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HUDDERSFIELD MUSIC SOCIETY President: Stephen Smith 82nd Season 1999 - 2000 Alice Neary Music at the University of Huddersfield Evening Concert Series Huddersfield Music Society Reg. Charity 529340

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1. Monday 4th October 1999 at 7.30 pm LEOPOLD STRING TRIO From early Schubert to one of Mozart's greatest chamber works this world-class Norwegian/British ensemble presents an interesting and eclectic programme. Trio movement in B flat major D471 Trio in G minor Trio in C major Divertimento in E flat K563 2. Monday 1st November 1999 at 7.30 pm ELIZAVETA KOPELMAN - Schubert Sibelius Françaix Mozart piano Born in Moscow, Elizaveta Kopelman completed her musical studies at the Royal Northern College of Music, Manchester, and at the Britten-Pears school in Snape, and was selected for representation by the Young Concert Artists' Trust. Andante Favori in F WoO 57 Sonata in F minor Op 57 (Appassionata) Pictures at an Exhibition Beethoven Beethoven Mussorgsky Sponsored by Peter Hawke Garages 3. Monday 29th November 1999 at 7.30 pm TAKACS STRING QUARTET This distinguished Hungarian Quartet's all Beethoven programme includes works from the composer's early opus 18 series, from his middle period and from the last great series of five string quartets. Quartet in G major Op 18 No 2 Quartet in E flat Op 74 (The Harp) Quartet in B flat Op 130 Beethoven Beethoven Beethoven 4. Monday 24th January 2000 at 7.30 pm ALICE NEARY- cello GRETEL DOWDESWELL piano The daughter of the distinguished organist, Alice Neary made a great impression with her opening recital at the Wigmore Hall. Gretel Dowdeswell will be familiar to many of our audience as a former member of the Gould Piano Trio. photo: Jason Bell

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er le rt IS ix rt er ic, nd ert en en ky en rly ast en en en ary the any rio. photo: Jason Bell Leopold Trio Takacs Quartet Gretel Dowdeswell 963 Trio Fontenay B 12 Clelia Vanbrugh Quartet unznuj 10 C 8803 Kopelman Elizaveta photo: Carpenter Turner Louise Hopkins photo: Malcolm Crowthers

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ber mble Dert lius gaix Zart her usic, and cert ven ven sky ľ ven arly last ven ven ven eary the any Trio. Shostakovich Cello sonata in D minor Op 40 Cello Sonata in D minor A new commission Debussy John McCabe Cello Sonata No 1 in E minor Op 38 Brahms Sponsored by The Countess of Munster Musical Trust 5. Monday 14th February 2000 at 7.30 pm ACADEMIA WIND QUINTET OF PRAGUE CLELIA IRUZUN - piano Founded at the Prague Conservatory in 1971, the Quintet rapidly made a name for itself in its native land and has since established a world reputation. Born in Rio de Janeiro, Clelia Iruzun has now made her home in London. Wind Quintet in F Op 91 No 3 Antonin Reicha (1770-1836) Quintet in E flat for piano and wind K452 Suite "La Cheminée du Roi René" Quintet in E flat for piano and wind Op 16 Sponsored by Peter Hawke Garages Mozart Milhaud Beethoven 6. Monday 6th March 2000 at 7.30 pm TRIO FONTENAY OF HAMBURG Founded in 1980, the Fontenay ranks among the leading piano trios in the world, and has participated in most of the major European music festivals. Piano Trio in one movement (1983) Reinhard Flender Beethoven Brahms Piano Trio in E flat Op 70 No 2 Piano Trio in B major Op 8 This concert is presented in association with the Goethe Institut 7. Monday 27th March 2000 at 7.30 pm VANBRUGH STRING QUARTET LOUISE HOPKINS - cello Based in Cork, this Quartet has won an enviable reputation since winning the London International String Quartet Competition in 1988. They are joined by the cellist, Louise Hopkins, for Schubert's sublime quintet. Quartet in B major Op 64 No 5 (The Lark) Quartet no 5 (1989) String Quintet in C major D956 Haydn John McCabe Schubert The Huddersfield Music Society is affiliated to the University of Huddersfield and our concerts form part of the "Evening Concert" series. The other concerts in the series are given by the students and staff of the School of Music and Humanities and cover a wide range of musical performance. Full details are published in the Department's brochure, "Music at the University of Huddersfield", obtainable from the Department of Music at the University (Tel. 472003). Tickets Single Season Ticket £40 Double Season Ticket £76 Single Concert £10 Student Ticket Student Season Ticket £15 £3 Tickets may be obtained by using the booking form or from Huddersfield Information Centre, Albion Street, Tel. 223203, or at the door. Please return unwanted season tickets to the Treasurer by 27th September. Post this form with cheque payable to Huddersfield Music Society to the Hon. Treasurer, Mr Michael Lord, 14 Garsdale Road, Newsome, Huddersfield HD4 6QZ (Tel: 01484 - 310104; Fax 01484- 425658). & Please send Name Please send ....... number(s) Address ..... Postcode .......... single/double season tickets I enclose cheque single concert tickets for concert Telephone 1 Total £.........

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16 GOETHE INSTITUT O A629 NEW NORTH TO HALIFAX & M62 MUSIC SOCIETY Honorary Secretary: Mr Gordon Sykes Tel: 01484 663474 Fax: 01484 667988 HUDDERSFIELD TRINITY STREET I Peter Hawke Garages HUDDERSFIELD TOWN CENTRE TO LEEDS UL NORTH AS CASTLE GATE STATION BUS A62 MANCHESTER ROAD TO MANCHESTER Car parking should RAILWAY STATION WT. NATIONAL FEDERATION OF MUSIC SOCIETIES NEMS A616 CHAPEL HILL 1000 00GOD ୦୦୮ 00 000 QUEESINGATE 1 CAR PARK Yorkshire Arts QUEESN ST SOUTHO SOUTHGATE T LEEDS ROAD A62 QUEENSGA be available St. Paul's Hall for a small fee. TO WAKEFIELD & SHEFFIELD 4629 WAKEFIELD ROAD ST. PAUL'S HALL UNIVERSITY OF HUDDERSFIELD across Queensgate from The car park is lit and attended. The concerts usually end at about 9.30 pm.

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HUDDERSFIELD MUSIC SOCIETY Registered Charity 529340 President: Stephen Smith UI WT. Eighty-second Season 1999 - 2000 St. Paul's Concert Hall, Queensgate Mondays at 7.30 pm.

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● PIANOS ● KEYBOARDS ● ORGANS ● DIGITAL PIANOS TV & AUDIO CLAVINOVAS SHEET MUSIC CLASSICAL CDs & TAPES Woods 11-15 MARKET STREET, HUDDERSFIELD 01484 427455 THE MUSIC SHOP MUSICAL INSTRUMENTS BiG ON MUSIC & THE ARTS The Examiner is big on music and the arts, keeping you up-to-date with Huddersfield's thriving cultural scene in a local entertainments package that's second to none. IT'S ALL YOU NEED TO KNOW MAPS AND EANDES For tralicajc Hirne and storin Wi Examiner Res Ufo oeng i know BIG OCAY NEWS .m M propony A₁ Sc Pi W of

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Monday 1st November, 1999 ELIZAVETA KOPELMAN Piano Pictures at an Exhibition PROGRAMME Andante Favori in F major WoO 75 Sonata in F minor Op 75 57. INTERVAL Beethoven Beethoven Mussorgsky We are grateful to Peter Hawke Garages for their generous sponsorship of this Concert.

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Andante Favori in F WoO 57 Andante Beethoven (1770-1827) Composed in 1803, this piece was originally intended to form the slow movement of the Waldstein Sonata, op 53. Perhaps recognising that it was far too long to stand between the mighty outer movements of that work, Beethoven replaced it by the mysterious twenty-eight bar movement which leads into its finale. In contrast, the Andante Favori is perfectly capable of standing on its own, as a complete entity. It is in Rondo form, with a lengthy coda. The main theme is quite complex, and at one point lurches from F major to D flat major and back again. It is varied at each return, mainly by means of changes in the bass part. The start of the coda is heralded by octaves, and it includes a further reprise of the main theme. Sonata in F minor op 57 (Appassionata) Beethoven Assai Allegro: Andante con moto: Allegro, ma non troppo - Presto. (Last performed for us in 1983 by Paul Coker) This work was completed in 1806 and dedicated to Count Franz von Brunswick. The Count had two sisters, Countess Theresa von Brunswick and Josephine von Deym. According to Eric Blom, Beethoven was in love with both these sisters at the time, and he ventures the suggestion that the Count may have been asked to accept the dedication as proxy for the two of them. The sonata was awarded its title by the publisher, Cranz. Whether Beethoven approved of it, history does not record, but it is certainly appropriate to the tempestuous nature of the two outer movements. Their restless spirit is typified by the frequent use of the chord of the diminished seventh, particularly at pivotal points of their form. Although the opening allegro starts quietly enough, the rhythmic arpeggio pattern, the following shake and turn, and the figure akin to the

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OW as Tk, ich its he lat ges her on and ith ant m. ner ly eir ed hic "fate" motif in the Fifth Symphony soon added to it, immediately establish the restless nature of the whole movement. Although the second subject starts in the key of A flat major, this does little to dispel the sombre environment. The initial theme is based on the opening arpeggio pattern and this soon gives way to a violent passage starting in A flat minor. The development section is really an elaborate fantasia, based upon the previous material. Its end is signalled by increasingly urgent statements of the fate motif, and the recapitulation contains interesting divergences from the exposition. The coda is extensive, and often violent. Towards the end the pace is quickened but the closing arpeggio dies away to a whisper, as if exhausted. There could hardly be a greater contrast than with the slow movement. It consists of a single peaceful theme, followed by four variations. The theme is in two eight-bar sections, each of which is repeated. In the third variation the repeats are altered. The fourth variation contains no repeats, and at the end there is no close on to the tonic. The movement ends ambiguously on a diminished seventh, which is taken up enthusiastically and rhythmically in the next movement. The last movement is thus linked directly to the preceding Andante. It is in sonata form and has the character of a moto perpetuo, although characteristically Beethoven does not hesitate to break the running semiquavers at the end of the development section, when a broken chord of the diminished seventh slows from semiquavers to triplets, quavers and finally minims, with which it climbs to the top of the keyboard and descends to the bass. The movement contains a number of interesting features. The composer introduces entirely new themes in the middle of the development section, and at the beginning of the coda. Although the exposition section is not repeated, the composer marked a repeat of the following development and recapitulation. The coda, marked presto, commences with the new theme, of two heavy chords followed by rapid staccato passages. The dramatic tension is thus heightened by the delayed restatement of the main theme, itself with increased and unexpected harmonic breadth, as the music rushes headiong to its emphatic ciose.

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A short note on the piano sonatas of Beethoven Composed between 1793 and 1822, the cycle of piano sonatas surely represents, as a genre, the most complete account of the development of Beethoven's style of composition. From the other F minor sonata, op 2 no.1 to the depths of op 111 we experience an astonishing world of difference. We have passed from the four movement form favoured by Mozart and Haydn to a musical entity where form is subjected to the demands of the material, and to works which may have anything from two to seven movements, sometimes inter-linked. Beethoven's arrival in Vienna corresponded roughly with the launch of the pianoforte, an instrument which combined the percussive qualities of its predecessors with the possibility of a sustained legato line features which admirably suited Beethoven's character. It was only late in his life that he described the piano as unsatisfactory, having stretched it to its limits, and reverted to the string quartet. There followed considerable improvement of the piano, in terms of attack, sonority, sustaining power and reliability, exploited by succeeding composers, such as Mussorgsky. But these qualities are by no means out of place in the performance of Beethoven's sonatas, and may indeed approach the ideal which he could not find in the contemporary instruments. Modest Mussorgsky (1839-1881) Promenade - Gnomes - Promenade - The Old Castle - Promenade - The Tuileries Garden - Byrdlo - Promenade - Ballet of the Chickens in their Shells - Samuel Goldenberg and Schmule - Promenade - The Market Place at Limoges - The Catacombs - The Hut on Fowls Legs (Baba Yaga) The Great Gate of Kiev Pictures at an Exhibition These pieces, composed in 1874, reflect the increasing range and expressiveness of the nineteenth century piano available to composers. Their subjects are inspired by a memorial exhibition of sketches and watercolours by Victor Hartman, the deceased friend of Mussorgsky. They depict everyday scenes, buildings and fabulous but often highly improbable designs. The folk-inspired promenade with its flexible metric divisions represents a stroll around the gallery and provides a linking framework to the set of pieces. With every appearance it changes its mood, often heralding the next set of images. The stumbling freakish character of The Gnome is portrayed by evocative piano gestures and later by the sudden outburst of trills. A more 1

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) ) ) } thoughtful promenade leads us into a contrasting movement, The Castle. Its continuous pedal note, over which a haunting and repetitive Russian melody is heard, gives a sense of timelessness to the picture. The tranquillity is broken by a short, but assertive promenade which conducts us to the first of two pictures: The Tuileries Garden is subtitled "Children in Dispute at Play" and is characterised by lightness and subtlety. The second of these, Byrdlo, an impression of oxen and cart trundling by, is a heavy and lumbering piece, whose left hand piano part is aptly given to the tuba in Ravel's orchestral transcription. As it fades into the distance, a lovely and altered version of the promenade leads the listener into the light and humorous dance of Chickens in their Shells. A rhetorical unison passage then takes us to an affectionate portrayal of an eccentric Jewish character, Samuel Goldenberg. A trembling hesitant passage alternates with unpredictable outbursts in the bass, allowing the listener to imagine an isolated but very human character. The Market is heralded by a strong confident promenade in a major key. The picture itself is full of colour and movement, marked by the rhythmic piano figures, and use of repeated chords and accents, all making considerable demands upon the player in terms of stamina and agility. A controlled chordal passage leads impressively into The Catacombs. It is a morbid and introspective piece, possibly reflecting Mussorgsky's preoccupation with death. Incorporated within the picture, a ghostly version of the promenade theme may be heard in the left hand, beneath chantlike tremolo passages in the treble. The weird Hut on Fowls' Legs takes on a threatening character, embodied in torrents of octaves and dissonance. This gives way briefly to a more expressive passage before leading impressively into the finale. The Great Gate of Kiev is not only a mighty portrayal of its subject, but also a hugely demanding piece of piano writing. Its massive structure is revealed in huge parallel chords, decorated by impressive bell-like effects, up and down the keyboard. These are interspersed with quieter, hymn-like passages; then after a change of rhythm to triplet chords, the music builds up to a sonorous and arresting climax and ending.

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ELIZAVETA KOPELMAN piano Born in Moscow in 1974 to a family of musicians, Elizaveta studied at the Central School of Music in Moscow with Dina Parachina, graduating in 1991. With the aid of a scholarship she continued her studies with Arnaldo Cohen at the Royal Northern College of Music where she won numerous prizes and awards. While at the RNCM she participated in trio masterclasses with Menahem Pressler at the Britten-Pears School in Snape. In June 1995 Elizaveta was selected for representation by YCAT. An enormously popular artist, Elizaveta has performed at major venues and festivals throughout the UK and Europe including critically acclaimed debut recitals at the Purcell Room (1996) and Wigmore Hall (1998). Festival engagements have included recitals at Ribchester, Cirencester, Henley, Chester and Norfolk and Norwich Festivals. In 1997 she gave a live broadcast for the BBC Radio 3 Pebble Mill series and appeared on Classic FM. As a concerto soloist Elizaveta's work has included performances of Rachmaninov, Shostakovich and Schumann. Abroad, Elizaveta has given recitals in New York, Moscow, Saratov and Lvov (Ukraine), appeared at the Flanders Festival in Belgium, and toured throughout South America as soloist under the auspices of the British Council. Within the last twelve months Elizaveta has appeared again at the Wigmore hall and Purcell Room. She has performed the Bartok Sonata for two pianos and percussion at the Wigmore Hall, Harewood House and in Belgium. E N E N [ M ( F - M 02

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1 d h 5 d t 1 , e C f d 1 n e S FORTHCOMING EVENTS HUDDERSFIELD MUSIC SOCIETY Monday 29th November, 1999 at 7.30 pm TAKACS STRING QUARTET Beethoven: Quartet in G major Op 18 No 2 Quartet in E flat Op 74 (The Harp) Quartet in B flat Op 130 MUSIC AT THE UNIVERSITY OF HUDDERSFIELD University of Huddersfield Music Department Monday 8th November, 1999 at 7.30 pm Chamber Recital by Students. HALIFAX PHILHARMONIC CLUB Friday 5th November, 1999 at 7.30 pm in the Square Chapel Ludwig String Quartet Mozart K 458; Chausson Op 35; Dutilleux; Ravel. ELLAND DISTRICT MUSIC SOCIETY Friday 19th November, 1999 at 7.30 pm The Galliard Wind Ensemble and Murray McLachlan Piano and Wind Quintets by Mozart, Beethoven and Rimsky- Korsakov, Sextet by Poulenc. HUDDERSFIELD PHILHARMONIC ORCHESTRA Leland Chen (violin), Rupert D'Cruse Saturday 13th November 1999, at 7.30 pm in Huddersfield Town Hall Schubert (Unfinished Symphony), Bruch, Walton (Henry 5th Suite), Sibelius (7th Symphony)

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DO YOU PAY TAX? WOULD YOU LIKE TO HELP THE SOCIETY? If the answer to both these questions is "YES" then why not complete a Deed of Covenant in favour of the Society, which is a registered charity? For example, if you decided to give £50-00 a year to the Society for a minimum of four years (in addition to any ticket money) then the Inland Revenue would increase this by £14.94. Have a word with our Treasurer Michael Lord at the Interval, or before the next Concert. He will be able to complete the necessary paperwork, which is very simple, and answer any questions. WE RELY UPON THE FINANCIAL SUPPORT OF OUR SUBSCRIBERS TO MAINTAIN THE HIGH STANDARDS OF OUR SEASONS' PROGRAMMES.

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OFFICERS Hon. Secretary J. Gordon Sykes Tel. 01484 663474 Fax 667988 President Stephen Smith Hon. Treasurer P. Michael Lord 14 Garsdale Road, Newsome, Huddersfield HD4 6QZ Tel. 01484 310104 Fax 01484 425658 COMMITTEE Marjorie Glendinning, Peter Lawson, Simon Rothery, Magaret Collinson, Brian Walker, Linda Walker Christine Stanton, Richard Warrington We acknowledge with thanks support for our concerts from Yorkshire Arts and The University of Huddersfield to which the Society is affiliated. The Society is grateful for financial help also from: Mrs E. Crossland, D. Dugdale, M. Ellis, Miss M. A. Freeman, Mrs. M. Glendinning, P. Michael Lord, P. L. Michelson, S. Rothery, J. C. S. Smith, Mrs E. Stephenson, J. G. Sykes, Mrs E. R. Taylor, Mrs L. Walker. The Goethe Institut e Peter Hawke Garages National Federation of Music Societies S NATIONAL FEDERATION OF MUSIC SOCIETIES NEMS

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2 Peter Hawke GARAGES FOR YOUR NEW Mazda OR ΚΙΛ Also a fine selection of pre-owned Japanese and South Korean vehicles, all with... 5-STAR CUSTOMER CARE PROGRAMME Traditional benefits associated with a new car purchase Ask Steve, John, Robin or Paul for full details Prices start at £1,995 COMPETITIVE FINANCE LEASE PURCHASE CONTRACT HIRE Open Mon-Fri 8.30am-7.30pm, Sat 9.00am-5pm Sunday after church ST. ANDREWS ROAD HUDDERSFIELD HD1 6NA Tel: 01484 435499

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HUDDERSFIELD MUSIC SOCIETY Registered Charity 529340 President: Stephen Smith WT. Eighty-second Season 1999 - 2000 St. Paul's Concert Hall, Queensgate Mondays at 7.30 pm.

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PIANOS ● KEYBOARDS ● ORGANS ● DIGITAL PIANOS ● TV & AUDIO CLAVINOVAS ● SHEET MUSIC ● CLASSICAL CDs & TAPES Woods 11-15 MARKET STREET, HUDDERSFIELD 01484 427455 THE MUSIC SHOP ● MUSICAL INSTRUMENTS BiG ON MUSIC & THE ARTS The Examiner is big on music and the arts, keeping you up-to-date with Huddersfield's thriving cultural scene in a local entertainments package that's second to none. IT'S ALL YOU NEED TO KNOW MAPS AND EUIDES for tralica Hirne und Stri คน ใน Examiner It's goed te know BIG LOCAL NEWS THA 1900 popondy

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Monday 29th November, 1999 TAKACS STRING QUARTET Edward Dusinberre(violin) Gabor Ormai (viola) Karoly Schranz (violin) Andras Fejer ('cello) Programme Quartet in G Major Op 18 No 2 3 Quartet in E flat major Op 74 (The Harp) Quartet in B flat major Op 130 Beethoven Beethoven Beethoven The Takacs String Quartet is today recognised as one of the world's leading string quartets. Formed in 1975, acknowledgement of the Quartet's talent was quickly recognised with the award of first prizes at the Evian and Portsmouth International String Quartet Competitions. The Quartet signed an exclusive recording contract with Decca in 1988, and has since recorded works by Haydn, Mozart, Brahms, Schubert. Dvorak, Borodin, Smetana and Chausson. Their recording of the six Bartok quartets, released in 1998, received the 1998 Gramophone award for chamber music. Future recording plans include works by Beethoven and Dvorak. The Takacs Quartet appears regularly in most major cities and has been re-invited to many prestigious festivals, including Salzburg, Berlin, Mostly Mozart and Ravinia. Recent engagements have included appearances at the Tanglewood Festival in Boston and at the Wigmore Hall Schubert Gala in January 1997. They have also made video- recordings of works by Haydn, Mozart, Beethoven and Brahms. Since 1983 the Quartet has held a Residency at the University of Colorado, USA, and in 1988 the Takacs Quartet was appointed Visiting Quartet at the Guildhall School of Music. The Takacs Quartet's attire is by courtesy of Vestimenta, Milan

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Beethoven (1770-1827) Allegro: Adagio-Allegro: Scherzo (Allegro): Allegro molto quasi Presto (Last performed for us in 1977 by the New Budapest Quartet) Quartet in G major Op 18 No 2 Beethoven's String Quartets divide conveniently into three, corresponding to his early, middle and late periods:- the opus 18 set composed between 1799 and 1801; from opus 59 to opus 95 published between 1808 and 1810, and the late quartets written between 1824 and 1826. We have examples of each within tonight's programme. Opus 18 no 2 was probably the fifth of the set to be written. On the face of it the opening movement is in conventional sonata form. The main theme recurs in the development section in the key of E flat, and it is given with magical effect in the key of E major at the opening of the recapitulation. The second movement, in ABA form starts as a concertante movement for the first violin. In a manner later to be adopted and expanded in the slow movements of the Quartet opus 132 and the ninth symphony, the central interlude is at a much faster pace. Upon the return of the Adagio, the concertante element is extended to the 'cello, and later to the entire quartet group. The scherzo is full of wit, grace and charm. The last movement, though in sonata form, contains many elements of the rondo form, since its main theme returns several times. Quartet in E flat major Op 74 (The Harp) Poco Adagio - Allegro: Allegretto con Variazioni (Last performed for us in 1990 by the Vanbrugh String Quartet) Beethoven Presto: Adagio ma non troppo: Beethoven was working on his fifth symphony when he completed this quartet in 1809. Both scherzos have the same structural scheme and he also uses the famous "fate" motif in this scherzo. The enigmatic nature of the slow introduction is due to Beethoven's avoidance of the tonic key until we reach the allegro, with its confident statement of E flat major. The "harp" title becomes clear in the development section, particularly towards its end with the progression of pizzicato arpeggios through the three lower parts against sustained chords from the first violin. The ending of the movement is delayed by a surprising static chordal passage which leads to a re-iteration of the "harp" idea, accompanied by first violin semiquaver decoration. In the lyrical second movement, Beethoven makes use of varied and ingenious accompaniment figures, also exploring the different melodic registers of each instrument. There is a particularly expressive solo for the high register of the 'cello close to the end. The scherzo is in C minor. Based upon the "fate"motif, it is propelled rhythmically, alternating with two, even faster, trio-like sections in the major key. Memorable is the third and last repeat of the scherzo, which takes an unexpected turn away from the tonic of C and ends on a restless diminished seventh. This leads directly into the

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2 } J final movement. The theme and variations form, at which Beethoven excelled, nevertheless contains its own surprises, with two faster sections at the end building towards a fiery unison passage and culminating quietly with the simplest of cadences. INTERVAL Quartet in B flat major Op 130 Beethoven 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 for us in 1995 by the Cherubini Quartet) The opening adagio recurs several times during the first movement, although not at full length. The quaver passage introduced by the cello brings a touch of chromaticism. In the beginning of the allegro a rhythmic pattern announced by the second violin culminates in a rising fourth, and this motif assumes great importance in the development section. The second subject starts in the remote key of G flat major, the theme starting with a rising sixth which is clearly derived from the second bar of the opening adagio. These elements and a rising octave are combined in the development section to furnish a duet between 'cello and first violin, accompanied by a marching rhythm. The second movement, a bustling scherzo, is set in B flat minor. There is a slight allusion to the initial adagio at the beginning of the third movement, before the viola announces the urbane principal theme of the movement The theme of the Alla danza tedesca, in G major, 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 foil to the Cavatina. Beethoven used a title derived from opera for two other great slow movements the Ariosa from his piano sonata opus 110, and the Arietta from the opus 111 sonata. In each case the expression was applied to a sublime melody. The theme is interrupted by a curious passage marked beklemmt (oppressed) in the key of C flat major, but this is quickly forgotten in the return to the main theme. - Beethoven originally intended to complete the work with the movement which we now know as the Grosse Fuge, published as op 133. It seems probable that this was a major element in his original conception of the work, which builds up to it. The Cavatina could be seen as a suitable introduction to it. It was only subsequent generations, in the heart of the Romantic movement, who found Beethoven's late quartets "difficult", but they seem to have been appreciated by his contemporaries. But even the latter jibbed at the length and complexity of the fugue. Surprisingly, Beethoven was prepared to accede to these opinions, and the alternative finale, to be performed tonight, is in fact the last movement he composed. It is a mark of his greatness as a composer that each finale represents a fitting conclusion to this work.

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FORTHCOMING EVENTS HUDDERSFIELD MUSIC SOCIETY Monday 24th January, 2000 at 7.30 pm Alice Neary ('cello) and Gretel Dowdeswell (Piano) Cello Sonatas by Shostakovich, Debussy and Brahms (No 1 in E minor) 14th February, 2000 6th March, 2000 27th March, 2000 The Academia Wind Quintet of Prague with Clelia Iruzun (piano) Trio Fontenay of Hamburg Vanbrugh String Quartet with Louise Hopkins ('cello) HUDDERSFIELD UNIVERSITY "Evenings at St Paul's" Monday December 6th, 1999 at 7.30 pm University of Huddersfield Wind Orchestra and University of Huddersfield Brass Band. HALIFAX PHILHARMONIC CLUB (Square Chapel, Halifax). Friday 10th December, 1999 at 7.30 pm The Lindsay Quartet Haydn op 76 No1, Berg op 3, Dvorak op 96 (American). ELLAND & DISTRICT MUSIC SOCIETY (Church School Hall) Friday 11th February, 2000 at 7.30 pm Lucy Jeal (violin) and Julian Milford (piano) Geminiani, Beethoven (Sonata No 8 in G major), Szymanowski, Wieniawski, Bartok, Grieg (Sonata in C minor op 45) HUDDERSFIELD PHILHARMONIC ORCHESTRA Saturday February 12th, 2000 at 7.30 pm at Huddersfield Town Hall Ireland, Rachmaninov (Rhapsody on a theme of Paganini), Tchaikowsky (6th Symphony)

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OFFICERS President Stephen Smith Hon. Secretary J. Gordon Sykes Tel. 01484 663474 Fax 667988 Hon. Treasurer P. Michael Lord 14 Garsdale Road, Newsome, Huddersfield HD4 6QZ Tel. 01484 310104 Fax 01484 425658 COMMITTEE Marjorie Glendinning, Peter Lawson, Simon Rothery, Magaret Collinson, Brian Walker, Linda Walker Christine Stanton, Richard Warrington We acknowledge with thanks support for our concerts from Yorkshire Arts and The University of Huddersfield to which the Society is affiliated. The Society is grateful for financial help also from: Mrs E. Crossland, D. Dugdale, M. Ellis, Miss M. A. Freeman, Mrs. M. Glendinning, P. Michael Lord, P. L. Michelson, S. Rothery, J. C. S. Smith, Mrs E. Stephenson, J. G. Sykes, Mrs E. R. Taylor, Mrs L. Walker. The Goethe Institut Peter Hawke Garages National Federation of Music Societies NATIONAL FEDERATION OF MUSIC SOCIETIES NEMS ●

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3 Peter Hawke GARAGES FOR YOUR NEW Mazda OR ΚΙΛ Also a fine selection of pre-owned Japanese and South Korean vehicles, all with... 5-STAR CUSTOMER CARE PROGRAMME Traditional benefits associated with a new car purchase Ask Steve, John, Robin or Paul for full details Prices start at £1,995 COMPETITIVE FINANCE LEASE PURCHASE CONTRACT HIRE Open Mon-Fri 8.30am-7.30pm, Sat 9.00am-5pm Sunday after church ST. ANDREWS ROAD HUDDERSFIELD HD1 6NA Tel: 01484 435499

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HUDDERSFIELD MUSIC SOCIETY Registered Charity 529340 President: Stephen Smith UT WT. Eighty-second Season 1999 - 2000 St. Paul's Concert Hall, Queensga Mondays at 7.30 pm.

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● PIANOS ● KEYBOARDS ● ORGANS ● DIGITAL PIANOS ● TV & AUDIO ● CLAVINOVAS SHEET MUSIC ● CLASSICAL CDs & TAPES Woods 11-15 MARKET STREET, HUDDERSFIELD 01484 427455 THE MUSIC SHOP ● MUSICAL INSTRUMENTS BiG ON MUSIC & THE ARTS The Examiner is big on music and the arts, keeping you up-to-date with Huddersfield's thriving cultural scene in a local entertainments package that's second to none. IT'S ALL YOU NEED TO KNOW MAPS AND EUIDES For Hiday Hane und ei ning t The HuddenfickDaily Examiner It's goed te know BIG LOCAL NEWS A

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1 Monday 14th February,2000 THE ACADEMIA WIND QUINTET OF PRAGUE Jiři Maršálek Flute Otto Trnka Oboe Petr Doňek Clarinet František Pok French Horn Josef Janda Bassoon Programme (1 CLELIA IRUZUN Piano Wind Quintet in F (1811) Quintet in E flat k 452 La cheminée du Roi René Quintet in E flat op 16 Reicha Mozart Milhaud Beethoven The Academia Wind Quintet of Prague was founded at the Prague Conservatory in 1971. It soon made a name for itself, winning a prize in the Performing Arts contest of Chamber Ensembles organised by the Czech Ministry of Culture and at the same time the Czech Music Foundation prize. Since then it has established a world-wide reputation, and has been well received in many countries throughout four continents. The ensemble has given numerous recitals on radio and television in various countries They have made recordings for Czech, British, Spanish and Japanese companies, and have been awarded several significant prizes for their recordings of the works of Antonin Reicha. Clelia Iruzun was born in Rio de Janeiro, and it was evident from an early age that she was destined for a career as a concert pianist. Her early years in Brazil, where she studied at the School of Music of the Federal University in Rio culminated in several prizes and major Brazilian composers dedicating works to her. At the age of seventeen Clelia came to Europe where she studied with Maria Curco, Merces de Silva, Noretta Conci and Christopher Elton. In addition she received invaluable guidance from Nelson Freire, Stephen Bishop-Kovacevich and Fou Ts’Ong. Clelia has performed widely in the UK and abroad. We are grateful to Peter Hawke Garages for their generous sponsorship of this concert.

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Wind Quintet in F (1811) Antonin Reicha (1770-1836) Adagio-Allegro moderato: Andante: Minuetto, Allegro: Allegretto: Born in Prague, Reicha was a distinguished composer and musicologist. From 1785 he was a flautist in the orchestra in Bonn in which his exact contemporary, Beethoven, played the viola, and the friendship between the two of them continued when Reicha emigrated to Vienna in 1801. He subsequently moved to Paris, where several of his comic operas were produced. He became professor of counterpoint and fugue at the Conservatoire, and played a considerable part in the development of French music, as his pupils included Gounod, Berlioz and César Franck. He also taught Liszt. His musical output included about two dozen wind quintets, whose character is marked by geniality and charm. Quintet in E flat for piano and wind K452 Mozart (1756-1791) Largo-Allegro moderato: Larghetto: Allegretto YOUR VIC This work was completed in 1784, when Mozart had written his first sixteen piano concertos. It exemplifies his brilliance in balancing the fortepiano against the orchestra, although in this quintet the keyboard is perhaps more of a partner than a protagonist to the other players. The wonderfully eloquent slow introduction is introduced by the piano and swiftly taken up by the other instruments in skilful counterpoint. The following allegro section has two subjects, of which the first is lyrical and the second more interesting rhythmically. Both are treated with typical spontaneity of invention, exhibiting endless variety of partnerships. In the recapitulation, which is reached after several false starts, the themes are rearranged. In the second movement the wind players converse melodically in different groupings against a piano part of broken chords and arpeggios. It has a central section of contrasting material which visits more remote keys before returning to the restrained emotion of the opening. A simple rondo theme, later to be re-scored in its different appearances, is presented first by the piano, next by the wind instruments, and then by the entire ensemble. The independence and equality of the wind instruments is always apparent and exploitation of their individual timbres is of prime importance. Two contrasting episodes appear between repeats of the rondo theme, of which the second is altogether of a more sombre nature, led by the darker colours of the horn and bassoon. A dramatic build-up to a highly unusual and original cadenza precedes the final theme and coda section. 1 INTERVAL

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ct of d r e e n e n d g re 1, d ht al e is re S 0 e n ca 2 } La Cheminée du Roi René op 205 Milhaud (1892-1974) Cortege: Aubade: Jongleurs: La Maousinglade: Joutes sur l'Arc Chasse à Valebré: Madrigal - Nocturno An expert Although an invalid, Milhaud led a long and prolific life. violinist, violist and pianist, he composed music in a variety of genres. He was a member of the group of French composers known as Les Six. In 1939 he wrote the music for part of the Raymond Barnard film Cavalcade d'Amour, choosing the section located in the year 1430. Two months after the completion of this film he composed the suite La Cheminée du Roi René, based upon themes derived from the film. The titles of the various movements refer to the scenes in the film in which those themes were used. The name of the work refers to the most famous of the troubadour courts (courts of love), which belonged to René d'Anjou, Compte de Provence, popularly referred to as le Roi René. The court was near Aix-en-Provence, and a favourite glade of the troubadours still exists as a well-known picnic spot. The titles of the movements are largely self-explanatory. Les Jongleurs were wandering minstrels. La Maousinglade (the badly arranged) was the name of a district near Aix-en- Provence, jouter is to joust and l'Arc is the name of a local river. Quintet in E flat for Piano and Wind op 16 Grave-Allegro non troppo: Andante cantabile: 1408 Beethoven (1770-1827) Rondo, Allegro non troppo Composed in 1796, twelve years after Mozart's piano quintet, it is not surprising to find that Beethoven admired that work greatly, and used it as a model. Interestingly, both works were originally published for strings and piano, wind players commanding less respect at that time. Fortunately the rights of the original wind versions were re-established as undoubtedly both works would have been a great loss from the repertoire of wind players. The heraldic opening introduces a longer and more rhetorical slow section than Mozart's, leading to the principal Allegro theme on the piano, taken up with contrapuntal ease by the clarinet and bassoon. The second subject contains similar pairings, and a fiery codetta leads to a dramatic development of the themes from the exposition, involving dazzling triplet scale passages and the sforzando accents which typify much of Beethoven's writing. However, unpredictably as usual, there is also surprisingly delicate writing for the woodwind in this section, and canonic effects are very much in evidence throughout. A stormy passage after a dominant seventh chord leads to an assertive ending. A theme of simple dignity first played by the piano opens the second movement and returns twice more in different guises. This contrasts with darker minor interludes, particularly featuring a very expressive horn part.

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The last movement is a mixture - the assured Beethoven as in the rollicking hunting-type theme, and two episodes of a more expressive nature. There is plenty of piano display and the rapport between the instruments is easily detected through the interplay of ideas FORTHCOMING EVENTS HUDDERSFIELD MUSIC SOCIETY 6th March, 2000 27th March, 2000 Trio Fontenay of Hamburg Piano Trio in one movement, Flender: Piano Trio in E flat op 70 No 2, Beethoven: Piano trio in B major op 8, Brahms. at St Paul's Hall at 7.30 pm Vanbrugh String Quartet with Louise Hopkins ('cello) Haydn (the Lark), John McCabe and Schubert Quintet in C N.B. Tickets for next Season will be on sale after each of the above concerts. HALIFAX PHILHARMONIC CLUB 18th February, 2000 at the Square Chapel at 7.30 pm Evelyn Tubb (soprano) and Michael Fields (harp, lute, and guitar) ELLAND & DISTRICT MUSIC SOCIETY at 7.30 pm 7th April 2000 The Fitzwilliam String Quartet; Shostakovich, Fauré, Purcell, Beethoven N.B, Please note change of venue to Bethesda Methodist Church Elland HUDDERSFIELD UNIVERSITY 17th February 2000 21st February 2000 at St Paul's Hall at 7.30 pm University Symphony Orchestra Chamber recital

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There is plat detected throug 7.30pm at op 70 No ins ove concert harp, lute, and ure, Purcell urch Elland 30 pm OFFICERS President Stephen Smith Hon. Secretary J. Gordon Sykes Tel. 01484 663474 Fax 667988 Hon. Treasurer P. Michael Lord 14 Garsdale Road, Newsome, Huddersfield HD4 6QZ Tel. 01484 310104 Fax 01484 425658 COMMITTEE Marjorie Glendinning, Peter Lawson, Simon Rothery, Magaret Collinson, Brian Walker, Linda Walker Christine Stanton, Richard Warrington We acknowledge with thanks support for our concerts from Yorkshire Arts and The University of Huddersfield to which the Society is affiliated. The Society is grateful for financial help also from: Mrs E. Crossland, D. Dugdale, M. Ellis, Miss M. A. Freeman, Mrs. M. Glendinning, P. Michael Lord, P. L. Michelson, S. Rothery, J. C. S. Smith, Mrs E. Stephenson, J. G. Sykes, Mrs E. R. Taylor, Mrs L. Walker. The Goethe Institut X Peter Hawke Garages National Federation of Music Societies NATIONAL FEDERATION OF MUSIC SOCIETIES NEMS

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K Peter Hawke GARAGES FOR YOUR NEW Mazda OR ΚΙΛ Also a fine selection of pre-owned Japanese and South Korean vehicles, all with... 5-STAR CUSTOMER CARE PROGRAMME Traditional benefits associated with a new car purchase Ask Steve, John, Robin or Paul for full details Prices start at £1,995 COMPETITIVE FINANCE LEASE PURCHASE CONTRACT HIRE Open Mon-Fri 8.30am-7.30pm, Sat 9.00am-5pm Sunday after church ST. ANDREWS ROAD HUDDERSFIELD HD1 6NA Tel: 01484 435499

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HUDDERSFIELD MUSIC SOCIETY Registered Charity 529340 President: Stephen Smith WT. Eighty-second Season 1999-2000 St. Paul's Concert Hall, Queensgate Mondays at 7.30 pm.

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● PIANOS ● KEYBOARDS ● ORGANS DIGITAL PIANOS ● TV & AUDIO ● CLAVINOVAS ● SHEET MUSIC ● CLASSICAL CDs & TAPES Woods 11-15 MARKET STREET, HUDDERSFIELD 01484 427455 THE MUSIC SHOP ● MUSICAL INSTRUMENTS BiG ON MUSIC & THE ARTS The Examiner is big on music and the arts, keeping you up-to-date with Huddersfield's thriving cultural scene in a local entertainments package that's second to none. IT'S ALL YOU NEED TO KNOW AND CANDLE for Holiday w ARME Hipne od d The Huddersfield Daily Examiner It's a goed is know BIG NEWS pr

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Gregory Ellis Simon Aspel Monday 27th March, 2000 THE VANBRUGH QUARTET Violin Viola Keith Pascoe Violin Christopher Marwood Cello with Louise Hopkins Cello String Quartet in D major Op 64 No 5 (The Lark) Haydn String Quartet No 5 John McCabe Schubert String Quintet in C major D 956 Now in its fourteenth year, the Vanbrugh Quartet is firmly established as one of Europe's most successful quartets. Since winning the London International String Quartet Competition in 1988 they have built a thriving career, giving about one hundred concerts internationally each season. The Quartet is based in Cork, in Ireland, where they hold the position of Resident Quartet to RTE, the national broadcasting service; they are also artists in residence at University College, Cork. The Vanbrugh Quartet has released seventeen CDs. Besides the mainstream classics these include the three quartets by John McCabe, and also works by contemporary Irish composers. In 1996, the Quartet founded the West Cork Chamber Music Festival, based at the spectacular location of Bantry House. This Festival has quickly established itself as a major event in the European musical calendar. The members of the Vanbrugh Quartet play on a fine set of instruments on loan from collections at the Royal Academy of Music and the Maggini Foundation, Switzerland. Louise Hopkins has performed extensively throughout Britain and abroad. As soloist she made her American debut in 1995 for the Dame Myra Hess Memorial Concert series, and her Paris debut in 1996 at the Theatre de la Ville. She has been invited to perform at the Bath, Harrogate, Brighton and Cardiff Festivals, and appears regularly on BBC Radio 3. As a chamber musician she has performed at many festivals throughout Britain and Europe, including Cheltenham and Aldeburgh. She has played with the Takacs String Quartet, and with Andras Schiff and Norbert Brainin.

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String Quartet in D major Op 64 No 5 (The Lark) Haydn (1732-1809) Last played for us in 1992 by the Eder Quartet. Allegro moderato - Adagio Cantabile - Menuetto (Allegro) - Finale (Vivace) This Quartet is one of six dedicated to Johann Tost, ex-colleague of Haydn turned businessman. Tost played in the Esterhazy Orchestra and clearly the spontaneous and creative violin part was written for him to play. The justification for the nickname Lark becomes apparent from the soaring first violin entry in the fifth bar. The first movement is in sonata form and has a curious second subject of gently syncopated chords, quite unlike the neat dotted rhythms of the first. There follows skilful development, visiting remote keys before returning to the recapitulation, in which the themes are presented in different order. The second movement is in ternary form with major sections framing a short middle passage in the minor key. Its opening features a searching and rather wistful violin melody which returns in a richly decorated and complicated form in the third section. A self-assured minuet, characterised by its acciaccaturas in the opening theme, offers more opportunities for the kind of contrapuntal textures we expect from Haydn. It is balanced by a trio in the minor key, once again allowing the three lower instruments some interplay. Lastly the finale sets off in the style of a perpetuum mobile, scarcely allowing time for the listener - let alone the players to catch breath. Fugato treatment of a second theme allows each player to join in the main subject against a spiky, syncopated counter-subject. The ending is achieved with considerable panache. - String Quartet No 5 (1989) John McCabe (b. 1939) First performance at these concerts Lento flesibile - Allegro leggiero - Allegro vivo - Andante - Allegretto deciso e marcato - Allegro deciso - Allegro nervoso - Lento pesante - Allegro vivace This work was commissioned by the 1989 Fishguard Festival with funds provided by the Welsh Arts Council and first performed by the Gabrieli Quartet. It stems from an earlier visit to the Festival during which I visited Picton Castle and saw the Graham Sutherland exhibit there. His series of Aquatints The Bees made a strong impression and the resolve of writing a string quartet derived from this influence was an immediate response. There are fourteen aquatints in the series, and the quartet divides into fourteen sections. However in several cases these sections run into one another without a break and form larger units approximating to the movements of a conventional quartet structure. Thus the work has roughly the overall shape of a substantial slow movement, followed by a } doul sche Suth Lent Alle Alle And Alle Alle Alle WO and оре: visu shap Stri num won abo

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') ) n e g a d e 1 d g 5 1 ) ) () ) double scherzo, interlude (a slow movement acting as a kind of trio), another scherzo and a fast finale. The order of movements, with the headings of the Sutherland aquatints, is as follows:- Lento flesibile Metamorphosis Egg, Larvae, Pupae (concluding with a kind of free cadenza) Allegro leggiero Allegro vivo Hatching 1 (marked by rising flowing violin scales) Hatching 2 Nuptial Flight (contrasting forceful chords and decoration) The Court (with climactic chords of thematic importance) Allegro deciso Allegro nervoso Figure of Eight Dance Orientation to Sources of Nectar and Pollen (a light dance-like scherzo) Round Dance Orientation to Sources of Nectar and Pollen (another slightly faster scherzo) Bee and Flower (a lyrical interlude or trio) Andante Allegro deciso e marcato Wild nest Primitive Hive 1 Primitive Hive 2 (these three sections are marked by shared material and strong rhythmic content) Bee keeper (an obsessive slightly faster movement) linking to Expulsion and killing of an Enemy (marked by irregular rhythms and a growth from piano to forte) Fight between Workers and Drones (a vigorous virtuosic final movement, ending with two references to the climactic chords from "The Court" and a final flourish) Inevitably the decision to respond to the series of fourteen aquatints with a work of the same number of sections relates the music closely to the visual work, and there are a few obvious relationships between the content of both (e.g. at the very opening). But this is first and foremost an abstract work, influenced by a work of visual art and prompted by it, an attempt to rise to the challenge of an unusual formal shape as well as an expression of a personal musical response to an external stimulus. John McCabe 1998 INTERVAL String Quintet in C major D 956 Schubert (1797-1828) Last played for us in 1977 by the Lindsays with Douglas Cummings Allegro ma non troppo - Adagio - Scherzo (Presto), Trio (Andante Sostenuto) - Allegretto, Piu Allegro, Piu Presto By any reckoning the output of Schubert's last year included an extraordinary number of supreme masterpieces - the F minor Fantasia for piano duet D 940, the wonderful piano sonatas in C minor D 958, A major D 959 and B flat D 960, and above all this quintet.

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Whilst Mozart had employed a second viola in his two great string quintets, Schubert chose to use a second cello. This enabled him to write melodies in the tenor register - for example in the second subject of the first movement, where the two cellos duet serenely above the bass of the viola. In other sections, typically the scherzo, a thick sound texture is produced in the bass register. The work is in conventional form throughout and calls for little formal analysis. It is typified by extreme contrasts of mood and key. In the slow movement "divine peace confronts and dispels human angst" (Brian Newbould). Here the ethereal main theme and its reprise are in E major, in contrast to the passionate, almost despairing central section in F minor. The bucolic nature of the Scherzo contrasts with the profundity and solemnity of the Trio. The finale brings us down to earth again. FORTHCOMING EVENTS HALIFAX PHILHARMONIC CLUB at the Square Chapel at 7.30 pm 7th April, 2000 The Bishop-Hastings Piano Duo with two percussionists Bartok Sonata for two pianos and percussion ELLAND & DISTRICT MUSIC SOCIETY at 7.30 pm 7th April, 2000 The Fitzwilliam String Quartet; Shostakovich, Fauré, Purcell, Beethoven N.B. Please note change of venue to Bethesda Methodist Church Elland HUDDERSFIELD UNIVERSITY at Huddersfield Town Hall at 7.30 pm 6th April, 2000 University of Huddersfield Symphony Orchestra, Ian Buckle (piano) and Barry Webb (cond.): Rachmaninov 2nd piano concerto, Tchaikovsky No 5 HUDDERSFIELD PHILHARMONIC ORCHESTRA at Huddersfield Town Hall at 7.30 pm 15th April, 2000 Conductor Rupert D'Cruze Bax, Tintagel; Vaughan Williams, Fantasia on a theme of Tallis; Ravel, Bolero; Bartok, Concerto for Orchestra DATES FOR NEXT SEASON 23rd October, 2000 13th November, 2000 8th January, 2001 22nd January, 2001 12th February, 2001 5th March, 2001 19th March, 2001 The Jerusalem String Quartet The Prazak String Quartet Sarah Fox, Katherine Spencer & Simon Phillips Angela Hewitt The Gould Piano Trio Benjamin Frith, Peter Hill, Julian Warburton & Simon Limbrick Liwei Qin & Gretel Dowdeswell We are extremely grateful to the ladies of St John's Church, Newsome, for the provision of the interval coffee throughout the Season.

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OFFICERS President Stephen Smith Hon. Secretary J. Gordon Sykes Tel. 01484 663474 Fax 667988 Hon. Treasurer P. Michael Lord 14 Garsdale Road, Newsome, Huddersfield HD4 6QZ Tel. 01484 310104 Fax 01484 425658 COMMITTEE Marjorie Glendinning, Peter Lawson, Simon Rothery, Magaret Collinson, Brian Walker, Linda Walker Christine Stanton, Richard Warrington We acknowledge with thanks support for our concerts from Yorkshire Arts and The University of Huddersfield to which the Society is affiliated. X The Society is grateful for financial help also from: Mrs E. Crossland, D. Dugdale, M. Ellis, Miss M. A. Freeman, Mrs. M. Glendinning, P. Michael Lord, P. L. Michelson, S. Rothery, J. C. S. Smith, Mrs E. Stephenson, J. G. Sykes, Mrs E. R. Taylor, Mrs L. Walker. The Goethe Institut Peter Hawke Garages National Federation of Music Societies NATIONAL FEDERATION OF MUSIC SOCIETIES NEMS 3 •

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f Peter Hawhe GARAGES FOR YOUR NEW Mazda OR ΚΙΛ Also a fine selection of pre-owned Japanese and South Korean vehicles, all with... 5-STAR CUSTOMER CARE PROGRAMME Traditional benefits associated with a new car purchase Ask Steve, John, Robin or Paul for full details Prices start at £1,995 COMPETITIVE FINANCE LEASE PURCHASE CONTRACT HIRE Open Mon-Fri 8.30am-7.30pm, Sat 9.00am-5pm Sunday after church ST. ANDREWS ROAD HUDDERSFIELD HD1 6NA Tel: 01484 435499