HMS 78


HMS 78

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HUDDERSFIELD MUSIC SOCIETY President: Mrs Linda Walker 78th Season 1995-96 THE DANEL QUARTET TOGETHER with financial assistance from KMC WE a Prizewinners at London International String Quartet Competition 1994 Mondays at St. Paul's University of Huddersfield Kirklees METROPOLITAN COUNCIL SEAVE CULTURAL SERVICES * Yorkshire & Humberside ARTS

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HUDDERSFIELD MUSIC SOCIETY 78th Season 1. Monday 2nd October 1995, 7.30 pm GOULD PIANO TRIO Trio in E major K 542 Trio on Irish Folksongs Trio in B flat Op. 97 (Archduke) Winners in 1993 of both the First and Audience Prizes in the International Competition for Chamber Music in Florence, this trio, as Huddersfield audiences already know from their last appearance, truly deserve The Strad's description of them as "brimming with verve and panache". Sponsored by NATIONAL WESTMINSTER BANK PLC. Huddersfield Mozart Frank Martin Beethoven 2. Monday 30th October 1995, 7.30 pm CHERUBINI STRING QUARTET Quartet in B flat Op. 130 Beethoven Quartet in G major D887 Schubert The Cherubini Quartet, formed in Munich in 1978, recently performed the complete cycle of Beethoven quartets at the Wigmore Hall, where their distinguished playing brought them to the notice of British audiences for the first time. In these two great mature works we shall no doubt learn what we have been missing all these years. Sponsored by THE GOETHE INSTITUT, Manchester S I

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Tickets SINGLE SEASON 1 ticket for all 7 concerts DOUBLE SEASON 2 tickets for all 7 concerts SINGLE TICKET STUDENT TICKET STUDENT SEASON TICKET Tickets may be obtained by using the booking form or from Huddersfield Information Centre, Albion Street, Tel. 430808 or at the door. Name Address £30 Season Tickets to be paid for or returned by 25th September 1995. Postcode £55 Enquiries to Hon. Treasurer, Mr. P. M. Lord, 14 Garsdale Rd. Newsome, Huddersfield HD4 6QZ Tel 429214; fax: 425658 or Mrs. M. S. Glendinning, 2 Sunnybank Rd, Huddersfield Tel. 422612; fax: 432443. 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. & Please send: Double Season Ticket(s) Single Season Ticket(s) £2 £10 Single Concert Ticket(s) I enclose cheque Quantity £ Date & Quantity £ Total P р

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rt n n n t 1 3. Monday 13th November 1995, 7.30 pm IAN & JENNIFER PARTRIDGE Die Schöne Müllerin Songs by English composers This English Lieder-singer, whose pre-eminence needs no elaboration, makes his third visit to the Society with his sister, Jennifer, as pianist. Sponsored by MARSHALL'S Plc of Halifax Schubert 4. Monday 11th December 1995, 7.30 pm DANEL STRING QUARTET Quartet in E flat Op. 125 Schubert Quartet in A major Op. 18 No. 5 Beethoven Quartet No. 3 in F major Op. 73 Shostakovich This young French quartet, whose battery of prestigious prizes includes two awards specifically for their playing of Shostakovich, have worked intensively with the Beethoven Quartet of Russia who gave, under Shostakovich's own guidance, the first performance of his first thirteen quartets. Sponsored by PETER HAWKE GARAGES and with the co-operation of Délégation Culturelle Française (Manchester) 5. Monday 29th January 1996, 7.30 pm LOUISE HOPKINS- cello CAROLE PRESLAND - piano Sonata in D Op. 102 No. 2 Sonata (1978) Sonata in G minor Beethoven Schnittke Rachmaninov “A daring and vibrantly imaginative cellist" (Hilary Finch: The Times), Louise Hopkins goes from strength to strength, gathering prizes on the way and is now on the teaching staff of the Menuhin School Her partner, Carole Presland, is held in the highest esteem as a chamber musician. 6. Monday 26th February 1996, 7.30 pm JOSHUA FISHER - violin ANDREW ZOLINSKY - piano Chaconne from Partita in D minor Sonata No. 1 Op. 80 Sonata in A major Op. 100 Two Caprices Bach Prokofiev Brahms Paganini Tzigane Ravel The Countess of Munster Musical Trust has introduced to us many truly outstanding young musicians and we are very grateful to them for sponsoring this duo who bring us a fine programme spanning three centuries of great music. 7. Monday 25th March 1996, 7.30 pm BRINDISI STRING QUARTET with MICHAEL COLLINS, clarinet Clarinet Quintet String Quartet No. 7 in F Sharp Op. 108 Clarinet Quintet in A K581 Mozart Patrons will remember with great pleasure Michael Collins' superb performance in the Brahms Clarinet Quintet in 1994. The Brindisi Quartet, formed in Aldeburgh in 1984 and once described by the Times as "The Fearsome Foursome", was his choice among British quartets for his return visit. le Sponsored by FORTE CREST BRIGHOUSE D Weber Shostakovich

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A629 HUDDERSFIELD MUSIC SOCIETY Reg. Charity 529340 TO HALIFAX & M62 NEW NORTH ROADO TRINITY STREET HUDDERSFIELD TOWN CENTRE TO LEEDS NORTH 7 CASTLE GATE STATION BUS (O TO MANCHESTER II A62 MANCHESTER ROAD RAILWAY STATION 1009 2009 鍋 00G00 A616 CHAPEL HILL WT. 200 00 001 DA QUEESINGATE 1 CAR PARK QUEESN ST SOUTH SOUTHGATE QUEENS 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 are in the Department's brochure, "Mondays at St. Paul's", obtainable from the Information Centre or from the University School of Music and Humanities.

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HUDDERSFIELD MUSIC SOCIETY WT. Seventy-Eighth Season 1995-1996

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Huddersfield Music Society Herewith are the artists and dates for the 78th Season. The committee would like to acknowledge the many expressions of appreciation re- ceived from subscribers in respect of the quality of the artists chosen in 1994-95. There are now a great many musicians out there and so there must be some element of luck joined with judgment in deciding who to engage. Programmes are less open to chance but sometimes have to be modified for an artist's workload. We hope the following will prove an appealing series and once more there is a discount for advance booking by generous subscribers. We open the season with a return visit, by popular request, of the Gould Piano Trio - a young ensemble already enjoying considerable success. We then have the first of three string quartets, the Cherubini from Germany, who will play two great works. The other two quartets are the Danel from Paris, who won third prize and critical acclaim at last year's Quartet Competition in London, and the Brindisi (formed in Aldeburgh) who will be joined by Michael Collins for the Weber and Mozart clarinet quintets. Patrons will remember Michael's beautiful playing with the Parisii Quartet in Brahms' Clarinet Quintet last March. The distinguished tenor, Ian Partridge gives a recital with his sister in November; the second half of his programme will be the song cycle, Die Schöne Müllerin. This is their third visit to us - the last was in 1983. Two duos, cello/piano and violin/piano make up what we hope will be as successful a season as the last. Tickets, at the same price as last year, will be on sale at the next concert, 27th March: £53 (£55 after 30th April) £29 (£30 after 30th April) Double Season Ticket Single Season Ticket Tickets are also available at this concert, 27th February, on application to the treasurer, Mr. Lord. If you are not on the mailing list, please give your name and address to Mrs. Linda Walker, High Beeches, Wellhouse, Golcar, Huddersfield, Telephone 0484 654620 or to Mr. Lord, 0484 429214.

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Mondays at St. Paul's Seventy-Eighth Season 1995-1996 2nd October 1995 GOULD PIANO TRIO (Beethoven's Archduke Trio) 30th October 1995 CHERUBINI STRING QUARTET - Munich (Beethoven Op. 130 & Schubert in G) 13th November 1995 IAN & JENNIFER PARTRIDGE (Schubert's Schöne Müllerin) 11th December 1995 DANEL STRING QUARTET - Paris (Schubert, Beethoven & Shostakovich) 29th January 1996 LOUISE HOPKINS cello & CAROLINE PALMER piano (Beethoven, Schnittke & Rachmaninov) 26th February 1996 JOSHUA FISHER violin & ANDREW ZOLINSKY piano 25th March 1996 MICHAEL COLLINS clarinet & BRINDISI QUARTET (clarinet works by Weber & Mozart) WT.

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(TOTI-8351) has Monday 2nd October 1995 GOULD PIANO TRIO yao Lucy Gould violin Gretel Dowdeswell piano Programme Trio in E major K542 Trio sur des mélodies populaires Irlandaises Martin Storey violin Trio in B flat Op.97 Mozart Frank Martin Beethoven An enormously popular ensemble, the Gould Piano Trio has performed extensively throughout the U.K. including recitals at Wigmore Hall, Purcell Room, Queens Hall (Edinburgh), the Anvil, Fairfield Halls and Turner Sims, Southampton. They have also appeared at most of the Summer Festivals. The Trio was formed at the Royal Academy of Music in 1987 and now has an international profile in North and South America, Korea, Germany, Czech Republic and Italy. They have won many important prizes here and abroad. They perform frequently on Radio 3 and will represent Britain in the E.B.U. event at St. John's, Smith Square in October this year, broadcasting live to twelve European Countries. Their first CD is scheduled for Autumn 1996. We warmly welcome the Gould Trio on their second visit to this Society. This concert is kindly sponsored by the National Westminster Bank Plc. Huddersfield.

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Trio in E major K542 Mozart (1756-1791) Allegro; Andante grazioso; Allegro (Last performed in 1954 by the Robert Masters Piano Trio) The E major is the fourth of Mozart's six piano trios; it was written in 1788, the year of the three great symphonies. It appears to be the only major instrumental work in this key and, along with the other three, written in 1788, shows a marked advance in form. Still in only three movements, as were Haydn's, and emphasising the virtuoso qualities of the piano, these trios give much greater scope to the strings than heretofore and there is much more contrapuntal work for the three instruments. The best of them rank high in Mozart's masterpieces of chamber music. In this work, the texture is transparent and the composition seems to be suffused with happiness, though shot through with sadness. The andante is hauntingly simple and the glittering finale is of inspired craftsmanship. Trio sur des mélodies populaires Irlandaises pour piano, violon et violoncelle Frank Martin (1890-1974) Allegro moderato; Adagio; Gigue (allegro) Frank Martin speaks: "This trio, based on traditional Irish folk tunes, was written in 1925 at Capbreton in the Landes. While exploiting the rich musical resources of Irish folk lore, I tried to submit as far as possible to its idiosyncratic character. I avoided an abusage of the melodies chosen, always presuming them in this entirety and not overburdening them with any falsifying harmonies. This means that there are no traces of development in the classical sense, in this trio. The principle of my musical form was sought in rhythm and the means of enriching my own diction in the rhythmic combinations. This trio hardly draws on harmony and the polyphonic principle of imitation. Everything is achieved through the rhythm and melody which constitutes the basis of Irish song and dance". This note, in rather charming English, comes from the composer, who was born in Geneva and taught at the Geneva Conservatory and for a time (1952-58) in Cologne. His works are noted for their delicate colouring, contrapuntal skill and expressive nature. U

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J INTERVAL Trio in B flat Op.97(The Archduke) Beethoven (1770-1827) Allegro moderato; Scherzo & Trio; Andante cantabile ma pero con moto; Allegro - presto (Last performed in 1961 by the Trio di Bolzano) Beethoven's piano trios, beginning with opus 1 in 1792, span the composer's life up to the end of his 'second period', when he dropped the piano from his chamber music and concentrated on string quartets. This trio, has all the great qualities of the second period as well as a distinct leaning, particularly in the slow movement, towards the intensity of his last works. It is dedicated to the Archduke Rudolph and was first publicly performed in 1814 by Schuppanzigh and Linke (of the Rasoumovsky Quartet) and Beethoven himself. A few months later, the composer made his last public appearance as a pianist in the same work and with the same colleagues. A wonderful 'square tune' (as Tovey called it) opens the first movement: a movement on the grand scale full of dramatic development. Following this is an impish scherzo, led off by the cello in a little dialogue with the violin; the piano joins them at the 16th bar. From the joyful mood of the scherzo there is a sudden change in the trio to dark mystery, followed by a bravura section and the return of the scherzo. The scherzo and trio are repeated once more. The apex of the Trio is the slow movement; the broad sustained melody, of a kind only Beethoven could write, seems to carry the cares of the world. The four magnificent variations preserve its harmonic structure, ending with a return to the theme in a coda of great poetry and profundity. The finale, attacca, comes as a shock, perhaps an example of Beethoven's bucolic humour, and ends with an exciting presto.

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Trio in E maio FORTHCOMING EVENTS HUDDERSFIELD MUSIC SOCIETY Next concert: Monday 30th October at 7.30pm CHERUBINI STRING QUARTET of Munich Beethoven in B flat Op.130 Schubert in G major D887 MONDAYS AT St. PAUL'S 16th October at 7.30pm STUDENTS ON STAGE Works by Paul Creston, Weber, Chaminade, for solo alto saxophone, cornet, bass trombone, flute and organ This is the first concert of the tenth student concert season 23rd October at 7.30pm N.B. A SPECIAL RECITAL BY THE PIANIST, IAN BUCKLE 6 Klavierstücke Op.118 Sonata in A flat Op.110 Prelude: La Terrasse des Audiences au clair de lune Brahms Beethoven Debussy Ravel Poulenc Szymanowsky Takemitsu La Valse 3 Novelettes Masques Op.34 Les Yeux Clos II HALIFAX PHILHARMONIC CLUB Friday 6th October at 7.30pm NEW BUDAPEST STRING QUARTET Ravel in F Bartók No.1 Mozart in C major K465 ELLAND & DISTRICT MUSIC SOCIETY Friday 20th October at 7.30pm MARK ANDERSON piano Haydn Sonata in D Hob XVI 37 Beethoven Sonata Op.28 Pastoral Mussorgsky - Pictures at an Exhibition

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Monday 30th October 1995 CHERUBINI STRING QUARTET Christoph Poppen violin Hariolf Schlichtig viola Ulf Wallin violin Christoph Richter cello Programme Quartet in B flat major Op. 130 Quartet in G major D887 Beethoven (1770-1827) Schubert (1797-1828) The Cherubini Quartet are regarded as the major German quartet of the younger generation. All the players are professors at German conservatoires and also perform in other ensembles and as soloists. The Quartet, formed in Munich in 1978, is dedicated to delving into the rich variety of chamber music literature; thus they have worked together with such 20th century composers as Henze, Penderecki, Messiaen and Schnittke. However, they first made an impact on the British scene with their complete cycle of the Beethoven quartets at the Wigmore Hall two years ago, which led to their engagement by this society and to the choice of a late Beethoven quartet in the programme. They record for EMI Classics and their issue of the complete Mendelssohn quartets was received with wide acclaim. We sincerely thank the Goethe Institut of Manchester for generous sponsorship of this concert. C

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Beethoven Quartet in B flat Major, Op 130. Adagio, ma non troppo - Allegro Presto Andante con moto, ma non troppo Alla danza tedesca: Allegro assai Cavatina: Adagio molto espressivo Finale: Allegro (Last performed by the Bartok Quartet in 1977) Beethoven's five late quartets, from the years 1823-6, radiate a sense of "other- worldliness". As Thomas Mann wrote, 'in these masterpieces, subjectivity and convention are brought into a new balance, one determined by death'. Beethoven himself had plans for many large-scale works (including a tenth symphony) and so did not regard the quartets as his last compositions. Nevertheless, the five quartets do share the hallmarks of a final creative phase: an intense introspection, concentrated thematic development and a profound insight into variation technique. Beethoven's contemporaries perhaps sensed that the music was written for posterity, and found the late quartets problematic. Beethoven was even persuaded by his publishers to make one compromise: the original finale was considered especially incomprehensible; it was published separately as the Grosse Fuge Op. 133, and replaced in Op. 130 by a high spirited rondo. Despite the formidable content of particular movements, the late quartets contain some of the most accessible music in Beethoven's output, such as the lilting Alla danza tedesca and hauntingly beautiful Cavatina. Beethoven gave no indication that the five quartets should be regarded as a cycle, though there is an underlying sense of affinity. The middle three especially - the A minor, Op. 132, the B flat major, Op.130, and the C sharp 13 minor Op. 133 (they were composed in this order) - are thematically inter- related and extend the bounds of the string quartet beyond the traditional four movements, to five, six and seven movements respectively. Above all, a single inspirational force binds together the extraordinary wealth of musical inven- tion heard in the surface detail. The first movement of Op. 130 contrasts a taught, chromatic Adagio with a driving Allegro. The semiquaver figuration provides a counterpoint to the strikingly simple theme of the movement, the upbeat character of which is contradicted by forte-piano dynamics: ez f P

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The wide-ranging key areas explored here by Beethoven concentrate on those a third (major or minor) away from the tonic. The second movement, a rhythmically vital Presto, turns to the minor, while the third, a wonderfully intricate Andante, is set in D flat. Nowhere in the quartet repertoire are the four instruments more closely integrated. The theme of the Alla danza tedesca may have been inspired by a folk-song- Beethoven arranged several and drew upon at least one in his sonatas. A virtuoso variation and comic coda act as a foil to the Cavatina. Beethoven's sketchbooks show that the combined violin parts from the molto espressivo opening were conceived as a single melody, and they are heard as such. Before this theme returns, a pianissimo moment of anguished oppression (Beklemmt) clouds our tranquillity in a passage often interpreted as a heartfelt premoni- tion. The finale quickly dispels any reflective brooding and the listener is carried forward by an almost unstoppable momentum. INTERVAL Quartet in G major Op. 161, Schubert Allegro molto moderato Andante, un poco moto Scherzo: Allegro vivace Finale: Allegro assai (Last performed by the Eder Quartet in 1992) In 1826 Schubert went to the first performance of Beethoven's Op. 130, and perhaps he was spurred on to complete this quartet, his final and, in many respects, greatest achievement in the medium. From the outset the work is full of contrasts, major with minor, lyrical with motivic, chordal with contrapun- tal. Like Haydn before, and Brahms later, Schubert frequently finds intellec- tual inspiration by introducing variation technique into the more self-con- tained classical forms. In the opening movement, Schubert almost obsessively explores the second theme, originally stated by the violin in D major. Initially an apparent reaction to the sweeping chordal gesture of the opening bars, it takes over as the main focus of the movement. Structurally unaltered, though each time melodically varied, it is restated in D, B flat (cello solo) again in D (viola); in the closing section it recurs twice in C major and at last in G major. This movement, in some ways unbalanced, looks forward with a full romantic vision, in melodic content and by the freedom with which Schubert handles classical form. Schubert's rare genius for exploring new harmonic territory and unexpected

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instrumental textures, and above all his mastery of melody, reaches a sublime peak in the slow movement, a type of rondo. Beginning in E minor with a searching, elegiac melody for the cello, the mood is abruptly shattered by a furious episode, first in G minor, then, more remarkably, in F# minor. After a restatement of the first theme (now in the dominant) this darker episode is developed in D minor. Finally, the cello theme is reworked in the major, before a brief coda reverting to the tonic minor. The scherzo is a fleeting dance, translucent in texture and sublimely scored; by contrast, the trio is a more heavy footed Ländler, and the match is almost incongruous. The ballet of the scherzo becomes an opera buffa in the finale. Again Schubert favours a rondo outline but it is far from a classical usage. The chording rekindles the major/minor antithesis of the first movement but the mood is far lighter. The length of the movement is sustained by a remarkable fund of dancing melodies and constant sense of harmonic surprise. FORTHCOMING EVENTS HUDDERSFIELD MUSIC SOCIETY Next concert: Monday 13th November AT 7.30 PM IAN & JENNIFER PARTRIDGE Lieder recital Songs by Purcell, Arne and Haydn "Die Schöne Müllerin" Schubert MONDAYS AT ST. PAUL'S 6th November at 7.30 pm STUDENTS ON STAGE 11 Bach: Passacaglia for organ Rubbra: Sonata in C for oboe Concertino for trombone Capriccioso for tuba Sonata for violin & piano William Kay Kirsty Parkin Lars-Erik Larsson K. Penderecki Cesar Franck 27th November at 7.30 pm PIANO RECITAL BY Boris Berezovsky HALIFAX PHILHARMONIC CLUB Friday 3rd November at 7.30 pm VELLINGER STRING QUARTET Purcell: Britten: Mendelssohn: Four-part Fantasies Quartet no 2 in C Quartet in E flat Op. 12 MRE

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HUDDERSFIELD MUSIC SOCIETY Registered Charity 529340 President: Mrs Linda Walker || WT. Seventy-Eighth Season 1995 - 1996 St. Paul's Concert Hall, Queensgate Monday 7.30 pm.

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TRATTORIA ALLA SCALA TRATTORIA ALLA SCALA 12 ZETLAND STREET HUDDERSFIELD WEST YORKSHIRE Telephone: (01484) 515161 pizzeria mario and nino EARLYBIRD MENU: Tuesday to Friday 6pm - 7.30 pm Sunday 5pm - 7pm PAY US A VISIT BEFORE OR AFTER A PERFORMANCE 67 STORANA 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 6.00 - 11.00 pm Sunday 5.00 - 10.00 pm SOLE MIO TRY SOMETHING NEW? HAVE A PIZZA, A GLASS OF WINE HAVE FUN! 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 - 10.30 pm Imperial Arcade, Market Street Huddersfield Tel: Huddersfield (01484) 542828 Closed Christmas Day, Boxing Day and New Year's Day OPEN all other Bank Holidays

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Monday 13th November 1995 IAN PARTRIDGE C.B.E. tenor JENNIFER PARTRIDGE piano This partnership has given recitals all over the British Isles and Europe and as far afield as South America, Turkey, Iceland and Australia. Ian Partridge's phenomenal list of recordings includes Schumann's Dichterliebe and Liederkreis, Britten's Serenade, Vaughan Williams' Wenlock Edge, Warlock's The Curlew and two discs of English 20th century songs. The Partridges' recording of Die Schöne Müllerin was first choice in the B.B.C.'s Building a Library series. Jennifer is accompanist to many well-known singers and instrumental- ists and is a much sought after coach to soloists and choirs. She examines for the Guildhall School of Music and Drama. Recent highlights in Ian's career include tours to the Far East and Brazil with The Sixteen with whom he appeared at the 1992 Proms in Texeira's Te Deum. He was awarded the C.B.E. in 1992 for Services to Music. We are very pleased to welcome these two artists on this, their third visit to the Society; their last was in 1983. We acknowledge with thanks sponsorship of this concert by MARSHALL'S plc of Halifax. TONIGHT's Concert celebrates the Diamond Jubilee of the National Federation of Music Societies. 1935 1995 JUBILEE NATIONAL FEDERATION OF MUSIC SOCIETIES NEMS -1-

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I'll sail upon the Dogstar movie vibeobi Music for a while Take not a woman's anger ill Henry Purcell (1659-1695) Purcell died at the age of thirty-six, three hundred years ago. His vast output in this short life makes him the jewel of the golden age of English musical history and we can only lament his early death as we commemo- rate it. He was born and died in London, was chorister at the Chapel Royal and organist at Westminster Abbey. Much of his greatest music was written after the "Glorious Revolution" of 1685-1688, including "Dido and Aeneas", the first great English opera. Purcell's greatness was recognised during his lifetime, but it was not until the bi-centenary of his death that later generations accepted this judg- ment. Come away Death Blow blow thou winter wind Thomas Arne (1710-1778) Thomas Arne, like Purcell, was born and died in London. He was the leading British composer of his day and was notable for his incidental music to plays, including Shakespeare's. A fine writer of songs, of which "Rule Britannia" is not the least known, he also wrote an opera "Artaxerxes" (1762) and an oratorio "Judith" (1761). Piercing Eyes She never told her love Pleasing Pains Joseph Haydn (1732-1809) The term 'vast output' here takes on a new dimension! The songs, or canzonettas, were composed around 1794/95. Between 1791 and 1805 Haydn wrote 450 arrangements of British folk-songs along with 9 sym- phonies, 15 string quartets, 6 masses and sundry other items. These three songs are from the 12 canzonettas, worthy companions to the other great works of the period. Interval - 2- S C r a 1 I [ TL H [ F [ I T n m

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Die Schöne Müllerin Schubert (1797-1828) (Last performed in 1980 by the same artists) The twenty poems which Schubert set as a song cycle "The Fair Maid of the Mill" were taken from "Gedichte aus den hinterlassenen Papieren eines reisenden Waldhornisten" by the poet, Wilhelm Müller (1794- 1827). Müller's genuine affection for and understanding of the peasants, huntsmen and artisans to be found in his poems drew a ready response from Schubert, the middle class townsman with a yearning for the simple life. When, in 1823, the composer came upon the poems, he immediately set to work on the setting of them, finishing them in the same year. The cycle was published in March 1824 with a dedication to Schubert's friend, the tenor Baron Carl von Schönstein. Nine of the songs are strophic: i.e. each verse has the same or similar music; the rest are through-composed. But the repeated melodies are adapted to a wide range of emotions and in the last song, "The Brook's Lullaby" the insistent repetition has a hypnotic effect. The music of the brook is a constant background throughout, thereby creating the cycle's musical unity. Das Wandern Wohin Halt Danksagung an den Bach Am Feierabend Der Neugierige Ungeduld Morgengrüss Des Müllers Blumen Tränenregen Mein Pause Mit dem grünen Lautenbandeboll Der Jäger oli oi noite Eifersucht und Stolz Die liebe Farbe Die böse Farbe Das Wandern Trockene Blumen Der Müller und der Bach Des Baches Wiegenlied Wandering To wander is the miller's joy. We learn it from the restless water, from the mill wheels; even the stones will not stay still. So good master and mistress, let me go my way in peace. - 3-

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Whither sabe si I heard a brook murmur on its way to the valley. It made me follow as it babbled down ever more brightly. Is this then my road, or have my senses been quite turned by your rushing waters or the water nymphs singing in your depths? Leave the rushing and singing, lad. There are mill wheels turning in every clear stream. Wohin? Halt I see a mill gleaming among the trees and the sound of the mill wheels penetrates the murmuring and singing. Welcome song of the mills, welcome friendly house and windows bright in the sun. Was this your meaning, little millstream? Danksagung an den Bach Was your murmuring and singing meant to lead me to the maid of the mill, dear brook? Did she send you or have you bewitched me? However it may be, I accept it. What I sought has been found and I have asked for and received work enough for both hands and heart. Am Feierabend Evening Rest Had I only a thousand hands to guide the mill wheels and turn the stones to prove my devotion to the fair maid of the mill. Alas, my arms are weak; any slave could do as much. So I sit with the others after work is done and the master praises our labours while the dear maid wishes all a good night. Der Neugierige I do not ask the flowers nor the stars; they cannot tell me what I long to know. I will ask the brook, friend to my love, if my heart has deceived me. Yes or no these two words contain my entire world. I promise not to reveal it, so tell me, does she love me? Gratitude to the Brook The Question - 4-

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} J Ungeduld Impatience I would like to cut it in every bark, carve it in every stone, sow it in quick growing cress, write it on every scrap of white paper, teach a young starling to sing it with my voice and intensity through her window: My heart is yours for ever. Morgengrüss Morning Greeting Good morrow, lovely maid of the mill. Do not turn your head away as though my greeting displeased you. Only let me gaze up at your window and watch for your fair head. Why do your blue eyes, heavy with sleep like dew-laden flowers, shun the sun and love the night so much? Shake off your dreams and greet God's morning with the lark while my heart calls out in lover's pain and sorrow. The Miller's Flowers Des Müllers Blumen There is a wealth of flowers by the brook, blue like the eyes of my love. Therefore these flowers are mine and I will plant them beneath her window, so that they may whisper in her dreams when asleep and on her waking in the morning: forget me not. And the dew on their petals shall be my tears. Tränenregen Contentedly we sat together under the trees by the murmuring brook. I did not look at the moon and stars reflected in the water but only at her reflection. And as the water flowed and beckoned me to follow, my eyes filled with tears. She said, it is beginning to rain. Farewell, I am going home. Mein A Rain of Tears Mine Let all the sounds of the brook, the mill wheels and the song of the wood birds cease so that only one call is heard the beloved maid of the mill is mine. Spring, have you no more flowers, sun no brighter rays? Must I remain alone with these blissful words and no-one to understand me in all creation? -5-

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Pause I have hung my lute on the wall and tied a green ribbon around it. My heart is too full for singing. Once I sang of the agonies of my love; now no melody can support the weight of my happiness. So hang from this nail, dear lute. When a bee's wings brush your strings a shiver of fear runs through me. Is this the echo of old pangs of love or the prelude to new songs? Mit dem grünen Lautenbande With the Green Ribbon "How sad to leave this lovely green ribbon fading on the wall. I am so fond of green." So you spoke, dear love, and at once I gave you the ribbon. Although your beloved is white from flour yet shall green have the prize and may our love be ever green. Wear the green ribbon in your hair, so that I can see where hope dwells and learn to love green even more. Der Jäger What do you seek here by the mill stream, huntsman? Stay where you belong and leave my tender deer in peace. Or else come without your gun and dogs. But better stay away in the woods. The fish does not belong to the forest nor the squirrel to the water. And if you want to please my love, then go hunting the boars that destroy her garden at night. Eifersucht und Stolz Jealousy and Pride The Hunter Do not run after the bold huntsman, you angry brook, but scold your fickle maid of the mill as she looks out for him on the road. Tell her that no virtuous girl looks out of her window when the huntsman returns so gaily from the chase. But don't tell her of my sad face. Tell her that I have cut myself a pipe out of reeds and am playing pretty tunes to the children. Die liebe Farbe The Pleasing Colour I will dress myself in green weeping willows, seek cypress woods and fields of rosemary because my love is so fond of green. The joyful hunt is up, that she loves so much. Death is the deer that I hunt. Oh, make my grave in the meadows with no cross or flowers, but cover me with grass since my love is so fond of green. - 6-

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Die böse Farbe I would like to go out into the great world if only everywhere were not so green. I feel like plucking all the leaves and bleaching all the grass with my tears. O green, you hateful colour, why do you mock me? I would like to stand before her door in wind and rain, softly singing the one word: farewell. She will not see me when she looks out for the hunt, but I may see her. Oh, untie the green ribbon from your brow and give me your hand in parting. Trockene Blumen The Hateful Colour over. The Faded Flowers All the flowers she gave me, let them be buried with me, How withered and pale they are. Tears will not make them blossom nor make dead love live again. But when spring returns and she walks by my grave, remembering my faithful love then come out all you flowers. Winter is Der Müller und der Bach The Miller and the Brook When a faithful heart breaks in love the flowers wither, the moon hides her tears and the angels weep. (The brook speaks) But when love rises above pain a new star appears in the sky, roses bloom for ever and angels come down to earth. (The miller speaks) Dear brook, you mean so well, but what do you know of love. There is rest in your cool depths, so sing on. Des Baches Wiegenlied The Brook's Lullaby Close your eyes, tired wanderer; you have come home. You shall rest and be rocked in my clear blue depths and when a hunting horn sounds my waters will roar about you. Do not disturb his dreams, you blue flowers; let not your shadow wake him, you cruel maid. Good night, sleep on until all waken and pleasure and pain are past. The full moon rises, the mist recedes and the sky above - how vast it is! -7-

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In February 1935 a group of music lovers met in York and created the N.F.M.S. Their aim was to enable voluntary music promoters to develop greater links with professional musicians and to promote more concerts. Over 60 years the work has continued and the N.F.M.S. has become the largest concert promoter in the UK, making music accessible for all members of the community. Today the Federation boasts a national membership of some 1400 music societies from Penzance to Orkney and from Belfast to Dover. Together they promote 6500 concerts annually. For sixty years the range of services has grown to match the needs and inspirations of members all over the UK. As a member-society we are very pleased to congratulate the Federation on its Jubilee and to wish it every success. Forthcoming Events HUDDERSFIELD MUSIC SOCIETY Next concert: Monday 11th December at 7.30 pm DANEL STRING QUARTET of Paris Schubert in E flat op 125 Beethoven in A major op 18 no Schostakovich no 3 in F major op 73 MONDAYS AT ST. PAUL'S 20th November in the LAWRENCE BATLEY THEATRE 7.30 pm GEORGE RUSSELL LIVING TIMES ORCHESTRA an eclectic, musical melting pot of some of the finest Jazz musicians in Europe. 7th November at 7.30 pm BORIS BEREZOVSKY piano Rachmaninov, Medtner, Hindemith and Stravinsky HALIFAX PHILHARMONIC CLUB Friday 1st December at 7.30 pm ENGLISH RENAISSANCE dr. by David Le Monnier In Halifax Parish Church -8-

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We acknowledge with thanks support for our concerts from Kirklees Cultural Services, Yorkshire & Humberside 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 M. Ellis Miss M. A. Freeman 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 Mrs L. Walker Peter Hawke Garages Goethe Institut, Manchester Marshalls Plc, Halifax Forte Crest, Brighouse National Westminster Bank Plc, Huddersfield C Marshalls PLC-

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MM &'S Woods THE MUSIC SHOP MARSHALL MILLS MILLS & SYKES SOLICITORS 14 High Street, Huddersfield, West Yorkshire HD1 2HA Tel: 01484 423434 Fax: 01484 516621 Company and Commercial Law ● Family & Matrimonial ● Litigation ● Personal Accident and Injury Claims Residential Conveyancing • Wills, Probate and Trusts PROFESSIONAL HELP FROM A PROFESSIONAL TEAM YORKSHIRE'S LEADING SPECIALISTS IN KEYBOARDS Step into Woods and discover the biggest selection of new keyboards outside London. PIANOS KEYBOARDS ORGANS • CLAVINOVAS SOLE STEINWAY AGENCY FOR YORKSHIRE. 2003 RENT OR BUY Ask for details of our unique rental/purchase scheme. NEW OR USED At Woods we always have the best selection. 11/15 Market Street, Huddersfield. Tel: 01484 427455 YAMAHA TECHNICS CASIO ROLAND KNIGHT KEMBLE BROADWOOD

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Monday 11th December 1995 DANEL STRING QUARTET Mark Danel - violin Gilles Millet - violin Juliette Danel - viola Guy Danel-cello Programme Quartet in E flat D87 (Op. 125) Quartet in A major Op. 18 No. 5 Quartet No. 3 in F major Op. 73 Schubert Beethoven Shostakovich The Danel Quartet, three of whom are siblings, come from France. Last year they won third prize in the London International Quartet Competi- tion when the first prize went to the Vellinger of Great Britain. They have also carried off "Best" prizes at Florence, Evian and St. Petersburg, where they had a special prize for their Shostakovich; Last year the Quartet spent a week on intensive study with the viola player, Feodor Droujinin, of the Beethoven Quartet, probably the greatest quartet in Soviet Russia. The Beethoven Quartet worked closely with Shostakovich and gave the premiere performances of his first thirteen quartets. With the support of the Ambassade de France, Service Culturel, Man- chester. We are grateful to PETER HAWKE GARAGES for their sponsorship of this concert.

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Schubert (1797-1828) Allegro - Scherzo Prestissimo - Adagio - Presto Last performed in 1973 by the Talich Quartet Quartet in E flat D87 (Op. 125) Schubert's childhood years were filled with chamber music; he played the violin alongside his brothers and father in the family quartet. By 1808 his obvious gifts and fine soprano voice had earned him a place at the prestigious Imperial and Royal Chapel in Vienna; here he would learn music with Kappellmeister Salieri, while a good general education was ensured at the Konvikt, an attached seminary. From these years date his earliest surviving compositions. When Schubert's voice broke, it was the Emperor Franz I himself who (shortly after a decisive Napoleonic battle) approved the con- tinuation of the scholarship funds. Soon, however, Schubert's academic work began to suffer because of his interest in the "subsidiary matters of music and singing" (as a report put it). For Schubert there was no choice and in 1813 he returned home to the "Schoolhouse". Schubert's interest in chamber music was rekindled by his family's music making and he began writing string quartets and even orchestral pieces for the little group, occasionally augmented by friends. Among the finest works from this period is the Quartet in E flat. So remarkable is this achievement for a sixteen-year old that, for a long time, it was ascribed to his later years. Though influences are discernible, Schubert's authentic voice is readily apparent in the succession of lyrical themes integrated within an expansive tonal framework. Somewhat unusually, all movements are in the tonic key. The first movement shows that Schubert had already mastered the complexi- ties of sonata form and was beginning his quest for a yet more unified structure. The witty Scherzo - with hints of late Haydn and early Beethoven in its upbeat accents and syncopations - is placed second, to act as a foil between two similarly song-inspired movements. The finale is a vivacious movement in a light, buffa style. Though somewhat first-violin dominated, it represents a remarkable feat of sustained concentration for so young a composer. Quartet in A major Op. 18 No. 5 Beethoven (1770-1827) Allegro - Menuetto - Andante cantabile - Allegro Last performed in 1994 by the Alexander Quartet The six quartets of Opus 18 form a landmark, both in Beethoven's own compositional style and in the development of the quartet repertoire as a whole. Published in 1801, Beethoven's ambitions for the medium are clearly apparent, even if the refinement does not yet equal the then only recently published Op. 76 and Op. 77 Quartets of his former teacher, Haydn. A wide

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range of textures and volatile temperament is evident throughout the set, though the A major has Beethoven in a far more genial mood than the stormy C minor which precedes it. The atmosphere is established by the opening movement in 6/8 time, a rounded metre more commonly associated with finales. Beethoven's coun- teracts its inherent sense of relaxation, however, by the vigorous develop- ment of small-scale motives and nimble passage work for the violin. As with Schubert's quartet, the next movement is a scherzo, though here Beethoven still uses the near archaic term, Menuetto. Perhaps he intended to emphasise its dance-like qualities. It begins with a straightforward tune presented as a duet for the two violins. This is taken up by the lower instruments with a fuller off-beat accompaniment. After a brief excursion to the mediant minor (ending fortissimo) the tune is reworked imitatively. The trio turns the stately minuet into a humorous folk dance. The slow movement is a wonderful set of variations. The theme, based on a scale, is striking in both its restrained simplicity and direct harmonic lan- guage. The deceptive simplicity here enables Beethoven to exploit detailed. textures, with rhythmic complexities increasing throughout the five varia- tions, except for the fourth variation, a plateau of tranquillity, to be played sempre pianissimo. The finale is a buoyant alla breve, more characteristically Beethovenian with its forceful dynamic contrasts and frequent use of close imitation between the instruments. Beethoven had been cautious about embarking on quartet writing, but with Opus 18, as he wrote, he had "now learned to write quartets properly." INTERVAL coffee and mince pies String Quartet No. 3 in F Major, Op. 73 Shostakovich (1906-1975) Allegretto - Moderato con moto - Allegro non troppo - Adagio - - Moderato First performance at these concerts The spirit of Mozart clearly hovers over the works of Schubert and Beethoven already heard this evening and, in a way, it also informs this quartet. Written in 1946, the quartet seems like a reaction to his harrowing experiences, both in the war and with the officials of Soviet music. The quartet shares with many of Shostakovich's later compositions a sense of cyclical unity, which is sometimes immediately apparent in the thematic relationships, but is some- times just hidden under the surface. Shostakovich is one of the few twentieth century composers to have been successful writing traditional forms in

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traditional genres. The first movement is in sonata form, and, as in the Fifth Symphony (which was composed before the composer had taken up the quartet medium) abstract motives are derived from the main themes and developed independently. The five movements are finely balanced with more contemplative movements arranged around the characteristically savage march of the central movement. Shostakovich is uniquely able to encapsulate irony and caricature in great music. The distorted rhythms alternately stamping and dancing are a feature of many of his scherzi in both the later quartets and symphonies. The fourth is a slow movement of extraordinarily expressive power; it builds in intensity, exploring a recurrent theme in a series of finely detailed textures. This theme recurs at the climax of the finale (with the remarkable indication fff espressivo). This is not a triumphant ending, however, for the movement fades away in keeping with the predominantly poignant feeling of the quartet. Forthcoming Events HUDDERSFIELD MUSIC SOCIETY Next Concert: Monday 29th January at 7.30 pm LOUISE HOPKINS, cello & CAROLE PRESLAND, piano Beethoven Sonata in F major Op. 5 No. 1 Schnittke Sonata 1978 Rachmaninov Sonata in G minor UNIVERSITY MUSIC DEPARTMENT Thursday 14th December at 7.30 pm UNIVERSITY SYMPHONY ORCHESTRA conductor: Barrie Webb programme to include Beethoven's 7th Symphony HALIFAX PHILHARMONIC CLUB Next concert: Friday 12th January 1996 THE ORPELLA TRIO Beethoven Op. 44; Ravel, Brahms Op. 87 ELLAND & DISTRICT MUSIC SOCETY Next concert: Friday 26th January 1996 SUSAN BLAIR, harp - SIOBHAN GREALY, flute Donizetti; Bach; Berthonieu; Alwyn; Rossini; Liszt; Debussy & Ravi Shankar

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Monday 29th JANUARY 1996 LOUISE HOPKINS cello and CAROLE PRESLAND piano Programme Sonata in F major op 5 no 1 Sonata Sonata in G minor Beethoven Schnittke Rachmaninov Louise Hopkins studied at Chetham's, Manchester and at the Guildhall, London, with Stephen Isserlis and Rafael Wallfisch. In 1990 she won the N.F.M.S, the Park Lane Group and the S.E. Arts Young Concert Artists awards and has subsequently performed extensively throughout Britain and abroad. She made her American debut in 1995 in Chicago for the Dame Myra Hess Memorial Concert Series and future engagements include her Paris debut at the Theatre de la Ville in 1996. As a chamber music player, Louise is a regular participant at the Prussia Cove "Open Chamber Music" festival where she has performed with Andras Schiff and Norbert Brainin. Future engagements include Aldeburgh and Cheltenham festivals. Carole Presland has worked with many distinguished artists, such as Colin Carr, Timothy Hugh, Nobuko Imai, Duncan McTier and many others. For several years she was official accompanist at the Menuhin School and has been invited to play for master classes at Prussia Cove, the Britten-Pears School in Aldeburgh and the Tibor Varga Festival in Switzerland. Winner of many accompanist prizes here and abroad, Carole now pursues a busy freelance career. This concert is given with financial assistance from Kirklees Cultural Services.

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Sonata in F major op 5 no 1 Beethoven (1770-1827) Adagio sostenuto - Allegro; Allegro vivace (Last performed in 1969 by Natasha and Fritz Magg) The composition of works for the cello and piano presents many problems which have become increasingly apparent due to the lack of balance in tone quality between the two instruments. The cello, like all other stringed instruments, has remained much the same while the piano has developed into an instrument of great power and resonance. It is true that the piano of Beethoven's day was of much less power but even then the difficulties of balance existed. Haydn in general used the cello as a support for the bass; Mozart gave it much more importance, but it is not until the first sonatas of Beethoven that any true combination of the two instruments in an equal partnership is arrived at. It is interesting to note how, from the first, Beethoven uses all the registers of the cello, often at a bitch which with difficulty penetrates the volume of the piano tone, and how carefully he clarifies and lightens the more powerful and ringing qualities of the piano. Between the years 1796 and 1815 Beethoven wrote five sonatas for cello and piano. The two sonatas Op.5 were written during a visit to Berlin in 1796 and were dedicated to King Frederick William 11, himself a cellist, to whom Mozart had dedicated his three Prussian string quartets six years before. They were written with a particular player in mind, the French cellist, Dupont, considered to be the originator of modern cello technique. In some ways the cello sonatas, so widely spaced in time (the other three being Op.69 and Op.102 Nos. 1 & 2) are more effective than the rapidly composed violin sonatas. They have a deeper significance and a richer variety of form except in the case of the last violin sonata Op.96. The sonata in F opens with an impressive unison passage for the two instruments. This slow introduction really forms a separate movement which leads with only a slight pause into the allegro. Dramatic and colourful, it is almost an improvisation in style and reminds one that this work was written when Beethoven was at the height of his career as a concert pianist. The Allegro is in sonata form; the main theme is first heard on the piano and after a short bridge passage, is repeated by the cello. A short adagio passage leads to a brilliant coda. The finale is a rondo with extended episodes, the theme being first heard in canon between the two instruments. Sa wh Mc Sh acc vin mc lyn on are tra be S (L Im ru br gr eq lov pia ex bu the pia int pla ab inf un

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Sonata in three movements Alfred Schnittke (born 1934) Schnittke's musical education began with private lessons in Vienna where his father worked from 1946 to 1948, and subsequently at the Moscow Conservatory. The cello sonata was written in 1978 and dedicated to Natalia Gutman. She gave the first performance in Moscow on January 23rd 1979, accompanied by Vasilyi Lobanov. Her influence is obvious in the virtuosic cello writing. Double and triple stops abound and the perpetuum mobile quavers in the second movement demand great dexterity. The two lyrical outer movements contain a rich chordal texture whereas, except for one interlude, the presto writing is largely linear. The three movements are thematically related with the opening melody undergoing a character transformation in the middle movement and the quavers of the presto becoming melodic in the final largo. L.H. INTERVAL Sonata in G minor Op.19 Rachmaninov (1873-1943) Lento allegro; Allegro scherzando; Andante; Allegro mosso (Last performed in 1973 by Lesley Shrigley-Jones & Martin Roscoe) This is grand and glorious music for the car and the heart! Impassioned and stormy, tender and romantic, sad and, at times, joyful, it runs the entire gamut of human emotions and stretches (but not quite breaks) sonata form to its limits. True the critics have attacked it on the grounds that it is really a piano work, even saying that it would perform equally well without the cello part. This is a bit harsh for there are some lovely moments, in each movement, for the stringed instrument. The piano part is, of course, beautifully and richly composed one would expect this from one who was so talented a pianist. The first movement opens with a short slow introduction and then bursts into its energetic allegro with a striking first subject heard first on the cello. The second subject, of Schumann tenderness, is launched by the piano. It is the first subject, together with the cello theme from the introduction, which haunt the development. The second movement, a scherzo, is quite brilliant, and worthy to be played in a recital as a separate item. Its impish subject matter, tossed about between the two instruments, invokes a light-heartedness which is infectious. Its second theme is of tender loveliness and allows the cello an uninterrupted place in the limelight.

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The andante movement is an extended meditation of almost vocal proportions. The cello sings its way through impassioned themes, even though most of them appear first on the piano, and towards the end is expected to do impossible things with triplets before the main subject takes over the last few moments. The last movement gets off to a good start, with a robust cello theme and some lively conversations between the two instruments. The cello again has the second subject and it is some time before the piano is allowed to state it passionately. The movement is perhaps too long, and the slow epilogue is welcome after so much rhapsodising, and there are some who decry the added applause-raising coda - but did you not enjoy it? C.W.B. The notes for the Schnittke and Rachmaninov were supplied through the Programme Note Bank of the National Federation of Music Societies. FORTHCOMING EVENTS HUDDERSFIELD MUSIC SOCIETY Future concerts: Monday 26th February at 7.30pm JOSHUA FISHER & ANDREW ZOLINSKY violin & piano Bach - Chaconne; Prokofiev - Sonata No.1 Op.80; Brahms - Sonata in A major Op.100; Paganini - Two Caprices; Ravel - Tzigane Monday 25th March at 7.30pm MICHAEL COLLINS & BRINDISI STRING QUARTET Quartet No.7 by Shostakovich and Clarinet Quintets by Weber and Mozart UNIVERSITY MUSIC DEPARTMENT Monday 5th February at 7.30pm STUDENTS ON STAGE Sonatina for organ - Jennifer Glass; Wanderer Fantasia -Schubert; Music for tenor & harpsichord - Purcell & others; Nocturne & Allegro scherzando - Gaubert HALIFAX PHILHARMONIC CLUB riday 16th February at 7.30pm THE EROICA QUARTET Haydn Op.76/4; Beethoven Op.74; Mendelssohn Op.13 HUDDERSFIELD MUSIC SOCIETY - 1996/97 SEASON: October 14 - Prazak Quartet; November 4 - Nomos Quartet; December 2 - Duncan McTier; January 20 Danish wind Quintet; February 3 - Pizarro/Coombs, 2 pianos; March 10- Vertavo Quartet; April 14- Sorrel quartet + viola & Ben Frith, piano FOUR

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(0251-2881) do: Monday 26th FEBRUARY 1996 JOSHUA FISHER violin and ROGER OWENS piano Programme Chaconne from Partita in D minor Sonata No.1 Op.80 Sonata in A major Op.100 Two Caprices Tzigane Bach Prokofiev Brahms Paganini Ravel Joshua Fisher started learning the violin at the age of five and won his first national award four years later. In 1988 he joined the Royal College of Music and in 1992 completed his studies with a Dip. RCM (performers) First Class. He has won many prizes for solo and chamber music playing as well as orchestral leading and has performed numerous concerti and recitals throughout the UK and appeared as soloist with orchestras in Spain and Italy. Festival recitals include Cambridge, Dartington and Kings Lynn, as well as abroad in France, Spain and Germany. Roger Owens comes from Haverfordwest and studied at the RCM where he gained a M Mus degree in performance studies and first class honours GRSM. He was the first recipient of the President Emerita Scholarship awarded by H.M. the Queen Mother on her retirement as President of the RCM in 1993, given to an outstanding student of the year. Roger Owens has appeared regularly in recital and concerto performances in many parts of Britain and has toured to Bonn, The Hague, Prague and Vienna with the RCM Premier Ensemble. His experience encompasses master classes with Tatyana Nicolaeva and many broadcasts on Radio 3 and Classic FM. Future engagements include Malvern, Buxton and Fishguard Festivals. Roger Owens is now Joshua Fisher's regular duo partner, replacing Andrew Zolinsky. This concert is sponsored by the Countess of Munster Musical Trust.

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Chaconne from Partita in D minor Bach (1685-1750) (Last performed in 1931 by Joseph Szigeti) Bach's set of six solo sonatas really consists of three sonatas and three partitas (or suites) all written in Cöthen between 1717 and 1723 when Bach was conductor of the Court Kapelle. The Chaconne is the fifth and last movement of the second Partita and dominates the work, lasting longer than the Allemande, Courante, Sarabande and Gigue put together. It is a monumental piece of amazing variety, musically and technically and poses severe problems for the violinist of today who does not have the benefit of the old arched bow which rendered playing on three or four strings in a chord much less testing. Bach must have been a very accomplished player as he was known never to write for the instrument what he could not play himself. (Would that he were still with us!) However when playing chamber music he preferred to play the viola. Sonata No.1 in F minor Op.80 Andante assai; Allegro brusco; Andante; Allegrissimo (First performance at these concerts) Prokofiev (1891-1953) David Oistrakh was the inspiration behind Prokofiev's two late violin sonatas and it was at his suggestion that the second of these was adapted from an earlier unsuccessful sonata for flute and piano. This, in D major, was actually finished and performed before the F minor sonata but as Prokofiev had started writing the work we hear tonight first, he decided to give it an earlier opus number. It was premiered in 1946 by Oistrakh and Lev Oborin, and dedicated to the violinist who had earlier given the first performance of No.2. Prokofiev took as his model the violin sonata in D by Handel but it is not only the slow-fast-slow-fast layout of the movements which pays homage to his musical past. The first movement has Bach-like passages throughout and the second movement could be an exercise for some archaic devil-fiddler. The third movement is intensely lyrical and this and the wild finale with its constantly changing rhythms show Prokofiev as one of the great inventors of the 20th century. The work is generally austere and introspective and not a virtuoso work in the strictest sense (it is more than that) but it requires a very good violinist to play it. This note was supplied through the Programme Note Bank of the National Federation of Music Societies

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INTERVAL Sonata in A major Op.100 Brahms (1833-1897) Adagio amabile; Andante tranquillo - vivace; Allegretto grazioso (Last performed in 1985 by Lorraine McAslan and Nigel Clayton) This, the second of Brahms' three sonatas for violin and piano, is the work of a happy composer. Written in 1887 when Brahms was on holiday at Lake Thun in Switzerland, it is often called the Mastersingers Sonata owing to the similarity of the opening bars of the Prize Song. The second theme recalls one of his own songs: Wie Melodien zieht es mir leise durch den Sinn. The second movement shows an interesting experiment in form; the andante alternates with a lively scherzo, the two parts being subtly changed at each re-appearance, finishing with a condensed version of the scherzo theme as coda. The last movement has the violin playing in the lower register for the most part and ends in very rich harmony - a deeply thoughtful rondo movement. Two Caprices; No.2 in B minor No.10 in G minor Tzigane Tzigane was written in 1924, originally with lute accompaniment and later transcribed for violin and orchestra or piano. Ravel had an extraordinary gift for assimilating the rhythmic language and colour of other countries whose music he admired and using the gift to reproduce it in his own work in a very individual manner. Tzigane shows his love of Gypsy music; it starts with a long recitative for violin alone, the kind of improvisation from which Gypsies develop their melodies. The slow tempo gradually increases to a dazzling whirlwind sound from both instruments. Paganini (1784-1840) Ravel (1875-1937) Tzigane was played for us in 1946 by two historic violinists: Ginette Neveu in March and Arthur Grumiaux in December.

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FORTHCOMING EVENTS HUDDERSFIELD MUSIC SOCIETY Last concert of the season, Monday 25th March at 7.30pm BRINDISI STRING QUARTET & MICHAEL COLLINS clarinet Clarinet Quintet by Weber Quartet No.7 by Shostakovich Clarinet Quintet by Mozart HUDDERSFIELD MUSIC SOCIETY- 1996/97 SEASON: See leaflet for details UNIVERSITY MUSIC DEPARTMENT Monday 4th March at 7.30pm UNIVERSITY BIG BAND 12th, 13th & 14th March at 7.30pm UNIVERSITY OPERA GROUP STREET SCENE by Weill, in LAWRENCE BATLEY THEATRE Thursday 21st March UNIVERSITY SYMPHONY ORCHESTRA conductor; Richard Steinitz HALIFAX PHILHARMONIC CLUB Friday 8th March at 7.30pm LINDSAY QUARTET with DOUGLAS CUMMINGS cello Schubert Op.168; Boccherini Quintet in E; Schubert Quintet in C

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HUDDERSFIELD MUSIC SOCIETY Registered Charity 529340 President: Mrs Linda Walker TI WT. Seventy-Eighth Season 1995 - 1996 St. Paul's Concert Hall, Queensgate Monday 7.30 pm.

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Registered Charity 529340 Huddersfield Music Society St. Paul's Hall Date....... 26 FEB 1994 25 MAR1996 In and nino pizzeria mario 1 1 1 TRATTORIA ALLA SCALA 12 ZETLAND STREET HUDDERSFIELD WEST YORKSHIRE Telephone: (01484) 515161 L.1 I I 1 PAY US A VISIT BEFORE OR AFTER A PERFORMANCE EARLYBIRD MENU: Tuesday to Friday 6pm - 7.30 pm Sunday 5pm - 7pm Full - ISTORANA 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 6.00 11.00 pm Sunday 5.00 - 10.00 pm SOLE MIO TRY SOMETHING NEW? HAVE A PIZZA, A GLASS OF WINE HAVE FUN! 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 5.30-10.30 pm Imperial Arcade, Market Street Huddersfield Tel: Huddersfield (01484) 542828 Closed Christmas Day, Boxing Day and New Year's Day OPEN all other Bank Holidays

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Monday 25th March 1996 BRINDISI STRING QUARTET Jacqueline Shave - violin Katie Wilkinson Khoroshunin - viola Patrick Kiernan - violin Chris van Kampen - cello with Michael Collins - clarinet Programme Clarinet Quintet Weber String Quartet No. 7 Op. 108 Shostakovich Clarinet in A K581 Mozart The London based BRINDISI QUARTET was formed in Aldeburgh in 1984 and made a highly successful Wigmore Hall debut with the late Sir Peter Pears. During the 1994/95 season it celebrated its first ten years with a series of concerts at the Wigmore Hall and presented a Bartok cycle at the Almeida Theatre, London and a series of concerts in the Concertgebouw, Amster- dam. Their many festival appearances have included Bath, Brighton, Hudders- field, Norwich and Warwick and foreign tours have taken in France, Germany, Switzerland, the Netherlands, Spain and Italy. While firmly rooted in the classical tradition, the Quartet is committed to exploring new music and has given many first performances including a B.B.C. commis- sion from Mark-Anthony Turnage. After residencies at Aldeburgh and Ulster they took up a further visiting residency at Shrewsbury School. Their highly praised recordings are on the Metronome label. Mindful of MICHAEL COLLINS' beautiful performance of the Brahms Quintet with the Parisii Quartet two years ago, we are very pleased to welcome him back to play, this time, with a distinguished British quartet. Michael Collins' dazzling successes are too many to list here; in 1994 he staged his own major Clarinet Festival at the Wigmore Hall, joined by Sitkovetsky, Dalberto and Isabelle van Keulen. A recipient of the Tagore Gold Medal while a student at the Royal College of Music, he was the youngest ever professor to be appointed there. We are grateful to Forte Crest Brighouse for sponsorship of this concert.

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Clarinet Quintet in B flat Op. 34 Weber (1786-1826) Allegro - Fantasia (Adagio ma non troppo) - Menuetto (Capriccio presto) - Rondo (Allegro giocoso) (First performance at these concerts) 4 Many great works for clarinet have been inspired by the playing of particu- lar virtuosi on that instrument. Weber's numerous works for clarinet - apparently his favourite instrument - were inspired by the brilliant playing of Joseph Bärmann, clarinettist with the Court Orchestra of Munich. Weber heard Bärmann play in 1811 and shortly afterwards, while on holiday at Jegisdorf in Switzerland, sketched the Quintet. However, it was not until 1815 that the final movement, a rondo, was completed. Like Weber's larger scale works for clarinet, the Quintet contains much brilliant writing for the soloist, including wide-ranging scale, arpeggio and chromatic passages. But it also contains many touches of true chamber music, with the cello leading in the second theme and more counterpoint in the recapitulation of the first movement. The Fantasia offers the soloist the chance to demonstrate a fine singing tone, interrupted by two chromatic runs - something of a novelty in the early nineteenth century. The Menuetto is full of dancing rhythms and subtle syncopation, set against a song-like trio. While the finale enables the Weber to exploit fully the virtuoso agility of the clarinet.. String Quartet No. 7 in F sharp Op. 108 Shostakovich (1906-1975) Allegretto - Lento - Allegro-Allegretto (Last performed in 1991 by the Ysaye Quartet) Shostakovich's seventh quartet is one of his most intimate compositions. Dedicated to the "Memory of Nina Shostakovich" (the composer's first wife) the work was completed in 1960. There are three movements, played without a break, though the finale's extended allegretto coda virtually forms a separate movement, like an elegiac epilogue, in which Shostakovich draws together the cogently argued motivic themes, which are common to the preceding movements. The sparse textures are characteristic of the composer's later music, but here even the themes seem subdued. The formal structures are also unusually direct: the first movement is a rare example of abridged sonata form, the composer perhaps saw no need for a separate I

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0 : U ) J development section since so much of the quartet is a continuous working out of the basic material. The Lento is a simple ternary design, made more personal by the permuta- tions of the DSCH motto incorporated near the close. The Allegro takes up the running semiquaver's played by the viola in the Lento and, combining these with other themes, builds a driving fugato, at the climax of which the main theme of the Lento recurs. The quartet finishes quietly, and muted, bringing back themes from the opening movement. Interval during which coffee will be served, kindly supplied by members of St. John's Church, Newsome. Clarinet Quintet in A Major K581Mozart (1756-1791) Allegro - Larghetto - Menuetto-Trio I-Trio II - Allegretto con Variazioni (Last performed by Janet Hilton with the Manchester Camerata 1991) Mozart wrote his sublime Clarinet Quintet in 1789, a year particularly fraught with personal and professional difficulties. As the great scholar H.C. Robbins Landon writes, "if there is any one work that sums up this unhappy year, this must be it - part of it seem to reflect a state of aching despair, but the whole is clothed not in some violent minor key, but in a radiant A major. The music smiles through the tears." The work's mellowness and melodic warmth - inspired by the playing of his friend Anton Stadler - turns often to melancholic reflection, perhaps most poign- antly in the first movement, where, in one of Mozart's most heavenly moments, the clarinet responds with a minor-mode version of the violin's second theme. The Larghetto, set in D major, contrasts a sublimely expressive melody of the opening section (varied in the concluding repetition) with a more impassioned central section. Rather unusually, Mozart alternates two trios with the minuet in the third movement. The finale is a set of variations (incorporating an additional adagio section) based on delightfully lyrical tune. The unique emotions and memorable quality of Mozart's themes have ensured the Quintet's place as the most popular work in the repertoire of chamber music for wind and strings. MRE

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FORTHCOMING EVENTS HUDDERSFIELD MUSIC SOCIETY First Concert of 1996/97 season Monday 14th October 1996 PRAZAK STRING QUARTET For more details of season see pink leaflet. UNIVERSITY MUSIC DEPARTMENT "MONDAYS AT ST. PAUL'S" 15th April Students on Stage 22nd April UNIVERSITY STRINGS: Malcolm Layfield soloist/director The Four Seasons Vivaldi Metamorphosen for 23 strings Strauss. ELLAND & DISTRICT MUSIC SOCIETY Friday 29th March at 7.30 pm VERTAVO STRING QUARTET with pianists: TAMRIKO SIPRASHVILI & MARK ANDERSON Grieg unfinished Quartet in F. Schumann & Brahms piano quintets HALIFAX PHILHARMONIC CLUB Friday 29th March at 7.30 pm RACHEL BROWN flute & SIMON NICHOLLS piano Telemann, Gluck, Hummel, Doppler, Reineke, Boehm & Fauré

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We acknowledge with thanks support for our concerts from Kirklees Cultural Services, Yorkshire & Humberside 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 M. Ellis Miss M. A. Freeman 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 Mrs L. Walker Peter Hawke Garages Goethe Institut, Manchester Marshalls Plc, Halifax Forte Crest, Brighouse National Westminster Bank Plc, Huddersfield Marshalls PLC-

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MM &'S MILLS & SYKES SOLICITORS MARSHALL MILLS 14 High Street, Huddersfield, West Yorkshire HD1 2HA Tel: 01484 423434 Fax: 01484 516621 Company and Commercial Law ● Family & Matrimonial ● Litigation ● Personal Accident and Injury Claims ● Residential Conveyancing . Wills, Probate and Trusts PROFESSIONAL HELP FROM A PROFESSIONAL TEAM YORKSHIRE'S LEADING SPECIALISTS IN KEYBOARDS Step into Woods and discover the biggest selection of new keyboards outside London. PIANOS KEYBOARDS ORGANS · CLAVINOVAS SOLE STEINWAY AGENCY FOR YORKSHIRE. RENT OR BUY Ask for details of our unique rental/purchase scheme. NEW OR USED At Woods we always have the best selection. Woods JVUPH 11/15 Market Street, Huddersfield. Tel: 01484 427455 THE MUSIC SHOP WAN YAMAHA TECHNICS CASIO ROLAND KNIGHT KEMBLE BROADWOOD