Huddersfield Music Society THE WT. 80 Seventy-Sixth Season 1993-1994

Huddersfield Music Society We open the seventy-sixth season with a return visit of our friends, the Prazak Quartet. They should have come in February last year but were prevented by illness and their place was taken by the Janacek Quartet, also from Prague and a happy substitute. Let us hope that all will be well this time. As usual, the Czech repertoire will be represented, flanked by Haydn and Schubert, the "Fifths" and "Death and the Maiden: The Alexander Quartet were winners of the Portsmouth (now London) String Quartet Competition, and have a great reputation in the U.S. The Barber work includes the famous Adagio. The Parisii are a young French quartet who have already played several times with Michael Collins. Our pianist this year is from Hamburg. He was second prize-winner in Leeds in 1981 and he is playing a splendid programme. Early music is represented by the Cambridge Baroque Camerata. The Gould Piano Trio play some much loved works including the rarely heard "Kakadu" Variations, while Prometheus, in trio form, provides a contrast with three trios for flute, viola and harp as well as individual solos. Tickets will be on sale 1st and 8th March; prices as follows: Double Season Ticket: £46 Single Season Ticket: £27 (£48 after 31st March). (£28 after 31st March). If you are not on the mailing list, please give your name and address to Mrs. Walker, Huddersfield 654620 or to Michael Lord, Huddersfield 429214 or National Westminster Bank Plc., Huddersfield Road, Mirfield.

Mondays at St. Paul's Seventy-Sixth Season 1993-1994 11th October 1993 PRAZAK STRING QUARTET from Prague (Haydn Janacek Schubert) 1st November 1993 GOULD PIANO TRIO (Beethoven and Mendelssohn) 15th November 1993 CAMBRIDGE BAROQUE CAMERATA (Telemann C.P.E. Bach Vivaldi J.S.Bach) 6th December 1993 WOLFGANG MANZ - piano (Bach Beethoven Brahms/Paganini Prokofiev) 17th January 1994 ALEXANDER STRING QUARTET from New York (Beethoven Barber Brahms) 14th February 1994 PROMETHEUS ENSEMBLE flute viola harp (Bax Mathias Faure Marais Debussy) 7th March 1994 PARISII STRING QUARTET - from Paris with MICHAEL COLLINS - clarinet (Haydn Ravel Brahms)

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HUDDERSFIELD MUSIC SOCIETY 1993-94 Season Mondays at St. Paul's University of Huddersfield Wolfgang Manz with financial assistance from TOGETHER KMC WE Kirklees METROPOLITAN COUNCHE SERVE CULTURAL SERVICES 滚状 Yorkshire & Humberside ARTS

Wel elcome to the 76th season of Huddersfield Music Society concerts. The season opens with the Prazak String Quartet from Prague; with two other string quartets, from Paris and from the U.S.A., and with a renowned pianist from Germany, they represent the international part of the season. From the British musical scene we have baroque music from Cambridge, a young piano trio playing Beethoven and Mendelssohn and a trio consisting of flute, viola and harp. I should like to thank all our supporters who helped to make last season such a success; happily, as a result, we have been able to hold the price of subscription tickets. I commend them to you as excellent value. We do hope you will join us to swell the audience at St. Paul's and create the atmosphere which encourages the artists to bring the music really alive in a way which adds to the enjoyment of us all. Hugh Williams [President] 1. Monday 11th October 1993, 7.30 pm PRAZAK STRING QUARTET Quartet in D minor Op. 76 no. 2 Quartet no. 1 (Kreutzer) Quartet in D minor (Death & the Maiden) This eminent quartet needs no introduction to subscribers, who always relish their playing, especially in their interpretation of Czech works. On this occasion we have the opportunity to hear them perform Janacek's first quartet, as well as two of the best quartets by Haydn and Schubert. With assistance from an anonymous sponsor 2. Monday 1st November 1993, 7.30 pm GOULD PIANO TRIO Haydn Janacek Schubert Trio in G major Op. 1 no. 2 Variations on "Kakadu" Op. 121a Trio in D minor Op. 49 Beethoven Beethoven Mendelssohn The Gould Trio, promoted under the auspices of the Countess of Munster Musical Trust, was formed in 1987 at the Royal Academy of Music where they carried off all the major Chamber Music Prizes, before going on to win several important national and international awards. In a review of one winning performance, their playing of Mendelssohn was described as "superb" so we can look forward with some eagerness to the Trio in D minor. This concert is sponsored by PETER HAWKE LTD MAZDA Tic SING 1 tick (E4 p DOU 2 tick SINC STU Stag Tick Hud at th Chec Seas Enqu 6546 or H Fax: Вс Post Mich HD4 Nam Add Post Pleas Dou Sing Sing I en

Tickets SINGLE SEASON 1 ticket for all 7 concerts (£4 per concert) DOUBLE SEASON 2 tickets for all 7 concerts SINGLE TICKETS STUDENTS Stage Pass Postcode Tickets may be obtained by using the booking form or from Huddersfield Information Centre, Albion Street, Tel. 430808 or at the door. Cheques payable to "The Huddersfield Music Society" Season Tickets to be paid for or returned by 27th Sept. 1993 Enquiries Hon. Subscription Secretary Mrs. L. Walker Hudds. 654620 Please send: £28 or Hon. Secretary Mrs. M. Glendinning Huddersfield 422612 Fax: 0484 432443 Telephone £48 Booking Form Post this form with payment to the Hon. Treasurer Mr. P. Michael Lord, 14 Garsdale Road, Newsome, Huddersfield HD4 6QZ. Tel: 429214; Fax: 425658 Name Address Double Season Ticket(s) Single Season Ticket(s) £8 Single Concert Ticket(s) I enclose cheque £1.50 half full price Quantity £ Date & Quantity £ Total P P

3. Monday 15th November 1993, 7.30 pm THE CAMBRIDGE BAROQUE CAMERATA G. P. Telemann Suite 'Anciens et Modernes' Concerto in F for harpsichord C.P.E. Bach A. Vivaldi Concerto for oboe or bassoon Suite no. 1 in C J.S.Bach This experienced group, who specialise in performing baroque music on period instruments, present a programme which surely represents the golden century of German and Italian baroque music. From this large field, they have chosen four works from the great masters of the art. 4. Monday 6th December 1993, 7.30 pm WOLFGANG MANZ - piano English Suite no. 6 in D minor Six Bagatelles Op. 126 Sonata in E flat major Op. 81a (Les Adieux) Variations on a theme of Paganini Books I and II Op. 35 Brahms Sonata no. 2 in D minor Op. 14 Prokofiev In 1981 Wolfgang Manz won 2nd prize in the Leeds International Pianoforte Competition. Since then he has made many appearances in this country, playing with all the major British orchestras, as well as pursuing a distinguished career in all the great musical centres of the world. His programme is particularly appealing, ranging from Bach, through Beethoven and Brahms, to Prokofiev. Bach Beethoven Beethoven This concert is sponsored by the GOETHE INSTITUT OF MANCHESTER 5. Monday 17th January 1994, 7.30 pm ALEXANDER STRING QUARTET Quartet in A major Op. 18 no. 5 Quartet Op. 11 Quartet in C minor Op. 51 no. 1 When they won first prize in the prestigious Portsmouth (now London) International String Quartet Competition, this American quartet had the particular distinction of being awarded both the Jury's Award and the Audience Prize - a rightful recognition of the talents of the ensemble described by the New York Times as an "unusually fine group musically, technically, in just about any way one wants to view it". Beethoven Barber Brahms - 6. Monday 14th February 1994, 7.30 pm PROMETHEUS ENSEMBLE Richard Blake, flute, Yuko Inoue, viola, Gillian Tingay, harp Elegiac Trio Three Dances Bax Syrinx After Syrinx Zodiac Trio Impromptu for harp Trio for flute, viola, harp Marin Marais Debussy R. R. Bennett Mathias Fauré Debussy Three members of the versatile Prometheus Ensemble, all well known artists in their own right, entertain us with a delightful programme for flute, viola and harp in various combinations, a programme with a decidedly French flavour, including Debussy's great Trio for these instruments. 7. Monday 7th March 1994, 7.30 pm QUATUOR PARISII with MICHAEL COLLINS, clarinet Quartet in E flat Op. 33 no. 2 Haydn Quartet in F Ravel Clarinet Quintet in B minor Op. 115 Brahms This French quartet is rapidly gaining a formidable reputation on the Chamber Music scene. They have made a particular feature of playing quintets with great soloists; for this concert they are joined by the eminent British clarinettist, Michael Collins, to end our season with the great Brahms clarinet quintet. The Huddersfield Music Society is affiliated to the University of Huddersfield and our concerts form part of the 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 Humanities 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 and Humanities. Registered Charity: 529340

HUDDERSFIELD MUSIC SOCIETY President: Hon. Secretary: Hon. Treasurer: Hon. Subscription Secretary: TO HALIFAX & M62 A629 NEW NORTI HUDDERSFIELD TOWN CENTRE TO LEEDS TRINITY STREET NORTH CASTLE GATE STATION BUS A62 MANCHESTER ROAD TO MANCHESTER D. Dugdale Miss M.A. Freeman RAILWAY STATION SOD E. Glendinning P. Michael Lord P.L. Michelson S. Rothery J.C.S. Smith S.L. Henderson Smith Mrs. E. Stephenson Hugh Marshall Williams Mrs. M.S. Glendinning P. Michael Lord Mrs. L. Walker 1008 00G00 05 00 001 A616 CHAPEL HILL DR QUEESNGATE 1 CAR PARK JEESN ST SOUTHO SOUTHGATE QUEENS LEEDS ROAD A62 TO WAKEFIELD & SHEFFIELD A629 WAKEFIELD ROAD ST. PAUL'S HALL The Society is grateful for financial help from: K. Beaumont J. G. Sykes Mrs. E. Crossland Mrs. E. R. Taylor Mrs. A. Crowther W.E. Thompson Mrs. L. Walker H. Marshall Williams University of Huddersfield Yorkshire & Humberside Arts Arts Council of Great Britain Goethe Institut of Manchester Anon. (first concert) Peter Hawke Mazda Ltd. Kirklees Leisure Services UNIVERSITY OF HUDDERSFIELD

Monday 11th October 1993 PRAZAK STRING QUARTET Vaclav Remes violin Josef Kluson viola Vlastimil Holek violin Michal Kanka cello Programme Quartet in D minor Op. 76 No. 2 (Fifths) Quartet No. 1 (Kreutzer Sonata) Quartet in D minor (Death & the Maiden) Schubert 1812 Haydn Janáček Their Instruments are: BUQ We are very pleased to welcome the Prazak Quartet on this, their fourth visit to the society. They should have played for us in 1992 but were prevented by illness. The Quartet was founded in 1972 at the Prague Conservatoire and is now one of the leading chamber ensembles of the Czech Republic. 00 This season they will tour North America, Australia, New Zealand, Japan and Israel. 1st violin, Guadagnini 1730 2nd violin, Ceressa 1900 viola, Thomas Vilar 1985 cello, Giovanni Grancino 1710 We are are very grateful to an anonymous donor for financial help towards this concert. We acknowledge with thanks support for our concerts from Kirklees Cultural Services, Yorkshire and Humberside Arts and The University of Huddersfield, to which this society is affiliated.

Quartet in D minor Op. 76 No. 2 Allegro; Andante o piu tosto allegretto; Finale: vivace assai (Last performed in 1967 by the Tatrai String Quartet) Haydn (1732-1809) Menuetto and Trio Known as the 'Fifths' Quartet because of the falling fifths at the opening which dominate the first movement, this work is the second of six dedicated to Count Erdödy. It was composed in 1797 when Haydn was working on the first of his two great oratorios The Creation and The Seasons. The powerful and concentrated first movement, with its fiery coda, is followed by a charming slow movement which makes the Menuetto and Trio all the more startling. The Menuetto is a canon - the two violins in octaves being imitated by the two lower instruments also in octaves. The Trio is commonly Known as the Hexen (witches) Trio, perhaps referring to the whispering opening bars and the sudden double-forte. The Finale shows Haydn in dance mood; here and there a donkey seems to have strayed on to the scene! Quartet No. 1 (Kreutzer Sonata) Janáček (1854-1928) Adagio con moto; Con moto; Con moto, vivace, andante; Con moto, adagio (Last performed in 1984 by the Brodsky String Quartet) Undoubtedly the most outstanding Czech composer since and Dvořák, Leoš Janáček developed an original and highly personal musical style which reached its fruition in his late works and which included his only two string quartets. As Kodály and Bartók studied and made use of their native Hungarian folk music, so Janáček looked towards the folk heritage of his country and evolved a theory of 'speech melody' which resulted in a series of phrases built on the infinite inflexions of the human voice. He also placed great emphasis on the dramatic and emotional qualities of music, as all his great operas show. At 69 years of age, Janáček wrote this work at the request of the world famous Bohemian Quartet and completed it in nine days - a wonder indeed. He drew his inspiration from the controversial Tolstoy work Kreutzer Sonata. The quartet is not

7 J J intended to describe the events of the book but rather to express the composer's personal stand against the ill-treatment of women: "What I had in mind was the suffering of a woman, beaten and tortured to death..." Much of the music is built up of tiny motovic cells which are repeated, developed and varied within an apparently free structure, involving frequent changes of metre and tempo and making use of effects such as 'sul ponticello tremolo'. The overall effect is of strong dramatic and emotional intensity. INTERVAL FOR COFFEE Quartet in D minor D810 (Death and the Maiden) Schubert (1797-1828) Allegro; Andante con moto; Scherzo & Trio; Presto (Last performed in 1986 by the Lindsay String Quartet) Composed at a time, 1824, when Beethoven was writing his late quartets, this work remained in manuscript until 1851. If Death was really Schubert's subject, then he treats it with defiance. The chorale-like setting of Death's words from the song of the title is the theme for the five variations of the slow movement. The song is very short and the maiden's agonised response is not used in the quartet, but here the song finds a fuller and freer expression and the consolation is heartfelt. The vigorous Scherzo is offset in the Trio by one of Schubert's lovely melodies, first on the violin, then on the viola with decorations in the violin part. The dotted quaver rhythm of the Scherzo continues in the inexorable tarantella with just two brief and graceful interruptions - a veritable Dance of Death?

HUDDERSFIELD MUSIC SOCIETY Next concert: Monday 1st November at 7.30pm GOULD PIANO TRIO Beethoven Op.1 No.2; Kakadu Variations; Mendelssohn in D minor MONDAYS AT St. PAUL'S 18th October at 7.30pm STUDENTS ON STAGE HOROWITZ WIDOR NEIL SAUNDERS DEBUSSY ALA IN LANGLAIS HAYDN Euphonium Concerto Symphony No.6, 1st Movement Incantations for solo oboe Rhapsody for saxophone Fantaisie 1 and 2 Chant Heroique Trumpet concerto TOWN HALL - KIRKLEES CONCERTS Thursday 28th October at 7.30pm HALLÉ ORCHESTRA conductor George Malcolm MENDELSSOHN: Overture The Hebrides Violin concerto in E minor - Gina McCormack Incidental Music to Midsummer Night's Dream 1600 ELLAND & DISTRICT MUSIC SOCIETY Friday 29th October at 7.30pm ANTHONY HEWITT piano, (NFMS/ESSO YOUNG ARTIST) Mozart Sonata in C; Beethoven Sonata Op.110; Chopin two Ballades, 3 & 4; Liszt Dante Sonata. HALIFAX PHILHARMONIC CLUB Friday 12th November at 7.30pm "GRADUALIA" 2 counter-tenors, tenor and bass. A celebration of the 400th anniversary of the death of Lassus.

Monday 1st November 1993 GOULD PIANO TRIO (Sponsored by the Countess of Munster Musical Trust) Lucy Gould violin Martin Storey cello Gretel Dowdeswell piano Programme Trio in G major Op. 1 No. 2 Variations on "Ich bin der Schneider, Kakadu" Trio in D minor Op. 49 Beethoven Beethoven Mendelssohn Formed in 1987 at the Royal Academy of Music, the Gould Piano Trio was selected for representation by the Young Concert Artists Trust in June 1992, and has since been coached by Hamish Milne, the Beaux Arts Trio, the Haydn Trio of Vienna, the Israel Piano Trio and members of the Amadeus Quartet. The Trio took part in the 1990 and 1991 International Musicians' Seminar Masterclasses at Prussia Cove, working with Andras Schiff. They have performed widely in the U.K. including recitals at Queen's Hall, Edinburgh, the Purcell Room and at the Edinburgh, Cheltenham, Brighton and City of London Festivals. We are grateful to PETER HAWKE LTD. MAZDA for sponsorship of this concert. We acknowledge with thanks support for our concerts from Kirklees Cultural Services, Yorkshire and Humberside Arts and The University of Huddersfield, to which this society is affiliated.

Trio in G major Op. 1 NO.2 Adagio Beethoven (1770-1827) allegro vivace; Largo; Scherzo & Trio; Presto (Last performed in 1984 by Peter Cropper and Bernard Gregor Smith with Peter Hill) The 1795. three piano trios Op.1 were written between 1793 and Haydn, who gave Beethoven lessons from December 1792 until January 1794 before going to spend a year in London, must have taken an interest in them, for he was writing piano trios himself at this time, simple works where the cello doubled the piano part. It must have been a shock to the 60 year old composer when he returned from London to find these three mature works by the 25 year old Beethoven, in which all three instruments play full parts. He was even so unwise as to advise his pupil not to publish the C minor trio, which Beethoven knew to be the best of the three, causing a certain coolness between them for a time. All Haydn's and Mozart's piano trios are three movement works and Beethoven seems to have been the first to add a scherzo or minuet. The G major trio opens with a slow introduction, which is followed by a carefree allegro. After the long and expressive slow movement there is a fleeting, 1-in-the-bar scherzo and trio, with a witty little coda. A brilliant piece of fun with repeated semi-quavers and 3-note arpeggios, now up, now down, concludes this happy work. Ten Variations on the song "Ich bin der Schneider, Kakadu" Beethoven (1770-1827) Here again we have a slow introduction, but of a different kind: this one seems to herald something monumental; the theme of the song is hinted at in a portentous way, there is a pregnant pause and then - Beethoven will have his little joke the cheeky song of the tailor is introduced by the piano. Ten variations follow, in different combinations of instruments, the last a presto with an extended coda. The song is by Wenzel Müller from the musical play, "Die Schwestern von Prag". Kakadu is the German for Cockatoo, the name of the tailor in the play.

Trio in D minor Op. 49 INTERVAL FOR COFFEE Mendelssohn (1809-1847) - Molto allegro ed agitato Andante con moto tranquillo Scherzo - leggiero e vivace Finale allegro assai appassionato (Last performed in 1984 by the Nash Ensemble) Mendelssohn was a man of phenomenal gifts. Not only was he an outstanding musician in many fields, he was an accomplished painter and had a wide interest in literature; a visit to Goethe at the age of twelve resulted in a warm friendship with the 72 year old poet. Both he and his sister, Fanny, were brilliant pianists Felix made his debut when he was 9 years old - he was already a prolific composer at 12, composed a comic opera at 14 and conducted the St. Matthew Passion at the Singakademie when 19 (the first performance since the death of Bach in 1750) Mendelssohn visited England in 1829 to play Beethoven's Emperor concerto and thereafter was a frequent visitor to this country, conducting Elijah in London, Birmingham and Manchester and playing the piano for Queen Victoria and Prince Albert. Hans von Bülow thought very highly of his mastery of form and Schumann, on hearing the D minor trio, wrote "This is the master-trio of our time". Written in 1839, the first of two, the D minor opens agitato with an exciting surge of melody on the cello, taken up by the violin, to a deceptively modest accompaniment on the piano which soon changes to one of the most brilliant of piano parts, as may be expected of this pianist-composer. The andante is reminiscent of the composer's Songs without Words; the scherzo is another jewel like the scherzi of the Octet and Midsummer Night's Dream and the dynamic finale is in rondo form. Although it is such a popular trio this appears to be only its second airing in our seventy-five years of concerts.

HUDDERSFIELD MUSIC SOCIETY Next concert: Monday 15th November at 7.30pm CAMBRIDGE BAROQUE CAMERATA "The Orchestra in Germany and Italy" (2 violins, viola, cello, violone, 2 oboes, bassoon, harpsichord) Suite "Anciens et Modernes Telemann Concerto in F for harpsichord C.P.E. Bach Concerto for oboe or bassoon Suite No.1 in C A. Vivaldi J.S. Bach MONDAYS AT St. PAUL'S 8th November at 7.30pm LONDON BRASS Suite from The Fairie Queen Songs and Dances from the Balkans Hungarian Rhapsody No.2 Blues & Bacchanale Three Preludes Broadway Hits Purcell arr. Harvey Chris Batchelor Liszt arr. Bissill Mark Anthony Turnage. Gershwin arr. Purser Gershwin/Porter/Kern HALIFAX PHILHARMONIC CLUB Friday 12th November at 7.30pm "GRADUALIA" 2 counter-tenors, tenor and bass. A celebration of the 400th anniversary of the death of Lassus, the great Netherlands composer of the sixteenth century, followed by folk songs from different periods. TOWN HALL KIRKLEES CONCERTS Friday 26th November ENGLISH NORTHERN PHILHARMONIA cond. Elgar Howarth Soloist (violin) Saschuko Gawriloff Music by Ben Mason, Niculescu and Ligeti (In association with the Huddersfield Contemporary Music Festival)

co Monday 15th November 1993 THE CAMBRIDGE BAROQUE CAMERATA dir. Jonathan Hellyer Jones Maya Homburger violin, leader William Thorp violin Lisa Cochrane viola Daniel Yeadon cello Ian Gammie violone Robson oboe soloist Cherry Forbes oboe Michael Brain bassoon Anthony Jonathan Hellyer Jones harpsichord Programme Suite: Les Nations "Anciens et Modernes" Concerto in A minor for oboe & strings Concerto in F for harpsichord & strings Concerto Grosso in F Op. 6 No. 12 Suite No. 1 in C BWV 1066 Telemann Vivaldi C.P.E. Bach Corelli J.S. Bach The CAMBRIDGE BAROQUE CAMERATA was founded in 1984 by its director Jonathan Hellyer Jones to promote the performance on period instruments of the chamber and orchestral works of the seventeenth and eighteenth centuries. It consists of a nucleus of Cambridge musicians well versed in baroque techniques and the orchestra is expanded according to requirements with experienced players from London and elsewhere, many of whom have studied at Cambridge or have family connections with the city. The début of the orchestra at the University Music School Concert Hall was enthusiastically received. Subsequent chamber and orchestral concerts for a variety of groupings from 3 to 20 players have been given at the Queen Elizabeth Hall, Purcell Room, St. John's Smith Square, St. Martin-in-the Fields, Cambridge and elsewhere. We acknowledge with thanks support for support for our concerts from Kirklees Cultural Services, Yorkshire and Humberside Arts and The University of Huddersfield, to which this society is affiliated.

Suite: Les Nations "Anciens et Modernes" Georg Philipp Telemann (1681-1767) Ouverture (Grave allegro); Menuets 1 & 2; Les Allemands Anciens - Les Allemands Modernes Les Suédois Anciens - Les Suédois Modernes Les Danois Anciens - Les Danois Modernes (A good-humoured demonstration of national styles, old and new.) Telemann was the most prolific German composer of his day, his output exceedad even that of J.S.Bach. Although he received no musical training he became skilled in counterpoint by studying the scores of the great composers, especially Lully, and his music, though having more charm than depth, is very pleasing. Among his works are 600 overtures in the Italian style, 44 Passions, 12 complete Services and 40 operas and also many orchestral works for varied combinations of instruments, besides trio sonatas, suites and flute quartets - 86 years of remarkable productivity! Concerto in A minor for oboe & strings (RV461) Anthony Robson - oboe A. Vivaldi (1678-1741) Allegro non molto; Larghetto; Allegro The variations of form, scoring and imaginative conception of Vivaldi's 500-odd concerti are prodigious. Over 350 of these were for violin and strings, about 40 were double concerti and 30 were for three solo instruments and strings. For the oboe he wrote at least 14. Vivaldi, who lived in Venice most of his life, though he died in Vienna, was the most original and influential influential Italian composer of his generation. He laid the foundations for mature baroque concerti and his contribution, to musical styles in technique and practice of orchestration, was substantial. Concerto in F for harpsichord & strings Wq33 Allegro - Adagio Adagio Carl Philipp Emanuel Bach was C.P.E. Bach (1714-1788) Allegro assai the fifth child and third son

I 1 J of Johann Sebastian. He was intended for the law but turned to music while at Frankfurt University. In 1738 he became cembalist at the court of Frederic the Great and held the post until 1767 when he succeeded Telemann as Director of Church Music at Hamburg. The concerto in F is one of 38, all of which have three movements - fast, slow, fast; each contains three to five tutti of varying length with solo sections, the solos stand for the exposition, development and recapitulation, features which point towards the gradual transition from the old Vivaldi concerto form to the new sonata form. INTERVAL FOR COFFEE Concerto Grosso in F Op. 6 No. 12 Arcangelo Corelli (1653-1713) Adagio; Allegro; Adagio; Vivace; Allegro Corelli seems to have been of a most amiable disposition and a model of true artistic modesty. His fame was not limited to Italy; from all countries young talented musicians came to him for instruction and his compositions were published in Antwerp, Amsterdam, Paris and London. Corelli had many friends among painters and had a fine collection of paintings of his own which he left to his friend and patron, Cardinal Ottoboni, when he died, as well as £60,000. The Cardinal kept the paintings but gave all the money to the Corelli family. As a great violinist, Corelli laid the foundations of future development and technique and a pure style of playing among his pupils were Locatelli and Germiniani and as composer, advanced the art of composition, his concerti concerti grossi being models developed into a more virtuoso style by later composers. - Suite No. 1 in C BWV1066 for 2 oboes, bassoon and strings Ouverture, grave, allegro; Courante; Forlane; Menuets 1 & 2; Bourrées 1 & 2; Passepieds 1 & 2 Gavottes 1 & 2; J.S. Bach (1685-1750) Bach's four orchestral suites date from 1717 to 1721 when he was Court Conductor at Cöthen. Prince Leopold was a cultured patron who, according to Bach, "not only loved but knew music" and for him Bach wrote the solo sonatas for violin and the solo

suites for cello. Leopold established an orchestra of 17 players and purchased a fine harpsichord and two Stainer violins. For these resources Bach wrote a profusion of works such as two of the four Suites and Brandenburg Concerti. The suite in C sometimes employs a 'concertino' of the three wind instruments, thus assuming the character of a concerto grosso. The initial movement of all four suites is a French Ouverture' in which two slow movements are separated by a fast fugue. The overtures are followed by a succession of dances, often in pairs. In spite of the French titles, the orchestral Suites are true products of German soil - "joyful radiant music, in which the composer does not overwhelm us with his stupendous mastery, but rather captivates our hearts sparkling wit and serene charm". (Geiringer) with HUDDERSFIELD MUSIC SOCIETY Next concert: Monday 6th December at 7.30pm WOLFGANG MANZ piano English Suite No. 6 in D minor Bach Beethoven Six Bagatelles Op. 126 Sonata in E flat Op.81a (Les Adieux) Beethoven du Variations on a theme of Paganini, Books 1 and 2 Op. 35 Brahms Sonata No.2 in D minor Op. 14 Prokofiev - St. PAUL'S Thursday 18th November at 7.30pm UNIVERSITY CHOIR cond. Michael Brewer SYMPHONIC WIND BAND cond. George Pratt Matthew Butler timpani Choral Dances from Gloriana Missa Tiburtina Serenade for Wind Orchestra Timpani Concerto Britten Giles Swayne Derek Bourgeois Jacob TOWN HALL KIRKLEES CONCERTS Friday 26th November ENGLISH NORTHERN PHILHARMONIA cond. Elgar Howarth Soloist (violin) Saschko Gawriloff Music by Ben Mason, Niculescu and Ligeti

Monday 6th December 1993 WOLFGANG MANZ Piano Programme English Suite No.6 in D minor Six Bagatelles Op.126 Sonata in E flat Op.81a (Les Adieux) Variations on a theme of Paganini Sonata No.2 in D minor Op.14 Bach Beethoven Beethoven Brahms Prokofiev Wolfgang Manz has proved to be one of Germany's most distinguished and successful pianists of the younger generation, having won prestigious prizes in the world's most important piano competitions such as Leeds (1981) and Brussels - Queen Elisabeth (1983). Born near Düsseldorf in 1960, he was brought up at Solingen. The first really important event of his career was the 1981 Leeds Piano Competition where he was awarded the second prize and subsequently played with all the British orchestras and regularly appeared in musical centres like London, Amsterdam and Berlin. Since then he has played all over Europe and in Japan. We are very grateful to the Goethe Institut Manchester for their generous sponsorship of this concert. We acknowledge with thanks support for our concerts from Kirklees Cultural Services, Yorkshire and Humberside Arts and The University of Huddersfield, to which this society is affiliated.

English Suite No.6 in D minor BWW811 Prelude; Allemande; Courante; Double; Gavottes 1 & 2; Bach (1685-1750) Sarabande; Gigue The six suites BWV806-811 for harpsichord were written during the composer's Cöthen period and acquired the title 'English Suites' from the heading of the manuscript: Fait pour les Anglois'. The background of the 'suite' is the 17th and 18th century appreciation of dance form, the French influence being much greater than the German or Italian. Initially the form consisted of Allemande, Courante and Sarabande, the last being of Spanish origin; to these Couperin added the Gavotte, Menuett, Passepied, Rigaudon and Polonaise. Bach's pupils were told to study first the Inventions, then the French Suites, thirdly the English Suites and only lastly the Forty-eight Preludes and Fugues! Six Bagatelles Op.126 1.Andante con moto; 2.Allegro; 4.Presto; 5.Quasi allegretto; 6.Presto Beethoven (1770-1827) 3.Andante; andante presto Sonata in E flat Op.81a (Les Adieux) Das Lebewohl H The Bagatelles Op.126 were composed in 1823 and 1824 and in spite of Beethoven's note in his sketch book: "opus 126 - a cycle of small trifles (Kleinigkeiten)" it is clear that he attached considerable importance to them. Even if, to Beethoven, they were 'occasional' pieces, "his potboilers are as interesting as other composers' more ambitious works" (Martin Cooper). They resemble both in form and character the "Moment Musical, Alumblatt, Prelude or genre piece" which later generations of composers considered very important. The fifth Bagatelle was described by Hans von Bülow as an idyll perhaps anticipating the rural scenes in Liszt's Années de Pélerinage. Beethoven adagio; Die Abwesenheit - andante espressivo; Das Wiedersehen - vivacissimamente While French troops were bombarding Vienna in 1809, Beethoven composed this sonata for his patron and friend, Archduke Rudolf, who L

$ was leaving the city. Beethoven felt Rudolf's absence keenly; he wrote on the title page, in his own hand, "Das LEBEWOHL" and was annoyed when his publisher substituted "Les Adieux" which he asserted was quite different in meaning, the first being meant warmly to an individual, the other to a host of people or even towns. "Kindly attend to my requirements", he wrote. According to Brendel, Beethoven had a penchant for farewells far beyond this sonata, from the Andante Favori to the adagio of Op.111 and the final Minuet of the Diabelli Variations. "Lebewohl" pervades some of his codas both in the sound of its syllables and as an emotional hue. Beethoven himself gave titles to only two of his 32 Piano Sonatas - this one and the Pathétique. LEBEWOHL: Le thème épigraphique, the opening three chords of the adagio, is followed by an allegro suggesting the gallop of horses; the coda, full of poetry and tenderness, recalls the sound of the horns on a disappearing coach. ABWESENHEIT is a demonstration of the composer's grasp of pure musical beauty. DAS WIEDERSEHEN celebrates the Archduke's return. In the book "Music Sounded Out" Alfred Brendel writes "Must classical music be entirely serious"? and quotes the sarcastic Hans von Bülow shouting at a pupil in difficulty over this movement "Stop! in the joy of reunion you rush off, get entangled in the train of your dress, crash down and smash all the flower pots!". Certain classical pieces, says Brendel should communicate a whiff of such a state of mind. INTERVAL FOR COFFEE Variations on a theme of Paganini Bks. 1 & 2 Brahms (1833-1897) In 1863 Brahms settled in Vienna. Since the age of fifteen he had been earning his living by playing the piano in theatres and taverns and in 1862 he seems to have been occupied with vocal compositions. Then in the next three years he finished the Requiem and composed the Sonata for Two Pianos (later piano quintet), the horn trio, the C minor string Quartet and these Variations. Hans Gal writes that Liszt's former pupil, Carl Tausig, partnered Brahms in a public performance of the two-piano work, as a result of which Brahms decided to practise the piano and wrote this most virtuoso set of variations, a series of studies based on the Caprice for violin No.24 in A minor. "This composition and the Handel Variations were the first important works since the Renaissance to take as their

starting point thematic material written by composers long dead, combining receptive re-creations of the sound worlds of the original themes with equally characteristic elements of pure Brahms in a fusion of astonishing vitality" (Jacobson). Each Book consists of the theme and fourteen variations. Prokofiev (1891-1953) Allegro ma non troppo; Scherzo; Andante; Vivace Sonata No.2 in D minor Op. 14 Considered as a youth to be avant-garde, Prokofiev was eventually regarded as being in the direct line of Russian composers, adapting the boldness of the 19th century to his 20th century style of marked brittleness and wit. He wrote nine piano sonatas of which the second was composed in 1912; they are considered to be among the most important piano compositions of the century. Whilst the structure is conventional, the unusual sonorities and highly syncopated rhythmic patterns are both expressive and effective. (Notes by P.L.M.) HUDDERSFIELD MUSIC SOCIETY Next concert: Monday 17th January 1994 at 7.30pm ALEXANDER STRING QUARTET USA Beethoven Op.18 No.5; Barber Op.11; Brahms Op.51 No.1 St. PAUL'S Thursday 16th December at 7.30pm THE UNIVERSITY SYMPHONY ORCHESTRA cond. Barrie Webb Beethoven and Berlioz HALIFAX PHILHARMONIC CLUB Friday 10th December at 7.30pm LINDSAY STRING QUARTET Beethoven Op.18 No.4; Tippett No.5; Beethoven Op.130 & Op.133

Monday 17th January 1994 ALEXANDER STRING QUARTET Ge Fang-Yang violin Paul Yarborough viola Frederick Lifsitz violin Sandy Wilson cello Programme мај Quartet in A minor Op.18 No.5 Quartet Op.11 Quartet in C minor Op51 No.1 Beethoven Barber Brahms The Alexander Quartet is based in New York. In 1985 it won the first prize in the Portsmouth International Quartet Competition, taking also the audience prize. The members of the quartet are all soloists: Ge Fang- Yang is a native of Wuhan, China and went to the US in 1988; Frederick Lifsitz is a Bostonian and was concert-master of the Tanglewood Festival Orchestra under Ozawa. Paul Yarborough comes from Florida, has given many solo recitals and was principal violist of the Chamber Orchestra of New England and Sandy Wilson is English born and studied in Scotland at the RSAMD and at the RCM in London. In 1988 the quartet was Quartet in Residence at the Bath Festival. This is the first time the Society has had a quartet from the United States and we give them a very warm welcome. We acknowledge with thanks support for our concerts from Kirklees Cultural Services, Yorkshire and Humberside Arts and The University of Huddersfield, to which this society is affiliated.

Quartet in A major Op.18 No.5 Beethoven (1770-1827) Allegro; Menuetto; Andante cantabile; Allegro (Last performed in 1988 by the Lindsay Quartet) The six opus 18 quartets were begun in 1798 and published in 1801. When, in 1792, Beethoven left Bonn for Vienna, Count Waldstein, his first patron, wrote: "With the help of assiduous labour you shall inherit Mozart's spirit from the hands of Haydn", a somewhat inscrutable prophecy. Of all the quartets from opus 18, No.5 owes the most to Mozart, being modelled, or so we are told and can readily believe, on Mozart's own A major quartet which is No.5 in the six he dedicated to Haydn. The first movement opens with a scale of A major, split up into threes, in a vigorous 6/8 time. The most obvious debt to Mozart is the third movement which is a set of five variations with a fine coda, placed after the Minuet, as in Mozart. Again like him Beethoven ends the work with a rondo incorporating chorale-like sections, finishing piano. Samuel Barber (1910-1981) Molto allegro ed appassionato Molto adagio Quartet Op. 11 (1936) Samuel Barber was born in Pennsylvania and at the age of 14 entered the Curtis Institute in Philadelphia, where he studied composition, piano and singing. The Curtis Institute was founded in 1924 by Mary Curtis Bok in memory of her father and Barber was only the second entrant. Mrs. Curtis Bok later married Efrem Zimbalist, the violinist, who became director of the institute in 1938, followed in 1968 by Rudolph Serkin. The staff at the time of Barber's entry included Carl Flesch, Mengelberg and Stokowski. In 1936 Barber was urged to write a string quartet for the Curtis Quartet to take on tour to Europe. With this in mind he joined his great friend, Menotti and took a cottage at St. Wolfgang in the high Tyrol and settled down to hard work, but made slow progress so that the Curtis Quartet set out on their tour without the new work. By September Barber was able to write: "I have finished the slow movement of my quartet today. It is a knockout". (What prescience) "Now for the Finale" He r (

T 0 completed the quartet and the Pro Arte gave a performance on 14th December 1936 following a performance of Barber's First Symphony. The original work was conventional in form: sonata; song; sonata- rondo, the opening theme, in unison, evoking the spirit of Beethoven's Op.18 No.1 which Barber had studied. In January 1943 the Budapest Quartet performed it at the Library of Congress with a revised finale but in the end Barber withdrew the finale and today it rests as a two movement work. The adagio in its arrangement for orchestra as 'Adagio for Strings' became the best known of all Barber's compositions. INTERVAL Quartet in C major Op.51 No.1 Allegro Brahms (1833-1897) Romanze: poco adagio Allegretto molto moderato e comodo Allegro (Last performed in 1949 by the Amadeus Quartet) The legacy of Haydn, Mozart and Beethoven weighed heavily on Brahms and it was only after rejecting some 20 earlier quartets that he felt confident enough to publish Op.51 and then only after some private performances and subsequent polishing. "It is not difficult to compose", he wrote, "but incredibly difficult to dispense with superfluous notes". He dedicated his string quartets to Dr. Theodor Billroth, saying that they needed a physician for the forceps delivery. "It took Mozart a lot of trouble to compose six lovely quartets, so I will try my hardest to turn out a couple fairly well done". The first, in C majer, is dark, expressive and dramatic. The main motif of the work is heard at the outset, played by the first violin - a rising arpeggio followed by a falling diminished 7th. The same motif, especially the falling diminished 7th, dominates the last movement and pervades the A flat major Romanze. The third movement is a typical Brahmsian allegretto replacement of scherzo and trio with the normal repeats and da capo. The last movement ends with a stringendo and a dramatic finish still in the minor key.

FORTHCOMING EVENTS HUDDERSFIELD MUSIC SOCIETY Next concert: Monday 14th February 1994 at 7.30pm PROMETHEUS ENSEMBLE Ileana Ruheman flute, Yuko Inoue viola, Gillian Tingay Harp Bax; Marais; Debussy; Bennet; Matthias; & Fauré MONDAYS AT St. PAUL'S 24th January at 7.30pm UNIVERSITY 20th CENTURY ENSEMBLE cond. Barrie Webb UNIVERSITY CHOIR cond. Richard Steinitz Stravinsky, Tavener, Ives and Copland TOWN HALL - KIRKLEES CONCERTS Thursday 3rd February ENGLISH NORTHERN PHILHARMONIA cond. Mattias Bamert soloist Robert Hayward Overture to Figaro, Mozart; Leider eines fahrenden Gesellen, Mahler; Symphony No.7, Bruckner HALIFAX PHILHARMONIC CLUB Friday 4th February at 7.30pm THE HOLYWELL TRIO Peter Hanson baroque violin, Jane Coe cello, Martin Souter harpsichord Corelli, Bach, Handel and Vivaldi ELLAND & DISTRICT MUSIC SOCIETY Friday 28th January at 7.30pm HANNAH ROBERTS cello and SIMON PARKIN piano Beethoven, Falla, Rachmaninov and Popper.

Monday 14th February 1994 PROMETHEUS ENSEMBLE Ileana Ruhemann Flute Gillian Tingay Harp Programme Elegiac Trio Three Dances Syrinx After Syrinx Zodiac Trio Impromptu for Harp Sonata for flute, viola & harp Yuko Inoue viola Arnold Bax Marin Marais Debussy Richard Rodney Bennett William Matthias Gabriel Fauré Debussy Ileana Ruhemann Educated at the Purcell School, Ileana Ruhemann became principal flute of the National Youth Orchestra and won an instrumental exhibition at Cambridge University, where she read music. On graduating she won the only place open to foreign flautists at the Paris Conservatoire. She has played principal flute in most of the major orchestras in the UK and was appointed principal flute in the BBC Concert Orchestra in 1989, a position which she now combines with a career as soloist and chamber music player. Yuko Inoue Born in Hamamatsu, Japan, Yuko Inoue studied the viola with Nobuko Imai and took part in master classes with Bruno Giuranna. After graduating with distinction from the RCM she was appointed principal viola with the Netherlands Chamber Orchestra. A tutor at the Royal Northern College of Music, she is also in great demand as soloist and with chamber ensembles. Gillian Tingay first studied the harp with Tina Bonifacio and later at the RCM when, at the age of 15, she gained a scholarship to study with Marisa Robles. She gives solo and chamber recitals and has a busy concerto schedule, having recently played with the Budapest Strings, St. John's and Northern Sinfonia orchestras. We acknowledge with thanks support for our concerts from Kirklees Cultural Services, Yorkshire and Humberside Arts and The University of Huddersfield, to which this society is affiliated.

Elegiac Trio Arnold Bax (1883-1953) Sir Arnold Bax was a brilliant pianist and a prolific composer with a special sympathy for Irish subjects (he died in Cork) and particularly Yeats' poetry, hence the picturesque and romantic flavour of his music. He was a shy and sensitive man; this trio, written in 1916, reflects his great distress at the news from the Front. The Trio is beautifully written for the instruments, as in all Bax's chamber music, and is in one continuous movement. It was first performed in 1917 as was Debussy's Sonata for the same combination. Clearly both composers were deeply affected by the 1914-1918 war. 3 French Dances for viola & harp Marin Marais (1656-1728) Marais was born and spent his life in Paris, where he studied with the great French composer Jean-Baptiste Lully, and became a virtuoso player of the viola da gamba, playing in the royal band at the court of Louis XIV. His compositions include operas, chamber music and five volumes of pieces for viol from which these are drawn. Listeners who are interested could do worse than see the excellent French film "Tous les matins du monde" featuring Marais, showing in Bradford 17-19th February. Syrinx Claude Debussy (1862-1918) This short work, thirty-six bars, was written in 1913; it represents a pastoral scene based on mythology. Syrinx was the Greek term for panpipes, played by the God, Pan. The piece was originally called Flûte de Pan and was intended for Louis Fleury's drama "Psyché" and dedicated to Fleury. After Syrinx Richard Rodney Bennett (b.1936) Bennett was born in Broadstairs, studied at the Royal Academy of Music with Lennox Berkeley and Howard Ferguson and then went to Paris to work with Boulez for two years, acquiring a deep respect for French

0 3 music. In 1979 he settled in New York and this piece, originally written, according to Michael Kennedy, for oboe and piano, appeared in 1982. INTERVAL Zodiac Trio Op.70 William Matthias (1934-1993) Pisces; Aries; Taurus Matthias was born in Whitland, South Wales and began composing at an early age. Many of his works include the harp and this trio was written for Marisa Robles. The first movement gives prominence to the flute, which was the instrument which Christopher Hyde-Smith (Marisa Robles' husband) played. The second movement explores the characteristics of the viola and the last, the birth sign of Marisa Robles, is dominated by the harp. Impromptu for Harp Op.86 Gabriel Fauré (1845-1924) The recorded history of the harp goes back 5000 years. North Africa gave it its form, Northern Europe its name but France gave it its mechanical perfection and thereby the versatility needed today. Credit must go first to the two Cousineaus, father and son, who invented the pedal action harp at the end of the eighteenth century; secondly to Sebastien Erard who, in 1810, introduced the double action pedal. Berlioz made great use of Erard's instrument and it may be said that the French created its glory in chamber music. Fauré has enriched the harp repertoire by two works - this Impromptu written in 1904 and the "Une Châtelaine en sa Tour" Op.110 in 1918. Both works have been arranged for piano. Sonata for flute, viola and harp Debussy Pastorale; Interlude; Finale (Last performed in 1934 by members of the Quintette Instrumental de Paris: René Le Roy, Pierre Grout and Pierre Jamet) This sonata (1916) is the second of a series of six planned by the composer when he knew he was dying of cancer. Only three were completed, the first for violin and piano, the third for cello and piano. The

fourth, had Debussy lived, would have been for oboe, horn and harpsichord and we also know that the viola part of this second sonata was originally scored for oboe. The Pastorale opens lento dolce rubato. All the themes are short, almost fragmentary. A middle section in quicker tempo with an animated theme for the viola leads to a return of the first section in more extended form. The Interlude is marked tempo di menuetto. Graceful themes on the flute and the viola are followed by long held notes with gentle harp accompaniment. The finale, allegro moderato ma risoluto, has a bizarre gaiety. Over a drone bass, the viola has a leaping figure which is followed by a capricious flourish for the flute and the speed increases. Towards the end a few bars of the Interlude are introduced. Debussy's rhythms are complex and there are hints of Gregorian Chant and the use of polytonality. He was passionately involved with his sonata, saying "it is so terribly melancholic that I cannot say whether one should laugh or cry. Perhaps both." HUDDERSFIELD MUSIC SOCIETY Next concert: Monday 7th March at 7.30pm PARISII STRING QUARTET and MICHAEL COLLINS clarinet Haydn Quartet E flat Op.33/2; Ravel Quartet in F and Brahms Clarinet Quintet in B minor Op.115 MONDAYS AT St. PAUL'S THURSDAY 17th February at 7.30pm UNIVERSITY SYMPHONY ORCHESTRA cond. Barrie Webb Saxophones EMIL SEIN Correggia; Rotaru; Francesconi; Michael Torke HALIFAX PHILHARMONIC CLUB Friday 4th March at 7.30pm THE VOGLER STRING QUARTET Haydn Op.77 No.2; Lutoslawski; Schumann Op.41 No.3

HUDDERSFIELD MUSIC SOCIETY President: Hugh Marshall Williams TI WT. Seventy-Sixth Season 1993 - 1994 St. Paul's Concert Hall, Queensgate Monday 7.30 pm.

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MONDAY 7th March 1994 PARISII STRING QUARTET with Michael Collins, clarinet Thierry Brodard - violin Jean-Michel Berrette - violin Dominique Lobet - viola Jean-Philippe Martignoni - cello Programme Quartet in E flat Op. 33 No. 2 Quartet in F major Clarinet Quintet in B minor Op. 115 Haydn Ravel Brahms With the formation of the Quatuor Parisii in 1984, French chamber music can pride itself on bringing together four musicians, all of whom have received the first prize for instrumental and chamber music at the Conservatoire National Supérieur de Paris. Their distinguished record of Grand Prix at competitions in Evian, Munich and Banff has assured them regular appearances in the most renowned chamber music venues in England, Germany, Norway, Spain the U.S.A. and the Far East. The Quartet has worked with members of the Pascal, Melos and Amadeus Quartets and frequently perfroms with soloists such as tonight's eminent clarinettist. Michael Collins' career was launched when, at the age of 16, he won the woodwind prize in the first B.B.C. Young Musician of the Year. He now sits on the jury. Since his Proms debut in 1984, he has performed at the Proms on a regular basis. There is hardly a concerto he has not played nor a symphony orchestra he has not played with: recent highlights include the Weber with the Russian National Orchestra under Pletnev at the Bolshoi Theatre and concert tours in U.S.A., Japan and Australia. This season he will perform with the Hallé the Bruch concerto for clarinet and viola with Yuri Bashmet at the Royal Festival Hall and he opens the 1994/5 season with his own Clarinet Festival at the Wigmore Hall. We acknowledge with thanks support for our concerts from Kirklees Cultural Services, Yorkshire and Humberside Arts and the University of Huddersfield, to which the Society is affiliated.

Quartet in E flat Op. 33 No. 2 "The Joke" Haydn (1732-1809) Allegro moderato, cantabile; Scherzo (Allegro); Largo Sostenuto; Finale (Presto) (Last performed in 1975 by the Medici Quartet) Haydn himself informed prospective subscribers to the six quartets of his Op. 33 that they were "composed in a new and special manner". Compared with his previous Op. 20 quartets completed some nine years earlier in 1772, those of Op. 33 make clear strides towards the mature Viennese classical style. The serious "baroque" elements of Op. 20 have here been replaced by a lighter melodic style reinforced by a far more closely integrated texture. Both main themes of the the first movement, for instance, share a two-semiquaver upbeat figure, which, in turn, permeates the development section. The Op. 33 quartets are sometimes called "The Russian", because they were dedicated to a Russian nobleman. Another nickname is "Gli Scherzi": the older Menuetto has now been replaced by a lighter, more playful scherzo movement, here placed second rather than third as was becoming customary in the contemporary symphony. The sustained slow movement alternates a lyrical dolce theme, presented in effortless two-part counterpoint, with syncopated chordal passages, incorporating striking dynamic contrasts. The nickname of this particular quartet, "The Joke", comes from the finale, which bubbles along in almost buffa style until halted by a brief Adagio. Motives from the presto return, separated by unpredictable rests, to complete the movement. Quartet in F major Très Lent; Ravel (1875-1937) Allegro moderato, Très doux; Assez vif, Très rythmé; Vif et agité (Last performed in 1984 by the Eder Quartet from Hungary) Ravel's only string quartet dates from 1902 and inevitably invites comparison with Debussy's quartet of 1893. Although there are some clear similarities, especially in the sequence of movements and string textures, such as the pizzicato of the "scherzo", the form is generally stricter and more classical than Debussy's. Ravel's harmonic language occasionally makes use of the modal and whole-tone scales used by Debussy, but more often it reflects the seventh and ninth chords and continually shifting key areas of his own teacher, Fauré. The structure of the work is closely unified, with common thematic material running from one movement to the next, following the cyclical principal pioneered by César Franck.

1 } J Like many composers at the turn of the century, Ravel creates a soundworld which is both rich and nostalgic, tinged with occasional irony, simultaneously lamenting and destroying the old order. The first movement begins with a retrospective romantic glance, while the sparely scored second theme, introduced in octaves by violin and viola, suggests poignant melancholy. The rhythmic complexity of the scherzo reflects perhaps the intricate cross rhythms of the Javanese gamelan, which had earlier inspired Debussy. This largely pizzicato section frames a slower and more meditative "trio" section. The richly impressionistic sonorities of the slow movement return to the tranquillity of the "trio", but this trance is abruptly shattered by the scintillating finale, where previous material is recreated in rhythmically new and vital forms. INTERVAL with thanks to the Ladies of St. John's Church, Newsome, for providing coffee Brahms (1833-1897) Clarinet Quintet in B minor Op. 115 Allegro; Adagio; Andante - Presto non assai, ma con sentimento; Con moto (Last performed in 1966 by Keith Puddy and the Gabrieli Quartet) Few performers can have inspired as many masterpieces as Richard Mühlfeld, the principal clarinettist at the Meiningen court orchestra, which Brahms heard on a visit in March 1891. Mühlfeld's playing (also appreciated by Wagner at Bayreuth) wrested Brahms from any thoughts of retirement from composition, and led to that wonderful Indian summer of late masterpieces for clarinet, including, in addition to the work we are to hear tonight, the two sonatas and the clarinet trio. Brahms worked on the quintet and trio during the summer of 1891, while at the resort of Bad Ischl, and both works were first performed in December that same year, the Quintet by Mühlfeld with the Joachim Quartet, whose cellist joined with Mühlfeld and Brahms for the trio. The expressive contralto tone of the clarinet blends superbly with the rich mellowness of Brahms' string scoring, as can be heard in the clarinet's first response to the haunting opening theme of the quintet, introduced by the violins in thirds. The work is pervaded by an air of wistful nostalgia, most apparent in the major-key slow movement. The clarinet melody in the middle section shows the influence of Hungarian gypsy music, which had a special fascination for the composer since his youth. Variation technique underlies much of Brahms' later music, and this can be heard in the third movement, where the initial Andante theme is subsequently reworked in a Presto section. The finale is itself in theme-and-variation form. Shadows of the preceding movements fall eerily across the five variations and finally summon the theme of the first movement to close the work. M.E.

HUDDERSFIELD MUSIC SOCIETY Mondays at St. Paul's at 7.30 pm. The 1994/95 season opens on 26th September. Details may be found in the separate leaflet issued with this programme. Season tickets are on sale tonight at the interval or after the concert. MONDAYS AT ST. PAUL'S Monday 14th and Wednesday 16th March at 7.30 pm THE UNIVERSITY OPERA GROUP Hansel and Gretal Humperdinck - produced by Patricia Hamilton Thursday 24th March THE UNIVERSITY CHOIR AND ORCHESTRA conductor - Richard Steinitz Requiem Mass Mozart Symphony No. 5 Vaughan Williams KIRKLEES CONCERTS Town Hall at 7.30 pm Wednesday 16th March MOSCOW STATE SYMPHONY ORCHESTRA conductor and soloist Pavel Kogan Sicilian Vespers Verdi; Violin concerto Schostakovich; Symphony No. 2 in E minor Rachmaninov ELLAND & DISTRICT MUSIC SOCIETY Friday 18th March at 7.30 pm SORREL STRING QUARTET Quartet Op 54 No. 2 Haydn; Quartet no. 1 Janacek; Quartet Op. 74 Beethoven HALIFAX PHILHARMONIC CLUB Friday 8th April at 7.30 pm BERNARD GREGOR-SMITH cello & YOLAND WRIGLEY piano Sonata Op. 5 No.2 Beethoven; works by Martinu, Debussy and Rachmaninov.

106 WESTBOURNE ROAD MARSH, HUDDERSFIELD WEST YORKSHIRE HD1 4LF 29 JOHN WILLIAM STREET HUDDERSFIELD WEST YORKSHIRE HD11BL TEL: 0484 435436 TELEX 51458 COMHUD G FOR TOTRAV FAX. 0484 420203 For Live Music World Wide Use Our Wide Experience in World Travel Tony Iredale Travel K. Beaumont Mrs. E. Crossland Mrs. A. Crowther D. Dugdale Miss M. A. Freeman TEL: 0484 519777 TELEX 51458 COMHUD G FOR TOTRAV FAX 0484 430440 The Society is grateful for financial help from: E. Glendinning P. Michael Lord P. L. Michelson S. Rothery J. C. S. Smith S. L. Henderson Smith Mrs. E. Stephenson J. G. Sykes Mrs. E. R. Taylor W. E. Thompson Mrs. L. Walker H. Marshall Williams University of Huddersfield Yorkshire & Humberside Arts Arts Council of Great Britain Goethe Institut of Manchester Peter Hawke Mazda Ltd. Kirklees Leisure Services Registered Charity: 529340

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