HMS 73


HMS 73

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HUDDERSFIELD MUSIC SOCIETY 1990-91 SEASON MONDAYS AT ST. PAUL'S HUDDERSFIELD POLYTECHNIC RIMMA SUSHANSKAYA MUSIC LIVE AT ST. PAUL'S

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H concerts ello and welcome to another season of fine a mixture of the familiar and the unfamiliar but more of the familiar! And to play all this lovely music a mixture of famous, well established artists and young artists of outstanding musical talent. - There are some rarities in the programme: the song cycle for tenor, piano and string quartet "On Wenlock Edge" by Vaughan Williams on 21st January and the Dvorak Terzetto on 11th March. Both are first performances at our concerts. We also have a very welcome return visit of the New Budapest String Quartet. Thank you for your support in the past and if you have not supported us before, now is a very good time to start and a very enjoyable programme to start on. We look forward to seeing you on 1st October. J. C Stephen Smith 1. Monday 1st October 1990 7.30pm LORA DIMITROVA piano Partita no 4 in D major BWV 828 Fantasia & Sonata in C minor K475/457 Sonata in B minor 2. Monday 15th October 1990 7.30pm DOMUS Already launched on a distinguished international career, this talented Bulgarian pianist has won, in addition to many major prizes, the special accolade of selection by Young Concert Artists Trust. The Trust was formed in 1983 to identify, and launch the careers of, some of the most outstanding young musicians in this country. Piano Quartet in G minor K478 Piano Quartet in E flat op 47 Piano Quartet in G minor op 45 President Bach Mozart Liszt Mozart Schumann Fauré A chance to hear this renowned piano quartet give a live performance of the Fauré Piano Quartet in G minor, their recording of which won the coveted Deutscher Schallplattenpreis and Gramophone Magazine's Award for best chamber music record of 1986. Sponsored by Wheawill & Sudworth Chartered Accountants

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e O ng ck e u me t 11S r 1 st nts TICKETS SINGLE SEASON 1 ticket for all 7 concerts (i.e. £3.15 per concert) DOUBLE SEASON 2 tickets for all 7 concerts (i.e. £2.72 per concert) SINGLE TICKETS STUDENTS or Hudds. 422612 Tickets may be obtained by using the booking form or from Huddersfield Information Centre, Albion Street, Tel. 422133 (Saturday 423877) or at the door. Enquiries: Hon. Subscription Secretary Mrs. L. Walker Hudds. 654620 Hon. Secretary Mrs. M. Glendinning Name Address £22 £38 Double season ticket Single season ticket £5 BOOKING FORM Post this form with payment to the Hon. Treasurer Mr. P. Michael Lord, 14 Garsdale Road, Newsome, Huddersfield HD4 6QZ. Tel: Hudds. 429214 Single concert ticket I enclose cheque £1.50 Postcode Telephone *I have received my season ticket(s) for 1990/91 *Please send me: (Delete words not applicable) Quantity Date & Quantity Total CH £ £ Cheques payable to "The Huddersfield Music Society" Season tickets to be paid for or returned by 24th September 1990. P P

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S 3. Monday 5th November 1990 7.30pm NEW BUDAPEST STRING QUARTET String Quartet in G major K387 String Quartet in D flat op 15 String Quartet in B flat op 130 Mozart Dohnányi Beethoven A very welcome return visit by this distinguished Hungarian Quartet with the added pleasure of hearing them bring their own special national understanding to a work by their fellow countryman, Dohnányi. Sponsored by Trattoria la Scala 4. Monday 3rd December 1990 7.30pm RIMMA SUSHANSKAYA violin JAMES WALKER piano Sonata in A major D574 Sonata in E minor op 82 Unaccompanied Sonata no 3 (Ballade) Sonata Baal Shem Schubert Elgar Ysaye Debussy Bloch Acclaimed by the Washington Post as "one of the greatest violinists alive today", this Russian pupil of the great David Oistrakh has now settled in England where her concert tour this summer included St. John's Smith Square, Bristol and Warwick and Festivals around Britain, followed by a tour of Finland, the Soviet Union and U.S.A. Miss Sushanskaya's tour is sponsored by Lewis Woolf Griptight Ltd. 5. Monday 21st January 1991 7.30pm SORREL STRING QUARTET with JOHN DASZAK tenor and ROY RABY piano Quartet in G op 64 no 4 Haydn Song Cycle "On Wenlock Edge" Vaughan Williams Quartet in E flat op 127 Beethoven A rare chance to hear "On Wenlock Edge", this lovely setting of some of Housman's "Shropshire Lad" poems. The Sorrel Quartet, in addition to being selected by Young Concert Artists Trust for their outstanding musical talent, have been appointed resident quartet at York University. Tonight's artists appear by kind permission of the Principal, Royal Northern College of Music.

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6. Monday 25th February 1991 7.30pm YSAYE STRING QUARTET France Quartet in A minor D804 Quartet no 3 Quartet in G minor Schubert Bartók Debussy Winners of the Audience Prize at the Portsmouth International Competition in 1988, the Ysaye Quartet drew from Yehudi Menuhin the remark: "To these four musical angels I owe one of the purest musical experiences of my life". A month later they were awarded the Grand Prix at Evian for the performance of music by Mozart, Debussy, Beethoven and Shostakovich. Sponsored by Pizzeria Sole Mio 7. Monday 11th March 1991 7.30pm NORTHERN SINFONIA ENSEMBLE Eine Kleine Nachtmusik K525 Terzetto op 74 Octet in F major D803 Mozart Dvořák Schubert This spirited and remarkably talented ensemble gives us a richly diverse programme of two great favourites which are, sadly, rarely performed live by musicians who are able to bring to bear the special musical qualities which come from playing regularly together, and, between these works, the delightful but little known Terzetto for Two violins and viola which Dvořák wrote in 1887 'as a change from big works'. Sponsored by Holliday Chemical Holdings plc. 2 The Huddersfield Music Society is affiliated to the Polytechnic and our concerts form part of the important series "Mondays at St. Paul's". The other concerts in the series are provided by the students and past students and staff of the Music Department and cover a wide range of musical performance. Full details of the series in the Department's brochure "Mondays at St. Paul's", obtainable at the Information Centre or from the Polytechnic Department of Music.

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President: Hon. Secretary: Hon. Treasurer: Hon. Subscription Secretary: HUDDERSFIELD MANCHESTER MANCHESTER ROAD A62 A616 CHAPEL HILL Car- park HUDDERSFIELD MUSIC SOCIETY - QUEENST STA QUEENSGATE ST. PAUL'S HALL POLYTECHNIC QUEENSGATE D. Dugdale C. England Miss M. A. Freeman BUS STATION E. Glendinning P. Michael Lord P. L. Michelson S. Rothery CASTLEGATE TIDS H WAKEFIELD AND SHEFFIELD A629 WAKEFIELD ROAD DOG SOUTHGATE Stephen Smith Mrs. M. S. Glendinning P. Michael Lord Mrs. L. Walker M62 WEST TRINITY STREET NEW RAILWAY STATION The society is grateful for financial help from: K. Beaumont H. J. Black Mrs. E. Crossland Mrs. A. Crowther NORTH ROAD NORTH- HALIFAX & M62 A629 LEEDS 15 ST JOHN'S RD ROAD A62 TOWN CENTRE LEEDS 11 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 Arts Council of Great Britain

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Huddersfield Music Society Partita no 4 in D major BWV 828 Phantasy in C minor K475 & Sonata in C minor K457 Sonata in B minor 73rd Season 1990-1991 LORA DIMITROVA piano Monday 1st October 1990 St. Paul's Hall Polytechnic Programme Interval Bach MONDAYS AT ST. PAUL'S Mozart Liszt YOUNG CONCERT ARTISTS TRUST YORKSHIRE ARTS Funded

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Lora Dimitrova was born in Sofia, Bulgaria, in 1962 and began piano studies at the age of seven. When only fifteen she won third prize in the Interrnational Competition for Young Pianists in Czechoslovakia. From 1981 to 1987 she studied at the Bulgarian State Conservatory and in 1984 was a prizewinner in the Bach International Piano Competition in Leipzig and, as a result, was invited to play a concerto with the Leipzig Gewandhaus Orchestra. In 1989, Lora was selected for representation by Young Concert Artists Trust whose purpose is to promote the careers of outstanding young artists, selected by audition. Partita No.4 in D BMV828 Bach (1685-1750) This Partita, one of six from 1731, begins with an introductory overture leading into a fugal-type section in 9/8 time. There follow an Allemande, a Courante, an Aria, a Sarabande, a Minuet and finally a Gigue. Formal simplicity and tonal progression from tonic to dominant and back again make no great demands on the listener. The wonder is that so much variety is achieved by means of subtle modulation and ingenious counterpoint, always within the rhythmic framework of each movement, especially those which are essentially dance music. F.E.S. Fantasia in C minor, K475 and Sonata in C minor, K457 Mozart (1756-1791) The adagio with which this fantasia begins - it re-appears at the end leads into a dramatic allegro followed by a characteristic Mozart melody, in turn succeeded by an andantino section in B flat major. A further dramatic interlude precedes the final sixteen bars. The Sonata in C minor was composed in 1784, that is some months before the Fantasia. The performance of the two works in succession enables the listener immediately to compare the distinctive improvisatory style of the later work with the

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formalities of a splendid example of a three-movement classical sonata in which the outer movements are separated by an adagio of exceptional beauty. F.E.S. Sonata in B minor INTERVAL Liszt (1811-1886) Although musicologists can make and indeed have made formal analyses of this towering work it is a continuous whole and takes virtually half an hour to perform the ordinary listener may perhaps be better served by noting that four main themes, each clearly recognisable, inform the whole sonata. The first, supplies the quiet, mysterious opening and the second is certainly startling. The third theme is a slow-moving, dignified melody accompanied by repeated chords and the fourth is a wistful tune whose varied development exploits the fullest range of pianistic devices and romantic style. A great fortissimo climax occurs towards the end of the piece, leaving the listener in a state of suspense. After a pause, the work moves gently through a section - strongly reminiscent of Wagner - to the last statement of the first theme and the final, restful chord of B major. F.E.S. We acknowledge with thanks support for our concerts from Yorkshire Arts and The Polytechnic of Huddersfield, to which this society is affiliated. HUDDERSFIELD MUSIC SOCIETY Next concert: 15th October at 7.30pm DOMUS Piano quartet from London Mozart in G minor K478 Schumann in E flat Op.47 Fauré in G minor Op.45

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MONDAYS at St. PAUL'S 8th October at 7.30pm STUDENTS ON STAGE I Schubert Messiaen Poulenc Introduction & Variations Two of the Vingt Regards Clarinet Sonata Rachmaninov Cello Sonata HALIFAX PHILHARMONIC CLUB Harrison House, Harrison Road, Halifax Friday 19th October at 7.30pm. ANDREW MARRINER clarinet & ROY HOWAT piano Works by Weber, Berg, Brahms, Debussy, Schumann & Giampieri flute piano ELLAND & DISTRICT MUSIC SOCIETY Parochial Hall, Westgate, Elland Friday 12th October at 7.30pm ANDREW WEST piano Haydn, Schubert, Chopin, Fauré & Albeniz THE SOCIETY IS GRATEFUL for FINANCIAL HELP FROM: 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 SL Henderson Smith Mrs. C Stephenson JG Sykes Mrs. E R Taylor W E Thompson H Marshall Williams Polytechnic of Huddersfield Yorkshire Arts Association Arts Council of Gt. Britain

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IL Huddersfield Music Society 73rd Season 1990-1991 St. Paul's Hall Polytechnic DOMUS Piano Quartet Krysia Osostowicz Violin Richard Lester cello Timothy Boulton Viola Susan Tomes piano Monday 15th October 1990 Programme Piano Quartet in G minor K478 Piano Quartet in E flat Op.47 Interval Piano Quarter in G minor Op.45 Mozart Schumann MONDAYS AT ST. PAUL'S Sponsored by WHEAWILL & SUDWORTH Chartered Accountants which we acknowledge with thanks Faure YORKSHIRE ARTS Funded

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DOMUS's career began in 1979 with informal concerts in the white geodesic dome which inspired the group's name and provided the right environment in which to experiment with different chamber music techniques. Using it as a portable concert hall, they travelled the world giving rehearsals, discussion groups and workshops as well as concerts. Domus's characteristic performance style evolved through its close relationship with audiences and greatly enhanced the accessibility and understanding of the repertoire. Eventually, their following outgrew the dome and drew them back to the concert hall and into the recording studio, where they immediately won the Gramophone magazine's award for the "Best chamber music record of 1986" for their Hyperion recording of Fauré's Piano Quartets. Piano Quartet in G minor K478 Allegro Andante Mozart (1756-1791) Rondo Allegro non troppo (Last performed in 1988 by the Villiers Piano Quartet) FAL Mozart in G minor brings to mind three great works - the symphony No.40, the string quintet K516, and this piano quartet - all outstanding in their own genre. Unlike the symphony and the quintet, which convey, in their opening themes, a mood of deep sadness, the piano quartet begins forcefully with a unison statement on all instruments. The years 1785 to 1788 saw the completion of the opera Figaro, the G minor symphony, the G minor string quartet, three piano concerti (E flat, A and C minor), and the other piano quartet in E flat - a rich harvest. The G minor quartet was the first of these works, written in 1785. No work of any importance in the form of piano and string trio had ever previously been written, yet Mozart 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.

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Piano Quartet in E flat Op.47 Sostenuto assai - allegro ma non troppo Scherzo molto vivace Andante cantabile Finale vivace (Last performed in 1988 by the Villiers Piano Quartet) Schumann (1810-1856) Nearly all Schumann's great compositions for solo piano were written in the early years of his career between 1831 and 1840. In 1842 the composer turned his attention to chamber music and produced in one year three string quartets Op.41, the piano quintet Op.44 and the piano quartet Op.47. Whereas the piano quintet was an innovation, there were precedents for the piano quartet: Mozart's two and Beethoven's adaptation of his wind and piano quintet for piano quartet. 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. INTERVAL Piano Quartet in G minor Op.45 Allegro molto moderato Allegro molto Fauré (1845-1924) Adagio non troppo Allegro molto (First performance at these concerts) This, the second of Fauré's piano quartets, was written in 1886 and dedicated to Hans von Bülow. It is less well-known than the first one in C minor, but is among the composer's more powerful works. It reveals an intensity and a diversity of sentiment which one would hardly have expected from the composer of the graceful C minor work. "Fauré's melodies are not always remarkable in themselves, but as they settle in the mind they usually become so, just by the

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composer's subtle ability to make of the commonplace something fresh, original and personal. This happens in several ways, but - his mind is chiefly by Fauré's very beautiful modulations. organised and at peace, and the vistas which his modulations disclose fall into perspective like the various planes in a picture. ... a satisfying art to look back upon from the 20th century quiet, civilised and reassuring." (Edward Lockspeiser) We acknowledge with thanks support for concerts from Yorkshire Arts and The Polytechnic of Huddersfield, to which this society is affiliated. our HUDDERSFIELD MUSIC SOCIETY Next concert: 5th November at 7.30pm NEW BUDAPEST STRING QUARTET Mozart in G major K387 Dohnányi in D flat Op.15 Beethoven in C Sharp minor Op.131 (We apologise for the change of Beethoven quartet from the advertised Op.130, made at the request of the Quartet) MONDAYS at St. PAUL'S 22nd October at 7.30pm KANAL I - World première A multi-media environmental event involving some 60 musicians, actors and dancers from the Departments of Music and Drama. Music by Margaret Lucy Wilkins HALIFAX PHILHARMONIC CLUB Harrison House, Harrison Road, Halifax Friday 2nd November at 7.30pm NEW BUDAPEST STRING QUARTET Mendelssohn Op.80, Dohnányi Op.15 and Beethoven Op.132

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D II III WT. Huddersfield Music Society Founded 1918 Andras Kiss violin Laszlo Barsony violin 73rd Season 1990 - 1991 St. Paul's Hall Polytechnic NEW BUDAPEST STRING QUARTET Monday 5th November 1990 Ferenc Balogh Karoly Botvay Programme String Quartet in G major K387 String Quartet in D flat major op 15 String Quartet in C sharp minor op 131 Mozart Dohnanyi Beethoven We acknowledge with thanks sponsorship by Trattoria alla Scala MONDAY AT ST. PAULS YORKSHIRE ARTS Funded viola cello

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The New Budapest String Quartet was formed in 1971 by graduates of the Liszt Academy in Budapest. The original Budapest Quartet was formed at about the same time as this society and made their last appearence in 1967, having moved to the USA in 1938. In 1989 the New Budapest began a close association with Hyperion Records and is currently recording the complete quartets of Beethoven, Bartok and Brahms. We are pleased to welcome the Quartet in their fourth visit to these concerts, the first being in 1974. Quartet in G minor K387 Allegro vivace assai Menuet and Trio Andante cantabile Molto allegro (Last performed in 1980 by the Lindsay Quartet) Mozart (1756-1791) In all his prolific letter writing, Mozart never wrote about his love of chamber music, or expressed satisfaction with any of it as he did with other works. Yet he is known to have played it frequently the viola being his preferred instrument. and the world has ever since acclaimed him as one of the supreme composers of quartets and quintets. In 1781 Haydn published his six Op.33 quartets and Mozart was inspired by a study of these works to write the six quartets of which K387 is the first. He dedicated them to his "dear friend, Haydn" and sold them to his publisher, Artaria, for 100 ducats! G major was a happy key for Mozart, as is very evident in the first and last movements; the andante cantabile, however, is a composition of great exaltation such as is found in late Beethoven. The fugal finale is of such brilliance that the swiftness and gaiety almost conceal the elaborate workmanship. Mozart loved canons and fugues. - Quartet No.2 in D flat Op.15 Dohnányi (1877-1960) Andante - allegro; Presto acciacato; Molto adagio Dohnányi's three string quartets have had a long sleep; the last performance at these concerts of Op.15 was in 1935 and, before that, 1922 and 1923 by the International, Philharmonic, and Catterall Quartets (all British), so, after 55 years, a performance b C L t n t 9 C C C V [ E C r C ( S

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py st d n h S e n by a Hungarian Quartet of this romantic example of their compatriot's work is most welcome. A concert pianist of international repute - Dohnányi made his London debut in 1898 - he wrote several distinguished works for the instrument, notably Variations on a Nursery Song - but also a number of chamber works with and without piano. Of the latter, the best known is his attractive string trio in C OP.10. The second quartet was composed in 1907 when Dohnányi was still in his native Pressburg (Bratislava). He later became director of the Budapest Conservatoire and moved to the USA in 1949, to the Florida State University at Tallahassee as professor of piano and composition. Unlike his compatriots, Kodály and Bartók, Dohnányi's music does not draw on folk music but is rather modelled on Brahms, whom he much admired. The first movement is a sonata form with its formal units divided by recurring interlude-like sections with frequently changing tempi. The second is a large-scale scherzo whose mystical dance-like theme is initially played by the cello. "Acciacato" literally means crushed - - perhaps referring to the triplet figures. The finale is in the nature of a romance; its basic idea is soft and lyrical and the movement recalls the material of the other movements, the two violins intertwining and repeating variations of the theme. INTERVAL Quartet in C sharp minor Op.131 Beethoven (1770-1827) 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 1988 by the Lindsay Quartet) The five late quartets and great fugue occupied the last few years of Beethoven's life. He began working on them in 1824 and finished them in 1826, a few months before his death. Opus 131 has seven movements, played without a break. The opening fugue is very long and leads into the scherzo; a brief recitative introduces the theme and variations which is almost a quartet in itself. It is not much use searching for the tune often it isn't there and the variations are really on the harmonic scheme. The movement ends with the second violin and viola -

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playing in unison, the first violin trilling, and the cello commenting. The presto is announced by the cello - a fast and brilliant movement with a passsage towards the end to be played on the bridge - an innovation in quartet writing. This exciting movement ends with widely spaced G sharps, the violins and viola leaping up and down while the cello does the reverse. After a pause the adagio, 28 bars of the most profound sadness, leads us to the final allegro which suddenly breaks forth in unison on the four instruments. Beethoven greatly increased the emotional range of the string quartet and over threw the conventional structures which had long made composition a much simpler business. After him composers no longer wrote quartets in sets of six - not until Shostakovich did they even get into double figures and the writing of quartets became a new world to conquer. 1 We acknowledge with thanks support for our concerts from Yorkshire Arts and The Polytechnic of Huddersfield, to which this society is affiliated. HUDDERSFIELD MUSIC SOCIETY Next concert: 3rd December at 7.30pm RIMMA SUSHANSKAYA - violin & JAMES WALKER PIANO Sonatas by Schubert, Elgar, Ysaye, Debussy and Bloch's Baal Shem MONDAYS at St. PAUL'S 12th November at 7.30pm COMME THE POLYTECHNIC CHAMBER CHOIR Mozart's Missa Brevis, Byrd's Mass for four voices Music for organ and trombone quartet ELLAND & DISTRICT MUSIC SOCIETY Parochial Hall, Westgate, Elland Friday 30th November at 7.30pm SIMON SMITH -Violin & SOPHIA RAHMAN - piano Sonatas by Tartini, Mozart, Debussy, Frank & Schubert

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T T WT. Huddersfield Music Society 73rd Season 1990 - 1991 St. Paul's Hall Polytechnic RIMMA SUSHANSKAYA violin JAMES WALKER piano Monday 3rd December 1990 Sponsored by LEWIS WOOLF GRIPTIGHT Ltd. MONDAY AT ST. PAULS ARTS Funded

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Sonata in A major D574 Schubert (1797-1828) Allegro moderato; Scherzo and trio; Andantino; Allegro vivace three Schubert wrote six works for violin and piano sonatinas, the A major sonata, a Fantasie and the Rondo Brillant. The three sonatinas of 1816 are small works of great charm; the sonata, a more virtuosic work, followed in 1817 a year of poverty and estrangement from his father, yet the 20 year old composer was able to produce these sunny, warm-hearted melodies which are among his finest. Although a violinist himself, sadly Schubert for violin and piano. wrote no more works Sonata in E minor Op.82 Elgar (1857-1934) Allegro; Romance; Allegro non troppo Elgar's chamber music plays only a small part in concert programmes, a matter of regret to many people. The sonata for violin and piano is a late work; Elgar was 60 when he wrote it in 1917 just 100 years after the Schubert sonata. It was wartime and Lady Elgar had found a country cottage "Brinkwells" in Sussex, with a lovely garden where Elgar found the peace and quiet he needed to write this and the string quartet and piano quintet. He described the work thus: "The first movement is bold and vigorous, then a fantastic, curious movement with with a a very expressive middle section; a melody for the violin. They say it is as good or better than anything I have done in the expressive way; the last movement is broad and soothing". Elgar wrote the work for W. H. Reed, long time leader of the LSO and it was first played by him and Anthony Bernard in October 1918 at Elgar's London home. This society heard it played by Albert Sammons and William Murdoch in 1926. INTERVAL for coffee and mince pies

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Unaccompanied Sonata No.3 (Ballade) Ysaye (1858-1931) Born in Ysaye was one of the most remarkable virtuosi of his day and, like all virtuosi, spent much of his time travelling. Tours included Germany, France, Russia, London and Cincinnati. Belgium, he founded the Ysaye Concerts in Brussels. His compositions include six violin concertos as well as sonatas for unaccompanied violin. Sonata in G minor Debussy (1862-1918) Allegro vivo; Intermède; Finale Like the Elgar this is a first world war sonata; indeed it was written in the same year. Debussy, stricken with cancer, and knowing the end was near, nevertheless announced to the world a series of six sonatas for various combinations of instruments. He began with the cello sonata in 1915 and followed this with the sonata for flute, viola and harp. The violin sonata was the third, and alas, the last of the six to be completed before his death in 1918. The first movement opens with a statement of the key; this movement in particular brings out unsuspected sonorities of both piano and violin by means of colourful and expressive arpeggio igures. The second movement consists of 'chinoiseries of the most delicate kind - it is marked fantastique et léger. After a mysterious evocation of the first movement theme, the finale bursts forth into G major with brilliant semiquavers and the work ends with rapid transformations of the G major theme. Baal Shem - Three pictures of Chassidic Life Bloch (1880-1959) Vidui (contrition); Nigun (improvisation); Simchas Torah (rejoicing) Ernest Bloch was born in Geneva. Many of his compositions are inspired by the Jewish heritage as related in the Old Testament. In 1916 he went to the USA and in 1924 became an American citizen. He died in Portland, Oregon.

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-) d, S n S or 3) SD AS d a le e d, is ch .0 e a Le k 9) :) S ld n We acknowledge with thanks support for our concerts from Yorkshire Arts and The Polytechnic of Huddersfield, to which this society is affiliated. RIMMA SUSHANSKAYA was born in Leningrad. She studied at the Leningrad Conservatoire and subsequently with David Oistrakh. Numerous prizes included the first first prize prize at the Prague International Competition and the Ysaye medal. On emigrating to the west she gave her début recital at the Wigmore Hall in 1987 and she now lives in Stratford and New York. She has just recorded the Prokofiev and Shostakovich sonatas with Roger Vignoles for Nimbus Records. JAMES WALKER's special field is chamber music but he also gives frequent solo recitals. He is a composer and he has been resident pianist at the University of Leicester since 1964. HUDDERSFIELD MUSIC SOCIETY Next concert: Monday 21st January 1991 at 7.30pm SORREL STRING QUARTET with tenor, John Daszak and pianist Paul Janes Haydn Quartet in G major, Op.64 No.4 Vaughan Williams On Wenlock Edge Beethoven Quartet No.12 in E flat, Op.127 AT St. PAUL'S THURSDAY 13th December at 7.30pm THE POLYTECHNIC ORCHESTRA conducted by Barrie Webb Overture - Roman Carnival . . . . Sea Pictures (solo Kate Saunders). Lieder eines fahrenden Gesellen (Diana Jayes). Symphony No.3 in F major, Op.90 . . HALIFAX PHILHARMONIC CLUB Harrison House, Harrison Road, Halifax Friday 14th December at 7.30pm LINDSAY STRING QUARTET ..Berlioz Elgar .Mahler . . Brahms Haydn Quartet in D major, Op.33 No.1 Shostakovich Quartet No.8 in C minor Dvorak Quartet in C, Op.61 ▸

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THE SOCIETY IS GRATEFUL for FINANCIAL HELP FROM: 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 J C S Smith S L Henderson Smith Mrs. C Stephenson J G Sykes Mrs. E R Taylor WE Thompson H Marshall Williams Polytechnic of Huddersfield Yorkshire Arts Association Arts Council of Gt. Britain

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IL IY Huddersfield Music Society Emma Young violin Catherine Yates violin 73rd Season 1990 - 1991 St. Paul's Hall Polytechnic SORREL STRING STRING QUARTET NATIONA, FEDERATION OF MUS SOCIETIES NEMS also John Daszak tenor and Paul Janes piano Vicci Wardman viola Helen Thatcher cello Quartet in G Op. 64 No. 4 Song Cycle: On Wenlock Edge Quartet in E flat Op. 127 Programme Haydn Vaughan Williams Beethoven Monday 21st January 1991 MONDAY AT ST. PAULS YORKSHIRE ARTS

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The SORREL STRING QHARTET was founded at the Royal Northern College of Music in 1987 and is now the Resident Quartet at York University. Their impressive career has already encompassed numerous prizes and recitals, a visit to Paris to perform in the Mendelssohn Octet at the Salle Gaveau, a scholarship to Yale University and six weeks of masterclasses with the Tokyo and Fine Arts Quartets. JOHN DASZAK, son of a Ukrainian father and English mother, has appeared in many of the RNCM's renowned performances of opera and has been invited to sing at Glyndebourne. PAUL JANES was born in Winchester in 1968 and graduated from the RNCM in 1989. He has given recitals and concerto performances in many parts of the UK and has much experience as a chamber musician, appearing regularly in duo partnerships. Tonight's artists appear by kind permission of the Principal, Royal Northern College of Music. Quartet in G Op. 64 No. 4 Allegro con brio Menuetto e trio (Allegretto) Haydn (1732-1809) Adagio Finale (Presto) (Last performed in 1973 by the Alberni Quartet) Haydn's set of six string quartets Op.64 were written in 1790 and dedicated to Johann Tost, a violinist in the court orchestra of Prince Esterhazy, Haydn's employer. Tost must have had a considerable technique, judging by the demands made on him by the first violin parts. This fourth quartet in the set begins with a lively Allegro, followed by a minuet whose Ländler-like trio has a pizzicato accompaniment. The slow movement has a deceptively simple melodic line for the first violin, on which the other three instruments are only allowed to intrude in the middle section and the coda. The last movement is a spirited Presto. R.G.

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Song Cycle: On Wenlock Edge Vaughan Williams (1872-1958) Ralph Vaughan Williams was born in Gloucestershire, went to Charterhouse and Cambridge and to the Royal College of Music where his tutors included Stanford and Parry. Apart from a few songs, he composed nothing before 1903, the year of the Sea Symphony, so he can be said to be a twentieth century composer. On Wenlock Edge was published in 1911, shortly after his visit to Ravel with whom he studied for a time in Paris. Ravel was to say afterwards: "C'est bien possible qu'il aurait profité de sa visite, mais, retournant en Angleterre, il rencontrait sur le quai Sir Parry, Sir Elgar ou Sir Holst!" In effect, the cycle owes 6 more to the Frenchman's influence and perhaps to that of Max Bruch, with whom V.W. had studied for some time, than to any contemporary British composer. V.W. is well-known for his work on English Folk-song, but these words of A.E.Housman are treated dramatically, rather than with nostalgia. A.E. was not well pleased to have his poems set to music and complained that the composer had missed out some of his verses in Is my Team Ploughing? but the song as it is makes a wonderful little drama in the modal style, its ghostly answers employing sophisticated harmonies. The us use of the bells in Bredon Hill somehow transmutes a personal grief into a universal. The setting for string quartet, tenor and piano is no longer unique but was a most interesting innovation in 1911. See separate sheet for the words. Quartet in E flat Op. 127 INTERVAL 88 Beethoven (1770-1827) Maestoso - allegro Adagio ma non troppo e molto cantabile Scherzo vivace Finale (Last performed in 1987 by the Chilingirian Quartet) The composition of the last five string quartets and the

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Great Fugue occupied the last three years of Beethoven's life. They were commissioned by Prince Galitzin, the cellist of the St. Petersburg Quartet, and dedicated to him. The quartet in E flat begins with a solemn introductory passage maestoso - which recurs twice during the course of the movement, modifying the sonata form. The mood is otherwise of a serene and pastoral nature, ending with a coda founded upon the concluding notes of the main theme. The Adagio is in the form of a theme and variations, 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 the theme. 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 pres to developing into a strong two-bar rhythm towards. the end. After the return of the scherzo, the trio is again introducd briefly, followed by eight bars of scherzo. The finale opens in unison and then settles down into a rocking arpeggio figure which permeates the movement. The coda, marked allegro commodo, is unusual in being in a slower tempo and is a transformation of the main theme. Towards the end of his life, Beethoven wrote "I am Bacchus incarnate, to give humanity wine to drown its sorrow" and, later, "He who divines the secret of my music is delivered from the misery that haunts the world". We acknowledge with thanks, support support for our concerts from Yorkshire Arts and The Polytechnic of Huddersfield, to which this society is affiliated.

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HUDDERSFIELD MUSIC SOCIETY Next concert: Monday 25th February 1991 at 7.30pm YSAVE STRING QUARTET Schubert Quartet in A minor D804 Shostakovich Quartet No.7 in F sharp minor, Op.108 Debussy Quartet in G minor (The Shostakovich replaces the Bartok Quartet No.3 at the request of the Ysaye Quartet) NOTE: At our concert on Monday 11th March, the Northern Sinfonia Ensemble will be replaced by Manchester Camerata Ensemble who will play: Rossini String Sonata No.1 Mozart Clarinet Quintet K581 (Janet Hilton clarinet) Schubert Octet in F, D803 MONDAYS AT St. PAUL'S 28th January at 7.30pm THE BRASS AND SYMPHONIC WIND BANDS directed by John Gulley and Philip McCann Programme to include Holst, Copland and Milhaud ELLAND & DISTRICT MUSIC SOCIETY Parochial Hall, Westgate, Elland Friday 1st February at 7.30pm MARY PLAZAS - soprano and CAROLINE DOWDLE - piano Songs from Dowland to Rodrigo HALIFAX PHILHARMONIC CLUB Harrison House, Harrison Road, Halifax Friday 25th January at 7.30pm. RAPHAEL ENSEMBLE Strauss Capriccio; Glière Sextet; Brahms Sextet Op.36

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est nia who

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THE SOCIETY IS GRATEFUL for FINANCIAL HELP FROM: 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 SL Henderson Smith Mrs. C Stephenson JG Sykes Mrs. E R Taylor WE Thompson H Marshall Williams Polytechnic of Huddersfield Yorkshire Arts Association Arts Council of Gt. Britain

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D MI WT. Huddersfield Music Society 73rd Season 1990 - 1991 YSAŸE STRING NATIONAL FEDERATION OF MUSIC SOCIETIES NEMS St. Paul's Hall Polytechnic Christophe Giovaninetti violin Luc-Marie Aguera violin Monday 25th 25th Quartet in A minor, D804 Quartet in F sharp minor, No. 7 Quartet in G minor Op. 10 Programme QUARTET Miguel Da Silva viola Michel Poulet cello Schubert Shostakovich Debussy February 1991 Sponsored by SOLE SOLE MIA PIZZERIA MONDAY AT ST. PAULS YORKSHIRE ARTS

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Quartet Paris Conservatoire. "AT LAST A FRENCH QUARTET!" (Le Monde April 1989) and indeed our last at these concerts was the Loewengüth in 1964. The Ysaye in 1984 and studied at the Hailed as one of the greatest ever French string quartets, their concerts have taken them all over France, Europe, America and the Far East. Their visits to festivals have been especially notable, including Salzburg, Bergen, Barcelona and Stresa. Their next tour of the USA will be in the spring of 1992. They are currently recording for Decca. was was founded founded Quartet in A minor, D804 Schubert (1797-1828) Allegro; Andante; Menuetto & trio; Allegro moderato (Last performed in 1984 by the Brodsky Quartet) Schubert wrote over thirty concerted chamber works of which the last nine completed are among the best loved by posterity. In the words of William Mann: "They are music to be loved and they inspire an affection in human affairs we accord to our closest relations and to those friends from whose company we are never long absent. If Schubert was the greatest melodic genius who ever lived, he was also a master of harmony...and it is possible to declare harmony as the most striking element of these chamber works". Of the four great quartets, the A minor, D minor, G major and Quartetsatz, this is the only one to have been published in the composer's lifetime. It was written in 1823. The first bars promise an unforgettable experience. Reminiscent of the song Gretchen am Spinnrade, violin describes describes an accompaniment figure for two bars and then the first violin enters with a tune whose forlorn aspect colours the whole work. the second The second movement borrows the famous Rosamunde music for its theme. The Menuetto, although in the major key, is yet full of sadness, only slightly relieved by the trio. The quartet ends happily as was Schubert's wont. Quartet No.7 in F sharp minor Shostakovich (1906-1975) Allegretto; Lento; Allegro (Last performed in 1987 by the Moscow Quartet) Dmitri Shostakovich came late to the string quartet, writing his first in 1938, by which time he had already completed the fi FEE 2 60 0 m m p a S4 t in a la r 1 S E Q р PID 4 is n f t حد E t ex

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1 first five symphonies. Fourteen more quartets were to follow. The seventh was finished in March 1960 and first performed two months later by the Beethoven Quartet. It is dedicated to the memory of the composer's first wife, Nina Vasilyevna, and it is possible that her death may have been the cause of Shostakovich's gradual withdrawal into himself, intensified in the clearly autobiographical eighth quartet. Shostakovich worked in his quartets for simplicity of texture and much of his material is played by solo instruments; except for six bars, the whole of the second movement is written in two or three parts only, the viola and cello being doubled at the octave in the parts for four instruments. The first movement consists of a normal exposition of two main themes, the first of which is later changed into triple metre and played pizzicato. This music reappears in the closing section of the work - a strange waltz- like piece whose principal melody is a transformation of the main subject of the preceding fugue. Prominent in the quartet are the composer's initials, D.S. (or E flat), a precursor of the D.S.C.H. motif of the eighth quartet. Quartet in G minor Op. 10 INTERVAL Debussy (1862-1918) Animé et très décidé Assez vif et bien rhythmé Andantino doucement expressif Tres modéré (Last performed in 1985 by the Hanson Quartet) This is Debussy's only string quartet and was written and performed in 1893. The first movement opens with the theme which is the basis of the whole work. The subsidiary theme, a soft nostalgic melody, is first heard punctuated by entries of the first theme on the cello, but reappears in its own right later in the movement and figures strongly in the driving coda. A persistent, rhythmically foreshortened version of the motto theme and extended use of pizzicato characterise the second movement, the middle section being an augmentation of the motto theme against a shimmering accompaniment. The slow movement is Debussy at his most languorous and exotic, with its moving soliloquies, first on the viola and later

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first violin and viola in octaves, and its bare, open harmonies. As the The finale opens with a ruminative introduction. movement progresses, all the transformations of the thematic material from other movements are heard. The music gradually becomes more impetuous and highly charged and suddenly launches into a precipitous coda of sheer brilliance, using the version of the theme first heard in the scherzo. While the cyclic form of this work owes its origin to César Franck, a great influence on Debussy's work was that of hearing the gamelan at the 1889 Exposition and other influences were his friendship with the Expressionist painters and with writers and poets such as Mallarmé and the Symbolists. But Debussy was a great originator and showed his essentially French musical outlook. by styling himself "Musicien français". The label of Impressionist has tended to obscure the strong sense of form which underlies all his works. We acknowledge with thanks, support for our concerts from Yorkshire Arts and The Polytechnic of Huddersfield, to which this society is affiliated. HUDDERSFIELD MUSIC SOCIETY Next concert: Monday 11th March 1991 at 7.30pm MANCHESTER CAMERATA ENSEMBLE (in place of Northern Sinfonia Ensemble) revised programme: Rossini String Sonata No.1 Mozart Clarinet Quintet, K581 (Janet Hilton) Schubert Octet in F, D803 MONDAYS AT St. PAUL'S 4th March at 7.30pm THE POLYTECHNIC OPERA GROUP "TRUE OR FALSE?" Scenes from Mozart's Così fan tutte, producer David Lennox HALIFAX PHILHARMONIC CLUB Harrison House, Harrison Road, Halifax Friday 8th March at 7.30pm THE PROMETHEUS ENSEMBLE Brahms Clarinet Trio; Kodály Duo; Shostakovich Walzes for flute, clarinet & piano; Schoenberg Chamber Symphony Op.9

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į 17 II WT. Huddersfield Music Society 73rd Season 1990 - 1991 NATIONA, FEDERATION OF MUSIC SOCIETIES NEMS St. Paul's Hall Polytechnic MANCHESTER CAMERATA ENSEMBLE Director: Richard Howarth Programme String Sonata No. 1 Clarinet Quintet in A, K581 Octet in F, D803 Monday 11th March 1991 Rossini Mozart Schubert Sponsored by HOLLIDAY CHEMICAL HOLDINGS plc MONDAY AT ST. PAULS YORKSHIRE ARTS Funded

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$ Manchester Camerata Ensemble draws players from Camerata to provide a flexible group able to cover a wide repertoire of chamber music. The members are: Violins: Richard Howarth and Juliet Snell Richard Williamson Jonathan Price Viola: Cello: D. Bass Clarinet: Horn: Bassoon Paul Miller Janet Hilton Naomi Ather ton Laurence Perkins The Camerata was founded in 1972; it performs more than 100 concerts a year throughout the UK and abroad, and in Manchester plays regularly at the Free Trade Hall and the Royal Northern College of Music. This summer Camerata will return to perform at the Buxton and Beaumaris festivals. Sonata a Quattro No. 1 in G major Rossini (1792-1868) Moderato; Andantino; Allegro When eventually tracked down in the Library of Congress in 1951 by the composer Alfredo Casella, the manuscripts of the six sonatas for two violins, 'cello and double bass, had a note in Rossini's hand evidently written many years after the time of the composition. This explained that the dreadful' Sonatas had been written in three days, at the most tender age of 12 while staying near Ravenna with his wealthy friend Agostino Trossi. They were performed by: Trossi on double bass, the composer playing second violin, and the two other instruments by cousins of Trossi. The title page gives the date 1804. What is precious in these works is the constant evidence of musical feeling. They do not conform to the classical texture of the String Quartet, consisting as they do of a chief melody and a further one derived or related to it. P.L.M.

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Clarinet Quintet in A major, K581 Mozart (1756-1791) Allegro; Larghetto; Menuetto; Allegretto con Variazioni (Last performed in 1966 by Keith Puddy & the Gabrieli Quartet) Mozart composed this quintet in September 1789 for his fellow mason Anton Stadler whom he considered an outstanding musician, pleasant travelling companion and good fellow despite his notorious thoughtlessness and unreliability. Mozart did not hold this against him because he disliked acknowledging human failings (Hildesheim). Einstein considers this as "chamber music of the finest kind with the solo instrument predominant as primus inter pares, Mozart having discovered its charm, its soft sweet breath, agility and clear depth". The Allegro opens with a glorious and bewitching melody, followed by a second theme with its "Magic Flute" notes. The famous Larghetto gives us one continuous song on the solo instrument, then in the middle, a dialogue with the first violin. Well worth noting is the fine effect of of the clarinet's low register. The Menuetto assembles all five players whilst the first trio is for strings alone, the second a clarinet piece described as an idyll in folk song style (Hermann Albert). In the Allegretto the theme has a certain resemblance to that of the opening allegro and in the variations one may may find odd reminiscences of the foregoing movements. P.L.M. INTERVAL The Society thanks the ladies of St. John's Church, Newsome for providing coffee in the intervals. Octet in F major, D803 for clarinet, horn, bassoon and strings Adagio allegro; Andante; Scherzo and trio; Andante; Menuetto and trio; Andante - molto allegro. - Schubert (1797-1828) (Last performed in 1981 at the Town Hall Centenary concert by the Delme Ensemble)) Composed in 1824, the octet was commissioned by Count Troyer, an amateur clarinettist who played it at the first performance. He probably stipulated that it should be exactly like the Beethoven Septet (composed in 1799). It has the same order as 8

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! the old Divertimento style, consisting of six movements, including a scherzo, two minuets and a theme and variations. To the form of the Beethoven work, Schubert added a second violin part, thus illustrating his independence, "with the purest and most delicate chamber music" (Einstein). The introductory Adagio is full of tension and is followed by an allegro overflowing with life everything yielding to rhythm. and the colouring which results from the combination of wind and string instruments. The Andante, reminiscent of Beethoven's Pastoral Symphony (Scene by the Brook) was designed to please the composer's patron. The high-spirited Scherzo belongs to the type endowed with the bold mood of marches, but is transformed into three-four time. When the trio arrives, the music is less boisterous, giving way to the cello's attractive melody. The theme of the fourth movement is taken is taken from from the composer's early operetta "The Friends of Salamanca". There follows a masterly and imaginative exploitation of the individual instruments in seven variations ending with a ravishing coda (piú lento). The witty minuet and typical Schubertian melodic trio are followed by the slow introduction to the last movement. Here the grim tremolandos and painful, abrupt rhythms suggest those mournful moods and fears of death which the composer betrays in a letter to a friend at that time. But the shadows do not last for long; the final Allegro is all joy and earthly pleasures, sparkling and bubbling with melody. P.L.M. We acknowledge with thanks, support for for our concerts from Yorkshire Arts and The Polytechnic of Huddersfield, to which this society is affiliated.

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HUDDERSFIELD MUSIC SOCIETY Season 1991 7th October 1991 Lindsay String Quartet + Viola Mozart String Quintets 28th October 1992 Schubert Ensemble Including 'Trout' Quintet 11th November Artur Pizarro Piano Winner Leeds International Piano Competition 1990 9th December Guadagnini Piano Trio 13th January 1992 and Maggie Cole Baroque flute and Harpsichord 10th February Prazak String Quartet Prague Lisa Beznosiuk 9th March Petersen String Quartet Germany The tickets will be on sale in the interval and after the concert on 11th March at discounted prices as follows: Double Season Ticket £40 (£42 after 31st March) £25 (£26 after 31st March) Single Season Ticket The new brochure will be sent later in the year. If you are not on the mailing list, please give your name and address to Mrs L Walker, Hudds. 654620 or to Mr P M Lord, Hudds. 429214 or at National Westminster Bank plc, Huddersfield Road, MIRFIELD.

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he ne d, d

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THE SOCIETY IS GRATEFUL for FINANCIAL HELP FROM: 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 Polytechnic of Huddersfield Yorkshire Arts Association Arts Council of Gt. Britain MONDAYS AT St. PAUL'S Thursday (not Monday) 21st March at 7.30pm POLYTECHNIC ORCHESTRA & CHOIR conducted by Richard Steinitz and George Pratt Haydn's 'Harmonie Messe' HALIFAX PHILHARMONIC CLUB Harrison House, Harrison Road, Halifax Friday 12th April at 7.30pm CATHERINE BOTT soprano MARK LEVY viola da gamba; DAVID ROBLOU harpsichord Songs and dances from the English Restoration Theatre and Cantatas from 18th century Italy ELLAND & DISTRICT MUSIC SOCIETY Parochial Hall, Westgate, Elland Friday 22 March at 7.30pm THE FITZWILLIAM STRING QUARTET Schumann: Piano Quartet; Violin Sonata in A minor: Piano Quintet in E flat