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HMS 88

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2005-2006 Eighty-eighth Season St Paul's Hall Huddersfield The Belcea String Quartet Given in association with the 'Music at the University of Huddersfield' Evening Concert Series Huddersfield Music Society is a Registered Charity HUDDERSFIELD MUSIC SOCIETY

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D This Czech String Quartet is paying us its first visit, and is joined by the British pianist John Thwaites to play two supreme works from the Quintet repertoire. They will be performing on their own in a work by the composer from whom they take their name. Monday 17th October 2005 at 7 30 pm THE MARTINU STRING QUARTET with JOHN THWAITES (piano) Piano Quintet in E flat op 44 String Quartet no 3 H183 Piano Quintet in F minor op 34 2 3 Schumann Martinu Brahms Monday 7th November 2005 at 7 30 pm RODERICK WILLIAMS (baritone) with SUSIE ALLEN (piano) Song-writing has been a particularly prolific and suc- cessful field for British composers for at least the last four hundred years, none more so than during the twentieth century. Roderick Williams is a rising star who has already gained an international reputation on both opera stage and concert platform. I Said to Love Songs of Travel and Trevor Hold, Ivor Gurney, Howard Ferguson, George Dyson, Ian Venables, Roderick Williams, Betty Roe and Adrian Williams Finzi Vaughan Williams Monday 28th November 2005 at 7 30 pm THE GOLANI HACKER FRITH TRIO (viola, clarinet and piano) A welcome return by pianist Benjamin Frith, this time joined by the distinguished clarinetist Alan Hacker and Rivka Golani, one of the world's foremost viola-players, for a pro- gramme which includes works in unusual trio form. Fairy Tales Three pieces for clarinet trio Viola Sonata op 11 no 4 Clarinet Trio in E flat K 498 (Kegelstatt) Schumann Max Bruch Hindemith Mozart

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TICKETS Single Season Ticket Double Season Ticket Single Concert Ticket: Concerts nos 4 and 7 £17; others £14 Student Season Ticket Student Single Ticket £72 £140 We acknowledge with thanks support from the University of Huddersfield to which the Society is affiliated. NB This brochure is published in good faith but we reserve the right to alter the artists or programmes for any concert should circumstances beyond our control make this necessary. £15 £3 The Society is grateful for financial help also from: David Dugdale, Miss M A Freeman, Mrs M Glendinning, P Michael Lord, PL Michelson, J C S Smith, JG Sykes, Mrs E R Taylor, Mrs L Walker and Making Music (National Federation of Music Societies).

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4 Monday 16th January 2006 at 7 30 pm THE BELCEA STRING QUARTET The Belcea last visited us six years ago. Since then they have risen to the very peak of British string quartets. We were very glad to engage them for a traditional them for a traditional programme. String Quartet in E flat K 428 String Quartet No 6 String Quartet No 3 in A op 41 no 3 The Leopold String Trio Ruth Waterman Mozart Bartok Schumann Roderick Williams The Stamic String Quartet BOOKING ARRANGEMENTS Single Season Ticket Double Season Ticket Single Concert Ticket: Concerts nos 4 and 7 £17; others £14 Student Season Ticket Student Single Ticket Name Tickets Tickets may be obtained by using the booking form below or from Huddersfield Information Centre, Albion Street (tel 01484 223200), or at the door. Please return unwanted sea- son tickets to the Treasurer by 25th September 2005. Address Post this form with cheque payable to Huddersfield Music Society Postcode to the Hon Treasurer, Mr Michael Lord, 14 Garsdale Road, Newsome, Huddersfield HD4 6QZ. Tel 01484 310104 Please send ........... single/double season tickets Please send ........... single concert tickets for concert number(s)............... I enclose cheque Fax 01484 425658 E-mail michael.lord4@btopenworld.com BOOKING FORM £72 £140 Telephone Total £........ £15 £3

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t X 5 Celebrating the twentieth anniversary of their first UK tour, this Czech ensemble will be playing a quartet by their native Dvorak, alongside works by Haydn and Mendelssohn. Monday 30th January 2006 at 7 30 pm THE STAMIC STRING QUARTET String Quartet in D op 76 no 5 (The Lark) Haydn String Quartet in A op 13 Mendelssohn String Quartet in A flat op 105 Dvorak 6 Monday 13th March 2006 at 7 30 pm RUTH WATERMAN (violin) and FLORIAN UHLIG (piano) This will be the first occasion upon which this extremely distinguished violinist has appeared with us for a solo recital. Five Melodies op 35b Sonata in G minor BWV 1001 (unaccompanied) 7 Prokofiev Sonata no 2 in A op 100 Valse-Scherzo op 34 Tchaikovsky This programme is subject to possible change Bach Brahms Monday 3rd April 2006 at 7 30 pm THE LEOPOLD STRING TRIO In the year of Mozart's two hundred and fiftieth anniver- sary, what better way could we end our season than with his wonderful E flat serenade for string trio? String Trio (1985) Divertimento in E flat K 563 Variations in G minor over a Russian Theme Borodin Schnittke Mozart HUDDERSFIELD MUSIC SOCIETY Season 2005-2006 BOOKING FORM (to be detached)

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HUDDERSFIELD A629 MUSIC SOCIETY www.huddersfield-music-society.org.uk President Stephen Smith Making Music Honorary Secretary Mr Gordon Sykes Tel 01484 663474 E-mail gordon.sykes@virgin.net THE NATIONAL FEDERATION OF MUSIC SOCIETIES TO HALIFAX & M62 NEW NORTH TRINITY STREET -1 NORTH A62 MANCHESTER ROAD TO MANCHESTER OLA STATION CASTLE GATE BUS Car parking should be RAILWAY STATION BOO ୦୦୮ 00L 1009 00G00 A616 CHAPEL HILL Yorkshire Arts JAL 301 QUEESNGATE CAR PARK TSOUTHO SOUTHGATE TO LEEDS QUEEN LEEDS ROAD A62 TO WAKEFIELD & SHEFFIELD A629 WAKEFIELD ROAD ST. PAUL'S HALL UNIVERSITY OF HUDDERSFIELD 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 LL 17 WT. Eighty-eighth Season 2005-2006 St. Paul's Concert Hall, Queensgate Monday 7.30pm www.huddersfield-music-society.org.uk Registered Charity 529340 President: Stephen Smith

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***

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Huddersfield Music Society 17 October 2005 THE MARTINŮ STRING QUARTET Lubomír Havlák (first violin) Petr Mateják (second violin) Jan Jíša (viola) Jitka Vlašánková (violoncello) with JOHN THWAITES (piano) HE MARTINŮ QUARTET first came together in 1976 at the Conservatoire in Prague as students of Viktor Moucka, a member of the Vlach Quartet. Originally called the Havlák Quartet after its leader, in 1985 it changed its name in hon- our of the composer Bohuslav Martinů. During their studies at the Academy of Music, the members of the quartet continued to study under Antonín Kohout of the Smetana Quartet. At the same time they took part in masterclasses with many of the world's leading ensembles. The quartet won prizes at each of the eight international competitions in which they took part, notably the Portsmouth (GB), the ARD Radio, Munich, Evian (France) and the Prague Spring. The Martinů Quartet has given concerts in most European countries and it regular- ly tours the USA, Canada, Japan, the UK and Spain. It has appeared at many interna- tional festivals and venues and is a frequent guest of the Prague Spring Festival. The Martinů Quartet broadcasts regularly on Czech radio and television and has made a number of recordings for several other broadcasting organisations. The quartet's repertoire includes works from the mainstream of the string quartet literature. Naturally it specializes in the works of Czech composers such as Smetana, Dvorák and Janácek, with particular interest in the works of its namesake, Bohuslav Martinů; among its many CDs are all of his string quartets on the Naxos label. 'Superb recital ... mellow tone, warm temperament and virtuoso technique ... well-balanced sonorities blossomed so effortlessly that the music seemed to be playing itself... (The Plain Dealer, Cleveland) OHN THWAITES studied at Manchester University, the RNCM and the GSMD with Sulamita Aronovsky and Paul Berkovitz. As a popular chamber musician he has made several Park Lane Group appearances, a British Council Bulgarian tour of live TV and radio broadcasts, regular subscription

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concerts at the RNCM with the Music Group of Manchester (1986-1993), the Barbican Henze Festival and the 1988 Manchester International Cello Festival. He has worked with many 'cellists, notably in a relationship spanning twenty-five years, with Alexander Baillie, with whom he has released a recital CD, broadcast and worked on the Gathering of the Clans cello masterclasses. He has performed piano quintets with many of leading quartets and he broad- casts regularly for BBC Radio Three. Recent concerto performances include the Brahms D minor, the Grieg and Tchaikovsky no I. He has performed all the Brahms chamber music with piano in the UK's first complete cycle. John is piano professor at the Royal Scottish Academy of Music and Drama and Director of the Cadenza International Summer Music School. ... astonishing emotional intensity: a fine recital and an outstanding musician' (John Lill) PROGRAMME NOTES Brahms (1833-1897) 1 Allegro non troppo 2 Andante, un poco adagio 3 Scherzo: allegro 4 Finale: poco sostenuto - allegro non troppo - presto, non troppo Piano Quintet in F minor op 34 W RITTEN in 1865 after earlier appearances as a string quartet and two-piano sonata, this is a work that still has its roots firmly in the classical tradition, despite its richly-scored textures and complex harmonic shifts. All themes in the first movement evolve from its simple melodic opening, exploiting the intervals of a fourth and semitone. The second theme is traditional- ly more lyrical and contemplative. Brahms demonstrates his developmental skills even in this first section of exposition. The central development section begins with a restrained intensity, allowing the individual instruments to converse and reflect through the constantly altering keys. The recapitulation section presents the open- ing themes in ever-changing textures. There is a wandering reflective passage for string quartet only close to the end, contrasting with the tempestuous closing bars. The second movement is in simpler three-part form, with its major key con- firming a more placid temperament. The luxuriant return of the first section elab- orately rescored and slowing in pace emphasizes (for Brahms) the almost self- indulgent romanticism of this movement. The scherzo re-introduces a sense of urgency and excitement, manifested in a significant little string rhythmic figure after the opening. In contrast the trio offers extended melody before a return to a more contrapuntal scherzo. The final movement begins with a dark fugal opening leading to fervent out- pouring with the entry of the piano. The work builds through the faster allegro sec- tion, increasing in passion and virtuosity until the last bars of the presto. Last performed at an HMS concert (by the Arcus Ensemble of Vienna) in 1998 String Quartet no 3 H 183 Bohuslav Martinů (1890-1959) 'The artist is always searching for the meaning of life, his own and that of mankind, searching for truth. A system of uncertainty has entered our

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le e d 3- e e d ) 0 }, 1, S h ct r a S ) daily life. The pressures of mechanisation and uniformity to which it is subject call for protest and the artist has only one means of expressing this, by music.' (Bohuslav Martinů) ARTINU'S string quartet no 3 (in three movements) was completed in Paris in December 1929 and dedicated to the Roth quartet. With discernible elements of contemporary French influence and textures that occasionally recall Debussy, the work allows the composer to explore new timbres. The first movement, an allegro, opens with plucked cello chords, off-beat col legno notes from the viola and a muted tremolo from the second violin, above which the first violin introduces a motif that continues to have importance in the free sonata form of the movement. The first violin later introduces a gentler secondary theme, part of the basic material from which the movement is woven, urged on by one theme, relaxed by another. Much of the material of the following andante is entrusted to the viola, at times in close collaboration with the cello, which assumes fuller responsibility in the closing bars. There is something of Bartók about the third movement, opened by the viola and impelled forwards until the same instrument introduces an easier motion, accompanied by plucked chords from the cello and harmonics from the first violin. The first thematic material returns, leading to a rapid final section. This work is tonight receiving its first performance at an HMS concert. Piano Quintet in E flat op 44 Schumann (1810-1856) 1 Allegro brillante 2 In modo d'una marcia - un poco largamente 3 Scherzo: molto vivace 4 Allegro, ma non troppo FTER 1842 Schumann concentrated exclusively on his chamber music, composing expressiveness make this one of his best-loved and most appealing works. An opening chordal flourish heralds a passionate and expressive movement with a wonderfully lyri- cal second subject based upon ascending and descending scales. Its development is notable for the brilliant and idiomatic piano writing. The opening theme of the second movement is in a brooding minor key, with repeat- ed notes and limited melodic movement. Its regular appearance is interrupted by episodes of a contrasting nature: the first, an expansive major section where the piano is limited to an accompanying role, and the second, which is dominated by an under- current of agitato triplet rhythms. The scherzo starts in a mood of exhilaration with galloping scales and syncopated responses leading to a calmer trio based on a triplet accompaniment with string exchanges above. After a return to the scherzo there is a second trio featuring brilliant rapid semiquavers in the minor key. The ast movement is characterized by this same exhilaration. It opens in the rela- tive minor key of C minor, progressing to a slightly calmer development section which also exploits the contrapuntal possibilities of earlier themes. The tempo is deliberately broadened and the home key of E flat is ushered in with a fugato passage. The work concluces with an affirmative coda. Last performed at an HMS concert (by the Fitzwilliam String Quartet and Alan Schiller) in 1982

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HUDDERSFIELD MUSIC SOCIETY Next Concert of the Season Monday 7 November at 7 30 pm RODERICK WILLIAMS (baritone) with Susie Allen (piano) A Recital of Songs by English Composers SOME OTHER FORTHCOMING EVENTS Wednesdays 19 & 26 October at 7 30 pm (Recital Hall) UNIVERSITY OF HUDDERSFIELD MUSIC DEPARTMENT The Third and Fourth in a Series of Liturgical Lectures Thursday 27 October at 7 30 pm (St Paul's) UNIVERSITY OF HUDDERSFIELD MUSIC DEPARTMENT The University Symphony Orchestra (conductor, Barrie Webb) Programme to be announced Friday 4 November at 7 30 pm (Square Chapel, Halifax) HALIFAX PHILHARMONIC CLUB Peter Cropper (violin), Pascal Moragues (clarinet) and Jean-François Heisser (piano) Franck-Bartók - Brahms - Khachaturian Saturday 12 November at 7 30 pm (Town Hall) HUDDERSFIELD PHILHARMONIC ORCHESTRA with the Huddersfield Choral Society (conductor, Nicholas Cleobury) Elgar In the South - Tippett A Child of Our Time Saturday 19 November at 7 15 pm (Holmfirth Civic Hall) HOLMFIRTH CHORAL SOCIETY with the augmented Valley Sinfonia (conductor, Kenneth Rothery) Handel Joshua

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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 ARTS COMMITTEE Marjorie Glendinning, David Allsopp, Margaret Collison, Linda Walker, Christine Stanton, Richard Warrington, Adrian Smith, John Bryan, Helen Howden 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: D Dugdale, Miss M A Freeman, Mrs M Glendinning, P Michael Lord, P L Michelson, JC S Smith, JG Sykes, Mrs E R Taylor, Mrs L Walker, Making Music (National Federation of Music Societies) and for practical help with our database from Hilary Norcliffe and for production of programmes and posters by Adrian Smith COUNCIL ENGLAND THE MAGAZINE GRAMOPHONE Making Music THE NATIONAL FEDERATION OF MUSIC SOCIETIES 24

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Season's Performances 17 October 2005 THE MARTINU STRING QUARTET and JOHN THWAITES (piano) The piano quintets of Schumann & Brahms 7 November 2005 RODERICK WILLIAMS (baritone) with Susie Allen (piano) A recital of songs by English composers 28 November 2005 THE GOLANI HACKER FRITH TRIO Mozart's Clarinet Trio (Kegelstatt) and works by Schumann, Bruch and Hindemith 16 January 2006 THE BELCEA STRING QUARTET Mozart, Bartok and Schumann 30 January 2006 THE STAMIC STRING QUARTET Haydn, Mendelssohn and Dvorak 13 March 2006 RUTH WATERMAN (violin) and FLORIAN UHLIG (piano) Prokofiev, Bach, Brahms and Tchaikovsky 3 April 2006 THE LEOPOLD STRING TRIO Borodin, Schnittke and Mozart NB This schedule is published in good faith but we reserve the right to alter the artists or programme for any concert should circumstances beyond our control make this necessary.

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Roderick Williams Baritone John Ireland Great Things Gerald Finzi I Said To Love, Op.19b 1. I need not go 2. At Middle-Field Gate in February 3. Two Lips 4. In five-score Summers 5. For Life I had never cared greatly 6. I said to Love Ivor Gurney Dreams of the sea John Ireland Sea Fever Trevor Hold Huddersfield Music Society Concert The Angler's Song Ivor Gurney Black Stitchel Red Roses John Ireland The Vagabond I have twelve oxen Susie Allen Piano Ralph Vaughan Williams Songs of Travel Recital Programme *** interval ** 1. The Vagabond 2. Let Beauty Awake 3. The Roadside Fire 4. Youth and Love 5. In Dreams The Infinite Shining Heavens 7. Whither must I Wander 8. Bright is the ring of Words 9. I Have Trod the Upward and the Downward Slope 1." Monday 7th November Thomas Hardy Thomas Hardy WH Davies John Masefield William Basse Wilfred Gibson Wilfrid Gibson Mere Heb John Masefield trad English Robert Louis Stevenson The composers Not only are the musical destinies of the composers in tonight's programme strongly linked but their experiences and lives also through collective experience of living though the War of 1914-1918. Ivor Gurney (1890-1937) fought and suffered horribly when he was wounded at the Front and gassed at Paschendale. He wrote hundreds of his own poems as well as setting over 300 songs. Vaughan Williams (1872-1958) served as a Field Ambulance driver in Flanders, witnessing carnage and the loss of close friends such as George Butterworth. He and John Ireland (1879 - 1962) were pupils of Sir Hubert Parry, who

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Huddersfield Music Society 28 November 2005 THE GOLANI/HACKER/FRITH TRIO Fairy Tales Three Pieces for Clarinet Trio Viola Sonata op II no 4 INTERVAL Schumann Bruch Hindemith Clarinet Trio in E flat K498 (Kegelstatt) HE members of this internationally-renowned trio of artists are each superb soloists T in their own right. Rivka Golani is recognized as one of the great violists and musi- cians of modern times. BBC magazine included her in its list of the 200 most impor- tant instrumentalists and the five most important violists currently concertizing. Her con- tributions to the advancement of viola technique have already given her a place in the histo- ry of the instrument and have been a source of inspiration not only to other players but also to many composers who have been motivated by her mastery to write specially for the viola. More than 215 pieces have been written for her, of which more than 50 are concertos, a record matched by no other violist in history. Mozart She is also a painter of distinction, and has worked closely with composers as a visual artist in presenting multi-media performances of works for viola and orchestra. Exhibitions of her paintings have been held throughout Britain, Germany, Israel and North America. Alan Hacker, OBE, a most important name among UK clarinetists, studied in London, then France, Germany and Austria on travelling scholarships. At 19 he joined the LPO and was appointed Professor at the Royal Academy of Music. During a long career he has played all over the world, was a founder member in the 'sixties of The Pierrot Players, The Fires of London and Matrix, and championed not only works of Mozart (Clarinet Concerto and Quintet), but new music. He has been the main protagonist of the Basset Clarinet since Mozart's day, using his own specially built extended instrument. Benjamin Frith has a justifiably high reputation in Huddersfield, where he has appeared on innumerable occasions, at HMS and the University, and with the Slaithwaite and Huddersfield Philharmonic Orchestras. He has travelled widely, has a remarkably com- prehensive repertoire and is renowned for his many recordings of largely unfamiliar music (notably that of John Field).

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HUDDERSFIELD MUSIC SOCIETY I I W1. Eighty-eighth Season 2005-2006 St. Paul's Concert Hall, Queensgate Monday 7.30pm www.huddersfield-music-society.org.uk Registered Charity 529340 President: Stephen Smith

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Huddersfield Music Society 16 January 2006 THE BELCEA STRING QUARTET Corina Belcea violin Laura Samuel violin Krzysztof Chorzelski viola Pierre Doumenge cello Established whilst studying at the Royal College of Music in 1994, the Belcea Quartet quickly gained a reputation as one of the world's leading chamber ensembles, winning first prizes at both the Osaka and Bordeaux International String Quartet Competitions in 1999 and the Royal Philharmonic Society's Chamber Award in both in 2001 and 2003. Music In the 2004/2005 season, the Belcea Quartet continued to tour extensively in the UK, Europe, Japan and the USA, performing in Boston and Miami, New York and in Europe. Last summer they returned to the Aldeburgh, Schubertiade and Edinburgh festivals and will be resident at the Bath International Festival and made their debut at the Salzburg Festival. The quartet has an exclusive recording contract with EMI and won the Gramophone Award for the Best Debut Recording in 2001. Responses to their performances include: 'The Belcea Quartet already bears the hallmarks of greatness' (The Strad) and 'astonishingly mature in sound, though young in years, the Belcea Quartet left me wondering if it wasn't the best young quartet I had ever heard' (The Independent on Sunday). In this concert their usual cellist is replaced by Pierre Doumenge French cellist Pierre Doumenge studied at the Ecole Normale in Paris with Geneviève Teulières. He moved to London in 1996 to study with Raphaël Sommer and Oleg Kogan at the Guildhall School, where he received five awards, including first prize in the three internal cello competitions. His busy schedule is now divided between solo work, chamber music and teaching. As a member of the acclaimed Dante Quartet, he is frequently heard on BBC Radio 3 and has recorded quartets and cello works by Rubbra, Lyapunov 1 [1P1 EMI CLASSICS 30/08/02 BELCEA QUARTET PHOTOGRAPHER: JILLIAN EDELSTEIN and Gretchaninov. He appears regularly with his wife, the pianist Annika Palm, giving together in 2001 a highly praised debut recital at the Purcell Room, London.

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PROGRAMME NOTES String Quartet in E flat K 428 1 Allegro non troppo 3 Menuetto-Allegro 2 Andante con moto 4 Allegro vivace Mozart wrote this quartet in Vienna in 1783, after his first meeting with Haydn in 1791. Haydn's recently composed Opus 33 quartets made a deep impression on Mozart, and inspired him to write his own set, of which this is the third. Mozart 1756-1791 The opening statement of the first movement begins in unison with a rising octave and is answered by a series of shorter motifs upon which he proceeds to elaborate. A transitional passage based on a falling scale leads to the second subject, identifiable by its ornamental turn and stated by the first violin then viola. Signs of Haydn's economy of thought and the taut construction evident in his quartets, are already revealed in the sharing and adapting of simple ideas between instruments and their working out in the development in this quartet. The warmth and serenity of the slow movement in A flat major is achieved through richness of texture and harmony, and it is uncannily prophetic of Wagner's harmonic style in Tristan, in the persistent dissonance of its chromatically rising second subject. A quintessential Classical minuet provides welcome relief from the previous cerebral music, and commences with a downward leaping octave. In the contrasting legato trio, (each half of which commences in the minor key), there are compelling shifting pedal points in the cello part which support and control the harmonic structure. The final movement is often whirling and virtuosic in parts, but also asserts control and reason in its balanced phrasing. The brief foray into more distant keys throws into relief its final return to the tonic key and affirms the sense of logic and inevitability. String Quartet no 2, opus 17 1 Moderato 2 Allegro molto capriccioso 3 Lento 2 Bartók 1881-1945 Bartok's six quartets enjoy an undisputed place in the repertoire and are perfectly suited to concert performance and virtuoso players, an important change from the Haydn era when quartet playing took place in a fundamentally domestic environment. They also employ new forms, textures, and demand a wide variety of playing techniques. This second quartet was written between 1915 and 1917, in a small village outside Budapest, amid general worries of a war-torn world. Bartók's language is based largely on textures built entirely from melodic ideas, reflecting his early study of his own national folk music. It has a compact

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three-movement form, the central one being fast, rhythmic and dynamic, accompanied on either side by two more thoughtful movements. Bartok's disarmingly simple upward motif at the beginning of the first movement is the seed from which grows extensive development. His elasticity of rhythm, combined with ever-changing colours and emotions, lends fluency to the music. The percussive aspects of this movement are heightened by continually displaced rhythmic accents. It contains a myriad of extraordinary and bizarre sounds whose intensity is increased by the tranquillo section towards the end of the movement, which concludes with a wonderfully assured and dramatic finish. The third movement demands all manner of techniques, such as mutes, harmonics, slides etc, to create constantly shifting sound pictures. Its veiled textures at the start and subtle sound combinations challenge the listener's ear and imagination. INTERVAL String Quartet in A op 41 no 3 1 Andante expressive-Allegro moderato 2 Assai agitato 3 Adagio Molto 4 Finale: Allegro molto vivace Schumann1820-1856 In 1842 Schumann wrote the three quartets of opus 41 in an attempt to release himself from the struggle of composing the intensely subjective piano music which was undermining his health. He was urged by Clara to try to compose some music that was "more easily understandable" and "striving to give pleasure". These quartets are dedicated to Mendelssohn whose work he admired. This quartet is in A major, a key defining brightness and warmth. Its motif of a falling fifth opens the gentle Andante introduction and also permeates the whole of the first movement. Schumann's skilful manipulation of his melodic material is displayed in his colourful polyphony, already relished in his piano music.. The Scherzo is a variation movement suggesting signs of agitation in its continually displaced rhythms at the beginning. The theme becomes clearer in the third variation, which is robust and imitative. Number four is more earnest and introspective, number five is vigorous and concludes with a lyrical coda. Evidence of Schumann's abundant gifts for lyrical melody personalise the contemplative slow movement with its endless interplay of parts. The Finale has a spirited and capricious rondo theme insinuating itself between the contrasting sections which often embody folk elements. The repetition of dotted rhythms, combined with rising pitch towards the end, bring the music to a fulfilling resolution. 3

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HUDDERSFIELD MUSIC SOCIETY Monday 30 January at 7.30 pm THE STAMIC STRING QUARTET Haydn - String Quartet in D Op 76 No 5 ('The Lark') Mendelssohn - String Quartet in A Op 13 Dvorak String Quartet in A flat Op 105 - SOME OTHER FORTHCOMING EVENTS Wednesday 1 February at 1.15 pm St Paul's Hall, University of Huddersfield GUEST ORGAN RECITAL THOMAS MOORE - Assistant Director of Music, Wakefield Cathedral Louis Vierne - Symphonie No 3: Allegro maestoso JS Bach - An Wasserflüssen Babylon BWV653 Mozart - Fantasia in F minor K608 Gerald Hendrie- Le tombeau de Marcel Dupré Saturday 21 January at 7.30 pm Halifax Philharmonic Club Square Chapel Arts Centre, Halifax Anything For A Tenor/Madame Galina Ballet Star Galactica: Iestyn Edwards Saturday 4 February 2006 Huddersfield Philharmonic Orchestra Wagner - Overture: Die Meistersinger Mahler - Adagietto from Symphony No 5 Bruch - Concerto for Clarinet and Viola Op 88 Dvorak - Symphony No 8 in G Op 88 Featuring Principal Conductor Natalia Luis-Bassa, with Ken Heeks (Principal Clarinet) and Dawn Bennett (viola) 4

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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 ARTS COMMITTEE Marjorie Glendinning, David Allsopp, Margaret Collison, Linda Walker, Christine Stanton, Richard Warrington, Adrian Smith, John Bryan, Helen Howden 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: D Dugdale, Miss M A Freeman, Mrs M Glendinning, P Michael Lord, P L Michelson, JC S Smith, JG Sykes, Mrs E R Taylor, Mrs L Walker, Making Music (National Federation of Music Societies) and for practical help with our database from Hilary Norcliffe and for production of programmes and posters by Adrian Smith COUNCIL ENGLAND MAGAZINE GRAMOPHONE Making Music THE NATIONAL FEDERATION OF MUSIC SOCIETIES

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HUDDERSFIELD MUSIC SOCIETY II WT. Eighty-eighth Season 2005-2006 St. Paul's Concert Hall, Queensgate Monday 7.30pm www.huddersfield-music-society.org.uk Registered Charity 529340 President: Stephen Smith

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Huddersfield Music Society 30 January 2006 THE STAMIC STRING QUARTET Jindřich Pazdera, violin Josef Kekula, violin Jan Pěruška, viola Vladimír Leixner, cello The Stamic Quartet The Stamic Quartet held their inaugural concert on the 16th September 1985 in Prague's Clementinum and by autumn of that year, they were already travelling on their first foreign tour to England and Ireland. A year later the ensemble won the international competition in Salzburg organised by the European Broadcasting Union (EBU), and the following year, they were presented with the annual prize from the Czech Chamber Music Society. Today, the Stamic Quartet is a renowned ensemble enjoying an international reputation. Their concert calendar for the past ten years has included performances in all the countries of Europe, Japan, Indonesia, Taiwan, Canada, the USA, Mexico, and Israel, among others. At the end of 2005 they performed in the Auditorium of Munich University, in Belgium, and this year they travelled on tour to Germany, Austria, they lead Master Clases in USA /California/in summer 2005 and performed single concerts in Europe. In 2006 they are touring Great Britain, Holland, Germany and Spain. Last year Stamic Quartet recorded a new CD with the pieces Janaček, Haas, Krasa and Schulhoff. The quartet is a regular guest of the Prague Spring, where they have performed two series of concerts featuring the complete string quartets of important composers: in 1997 the quartets of Alois Hába, and Jan Klusák in 2001. This year they will be giving in the frame of Prague Spring a concert with the pieces by Shostakowich, Mozart and Schubert. During the twenty years of its existence the Stamic Quartet has made over 60 CD recordings; for example collaboration with Bayer Records has resulted in a series of CDs with mainly Czech repertoire. Many of their quartet's recordings have received international awards, namely Grand Prix du Disque de l'Academie Charles Cros (twice) and a Diapason d'or (Dvořák, Martinů). The Stamic Quartet is one of the few ensembles in the world with complete recordings of quartets oeuvres by Dvořák and Martinů. The recording of Janáček's quartets has won on the top of a chart in London "Gramophone". The broad concert activities of the Stamic Quartet have taken them to more then 2000 concerts. The heart of the repertoire of the Stamic Quartet lies in Czech quartet music, stretching from classicist to contemporary compositions. Besides the classicist works of the key quartet repertoire, the ensemble has introduced a great number of less well known pieces: at the Euroart Praha Festival the Stamic Quartet has premiered numerous authors Czech and foreign authors and pieces. The Stamic Quartet (www.stamicquartet.cz) 1

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PROGRAMME NOTES String quartet in D major Op. 64 No 5 (the Lark) Haydn 1732-1809 2 Adagio cantabile 4 Finale (Vivace) 1 Allegro moderato 3 Menuetto (Allegro) This quartet is one of six dedicated to Johann Tost, ex-colleague of Haydn but turned businessman. Tost played in the Esterhazy orchestra and clearly the spontaneous and creative violin part was written for him to play. The justification for the nickname Lark becomes apparent from the soaring first violin entry in the fifth bar. The first movement is in sonata form and has a curious second subject of gently syncopated chords, quite unlike the neat dotted rhythms of the first. There follows skilful development, visiting remote keys before returning to the recapitulation, where the themes are presented in a different order. The second movement is in ternary form with major sections framing a short middle passage in a minor key. Its opening features a searching and rather wistful violin melody that returns, richly decorated, in the third section. A self-assured minuet, characterised by its acciaccaturas in the opening theme, offers more opportunities for the kind of contrapuntal textures we expect from Haydn. It is balanced by a trio in the minor key, once again allowing the three lower instruments some independence. Lastly the finale sets off in the style of a perpetuum mobile, scarcely allowing time for the listener, let alone the players, to catch breath. Fugato treatment of a second theme permits each player to play the main subject against a spiky, syncopated counter-subject. The ending is achieved with considerable panache. String Quartet no 2 in A minor op 13 Mendelssohn 1809-1847 1 Adagio - Allegro Vivace 2 Adagio non lento 3 Intermezzo: Allegretto con moto-Allegro di molto 4 Presto-Adagio non lento Mendelssohn is a Romantic composer but had his roots set firmly in the Classical tradition, being an admirer of both Bach and Beethoven. In his second quartet there is plenty of evidence of his trying to emulate Beethoven's accomplishments of the middle and late quartets as well as employing techniques used by Bach. It was completed soon after the Midsummer Night's Dream overture and first published when he was only twenty-one. 2

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The opening phrase of the first movement and a later dotted figure are crucial to the whole work. These concise musical motives pervade the entire work in the same way as Beethoven's use of similarly succinct ideas were integral to the construction of his late quartets, and in particular opus 132. The serene F major opening of the second movement leads to a fugato theme (first announced by the viola player) and its contrapuntal nature shows his affection for Bach. It leads to a lively central section before a return to the opening. A delightful but restrained Intermezzo (in contrast to the overall seriousness and weight of the quartet) has a central section characterised by repeated notes and arpeggios, recalling the more familiar style of Mendlessohn's shorter pieces and colourful incidental music. The fourth movement returns to the intensity of the first two movements, opening with a dramatic recitative passage. Its continuing drama is re-created through a series of compelling and contrasting sections. Mendelssohn, whom perhaps we have come to regard as something of a lightweight composer, demonstrates the ability to capture the profundity of Beethoven whilst displaying his own unmistakable lyrical style. INTERVAL String Quartet no 14 in A flat op 105 1 Adagio ma non troppo - Allegro appassionato 2 Molto vivace 3 Lento e molto cantabile 4 Allegro non tanto Dvorak 1841-1904 This quartet and opus 104 are acknowledged to be amongst Dvorak's finest chamber works. Written in 1895 over several months when he was also revising his cello concerto, it was first performed by the Bohemia Quartet which included his pupil and prospective son-in-law Josef Suk. The dark minor introduction is deceptive, given that thereafter the music is largely sparkling and irrepressibly joyous. All instruments have opportunities to initiate musical ideas, and themes are clear cut and uplifting. Its dance rhythms express a love of the countryside and of general joie de vivre, occasionally giving way to wistful nostalgia. The second movement is a strongly rhythmic Furiant, displaying the typical cross rhythms of the Czech dance and introducing an innocently playful pizzicato accompaniment. It has a more romantic middle section where there is captivating interplay between pairs of instruments and falling chromatic lines lend a sensuousness to the music. 3

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Dvorak claimed to be inexpressibly happy whilst writing the work and the third movement again captures his intense pleasure. It is perfectly crafted with no superfluous material; its ravishing melodic lines are strongly supported by a strong bass line and luxuriant harmonies. The finale opens with a slightly menacing cello announcement and ensuing tremolos, a device that would not be out of place accompanying a film or thriller. The cello theme remains recognisable but continually evolves throughout the movement, accommodating its shape and spirit to the context. Boisterous good humour sometimes gives way to a vein of wistfulness, contributing to the emotional breadth of the work. Notes by C.A Stanton, Huddersfield Music Society. HUDDERSFIELD MUSIC SOCIETY Monday 13 March 2006 at 7.30 pm Ruth Waterman (violin) and Florian Uhlig (piano) Prokoviev: Five Melodies op35b Bach: Sonata in G minor BWV1001 (unaccompanied) Brahms: Sonata No2 in A op100 Tchaikovsky: Valse-Scherzo op34 SOME OTHER FORTHCOMING EVENTS Wednesday 1 February at 1.15 pm St Paul's Hall, University of Huddersfield GUEST ORGAN RECITAL THOMAS MOORE - Assistant Director of Music, Wakefield Cathedral Louis Vierne - Symphonie No 3: Allegro maestoso JS Bach - An Wasserflüssen Babylon BWV653 Mozart - Fantasia in F minor K608 Gerald Hendrie- Le tombeau de Marcel Dupré Saturday 4 February 2006 Huddersfield Philharmonic Orchestra Wagner - Overture: Die Meistersinger Mahler - Adagietto from Symphony No 5 Bruch - Concerto for Clarinet and Viola Op 88 Dvorak - Symphony No 8 in G Op 88 Featuring Principal Conductor Natalia Luis-Bassa, with Ken Heeks (Principal Clarinet) and Dawn Bennett (viola) 4

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rd 10 a g or es t. 5₁ 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 ARTS COMMITTEE Marjorie Glendinning, David Allsopp, Margaret Collison, Linda Walker, Christine Stanton, Richard Warrington, Adrian Smith, John Bryan, Helen Howden 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: D Dugdale, Miss M A Freeman, Mrs M Glendinning, P Michael Lord, P L Michelson, JC S Smith, JG Sykes, Mrs E R Taylor, Mrs L Walker, Making Music (National Federation of Music Societies) and for practical help with our database from Hilary Norcliffe and for production of programmes and posters by Adrian Smith со UNCI ENGLAND MAGAZINE GRAMOPHONE Making Music THE NATIONAL FEDERATION OF MUSIC SOCIETIES

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HUDDERSFIELD MUSIC SOCIETY I WT. Eighty-eighth Season 2005-2006 St. Paul's Concert Hall, Queensgate Monday 7.30pm www.huddersfield-music-society.org.uk Registered Charity 529340 President: Stephen Smith

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Huddersfield Music Society Monday 13 March 2006 RUTH WATERMAN, Violin FLORIAN UHLIG, Piano Ruth Waterman Ruth Waterman's memorable performances over the years have recently been acknowledged by her inclusion in the latest edition of 'The Great Violinists'. Her concerts have taken her throughout the UK and US, and in Germany, France, Spain, Portugal, Netherlands, Switzerland, Italy, Israel, and Mexico among others. She has performed on BBC television at the Proms, at the Royal Festival Hall where she was once presented to the Queen, on New York's Great Performers at Lincoln Center, and on Russian State Television in the galleries of the Hermitage in St Petersburg, the first British violinist to play there. Concerto appearances have been with such orchestras as the London Symphony, BBC Symphony, English Chamber and Orpheus Chamber Orchestras. Her reputation as a revelatory Bach interpreter was cemented by her recording of the complete Sonatas with Keyboard (Meridian), awarded top rating in BBC Music Magazine and Critics' Choice in Gramophone; and last year, German radio station Bayerischer Rundfunk broadcast her specially recorded set of the solo sonatas and partitas. Originally from Leeds, Ruth Waterman gained national attention when Yehudi Menuhin invited her to substitute for Nathan Milstein in a Mozart concerto under his baton at the Bath Festival. For many years she lived in New York, where she debuted in recital in Carnegie Hall's International Artists series. While there, she began presenting a radio programme on WNYC on the issues of music interpretation, which developed into her popular lecture-recitals, Ruth Waterman Explores & Performs. These have been heard on the concert platform throughout the UK as well as abroad, and featured on the cable television channel Artsworld. Ruth Waterman often speaks about music on radio, and a few years ago, she made a moving documentary for BBC Radio 4 about her work in Bosnia, where she regularly performs, conducts and teaches. Her interest in education has led to her giving master classes and lectures at Juilliard, Oxford University (Wolfson College Lectures), Royal Academy of Music, St Petersburg Conservatory, Jerusalem Academy of Music, Royal Northern College of Music, and many more. www.ruthwaterman.com Florian Uhlig German pianist Florian Uhlig is renowned for his wide-ranging repertoire from Bach to contemporary composers, which he combines in his original programmes. He is also dedicated to composition, improvisation and lecture-recitals, as well as to projects with literature. When he was 20, he moved to London to study with Peter Feuchtwanger, later continuing with Bernard Roberts at the Royal College of Music and Hamish Milne at the Royal Academy of Music, from which he graduated with the highest distinction. As a soloist, Florian Uhlig has performed extensively throughout Europe, and in the US, South Korea and South Africa. He made his orchestral debut at the Barbican in London. in 1997. Since then he has given concerts in Berlin, Brussels, Cape Town, Cologne, Istanbul, 1

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Johannesburg, Luxembourg, Munich, New York, Prague, Salzburg, Seoul, Venice and Washington. Festival invitations include Beethovenfest Bonn, MDR-Musiksommer, France Musiques Paris, Schleswig-Holstein, Schwetzinger Festspiele and Klangbogen Vienna. He has appeared with many orchestras such as the BBC Symphony, Deutsche Kammerphilharmonie Bremen, Münchner Symphoniker, Stuttgarter Philharmoniker, Bayrischer Rundfunk Chamber Orchestra, Salzburg Mozart Ensemble and Stuttgart Chamber Orchestra. He has recorded for EMI, Black Box and Hänssler (most recently the complete works for piano and orchestra by Shostakovitch). In addition to his work as a soloist, Florian Uhlig is a much sought-after chamber music partner and lieder accompanist. He was the last partner of the legendary baritone Hermann Prey and has collaborated with Alban Gerhardt, Joji Hattori, Franz Hawlata, Roberto Sacca, Ruth Waterman and Sir Willard White. He has given masterclasses and lectures at the Royal College of Music, Kwangju Art University, South Korea, the Conservatoire de Neuchâtel, Switzerland, and the Universities of Johannesburg and Cape Town. www.florian-uhlig.com/english/index.htm PROGRAMME NOTES Cinq Melodies op 35b 1 Andante 3 Animato, ma non allegro 5 Andante non troppo Prokofiev (1891-1953) 2 Lento, ma non troppo 4 Allegretto leggero e scherzando Prokofiev's exceptional abilities in musical characterisation are evident in all of his output, which included much incidental music for theatre and film as well as operas, symphonies and chamber music. He trained with the most well known teachers in the St Petersburg Conservatory including Glazunov and Rimsky-Korsakov. His mother, Maria Grigoryevna, a well-educated woman with a keen musical sense and piano skills to match, was an important influence in young Sergei's musical development. The pre composer himself had a formidable piano technique that explains the important but challenging piano accompaniments. These five melodies are arrangements of songs composed five years earlier in 1920 at the start of his self-imposed period of exile from the USSR, because he could not deal with the restrictions on meaningful artistic activity under Lenin's rule. The five contrasting miniatures exhibit an extraordinary range of expressiveness and include an array of violin techniques used to colour and characterise the music. The rich harmonic ambience of number one contrasts with the simple lyricism of number two with its repetitive piano accompaniment and slightly faster muted middle section; the ambiguous third with its flamboyant opening and cantabile second half leads to a witty and carefree fourth. The final movement is varied and subtle, closing with mysterious fingered harmonics. Sonata no. 3 in E major for violin and keyboard obbligato BVW1016 Johann Sebastian Bach (1685-1750) Bach's set of six sonatas with keyboard has generally languished in the shadow of the solo violin works, though it is no less remarkable in its creative impulses. Composed around the same time, around 1720, these sonatas are typical of the sheer inventiveness with which Bach explores the possibilities of the two instruments and 2

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on. ris, nie ber MI, 7). nd as Sir Art of their relationship to each other. This ranges from presenting the violin as soloist, to treating both instruments as equals, to propelling the keyboard to the fore. The resulting variety of texture and sounds captures our attention, which in turn makes us receptive to the emotional journey of the music. Adagio The violin writing here is unabashedly soloistic and florid: an ecstatic celebration of ornamental coloratura. The keyboard plays a supporting role with a repetitive figure of stately triads that perhaps in an orchestral setting would be typically played by three oboes. At the mid-point, there is an important cadence in C sharp minor, which is imitated at the end in the home key of E major. Allegro At first glance, this appears to have an outgoing character; but on closer inspection, the sunny feel of the first bar is immediately clouded by a turning towards F sharp minor. With short rhythmic patterns playing against each other in syncopation, there is more a sense of coyness and geniality than of full confidence. A contrasting middle section introduces a new lyrical tune, but in the end, the movement simply and delicately runs out of steam. Adagio ma non tanto This is a slow passacaglia on a ground bass of four bars, heard initially without melody and repeated fourteen times. The chordal progression is extremely popular in Baroque music, but we have come to expect that Bach can transform the most mundane material into an inspired creation. The imprisonment of the repeated bass is indeed defied by a graceful melody that melts smoothly from triplets to duplets and back again. Once it is taken up by the keyboard, the two melodic strands weave around each other, delighting in the exotic keys of G sharp minor and F sharp minor. The sadness of the ending is leavened by the expectant harmony leading straight into the last movement. Allegro This finale is a truly virtuoso movement. The violin begins with a brilliant rising pattern of neighbouring notes that demand a bariolage fingering (using open strings to create a collage of string colours). Upon reaching the top, it tumbles down to allow the keyboard to play the same pattern. The energy of this theme accumulates with each entry, aided and abetted by a series of syncopations in the answering voices, until the one-bar tumble becomes a five-bar tumble into a boisterous cadence. Without any hesitation, the violin continues with a new longer theme in triplets, occasionally interrupted by fragments of the first theme. This middle section gradually winds back to the material of the opening, which Bach gloriously reiterates without change. ORuth Waterman 2006 INTERVAL Sonata no 2 in A op 100 1 Allegro amabile Brahms (1833-1897) 2 Andante tranquillo: Vivace 3 Allegretto grazioso Written in the summer of 1886, this sonata has melodies that are highly reminiscent of the songs Brahms was composing around that time. It is a thoughtful yet cheerful and wholly optimistic work. The three-pulse of the first movement lends a lightness to the contemplative opening theme. The first of the two second subject themes is an adaptation of the soaring melody from Brahms' song "Wie melodien". It is closely 3

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followed by a second, altogether more rhythmic and purposeful idea, whose two repeated notes are played insistently by both instruments and later assume importance in anchoring (and guiding) the music during development, and in securing its safe return to the tonic key. The second movement combines the elements of the usual minuet or scherzo movement with the anticipated slow movement. It begins with a restrained Andante violin theme in a calm F major, repeated twice more between suddenly contrasting Vivace sections, whose playful and capricious nature provide a foil to the theme. The leisurely opening of the third movement is quickly dispelled by intimation of the dark and brooding Brahms but these recurring dramatic episodes are brief and the music always returns to the song-like feeling of the first movement. The ending is joyous, concluding in a feeling of affirmation and hope. Valse-Scherzo op 34 We regret that notes for this piece are not available. Notes for the Prokovief and Brahms pieces by C.A Stanton, Huddersfield Music Society. LAST CONCERT OF THE SEASON Tchaikovsky (1840-1893) HUDDERSFIELD MUSIC SOCIETY (St Paul's Hall) Monday 3 April 2006 at 7.30 pm Borodin: Variations in G minor over a Russian Theme Schnittke: String Trio (1985) Mozart: Divertimento in E flat K563 SOME OTHER FORTHCOMING EVENTS Huddersfield Philharmonic Orchestra at Huddersfield Town Hall 29 APRIL 2006at 7.30 pm Rimsky-Korsakov - Russian Easter Festival Overture Op 36 Tchaikovsky - Ballet Suite: Swan Lake Op 20 Torke - Concerto for Soprano Saxophone Gershwin - An American in Paris With Natalia Luis-Bassa and Anna Lamplough St Paul's Hall, University of Huddersfield Monday 20 March at 7.30 pm CHAMBER RECITAL ALISON GILL - piano JUN TYLER - piano RICHARD SLEIGHT - flute DAVID MORTON- cornet JESSICA STOREY - French horn TONY ROBERTSON - trombone IAN BUCKLE - accompanist 4

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HUDDERSFIELD MUSIC SOCIETY II I WT. Eighty-eighth Season 2005-2006 St. Paul's Concert Hall, Queensgate Monday 7.30pm www.huddersfield-music-society.org.uk Registered Charity 529340 President: Stephen Smith

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Huddersfield Music Society Monday 3 April 2006 THE LEOPOLD TRIO Marianne Thorsen: violin Lawrence Power: viola Kate Gould: cello The Leopold String Trio is firmly established at the forefront of the international chamber music scene. Chosen for the ECHO "Rising Stars" scheme 2001 in they were selected for the inaugural BBC New Generation scheme, giving them exposure, and their radio extensive recordings of Beethoven and Mozart for Hyperion records have won them accolades from around the world. Committed to pioneering lesser-known masterpieces for the ensemble, and the promotion of contemporary music, they have given the UK premieres of works by Kurtag and Henze as well as world premieres of trios by David Matthews and Judith Bingham. The last few seasons have included regular appearances at the Aldeburgh, Bath, Cheltenham, and Edinburgh International Festivals and at London's Wigmore Hall. Last season they undertook an extensive tour of Australia and New Zealand, and were resident at the Vancouver Chamber Music Festival. This season's plans include concerts in Madrid, Brussels and at the Wigmore Hall, a tour of Ireland, engagements in Belfast and Birmingham, for the BBC, and at the Bath International Festival. PROGRAMME NOTES Variations in G minor over a Russian Theme Borodin 1833-1887 Under the repressive rule of Nicholas 1 came a new flowering of Russian national art, which included writers Pushkin, Gogol and Dostoevsky with patriotic intentions of retaining their Russian identity and paying homage to their traditions. In their wake came 1

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a group of composers known as the "Big Five", including Mussorgsky and Rimsky Korsakov as well as Borodin. They too felt that Western traditions were threatening to overwhelm their culture and were struggling to find a language, which would express their own populist culture. The tradition of improvising upon a folk song has long since been fundamental to many cultures and periods, and therefore variation form was a logical if idealised way of retaining the simplicity of the Russian heritage, as opposed to the intellectual rigour of the European sonata tradition. A distinct Russian harmonic idiom also evolved from the simple shapes of their melodies, and similarly in their use of rhythm. This trio was written in 1855, its soulful theme being a genuine Russian folk song heard at the beginning and the end with seven variations in between. The omission of second violin as in a quartet suits the simplicity of form and expression and again allows the viola a more vital role. String Trio (1985) 1 Moderato 2 Adagio Schnittke 1934-1998 This intense work was completed in 1985, by which time Schnittke was acknowledged by Western audiences. It hints at the hardships of a physical and emotional life lived out under an artistically asphyxiating Soviet regime. Although he was a popular composer, largely accepted by the Communist Party, Schnittke still suffered the continuous criticism and intimidation dealt out to all artists. The first movement opens with a falling six note motif, itself commencing with a distinctive dotted rhythm that invades the whole work. Building upon this idea, the music gradually intensifies and leads to a violently explosive chordal repetitive section before subsiding. Out of this an insistent, almost trite sounding little tune emerges which seems to be familiar, and is in fact, an inversion of the opening theme. A dramatic passage of dissonant repeated chords contrasts with an otherworldly passage of ghostly and weird sounds that exploits all kinds of string techniques. Continual 2

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alternation of the theme and more intense passages occur until the movement's bleak close amidst several more brief and weary re- appearances of the little tune. This same theme is never far away in the second movement even if only in the repetition of its opening dotted rhythm. The music is raw and cheerless but features extraordinary delicate counterpoint, often played out between two instruments against a pedal in the other part. Sometimes an unproductive and desolate little round makes a brief appearance. The music continues always to exploit the variety of string techniques available, creating shifting and subtle textures. Divertimento in E flat K 563 1791 INTERVAL 1 Allegro 4 Andante 2 Adagio 5 Minuet (Allegretto) Mozart 1756- 3 Minuet (Allegretto) 6 Allegro Mozart's string trio of 1788 is a late work and unsurpassed as an example of writing for the genre. He had in that year already completed his last three symphonies and this deeply expressive work is a final distillation of his experience and skill. The title divertimento, implying a light and engaging work for an eighteenth century audience, does not hint at the intimate and personal nature of the work which is, according to Wilfred Mellers, "no longer music to eat and chatter to" but music elevated to "a celestial drawing room", and in no way trivial. Its three part texture produces astonishing clarity but with the optional addition of double stopping and other devices to enrich the texture. 3 Described by Charles Rosen as "an essay in contrapuntal and harmonic richness", the work's fluency and beauty are exhibited in its melodic lines. Within this reduced texture where the individuality of each instrument counts, the viola, an instrument loved and played by Mozart, inevitably has increased opportunities for expression. It soars to the top of its register in the Adagio and has a memorable waltz-like solo in the trio of the first minuet.

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The first movement, based upon simple scale and arpeggio themes, quickly reveals the sophistication and depth of the work. A six movement structure builds towards the fourth movement set of variations and its simple form highlights the skilful displays of part writing and ingenuity of the composer; its minor key variation is written so that all lines can be successfully exchanged with any part on top. The minuets on either side are charming movements, full of individual character, and the final movement moves with typical vitality towards an emphatic and optimistic ending. HUDDERSFIELD MUSIC SOCIETY EIGHTY-NINTH SEASON 2nd October 2006 NORTHERLY WINDS and JONATHAN FISHER (Piano) Mozart Quintet for piano and wind. Poulenc Sextet: other works by Poulanc, Franz Strauss Carter and Hindemith. 2006-2007 16th October 2006 THE ATRIUM STRING QUARTET Schumann op 41 no 1; Tchaikovsky no 3 in E flat minor op 30; Shostakovich no 5 IN b flat OP 92. Double Season Ticket £146 Single Season Ticket £75 Student Season Ticket £15 Single Concert Tickets: U Ticket availability for 2006-2007 Season (£150 after 30th April 2006) (£77 after 30th April 2006) Student Single £3 Cooper and Tokyo £18 Others £15 OTHER FORTHCOMING EVENTS Huddersfield Philharmonic Orchestra 29 APRIL 2006 Rimsky-Korsakov - Russian Easter Festival Overture Op 36 Tchaikovsky - Ballet Suite: Swan Lake Op 20 Torke Concerto for Soprano Saxophone Gershwin - An American in Paris With Natalia Luis-Bassa and Anna Lamplough All concerts in Huddersfield Town Hall are at 7.30pm, preceded by a pre- concert discussion in the Old Court Room at 6.45pm. 4

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