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HUDDERSFIELD
MUSIC SOCIETY
President: Stephen Smith
84th Season
2001-2002
Ashley Wass
Music at the
University of Huddersfield
Evening Concert Series
Huddersfield Music Society Reg. Charity 529340
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1. Monday 29th October 2001 at 7.30 pm
CONTEMPO STRING QUARTET
Placed third but winners of the Audience Prize in the
year 2000 London International String Quartet
Competition, this young Quartet has earned the
distinction of sponsorship by the European Union
Chamber Orchestra.
String Quartet in G major op 76 no 1
String Quartet no 3
String Quartet in C minor op 51 no 1
Haydn
Shostakovich
Brahms
2. Monday 19th November 2001 at 7.30 pm
JOHN MARK AINSLEY- Tenor and
ROGER VIGNOLES - Piano
Two of the most distinguished British recitalists,
these artists are making one of their occasional
visits to the north of England.
Programme to include the song cycle Dichterliebe
Schumann and songs by Haydn and Fauré
3. Monday 14th January 2002 at 7.30 pm
SKAMPA STRING QUARTET
Founded in 1989, this young Czech Quartet gives us
a rare performance of a work by their compatriot,
Martinu, flanked by two of the great masterpieces of
the quartet repertoire.
Mozart
Quartet in B flat K 458 (The Hunt)
Quartet no 5
Martinu
Quartet in B flat op 130 with op 133 (Grosse Fuge) Beethoven
4. Monday 4th February 2002 at 7.30 pm
CHROMA ENSEMBLE
A flexible chamber ensemble, the Chroma is
dedicated to the performance of works involving
wind, strings, piano and harp. Tonight's ensemble
comprises flute, clarinet, harp and string quartet.
The groups range from trio to septet, the works from
early Mozart to contemporary music of the more
approachable variety.
Sponsored by the Countess of Munster Musical Trust, and with financial
assistance from Peter Hawke Garages.
Jol
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Ocr'd Text:
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Roger Vignoles
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Flute Quartet in D major K 285
Empty fathoms
Mozart
Alastair Stout
Grand Quintet in B flat for clarinet and strings Weber
A sea change
Anthony Payne
Elegiac Trio
Bax
Andrew Keeling
Ravel
Quartenaries
Introduction & Allegro
5. Monday 18th February 2002 at 7.30 pm
ASHLEY WASS piano
Ashley Wass is the first British Pianist to achieve the
distinction of 1st Prize in the World
World Piano
Competition in London, and he has performed
world-wide to considerable critical acclaim.
Sonata in E flat major Hob XV1:49
Variations & Fugue on a theme by Handel
Sonata in A minor D 784
L'oiseau de feu
Haydn
Brahms
Schubert
Stravinsky trans. Agosti
6. Monday 11th March 2002 at 7.30 pm
QUATUOR DANEL with
PHILIP DUKES (viola)
Making a welcome return visit, this distinguished
French String Quartet will be joined by Philip Dukes
for a performance of Mozart's great G minor string
quintet.
String Quartet in D minor op 76 no 2
String Quartet in C Sharp minor op 131
String Quintet in G minor K516
Haydn
Beethoven
Mozart
7. Monday 15th April 2002 at 7.30 pm
JERUSALEM STRING QUARTET
Our regular audience will need no reminding of the
great impression made by this young Israeli Quartet
in their October 2000 visit. Their programme
includes our third work from Haydn's op 76 series
together with quartets by Beethoven and Janacek.
String Quartet in D major op 76 no 5
String Quartet no 1 in E minor
(Kreutzer Sonata)
String Quartet in A minor op 132
Haydn
Janacek
Beethoven
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 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)
Single Season Ticket
Double Season Ticket
да
Tickets
Single Concert
Student Season Ticket
Student Ticket
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
27th September 2001.
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
e-mail Michael. Lord1@bt.internet
Name
Address
Postcode
Please send........
tickets
Please send...............single concert tickets for con-
certs numbers(s)......
I enclose cheque
£ 52
£ 100
£ 12
£ 15
£3
...single/double season
Telephone
Total £........
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Ocr'd Text:
Peter Hawke
Garages
A629
www.huddmusicsociety.plus.com
TO HALIFAX
& M62
Tel: 01484 663474 Fax: 01484 667988
e-mail: gordon.sykes@virgin.net
NEW NORTH ROADO
TRINITY STREET
HUDDERSFIELD
NORTH
MUSIC SOCIETY
Yorkshire Arts
HUDDERSFIELD TOWN CENTRE
TO LEEDS
Honorary Secretary
Mr Gordon Sykes
CASTLE GATE
STATION
BUS
TO MANCHESTER
RAILWAY STATION
A62 MANCHESTER ROAD.
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THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
QUEENSGA
TO WAKEFIELD
& SHEFFIELD
4629 WAKEFIELD ROAD
ST. PAUL'S HALL
UNIVERSITY OF
HUDDERSFIELD
Car parking should be available across
Quensgate 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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Ocr'd Text:
HUDDERSFIELD
MUSIC SOCIETY
WT.
Eighty-fourth Season
2001-2002
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Mondays at St Paul's
Eighty-fourth Season
2001-2002
29th October 2001
CONTEMPO STRING QUARTET
Haydn Op 76 No1; Shostakovich No 3
Brahms Op 51 No 1
19th November 2001
JOHN MARK AINSLEY and ROGER VIGNOLES
Programme to include Schumann's Dichterliebe
14th January 2002
ŠKAMPA STRING QUARTET
Mozart K458 (The Hunt); Martinu No 5;
Beethoven Opp 130 and 133 (Grosse Fuge)
4th February 2002
CHROMA ENSEMBLE
Programme to include Mozart Flute Quartet K 285;
Ravel Introduction and Allegro for Flute Clarinet Harp and String Quartet
18th February 2002
ASHLEY WASS (piano)
Haydn Sonata in E flat Hob XVI No 49; Schubert Sonata in A minor D 784;
Brahms Variations on a Theme by Handel
11th March 2002
SORREL STRING QUARTET
Haydn Op 76 No 4 (Sunrise); Kodaly No 2;
Schubert A minor D 804
15th April 2002
JERUSALEM STRING QUARTET
Haydn Op 76 No 5; Janaček No 1 (Kreutzer Sonata)
Beethoven A minor Op 132
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HUDDERSFIELD MUSIC SOCIETY
This is a preview of the concerts arranged for the 2001-2002 season, our
84th Some of the programmes have still to be finalised.
Of the four string quartets playing for us we have two newcomers. The
Contempo won the Audience Prize and 3rd Prize in the 2000 London
International String Quartet Competition; the Škampa is a most
distinguished young Czech Quartet. The Sorrel and the Jerusalem are
making welcome return visits.
The young English pianist Ashley Wass will be playing for us in February.
A finalist in the Leeds International Piano Competition, he had previously
won first prize in the London World Piano Competition.
We were extremely fortunate to engage John Mark Ainsley and his
distinguished accompanist Roger Vignoles. Our Season is completed by
the visit of the Chroma Ensemble - a young instrumental group whose
programme is to include the Ravel Introduction and Allegro.
We thank all our sponsors and subscribers for their continued support of
the Society and hope that the concerts we have arranged will prove
attractive.
Season tickets will be on sale at both the March concerts as follows:-
Double Season Ticket
Single Season Ticket
Student Season Ticket
£96
£50
£12 15
(£100 after 30th April 2001)
(£52 after 30th April 2001)
Single concert tickets available at £12
If you are not on the mailing list, please give your name and address to our
Treasurer Michael Lord (310104) 14 Garsdale Road Newsome
Huddersfield HD4 6QZ.
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HUDDERSFIELD
MUSIC SOCIETY
www.huddmusicsociety.plus.com
Registered Charity 529340
President: Stephen Smith
WT.
Eighty-fourth Season
2001-2002
St. Paul's Concert Hall, Queensgate
Monday 7.30 pm.
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SEASON'S PERFORMANCES
29th October 2001
Haydn, Shostakovich and Brahms
ConTempo String Quartet
19th November 2001 John Mark Ainsley and Roger Vignoles
Haydn, Fauré and Schumann
14th January 2002
Mozart, Martinu and Beethoven
Skampa String Quartet
4th February 2002
Chroma Ensemble
Mozart, Weber, Bax, Ravel and contemporary composers
18th February 2002 Ashley Wass
Haydn, Brahms, Schubert and Stravinsky trans. Agosti
Quatuor Danel and Philip Dukes
11th March 2002
Haydn, Beethoven, Mozart
Jerusalem String Quartet
15th April 2002
Haydn, Janacek and Schubert
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Monday 29th October, 2001
CONTEMPO STRING QUARTET
Bogdon Sofei
Ingrid Nicola
Andrea Banciu
Adrian Mantu
String Quartet in G major op 76 nol
String Quartet no 3
String Quartet in C minor op 51 nol
1st Violin
2nd Violin
Viola
Cello
Haydn
Shostakovich
Brahms
The ConTempo String Quartet was formed in 1995 in Bucharest where the
members were studying at the Music University. They have since made tours
throughout Europe, Asia and North America. In 1999 they were awarded a
Foundation Fellowship at the Royal Academy, enabling them to study with Sigmund
Nissel and to work with younger students.
The Quartet has won 11 international prizes, including third prize and
audience prize at the London International String Quartet Competition. It has given
more than three hundred concerts all over the world, including the Wigmore Hall, St
John's Smith Square and St. Martin in the Fields, and in major halls in Munich,
Banff, Tokyo and Graz.
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String quartet in G major, op76 no 1
1 Allegro con spirito
2 Adagio sostenuto
3 Menuetto:presto 4 Finale:Allegro ma non troppo
Haydn (1732-1809)
Op.76, a set of quartets completed in 1797, was written after Haydn
had become a well established figure in London. These quartets were
composed after he had met Beethoven and in many ways reflect Beethoven's
own opus 18 set which he admired.
The first movement opens with three decisive chords followed by the
first theme given by the cello and taken up imitatively by the other
instruments. Some unexpected harmonies lead us to the second subject. A
development focuses mainly upon the first subject and its earlier contrapuntal
treatment is exploited further in the recapitulation.
A solemn theme in C opens the second movement harmonised and
scored with Beethoven-like profundity. It leads to a gentle little conversation
between the cello and violin against a repeated note accompaniment in the
second violin and viola. These two ideas alternate throughout the movement
until a syncopated passage leads into a more assertive and then a questioning
section before the final presentation of both themes.
A cheerful and vigorous minuet containing some rhythmic ambiguity
follows and its trio features the first violin in some agile passage work
accompanied by simple pizzicato chords.
Unexpectedly the final movement opens in G minor. The theme is
presented dramatically in unison and is developed continually in different and
harmonically challenging contexts. Its triplet figure is developed endlessly and
with ingenuity. Towards the ending the music reverts to the less intense major
key and presents us with a false ending highly characteristic of the composer.
String quartet in F, op 73
1 Allegretto 2 Moderato con moto 3 Allegro non troppo
4 Adagio 5 Moderato
Shostakovich (1906-1975)
This quartet was completed in 1946 during the years following the war
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!
when strict cultural control was maintained over Soviet artists. Dedicated to
the members of the Beethoven quartet, it was performed only once in Moscow
and then withdrawn for the difficult years that followed. This probably
indicates that it did not meet the criteria set by the political authorities and is
therefore full of coded allusions to the suffering and constraints placed upon
Shostakovich.
It opens with a capricious first subject which permeates the entire
movement, leading to a gentler pianissimo second subject. A double fugue
enables Shostakovich to demonstrate enormous dexterity in the development
of this material and the movement is completed by a return to the opening idea
once again after the expected recapitulation.
The second movement displays its first two themes against clever
ostinati patterns in first the viola then the cello. The third theme is light and
staccato and includes ironic string effects particularly from the leader. Near the
end the strong triple rhythm disappears and the final passage sounds
melancholy and improvisatory.
Strong and repeated chords open the next movement, their violence
insinuating and insistent. This bizarre march-like movement makes a constant
feature of short descending scale patterns and ends with disconcerting haste.
The fourth tragic movement is possibly the pinnacle of the structure
beginning with a declamatory passage played in unison. It is followed by a
plaintive threnody of counterpoint so characteristic of Shostakovich and into
which one can read so much.
The final movement opens with an ominous but lilting cello theme,
later passed to the first violin. The opening theme from the first movement
returns in various guises but eventually the music withdraws into
contemplation once more, finishing on a seemingly endless major chord
beneath an improvisatory passage of touching pathos.
INTERVAL
String quartet in C minor, Op.51. no.1
1 Allegro 2 Romanze: Poco adagio
3 Allegretto molto moderato e comodo 4 Allegro
Brahms (1833-1897)
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The two quartets of opus 51 were composed in 1873 whilst Brahms
was on holiday. This quartet was preceded by a wealth of other chamber music,
including quintets and also the famous string sextets and therefore reflects his
experience with these other combinations. His debt to the Classical quartet
genre is also obvious, both in the construction and the symphonic conception
of the work.
The first movement opens with a series of brief and agitated ideas but
a more lyrical and contrasting second subject follows. The material of this
section is developed throughout the movement in a rich variety of colours and
textures, in which the four players have closely interacting roles. The opening
theme returns played by the cello before the closing bars of a coda.
The second movement, entitled "Romanze" is slow and contemplative,
opening with a gentle horn-like theme in A flat major. It proceeds in subtle and
muted colours, evocative of its title.
The third movement begins with a plaintive and repetitive figure in the
key of F minor, unlike a conventional scherzo movement, but it soon turns to
a lighter contrapuntal triplet section in which the players exchange and
converse freely. The trio-like section in the major has a lighter and more lyrical
feel and becomes expansive before a return to the more sombre colours of the
opening.
The rhetorical unison opening of the last movement heralds a return to
a more intense character of the first movement. This richly orchestral and
highly profound movement, alternating between the dramatic and thoughtful
temperament proceeds to an inevitably impassioned conclusion.
FORTHCOMING EVENTS
HUDDERSFIELD MUSIC SOCIETY at Saint Paul's Hall 7.30 pm
19th November 2001
John Mark Ainsley and Roger Vignoles
Songs by Haydn and Fauré and Dichterliebe - Schumann
HALIFAX PHILHARMONIC CLUB
9th November 2001
The Lindsays
HUDDERSFIELD UNIVERSITY
5th November 2001
12th November 2001
at the Square Chapel 7.30 pm
Haydn, Smetana, Borodin & Wolf
at Saint Paul's Hall 7.30 pm
Chamber recital
The University Early Music Ensemble and Chamber Recital
P
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Ocr'd Text:
OFFICERS
President
Stephen Smith
Hon. Secretary
Gordon Sykes Tel 01484 663474
Fax 01484 667988 e-mail gordon.sykes@virin.net
Hon. Treasurer
P. Michael Lord Tel 01484 310104
Fax 01484 425658 e-mail Michael.Lord1@bt.internet.com
COMMITTEE
Marjorie Glendinning, Peter Lawson, Simon Rothery,
Margaret Collison, Linda Walker,
Christine Stanton, Richard Warrington.
Peter Hawke
Garages
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, 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
Peter Hawke Garages
Making Music (National Federation of Music Societies)
The Countess of Munster Musical Trust
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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Ocr'd Text:
HUDDERSFIELD
MUSIC SOCIETY
www.huddmusicsociety.plus.com
Registered Charity 529340
President: Stephen Smith
WT.
Eighty-fourth Season
2001-2002
St. Paul's Concert Hall, Queensgate
Monday 7.30 pm.
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Ocr'd Text:
SEASON'S PERFORMANCES
ConTempo String Quartet
29th October 2001
Haydn, Shostakovich and Brahms
19th November 2001 John Mark Ainsley and Roger Vignoles
Haydn, Fauré and Schumann
Skampa String Quartet
14th January 2002
Mozart, Martinu and Beethoven
4th February 2002
Chroma Ensemble
Mozart, Weber, Bax, Ravel and contemporary composers
18th February 2002 Ashley Wass
Haydn, Brahms, Schubert and Stravinsky trans. Agosti
Quatuor Danel and Philip Dukes
11th March 2002
Haydn, Beethoven, Mozart
15th April 2002
Haydn, Janacek and Schubert
Jerusalem String Quartet
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Ocr'd Text:
HAYDN
FAURÉ
SCHUMANN
Monday 19th November, 2001
JOHN MARK AINSLEY
and
ROGER VIGNOLES
Aubade, Serenade toscane, Hymne, Clair de lune
Prison, Notre amour
Song Cycle Dichterliebe
John Mark Ainsley was born in Cheshire, began his musical training in
Oxford and continues to study with Diane Forlano. He made his American debut in
1990 with concerts in New York. In 1993 he made his debut in the Vienna
Musikverein singing the St Matthew and St John Docciona under Peter Schreier. His
) under Norrington, the
iens du Louvre under
Rattle, the New York
awa, the San Francisco
ngton, the Academy of
aris under Giulini. He
Correction
ra, major choral works
outstanding musicians.
Originally inspired by the playing of Gerald Moore, he decided on leaving University
to pursue a career as a piano accompanist, completing his essential training with the
distinguished Viennese-born teacher Paul Hamburger.
Since then reviewers worldwide have consistently recognised his
distinguished qualities as a player. Among his first partners was the soprano
Elizabeth Söderström whom he regularly accompanied throughtout the 1970s and
1980s. During that period he also developed particularly fruitful collaborations with
Dame Kiri te Kanawa, with Sir Thomas Allen and with Sarah Walker.
Hilary Norcliffe
Archivist
Sailor's song, The Wanderer, Sympathy, She never
told her love, Piercing Eyes
On inside page 1
Fauré should read Aurore (not Aubade)
Correct on next page
Recent seasons have included tours with Sylvia McNair, Dame Felicity Lott,
Susan Graham, Olaf Bär, Kathleen Battle, Brigitte Fassbender, Bernarda Fink,
Christine Schaefer, Thomas Hampson, Lorraine Hunt and Sarah Walker.
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SEASON'S PERFORMANCES
29th October 2001
Haydn, Shostakovich and Brahms
ConTempo String Quartet
19th November 2001 John Mark Ainsley and Roger Vignoles
Haydn, Fauré and Schumann
14th January 2002
Mozart, Martinu and Beethoven
Skampa String Quartet
4th February 2002
Chroma Ensemble
Mozart, Weber, Bax, Ravel and contemporary composers
11th March 200
Haydn, Beetho
18th February 2002 Ashley Wass
Haydn, Brahms, Schubert and Stravinsky trans. Agosti
15th April 2002
Haydn, Janacel
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HAYDN
FAURÉ
Monday 19th November, 2001
JOHN MARK AINSLEY
and
SCHUMANN
ROGER VIGNOLES
Sailor's song, The Wanderer, Sympathy, She never
told her love, Piercing Eyes
Aubade, Serenade toscane, Hymne, Clair de lune
Prison, Notre amour
Song Cycle Dichterliebe
John Mark Ainsley was born in Cheshire, began his musical training in
Oxford and continues to study with Diane Forlano. He made his American debut in
1990 with concerts in New York. In 1993 he made his debut in the Vienna
Musikverein, singing the St Matthew and St John Passions under Peter Schreier. His
recent engagements have included appearances with the LPO under Norrington, the
LSO under Sir Colin Davis and André Previn, Les Musiciens du Louvre under
Minkowski, the Berlin Philharmonic under Haitink and Rattle, the New York
Philharmonic under Masur, the Boston Symphony under Ozawa, the San Francisco
Symphony under Tate, the Vienna Philharmonic under Norrington, the Academy of
St Martin in the Fields under Marriner and the Orchestre de Paris under Giulini. He
has also undertaken major roles in opera.
His discography is extensive and includes lieder, opera, major choral works
and oratorio.
The pianist Roger Vignoles is one of Britain's most outstanding musicians.
Originally inspired by the playing of Gerald Moore, he decided on leaving University
to pursue a career as a piano accompanist, completing his essential training with the
distinguished Viennese-born teacher Paul Hamburger.
Since then reviewers worldwide have consistently recognised his
distinguished qualities as a player. Among his first partners was the soprano
Elizabeth Söderström whom he regularly accompanied throughtout the 1970s and
1980s. During that period he also developed particularly fruitful collaborations with
Dame Kiri te Kanawa, with Sir Thomas Allen and with Sarah Walker.
Recent seasons have included tours with Sylvia McNair, Dame Felicity Lott,
Susan Graham, Olaf Bär, Kathleen Battle, Brigitte Fassbender, Bernarda Fink,
Christine Schaefer, Thomas Hampson, Lorraine Hunt and Sarah Walker.
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Five Songs
(Haydn 1732-1809)
There was no tradition of song writing in Vienna at the time of their
composition, and Haydn's songs are not "lieder" in the sense in which we
apply the term to the works of such as Schubert, Schumann, Brahms and Wolf.
The earlier composer did not aim at the fusion of poetry and music which is the
essence of their work in this field.
The Sailor's Song describes a courageous English seaman aboard a
man of war. He happily climbs up and down the rigging, and is not unnerved
by thoughts of victory or death in battle. By contrast The Wanderer describes
the experiences of one walking through the night, but is far removed from
Schubert's love-lorn traveller. Sympathy is not as one might expect a love
song but a description of true fellow-feeling.
She never told her love is taken from Twelfth Night and is almost in
the style of a recitative. In Piercing Eyes the beloved need not ask if she is
loved. Her gaze will confirm the state of her admirer's heart.
Six Songs
Fauré (1845-1925)
Besides his choral works, such as the Requiem, Fauré wrote a large
number of songs. They do not follow the German Lieder in evoking feelings
matching those in the poetry precisely according to the text. Rather they
convey the impression which the poetry will have upon the listener.
Aurore depicts an early morning scene where the horizon is coloured
by a pale ray. The flowers are opening. The sweetheart's white curtains.
flutter in the breeze. "Come hither my treasure." In Serenade toscane the
maiden is cold and unwelcoming, deaf to the entreaties of the would be lover.
In Hymne, a setting of Baudelaire, the expression is boastful and
grandiloquent, rather than devotional.
Claire de lune is a setting of Verlaine. The lover's soul is compared
to a garden with masked characters playing the lute and singing of love, whilst
fountains glisten in the moonlight. In Prison, also Verlaine, the suffocating
heat and endless boredom of confinement is conveyed by the soft regular beat
and simple harmony of the accompaniment. In Notre Amour lovers' feelings
are compared to an elusive scent, a fresh morning mist.
INTERVAL
1
66
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S
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"Dichterliebe" (A Poet's Love) op 48
(Schumann 1810-1856)
(last performed for us in 1945 by Peter Pears and Benjamin Britten)
This cycle of songs was composed in 1840, the year of Schumann's
marriage to Clara Wieck. The composer was already a skilled and prolific
composer of piano pieces before he turned to the Lied, a form in which the
piano achieves equality with the voice and where its role not only supports
and colours the text, but where the preludes and postludes are an integral
and essential part of the expression. Schumann sets poetry by the Romantic
German poet Heine.
The first song is Im wunderschönen Monat Mai which is preceded by
one of Schumann's exquisite preludes, setting the mood for the poet's joy and
wonderment of nature. He reflects upon his past love tenderly in Aus meinen
Tränen spriessen (no 2) and similarly in the rhapsodic and more rhythmically
sprung Die Rose, die Lilie, die Taube, die Sonne (no 3) in which the piano
drives the voice onward and continues after the singer has finished. This type
of postlude continuing the musical expression after the words are finished is
typical of many of Schumann's songs and is particularly evocative in his song-
cycles where the music re-iterates and prolongs the mood effectively. More
reflection of the poet's ecstasy in love continues in Wenn ich in deine Augen
seh(no 4).
A note of disturbance enters with the agitated piano accompaniment
and a key change to the minor in Ich will meine Seele tauchen (no 5). Here the
piano provides a counter-melody above the voice and continues in the same
idiom after the voice has finished.
Whilst these first five songs are tinged with nostalgia, the next three
reflect a bitterness and longing for the poet's lost love, singing of all the
images which remind him of her. His anguish can be heard in the many
discords in the piano part of Im Rhein, im heiligen Strome (no 6) with its
obsessive dotted rhythms throughout and the chromatic line at the end of the
voice part. Ich grolle nicht (no 7) is well-known for the intensity of its
harmonies and repeated piano chords which endorse his struggle not to blame
his love. It finishes with a postlude of defiance. His heartbreak is reflected in
Und wüssten's die Blumen (no 8) in its delicately textured piano part where
the pianist sustains the falling vocal phrases and at the final words "and broke
my heart in two" the music becomes savage and heartbroken.
There is a cruel irony in the change of mood for Das ist ein Flöten
und Geigen (no 9) in which the piano represents the gaiety of a fairground with
a cheerful and continuous accompaniment. It is the only song where the
accompaniment is intended to overpower the voice which sings hopelessly,
losing its battle against the background music.
Even greater desperation and yearning invade the next song Hör'ich
das Liedchen klingen (no 10) and a prelude foretells the anguish of memories
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of past sung songs, but he begins derisively in Ein Jüngling liebt ein
Mädchen(no 11), eventually to be overcome by desperation once again,
reflected in painful discords towards the end. In his next song the young man
appears to give up all hope. Long arpeggiated chords in the piano accompany
the poet in Am leuchtenden Sommermorgen (no 12), in which he compares
his love to the flowers, its postlude prolonging the melancholy long after the
singer has finished.
The following group of three songs show different aspects of his
dreaming, beginning with a nightmare quality in Ich hab im Traum geweinet
(no 13) with a fragmentary piano part disintegrating into harsh dissonance at
the end. Allnächtlich im Traume (no 14) has a gentle rocking accompaniment
and leads into the enchanted expression of Aus alten Märchen winkt es (no
15) with the poet in a childlike land, but its perpetual and rhythmic
accompaniment ceases as he suddenly awakes and the dreams vanish. Lastly,
a melodramatic song containing an element of bravado concludes the cycle; in
Die alten bösen Lieder the poet lays all his grief in a coffin which must be
sunk into the ocean. It is a powerful song in which the tempo abates and finally
yields to a beautiful and final piano postlude during which the whole love story
passes before his eyes, "emotion recollected in tranquillity."
HUDDERSFIELD Music Society
14th January, 2001
Skampa String Quartet
Quartet in B flat K458 Mozart; Quartet no 5
Martinu; Quartet in B flat op 130 Beethoven
at St Paul's Hall at 7.30 pm
HALIFAX PHILHARMONIC
30th November 2001
CLUB at the Square Chapel at 7.30 pm
Eroica String Quartet
Schumann, Mendelssohn and Schubert
HUDDERSFIELD UNIVERSITY
3rd December 2001
at St Paul's Hall at 7.30 pm
The University Brass Band and Chamber
Recital
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OFFICERS
President
Stephen Smith
Hon. Secretary
Gordon Sykes Tel 01484 663474
Fax 01484 667988 e-mail gordon.sykes@virgin.net
Hon. Treasurer
P. Michael Lord Tel 01484 310104
Fax 01484 425658 e-mail Michael.Lord1@bt.internet.com
Peter Hawke
Garages
COMMITTEE
Marjorie Glendinning, Peter Lawson, Simon Rothery,
Margaret Collison Linda Waller
Yorkshire Arts
is affiliated
m:
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
Peter Hawke Garages
Making Music (National Federation of Music Societies)
The Countess of Munster Musical Trust
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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of past sung songs, but he begins derisively in Ein Jüngling liebt ein
Mädchen (no 11), eventually to be overcome by desperation once again,
reflected in painful discords towards the end. In his next song the young man
appears to give up all hope. Long arpeggiated chords in the piano accompany
the poet in Am leuchtenden Sommermorgen (no 12), in which he compares
his love to the flowers, its postlude prolonging the melancholy long after the
singer has finished.
The following group of three songs show different aspects of his
dreaming, beginning with a nightmare quality in Ich hab im Traum geweinet
(no 13) with a fragmentary piano part disintegrating into harsh dissonance at
the end. Allnächtlich im Traume (no 14) has a gentle rocking accompaniment
and leads into the enchanted expression of Aus alten Märchen winkt es (no
15) with the poet in a childlike land, but its perpetual and rhythmic
accompaniment ceases as he suddenly awakes and the dreams vanish. Lastly,
a melodramatic song containing an element of bravado concludes the cycle; in
Die alten bösen Lieder the poet lays all his grief in a coffin which must be
sunk into the ocean. It is a powerful song in which the tempo abates and finally
yields to a beautiful and final piano postlude during which the whole love story
passes before his eyes, "emotion recollected in tranquillity."
HUDDERSFIELD M
14th January, 2001
HALIFAX PHILHA
30th November 2001
Schumann, Mendelssohn and Schubert
at St Paul's Hall at 7.30 pm
The University Brass Band and Chamber
Recital
HUDDERSFIELD UNIVERSITY
3rd December 2001
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n
1,
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y
S
e
S
et
t
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0
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7,
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y
y
OFFICERS
President
Stephen Smith
Hon. Secretary
Gordon Sykes Tel 01484 663474
Fax 01484 667988 e-mail gordon.sykes@virgin.net
Hon. Treasurer
P. Michael Lord Tel 01484 310104
Fax 01484 425658 e-mail Michael.Lord1@bt.internet.com
Peter Hawke
Garages
COMMITTEE
Marjorie Glendinning, Peter Lawson, Simon Rothery,
Margaret Collison, 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, 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
Peter Hawke Garages
Making Music (National Federation of Music Societies)
The Countess of Munster Musical Trust
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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HUDDERSFIELD
MUSIC SOCIETY
www.huddmusicsociety.plus.com
Registered Charity 529340
President: Stephen Smith
W
WT.
Eighty-fourth Season
2001-2002
St. Paul's Concert Hall, Queensgate
Monday 7.30 pm.
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SEASON'S PERFORMANCES
29th October 2001
Haydn, Shostakovich and Brahms
ConTempo String Quartet
19th November 2001 John Mark Ainsley and Roger Vignoles
Haydn, Fauré and Schumann
14th January 2002
Mozart, Martinu and Beethoven
Skampa String Quartet
4th February 2002
Chroma Ensemble
Mozart, Weber, Bax, Ravel and contemporary composers
18th February 2002 Ashley Wass
Haydn, Brahms, Schubert and Stravinsky trans. Agosti
11th March 2002
Haydn, Beethoven, Mozart
Quatuor Danel and Philip Dukes
Jerusalem String Quartet
15th April 2002
Haydn, Janacek and Schubert
4
C
r
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Monday 14th January 2002
The Škampa String Quartet
Pavel Fischer violin; Jana Lukášová violin;
Radim Sedmidubskty viola; Peter Jarušek cello
MOZART
MARTINU
BEETHOVEN
String Quartet in B flat K458 (The Hunt)
String Quartet No 5 (1938)
String Quartet in B flat op 130 and op 133
bolem
Founded in 1989 at the Prague Academy under the guidance and encouragement of
Antonin Kohout and Milan Škampa of the Smetana Quartet, the Škampa Quartet has
since established itself on the international chamber music circuit. Within six
months of foundation, the Velvet Revolution gave this young quartet its first taste of
freedom to tour abroad within Europe, the United States and the East, where they are
frequently invited to return.
Having studied with Piero Farulli of the Quartetto Italiano, with members of the
Amadeus Quartet and with Walter Levin of the LaSalle Quartet, the Škampa
Quartet's excellence was first recognised in 1990 when they became winners of the
Best Quartet in the Premio Vittorio Gui competition in Florence. The following year
the young quartet was awarded the first prize in the Charles Hennen competition in
the Netherlands and in 1992 they received a special prize from the Czech Chamber
Music Society.
The Quartet made its first Wigmore Hall appearance in February 1993, a recital
which won them the Royal Philharmonic Society Award for the best debut of that
year. William Lyne, the director of that Hall commented on that memorable concert
as follows "After their first concert in 1993 one sensed their tremendous rapport with
the audience." So much so that a year later the Wigmore Hall appointed the Škampa
quartet as its first artists-in-residence, a highly successful collaboration which lasted
for five years.
The Škampa Quartet performs at prestigious venues worldwide and takes part in
many of the major international festivals. They frequently broadcast on the BBC and
already have an extensive discography to their name.
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String Quartet in B flat K458 (The Hunt)
Allegro vivace assai; Menuetto (Moderato); Adagio; Allegro assai
Last performed for us in 1989 by the Roth String Quartet
Mozart (1756-1791)
This quartet was written in 1784 when Mozart was composing a great deal
of instrumental music. The key of B flat for him was always a key of happy,
affectionate emotion and this is no exception. Although all movements except the
third are in the tonic key, the variety of themes and rhythmical treatment dispel any
notion of sameness.
The overall mood of the quartet is predicted by Its cheerful opening. The
second subject is important in that it is built on a little shake which is later to figure
in the development section.
The minuet is a simple and flowing movement with occasional sforzandi on
the third beat. In the trio the second violin and viola play in a staccato manner
contrasting and highlighting the legato style of the cello and first violin melody.
A more contemplative adagio follows in the subdominant key. Its operatic
melody is often decorated and passed between instruments, accentuating their
equality and closeness.
The spirit of the final movement is reminiscent of Haydn's finales with its
duple rhythm and folk-like melody and harmony. Indeed the whole work reflects the
influence of the older composer, whose music Mozart had heard and admired. All
four movements contain delightful rhythmic ambiguities and unexpected twists of key
and harmony which are typical of Mozart's mature style.
String Quartet No 5 (1938)
Martinu (1890-1959)
Allegro ma non troppo; Adagio-Andante; Allegro vivo-Vivo; Lento-Adagio-Allegro.
First Performance at these concerts
Bohuslav Martinu came from peasant stock in rural Bohemia, and despite his
genius was not until late in his life recognised as the natural successor to the line of
Czech composers comprising Smetana, Dvorak and Janacek. He spent much of his
life outside his native land, principally in Paris, and after 1939 in the United States.
It was in Paris in 1936 that he took on as pupil Vitezslava Kapralova, a
talented Czech musician twenty five years his junior. There can be no doubt that he
was greatly attracted to her, and that he was devastated by her precipitate departure
in 1938, after some rift had developed between them. At the time he was writing the
fifth quartet, dedicated to her, and the music appears to reflect his sense of loss.
If the circumstances of its composition reflect Janacek, then the music itself
bears comparison with Bartok's third quartet in its severity. The feeling of the
opening movement is dark, with harsh percussive textures, the general gloom being
relieved only occasionally. The following Adagio is in the same melancholy mould.
S
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The margin of the manuscript bears a quotation from one of Kupralova's songs, and
the movement is a reflection upon it.
The third movement is a vigorous scherzo, full of syncopation, strong rhythm
and percussive effects. Although the opening of the final movement is fervent, the
mood reverts to tragedy in the Adagio section. A theme in octaves in all four
instruments is of great importance and the subject of later development until we reach
the Coda, a series of strong chords which underline the power of the entire work.
INTERVAL
String Quartet in B flat op 130 with Grosse Fuge finale op 133
Beethoven (1770-1827)
Adagio, ma non troppo-Allegro; Presto; Andante con moto, ma non troppo. Poco
scherzando; Alla danza tedesco (Allegro assai); Cavatina (Adagio molto espressivo)
Last performed for us in 1999 by the Takacs String Quartet
Beethoven intended that his opus 130 string quartet should end with the
Grosse Fuge, opus 133, as its sixth movement although he did write a shorter
alternative movement. This work was written in a group of five at the end of his life
which represent the greatest of his chamber works. Opus 130 was first performed
in 1826 commissioned by Prince Nikolas Galitzin, an amateur cellist and admirer of
Beethoven's music.
The thematic material for this quartet is constructed from the top four notes
of the harmonic minor scale and the slow introduction opens with a version of this.
This alternates with a contrasting faster section based on a four-note semi-quaver
scale pattern which Beethoven builds upon and he unites both ideas in an extensive
development section.
The second movement is a scurrying and brief Presto in the minor with a
vigorous scherzo-like trio based upon triplets in the major key. There is a unique and
astonishing link back to the repeat of the first section, comprising three descending
chromatic scales in the first violin followed by abrupt chords. The repeat of this first
section includes an alternative pizzicato accompaniment.
A graceful theme characteristically introduced near the beginning by the viola
is taken up by the first violin in the Andante. This is in keeping with Beethoven's
tendency to exploit the colours of the lower instruments throughout the quartet. The
movement makes much use of elaborate decoration both in its graceful themes and
playful accompanying figures, emphasising its polyphonic textures.
The fourth movement is probably the most familiar to listeners with its light
dance-like feel and simple ternary structure. Its position within the whole structure
and apparent levity invite one to consider it as a second scherzo.
An intense and lyrical fifth movement follows. Its operatic-type melody is
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usually in the first violin and Beethoven himself said he had never written a melody
that had affected him so deeply. Especially emotional is a second section marked
beklemmt, meaning oppressed or uneasy, which has a throbbing and disturbed
syncopated accompaniment.
Opus 133 "Grosse Fuge"
Overtura (Allegro-meno mosso e moderato-allegro); Fuga (Allegro-Meno mosso e
moderato- Allegro-Allegro molto e con brio-Meno mosso e moderato-Allegro molto
e con brio)
Last performed for us in 1977 by the Bartok String Quartet
This massive and continuous movement falls into three main sections and
starts with a unison statement of the main idea, very akin to a Bach fugal subject and
based upon the four notes of the motto. Its moods alternate between long reflective
sections and outbursts of rhetoric. An unrelenting and aggressive fugue section in
dotted rhythm follows and Beethoven exploits the polyphonic textures throughout
with the continual exchange of musical ideas between the instruments. The
introduction of triplets leads into the meno mosso, which is flowing and often highly
Romantic in conception.
After a slowing tempo and long dominant preparation the quartet reaches the
anticipated climax with a somewhat violent and highly rhythmic fugal subject, which
is presented in the tonic key. Weird melodic figures and wild trills accompany it and
Beethoven again breaks new ground in writing a kind of fugue and variations. The
movement proceeds to the end with excursions through different textures, speeds and
moods until the final and optimistic ending.
FORTHCOMING EVENTS
HUDDERSFIELD Music Society
4th February 2002
HALIFAX PHILHARMONIC
18th January2002
at St Paul's Hall at 7.30 pm
Chroma Ensemble
Flute Quartet in D, Mozart; Clarinet Quintet,
Weber; Introduction & Allegro, Ravel; Bax &
others
CLUB
at the Square Chapel at 7.30 pm
The Langdale Ensemble (Flute, Oboe, Clarinet,
Bassoon and Horn)
at St Paul's Hall at 5.00 pm
Electroacoustic concert. A concert which show
cases the most exciting and innovative recent work
of students working in the University sound studios.
HUDDERSFIELD UNIVERSITY
1st February 2002
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:
OFFICERS
President
Stephen Smith
Hon. Secretary
Gordon Sykes Tel 01484 663474
Fax 01484 667988 e-mail gordon.sykes@virgin.net
Hon. Treasurer
P. Michael Lord Tel 01484 310104
Fax 01484 425658 e-mail Michael.Lord1@bt.internet.com
COMMITTEE
Marjorie Glendinning, Peter Lawson, Simon Rothery,
Margaret Collison, Linda Walker,
Christine Stanton, Richard Warrington.
Peter Hawke
Garages
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, 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
Peter Hawke Garages
Making Music (National Federation of Music Societies)
The Countess of Munster Musical Trust
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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HUDDERSFIELD
MUSIC SOCIETY
www.huddmusicsociety.plus.com
Registered Charity 529340
President: Stephen Smith
WT.
Eighty-fourth Season
2001-2002
St. Paul's Concert Hall, Queensgate
Monday 7.30 pm.
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SEASON'S PERFORMANCES
ConTempo String Quartet
29th October 2001
Haydn, Shostakovich and Brahms
19th November 2001 John Mark Ainsley and Roger Vignoles
Haydn, Fauré and Schumann
Skampa String Quartet
14th January 2002
Mozart, Martinu and Beethoven
4th February 2002
Chroma Ensemble
Mozart, Weber, Bax, Ravel and contemporary composers
18th February 2002 Ashley Wass
Haydn, Brahms, Schubert and Stravinsky trans. Agosti
Quatuor Danel and Philip Dukes
11th March 2002
Haydn, Beethoven, Mozart
Jerusalem String Quartet
15th April 2002
Haydn, Janacek and Schubert
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Marcus Barcham Stevens - violin; Cliodhna Ryan - violin; Reiad Chibah - viola;
Clare O'Connell - cello; Sarah O'Flynn - flute; Stuart King - clarinet;
Helen Cole - harp
Flute Quartet No1 in D K285
Empty Fathoms
Grand Quintet op 34 for clarinet &
strings
A Sea Change
Elegiac Trio
Quaternaries
RAVEL
Introduction & Allegro
CHROMA is a chamber ensemble featuring some of Britain's most talented young
musicians. Since its inception in 1997, CHROMA has quickly become established
as one of the most sought after chamber ensembles in the UK. Noted for its
innovative programming, CHROMA deftly balances the 'classic' core repertoire with
temporary music
of two CD's with
MOZART
ALASTAIR STOUT
WEBER
ana
Monday 4th February 2002
THE CHROMA ENSEMBLE
ANTHONY PAYNE
BAX
ANDREW KEELING
Programme Correction
Weber: Grand Quintet in E flat Op 34, should read
Clarinet Quintet in B flat, Op 34
Hilary Norcliffe
Archivist
ури і т
Bridge, Corsham and Ripon.
una
posers, past and
prestigious Park
is chosen to take
appeared at the
ting Edge Series
n in the 'Classic
1, Philip Cashian
a strani, sgrove, Hebden
We are grateful to Peter Hawke Garages and to the Countess of Munster
Musical Trust for their generous financial support for tonight's concert.
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SEASON'S PERFORMANCES
29th October 2001
Haydn, Shostakovich and Brahms
19th November 2001 John Mark Ainsley and Roger Vignoles
Haydn, Fauré and Schumann
ConTempo String Quartet
14th January 2002
Mozart, Martinu and Beethoven
4th February 2002
Mozart, Weber, Bax,
Skampa String Quartet
15th April 2002
Haydn, Ja
Chroma Ensemble
Ravel and contemporary composers
18th February 2002 Ashley Wass
Haydn, Brahms, Schubert and Stravinsky trans. Agosti
11th March 2002
Haydn, Beethoven, Mozart
Quatuor Danel and Philip Dukes
Jerusalem String Quartet
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Marcus Barcham Stevens - violin; Cliodhna Ryan - violin; Reiad Chibah - viola;
Clare O'Connell - cello; Sarah O'Flynn - flute; Stuart King - clarinet;
Helen Cole - harp
MOZART
Monday 4th February 2002
THE CHROMA ENSEMBLE
ALASTAIR STOUT
WEBER
ANTHONY PAYNE
BAX
Flute Quartet No1 in D K285
Empty Fathoms
Grand Quintet op 34 for clarinet &
strings
A Sea Change
Elegiac Trio
ANDREW KEELING
Quaternaries
RAVEL
Introduction & Allegro
CHROMA is a chamber ensemble featuring some of Britain's most talented young
musicians. Since its inception in 1997, CHROMA has quickly become established
as one of the most sought after chamber ensembles in the UK. Noted for its
innovative programming, CHROMA deftly balances the 'classic' core repertoire with
new and exciting works 'hot-off-the-press'. This commitment to contemporary music
has led to the performance of numerous premieres and the release of two CD's with
RiverRun Records, featuring works by some of Britain's finest composers, past and
present. In 2001, CHROMA appeared as the only ensemble in the prestigious Park
Lane Group New Year Concert Series at the Purcell Room and was chosen to take
part in the Countess of Munster Recital Scheme. In addition they appeared at the
Buxton, Corsham and Little Missenden Festivals and the BMIC Cutting Edge Series
at the Warehouse in London. Future projects include participation in the 'Classic
Fair Isle 2002' project, the premiere of new works by Tim Parkinson, Philip Cashian
and Joseph Phibbs and festival appearances at Spitalfields, Bromsgrove, Hebden
Bridge, Corsham and Ripon.
We are grateful to Peter Hawke Garages and to the Countess of Munster
Musical Trust for their generous financial support for tonight's concert.
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Flute Quartet in D major K285
Allegro; Adagio; Rondeau
Mozart (1756-1791)
This work dates from 1777 and was written during Mozart's visit to Mannheim, a
period in which he had incurred alarming expenses and needed to clear his debts. A rich
amateur flautist commissioned three flute concertos and two flute quartets.
The quartets exhibit the clarity of texture and form suited to the solo instrument and
their appeal is in their simplicity and directness of expression. The first movement of K 285
introduces two contrasting themes of which the second has a more poignant feel. They are both
subjected to dramatic development, commencing in the minor.
The soaring aria-like slow movement is sparingly accompanied by pizzicato strings
and leads to a witty and brilliant final movement where the strings once again converse
charmingly with the flute.
Empty Fathoms
Alastair Stout (b 1975)
Empty Fathoms, written in September 1998, takes its inspiration from a passage of the
poem Orfeo: A Masque by George Mackay Brown:
'The uncoiled line, baited, wandering deep. Orfeo and the fiddle and empty
fathoms, Play a reel, man' (From Northern Lights published by John Murray (Publishers) Ltd.)
I was interested in creating a work which followed a fishing line uncoiling through the
cross section of an ocean - journeying from the unstable surface waters down to the sea bed.
On its passage down, the line passes through different layers of sediment, converging tides, and
entangles strange sea creatures until it finally reaches the sea bed and nestles amongst the
rippling weeds...
The fishing line is depicted by a series of chords - first heard during the opening two
bars of the harp. This chordal line, which begins tight and unaltered, uncoils through the
ensemble and, 'wandering deep', explores the harmonies and melodies of which it is capable.
There are also glimpses of folk tunes that interrupt the organic flow of material but which also
become caught, 'baited' by the line and diffuse into the harmonic stream. Along the way
spiralling rhythms, oscillating chord progressions and rotating structures (such as the similar
gestures which begin and end the work) all parallel the powerful circular currents which surge
through the oceans.
AS.
Grand Quintet in E flat op 34
Allegro; Fantasia (Adagio);
Rondo (Allegro giocoso).
lasinet Quintet
i Bfiat
Menuetto capriccioso (Presto);
Weber (1786-1826)
Carl Maria Von Weber, the great German romantic composer, was, after Mozart,
the first master to write distinguished works for the solo clarinet. They include the Grand Duo
Concertant and theme and Variations, the Concertino and two concertos, a set of Variations
for clarinet and string quartet and the Clarinet Quintet. They were written for the composer's
friend, the clarinettist Heinrich Baermann between the years 1811 and 1816. Indeed, Weber's
admiration for Baermann's playing was such that the Concertino and two Concertos were
produced in the space of only four months. The Clarinet Quintet, composed in the same year,
combines exuberant virtuosity and Romanticism with great effect. The slow movement
especially draws upon Weber's experience in the field of Romantic opera, the clarinet taking
or
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on the role of vocalist in a tragic aria. As a whole however, the work is witty and full of
sparkling good humour.
INTERVAL
A Sea Change (1988)
Anthony Payne (b 1936)
Anthony Payne was born in London in 1936. He began to compose while still at
school and became aware of a developing personal style influenced by early twentieth
century English composers and others such as Sibelius and Tippett. After National Service
he read music at Durham University, and at the same time felt the need to expand and
rethink his musical language. In the mid-1960s, however, he began to compose Phoenix
Mass, in which he at last discovered a personal language.
In 1973 he took the decision to devote himself almost entirely to composition,
retaining of his other activities only concert reviewing, broadcasting, and work in the cause
of promoting new music to which he has always been committed. Recently he entered a
new field by becoming an artistic director of London's Spitalfields Festival
Sea Change is a single movement work, which follows a basic arch-like structure. In
its simplest form this span takes the listener from a fractured, pizzicato beginning, through a
central unified section, back finally to the fragmentation of the opening.
The piece opens for low strings and harp with disjointed, mysterious utterings played
pizzicato. Gradually the other strings join in, increasing the tension and becoming more and
more agitated and violent. Once this is established a new thematic idea is introduced in the
flute, a steadily unfurling arabesque. The clarinet imitates the flute in a rather bird-like
duologue. Beneath this figure the strings become more and more unified in their plucked
outbursts, until finally they unite completely in a hazy arco section. This more viscous texture
is layered with the harp's bisbigliando marking, meaning gently whispering. The centre of the
arc is achieved with the duetting wind instruments also becoming rhythmically united, having
first taken over the harp tremolandi. This spell of oneness is but a fleeting thing as the flute and
clarinet part company once more, twirling off into their arabesques. The strings too, move from
the gently swinging unison of the central section to the splintering pitter-patter that opened the
work. The twittering flute motif is now briefly echoed by the piccolo, before the hushed
whisperings of high strings and harp bring the arch to its calm conclusion.
Elegiac Trio
Arnold Bax (1883-1953)
(Performed in one continuous movement - tempo moderato)
Arnold Bax composed a wide variety of chamber music ranging from sonatas with piano
accompaniment to works on a much larger scale such as the Nonet for flute, clarinet, oboe,
harp and strings, all composed with a sure ear for instrumental colour and atmosphere. The
Elegiac Trio was the first of a number of scores composed after the execution of Bax's Irish
friends following the Easter Rising. Although dated 'April - May 1916' it was nearly a year
before it was performed by Albert Fransella (flute), the composer H Waldo Warner (viola) and
Miriam Timothy (harp), only weeks after they had performed the British premiere of Debussy's
Sonata for the same forces. This is the first of three memorial works that Bax wrote in the
aftermath of the Rising. The others were the Irish Elegy for cor anglais, harp and string quartet
and In Memoriam Padraig Pearse, an evocative orchestral tone poem. The Trio is undoubtedly
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imbued with Bax's shocked reaction to the news from Ireland, though he gives no clue as to
its imagery, not even a dedication. It falls into two parts, by far the longer being the first, in
which the flute and viola sing against arpeggiated harp accompaniment, characterised by such
markings as "sweet and expressive". It includes several dramatic statements given to the viola
or the flute and viola together. In the much slower closing section the viola and right hand of
the harp sing a noble elegy accompanied by flute patterning and roulades and harp arpeggios.
Andrew Keeling (b 1955)
Quaternaries
Quaternaries (1992) is 'about' the number 4 - the 'quaternary' which is, according to
Jung, a number of wholeness. There are four players, four main sections, forty four chords
(plus two others used as 'framing' chords), but three kinds of material: rising arpeggio-like
lines; linear accompanied by chords culled from the forty four; vertical chords which close
each section. Quaternaries was premiered by Capricorn at the 1992 Bath Festival. (AK)
Introduction & Allegro
Ravel (1875-1937)
Très lent-Allegro-Très animé-Tempo primo-Animé
When Sebastien Erard invented the double-action pedal harp in 1810 he gave the
instrument almost as much versatility as the piano by making it possible for harpists to play all
the notes of the chromatic scale with much greater ease than before. This he achieved by
creating three positions for each of the seven pedals. Each pedal controls one of the seven
notes of the diatonic scale and has a sharp, natural and flat position. This harp was used for a
number of years until in 1894, Gustav Lyon invented a chromatic harp that did not require
pedals because an extra set of strings, slanting across the others, was provided to enable
performers to find any note in the chromatic scale with either hand. This of course meant
learning an entirely new technique... The invention of this chromatic harp resulted in the
manufacturers commission the Danse sacree et danse profane. It was first performed in 1904
and is a delicate work for harp and string orchestra consisting of two parts. The first being
reminiscent of gregorian chant music which leads without a break into a waltz like 2nd
movement.
In retaliation the Erard company commissioned the Introduction and Allegro for
flute, clarinet, harp and string quartet. Although he once absent-mindedly left the
unfinished manuscript at his shirt-makers to join some friends for a yachting holiday,
Ravel did, in fact, take his task very seriously resulting in one of the finest pieces of
virtuoso harp writing ever achieved by a non harpist. The work begins with a short and
slow introduction perforated with harp arpeggios leading into the Allegro. The theme
is introduced by harp alone where upon it is developed by the rest of the group, a short
cadenza utilises every single one of the pedal positions and the first performance was
given in 1907.
The chromatic harp soon fell out of favour due to the easier tuning and greater
versatility of the double action instrument and the Debussy was arranged with very
little difficulty and so the Erard company kept its supremacy.
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OFFICERS
President
Stephen Smith
Peter Hawke
Garages
Hon. Secretary
Gordon Sykes Tel 01484 663474
Fax 01484 667988 e-mail gordon.sykes@virgin.net
Hon. Treasurer
P. Michael Lord Tel 01484 310104
Fax 01484 425658 e-mail Michael.Lord1@bt.internet.com
COMMITTEE
Marjorie Glendinning, Peter Lawson, Simon Rothery,
Margaret Collison, Linda Walker,
Christine Stanton, Richard Warrington.
We acknowledge with thanks support for our concerts from Yorkshire Arts
1.
ciety is affiliated
1
o from:
1,
1,
Making Music (National Federation of Music Societies)
The Countess of Munster Musical Trust
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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imbued with Bax's shocked reaction to the news from Ireland, though he gives no clue as to
its imagery, not even a dedication. It falls into two parts, by far the longer being the first, in
which the flute and viola sing against arpeggiated harp accompaniment, characterised by such
markings as "sweet and expressive". It includes several dramatic statements given to the viola
or the flute and viola together. In the much slower closing section the viola and right hand of
the harp sing a noble elegy accompanied by flute patterning and roulades and harp arpeggios.
Quaternaries
Andrew Keeling (b 1955)
Quaternaries (1992) is 'about' the number 4 - the 'quaternary' which is, according to
Jung, a number of wholeness. There are four players, four main sections, forty four chords
(plus two others used as 'framing' chords), but three kinds of material: rising arpeggio-like
lines; linear accompanied by chords culled from the forty four; vertical chords which close
each section. Quaternaries was premiered by Capricorn at the 1992 Bath Festival. (AK)
Introduction & Allegro
Ravel (1875-1937)
Très lent-Allegro-Très animé-Tempo primo-Animé
When Sebastien Erard invented the double-action pedal harp in 1810 he gave the
instrument almost as much versatility as the piano by making it possible for harpists to play all
the notes of the chromatic scale with much greater ease than before. This he achieved by
creating three positions for each of the seven pedals. Each pedal controls one of the seven
notes of the diatonic scale and has a sharp, natural and flat position. This harp was used for a
number of years until in 1894, Gustav Lyon invented a chromatic harp that did not require
pedals because an extra set of strings, slanting across the others, was provided to enable
performers to find any note in
learning an entirely new tech
manufacturers commission the
and is a delicate work for har]
reminiscent of gregorian cha
movement.
In retaliation the Era
flute, clarinet, harp and stri
unfinished manuscript at his
Ravel did, in fact, take his task very seriously resulting in one of the finest pieces of
virtuoso harp writing ever achieved by a non harpist. The work begins with a short and
slow introduction perforated with harp arpeggios leading into the Allegro. The theme
is introduced by harp alone where upon it is developed by the rest of the group, a short
cadenza utilises every single one of the pedal positions and the first performance was
given in 1907.
The chromatic harp soon fell out of favour due to the easier tuning and greater
versatility of the double action instrument and the Debussy was arranged with very
little difficulty and so the Erard company kept its supremacy.
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OFFICERS
President
Stephen Smith
Peter Hawke
Garages
Hon. Secretary
Gordon Sykes Tel 01484 663474
Fax 01484 667988 e-mail gordon.sykes@virgin.net
Hon. Treasurer
P. Michael Lord Tel 01484 310104
Fax 01484 425658 e-mail Michael.Lord1@bt.internet.com
COMMITTEE
Marjorie Glendinning, Peter Lawson, Simon Rothery,
Margaret Collison, 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, 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
Peter Hawke Garages
Making Music (National Federation of Music Societies)
The Countess of Munster Musical Trust
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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HUDDERSFIELD
MUSIC SOCIETY
www.huddmusicsociety.plus.com
Registered Charity 529340
President: Stephen Smith
WT.
Eighty-fourth Season
2001 - 2002
St. Paul's Concert Hall, Queensgate
Monday 7.30 pm.
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SEASON'S PERFORMANCES
29th October 2001
Haydn, Shostakovich and Brahms
ConTempo String Quartet
19th November 2001 John Mark Ainsley and Roger Vignoles
Haydn, Fauré and Schumann
14th January 2002
Mozart, Martinu and Beethoven
4th February 2002
Mozart, Weber, Bax,
Skampa String Quartet
Chroma Ensemble
Ravel and contemporary composers
18th February 2002 Ashley Wass
Haydn, Brahms, Schubert and Stravinsky trans. Agosti
11th March 2002
Haydn, Beethoven, Mozart
Quatuor Danel and Philip Dukes
15th April 2002
Haydn, Janacek and Schubert
Jerusalem String Quartet
H
B
S
S
R
SL
m
SE
H
ha
O
V
W
R
fi
SE
ST
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C
a:
F
lu
W
W
и
a
S
n
C
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HAYDN
BRAHMS
Monday 18th February 2002
ASHLEY WASS
Piano
Sonata in E flat major Hob XVI:49
Variations & Fugue on a theme by Handel
Sonata in A minor D784
SCHUBERT
STRAVINSKY transcAGOSTI L'Oiseau de Feu
Ashley Wass studied at Chethams Music School and won a scholarship to the
Royal Academy of Music to study with Christopher Elton and Hamish Milne. This
summer he returned to the Marlboro Music Festival, playing chamber music with
musicians such as Richard Goode and Samuel Rhodes. He has given recitals at
several of the major UK concert halls including the Wigmore Hall, Queen Elizabeth
Hall, Bridgewater Hall and St David's Hall. Ashley Wass's concerto performances
have included Beethoven and Brahms with the Philharmonia, Mendelssohn with the
Orchestre National de Lille and Mozart with the Vienna Chamber Orchestra at the
Vienna Konzerthaus and Brucknerhaus in Linz. Of his Brahms, the Independent
wrote: 'In the concerto, every level was perfectly judged. The big moments of the
first movement were thrillingly rugged and strong, while his expressive shading and
sense of line in the slow movement were spellbinding. And then he thrilled and
surprised us by hurling himself into the finale.'
Wass has also worked with Sir Simon Rattle and the CBSO, and the London
Mozart Players. This coming season Wass appears with the BBC Scottish Symphony
Orchestra (with Osmo Vanska) and the BBC Philharmonic (with Yakov Kreizberg)
as well as recording the Poulenc Piano Concerto with the BBC Concert Orchestra.
He will premiere a new work by Steve Martland, commissioned by the BBC, in a
lunchtime recital at the Bridgewater Hall. Other recitals around the UK will include
works by Beethoven, Brahms, Schubert, Liszt, Stravinsky and Ravel.
Ashley Wass made his debut recording in 1999 with a solo recital disc of
works by César Franck for Naxos. Diapason commented: 'No less remarkable is the
way that he delivers the Prelude, Aria et Final with great precision and taste and
always with a sense of dynamics and articulation that is reminiscent of old masters
such as Bolet and Ciccolini. The quality and height of inspiration of his playing
makes this disc a revelation.' Future plans include a Liszt recital disc and a series of
CDs highlighting the works of British composers Alwyn, Bax, Parry and Adès.
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Piano Sonata in E flat major Hob XV1:49
Haydn (1732-1809)
Allegro; Adagio cantabile; Finale:Tempo di Minuet
This sonata was written for Maria Anna von Genzinger, the wife of a
physician at Esterháza who played the fortepiano. Haydn sent the sonata to her
whilst on his travels in later years and his fondness for her is revealed in her
response to the gift and in their subsequent correspondence.
The sonata has a somewhat old-fashioned quality and is one of the last
in which Haydn used the Alberti bass (broken chords) in the first movement.
It is in sonata form with an extended development section and contains light
hearted and cheerful themes. There is a more dramatic section preceding the
return of the first theme in the recapitulation. The movement ends brilliantly.
The slow movement is one of exceptional depth and beauty in B flat
major with a central section in the minor key displaying some unrest. This
passage features (not for the first time in this sonata) the crossing of the left
hand over the right to play the melodic part. Haydn undoubtedly was assuming
Frau Genzinger's capabilities in coping with this and other technical
difficulties of the piece.
The finale is in a minuet form, a not uncommon ending in Haydn's
keyboard sonatas. The triplets against quavers in the cheerful opening theme
lend to it a leisurely and relaxed feeling. It also has a passage in the tonic
minor, again characteristic of Haydn.
Variations & Fugue on a theme of Handel op 24 Brahms (1833-1897)
In 1861 Brahms wrote these variations on a theme by Handel. It is an
Air of simple harmonic proportions over which is a typically decorative
Baroque melody, bound by a strong underlying repetitive rhythm. There are
twenty five variations leading into a vigorous fugue.
The apparent simplicity of the theme enabled Brahms to display
astonishing invention within the variations and to exploit a huge variety of
piano figurations. The individual variations appear to be linked in small groups
of either contrasting or similar nature. Surprisingly perhaps, Brahms makes
little use of key changes, preferring instead to experiment with imaginative
piano idioms and techniques.
He begins with a group of four highly contrasted variations ranging
from a lyrical triplet against quaver combination in the chromatic second
variation to the stormy octave character of number four. After these, the
variations seem to be paired; five and six are in the tonic minor, seven and
eight exploit martial-like rhythms and accented figures, and numbers nine and
ten are in turn chromatic and energetic orchestral-like portrayals of the theme.
Variations eleven and twelve have a gentler, more lyrical feel.
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09)
of a
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her
last
ent.
ight
the
tly.
flat
This
left
ing
ical
In's
eme
nic
97)
s an
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are
play
w of
ups
kes
ive
ing
ond
the
and
and
me.
A darkly brooding and richly textured variation thirteen seems to be
pivotal and central to the work and it leads into a chain of five highly virtuosic
variations demanding such techniques as playing in octaves and sixths,
arpeggiaic horn calls, brilliant accompanying passage work, etc.
A temporary contrast brings three quieter variations before the three
final variations which build in stature and excitement, anticipating the first
entry of the fugal subject. The fugue subject is based on a short rhythmic
motive and the fugue is worked out to its logical triumphant conclusion in a
manner reminiscent of Bach.
Sonata in A minor D 784
INTERVAL
Schubert (1797-1828)
Allegro giusto; Andante; Allegro vivace
Schubert wrote a considerable number of piano sonatas - many of them
unfinished. Unfortunately they did not appeal to the Viennese public, and
were neglected for many years. Indeed it is probably only during the last fifty
years or so that their true worth and importance has been widely recognised.
This A minor sonata was composed in 1823. It is unusual in the stolid
severity of the opening movement. This begins with an eight bar phrase which
contains the thematic substance of the movement. The descending minim-
quaver figure which ends each half of the phrase permeates the entire
movement and forms the accompaniment to the lugubrious main theme. Its
rhythm is only barely concealed below the surface of the lyrical second subject.
A short descending dotted quaver motif, greatly expanded, is also important
later in the movement.
The second movement, in ABA form, opens with a graceful theme in
F major. After a short rumbustious section, the opening theme returns with
filigree decorations in the right hand.
The final movement is in modified sonata form. The opening theme
is contrapuntal in character, the second song-like. In the "repeat" of the
exposition before the development the key of the second subject is changed
from F major to C major. In the brief coda the intricate twists and turns of the
main theme are transformed into a bravura passage in octaves.
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L'Oiseau de Feu
Danse Infernale; Berceuse; Finale
Stravinsky received his initial instruction from Rimsky-Korsakov, but
by 1910 when he wrote Firebird he had succumbed to the influence of
Debussy and Ravel. It was commissioned by Diaghilev for the Ballet Russe.
Firebird is based on an old Russian fairytale. The Prince captures the
Firebird but releases it in exchange for one of its magic feathers. The Prince
follows thirteen princesses, unbeknown to him captives of the wicked
Kastchei, into his magic garden. The Prince, about to be turned into stone by
Kastchei, uses the feather to summon the Firebird. The bird tricks Kastchei
to destroy his magic powers and liberate all the prisoners.
The full title of tonight's opening section is Infernal Dance of all
Katchei's subjects. In the Berceuse the magic bird lulls Kastchei to sleep.
After the death of Kastchei there follows liberation and general joy and
jollification.
HUDDERSFIELD MUSIC SOCIETY
11th March 2002
HALIFAX PHILHARMONIC
1st March 2002
FORTHCOMING EVENTS
at St Paul's Hall at 7.30 pm
Quatuor Danel with Philip Dukes (viola)
String Quartet in D minor op 76 no 2, Haydn;
String Quartet in C sharp minor op 131, Beethoven;
String Quintet in G minor K516, Mozart
CLUB
at the Square Chapel at 7.30 pm
The London Horn Trio (Beethoven, Berkeley and
Brahms)
Stravinsky (1882-1971)
transc. Agosti
HUDDERSFIELD UNIVERSITY
21st February 2002
at St Paul's Hall at 7.30 pm
Music for Low Brass
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OFFICERS
President
Stephen Smith
Hon. Secretary
Gordon Sykes Tel 01484 663474
Fax 01484 667988 e-mail gordon.sykes@virgin.net
Hon. Treasurer
P. Michael Lord Tel 01484 310104
Fax 01484 425658 e-mail Michael.Lord1@bt.internet.com
S
Peter Hawke
Garages
COMMITTEE
Marjorie Glendinning, Peter Lawson, Simon Rothery,
Margaret Collison, 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, 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
Peter Hawke Garages
Making Music (National Federation of Music Societies)
The Countess of Munster Musical Trust
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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HUDDERSFIELD
MUSIC SOCIETY
www.huddmusicsociety.plus.com
Registered Charity 529340
President: Stephen Smith
WT.
Eighty-fourth Season
2001 - 2002
St. Paul's Concert Hall, Queensgate
Monday 7.30 pm.
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SEASON'S PERFORMANCES
29th October 2001
Haydn, Shostakovich and Brahms
ConTempo String Quartet
19th November 2001 John Mark Ainsley and Roger Vignoles
Haydn, Fauré and Schumann
Skampa String Quartet
14th January 2002
Mozart, Martinu and Beethoven
4th February 2002
Chroma Ensemble
Mozart, Weber, Bax, Ravel and contemporary composers
18th February 2002 Ashley Wass
Haydn, Brahms, Schubert and Stravinsky trans. Agosti
Quatuor Danel and Philip Dukes
11th March 2002
Haydn, Beethoven, Mozart
Jerusalem String Quartet
15th April 2002
Haydn, Janacek and Schubert
3E
I
F
I
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2
HAYDN
BEETHOVEN
MOZART
Monday 11th March 2002
DANEL STRING QUARTET
with
PHILIP DUKES (viola)
String Quartet in D minor op 76 no 2
String Quartet in C sharp minor op 131
String Quintet in G minor K516
e
Hilary Norcliffe
Archivist
KS₁5!!
The four French musicians who constitute the Danel Quartet came together
in 1991. Since then they have established a formidable reputation within the
profession. Receiving instruction from members of the Amadeus and Borodin
Quartets amongst others, they perform regularly in renowned concert halls and at
major festivals throughout Europe.
The Quartet fervently defends the importance of the Arts, particularly music,
in the modern world. It has willingly accepted engagements in symbolic places such
1 Alenain which it visited in 1998 Each vear it organises a musical
Programme Correction
rofessionals are
ublic concerts in
ig.
The Mozart String Quintet played was:
K515 in C major
lo viola players.
Strad" magazine
ed as one of the
Besides appearing as concerto soloist and recitalist, Philip also appears as
guest with many distinguished artists and ensembles, including the Nash Ensemble
the Vanburgh, Skampa and Chilingirian Quartets and the Gould Piano Trio.
In 1995 Philip made his BBC Promenade Concert debut giving the world
premiere of the viola Concerto by Sally Beamish, and at the 1997 Aldeburgh Festival
he gave the world premiere of the previously unpublished Concerto for violin viola
and Orchestra by Benjamin Britten. He can be heard regularly on Radio 3 and has
recorded a number of CDs.
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SEASON'S PERFORMANCES
29th October 2001
Haydn, Shostakovich
Con Tempo String Quartet
and Brahms
19th November 2001
Haydn, Fauré and Schumann
John Mark Ainsley and Roger Vignoles
14th January 2002
Mozart, Martinu and Beethoven
Skampa String Quartet
4th February 2002
Chroma Ensemble
Mozart, Weber, Bax, Ravel and contemporary composers
15th April 2002
Haydn,
18th February 2002 Ashley Wass
Haydn, Brahms, Schubert and Stravinsky trans. Agosti
11th March 2002
Haydn, Beethoven, Mozart
Quatuor Danel and Philip Dukes
Jerusalem String Quartet
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2
HAYDN
BEETHOVEN
MOZART
Monday 11th March 2002
DANEL STRING QUARTET
with
PHILIP DUKES (viola)
String Quartet in D minor op 76 no 2
String Quartet in C sharp minor op 131
String Quintet in G minor K516 KS15
e
s!!
The four French musicians who constitute the Danel Quartet came together
in 1991. Since then they have established a formidable reputation within the
profession. Receiving instruction from members of the Amadeus and Borodin
Quartets amongst others, they perform regularly in renowned concert halls and at
major festivals throughout Europe.
The Quartet fervently defends the importance of the Arts, particularly music,
in the modern world. It has willingly accepted engagements in symbolic places such
as Azerbaijan and Algeria, which it visited in 1998. Each year it organises a musical
retreat in the Loire Valley, to which both amateurs and young professionals are
invited. Once there the participants are invited to participate in public concerts in
rural retreats and in situ, giving a real impetus to their music making.
Philip Dukes is one of Great Britain's most outstanding solo viola players.
His recital debut at London' South Bank in 1991, described by "The Strad" magazine
as "world class" marked the beginning of a career now established as one of the
foremost of his generation.
Besides appearing as concerto soloist and recitalist, Philip also appears as
guest with many distinguished artists and ensembles, including the Nash Ensemble
the Vanburgh, Skampa and Chilingirian Quartets and the Gould Piano Trio.
In 1995 Philip made his BBC Promenade Concert debut giving the world
premiere of the viola Concerto by Sally Beamish, and at the 1997 Aldeburgh Festival
he gave the world premiere of the previously unpublished Concerto for violin viola
and Orchestra by Benjamin Britten. He can be heard regularly on Radio 3 and has
recorded a number of CDs.
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String Quartet in D minor op 76 no 2
Haydn (1732-1809)
Allegro; Andante piu tosto allegretto; Menuetto (Allegro ma non troppo);
Finale (Vivace assai).
Last played for us in 1993 by the Prazak String Quartet
The set of six Opus 76 quartets completed in 1797, represent Haydn's
mature style and the immense skill and beauty of their writing reflect nearly
forty years of experience of quartet and symphonic composition.
This quartet was nicknamed the "fifths" because of the widely spaced,
descending intervals in the opening bars which are at the core of the whole
movement and this theme is skilfully worked in the development section.
Towards the end Haydn produces one of his good humoured tricks on the
listener by avoiding the anticipated ending with a temporary move to a
different key and an apparently fresh start.
The essence of the slow movement is a simple and appealing slow
melody which Haydn re-works with different accompaniment. There is a
central modulating section before an embellished return of the first section.
The third movement is a very individual minuet and trio, sometimes
known as the Hexenmenuett (Witches' minuet), presumably because of the
slightly macabre quality of its highly individual two-part canon. The trio is a
more vigorous and folk-like section in the major key. Its ostinato
accompaniment reflects Haydn's earliest musical experiences of the countryside.
Lastly a syncopated and repetitive melody introduces the final
movement interrupted by unexpected pauses. Its vigour increases with strong
unison passages, unheralded key changes and chromatic harmony, increasing
the dramatic power of the movement and its strong rhythmic impetus.
String Quartet in C sharp minor op 131
Beethoven (1770-1827)
1. Adagio, ma non troppo e molto espressivo - 2. Allegro molto vivace - 3. Allegro
moderato - 4. Andante, ma non troppo e molto cantabile (Variations: Piu mosso -
Andante moderato e lusinghiero - Adagio - Allegretto - Adagio, ma non troppo e
semplice - Allegretto) -5. Presto - 6. Adagio, quasi un poco andante - 7. Allegro.
Last played for us in 1990 by the New Budapest String Quartet
This quartet is unusual in that it consists of as many as seven
movements, and these are directed to be played without a break. Moreover the
first is a long and slow fugue of great intensity and sublime beauty. It is
followed by a lively, almost monothematic movement in D major.
The third serves as a brief introduction to the central movement, the
magnificent Andante in A major, with its theme and six contrasting variations.
These are double variations, so each half of the theme is played twice, usually
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with its own variation. The third variation is fugal in character. In the
introduction to the last the first violin breaks into trills, which descend into the
theme, played by the inner parts in octaves, whilst the cello furnishes a broken
chord bass in marching rhythm and the first violin continues to trill above -
surely the supreme moment of the work.
In the following scherzo the theme mounts rapidly from a flourish low
in the cello to the upper reaches of the violin. In typical Beethoven fashion the
trio is played a second time after the recapitulation of the Scherzo. It is only
after the third full replay of the scherzo and re-entry to the trio that the
movement subsides into a coda.
The sixth movement, a pleading Adagio, leads directly into the final
one the first in sonata form in the entire work. This last movement is
dominated by the remorseless drive of its main theme, only briefly interrupted
by the alluring second subject in E major. Towards the end of the lengthy
coda the movement slows and resolves triumphantly into the major.
INTERVAL
String Quintet in G minor K516
Mozart (1756-1791)
Allegro; Menuetto (Allegretto); Adagio ma non troppo; Adagio - Allegro.
Last played for us in 1991 by the Lindsay String Quartet and Patrick Ireland
This quintet was written around 1787, during the last four years of
Mozart's life, when he was forced to beg and borrow in order to support
himself and his wife. His model was a series of quintets by Boccherini who
used an extra cello in a very high register, but which Mozart replaced with his
greatly loved viola. (There was considerable rivalry between the two
composers and possibly Mozart hoped that by showing his proficiency in the
medium, he could persuade Friedrich Wilhelm to employ him also at the court
of Prussia).
The key of G minor is always for Mozart a key of intense emotion.
Throughout the quintet his handling of the material is unique and far in
advance of his time. The first movement's rapid key changes and treatment of
harmonic dissonance give a feeling of profound unrest. The flexibility possible
with five equal instruments enables him to explore more complex textures than
possible in quartet writing, resulting in infinitely increased expression.
1
The minuet is placed second instead of third, an order which Mozart
often favoured in his chamber music. It is also in G minor but its decisive
simplicity contrasts with the previous movement. A beautifully sustained trio
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allows for some wonderful instrumental combinations in its contrapuntal
second section.
The slow movement contains expression of Mozart's suffering with its
chromatic melodies and frequent dissonance. A four note motif, first heard in
the fifth bar from the first violin followed by the cello, pervades the movement
and enables Mozart to demonstrate his contrapuntal skill.
The final movement begins with a slow introduction, sustaining
intensity and adding extra significance to the very end. The allegro section is
memorable for "its alternation of passages of great simplicity with others
contrapuntally richer and more openly expressive". (Rosen). Thus ends a
glorious work springing from the suffering of a man whose genius was never
fully recognised in his lifetime.
FORTHCOMING EVENTS
HUDDERSFIELD MUSIC SOCIETY
15th April 2002
Jerusalem String Quartet
HUDDERSFIELD UNIVERSITY
22nd April 2002
29th April 2002
at St Paul's Hall at 7.30 pm
String Quartet in D major op 76 no 5, Haydn;
String Quartet no 1 in E minor, Janacek
String Quartet in A minor op 132, Beethoven
HALIFAX PHILHARMONIC CLUB
12th April 2002
at the Square Chapel at 7.30 pm
Jerusalem String Quartet (Haydn, Bartok, Beethoven)
at St Paul's Hall at 7.30 pm
Chamber Recital by MA Students
University New Music Ensemble and Chamber Recital
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OFFICERS
President
Stephen Smith
Peter Hawke
Garages
Hon. Secretary
Gordon Sykes Tel 01484 663474
Fax 01484 667988 e-mail gordon.sykes@virgin.net
Hon. Treasurer
P. Michael Lord Tel 01484 310104
Fax 01484 425658 e-mail Michael.Lord1@bt.internet.com
COMMITTEE
Marjorie Glendinning, Peter Lawson, Simon Rothery,
Margaret Collison, Linda Walker,
Christine Stanton, Richard Warrington.
from Yorkshire Arts
ociety is affiliated
Iso from:
in,
rd,
Teter Trawke Garages
Making Music (National Federation of Music Societies)
The Countess of Munster Musical Trust
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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allows for some wonderful instrumental combinations in its contrapuntal
second section.
The slow movement contains expression of Mozart's suffering with its
chromatic melodies and frequent dissonance. A four note motif, first heard in
the fifth bar from the first violin followed by the cello, pervades the movement
and enables Mozart to demonstrate his contrapuntal skill.
The final movement begins with a slow introduction, sustaining
intensity and adding extra significance to the very end. The allegro section is
memorable for "its alternation of passages of great simplicity with others
contrapuntally richer and more openly expressive". (Rosen). Thus ends a
glorious work springing from the suffering of a man whose genius was never
fully recognised in his lifetime.
HUDDERSFIELD MUSIC SOCIETY
15th April 2002
Jerusalem String Quartet
al Strauis man at 7.30 p
String Quartet in D major op 76 no 5, Haydn;
String Quartet no 1 in E minor, Janacek
String Quartet in A minor op 132, Beethoven
HALIFAX PHILHARMONIC CLUB
12th April 2002
at the Square Chapel at 7.30 pm
Jerusalem String Quartet (Haydn, Bartok, Beethoven)
HUDDERSFIELD UNIVERSITY
22nd April 2002
29th April 2002
at St Paul's Hall at 7.30 pm
Chamber Recital by MA Students
University New Music Ensemble and Chamber Recital
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OFFICERS
President
Stephen Smith
Hon. Secretary
Gordon Sykes Tel 01484 663474
Fax 01484 667988 e-mail gordon.sykes@virgin.net
Hon. Treasurer
P. Michael Lord Tel 01484 310104
Fax 01484 425658 e-mail Michael.Lord1@bt.internet.com
Peter Hawke
Garages
COMMITTEE
Marjorie Glendinning, Peter Lawson, Simon Rothery,
Margaret Collison, 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, 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
Peter Hawke Garages
Making Music (National Federation of Music Societies)
The Countess of Munster Musical Trust
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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HUDDERSFIELD
MUSIC SOCIETY
www.huddmusicsociety.plus.com
Registered Charity 529340
President: Stephen Smith
LI
WT.
Eighty-fourth Season
2001-2002
St. Paul's Concert Hall, Queensgate
Monday 7.30 pm.
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SEASON'S PERFORMANCES
ConTempo String Quartet
29th October 2001
Haydn, Shostakovich and Brahms
19th November 2001 John Mark Ainsley and Roger Vignoles
Haydn, Fauré and Schumann
14th January 2002
Mozart, Martinu and Beethoven
Skampa String Quartet
4th February 2002
Chroma Ensemble
Mozart, Weber, Bax, Ravel and contemporary composers
18th February 2002 Ashley Wass
Haydn, Brahms, Schubert and Stravinsky trans. Agosti
Quatuor Danel and Philip Dukes
11th March 2002
Haydn, Beethoven, Mozart
Jerusalem String Quartet
15th April 2002
Haydn, Janacek and Schubert
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Monday 15th April 2002
JERUSALEM STRING QUARTET
Sergei Bressler violin
Kyril Ziotnov cello
Alexander Pavlovsky violin
Amichai Grosz viola
HAYDN
JANACEK
BEETHOVEN
String Quartet in D Major op 76 no 5
String Quartet No 1 (Kreutzer Sonata)
String Quartet in A minor op 132
Undoubtedly one of the most interesting and dynamic quartets of their
generation, the Jerusalem Quartet has aroused a tremendous amount of interest
in the time they have been performing professionally. They are regular
visitors to the Wigmore Hall and appear in this year's Cheltenham Festival.
Future dates include concerts at the Berlin Konzerthaus, Concertgebouw
Amsterdam, Zurich Tonhalle, Carnegie Hall, Cleveland Museum of
Contemporary Art, Kennedy Center Washington and Prague Spring and
Ludwigsburg Festivals. They will also return to the Schubertiade in
Hohenems and take part in a Bartok series at the Concertgebouw and a Haydn
series in the Louvre
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String Quartet in D major op 76 no 5
1 Allegretto-Allegro
3 Menuetto: Allegro
2 Largo cantabile e mesto
4 Finale: Presto
Haydn (1732-1809)
Last performed for us in 1998 by the Prazak String Quartet
Published in 1799 as part of the usual set of six, this quartet was written
when Haydn was at the height of his powers, having been released by the death
of his patron, the Prince of Esterháza to travel and gain commissions
elsewhere. The set was commissioned by the Count Erdödy.
The first movement opens with a lyrical and relaxed theme in D major,
which changes to the more complicated and expressive counterpoint with
which we associate his later works. The four instruments work co-operatively
in their different roles of leading and accompanying.
A slow movement follows in the unusual brighter but distant key of F
sharp major. It unfolds in a slow exploration of colours and in particular
exhibits Haydn's new understanding of the viola and its possibilities of
contributing imaginatively to the textures.
The third movement is a warm but vigorous minuet, its cross accents
in the second section enlivening and contrasting with a fairly conventional trio
in the minor key.
A flourish of dominant and tonic chords introduce the finale and its
simple themes and harmonies are deceptive. It has a clear and tight sonata
structure in spite of its apparent rustic simplicity.
String Quartet no 1 in E minor (Kreutzer Sonata) Janáček (1854-1928)
1 Adagio. Con moto. 2 Con moto. 3 Con moto. Vivo. Andante
4 Con moto. (Adagio). Più mosso
Last performed for us in 1997 by the Leipzig String quartet
This quartet is a dramatic work taking as its inspiration the essence of
Tolstoy's novel, a study in suffering and death. It was written in 1923 by a
composer who was the third and last of three great Czech nationalists. Janáček
studied in detail the folk lore and nature mysticism of his country, and his
music is closely allied to the rhythmic and melodic curves of speech, which he
believed to be a complete expression of all human predicament.
The solo lines of the first movement spring eloquently out of
imaginative and changing string textures. Following on is a continual flow of
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patterned accompaniments and alternating textures and moods. The final
section ends, as all of the movements, quietly and without ostentation.
This second movement presents a series of contrasting sections of
which the most important are a folk dance rhythm and a unique passage
employing harmonics in the upper instruments against the cello solo line. Both
are repeated with ever increasing intensity until the final dance section which
fades gracefully through its final solos.
A canonic opening distinguishes the third from the other movements
and it is also notable for its fluctuating speeds. Within its fluent expressiveness
lie almost tangible expressions of human speech and temperament.
In common with the others, the final movement is marked "con moto"
and it takes the listener once again through a changing canvas of instrumental
colour and therefore emotion. Much of this movement contains the
characteristic fingerprints of the composer in its cumulative and melodic
repetition of short motifs, often accompanying extended and artless melody.
INTERVAL
String Quartet in A minor op 132
1 Assai sostenuto -Allegro 2 Allegro ma non tanto
3 Canzona di ringraziamento. Molto adagio - Sentendo nuova forza. Andante
4 Alla marcia, assai vivace. - Più allegro - Presto
5 Allegro appassionato
Beethoven (1770-1827)
Last performed for us in 1998 by the Prazak String Quartet
This work is the second of a group of three quartets composed by
Beethoven at the end of his life between 1822 and 1825. All three share a
common theme or "motto" of four notes constructed from the top of the
harmonic minor scale and also are dedicated to Prince Galitzin, an amateur
cellist and admirer.
The dark and sombre opening of this movement is constructed from a
rising version of the motto which pervades the whole movement. Its profound
unrest and often despair is attributable to the pain of Beethoven's illness of
1824. In turn plaintive and stoic, its depth of feeling is reflected in the
complexity of the counterpoint and through its variety of extreme expression.
A movement of comparative peace and simplicity follows in the guise
of a slow scherzo and trio in the major key. The pastoral nature of the trio is
largely due to the sound of a drone instrument and is said to be an adaptation
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of a German dance Beethoven had composed some years earlier.
The third movement entitled "A song of thanksgiving" begins with a
rising sixth which introduces a feeling of hope in a uniquely extended and
profound movement. After a long slow section the music breaks into a kind of
enraptured dance section bearing the title, "Feeling new strength". The
alternation of these two ideas enable the listener to empathise with a man who
has recovered from a debilitating illness. Certainly this movement must be one
of Beethoven's most intense and longest and it serves as an emotional centre
to the whole.
A brief and cheerful march movement with dotted rhythms follows,
which, as it becomes more dramatic, leads into the final movement.
The final movement is in triple time and begins with an impassioned
dance which serves as a returning rondo theme. The alternating sections return
to the dissonance and complex counterpoint of the opening movement. In its
final section the pace quickens to finish compellingly in the major key with an
orchestral flourish.
FORTHCOMING EVENTS
HUDDERSFIELD UNIVERSITY
22nd April 2002
29th April 2002
13th May 2002
at St Paul's Hall at 7.30 pm
Chamber Recital by MA Students
The University New Music Ensemble and Chamber
Recital
The University Symphonic Wind Orchestra and Brass
Band
P
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OFFICERS
President
Stephen Smith
Hon. Secretary
Gordon Sykes Tel 01484 663474
Fax 01484 667988 e-mail gordon.sykes@virgin.net
Hon. Treasurer
P. Michael Lord Tel 01484 310104
Fax 01484 425658 e-mail Michael.Lord1@bt.internet.com
Peter Hawke
Garages
COMMITTEE
Marjorie Glendinning, Peter Lawson, Simon Rothery,
Margaret Collison, 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, 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
Peter Hawke Garages
Making Music (National Federation of Music Societies)
The Countess of Munster Musical Trust
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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