
variations on a theme which in its conciseness might have
been by Beethoven. In the fourth variation the first phrase
of the theme expands into a full-blown fugue and thus Haydn
has launched a new form on the world, that of Variations
and Fugue, a form which Hans Keller, in his epic work on
the great Haydn Quartets, describes as "new and enduring,
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,surviving all historical upheavals, right into the present
day.
Then comes the Fantasia with its rather wayward absence
of set form, a menuetto which is more like a scherzo with a
remarkably original trio section, called 'alternativo',
where the instruments take turns to play scales and finally
a finale which is based on an 'up-beat' theme. The quartet
does not seem to have become popular until lately, though
it is difficult to see why; the other five are very much
better known, especially the "Emperor" and the "Sunrise".
Interval
Quartet in A minor op. 132
Beethoven (1770-1827)
Assai Sostenuto
Allegro ma non tanto
Molto adagio
Alla marcia assai vivace
Allegro appassionato
andante
(Last performed in January of this year by the Alberni Quartet)
In 1822 the violist, Zeuner, and the cellist, Prince
Galitzin, of the St. Petersburg Quartet attended a
performance of Weber's "Freischutz", which so impressed the
Prince 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". Galitzin followed the
advice and the result is opp. 127, 132, 130, 131 and 135 and
the fugue, 133, in that order, the composition of which
occupied Beethoven for the last three years of his life.
The five middle period quartets were completed in 1810
with Op. 95 and Beethoven had turned to other forms. At
the height of his most brilliant phase he composed the
Archdule 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.
Then in 1814 Lichnowsky died, and the loss of his most
zealous patron marks the beginning of a succession of
troubles. 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
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deafness and after 1816 writing was his only means of
communication with his fellow men. From 1816 to 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 9th symphony.
Beethoven composed the A minor quartet in 1825 after
a long illness. On the manuscript are the following words:
"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. It is in double variation form like
the slow movement of the 9th sumphony. The first theme is
a very slow chorale; the second is vigorous and is marked
"vitality regained". There follows a short March leading
into a warmly romantic waltz movement.
Monday, 18th January, 1988 at 7.30 p.m.
NEXT CONCERT
TO JEAN OWEN, bassoon with HILARY PUNSHON, piano
ELIZABETH LAYTON, violin and MALCOLM MARTINEAU piano
(Handel, Stravinsky, Saint-Saens, Sandstrom, Faure)
MONDAYS AT ST. PAUL'S 14th December, 1987 at 7.30 p.m.
POLYTECHNIC SYMPHONY ORCHESTRA cond: Barrie Webb dw
L'Apres midi d'un faune
mor Ameriques
das Symphony no 7 in A major
Debussy
Varese
Beethoven
s
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e
3.
HALIFAX PHILHARMONIC CLUB Friday, 15th January, 1988
at 7.30 p.m.
THAXTED STRING TRIO
Jonathan Rees, Andrew Brown and Caroline Dale
Divertimento
Serenade op 10
Divertimento in Eb
K563
Harrison House, Halifax.
Haydn
Dohnanyi
Mozart
A little bit of history the third ten years
The season 1938/39 was like a last fling before the
war years; New Hungarian Quartet, Lili Kraus and
Simon Goldberg, Backhaus, Engel Lund (Danish singer),
Egon Petri and the Budapest quartet, now reformed with
the two Schneiders as 2nd violin and cello joining Roismann
and Kroyt. After that, the deluge, but the Ladies'
Committee (workers in the background) managed to keep the
Club going with a mixture of recitals by British artists.
such as Louis Kentner, Isobel Baillie and the Griller
Quartet on the one hand and Halle concerts conducted by
Beecham and Laurance Turner in the Town Hall on the other.
William Pleeth was stationed in Huddersfield and in 1942
gave a battledress recital with Margaret Good.
In 1943 the all-chamber music concerts resumed - free
to troops and soon shimmered with stars such as Ginette
Neveu, Solomon, Pouishnoff, Grumiaux, Moiseiwitsch, the
Hungarian Quartet, Rostal & Osborn and in 1947 Pears and
Britten. In 1944 Leon Goossens and Kathleen Ferrier shared
a recital; the latter was to sing for us only once more,
in 1948.
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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
pa
brys
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.
9
ANT
TRATTORIA
HOURS OF OPENING: Monday - Closed all day
TRATTORIA ALLA SCALA
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
www
WT.
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JI
Sc
S
St
Sa
S
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i
S
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A
F
M
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0
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St
0
4
32 SO
a
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R
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JEAN OWEN
HUDDERSFIELD MUSIC SOCIETY
**** ***
**
****
*********
Seventieth Season
1987-1988
Monday, 18th January, 1988
ELIZABETH LAYTON violin
bassoon
HILARY PUNSHON piano
Programme
Sonata in E major op. 1 for violin & continuo
Sonata op 168 for bassoon & piano
Suite Italienne for violin & piano
Interval
Handel
Saint-Saens
Stravinsky 200
Sarabande & Cortege for bassoon & piano
Sonata no 2 in D major for violin & piano ourd
Dutilleux
Prokofiev
JEAN OVEN was born in Fartown, Huddersfield and enor
is a recent winner of the Pearce/Kirklees Prize.
She was awarded a major music scholarship to
Repton School and then went, in 1981, to the Royal
Academy of Music to study with Gwydion Brooke on a
Foundation Scholarship. In 1985 she was a Gold
Medallist at the Royal Overseas League Music
Festival and won the title 'Commonwealth Musician
of the Year'. Jean Owen has given recitals incend
the Purcell Room, the Fairfield Hall and St. John's,
Smith Square and was recently awarded a Fellowship
of the Royal Academy of Music.
ELIZABETH LAYTON studied at the Menuhin School and
at the Juilliard School in New York. She was a
prize winner of the National Federation of Music
Societies Award and in 1986, winner of Young
Concert Artists' Trust. She plays with 'Capricorn'.
HILARY PUNSHON was born in Surrey and entered the
Royal Academy of Music on an Associated Board
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2.
scholarship. She was awarded several prizes for
solo, duo and accompaniment.
This concert is sponsored by the Countess of
Munster Musical Trust.
***
***
Sonata in E major op. 1
***
of
Adagio
Allegro
Largo
Allegro
***
***
Handel (1685-1759)
As a young man Handel played the violin in the
Opera at Hamburg, so that he was well versed in the
technique of the instrument as is clearly shown in
the sonatas Op. 1 written about 1724.
Most of the sonatas begin with an arioso move-
ment, as in the case of this well-built and finely
constructed opening Adagio. The vigorous secondo 2
movement is followed by a largo which is essentially
a link with the final allegro not virtuosic as in
some of the sonatas, but in a minuet-like dance form.
Sonata for bassoon & piano,
op.168
Saint-Saens (1835-1921)
In the last year of his life, Saint-Saens
composed three sonatas for wind instruments with
piano, for oboe, for clarinet and for bassoon. The
bassoon sonata was written for the principal
bassoonist of the Societe des Concerts de Paris and
is a major work in the bassoon repertoire. It is
very much a duo, calling on the bassoon to play
extremely difficult passages which show off the
capabilities of the instrument and its range of
expression. There are four movements of which the
last two are played without a break.
Suite Italienne
Stravinsky (1882-1971)
Introduzione
Serenata
Tarantella
Gavotta con due variazioni
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e
e
ly
n
rm.
1)
e
1
2
3.
Scherzino
Minuetto e finale molto vivace
After the first world war, there was in France
a revival of national feeling coupled with a strong
anti-romanticism, exemplified by the works of "Les
Shortly after the first concert of works by
"Les Six", Diaghilev staged Stravinsky's
Six".
"Pulcinella" at the Paris Opera. This was a ballet
in one act with song, the libretto and choreography
being by Massine, consisting of 18 items, recomposed
works of Pergolesi. From this, in 1933, the
composer took six items to make the Suite Italienne
for violin and piano.
Interval
Sarabande and Cortege for bassoon & piano
The French composer, Dutilleux, is regarded as
a natural successor to Ravel and Roussel. His works
include a ballet, two symphonies, "Metaboles",
"Tout un monde lointain" for cello and orchestra,
piano sonata, oboe sonata and a string quartet as
well as songs.
Sonata no. 2 in D major op.94 bis
Dutilleux (b.1916)
Prokofiev (1891-1953)
In 1943 Prokofiev composed a sonata for flute
and piano, because as he said: "this instrument has
long attracted me and doesn't seem to have been
written for very often. I wanted the sonata to be
of a classical sonority and transparente'".
***
David Oistrakh asked the composer to rescore
it for violin, and with Oistrakh to advise,
Prokofiev transcribed the flute part, making some
modifications to suit the violin. The transcription
delighted both composer and violinist and has
become a favourite in the violin repertoire.
***
***
The Yorkshire Arts Association gives support towards
the cost of these concerts with funds provided by
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the Arts Council of Great Britain.
We acknowledge the support of the Huddersfield
Polytechnic to which this society is afiiliated.
***
米米米
***
***
***
A little bit of History The fourth ten years
be
The years 1948-1957 brought the first appearance at
our concerts of the Amadeus Quartet, in November,
1949. This was 22 months after their debut at the
Wigmore Hall and the programme was Haydn op. 76
no. 4 (Sunrise), Beethoven op.95, Stravinsky
Three Studies and Brahms' C minor. They returned
in 1951, 1952, 1953 and 1957. Other firsts were
Pierre Fournier, Paul Tortelier, Gina Bachauer,
Shura Cherkassky, Rosalyn Tureck, Julian Bream
and Gerald Moore (The Accompanist Speaks). Among
the quartets were the New Italian, Loewenguth,
Barylli, Vegh, Carmirelli, Stross and Parrenin and
in 1948, Kathleen Ferrier gave her last recital for
us; ; she died in 1953.
The concerts were still on a Wednesday and we moved
to the Mayor's Reception Room in 1952 and changed
the day to Monday, the first Monday concert being
given by the Amadeus Quartet.
***
***
NEXT CONCERT Monday, 8th February, 1988 at 7.30
THE VILLIERS PIANO QUART ET
(Maureen Smith, Simon Rowland-Jones, Alexander
Baillie and Ian Brown)
Piano Quartet in G minor K 478
Phantasy Quartet
Piano Quartet in Eb op. 47
MONDAYS AT ST. PAUL'S 25th January, at 7.30 p.m.
POLYTECHNIC CONCERT BAND
conducted by John Gulley (Adler, Blacker,
Milhaud, Hindemith and Arthur Butterworth)
***
***
Mozart
Bridge
Schumann
***
Frank
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at
3
nd
For
red
3
3
ELLAND & DISTRICT MUSIC SOCIETY
Friday, 5th February, 1988 at 7.30 p.m.
DONAXIS
Michael McKenna, Ob., Simon Butterworth, clar.,
David Chatwin, Bsn. and Keith Swallow, piano.
(Beethoven, Kalliwoda, R. Strauss, Poulenc,
Weber, Bodman, Rae)
***
***
***
THE SOCIETY IS GRATEFUL FOR FINANCIAL HELP
FROM:
K. Beaumont
H.J. Black
Mrs. E. Crossland
J.F. Crossley
Mrs. A. Crowther
The Rt. Hon. The Lord Savile, J.P., D.L.
(Hon. Vice-President)
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
NO
sole mio
ALAT DEY
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.
6-00-11-00 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
ww
WT.
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Stybi conta 9 at fetar onl
HUDDERSFIELD MUSIC SOCIETY
Seventieth Season
1987 - 1988
Monday, 8th February 1988
VILLIERS PIANO QUARTET
Ian Brown
piano
Maureen Smith violin
Programme
Piano Quartet in G minor K 478
Phantasy Quartet
Interval
Piano Quartet in E flat op 47
Simon Rowland-Jones viola
Alexander Baillie
cello
Mozart
Frank Bridge
Schumann
The Villiers Piano Quartet was formed in 1984. Ian
Brown is well known for his association with the Nash
Ensemble and as partner to many famous soloists. As a
soloist, he has performed with the B.B.C. and Bournemouth
Symphony Orchestras and the London Sinfonietta.
208
Maureen Smith is from Leeds, daughter of Eta Cohen, and
is a distinguished solo violinist as well as chamber music
player. Simon Rowland-Jones has recently replaced Susie
Meszaros as viola. He was a founder member of the
Chilingirian Quartet and is also a composer.
Alexander Baillie has visited Huddersfield on several
occasions, notably for the Contemporary Music Festival. He
has played as soloist with major orchestras in the U.K. and
throughout Europe.
The Yorkshire Arts Association gives support for these
concerts with funds from the Arts Council of Great Britain.
We acknowledge with thanks the help of the Huddersfield
Polytechnic to which this society is affiliated.
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Mozart (1756-1791)
Piano Quartet in G minor K478
Allegro
Andante
Rondo: allegro non troppo
The key of G minor had great significance in the music
of Mozart. One of the three greatest symphonies, no 40
K550 is in that key as are also the string quintet K516
and this piano quartet. All are late works (between 1785
and 1788) and they share a certain character of pathos
of only the piano quartet begins forcefully with its unison
statement on all instruments.
No work of any importance in the form of piano and
string trio had ever previously been written, yet Mozart
e brought to it and to its partner in E flat his consummate
skill in instrumentation, balancing the piano with the
strings and withal producing a staggering wealth of melody,
particularly in the last movement where each lovely theme
treads on the heels of the last. This must be the best of
beginnings for a concert of piano quartets.
Phantasy Quartet
Frank Bridge (1879-1941)
Frank Bridge was a pupil of Stanford at the Royal
College of Music but is now more thought of as the teacher
of Benjamin Britten. A performance of his Phantasy Quartet
will perhaps show that he is not just a pupil and a teacher
of other famous musicians.
In 1905 W.W. Cobbett, an English business man and
amateur violinist, promoted the first of his competitions
for chamber music. The piece was to be a phantasy string
quartet in one movement and there were 67 entries of whom
Bridge came third prize-winner. In 1907, Cobbett promoted.
a further competition this time for a phantasy piano trio.
Again there were 67 entries and on this occasion, Bridge
won the first prize.
In 1910, Cobbett shifted his ground. He commissioned
12 English composers to write 12 works for 12 different
combinations of instruments and to Frank Bridge fell the
phantasy piano quartet. The work is in one movement; an
extended andante precedes an allegro vivace which is
followed by a tranquillo section of a retrospectivo
character.
P
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C
1
t
Interval
Piano Quartet in E flat op 47
Schumann (1810-1856)
Sostenuto assai - allegro ma non troppo
Scherzo molto vivace - Trios 1 & 11
Andante cantabile
Finale vivace
In 1840 he deovted himself to song
symphonies three of the four
Nearly all Schumann's great compositions for the off
piano were written in the early years of his career -
between 1831 and 1840.
writing and in 1841 to
appearing in that year. In 1842 the composer turned his
attention to chamber music and produced in one year the
three string quartets op 41, the piano quintet op 44 and
the piano quartet. Whereas the quintet for piano and
string quartet was an innovation, there were precedents for
a piano quartet, Mozart's in G minor and E flat and
Beethoven's adaptation of his wind & piano quintet.
However, Schumann modelled his work on his own piano
quintet rather than on Mozart.
The work reflects the happiness which his marriage
with Clara Wieck brought him. She was the pianist in the
first public performance in 1844 in the Gewandhaus at
Leipzig. The viola was played by the Danish composer,
Niels Gade, at that time director of the Gewandhaus
concerts.
The Quartet is much less frequently played than the
great Piano Quintet but is no less original and full of
melody. After a vigorous first movement and a vivacious
scherzo with two trio sections, the cello launches an
andante cantabile of sensuous romanticism. The finale
opens with a fugato stated first by the viola and is
developed with masterly contrapuntal skill.
This is the first performance of this work at the
Society's concerts.
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NEXT CONCERT: Monday, 7th March, 1988 at 7.30 p.m.
THE PRAZAK STRING QUARTET
Quartet in C minor op 18 no 4
Lyric Suite
Quartet in E minor (From my life)
MONDAYS AT ST. PAUL'S 15th February at 7.30 p.m.
Beethoven
Alban Berg
Smetana
THE POLYTECHNIC TWENTIETH CENTURY ENSEMBLE
Roland Taylor, Anthony Adams, Steve Reich, Calin Ioachimescu,
David Power and Milhaud. directed by Barrie Webb.
HALIFAX PHILHARMONIC CLUB Friday, 4th March, 1988 at 7.30 pm
THE PRAZAK STRING QUARTET
Beethoven op 18 no 4, Janacek no 1, Brahms in B flat op 67
Harrison House, Harrison Road, Halifax.
A little bit of history
The fifth ten years
In 1958, 14 years after Leon Goossens presented our
first oboe recital, the Club recognised that the clarinet
also could be a solo instrument and invited Jack Brymer to
prove the point. This was in the Mayor's Reception Room
where we were housed until 1974. In 1959 the Amadeus paid
a visit to the Club - their last, alas, as they soared
into impossible fiscal heights. However a new quartet
appeared on the horizon - the Janacek, who played twice
in 1961 and again in 1966. Among other quartets were the
Loewenguth, Strauss, Tatrai, Vlach, Benthien, and Heutling
and two British- the Alberni and the Gabrieli.
Stephen Bishop (without Kovacevich) gave two piano
recitals; Osian Ellis came with flautist Richard Adeney,
and Cecil Aronowitz, viola, in 1960 and in the same year
and again in 1963 returned to give solo recitals, the
former with songs at the harp. A very distinguished piano
trio, the Trio di Bolzano, played the Archduke, a work by
Pizzetti and Dvorak's Dumky Trio in 1961, the year in
which the Music Club became the Music Society.
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CU₂
pm
THE SOCIETY IS GRATEFUL FOR FINANCIAL HELP FROM:
The Rt. Hon. The Lord Savile, J.P., DLL.
(Hon. Vice-President)
K. Beaumont
H.J. Blac
J.F. Crossley
Mrs. E. Crossland
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
SUNT OF
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
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Ocr'd Text:
THE
HUDDERSFIELD
MUSIC
SOCIETY
supported by
XY Yorkshire
ARTS
U
WT.
at.
Affiliated to
Huddersfield
Polytechnic
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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
J.F. Crossley
Mrs. E. Crossland
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
Huddersfield Polytechnic
Yorkshire Arts Association
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HUDDERSFIELD MUSIC SOCIETY
米米米米米米
***************
Seventieth Season
1987 1988
Monday, 7th March, 1988
PRAZAK STRING QUARTET
Vaclav Remes
violin
Vlastimil Holek violin
Programme
Quartet in C minor op 18 no 4
Lyric Suite
Josef Kluson
Michal Kanka
r
Interval
Quartet no 1 in E minor (From my Life)
viola
cello
Beethoven o
Alban Berga
Smetana
One of Czechoslovakia's foremost chamber ensembles,
the Prazak Quartet was formed in 1972 from students at the
Prague Conservatory, following in the tradition of the
Smetana Quartet. Since then the Prazak has established
itself as an ensemble of distinction and makes highly
successful tours all over the world.
At their last visit to the Huddersfield Music
Society they played a programme of Mozart, Janacek and
Dvorak which gave so much pleasure that we are very happy
to welcome them back. Since their visit in 1985 the
cellist, Josef Prazak has unfortunately been taken ill and
Michal Kanka now plays in his place. The Quartet will
return to this country in the autumn of this year.
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Quartet in C minor op 18 no 4
Allegro ma non tanto
Scherzo
Beethoven (1770-1827)
andante scherzoso quasi allegretto
Menuet and trio
Allegro
(Last performed in 1964 by the Strauss Quartet)
The six quartets op 18 were written about 1798, seven
years after Mozart's death and about the time Haydn
published his six op 76. It was a relatively trouble-free
period for Beethoven; his life was successful and
sociable, unmarred as yet by the threat of deafness.
Lyric Suite (1925-6)
The quartet no 4, a powerful and dramatic work, is
the only one of the six in the minor key; the themes and
strong dynamic contrasts of the first movement suggest
some of the outstanding works of the later years.
Alban Berg (1885-1935)
(First performance at these concerts)
The Lyric Suite is Alban Berg's secret love letter to
Hanna Fuchs-Robettin, sister of Franz Werfel and wife of
Herbert Fuchs-Robettin, and the music, written according
to 12 tone principles of composition, is full of
allusions to their clandestine love affair. Berg uses the
letters of their two names A B (B flat in English) and H
(B natural) F significantly throughout the quartet.
These facts only became known when the wife of the
dedicatee, Zemlinsky, mentioned that the privately printed
miniature score of the work was in the possession of
Hanna's daughter, Dorothea, who lived in New Jersey. This
shows Berg's complete programme for the Suite and tells of
the connections which put Berg, Hanna and her two children
into every line so that the work is a musical form of
roman a clef and only Hanna knew its meaning. At the
end, Berg writes "May it be a small monument to a great
love".
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The movements have explanatory names:
1. Allegretto giovale - an inconsequential mood which gives
no hint of tragedy to come;
2.
Andante amoroso "To you and your children I have
dedicated this rondo, a musical form in which the themes
(specifically your theme) continually recur" (The viola's
double C's represent Hanna's daughter, Dorothea or
Do-do).
3. Allegro misterioso - "because everything was still a
mystery to us" (a reference to their undeclared love)
with Trio estatico.
4.s Adagio appassionato - a canonic musical play illustrating
the words "You are my own, my own" where H.F. and A.B.
answer each other.
5.
Presto delirando- with tragic interruptions -
tenebroso
expresses Berg's pain and desire for the
forgetfulness of sleep
6. Largo desolato - is based on Baudelaire's De Profundis
Clamavi from the Fleurs du Mal - "To you, my only dear
one, my cry rises Out of the deepest abyss in which my
heart has fallen". There is a brief reference to
Wagner's Tristan and the work ends with the viola line,
as Berg wrote "dying away in love, yearning and grief".
Interval
The Society thanks the ladies of St. John's Church, Newsome
for providing coffee in the intervals.
*
*
*
Quartet in E minor (From my Life)
Allegro vivo appassionato
Allegro molto a la Polka
Largo sostenuto
Vivace
Smetana (1824-1884)
(Last performed in 1975 by the Medici Quartet)
In spite of being a prolific composer, Smetana left
only three chamber music works - a piano trio and two string
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quartets, and all three of a biographical nature. As the
composer wrote "With me, the form of each musical
composition is the outcome of its subject. Thus it is
that this quartet has made its own form. I wanted to
paint in sounds the course of my life".
sle
The first quartet deals with the early years of
Smetana's life; in the last movement, there is a hint
of his approaching deafness in the harmonic E played by
the first violin. Deafness was not Smetana's only
tragedy; mental disorder and depression led to his
death in an asylum.
(ovo
The first movement depicts the composer's early
life, love of art and his romanticism; the second his
love of the dance; the third his first love for his
wife and the fourth "the discovery of how to treat the
national material in music".
*
*
A little bit of history Sixth ten years 1968-1977 ol
and 1978-1987
Certain artists stand out in the sixth ten years:
among string quartets the Tel Aviv, Melos of Stuttgart,
Lindsay, Bartok, Gabrieli and, 45 years after the
famous Budapest Quartet, a New Budapest came in 1974
and thereafter at frequent intervals. An unusual
departure for the Society was a concert by the King's
Singers; it was held in the Town Hall and was, of
course, very popular.
From 1952 to 1966 the season had been reduced from o
six to five concerts but in December, 1966 a new
(policy was adopted a sixth concert to be given by eenp
students of the Music Department of the (then) College
of Technology. This continued until 1974 when one
concert was given by students drawn from the College,
Chethams School of Music and Manchester College of Music.
The student concerts were then discontinued but the
season remained as six concerts.
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1978 to 87 saw some changes: the Town Hall was closed
due to the discovery of dry rot and during the extensive
repairs the Society's concerts were held in various churches
and Venn Street Arts Centre. In 1983 and 1984 two concerts
were tried in St. Paul's Hall, Polytechnic and thereafter
all concerts held there. During these ten years there has
been more Early Music, notably Musica Antiqua Koln, who
filled the hall (over 350 people) in February 1984. We are
happy to announce their return visit on October 3rd 1988
and hope for a similar response.
*
*
*
*
MONDAYS AT ST. PAUL'S 14th March at 7.30 p.m.
THE POLYTECHNIC BRASS
21st March at 7.30 p.m.
*
BAND. cond: Phillip McCann
THE POLYTECHNIC OPERA GROUP
"Figaro here, Figaro there"
Mozart and Paisiello
Director: David Lennox
Wednesday, 30th March at ST. PAUL'S 7.30 p.m.
POLYTECHNIC ORCHESTRA & CHOIR. Cond: Richard Steinnitz
Rimsky-Korsakov
Overture The Tsar's Bride
Flute Concerto
Tabu-Tabuhan
Five Mystical Songs
Toward the Unknown Region
ELLAND & DISTRICT MUSIC SOCIETY
Friday, 18th March at 7.30 p.m.
*
Halifax Parish Church
HANSON STRING QUARTET
Borodin no 2, Debussy and Dvorak op 96 (American)
Parochial Hall, Westgate, Elland.
Ibert
McPhee
Vaughan Williams
Vaughan Williams
HALIFAX PHILHARMONIC CLUB
Friday, 8th April, at 7.30 p.m.
LES SAQUEPOUTIERS DE TOULOUSE and SALLY BRADSHAW
Venice 1610 - 1630
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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
ANET
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