HMS 83


HMS 83

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HUDDERSFIELD MUSIC SOCIETY President: Stephen Smith 83rd Season 2000-2001 Angela Hewitt Music at the University of Huddersfield Evening Concert Series Huddersfield Music Society Reg. Charity 529340

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1. Monday 23rd October 2000 at 7.30 pm JERUSALEM STRING QUARTET This up and coming quartet of Israelis still in their twenties has earned exceptional acclaim and admiration in the course of recent tours of the United Kingdom. Their programme consists of late works from three great quartet writers. Quartet in B flat K 589 Quartet no 6 Quartet in C op 59 no 3 Mozart Bartok Beethoven Supported by the Israeli Embassy, London. 2. Monday 13th November 2000 at 7.30 pm PRAZAK STRING QUARTET A welcome return of our friends from Prague. An early quartet by Beethoven and a late one by Dvorak frame a short piece by Webern. Quartet in D op 18 no 3 Quartet op 28 Quartet in A flat op 105 Beethoven Webern Dvorak Supported by Peter Hawke Garages 3. Monday 8th January 2001 at 7.30 pm KATHERINE ANN SPENCER- clarinet JULIET JOPLING - viola SAM HAYWOOD - piano The programme for this concert has not yet been finalised, but it is likely to include both Brahms' sonatas op 120, one in the original clarinet version, and the other in the transcription for viola. Sponsored by the Countess of Munster Musical Trust 4. Monday 22nd January 2001 at 7.30 pm ANGELA HEWITT - piano It is rare for us to put on an all-Bach programme, but we felt that having engaged this new luminary on the Bach scene - her playing has been compared with that of Glen Gould - it was only appropriate to do so. Capriccio on the Departure of a Beloved Brother Toccata in C minor Italian Concerto Goldberg Variations Bach Bach Bach Bach Julian Warburton Juliet Jopling

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T meir and ited orks Zart tok wen An rak ven ern rak een ms' and st out the hat ach ach ch ach Julian Warburton Juliet Jopling 699 Jerusalem String Quartet der fo Katherine Spencer HE Peter Hill 2 1 Sam Haywood - Gretel Dowdswell Gould Piano Trio L Prazak String Quartet Liwei Qin

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ET heir and ited orks zart rtok ven An Drak ven Dern rak Deen ms' and ust but the that , Bach Bach Bach Bach 5. Monday 12th February 2001 at 7.30 pm THE GOULD PIANO TRIO This sparkling Trio is making a welcome return to our concerts, this time with its new pianist Ben Frith. Piano Trio in C major Hob. XV:27 Piano Trio Piano Trio in E flat D 929 Supported by Peter Hawke Garages Haydn Ives Schubert 6. Monday 5 March 2001 at 7.30 pm BENJAMIN FRITH and PETER HILL - pianos JULIAN WARBURTON and SIMON LIMBRICK - percussion "There are only three masterpieces for two pianos in the Chamber Music Repertoire, and you have programmed them all." So said one of tonight's solists when the programme was confirmed. Of particular interest is the stunning work by Bartok, involving all four players. Sonata in D Major for two pianos K 448 Mozart Clapping Reich Siegel Debussy Bartok 42nd Street Rondo En Blanc et Noir Sonata for two pianos and percussion 7. Monday 19 March 2001 at 7.30 pm LIWEI QIN - cello GRETEL DOWDESWELL - piano The Chinese born cellist Liwei Qin has been receiving superb reviews for his performances. Gretel Dowdeswell will need no introduction to our regular audience, having featured several times in the past as the former pianist of the Gould Trio. 5 Folk Pieces op 102 Sonata in C op 65 A selection of solo caprices Sonata no 2 in D op 58 Schumann Britten Paganini Mendelssohn Supported by Wheawill and Sudworth 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: 01484 472003). Tickets Single Season Ticket £46 Double Season Ticket £88 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: 01484-223203, or at the door. Please return unwanted season tickets to the Treasurer by 5th October. Post this form with cheque payable to Huddersfield Music Society to the Hon. Treasurer, Michael Lord, 14 Garsdale Road, Newsome, Huddersfield HD4 6QZ (Tel: 01484-310104; Fax: 01484 - 425658). & Please send...................single/double season tickets single concert tickets for concert Please send number(s) Name Address Postcode I enclose cheque Telephone Total £

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Peter Hawke Garages A629 HUDDERSFIELD MUSIC SOCIETY Honorary Secretary: Gordon Sykes Tel: 01484 663474 Fax: 01484 667988 NEW NORTH ROAD TO HALIFAX & M62 Wheawill & Sudworth TRINITY STREET W& NORTH HUDDERSFIELD TOWN CENTRE TO LEEDS CASTLE GATE STATION BUS TO MANCHESTER A62 MANCHESTER ROAD NOI Car parking should RAILWAY STATION SUD WT. Yorkshire Arts 00 10 00! CON A616 CHAPEL HILL 1009 00G00 QUEESINGATE 1 CAR PARK QUEESN ST SOUTHO SOUTHGATE T QUEENS NATIONAL FEDERATION OF MUSIC SOCIETIES NEMS LEEDS ROAD A62 TO WAKEFIELD & SHEFFIELD A629 WAKEFIELD ROAD ST. PAUL'S HALL UNIVERSITY OF HUDDERSFIELD be available across Queensgate from St. Paul's Hall for a small fee. 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 WT. Eighty-third Season 2000 - 2001 St. Paul's Concert Hall, Queensgate Monday 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 MAPE AA GUIDES ANA The Huldenfeld Daily Examiner hd son and to have News Ext 888 BIG UNCAR wupny 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

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(01-02) Monday 23rd October, 2000 THE JERUSALEM STRING QUARTET Alexander Pavlovsky 1st violin Sergei Bressler 2nd violinou but Amichai Gross Viola Kyril Zlotnokov Cello Programme Quartet in B flat K589 Quartet no 6 Quartet in C op 59 no3 (Rasumovsky) Mozart Bartók Beethoven The Jerusalem Quartet, who are all just in their early twenties, have already established a reputation as one of the most interesting and dynamic quartets of their generation. Founded within the framework of the Young Musicians Group of the Jerusalem Music Centre and the America-Israel Cultural Foundation in co-operation with the Conservatory of the Jerusalem Rubin Academy of Music and Dance, they gave their first concert in 1993 in Jerusalem. The Quartet has recently been selected by the BBC for their New Generation Artists scheme, under which they are being offered numerous opportunities over a two year period across the BBC network to develop their considerable talents and will perform a mixture of concerts and studio recordings throughout the United Kingdom. They appear regularly in the Wigmore Hall. They have recorded a CD for the BBC Music Magazine of Beethoven, Haydn and Shostakovich and will be making a debut CD for EMI in November 2000 of works by Shostakovich and Tchaikovsky. Future highlights include a mini Beethoven-series at the Louvre (at which they will appear alongside the Emerson Quartet), concerts in Herkulessaal (Munich), Dusseldorf Tonhalle, Concertgebouw (Amsterdam), Palais des Beaux Arts (Brussels), Berlin Konzerthaus, Cologne Philharmonie and tours of Australia, New Zealand, South America, South Africa, Scandinavia, Japan and the United States. Supported by the Israeli Embassy, London.

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Quartet in B flat K 589 Mozart (1756-1791) Allegro; Larghetto; Menuetto (Moderato); Allegro assai. Written in 1790, this quartet is the second of Mozart's so-called Prussian Quartets. These last three quartets were the fruit of Mozart's visit to Berlin in 1789 and his meeting with William II of Prussia. He had overcome his difficulties in the Vienna set of quartets written in 1773 in which he endeavoured to follow Haydn's example. In these last works he achieved an independence of style more suited to his strong operatic leanings. He was, in fact, writing Cost fan tutte at the same time and K 589 exhibits a similar wit and irony beneath its light and melodious exterior. The opening allegro contains simple melodies, two of them presented by the cello. Variety is introduced by the use of triplet figures, which accompany and link themes and which are exploited more dramatically in a minor key in the development. The endless melodic interplay of the second movement is introduced by an arioso-style melody from the cello with responses from the viola, Mozart's own instrument for which he held great affection. The minuet features a melodic phrase introduced by an incisive chord from the full quartet. The most unusual feature of the quartet is probably its striking and dramatic trio, quite unprecedented in what is normally a cantabile and graceful movement. A short and precipitate final movement, in which the themes develop through skilful counterpoint, concludes the work. String Quartet no 6 Bartók (1881-1945) Mesto-Vivace; Mesto-Marcia; Mesto-Burletta (Moderato); Mesto. Bartók wrote his sixth and last quartet in 1939. Its twentieth century dissonant harmonic idiom reflects the anguish and desolation of a generation entering a second world war, For Bartók it was a communication of personal feelings and expressions of his own unrest. His opening ritornello-like theme, marked mesto, meaning sad, unifies the whole work with an appearance in every movement. In the first movement it is presented as a viola solo, a gloomy, searching and chromatic line. As the movement grows from the organic melody, Bartók employs a variety of textures to develop his idea, from dense harmony through polyphony to rhetorical unison passages. He uses a host of string effects such as pizzicato slides and harmonics in brilliant textural combinations. The insistent and often violent rhythmic passages and dramatic gestures of this movement also convey the pain and futility of existence. 7 1 C 2 ( a L S S t i li CO in ar th

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3 1 y 1 al e e O 1 CS ic ty The cello presents the mesto theme against eerie tremolos in the second movement, eventually moving down to a low C as the other instruments join in. A sardonic march featuring dotted rhythms follows, and later, slide effects and trills compound the irony of this section. A more legato section sustains the tension but allows the instruments to imitate one another in a free-er style, before the return to the march. J The third movement mesto is woven into a dense contrapuntal texture before it is interrupted by a bizarre Burletto, originally a theatrical jest or farce. The leaping angular theme with its jolting rhythms displays a cynical mocking. Relief appears in a more fluid contemplative section before a return to a grotesque ending with even more vehement effects. J The quartet concludes with a culmination of the mesto theme played by all instruments in urgent and dissonant polyphony. The theme seems to fall apart until the viola finally recalls the first few bars of the melody, accompanied by the cello in parallel pizzicato chords. The work ends in a mood of sorrowful resignation. INTERVAL Quartet in C op 59 No 3 (Rasumovsky) Beethoven (1770-1827) Andante con moto - Allegro vivace; Andante con moto quasi Allegretto; Menuetto grazioso; Allegro molto. The three quartets of op 59 are dedicated to Count Rasumovsky, himself a quartet player. Beethoven made his sketches for Op 59 No 3 in 1804 and he had already begun to extend his harmonic and tonal range, thus increasing structural complexity. This follows his first three symphonies and the important Waldstein and Kreutzer sonatas. He was also in the process of writing Fidelio. Typically the opening is a slow introduction which proceeds enigmatically without reference to C major until the Allegro section, beginning with a confident statement from the first violin. This leads to a memorable fiery passage laced with sforzandi and providing a contrast to a more lyrical second subject. These two themes are linked by a transition which appears to quote from the very same passage in Mozart's Dissonance Quartet, a work which Beethoven had heard and admired. The development section produces the harmonic twists and ambiguities expected by listeners of today but reviled by his first audiences. The serious mood of the slow movement in A minor is re-enforced by the combination of melodic counterpoint in the three upper parts combined with an insistent pizzicato drumlike effect from the cello. Sforzandi chords on weak beats and sudden sideways slips in the harmonic progression maintain the despondency of the movement but a lighthearted middle section brings some relief from its intensity.

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The graceful Minuet is balanced by a cheerful trio based on a rising staccato arpeggio succeeded by semiquaver scale passages. Its curious coda after the repeat of the Minuet ends on an unresolved chord leading directly into the final movement, which grows from a fugal theme unusually presented first by the viola. Liberal use of repetitions and diminished sevenths increase the dramatic effect and the final coda is heralded by long trills in the upper parts, themselves a forerunner of Beethoven's late style. FORTHCOMING EVENTS at St Paul's Hall at 7.30 pm Quartet in D op 18 no 3, Beethoven; Quartet op 28, Webern; Quartet in A flat op 105, Dvorak. HUDDERSFIELD MUSIC SOCIETY 13th November, 2000 Prazak String Quartet 8th January, 2001 Katherine Ann Spencer (clarinet,) Juliet Jopling (viola), Sam Haywood (piano): Brahms, Schumann, Kurtag, Bruch. Angela Hewitt (piano): Bach 22nd January, 2001 12th February, 2001 The Gould Piano Trio: Haydn, Ives, Schubert. 5th March, 2001 Benjamin Frith, Peter Hill (pianos) and Julian Warburton, Simon Limbrick (percussion): Mozart, Reich, Siegel, Debussy, Bartók. 19th March 2001 Liwei Qin (cello) and Gretel Dowdeswell (piano) Schumann, Britten, Paganini, Mendelssohn. HALIFAX PHILHARMONIC CLUB at the Square Chapel at 7.30 pm 27th October, 2000 The Jerusalem String quartet: Haydn, Bartók, Tchaikovsky

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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 Margaret Collinson, Brian Walker, Linda Walker Christine Stanton, Richard Warrington We acknowledge with thanks support for our concerts from Yorkshire & Humberside 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 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 Wheawill and Sudworth Peter Hawke Garages National Federation of Music Societies The Embassy of Israel, London The Countess of Munster Musical Trust W&S NATIONAL FEDERATION OF MUSIC SOCIETIES NEMS ●

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* Peter Hawke GARAGES IN TUNE WITH YOUR MOTORING NEEDS ST. ANDREWS ROAD HUDDERSFIELD WAKEFIELD ROAD WATERLOO HUDDERSFIELD Mazda TELEPHONE: 01484 435499 Open Sunday after church ΚΙΛ

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HUDDERSFIELD MUSIC SOCIETY Registered Charity 529340 President: Stephen Smith IIII|I WT. Eighty-third Season 2000 - 2001 St. Paul's Concert Hall, Queensgate Monday 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 MADE FOD GLADDS Plan Inneer. The Hudderdeld Dady Examiner don and to see NEWS Mapy 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

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Vaclav Remes Josef Klusőn Viola 13 Nov. Monday 23rd October, 2000 199 THE PRAZAK STRING QUARTET 1st violin Instruments: 1st violin 2nd violin Vlastimil Holek 2nd violin Michal Kanka Cello Programme String Quartet in D Major op 18 no 3 String Quartet op 28 (1938) String Quartet in A flat op 105 Viola Cello The Prazak String Quartet needs no introduction, having played for us on numerous previous occasions. During the 2000/2001 season they will be playing in Paris, Amsterdam, Dresden, Frankfurt, Berlin, Venice, Madrid, Seville, and at the Schwetzingen Festival, as well as undertaking a tour in the USA. Beethoven Webern Dvořák They have made numerous award-winning CDs, and are at present under contract to Praga/ Harmonia Mundi 1 Lorenzo Guadagini, ca 1730 Tomás Pilar, 1995 Tomás Pilar, 1985 Giovanni Grancino, 1710 (State Collection)

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String Quartet in D op 18 no 3 Beethoven (1770-1827) Allegro; Andante con moto; Allegro; Presto Composed in Beethoven's first period, this quartet is one of six written during the years 1798-1800. His model was of course Haydn, whose example he closely followed in these early works. He had written his first symphony and was invited by his publisher to write some string quartets. The quartet opens serenely with the solo first violin playing a poetic theme over sustained harmonies. This leads to a more spritely passage incorporating repeated triplet figures and sforzandi and eventually to a surprising key change and new idea in C major. The music rests there only briefly before turning towards a more conventional key for the development. After a short development ending with a typically emphatic statement of repeated fortissimo chords, the opening theme is restated an octave lower by the second violin. The opening legato quaver theme of the second movement is presented unusually by the second violin and in a distant key - a favourite ploy of Beethoven's. He then moves to a faster flowing melodic idea characterised by demi-semiquavers and dotted notes. This material is combined and developed. The third movement begins with a nonchalant flowing theme from which the entire movement is derived and this leads to a contrasting sustained trio section in the minor key before returning to the opening theme. Note the characteristic pauses and underlying pedal notes as Beethoven builds tension towards the end. Finally the quartet finishes with a playful fast movement in quavers in which there are constant key changes and skips from one registration to another. The work ends quietly, despite the intensity of the closing passages. Webern (1883-1945) String Quartet op 28 Mässig; Gemächlich; Sehr fliessend Composed between 1936 and 1938, this is one of several of Webern's late works using the serial method of composition. This implies the use of a "row" comprising all twelve notes of the chromatic scale. With this technique there is no possibility of any reference to conventional tonality or harmony. The twelve notes are presented both as a thematic and a harmonic entity in themselves, thus, according to the composer, representing a synthesis between the "horizontal" style of the polyphonic composers and the "vertical" style of the symphonists. The particular series employed in this work has many symmetries. Every other interval is a semitone and the rest are major or minor thirds. The row can be divided into three groups of four notes, or two of six. The second six presents a mirror image of the first, but in reverse order. 3 ma for in ske are int S F as an be se W 10 сс CC IS se lin cl di a th

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" S The first movement consists of a theme with six variations. The composer maintained that the variations correspond to the standard components of the adagio form, including main subject, transitional secondary idea and coda. Webern was in the closing stages of working out this movement when he recorded in his sketchbook the anschluss, the annexation of Austria by Germany. The second movement is a pizzicato scherzo and trio. The themes in each are canonic. The third movement is also a scherzo, in which the development section introduces a fugue. INTERVAL String Quartet in A flat op 105 Dvořák (1841-1904) Adagio-Allegro appassionato; Scherzo- Molto vivace; Lento e molto cantabile; Finale- Allegro non tanto In September 1892 Dvořák travelled to America to take up an appointment as head of the National Conservatory in New York, a position which he held for two and a half years. Immediately before his final return to Bohemia in March 1895 he began work on this A flat quartet, but only got as far as composing the exposition section of the first movement. He then laid the work aside. He did not resume composition until November 1895 when he composed what is generally (but erroneously) thought to be his last quartet, the G major op 106. He returned to this A flat Quartet in December 1895, and succeeded in completing it before the year end. The tentative feeling of the introduction to the first movement is in marked contrast to the brightness of the subsequent Allegro Appassionato. Its main theme is partly derived from the introduction but otherwise includes expressive falls of the seventh and five note chords. The following scherzo is a most vivacious furiant. The glorious melodic line of the trio section is in marked contrast, although its theme is derived from the closing bars of the scherzo. Each repeated section of the Lento movement is made to sound quite different, by the use of changed scoring, and the addition of counterpoint. The final movement presents a novel variation of sonata form, since besides a second subject there is also a third. It is a spirited movement which ensures that the greatest excitement is reserved until the end.

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at St Paul's Hall at 7.30 pm Katherine Ann Spencer (clarinet,) Juliet Jopling (viola), Sam Haywood (piano): Schumann Märchenerzählungen Trio; Brahms Sonata in F minor op 120 no1 (viola & piano); Sonata in E flat op 120 no 2 (clarinet & piano); Bruch 8 pieces for Trio; Kurtag Hommage à Robert Schumann (trio) FORTHCOMING EVENTS HUDDERSFIELD MUSIC SOCIETY 8th January, 2001 22nd January, 2001 12th February, 2001 Angela Hewitt (piano): Bach The Gould Piano Trio: Haydn, Ives, Schubert. 5th March, 2001 Benjamin Frith and Peter Hill (pianos) Julian Warburton and Simon Limbrick (percussion): Mozart, Reich, Siegel, Debussy, Bartók. 19th March 2001 Liwei Qin (cello) and Gretel Dowdeswell (piano): Schumann, Britten, Paganini, Mendelssohn. HALIFAX PHILHARMONIC CLUB at the Square Chapel at 7.30 pm 8th December, 2000 The Lindsay String Quartet: Britten, Schnittke, Schubert. HUDDERSFIELD UNIVERSITY 17th November 2000 at 1 pm 20th November 2000 at 5 pm at St Paul's Hall The University of Huddersfield New Music Ensemble The University of Huddersfield Symphonic Wind Orchestra $

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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 Margaret Collison, 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 Miss M. A. Freeman, Mrs M. Glendinning P. Michael Lord, P. L. Michelson, S. Rothery J. C. S. Smith, J. G. Sykes, Mrs E. R. Taylor, Mrs L. Walker Wheawill and Sudworth Peter Hawke Garages National Federation of Music Societies The Embassy of Israel, London The Countess of Munster Musical Trust W&S NATIONAL FEDERATION OF MUSIC SOCIETIES NEMS .

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کی Peter Hawke GARAGES IN TUNE WITH YOUR MOTORING NEEDS mazda ST. ANDREWS ROAD HUDDERSFIELD WAKEFIELD ROAD WATERLOO HUDDERSFIELD TELEPHONE: 01484 435499 Open Sunday after church ΚΙΛ

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HUDDERSFIELD MUSIC SOCIETY Registered Charity 529340 President: Stephen Smith T WT. Eighty-third Season 2000 - 2001 St. Paul's Concert Hall, Queensgate Monday 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 MAPS 100 GUNDOWS BIG CAL Examiner ked on and on My 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 S L

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Monday 8th January, 2001 KATHERINE ANN SPENCER clarinet, JULIET JOPLING viola, and SAM HAYWOOD, piano Programme Märchenerzählungen for clarinet viola and piano Viola Sonata in F minor op 120 no 1 Eight Pieces for clarinet, viola and piano Clarinet Sonata in E flat op 120 no 2 Schumann Brahms Max Bruch Brahms Katherine Ann Spencer has performed concertos and given solo recitals in the major concert halls, both in the United Kingdom and across Europe, and appears regularly for a variety of radio stations. Her recordings include both of the Brahms Sonatas, accompanied by Sam Haywood. She has had the honour of performing the Mozart Clarinet Quintet with the surviving members of the Amadeus Quartet, and has also worked with the Belcea and Emperor Quartets. Taking a keen interest in contemporary music, Katherine has commissioned and premiered several new works. She is a member of three well-known ensembles, including the Galliard. She has won a considerable number of prizes, and was recently honoured with the "Star Award" of the Countess of Munster Musical Trust. Juliet Jopling studied at the Royal College of Music. Later she was a student of David Takeno, whilst reading economics at Cambridge. She has also studied with Thomas Riebl in Salzburg, and was awarded the Karl Doktor Prize in the Lionel Tertis International Viola Competition. Juliet plays with the Chamber Orchestra of Europe and Ensemble Moderne, Frankfurt. She has performed frequently with the Endymion Enemble. She is also a member of the Vègh Ensemble, which is this season presenting a cycle of concerts in the Musikverein, Vienna. Since his success at the age of thirteen in the BBC Young Musician of the Year and in subsequent international competitions, Sam Haywood has appeared throughout Europe as soloist, chamber musician and recording artist. He has already performed to high critical acclaim in many of the major concert halls in Europe. His numerous broadcasts have included live recitals on Classic FM and BBC Radio 3, including the BBC Young Artists Forum and the BBC Early Music Festival. Sam Haywood initially trained with the late David Harrigan and went on to study with Paul Badura-Skoda in Vienna, moving after four years to London, to work with Maria Curcio, the renowned pupil of Artur Schnabel.

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Märchenerzählungen for clarinet viola and piano op132Schumann (1810-1856) Lebhaft; Lebhaft und sehr markiert; Rühiges Tempo, mit zarten Ausdruck; Lebhaft sehr markiert. Schumann's "Fairy Tales" were published in 1853, almost at the end of his composing career. His output of chamber works was not particularly great, but he had previously written works for clarinet and piano and for viola and piano. The viola announces the restless theme of the opening piece, in B flat. The second is a vigorous item in G minor with a serene middle section in E flat, in which the clarinet and viola sing together in thirds. In the following piece, in G major, the clarinet renders the theme in true cantabile style. The work ends with a somewhat capricious movement in B flat, with a central interlude in G flat. The main theme recalls the opening of the piano concerto. Arpeggio figures are prominent in both clarinet and viola parts Brahms Sonatas op. 120 These two sonatas were composed for clarinet and piano in 1894 and subsequently published for viola and piano, thus creating new genres for which there were no Classical models. Nevertheless Brahms has composed two works of extreme beauty, establishing a partnership between the instruments in spite of their obvious inequality in terms of weight and tone. Tonight's performances prove the versatility of the two combinations. Viola Sonata in F minor op 120 no 1 Brahms (1833-1897) Allegro appassionato; Andante un poco adagio; Allegretto grazioso; Vivace The first movement opens with a solemn statement by the piano and it quickly leads to the fascinating interplay of both instruments which is characteristic of all Brahms' chamber sonatas. The movement alternates between passages of dramatic intensity, in which Brahms exploits the sonorities of the piano and the more delicate textures where the two instrumental lines intertwine in thoughtful communication. The rhapsodic and poised opening melody of the viola in the second movement evokes the memory of Brahms' nocturnal mood from some of his songs, particularly in the sombre piano chords and its ambiguous harmonies. The third movement has a dance-like character rhythmically reminiscent of an Austrian ländler, especially in the second strain of the opening major section. A contrasting minor section in more reflective mood follows. Lastly an energetic rondo movement begins with an affirmative introductory statement from both instruments proceeding to an animated theme scurrying along 1

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) 0 at a brisk pace. In addition to the more tender and poetic episodes, a pealing, bell- like figure invades the movement and is in contrast to the directness of the opening theme. Eight Pieces for clarinet, viola and piano 1 - 4 Andante; Allegro con moto; Andante con moto; Allegro agitato Max Bruch (1838-1920) It was a source of irritation to Max Bruch that he was known mainly as the composer of one work, the Violin Concerto No 1 in G minor Op 26. Whilst his name is now well known to most music lovers, even today there are probably few of them who could name more than two or three of his other works. This is surely a pity, since he composed a variety of works, particularly three operas, oratorios and other choral works and much chamber music. Perhaps the reason is that he failed to change his ideas throughout a long life of composition, and remained trapped in a sort of time-warp based upon the mid-nineteenth century. It is thus not particularly significant that the pieces for clarinet trio were composed comparatively late in his career, being published in 1910. His son, Max Felix, was a gifted clarinet player, and it may be that the composer had him in mind in creating these works. There is some evidence that Bruch intended to use the harp in some of these pieces, but whether in addition to or in substitution for the piano is unclear. Certainly the piano's arpeggio-style accompaniments in three of the pieces (numbers 3, 5 and 6) suggest the possibility of performance by a harp. The first six pieces are either in binary or ternary form, and the last two in sonata form. The fifth piece takes the form of a Rumanian melody, and the sixth is entitled Nachtgesang (Nocturne). Bruch advised against the playing of all together in a concert programme, a stricture which is being partly obeyed tonight! INTERVAL Eight Pieces for clarinet, viola and piano Max Bruch (1838-1920) 5-8 Andante; Andante con moto; Allegro vivace ma non troppo; Moderato Clarinet Sonata in E flat op 120 no 2 Brahms (1833-1897) Allegro amabile; Appassionato ma non troppo allegro; Andante con moto; Allegro. The reflective song-like clarinet melody at the opening quickly leads to extensive interchange of musical ideas between the instruments. The second

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subject is apparently a simple canon in the major but is complicated by the subject appearing inverted in the piano at a distance of only one beat from the clarinet entry. Development of the theme is both lavish and often virtuosic, exploiting pianistic effects of rich sonorous chords and octaves in the bass against extravagant arpeggios and mercurial leaps from the clarinet. There follows a powerful scherzo in E flat minor in which the interchange of themes and ideas is continuous. In its second section in B major the piano takes the initiative, with a gentler sostenuto theme and the instruments continue to lead and support alternately. Lastly Brahms introduces a movement of classical poise with a theme and variations. It offers possibilities of opulent harmony within its different textural combinations. The sonata concludes with a fiery outburst, incorporating cascades of arpeggios and unexpected shifts of rhythmic emphasis. FORTHCOMING EVENTS HUDDERSFIELD MUSIC SOCIETY 22nd January, 2001 Bach: 19th March 2001 Angela Hewitt (piano): Capriccio on the Departure of a beloved brother; 12th February, 2001 Toccata in C minor; Italian Concerto; Goldberg Variations The Gould Piano Trio: Haydn, Ives, Schubert. 5th March, 2001 Benjamin Frith and Peter Hill (pianos) Julian Warburton and Simon Limbrick (percussion):Mozart, Reich, Siegel, Debussy, Bartók. at St Paul's Hall at 7.30 pm Liwei Qin (cello) and Gretel Dowdeswell (piano): Schumann, Britten, Paganini, Mendelssohn. UNIVERSITY OF HUDDERSFIELD 15th January, 2001 at St Paul's Hall at 7.30 pm University Big Band and Chamber Recital HALIFAX PHILHARMONIC CLUB at the Square Chapel at 7.30 pm 19th January, 2001 Rachel Brown (flutes) Mark Caudle (viola da Gamba) James Johnston (harpsichord): Sonatas by J S Bach, Leclair, J-P Rameau, Marais and CPE Bach We are grateful to the Countess of Munster Musical Trust for their generous financial support for tonight's concert.

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ect ry. tic nt ge es ad nd al es d 1, es P 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 Margaret Collison, 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 Miss M. A. Freeman, Mrs M. Glendinning P. Michael Lord, P. L. Michelson, S. Rothery J. C. S. Smith, J. G. Sykes, Mrs E. R. Taylor, Mrs L. Walker Wheawill and Sudworth Peter Hawke Garages National Federation of Music Societies The Embassy of Israel, London The Countess of Munster Musical Trust W&S NATIONAL FEDERATION OF MUSIC SOCIETIES NEMS

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< Peter Hawhe GARAGES IN TUNE WITH YOUR MOTORING NEEDS ST. ANDREWS ROAD HUDDERSFIELD WAKEFIELD ROAD WATERLOO HUDDERSFIELD Mazda TELEPHONE: 01484 435499 Open Sunday after church ΚΙΛ

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HUDDERSFIELD MUSIC SOCIETY Registered Charity 529340 President: Stephen Smith WT. Eighty-third Season 2000 - 2001 St. Paul's Concert Hall, Queensgate Monday 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 MADS AND GUDRS Examiner Add to kee BIG UNCAL NEWS was 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

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13 Fir Monday 22nd January 2001 ANGELA HEWITT Piano Programme J.S.BACH Capriccio on the Departure of a Beloved Brother Toccata in C minor Concerto in the Italian Style Goldberg Variations Angela Hewitt continues to captivate and charm audiences around the world with her musicianship and virtuosity. Since her triumph in the 1985 Toronto International Bach Competition, and her subsequent recording for Deutsche Grammophon, Miss Hewitt has been hailed as "nothing less than the pianist who will define Bach performance on the piano for years to come" (the Sunday Times, 1999). "In the realm of art I don't believe in the concept of "best ever", but I will say that I have never heard a recording of the Goldbergs which better captures the joy, the songfulness, the dancefulness, the virtuosity, the simplicity, the pathos, the finesse of detail and the large-scale integration of this all-embracing masterpiece. Purists may blanche at the odd added octave or the musicologically suspect ornament here and there, but to all others it can be recommended unreservedly." (BBC Music Magazine December 2000). Born into a musical family in Ottowa, Miss Hewitt began her musical studies at the age of three, performing in public at four, and giving her first recital at Toronto's Royal Conservatory of Music at nine. Miss Hewitt's repertoire is vast, ranging from Bach to the contemporary. For CBC Records she has recorded the Spanish Dances of Granados, and in 1998 Hyperion released a single disc devoted to the works of Olivier Messiaen. However it surely for her performances of the works of Bach that she has received her greatest acclaim. Miss Hewitt has made her home in London since 1985. She has been awarded an honorary doctorate from the University of Ottowa, and in 1997 she received the Key to the City of Ottowa.

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Capriccio in B flat major on the Departure of a Most Beloved Brother BWV 992 Friends gather and try to dissuade him from departing They picture the dangers which may befall him. The Friends' Lament JS Bach (1685-1750) Since he cannot be dissuaded, they say farewell Aria of the Postillion Fugue in Imitation of the Postillion's horn This work appears to have been written between 1703 and 1706, during Bach's time in Weimar. It was at one time supposed that its heading referred to the composer's brother Johann Jacob, who left at about the same time to join the Swedish army. Indeed the Italian title to the piece was traditionally altered so that it referred to the departure of his most beloved brother. The theory is almost certainly false and the word brother may well represent a member of a professional or similar organisation. In the Postillion's aria, the post-horn is represented by a descending octave figure, and the same figure appears several times in the following fugue. Toccata in C minor BWV 911 Italian Concerto BWV 971 Allegro moderato JS Bach The word "toccata" is derived from the Italian toccare, to touch, and originally described a work that was to be played, rather than sung. It is in this sense that Bach used the description here, rather than in its later restricted meaning as a form of introduction. This work was probably one of Bach's first clavier compositions, being written during his early years at Weimar. The introduction and following adagio conjure up an atmosphere of sadness and yearning. This is dispelled by the following magnificent fugue, which bubbles over with youthful confidence and energy. After forty-eight bars the fugue is briefly interrupted by a recitative-like passage, whereupon Bach introduces a second subject and goes on to create a double fugue. The work culminates in an adagio passage which builds up into a mighty chord before quietly descending into the bass. Andante Presto The Concerto nach Italianischen Gust (concerto in the Italian Taste or Style) was published in 1735 as part two of Bach's collection of Clavierübung (keyboard practice) in four parts. Bach's clavier music, much of it written in Leipzig, shows his cosmopolitan style resulting from the general discussion at that time of the role of G the utili of th mo rela tech Ar T cre VID nis In he as E de al SL pr nu es m ha ar u: th t a

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) ) ) J of German music in relation to French and Italian tastes. The work is a replica of the Italian concerto grosso, transferring the orchestral style to the keyboard. It utilises the two manuals of the harpsichord to emphasise the solo and tutti elements of the concerto. It has three movements of which the first and last are brisk-paced, cheerful movements in F major with clear solo episodes. The central movement in the relative minor key manifests a florid melodic line above static harmonies, a technique Bach also used in the slow movement of his E major violin concerto. INTERVAL Aria and Thirty Variations entitled The Goldberg Variations BWV 988 JS Bach Bach reveals in this set of variations a glorious demonstration of his creativity and originality. The variations were supposedly written for a young virtuoso pupil named Johann Goldberg, and intended for him to play through the night to relieve the insomnia of the Count Keyserlingk of the Court of Dresden. In Bach's own words the set is "for music-lovers, to refresh their spirits." Clearly he took great pride in these variations, publishing them in 1742 at his own expense as part of Clavierübung. A dignified opening Sarabande theme, embellished in the French manner, introduces a highly conventional bass line, from which all future variations are derived. The harmonic structure prevails throughout the variations with little alteration although there are three in the minor key and three which are more chromatic in the later variations. The thirty variations proceed in sets of three, with each set being a little suite of three movements. The first two movements of each set are contrasting pieces and the third is a canon. There is a rich diversity of style and the textures are varied with different numbers of voices. The two-part movements, of which there are twelve, are especially elaborate, as the two voices often cross one another at high speeds, making the execution very demanding on a piano but appropriate to the two-manual harpsichord. These two-part pieces seemed to provide a special challenge for Bach and near the end he even succeeded in creating one with unusual thicker textures by using chords instead of single notes in one part. The three-part pieces, of which there are fourteen, are reminiscent of the extensively-used trio sonata form in which two equal voices interweave above a strong bass. Four variations are in four parts and two of these are fugues. Throughout Bach refers to the genres and styles of the

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day, in particular instantly recognisable dance forms with which audiences would have been familiar. At the centre of the work, Bach introduces a French Overture with dotted rhythms and flourishes, followed by its fitting fugal section. This is an important focal point in the work as it introduces the second half. The canons, (third movement of each set), become progressively more complex as Bach introduces the second voice at a wider interval each time. He also displays his usual adroitness in inverting themes and introducing intricate chromatic and minor variations. Before the final return to the Sarabande theme, Bach introduces a quodlibet, meaning "whatever takes your fancy". With familiar dexterity which would have been appreciated by his eighteenth century audiences he weaves two well known popular tunes of the day into his counterpoint. All movements are in binary or two-part form and Bach intended each half to be repeated. Given therefore that you hear the same bass repeated sixty four times, this work is an astonishing feat which no other composer (with the exception of Beethoven with his Diabelli Variations) has ever brought off. Bach was writing these variations as a virtuoso keyboard player, exploring the limits of the instrument, but they are also a reflection of his experience and immense humanity. HUDDERSFIELD MUSIC SOCIETY 12th February, 2001 FORTHCOMING EVENTS 5th March, 2001 The Gould Piano Trio: Haydn, Trio in C major Hob. XV:27 Ives, Trio Schubert Trio in E flat major op 100 Benjamin Frith and Peter Hill (pianos) Julian Warburton and Simon Limbrick (percussion): Mozart, Reich, Siegel, Debussy, Bartók. Liwei Qin (cello) and Gretel Dowdeswell (piano): Schumann, Britten, Paganini, Mendelssohn. 19th March 2001 HALIFAX PHILHARMONIC CLUB 16th February 2001. at St Paul's Hall at 7.30 pm at the Square Chapel at 7.30 pm The Gould Piano Trio - Beethoven, Ravel, Mendelssohn. HUDDERSFIELD UNIVERSITY 29th January 2001 5th February 2001 at St Paul's Hall at 7.30 pm Chamber Recital by University Music Department Chamber Recital by University Music Department For further information visit our new web site at huddmusicsociety.plus.com

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es would ch dotted mportant y more He also romatic odlibet, ld have known ch half ty four ception writing ment, Simon 1 com 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 Margaret Collison, 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 Miss M. A. Freeman, Mrs M. Glendinning P. Michael Lord, P. L. Michelson, S. Rothery J. C. S. Smith, J. G. Sykes, Mrs E. R. Taylor, Mrs L. Walker Wheawill and Sudworth Peter Hawke Garages National Federation of Music Societies The Embassy of Israel, London The Countess of Munster Musical Trust W&S NATIONAL FEDERATION OF MUSIC SOCIETIES NEMS

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Peter Hawke GARAGES IN TUNE WITH YOUR MOTORING NEEDS ST. ANDREWS ROAD HUDDERSFIELD WAKEFIELD ROAD WATERLOO HUDDERSFIELD Mazda TELEPHONE: 01484 435499 Open Sunday after church ΚΙΛ

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HUDDERSFIELD MUSIC SOCIETY Registered Charity 529340 President: Stephen Smith WT. Eighty-third Season 2000 - 2001 St. Paul's Concert Hall, Queensgate Monday 7.30 pm.

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● PIANOS KEYBOARDS ● ORGANS DIGITAL PIANOS T 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 MAAND GULON Px Indis In Amer Examiner In twe BIG

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Monday 12th February 2001 THE GOULD PIANO TRIO LUCY GOULD (Violin) MARTIN STOREY (Cello) BENJAMIN FRITH (Piano) Programme Piano Trio in C major Hob XV:27 Piano Trio Piano Trio in E flat op 100 Haydn Ives Schubert The Gould Piano Trio are no strangers to Huddersfield, having played at our concerts on numerous previous occasions. Formed in 1987, the Trio have established a reputation as one of the most exciting ensembles to emerge in recent years. Highly regarded in the field of chamber music, they enjoy a career that takes them to major venues both in the UK and overseas. Chosen as the British "Rising Stars" for the 1998-99 Season, the Trio have performed in such prestigious venues as New York's Carnegie Hall, Amsterdam's Concertegebouw, Brussels' Palais des Beaux-Arts, Birmingham's Symphony Hall and major halls in Paris, Cologne, Athens and Vienna. As part of their commitment to extending the piano trio repertoire, the Goulds have commissioned works and performed many contemporary pieces. In spite of the Trio's busy schedule, each of the members also pursues a distinguished career as soloist, orchestral principal or accompanist. We are grateful to Peter Hawke Garages for their generous sponsorship of this Concert.

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Piano Trio in C major Hob.XV:27 1. Allegro 2.Andante Haydn (1732-1809) 3.Finale (Presto) This work was one of many trios composed by Haydn at the end of the eighteenth century when the piano was central to amateur music making. It represents perhaps the antithesis of the string quartet in its more relaxed, less intellectual style of music. Like Haydn's piano sonatas it is possible that these works have not achieved the recognition that they deserve because of their apparent simplicity and small scale conception. Within each individual trio lies a seemingly inexhaustible fund of beautifully developed material which Haydn has crafted into a perfect miniature work of art. Although the piano is central to the work and often appears to dominate, both violin and cello interact with it. passing ideas, provoking exchanges and occasionally exchanging dialogue between themselves. The first movement is full of charm and opens with a sprightly theme played by the piano and supported by witty exchange from the other two instruments. This is followed by a theme built around triplet figures in which the violin and cello collaborate. The development is full of lively badinage and there is a delightful feeling of mutual support between the instruments as well as of a competitive edge. A serene and thoughtful mood initiates the second movement which is unexpectedly in A major, but this is short lived as it is punctuated by excursions into more dramatic and rapidly changing sections exploiting subtleties of key and humour. The final movement begins with a flippant fast motif which pervades the movement. After a deviation into more dramatic territory a return to the opening idea completes this exquisite chamber work. Piano Trio Charles Ives (1874-1954) 1. Andante moderato: 2. Presto-piu mosso-Adagio-Allegro moderato-Allegro assai-Adagio-Presto. TSIAJ: 3. Moderato con moto-Andante sostenuto-Maestoso-Andante con moto-Allegro A businessman as well as a composer, (he built one of the most successful insurance empires in America), Ives had to wait upwards of forty } C 2 r C I C I f f t

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9) he It SS at of al al me nd ly ne 10 ch ge as ch by ng es e 4) st ty years for recognition of his compositions. His style was unique, consisting of multi-layered strands of melody, operating in different time scales, apparently randomly independent of each other. The melodies themselves were typically derived from the public domain - a folk song, negro spiritual, march or revivalist hymn. The Piano Trio was written between 1904 and 1911. Its first movement is a perfect illustration of the layering technique. Bars 1 to 27 consist of a duet for piano and cello; bars 28 to 52 contain a different duet for violin and piano; in bars 52 to 80 the duets are played simultaneously. Whilst each duet seems perfectly capable of subsisting on its own, the two combine very well. The heading for the second movement, TSIAJ, stands for "This Scherzo is a Joke"(and a poor joke too, said Ives towards the end of his life). In the third movement the hymn "Rock of Ages" is quoted and varied for fourteen measures. INTERVAL Piano Trio in E flat major op 100, D 929 1. Allegro: 2. Andante con moto: 3. Scherzando (Allegro moderato): 4. Allegro moderato. The performance of this work will take place without the usual cuts. N.B. Schubert (1797-1828) This trio was composed in 1827 and like most of Schubert's chamber works was at first played privately by the composer and his friends. The music is typically full of expansive melody and the music seems to be an expression of Schubert's own personality in its sunny outlook with a tendency to turn suddenly towards melancholy or sentimentality. A dramatic unison statement opens the work and is followed by contrasting musical ideas before turning to a highly lyrical second subject introduced by the violin and cello in counterpoint. A solemn extended melody in C minor is central to the second. movement, played first by the cello accompanied with simple piano chords. The instruments then change roles and the piano plays the tune in characteristic octaves. Most important developmental material is the simple falling two-note idea at the end of the third phrase; this is repeated and featured often throughout the movement. The same melody assumes a more turbulent character towards its close.

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Notable in the scherzo is the use of canon and it has, with the heavy- footed dance feel of the trio, precedents in Haydn's music. The last movement presents a chameleon-like mixture of passion and tenderness. It opens with an innocent little rondo theme which encourages witty exchanges between the three instruments. An unusual key scheme is highlighted by the alternate use of the opening compound-time signature with a simple two-beat pulse. References to the folk tune of the second movement are frequent and this is treated to elaborate cascades of triplets in the piano accompaniment towards the end. The work concludes with a brief forthright statement of the opening phrase endorsed by a final consummate cadence. (51 FORTHCOMING EVENTS HUDDERSFIELD MUSIC SOCIETY 5th March, 2001 Julian Warburton and Simon Benjamin Frith and Peter Hill (pianos) Limbrick (percussion): Mozart Sonata in D major for two pianos K 448; Reich Clapping; Siegel 42nd Street Rondo; Debussy En blanc et noir; Bartok Sonata for two pianos and percussion. 19th March 2001 Liwei Qin (cello) and Gretel Dowdeswell (piano): Schumann, Britten, Paganini, Mendelssohn. HALIFAX PHILHARMONIC CLUB 16th February 2001. at St Paul's Hall at 7.30 pm at the Square Chapel at 7.30 pm The Gould Piano Trio - Beethoven, Ravel, Mendelssohn. HUDDERSFIELD UNIVERSITY 19th February 2001 at 7.30 pm at St Paul's Hall The University of Huddersfield Early Music Ensemble and Chamber Recital For further information visit our new web site at huddmusicsociety.plus.com

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vy- and ges e is ith ent no ht 11 n et OFFICERS President Stephen Smith Hon. Secretary J. Gordon Sykes Tel. 01484 663474 Fax 667988 Gordon.sykes@virgin.net Huddmusicsociety.plus.com Hon. Treasurer P. Michael Lord 14 Garsdale Road, Newsome, Huddersfield HD4 6QZ Tel. 01484 310104 Fax 01484 425658 Michael.Lord@btinternet.com COMMITTEE Marjorie Glendinning, Peter Lawson, Simon Rothery Margaret Collison, 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 Miss M. A. Freeman, Mrs M. Glendinning P. Michael Lord, P. L. Michelson, S. Rothery J. C. S. Smith, J. G. Sykes, Mrs E. R. Taylor, Mrs L. Walker Wheawill and Sudworth Peter Hawke Garages National Federation of Music Societies The Embassy of Israel, London The Countess of Munster Musical Trust W&S NATIONAL FEDERATION OF MUSIC SOCIETIES NEMS

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* Peter Hawke GARAGES IN TUNE WITH YOUR MOTORING NEEDS ST. ANDREWS ROAD HUDDERSFIELD WAKEFIELD ROAD WATERLOO HUDDERSFIELD Mazda TELEPHONE: 01484 435499 Open Sunday after church ΚΙΛ

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HUDDERSFIELD MUSIC SOCIETY Registered Charity 529340 President: Stephen Smith WT. Eighty-third Season 2000 - 2001 St. Paul's Concert Hall, Queensgate Monday 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 KAD GANDUS Im s P Examiner **** BIG muy 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 S C 4ES H fc SC U ha S W al of ar W a W m pa re ma Со pr re

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(ory Monday 5th March, 2001 BENJAMIN FRITH and PETER HILL Pianos JULIAN WARBURTON and SIMON LIMBRICK Percussion Programme Sonata in D major K448 for two pianos Clapping 42nd Street Rondo En Blanc et Noir Sonata for two pianos and percussion Mozart Steve Reich Siegel Debussy Bartók No stranger to the town, Julian Warburton studied percussion at the Huddersfield University where he graduated with first class honours. At the forefront of a new generation of percussionists, Julian is much sought after as a soloist, recitalist and ensemble player. Besides giving recitals at many major United Kingdom concert halls, including the Wigmore and Bridgewater, Julian has worked with the London Sinfonietta, Endymion and Nash Ensembles, BBC Symphony Orchestra and others. Simon Limbrick's involvement in music embraces performance, leading workshops and composing. He is always in demand as a percussionist performing all over the world with the Nash and Endymion ensembles, Ensemble Bash and others. As composer he has created works for a variety of groups and ensembles, and as performer has been the recipient of many works created for him. Benjamin Frith was born in South Yorkshire, and studied with Fanny Waterman from the age of ten. His international career expanded with the award of a gold medal at the Arthur Rubinstein Piano Masters Competition in 1989, since when he has performed with many orchestras world-wide. He is also of course a member of the Gould Piano Trio. He has won golden opinions for his recordings, particularly Beethoven, Schumann and Mendelssohn, and is currently engaged on recording a cycle of John Field's Nocturnes. Peter Hill studied with Nadia Boulanger and Cyril Smith. As soloist he has appeared at numerous international festivals and with leading orchestras. Of his many recordings, that of the complete piano music of Messiaen, made with the composer's help and guidance, was described as "one of the most important recording projects of recent years" and his recording of Beethoven's Diabelli Variations received superlative reviews. With financial assistance from Yorkshire Arts.

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Sonata for two Pianos in D major K 448 1. Allegro con spirito 2.Andante Mozart (1756-1791) 3. Molto Allegro This attractive sonata for two pianos was written in 1781 in Vienna for performance with Josephine von Aumhammer, one of his most gifted pupils. This sonata shows the influence of the light and charming styles used in Mozart's serenades and divertimenti at the time and it reflects his assimilation of the galant style popular in the music centres of Europe which he had visited. The first movement opens with a flourish and quickly establishes a feeling for sonorities in the combination and exploitation of the registers of the two instruments between the two players. After exchange of delightful scalic and arpeggio themes a temporary feeling of restraint descends with a more gentle second subject and this leads to a canonic passage. The movement entices the listener endlessly with its infinite variety of melodic invention and exhilarating pace of transition. A contrast descends in the peace and tranquillity of the second movement which begins with a simple theme suspended over a triadic accompaniment. The loquaciousness of the first movement is replaced by a conversational tone in which the players alternately make a statement and respond to one another in uplifting manner. A minor episode scarcely disturbs the serenity of the movement and iridescent cascading arpeggios preceding the final bars are memorable for their sheer perfection. High spirits return in the last movement with a sparkling theme which sets off another chain of operatic type responses in which both players participate with unlimited joie de vivre. Clapping Music Steve Reich (b. 1936) "Clapping Music was composed in December 1972. For some time I wanted to do a piece for clapping so that no instruments would be necessary beyond the human body. At first I thought it would be a phase piece where both performers start in unison and then one gradually increases his tempo while the second one stays put, but this turns out to be very hard to do while clapping and moreover, introduces a great difficulty in musical process (phrasing) that is out of place with such an easy way of producing sound (clapping). The solution was to have one performer remain fixed, repeating the basic pattern throughout, while the second after a number of repeats in unison, changes to the same pattern with its downbeat shifted over one beat. This abrupt change of downbeat position makes it difficult to hear that the second performer is in fact always playing the same original pattern as the first performer in each of the twelve different sections of the piece." Steve Reich l

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g d d T f t 3. 1 S I 1 S e t t 1 99 42nd Street Rondo Wayne Siegel (b. 1953) Wayne Siegel was born in Los Angeles in 1953, but he has resided in Denmark since 1974. He studied composition at the University of California at Santa Barbara and at the Royal Academy of Music in Aarhus, Denmark. Siegel writes music in many genres ranging from computer music to orchestral works, from chamber music to a full-length science fiction opera. Since 1986 he has been employed as director of Denmark's national computer music centre, DIEM. "42nd Street Rondo is written for two percussionists with two matched sets of percussion instruments. Each measure is repeated several times, the number of repetitions being decided by the players. In some cases player A decides when to move on, in other cases player B decides when to move on and in some cases both players must agree on when to move on. This gives the players a certain amount of freedom to shape the piece during performance. The title refers to the corner of 42nd Street and Broadway in Manhattan, where street musicians often perform... I originally imagined the piece being performed in the location where I wrote it. 42nd Street Rondo was commissioned by the Danish Percussion Group with financial support from the Danish State Art Foundation. The piece has been performed widely by the Safri Duo." Siegel. En Blanc et Noir Debussy (1862-1918) This work was composed in 1915 at the height of combat in the First World War. Debussy was very conscious of the heroism of the French fighting forces and his own inability to match their self-sacrifice, due to old age. Each piece in the work is headed by a dedication and an extract from a poem. There could surely be no better commentary on the work than to quote the poetry in translation. 1. 2. 3. Avec emportement. Who remains in his place and joins not in the game Of some secret disgrace Holds himself to blame. Lent. Sombre "Dedicated to my friend A. Kussewitsky" (J Barbier & M Carré - Romeo et Juliette) "Dedicated to Lieutenant Jaques Charlot killed in action on 3rd March 1915" Prince, may the bright-winged brood of Aeolus To sea-King Glaucus' wild wood cavernous Bear him bereft of peace and hope's last glance For worthless is he to get good of us, Who works evil to the state of France. Scherzando Winter thou art but a villain.... (François Villon - Ballade contre les ennemis de la France. [envoi]) Trans. Swinburne "Dedicated to my friend Igor Stravinsky" Charles d'Orleans

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(ct1.d) Jagle have W INTERVAL Sonata for Two Pianos and Percussion 1. Assai lento 2. Lento ma non troppo 3. Allegro non troppo Bartók enjoyed the combination of piano and percussion. His first two piano concertos feature strong percussion parts, as does his Music for strings, percussion and celeste of 1936. In 1937 Bartók received a commission for this Sonata. "I already had the intention years ago to compose a work for piano and percussion," Bartók wrote. "Gradually the conviction grew stronger in me that one piano would not be in satisfactory balance in relation to the often rather penetrating timbre of the percussion instruments." The commission gave Bartók the chance to write something to perform with his second wife, Ditta Pásztory. They gave the first performance of the Sonata in Basle. Bartók was very precise in his instructions to the performers, particularly the percussionists, to the extent of specifying the layout on the stage of the various instruments. The work requires three timpani, xylophone, side drums (one with snares, one without), cymbals (one pair, one suspended), bass drum, triangle and tam-tam. Bartók suggested that two skilled percussionists should be enough to play this work, but allowed for a third should this prove too difficult. The Sonata is usually performed with two percussionists, but they are kept very busy indeed. It is clear that Bartók considered the percussion and pianos to be of equal importance, and it is equally clear that he was as aware of the subtleties of texture available in percussion instruments as he was of those of the piano. The Sonata is acknowledged as one of the masterpieces of the twentieth century, analysed by thousands of music students and written about by dozens of writers. But it is of much more than academic interest; this is simply delicious music, and performances of it are all too rare. © Robert Bigio 1998 FORTHCOMING EVENTS HUDDERSFIELD MUSIC SOCIETY at St Paul's Hall at 7.30 pm 19th March 2001 Liwei Qin (cello) and Gretel Dowdeswell (piano):5 Folk Pieces Op 102 Schumann; Sonata in C Op 65 Britten; A selection of Caprices Paganini; Sonata Op 58 Mendelssohn. at the Square Chapel at 7.30 pm Haydn, Shostakovich, Mendelssohn at St Paul's Hall at 7.30 pm Symphonic Wind Orchestra and Bartók (1881-1945) HALIFAX PHILHARMONIC CLUB 16th March 2001. The Sorrel String Quartet. HUDDERSFIELD UNIVERSITY 12th March 2001 The University of Huddersfield the Queensgate Strings

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VO S, d e g CO st e IS h d y S It 19 7 e N V OFFICERS President Stephen Smith Hon. Secretary J. Gordon Sykes Tel. 01484 663474 Fax 667988 Gordon.sykes@virgin.net Huddmusicsociety.plus.com Hon. Treasurer P. Michael Lord 14 Garsdale Road, Newsome, Huddersfield HD4 6QZ Tel. 01484 310104 Fax 01484 425658 Michael.Lord@btinternet.com COMMITTEE Marjorie Glendinning, Peter Lawson, Simon Rothery Margaret Collison, 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 Miss M. A. Freeman, Mrs M. Glendinning P. Michael Lord, P. L. Michelson, S. Rothery J. C. S. Smith, J. G. Sykes, Mrs E. R. Taylor, Mrs L. Walker Wheawill and Sudworth Peter Hawke Garages National Federation of Music Societies The Embassy of Israel, London The Countess of Munster Musical Trust W&S NATIONAL FEDERATION OF MUSIC SOCIETIES NEMS

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K Peter Hawke GARAGES IN TUNE WITH YOUR MOTORING NEEDS ST. ANDREWS ROAD HUDDERSFIELD WAKEFIELD ROAD WATERLOO HUDDERSFIELD mazda TELEPHONE: 01484 435499 Open Sunday after church ΚΙΛ

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HUDDERSFIELD MUSIC SOCIETY Registered Charity 529340 President: Stephen Smith WT. Eighty-third Season 2000 - 2001 St. Paul's Concert Hall, Queensgate Monday 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 GUION POS na mic Examiner hindw BIG NEWS

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Monday 19th March, 2001 LIWEI QIN Cello and GRETEL DOWDESWELL Piano 5 Folk Pieces op 102 Sonata in C op 65 A Selection of Solo Caprices Sonata no 2 in D op 58 Programme Schumann Britten Paganini Mendelssohn Born in Shanghai in 1976, Liwei Qin moved to Australia in 1989 where he studied with Nelson Cooke at Melbourne University. In 1995 he took up a scholarship to study with Ralph Kirshbaum at the Royal Northern College of Music. During his studies Liwei won numerous prizes including the Australian Broadcasting Corporation's 1993 Young Performer of the Year and in 1997 1st Prize in the Adam International Cello Competition, a Special Distinction in the Rostroprovich International Cello Competition and the Gold Medal in the Royal Over-Seas League Competition. Described by Paul Cutts in the Strad magazine as "the most gifted young cellist I have heard", in June 1998 he won the Silver Medal in the 11th Tchaikovsky International Competition held in Moscow. As a concerto soloist he has performed with various orchestras throughout Europe, Asia and Australia. Liwei plays a Vincenzo Panormo cello, c. 1791, belonging to Ralph Kirshbaum. Gretel Dowdeswell studied with Hamish Milne at the Royal Academy of Music, where she won many prizes for both solo and ensemble playing., and was awarded the prestigious Dip. RAM. As a professional she was a prize winner at Academie Maurice Ravel in St Jean-de-Luz. During her studies, Gretel took part in master classes with Andras Schiff, Gyorgy Kurtag, Alfred Brendel, Menahem Pressler and Boris Berman. As soloist she has performed concertos by Bach, Mozart, Beethoven, Schumann, Chopin, Grieg and Stravinsky. As a former member of the Gould Piano Trio she has won numerous national and international competitions, performed in many countries and broadcast frequently on Radio 3. We are grateful to Wheawill & Sudworth, Chartered Accountants, for their generous sponsorship of this concert.

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Robert Schumann (1810-1856) Five Folk Pieces op 102 1. Mit humor (Vanitas Vanitatis) 2. Langsam 3. Nicht zu schnell 4. Nicht zu rasch 5. Stark und markiert. This duo, composed in 1859, was the first work that Schumann wrote for a stringed instrument with piano accompaniment. Although probably intended for domestic music making, it was dedicated to Andreas Grabau. A cellist himself, Grabau was a member of the string quartet which first played Schumann's music for that medium. The first movement is in A minor with a violent middle section in F. The second contains a serene F major tune. The third is in A minor with a warm D major tune, with high double stops for the cello. The fourth movement is in D major. It is interesting that the arpeggio figure of the first theme becomes the accompaniment for the second. The final movement is in A minor. Sonata in C op 65 Britten (1913-1976) 1. Dialogo (Allegro) 2. Scherzo-pizzicato (Allegretto) 3. Elegia (Lento) 4. Marcia (Energico) 5. Moto perpetuo (Poco Presto). The Sonata was planned during a holiday in Greece during the autumn of 1960 and was written at Aldeburgh the following December and January. It was inspired by the playing of Mstislav Rostropovich, and is dedicated to him. The first movement is throughout the discussion of a tiny motive of a rising or falling second. The motive is lengthened to make a lyrical second subject which rises and falls from a pianissimo harmonic. The second movement is a study in pizzicato, sometimes guitar-like in its elaborate right hand technique. In the third movement the cello sings a long tune against a sombre piano background. This tune is developed, by means of double, triple and quadruple stopping, to a big climax, and sinks away to a soft conclusion. In the brief marcia which follows, the cello plays a rumbustious bass to the jerky tune on the piano. The trio has horn-like calls over a repeated triplet bass. The march returns very softly, with the bass (now in the treble) in harmonics. The 6/8 saltando theme dominates the entire final movement, frequently changing its character, now high and expressive, now low and grumbling, now gay and carefree. Benjamin Britten INTERVAL I ! F S t t t n a a 0 0 C t S 0 0 a 0 F a n h P a t C S 22 р

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A Selection of Solo Caprices Paganini (1782-1840) 2 Paganini is remembered as an astonishing virtuoso of the early Romantic period whose exhibitionist and brilliant violin performances thrilled audiences. Spohr wrote, after hearing him play in 1830, "In his compositions and performance there is a strange mixture of the highest genius, childishness and tastelessness, so that one feels alternately attracted and repelled". His showmanship attracted thousands to come and hear him and in common with other heroic figures of the nineteenth century, such as Liszt, he demonstrated the struggle of the individual artist against a hostile environment. 0 J His twenty four unaccompanied solo Caprices, written in 1805, were the only compositions he ever wrote down in a form approximating to what he played on stage. Their creative energy is derived from the execution of the technical difficulties which Paganini himself set. No other string player of that period challenged his supremacy and relatively few performers have been able to tackle them all since. Their melodies are in the lyrical Italian tradition and are supported by simple harmonies. These pieces propelled forward the technical accomplishment of the violin greatly. Paganini extended the high compass of the instrument, demanding the execution of such passages often in double notes and creating novel and sensational effects. He employed devices such as harmonics on a large range of notes, combined arco and pizzicato runs and bouncing bow techniques. The Baroque technique of scordatura (the re-tuning of one string to permit passage work across the strings) was also revived. Undoubtedly the most famous of the set is number twenty four, displaying much of Paganini's technical vocabulary, not least his left-hand pizzicati, harmonics and double stoppings in eleven variations! This piece is most well known as an inspiration to composers such as Schumann, Brahms and Lloyd Webber to write variations based upon it. In tonight's performance we shall hear them adapted for the cello. Whilst this will no doubt involve the performer in a different set of problems, we can be certain that the difficulties will be no less. Sonata no 2 in D major op 58 piano. purity. Mendelssohn (1809-1847) 1. Allegro assai vivace 2. Allegretto Scherzando 3. Adagio 4. Molto allegro e vivace This is one of several works which Mendelssohn composed for cello and Written in 1843, it exemplifies his lifelong ideals of classical form and The first movement starts with a cello melody, soaring above rustling

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triplets in the piano. Since it is also in 6/8 time it inevitably recalls the opening of the composer's Italian Symphony. The second theme of the movement is more restful and in sharp contrast. The following scherzo is written in Mendelssohn's best elfin mode - a a style in which he has no peer - and is equal to those in the Midsummer Night's Dream Music and the Octet for strings. The chorale-like third movement contains a floating recitative for cello above rolling chords from the piano. The brilliant final movement demands great technique and agility from each player. FORTHCOMING EVENTS at St Paul's Hall at 7.30 pm 26th March 2001 The University of Huddersfield Chamber Choir and Brass Band HUDDERSFIELD UNIVERSITY 29th March 2001 The University of Huddersfield Symphony Orchestra, Conductors Richard Steinitz. and Nicholas Ponsillo. Programme to include: Shostakovich - Symphony No 10. Yehudi Menuhin's LIVE MUSIC NOW Present a special concert featuring young musicians on the Live Music Now Scheme. Funds raised from this special concert will go towards the development of the Live Music Now activity in venues throughout West Yorkshire. at St Paul's Hall at 7.30 pm 3rd May 2001 The Newbold Piano Quartet and Christian Garrick Jazz Quartet

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OFFICERS President Stephen Smith Hon. Secretary J. Gordon Sykes Tel. 01484 663474 Fax 667988 Gordon.sykes@virgin.net Huddmusicsociety.plus.com Hon. Treasurer P. Michael Lord 14 Garsdale Road, Newsome, Huddersfield HD4 6QZ Tel. 01484 310104 Fax 01484 425658 Michael.Lord@btinternet.com COMMITTEE Marjorie Glendinning, Peter Lawson, Simon Rothery Margaret Collison, 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 Miss M. A. Freeman, Mrs M. Glendinning P. Michael Lord, P. L. Michelson, S. Rothery J. C. S. Smith, J. G. Sykes, Mrs E. R. Taylor, Mrs L. Walker Wheawill and Sudworth Peter Hawke Garages National Federation of Music Societies The Embassy of Israel, London The Countess of Munster Musical Trust W&S NATIONAL FEDERATION OF MUSIC SOCIETIES NEMS

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Peter Hawke GARAGES IN TUNE WITH YOUR MOTORING NEEDS ST. ANDREWS ROAD HUDDERSFIELD WAKEFIELD ROAD WATERLOO HUDDERSFIELD Mazda TELEPHONE: 01484 435499 Open Sunday after church. ΚΙΛ