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HUDDERSFIELD
MUSIC SOCIETY
(President: Stephen Smith)
Eighty-fifth Season
2002-2003
A
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TAIZAIL
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Music at the
University of Huddersfield
Evening Concert Series
Huddersfield Music Society is a Registered Charity
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1. Monday 7 October 2002 at 7 30 pm
LUCY JEAL (violin) and TIM HORTON (piano)
THESE two promising young soloists have already won consid-
erable acclaim for their performances. In particular, Lucy has
earned a glowing tribute from Igor Oistrakh, and has taken part
in chamber music recitals alongside Alfred Brendel.
Sonata in E flat K380
Sonata
Six Rumanian Dances
Sonata in F op 24 (Spring)
Nocturne & Tarantella op 28
2. Monday 28 October 2002 at 7 30 pm
THE FINE ARTS BRASS ENSEMBLE
FOR our first ever visit by a brass ensemble, we have selected
one which in over twenty years' existence has played in more
than 60 countries and appeared at every major British music
Festival. They present a programme of works ranging from the
seventeenth to the twentieth centuries, including some
specifically written for brass.
A Quick Start
Musick for Sackbutts & Cornetts (1660)
Capriol Suite
Spirit Moves
Quintet No I
Threepenny Opera Suite
Pictures at an Exhibition
Mozart
Janácek
Bartók
Beethoven
Szymanowski
Matthews
Locke
Peter Warlock
Panufnik
Malcolm Arnold
Kurt Weill
Mussorgsky (arr Roberts)
3. Monday II November 2002 at 7 30 pm
ROBERT PLANE (clarinet), ALICE NEARY
(cello) and SOPHIE RAHMANN (piano)
Clarinet Trio op 11
Sonata for cello and piano op 119
Adagio from Quartet for the End of Time
Bagatelles for clarinet and piano
Clarinet Trio op 114
ALL established soloists in their own right, each of tonight's
performers has appeared before us in the past, but not in this
particular combination. Their programme includes two major
classics from the clarinet trio repertoire.
Beethoven
Prokoviev
Messiaen
Finzi
Brahms
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The Chilingirian String Quartet
(photo: Camilla Jessel)
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4. Monday 27 January 2003 at 7 30 pm
THE SORREL STRING QUARTET
THE Sorrel was obliged to withdraw from last season's
engagement for personal reasons, so we are delighted to
re-engage them for the current season.
String Quartet in B flat op 76 no 4
String Quartet no I in C op 49
Haydn
Shostakovich
String Quartet in F op 59 no I (Rasumovsky) Beethoven
5. Monday 3 February 2003 at 7 30 pm
THE JANACEK STRING QUARTET
ALTHOUGH containing none of the original founding members,
the style of this Czech quartet has remained remarkably consis-
tent over the past fifty years, and it has maintained its reputation
as one of the finest quartets to emerge from their country.
String Quartet in E flat op 33 no 2 ('The Joke')
String Quartet in G minor op 10
String Quartet in G major op 106
ssupported by Wheawill and Sudworth
6. Monday 10 March 2003 at 7 30 pm
THE CHILINGIRIAN STRING QUARTET
Haydn
Debussy
Dvorak
GRACING our platform for the first time in sixteen years, this
stupendous quartet presents a programme chosen from the
mainstream string quartet repertoire.
In memoriam Elizabeth Stephenson
String Quartet in G major K387
String Quartet no 5
String Quartet in F op 135
Mozart
Bartok
Beethoven
7. Monday 17 March 2003 at 7 30 pm
ANGELA HEWITT (piano)
English Suite no 5 in E minor
Suite 'Le Tombeau de Couperin'
IN the light of the overwhelming success of her previous
appearance with us in January 2001, we are delighted to wel-
come Angela back to Huddersfield. Although playing more Bach
for this visit, she also includes works by Ravel and Messiaen.
English Suite no 4 in F
Preludes
supported by Peter Hawke Garages
Bach
Messiaen
Bach
Ravel
The Huddersfield Music Society is affiliated to the
University of Huddersfield and our concerts form part
of the 'Evening Concert' series. The other concerts in
the series are given by the students and staff of the
School of Music and Humanities and cover a wide
range of musical performance.
Full details are
published in the Department's brochure, 'Music at the
University of Huddersfield', obtainable from the
Department of Music at the University (Tel 01484
472003)
Tickets
Single Season Ticket
Double Season Ticket
Single Concert
Student Ticket
Student Season Ticket
Tickets may be obtained by using the booking form or
from Huddersfield Information Centre, Albion Street,
Tel 01484 223200, or at the door. Please return
unwanted season tickets to the Treasurer by 27th
September 2002.
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.lord4@btopenworld.com
m
Please send ........
Please send
concert number(s)
Name
Address
Postcode
.....
£55
£105
£12
£3
£15
I enclose cheque
single/double season tickets
...... single concert tickets for
Telephone
Total £........
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HUDDERSFIELD MUSIC SOCIETY
www.huddmusicsociety.plus.com
Tel 01484 663474
Honorary Secretary
Mr Gordon Sykes
E-mail gordon.sykes@virgin.net
TO HALIFAX
& M62
Wheawill &
Sudworth
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NEW NORTH ROADO
TRINITY STREET
NORTH
Peter Hawke
CASTLE GATE
STATION
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TO MANCHESTER
GARAGES
A62 MANCHESTER ROAD
Car parking should
RAILWAY STATION
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Fax 01484 667988
A616 CHAPEL
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OF MUSIC SOCIETIES
TO LEEDS
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TO WAKEFIELD
SHEFFIELD
4629 WAKEFIELD ROAD
ST. PAUL'S HALL
UNIVERSITY OF
HUDDERSFIELD
be available across Queensgate
from St Paul's Hall for a small fee.
The car park is lit and attended.
The concerts usually end at about 9 30 pm.
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HUDDERSFIELD
MUSIC SOCIETY
Um
WT.
Eighty-fifth Season
2002 - 2003
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MONDAYS AT ST. PAULS
EIGHTY-FIFTH SEASON
2002-2003
7th October 2002
LUCY JEAL - violin and TIM HORTON - piano
Mozart Sonata in E flat K380; Janacek Sonata; Bartok 6 Rumanian Dances;
Beethoven Sonata in F op 24 "Spring"; Szymanowski Nocturne & Tarantella op 28.
28th October 2002
THE FINE ARTS BRASS ENSEMBLE
Matthews A Quick Start; Locke Musick for Sackbutts & Cornetts (1660);
Peter Warlock Capriol Suite; Panufnik Spirit Moves; Malcolm Arnold Quintet no
Kurt Weill Threepenny Opera Suite; Mussorgsky Pictures at an Exhibition.
11th November 2002
ROBERT PLANE - clarinet, ALICE NEARY - cello and SOPHIE
RAHMANN piano
Beethoven Trio op 11; Brahms Trio op 114; Duos for Clarinet & Piano and Cello &
Piano
27th January 2003
THE SORREL STRING QUARTET
Haydn Quartet in B flat op 76 no 4; Shostakovich Quartet no 1 in C op 49;
Beethoven Quartet in F op 59 no 1 (Rasumovsky)
3rd February 2003
THE JANACEK STRING QUARTET
Haydn Quartet in E flat op 33 no 2 (Joke); Debussy Quartet in G minor op 10;
Dvorak Quartet in G minor op 106
10th March 2003
THE CHILINGIRIAN STRING QUARTET
Mozart Quartet in G major K387; Bartok Quartet No 5; Beethoven Quartet in F op 135
17th March 2003
ANGELA HEWITT - piano
Bach English Suite no 4 in F; Messiaen Preludes; Bach English Suite no 5 in E minor;
Debussy "Le Tombeau de Couperin".
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HUDDERSFIELD MUSIC SOCIETY
This is a preview of concerts arranged for the 2002-2003 season, our 85th.
We begin with a violin and piano recital by two young artists, Lucy Jeal and
Tim Horton. Lucy has been described as a violinist of exceptional talent
by musicians such as Alfred Brendel and Igor Oistrakh, so her visit should
be very special. We continue with a first for our Society, the appearance
of a brass quintet, bringing a mixture of original works for the medium and
arrangements, including Pictures at an Exhibition. They are followed by
the Plane Neary Rahmann piano trio.
The first of our String Quartet recitals is given by the Sorrel. They had to
retire from an engagement last season due to personal circumstances, and
we were delighted to be able to re-engage them. They are followed by the
Janacek Quartet playing Haydn, Debussy and Dvorak.
Building up to a glittering climax, our third String Quartet, the Chilingirian,
are making a return visit after fifteen years, during which they have
enhanced their international reputation. Their programme includes one of
Mozart's "Haydn" Quartets as well as Bartok and late Beethoven.
Our final concert is marked by the very welcome return visit of the
Canadian pianist Angela Hewitt. This time she includes Debussy and
Messiaen in her programme as well as Bach.
We thank all our sponsors and subscribers for their continued support and
hope that the concerts set out here will prove attractive.
Tickets will be on sale at our last two concerts this season as follows:-
Double Season Ticket £103
Single Season Ticket £53
Student Season
£15
Single concert Ticket
£12
(£105 after 30th April 2002)
(£54 after 30th April 2002)
(Student £3)
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HUDDERSFIELD
MUSIC SOCIETY
T
WI.
Eighty-fifth Season
2002-2003
St. Paul's Concert Hall, Queensgate
Monday 7.30pm
www.huddmusicsociety.plus.com
Registered Charity 529340
President: Stephen Smith
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Season's Performances
OCTOBER 7th, 2002
Lucy Jeal & Tim Horton
Mozart, Janacek, Bartok, Beethoven, Szymanowski
OCTOBER 28th, 2002
Alice Neary, Robert Plane, Sophie Rahmann
Beethoven, Brahms, Prokofiev, Messiaen, Finzi
NOVEMBER 11th, 2002
Fine Arts Brass Ensemble
Matthews, Locke, Warlock, Panufnik, Arnold, Weill, Mussorgsky
JANUARY 27th, 2003
Sorrel String Quartet
Haydn, Shostakovich, Beethoven
FEBRUARY 3rd, 2003
Janacek String Quartet
Haydn, Debussy, Dvorak
MARCH 10th, 2003
Chilingirian String Quartet
Mozart, Bartok, Beethoven
MARCH 17th, 2003
Angela Hewitt
Bach, Messiaen, Ravel
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Fot
Monday 7th October 2002
LUCY JEAL (violin) and TIM HORTON (piano)
Sonata in E flat major K380
Sonata for violin and piano
Six Rumanian Dances
Sonata in F op 24 (Spring)
BEETHOVEN
SZYMANOWSKI Nocturne and Tarantella op 28
MOZART
JANACEK
BARTOK
Lucy Jeal was born in London in 1974, and took up the violin at the age
of 5. In April 1999 Lucy played chamber music with Alfred Brendel at
Carnegie Hall and in Chicago. In 2001 and 2002 she was booked to appear in
chamber concerts throughout Europe and Japan with Alfred Brendel,
celebrating his 70th birthday.
In 1997 and 1998 BBC Radio 3 broadcast a studio recital in which she
played sonatas by Mozart, Brahms and Ravel. Two years earlier Lucy had
been the youngest performer chosen by BBC Radio 3 to play in the "Young
Artists' Forum" recorded concerts at the National Portrait Gallery.
Lucy has performed as soloist in the Hall of Columns, Moscow; the
Barbican; The Queen Elizabeth Hall; St John's Smith Square; Westminster
Abbey; St Martin in the Fields; and the Purcell Room. In addition she has
taken part in numerous music festivals in the United Kingdom and Germany.
Tim Horton was born in Brighton in 1974. He started taking piano
lessons at the age of six, and entered Chetham's School three years later. In
1995 he graduated from Trinity College, Cambridge.
In 1992 he reached the piano finals of the BBC Young Musician of the
Year and in 1995 he stood in for Alfred Brendel at short notice to give two
performances of Schoenberg's Piano Concerto with the CBSO and Simon
Rattle at Symphony Hall, Birmingham and the Royal Festival Hall. In 1998
he was chosen to appear in the BBC's Young Artists' Forum series, since whene
he has performed several times on Radio 3. He now regularly gives concerto
performances and recitals throughout Britain.
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Sonata for Piano & Violin in E flat K380
Mozart (1756-1791)
1 Allegro 2 Andante con moto 3 Rondo
Based chiefly in Salzburg but failing to establish himself either in
Paris or German cities on his travels, Mozart proceeded to establish a far more
individual style from the time when he wrote this. The sonata is a fine example
of the genre and was written last in a group of five dating from 1779-1781. It
shows considerable advance in composing for the two instruments, given that
his models were Baroque and Rococo compositions in which the keyboard's
role was entirely supportive of the violin's supremacy in its melodic material.
Mozart's earliest attempts at the form were more like piano sonatas with violin
accompaniment. Here, the violin often offers rhythmic and harmonic
figuration in support of the piano and Mozart has achieved an independent.
concertante style in which both instruments achieve a partnership.
The first movement opens commandingly with the piano controlling a
first subject exposing scales and sequences. The violin introduces a second
lyrical triplet theme.
A contrasting second movement in G minor is one of extreme beauty
and its melodies exemplify Mozart's command of emotional and finely
balanced operatic melody with its expressive appogiaturas.
Lastly an engaging and contrasting Rondo movement concludes the
sonata. Its witty and engaging theme returns many times, alternating with a
variety of episodes. The ending is one of brilliance and affirmation.
Sonata for Violin and Piano
Janáček (1854-1928)
1. Con moto-Adagio 2. Ballada Con moto 3. Allegretto 4. Adagio
Of the three violin sonatas written by Janáček this is the only survivor.
It was largely composed in 1913, but revised three times before the final
edition appeared in 1921. It is temperamental and vivacious with continuous
changes of mood.
The thematic style is reminiscent of Janáček's operas and indeed
melodies in the first and third movements anticipate Kát'a Kabonová. The
fourth movement was composed after the outbreak of the first world war when
the arrival of Russian troops in Moravia was eagerly but erroneously
anticipated by Janáček and (it is said) represented by a high piano tremolo.
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Roumanian Folk Dances
1. Stick dance 2. Stamping dance 3. Dance from Butschum
4. Roumanian Polka 5.&6. Fast dances
Bartok (1881-1945)
Bartok followed Janáček's pioneer work in Central Europe in the
recording and study of folk music. He started in 1904, inspired by peasant and
gypsy music and this led to a lifelong study of the music and absorption into
his own compositions.
Folk rhythms, a rich heritage of melodic material and the new harmonic
possibilities thus revealed enriched and dominated Bartok's music. It became
an extension to his working within a Classical tradition and he combined the
two traditions in an original and creative manner. Bartok had written dances
for a variety of instruments all his life and these six also have piano and
orchestral arrangements.
There are six contrasting dances which exploit all manner of string
techniques. Especially individual is number three in which the violin plays the
entire melody using harmonics, creating a ghostly and ethereal atmosphere. A
rich combination of the low register and double stopped chords alternate in the
first dance, whilst the second uses a spiccato (bouncing) technique in a light
and delicately textured dance. Number four highlights the use of a very high
register and a richly decorated melody. Lastly two fast and highly rhythmic
dances complete the set, number five using a drone on open strings against the
melody and number six reflecting the wild character of the gypsy heritage of
these dances in its increasing speed and difficulty.
Sonata for violin and piano no 5 in F major, op. 24 "Spring"
Beethoven (1770-1827)
1. Allegro 2. Adagio molto espressivo 3. Scherzo: Allegro molto
4 Rondo: Allegro ma non troppo
Beethoven wrote this work in 1801 just before he shut himself away in
the country in despair due partly to his increasing deafness His early fame was
earned as a pianist and improviser and all of his piano works reflect his
developing compositional style in other mediums.
Although the title of this work was not bestowed by Beethoven, the
opening is certainly sunny with its flowing violin theme later passed to the
piano. This sets the precedent for the rest of the sonata in which the balance
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of power shifts frequently between the instruments.
Much more leisurely and introverted is the second movement
introducing a flowing melodic line, sometimes cautious and conversational but
occasionally more energetic. Mostly however the movement is thoughtful and
expressive, with the instruments alternating between playing the solo line and
accompanying it.
A brief scherzo with a curious rhythmic pattern follows, leading into
a tempestuous trio based upon scale passages and returning to the more
exuberant first section.
The rondo theme, again legato, is heard initially in the piano part. The
alternating episodes feature a variety of moods and techniques using triplets,
minor keys, repeated notes, chromatic harmonies and sforzandi on weak beats.
Typically Beethoven surprises us each time by delaying the return to the rondo
theme and indeed varying its repetitions.
Nocturne & Tarantelle op 28
Szymanowski (1882-1937)
1. Nocturne Lento assai-Allegretto scherzando-Vivace Scherzando
2. Tarantella- Presto appassionato
This is a virtuoso work for both instruments in an equal partnership.
The nocturne is no dreamy overture to the work, and the quiet opening gives
way to an ever increasing frenzy, with thrumming accompaniments from each
instrument, before the mood subsides into that of the opening. The Tarantella
is wild in mood as its title suggests.
There is a story surrounding the composition of this work.
Szymanowski and a friend were guests of a wealthy patron. During the
absence of their host one night it is said that the two of them came across and
tasted several bottles of old Cognac. The composer is supposed to have jotted
down themes for this work whilst in the resulting tipsy condition.
FORTHCOMING EVENTS
HUDDERSFIELD MUSIC SOCIETY at St Paul's Hall at 7.30 pm
The Fine Arts Brass Ensemble
Matthews; Locke; Peter Warlock; Panufnik; Malcolm
Arnold; Kurt Weill; Mussorgsky.
HALIFAX PHILHARMONIC CLUB at the Square Chapel 7.30 pm
11th October 2002
Configure 8
Beethoven Septet & Schubert Octet
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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.lord4@btopenworld.com
COMMITTEE
Marjorie Glendinning, Simon Rothery, Margaret Collison,
Linda Walker, Christine Stanton, Richard Warrington,
Adrian Smith
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated
The Society is grateful for financial help also from:
Mrs E Crossland, G Dugdale, Miss M A Freeman, Mrs M Glendinning,
P Michael Lord, P L Michelson, S Rothery, J CS Smith,
JG Sykes, Mrs E R Taylor, Mrs L Walker,
Peter Hawke Garages
Wheawill & Sudworth Chartered Accountants
Making Music (National Federation of Music Societies)
and for practical help with our database from Hilary Norcliffe
Peter Hawke
GARAGES
WŚ
Wheawill &
Sudworth
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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HUDDERSFIELD
MUSIC SOCIETY
WT.
Eighty-fifth Season
2002-2003
St. Paul's Concert Hall, Queensgate
Monday 7.30pm
www.huddmusic.plus.com
Registered Charity 529340
President: Stephen Smith
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HUDDERSFIELD MUSIC SOCIETY
Monday 28 October 2002
THE FINE ARTS BRASS ENSEMBLE
Simon Lenton and Angela Whelan (trumpets), Claire Briggs (horn),
Simon Hogg (trombone) and Richard Sandland (tuba)
Colin Matthews
Matthew Locke
Peter Warlock
Roxanna Panufnik
Malcolm Arnold
Kurt Weill
Mussorgsky
A Quick Start (2001)
Musick for Sackbuts & Cornets (1660)
Capriol Suite
Spirit Moves (2001)
Quintet for Brass no I, op 73 (1961)
The Threepenny Opera Suite
Pictures at an Exhibition
OW in their twenty-second year, Fine Arts Brass are firmly established at
the forefront of the international brass chamber music scene. Formed in 1980
and named after the place of their first rehearsal, The Barber Institute of Fine
Arts, Birmingham UK, the current players all still live in the Midlands.
Their enduring success has been due to their uncanny ability to become a musical
chameleon in concert; adapting to the requirements of their different audiences, be it an
educational concert to primary school children or broadcasting to the diversity of lis-
teners to BBC Radio 2, 3 or 4. With their unique versatility and sound, coupled with
an eminent humour and a passion for the music they play, it is not hard to see why they
have toured to over 60 countries and performed in just about every music festival in the
UK. Their diversity of styles is epitomised by appearances at unusual venues, such as
'Under the Mango Tree' at the Bagamoyo Festival, Tanzania; Zanzibar Spice Market;
Bangladeshi Customs; and Dar Es Salaam Bus Station.
Their repertoire is as comprehensive as you'd expect from such artists, encapsulat-
ing all musical genres from the Renaissance and Baroque to the sound worlds of the
avant-garde. Equally, when they play 'Swing', they swing!
They also have a penchant for commissioning new works (over 50 to date) and so
have enjoyed working closely with the composers who have written for them: Malcolm
Arnold, Robin Holloway, Michael Nyman and John Woolrich to name but a few. Their
discography is no less impressive with a selection of 27 recordings to date and more
planned! FABE is proud to be associated with Smith-Watkins trumpets. In the words
of Classical Music Magazine, they are, simply, 'Exceptional'.
O Fine Arts Brass 2002
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PROGRAMME NOTES
A Quick Start (2001)
Colin Matthews (b 1946)
A
QUICK START was written in response to the Fine Arts Brass Ensemble's request for
a short and lively opener: hence the title, and the character of the piece, which
throughout is fast and virtuosic. Perhaps the only thing that needs explanation is the
sudden appearance, towards the end, of what sound like fragments of some 17th cen-
tury originals, but which are in fact fakes. I'm not sure I can explain why they are
there, since I was not expecting them when I started writing the piece, but once they
had appeared they seemed to want to stay. Quick Start was first performed at The
Crucible Theatre, Sheffield, on 19 November 2001.
O Colin Matthews (2001)
Musick for Sackbuts & Cornets (1661)
Matthew Locke (1622-1677)
Ayre - Courante - Allemande - Courante - Sarabande - Allemande
OCKE, a native of Exeter, received his musical education in the cathedral of that city.
Part of his legacy is his name, carved as graffiti on the organ casing. By 1661 he
was 'Composer in Ordinary' to Charles II, an equivalent of the modern 'Master of the
Queen's Music'. Pepys' diary records a dinner where Locke, Pepys and either Purcell's
uncle or father was present:
21 February 1660. 'We had a Canon for 8 voices, which Mr Lock had newly
made on these words Domine salvum fac Regem, an admirable thing'.
The Musick for His Majesties Sackbutts and Cornetts was probably written for Charles
II's coronation in 1661: tradition places them as part of the entertainment for the coro-
nation procession through the City of London. The 'Wind Musick' had their stand on
the 'Navall' Arch, near the Exchange, and this suite probably had its first performance
there.
Capriol Suite
O Fine Arts Brass Ensemble
Peter Warlock (1894-1930)
(arranged Simon Lenton)
Basse-danse - Pavane - Tordion - Bransles - Pieds-en-l'air - Mattachins
HE Capriol Suite, composed in October 1926 in versions for piano duet and for string
a
Warlock's interest in music of the past. His friend Cyril Beaumont had been busy trans-
lating the 1588 dance treatise Orchésographie, in which the lawyer Capriol is instructed
by one 'Thoinot Arbeau' (the clerical author's real name was Jehan Tabourot), and
Warlock wrote a preface and copied out the musical illustrations to the text. Apart from
Pieds-en-L'air, which is largely his own invention, these provided the tunes for this
delightful suite, which alternates gravity and gaiety. Though the music is archaic in char-
acter, its occasionally pungent hamonies remind one that Stravinsky's Pulcinella had not
long been written.
O Fine Arts Brass Ensemble
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Spirit Moves (2001)
Initial movement - Him - Theme and Variations
HIS brass quintet, Spirit Moves, is so called because the outer movements are high-
ly spirited and the central one is spiritual. Although the piece was commissioned by
the Fine Arts Brass Ensemble, they and I decided to dedicate it to Richard Phillips
(Director of Warwick Arts Society and Warwick and Leamington Festival) in gratitude for
his huge support and dedication to employing us all, over the years.
Roxanna Panufnik (b 1968)
Initial Movement. I have fallen for the old trick of taking the initials of my com-
missioners' name and this entire movement is built from the notes F, A, B and E (note:
this is when the score is in C, before the trumpets' and horn's respective transpositions!)
with all their relevant sharps and flats (but no double sharps or flats - I felt this would
be cheating). As a result, only three notes are missing - G, D and C# (or Db). The
FABE theme appears throughout the movement in all sorts of shapes and guises cli-
maxing, in scale form, with the new FABE mode I have created.
Him. This actually started off as a 'Hymn' - just as I was starting work on this piece
I was in the Austrian Alps and was incredibly moved by the light-games the sun played
on the mountains. The music that results is a spiritual song of harmonies shifting
around like fluctuating patterns of mountain light. But as I continued composing, once
I got back home, my thoughts turned to something/someone else . . .
0
Theme and Variations. A new FABE theme appears but this time I don't limit
myself to the FABE mode. The first Variation is a play on the quieter moments of the
theme; the second makes an ostinato of it. In Variation 3, the theme is profoundly influ-
enced by the first movement of this piece and Variation 4, much to the consternation of
the first trumpet (initially), refers back to the second movement. Variation 5, again
influenced by the first movement (and Variation 3) provides the final salute to the FABE
theme.
INTERVAL
This piece was commissioned with funds from West Midlands Arts and lasts approx-
imately 15 minutes.
O Roxanna Panufnik (2001)
Quintet for Brass no 1, op 73 (1961)
—
Malcolm Arnold (b 1921)
Allegro Vivace - Chaconne - Allegro con Brio
MALA
ALCOLM Arnold's Brass Quintet no 1 was written for the New York Brass Quintet in
Janurary 1961 and premiered by them later that year. It has become perhaps the
classic brass quintet work. It is typical of Arnold's essentially approachable style, with
its lively opening Vivace, melancholy Chaconne, and jazzy Finale. Arnold himself was
a trumpet player, with the London Philharmonic Orchestra during the 1940s, and the
inside information he picked up as a performer in these years explains the quintet's
wholly idiomatic writing for brass. Fine Arts Brass has known Arnold since the 1980s;
some ten years ago he wrote his Brass Quintet no 2 for the Group for the Cheltenham
Festival. Then, he spoke of his wish to write Quintet no 3; while this is now unlikely,
Quintet no 1 remains a classic of the genre.
Fine Arts Brass Ensemble
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N
The Threepenny Opera Suite
Kurt Weill (1900-1950)
(arranged Simon Hogg & Bryan Allen)
Overture - Mack the Knife - Astatt Dass - Kanonen Song
T
HIS collaboration between Weill and his librettist, Bertolt Brecht, was written in
1928. It is an opera of humour and irreverent, outrageous comedy, and also reflects
the seedier side of Berlin life in the years before the Second World War. Mack the Knife
has become a classic beyond the opera theatre; Anstatt Dass translates as 'The No-they-
can't Song', and concerns Peachum's prohibitions on behaviour. The Cannon Song is a
dialogue between Macheath and Brown about life in the army.
O Fine Arts Brass Ensemble
Pictures at an Exhibition
Mussorgsky (1839-1881)
(arranged Stephen Roberts)
USSORGSKY'S great piano suite has attracted at least five orchestral arrangers
since its completion in 1874, notably Ravel. Stephen Roberts arranged the suite for
Fine Arts Brass in the 1980s; it has recently been recorded by the Group (Nimbus
Records 2000).
The original suite was music for the ballet 'Trilby', with Mussorgsky taking inspiration
from the paintings of his great friend Victor Hartmann.
Mussorgsky had ten fingers, but as there are only five players in Fine Arts Brass,
some slight adaptation and reduction is necessary. The suite remains, for brass as it is
for piano or orchestra, one of the great showpieces of the late romantic repertoire.
The original suite featured ten pictures, linked by a 'promenade': The Gnome, The Old
Castle, Tuileries, Bydlo, Unhatched Chickens, Samuel Goldenberg and Schmuyle,
The
Market-place at Limoges, Catacombs, Baba-yaga and The Great Gate of Kiev.
movements to be performed tonight will be announced from the platform.
O Fine Arts Brass Ensemble
For more information about Fine Arts Brass visit their website:
www.fineartsbrass.co.uk
FORTHCOMING EVENTS
Friday 1 November 2002 (Square Chapel, Halifax, 7 30 pm)
Halifax Philharmonic Club
Gerald Gregory (violin) and Gemma Webster (piano)
Schubert - Ysaye - Ravel - Lutoslawski - Fauré - Richard Strauss
Monday 4 November 2002 (St Paul's, 7 30 pm)
University of Huddersfield Choir & Orchestra
(conductor, Richard Steinitz, with soloists)
Mozart-Schnittke - Verdi - Rimsky-Korsakov
Monday 11 November 2002 (St Paul's, 7 30 pm)
Huddersfield Music Society
Robert Plane (clarinet), Alice Neary (cello) and Sophie Rahmann (piano)
Beethoven-Prokofiev - Messiaen - Finzi - Brahms
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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.lord4@btopenworld.com
COMMITTEE
Marjorie Glendinning, Simon Rothery, Margaret Collison,
Linda Walker, Christine Stanton, Richard Warrington,
Adrian Smith, Michael Russ
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated
The Society is grateful for financial help also from:
Mrs E Crossland, D Dugdale, Miss M A Freeman, Mrs M Glendinning,
P Michael Lord, P L Michelson, S Rothery, JCS Smith,
JG Sykes, Mrs E R Taylor, Mrs L Walker,
Peter Hawke Garages
Wheawill & Sudworth Chartered Accountants
Making Music (National Federation of Music Societies)
and for practical help with our database from Hilary Norcliffe
Peter Hawhe
GARAGES
W&
Wheawill & A
Sudworth
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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Season's Performances
OCTOBER 7th, 2002
Lucy Jeal & Tim Horton
Mozart, Janacek, Bartok, Beethoven, Szymanowski
OCTOBER 28th, 2002
Fine Arts Brass Ensemble
Matthews, Locke, Warlock, Panufnik, Arnold, Weill, Mussorgsky
NOVEMBER 11th, 2002
Alice Neary, Robert Plane, Sophie Rahmann
Beethoven, Brahms, Prokofiev, Messiaen, Finzi
JANUARY 27th, 2003
Sorrel String Quartet
Haydn, Shostakovich, Beethoven
FEBRUARY 3rd, 2003
Janacek String Quartet
Haydn, Debussy, Dvorak
MARCH 10th, 2003
Chilingirian String Quartet
Mozart, Bartok, Beethoven
MARCH 17th, 2003
Angela Hewitt
Bach, Messiaen, Ravel
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HUDDERSFIELD
MUSIC SOCIETY
WT.
Eighty-fifth Season
2002-2003
St. Paul's Concert Hall, Queensgate
Monday 7.30pm
www.huddmusic.plus.com
Registered Charity 529340
President: Stephen Smith
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HUDDERSFIELD MUSIC SOCIETY
Monday II November 2002
Alice Neary (cello)
Robert Plane (clarinet)
Sophia Rahman (piano)
Beethoven Clarinet Trio op II
Prokofiev Sonata for cello and piano op 119
Messiaen Abîme des Oiseaux from 'Quartet for the End of Time'
Gerald Finzi Bagatelles for clarinet and piano
Brahms Clarinet Trio op 114
A
LICE NEARY was educated at Chetham's School of Music and
studied with Ralph Kirshbaum at the Royal Northern College of
Music and with Timothy Eddy, as a Fulbright Scholar at the State
University of New York at Stony Brook, USA. She has gained many
major prizes, including the Pierre Fournier Award (1998) and one at the
2001 Leonard Rose International Cello Competition, USA.
In 1995 she played the solo cello part in a recording for Sony
Classical of Innocence by John Tavener, and appeared in The South Bank
Show on Tavener for London Weekend Television. In January 1999 Alice gave
her Wigmore Hall debut to critical acclaim: ... a player of the highest calibre: secure in tech-
nique and astonishingly mature in her musicianship... She has performed concertos with many
orchestras both at home and abroad.
.:.
She has broadcast on BBC Radio 3 and NPR (USA) and given recitals at the Bridgewater Hall,
Wigmore Hall, Purcell Room and at the Manchester International Cello Festival. To mark the
250th anniversary of Bach's death, Alice gave a series of concerts at St John's Smith Square,
London, which included all the unaccompanied Suites. In 1999, she participated in the Santa Fe
Chamber Music Festival, USA and was Artist-in-Residence at the Presteigne Festival, where she
premiered a festival commission by John McCabe.
Recently Alice gave an acclaimed Wigmore Hall recital and this year performs a Beethoven
series at St John's Smith Square, London and at Hatchlands Park, Surrey with pianist Gretel
Dowdeswell. A member of the Ovid Ensemble, Alice plays a Gagliano cello of 1720.
S
INCE winning the 1992 Royal Over-Seas League Music Competition, clarinetist ROBERT
PLANE has established himself as a much sought-after soloist and chamber musician. Hel
made his London recital debut at the Purcell Room in 1993 as part of the Park Lane Group
New Year Series. Since then he has appeared at all the major UK recital venues. He has given
recitals for music clubs throughout the UK and his many festival appearances have included,
amongst others, Cheltenham, Tanglewood, Brighton, Buxton and Spitalfields.
He was
Robert has performed concertos with many of the country's leading orchestras.
soloist in the world premiere of the Clarinet Concerto by Diana Burrell, a work he subsequent-
ly performed at the 1998 Huddersfield Contemporary Music Festival. He is a member of a
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highly successful trio with the pianist Sophia Rahman and the viola player Philip
Dukes. Prizewinners in the 1993 John Tunnell Trust, the Plane/Dukes/Rahman
Trio fulfils a busy schedule of engagements at home and abroad. Its CD
Homage to Schumann has been released to great critical acclaim. The trio
has been invited to take up a residency at Queen's University, Belfast.
Robert is also a member of the Ensemble Mobius with whom his record-
ings include Weber's Clarinet Quintet. He regularly collaborates with other
chamber ensembles. With the Gould Trio, he set up his own annual chamber
music festival in Corbridge, Northumberland, in 1999.
Robert regularly broadcasts concertos and chamber music for BBC Radio 3.
His CD recording of the Finzi Clarinet Concerto and Five Bagatelles for Naxos won the concer-
to section at the 2000 Classic CD Awards.
OPHIA RAHMAN studied at the Yehudi Menuhin School as a pupil of Peter Norris and
Louis Kentner. She continued her piano studies with Alexander Kelly whilst taking a first class
honours degree at King's College, London and completed her studies at the Royal Academy
of Music with Alexander Kelly and Malcolm Martineau. Whilst there she was awarded many
prizes. In 1997 she was elected an associate of the RAM.
S
Since winning the 1992 Royal Over-Seas League's Competition's
Accompanist Award and the 1993 Liza Fuchsova Memorial Prize for a cham-
ber music pianist, her work has encompassed a wide range of solo and
chamber activities. A member of the acclaimed Plane/Dukes/Rahman Trio,
she has also appeared with many other chamber groups. She acts as an
official accompanist for the Lionel Tertis International Viola Competition
and the Countess of Munster Musical Trust and has appeared as concerto
soloist with various orchestras, playing concerti by Mozart and Shostakovich.
She has also appeared at all the London recital halls and many across Europe,
having partnered the viola player Philip Dukes in an ECHO 'Rising Stars' tour. She has toured
South America, the Indian sub-continent and Japan. She has travelled extensively as a member of
the Plane/Dukes/Rahman Trio, She has broadcast for BBC Radio 3 and Classic FM and appeared
on radio and television in other parts of the world.
Her recordings include a disc of the Shostakovich Concerto for Piano, Trumpet and Strings
with John Wallace and the BT Scottish Ensemble, the Plane/Dukes/Rahman Trio disc referred to
above, and appearances on further discs in works by William Lloyd-Webber and Charles Camilleri.
PROGRAMME NOTES
Trio for Clarinet, Cello and Piano in B flat op 11
Beethoven (1770-1827)
W
Allegro con brio - Adagio - Allegretto (tema con variazioni)
ORKS written for this particular combination of instruments are extremely rare in the
standard concert repertory, and it is therefore pleasing to have available one com-
posed by Beethoven albeit a very early work. It was launched on the world in 1798,
being described by its publisher as a 'new' work. Whilst it may not bear comparison with
much of Beethoven's output in the late 1790s, it is nevertheless a charming piece.
After the initial movement in sonata form we hear a highly ornamental adagio. The
final movement is a set of ten variations on a theme which Beethoven took from a con-
temporary opera.
-
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D
D
Sonata for cello and piano op 119
Prokofiev (1891-1953)
Andante Grave - Moderato - Allegro non Troppo
'Often the composer, while working at length at a melody, is not aware that in the
process he is making it sophisticated, complicated and, in fact, losing its simplicity.
For myself, I recognise that I have fallen into this trap.'
HIS excerpt from a self-deprecatory letter was written, probably under stress, by
T Prokofiev after he had been savaged by Stalin's henchman, Zhdanov, whose job it was
to carry out the purges of the intelligentsia in the Soviet Union in the late 1940s. Their polit-
ical demands were for easily accessible music 'in keeping with the spirit of the people'.
Written in 1949, as the composer's health was failing, this sonata was first per-
formed by Rostropovich and Richter at a closed meeting of the Composers' Union in
1949, causing no offence to the authorities. It continued on to public performance later
in the year.
After a short introduction, dialogue develops between the cello and piano with the
soloist role shifting between the two. The movement accentuates the song-like quali-
ties of the cello and explores its full range of pitch. Much of it is eloquent and lyrical
with two faster sections in contrasting mood.
A facetious theme expressing a sense of the ridiculous introduces the second move-
ment and is passed between the instruments.giving way to more reflective and serious
dialogue.
A final movement explores rhythmically-changed melodic material taken from the
beginning as well as new ideas. It finishes with extravagant display from both players.
INTERVAL
From the Quartet for the End of Time: Abîme des Oiseaux (clarinet solo)
Olivier Messiaen (1908-1992)
M
ESSIAEN composed the Quartet for the End of Time in 1941, whilst interned in a
prisoner of war camp by the Germans. It was written to take advantage of the
musical resources available, namely himself on the piano, and clarinet, violin and cello,
in various combinations. It is virtually the only piece of chamber music written by him.
The quartet takes its inspiration from the Apocalypse as described in Revelations
10:1-7. In this movement (the third of eight, and marked lent) the 'Abyss' is Time,
with its sorrows and weariness. The contrasted birdsong of the central section repre-
sents our longing for light, stars, rainbows and joyful songs, before the music returns
to a desolate conclusion.
Five Bagatelles for Clarinet & Piano op 23
Gerald Finzi (1901-1956)
Prelude (Allegro deciso) - Romance (Andante tranquillo) - Carol (Andantino semplice)
- Forlane (Allegretto grazioso) - Fughetta (Vivace)
W
E probably think of Finzi principally as a composer of choral music and song, but
he did indeed produce a number of orchestral works, including three concertos
one of them for clarinet. He also composed a quantity of chamber music, much of it
involving wind instruments.
-
The opening theme of the first bagatelle, based on a rising scale, is announced first
of all by the piano and developed in contrapuntal fashion. A calmer second section pre-
cedes the return of the first.
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The second piece exploits the songlike characteristics of the clarinet to great effect.
The third bagatelle consists of the statement and restatement of a simple melody.
Here the two distinct registers of the clarinet are in marked contrast. Later, the clar-
inet weaves a descant around the melody upon the piano.
The Forlane was a popular old Italian dance, six-in-a-bar; a sort of jig. Here a sim-
ple melody in 6/8 time is given to each instrument in turn. In the last bagatelle, after
a short introduction, the clarinet launches into the fugal subject. There are marked con-
trasts in dynamics throughout. Towards the end, after a furious outburst by the clar-
inet, the theme disintegrates and the work ends quietly.
Trio for Clarinet, Cello and Piano in A minor op 114
Allegro - Adagio - Andantino grazioso - Allegro
T
HERE are indications that Brahms was contemplating retirement from composition in
1890. However in January the following year he first heard the playing of the clar-
inettist Richard Mühlfeld. This so impressed him that he was impelled to write this Trio and
also the Clarinet Quintet op 115 - the beginning of an Indian Summer of composition.
The Trio is the more concentrated work of the two, and is mainly in minor keys.
Although this work is heard much less than the Quintet, this can surely have nothing to
do with the quality of the two works. Maybe it is relatively easier to form a quintet by
adding a clarinet to an established string quartet.
Brahms (1833-1897)
The first movement is in sonata form, with a second subject in C major, and a very
compact development section. The quiet coda is extremely beautiful.
The slow movement, also in sonata form, features a lovely cantabile melody for clar-
inet, exploiting its song-like possibilities to the full. No less charming is the following
minuet, with its two contrasting trios, in F sharp minor and D major.
The last movement lasts only five minutes or so, but manages to comprise a full
sonata-form structure.
FORTHCOMING EVENTS
Monday 18 November 2002
(St Paul's, 7 30 pm)
University of Huddersfield Brass Band
and Chamber Music Recital
Friday 6 December 2002
(Square Chapel, Halifax, 7 30 pm)
Halifax Philharmonic Club
The Lindsays & The Prazak String Quartet
Haydn Beethoven - Mendelssohn (Octet)
-
Monday 27 January 2003
(St Paul's, 7 30 pm)
Huddersfield Music Society
The Sorrel String Quartet
Haydn op 76 no 4 - Shostakovich no 1- Beethoven op 59 no 1
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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.lord4@btopenworld.com
COMMITTEE
Marjorie Glendinning, Simon Rothery, Margaret Collison,
Linda Walker, Christine Stanton, Richard Warrington,
Adrian Smith, Michael Russ
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated
The Society is grateful for financial help also from:
Mrs E Crossland, D Dugdale, Miss M A Freeman, Mrs M Glendinning,
P Michael Lord, P L Michelson, S Rothery, JCS Smith,
JG Sykes, Mrs E R Taylor, Mrs L Walker,
Peter Hawke Garages
Wheawill & Sudworth Chartered Accountants
Making Music (National Federation of Music Societies)
and for practical help with our database from Hilary Norcliffe
گی
Peter Hawke
GARAGES
W&
Wheawill &
Sudworth
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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Season's Performances
OCTOBER 7th, 2002
Lucy Jeal & Tim Horton
Mozart, Janacek, Bartok, Beethoven, Szymanowski
OCTOBER 28th, 2002
Fine Arts Brass Ensemble
Matthews, Locke, Warlock, Panufnik, Arnold, Weill, Mussorgsky
NOVEMBER 11th, 2002
Alice Neary, Robert Plane, Sophie Rahmann
Beethoven, Brahms, Prokofiev, Messiaen, Finzi
JANUARY 27th, 2003
Sorrel String Quartet
Haydn, Shostakovich, Beethoven
FEBRUARY 3rd, 2003
Janacek String Quartet
Haydn, Debussy, Dvorak
MARCH 10th, 2003
Chilingirian String Quartet
Mozart, Bartok, Beethoven
MARCH 17th, 2003
Angela Hewitt
Bach, Messiaen, Ravel
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HUDDERSFIELD
MUSIC SOCIETY
WT.
Eighty-fifth Season
2002-2003
St. Paul's Concert Hall, Queensgate
Monday 7.30pm
www.huddmusic.plus.com
Registered Charity 529340
President: Stephen Smith
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HUDDERSFIELD MUSIC SOCIETY
Monday 27 January 2003
HAYDN String Quartet in B flat, op 76 no 4
SHOSTAKOVICH String Quartet no I in C, op 49
BEETHOVEN String Quartet in F (Razumovsky), op 59 no I
THE SORREL STRING QUARTET
Gina McCormack (violin)
Catherine Yates (violin)
Sarah-Jane Bradley (viola)
Helen Thatcher (cello)
F
ORMED in 1987, the Sorrel
Quartet is recognised as one of
Britain's finest young ensembles.
The Quartet has performed at all the
major venues in Britain and appeared
at many of the British Festivals, includ-
ing Aldeburgh, Bath, Cambridge,
Cheltenham, Chichester, Edinburgh,
Harrogate, Huddersfield and Spital-
fields. Abroad the Quartet's schedule includes performances in France, Germany
(Hitzacker Festival), Austria (the festivals of Carinthia Summer and Klangbogen in
Vienna), Switzerland, Italy, Spain, Bulgaria, Bolivia, Australia and the USA, as well as tours
of South America, Cyprus, Mauritius, and the Seychelles.
The Sorrel Quartet's many recordings for the Chandos label include works by
Britten, Mendelssohn, Doreen Carwithen, Schubert and Elgar, all of which have received
considerable acclaim, as have the first two releases in their cycle of the complete quar-
tets of Shostakovich. Recent BBC broadcasts have included the lunchtime series from
St John's Smith Square, the first performance of early works by Britten, and a programme
of repertoire by Walton and Elgar. The quartet has also recently given a live BBC
lunchtime recital from Birmingham including works by Haydn and Shostakovich. In 1999,
the Sorrel Quartet made a video recording of Shostakovich's quartets nos 6, 7 & 10.
In June 1998, the Sorrel Quartet gave the world premiere of John Pickard's Quartet
no 4 at the Wigmore Hall, a work commissioned for the quartet's 10th anniversary.
Other premieres have included works by Elena Firsova, Richard Orton, John Paynter,
James Wishart, Diana Burrell, Gerard McBurney, John Tavener (whose Hidden Treasure
was given its London debut by the Sorrel Quartet at the South Bank) and Geoffrey
Palmer.
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The Sorrel Quartet has held residencies at the Universities of York, Liverpool and
Bristol, and its international schedule includes giving chamber music masterclasses. It
also gives regular classes as part of its continuing association with the Royal Northern
College of Music in Manchester, and at Leeds University.
The Sorrel Quartet has featured at these concerts on three previous occasions - in
1991, 1994 and 1997.
PROGRAMME NOTES
String Quartet in B flat major, op 76 no 4*
Haydn (1732-1809)
1 Allegro con spirito 2 Adagio 3 Menuetto: allegro 4 Finale: allegro non troppo
T
HIS quartet is one of six commissioned by Count Erdödy in 1796. Composed by
Haydn in his mature years, when his duties as Kapellmeister to the Esterházy fam-
ily were less demanding, the set is a summary of Haydn's achievements in what was an
exclusive and exciting new genre initiated forty years previously and developed by
Haydn.
The gentle and rising opening melody over sustained harmony appears to contradict
the tempo marking of the first movement until we hear a distinctive and repetitive
rhythmic passage following. Both themes provide material subjected to skilful develop-
ment later on.
The contemplative slow movement is based on a five note theme in the darker sub-
dominant key. This is accompanied in various ways with uniquely changing and often
florid figuration. Towards the end an eloquent pause in the music introduces the five
note theme in overlapping counterpoint.
A movement of joy and buoyancy follows in the minuet with an insistent short semi-
tone quaver figure at the start. The trio is a curious but typical return to the compos-
er's roots in folk music with its drones and rhythmic syncopation.
Finally a rondo movement, often playful but with a somewhat restrained principal
theme, completes another miracle of quartet writing. As usual there are always pleas-
ing and unanticipated moments, such as the sudden acceleration towards the end cre-
ated by impetuous semiquaver passages.
*last performed at these concerts by the Brodsky Quartet in 1984
String Quartet no 1 in C major, Opus 49*
Shostakovich (1906-1975)
1 Moderato 2 Moderato 3 Allegro molto
4 Allegro
Y the time he composed this work, Shostakovich had been severely criticised by the
strict cultural to write 'prole-
tarian' music. His opera Lady Macbeth had been severely condemned as subversive by
Stalin in 1934, so not surprisingly this quartet, composed in 1938, is not unconvention-
al.
It is a deceptively simple work whose direct and eloquent opening contrasts with a
skittish second subject with a glissando cello accompaniment. The material is briefly
developed incorporating some subtle key changes before a shortened recapitulation.
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An expansive viola solo introducing the second movement in the relative minor key
receives contrapuntal treatment and is transferred to the violin. It is accompanied in
a variety of ways including triplets in E major before a final presentation employing del-
icate pizzicato accompaniment.
The addition of mutes gives the texture a veiled sound in the next movement, which
begins with an insistent viola ostinato figure compounding the mystery. It leads to a
lilting and tuneful second section with a folk flavour. Both ideas are repeated and con-
trasted right up to the end.
The finale is markedly rhythmic and perhaps more consistent with our expectations
of Shostakovich. The viola and cello contribute equally and they employ various and
colourful instrumental techniques.
*this would appear to be the work's first performance at these concerts
INTERVAL
String Quartet in F (Razumovsky), op 59 no 1*
Beethoven (1770-1827)
1 Allegro 2 Allegretto vivace e sempre scherzando
3 Adagio molto e mesto 4 Thème russe: allegro
EETHOVEN wrote this work during his middle period: it was begun in 1806 and first
B most
piano sonatas, the Waldstein and Appassionata, his third symphony, fourth piano con-
certo and first version of his opera Fidelio. The dedicatee, Count Razumovsky, him-
self often playing second violin in performances of Haydn's quartets, asked for 'some
quartets with Russian melodies, real or imitated' and his request is complied with in the
last movement. Of the three Opus 59 quartets, this one was described at the time by a
newspaper critic as 'very long and difficult... deep in thought and composed with enor-
mous skill, but not generally comprehensible.
Despite this comment, the movements follow the tradition of quartet structure which
Beethoven inherited, but are stretched by extended and skilful development, often to
remote keys and in unconventional parts of the movement. The material of the first
movement is cleverly constructed, mostly from the rising opening cello theme. This is
followed by a series of short and sustained chords. Preceding the lyrical and more con-
trapuntal second subject there is a short broken-chord figure. The development exploits
the question and answer phrases of the opening theme using repetition, inversion and
a variety of techniques, taking the music to remote keys. The second subject appears
with a new triplet accompaniment. The recurrence of the opening leads the listener to
expect a consolidation of the tonic in a recapitulation, but the music prolongs the sus-
pense with more development before a return to the second subject in the anticipated
tonic key.
Beethoven's distinctive use of rhythmic insistence propels the second movement.
This is an unusually complex scherzo with seven distinct themes and a variety of con-
trasting moods, from tenderness to rough humour, lyrical calm to violence.
An enigmatic inscription to the third and pivotal movement, 'A weeping willow or aca-
cia tree on my brother's grave', may refer to the tragic and untimely death of a young
son born to his parents. Its emotional key of F minor has some affinity with Florestan's
soliloquy in Fidelio which he was working on at the same time. The richly ornamental
character of its string writing recalls slow movements of late Mozart quintets.
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Cadenza-like runs lead into the statement of the obligatory Russian-style theme of
the final movement. Beethoven turns this into a lively and impetuous dance with all
the skills of invention based upon the given theme. A change to an adagio section near
the end reveals the theme as it originally was: a folk tune entitled, 'Ah! my luck, such
luck', associated with a sad folk tale. The quartet concludes at breakneck speed.
*last performed at these concerts by the Takacs Quartet in 1997
FORTHCOMING EVENTS
Thursday 30 January & Monday 17 February
(St Paul's, 7 30 pm)
Chamber Recitals by staff and students
of the University of Huddersfield
Friday 31 January
(Square Chapel, Halifax, 7 30 pm)
Halifax Philharmonic Club
The Janáček String Quartet
Dvořák - Janáček - Smetana
Monday 3 February
(St Paul's, 7 30 pm)
Huddersfield Music Society
The Janáček String Quartet
Haydn - Debussy - Dvořák
Monday 13 February
(St Paul's, 7 30 pm)
University of Huddersfield Symphony Orchestra
(guest conductor: David Chen)
Friday 7 March
(Square Chapel, Halifax, 7 30 pm)
Halifax Philharmonic Club
The Schubert Ensemble
Brahms - Judith Weir- Schubert ('Trout' Quintet)
Monday 10 March
(St Paul's, 7 30 pm)
Huddersfield Music Society
The Chilingirian String Quartet
Mozart - Bartók - Beethoven (Quartet op 135)
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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.lord4@btopenworld.com
COMMITTEE
Marjorie Glendinning, Simon Rothery, Margaret Collison,
Linda Walker, Christine Stanton, Richard Warrington,
Adrian Smith, Michael Russ
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated
The Society is grateful for financial help also from:
Mrs E Crossland, D Dugdale, Miss M A Freeman, Mrs M Glendinning,
P Michael Lord, P L Michelson, S Rothery, JCS Smith,
JG Sykes, Mrs E R Taylor, Mrs L Walker,
Peter Hawke Garages
Wheawill & Sudworth Chartered Accountants
Making Music (National Federation of Music Societies)
and for practical help with our database from Hilary Norcliffe
Peter Hawke
GARAGES
W
Wheawill &
Sudworth
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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Season's Performances
OCTOBER 7th, 2002
Lucy Jeal & Tim Horton
Mozart, Janacek, Bartok, Beethoven, Szymanowski
OCTOBER 28th, 2002
Fine Arts Brass Ensemble
Matthews, Locke, Warlock, Panufnik, Arnold, Weill, Mussorgsky
NOVEMBER 11th, 2002
Alice Neary, Robert Plane, Sophie Rahmann
Beethoven, Brahms, Prokofiev, Messiaen, Finzi
JANUARY 27th, 2003
Sorrel String Quartet
Haydn, Shostakovich, Beethoven
FEBRUARY 3rd, 2003
Janacek String Quartet
Haydn, Debussy, Dvorak
MARCH 10th, 2003
Chilingirian String Quartet
Mozart, Bartok, Beethoven
MARCH 17th, 2003
Angela Hewitt
Bach, Messiaen, Ravel
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HUDDERSFIELD
MUSIC SOCIETY
WT.
Eighty-fifth Season
2002-2003
St. Paul's Concert Hall, Queensgate
Monday 7.30pm
www.huddmusic.plus.com
Registered Charity 529340
President: Stephen Smith
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V
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WE
HAYDN String Quartet in E flat, op 33 no 2 ('The Joke')
DEBUSSY String Quartet no G minor, op 10
DVOŘÁK String Quartet in G major, op 106
HUDDERSFIELD MUSIC SOCIETY
Monday 3 February 2003
This concert is supported by
Wheawill & Sudworth, Chartered Accountants
THE JANÁČEK
STRING QUARTET
Miloš Vacek (violin)
Vítezslav Zavadilík (violin)
Bretislav Vibíral (viola)
Ladislav Kyselák (cello)
ADI
T
HE Janáček Quartet
was founded in 1947 by
students of the Brno
Conservatoire. Their out-
standing rendering of Janáček's
quartets gave them the right to
use the name of the Brno's
most famous composer. In
1955 the Janáček Quartet
started an intensive pro-
gramme of foreign tours, and soon won world renown. The critics wrote glowing
reviews of their concerts, they were invited to the most important international music
festivals, and they soon began a distinguished recording career on a variety of record
labels including Decca, DG, Westminster, Supraphon, Panton, and most recently Editio
Moravia for whom they have recorded quartets by Haydn, Mozart, Dvořák, Debussy
and, of course, Janáček. The Janáček Quartet are holders of numerous Czech state dis-
tinctions and international prizes.
Naturally the fifty-three years that have elapsed since the Janáček Quartet's founda-
tion have made it necessary to introduce some personnel changes, but these have been
relatively few. Since its formation, the quartet has had only two violists and two cellists
- Bretislav Vibíral and Ladislav Kyselák were in fact pupils of their predecessors, joining
the quartet in 1984 and 1989 respectively. Vítezslav Zavadilík joined in 1994, and the
present leader, Miloš Vacek, in 1996. As a result of this continuity, the traditions and
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style of the original ensemble have been maintained, and the quartet remains remark-
able for its vigorous bowing style, and expressive performance based on discipline and
perfection, reflecting the best traditions of Czech and Moravian music.
The present formation of the Janáček Quartet tours regularly in the UK, Germany,
Italy, Spain, and Japan, where their concerts are enthusiastically received and frequently
sold out.
Tully Potter, writing in The Strad, described it as 'the best [formation] since
the death of founding leader Jiri Travnicek in 1972.' The members of the original
quartet were close friends of the Smetana Quartet, with whom they recorded three
versions of the Mendelssohn Octet, and the two quartets were regarded as the finest
string quartets to come out of Czechoslovakia at the time.
This is the quartet's first appearance at these concerts since 1993.
PROGRAMME NOTES
String Quartet in E flat, op 33 no 2 ('The Joke')
Haydn (1732-1809)*
1 Allegro moderato, cantabile 2 Scherzo (allegro)
3 Largo sostenuto 4 Finale (presto)
T
HE six quartets in the opus 33 set are warm and delicate. They are nicknamed 'the
Russian Quartets' because of the nationality of their dedicatee, Archduke Paul.
They are also known sometimes as 'gli scherzi' because the minuet movements are all
headed 'scherzo' and are directed to be played at a faster tempo- a development which
Beethoven was to take up with enthusiasm.
There are moments of intense beauty in this quartet, and particularly in the Largo
sostenuto movement. The opening statement of the theme is given to the viola
very rare usage in this composer's output. It is best known for its last movement from
which it takes its title 'The Joke'. As Tovey laconically remarked: 'The joke consists of
Haydn's winning by grossly sharp practice of his wager that "the ladies will always begin
talking before the music is finished"." Fortunately the ladies (and gentlemen) of our
audience have better manners than this!
*last performed at these concerts by the Quatuor Parisii in 1994
-
a
String Quartet in G minor, op 10
Claude Debussy (1862-1918)*
1 Animé et très animé 2 Assez vif, très rhythmé 3 Très lent 4 Vif et agité
TH
HIS string quartet was first performed in Paris in 1893 and it defines a threshold into
a new twentieth century musical language. It reveals unique tonal patterns and dis-
plays the subtlety of colour and shape which gave Debussy's music a new idiom of
expression. His melodic lines are inventive, springing from their own unconventional har-
monies. Despite its contemporary idioms, the quartet is structured from classical forms.
m
Ca
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о
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Ĵ
The first movement exploits the colourful use of accompaniment figures behind its
main themes, often repetitive and exploring different and contrasting timbres.
The viola opens a spirited scherzo in which the first theme is presented against pizzi-
cato accompaniment. A contrasting legato middle section may contain reminiscences of
Eastern cultures with which Debussy was fascinated, especially after his visit to the
1889 Exposition Universelle where he was particularly inspired by a Javanese gamelan
orchestra.
A single line introduces the muted slow movement, mostly understated in its subtle
and eloquent polyphony. The melody shifts between players, building briefly to a
restrained climax and falling again in hushed submission.
The slow introduction to the last movement begins with a recitative-like solitary cello
line often working in parallel harmony with the other instruments. The final contrapun-
tal section starts resolutely, its angular melodies contrasting with others more lyrical. It
is a movement of rhythmic power and passion with a wide dynamic range.
*last performed at these concerts by the Janáček Quartet in 1993
INTERVAL
String Quartet in G major, op 106
Dvořák (1841-1904)*
1 Allegro moderato 2 Adagio ma non troppo
3 Molto vivace 4 Finale (andante sostenuto-allegro con fuoco).
T
HE Quartets op 105 and 106 were completed by Dvořák in 1895, after a complete
break from composition of almost eleven months.
The sonata form opening movement of this quartet is warm and sunny. The first
subject consists of two themes, of which the second starts in E minor, before reverting
to the home key of G. The second subject is in B flat. In the recapitulation the initial
theme of the first subject is delightfully transformed, but the second is omitted.
The second movement is sad and mournful in comparison. It is in the key of E flat.
Like Schubert, Dvořák revelled in the contrast between the major and minor, as we find
in the two closely related themes which open this movement. A passionate climax is
reached in a section in F sharp minor, before the movement culminates in a splendid
restatement of the opening themes in C major. This eventually resolves into a reprise
of the initial theme in its original key, and a peaceful close.
The third movement, which is in B minor, is one of great character and contains some
unexpected twists and turns. We experience what almost amounts to combat between
viola and cello in the accompaniment to a canonic section. The final appearance of the
main theme, transformed with staccato effect, is ecstatic.
The last movement is a very free rondo with again a pair of major and minor themes
in the tonic, and a second subject in E flat. Halfway through it the first movement's
second subject appears followed by its main theme as well. Thereafter themes from
each movement are stated alternately until we reach the coda.
*last performed at these concerts by the Franz Schubert Quartet of Vienna in 1995
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FORTHCOMING EVENTS
HUDDERSFIELD MUSIC SOCIETY
(St Paul's, 7 30 pm)
Monday 10 March
The Chilingirian String Quartet
Mozart - Bartók - Beethoven (Quartet op 135)
Monday 17 March
Angela Hewitt (piano)
Bach - Messiaen - Ravel
Thursday 13 February
(St Paul's, 7 30 pm)
UNIVERSITY OF HUDDERSFIELD SYMPHONY ORCHESTRA
(guest conductor: David Chen)
Monday 24 February
(St Paul's, 7 30 pm)
Josquin Des Prez: Master Musician
THE UNIVERSITY EARLY MUSIC ENSEMBLE
Monday 3 March
(St Paul's, 7 30 pm)
Exotic Lands
THE UNIVERSITY NEW MUSIC ENSEMBLE
Delage - Ibert - Messiaen ('Oiseaux Exotiques')
Friday 7 March
(Square Chapel, Halifax, 7 30 pm)
Halifax Philharmonic Club
THE SCHUBERT ENSEMBLE
Brahms-Judith Weir - Schubert (Trout' Quintet)
Friday 28 March
(Square Chapel, Halifax, 7 30 pm)
Halifax Philharmonic Club
THOMAS CARROLL (cello) & CAROLE PRESLAND (piano)
Beethoven - Kodály - Schumann - Frank Bridge
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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.lord4@btopenworld.com
COMMITTEE
Marjorie Glendinning, Simon Rothery, Margaret Collison,
Linda Walker, Christine Stanton, Richard Warrington,
Adrian Smith, Michael Russ
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated
The Society is grateful for financial help also from:
Mrs E Crossland, D Dugdale, Miss M A Freeman, Mrs M Glendinning,
P Michael Lord, P L Michelson, S Rothery, JCS Smith,
JG Sykes, Mrs E R Taylor, Mrs L Walker,
Peter Hawke Garages
Wheawill & Sudworth Chartered Accountants
Making Music (National Federation of Music Societies)
and for practical help with our database from Hilary Norcliffe
گی
Peter Hawke
GARAGES
W&
Wheawill &
Sudworth
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
S
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Season's Performances
OCTOBER 7th, 2002
Lucy Jeal & Tim Horton
Mozart, Janacek, Bartok, Beethoven, Szymanowski
OCTOBER 28th, 2002
Fine Arts Brass Ensemble
Matthews, Locke, Warlock, Panufnik, Arnold, Weill, Mussorgsky
NOVEMBER 11th, 2002
Alice Neary, Robert Plane, Sophie Rahmann
Beethoven, Brahms, Prokofiev, Messiaen, Finzi
JANUARY 27th, 2003
Sorrel String Quartet
Haydn, Shostakovich, Beethoven
FEBRUARY 3rd, 2003
Janacek String Quartet
Haydn, Debussy, Dvorak
MARCH 10th, 2003
Chilingirian String Quartet
Mozart, Bartok, Beethoven
MARCH 17th, 2003
Angela Hewitt
Bach, Messiaen, Ravel
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HUDDERSFIELD
MUSIC SOCIETY
WT.
Eighty-fifth Season
2002-2003
St. Paul's Concert Hall, Queensgate
Monday 7.30pm
www.huddmusic.plus.com
Registered Charity 529340
President: Stephen Smith
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HUDDERSFIELD MUSIC SOCIETY
Monday 10 March 2003
THE CHILINGIRIAN STRING QUARTET
MOZART String Quartet in G major K387
BARTOK String Quartet no 5
INTERVAL
BEETHOVEN String Quartet in F op 135
In Memoriam Elizabeth Stephenson (1909–2000)
TONIGHT'S
ONIGHT'S concert is dedicated to the memory of a great friend and
staunch supporter of the Huddersfield Music Society. Elizabeth
Stephenson joined the committee in 1957 and remained a member until
July 2000. During this time she also acted as honorary treasurer of the
ladies' fund-raising committee, and later president of the Society.
Throughout her membership she was tireless in promoting the inter-
ests of the Society and was active in encouraging new subscribers.
Elizabeth rarely missed a concert - her favourites being string quartets
which she frequently sponsored as 'an anonymous donor'. For this, and
her generous legacy to the Society, we are truly grateful.
In dedicating this concert to her we feel that Beethoven's last string
quartet expresses perfectly our affectionate remembrance of her.
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THE
CHILINGIRIAN
QUARTET
Levon Chilingirian (violin)
Charles Sewart (violin)
Susie Mészáros (viola)
Philip de Groote (cello)
THE
"HE Chilingirian Quartet
was established in 1971 and
still retains two of its founder-
members, Levon Chilingirian
and Philip de Groote. Charles
Sewart joined as second violin
in 1992, and this season the
Quartet was delighted to welcome the distinguished chamber-musician Susie Mészáros to
the Quartet as its viola. With tours to nearly fifty countries on six continents, performing
in major concert halls throughout the world the Chilingirian Quartet is established as one
of the world's most celebrated and widely travelled ensembles. It is quartet-in-residence
at the Royal College of Music, London, gives concerts every season at the Queen Elizabeth
and Wigmore Halls, and has received the Royal Philharmonic Society's coveted Chamber
Ensemble Award.
The Chilingirian has appeared many times at major festivals and halls throughout Britain
and Europe. The quartet tours North America every season, and has performed extensively
in Australia, New Zealand, Japan, the Far East, Africa and South America. Its annual cham-
ber music course at West Dean in England is eagerly attended by aspiring young professional
groups as well as amateur ensembles.
UK highlights in 2002/3 include a complete Beethoven cycle in the restored Old Market
in Hove and the world premiere in London of Abstract Mirrors, a new cello quintet written
for the quartet by Michael Berkeley, with cellist Steven Orton. Foreign engagements this
season include concerts in France, Spain, Italy, Finland, Switzerland and Canada.
The Chilingirian Quartet has given many world premieres and has a particularly strong
association not only with John Tavener and Michael Berkeley but also with Robert Saxton
who wrote a work for its twenty-fifth anniversary (commissioned by the Barbican), and with
Hugh Wood, whose complete string quartets it has recorded, and for whom it premiered
Serenade and Elegy, a work for string orchestra and string quartet, at the Cheltenham Festival
in 1999.
TV and radio appearances throughout Europe, on national public radio in the USA and
many other leading broadcasting organisations complement the quartet's work for the BBC.
Its extensive discography includes the Tippett Triple Concerto and Bartók and Dvořák
cycles; John Tavener; Levon Chilingirian's own edition of the incomplete Quartet in F minor
by Grieg; and an ongoing series of D'Indy and Chausson. Most recently the first in a series
of discs of music by the Scottish composer Sir John Blackwood McEwen has been released.
The Chilingirian Quartet, which last played at these concerts in 1987, appears by
arrangement with Intermusica Artists' Management Ltd.
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1
J
PROGRAMME NOTES
String Quartet in G major K387
Mozart (1756-1791)*
T
1 Allegro vivace assai 2 Menuetto allegro 3 Andante cantabile 4 Molto allegro
HIS quartet is the first of a set of three, finished in 1782 and written one year after
Mozart had met Haydn for the first time. His inspiration was the older composer's
opus 33 'Russian' quartets. Mozart faced the same musical challenges as Haydn in
attempting to give all four instruments an equal voice. In addition these were written
following a period of upheaval during which he had married Constanze Weber against
his father's wishes and been dismissed from his post with the Archbishop of Salzburg.
The opening songlike melody in the first violin is carefree and optimistic. It is
answered and supported by the other three instruments which soon begin to acquire
their own independence. The development section introduces opportunities to extend
and develop the expositional ideas in more thoughtful and sombre mood often in the
minor key.
A lighthearted and spontaneous minuet follows, featuring some alluring chromatic
writing and rhythmic syncopation. In contrast the trio in G minor is introduced by a
more dramatic rising unison theme.
The endless stream of melodic contemplation of the andante is something we have
come to expect from Mozart's slow movements. It is accompanied by endlessly varied
figuration which replaces the more polyphonic texture of the other two movements with
novel use of colourful harmony.
The fugal underpinning of the last movement is built around a five note theme and
quickly develops into a rapturous blend of polyphony and harmonic resource, lifting and
renewing itself at every turn.
* last performed at these concerts by the New Budapest Quartet in 1990
String Quartet no 5 (1934)
Béla Bartók (1881-1945)*
1 Allegro 2 Adagio molto 3 Scherzo alla bulgarese
4 Andante 5 Finale: Allegro vivace - Presto
ARTÓK'S fifth quartet is in five movements, the first and fifth movements being
closely related, as are the second and fourth.
B
The first movement is in sonata form with three principal subjects - the first of these
an aggressive theme, the second in rollicking triplets and the third in more lyrical vein.
After the extended development section the three subjects are played in reverse order
and for good measure inverted.
The first of the two slow movements, an example of Bartók's 'night music', is in
A-B-A form. It opens and closes with delicate trills, surrounding fragments of theme.
After the opening these give way to a chorale-like melody. The fourth movement is a
paraphrase of the second, in which the opening trills give way to pizzicato effects.
Surrounded by these two slow movements is the Scherzo, a vigorous structure, with
complex rhythms, and an obvious relation to peasant dance.
The finale is in rondo form, the principal theme being that of the first subject of the
opening movement. This even appears in fugal form. Towards the end of the move-
ment a rendering of the theme in cheeky Boccherini-like harmonic garb appears shock-
ing in the context. After this has been flatly contradicted, the music rushes headlong
to its conclusion.
* last performed at these concerts by the Vellinger Quartet in 1994
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String Quartet in F major op 135
1 Allegretto 2 Vivace 3 Lento assai, cantate e tranquillo
allegro - grave ma non troppo tratto - allegro
4 Grave
TH
HIS quartet, like the opus 131, does not appear to have been performed in the com-
poser's lifetime and occupies an isolated position in Beethoven's last five quartets.
It is shorter than the others, but profound in mood and was played for the first time at
his own memorial concert in 1828.
-
The first movement begins with two important thematic ideas. The first is a falling
four note questioning motif which is repeated once and answered immediately by a ris-
ing affirmative one. These two, with a semiquaver and triplet passages give rise to much
of the development section as well as returning in the last movement. Lighthearted syn-
copated rhythmic play between the instruments opens the second movement. Both the
scherzo and its trio display appealing rhythmic variety with syncopation in the scherzo
section between the voices and featuring rough two-part writing in the trio with its
repetitive ostinato figure beneath an exuberantly high violin line.
A radiant but profound slow movement of celestial beauty begins in D flat major but
moves to a more cautious and inquiring second section in the minor key.
Finally the last movement, headed 'Der schwer gefasste Entschluss' ('the hard-made
decision'), begins with a hesitant dramatic upward rising motif 'Muss es sein?' (must it
be?) from the two lower parts and followed by eloquent three part counterpoint and
closely shadowed by followed by powerful chords in a grave section. 'Es muss sein!' (it
must be!) is the positive and reassuring answer given in the closely following allegro
section, ushering in a note of optimism. However the earlier uncertainty returns with
a more menacing repeat of the opening accompanied by threatening tremolos in the
upper strings. The whole work concludes in a final mood of overall hope.
* last performed at these concerts by the Lindsay Quartet in 1983
FORTHCOMING
Monday 17 March (7 30 pm)
(St Paul's)
Huddersfield Music Society
ANGELA HEWITT (piano)
Bach English Suites nos 4 & 5
Messiaen Préludes
Ravel Le Tombeau de Couperin
Saturday 5 April (7 30 pm)
(Huddersfield Town Hall)
SLAITHWAITE
Beethoven (1770-1827)*
PHILHARMONIC ORCHESTRA
(Conductor: Chris Houlding;
solo saxophone: Sarah Field)
Bliss-Paule Maurice
- Mussorgsky/Ravel
EVENTS
Friday 28 March (7 30 pm)
(Square Chapel, Halifax)
Halifax Philharmonic Club
THOMAS CARROLL (cello)
& CAROLE PRESLAND (piano)
Beethoven - Kodály
- Schumann - Frank Bridge
Saturday 12 April (7 30 pm)
(Huddersfield Town Hall)
HUDDERSFIELD
PHILHARMONIC ORCHESTRA
(Guest conductor:
Nicholas Cleobury)
Shostakovich - Borodin
- Kodály - Tchaikovsky
9
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1-
5.
t
9
S
t
d
t
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.lord4@btopenworld.com
COMMITTEE
Marjorie Glendinning, Simon Rothery, Margaret Collison,
Linda Walker, Christine Stanton, Richard Warrington,
Adrian Smith, Michael Russ
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated
The Society is grateful for financial help also from:
Mrs E Crossland, D Dugdale, Miss M A Freeman, Mrs M Glendinning,
P Michael Lord, P L Michelson, S Rothery, JCS Smith,
JG Sykes, Mrs E R Taylor, Mrs L Walker,
Peter Hawke Garages
Wheawill & Sudworth Chartered Accountants
Making Music (National Federation of Music Societies)
and for practical help with our database from Hilary Norcliffe
Peter Hawke
GARAGES
W&
Wheawill &
Sudworth
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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Season's Performances
OCTOBER 7th, 2002
Lucy Jeal & Tim Horton
Mozart, Janacek, Bartok, Beethoven, Szymanowski
OCTOBER 28th, 2002
Fine Arts Brass Ensemble
Matthews, Locke, Warlock, Panufnik, Arnold, Weill, Mussorgsky
NOVEMBER 11th, 2002
Alice Neary, Robert Plane, Sophie Rahmann
Beethoven, Brahms, Prokofiev, Messiaen, Finzi
JANUARY 27th, 2003
Sorrel String Quartet
Haydn, Shostakovich, Beethoven
FEBRUARY 3rd, 2003
Janacek String Quartet
Haydn, Debussy, Dvorak
MARCH 10th, 2003
Chilingirian String Quartet
Mozart, Bartok, Beethoven
MARCH 17th, 2003
Angela Hewitt
Bach, Messiaen, Ravel
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HUDDERSFIELD
MUSIC SOCIETY
WT.
Eighty-fifth Season
2002-2003
St. Paul's Concert Hall, Queensgate
Monday 7.30pm
www.huddmusic.plus.com
Registered Charity 529340
President: Stephen Smith
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P
HUDDERSFIELD MUSIC SOCIETY
Monday 17 March 2003
ANGELA HEWITT (piano)
BACH English Suite no 4 in F BWV 809
MESSIAEN Four Preludes
INTERVAL
BACH English Suite no 5 in E minor BWV 810
RAVEL Le Tombeau de Couperin
IANIST Angela Hewitt continues to cap-
tivate and charm audiences around the
world with her musicianship and virtuosi-
ty. Since her triumph in the 1985 Toronto
International Bach Piano Competition, Miss
Hewitt has been hailed as 'the pre-eminent Bach
pianist of our time' (The Guardian, 2001), and
'nothing less than the pianist who will define Bach
performance on the piano for years to come'
(Stereophile, 1998). In 1994 she embarked on a
ten-year project to record all of the major key-
board works by Bach for the Hyperion label, a
series which has been called 'one of the record
glories of our age' by The Sunday Times. The
Inventions, French Suites, Partitas, the complete
(6
Well-Tempered Clavier, the Goldberg Variations and the Italian Concerto are receiving worldwide
acclaim for their artistry, 'effortlessly eclipsing all competitors' (Gramophone, 1997). The next
recording in the cycle, the seven Toccatas, will be released in July of this year. Her disc of Bach
arrangements won a Juno Award in Canada for the Best Instrumental or Chamber CD of 2001.
During the year 2000, she gave complete performances of the 48 Preludes and Fugues in Canada,
the United States, England, and Germany. She has performed throughout North America and
Europe, as well as in Japan, Australia, New Zealand, China, Mexico, and the former Soviet Union.
Born into a musical family (her father was cathedral organist in Ottawa, Canada), Miss Hewitt
began her piano studies at the age of three, performing in public at four, and at five won her first
scholarship. She also studied violin, recorder, singing, and classical ballet. At nine, she gave her
first recital at Toronto's Royal Conservatory of Music where she studied from 1964-73. Miss
Hewitt then studied with French pianist, Jean-Paul Sévilla, at the University of Ottawa from which
she earned her Bachelor of Music degree at the age of eighteen.
Prior to her Toronto Bach Competition victory, Angela Hewitt was placed first in Italy's Viotti
Competition (1978) and was a top prizewinner in the International Bach Competitions of Leipzig
and Washington DC, as well as in other competitions.
Miss Hewitt's repertoire is vast, ranging from Bach to the contemporary. Her discography
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also includes CDs of Granados, Olivier Messiaen, and, most recently, the complete solo works of
Ravel. Earlier this season she gave the world premiere of a concerto by Dominic Muldowney.
Her lecture-recitals on Bach and her frequent masterclasses are widely appreciated by stu-
dents and teachers alike. Dedicated to keeping 'live music' alive, she is a founding member of
Piano Six - a project involving six Canadian pianists who take music to the rural communities of
Canada. In 1995 Angela Hewitt was awarded an honorary doctorate from the University of
Ottawa; in 1997 she received the Key to the City of Ottawa; and was made an Officer of the
Order of Canada in 2000. She has lived in England since 1985.
PROGRAMME NOTES
English Suite no 4 in F major BWV 809
Bach (1685-1750)*
Prélude; Allemande; Courante; Sarabande; Menuet 1-Menuet 2-Menuet 1; Gigue
THE SUITE emerged as a practical necessity for composers when instrumental
music was gaining popularity in the seventeenth and eighteenth centuries and
longer forms were required. It is a sequence of dance movements in the same
key preceded by a prelude. The dances were of course of varying speeds and
styles, providing opportunity for contrast within the longer suite structure. The
form was used throughout Europe but known by different titles such as the
French Ordre, German Partita and English Lesson. The styles were of course var-
ied according to the national courtly styles of dancing: the French Ordres of
Couperin and Rameau, for instance, were characteristically longer and highly
embellished, often known by fanciful and descriptive titles. However the so-called
English suites reflect their foreign counterparts and show Bach's mastery of the
important French and Italian idioms. Later he went on to compose six each of the
German and French models also.
Bach's English suites were probably composed some time between 1708 and
1714 when he was employed at Weimar, but there is some doubt as to their exact
origins as they were not published in his lifetime. The first of this set of six bears
the title, 'Fait pour les Anglais' and they were probably the combined result of an
English commission and of Bach's study of the suites of a composer living in
London at the time, Charles Dieupart.
Each of these English suites begins with a prelude as was customary. It was
an introductory freer movement unrelated to the dance and Bach, in common
with other composers, entitled his in other works with fanciful names such as
Sinfonia, Ouverture or Fantasia. As demonstrated by its title, the first move-
ment had a more rhapsodic character and did not follow a standard dance form.
All the dances are in binary form, their simple structure encouraging spontaneous
improvisation and decoration from the performer in keeping with the practice of
the day.
HIS suite uses all the prescribed dances of a typical eighteenth century suite com-
T a flowing followed by
the Courante which is a faster dance in three. The stately Sarabande is simple and
melodic allowing opportunity for embellishment especially in its repeats. There is con-
trast in key and style between the two menuets with the second in the relative key of
D minor. An ebullient two-part Gigue completes the set.
* This work, like all the others in tonight's programme,
has not featured in any of the Society's previous concerts.
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Six
Four Preludes
Olivier Messiaen (1908-1992)
O
1 La Colombe 2 Le nombre léger 3 Plainte calme 4 Un reflet dans le vent
LIVIER Messiaen was born in Avignon in 1908. His father taught English and was
noted for his translations of Shakespeare. His mother was a poetess who greatly
influenced her son by bringing him up in a world enhanced by poetry and fairy tales.
Between the ages of eight and ten, Olivier enjoyed performing the complete Shakes-
peare plays for an audience of one (his younger brother, Alain), and built a toy theatre,
using coloured pastry wrappings to reflect light. His precocious talent led him to request
opera scores of Mozart, Gluck, Berlioz, and Wagner as Christmas presents from the age
of seven which he would sight-read at the piano, singing every part. For his tenth birth-
day, his piano teacher gave him Debussy's Pelléas et Mélisande which he said was 'like
a bomb in the hands of a child'. It was to remain his most decisive musical influence.
It was while studying composition with Paul Dukas at the Paris Conservatoire that he
wrote his eight Préludes (1928-29), which are remarkable pieces for one so young. It
would be easy to dismiss them as being too influenced by Debussy's works of the same
name, but they are already stamped with Messiaen's unique sense of tone colour and
harmony. When Messiaen heard, or even just read, music, he inwardly saw certain
colours shifting with the music, and he used different sonorities to depict these colours,
juxtaposing them or placing them against each other. These sonorities were based on
'modes of limited transposition' - groups of notes arranged differently from the tradi-
tional diatonic scale that, after a few transpositions, return to the same notes. Each one
had its own colour, or blend of colours.
1
The first piece in the set, 'La colombe' (The dove), uses mode two whose colours are
orange and violet. It is marked 'slow, expressive, with a very soft ('enveloppée') sonor-
ity'. The melody presented in octaves is surrounded by shimmering chords above and
a steady pulse below. It is a simple binary sentence with a most beautiful ending. A
short fragment of the melody (with a 'wrong-note' effect of not quite being an octave
apart!) is played above a sustained chord, making full use of the resonances of the
piano. These added resonances, which are in fact written-out harmonics, appear
throughout his music, uniting harmony and timbre.
'Le nombre léger' (The light number) reaches its brilliant ending by leading a canon
at the unison to another resonant close, centred around E major. It is a study in agili-
ty and lightness of touch.
'Plainte calme' (Calm lamentation) returns to the colours of the fourth prelude, and
is a simple, yearning song. By now we are ready for some virtuoso playing, and we get
just that in the last prelude, 'Un reflet dans le vent' (A reflection in the wind). The
melodic second theme is enveloped in what Messiaen calls 'sinuous arpeggios', sug-
gesting the sound of the wind. In the middle we reach a triumphant and brilliant climax
which is full of joy. After a recapitulation of the opening, the work ends with a dramat-
ic flourish. The Preludes were premiered in 1931 at the Société Nationale by the work's
dedicatee, Henriette Roget, a fellow student at the Conservatoire.
O Angela Hewitt
English Suite No. 5 in E minor BWV 810
Bach (1685-1750)
Prélude; Allemande; Courante;
Passepied 1 (en Rondeau)-Passepied 2-Passepied 1; Gigue
HIS suite displays a wider range of moods between the movements and exploits
Bach's contrapuntal skill extensively. It commences with a more complex and
extended three-part prelude in fugal style and finishes with a chromatic and dynamic
gigue also in three parts. The simple but stately sarabande has expressive and subtle
inner polyphony. Less familiar is the pair of Passepied dances just before the Gigue.
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French in origin these were faster than the similar minuet but also in triple time. The
second is in the major key with a charming and idiomatic drone in its first half.
Le Tombeau de Couperin
1 Prélude vif 2 Fugue allegretto moderato 3 Forlane allegretto
4 Rigaudon assez vif 5 Menuet allegro moderato 6 Toccata vif
AVEL'S last work for solo piano, Le Tombeau de Couperin, was published in 1917.
Much of the Suite, however, was sketched before he entered the army in 1915. It
was conceived not so much as homage to Couperin 'as to the whole of eighteenth-cen-
tury French music'.
R
The suite begins with a Prélude which is a delicate mouvement perpétuel, demand-
ing great evenness of touch and tempo. Then comes the enigmatic Fugue (the only one
which Ravel wrote outside harmony class). The ending always reminds me of a music
box winding down, perhaps because Ravel so liked automata.
The Forlane as a dance originated in Italy (Friuli). It was a lively, somewhat impetu-
ous dance which was banned by the Church as improper, but travelled to both France
and Germany. Ravel's Forlane takes as its model the one from the fourth Concert royal
of Couperin. The piece which contains some of Ravel's spiciest harmonies - is cer-
tainly full of charm and at times abandonment. The second theme is nonchalant, the
third innocent and the fourth almost martial.
The energetic Rigaudon has a very rustic flavour, interrupted in the middle by an
innocent and naive trio. Then comes the aristocratic Menuet, a very touching movement
which seems to have the same feeling of regret as does the famous Pavane. The
musette which forms the middle section is to be played 'nobly'. The recapitulation sees
the superposition of the two themes and Ravel ends the piece with a chord containing a
major seventh something for which he was eliminated from the Prix de Rome some
twelve years before!
The Toccata which brings the work to its brilliant conclusion is a pièce de résistance
requiring great stamina. It is not very hard to imagine an advancing army and the
relentless foot-stamping of soldiers. There is one melody in particular which is first
heard as an entreaty, then as something suggesting terrible despair and finally as prom-
ising triumph.
(extract from a programme note by Angela Hewitt © 2003)
—
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FORTHCOMING EVENTS
Thursday 27 March (7 30 pm)
(St Paul's)
University Symphony Orchestra
Mussorgsky/Ravel - Shostakovich
Friday 28 March (7 30 pm)
(Square Chapel, Halifax)
HALIFAX PHILHARMONIC CLUB
Ravel (1875-1937)
Thomas Carroll (cello)
& Carole Presland (piano)
Monday 31 March (7 30 pm)
(St Paul's)
University Brass Band/ Big Band
to include works by Howells & Wilby
Thursday 3 April (7 30 pm)
(St Paul's)
University Choir/Chamber &
Symphonic Wind Orchestras
to include Fauré's Requiem
Saturday 5 April (7 30 pm)
(Huddersfield Town Hall)
SLAITHWAITE
PHILHARMONIC ORCHESTRA
Saturday 12 April (7 30 pm)
(Huddersfield Town Hall)
HUDDERSFIELD
PHILHARMONIC ORCHESTRA
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3)
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.lord4@btopenworld.com
COMMITTEE
Marjorie Glendinning, Simon Rothery, Margaret Collison,
Linda Walker, Christine Stanton, Richard Warrington,
Adrian Smith, Michael Russ
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated
The Society is grateful for financial help also from:
Mrs E Crossland, D Dugdale, Miss M A Freeman, Mrs M Glendinning,
P Michael Lord, P L Michelson, S Rothery, J CS Smith,
JG Sykes, Mrs E R Taylor, Mrs L Walker,
Peter Hawke Garages
Wheawill & Sudworth Chartered Accountants
Making Music (National Federation of Music Societies)
and for practical help with our database from Hilary Norcliffe
Peter Hawke
GARAGES
W&
Wheawill &
Sudworth
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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Season's Performances
OCTOBER 7th, 2002
Lucy Jeal & Tim Horton
Mozart, Janacek, Bartok, Beethoven, Szymanowski
OCTOBER 28th, 2002
Fine Arts Brass Ensemble
Matthews, Locke, Warlock, Panufnik, Arnold, Weill, Mussorgsky
NOVEMBER 11th, 2002
Alice Neary, Robert Plane, Sophie Rahmann
Beethoven, Brahms, Prokofiev, Messiaen, Finzi
JANUARY 27th, 2003
Sorrel String Quartet
Haydn, Shostakovich, Beethoven
FEBRUARY 3rd, 2003
Janacek String Quartet
Haydn, Debussy, Dvorak
MARCH 10th, 2003
Chilingirian String Quartet
Mozart, Bartok, Beethoven
MARCH 17th, 2003
Angela Hewitt
Bach, Messiaen, Ravel