HMS 77


HMS 77

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HUDDERSFIELD MUSIC SOCIETY President: Hugh Marshall Williams 1994-95 Season VELLINGER STRING QUARTET TOGETHER with financial assistance from KMC WE Winners of London International String Quartet Competition 1994 Mondays at St. Paul's University of Huddersfield Kirklees Alle METROPOLITAN COUNCIL SERVE CULTURAL SERVICES 滚术 Yorkshire & Humberside ARTS

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1. Monday 26th September 1994, 7.30 pm ARTUR PIZARRO Beethoven programme Variations on a Waltz by Diabelli Op. 120 Sonata in A flat Op. 110 This will be Artur Pizarro's third visit to our society since he took the musical world by storm at the Leeds International Piano Competition in 1990. With assistance from an anonymous sponsor. 2. Monday 10th October 1994, 7.30 pm VELLINGER STRING QUARTET Quartet in D major Op. 71 no. 2 Quartet no. 5 Quartet in A minor D 804 Schubert This young British quartet, formed in 1991, has just won the prestigious London International String Quartet Competition. Haydn Bartok 3. Monday 14th November 1994, 7.30 pm WATKINS-SMIETANA-OGAWA HORN TRIO Trio for violin, horn and piano Adagio and Allegro for horn & piano Op. 70 Sonata in C minor Op. 30 no. 2 for violin and piano Rain Tree Sketch Duvernoy Schumann Beethoven Takemitsu Trio in E flat for violin, horn & piano Op. 40 Brahms This distinguished trio brings together three fine soloists - Richard Watkins, horn, Krzyszrof Smietana, violin and Noriko Ogawa, piano. Sponsored by PETER HAWKE LTD MAZDA Tic SINC 1 tich DOU 2 tic SINC STU Tick from Нис Seas Sep Enc Gar Tel The entr con pric mu B Pos as a Mu X- Nar Ad Pos Plea Do Sing Sin I er

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dn tok ert the tet noy inn en tsu ms S- and Tickets SINGLE SEASON 1 ticket for all 7 concerts DOUBLE SEASON 2 tickets for all 7 concerts SINGLE TICKET STUDENT TICKET Tickets may be obtained by using the booking form or from Huddersfield Information Centre, Albion Street, Huddersfield, telephone 430808 or at the door. £30 Season tickets to be paid for or returned by 19th September 1994. Name Address £55 Enquiries to Hon. Treasurer, Mr. P. Michael Lord, 14 Garsdale Road, Newsome, Huddersfield HD4 6QZ. Tel. 429214; fax. 425658. Postcode The "guest voucher" attached to the season ticket entitles the holder to buy one single ticket for any one concert of the season at the reduced price of £5 (normal price £8). The voucher is not transferable and the guest must be accompanied by the season ticket holder. Telephone £8 Booking Form Post this form with payment to the Hon. Treasurer, address as above. Cheques should be made payable to Huddersfield Music Society. X- Please send: Double Season Ticket(s) Single Season Ticket(s) £1.50 Single Concert Ticket(s) I enclose cheque Quantity £ Date & Quantity £ Total P P

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4. Monday 5th December 1994, 7.30 pm CIKADA QUARTET of NORWAY Quartet in E minor Op. 59 no. 2 Quartet in G minor Genesis The Cikada Quartet is based in Oslo and plays both classical and contemporary music. They are the first Norwegian quartet to play at our concerts. Beethoven Grieg Nils Henryk Asheim 5. Monday 16th January 1995, 7.30 pm PHILIP DUKES, viola SOPHIA RAHMAN, piano Lachrymae Op. 48 Sonata in E flat Op. 120 no. 2 Sonata Op. 147 From the Strad Magazine: "Dukes and Rahman form a very good duo indeed - both of them work extremely conscientiously and are totally at the service of the text." Britten Brahms Shostakovich Sponsored by the Countess of Munster Musical Trust 6. Monday 27th February 1995, 7.30 pm LEON MCCAWLEY, piano Partita no. 5 in G major BWV 829 Sonata in A minor D 537 Kreisleriana Op. 16 Rhapsodie Español Second prizewinnner at the Leeds Piano Competition in 1993, Leon McCawley lives in Cheshire and studied at Chethams School of Music and the Curtis Institute, Philadelphia. He is much in demand as a concerto soloist and recitalist. Bach Schubert Schumann Liszt sponsored by WHEAWILL & SUDWORTH Chartered Accountants 7. Monday 27th March 1995, 7.30 pm FRANZ SCHUBERT QUARTET of VIENNA Quartet in D minor K 421 Quartetsatz in C minor D703 Quartet in G major Op. 106 This eminent Quartet was formed in 1974 and made its British debut at the Wigmore Hall in 1979. The members are teachers at the Vienna Conservatory and the Musikhochschule Graz and they hold regular masterclasses at the Royal Northern College of Music. Mozart Schubert Dvorak Sponsored by PETER HAWKE LTD MAZDA

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HUDDERSFIELD MUSIC SOCIETY Reg. Charity 529340 A629 TO HALIFAX & M62 NEW NORTH ROAD HUDDERSFIELD TOWN CENTRE TO LEEDS TRINITY STREET NORTH CASTLE GATE STATION BUS TII A62 MANCHESTER ROAD TO MANCHESTER RAILWAY STATION SOD SOR 00! WT. 1008 00GOO ୦୦୮ CUST QUEESNGATE | CAR PARK A616 CHAPEL HILL CHINOS IS SOUTHGATE QUEEN LEEDS ROAD A62 TO WAKEFIELD & SHEFFIELD A629 WAKEFIELD ROAD ST. PAUL'S HALL UNIVERSITY OF HUDDERSFIELD 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.

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HUDDERSFIELD MUSIC SOCIETY || WT. Seventy-Seventh Season 1994-1995

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HUDDERSFIELD MUSIC SOCIETY The seventy-seventh season of the Society opens with a return visit of the distinguished pianist, Artur Pizarro. Pizarro is an artist of international repute and this visit, his third, has been made possible by the generous contribution of an anonymous sponsor. Pizarro will play Beethoven's monumental and rarely heard Diabelli Variations, last performed at our concerts in 1968 by Stephen (Bishop) Kovacevich. The three string quartets this year are from Britain, Norway and Austria; the Horn Trio in November unites three famous artists, any one of whom would be a major attraction; the young violist and pianist in January play a challenging programme which will no doubt show why they are gaining such a good reputation and the concert in February features the young British pianist, Leon McCawley, second prize-winner in the 1993 Leeds Piano Competition. Next season we are giving to each subscriber a voucher which can be exchanged at the door for a single ticket at a discounted price of £5 (full price £8). This is attached to the season ticket and may be used at any one of the seven concerts in the season. We hope you will make use of this to bring a guest. Tickets will be on sale at the March concert; prices as follows: Double season ticket: £53 (£55 after 31st March) Single season ticket: £29 (£30 after March 31st) If you are not on the mailing list, please give your name and address to Mrs. Walker, High Beeches, Wellhouse, Golcar, Huddersfield Tel. 654620, or to Michael Lord 429214 or National Westminster Bank Plc. Huddersfield Road, Mirfield.

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Mondays at St. Paul's Seventy-seventh Season 1994-1995 26th September 1994 ARTUR PIZARRO (Beethoven Diabelli Variations & Sonata Op. 110) 10th October 1994 VELLINGER STRING QUARTET (Haydn, Bartok, Schubert) 14th November 1994 OGAWA SMIETANA - WATKINS HORN TRIO (Schumann, Beethoven, Takemitsu, Brahms) 5th December 1994 CIKADA STRING QUARTET from OSLO (Grieg, Beethoven) 16th January 1995 PHILIP DUKES (viola) & SOPHIA RAHMAN (piano) (Britten, Brahms, Shostakovich) 27th February 1995 LEON MCCAWLEY (Bach, Schubert, Schumann, Liszt) 27th March 1995 FRANZ SCHUBERT QUARTET of VIENNA (Mozart, Shostakovich, Dvorak)

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HUDDERSFIELD MUSIC SOCIETY Registered Charity 529340 President: Hugh Marshall Williams WT. Seventy-Seventh Season 1994-1995 St. Paul's Concert Hall, Queensgate Monday 7.30 pm.

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TRATTORIA ALLA SCALA PAY US A VISIT BEFORE OR AFTER A PERFORMANCE pizzeria mario TRATTORIA ALLA SCALA 12 ZETLAND STREET HUDDERSFIELD WEST YORKSHIRE Telephone: (0484) 515161 and nino C EARLYBIRD MENU: Tuesday to Friday 6pm - 7pm. Sunday 5pm - 7pm IST I' 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 Tuesday 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 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 26th September 1994 ARTUR PIZARRO pianist Programme Thirty-three Variations on a waltz by Diabelli Op.120 Sonata in A flat Op.110 Beethoven Beethoven Artur Pizarro studied the piano from the age of five with his step-father, Sequeira Costa. At thirteen he gave his debut recital in Lisbon and in 1987 was awarded First Grand Prize at the Vianna da Motta International Piano Competition which launched his career in Europe and the USA. His growing reputation was confirmed when in 1990 he was unanimously voted first prize winner of the Harveys Leeds International, Piano Competition. Since then, Mr. Pizarro has performed throughout the world in solo recitals and with a distinguished array of orchestras and conductors. His recordings for Collins Classics and RPO Records include Liszt, Scriabin, Rachmaninov, Kabalevsky, Mathias and two Portuguese composers, Alfredo Napolao and Ivo Cruz. His forthcoming engagements encompass the Far- and Middle-East, Germany, USA and Japan. Indeed, Huddersfield is happy to have secured this, his third visit, to the Society and is very grateful for the financial help given anonymously by a generous sponsor. Both works in tonight's programme were composed in what W. W. Cobbett calls Beethoven's period of reflection, 1815 to 1826 - when the composer is quoted as saying "What I write now bears no resemblance to what I wrote formerly; it is somewhat better". To understand his music, it is important to realise that Beethoven's compositions show an organic development up to the very end. What he had to say became more and more profound as he grew older and to Cipriani Potter (1792-1871, an English composer, pianist, conductor and teacher) he commented on his Septet Op.20 "at that time I understood nothing; now I know how to compose". On his deathbed Beethoven was heard to exclaim: "Plaudite, amici; comoedia finita est".

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Diabelli Variations Op.120 Beethoven (1770-1827) This composition can be explained as a sort of microcosm of Beethoven's genius, an incomparable variety of musical thought expressed $ in both humour and melancholy. The publisher, Antonio Diabelli, a composer and musician himself, aimed to produce a volume representing contemporary Austrian composers. The commission - variations on a waltz composed by Diabelli, - was accepted by fifty-one composers, including Schubert and Liszt as well as Beethoven's pupil, Archduke Rudolph. At first Beethoven refused Diabelli's invitation, but subsequently planned six or seven, later twenty-five and finally thirty-three variations. His friend, Karl Holz, told the story that when Diabelli pressed him to produce his work, Beethoven asked "How many contributions have you got?" and on being told thirty-two, told him to go ahead and publish - "I shall write 33 myself". He actually used the title Veränderungen (alterations) although elsewhere keeping the Italian terminology. According to Martin Cooper the second half of 1822 saw the seeds of all the works which were to occupy the composer for the last years of his life. The Variations were actually begun in 1819; their composition amused Beethoven "who was bubbling with unusual humour" (Anton Schindler), which pours doubt on the belief that the late years were spent in complete gloom. When the work was finished, in 1823, Beethoven abandoned playing the piano. The listener is exposed to the key of C major (sparingly C minor) for little less than an hour. Alfred Brendel suggests that the Variations are more akin to the Bagatelles than to the sonatas, being self-contained miniatures, and that they heralded later compositions such as Schubert's Moments Musicaux, Chopin's Preludes and Schumann's Carnival, Kreisleriana and Davidsbündlertänze. Brendel has devised titles for each variation, with a view to illuminating the composer's degree of gravity and humour along with indications of kinship with certain composers. Theme Vivace - allegro Waltz Var.1 Alla marcia maestoso - Gladiator flexing his muscles Poco allegro - Snowflakes 2 4

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1 [ 1 f 5 1 1 t 1 r e d S -9 J 1 9 J 3456 5 7 8 9 10 11 12 13 14 15 16/17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 L'istesso tempo - Confidence and nagging doubt Un poco piu vivace - Learned Laendler Allegro vivace - Tamed goblin Allegro ma non troppo e serioso - Trill rhetorics- (Demosthenes braving the surf) Un poco piu allegro - Swivelling and stamping Poco vivace - Intermezzo (Brahms) Allegro pesante e risoluto - Industrious nutcracker Presto - Giggling and neighing Allegretto - Innocente (Bülow's title) Un poco piu moto - Wave pattern Vivace - Aphorisms; biting Grave e maestoso - "Here he cometh, the Chosen" Presto scherzando - Cheerful spook Allegro & l'istesso tempo - Triumph Poco moderato - Precious memory - slightly faded Presto - Helter-skelter Andante - Inner sanctum Allegro con brio - Maniac and moaner Allegro molto - "Notte e giorno faticar" (Diabelli) Allegro assai - The Virtuoso at boiling point (Cramer) Fughetta; andante - Pure spirit Allegro - Teutscher (German dance) Allegretto - Circles of water Vivace - Juggler Allegro - The Rage of the jumping jack Adagio ma non troppo - Stifled sighs Andante siempre cantabile - Gentle grief Molto espressivo - Bach; Chopin Fuga allegro - Handel Tempo di menuetto moderato - to Mozart - to Beethoven 2 To Beethoven? In the coda of the concluding variation the composer alludes to another set of variations in his own last sonata Op.111 which had been composed before the Diabelli were finished. Brendel concludes his essay on this work by noting that after the invigorating fugue, the waltz emerges transformed or 'reborn', quoting an essay by Heinrich von Kleist in which there is a sentence which reads like an outline of the Diabelli Variations: "When perception has passed through infinity, gracefulness reappears". P.L.M. INTERVAL

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Beethoven (1770-1827) Adagio ma non troppo - Arioso dolente - Fuga - Allegro ma non troppo Sonata in A flat Op.110 Moderato cantabile - molto espressivo The autographs of the two sonatas, Op.110 and Op.111, are only a month apart and the sketches of both works are scattered among those for the Agnus Dei of the Missa Solemnis, Op.123. Edwin Fischer suggests that, of the two, this sonata is the feminine one, Op.111 the masculine. For Alfred Brendel the opening movement of Op.110 is a 'caressing cantabile and Martin Cooper states that the composer added to the manuscript 'con amabilità - sanft (gentle)'. The sophisticated humour of the Scherzo, perhaps influenced by Austrian folksong, (Beethoven's letter to his publisher) is quite different from the mood of the Trio with its spiky and awkward effects and the whole movement, in Brendel's view is akin to the Bagatelles, Op.126, rather than to sonata movements. The Adagio and Fugue combine to make a highly original double movement, with repetitions of the Arioso and of the Fugue, the latter inverted on its second appearance. At the 9th bar, Beethoven introduces his arioso dolente, (song of lamentation). Then follows the fugue with its poetic element but traditional form. The Arioso returns and to the original 'dolente' is added 'perdendo le forze ermattet (exhausted). From these deep shadows emerges the inversion of the fugue and finally, as the music quickens, the original subject re-appears, leading us to the passionate and heroic coda, the last of many surprises in this unique composition. Beethoven had been ill for some time and had written: "Now thank God it is going better and good health finally seems to put new life into me". The experience of abating and returning powers had left its mark on this and other compositions: in the quartet Op.132 the Heiliger Dankgesang is followed by Neue Kraft fühlend (feeling new strength). Perhaps Beethoven was expressing the same idea as Goethe's angels in "Faust", Part II, that redemption is assured to the ceaseless struggler: "Wer immer strebend sich bemüht, Den können wir erlösen". P.L.M.

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We acknowledge with thanks support for our concerts from Kirklees Cultural Services, Yorkshire & Hum- berside Arts and the University of Huddersfield to which the Society is affiliated. The Society is grateful for financial help also from: K. Beaumont Mrs E. Crossland Mrs. A. Crowther D. Dugdale Miss M. A. Freeman E. Glendinning P. Michael Lord P. L. Michelson S. Rothery J.C.S. Smith S.F. Henderson Smith Mrs. E. Stephenson J.G. Sykes Mrs. E.R. Taylor W.E. Thompson Mrs. L. Walker H. Marshall Williams Arts Council of Great Britain Peter Hawke Mazda Ltd. Wheawill & Sudworth

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PROFESSIONAL A PROFESSIONAL TEAM 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 HELP FROM 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 14th November 1994 CLARION HORN TRIO Noriko Ogawa piano Krzysztof Smietana violin Richard Watkins horn Programme Trio for violin, horn & piano Adagio & allegro for horn & piano Sonata in C minor Op.30 No.2 for violin & piano Rain Tree Sketch Trio in E flat Op.40 Frédéric Duvernoy calleer Schumann Beethoven Toru Takemitsu Brahms Noriko Ogawa was a prize winner in the Leeds International Piano Competition of 1987 and in 1988 was awarded the Muramatsu Prize for her outstanding contribution to the musical life of her native Japan. Her busy concert schedule now sees her time almost equally divided between Japan and the UK where she is established as a distinguished international artist of the younger generation and is increasingly in demand as a chamber musician. Krzysztof Smietana was born in Poland, first studied at the Cracow Academy of Music and later moved to London to study with Yfrah Neaman at the Guildhall School of Music & Drama where he now teaches. He has made many recital and concerto appearances in Britain and is regularly heard on BBC Radio 3. His recording of Panufnik's Violin Concerto with the London Musici became CD of the month in CD Review magazine. Richard Watkins is principal Horn with the Philharmonia and Professor of Horn at both the Royal College and Royal Academy of Music where he was made a Fellow in 1992. He is closely associated with promoting contemporary music for the horn: Sir Maxwell-Davies wrote Sea Eagle (solo horn) for him in 1983 and he gave the world premiere of David Matthews' Capriccio at the Wigmore Hall to commemorate Dennis Brain's 70th Anniversary. We are most grateful to Peter Hawke MAZDA Ltd. for financial help with this concert.

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Trio for violin, horn and piano Frédéric Duvernoy (1765-1838) Allegro Adagio; Not until the earliest part of the 18th century did the horn become established as an orchestral or ensemble instrument. By the latter half of the century its usefulness was proved, notably in the opera house, where its warm tone provided harmonic enrichment, romantic colour and, in livelier sections, uniquely dramatic and exciting effects. With the growing realisation of the instrument's potential it was inevitable that it would attract the attention of talented and ambitious musicians such as Mozart's friend, Ignaz Leutzeb, for whom Mozart wrote his four concerti. One of the greatest players of his time was the Frenchman, Frédéric Duvernoy who was appointed not just first horn but solo horn at the Opera in Paris. This short trio shows the versatility of the instrument at this time. Schumann (1810-1856) Adagio & Allegro for horn & piano Schumann wrote this work for horn and piano in 1849 in Dresden where he and Clara and their four children had lived since 1844. Dresden suffered some of the worst atrocities of the 1848 Revolution then sweeping Europe; the revolt in Dresden lasted five days and forced the Schumanns to leave the city. But in spite of the horrific events all about him, Schumann was able to produce a series of small masterpieces including two works featuring the horn - the Konzertstück for four horns and orchestra and this work for horn and piano. There are alternative versions for violin and piano and for cello and piano, the latter more frequently heard. Sonata in C minor Op.30 No.2 Beethoven (1770-1827) Allegro con brio; Adagio cantabile; Scherzo and Trio; Allegro Mozart was the first composer to develop the duo sonata as a real partnership and Beethoven's ten sonatas for violin and piano and five for cello and piano, numbered from Op.5 (cello) to Op.96 (violin), show a continual enriching of the form. The C minor comes in Beethoven's 'middle Period' and is the second of the three sonatas Op.30. They may all fairly be described as fine concert pieces and their effect is of brilliance 1 1

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ง J r 1 and virtuosity in both parts. Mozart had called his: 'sonatas for piano and violin' and Beethoven kept this title, but the order no longer has any significance. Like the Spring Sonata and the last, Op.96, this sonata has four movements - a big and dramatic work. INTERVAL Rain Tree Sketch for piano solo Toru Takemitsu (b.1930) At the end of the second world war, the Tokyo born Toru Takemitsu was 15 years old. He was determined to become a composer and to study Western music - a difficult undertaking in the circumstances. At first he used film and American Forces Radio but as the opportunity arose, came under the influence of Messiaen and Debussy. The result has been a close relationship between Japanese sensibility and Western notions of art. Nature is a central theme in Takemitsu's compositions but not as Messiaen used it; rather as a 'vision of natural phenomena'. This piece for solo piano illustrates Takemitsu's fusion of Eastern and Western influences. Trio in E flat Op.40 horn, violin & piano Brahms (1833-1897) (Last performed in 1965 by Maddocks, Burden, Arieli Trio) "Chamber music is music in large forms for a group of solo instruments on equivalent planes of tone and of equivalent musical capacity. The planes of tone need not be the same; on the contrary, the value of the piano depends largely on its being on a different plane from all the other instruments the difference of plane being essential to the special effect." So wrote Donald Tovey who thought that among chamber works with piano the piano trio had stimulated composers to the finest results and considered that the clarinet and the horn had the best chances if a wind instrument were introduced. SPE Nevertheless, Brahms' Horn Trio stands alone in the Classical repertoire and certainly the combination poses difficulties. Brahms wrote alternatives to the horn part for viola and for cello and although these make for a good sound, nothing replaces the special timbre of the horn and what a success Brahms made of this combination! He wrote the Trio in 1866, shortly after the death of his mother, which was a great grief to him, reflected in the Adagio mesto (mournful) in E flat minor. Towards the end of the movement, a pianissimo theme for violin and horn alone sive

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foreshadows the theme of the last movement - a hunting scene of great virtuosity. FORTHCOMING EVENTS HUDDERSFIELD MUSIC SOCIETY Next concert: Monday 5th December at 7.30pm The committee regrets that the CIKADA QUARTET from Norway is not able to play for us on this date. The SORREL QUARTET has been engaged in their place and will perform the following programme: Haydn Quartet Op.20 No.1; Mozart Quartet in C, K465 (Dissonance); Benjamin Britten Quartet No.3 (1975) MONDAYS AT St. PAUL'S 21st November at 7.30pm MUSIC THEATRE WALES (The Lighthouse by Peter Maxwell Davies) in the LAWRENCE BATLEY THEATRE and at 9.45pm in ST PAULS HALL, THE BASLE PERCUSSION TRIO ELLAND & DISTRICT MUSIC SOCIETY Friday 2nd December at 7.30pm YVONNE ROSSEN mezzo-soprano & CLARE TOOMER piano Mozart, Mahler, Brahms, Dvorak, Britten, Rogers & Hammerstein and Cole Porter HALIFAX PHILHARMONIC CLUB Friday 2nd December at 7.30pm NOSSEK STRING QUARTET Mozart K458; Shostakovich No.11; Schubert in A minor

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Monday 5th December 1994 dla SORREL STRING QUARTET Gina McCormack violin Vicci Wardman viola Catherine Yates violin Helen Thatcher cello Programme Quartet in E flat Op.20 No.1 Quartet in C major K465 ville Quartet No.3 Haydn Mozart Britten The Sorrel Quartet, who are performing for us tonight in place of the Cikada from Norway, was formed at the Royal Northern College of Music in 1987. After leaving the college they took up the post of 'Quartet in Residence at the University of York, an immensely successful collaboration. The Quartet was awarded a junior Fellowship at the RNCM where members now coach and give regular concerts. In June 1993 the Quartet became 'Quartet in Residence' at Liverpool University. The Sorrel has performed at major venues and festivals throughout the UK including the South Bank, Edinburgh, Aldeburgh, Bath, Huddersfield, Spitalfields, City of London and Cambridge. Abroad their schedule includes France, Italy, Germany, USA, South America and Australia. During 1995 they will record works by Britten for the Chandos label. The Quartet has worked with Vermeer, Alban Berg and Borodin Quartets and with Ralph Kirshbaum at Yale Summer School of Music. John Paynter and Richard Orton have written quartets specifically for them and in 1992 they gave the London premiere of John Tavener's Hidden Treasure at the South Bank and the world premiere of a new quartet by Diana Burrell commissioned by the City Music Society in London Vicci Wardman's viola is attributed to Scarampella, generously loaned to her by the TOMPKINS TATE MUSIC INSTRUMENT TRUST. Helen Thatcher is grateful to the COUNTESS OF MUNSTER TRUST for financial help in purchasing her cello. We apologise to our patrons for the change of artists and programme due to the unfortunate cancellation of their concert by the Cikada Quartet of Norway and we thank the Sorrel Quartet for stepping in at short notice

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Quartet in E flat Op.20 No.1 Allegro moderato; Haydn (1732-1809) Menuetto & Trio; Finale presto Affettuoso e sostenuto; (First performance at these concerts) It is customary to divide Haydn's compositions into five periods; of these, the quartets Op.17 and Op.20 fall into the third. On an old edition of the Op.20 quartets there is a lovely picture of the rising sun and the set accordingly became known as the Sun Quartets. Already in the six Op.17 the composer had shown a great advance in quartet composition; they are full of interest. But in Op.20 the advance seems miraculous. Here is the string quartet as a living entity with the full realisation of the tone quality of its texture and the distinctive characterization of the instruments. Of the six perhaps No.1 most tellingly reflects Haydn's personality; it is quiet but with a warm tone colour pervading its harmony. Notable in the first movement is the dialogue between cello and violin. The peculiar charm of the Menuetto lies in its Trio, in which the violin's gentle descent to meet the slowly ascending harmonies in second violin and cello is enhanced by the change in key. The slow movement is of a translucent serenity with the spacing of the parts ensuring richness and depth. Odd three-bar phrases, syncopations and shifting keys distinguish the Finale, which, as in many of Haydn's earlier quartets, ends pianissimo. Quartet in C major K465 (Dissonance) Mozart (1756-1791) Adagio - Allegro; Andante cantabile; Allegro molto Minuet & Trio; (Last performed in 1980 by the Alberni Quartet) The Quartet in C is the last of the set of six written between 1783 and 1785 and dedicated to Haydn. The whole set forms one of the finest monuments which one composer ever erected to the memory of another. The last three quartets of this set were played for the first time in Vienna in 1785 when Haydn said to Mozart's father: "Before God and as an honest man, I tell you that your son is the greatest composer known to me either in person or by name. He has taste and, what is more, the most profound knowledge of composition". This quartet is the only one to open with a slow introduction. The so-called dissonances were considered, on its appearance, to be so

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E peculiar that one princely amateur tore up the parts in a fury at the outrage, and copies were returned from Italy for correction! What is surprising is that Mozart should have placed such a passage one of the most pessimistic of his writings - in a quartet which is otherwise so straightforward and unproblematical. C.A.S. Quartet No.3 Op.94 INTERVAL Britten (1913-1976) Duets; Ostinato; Solo; Burlesque; Recitative & Passacaglia (La Serenissima) (First performance at these concerts) Three quartets by Britten are firmly established in the chamber music repertoire: No.1 was first heard in Los Angeles in 1941, No.2 was written in 1945 after Britten's return from the United States (1942) and No.3 thirty years later in 1975. This third quartet owes its inspiration to, and is indeed a distillation of the drama of, Britten's last opera, Death in Venice (1973). Based on the story by Thomas Mann, the opera depicts Venice, the city, and the writer, Aschenbach, whose yearning after beauty centres on the young boy, Tadzio. Acquaintance with the opera is a help in appreciating the quartet. The first movement opens with undulating seconds, suggesting the lapping of water on stone. This movement pairs the four instruments of the quartet in all six possible ways. There is here the serenity of Venice, the tortured soul of Aschenbach and the calm of his love for the boy. The second movement is short and the Ostinato is of repeated intervals of the seventh, with a lyrical episode in the middle of the movement. Solo is the apex of the work. It is played very high on the violin and accompanied by very low single notes of arpeggio, which rise up to the level of the solo, whereupon the violin breaks into a rapturous cadenza and the accompaniment becomes aleatory, i.e. freely timed within the framework set by the solo. The music gradually eases down to the opening calm. The Burlesque is reminiscent of Shostakovich but without the Russian's grimness. The trio section has the second violin playing with

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the wood of the bow and the viola 'whistling' on the strings behind the bridge. The Serenissima refers to Venice - the movement was composed during a holiday in the city. Each instrument plays a short recitative quoting from the opera the cello the barcarolle theme depicting Aschenbach's journeys by gondola, the second violin the theme of yearning, the first violin a pizzicato version of the chorale "Phaedrus learned what beauty is..." and the viola the motif of the cholera epidemic which invaded the city. These are followed by one of Britten's favourite forms - a passacaglia, over the undulating seconds of the first movement. The work ends on an unresolved chord, of which the composer said "I want the work to end with a question". The quartet is dedicated to the late Hans Keller. Britten heard only one play through, by the Amadeus Quartet, who gave the first performance on 19th December 1976, a fortnight after Britten's death. We acknowledge with thanks the National Westminster Bank's Special Award to our Treasurer, Michael Lord, which he has kindly passed to this Society as a contribution to the concert. FORTHCOMING EVENTS HUDDERSFIELD MUSIC SOCIETY Next concert: Monday 16th January 1995 at 7.30pm PHILIP DUKES viola SOPHIA RAHMAN piano Lachrymae Britten; Sonata in E flat, Op.120 No.2 Brahms; Sonata Op.147 Shostakovich MONDAYS AT St. PAUL'S 12th December at 7.30pm FRIEDRICH GAUWERKY cello Bach; Zimmerman; Stockhausen; Britten; Christopher Fox; Reger HALIFAX PHILHARMONIC CLUB Friday 13th January 1995 at 7.30pm THE LINDSAY QUARTET Beethoven Op.74; Debussy Op.10; Mozart in D major K575

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HUDDERSFIELD MUSIC SOCIETY Registered Charity 529340 President: Hugh Marshall Williams || WT. Seventy-Seventh Season 1994 - 1995 St. Paul's Concert Hall, Queensgate Monday 7.30 pm.

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TRATTORIA pizzeria mario ALLA SCALA TRATTORIA ALLA SCALA 12 ZETLAND STREET HUDDERSFIELD WEST YORKSHIRE Telephone: (0484) 515161 PAY US A VISIT BEFORE OR AFTER A PERFORMANCE and nino EARLYBIRD MENU: Tuesday to Friday 6pm - 7pm. Sunday 5pm - 7pm I. ro Home made Pastas Genuine Italian Pizza Special of the day Take away for one or for the family Party take away catered for TRATTORIA - TRY SOMETHING NEW? HAVE A PIZZA, A GLASS OF WINE HAVE FUN! HOURS OF OPENING Tuesday to Saturday 12.30 - 2.30 pm 6.00 - 11.00 pm Sunday 5.00 - 10.00 pm 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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(enys Monday 27th February 1995q tas.l) LEON MCCAWLEY piano Programme Sonata in C major K330 Sonata in A minor D537 Kreisleriana Op. 16 Rhapsodie Espagnole Mozart Schubert Schumann Liszt At twenty-one years of age, Leon McCawley has numerous prizes to his credit, including BBC Young Musician of the Year, 1990 LPO/ Pioneer Young Soloist of the year, ninth International Beethoven Piano competition in Vienna and second prize in the Harveys Leeds Piano Competition in 1993. He studied at Junior RNCM and Chetham's School in Manchester and is now at the Curtis Institute of Music in Philadelphia. He has given solo and concerto performances widely in the UK and on the continent and this season makes his debut in Japan with the Vienna Mozart Chamber Orchestra and is to give concerto performances in New Zealand. He will make his Prom debut in September with the Bournemouth Symphony Orchestra and Andrew Litton. We are grateful to Wheawill & Sudworth, Chartered Accountants, for financial help with this concert.

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Sonata in C major K330 Allegro moderato; Andante cantabile; Allegretto (Last performed in 1987 by Francis Rayner) Mozart (1756-1791) This sonata was written in 1778 shortly after Mozart's unhappy time in Paris where he had had no success with the Parisians who were obsessed by the Gluck-Piccinni operatic feud. Worse than this was the death of his mother during the summer there. During this unhappy period Mozart wrote four piano sonatas of which this is the fourth, described by Alfred Einstein as "a masterpiece in which every note belongs - one of the most lovable works Mozart ever wrote". Sonata in A minor D537 Schubert (1797-1828) Allegretto quasi Andantino Allegro vivace Allegro ma non troppo; (First performance at these concerts) Although Schubert started to play the violin before the piano and was an ardent string quartet player, he was a pianist all his life and it was to the piano that he turned for inspiration and for comfort in times of depression. Between his first essay, a Fantasy for piano duet at the age of thirteen and the last great sonata in the year of his death, his output was vast and diverse. a Schubert's piano sonatas have often been compared to their detriment to those of Beethoven, whose profound understanding of the larger concepts of sonata form set standard which Schubert was temperamentally incapable of attaining. Where a Beethoven passage was closely constructed, the innate lyricism of Schubert, for whom beauty of sound was an end in itself, allowed his fancy to roam at large yet what his sonatas lack in constructional strength they gain in tonal range, variety of rhythm and beauty of melody and, withal, in his own treatment of form, Schubert shows great ingenuity and originality. This A minor sonata was written in 1817. The first movement opens robustly; then follows a development of two themes, one a lovely cantabile, and the movement ends with a brief coda. The slow movement is a kind of extended song with modulations; the tune reappears in a new key, F major, returning to the original E major and finishing with a coda. { C

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:) Ĵ The last movement is a kind of dual form, reminiscent of the second and last movements of the Trout Quintet. Trout Kreisleriana Op.16 INTERVAL Schumann (1810-1856) (Last performed in 1990 by Jean-Efflam Bavouzet) Kreisleriana was written in 1838, two years before Schumann's marriage to Clara Wieck and was revised in 1850. Schumann saw himself as having two opposing sides to his nature, impulsive and extrovert (Floristan) and inward looking, dreamy and poetic (Eusebius). The names were his own invention and the characteristics are evident in much of his music; certainly in this work. 3 dre Tyd again12 101 200102 The suite takes its title from the character in the novel Kater Murr by E.T.A.Hoffman, Kreisler being an eccentric Kapellmeister at odds with society. There are eight pieces. Schumann told his fiancée, Clara, that they expressed a positively wild love and urged her to play them often. Rhapsodie Espagnole Yp1003 01 Liszt (1811-1886) Liszt's style of composition changed radically in the last twenty years of his life, a change obvious both on paper and to the ear. There are no longer the myriad hemidemisemiquavers and the composer has become increasingly interested in Hungarian and other national schools. Speaking of the piano works, the year 1863 saw the composition of the two Franciscan Legends: St. Francis of Assisi preaching to the Birds and St. Francis of Paola Walking on the Waves; two concert studies: Waldesrauchen and Gnomenreigen and the Rhapsodie Espagnole - a more grandiose work. The Rhapsodie consists of a set of free variations on two Spanish themes: La Folia dominates the first part, the second part featuring the Jota, a brilliant contrast. "As an evocation of Spain, the Spanish Rhapsodie had few precedents; Debussy, Ravel, Szymanowsky and the two Spaniards, Albeniz and Granados, were to come later. The Rhapsodie opens with one of the finest cadenzas in Liszt's output." John Ogden

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FORTHCOMING EVENTS HUDDERSFIELD MUSIC SOCIETY Next concert: Monday 27th March at 7.30pm FRANZ SCHUBERT QUARTET of VIENNA Quartet in D minor K421..... ... Mozart Quartetsatz. ... Schubert Quartet in G major Op.106.... Dvorák MONDAYS AT St. PAUL'S 6th March at 7.30pm UNIVERSITY STRINGS cond: Malcolm Layfield Programme to include Don Quixote by Telemann and Serenade for Strings by Tchaikovsky HALIFAX PHILHARMONIC CLUB Friday 17th March at 7.30pm THE OSIRIS PIANO TRIO Shostakovich in D minor; Mendelssohn in D minor; Schubert in E flat ELLAND & DISTRICT MUSIC SOCIETY Friday 24th March at 7.30pm THE NOSSEK STRING QUARTET Mozart in B flat K458; Shostakovich No.11; Dvorák in A flat Op.105

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We acknowledge with thanks support for our concerts from Kirklees Cultural Services, Yorkshire & Hum- berside Arts and the University of Huddersfield to which the Society is affiliated. The Society is grateful for financial help also from: K. Beaumont Mrs E. Crossland Mrs. A. Crowther D. Dugdale Miss M. A. Freeman E. Glendinning P. Michael Lord P. L. Michelson S. Rothery J.C.S. Smith S.F. Henderson Smith Mrs. E. Stephenson J.G. Sykes Mrs. E.R. Taylor W.E. Thompson Mrs. L. Walker H. Marshall Williams Arts Council of Great Britain Peter Hawke Mazda Ltd. Wheawill & Sudworth

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PROFESSIONAL A PROFESSIONAL TEAM 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 HELP FROM ● 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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(lest acte nosom Monday 27th March 1995 FRANZ SCHUBERT QUARTET OF VIENNA Florian Zwiauer violin Helge Rosenkranz violin Hartmut Pascher viola Vincent Stadlmair cello Programme Quartet in D minor K421 Quartettsatz D703 Quartet in G major Op.106 Mozart Schubert Dvorak The Franz Schubert Quartet was formed in 1974 at the Vienna Academy and made their British debut in 1979 at the Queen Elizabeth Hall. Their concert career takes them to Amsterdam Concertgebouw, Vienna Musikverein and Konzerthaus, Salle Gaveau in Paris, Sydney Opera House and Wigmore Hall as well as to leading music festivals such as Salzburg, Bath, Cheltenham, Istanbul, Belfast, Hohenems Schubertiade, Wiener Festwochen, Prague Spring and the Schubert Festival in Washington DC. The Quartet are visiting Tutors in Chamber Music at the Royal Northern College of Music, Manchester. We are grateful to Peter Hawke MAZDA Ltd. for financial help with this concert.

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Quartet in D minor K421 Mozart (1756-1791) Allegro moderato; Andante; Menuet & Trio; Allegretto ma non troppo (Last performed in 1989 by the Carmina Quartet) In 1781 Haydn published the great series of six quartets, Op.33, written, as he said, "in quite a new and special way" and it was these quartets which inspired Mozart to compose the six quartets which he dedicated to Haydn - "the fruit of long and laborious endeavour". The D minor, written in 1783, is the second of the six and is said to have been composed at the time of the birth of Constanze's first child. It seems that Mozart's fertile invention was almost a worry to his contemporaries:- "He leaves his hearer out of breath, for hardly has he grasped one beautiful thought than another of even greater fascination dispels the first and this goes on throughout, so that in the end it is impossible to retain any of these beautiful melodies". (Dittersdorf) Dittersdorf's inability no longer applies to this much loved and frequently performed work. There are many outstandingly memorable features of the composition: the opening octave fall which is repeated many times and treated fugally in the development; the broken triplet figures tossed among the four instruments and used very effectively in the coda, the rising chords of the andante, the trio in which the first violin, later joined by the viola, plays a leaping melody over the pizzicato of the other strings and, in the last movement, the Siciliano theme which has four variations and a coda. Quartettsatz D703 Schubert (1797-1828) (Last performed in 1981 by the Pro Arte Quartet of Salzburg) Thirty years separate this work from Mozart's last quartet and in that period Beethoven produced his six Opus 18, three Op.59 and Op.74 and Op.95. The first of Schubert's mature string quartets is a single movement in C minor - an allegro assai of great dramatic power. The existence of an incomplete andante in A flat suggests that Schubert intended whole quartet but, like the Unfinished Symphony, the Quartettsatz stands by itself.

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INTERVAL FOR COFFEE Our thanks to the members of St. John's Church, Newsome for providing coffee Quartet in G major Op. 106 Dvorak (1841-1904) Allegro moderato; Adagio ma non troppo; Molto vivace; Andante sostenuto - allegro con fuoco (Last performed in 1992 by the Janácek Quartet) Dvorak's last two quartets were written on his return from the USA in 1895 and reflect his joy at being home again. The G major opens with a carefree theme - a rising sixth which is one of the pillars of the movement. The second subject, in triplets over 2/4, is a serene and beautiful melody suggesting that Dvorak was again at peace with his surroundings - a great movement which is followed by a superb adagio in the form of free variations on two closely related themes, one minor, one major, outstanding for its depth of feeling. The emotional fervour and dramatic tension grow through the variations and the opening theme is treated with infinite variety and richness of detail. As Alec Robertson writes: "...to follow so sublime a movement cannot have been easy, but the rough gestures of the Scherzo are surely exactly right". The Finale opens dreamily but after six bars becomes allegro con fuoco. Surprisingly, the triplet second subject of the first movement is introduced, followed by an allusion to the opening rising sixth. It has been said that in this work "Dvorak aimed at the stars, and there are not many who do that with so impressive a measure of success". This is the final concert of the season and the President and committee thank all our subscribers, sponsors and covenanters for their valuable support of the Society. It has been a pleasure to find so much enthusiasm for the concerts. Tickets for next season are on sale tonight at the interval; the programme is set out in the yellow leaflet supplied with tonight's programme. There is no increase in the subscription and we hope to see the same faces as this season and perhaps some new ones. Please note that the usual discount is available until 30th April.

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FORTHCOMING EVENTS HUDDERSFIELD MUSIC SOCIETY Next Season 1995-1996 2nd October 30th October 13th November 11th December 29th January 1996 26th February 25th March Gould Piano Trio Cherubini String Quartet (Germany) Ian & Jennifer Partridge Danel String Quartet (France) Louise Hopkins & Carole Presland cello & piano Joshua Fisher & Andrew Zolinsky violin & piano Michael Collins & Brindisi String Quartet Carole Presland appears in the January concert in place of Caroline Palmer who has had to withdraw for family reasons. Fuller details appear in the yellow leaflet. MONDAYS AT St. PAUL'S Thursday & Friday 30th & 31st March at 7.30pm UNIVERSITY OPERA GROUP at the LAWRENCE BATLEY THEATRE Programme includes excerpts from Marriage of Figaro Monday 6th April at 7.30pm in ST. PAULS HALL UNIVERSITY SYMPHONY ORCHESTRA Liszt and Nielsen HALIFAX PHILHARMONIC CLUB Friday 7th April at 7.30pm JELLICOE/POWELL/BRADNAM flute, euphonium & piano trio Bach, Poulenc, Roper, Ponchielli, Stuart Scott