HMS 75


HMS 75

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HUDDERSFIELD MUSIC SOCIETY 1992-93 SEASON Patricia Rozario MONDAYS AT ST. PAUL'S UNIVERSITY OF HUDDERSFIELD SEVENTY-FIFTH ANNIVERSARY

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The object...shall be to encourage the appreciation. of the artistic, cultural and recreational value of music, both classical and contemporary"? This has been the object of the Huddersfield Music Society since its founding in 1917 and remains our aim as we invite you to join us for our 75th season in 1992-93. I hope you will agree that the programme detailed here fulfills our aim and promises to maintain the high standards we have achieved over recent seasons. Some artists return from last season because they impressed us so much then: we welcome back Artur Pizarro (1st March) and the Janacek String Quartet (8th March). The Eder String Quartet last visited in 1988; others make their first visit to us. We are confident you will enjoy the varied programmes arranged and I extend a warm welcome to you, whether last season was your first with us, or you have been a subscriber for many years or you are considering attending our concerts for the first time. Do come and help us celebrate this 75th season. Kuya William 1. Monday 12th October 1992, 7.30pm PATRICIA ROZARIO, soprano & MARK TROOP, piano President Songs by Purcell, Schubert, Walton, Villa-Lobos, Guastavino & Falla In recognition of the seventy-fifth anniversary, we start our season, as in 1918, with a song recital. Patricia Rozario "is to be cherished as an altogether exceptional young artist" (Daily Telegraph). She is accompanied by her husband in a programme which brings together songs from different musical traditions: English, German, Spanish and South American. The wide range of this recital owes no small debt to the musically catholic taste of Frederick Fuller, himself a frequent performer at these concerts in the 1960's and the distinguished teacher of Patricia Rozario.

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n of Las R Ou h -S e 0 u e e ic TICKETS SINGLE SEASON 1 ticket for all 7 concerts (i.e. £4.00 per concert) DOUBLE SEASON 2 tickets for all 7 concerts (i.e. £3.45 per concert) SINGLE TICKETS STUDENTS concerts 1, 2, 3, 4, 5, concerts 6 & 7 £1.50 STAGE PASS half full price Tickets may be obtained by using the booking form or from Huddersfield Information Centre, Albion Street, Tel. 430808 or at the door. or Hon. Secretary Mrs. M. Glendinning Hudds. 422612 Name Address Enquiries: Hon. Subscription Secretary Mrs. L. Walker Hudds. 654620 Postcode Telephone *I have received my season ticket(s) for 1992/93 *Please send me: (delete words not applicable) Double season ticket Single season ticket 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 £28 £48 Quantity £6 £8 Date & Quantity Total £ £ Cheques payable to "The Huddersfield Music Society" Season tickets to be paid for or returned by 26th September 1992. P P

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2. Monday 2nd November 1992, 7.30pm EDER STRING QUARTET Quartet in D op 64 no 5 (Lark) Quartet no 1 Quartet in G D887 This will be the third visit to the Society by this accomplished Hungarian quartet, founded in 1972 at the Liszt Academy of Music in Budapest. They start their programme with the soaring opening melody of Haydn's "Lark" quartet and close with the beautiful and dramatic Schubert G major. Between these two works they play the first of the quartets by their fellow-countryman, Bartok, written in 1908 and first performed at these concerts in 1925. This concert is supported by PETER HAWKE LTD. MAZDA 3. Monday 30th November 1992, 7.30pm FIONA MCCAPRA, violin & ELIZABETH UPCHURCH, piano Sonata in A K305 Sonata in G minor Four Pieces Elegy for solo violin Sonata in D minor op 108 Haydn Bartok Schubert 4. Monday 18th January 1993, 7.30pm DOUGLAS BOYD, oboe A concert sponsored by the Countess of Munster Musical Trust who, for some years, have provided us with the flower of young British musical talent. The programme is both demanding and musically satisfying - sonatas from three centuries offset by the solo Elegy and the Four Pieces by Suk, made known by the legendary Ginette Neveu. ROBIN O'NEILL, bassoon IAIN BURNSIDE, piano Mozart Debussy Suk Sponsored by the COUNTESS OF MUNSTER MUSICAL TRUST Terzetto op 22 Sonata for bassoon & piano Sonata for oboe & piano Sonata for bassoon & piano Sonata for oboe & piano Trio for oboe, bassoon & piano Stravinsky Brahms Lalliet Dutilleux Saint-Saens Saint-Saens Dutilleux Poulenc A most unusual programme of French music for wind and piano performed by three outstanding musicians. One of the finest wind players of his generation, Douglas Boyd (of Chamber Orchestra of Europe fame) is joined by two equally distinguished musicians: Iain Burnside has a wealth of chamber music experience as does Robin O'Neill, a founder member of the C.O.E.

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A 5. Monday 8th February 1993, 7.30pm DUKE STRING QUARTET with SCOTT MITCHELL, piano Quartet in D K575 Quartet in F op: 96 Piano Quintet in G minor op 57 Shostakovich Founded in 1983, the Duke Quartet carries on the tradition of the great British string quartets, having studied with Sidney Griller and with members of the Amadeus Quartet. They have delighted audiences in England and abroad with the sensitivity and vitality of their performances. After playing two great favourites of the string quartet repertoire, they are joined by Scott Mitchell to play the inventive but very accessible Quintet by Shostakovich. 6. Monday 1st March 1993, 7.30pm ARTUR PIZZARO, piano Bunteblätter Suite Bargamasque Twelve Studies op 25 Mozart -Ravel Dvorak Now a household name, Artur Pizzaro, to our great pleasure, returns after his wonderful concert last year. His programme opens with a collection of Schumann pieces many of which are well-known favourites. Pizzaro always brings a special magic to the playing of Debussy and his interpretation of Chopin will make this a feast of music to remember. 7. Monday 8th March 1993, 7.30pm JANACEK STRING QUARTET Schumann Debussy Chopin Supported by WHEAWILL & SUDWORTH Chartered Accountants Quartet in F minor op 95 Quartet in G minor Quartet in A flat op 105 Beethoven Debussy Dvorak How lucky we were last February that a quartet of such international standing as the Janacek replaced the Prazak who cancelled due to illness. It gives us great pleasure to welcome them back in their own right. The Debussy encore at that concert prompted the inclusion of the whole work this time, between the fiercely exciting Beethoven and Dvorak's monumental A flat - a fine end to the season. The Huddersfield Music Society is affiliated to the University of Huddersfield 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 staff of the School of Music 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 University School of Music.

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President: Hon. Secretary: Hon. Treasurer: Hon. Subscription Secretary: Mrs. L. Walker HUDDERSFIELD MANCHESTER MANCHESTER ROAD A62 A616 CHAPEL HILL Car park HUDDERSFIELD MUSIC SOCIETY - QUEENST STA QUEENSGATE ST. PAUL'S HALL QUEENSGATE POLYTECHNIC BUS STATION Mrs. E. Crossland Mrs. A. Crowther D. Dugdale Miss M. A. Freeman E. Glendinning P. Michael Lord WAKEFIELD AND SHEFFIELD CASTLEGATE A629 WAKEFIELD ROAD P. L. Michelson S. Rothery J. C. S. Smith S. L. Henderson Smith Hugh Marshall Williams Mrs. M. S. Glendinning P. Michael Lord ing E SOUTHGATE M62 WEST TRINITY STREET MEN RAILWAY STATION NORTH ROAD NORTH-> 30800 HALIFAX & M62 A629 LEEDS ROAD ST JOHN S RO A62 The Society is grateful for financial help from: K. Beaumont Mrs. C. Stephenson J. G. Sykes Mrs. E. R. Taylor W. E. Thompson H. Marshall Williams The University of Huddersfield Yorkshire & Humberside Arts Arts Council of Great Britain Peter Hawke Ltd. Mazda Wheawill & Sudworth LEEDS TOWN CENTRE

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The Huddersfield Music Society WT. Seventy-Fifth Season 1992-1993

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Huddersfield Music Society Next season is our Seventy-fifth and we are pleased to announce the artists and the programmes so far arranged. The committee is happy to say that the number of subscribers increased last season, which was a particularly distinguished one; we hope that subscribers will be equally pleased with the choice for 1992/93. The first concert presented by the Huddersfield Music Club, as it was then called, was in November 1918 and was given by the Russian tenor, Vladimir Rosing. The programme contained an article by him on the Russia of 1918 which makes interesting reading today (reproduced over- leaf). He sang an all-Russian programme. For the 75th Season we are again opening with a song recital. Patricia Rozario, soprano, studied with Frederick Fuller who was a frequent vi- sitor to the Music Society in the sixties and is remembered for his un- usually wide-ranging programmes. He has passed on this enthusiasm to Patricia and we look forward to a splendid mix of songs European and South American. After his great success this season, we are exceptionally pleased to welcome Artur Pizarro to give another piano recital. There are three quartets - a slightly altered Janacek from the one who last came to us in 1968; one member is still the same. Douglas Boyd, the famous oboist of the Wind Soloists of the Chamber Orchestra of Europe, comes with two other distinguished musicians. Tickets will be on sale at the concert on 9th March and the discounted prices are as follows: Double Season Ticket Single Season Ticket £45 (£48 after 31st March) £27 (£28 after 31st March)

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Seventy-fifth Season 1992-1993 12th October 1992 PATRICIA ROZARIO soprano & MARK TROOP piano 2nd November 1992 EDER STRING QUARTET from Hungary (programme to include Schubert in G major) 30th November 1992 FIONA MCCAPRA violin & ELIZABETH UPCHURCH piano 18th January 1993 DOUGLAS BOYD oboe ROBIN O'NEILL bassoon IAIN BURNSIDE piano 8th February 1993 DUKE STRING QUARTET with SCOTT MITCHELL piano (programme to include Shostakovich Piano Quintet) 1st March 1993 ARTUR PIZARRO piano (programme to include Chopin Studies Op 25) 8th March 1993 JANACEK STRING QUARTET from Czechoslovakia (programme to include Beethoven Op 95 and Dvorak Op 105) If you are not on the mailing list, please give your name and address to Mrs. Walker, Hudds. 654620 or to Michael Lord, Hudds. 429214 or National Westminster Bank plc. Huddersfield Road, Mirfield.

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ROSING THE SOUL OF RUSSIA A nation's music is the mirror of its soul. In Russian music particularly this is profoundly true. Our Nationalists (Moussorgsky, Rimsky Korsakoff, etc.) have taken the great melodic treasure of the Russian nation, and have added to it their own genius, inspiration, and technical knowledge: and having drawn upon the great poets and writers for words that give expression to deep national and human feeling they have immortalized the Russian soul. I begin the programme with National Folk-Songs collected in Russian villages. In these it can be seen how much the Nationalists owe to the spring of music in the heart of the people. In the short time at our dispo- sal, I shall only be able to show you examples of four of the principal elements and influences that have shaped Russian life - Oppression, Love, Suffering, Humour. Few nations have passed through such an agony of continuous oppres- sion as Russia has endured. By her criminal autocracies hundreds of thousands of young lives have perished and rotted in prison, in the cause of those high ideals of Freedom and Justice for which we are fighting to- day; and owing to these autocracies, which have for centuries shut out the light of education from them, our people on their emancipation became an easy prey to mad idealists, adventurers, criminals, and German agents. Two of the chief causes of the suffering of the Russian people, famine and drunkenness, are directly due to a succession of corrupt Govenments, which neglected agriculture, and encouraged drink for their own ends. Through all this suffering and oppression, the Russian soul has deve- loped rare qualities of love and understanding, above all an extraordi- nary love of ideals and of humanity. In Russia the heart rules over the brain, for love may lead to sacrifices amounting almost to crime. Russian humour is either madly gay, losing all restraint and utterly abandoning itself to the jollity of life; or very dry, deep-cutting and full of allegorical satire; and further, it is completely devoid of any vulgar clowning. Humour is considered in Russia as great and important an art as any other, for it is the reflection and mirror of the jolly part of our existence.

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Monday 12th October 1992 PATRICIA ROZARIO soprano and MARK TROOP pianist 26WT Songs by Purcell; Schubert; Walton; Villa-Lobos; Guastavino and Falla Patricia Rozario was born in Bombay. She studied at the Guildhall School of Music and the National Opera Studio and has won many international prizes. She made her debut solo recital at the Wigmore Hall in 1991 and has appeared at the Bath and Edinburgh Festivals and the London Schubertiade'. Equally at home in opera and recital, Patricia has performed in a great many productions at Glyndebourne, Wexford, Aix-en-Provence, Innsbruck, etc and recently appeared in the Huddersfield Contemporary Music Festival in John Casken's opera "Golem". Recent events include the title role in Tavener's Mary of Egypt at the Aldeburgh Festival, Britten's Les Illuminations, Mahler's 4th symphony in Dublin and next year she will sing the part of Clorinda in Monteverdi's Tancredi and Clorinda for E NO. In 1986 MARK TROOP formed the Chamber Music Company to promote concerts of different combinations of instruments and singers. He also tours with his wife, Patricia Rozario, all over the world in recital. Next year will see a major London Festival set up by him at Conway Hall, a concert as part of the South Bank Czech Festival, a tour of India and concerts in Spain and Germany. He has just released a disc of Spanish songs with his wife, and has formed a piano trio. We acknowledge with thanks support for our concerts from Yorkshire & Humberside Arts and the University of Huddersfield, to which this society is affiliated.

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PURCELL (1659-1695) If Music be the Food of Love Twas within a furlong of Edinburgh Town SCHUBERT (1797-1828) Die Sterne How brightly the stars shine in the night; how often have they woken me. But I don't blame them for that for they have a heavenly duty to light the way for pilgrims, to carry kisses across the ocean and calm the hearts of sufferers. Oh stars, when I fall in love, bless the match and your light will be a sign of our union. . Nacht und Träume The poet welcomes night and its accompanying dreams. They fill the hearts of men who wish for their return as day breaks. Der Musensohn I go from woods to fields and sing my song that stirs the blood of the young, that sets all nature swaying with greetings. Oh Muses, you drive me far from home; when shall I be able to rest with my beloved once more? Der Knabe If only I were a bird I'd have such a good time, flying with light wings in the sunshine, picking the topmost cherries, knowing no restraint and outdoing all the other birds! Lied der Mignon In Goethe's 'Wilhelm Meister' the Italian girl, Mignon, is abducted by pirates. Yearning for her homeland, she sings 'Only he who knows longing can truly understand my sorrow'. Ganymed Spring, beloved, how you glow all around me! Could I but embrace you! I lie and languish at your breast. The nightingale calls me from a misty valley. Where to? Upwards - I strive upwards. Upwards to your bosom, all-loving father. r

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it .e e WALTON (1902-1983) Three songs; poems by Edith Sitwell Daphne Through gilded trellises Old Sir Faulk Although the last two songs were included in Facade, the entertainment devised in 1923 by the Sitwells, the three songs have an independant existence as essays respectively in the English, the Spanish and the American styles. INTERVAL VILLA-LOBOS (1887-1959) Born in Rio de Janeiro, where he played the cello in Opera and Symphony orchestras, Villa-Lobos came to Europe in 1923 and again in 1927 where he was influenced by Satie and Milhaud and by neo-classicism; hence the Bachianas Brasileiras, in which baroque forms are combined with Brazilian colour. His music suggests the folk idiom but he rarely quoted a folk song, relying rather on colour and rhythm to make the effects. O Anjo da Guarda (Guardian Angel) When my sister died (this is the way it should have been), my guardian angel - swarthy, passionate, a real Brazilian - and stood by my side. He smiled, then flew back to take his place beside the Lord. Viola (Guitar) A veteran guitarist speaks lovingly to his rustic guitar, the faithful friend which has gone through life with him, sharing his moments of grief and his dreams of happiness. Realejo (Hurdy-gurdy) The hurdy-gurdy is like the rest who come and go. Because he has a handle he thinks he is somebody. He chatters but says nothing. You don't know what he thinks or feels, whether he's alive or dead. He is just an automaton. But there are worse things.

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Canção do Marinheiro (The Sailor's song) Folk verses said to have been collected by Gil Vincente in the sixteenth century, telling a nostalgic love story such as might heve been sung by Portuguese sailors crossing the ocean to Brazil. Cançao do Carreiro (The Drover's song) The poet sits at an open window as night falls, and from the bush country hears the eerie cries of the drovers, hailing one another as they drive down single dirt tracks. GUASTAVINO (b. 1914) Carlos Guastavino was born in Buenos Aires and is one of Argentina's most important composers, especially of songs. After the war he was brought to England by Frederick Fuller, one of Patricia Rozario's teachers, and gained a British Council scholarship to study the piano in England, after which he accompanied Frederick Fuller in many recitals in England and Ireland. Viniendo de Chicelito (Coming from Chicelito) On the way from Chicelito I met a beautiful girl from Rioja. She liked me and I fell in love with her. I always think of her so as to forget the troubles I suffered in Tabacal. La Rosa y el Sauce (The rose and the Willow) The rose opened its petals to the Willow's passionate embrace. But along came a careless child and plucked the rose and now the willow weeps inconsolably for its lost love. Piececitos (Little Feet) Little child's feet, blue with cold, how can people see you and not cover you up? Little feet, wounded by stones, you leave a flower of light, and where you step the spikenard grows more fragrant. How can people pass without seeing you? Se Equivoco la Paloma (The distraught Turtle-dove) The turtle-dove lost her way, mistaking North for South, the cornfield for a lake, the sea for sky, night for day... Then she took refuge in your bosom, but there was no peace there, for you were as distraught as she. MA Se the of on re No Ma na ex it EL it SE pe it. AS gr gr JC ta yo NA th CA kn bu PO C₁

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MANUAL DE FALLA (1876-1946) Seven Spanish Popular Songs These are probably the best known group of recital songs in the Spanish repertoire. They are decidedly more than a mere set of arrangements of Spanish folk songs, although they are all based on themes, rhythms and verses from the folklore of several regions of the country - Murcia in the Southeast, Asturias in the Northwest, Aragon in the Northeast and Andalusia in the once Moorish South. They do not constitute a 'Cycle', telling a story, but they paint a lively, varied varied and narrative extraordinarily its folkmusic. comprehensive picture of a people, its culture and EL PANO MURUNO If a stain appears on the fine cloth in the shop, it is sold for less because it has lost its value SEGUIDILLA MURCIANA For your great fickleness I compare you to a peseta that passes from one hand to another and becomes so worn, it appears false and all refuse it. ASTURIANA To see if it would console me, I leaned against a green pine. To see myself cry, I cried; and the tree - it was so green. JOTA No one believes in our love because they don't see us talking. They should ask our hearts. But already I must leave your window and your house - adieu till morning. NANA (Berceuse) Sleep well my little one, my bright star, right through till morning. CANCION For their treachery I shall bury your eyes. You don't know how hard it is to look at them. They say you don't love me, but you have loved me. POLO I hide such pain in my heart which I can tell no one of. Cursed be love and he who made me understand it.

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A LITTLE BIT OF HISTORY The first ten years This concert is the beginning of the 75th season of the Huddersfield Music Society. Dr. Eaglefield Hull conceived the idea in 1917 and gathered a few interested people together to form what was then called the Music Club and the first concert was given on the 20th November 1918 by the Russian tenor Vladimir Rosing. There were five concerts in the season, held on Wednesday evenings at the Freemason's Hall, Fitzwilliam Street, and the concerts included, notably, Myra Hess, Albert Sammons and Cyril Scott with Astra Desmond. The first string quartet, the Catterall, came in the second year, followed in the next eight years by the Bohemian from Prague, the Philharmonic, the Hungarian, the Flonzaley, Lener, London, and Capet. Among the great names were: Suggia, Moiseiwitsch, Casals, Elena Gerhardt and Elizabeth Schumann, Jelly d'Aranyi with Myra Hess and Lionel Tertis. The concerts increased to six in 1923 and the range widened. Many of the now famous artists were young at the time and made return visits. The string quartet programmes were similar in form to today's, but soloists gave much lighter fare, beginning with serious works and devoting the second half to short single single items, although Gerhardt and Schumann exceptions to this, singing four or five groups by Mozart, Schubert, Wolf, Schumann, Brahms, Strauss, etc. were The second ten years will be covered in the next concert programme, and so on through the season. 3 The committee is in the process of arranging the 1992/4 season and would be happy to consider any programme suggestions from subscribers.

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THE SOCIETY IS GRATEFUL for FINANCIAL HELP FROM: K Beaumont Mrs. E Crossland Mrs. A Crowther D Dugdale Dr. & Mrs. M R Ellis Miss M A Freeman E Glendinning P Michael Lord P S Rothery J C S Smith SL Henderson Smith Mrs. C Stephenson JG Sykes Mrs. E R Taylor WE Thompson H Marshall Williams Arts Council of Great Britain Peter Hawke Ltd. Mazda University of Huddersfield Weawill & Sudworth Yorkshire & Humberside Arts Association L Michelson

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HUDDERSFIELD MUSIC SOCIETY Next concert: Monday 2nd November at 7.30pm THE EDER STRING QUARTET from Hungary Quartet in D Op. 64 No. 5 (Lark) Haydn Quartet No. 1 Bartok Quartet in G major D887 Schubert MONDAYS AT St. PAUL' 19th October at 7.30pm POSTGRADUATES ON STAGE flute, oboe, guitar and piano. Loeillet, Saint-Saens, McGuire, Milhaud, Lesser, Lalliet and Bartók ELLAND & DISTRICT MUSIC SOCIETY Parochial Hall, Westgate, Elland Friday 30th October at 7.30pm GRAHAM SCOTT piano Beethoven Brahms Frank Sonata No. 31 in A flat major Op. 110 Six Pieces Op. 118 Prelude Chorale and Fugue Rachmaninov Variations on a theme by Corelli HALIFAX PHILHARMONIC CLUB Harrison House, Harrison Road, Halifax Friday 13th November at 7.30pm PETER CROPPER and IAN BROWN violin & Piano Schubert Sonatina in G minor, Prokofiev No. 1, César Franck

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Monday 2nd November 1992 EDER STRING QUARTET János Selmeczy violin Sándor Papp viola Peter Szücs violin György Éder cello Programme Quartet in D Op.64 No.5 (Lark) Quartet No.1 Quartet in G, D887 Haydn Bartók Schubert The Eder String Quartet was formed in 1973 and first played for this society in 1984 and again in 1988. They have performed in almost every European country and in many international festivals and have also toured extensively in the United States, Australia and New Zealand. Their recordings with TELDEC Record Company include all the Bartók quartets. We are very pleased to welcome them back to Huddersfield. For this concert we are grateful for financial help from PETER HAWKE Ltd. MAZDA. We also acknowledge with thanks support for our concerts from Yorkshire and Humberside Arts and The University of Huddersfield, to which this society is affiliated.

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Quartet in D major Op. 64 No. 5 (Lark) Allegro moderato; Adagio cantabile; vivace Finale (Last performed in 1966 by the Janacek Quartet) entratsio Haydn (1732-1809) Menuetto and Trio are are The twelve quartets Opp. 54, 55, & 64 are all dedicated to Johann Tost, a wealthy woollen merchant who also played the violin, and all all characterised by the brilliance and prominence of the first violin part. The last two quartets of Op.64 seem to crown the whole series, with their free form and melodic beauty. In this quartet the soaring melody of the violin after four bars' introduction no doubt earned the work its nickname (by some non-ornithologist) and the return of this inspired song in the recapitulation is quite magical. The finale of the quartet is a marvellous marvellous vehicle for vehicle for virtuosity - a pseudo 'moto perpetuo' with a fugal section in the middle. Quartet No. 1 Bartók (1881-1945) Lento; Allegretto; Allegro vivace (Last performed in 1967 by the Zagreb String Quartet) Bartók's first string quartet was written in 1908 and was first performed at these concerts by the Hungarian String Quartet in 1925. His first essays in the form were made at the age of eighteen and his last, sketches for a seventh quartet, in 1944, just before his death. Thus the medium forms a backbone to his creative career and in them he expresses the quintessence of his musical personality. The composer himself named Bach, Beethoven and Debussy as the masters from whom he had learned most. In the first quartet Bartók was still under the influence of the late German romantics and this work is melodious and full of warm feeling. The following is an excerpt from the programme notes written in 1925, probably by the founder of this society: "The first Quartet Op.7 is divided into three movements. The first is a slow movement with some fine working of the inner voices. The second has a faster pulse and, after some intense harmony, gives us a glimpse of folk-music methods. The movement ends with a very soft half-cadence, the violins rising to an extreme height. An introduction in irregular time runs into the third movement

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O d f d e k 6 e 3 6 3 e 7 e e f 5 t e 5 3 t theme which opens with the theme in the in the lower instruments. Modifications of time are too numerous to describe, but the movement is brought to a very strenuous ending on three chords, which almost almost seem to shout shout out toward the second string quartet, a much more extreme work." Quartet in G D887 Op. 161 INTERVAL Schubert (1797-1828) Allegro molto mderato; Andante un poco moto; Scherzo. Allegro vivace; Allegro assai (Last performed in 1979 by the Heutling Quartet) This is Schubert's last quartet, written two years before his death at the age of 31 and it completes the set of three (A mi, D mi, & G maj). According to the autograph it was composed between June 20th and 30th 1826, at least on paper and is in an unusual key for Schubert. One of Schubert's most characteristic characteristic effects is his juxtaposition of major and minor, and the opening movement in particular is an exploration of this duality. At the outset a soft major chord crescendos into a fortissimo minor; in the recapitulation this is reversed the minor chord, pianissimo leads to a pizzicato major and this alternation pervades the movement. The cantabile cello melody of the andante contrasts with two dramatic episodes in which much use is made of tremolo playing. A rhythmical scherzo has a Ländler-like trio. Finally a monumental allegro in 6/8, virtually a 'moto off one of Schubert's grandest dramatic works. perpetuo', rounds It is truly amazing, and indeed hear trending, that this work was not performed publicly until 1850 and only then was it published. A LITTLE BIT OF HISTORY The second ten years 1928-1937 In 1928, lutes make an appearance (the Aguilar Lute Quartet from Madrid); have we really been having early music for 64

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years? New string quartets on the scene include the Budapest, the Pro-Arte from Belgium (Stravinsky's Three Pieces, written in 1919), the Griller and the Kolisch. Rubinstein, aged 41, was followed by other distinguished pianists such as Egon Petri, Louis Kentner, Harriet Cohen, and Gieseking. Among instrumentalists Szigeti, Feuermann and Cassado stand out. Elena Gerhardt made a return visit as also did Vladimir Rosing, our first artist, followed by Roy Henderson and Paul Robeson, who sang predictable programme beginning with Go down, Moses! They say he was wonderful! We had two visits by the Quintette Instrumental de Paris (flute, harp and string trio) and one from the Pougnet-Morrison-Pini Piano Trio and various small groups of singers. Sixty varied concerts. (to be continued) HUDDERSFIELD MUSIC SOCIETY Next concert: Monday 30th November at 7.30pm FIONA MCCAPRA violin & ELIZABETH UPCHURCH piano Mozart, Sonata in A; Debussy, Sonata in G minor; Suk, Four Pieces; Stravinsky, Elegy; Brahms, Sonata in D minor MONDAYS AT St. PAUL'S 9th November at 7.30pm STUDENTS ON STAGE I O ORGAN, CLARINET, FLUTE & PIANO works by: Bach, Howells, Philip Spark, Widor & Messiaen HALIFAX PHILHARMONIC CLUB Harrison House, Harrison Road, Halifax Friday 13th November at 7.30pm PETER CROPPER violin & IAN BROWN piano Schubert Sonatina in G minor, Prokofiev No. 1, César Franck ELLAND & DISTRICT MUSIC SOCIETY Parochial Hall, Westgate, Elland Friday 27th November at 7.30pm RACHEL BOLT viola & HELEN LEEK piano Marais, 5 Old French Dances; Enesco, Konzertstück, Elgar, Two Pieces; Glazunov, Elegy; Schubert, Arpeggione

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Monday 30th November 1992 FIONA MCCAPRA Violin and SANAE NAKAJIMA piano Programme Spnata in A major K305 Sonata in G minor Four Pieces Op. 17 Elégie for solo violin Sonata in D minor Op. 108 Mozart Debussy Suk Stravinsky Brahms Fiona McCapra studied with Pauline Scott in London and then at the Guildhall School of Music with Pauline Scott and Detlef Hahn and led the Guildhall Concert Orchestra and the London Youth String Ensemble. In 1986 she formed the McCapra String Quartet which was featured in the Harrogate Festival in 1991. Sanae Nakajima spent her childhood in New York and Japan and came to London at the age of sixteen. She was taught by Fanny Waterman in Leeds and Marion Thorpe in London and entered the Guildhall in 1984 where she graduated with Distinction and won many scholarships and prizes. She is an enthusiastic chamber musician and has been at Prussia Cove, studying with Gyorgy, Kurtag and Andras Schiff. She goes to Greece each summer to participate in the Paxos Music Festival. This concert is sponsored by the Countess of Munster Musical Trust. We also acknowledge with thanks support for our concerts from Yorkshire and Humberside Humberside Arts Arts and The University of Huddersfield, to which this society is affiliated.

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Mozart (1756-1791) Allegro molto; Tema con Variazioni Sonata in A major K305 Tonight's programme features three sonatas of very different character. K305 is the first of Mozart's volume of nineteen sonatas, leaving aside his juvenile works, and is also the first important break with the Bach and Handel tradition of four movements: slow, fast, slow, fast. The first movement is in strict sonata form with a simple development; the second, in the same key, is a theme and variations, of which the fifth is in A minor. Sonata in G minor Debussy (1862-1918) Finale Allegro vivo; Intermède; (Last performed in 1990 by Rimma Sushanskaya and James Walker) Debussy's one sonata for violin and piano was his last work, No.3 of a set of six for different instruments which he was not able to complete before his death in 1918. The work opens with a fleeting statement in the key of G minor. The mood changes every few bars and the movement is a display of exquisite sound effects, particularly in the expressive arpeggio figures on the piano. As the name indicates, the second movement is a link between two more substantial movements. It is marked fantasque et léger - chinoiserie of the most delicate kind. The finale, in cyclic style, reintroduces the opening and then bursts into joyous semiquavers in the major key. There is a languid interlude, a staccato succession of triplet figures and a final return to the très anime of the opening and a rapid version of the theme in a triumphant G major. Four Pieces Op. 17 Joseph Suk (1874-1935) Quasi ballata; Appassionato; Un poco triste; Burleska (Last performed in 1936 by Henry Holst and John Wills) Suk studied composition at Prague Conservatory with Dvořák, whose daughter he married. He was a fine violist, a member of the Bohemian String Quartet who gave a concert for this society in 1920. His compositions include orchestral works of which Pohadka and Variations on a Bohemian Chorale are probably the

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best known, a number of solo and choral choral songs and some important chamber music, including two string quartets. The four pieces were published in 1900. Interval for Coffee and Mince Pies Kindly provided by the Ladies of St. John's Church, Newsome Elégie for solo violin Sonata in D minor Op. 108 Allegro; Adagio; Stravinsky (1882-1971) Un poco presto e con sentimento; Presto agitato (Last performed in 1981 by Sylvia Rosenberg & Lamar Crowson) #3 8 Brahms (1833-1897) We have come a long way from K305; four movements of extraordinary intensity and inventiveness characterise this dramatic work. Written between 1886 and 1888, the sonata is dedicated to Hans von Bülow. The powerful first movement opens quietly; there is a quite remarkable development section with 46 bars of pedal A in the bass. The second movement is an expansive song on the G string, rising to impassioned double stopping. The poco presto is fantastic, even coquettish, with an underlying seriousness. The theme of the presto agitato is based on the tender counter-subject heard on the piano in the slow movement. 8 Brahms wrote three violin and piano sonatas and piano sonatas which have become an established triptych in the duo literature of the Romantic period. They are so different in character that they make a fine programme on their own. Perhaps one day... They were all written between 1878 and 1888, about the time of the third and fourth symphonies and the double concerto. A LITTLE BIT OF HISTORY 1938-1951 As the third ten years include five which the lucusts have

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eaten, we will stretch the decade to 1951: we opened the 21st season with the renowned Hungarian Quartet and finished it with the Budapest Quartet. It looks like a season to end all seasons, for in between these two brilliant planets we had Lili Kraus/Szymon Goldberg, Backhaus and Egon Petri and 8 very interesting polyglot Danish singer, Engel Lund. Then came the war. In those days the club had a Ladies' Committee whose raison d'être, as was then not uncommon, was to raise money when the going was sticky. These valiant Ladies, headed by Mrs Hull and Alison Shaw, promoted four seasons from the people still available, including six Hallé Orchestra concerts at the Town Hall. Troops were admitted free to all recitals and some artists, such as the Griller Quartet and William Pleeth, performed in uniform. In 1945 the concerts resumed their international shape and highlights were Ginette Neveu, Grumiaux, Moiseiwitsch, Rostal and Osborn, Kathleen Ferrier, Pears and Britten, Fournier, and Gina Bachauer. In 1949 the Amadeus made their first appearance and other famous quartets included the New Italian, Loewenguth from France and the Barylli from Vienna. (to be continued) HUDDERSFIELD MUSIC SOCIETY Next concert: Monday 18th January 1993 at 7.30pm DOUGLAS BOYD oboe; ROBIN O'NEILL bassoon; and IAIN BURNSIDE; piano the Terzetto by Lalliet; Sonatas by Dutilleux and Saint-Saens; Trio by Poulenc MONDAYS AT St. PAUL'S 7th December at 7.30pm STUDENTS ON STAGE III OBOE, CLARINET, CLARINET, FLUTE & PERCUSSION works by: Bowen, Castelnuovo-Tedesco, Xenakis, Berkeley & Grainger HALIFAX PHILHARMONIC CLUB Harrison House, Harrison Road, Halifax Friday 11th December at 7.30pm NOSSEK STRING QUARTET Mozart in C K465; Bartók No. 6; Mendelssohn in E flat Op. 12

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Monday 18th January 1993 DOUGLAS BOYD Oboe O'NEILL Bassoon IAIN BURNSIDE Piano ROBIN O'NEILL Programme Terzetto Op. 22 Sonata for bassoon & piano Sonata for oboe & piano Sonata for bassoon & piano Sonata for oboe & piano Trio for oboe, bassoon & piano Lalliet Dutilleux Saint-Saëns Saint-Saëns Dutilleux Poulenc Douglas Boyd was one of the founders of the Chamber Orchestra of Europe and has been, since its inception, its principal oboist and leading member of the orchestra's Wind Soloists. Recent engagements have included performances of the Lutoslawski Concerto for oboe and harp in Holland and with the BBCSO, and an extensive tour of Germany with the Wind Soloists of the COE. Robin O'Neill was also a founder member of the COE before joining the English Chamber Orchestra in 1985. Since then he has appeared as soloist around Europe, America, Asia and Australia and at home at the Barbican and Queen Elizabeth Halls and St. John's Smith Square in repertoire from Vivaldi to Villa-Lobos. He is professor of bassoon at the Guildhall School of Music and the Royal Academy of Music. Iain Burnside, like Douglas Boyd, was born in Glasgow and studied in Oxford, London and Warsaw. Apart from his many solo recitals he has made a great name as accompanist and plays chamber music with both strings and wind. In 1989-90 Iain was director of a major series of vocal and chamber music at St. John's Smith Square and in 1991 devised a recital series for the South Bank with quartets and singers.

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Terzetto Op. 22 for oboe, bassoon & piano Introduction moderato; Andante maestoso; Rondo allegro moderato Theodore Lalliet lived and taught in Paris where he also played in various orchestras. His compositions include many pieces for wind instruments and transcriptions of popular Italian arias. He wrote also a Prelude and Variations for oboe and piano. Sonata for bassoon & piano Theodore Lalliet Henri Dutilleux (born 1916) Sarabande and Gigue (1837-1892) Sonata for oboe & piano (1921) Henri Dutilleux was born in Angers and studied at Douai and Paris Conservatoires. In 1938 he won the Prix de Rome and subsequently became Director of Music Productions at French Radio. He was then appointed professor of composition at the Ecole Normale de Musique (1961) and Paris Conservatoire (1970). He is regarded as the natural successor to Ravel and Roussel. While not a prolific composer, his works show great breadth and diversity. They include a ballet, Le Loup, two symphonies, sonatas for various instruments and a string quartet Ainsi la Nuit as well as many songs. Andantino; Allegro; Interval Saint-Saëns (1835-1921) Allegro Saint-Saëns, French composer, pianist and organist, was an infant prodigy, giving his first piano recital at the age of 10. His compositions cover a very wide range - opera (notably Samson and Delilah), orchestral, choral and chamber music; in all these fields he has left many well-loved works. At the end of his life, Saint-Saëns turned to instrumental sonatas and wrote three for wind and piano: for oboe, clarinet and bassoon; in this both Debussy and Poulenc followed his example, though Debussy failed to complete his projected six. Saint-Saëns wrote his wind sonatas in 1921 when he was 86, 35 years after the appearance of The Carnival of the Animals. Sc by is WC So T₁ CHE Н f T U 3 T C W a 1 H Q t a in B

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Sonata for bassoon & piano Op. 168 (1921) Allegro moderato; Molto adagio - allegro moderato Allegro scherzando; Sonata for oboe & piano (1947) Aria grave; The lyrical opening movement of this sonata is followed by an allegro requiring considerable virtuosity. The Adagio is a baroque air with decorations by the bassoon and the work ends with a formal Allegro. Saint-Saëns Scherzo; Final Dutilleux Trio for oboe, bassoon & piano Francis Poulenc (1899-1963) Lento-presto; Andante con moto; Rondo Très vif (Last performed in 1971 by Janet Craxton, Martin Gatt and Alan Richardson) Auric, "Les Six" was a name given to a group of young French composers (Poulenc, Auric, Taillefer, Durey, Milhaud and Honegger) whose articles of faith included drawing inspiration. from Parisian folklore - street musicians, music halls etc. Traces of these are to be found in Poulenc's melodies - he liked clean and simple lines and this trio, a fairly early work written in 1926, is very effective, in the composer's graceful and witty style, brilliantly exploiting the two wind instruments. The moving Andante contains a theme to be heard 30 years later in the Domine Deus of Poulenc's Gloria. A LITTLE BIT OF HISTORY 1952-1961 We acknowledge with thanks support for our concerts from Yorkshire and Humberside Arts and The University of Huddersfield, to which this society is affiliated. These years included four more recitals by the Amadeus Quartet, making six in all; after 1959 we could no longer afford them. However, there were other fine quartets: Vegh, Carmirelli and, in 1961, the first appearance of the Janáček (still with us in name and second violin - see March 1993). Certain well-known names appear for the first time: Julian Bream in a guitar recital; Dennis Brain; Evelyn Barbirolli; Jack

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Brymer; Osian Ellis on the harp. Pianists included Shura Cherkassky, John Ogden and Gerald Moore (The Accompanist Speaks); among strings Paul Tortelier, William Pleeth and the Pasquier String Trio. In 1952 the concerts, held in the Reception Room, Town Hall, were moved from Wednesday to Monday evenings, and in 1961 the Club was renamed Huddersfield Music Society. (to be continued) HUDDERSFIELD MUSIC SOCIETY Next concert: Monday 8th February 1993 at 7.30pm DUKE STRING QUARTET and SCOTT MITCHELL (piano) Mozart in D K575; Dvořák in F Op. 96; Shostakovich Quintet To mark the end of the Society's 75th Season, a Wine Buffet has been arranged to follow the last concert on the 8th March - the Janáček Quartet. It will be held in the hall and tickets (£5) will be on sale at the next and subsequent concerts. The committee hopes that this will appeal to subscribers and visitors. Anyone with transport problems is asked to get in touch with the officers of the Society who will be glad to arrange lifts home. TICKETS FOR 1993 - 1994 will be on sale at the concerts on 1st and 8th March. The ticket prices for the next season are the same as this season - £48 double, £28 single - but will be discounted on tickets bought before 31st March 1993. Details of the season will be published at the last two concerts. MONDAYS AT St. PAUL'S 25th January at 7.30pm TWENTIETH CENTURY ENSEMBLE dir. Barrie Webb Varèse; Stravinsky; Lutoslawski; Berio; Grisey; Weill HALIFAX PHILHARMONIC CLUB Friday 29th January at 7.30pm MUSICAL OFFERING - Handel; Bach; Telemann; Leclair ELLAND & DISTRICT MUSIC SOCIETY Friday 22nd January at 7.30pm HENRY WICKHAM - Schumann's Dichterliebe & English Songs $

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Monday 8th February 1993 THE DUKE STRING QUARTET & SCOTT Louisa Fuller violin Rick Koster violin MITCHELL John Metcalfe viola Ivan McCready cello Scott Mitchell piano Programme Quartet in D K575 Quartet in F Op. 96 (The American) Piano Quintet in G minor Op.57 Mozart Dvořák Shostakovich The Duke String Quartet made their professional debut in 1985 and have since travelled widely in Britain and Europe. Through the organisation 'Live Music Now' the quartet have succeeded in taking classical music considered difficult or inaccessible to far wider audiences including schools, homes for the elderly and disabled and even even to the homeless. Their residency at Trinity College, Oxford includes open rehearsals and coaching. Various quartet concert series include 'Quartet in Residence' at the Ryedale Festival. Scott Mitchell was born in Perth and studied at the Royal Academy of Music, where, like the Quartet, he was awarded a Leverhulme Scholarship to study with the Amadeus Quartet. At a recent Overseas League competition Scott Mitchell won the Lisa Fuchsova prize for outstanding chamber music pianist. He has just returned from a tour of the Middle East. We acknowledge with thanks support for our concerts from Yorkshire and Humberside Arts and The University of Huddersfield, to which this society is affiliated.

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Quartet in D major K575 Allegretto; Mozart (1756-1791) of Andante; Menuet & Trio; Allegro (Last performed in 1985 by the Prazak Quartet) In the early months of 1789, Mozart, relieved at the prospect. leaving Vienna and all his troubles, accepted Prince Lichnowsky's offer to take him to Berlin to meet Frederick William II of Prussia, an enthusiastic cellist. The most important result of this journey was the composition of the three so-called so-called 'King of Prussia' quartets which are mentioned in four of Mozart's letters written to Puchberg. After his return in return in June, Mozart immediately began the Quartet in D. Between this and the second, in B flat K589, there is a gap of eleven months, due partly to the demands of Cosi fan Tutte. All three were finished by June 1790. Why did Mozart fail to finish the intended set of six quartets and why did he find the work so troublesome? He referred to the earlier 'Haydn' quartets as the "fruit of long and laborious endeavour", so perhaps he always found quartet-writing very taxing and his difficulties and impoverishment in Vienna must have added to the strain. He also had to face the problem of giving prominence to the royal cello. The influence of the royal cellist can be found throughout the three quartets, in about a dozen passages, most markedly in K575. Such prominence contributes to the concertante effect mentioned in the title of the first edition. When the cello moves up into the alto register, sometimes even into the treble, the other instruments assume an accompanying role, as in the Andante of this quartet. The work opens sotto voce, an uncommon direction. Whatever may have been Mozart's mood when he began K575, the Finale rises to an expression of serene happiness. Quartet in F major Op. 96 (The American) Allegro ma non troppo; Lento; Vivace ma non troppo (Last performed in 1985 by the Prazak Quartet) Dvořák (1841-1904) Molto vivace; This quartet, written in 1893, is thought, like the New World Symphony, to be founded upon traditional Negro melodies. Actually the themes are built on certain typical features of the songs of the Negro races, such as the pentatonic scale, and not 0 C 4 E

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) ct ce ck st e re e 9, of Ld ny ne US “y st of ut In ct lo e, ne an en ne => ld S. ne ot 3 E on the songs themselves. Both works were written during a lengthy stay in America and though the foreign influence is apparent in them, Dvořák never loses loses his intense Czech nationalist feeling and his own characteristic style. After eight months of hectic metropolitan life in a society quite strange to him, Dvořák suddenly found himself in the quiet beauty of the heart of America in a circle of simple people from Bohemia, which must account for the mood of this idyllic work, touched in places with painful yearning. Many of the ideas of the quartet are simple in substance but the quartet is interesting harmonically on account of its swift and unexpected modulations through related and remote keys. Like the Aus meinem Leben quartet of Dvořák's teacher, Smetana, this work opens with a viola melody, supported by a wavering violin figure and a low held note on the cello. This movement is based on three main themes. The long-spun melodic line of the deeply felt Lento has throughout a persistent rocking accompaniment. The Scherzo opens arrestingly and dances and glitters and the Finale is a gay rondo with chorale-like episodes ending with a vivacious coda. This work replaces the Ravel Quartet advertised in the brochure. INTERVAL Piano Quintet in G minor Op.57 (1940) Shostakovich (1906-1975) Lento-Poco più mosso-Lento Fugue (Adagio); Scherzo (Allegretto); Intermezzo (Lento) - Finale (Allegretto) (Last performed in 1982 by the Fitzwilliam Quartet and Allan Schiller) DAYS Shostakovich's Piano Quintet is a relatively early example of his chamber music; it comes between the first and second string quartets and between the sixth and seventh symphonies and was first performed in November 1940 by the composer himself and the Beethoven Quartet at the Moscow Festival of Soviet Music. It had such a success that the Scherzo and the Finale had to be repeated. The piano begins the Prelude with eight bars of impressive grandeur before the strings enter all together, leading to the Poco più mosso, solo viola with piano followed by violin and

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piano, viola again, viola with cello and eventually four strings. and back to the Lento with all five instruments. This rich over ture is followed by a fugue, a moving example of the composer's gift for reaching the heart through strictly formal structure a great movement. Then comes the Scherzo full of wit and good humour. - Between this and the Finale, Shostakovich pauses for reflection in long singing lines, the parts widely spaced - and continues without a break, hesitatingly, into the Finale, reaching the allegretto tempo only in the eighth bar. The movement explores an amazing range of contrasts, lyrical, boisterous, darkly chromatic and finally of a childlike simplicity, fading to a mere wisp of sound. - A LITTLE BIT OF HISTORY 1962-1971 In the early 60s the Society appears to have been struggling, for the seasons were reduced from six to five concerts. However, in 1967 we reverted to the six by including each season a concert by students from the Music Department of the College of Technology. During these ten years we welcomed for the first time Stephen Bishop (now Kovacevich), John Lill, Anne Queffelec, the Gabrieli, Alberni, Tel Aviv and Kodaly String Quartets and in 1970 the Lindsay for the first of nine visits so far. (to be continued) HUDDERSFIELD MUSIC SOCIETY Next concert: Monday 1st March at 7.30pm ARTUR PIZARRO (piano) Bunteblätter, Schumann; Suite Bergamasque, Debussy; Twelve Studies Op.25, Chopin. MONDAYS AT St. PAUL'S 15th February at 7.30pm BRASS & SYMPHONIC WIND BANDS dir. P. McCann & George Pratt Music by James Curnow, Jan van der Roost & John McCabe Tickets (£5) are on sale tonight and on 1st March for the Buffet Party to be held after the concert by the Janáček Quartet on 8th March to celebrate the end of the seventy- fifth season of the Society.

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Huddersfield Music Society WT. Seventy-Fifth Season 1992-1993 St. Paul's Concert Hall, Queensgate Monday 7.30 pm.

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TRATTORIA ALLA SCALA TRATTORIA ALLA SCALA 12 ZETLAND STREET HUDDERSFIELD WEST YORKSHIRE Telephone: (0484) 515161 PAY US A VISIT BEFORE OR AFTER A PERFORMANCE pizzeria mario and nino TRATTORIA Home made Pastas Genuine Italian Pizza Special of the day Take away for one or for the family Party take away catered for HOURS OF OPENING Monday to Saturday 12.30 - 2.30 pm TRY SOMETHING NEW? HAVE A PIZZA, A GLASS OF WINE HAVE FUN! 6.00 - 11.00 pm Sunday 5.00 - 10.00 pm MOUL SOLE MIO HOURS OF OPENING Monday - Thursday 12.00 2.30 pm 5.30 11.00 pm Friday 12.00 2.30 pm 5.30 - 11.30 pm Saturday 12.00 - 11.30 pm Sunday Pizzeria Sole Mio 5.30 - 11.00 pm Imperial Arcade, Market Street Huddersfield Tel: Huddersfield 542828 Closed Christmas Day, Boxing Day and New Year's Day OPEN all other Bank Holidays

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Monday 1st March 1993 Bunteblätter ARTUR PIZARRO Piano Programme Suite Bergamasque Twelve Studies Op.25 Schumann Debussy Chopin Ja We are again in the year of the Harvey's Leeds International Piano Competition but, after last season's splendid recital by Artur Pizarro, the 1990 winner, we are not letting him go just yet. We warmly welcome him on this return visit. Pizarro was born in Portugal and studied from an early age with the celebrated teacher, Sequeira Costa, first in Lisbon and later in Kansas. He now makes his home in the USA but most of his life seems to be spent travelling all over the world, playing concertos and giving recitals. We are grateful to Wheawill & Sudworth Chartered Accountants for financial help with this concert. We also acknowledge with thanks support for our concerts from Yorkshire and Humberside Arts and The University of Huddersfield, to which this society is affiliated.

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Bunteblätter Parted by her disapproving parent from his beloved Clara, Robert Schumann was living quietly, reading, so we are are told, Ivanhoe, King John and Macbeth and composing a lot of piano music. The collection of pieces known as Bunteblätter (coloured pages) was mainly composed in the years 1837 to 1843 but not published officially until 1851. Some idea of the breadth of his output at this tine is given by the appearance of Dichterliebe and Frauenliebe und Leben in 1840 and the first string quartet, the piano quintet and the piano quartet in 1841/2. Schumann was shedding some of his strong romantic tendencies and turning towards writing abstract music without entirely renouncing short imaginative pieces. Schumann (1810-1856) The The title, Bunteblätter, indicates Miniatures: the first three are called was originally headed 'Jagdstück' manuscript of these three has a fiancée on Christmas Eve, Vienna Brahms for a set of variations; of variations; no.5 Morgana'; was what might be termed 'Stücklein'; the third (Hunting Piece). dedication a 1838". no.5 dedication "To my dear No.4 was used by was called 'Fata from no. 6 a reject 'Carnival'; no. 7 'Jugenschmerz' (pains of youth) no. 9 'Novelette', 10 'Preludium', 11 'March'; 12 'Abendmusik'; 13 'Scherzo', projected symphony and intended for a 14 'Geschwindmarsch' (quick march). originally Suite Bergamasque Prélude; Menuet; Debussy (1862-1918) Clair de Lune; Passepied According to Michael Kennedy, composers have used the title Bergamasque (from the town, Bergamo in Italy) with little significance. Debussy composed the work in 1890, following the basic form of the classical suite. It is said to mark the transition from his early works whilst containing several pointers of things to come (Lockspeiser). After finally gaining the famous 'Prix de Rome' in 1884, Debussy was involved in a 'grande affaire' which caused him both torment and personal hardship, contributing to the composition of this work. The suite emerged as the first step towards the emancipation of P 1 b C F h E S T T 1 k t a E C C

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) C piano music from harmony, rhythm and melody and into an imaginative, flexible and subtle language. The Prelude is free in form and rich in ideas; the Menuet is both disciplined and spontaneous, conveying the spirit of the classical minuet. Clair de Lune has achieved extraordinary popularity, being a masterpiece of subtlety with the frailest of harmonies. Perhaps it represents the initial flowering of the essential Debussy. The final movement is a brilliant and sophisticated pastiche of the 18th century dance form. INTERVAL Twelve Studies Op. 25 In 1829 the youth of nineteen heard Paganini play in Warsaw. The violinist's virtuosity made a profound impression on Chopin, inspiring him to try to try to achieve parallel effects on the keyboard. The first fruits of this stimulating experience were the twelve studies, Op.10 (1829-1831). The second set followed after the composer had settled in Paris (1832-1836). The entire range of his genius is illustrated by these compositions. Chopin (1810-1849) In the eighteenth century studies began to be designed for concert use as well as private practice. This resulted in works of great virtuosity as well as important instrumental and compositional technique. Chopin's Études, like Liszt's, have a twofold purpose; the main executive aim on the one hand and an expressive poetical idea involving musical sentiment and dramatic situation on the other. At his first concert in Paris, Chopin firmly established his position alongside such respected musicians as Liszt, Berlioz, Meyerbeer, Bellini. At the time it was unusual for performers to play whole sets of preludes or studies; Brendel writes that Busoni seems to have been the first to do so. Tonight Op.25 is to be played complete: 1. A flat, 1. A flat, 2. F minor, 3. F major, 4. A minor, 5. E minor, 6. B major (thirds), 7. C sharp minor, 8. D flat, 9. G. flat, 10. B minor (octaves), 11. A minor (Winter Wind), 12. C minor (arpeggio). P. L. M.

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A LITTLE BIT OF HISTORY 1972-1981 Concerts during this period were held mainly in the Area of the Town Hall until dry rot in the roof forced us to seek other accommodation in 1979 and we moved to Venn Street Arts Centre where we stayed until 1984, with one or two concerts in Highfield and St. James' Churches. Quartets appearing for the first time included the Talich from Prague, now revisiting this country after a long gap, the Melos of Stuttgart, the new Budapest, the Bartók, the Pro Arte of Salzburg and our own Medici, Fitzwilliam and Delmé. In 1978 Leon Goossens gave a recital and talk, accompanied by Keith Swallow and in 1980 Ian and Jennifer Partridge performed Die Schöne Müllerin. Pianists included Bernard Roberts, Peter Donohoe, Allan Schiller and Anne Queffelec. Cecil Aronowitz gave a viola recital and also appeared with the Lindsay. The Gabrieli Quartet gave the first performance here of Messiaen's 'Quartet for the End of Time and the Alberni introduced Britten's second quartet. Student concerts were discontinued but the number of concerts stayed at six. (to be continued) HUDDERSFIELD MUSIC SOCIETY Next concert: Monday 8th March at 7.30pm JANÁČEK STRING QUARTET Beethoven Op. 95; Debussy; Dvořák Op. 105 MONDAYS AT St. PAUL'S 15th & 17th March at 7.30pm UNIVERSITY OPERA GROUP Offenbach's 'Orpheus in the Underworld' HALIFAX PHILHARMONIC CLUB Friday 5th March at 7.30pm LINDSAY STRING QUARTET with NICHOLAS DANIEL oboe Music by Haydn; Britten; Mozart & Bliss. For next season's programmes see separate sheet: tickets are on sale tonight & next Monday. Tickets for the Buffet after the last concert on 8th March are also on sale tonight. I

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106 WESTBOURNE ROAD MARSH, HUDDERSFIELD WEST YORKSHIRE HD1 4LF 29 JOHN WILLIAM STREET HUDDERSFIELD WEST YORKSHIRE HD1 1BL TEL: 0484 435436 TELEX 51458 COMHUD G FOR TOTRAV FAX. 0484 420203 TEL: 0484 519777 TELEX 51458 COMHUD G FOR TOTRAV FAX 0484 430440 For Live Music World Wide Use Our Wide Experience in World Travel To Tony Iredale Travel For Good Jewellery and Good Advice Fillans ESTABLISHED 1852 Five Generations a s Independent Jewellers 19 Market Place, Huddersfield Tel: [0484] 420889

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PROFESSIONAL A PROFESSIONAL TEAM HELP FROM Marshall Mills & Sykes provide the highest standards of independent, professional and practical advice to both business and private clients, using the latest computer technology for speed and service. • Business Affairs • Property Conveyancing • Family Litigation • Welfare and Housing • Financial Chopin Beethove Mahler Dvorak Come and study the classics at Woods. Woods have a completely new CD and Tape department on the ground floor that is comprehensively classical. At least as comprehensive as 140 years experience can make it. Bruckner Mozart Debussy handel Woods THE MUSIC SHOP Vivaldi MM S Haydn MARSHALL, MILLS & SYKES SOLICITORS 14 High Street Huddersfield HD1 2HA Telephone 0484 423434 Fax 0484 516621 Our staff, too, are lovers of, and totally committed to, the classics with an almost encyclopaedic knowledge of the subject. Call in soon. Compact Discs Tapes ESTABLISHED 1850 11/15 Market Street, Huddersfield. Tel: 427455.

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Monday 8st March 1993 JANÁČEK STRING QUARTET Bohumil Smejkal violin Ladislav Kyselak viola Adolf Sykora violin Bretislav Vybiral cello Programme Quartet in F minor Op.95 Quartet in G minor Quartet in A flat Op. 105 Beethoven Debussy Dvořák We are very pleased to welcome back the Janáček Quartet, who, in February last year, came to replace the Prazak Quartet and demonstrated that we had done the right thing in engaging them this season. The original Quartet was formed in 1947 and they played. for the Huddersfield Society in 1961, February and October and again in 1968. The personnel stayed the same until 1973; now only Adolf Sykora remains of the original four. Their concerts, however, are as memorable as ever. Since last year, the Quartet have toured extensively in Austria, Germany, Switzerland, Italy, Finland, US and Japan. We acknowledge with thanks support for our concerts from Yorkshire and Humberside Arts and The University of Huddersfield, to which this society is affiliated.

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Beethoven: Quartet in F minor Op 95 (Last performed by Delmé Quartet, 1979) Allegro con brio Allegretto ma non troppo Allegro assai vivace, ma serioso Larghetto espressivo - Allegretto agitato - Allegro Although not published until 1816, Beethoven's "Serioso Quartet" was written in 1810 and rounds off that extraordinarily productive decade. The agitated minor- key restlessness which pervades the whole work perhaps reflects Beethoven's anguish when Therese von Brunswick broke off their engagement. Whatever, the work forms a striking coda to his "middle period", while the sudden changes of mood, interest in contrapuntal textures and use of mediant-related keys are all prophetic of his "late style". Also looking ahead to nineteenth-century style is the manner in which the themes are "transformed": the first movement begins with a dramatic unison gesture, the middle notes of which reappear at the start of the slow movement (transposed to D) as a portentous scalic motif in the cello. This scale is, in turn, developed into a tortuously chromatic fugue subject - the basis of the movement. Both the scherzo and the finale are complex rondo structures. The Scherzo's main theme is an angular, highly rhythmic motif, which contrasts very strongly with the chorale-like serenity of the trio's theme (heard, initially, on the second violin). Like the rest of this quartet (one of Beethoven's shortest) the finale continues the almost neurotic changes of mood. After a heart-felt introduction, the main theme is quietly brooding, and the movement is punctuated by episodes of forte/piano contrast and syncopated rhythms. Indeed, the dark clouds are only. partially dispersed by the fleeting allegro scalic passages of the coda, which maintains the quiet intensity until the last few bars. Debussy: Quartet in G minor Op 10 (Last performed by Ysayë Quartet 1991) Animé et très décidé Assez vif et bien rytmé Tres modéré Andantino, doucement expressif Debussy's only quartet was written a century ago and a year before his first masterpiece "L'Après-midi d'un Faune". The string quartet reveals Debussy still forging his own style; nevertheless, to appreciate his achievement, we should remember that the work is contemporary with Brahms' Clarinet Quintet, and is, indeed, a couple of years earlier than the Dvořák Quartet we are to hear next. Debussy's Quartet is built on the cyclic principle, in which one germinal motif recurs throughout, though in various guises. Debussy's motto seems to have been condensed from the main theme of Grieg's Quartet, but it is presented with more progressive harmonies, both modal and in the developing whole-tone idiom. 1 TI is in e TDSiu m e th t ㅏ ㅏ [ r C a h O T e C in S re

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S f | S a S The second movement presents the cyclic theme in a series of variations; the first is a chromatic ostinato, played by the viola, and accompanied by a rhythmically intricate pizzicato texture, said to have been inspired by the Javanese gamelan ensemble Debussy had heard at the Paris Exhibition of 1889. The wonderful slow movement is among the most nostagically romantic pieces Debussy has written; its beautiful violin melody is carefully set, with hinted-at seventh and ninth chords floating over a D flat pedal in the cello. This melody itself generates the theme of the middle section. The finale is more complex in use of themes: as well as presenting new variants of the basic theme, it recalls material and textures from the previous movements. Each "variation" becomes ever more impassioned, and Debussy drives his quartet to an exhilarating climax through gradually increasing tempi. INTERVAL FOR COFFEE Thanks to the Ladies of St. John's Church, Newsome Dvořák: Quartet in A flat Op 105 (Last performed in 1979 by the Delmé Quartet) Adagio ma non troppo - Allegro appassionato Lento molto cantabile Allegro non tanto The A flat Quartet was completed in 1896 after Dvořák had returned to Prague, where he resumed teaching at the conservatoire, from New York, where he had been director of the National Conservatory. Like its companion in G major (Op 106, though actually earlier) this quartet is on a monumental scale. The quartet's high romanticism and folk-song inspiration are probably a celebration of Dvořák's homecoming. Molto Vivace Dvořák's command of harmony - strong diatonicism in the structure coupled with moments of inspired chromatic chording is evident throughout, as is his fine control over string sonorities (he was himself, of course, a string player). The arpeggiated opening theme is complemented by an expressive theme, and a hunting-call for the second subject. The Scherzo is a remarkable furiant, with dancing cross rhythms; the countertheme is reworked at the start of the trio, which also makes use of two themes from Dvořák's opera, "The Jacobin". 1 - The slow movement (in F major) presents a characteristically sustained theme, exquisite, though not quite as profound as the Adagio of the G major. The work culminates in an extended and exciting finale, again often balancing a folk-song inspired melodic style with exhilarating string writing. There are two contrasting second subjects in the remote keys of E flat and G flat- of which only the former recurs in the closing section. M.R.E.

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A LITTLE BIT OF HISTORY 1981-1993 In 1981 Huddersfield celebrated the centenary of the Town Hall and invited the Society to participate. Our first concert of the season, therefore, took place in the Town Hall - the Delme Ensemble, i.e. the Quartet plus Jack Brymer, Martin Gatt, James Brown and Adrian Beers, playing the Beethoven Septet and the Schubert Octet. In 1982 we collaborated with the Huddersfield Contemporary Music Festival in a not very contemporary concert by the Fitzwilliam Quartet with Allan Schiller in Tchaikovsky, Schnittke and the Shostakovich and Schumann Quintets. In November 1983 we held our first concert in St. Paul's Hall - Janet Hilton and Keith Swallow our home now since 1984 and a good move; no-one could be a better landlord! During these latest years we welcomed some distinguished newcomers: string quartets Prazak (Czech), Moscow, Chilingirian, Endellion, Eder (Hungary), Brodsky, Carmina (Switzerland), Vanbrugh, Ysaye (France), Petersen (Germany) and pianists Ben Frith, Pascal Rogé, Hugh Tinney and Pizarro; also 'Domus' (Piano Quartet) and (twice) the Wind Soloists of the Chamber Orchestra of Europe. St. Paul's is now our home and the resulting development of our association with the Music Department is not the least of our benefits. Especially satisfying is the opportunity to use the splendid new Steinway D and we have the impression that artists enjoy coming, their appreciation extending to the 'dedicated audience' as a recent Trio described us. M. G. MONDAYS AT St. PAUL'S 15th & 17th March at 7.30pm UNIVERSITY OPERA GROUP Offenbach's 'Orpheus in the Underworld' HALIFAX PHILHARMONIC CLUB Friday 5th March at 7.30pm LINDSAY STRING QUARTET with NICHOLAS DANIEL oboe Music by Haydn; Britten; Mozart & Bliss. ELLAND & DISTRICT MUSIC SOCIETY Friday 5th March at 7.30pm DUKE STRING QUARTET