HMS 89


HMS 89

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2006-2007 Eighty-ninth Season 10 St Paul's Hall Huddersfield The Atrium String Quartet EXT Given in association with the 'Music at the University of Huddersfield' Evening Concert Series COX Huddersfield Music Society is a Registered Charity HUDDERSFIELD MUSIC SOCIETY

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Monday 2nd October 2006 at 7.30 pm NORTHERLY WINDS and JONATHAN FISHER (piano) 1 These enterprising young musicians from the Royal Northern College of Music offer us an eclectic programme with various combinations of instruments, in a programme ranging from the 18th to the 20th centuries and including a work by the father of Richard Strauss. Quintet in E flat for piano and wind K452 Horn Solo Novelette for wind quintet Quintet Wind Quintet Sextet for piano and wind Mozart Franz Strauss Poulenc Hindemith Monday 16th October 2006 at 7.30 pm THE ATRIUM STRING QUARTET 2 This young Russian String Quartet includes in its performance the Shostakovich string quartet which it played in the final when winning the 2003 London International String Quartet Competition. String Quartet in A minor op 41 no 1 String Quartet no 3 in E flat minor op 30 String Quartet no 5 in B flat op 92 Elliot Carter Poulenc The Vogler String Quartet Schumann Tchaikovsky Shostakovich Sing Dou Stuc Stuc

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ramme gamme Poulenc demith Poulenc ET its ndon vich TICKETS Single Season Ticket Double Season Ticket Single Concert Ticket: £77 £150 Concerts nos 3 and 5 £18; others £15 Student Season Ticket Student Single Ticket We acknowledge with thanks support from the University of Huddersfield to which the Society is affiliated. £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). 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.

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2006-2007 Eighty-ninth Season TUESDAY 28th November 2006 at 7.30 pm THE TOKYO STRING QUARTET 3: We consider ourselves fortunate indeed to have secured a visit from the world-famous ensemble. 4 String Quartet in D major op 18 no 3 Five pieces op 8 String Quartet in G major D 887 Y The Sacconi String Quartet Beethoven Webern Schubert Monday 15th January 2007 at 7.30 pm THE SACCONI STRING QUARTET with DAVID CAMPBELL (clarinet) Paying us a return visit, this young British Quartet joins forces with the distinguished clarinettist David Campbell in a performance of Mozart's sunny Clarinet Quintet and a work by Arthur Bliss for the same combination. Their recital is completed by one of the major works of the string quartet repertoire. Quintet in A for clarinet and strings K581 String Quartet in A minor op 51 no 2 Clarinet Quintet T50 Mozart Brahms Bliss BOOKING ARRANGEMENTS Single Season Ticket Double Season Ticket Single Concert Ticket: Concerts nos 3 and 5 £18; others £15 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 season tickets to the Treasurer by 25th September 2006. Address Post this form with cheque payable to Huddersfield Music Society to the Hon Treasurer, Mr Michael Lord, 14 Garsdale Road, Newsome, Huddersfield HD4 6QZ. BOOKING FORM Please send single/double season tickets Please send .......... single concert tickets for concert number(s) Postcode Tel 01484 310104 Fax 01484 425658 E-mail michael.lord4@btopenworld.com ....... £77 £150 .....●●●●●● Telephone £15 £3 Total £ I enclose cheque Would Double Season Ticket holders please add the name of the second purchaser for our membership register:

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Monday 5th February 2007 at 7.30 pm IMOGEN COOPER (piano) 5 Born in London, Imogen has achieved an enviable international reputation, and her recital will be keenly anticipated. Sonata in A major op 101 Sonata in A minor KV 310 Sonata no 2 (1964) Mirroirs Monday 5th March 2007 at 7.30 pm THE MUSICKE COMPANYE 6 In a programme entitled "A Venetian Carnival" these artists devised a programme of rapturous music from St Marks, contrasting with the mists of the lagoon and revelries and gaiety of the Carnival. Beethoven Mozart Tippet Ravel Works by Monteverdi, Cavalli, Lotti, Strozzi, Marcello, Handel and others, interwoven with tales of love, intrigue and murder. The Tokyo String Quartet Imogen Cooper Monday 26th March 2007 at 7.30 pm THE VOGLER STRING QUARTET 7 Paying us a return visit this well-established German Quartet brings our season to a fitting close with a twentieth century quartet surrounded by two mainstream classics of the Repertoire. String Quartet in E flat op 64 no 6 String Quartet (1964) String Quartet in E minor op 59 no 2 Haydn Lutoslawski Beethoven HUDDERSFIELD MUSIC SOCIETY Season 2006-2007 BOOKING FORM (to be detached)

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A629 HUDDERSFIELD NEW NORTH ROAD ROADO MUSIC SOCIETY Making Music www.huddersfield-music-society.org.uk President Stephen Smith Honorary Secretary Mr Gordon Sykes Tel: 01484 663474 E-mail: gordon.sykes@virgin.net TO HALIFAX & M62 THE NATIONAL FEDERATION OF MUSIC SOCIETIES TRINITY STREET NORTH 11830 CASTLE GATE STATION BUS A62 MANCHESTER ROAD TO MANCHESTER SOD Car parking should be RAILWAY STATION A616 CHAPEL HILL 1009 00G00 Yorkshire Arts 00 001 COL 300 QUEESNGATE CAR PARK CHINOS IS N SOUTHGAT TO LEEDS QUEENS LEEDS ROAD A62 available across St Paul's Hall for a small fee. TO WAKEFIELD & SHEFFIELD 4629 WAKEFIELD ROAD ST. PAUL'S HALL UNIVERSITY OF HUDDERSFIELD Queensgate from The car park is lit and attended. The concerts usually end at about 9.30 pm.

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HUDDERSFIELD MUSIC SOCIETY 1 WI. Eighty-ninth Season 2006-2007 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 2 October 2006 NORTHERLY WINDS and JONATHAN FISHER, piano Northerly Winds Claudia Lashmore / flute Anna Barton / oboe Matthew Dunn / clarinet Simon Davies / bassoon Stephanie Jones / french horn Northerly Winds formed in 2002 and have since given a number of concerts in the Northwest, including performances at the Heron Theatre in Kendal, Flixton House and Gallery Oldham. In March 2003 they were finalists in the Trevor Wye Competition and in 2004 they went on to win the first prize. They were also awarded a Professional Performance Certificate (PPRNCM) from the Royal Northern College of Music. Anna Barton / oboe completed her BMus degree at the Royal Northern College of Music studying the oboe with Melinda Maxwell and Jonathan Small and the cor anglais with Tom Davey. Anna has played with The Amadeus Orchestra, Yorke Trust Opera, the Sweelinck Ensemble, the Kings Consort and Sinfonia Cymru. Matthew Dunn / clarinet completed his post graduate diploma, studying with Chris Swann and John Bradbury at the RNCM. Matthew has had partic success in chamber music, winning the RNCM Woodwind Chamber Music Prize and the Maime Woods / Candlin Wind Instrument Prize with the Carter Wind Quartet. Simon Davies / bassoon began playing the bassoon at the age of 12. After studying for two years with Laurence Perkins, he won an entrance award to the Royal Northern College of Music. In 2003 Simon was awarded the Martin Hardy Bassoon Prize and in 2004 he won the Maime Woods / Canadin Instrumental Prize. Stephanie Jones / horn gained a first class BMus degree at the Royal Northern College of Music, studying with Julian Plummer, Frank Lloyd and Beccy Goldberg. As well as playing in many of the college ensembles she has also worked with the Hallé, the BBC Philharmonic Orchestra, Opera North, Sinfonia Cymru, Welsh Chamber Orchestra, Mowbray Chamber Orchestra and the Macau Chamber Orchestra in China. Jonathan Fisher / piano graduated from The University of Huddersfield in 2001 with First Class honours. As concerto soloist Jonathan has performed with the Huddersfield Philharmonic and Blackpool Symphony Orchestra and currently holds the position of Junior Fellow in Accompaniment at the RNCM. Northerly Winds and Jonathan appear by kind permission of the Royal Northern College of Music, www.rncm.ac.uk 1

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PROGRAMME NOTES by C.A Stanton, Huddersfield Music Society. The timing of the interval will be announced Quintet in E flat for piano and wind K 452 Largo-Allegro moderato Larghetto Allegretto This work was completed in 1784 when Mozart had written his first sixteen piano concertos. It illustrates his brilliance in balancing the fortepiano against the orchestra although in this quintet the keyboard is perhaps more of a partner than protagonist to the other players. Mozart 1756-1791 The wonderfully eloquent slow introduction is introduced by the piano and swiftly taken up by the other instruments in skilful counterpoint. The following allegro section has two subjects, of which the first is lyrical and the second more rhythmically interesting. The themes are rearranged in the recapitulation, which is reached after several false starts. In the second movement the wind players converse in different groupings against a piano part of broken chords and arpeggios. Its central section of contrasting material visits more remote keys before returning to the restrained emotion of the opening. A simple rondo theme, later to be re-scored in subsequent appearances, is presented first by the piano, next by the wind instruments and finally by the entire ensemble. The independence and equality of the wind instruments is always apparent, as is the exploitation of their individual timbres. Two contrasting episodes appear between repeats of the rondo theme, of which the second is of an altogether more sombre nature, propelled by the darker colours of the horn and bassoon. A dramatic build-up to a highly unusual and original cadenza precedes the final theme and coda. Horn Solo Franz Strauss 1822 - 1905 Franz Strauss was the father of Richard Strauss and a horn player, whose legacy is greatest as a teacher - "Only by sustaining tones and by interval studies can you achieve a noble tone." This concern for tone must have been a significant element of his success as a horn player and is certainly reflected in his compositions. Novelette for Wind Quintet Francis Poulenc 1899 - 1963 Poulenc was part of Les Six, a group of composers in the twenties who created their music from more popular and accessible French forms, rejecting the cumulative effect of Germanic Romanticism and more serious side of French music. This is a playable and lyrical little piece written in 1963, to be enjoyed and not taken too seriously. 2

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Quintet op 24 no 2 1 Lustig, Mässig schnelle Viertel 2 Walzer, Durchweg sehr leise 3 Ruhig und einfach 4 Schnelle Viertel 5 Sehr lebhaft Hindemith was an influential composer and theorist of the twentieth century. He was an active violist, conductor and teacher, holding firm views that music should be accessible to all, both in playing and listenings. Bach was a source of inspiration for him and he used many fundamental techniques and forms of the Baroque in his early works. The Kleine Kammermusik für fünf Bläser, written in 1921, is part of a set of compositions entitled Kammermusik, which include a suite and various concertos. Hindemith 1895-1963 The first movement is high-spirited and begins with an important rhythmic motif, which is scarcely absent throughout. A whimsical bassoon introduces a brief contrasting episode. An appealing little waltz allows instruments idiosyncratic expression in the second movement. The opening to the third movement, highly reminiscent of Ravel's second Daphnis and Chloe suite, leads to rich harmonic sequences and textures. Its middle section accompaniment features high-pitched detached chords playing a variation of the opening rhythmic idea, above and below which oboe and bassoon play. The extremely short fourth movement seems solely to announce and prepare for the final movement which is a kind of march, where the wind writing shows affinity with Stravinsky, particularly in its boisterously dissonant conclusion. Wind Quintet Elliot Carter 1908 - 1 Allegretto 2 Allegretto giocoso Born in New York, Elliott Carter was always interested in the works by Schöenberg, Berg and Stravinsky. Like many other composers who went on to become famous, he studied with Nadia Boulanger in Paris in the early thirties, later pursuing a very individual brand of composing and rejecting the more Sextet for Piano and Wind Francis Poulenc 1899-1963 Andante Allegro Vivace Allegro animato Francis Poulenc was one of "Les Six"- the group of French composers who sought to bring humour, clarity and lyricism back into music, in opposition to the more serious Impressionist approach of Debussy and his followers. The sextet was originally written in 1932, but for some reason Poulenc was dissatisfied with it and rewrote it seven years later. 3

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The first movement consists of two outer sections full of wit and gaiety, and between them a slow lyrical passage, preluded by a long solo for the bassoon. This movement includes recollections from Poulenc's satirical cantata, "Le Bal Masque". The layout of the second movement is the exact opposite of the first; a fast humorous section framed by passages of great lyrical beauty. The finale is a rondo with a spiky, irreverent main theme. In the closing pages however, the music reverts to a mood of quiet meditation. This note was written by the late Ian Emberson NEXT CONCERT HUDDERSFIELD MUSIC SOCIETY (St Paul's Hall) 7.30 pm, Monday 16th October 2006 The Atrium Quartet String quartet in A minor op 41 no String quartet no 3 in E flat minor op 30 String quartet no 5 in B flat op 92 SOME OTHER FORTHCOMING EVENTS Huddersfield Philharmonic Orchestra at Huddersfield Town Hall 11 November 2006 - Featuring The Gould Piano Trio Brahms - Tragic Overture Beethoven - Triple Concerto Sibelius- Karelia Suite Shostakovich - Symphony No 9 St Paul's Hall, University of Huddersfield Lunchtime concert Admission free Thursday 5 October 1:15 pm Piano Music at Lunchtime - Philip Thomas - piano Cage - Music for Marcel Duchamp Cage - Seven Haiku Satie - Nocturnes - Schumann Tchaikovsky Shostakovich Wolff - Eight Days a Week variations Lely - From the English Ives - The Seen and Unseen 4 Tickets from the Department of Music T: (01484) 472426 E: livemusic@hud.ac.uk £6 (adults); £3 (concessions) Harrison - etre temps Skempton - Of Late St Paul's Hall, University of Huddersfield Concert Monday 9 October 7:30 pm Les haulzs et les bas Alta Danza: music for a loud dance band c1450-1550 Gesine B,,nfer and Ian Harrison - Shawms, bombards, bagpipes Marie Garnier-Marzullo - Slide Trumpet Christian Braun - Slide trumpet, sackbut

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Hon. Treasurer P. Michael Lord Tel: 01484 310104 Fax: 01484 425658 e-mail: michael.lord4@btopenworld.com OFFICERS President Stephen Smith Hon. Secretary Gordon Sykes Tel: 01484 663474 e-mail: gordon.sykes@virgin.net ARTS COMMITTEE Marjorie Glendinning, David Allsopp, Margaret Collison, Linda Walker, Christine Stanton, John Bryan, Helen Howden, Alastair Cridland 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, JCS 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

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Season's Performances 2nd October 2006 NORTHERLY WINDS and JONATHAN FISHER (piano) Mozart Quintet for piano and wind; Poulenc Sextet: other works by Poulenc, Franz Strauss, Carter and Hindemith 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 28th November 2006 (Please note this is a Tuesday) THE TOKYO STRING QUARTET Beethoven op 18 no 3; Webern 5 pieces op 8; Schubert G major D887 15th January 2007 THE SACCONI STRING QUARTET with DAVID CAMPBELL (clarinet) Mozart Clarinet Quintet in A major, K581; Brahms Quartet in A minor op 51 no 2; Bliss Clarinet Quintet T50 5th February 2007 IMOGEN COOPER (piano) Beethoven, A major sonata op 101; Mozart, A minor sonata KV310; Tippett, sonata no 2 (1964); Ravel, Miroirs: Noctuelles, Oiseaux tristes, Une barque sur l'océan, Alborada del Gracioso, La vallée des cloches 5th March 2007 THE MUSICKE COMPANYE A Venetian carnival; Rapturous music from St Marks, contrasting with the mists of the lagoon and revelries and gaieties of Carnival 26th March 2007 THE VOGLER STRING QUARTET Haydn op 64 no 6; Lutoslawski (1964); Beethoven op 59 no 2 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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HUDDERSFIELD MUSIC SOCIETY 11 J WI. Eighty-ninth Season 2006-2007 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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G S 1 2 S C t 0.

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Huddersfield Music Society Monday 16 October 2006 THE ATRIUM STRING QUARTET Alexey Naumenko (violin) Anton Ilyunin (violin) Dmitry Pitulko (viola) Anna Gorelova (cello) The ATRIUM STRING QUARTET rose to international prominence in April 2003 when they won the First Prize and the Audience Prize in the London International String Quartet Competition. The Quartet was founded in 2000 in the St Petersburg Conservatoire under the inspiration of Professor Joseph Levinson, cellist of the celebrated Taneyev Quartet. In addition to offering mainstream Classical repertoire and works by established Russian composers, they also promote works by living Russian composers. Since winning the London Competition, their international career has blossomed with concerts in Germany, Festivals in Italy and concert tours in Switzerland and Ireland and in the United Kingdom where major tours are planned in the autumn of 2007 and spring of 2008. Since February 2006, the Atrium Quartet has been resident at the Dutch String Quartet Academy, where they have received coaching from Stefan Metz, founder and cellist of the Orlando Quartet. With acknowledgement to www.atriumquartet.com/ PROGRAMME NOTES String Quartet in A minor op 41 no 1 1 Introduzione. Andante espressivo-Allegro 2 Scherzo. Presto-Intermezzo 3 Adagio 4 Presto Schumann 1820-1856 Schumann was encouraged by Mendelssohn's example to widen the scope of his composing in 1840. His admiration for Mendelssohn - he's a true god - led him to try composing in new genres and resulted in extensive lieder cycles and the three quartets of opus 41. 1

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At the start of the first movement a gently falling melody descends all the way down from the first violin to the cello. The movement not only reveals a grasp of contrapuntal textures, due to Schumann's study of Bach, but also follows the example of his great predecessors who invented the string quartet form. An impetuous scherzo, resonant with the music of Mendelssohn's Midsummer Night's Dream, contrasts with a flowing but slightly weary Intermezzo. The third movement is an Adagio of full blown Romantic lyricism. The gentle accompanying triplets and sudden bursts of dramatic rhetoric are evocative of his piano music and songs. A final Presto of enchanting vitality also has a sense of weight and importance, creating a balance with the preceding movements. It is however, a movement with a sense of urgency and the drive of a Haydn finale. Close to the end a surreal, chorale-like section interrupts its turbulence, preparing for the final drive to the end. Last performed at HMS by the Parrenin String Quartet, 14 January 1957 String Quartet no 5 in B flat op 92 Shostakovich 1906-1975 1 Allegro non troppo 2 Andante 3 Moderato-Allegro The first performance of this highly intense quartet was in 1953 after the death of Stalin. Strictly enforced cultural control in the Soviet Union following the War led to many difficult years of official condemnation and explicit attacks on Shostakovich, undoubtedly reflected in this complex music, often containing scarcely concealed and raw emotion. The Allegro non troppo proceeds with determination and is marked by a characteristic and important viola figure. A more lyrical second subject and a third closing theme complete the repeated exposition. New musical ideas are brought into a disturbed and anxious central section and these are developed with intriguing rhythmic interplay. At its climax you suddenly hear the agitated repetition of the original viola figure from the beginning. The movement dies away with a winding melody in the first violin, pizzicato chords and a final hint of the viola figure. A high sustained note in the first violin carries the melodic line into the the next movement, an Andante, which is controlled and tender, and begins with a characteristically Russian-style theme. The radiant second theme has slow moving, luminescent textures and more consonant harmonies. 2 Once viola dispe them deve beco This Stri 1 2 3 4 Tch Nat thr wri tha The slo the An Th Tc res lat inc be un is A 83 4 rh CO La Pro

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the way rasp of ws the ummer gentle of his ance, ment and a drive of 이 led on ing -а a 28835 are ed ed es of ext a OW Once again there is no pause between movements and unsurprisingly the original viola figure returns in a fractured and varied form in the third movement, dispersed throughout the texture of the opening section. A livelier second theme, offering a sense of hope, follows but leads to the mounting tension in the development. A sense of the uncertainty and ambiguities of Soviet life again become evident as the motto once again pervades the music in the closing bars. This is the first performance of this work at HMS. Interval String Quartet no 3 in E flat minor op 30 Tchaikovsky 1840-1893 1 Andante sostenuto-Allegro moderato 2 Allegretto vivo e scherzando 3 Andante funebre e doloroso, ma non tanto 4 Finale: Allegro non troppo e risoluto Tchaikovsky, despite his important role as one of the Big Five promoting Nationalistic music in Russia, understood the Classical style which he used in his three string quartets. He admired Mozart's music greatly. This quartet was written in the 1870s in memory of his friend Ferdinand Laub, who led the quartet that played the first performances of his other two. The first movement is framed by its slow introduction, its main section being a slow sad waltz producing a stream of soaring melody undoubtedly derived from the world of ballet. An exhilarating scherzo breaks in joyfully and has a more legato central section. The third movement plumbs the emotional depths, revealing some of Tchaikovsky's most beautiful melodic outpouring and opulent harmonic resources. The seriousness of the opening with its controlled dissonances leads later to a glorious section of cantabile melody, underpinned and introduced by an ingenious little cello pattern, an accompaniment which continues to evolve beneath the melody. Throughout the work Tchaikovsky's accompaniments are unique and idiosyncratic, and his accomplishment as an imaginative orchestrator is reflected no better than in this movement. A strongly rhythmic movement with a robust Russian flavour in its duple dance rhythm completes the work. The use of rhythmic effects and pizzicato are compelling and propel the quartet to a convincing conclusion. Last performed at HMS by the Moscow Quartet, 23 February 1987 Programme notes by C.A Stanton, Huddersfield Music Society. 3

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NEXT CONCERT HUDDERSFIELD MUSIC SOCIETY (St Paul's Hall) 7.30 pm, TUESDAY 28th November 2006 THE TOKYO STRING QUARTET String Quartet in D major op 18 no 3 Five Pieces op 8 String Quartet in G major D 887 SOME OTHER FORTHCOMING EVENTS St Paul's Hall, University of Huddersfield 1.15 pm Thursday 19th October 2006 Brass at Lunchtime Alan Cramp - trumpet Keith Swallow - piano John Stanley - Trumpet Voluntary Enescu - Legende Beethoven Webern Schubert Gershwin, arr A Kearns - Three Piano Preludes Bernstein - Rondo for Lify Admission free Square Chapel Centre for the Arts, Halifax 7.30 pm Sunday 29th October 2006 Phillip Dyson performs works by Mozart, Schumann and Gershwin among others. Box Office 01422 349422 Huddersfield Philharmonic Orchestra at Huddersfield Town Hall 11 November 2006 - Featuring The Gould Piano Trio Brahms - Tragic Overture Beethoven - Triple Concerto Sibelius - Karelia Suite Shostakovich - Symphony No 9 4

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13 Hon. Treasurer P. Michael Lord Tel: 01484 310104 Fax: 01484 425658 e-mail: michael.lord4@btopenworld.com OFFICERS President Stephen Smith Hon. Secretary Gordon Sykes Tel: 01484 663474 e-mail: gordon.sykes@virgin.net ARTS COMMITTEE Marjorie Glendinning, David Allsopp, Margaret Collison, Linda Walker, Christine Stanton, John Bryan, Helen Howden, Alastair Cridland 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, JCS 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 2

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Season's Performances 2nd October 2006 NORTHERLY WINDS and JONATHAN FISHER (piano) Mozart Quintet for piano and wind; Poulenc Sextet: other works by Poulenc, Franz Strauss, Carter and Hindemith 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 28th November 2006 (Please note this is a Tuesday) THE TOKYO STRING QUARTET Beethoven op 18 no 3; Webern 5 pieces op 8; Schubert G major D887 15th January 2007 THE SACCONI STRING QUARTET with DAVID CAMPBELL (clarinet) Mozart Clarinet Quintet in A major, K581; Brahms Quartet in A minor op 51 no 2; Bliss Clarinet Quintet T50 5th February 2007 IMOGEN COOPER (piano) Beethoven, A major sonata op 101; Mozart, A minor sonata KV310; Tippett, sonata no 2 (1964); Ravel, Miroirs: Noctuelles, Oiseaux tristes, Une barque sur l'océan, Alborada del Gracioso, La vallée des cloches 5th March 2007 THE MUSICKE COMPANYE A Venetian carnival; Rapturous music from St Marks, contrasting with the mists of the lagoon and revelries and gaieties of Carnival 26th March 2007 THE VOGLER STRING QUARTET Haydn op 64 no 6; Lutoslawski (1964); Beethoven op 59 no 2 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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HUDDERSFIELD MUSIC SOCIETY 17 WI Eighty-ninth Season 2006-2007 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 Tuesday 28 November 2006 THE TOKYO STRING QUARTET Martin Beaver (violin) Kikuei Ikeda (violin) Kazuhide Isomura (viola) Clive Greensmith (cello) The Tokyo String Quartet has captivated audiences and critics alike since it was founded more than 30 years ago. Regarded as one of the supreme chamber ensembles of the world, the Tokyo Quartet has collaborated with a remarkable array of artists and composers, built a comprehensive catalogue critically of al acclaimed recordings and established a distinguished teaching record. Performing over a hundred concerts worldwide each season dedicated to the performance of both new work and the classical repertoire, the Quartet has a devoted international following that includes the major capitals of the world and extends to all four corners, from Australia to Estonia to Scandinavia and the Far East. The members of the Tokyo String Quartet have served on the faculty of the Yale School of Music as quartet-in-residence since 1976. The ensemble performs on the "Paganini Quartet", a group of renowned Stradivarius instruments named for legendary virtuoso Niccolò Paganini, who acquired and played them during the 19th century. The instruments have been on loan to the ensemble from the Nippon Music Foundation since 1995, when they were purchased from the Corcoran Gallery of Art in Washington, D.C. Adapted from www.tokyoquartet.com 1

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PROGRAMME NOTES String Quartet in D major op 18 no 3 Beethoven (1770-1827) Last performed at HMS by the Heutling String Quartet, November 1979. 1. Allegro con brio 2. Adagio ma non troppo 3. Scherzo (Allegro) 4. La Malinconia (Adagio - Allegretto quasi Allegro - Adagio - Allegretto - Poco adagio - Prestissimo) Composed in Beethoven's first period, this quartet is one of six written during the period 1798-1800. His model was of course, Haydn, whose example he closely followed in these early works. He had written his first symphony and was invited by his publisher to write some string quartets. The quartet opens serenely with the solo first violin playing a poetic theme over sustained harmonies. This leads to a more sprightly passage incorporating repeated triplet figures and sforzandi and eventually to a surprising key change and new idea in C major, but only briefly as the movement turns towards a more conventional key for the development; After a short development ending with a typically emphatic statement of repeated fortissimo chords, the opening theme is restated an octave lower by the second violin. The opening legato quaver theme of the second movement is presented unusually by the second violin and in a distant key, a favourite ploy of Beethoven's. He then moves to a faster moving melodic idea characterised by demi-semiquavers and dotted notes. This material is combined and developed. The third movement begins with a nonchalant flowing theme from which the entire movement is derived and leads to a contrasting sustained trio section in the minor key before returning to the opening theme. Notice the characteristic pauses and underlying pedal notes as Beethoven builds tension towards the end. Finally the quartet finishes with a playful fast movement in quavers in which there are constant key changes and skips from one registration to another. The work ends quietly despite the intensity of the closing passages. 2 CAS

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n e t e ) Five Pieces op 5 This is the first performance at HMS. Allegro moderato, energico-meno mosso; Lento; Allegro vivace; Lento; Tranquillo e teneramente. Born in Vienna, Webern attended the city's university from 1902. There he studied musicology, showing a particular interest in early music, which greatly influenced his style of composition. Later he came under the influence of Arnold Schoenberg, and became a great proponent of the twelve tone style of composition, and of serialism. Anton Webern (1883 - 1945) After graduating he took a series of conducting posts. His work was described as "cultural Bolshevism" when the Nazi party seized power in Austria in 1938 and he had to take on work as a proof reader. He moved to the province of Salzburg in 1945, believing he would be safer there, but accidentally shot dead by American soldier. an was Composed in 1909, the pieces opus 5 represent one of his first essays in atonal writing. Terse in style like most of his output, and introverted, the movements nevertheless convey a feeling of emotional intensity. GS 1. Allegro molto moderato 2. Andante un poco moto 3. Scherzo - Allegro vivace 4. Allegro assai INTERVAL Quartet in G major Op 161 (posth.) D.887 Schubert (1797 - 1828) Last performed at HMS by the Cherubini String Quartet, October 1995 In 1826 Schubert went to the first performance of Beethoven's Op 130, and perhaps he was spurred on the complete this quartet, his final and, in many respects, greatest achievement in the medium. From the outset the work is full of contrasts, major with minor, lyrical with motivic, chordal with contrapuntal. Like Haydn before, and Brahms later, Schubert frequently finds intellectual inspiration by introducing variation technique into the more self-contained classical forms. In the opening movement, Schubert almost obsessively explores the second theme, originally stated by the violin in D major. Initially an 3

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apparent reaction to the sweeping chordal gesture of the opening bars, it takes over as the main focus of the movement. Structurally unaltered, though each time melodically varied, it is restated in D, B flat (cello solo) again in D (viola); in the closing section it recurs twice in C major and at last in G major. This movement, in some ways unbalanced, looks forward with a full romantic vision, in melodic content and by the freedom with which Schubert handles classical form. Schubert's rare genius for exploring new harmonic territory and unexpected instrumental textures, and above all his mastery of melody, reaches a sublime peak in the slow movement, a type of rondo. Beginning in E minor with a searching elegiac melody for the cello, the mood is abruptly shattered by a furious episode, first in G major, then, more remarkably in F sharp minor. After a restatement of the first theme (now in the dominant) this darker episode developed in D minor. Finally, the cello theme is reworked in the major, before a brief coda reverting to the tonic minor. The scherzo is a fleeting dance, translucent in texture and sublimely scored; by contrast, the trio is a more heavy-footed Ländler, and the match is almost incongruous. The ballet of the scherzo becomes an opera buffa in the finale. Again Schubert favours a rondo outline but it is far from a classical usage. The chording rekindles the major/minor antithesis of the first movement but the mood is far lighter. The length of the movement is sustained by a remarkable fund of dancing melodies and constant sense of harmonic surprise. MRE (1995) NEXT CONCERT HUDDERSFIELD MUSIC SOCIETY (St Paul's Hall) 7.30 pm, Monday 15th January 2007 THE SACCONI STRING QUARTET with DAVID CAMPBELL Quintet in A for clarinet and strings k581 String Quartet in A minor op 51 no 2 Clarinet Quintet T50 Mozart Brahms Bliss OTHER FORTHCOMING EVENT Huddersfield Philharmonic Orchestra at Huddersfield Town Hall 3 February 2007 - Soloist Leland Chen Ginastera Estancia: Ballet Suite Korngold - Violin Concerto Barber - Adagio Copland - El Salon Mexico Bernstein - Symphonic Dances from West Side Story 4

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ARTS OFFICERS President Stephen Smith Hon. Secretary Gordon Sykes Tel: 01484 663474 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, David Allsopp, Margaret Collison, Linda Walker, Christine Stanton, John Bryan, Helen Howden, Alastair Cridland 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, JCS 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 UNCI ENGLAND THE MAGAZINE GRAMOPHONE Making Music THE NATIONAL FEDERATION OF MUSIC SOCIETIES

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Season's Performances 2nd October 2006 NORTHERLY WINDS and JONATHAN FISHER (piano) Mozart Quintet for piano and wind; Poulenc Sextet: other works by Poulenc, Franz Strauss, Carter and Hindemith 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 28th November 2006 (Please note this is a Tuesday) THE TOKYO STRING QUARTET Beethoven op 18 no 3; Webern 5 pieces op 8; Schubert G major D887 15th January 2007 THE SACCONI STRING QUARTET with DAVID CAMPBELL (clarinet) Mozart Clarinet Quintet in A major, K581; Brahms Quartet in A minor op 51 no 2; Bliss Clarinet Quintet T50 5th February 2007 IMOGEN COOPER (piano) Beethoven, A major sonata op 101; Mozart, A minor sonata KV310; Tippett, sonata no 2 (1964); Ravel, Miroirs: Noctuelles, Oiseaux tristes, Une barque sur l'océan, Alborada del Gracioso, La vallée des cloches 5th March 2007 THE MUSICKE COMPANYE A Venetian carnival; Rapturous music from St Marks, contrasting with the mists of the lagoon and revelries and gaieties of Carnival 26th March 2007 THE VOGLER STRING QUARTET Haydn op 64 no 6; Lutoslawski (1964); Beethoven op 59 no 2 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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HUDDERSFIELD MUSIC SOCIETY 1) WT. Eighty-ninth Season 2006-2007 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 15th January 2007 THE SACCONI STRING QUARTET with DAVID CAMPBELL (clarinet) Ben Hancox (violin) Hannah Dawson (violin) Robin Ashwell (viola) Cara Berridge (cello Formed in 2001 at the Royal College of Music, the Sacconi Quartet is rapidly gaining an enviable reputation as one of the outstanding quartets of their generation. The name Sacconi Quartet comes from the outstanding twentieth- century Italian violin maker and restorer Simone Sacconi, whose book The Secrets of Stradivari is considered an indispensable reference for violin makers. Over the last year the Quartet has won 2nd Prize at the 2006 London International String Quartet Competition, along with the Esterhazy Prize and Sydney Griller Award, and 1st Prize in the Trondheim International String Quartet Competition. The Sacconi Quartet hold the Leverhulme Junior Fellowship at the Royal College of Music. They pursue a keen interest in education work; making regular visits to schools, hospitals and community venues. Adapted from www.sacconi.com/ David Campbell David Campbell is internationally known as clarinet soloist, recitalist and chamber musician. He has played an extensive repertoire with leading orchestras worldwide. As a chamber musician he works with some of the country's foremost string quartets, including the Vanbrugh, Sorrell, Schidlof, Medici and Alberni, as well as the London Metropolitan Ensemble, and he has a trio with cellist Raphael Wallfisch and pianist John York. David is also deeply committed to music education, and apart from giving masterclasses in numerous countries, 1

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conducts the National Youth Wind Orchestra, his own Collegiate Wind Ensemble, and is director of the Aberystwyth International Festival and Summer School. PROGRAMME NOTES Quintet in A for clarinet and strings K581 Mozart (1756-1791) Last performed at HMS by the Brindisi String Quartet and Michael Collins, 25th March 1996 1 Allegro 2 Larghetto 3 Menuetto -Trio 1 -Trio 2 4 Allegretto con Variazioni This well known work requires little introduction, and loses none of its freshness and appeal despite its familiarity to most music lovers. Written in 1789 for Anton Stadler, the best player of the time, the beauty and versatility of the clarinet had fascinated Mozart since he was eight years old. The instrument has sufficient range and flexibility both to support and contribute to the expressiveness of the texture as well as to feature as a solo instrument. Mozart had already found that the clarinet worked well in small chamber ensembles with his trio for clarinet, viola and piano (Kegelstatt). In this work he explores the huge emotional and physical range of the clarinet in equal partnership with the strings. He exploits the infinite colours and moods of the clarinet at the same time preserving the unique and individual sound of the string quartet. He was also aware of the need to leave the clarinet out of the equation sometimes as in the first trio or the second "viola" variation of the last movement in order to achieve structural balance and tonal variety. String Quartet in A minor op 51 no 2 Last performed at HMS by the Carmina String Quartet, 30th October 1989 1 Allegro non troppo 2 Andante moderato 3 Quasi Minuetto, moderato 4 Finale: Allegro non assai Brahms (1833-1897) Brahms made a significant contribution to the chamber music repertoire and his three string quartets were completed around 1873. They presented a significant challenge in attempting to extend and renew a form, which had already been brought to such supreme heights by Haydn, Mozart, Beethoven and Schubert. Until then the bulk of his instrumental compositions had been centred around the piano, in whose sonorities he found the perfect means of expression. 2 Bra vio up tak Th SU Th int pa int CE na FEM55 Th m WI se Th re ric se Fi 1 2 3 4 A ev be SU pa W 320 SS ha ex SE is

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nd nd ES n d t e r | t Brahms destroyed many early drafts of the quartets. Frequent requests from the violinist Joachim for string quartets and an awareness of the expectations placed upon him by his tenure of an important artistic and conducting post in Vienna, taken up in 1872, finally motivated him to complete them. The leisurely first movement has a memorable Schubertian melody for its second subject and a short development. The main theme of the wonderfully expressive second movement in A major is introduced by the viola with sparse accompanying cello counterpoint. This tune passes to the violin and becomes conspicuous within the gentle counterpoint and interplay of the movement. There are contrasting passages of a more anxious nature before an unusual return of the recapitulation main theme in the key of F major, eventually drawn towards the tonic by a distinctive cello pedal note. The title Quasi Minuetto (as if a minuet), makes it clear that the languorous third movement is a substitute for a minuet. It has a livelier and skittish middle section with snatches of the original tempo inserted before a return to the opening section. The Hungarian flavour of the final movement is conveyed through its resolute and repetitive rhythms. Its dramatic energy is interspersed with passages of textural richness, cross rhythms, canons and occasional passages of enormous sensuousness. INTERVAL Quintet for Clarinet and Strings First performance at HMS 1 Moderato 2 Allegro molto 3 Adagietto espressivo - Allegro moderato 4 Allegro energico Bliss (1891-1975) Arthur Bliss was a prolific and versatile composer and wrote over 140 works for every combination of voice and instrument. In 1950 he was knighted and in 1953 became Master of the Queen's Music. He was one of the few composers to successfully combine the string quartet with a solo clarinet and exploring these particular resources in a brilliant and original way. Written in 1932 after the First World War, (in which Bliss had fought and which had claimed the life of his brother), this work may well be an expression of the experiences of those times. Its Adagietto espressivo, a deeply felt movement, is set at the heart of a work in which the expressive and tonal range of the clarinet is explored with an eloquence comparable with Brahms. (Andrew Keener) 3

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The opening duo between clarinet and viola creates an impression of erudite conversation which runs throughout the movement and reflects the influence of Bernard van Dieren, an articulate man of many talents in whose company Bliss spent many stimulating hours and to whom the work is dedicated. It proceeds with well-reasoned and flowing lines, its thematic material explored by all the players. A contrasting movement of great vigour follows with spiky rhythmic playing punctuated by pizzicato playing from the strings, often accompanying brilliant clarinet virtuosity. A quieter central section of a more pastoral nature is heralded by the first violin solo above viola tremolandos and leads to spectacular scalic strummed string accompaniments. The profoundly personal nature of the third movement is clearly in evidence from its first bars. Its memorable central section with intense clarinet figuration climaxes with a passionate cello recollection of the opening theme to which the clarinet responds. The last movement was described by the composer as having "sprightly brilliance" and his angular melodies and cross rhythms led by the clarinet are techniques that he appears to delight in. It is an energetic and light movement of great individuality, yet seems to have occasional reminiscences of the language of other twentieth century composers such as Shostakovich and Stravinsky. Close to the end, a molto tranquillo section gives a backward glance before the highly charged and exuberant ending. NEXT CONCERT HUDDERSFIELD MUSIC SOCIETY (St Paul's Hall) 7.30 pm, Monday 5TH February 2007 IMOGEN COOPER (Piano) Sonata in A major op 101 Sonata in A minor KV 310 Sonata no 2 (1964) Miroirs OTHER FORTHCOMING EVENTS Square Chapel Centre for the Arts, Halifax 7.30 pm Sunday 21st January 2007 1 Angela Brownridge - Two Sides of the Piano Beethoven's 'Appassionata' Sonata, Debussy's Images Book Three, Chopin Studies Op. 10 and the 18 Song Arrangements and 3 Preludes of Gershwin. Tickets £10.00, concessions £8.00 Box Office 01422 349422 Beethoven Mozart Tippett Ravel Huddersfield Philharmonic Orchestra at Huddersfield Town Hall 3 February 2007 - Soloist Leland Chen Ginastera Estancia: Ballet Suite; Korngold - Violin Concerto; Barber - Adagio; Copland - El Salon Mexico; Bernstein - Symphonic Dances from West Side Story. 4

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ite of iss ds the ng nt ed ic n n e f Hon. Treasurer P. Michael Lord Tel: 01484 310104 Fax: 01484 425658 e-mail: michael.lord4@btopenworld.com OFFICERS President Stephen Smith Hon. Secretary Gordon Sykes Tel: 01484 663474 e-mail: gordon.sykes@virgin.net ARTS COMMITTEE Marjorie Glendinning, David Allsopp, Margaret Collison, Linda Walker, Christine Stanton, John Bryan, Helen Howden, Alastair Cridland 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, JCS 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

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Season's Performances 2nd October 2006 NORTHERLY WINDS and JONATHAN FISHER (piano) Mozart Quintet for piano and wind; Poulenc Sextet: other works by Poulenc, Franz Strauss, Carter and Hindemith 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 28th November 2006 (Please note this is a Tuesday) THE TOKYO STRING QUARTET Beethoven op 18 no 3; Webern 5 pieces op 8; Schubert G major D887 15th January 2007 THE SACCONI STRING QUARTET with DAVID CAMPBELL (clarinet) Mozart Clarinet Quintet in A major, K581; Brahms Quartet in A minor op 51 no 2; Bliss Clarinet Quintet T50 5th February 2007 IMOGEN COOPER (piano) Beethoven, A major sonata op 101; Mozart, A minor sonata KV310; Tippett, sonata no 2 (1964); Ravel, Miroirs: Noctuelles, Oiseaux tristes, Une barque sur l'océan, Alborada del Gracioso, La vallée des cloches 5th March 2007 THE MUSICKE COMPANYE A Venetian carnival; Rapturous music from St Marks, contrasting with the mists of the lagoon and revelries and gaieties of Carnival 26th March 2007 THE VOGLER STRING QUARTET Haydn op 64 no 6; Lutoslawski (1964); Beethoven op 59 no 2 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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HUDDERSFIELD MUSIC SOCIETY IM D WI Eighty-ninth Season 2006-2007 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 5th February 2007 IMOGEN COOPER (piano) Recognized worldwide as a pianist of virtuosity and poetic poise, Imogen Cooper has established a reputation as one of the finest interpreters of the classical repertoire. She has dazzled audiences and orchestras throughout her distinguished career, bringing to the concert platform her unique musical understanding and lyrical quality. Imogen Cooper performs extensively abroad and last season made her debut with the Leipzig Gewandhaus Orchestra and Trevor Pinnock, appeared with the Cincinnati Symphony Orchestra and undertook a major tour with the Australian Chamber Orchestra. In recent seasons she has also appeared with the New York Philharmonic Orchestra with Sir Colin Davis and the Vienna Philharmonic Orchestra with Sir Simon Rattle. She has played with all the major British orchestras including the Philharmonia with Christoph Eschenbach and the London Phiharmonic Orchestra with Mark Elder at the BBC Proms. She is a supporter of new music and a committed chamber music player. Philips have recently released a CD box set entitled "Imogen Cooper and Friends" encompassing solo, chamber and lieder works. Adapted from www.asaplive.com 1

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PROGRAMME NOTES 4 Allegro Sonata in A major op 101 1 Allegro non troppo 2 Vivace alla marcia 3 Adagio non troppo, con affetto - Tempo del primo pezzo: tutto il cembalo ma piano Beethoven 1770-1827 The 32 piano sonatas "....have the value and the fascination of being spread throughout Beethoven's creative life: they epitomise the immense journey, musical and spiritual, that this life encompassed." Denis Matthews. Opus 101 was written in 1816 and performed (unusually) in Beethoven's lifetime. It is one of the final group of five late sonatas which include the Hammerklavier and the great E major, opus 109. Individually each endures as a huge individual artistic achievement but collectively the four final sonatas sum up his accomplishment in finding a way to transmit expression through the fingers on a relatively new and percussive instrument. Until this time no composer had ever made quite such extensive demands upon the piano and performer alike. Beethoven learned to exploit the inevitable improvements to the instrument as well as developing its emotional potential, thereby reflecting the changing aspects and attitudes of society in his own revolutionary times. Beethoven asked for the first movement in A major to be played mit der innigsten Empfindung, (with the innermost feeling) and this intimate movement is followed by vigorous, rhythmic second movement in the distant key of F, shifting to B flat in an unusual canonic kind of trio section. Once again the intimacy returns with a grave slow movement in the minor key, enhanced by continuous use of the "soft" pedal and briefly recalling the first movement at the end. It connects directly into an energetic final movement featuring much counterpoint and challenging both listener and performer with brilliant fugal development. Last performed at HMS by Gordon Fergus Thompson, 29 September 1980 Sonata in A minor KV 310 1 Allegro maestoso 2 Andante cantabile 3 Presto 2 Mozart 1756-1791 Mozart travelled extensively with his father as a boy performing at various courts throughout Europe. Unfortunately it only paid dividends temporarily in terms of a good living and adulation but did not result in any permanent employment for

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d ", r l S 3 r S 9 t || S a him as an adult. He and his mother began yet another tour searching for a court appointment, in 1777, during which they visited Munich and Mannheim, and Paris in 1778 where this sonata was composed. Mozart had already written a huge body of works including string quartets, symphonies, violin concertos and an opera. Keyboard sonatas performed by the composer were of course ideal for demonstrating not only Mozart's talent in performing but also for showing his ability to absorb and incorporate the popular musical idioms of the day without taxing the audience unduly. This is a light-hearted work in A minor and incorporates all the accepted conventions of eighteenth century piano style with its fast semiquaver passages, Alberti basses and melodic dissonance. The second movement is a slow and beautiful cantabile movement in F major featuring a more dramatic triplet episode in the second half. Finally a simple and appealing presto completes the work. It is based almost entirely on tonic/dominant harmonic patterns revealing ingenuity in the extending of simple motifs and sequential patterns. Last performed at HMS by Allan Schiller, 13th February 1967 INTERVAL Sonata no 2 (Sir) Michael Tippett 1905-1998 This sonata rests at the opposite end of the spectrum from Mozart's and reflects the fact that the four composers in tonight's programme cover a huge period of development, each exploring the instrument in a different manner, according to the times in which they lived. Michael Tippett's four piano sonatas cover fifty years of compositional works and seem to summarize his evolving styles, (as with Beethoven). Noticeably Tippett retained the classic name of sonata, but each of the four has a different structure. He certainly admired Beethoven's struggles and achievements in expanding the form. The second sonata was written and first performed by Margaret Kitchin at the Edinburgh festival in 1962 immediately after his opera King Priam, from which he quotes. The second sonata is unusual in its tightly knit, one-movement form, evocative of the fantasy procedures of other beloved composers, Byrd and Purcell. It is described by Merion Bowen, Tippett's companion and biographer, as "...conceived as a single movement, made up of a mosaic of separate statements, all at carefully specified tempi: these statements or motifs, eight altogether, are juxtaposed, extended, shortened and recapitulated, but never developed in a classic Beethovenian sense". Last performed at HMS by Peter Donohoe, 6th February 1978 3

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Miroirs 1 Noctuelles 2 Oiseaux tristes 3 Une barque sur l'océan 4 Alborada del gracioso 5 La vallé des cloches Maurice Ravel 1875-1937 This set of imaginative pieces was written between 1904 and 1905, when the piano had become technically a very much more sophisticated instrument. Ravel became an experimentalist in the world of solo piano with these luminous and evocative pieces that are evidence of his own mature style. Ravel himself introduced the finished set to the Apaches, a group of avant guarde painters, writers and musicians, "as a change in my harmonic evolution considerable enough to disconcert the musicians who have been most accustomed to my style until now". He dedicated one piece to each individual of the group and they were first performed by Richard Viñes, the Catalan virtuoso pianist to whom he dedicated the second piece, Sad Birds. The fact that he found it amusing to offer such unpianistic music to a pianist illustrated the personal nature of each of these pieces. Of the others, Night Moths was dedicated to Leon- Paul Fargue and Aubade of the Jester with its evocation of guitars and castanets to M.D. Calvocoressi. A Boat on the Ocean was dedicated to Paul Sordes and Valley of Bells was dedicated to Maurice Delage. Last performed at HMS by Jean-Efflam Bavouzet, 12th March 1990 NEXT CONCERT HUDDERSFIELD MUSIC SOCIETY (St Paul's Hall) ΤΗ 7.30 pm, Monday 5TH March 2007 The Musicke Comapanye Works by Monteverdi, Cavalli, Lotti, Strozzi, Marcello, Handel and others. OTHER FORTHCOMING EVENTS Square Chapel Centre for the Arts, Halifax 7.30pm, Friday 9th March 2007 Halifax Philharmonic Club and Music in the Round - Ensemble 360 Beethoven, Serenade in D Op.8 Poulenc, Sextet for piano and wind Dohnayni, Sextet in C Op.37 Tickets £12.50, concessions £11, full-time students £5, under 16s £2 Box Office 01422 349422 - Huddersfield Philharmonic Orchestra at Huddersfield Town Hall 28 April 2007 - Soloist Rachael Clegg Britten An American Overture Vaughan Williams - Oboe Concerto Elgar - Symphony No 2 4

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Hon. Treasurer P. Michael Lord Tel: 01484 310104 Fax: 01484 425658 e-mail: michael.lord4@btopenworld.com ARTS OFFICERS President Stephen Smith Hon. Secretary Gordon Sykes Tel: 01484 663474 e-mail: gordon.sykes@virgin.net We acknowledge with thanks support for our concerts from The University of Huddersfield to which the Society is affiliated C COMMITTEE Marjorie Glendinning, David Allsopp, Margaret Collison, Linda Walker, Christine Stanton, John Bryan, Helen Howden, Alastair Cridland The Society is grateful for financial help also from: D Dugdale, Miss M A Freeman, Mrs M Glendinning, P Michael Lord, JCS 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 UNCI ENGLAND MAGAZINE GRAMOPHONE Making Music THE NATIONAL FEDERATION OF MUSIC SOCIETIES

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Season's Performances 2nd October 2006 NORTHERLY WINDS and JONATHAN FISHER (piano) Mozart Quintet for piano and wind; Poulenc Sextet: other works by Poulenc, Franz Strauss, Carter and Hindemith 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 28th November 2006 (Please note this is a Tuesday) THE TOKYO STRING QUARTET Beethoven op 18 no 3; Webern 5 pieces op 8; Schubert G major D887 15th January 2007 THE SACCONI STRING QUARTET with DAVID CAMPBELL (clarinet) Mozart Clarinet Quintet in A major, K581; Brahms Quartet in A minor op 51 no 2; Bliss Clarinet Quintet T50 5th February 2007 IMOGEN COOPER (piano) Beethoven, A major sonata op 101; Mozart, A minor sonata KV310; Tippett, sonata no 2 (1964); Ravel, Miroirs: Noctuelles, Oiseaux tristes, Une barque sur l'océan, Alborada del Gracioso, La vallée des cloches 5th March 2007 THE MUSICKE COMPANYE A Venetian carnival; Rapturous music from St Marks, contrasting with the mists of the lagoon and revelries and gaieties of Carnival 26th March 2007 THE VOGLER STRING QUARTET Haydn op 64 no 6; Lutoslawski (1964); Beethoven op 59 no 2 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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HUDDERSFIELD MUSIC SOCIETY T WI. Eighty-ninth Season 2006-2007 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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D ea M CE CC P ar ar Ar No Pa OV Ha by Po

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Huddersfield Music Society Monday 5th March 2007 The Musicke Companye Philippa Hyde Paul Esswood Jennifer Janse Helen Rogers soprano counter-tenor cello harpsichord/chamber organ The "A Venetian Carnival" Music by Monteverdi, Cavalli, Barbara Strozzi, Lotti, Vivaldi and Handel THE MUSICKE COMPANYE Described as "One of the most gifted and more musically intelligent of all the early music ensembles currently before the public" (Musical Opinion), The Musicke Companye specialises in the rich and varied repertoire of 17th and 18th century Europe. They have performed extensively throughout Europe with concerts, live radio and TV broadcasts to great critical acclaim. Philippa Hyde has worked as a soloist for many leading early music ensembles and orchestras including The Orchestra of the Age of Enlightenment, Canzona and The Parley of Instruments. Recordings include the role of Semira in Arne's Artexerxes for Hyperion. Philippa is Professor of Period Performance at the Royal Northern College of Music. Paul Esswood, the first counter-tenor ever to sing at La Scala, Milan, has made over 200 recordings including the famous complete Bach series under Harnoncourt/Leonhardt. His operatic appearances have included world premieres by Penderecki and Glass as well as the Monteverdi cycle in Zürich produced by Ponnelle.

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Jennifer Janse, described by Yehudi Menuhin as "among this country's most outstanding musicians", is equally at home on both 'period' and 'modern' cello. She has given more than 100 solo recitals in the UK, solo performances in Russia, Germany, Lithuania and Norway and orchestral concerts with, among others, The King's Consort, Royal Philharmonic Orchestra and English Concert. Helen Rogers is in much demand both as a solo harpsichordist and continuo player. She is frequently a soloist at London's Purcell Room (South Bank Centre) and other major venues performing Bach harpsichord concertos and Brandenburg concertos. In 2000, Helen was made an Associate of the Royal Academy of Music. www.themusickecompanye.com PROGRAMME NOTES Venice in the seventeenth and eighteenth centuries was whirling towards her fall in a frenzy of almost continuous carnival and pleasure seeking. 'Carnivale' itself lasted from Boxing Day until Shrove Tuesday with the theatres and gaming tables open, the crowds swirling through the narrow streets and in the piazzas, festooned in costumes and masks. Almost six months of the year were taken up with celebrations, feasting, and festivities with extra-ordinary ceremonies such as the wedding of the Doge to the sea ("lo Sposalizio del Mar"), and St Mark's Day when all husbands gave their wife a red rose as a symbol of undying loyalty. The fall of Venice came in 1796, in the reign of the 120th Doge, when Napoleon ended the Venetian Republic and handed 'La Serenissima' to the Austrians. Music played a vital role in the vibrancy of Venice. Four great orphanages were centres of music training where foundlings and other poor children were taken in and instructed principally in music. The state even supplied a dowry for these girls which was to go eventually either to husband or convent. Many visitors to Venice wrote of these establishments and the wonderful talents of the girls who almost always performed from behind iron grills, much to the frustration of many a gentleman! Such was the reputation of these establishments that the most celebrated musicians were employed as teachers. Famously, the abbé Vivaldi taught at the Ospedela della Pietà. By all accounts he was a tricky employee and was frequently sacked then reinstated in his job. The elderly Galuppi was Maestro di Capella at the Incurabili when Charles Burney was visiting. Monteverdi, Cavalli and Lotti were all powerful figures in the music world of Venice, at their various times all working at the Basilica di San Marco attaining the position of Maestro di Capella, all composing operas and all famous teachers. During Cavalli's first quarter century of activity at St Mark's, music was directed by Monteverdi, a powerful influence on Cavalli's composition. Lotti in his turn taught Benedetto Marcello and Baldassare Galuppi. Barabara Strozzi was a more unusual figure. She was the adopted daughter of the librettist, poet and dramatist Giulio Strozzi and pupil of Cavalli. She was clearly the leading singer - and apparently a seductive attraction in other respects at the Accademia degli Unisoni which met at Giulio Strozzi's house. A painting by Giulio's brother 2 - E A B (1 Ar (c Fra (16

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Bernardo depicts her holding a viol and dressed as a courtesan. The majority of the texts that she set are by her adoptive father and she was clearly a very able composer in a time where this was almost exclusively a man's domain. (Jennifer Janse) Barbara Strozzi (1619-1664) Antonio Vivaldi (1678 - 1739) ~An Introduction to Venice and a Warning!~ Moralita Amorosa (Op.3) Tradimento Claudio Monteverdi (1567 - 1643) ~The Ascension Day Celebrations in 1730~ (as described by Johann Georg Keysler) (William Antonio Lotti (c. 1667-1740) Benedetto Marcello (1686-1739) Francesco Cavalli (1602 - 1676) A Venetian Carnival ~Vivaldi~ (from the letters of Charles de Brosses, 1739) Sancta Maria Jubilet Ego flos campi Sonata in A minor for Cello and continuo Largo - Allegro - Largo - Allegro ~Romantic Intrigues and Illicit Lovers~ Beckford writing in the Eighteenth-century) Cantata: "L'usignolo che il suo duolo" Aria Recitativo - Aria - ~ Carnival ~ (from the Diary of John Evelyn, 1646) Duet: Querèla amorosa (The Amorous Lawsuit) [Allegro] - Adagio - Allegro INTERVAL ~The Basilica of St Mark's~ (John Ruskin: The Stones of Venice) Duet: O Bone Jesu 3

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Claudio Monteverdi Song: Maladetto sia l'aspetto Barbara Strozzi ~Nuns!~ (from the letters of Charles de Brosses, 1739) ~The witty and charming Venetian Courtesans~ (Jan Morris: Venice) Canto di Bella Bocca: 'Che dolce udire' ~Signor Galuppi, Maestro di Capella~ (as described by the musician and travel writer Dr Charles Burney on his visit to Venice in 1770) Baldassare Galuppi (1706 - 1785) G.F.Handel (1685-1759) Alessandro Stradella 'Si salvi chi può' (c.1645-1681) Sonata in B flat major for harpsichord Andantino - Allegro ~The Rake's Progress~ Claudio Monteverdi ~A Night at the Venice Opera in 1645~ (from the Diary of John Evelyn) Aria: 'Tacerò' from Aggripina (first performed Venice, 26 December 1709) Duet: 'Pur ti Miro' from Il Coronazione di Poppea (1645) Translations Strozzi: 'Moralita Amorosa' My sun rises with the break of dawn nurturing God's beauty. Adulating your hair with scented perfumes, it teaches each other how to love. Then with gentle rays abounding spreading light across horizons, They of argent dust and dew render brilliant golden tresses. Whilst the beautiful hand proceeding between ashes and smoke your locks caresses, The heart couples me to a chain of fire. What marvel can it be, a beauty so short of living? Who would deny it's fleeting nature if it be of smoke and ashes? 4

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1 } Strozzi: 'Tradimento' Betrayal! Love and hope want to take me prisoner and they are fast approaching such an end. Yet I have discovered that my thoughts say they are content. Betrayal! Hope and flattery bind me, if I believe them then I am enlaced by chains. My heart, to arms! Take arms against my treacherous enemy, Love, who if I encounter and take, I will kill. It is always dangerous, at all times. Betrayal! Monteverdi: 'Sancta Maria' Holy Mary, succour the wretched, help those whose spirits are weak, comfort those who weep. Holy Mary, pray for the people, intercede for the clergy and for devout women. Holy Mary, may all feel your help who now celebrate your holy commemoration. Monteverdi: 'Jubilet' Let the whole community rejoice. With the organs sounding let our Mother the Church sing psalms to Almighty God and joyfully sing a melody of glory to our Saviour. What occasion fills your heart with joy, most beloved Virgin and comes to me as a happy and joyous messenger? It is a Feast today, the Feast of a glorious Saint, who did marvellous works before both God and men. Who is this Saint, who for the sake of God's law passed so illustrious a life of outstanding works right up to his death? A Saint he is, O Blessed Saint, most surely worthy that the tongues of the faithful ever speak in his praise. So let the whole community rejoice . . . Monteverdi: 'Ego Flos Campi' (Song of Songs 2: v1-3) I am the flower of the field and the lily of the valleys. As the lily among the thorns, so is my love among the daughters. As the apple tree among the trees of the wood, So is my beloved among the sons. I sat down under the shadow of the man I had longed for, And his fruit was sweet to my taste. 5

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Marcello: 'L'usignolo che il suo duolo' Aria The nightingale, who bemoaning his grief goes amongst the leaves, tells his grief and torment to the air and the waves, and, thinking of my first hurt, pours out his many troubles to me, although to another it seems like joy. Recitative If, Irene, you ask the breezes, the flowers, your lovely myrtle, your lovely fountain, where you often wipe away warm humours, you will see my cruel pain in the breeze, the fountain, the flowers and the myrtle. You mock my unhappy spirit, so that whether the sun rises, or its golden tresses descend into the sea, your beautiful name will sound on my lips forever, and my heart, where you reside, I will leave. Aria When dawn lights up the world, when shadow darkens the earth, I go about saying "Irene, I adore you and I live in pain". But you are always proud and cruel, always deaf to my complaints. You reply "This is the reward for a hopeless love." Lotti: 'Querèla Amorosa' (The Amorous Lawsuit) I should be well obliged, charming eyes, as robbers of my heart to sentence you to weeping. But seeing those dear and sweet rays of your eyes, more than ever I return to fall in love. And forgetting my grief, I am content to weep alone and I cannot, as I gaze upon you, although robbers, charming eyes, sentence you to weeping. Cavalli: 'O Bone Jesu' O good Jesus, beloved Jesus, the Virgin's sweetest son, my light, my heart, my joy; may angels sing of you, may men worship you forever. O pure, dear, merciful one, look upon the sins of the world and do not avert your eyes. But, most merciful one, most good and pure one, see and heal. O gentle and beloved one, you alone be the health of life's spirit, life's breath; shun the sighs of the spirit which fled from you, which spurned and gravely offended you. Be the health of the weak, the life of the wounded and the heart of the miserable. Sweetest Jesus whom we worship, our Saviour, come softly and free us from our pain. Come good one, dear one, come, come beloved. 6

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Monteverdi: 'Maledetto sia l'aspetto' Cursed be that look that sets me on fire, since I suffer cruel torment, since I die, and cannot be reprieved except through you. Cursed be that look that sets me on fire! Cursed be that dart which poisons me! So this is the desire of my sun, who longs only to hate me as much as she can - what shall I do? Cursed be that dart which poisons me! Cruel lady, by wounding me thus you wish me dead. You play with my passion; you want me to suffer and faint; I will die here, this merciless day; cruel lady, by wounding me thus you wish me dead. Strozzi: 'Canto di bella bocca' How sweet it is to hear a pretty mouth utterly overjoyed at singing songs of love! With its charming movement the lovely voice ensnares you, enfolds you, it even touches you and goes within you to the heart which is eaten away with sickness. How sweet it is to hear a pretty mouth utterly overjoyed at singing songs of love! While it unfurls the prayers of Love with musical lips, No one else can say what songful happiness, what joys I have felt. No one else can say what delights I have experienced; no one else can say what your new pleasures, what your old contentments are. No one else can say what songful happiness, what joys I have felt. Tell her, my heart, how sweet it is to hear a pretty mouth utterly overjoyed at singing songs of love! Harmonizing that gentle breath from a songful throat gives you new life and restores you, makes you divinely blessed; you are foolish if you do not thrill me with joy, you are foolish if you do not begin, down here, constrained as you are in a transitory veil, O Tirsis, to taste the melody of Heaven. Stradella: 'Si salvi chi pùo' Run for your life who can. The stars are trembling, the sky is about to fall, and the weight of the world can be borne no longer. Run for your life who can. As by an incessant vertigo, the weighted earth is about to fall, and in this continous wrath, it fashions its own demise. The murexes no longer produce dye for the mantles of those who reign, and the arrogant ones boost their egos from the blood of unfortunate people. Bacchus's poison, Mars's fury, poisons every bosom, and inebriates every heart. 7

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A whole world of Tantulus's no longer suffices to feed the lust for power. Every terrestrial Jove becomes a brute for any pretty Leda. Honour is prostituted, Minerva is lost, Astrea is no where to be found, there is nothing to be heard of virtue. Whoever will sustain a falling world, if obnoxious guilt is hidden in people's hearts? Run for your life who can! Handel: 'Tacero' I'll not stir while my devotion finds an echo in my breast. I'll endure, though thy dissembling seems to make another blest. Monteverdi: 'Pur ti miro' I gaze on you, I enjoy you, I hug you, I entwine you, I suffer no more, I die no more, O my life, O my treasure. I am yours, you are mine, my hope, tell me, you are truly my idol. Yes my love, yes my heart, my life, yes. NEXT CONCERT HUDDERSFIELD MUSIC SOCIETY (St Paul's Hall) 7.30 pm, Monday 26TH March 2007 The Vogler String Quartet Haydn String Quartet in E flat op 64 no 6 Lutoslawski String Quartet (1964) Beethoven String Quartet in E minor op 59 no 2 OTHER FORTHCOMING EVENTS SQUARE CHAPEL CENTRE FOR THE ARTS, HALIFAX 7.30pm, Sunday 18th March 2007 Orchestra of Square Chapel Weber, Overture, Ruler of the Spirits Karl Jenkins, Palladio Delius, On Hearing the First Cuckoo in Spring Delius, Summer Night on the River Beethoven, Symphony No. 5 Tickets £7.50, concessions £5.50. Box Office 01422 349422 Huddersfield Philharmonic Orchestra at Huddersfield Town Hall 28 April 2007 - Soloist Rachael Clegg Britten - An American Overture Vaughan Williams - Oboe Concerto Elgar - Symphony No 2 8

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Hon. Treasurer P. Michael Lord Tel: 01484 310104 Fax: 01484 425658 e-mail: michael.lord4@btopenworld.com ARTS OFFICERS President Stephen Smith Hon. Secretary Gordon Sykes Tel: 01484 663474 e-mail: gordon.sykes@virgin.net COMMITTEE Marjorie Glendinning, David Allsopp, Margaret Collison, Linda Walker, Christine Stanton, John Bryan, Helen Howden, Alastair Cridland 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, JCS 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 OUNCIL ENGLAND MAGAZINE GRAMOPHONE Making Music THE NATIONAL FEDERATION OF MUSIC SOCIETIES

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Season's Performances 2nd October 2006 NORTHERLY WINDS and JONATHAN FISHER (piano) Mozart Quintet for piano and wind; Poulenc Sextet: other works by Poulenc, Franz Strauss, Carter and Hindemith 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 28th November 2006 (Please note this is a Tuesday) THE TOKYO STRING QUARTET Beethoven op 18 no 3; Webern 5 pieces op 8; Schubert G major D887 15th January 2007 THE SACCONI STRING QUARTET with DAVID CAMPBELL (clarinet) Mozart Clarinet Quintet in A major, K581; Brahms Quartet in A minor op 51 no 2; Bliss Clarinet Quintet T50 5th February 2007 IMOGEN COOPER (piano) Beethoven, A major sonata op 101; Mozart, A minor sonata KV310; Tippett, sonata no 2 (1964); Ravel, Miroirs: Noctuelles, Oiseaux tristes, Une barque sur l'océan, Alborada del Gracioso, La vallée des cloches 5th March 2007 THE MUSICKE COMPANYE A Venetian carnival; Rapturous music from St Marks, contrasting with the mists of the lagoon and revelries and gaieties of Carnival 26th March 2007 THE VOGLER STRING QUARTET Haydn op 64 no 6; Lutoslawski (1964); Beethoven op 59 no 2 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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HUDDERSFIELD MUSIC SOCIETY 11 WT. Eighty-ninth Season 2006-2007 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 26 March 2007 THE VOGLER STRING QUARTET Tim Vogler (1st violin) Frank Reinecke (2nd violin) Stefan Fehlandt (viola) Stephan Forck (cello) opn Founded in East Berlin in January 1985, the Vogler Quartet celebrated their 20th anniversary in 2005 with its members unchanged. They quickly established themselves as one of the finest quartets of their generation. Mastering a repertoire of over 200 works from all periods of music, they are widely characterised by their extraordinary musical intelligence, highly creative playing with homogenous sounds, rich nuances, powerful interpretations and unconventional programming. They now combine an extensive schedule of recitals in major music venues all over the world with a busy teaching career that includes masterclasses and individual lessons. The quartet also has a keen interest in the performance of contemporary music. They performed Morton Feldman's 2nd string quartet (that lasts 5 hours!) with tremendous success at the MusikBiennale in Berlin in 1999. At EXPO 2000 all of Wolfgang Rihm's string quartets were played by the Vogler and Arditti Quartet. The 2005/06 season included world premieres of quartets by Frank Michael Beyer and Joerg Widmann. Adapted from www.voglerquartet.com PROGRAMME NOTES String Quartet in E flat op 64 no 6 Joseph Haydn (1732-1809) Last performed at HMS by The Lindsays on 8th March 1999 1 Allegro 3 Menuetto-Allegretto 2 Andante 3 Finale-Presto The set of six opus 64 quartets were composed around 1790 for Johann Tost, violinist in the orchestra of Prince Nicholas of Esterházy. The set contains the highly original "Lark quartet with a virtuosic first violin part and this last quartet also shows some of that brilliance whilst being an example of Haydn's technical mastery and artistic achievement. 1

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Robbins Landon wrote, "the key of E flat calls forth, as usual. the lyrical side of Haydn's nature". The first movement offers a perfect sonata form construction, but with both subjects sharing the same theme, a formula favoured in many of his mature works. A triplet idea links the first and second subjects as a transition or bridge and is also part of the coda. The development starts with a contrapuntal texture rising out of the first theme stated by the instruments one after the other. The smooth and subdued Andante has complex intersecting quaver lines. Its ternary form contains a more emotional central minor section with a somewhat explosive first violin part over repeated chords. A striking minuet is followed by a typically Viennese trio for the third movement. The dashing and rhythmic finale anticipates Beethovian drama with its unison passages, pedal notes and pauses. Unusual harmonic modulations add extra impact to its whirlwind and unpredictable nature. String Quartet (1964) Lutoslawski 1913-1994 Last performed at HMS by the New Budapest String Quartet, 17th Nov 1975 1 Introductory movement 2 Main movement CAS Lutoslawski was born in Warsaw and studied at the Warsaw Conservatoire. Like many of his contemporaries he was severely limited as an artist by the German occupation. Instead he followed a career in the army, and having suffered imprisonment by the Germans, escaped back to Warsaw, where he and his compatriot Andrzej Panufnik played their own compositions and transcriptions in cafes. His first symphony of 1941-47 was banned for being "formalistic" and too intellectual for the Stalin regime and forced him to compose in a more conventional style until the political climate allowed him to follow his own artistic path. After the war he became devoted to the cause of contemporary music at last achieving artistic independence with his Musique Funèbre, composed in 1958 in memory of Bartok and establishing his international reputation. In this quartet Lutoslawski experiments with aleatoric music, whereby the performers have freedom within certain controlled parameters. He himself declared this piece to be a solo performance from each player, but transferred to an ensemble; in his own words, each of the musicians plays his 2 pa be div off CO ha ра Re be mo St La 1 3 Th Ra Be CO Kre ma by is me Th twe cha sile thr and app se Thi to For spir anc

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ide rm ula nd The me Its a rd on ra AS 2. e ng e d g CO m st 8 e If t FS ) ) part as if playing by himself. The tempo changes in the various parts have to be realised separately. Therefore there can be no common pulse or rhythmic divisions or even a score showing the music vertically. The music therefore offers endless expressive and rhythmic possibilities to the players but the composer retains control over elements such as pitch, structure, melody, harmony allowing the players choice in the ordering of material, length of pauses etc. Regarding the introductory movement, it is almost a précis of the material to be developed with greater complexity and intensity later in the longer main movement. CAS INTERVAL String Quartet in E minor op 59 no 2 Beethoven (1770-1827) Last performed at HMS by The Vogler String Quartet, 19th April 2004 1 Allegro 3 Allegretto - Maggiore (Thème Russe) 2 Molto Adagio 4 Finale; Presto The three quartets of opus 59 were written in 1804 and dedicated to Count Rasumovsky, the second being this dramatic centre piece in E minor. Beethoven's remarkable and unique language reflects aspects of his completed his landmark third symphony, as well as the Waldstein and Kreutzer sonatas and the opera, Fidelio. All movements are in E minor or E major but the last movement commences in C major and defies convention by remaining there for at least fifty bars. As with Haydn in his opus 64, here is Beethoven in full control of his forces and achieving total mastery of the medium. The first movement is undoubtedly the weightiest and the arresting opening two chords, followed by gentler answering phrases are punctuated characteristically by pauses, (Beethoven had by now discovered the power of silence which undoubtedly contributes to the sense of spaciousness throughout the whole work). All the opening ideas are extensively developed and his control is particularly evident towards the end when the expected approach to the final bars is halted by the reiteration of the two chords several times, each time with subtle differentiation of harmony or dynamic. This restraint leads to a sublime quiet passage in the major before the return to the excitement of the ending. For Beethoven this radiantly reflective second movement had the highest spiritual associations and he told Czerny that he was gazing at the star-lit sky and thinking of the "music of the spheres" when he conceived it. Its five main 3

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themes are all pervaded by a sense of the profound, opening with a serene chorale. The third movement features a repeated note accompaniment placed off the beat, and short melodic phrases which contribute to the sense of agitation. Its trio is in the major key and the Thème Russe is introduced as an innocent little round which appears to be an affectionate parody in the Count's honour. The sparkling finale opens in the "wrong" key of C major thus introducing a note of tension in avoiding the expected tonality of E. The skipping dance-like finale, deceptively simple with its driving dotted rhythm, later on incorporates some witty imitation and counterpoint and the dotted rhythm idea evolves into a fiendish three-note pattern passed up and down between the instruments. A very fast compelling section completes the work in style. NEXT SEASON'S FIRST CONCERT HUDDERSFIELD MUSIC SOCIETY (St Paul's Hall) 7.30 pm, Monday 8th October 2007 Ruth Palmer (violin), Alexei Grynyuk (piano) Beethoven Sonata in A major op 96 Janacek sonata for violin and piano, Prokofiev sonata no 1 in F minor op 80 Brahms Hungarian Dance selection OTHER FORTHCOMING EVENTS SQUARE CHAPEL CENTRE FOR THE ARTS, HALIFAX Friday 30th March, 8.00pm Julie Ellison Julie Ellison challenges the 'girl with guitar' stereotype, combining elements of ragtime, country blues, rock and classical music to create distinctive original songs and instrumentals. Tickets £9.00, concessions £7.00. Box Office 01422 349422 Huddersfield Philharmonic Orchestra at Huddersfield Town Hall 28 April 2007 - Soloist Rachael Clegg Britten An American Overture Vaughan Williams - Oboe Concerto Elgar - Symphony No 2 4 CAS

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ne the n. ent r. a ke es es ne AS TS OFFICERS President Stephen Smith Hon. Secretary Gordon Sykes Tel: 01484 663474 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, David Allsopp, Margaret Collison, Linda Walker, Christine Stanton, John Bryan, Helen Howden, Alastair Cridland 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, JCS 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 COUNCI ENGLAND THE MAGAZINE GRAMOPHONE Making Music THE NATIONAL FEDERATION OF MUSIC SOCIETIES

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Season's Performances 2nd October 2006 NORTHERLY WINDS and JONATHAN FISHER (piano) Mozart Quintet for piano and wind; Poulenc Sextet: other works by Poulenc, Franz Strauss, Carter and Hindemith 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 28th November 2006 (Please note this is a Tuesday) THE TOKYO STRING QUARTET Beethoven op 18 no 3; Webern 5 pieces op 8; Schubert G major D887 15th January 2007 THE SACCONI STRING QUARTET with DAVID CAMPBELL (clarinet) Mozart Clarinet Quintet in A major, K581; Brahms Quartet in A minor op 51 no 2; Bliss Clarinet Quintet T50 5th February 2007 IMOGEN COOPER (piano) Beethoven, A major sonata op 101; Mozart, A minor sonata KV310; Tippett, sonata no 2 (1964); Ravel, Miroirs: Noctuelles, Oiseaux tristes, Une barque sur l'océan, Alborada del Gracioso, La vallée des cloches 5th March 2007 THE MUSICKE COMPANYE A Venetian carnival; Rapturous music from St Marks, contrasting with the mists of the lagoon and revelries and gaieties of Carnival 26th March 2007 THE VOGLER STRING QUARTET Haydn op 64 no 6; Lutoslawski (1964); Beethoven op 59 no 2 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.