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HUDDERSFIELD
MUSIC
SOCIETY
1988-89 SEASON
MONDAYS AT ST. PAUL'S HALL
HUDDERSFIELD POLYTECHNIC
BEETHOVEN IN MIDDLE AGE
A rewarding season which includes
all Beethoven's Rasoumovsky Quartets
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TICKET PRICES
DOUBLE SUBSCRIPTION
2 tickets for all 7 concerts
SINGLE SUBSCRIPTION
1 ticket for all 7 concerts
(Students half price)
SINGLE TICKET for Concerts 1 & 4
Remaining concerts
Students: all concerts
Single tickets may be purchased by using the booking form
or from Huddersfield Information Centre, Albion St. Tel.
22133 ext. 685 (Saturday 23877) or at the door on the
night of the concert.
Enquiries: Hon. Subscription Secretary Hudds. 654620
or Hon. Secretary
Hudds. 22612
£35
DISCOUNT FOR SUBSCRIBERS: As a subscriber you will
receive a substantial discount on the series:
41% on a double season ticket
33% on a single season ticket
Postcode
Telephone
*I have received my season ticket(s) for 1988/89
*Please send me: (Delete words not applicable)
Quantity
£20
£5
£4
£1.50
BOOKING FORM
Post this form with payment to Mr. P. Michael Lord,
14, Garsdale Road, Newsome, Huddersfield HD4 6QZ.
Tel: Hudds. 29214
Double season ticket
Single season ticket
N.B. Please enclose stamped, addressed envelope if you are
asking for tickets to be sent to you.
Name
Address
Date & Quantity
Total
Single concert ticket
I enclose cheque
Cheques payable to "The Huddersfield Music Society"
Season tickets to be paid for or returned by 23rd
September 1988.
£ p
£ p
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£35
£20
£5
£4
50
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612
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6. Monday 13th February 1989 7.30 pm
ROTH STRING QUARTET
Quartet in B flat K458 (The Hunt) Mozart
Quartet no. 1 in G minor
Quartet in C op. 59 no. 3
(Rasoumovsky)
Vaughan Williams
Beethoven
Formed as recently as 1981, this young British
quartet has built up a reputation which must be the
envy of others in this field. It has been said of their
playing of the last Rasoumovsky that "they are young
people embarking on an exceptional adventure; they
have a dream of conquering the greatest work of its
kind and they do it with the majestic dialogue of the
magnificent British School. They give us chamber
music of perfection and finesse." (La Voix de Galicial
1987). That spirit of exceptional adventure has
inspired them to introduce into their repertoire the
seldom played but entrancing Quartet no. 1 of
Vaughan Williams.
7. Monday 13th March 1989 7.30 pm
HUGH TINNEY piano
Sonata in F major K332
Images Book 1
Reflets dans l'eau; Hommage a
Rameau; Mouvement
Preludes and Fugues op. 87;
nos. 4 & 15
Sonata no. 8 in B flat op. 84
Mozart
Debussy
Shostakovich
Prokofiev
We conclude the season with a recital by Hugh Tinney,
prizewinner in the Leeds International Piano
Competition 1987. His musical sensitivity brought him
special recognition as the winner of the Award for
Chamber Music Playing and the stimulating
programme he performs in Huddersfield will display his
talents to the full.
Concerts on intervening Mondays are promoted by
the Polytechnic Music Department and are
advertised in the Department's brochure.
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£35
£20
£5
.50
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me
520
612
vill
are
1. Monday 3rd October 1988 7.30 pm
MUSICA ANTIQUA KOLN
German Consort Music
Partita in F sharp minor
Fidicinium sacro-profanum 1683
2 sonatas
Overture in G minor BWV 1070
13 Canons Goldberg Variations
BWV 1087
Pachelbel
Biber
Bach
In 1984, when we were last privileged to receive this
ensemble in Huddersfield, they were already
recognised as the pre-eminent group in Europe
specialising in the authentic performance of baroque
music. Not surprisingly, they drew a record audience.
This is Musica Antiqua's only concert in England on
this tour and, with financial support from the
Goethe Institute, Manchester and Kirklees Leisure
Services, we are proud to offer subscribers this
opportunity to hear them again.
Quartet in G major op. 54 no. 1
Quartet no. 4
Quartet in E minor op. 59 no. 2
(Rasoumovsky)
2. Monday 31st October 1988 7.30 pm
EDER STRING QUARTET
Haydn
Bartok
Beethoven
"One trusts that the Eder String Quartet left St.
Paul's last night with an invitation from Huddersfield
Music Society to return as quickly as practicable"
HUDDERSFIELD EXAMINER 11th DECEMBER, 1984
Those who were present on December 10th will well
understand that sentiment, warmly echoed by those
fortunate enough to hear them on subsequent British
tours, and will contemplate with pleasure experiencing
again “the rare marriage of artistry and technical
excellence that this gifted Hungarian ensemble
revealed" on that occasion.
3. Monday 14th November 1988 7.30 pm
CLAIRE & ANTOINETTE
CANN on TWO PIANOS
Sonata in D major K448
Rhapsodie Espagnole
Mozart
Ravel
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S
I
34
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9
Concertino for two pianos op. 94
Petite Suite (Duet)
Danses Andalouses
Shostakovich
Debussy
Infante
These individually highly gifted identical twins bring to
duo piano programmes a telepathic musical rapport
and exuberance which captivate audiences wherever
they perform. Their U.S.A. concerts, which included
television and radio broadcasts, met with standing
ovations and high critical acclaim. This is a rare and
welcome opportunity to hear duo works on one and
two pianos.
This concert is sponsored by the Countess of Munster
Musical Trust.
4. Monday 5th December 1988 7.30 pm
LINDSAY STRING QUARTET
Quartet in A op. 18 no. 5
Quartet in F op. 59 no. 1 (Rasoumovsky)
Quartet in C sharp minor op. 131
Beethoven
Beethoven
Beethoven
What can one say about the Lindsays? And what
better way to hear them than in an all Beethoven
programme - one early, one middle and one late
quartet - playing with all the artistry and authority for
which they are renowned in their programmes of the
Master's work? The Lindsays are in residence at the
Faculty of Music at the University of Manchester; they
live in Sheffield, where their Chamber Music Festivals
at the Crucible Studio (five so far) are a major
attraction.
This concert is organised with the support of
Yorkshire Arts.
Trio in E flat op. 1 no. 1
Trio in A minor
Trio in B flat D898
5. Monday 23rd January 1989 7.30 pm
TRIO RAVEL OF PARIS
YORKSHIRE
ARTS
Beethoven
Ravel
Schubert
Funded
These performers, all young soloists with many prizes
to their credit, have delighted audiences and critics
alike in over fifty countries. They made their American
debut at the Carnegie Hall in 1983, when the New
York Times said of their performance of the Ravel Trio
in A minor that this was "memorable; a pastel
evocation imbued with soft light. This was chamber
music at its best".
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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. Walker
We gratefully acknowledge the support of:
Huddersfield Polytechnic
Arts Council of Great Britain
Yorkshire Arts Association
Kirklees Leisure Services
Goethe Institute, Manchester
HUDDERSFIELD
MANCHESTER
MANCHESTER RO A62
A616 CHAPEL HILL
Car
park
QUEEN ST SOUTH
QUEENSGATE
FIRE
STATION
ST. PAUL'S
HALL
MARKET
HALL
POLYTECHNIC
QUEENS GATE
BUS STATION
CASTLEGATE
H
A629 WAKEFIELD AD
WAKEFIELD M1
AND SHEFFIELD
SOUTHGATE
M62 WEST
A640
NEW NORTH ROAD
RAILWAY STATION
SPORTS
CENTRE
HALIFAX
& M62
NORTH
LEEDS RD A62
A629
ST JOHN S RD
W
LEEDS
TOWN CENTRE
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HUDDERSFIELD MUSIC SOCIETY
米米米米米米米米米
米米米米
Next Season's Concerts:
Nov. 14th.
Dec. 5th.
MONDAYS AT ST. PAUL'S
Oct. 3rd. MUSICA ANTIQUA KOLN
Jan. 23rd.
Feb. 13th.
Oct. 31st. EDER STRING QUARTET
CANN PIANO DUO
LINDSAY STRING QUARTET
RAVEL PIANO TRIO
ROTH STRING QUARTET
Mar. 13th. HUGH TINNEY piano
Programme to be
announced.
Haydn 54/1
Bartok 4
Beethoven 59/2
Programme t. b. a.
All Beethoven
Programme 18/5
59/1 131
Programme t. b. a.
Programme to
include Mozart Bb
K458; Beethoven 59/3
Leeds Competition
Prize Winner.
Programme t. b. a.
N.B. The season includes all three
Razamouvo sky Quartets opus 59
of Beethoven's
If you are not on our mailing list and would like to
receive the Society's brochure, please give your name
and address to Mrs. Linda Walker, High Beeches, Wellhouse,
Golcar. Huddersfield 654620.
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THE
HUDDERSFIELD
MUSIC
SOCIETY
supported by
Yorkshire
ARTS
WT.
Affiliated to
Huddersfield
Polytechnic
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HUDDERSFIELD MUSIC SOCIETY
UE
Programme Change
Hilary Norcliffe
Archivist
Seventy-first Season
1988 1989
Reinhard Goebel violin/director
Phoebe Carrai cello
Manfred Krämer violin
Florian Deuter violin/viola Thierry Maeder harpsichordah
CANTS
-
Monday 3rd October 1988
Purcell: 3 Fantasias
Replaced Pachelebel: Partita
See newspaper review
MUSICA ANTIQUA KÖLN
Programme
5
eusempie devotes
exclusively to baroque chamber music on original
instruments. Initially the group's work focussed entirely on
Italian music from around 1600 and the early 18th century
repertoire. More recently, they have devoted special attention
to compositions by J. S. Bach, his German forerunners and his
contemporaries. On their previous visit to this Society in
February 1984 their programme was of Vivaldi and Bach. Since
then, the ensemble has toured the USA, Canada, South America,
India, Japan, China and Australia.
This concert is presented in association with Kirklees
Leisure Services and the Goethe Institute of Manchester.
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HUDDERSFIELD MUSIC SOCIETY
Seventy-first Season
1988 - 1989
Monday 3rd October 1988
MUSICA ANTIQUA KÖLN
Reinhard Goebel violin/director
Phoebe Carrai cello
Manfred Krämer violin
Florian Deuter violin/viola Thierry Maeder harpsichordat
Programme
GERMAN CONSORT MUSIC 1680-1750
Partita in F sharp minor
Fidicinium sacro-profanum 1683
Harmonia artificiosa-ariosa 1697
Interval
Pachelbel
Biber
Biber
Overture in G minor BWV 1070
13 Canons on the groundnotes of the
Goldberg Variations BWV 1087
Bach
Bach
Founded in 1973, the Musica Antiqua Köln ensemble devotes
itself exclusively to baroque
baroque chamber
chamber music on original
instruments. Initially the group's work focussed entirely on
Italian music from around 1600 and the early 18th century
repertoire. More recently, they have devoted special attention.
to compositions by J. S. Bach, his German forerunners and his
contemporaries. On their previous visit to this Society in
February 1984 their programme was of Vivaldi and Bach. Since
then, the ensemble has toured the USA, Canada, South America,
India, Japan, China and Australia.
This concert is presented in association with Kirklees
Leisure Services and the Goethe Institute of Manchester.
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Partita in F sharp minor
Johann Pachelbel (1653-1706)
Sonata Allemande - Aria - Courante - Sarabande
Gigue
-
Johann Pachelbel was born and died in Nuremberg. In 1673
he became deputy organist at St. Stephen's Cathedral, Vienna.
This contact with Catholic music enlarged his musical
experience, which was otherwise Protestant. From 1695 until
his death he was organist of the church of St. Sebald in
Nuremberg. Throughout his life he was employed as an organist
and the majority of his output was for the church. He wrote
some fine harpsichord music but it is disappointing that there
is so little instrumental music surviving. Some trios
published in 1695 were designed specifically for amateurs.
Eight further works survive in a manuscript which was lost in
the war and has only recently emerged.
This Partita is scored for violins, violas and basso
continuo.
Fidicinium sacro-profanum (1683)
Harmonia artificiosa-ariosa (1683)
Partita No. 3 in A major
-
-
INTERVAL
Heinrich Biber (1644-1704)
Heinrich Ignaz Franz von Biber was born in Northern
Bohemia and seems to have studied locally, becoming a virtuoso
violinist. From 1670 until his death Biber worked for the
Archbishop of Salzburg. He wrote a considerable
a considerable amount of
church music but only a Requiem and a 53-part Mass have
survived. It
It is his instrumental music which has been most
played. Although some was published at the beginning of the
century, it was not until the emergence of ensembles playing
early-style instruments that its high quality became apparent.
Fidicinium sacro-profanum (Sacred and secular music for
strings) was dedicated to Archbishop Gandolph of Salzburg. It
contains 12 sonatas for violins, violas, violone and continuo,
of which two will be performed.
The Harmonia artificiosa-ariosa is a collection of seven
partitas for two violins and basso continuo. Partita No. 3 has
six movements: Praeludium - Allemande Amener (Courante) -
Balletto Gigue - Ciacona.
1
Heinrich Biber
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Overture in G minor BWV 1070 for 2 violins, viola & basso
continuo
Johann Sebastian Bach (1685-1750)
Ouverture - Torneo Aria Menuet 1 & 2 - Capriccio
Thirteen Canons on the groundnotes of the Goldberg Variations
BWV 1087 for harpsichord, 2 violins, 2 violas and violoncello.
Johann Sebastian Bach
The Overture in G minor (really a suite) is said to be the
work of Bach's eldest son, Wilhelm Friedemann, who was born in
Weimar in 1710, No autograph, either of father or son, has
survived and it is only through a copy made by a pupil of
Bach's that we know the work at all. The copy is not dated but
is thought to be from the late 1720's or early 1730's.
The Canons which comprise BWV 1087 belong to a group which
Bach wrote in about 1745 and are preserved on a blank page in
his personal copy of the Goldberg Variations. Two of them have
long been known in separate contexts - one can be seen in
Haussmann's portrait of Bach c. 1746 in which the composer
holds it facing the onlooker - but the remainder only came to
light in 1975. Each canon in the group is a 'canon perpetuus',
that is to say it can continue endlessly in performance, and
so the players must decide for themselves a harmonically
appropriate point at which to close.
The skill in canon writing was to get the maximum music
out of the minimum notation. Canon originally meant 'verbal
instruction'; by Bach's time it was used to refer to a piece
of music where additional parts could be extrapolated from
those written. For instance, the one on Bach's portrait
appears to be in three parts, but from each of these parts a
further part can be made by reversing the intervals of the
written parts. To some extent this was an intellectual
exercise; but at times fine music resulted. As ever, Bach
displays his consummate mastery of contrapuntal technique in
these engaging little pieces.
(from notes by Clifford Bartlett and Nicholas Anderson)
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HUDDERSFIELD
MUSIC SOCIETY
Season 1988-89 at St. Paul's Hall
Next Concert, 31 October: THE EDEE STRING QUARTET
(Haydn, Bartok, Beethoven)
Monday 14 November: CLAIRE & ANTOINETTE CANN on 2 pianos
(Mozart, Ravel, Shostakovich, Debussy, Infante)
Monday 5 December: THE LINDSAY STRING QUARTET
(all-Beethoven concert)
Monday 23 January: TRIO RAVEL of PARIS
Monday 13 February: THE ROTH STRING QUARTET
Monday 13 March: HUGH TINNEY - piano
(Beethoven, Ravel, Schubert)
(Mozart, Vaughan Williams, Beethoven)
(Mozart, Debussy, Shostakovich, Prokofiev)
STUDENTS on STAGE - I
HUDDERSFIELD POLYTECHNIC
MONDAYS at St. PAUL'S HALL
10 October at 7.30pm
Baroque Vocal Music
Sonatina for flute & guitar - Castelnuovo-Tedesco
Clarinet concerto No. 1 - Weber
ELLAND & DISTRICT MUSIC SOCIETY
Parochial Hall, Westgate, Elland
Friday 21 October at 7.30pm
NINA VINOGRADOVA-BIEK - piano
Works by; Schumann, Scarlatti, Schubert, Beethoven,
Liszt and Chopin
HALIFAX PHILHARMONIC CLUB
Harrison House, Harrison Road, Halifax
Friday 14 October at 7.30pm
ALBION ENSEMBLE with Peter Evans
-
piano
Quintet in B flat Op. 56 No. 1
Sonata for flute and piano
Quartet in E flat for wind & piano K452
Wind Quintet Op. 43
Sextuor
Danzi
Poulenc
Mozart
Nielsen
Poulenc
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1
t
n
C
THE SOCIETY IS GRATEFUL
for
FINANCIAL HELP FROM:
The Rt. Hon. The Lord Saville, JP, DL
(Hon. Vice-President)
K Beaumont
H J Black
J F Crossley
Mrs. E Crossland
Mrs. A Crowther
D Dugdale
Yorkshire Arts Association
The Goethe Institute of Manchester
Kirklees Leisure Services
The Cannon Lincoln Group
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HUDDERSFIELD MUSIC SOCIETY
Season 1988-89 at St. Paul's Hall
Next Concert, 31 October: THE EDEE STRING QUARTET
(Haydn, Bartok, Beethoven)
Monday 14 November: CLAIRE & ANTOINETTE CANN on 2 pianos
(Mozart, Ravel, Shostakovich, Debussy, Infante)
Monday 5 December: THE LINDSAY STRING QUARTET
Monday 23 January: TRIO RAVEL of PARIS
Monday 13 February: THE ROTH STRING QUARTET
Monday 13 March: HUGH TIMNEY - piano
HUDDE
MOND
10 Octol
STUI
ELLAN
Parochia
(all-Beethoven concert)
(Beethoven, Ravel, Schubert)
(Mozart, Vaughan Williams, Beethoven)
(Mozart, Debussy, Shostakovich, Prokofiev)
Friday 2
NINA VINUGRADUVA-BIEK - piano
Works by; Schumann, Scarlatti, Schubert, Beethoven,
Liszt and Chopin.
HALIFAX PHILHARMONIC CLUB
Harrison House, Harrison Road, Halifax
Friday 14 October at 7.30pm
ALBION ENSEMBLE with Peter Evans - piano
Quintet in B flat Op. 56 No. 1
Sonata for flute and piano
Quartet in E flat for wind & piano K452
Wind Quintet Op. 43
Sextuor
Danzi
Poulenc
Mozart
Nielsen
Poulenc
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:
1
C
THE SOCIETY IS GRATEFUL
for
FINANCIAL HELP FROM:
The Rt. Hon. The Lord Saville, JP, DL
(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
PL Michelson
S Rothery
JC S Smith
S L Henderson Smith
Mrs. C Stephenson
JG Sykes
Mrs. E R Taylor
WE Thompson
H Marshall Williams
Huddersfield Polythechnic
Yorkshire Arts Association
The Goethe Institute of Manchester
Kirklees Leisure Services
The Cannon Lincoln Group
1
X
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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
G
ܐܐ
PELET
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
supported by
Yorkshire
ARTS
WT.
Affiliated to
Huddersfield
Polytechnic
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HUDDERSFIELD MUSIC SOCIETY
Seventy-first Season
1988 1989
Monday 31st October 1988
EDER STRING QUARTET
Janos Selmeczi violin
Ildiko Hegyi violin
Sandor Papp viola
Gyorgy Eder Violoncello
Programme
Quartet in G major Op.54 No. 1
Quartet No. 4
Interval
Quartet in E minor Op.59 No.2
Haydn
Bartok
Beethoven
The Eder String Quartet was formed in 1972 at the Liszt
Academy of Music in Budapest. They studied under the
internationally famed Professor Andras Mihaly who coached the
Bartok and Kodaly Quartets.
After graduating from the Academy in 1973, the Quartet at
once became well-known on Hungarian Radio and TV. They have
since performed in every major European country, playing at
many important festivals such as Berlin,
as Berlin, Bordeaux and Bath.
Their concert tours include the United States of America and
Canada and they have made annual visits to Britain. The
present tour encompasses 12 major cities.
The composition of the Quartet has been somewhat altered
since their last visit to this Society in 1984, Janos Selmeczi
and Ildiko Hegyi replacing the violinists Pal Eder and Erica
Toth.
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Quartet in G major Op.54 No.1
Allegro con brio
Allegretto
Menuetto and Trio
Finale - presto
Haydn (1732-1809)
By some strange error of judgment this fine quartet has
never before been played at these concerts. It is the first of
the so-called 'Tost' quartets and it was with Johann Tost, a
respectable cloth merchant and violinist that Haydn and Mozart
played the Mozart Quintets, alternating first and second viola
parts.
The quartet is largely traditional with a charming
siciliano slow movement, but the menuetto is notable for the
5-bar phrases of the first part of the movement. The first
violin is unusually silent in the Trio.
Quartet No. 4
Allegro
Prestissimo con sordino
Non troppo lento
Bartok (1881-1945)
Allegretto pizzicato
Allegro molto
(One previous performance by the Amadeus Quartet in 1953)
Of Bartok's six string quartets, the first appeared in
1908 and the last in 1941 punctuating the main course of his
life as a composer; through them his entire development can be
traced. His melodic thinking was strongly influenced by his
researches into Hungarian folk-music but
but the influence
remained as a flavour rather than in any use of traditional
tunes. He himself explained
explained that it had shown him the
possibility of complete emancipation from the
and minor modes and that the new forms
acquired opened up new melodic and harmonic potentialities.
tyranny of major
of scales thus
Bartok was essentially a linear composer; he named Bach,
Beethoven and Debussy as the masters from whom he had learned
the most - Bach for his counterpoint,
counterpoint, Beethoven for his
-
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fr
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development of
of fragmentary themes and Debussy for his
impressionism which shows in Bartok's early quartets and in
the slow 'Night Music of the 4th.
This quartet's five movements are in the form of an arch
the keystone (itself in arch form A-B-A) being the Lento which
is flanked by two fast and glittering movements while two more
serious movements begin and end the work. The quartet dates
from 1928 (the same year as Janacek's second quartet Intimate
Letters). The work was dedicated to the Pro Arte Quartet and
received its first performance at the Festival of Liège and
Brussels in 1930.
INTERVAL
Quartet in E minor Op.59 No. 2 (Rasoumovsky)
Beethoven (1770-1827)
Allegro
Molto adagio
Allegretto
Presto
(Last performed in 1974 by the Fitzwilliam Quartet)
All three quartets Op.59, dedicated to Count Rasoumovsky,
are being played during this season, beginning with the
second. The first will be performed by the Lindsay Quartet on
5th December and the third by the Roth Quartet on 13th
February. The first two incorporate a Russian song in honour
of their dedicatee, the Russian Ambassador - in this case
presented by the viola in the trio section of the third
movement.
Peter Cropper writes: "When we hear the Op. 18 quartets we
are still in the world of Haydn and Mozart. Now (1806) within
six years,
we are not only in a new century with revolution
rife, but in a different universe. What Beethoven achieves in
his 'Eroica' symphony, he surpasses in his 'middle period'
quartets. His symphonies are a public expression of the times
but these quartets express Beethoven's reaction to his own
revolution as well: he had been going deaf since the age of
thirty".
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The E minor Quartet is much the most elusive of the three.
It begins, as does the Eroica, with two chords that have no
other purpose than to attract our attention. These are
followed by a breathless broken phrase. The slow movement
bears the instruction Si tratta questo pezzo
tratta questo pezzo con molto di
sentimento (to be played with great feeling). The Russian
theme in the trio of the allegretto movement is the Slava
(Glory) found in Boris Godunov and other Russian Works
longer a patriotic hymn under Beethoven's treatment.
no
HUDDERSFIELD MUSIC SOCIETY
Next Concert, Monday 14 November:
CLAIRE & ANTOINETTE CANN
Sonata in D major K448
Rhapsodie Espagnole
Concertino for two pianos
Petite Suite
Danses Andalouses
HUDDERSFIELD POLYTECHNIC
MONDAYS at St. PAUL'S
7 November at 7.30pm
STUDENTS on STAGE - II
Serenade for 13 wind instruments
Sonata for flute and piano
Wind serenade in D minor
HALIFAX PHILHARMONIC CLUB
Harrison House, Harrison Road, Halifax
Friday 11 November at 7.30pm
THE PIANO TRIO BERLIN
Trio in E flat
Variations on Kakadu
Trio in E flat Op. 100
-
Mozart
Ravel
Shostakovich
Debussy
Infante
Strauss
Prokofiev
Dvorak
Haydn
Beethoven
Schubert
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THE SOCIETY IS GRATEFUL
for
FINANCIAL HELP FROM:
The Rt. Hon. The Lord Saville, JP, DL
(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
PL Michelson
S Rothery
JCS Smith
S L Henderson Smith
Mrs. C Stephenson
JG Sykes
Mrs. E R Taylor
W E Thompson
H Marshall Williams
Huddersfield Polytechnic
Yorkshire Arts Association
The Goethe Institute of Manchester
Kirklees Leisure Services
The Cannon Lincoln Group
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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
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.
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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HUDDERSFIELD MUSIC SOCIETY
Seventy-first Season
1988 - 1989
Monday 14th November 1988
CLAIRE and ANTOINETTE CANN
Duo Pianists
Programme
Sonata in D major K448
Rhapsodie Espagnole
Concertino for 2 pianos Op. 94 Shostakovich
Petite Suite - duet
Danses Andalouses
Mozart
Ravel
Debussy
Infante
The British identical twins, Claire and Antoinette Cann,
became interested in duo piano music at an early age. They
studied with Phyllis Sellick at the Royal College of Music and
both graduated with first class honours in solo and duo-piano
performance, subsequently winning the President's Rose Bowl
(for the student who brings the most credit to the RCM)
They have performed extensively throughout Britain
including concerts in the Purcell Room, Fairfield Halls, St.
David's Hall, etc. and have played with many orchestras
including the London Mozart Players. They are playing in the
USA, Poland and Germany this season and have recorded for
Gemini Sound.
Sonata for two pianos in D major K448
This concert is sponsored by the Countess of Munster
Musical Trust.
Gowns by Bride' available from Rackham of Bradford.
Volfgang Amadeus Mozart (1756-1791)
Allegro con spirito - Andante - Allegro molto
The Sonata K448, along with the fugue in C minor K426, are
Mozart's only works for 2 pianos, apart from some fragments.
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This is surprising when one considers his large output for 4
hands at one piano.
The Sonata was composed in Vienna in November 1781 for
performance by Mozart himself and Fräulein Josephine
Aurnhammer, a grotesquely ugly lady who had pestered Mozart
for piano lessons and who was certainly enamoured of him.
However, her redeeming feature was that
that she was a gifted
performer and the critical Mozart certainly admired her
playing.
The piece is one of Mozart's supreme essays in the gallant
style yet at the same time, unusual for Mozart, embraces an
enormous range of emotions within one work. Einstein has
written of it: 'The art with which the two parts are made
completely equal, the play of the dialogue, the delicacy and
refinement of figuration, the feeling of sonority in the
combination and exploitation of the registers of the two
instruments - all these things exhibit such mastery that this
apparently superficial and entertaining work is at the same
time one of the most profound and most mature of all Mozart's
compositions'. The magnificently controlled dialogue reaches
emotional intensity in the passionate slow movement which is
an instrumental 'love duet' comparable to the great love
scenes in the operas. Its intensity is
Its intensity is thrown into even
greater relief by the brilliance and good humour of the two
flanking movements.
Rhapsodie Espagnole
Prelude à la Nuit - Malaguena - Habanera - Feria
Composed in 1907, Rhapsodie Espagnole was Ravel's first
large-scale orchestral work and it was an immediate success.
Ravel had originally composed the third movement, Habanera, as
a two-piano work and soon after the completion of the
orchestral score he transcribed the remaining movements of the
suite for two pianos.
Maurice Ravel (1875-1937)
The first movement, Prelude à la Nuit, has been described
as an 'essay in musical impressionism'. The succession of
shimmering colours combined with dreamy rhythms evoke the
atmosphere of a Spanish evening. There is no distinctive theme
but the descending four-note figure that opens the movement is
H
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4
or
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6
repeated incessantly creating an almost hypnotic effect.
The Prelude leads on directly to the Malaguena which is a
lively movement in A minor based on rhythms common to the
district of Malaga. It features the distinctive abrupt changes
of mood which are characteristic of this dance form. Near the
end the descending four-note figure is heard, recalling the
'nocturnal music of the first movement.
The Habanera which follows captures the mood of this well-
known rather sensuous dance. This contrasts sharply with the
gaiety of the last movement, the Feria which paints a vivid
picture of a Spanish Fair approaching from
the distance and carrying everyone along with its vigour and
excitement as the colourful Hispanic panorama sweeps to its
conclusion.
Concertino for Two Pianos
INTERVAL
Petite Suite
Shostakovich wrote the Concerto for his son, Maxim, who
gave the first performance of it with Alla Mloletkova on 20th
January 1955 in Moscow Conservatory.
The composition opens with a slow dramatic introduction,
which leads into a lively Allegretto the main section of the
work. The opening material does, however, reappear in the
middle section and for one brief episode before the concluding
paragraph.
En bateau - Cortège
Cortège
Shostakovich (1906-1975)
-
Claude Debussy (1862-1918)
Menuet
Menuet Ballet
Written in 1889 and later arranged for small orchestra by
Henri Büsser, Debussy's Petite Suite has now
now become a
favourite in the piano duet repertoire.
In the opening barcarolle entitled En bateau one can
imagine a boat gently flowing by with the waters rippling
beneath it.
The Cortège portrays a colourful procession. Here,
especially, Debussy exploits the tone colours of the piano.
The graceful menuet that follows, with
with its lute-like
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accompanying figures and lyrical melodies, provides a suitable
contrast before the lively finale, Ballet. However, the playful
opening motif of the Ballet soon glides into a charming waltz
reminiscent of Delibes. The first motif then returns but
before the close of the movement, the waltz motif reappears to
bring the work to its delightful conclusion.
Danses Andalouses
Manuel Infante (1883-1958)
Written in 1921, these three dances capture the
imagination of the listener with their vivid tone colours and
shimmering virtuosity.
The set opens with Ritmo, a dance of impetuous vitality
which features castanet-like figures.
In Sentimento,
the centre-piece of the set, Infante
extends the form to include a dramatic cadenza-like
introduction and a kaleidoscope of Spanish themes which
enhance the improvisatory nature of the music
This is followed by the finale, Gracia, which brings the
suite to a sparkling conclusion with its graceful charm and
poise.
Notes Cann
HUDDERSFIELD MUSIC SOCIETY
Next Concert, Monday 5 December at 7.30pm:
LINDSAY STRING QUARTET
Beethoven Quartets Op. 18 No.5, Op. 59 No. 1, and Op. 131
HUDDERSFIELD POLYTECHNIC
MONDAYS at St. PAUL'S
28 November at 7.30pm
WAKEFIELD DIOCESE CENTENARY CELEBRATION
Combined Wakefield Cathedral and Polytechnic Choirs sing
Andrea Gabrieli's setting of the Magnificat
ELLAND & DISTRICT MUSIC SOCIETY
Parochial Hall, Westgate, Elland
Friday 25 November at 7.30pm
GERARD LE FEUVRE cello, CATHERINE DAVIS Piano
Marcello, Bach, Martinu, Beethoven & Chopin
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THE
HUDDERSFIELD
MUSIC
SOCIETY
supported by
Yorkshire
ARTS
II
WT.
Affiliated to
Huddersfield
Polytechnic
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M
I
E
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HUDDERSFIELD MUSIC SOCIETY
Seventy-first Season
1988 - 1989
Monday 5th December 1988
LINDSAY STRING QUARTET
Peter Cropper violin
Ronald Birks violin
Robin Ireland viola
Bernard Gregor-Smith cello
All Beethoven Programme
Quartet in A major Op.18 No.5
Quartet in F major Op.59 No.1
Quartet in C sharp minor Op.131
The Lindsay Quartet is in residence in the Faculty of Music,
University of Manchester, where, as well as giving concerts, it
directs seminars on the quartet
quartet repertoire, coaches chamber
ensembles and provides individual instrumental tuition.
In 1984 the Quartet inspired their own Chamber Music
Festival in Sheffield, centred on Beethoven. The subsequent annual
festivals have featured Schubert, Mozart and Haydn, and this year
the Romantics: Brahms, Schumann and Mendelssohn. The 1989
Festival is to be Beethoven again.
The Lindsay is extremely
is extremely fortunate
fortunate in being lent some
remarkable instruments: the Maurin Stradivarius of 1718 on loan
to Peter Cropper by the Royal Academy of Music, the Campo-Selice
of 1694 to Ronald Birks and a Ruggiero cello of 1694 to Bernard
Gregor-Smith; Robin Ireland plays a Mori Costa viola C.1810.
The quartet has a busy international schedule
schedule covering
France, Austria, Switzerland, Poland, Germany, Sweden, Denmark,
Italy, Portugal, Spain and Finland and will make their sixth tour
of the USA in March 1989.
LUDWIG van BEETHOVEN b. Bonn 1770 d. Vienna 1827
"A majority of musicians would probably agree in regarding
Beethoven's string quartets as the highest peak in the whole
range of chamber music". Thus wrote Roger Fiske in 1957 and few
would challenge the statement today.
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The history of the arts in his day showed a gradual
improvement from the primitive each peak being higher than its
predecessor and Beethoven's quartets are more highly developed
technically as well as emotionally than those of his forerunners.
Beethoven was a passionate believer in human progress, and like
his contemporary, Wordsworth, hailed the French revolution with
its ideals of liberty, equality and fraternity. Both artists were
to be disillusioned but not before the completion of the Op.18
string quartets. Building on the techniques of Haydn and Mozart,
Beethoven's depth and intensity of thought and feeling are
increasingly evident in the three great periods of his quartet
development - the six Op.18, the three Rasoumovsky with Op.74
and Op.95, and the late works Opp.127, 130, 131, 132, and 135.
Quartet in A major, Op.18 No.5
Allegro
Menuetto Andante cantabile - Allegro
(First performance at the Society's concerts)
-
-
a new
The first professional string quartet seems to have been
formed in Vienna by Ignaz Schuppanzigh when he was only 16.
String quartets were then the music of the young
fashion. In 1792 Prince Lichnowsky began hiring Schuppanzigh and
his three friends to play quartets every Friday morning. Towards
the end of the century they were playing Haydn's last and
Beethoven's first string quartets in the Prince's house.
The Op.18 quartets were commissioned by Prince Lobkowitz and
were composed about 1799. No.5, perhaps the least often
performed, is most notable for the five splendid variations and
coda forming the third movement. In writing them, Beethoven
obviously took as his model the variations in Mozart's quartet in
A major.
Quartet in F major Op.59 No.1
Allegro
Allegretto vivace e sempre scherzando
Adagio molto e mesto
Thème Russe
allegro
plads (Last performed in 1977 by the New Budapest Quartet)
D
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The first Rasoumovsky quartet was composed in 1806,
commissioned by the Count who was Russian Ambassador in Vienna.
As in the second, played by the Eder Quartet in October, a
Russian folk tune is introduced this time as the opening theme
of the last movement - on the cello.
We
2
The music of Beethoven's middle period is larger in every
way than that of the earlier years; this quartet is nearly twice
as long as the A major, Op.18 and is immeasurably deeper in
emotional intensity and in the range of the instruments. It opens
with a cello solo - a deep rich beginning to a work remarkable
for the depth of the bass and the height of the top lines,
making for astonishing expansiveness in the music.
The second movement, a scherzo with a persistent rhythmic
figure, opens with a dialogue between the cello and second violin,
followed by the viola and first violin. It is a triumph of
rhythmic and melodic originality. It is succeeded by one of
Beethoven's most moving slow movements. This movement has no
ending proper but slips into a cadenza, linked to the finale by a
long trill below which the cello introduces the Russian folk song
transformed into a dance, the song only appearing in its
original, slow form towards the end of the work.
The third Rasoumovsky is to be played on 13th February next
by the Roth String Quartet.
INTERVAL
Quartet in C sharp minor, Op.131
Adagio ma non troppo
Allegro molto vivace
Allegro moderato
Andante ma non troppo e molto cantabile
Presto
Adagio quasi un poco andante
Allegro
(Last performed in 1979 by the Orford Quartet, Canada)
The five late quartets, including the great fugue, occupied
the last few years of Beethoven's life. He began work on them in
1824 and finished them in 1826, a few months before his death.
Opus 131 may be said to have seven movements but they are
played without a break and the divisions are not clear to the
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a
listener. The opening fugue (adagio) is very long and leads into
the scherzo in 2-time. There is then long unison
a long unison passage,
interrupted by a brief recitative which introduces the theme and
variations. This is a very different set from that of Op.18 No.5
and is almost a a quartet in itself. (Amateurs are sometimes
advised to confine themselves to this movement!). The movement
ends with the second violin and viola playing unison, the first
trilling and the cello commenting. The presto is announced by the
cello - a fast and brilliant movement with a passage towards the
end to be played on the bridge - an innovation in quartet
writing. This exciting movement
movement ends with widely spaced G
sharps, the violins and viola leaping down and up, while the
cello does the reverse; after a pause the G sharp minor adagio,
28 bars of the most profound sadness, leads us to the final
allegro which suddenly breaks forth in unison on the four
instruments. Wagner described the movement as "the world's dance
of fierce pleasure, agony, joy, passion and pain".
This concert is subsidised by Yorkshire Arts Association.
HUDDERSFIELD MUSIC SOCIETY
Next Concert, Monday 23 January 1989 at 7.30pm:
RAVEL PIANO Trio of PARIS
Beethoven Op.1 No.1; Ravel in A minor; Schubert in B flat
MONDAYS at St. PAUL'S
12 December at 7.30pm
THE POLYTECHNIC ORCHESTRA
Mozart Symphony No.40 in G minor;
Tchaikovsky Symphony No.5
HALIFAX PHILHARMONIC CLUB
Harrison House, Harrison Road, Halifax
Friday 9 December at 7.30pm
ENNA KIRKBY & ANTHONY ROOLEY soprano & lute
THE GOLDEN AGE REVIVED
Monteverdi, Dowland, John Blow and others
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THE SOCIETY IS GRATEFUL
for
FINANCIAL HELP FROM:
The Rt. Hon. The Lord Saville, JP, DL
(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
JC S Smith
S L Henderson Smith
Mrs. C Stephenson
JG Sykes
Mrs. E R Taylor
WE Thompson
H Marshall Williams
Huddersfield Polytechnic
Yorkshire Arts Association
The Goethe Institute of Manchester
Kirklees Leisure Services
The Cannon Lincoln Group
1
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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
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.
6-00-11-00 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
supported by
Yorkshire
ARTS
IL
WT.
Affiliated to
Huddersfield
Polytechnic
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PI
to
1'
EB
th
ㅇㅇ
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HUDDERSFIELD MUSIC SOCIETY
Seventy-first Season
1988 1989
Monday 23rd January 1989
TRIO RAVEL of PARIS
Chantal de Buchy piano
Christian Crennes violin
The members of the Ravel Piano Trio are all young soloists
with many first prizes to their credit. They formed the Trio in
1969 and studied the repertoire with Rostropovich and Menuhin.
Since then they have made many tours including Canada, the USA,
South America and Japan. Last season the trio gave a very highly
acclaimed concert in Lancaster University. We warmly welcome
their return visit to the North of England.
Trio No.1 in E flat Op.1 No.1
Allegro
Manfred Stilz cello
Adagio cantabile
Scherzo
Finale
Beethoven (1770-1827)
presto
(First Performance at these concerts)
From December 1792 to January 1794 Beethoven was having
lessons in composition from Haydn who was back from his visit
to London. The three trios Op.1 were written between 1793 and
1795 and must have surprised Haydn when he returned from a
second London visit. In fact he was
was so unwise as to advise
Beethoven not to publish No.3, easily the best of the three and
the most often played.
Under Beethoven's hand the form had undergone a considerable
change; no longer does the cello part simply duplicate the piano
as in most of Haydn's piano trios but plays an individual part
in the whole. Then again, Beethoven has introduced a fourth
movement, the scherzo, which was an innovation in piano trio
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writing. Only Op.70 No.1 (Ghost) is in the old form of three
movements. The trio is classical in form, a delightful work, not
very often performed.
Trio in A minor
Modéré
Pantoum
assez vif
Passacaille - très large
-
1
Ravel (1875-1937)
Final
animé
(Last performed in 1985 by the Abegg Piano Trio)
Very few major composers in the early part of this century wrote
piano trios; the medium is difficult according to Ravel who said
that the violin and piano are essentially incompatible: the
tempered intervals on the piano clash with the untempered on the
stringed instrument.
With his extraordinary ear for orchestration, Ravel was the
man to take up his own challenge. He uses the piano harmonically
but avoids chords with the strings, preferring to play them in
octaves so that the strings are often only a single part but
strong enough to balance the powerful piano.
This work was a long time in gestation; on one occasion
Ravel said it was finished except for the themes; which it may
well have been, as the structure of a piece was his first
consideration.
The quiet opening is in 8/8 time, divided into three groups
of quavers 3:2:3, with the bass giving the four beats of the bar.
The strings take up the theme at the interval of two octaves. In
this movement the composer uses the themes from his native
Basque country.
Pantoum is the word given to a type of Malayan poetry in
which the second and fourth lines of each verse are repeated as
the first and third of the following one. There is some rather
complicated parallel in this form of music.
The third movement is not a strict passacaglia; the theme,
after being stated in the bass of the piano, is repeated by the
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ree
not
(37)
ote
aid
che
che
The
ly
in
ut
מם
ay
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06
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cello but with the third statement, on the violin, it is altered.
With each statement the pitch rises, then descends
descends to its
original register. The Finale alternates between five and seven
beats to a bar, some of the material recalling themes of the
first movement.
Trio in B flat D898
INTERVAL
Allegro moderato
Andante un poco mosso
Scherzo and trio
-
Schubert (1797-1828)
Rondo
allegro vivace
(Last performed in 1980 by the Sheffield University Trio)
(Rosemary Furniss, Colin Carr and Peter Hill)
Some of the happiest hours of Schubert's life were spent in
the houses of friends in musical evenings - Schubertiades. Both
his piano trios were composed for such occasions and were
inspired by his friendship with Schuppanzigh violin, Linke cello
and von Bocklet piano.
"The B flat trio is a blissfully happy work, rich in cheerful
melody and full of characteristic modulations and key switches.
The principal tune sails in at once ,all sunshine and swagger,
while the punctuating figure in the left-hand piano part enhances
the élan of the tune. Schubert's favourite triplets, as well as
the dotted rhythm of the figure, are at once in evidence." (W.
Mann)
The strings take the lead as in the 'Trout' Quintet. They
generally present the themes and the piano takes them up
afterwards. Particularly prominent is the way the cello is used;
Schubert takes the cello, in soloistic and at times virtuosic
manner, up into the high positions. In the first movement the
first subject is first stated by the cello, and in the Andante
the cello opens the string dialogue with the main theme before
the piano takes it over. In this way, this trio played a large
part in raising
raising the cello to one of the most popular solo
instruments.
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HUDDERSFIELD MUSIC SOCIETY
Next Concert, Monday 13 February 1989 at 7.30pm:
ROTH STRING QUARTET
Mozart
Vaughan Williams
Beethoven
Quartet in B flat (Hunt)
Quartet in G minor
Quartet in C Op.59 No.3
MONDAYS at St. PAUL'S
30th January at 7.30pm
POLYTECHNIC STUDENTS ON STAGE
Songs by Fauré, Duparc and Brahms
Violin pieces by Prokofiev (Five Melodies) and Kreisler
Concert Study for piano by Liszt
ELLAND & DISTRICT MUSIC SOCIETY
Parochial Hall, Westgate, Elland
27th January at 7.30pm
PETER LANGHAN EVANS baritone
SIMON SMITH piano
Songs by Quilter, Schumann, Britten, Ravel
and Vaughan Williams
HALIFAX PHILHARMONIC CLUB
Harrison House, Harrison Road, Halifax
Friday 3rd February at 7.30pm
THE HANSON STRING QUARTET
Beethoven Op.18 No.4,
Bartok No.4,
Tchaikovsky in D Op.11
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ler
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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
G
엘
ALH
sole mio
TRY SOMETHING NEW?
HAVE A PIZZA, A GLASS
OF WINE HAVE FUN!
M
Home made Pastas
Genuine Italian Pizza
Special of the day
Take away for one or for the
family - Party take away
catered for.
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.
3
12 ZETLAND STREET
HUDDERSFIELD WEST YORKSHIRE
Telephone: (0484) 515161
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THE
HUDDERSFIELD
MUSIC
SOCIETY
supported by
Yorkshire
ARTS
11
WT.
Affiliated to
Huddersfield
Polytechnic
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HUDDERSFIELD MUSIC SOCIETY
Seventy-first Season
1988 - 1989
Monday 13th February 1989
ROTH STRING QUARTET
Duncan Riddell violin Elizabeth Turnbull viola
Paul Robson violin
Stephen Donovan cello
Progranne
Quartet in B flat, K458
Quartet No.1 in G minor
Quartet in C Op.59 No.3
Mozart
Vaughan Williams
Beethoven
The members of the Roth Quartet met whilst studying with
Nicholas Roth and in 1981 decided to form a string quartet. In
1985 the quartet recorded for the BBC Radio 3 and was instantly
engaged to give a live "Concert Hall" programme. Also in that
year, the quartet won the
the Duisberg Prize at the Portsmouth
International Quartet Competition; one of six British quartets to
take part, it was the only one to win through to the finals and
had the honour of receiving a prize from Yehudi Menuhin who led
the jury.
We are grateful to Kirklees Leisure Services for financial
assistance in the promotion of this season's concerts.
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Quartet in B flat, K458
Allegro vivace assai
Minuet and trio
Adagio
Allegro assai
(Last performed in 1979 by the Orford Quartet of Canada)
This is the fourth of the six quartets which Mozart
dedicated to his "dear friend Haydn" to Mozart the string
quartet's "onlie begetter". They were the fruits of long and
careful study as is evident by the many alterations and erasures
in the manuscript. They were written in the years 1782 to 1786,
after Haydn had completed his Russian Quartets Opus 33 ("written
in an entirely new and particular manner") and was composing his
six Op.50 quartets, so that Mozart had much material for careful
study.
Quartet No.1 in G minor
Mozart (1756-1791)
The quartet is nicknamed The Hunt, which supposedly refers
to the rhythm of the first movement one can hardly imagine
Mozart taking part in such a diversion, but certainly the opening
theme is reminiscent of a hunting call. To the Adagio no words
can do justice.
Allegro moderato
Minuet and trio
●
-
Vaughan Williams (1872-1958)
Romance (Andante sostenuto)
Finale (Rondo capriccioso)
(First performance at these concerts)
Although Vaughan Williams is not primarily associated with
chamber music he wrote more than is generally realised, the best
known being the song cycle with piano quintet accompaniment: On
Wenlock Edge.
A striking feature of the two string quartets, composed 35
years apart, is that they coincided with crucial periods in
Vaughan Williams's development. The first is dated 1908, the year
of VW's lessons in Paris with Ravel, after which his style
matured and his long struggle to find himself' was over (insofar
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as it is ever over for a creative artist). "After 3 months" VW
wrote of the Ravel episode, "I came home with a bad attack of
French fever and wrote a string quartet which caused a friend to
say that I must have been having tea with Debussy..." The point
of the remark is especially obvious in the slow movement where
the principal theme has a distinct resemblance to the one in the
Debussy quartet. The work received its première in London in
November 1909 and was revived in 1921 preparatory to a number
of performances given in Britain and Europe by a string quartet
led by André Mangeot, who was a champion of English music but,
as a Frenchman, perhaps felt particularly at home with this
piece.
It is obvious from all his music that VW had a special
affection for, and an understanding of, the viola which announces
the lyrical main theme of the first movement. Although not
strictly monothematic, this finely constructed movement is
dominated by this theme; the official "second subject" is really a
variant. The mood becomes increasingly impassioned when the
second subject is used in augmentation with an accompanying
triplet rhythm and subsides into a calm coda in which the
interweaving of the parts anticipates the Tallis Fantasia and
ends with the first violin holding a D three octaves above the
chordal sequence whispered by the other instruments.
The minuet is piquantly folk-songish with a trio which bows
playfully to the shade of Haydn at his most rustic. The principal
tune of the Romance is in 5/4 time, yielding for the middle
section to triple time. There is effective use of pizzicato in
this movement, but even more in the Rondo Finale where VW
indulges in more 'display' writing than is his wont. If the first
subject suggests that the animals are about to come in two by
two, it is the viola which has the lion's share. With its swift
changes of mood, its vigorous fugato section and its brilliant
and ostentatious ending,
ending, this movement makes a convincing
conclusion to a most attractive quartet.
Notes copyright by Michael Kennedy
INTERVAL
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Quartet in C major Op.59 No.3 (1806)
Beethoven (1770-1827)
80
Introduzione allegro vivace
Andante con moto quasi allegretto
Menuet and trio
Allegro molto
(Last performed in 1984 by the Eder Quartet)
And so we come to the third of the opus 59 quartets
dedicated to Count Razoumovsky, Russian ambassador in Vienna. We
have heard all three this season and it is difficult now to
believe that they did not go down well with Beethoven's public.
Even Ignaz Schuppanzigh, leader of the first quartet to play his
works, expressed enough bafflement to draw from the composer the
retort: "Do you think I worry about your wretched fiddle when the
spirit speaks to me?"
All three quartets show the dramatic values that the other
this period would suggest: the Eroica Symphony, the
Waldstein and Appassionata sonatas, triple concerto, 4th piano
concerto, violin concerto, C minor Variations and the opera
Leonore, as it was entitled at that time.
This "symphony for four strings" begins with 29 introductory
bars in tonalities far removed from the key of C major. There is
then a bar of silence before the instruments unite on a sustained
chord, the viola descends a semitone and we are in C major. A
preamble by the first violin and a big crescendo bring us to the
joyful, even triumphal, theme with the cello pounding out C in the
bass.
The Andante is a profoundly moving and impressive movement
in which Beethoven makes brilliant use of pizzicato in the cello
part, using it sometimes to introduce, sometimes to continue, the
bowed melodic line of the other instruments. The delicate grace
of the Andante is again evident in the menuet, the trio being a
strong contrast. The menuet leads into the finale in which the
tonal resources of the string quartet are strained to the
uttermost. The viola introduces the fugal theme, followed by the
second violin and then the cello, all piano but working up to the
forte entry of the first violin, unleashing the most vivid and
powerfully dramatic finale ever written for string quartet.
a
a
yo
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M
2
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F
F
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827)
tets
. We
to
plic.
his
the
the
ther
the
iano
pera
tory
e is
ined
r. A
the
the
ment
ello
the
race
ng a
the
the
the
the
and
Across his notebook Beethoven has scrawled the words: "Never
again need you feel ashamed of your deafness, nor others wonder
at it. Can anything in the world prevent you from expressing
your soul in music?"
HUDDERSFIELD MUSIC SOCIETY
Next Concert, Monday 13 March 1989 at 7.30pm:
HUGH TINNEY Piano
Hugh Tinney was one of the six prizewinners at the Leeds
International Piano Competition in 1987. He also won the prize
for chamber music playing. His programme is:
Sonata in F, K332 .
Mozart
Images Book 1.
Reflets dans l'eau
Hommage à Rameau
Mouvement
●
●
. Debussy
Preludes and fugues . . . Shostakovich
Op.87 No.4 and No.15
Sonata No.8 in B flat Op.84 . Prokofiev
Haydn Op.64 No.5
Elgar Op.83
odjess
MONDAYS at St. PAUL'S
20th February at 7.30pm
POLYTECHNIC CHOIR AND ORCHESTRA conducted by George Pratt
St. John Passion by J S Bach
ELLAND & DISTRICT MUSIC SOCIETY
Parochial Hall, Westgate, Elland
Friday 10th March at 7.30pm
MISTRY STRING QUARTET
Beethoven Op.95
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HALIFAX PHILHARMONIC CLUB
Harrison House, Harrison Road, Halifax
Friday 24th February at 7.30pm
LINDSAY QUARTET
Haydn Op.54 No.1
Britten No.3
Beethoven Op.59 NO.1
HUDDERSFIELD MUSIC SOCIETY
NEXT SEASON'S CONCERTS
2nd October
30th October
20th November
4th December
22nd January
12th February
12th March
1989
1990
Vind Soloists of the Chamber
Orchestra of Europe
Carmina String Quartet, Zürich
Prazak String Quartet, Prague
Piers Adams & Nigel Tilley
recorders & harpsichord
Prometheus Ensemble, London
violin, cello, clarinet, piano
Vanbrugh String Quartet
winner of Portsmouth Competition 1988
Jean-Efflam Bavouzet, piano
Paris
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THE SOCIETY IS GRATEFUL
for
FINANCIAL HELP FROM:
The Rt. Hon. The Lord Saville, JP, DL
(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
JC S Smith
S L Henderson Smith
Mrs. C Stephenson
JG Sykes
Mrs. E R Taylor
WE Thompson
H Marshall Williams
Huddersfield Polytechnic
Yorkshire Arts Association
The Goethe Institute of Manchester
Kirklees Leisure Services
The Cannon Lincoln Group
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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
Pe
엘
ALL 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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លោហ
THE
HUDDERSFIELD
MUSIC
SOCIETY
supported by
Yorkshire
ARTS
I
WT.
Affiliated to
Huddersfield
Polytechnic
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HUDDERSFIELD MUSIC SOCIETY
OFFICERS
Hon. Vice-President
President
Vice-President
Hon. Secretary
Hon. Subscription.
Secretary
Hon. Treasurer
The Rt. Hon. The Lord Saville
James F Crossley
JC Stephen Smith
Mrs. M S Glendinning
Mrs. Linda Walker
P Michael Lord
COMMITTEE
David Dugdale
Edward Glendinning
Mark Ellis
Mrs. G Grimwood
Mrs. J de Nikitin-Solsky
George Pratt
Paul Michelson
Simon Rothery
Mrs. E Stephenson
Mrs. L Sykes
Gordon Sykes
WE Thompson
Hugh Marshall Williams
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HUDDERSFIELD MUSIC SOCIETY
Seventy-first Season
1988 1989
Monday 13th March 1989
HUGH TIENEY piano
Programme
Sonata in F major, K332
Images Book 1
Reflets dans l'eau
Hommage à Rameau
Mouvement
Preludes and fugues
Interval
Op.87 No.4 and No.15
Sonata No.8 in B flat Op.84
Mozart
Debussy
Shostakovich
Prokofiev
Hugh Tinney was born in Dublin in 1958 and was a prize
winner in the Leeds International Piano Competition in 1987. He
also won the special prize for chamber music. He has performed
in many countries and indeed in most continents both as a
recitalist and as a soloist,
soloist, notably with the Philharmonia
Orchestra, the R.P.O., the C.B.S.O., the R.A.I. (Milan) and the
R.T.E. (Dublin).
The Society is grateful for the generous sponsorship of this
concert by the CANNON LINCOLN GROUP.
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Sonata in F major, K332
Mozart (1756-1791)
Allegro
Adagio
Allegro assai
(Last performed in 1944 by Cyril Smith)
Mozart's piano sonatas have kept their place when Haydn's
have been forgotten, largely because they are so excellently
written for the instrument - for Mozart, in his day, was a player
of great virtuosity. The form Mozart used is generally simple and
unvarying, but the sonatas have so much freshness and sweetness
that their simplicity loses none of its charm by repetition. In
most cases his sonatas have three movements and, in general,
though most sides of his genius, wit, melancholy and passion, are
found in them, it is only to a limited extent.
This sonata has a very simple first movement; the second
movement has delicate and elaborate melodic figuration; the last
is brilliant and animated but with a quiet ending.
(Note by Mrs. A. Eaglefield Hull 1944)
Debussy (1862-1918)
Images Book 1
Reflets dans l'eau
Honnage à Rameau
Mouvement
(Last performed in 1979 by Bernard Roberts)
Reflets was written in 1905, the year in which La Mer was
first performed and Ravel published his String Quartet and
Sonatine for piano- a turbulent year for Debussy, in the throes
of divorcing his first wife. From Eastbourne, where he had taken
his future second wife, Emma Bardac, for a holiday, Debussy wrote
to his publisher that he was re-writing the Reflets "with new
data and following the most recent discoveries of harmonic
chemistry". The principal theme consists of three notes and the
remarkable way Debussy sets these off from the fluid
accompaniment marks an important
modern grand piano.
innovation in writing for the
Hommage à Rameau, like the tombeaux
tombeaux pieces of the old
composers, is a tribute to the 18th century composer in the style
of a sarabande.
If the first Image
Image is concerned with water, Mouvement,
marked 'animated, with a capricious lightness but precise' must
b
T
U
E
P
P
f
a
t
e
n
d
d
n
t
t
a
I
bo
C
S
h
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(91)
An's 1
atly
yer
and
ess
. In
ral,
are
cond
last
(44)
918)
was
and
roes
aken
grote
new
monic
the
Fluid
the
old
style
ment,
must
be about air, with dancing motes and variegated lights. The
middle section, a chorale, varies the persistent 2/4 metre by
unpredictably shifting accents.
INTERVAL
The Society is grateful to the ladies of St. John's Church,
Newsome for providing coffee in the interval throughout the
season.
Prelude and Fugue No.4 in E minor and
Prelude and Fugue No.15 in D flat
Sonata No.8 in B flat Op.84
Andante dolce
Shostakovich (1906-1975)
In 1948 Shostakovich was, for a second time, in disgrace
following a decree by Zhdanov against 'formalism and anti-people
art', and was relieved of his Moscow professorship. From this
time until his reinstatement in 1960 he wrote little of note
except for the 24 Preludes and Fugues published in 1951-2. One
need hardly say that they are based on Bach's 48, a vast
demonstration of the resources of key. Bach did not need to
defend tonality in his day, but Shostakovich, in an increasingly
non-diatonic age, clearly did and this is very plainly shown in
the Prelude No.15 where, though starting out as 12-tone music,
the piece ends with a cadence firmly in the key of D flat.
In the Preludes there is a faint flavour of Debussy as well
as Bach and in the orgarnum-like bass chords of No.4 a trace of
La Cathedrale Engloutie and Voiles. The four-voiced fugue is
grave until the piu mosso. To quote Derek Jole: "Shostakovich has
something particular to
say and says it with entrancing
conviction".
Prokofiev (1891-1953)
Andante sognando
Vivace
(Last performed in 1980 by Gordon Fergus-Thompson)
In 1933, after 15 years abroad, Prokofiev returned to his
homeland. For the leading figures of Russian culture it has
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always been not only natural but a matter of pride to be
identified with their nation, to take part in its life and to
contribute as much as they could to solving its problems.
Prokofiev was not an exception, and probably his seventh and
eighth sonatas are the most mature manifestation of it. These
sonatas have been called the 'War Sonatas'; indeed they were
written just before and during the second world war and there
can be no doubt that they reflect the feelings of the Russians in
those fateful years.
In the sonata No.8 the first movement has slow lyrical
themes reminiscent of scenes from the ballet Romeo and Juliet,
completed a few years earlier, and a development section which is
instinct with the threatening sounds of war. The first section is
repeated, to be followed by a coda in which conflict is again in
the forefront but dissolves into a final quiet B flat chord.
The second movement is peaceful, marked 'dreamy', and must
surely have been inspired by the Andante of Schubert's B flat
Sonata. The last movement is happy and a brilliant piece of
writing for the piano.
All the works in this evening's programme are by composers
who were also very good pianists.
MONDAYS at St. PAUL'S
20th March at 7.30pm
RUSSIA AND FRANCE
The Polytechnic Symphony Orchestra conducted by
Richard Steinitz
Overture to Prince Igor . . . . .Borodin
Songs of the Auvergne . . .Canteloube
●
(solo soprano: Rosamund Barker)
Symphony No.10 .
Tickets £2.50, concessions 50p.
Shostakovich
HALIFAX PHILHARMONIC CLUB
Harrison House, Harrison Road, Halifax
Friday 31st March at 7.30pm
PROMETHEUS ENSEMBLE
Suite from The Soldier's Tale. Stravinsky
Piano Trio in C minor Op.66. Mendelssohn
Quartet for the End of Time . . . Messiaen
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d
e
e
n
1
C₁
S
S
m
t
t
f
S
THE SOCIETY IS GRATEFUL
for
FINANCIAL HELP FROM:
The Rt. Hon. The Lord Saville, JP, DL
(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
JC S Smith
S L Henderson Smith
Mrs. C Stephenson
JG Sykes
Mrs. E R Taylor
WE Thompson
H Marshall Williams
Huddersfield Polytechnic
Yorkshire Arts Association
The Goethe Institute of Manchester
Kirklees Leisure Services
The Cannon Lincoln Group
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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
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.
6-00-11-00 p.m.
Sunday
12-00- 2-30 p.m.
12 ZETLAND STREET
HUDDERSFIELD WEST YORKSHIRE
Telephone: (0484) 515161