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2007-2008
Ninetieth
Season
St Paul's Hall
Huddersfield
The Atrium 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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Monday 8th October 2007 at 7.30 pm
RUTH PALMER (VIOLIN)
and ALEXEI GRYNYUK (piano)
1
Rapidly making a name for herself as an enterprising and
exhilerating musician, Miss Palmer is accompanied by the
young Ukrainian pianist Alexei Grynyuk.
Sonata no 10 in G major op 96
Sonata
Sonata no I in F minor op 80
Hungarian Dances (Selection)
F
}
IC
The Prazak String Quartet
Monday 29th October 2007 at 7.30 pm
THE HEATH STRING QUARTET
String Quartet in A major K 464
String Quartet no 3
String Quartet op 51 no 1 in C minor
Beethoven
Janacek
Prokofiev
Brahms
2
Formed in 2001, the Quartet has acquired a reputation as
one of Britain's most exciting and innovative young
ensembles.
The Gould Piano Trio
Mozart
Bartok
Brahms
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HUDDERSFIELD
MUSIC SOCIETY
Season 2007-2008
BOOKING FORM
(to be detached)
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2007-2008
Ninetieth Season
Monday 12th November 2007 at 7.30 pm
THE PRAZAK STRING QUARTET
3
This eminent Quartet from Prague, which needs no
introduction to our audience, includes the works of two
Czech compatriots in its programme.
String Quartet in D major op 50 no 6 (the Frog)
String Quartet no 3
String Quartet no I in E minor (from my life)
Robert Plane
Piers Lane
Haydn
Martinu
Smetana
Monday 14th January 2008 at 7.30 pm
THE GOULD PIANO TRIO with
ROBERT PLANE (clarinet)
Quartet "Between Tides"
Premiere Rhapsodie for clarinet & piano
Quartet for the End of Time
4
In a special concert to mark the centenary year of Olivier
Messiaen the Gould Trio joins forces with the clarinet-
tist Robert Plane.
Takemitsu
Debussy
Messiaen
Monday 4th February 2008 at 7.30 pm
PIERS LANE (piano)
5
This Australian-born pianist gives us a programme which
should delight the hearts of all Chopin lovers.
Ballade no I in G minor op 23, Nocturnes no 13 in C minor and no 14 in F
sharp minor from op 48,
Sonata no 2 in B flat minor op 35 (funeral march), Barcarolle in F sharp
major op 60 and Sonata no 3 in B minor op 58.
Chopin
Monday 17th March 2008 at 7.30 pm
THE ATRIUM STRING QUARTET
6
In a return visit, this exciting young Russian Quartet is to
perform a quartet by Shostakovich between late works by
Haydn and Mozart.
Quartet in F op 77 no 2
Quartet no 3 in F ор 73
Quartet no 21 in D K 575 (Prussian)
Ruth Palmer
Haydn
Shostakovich
Mozart
Monday 14th April 2008 at 7.30 pm
THE NEW LONDON CHAMBER
ENSEMBLE
7
This British wind quintet presents a programme of
music covering three centuries.
Works by Nielsen, Debussy, Berio, Mozart, Ligeti and Stephen Montague
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BOOKING ARRANGEMENTS
Single Season Ticket
Double Season Ticket
Single Concert Ticket:
Concerts nos 4 and 7 £18; others £15
Student Season Ticket
Student Single Ticket
TICKETS
Name
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 23rd September 2007.
Address
Post this form with cheque payable to
Huddersfield Music Society
to the Hon Treasurer,
Mr Michael Lord.
14 Garsdale Road,
Newsome,
Postcode
Huddersfield HD4 6QZ.
Tel 01484 310104
Please send
Please send .......... single concert tickets
for concert number(s)
I enclose cheque
Fax 01484 425658
E-mail michael.lord4@btopenworld.com
BOOKING FORM
single/double season tickets
£85
£164
..........
Telephone
£15
£3
Total £
Would Double Season Ticket holders please add the name
of the second purchaser for our membership register:
X
1
19
X
B
11
A
{
TICKETS
Single Season Ticket
Double Season Ticket
Single Concert Ticket:
Concerts nos 4 and 7 £18; others £15
Student Season Ticket
Student Single Ticket
£85
£164
£15
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.
£3
The Society is grateful for financial help also from:
David Dugdale,
Mrs M Glendinning, P Michael Lord,
PL Michelson, JC S Smith, JG Sykes,
Mrs E R Taylor, Mrs L Walker,
Making Music (National Federation of Music Societies)
and the Countess of Munster Trust.
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A629
HUDDERSFIELD
NEW NORTH ROAD
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-
SP
CASTLE GATE
STATION
BUS
A62 MANCHESTER ROAD
TO MANCHESTER
WT
RAILWAY STATION
Car parking should be
001
Z WALL
30
QUEESNGATE
1
CAR PARK
A616 CHAPEL HILL
Yorkshire Arts
1008
00G00
SOUTHGATE
TO LEEDS
LEEDS ROAD A62
QUEENSGA
TO WAKEFIELD
& SHEFFIELD
4629
St Paul's Hall for a small fee.
WAKEFIELD ROAD
ST. PAUL'S HALL
UNIVERSITY OF
HUDDERSFIELD
available across 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
11
WI.
Ninetieth Season
2007-2008
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 8th October 2007
RUTH PALMER (violin)
ALEXEI GRYNYUK (piano)
Ruth Palmer
Award winning violinist Ruth Palmer has been described
by Raphael Wallfisch as "One of the most gifted and
musical players of her generation". Ruth's debut CD
with the Philharmonia Orchestra was recently released
to huge critical acclaim worldwide and the Philharmonia
Orchestra subsequently invited Ruth to tour the
Prokofiev Concerto with them. In May 2007 Ruth won
the Classical Brit Award in the Young British Classical
Artist category. Ruth has frequently worked with some
of Britain's leading choreographers and dancers. In 2004/5 she toured as a
soloist with Rambert Dance Company performing to over 50,000 people
around the country to critical acclaim. As a student at Royal College of
Music her teacher was Dr. Felix Andrievsky. In 2005 Ruth was made the
first ever recipient of the prestigious Ritterman Junior Fellowship at the
RCM, having previously been the Mills Williams Junior Fellow in 2004.
Adapted from www.ruthpalmer.com
Alexei Grynyuk was born in Kiev, Ukraine, and studied
under Natalia Gridneva, Prof. Valery Kozlov and Prof.
Hamish Milne. Alexei has had many successes at
international competitions, most recently winning first
prizes at the Vladimir Horowitz International Competition
in Kiev and the Shanghai International Competition in
China. Alexei has been highly acclaimed in the press
worldwide, giving numerous recitals and concerto
performances with orchestras in Europe, the USA,
Morocco, Mexico and Japan.
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Sonata no 7 in C minor, Op.30 no 2
1 Allegro con brio,
3 Scherzo (Allegro),
PROGRAMME NOTES
2 Adagio cantabile,
4 Finale
Beethoven's sense of dramatic power is evident from the outset of this sonata,
written in 1802. Its main theme, presented by the piano, is concise and
assertive. The contrasting second subject in the relative major key, introduced by
an apparently innocent little dotted figure in the violin, grows into a compelling
contrapuntal texture.
A move to A flat major accentuates the cantabile serenity of the Adagio, a mood
which is maintained throughout despite the ever increasingly decorative
accompanying passages in the piano.
Sonata
The Scherzo challenges the listener with its delightful rhythmic instability both in
its constantly shifting accents and also in the precarious partnership between the
two instruments. Conversely in the trio, the two instruments interweave and co-
operate before the brilliant da capo returns in C major.
1 Con moto
2 Ballada: Con moto
Beethoven 1770-1827
Beethoven begins the electrifying fourth movement with a theme based on a
challenging augmented interval. Just how audacious this was is difficult for a
modern ear to understand, but the dramatic opening commands attention from
the start. The listener is constantly challenged by continual unanticipated events
along the way until its final presto section and authoritative ending in C minor.
C Stanton.
3 Allegretto
4 Adagio
Leos Janáček 1854-1928
This sonata was one of Janáček's last works and its intensity reflects his affinity
with his Czech homeland and its ethnic music. The work was started in 1914
when the Russian armies entered Hungary at the start of the Great War. The last
movement, the climax of the work, possibly reflects succinctly the emotional
turbulence of these events.
The first movement offers a variety of personal expression and its flexible
rhythmic language is in keeping with Janáček's fascination with speech rhythms.
The subtlety of its harmonic colours is occasionally reminiscent of Debussy.
2
A wonderfully lyrical and flowing ballade is constructed upon an exquisite
harmonic palette. An engagingly sentimental section in which both instruments
play the same simple melody with delicate accompaniment occurs twice.
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i
1
The third movement is typical of Eastern European folk music with strong duple
rhythms accompanied by extravagant trills and effects, containing unmistakable
elements of improvisation as in all movements.
The last movement is the climax of the work where improvisational elements are
particularly evident in the violin, which has become more of a protagonist to the
piano. The underlying unrest continues in the insistent violin motifs against the
flowing piano melody. Towards the end the piano joins in with the more radical
utterances of the violin, contributing trills and tremolos and the music fades in a
thoughtful manner but lacking finality.
INTERVAL
Sonata for Solo Violin (1944)
2. Fuga
1. Tempo di ciaconna
3.Melodia
4. Presto
C Stanton.
Béla Bartók 1881-1945
Bartók wrote this sonata in 1944 after his sixth String Quartet of 1939 which at
the time appeared to be his swan song. He also completed his exuberant
Concerto for Orchestra (1943), amidst conjecture that this late flowering was
possibly due to his involvement with a young married woman. Bartók attended
the premiere of this virtuoso solo sonata performed by Menuhin.
The first movement is certainly evocative of Bach's famous Chaconne in D minor
for unaccompanied violin, although this one is not a strict example of the form.
Clearly both this and the second movement owe much to the Bach eighteenth
century models.
The impressive and technically demanding fugue of the second movement
requires the player to perform the difficult task of playing the independent lines
of a fugue on an instrument designed ideally to play a single melody, and to
produce a full harmonic texture in doing so.
3
Both third and fourth movements conjure up various aspects of Bartók's folk
music origins; the third with memories of his homeland inherent in its
introspective melodic lines; the fourth embodying passages of a spontaneous
nature inserted between resounding and rhythmic sections. Both sections are
pervaded by the imaginative string effects that we have come to associate with
Bartók's mature works.
C Stanton.
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Summertime and a Woman is Sometime Thing
My Man's Gone Now
It ain't necessarily So
Gershwin/Du BOSE/Heyward/Gershwin/Heifetz, from Porgy and Bess
Heifetz once asked Gershwin to write a violin concerto, but sadly Gershwin
passed away before he had a chance to write it. Heifetz was not only the world's
foremost violinist of the time, but also a competent piano player, so the next best
thing for Heifetz was to transcribe Gershwin's music for violin and piano.
Originally conceived by Gershwin as an "American folk opera," Porgy and Bess
premiered in New York in the fall of 1935 and featured an entire cast of
classically trained African-American singers - a daring and visionary artistic
choice at the time. Incorporating a wealth of blues and jazz idioms into the
classical art form of opera, Gershwin considered it his finest work.
Note by Jochen Braun
NEXT CONCERT
HUDDERSFIELD MUSIC SOCIETY (St Paul's Hall)
7.30 pm, Monday 29TH October 2007
The Heath String Quartet
Mozart String quartet in A major K 464
Bartok String Quartet no 3
Brahms String Quartet op 51 no 1 in C minor
OTHER FORTHCOMING EVENTS
Square Chapel Centre for the Arts, Halifax
Friday 16th November 2007, 7.30pm
Halifax Philharmonic Club
Schubert Ensemble
Faure, 2nd Piano Quintet
Pavel, Novak Piano Quartet
Dvorak, Quintet
Tickets £13.50, concessions £12.00, full-time students £5.00,
under 16s £2.00
Box Office 01422 349422
Huddersfield Philharmonic Orchestra at
Huddersfield Town Hall
Saturday 17 November 2007 - 7.30pm
Soloist: Jonathan Fisher
Mendelssohn - Overture: The Hebrides
Grieg Piano Concerto
Tchaikovsky - Symphony No 2 (The Little Russian)
Kirklees box office 01484 223200
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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: michaellord@wizzo.org.uk
COMMITTEE
David Allsopp, John Bryan, Margaret Collison,
Alastair Cridland, Marjorie Glendinning, Helen Howden,
Linda Walker, Christine Stanton
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, Mrs M Glendinning,
P Michael Lord, T L Michelson, JC S Smith,
JG Sykes, Mrs E R Taylor, Mrs L Walker,
and for practical help with our database from Hilary Norcliffe,
and for production of programmes and posters by David Allsopp
ENGLAND
COUNCIL
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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Season's Performances
8th October 2007
RUTH PALMER (violin) and ALEXEI GRYNYUK (piano)
Beethoven Sonata no.7 in C minor, Op.30 no.2. Janacek sonata for violin & piano;
Bartok Sonata for Solo Violin (1944).
Gershwin from Porgy and Bess:
Summertime and a Woman is a Sometime Thing
My Man's Gone Now and It Ain't necessarily so
29th October 2007
THE HEATH STRING QUARTET
Mozart Quartet in A major K464, Bartok Quartet no 3,
Brahms Quartet op 51 no 1 in C minor
12th November 2007
THE PRAZAK STRING QUARTET
Haydn Quartet in D op 50 no 6 (the Frog), Martinu Quartet no 3 H183,
Smetana Quartet no 1 in E minor T116 (From my life)
14th January 2008
THE GOULD PIANO TRIO
with ROBERT PLANE(clarinet)
Takemitsu 'Between Tides', Debussy Première Rhapsodie,
Messiaen Quartet for the End of Time
4th February 2008
PIERS LANE (piano)
Chopin:- Ballade no 1 in G minor op 23, 2 Nocturnes op 48 - no 13 in C minor and
no 14 in F sharp minor, Sonata no 2 in B flat minor op 35 (Funeral
March), Barcarolle in F sharp major op 60 and Sonata no 3 in B minor op 58
17th March 2008
THE ATRIUM STRING QUARTET
Haydn Quartet in F op77 no 2, Shostakovich Quartet no 3,
Mozart Quartet in B flat K589
14th April 2008
THE NEW LONDON CHAMBER ENSEMBLE
Works by Nielsen, Debussy, Berio, Mozart, Ligeti and Stephen Montague
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
D
I
WI.
Ninetieth Season
2007-2008
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 29 October 2007
THE HEATH STRING QUARTET
Oliver Heath (violin)
Rebecca Eves (violin)
Gary Pomeroy (viola)
Christopher Murray (cello)
The Heath Quartet's reputation as one of Britain's most exciting and
innovative young ensembles has grown steadily since their formation in
2002. They have studied extensively with Dr. Christopher Rowland. Their
exceptionally committed and vibrant playing has been recognised through
successes in The Royal Overseas League Competition, The Terence Weil
Memorial Prize and the Nossek and Hirsh Prizes. In 2005 they were selected
from amongst the country's most outstanding young chamber groups to
win the prestigious Philharmonia Orchestra/Martin Musical Scholarship Fund
Ensemble Award. A highly successful debut recital in The Purcell Room
soon followed. In 2006 the Royal Northern College of Music awarded the
quartet the Sir John Barbirolli Memorial Prize for Chamber Music. As a
group they believe in presenting unfamiliar works to new audiences, and
their flair for communication brings new energy to established
masterpieces. They are actively enthusiastic about performing
contemporary music.
Adapted from www.heathquartet.com
PROGRAMME NOTES
String quartet in A major K 464
First performance at HMS.
1 Allegro
2 Menuetto
3 Andante
4 Allegro non troppo
Mozart 1756-1791
The A major quartet, K464, is the fifth of six quartets which Mozart
dedicated to Haydn and which were, according to Mozart's eloquent
dedication, "The fruits of a long and laborious effort." It was performed,
together with the fourth of the set and the sixth, (the more famous
"Dissonance" K465), for Haydn himself in February 1785, which was the
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occasion when the older composer said to Leopold: "Before God and as an
honest man I tell you that your son is the greatest composer known to me."
Of the set it is the more gentle in character, the emphasis being on
lyricism, symmetry and restraint.
The first movement is highly lyrical, reflecting Haydn's contrapuntal skill but
with Mozart's own highly individualised sense of chromaticism.
The minuet is based upon a simple theme passed back and forth between
the instruments before migrating into remoter keys. The gently persuasive
trio is based upon a cantabile contrary motion idea, later introducing triplet
passages.
The basis for the Andante is a theme with six variations where each
instrument receives its fair share of prominence. The fourth variation is in a
minor key and the last variation contains an intriguing and persistent long
rhythmic figure played first on the cello and then passed to other
instruments.
The final movement opens with a falling chromatic figure and brings the
work to a troubled conclusion leaving the listener in pensive mood. It is
said to have left a deep impression on Beethoven.
String Quartet no 3
Bartok 1881-1945
Last performed at HMS by The Lindsay String Quartet on 5 Dec '83.
1 Prima parte: Moderato-attacca
2 Seconda parte: Allegro-attacca
Ricapitulazione della prima parte: Moderato
3 Coda: Allegro molto
Bartok's six quartets are spread throughout his life, charting the change in
his style. They are surely the greatest contribution to chamber music of our
time, and are especially remarkable for the fact that, although he was not a
string player himself, he was able to explore the extremes of expression so
successfully through this medium. The third quartet was composed in 1927
and is written in a single movement divided into three short and
concentrated parts.
Each movement demonstrates a rich variety of textures including highly
developed polyphony. Its modes are neither major nor minor but developed
from scales of the folk music tradition in which Bartok was so immersed.
The intensity of his musical development is due to the way he expands,
compresses and alters his motifs.
2
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1
The first movement begins cautiously and mysteriously, its disposition
changing between the introverted and more extrovert, where he pushes the
boundaries of string dissonance and harsh sonorities.
The central movement is one of lively rhythmic diversion in which the metre
changes constantly. Primordial rhythms and idiomatic string effects abound.
Bartok reveals astonishing originality in the variety of his musical colour. As
the excitement builds there are passionate declarations between
instruments. Wonderful tutti glissandi precede the Coda section, which
ushers in a new sense of containment in thoughtful counterpoint between
cello and viola. As the last movement gathers pace, more frenzied effects
and vigorous rhythms drive the movement to its conclusion.
INTERVAL
String quartet in C minor, Op.51 no 1 Brahms
1833-1897
Last performed at HMS by The Contempo String Quartet on 29 Oct ¹01
1 Allegro
2 Romanze: Poco adagio
3 Allegretto molto moderato e comodo
4 Allegro
The two quartets of opus 51 were composed in 1873 whilst Brahms was on
holiday. This quintet was preceded by a wealth of other chamber music,
including quartets and also the famous string sextets, reflecting his
experience with these other combinations. His debt to the Classical quartet
genre is obvious, both in the construction and the symphonic conception of
the work.
The first movement opens with a series of brief and agitated ideas but a
more lyrical and contrasting second subject follows. The material of this
section is developed throughout the movement in a rich variety of colours
and textures, in which the four players have closely interacting roles. The
opening theme returns, played by the cello before the closing bars of a
coda.
The second movement, entitled 'Romanze' is slow and contemplative,
beginning with a gentle horn-like theme in A flat major. It continues in
subtle and muted colours, evocative of its title.
The third movement begins with a plaintive and repetitive figure in the key
of F minor, unlike a conventional scherzo movement, but it soon turns to a
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lighter contrapuntal triplet section in which the players exchange and
converse freely. The trio-like section in the major key has a lighter and
more lyrical feel before a return to the more sombre colours of the opening.
The rhetorical unison opening of the last movement heralds a return to the
more intense character of the first movement. This richly orchestral and
highly profound movement, alternating between the dramatic and
thoughtful temperaments, proceeds to an inevitably impassioned
conclusion.
Notes: Christine Stanton
NEXT CONCERT
HUDDERSFIELD MUSIC SOCIETY (St Paul's Hall)
7.30 pm, Monday 12TH November 2007
The Prazak String Quartet
Haydn String quartet in D, op 50 No. 6 (The Frog)
Martinu String Quartet No. 3
Smetana String Quartet No. 1 in E minor (From my life)
OTHER FORTHCOMING EVENTS
Square Chapel Centre for the Arts, Halifax
Friday 16th November 2007, 7.30pm
Halifax Philharmonic Club
Schubert Ensemble
Faure, 2nd Piano Quintet
Pavel, Novak Piano Quartet
Dvorak, Quintet
Tickets £13.50, concessions £12.00, full-time students £5.00,
under 16s £2.00
Box Office 01422 349422
Huddersfield Philharmonic Orchestra at
Huddersfield Town Hall
Saturday 17 November 2007 - 7.30pm
Soloist: Jonathan Fisher
Mendelssohn - Overture: The Hebrides
Grieg Piano Concerto
Tchaikovsky - Symphony No 2 (The Little Russian)
Kirklees box office 01484 223200
1
Huddersfield Music Society Committee.
The Society is always pleased to welcome new members to the Committee.
Please contact David Allsopp, Secretary, 01484 688105
Email: hudds_music_soc@yahoo.co.uk
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nd
and
9.
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nd
nd
ed
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: michaellord@wizzo.org.uk
COMMITTEE
David Allsopp, John Bryan, Margaret Collison,
Alastair Cridland, Marjorie Glendinning, Helen Howden,
Linda Walker, Christine Stanton
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, Mrs M Glendinning,
P Michael Lord, T L Michelson, JC S Smith,
JG Sykes, Mrs E R Taylor, Mrs L Walker,
and for practical help with our database from Hilary Norcliffe,
and for production of programmes and posters by David Allsopp
ENGLAND
COUNCIL
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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Season's Performances
8th October 2007
RUTH PALMER (violin) and ALEXEI GRYNYUK (piano)
Beethoven Sonata no.7 in C minor, Op.30 no.2. Janacek sonata for violin & piano;
Bartok Sonata for Solo Violin (1944).
Gershwin from Porgy and Bess:
Summertime and a Woman is a Sometime Thing
My Man's Gone Now and It Ain't necessarily so
29th October 2007
THE HEATH STRING QUARTET
Mozart Quartet in A major K464, Bartok Quartet no 3,
Brahms Quartet op 51 no 1 in C minor
12th November 2007
THE PRAZAK STRING QUARTET
Haydn Quartet in D op 50 no 6 (the Frog), Martinu Quartet no 3 H183,
Smetana Quartet no 1 in E minor T116 (From my life)
14th January 2008
THE GOULD PIANO TRIO
with ROBERT PLANE(clarinet)
Takemitsu 'Between Tides', Debussy Premiere Rhapsodie,
Messiaen Quartet for the End of Time
4th February 2008
PIERS LANE (piano)
Chopin:- Ballade no 1 in G minor op 23, 2 Nocturnes op 48 - no 13 in C minor and
no 14 in F sharp minor, Sonata no 2 in B flat minor op 35 (Funeral
March), Barcarolle in F sharp major op 60 and Sonata no 3 in B minor op 58
17th March 2008
THE ATRIUM STRING QUARTET
Haydn Quartet in F op77 no 2, Shostakovich Quartet no 3,
Mozart Quartet in B flat K589
14th April 2008
THE NEW LONDON CHAMBER ENSEMBLE
Works by Nielsen, Debussy, Berio, Mozart, Ligeti and Stephen Montague
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
D
WT.
Ninetieth Season
2007-2008
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 12 November 2007
THE PRAZAK STRING QUARTET
Václav REMEŠ (violin)
plays a Lorenzo Guadagnigi (1730)
Vlastimil HOLEK (violin)
plays a Antonio Caressa (1900)
Josef KLUSON (viola)
plays a Thomas Vilar (1985)
Michal KANKA (cello)
plays a Giovanni Grancino (1710)
The Pražák Quartet was founded while its members were still students at
the Prague Conservatory between 1974 and 1978. Today the Pražák is
recognized as one of the foremost Czech ensembles. Their extended
repertoire includes works by composers of the Second Viennese School,
such as Zemlinsky, Schönberg, Berg and Webern, for which they are much
in demand in Europe and especially in Germany. They also extensively
perform and record the classical repertoire: Haydn, Mozart and Schubert;
and like all Czech Ensembles, they are ideal interpreters of Dvořák,
Smetana, Suk, Novák, Janáček and Schulhoff, as well as of contemporary
composers such as Pascal Dusapin. The Pražák String Quartet appears
regularly in the United Kingdom. In 2009, the quartet will be celebrating
the anniversaries of the deaths of both Haydn and Martinů, performing their
string quartets extensively.
Adapted from www.clbmanagement.co.uk
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PROGRAMME NOTES
Quartet in D major Op 50 No 6 ('The Frog')
Last performed at HMS by the Pro Arte String Quartet, 23 February 1981
Allegro
Poco Adagio
Menuetto: Allegretto
Finale: Allegro con spirito
Haydn 1732-1809
The six quartets Op.50 were written and published in 1787 when Haydn
was in his mid-fifties, and dedicated to the cello-playing King Friedrich
Wilhelm II of Prussia to whom Mozart's last three quartets and Beethoven's
two cello sonatas Op.5 were also dedicated.
All four movements have the same tonic - D major in the case of the
opening sonata form Allegro, the finale and both the Minuet and The Trio
and D minor in the Poco Adagio slow movement, a monothematic sonata
form (the only sonata form slow movement in the whole of the Op.50 set)
which nonetheless ends in an extended D major statement of its second
subject.
The nickname 'The Frog' refers to the barriolage effect that opens the main
theme of the finale - an effect only possible on string instruments in which
a single repeated note is coloured by being played on different strings, in
this case originally an A natural that alternates between being played on a
stopped D string and an open A string. Haydn had made use of the device
briefly in the Scherzando of Op.33 no.1 but here it becomes the basis of the
main theme and gives rise to a whole host of fascinating colours and
textures. The work ends with a barriolage on the notes of the tonic triad on
the three upper instruments against a chromatic figuration on the cello.
The manuscripts of the Op.50 Quartets have had a curious and chequered
history. They were thought to be lost until 1982 when a middle aged lady
turned up at a Haydn Festival in Melbourne (the Festival was mounted to
celebrate the composer's 250th birthday) carrying a shopping bag
containing the manuscripts of Quartets 3,4,5 and 6. The manuscripts had
been sold by a London auction house in 1850 to an English Colonel whose
family, in the following year, emigrated to New Zealand, where the scores,
now bound into a single volume, spent the next 150 years on a sheep
station in South Island.
D Jarman
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I
I
String Quartet No 3
Last performed at HMS by the Martinů String Quartet 17 October 2005
The Czech composer Bohuslav Martinů was born in the town of Policke in
the mountains of Bohemia and Moldavia. He studied at the Prague
Conservatoire, from which he was expelled, with Joseph Suk and later in
Paris with Albert Roussel. Written in Paris in 1929 the third of his seven
string quartets shows a discernible influence of both Debussy and of French
music of the inter-war years. It also shows an interest in exploring new
timbres, not least in the opening of the free-sonata form Allegro first
movement with its combination of pizzicato cello chord, off-beat col legno
notes on the viola and muted tremolo on second violin.
The second movement Andante is dominated by the viola, to which is
entrusted much of the melodic material, although the cello comes into its
own in the final bars. The viola also opens the somewhat Bartokian third
movement that again explores unusual timbres, notably the pizzicato
chords of the cello this time coupled with first violin harmonics. The return
of the opening material introduces a rapid final section.
Martinů 1890-1959
INTERVAL
1 Allegro vivo appassionato
2 Allegro moderato alla polka
2 Largo sostenuto
4 Vivace
String quartet no 1 in E minor (from my life) Smetana 1824-1884
Last performed at HMS by the Prazak Quartet 14 October 1996
D Jarman
Smetana was fundamentally and instinctively an opera composer who
trained in the Austrian-Italian tradition. He composed few chamber works
and only two string quartets but this later music shows more evidence of
his native Bohemia with its pentatonic scales and dance rhythms.
3
The first quartet is biographical music evoking the scenes of his (young)
life. Completed in 1876, he said of it, "What I set out to do was to retrace
the unfolding of my life in music". Smetana therefore, attributed a specific
programme to each movement. The first conjures up youthful love of art
and romantic mood but includes premonitions of future nostalgia and
unhappiness.
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In the energetic second movement he recalls youthful passions and love of
dancing in its Polka-style dance rhythms.
It is not difficult to follow the programme of the famously alluring third
movement in which the composer refers to his first falling in love. The
music is fervent with undisguised sentiment.
The fourth movement, with its joyous opening, reflects the growing role
played by nationalist music later in his life and which brought him at last
hard won recognition. Later, recollections of his personal impending
deafness are discernible in the fast tremolos and tragic statements of the
music before a calmer and more peaceful mood of acceptance at the end.
C Stanton
NEXT CONCERT
HUDDERSFIELD MUSIC SOCIETY (St Paul's Hall)
7.30 pm, Monday 14TH January 2008
The Gould Piano Trio with Robert Plane (clarinet)
Takemitsu Quartet 'Between tides'
Debussy Premiere Rhapsodie for clarinet and piano
Messiaen Quartet for the End of Time
OTHER FORTHCOMING EVENTS
Square Chapel Centre for the Arts, Halifax
Friday 16th November 2007, 7.30pm
Halifax Philharmonic Club
Schubert Ensemble
Faure, 2nd Piano Quintet
Pavel Novak, St Mary Variations
Dvorak, Quintet
Tickets £13.50, concessions £12.00, full-time students £5.00,
under 16s £2.00
Box Office 01422 349422
Huddersfield Philharmonic Orchestra at
Huddersfield Town Hall
Saturday 17 November 2007 - 7.30pm
Soloist: Jonathan Fisher
Mendelssohn - Overture: The Hebrides
Grieg Piano Concerto
Tchaikovsky - Symphony No 2 (The Little Russian)
Kirklees box office 01484 223200
Huddersfield Music Society Committee.
The Society is always pleased to welcome new members to the Committee.
If you would like to know more please contact David Allsopp, Secretary, 01484 688105
Email: hudds_music_soc@yahoo.co.uk
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e of
ird
The
ole
ast
ing
the
on
5
Hon. Treasurer
P. Michael Lord
Tel: 01484 310104 Fax: 01484 425658 e-mail: michaellord@wizzo.org.uk
ARTS
OFFICERS
President
Stephen Smith
Hon. Secretary
Gordon Sykes
Tel: 01484 663474 e-mail: gordon.sykes@virgin.net
COMMITTEE
David Allsopp, John Bryan, Margaret Collison,
Alastair Cridland, Marjorie Glendinning, Helen Howden,
Linda Walker, Christine Stanton
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated
со
and for practical help with our database from Hilary Norcliffe,
and for production of programmes and posters by David Allsopp
The Society is grateful for financial help also from:
D Dugdale, Mrs M Glendinning,
P Michael Lord, T L Michelson, JC S Smith,
JG Sykes, Mrs E R Taylor, Mrs L Walker,
ENGLAND
SUNCIL
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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Season's Performances
8th October 2007
RUTH PALMER (violin) and ALEXEI GRYNYUK (piano)
Beethoven Sonata no.7 in C minor, Op.30 no.2. Janacek sonata for violin & piano;
Bartok Sonata for Solo Violin (1944).
Gershwin from Porgy and Bess:
Summertime and a Woman is a Sometime Thing
My Man's Gone Now and It Ain't necessarily so
29th October 2007
THE HEATH STRING QUARTET
Mozart Quartet in A major K464, Bartok Quartet no 3,
Brahms Quartet op 51 no 1 in C minor
12th November 2007
THE PRAZAK STRING QUARTET
Haydn Quartet in D op 50 no 6 (the Frog), Martinu Quartet no 3 H183,
Smetana Quartet no 1 in E minor T116 (From my life)
14th January 2008
THE GOULD PIANO TRIO
with ROBERT PLANE(clarinet)
Takemitsu 'Between Tides', Debussy Premiere Rhapsodie,
Messiaen Quartet for the End of Time
4th February 2008
PIERS LANE (piano)
Chopin:- Ballade no 1 in G minor op 23, 2 Nocturnes op 48 - no 13 in C minor and
no 14 in F sharp minor, Sonata no 2 in B flat minor op 35 (Funeral
March), Barcarolle in F sharp major op 60 and Sonata no 3 in B minor op 58
17th March 2008
THE ATRIUM STRING QUARTET
Haydn Quartet in F op77 no 2, Shostakovich Quartet no 3,
Mozart Quartet in B flat K589
14th April 2008
THE NEW LONDON CHAMBER ENSEMBLE
Works by Nielsen, Debussy, Berio, Mozart, Ligeti and Stephen Montague
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
WI.
Ninetieth Season
2007-2008
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 14 January 2008
THE GOULD PIANO TRIO
Lucy Gould - Violin
Alice Neary - Cello
Benjamin Frith Piano
with Robert Plane - Clarinet
Sally fendlebury cello.
John Tunnell Trusts.
enoitsistlA omissgo19
atian
as one of the
oday. Highly
a career that
s. Chosen as
has performed
Carnegie Hall,
; Beaux-Arts,
aris, Cologne,
many national
harles Hennen
st Prize in the
Competition in
tion in Florence
to the overall
n the Tillett and
Robert Plane, clarinettist, has enjoyed a successful and varied
career as a soloist, chamber musician and orchestral principal,
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Programme Alterations
Monday 14th January 2008
The Gould Piano Trio
Sally Pendlebury, 'cello replaced Alice Neary
tween the Tides is for a trio not quartet as printed
Hilary Norcliffe
Archivist
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1
Huddersfield Music Society
Monday 14 January 2008
THE GOULD PIANO TRIO
Lucy Gould Violin
Alice Neary Cello
Benjamin Frith - Piano
with Robert Plane - Clarinet
Sally fendlebury cello.
The Gould Piano Trio has established a reputation as one of the
most stylish and versatile ensembles performing today. Highly
regarded in the field of chamber music, they enjoy a career that
takes them to major venues in the UK and overseas. Chosen as
British Rising Stars for the 1998-9 season, the Trio has performed
in such prestigious venues as New York's Carnegie Hall,
Amsterdam Concertgebouw, Brussels Palais des Beaux-Arts,
Birmingham Symphony Hall and major halls in Paris, Cologne,
Athens and Vienna.
The Gould Piano Trio have been the recipients of many national
and international awards; First Prize at the Charles Hennen
Competition in Holland was followed by joint First Prize in the
inaugural Melbourne International Chamber Music Competition in
Australia. At the 1993 Premio Vittorio Gui Competition in Florence
they were awarded the audience prize in addition to the overall
First Prize. In the UK the Trio have won awards from the Tillett and
John Tunnell Trusts.
Robert Plane, clarinettist, has enjoyed a successful and varied
career as a soloist, chamber musician and orchestral principal,
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since winning the Royal Overseas League Music Competition in
London in 1992. He has become particularly well known for his
best-selling Naxos recording of Finzi's Clarinet Concerto, which is
broadcast regularly on BBC Radio 3 and Classic FM. This disc won
'Best Concerto Recording' in the Classic CD Awards in 2000 as well
as an Editor's Choice recommendation in Gramophone.
Adapted from www.gouldpianotrio.com and www.robertplane.com
PROGRAMME NOTES
Trio
Quartet "Between Tides"
Toru Takemitsu 1930-1996
Takemitsu was deeply attracted to nature: Between Tides is simply
another term for slack water - the pause, at high or low water,
when tides reverse direction; a brief time for rest, reflection, and
introspection. The musical tradition of Japan in this work is
obvious, but the harmonic language is a beautiful mixture of late
Impressionism and the contemporary Neo-Romanticism of Eastern
Europe.
The music's structure consists of a series of constantly restarting
arcs, giving the effect of watching misty, watery scenery. It
illustrates how moving Takemitsu can be as a composer, once
liberated from the arcana of atonality and mathematics.
Robert Plane
Première Rhapsodie for clarinet and piano Claude Debussy
1862-1918
Last performed at HMS by Janet Hilton and Keith Swallow December 16 1974
This work was composed in 1910 as the competition piece for
graduating clarinet players of the Paris Conservatoire at their
annual Concours. Its dedication to the clarinet professor, Prosper
Mimart with "en témoigne de sympathie" (with an expression of
sympathy), perhaps sums up the prospect for Debussy of hearing it
eleven times!
Beginning with a dreamily slow introduction, there follows a
wonderfully flexible main theme introduced by the clarinet in its
middle register. The piano part is equally beautiful and derived
from the same sound world as Debussy's First Book of Preludes, its
repetitive shifting harmonic figures and parallel block chords
creating the ambience of the unique French musical idiom. The
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1
playful side of the clarinet is introduced in a kind of cadenza, but it
is the piano which insinuates the first hint of the staccato
scherzando theme, taken up a few bars later by the clarinet and
exploiting the instrument's great virtuosity. Throughout, the huge
and subtle colour palette of the piano, mixed with the vibrant and
brilliant, or equally subtle tones of the clarinet, produces a huge
range of instrumental tone and colour.
Finally, an extravagant display of trills and swirls on both
instruments leads to a triumphant ending.
INTERVAL
C. Stanton
Quartet for the End of Time Olivier Messiaen 1908-1992
Last performed at HMS by the Gould Piano Trio 19 January 1998
Born at Avignon, Messiaen studied at the Paris Conservatoire under
Dukas and Dupré. He was a religious mystic of the most extreme
type, and his works (choral, piano, organ and orchestral) reflect
this.
His unique methods of composition have strongly influenced
younger French composers, making him one of the most
outstanding figures of twentieth century French music. In particular
he was influenced by Hindu music, especially its rhythms. Much of
his work displays his deep love of nature, with inspiration derived
from birdsong using an almost literal transcription of the calls at
times.
A prisoner of war for two years, Messiaen wrote his End of Time
Quartet in a Silesian prison camp, where it received its first
performance, on borrowed instruments, in the bitter winter of
January 1941. The composer himself was at the piano. The printed
score contains a quotation from chapter 10 of the Revelations of St
John the Divine:- "I saw a mighty angel come down from heaven
clothed with a cloud; and a rainbow was on his head and his face
was at it were the sun, and his feet as pillars of fire. He set his
right foot upon the sea and his left foot on the earth, and standing
upon the sea and upon the earth lifted up his hand to heaven and
swore by Him that liveth for ever and ever, saying: THERE SHALL
BE TIME NO LONGER: but in the days of the trumpet of the
seventh angel, the mystery of God shall be finished."
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1. Crystal Liturgy. Clarinet and violin play florid lines "like a bird"
over ostinatos in chords for the piano and in harmonics for the
cello.
2. Vocalise for the angel who announces the end of time. The outer
sections represent the majesty of the angel, and the inner, "the
impalpable harmonies of the heavens". The cascading chords of
the piano are the raindrops in the rainbow.
3. Abyss of the birds for clarinet. The abyss -the sadness and
desolation of time; the birds our longing for light, stars, joyful
sounds.
4. Intermezzo - a scherzo without piano.
5. In praise of the Eternity of Jesus for cello and piano.
6. "In the beginning was the Word, and the Word was with God, and
the Word was God".
7.
Dance of Fury for seven trumpets. The sound of the four
instruments in unison is meant to represent that of the trumpets.
8. Cluster of Rainbows for the angel who announces the End of
Time.
9.
In praise of the immortality of Jesus for violin and piano,
carries us aloft in timelessness to eternal peace with God.
Notes taken from programme of 19th January, 1998
NEXT CONCERT
HUDDERSFIELD MUSIC SOCIETY (St Paul's Hall)
Monday, 4th February 2008, 7.30 pm,
PIERS LANE (piano)
Chopin Ballade no 1 in G minor op 23,
2 Nocturnes op 48 - no 13 in C minor and no 14 in F sharp minor,
Sonata no 2 in B flat minor op 35 (Funeral March),
Barcarolle in F sharp major op 60 and Sonata no 3 in B minor op 58
OTHER FORTHCOMING EVENTS
Square Chapel Centre for the Arts, Halifax
Friday 18th January 2008, 7.30pm
Halifax Philharmonic Club
Haydn Quartet in B Flat Major
Shostakovich Quartet No 8
Royal Quartet
Dvorak Quartet No 12 in F Major
Tickets £13.50, concessions £12.00, full-time students £5.00, under 16s £2.00
Box Office 01422 349422
Huddersfield Philharmonic Orchestra at Huddersfield Town Hall
Saturday 9th February 2008 - 7.30pm
with Guest Narrator Robert Powell
Khachaturian - Sabre Dance (from Ballet Gayaneh)
Prokofiev - Peter and the Wolf
Rachmaninov - Symphony No 2
Kirklees box office 01484 223200
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AA
Hon. Treasurer
P. Michael Lord
Tel: 01484 310104 Fax: 01484 425658 e-mail: michaellord@wizzo.org.uk
OFFICERS
President
Stephen Smith
Hon. Secretary
Gordon Sykes
Tel: 01484 663474 e-mail: gordon.sykes@virgin.net
COMMITTEE
David Allsopp, John Bryan, Margaret Collison,
Alastair Cridland, Marjorie Glendinning, Helen Howden,
Linda Walker, Christine Stanton
CIL
ENGLAND
concerts from
ciety is affiliated
o from:
mith,
ker,
ry Norcliffe,
David Allsopp
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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1. Crystal Liturgy. Clarinet and violin play florid lines "like a bird"
over ostinatos in chords for the piano and in harmonics for the
cello.
2. Vocalise for the angel who announces the end of time. The outer
sections represent the majesty of the angel, and the inner, "the
impalpable harmonies of the heavens". The cascading chords of
the piano are the raindrops in the rainbow.
3. Abyss of the birds for clarinet. The abyss -the sadness and
desolation of time; the birds our longing for light, stars, joyful
sounds.
4. Intermezzo - a scherzo without piano.
5. In praise of the Eternity of Jesus for cello and piano.
6. "In the beginning was the Word, and the Word was with God, and
the Word was God".
7.
Dance of Fury for seven trumpets. The sound of the four
instruments in unison is meant to represent that of the trumpets.
8. Cluster of Rainbows for the angel who announces the End of
Time.
9. In praise of the immortality of Jesus for violin and piano,
carries us aloft in timelessness to eternal peace with God.
Notes taken from programme of 19th January, 1998
NEXT CONCERT
HUDDERSFIELD M
Monday, 4th Febr
PIERS LANE (piar
Chopin Ballade n
2 Nocturnes op 48
Sonata no 2 in B fla
Barcarolle in F shar
Square Chapel Ce
Friday 18th Janu
Halifax Philharm
Haydn Quartet in
Shostakovich Qui
Dvorak Quartet N
Tickets £13.50, co
Box Office 01422 3
Huddersfield Phi
Saturday 9th Feb
with Guest Narra....
Khachaturian - Sabre Dance (from Ballet Gayaneh)
Prokofiev - Peter and the Wolf
Rachmaninov - Symphony No 2
Kirklees box office 01484 223200
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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: michaellord@wizzo.org.uk
COMMITTEE
David Allsopp, John Bryan, Margaret Collison,
Alastair Cridland, Marjorie Glendinning, Helen Howden,
Linda Walker, Christine Stanton
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, Mrs M Glendinning,
P Michael Lord, T L Michelson, JC S Smith,
JG Sykes, Mrs E R Taylor, Mrs L Walker,
and for practical help with our database from Hilary Norcliffe,
and for production of programmes and posters by David Allsopp
ENGLAND
COUNCIL
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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Season's Performances
8th October 2007
RUTH PALMER (violin) and ALEXEI GRYNYUK (piano)
Beethoven Sonata no.7 in C minor, Op.30 no.2. Janacek sonata for violin & piano;
Bartok Sonata for Solo Violin (1944).
Gershwin from Porgy and Bess:
Summertime and a Woman is a Sometime Thing
My Man's Gone Now and It Ain't necessarily so
29th October 2007
THE HEATH STRING QUARTET
Mozart Quartet in A major K464, Bartok Quartet no 3,
Brahms Quartet op 51 no 1 in C minor
12th November 2007
THE PRAZAK STRING QUARTET
Haydn Quartet in D op 50 no 6 (the Frog), Martinu Quartet no 3 H183,
Smetana Quartet no 1 in E minor T116 (From my life)
14th January 2008
THE GOULD PIANO TRIO
with ROBERT PLANE(clarinet)
Takemitsu 'Between Tides', Debussy Premiere Rhapsodie,
Messiaen Quartet for the End of Time
4th February 2008
PIERS LANE (piano)
Chopin:- Ballade no 1 in G minor op 23, 2 Nocturnes op 48 - no 13 in C minor and
no 14 in F sharp minor, Sonata no 2 in B flat minor op 35 (Funeral
March), Barcarolle in F sharp major op 60 and Sonata no 3 in B minor op 58
17th March 2008
THE ATRIUM STRING QUARTET
Haydn Quartet in F op77 no 2, Shostakovich Quartet no 3,
Mozart Quartet in B flat K589
14th April 2008
THE NEW LONDON CHAMBER ENSEMBLE
Works by Nielsen, Debussy, Berio, Mozart, Ligeti and Stephen Montague
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
u
WI.
Ninetieth Season
2007-2008
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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PE=CESS
Jc
RB Wa
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Huddersfield Music Society
Monday 4 February 2008
PIERS LANE
Piers Lane made his debut in broadcast recital
for ABC aged 12, and since then
then his
international career has taken him to more
than forty countries. Born in London, he grew
up in Brisbane and holds dual Anglo-Australian
nationality. His teachers included his mother
Enid Lane, Dr William Lovelock, Dr Nancy
Weir, Bela Siki, Kendall Taylor and Yonty
Solomon; he also attended masterclasses with
Jorge Bolet. He is a professor of piano at the
Royal Academy of Music and is well known to
BBC Radio 3 listeners for his series The Piano
which ran to 54 episodes; he also regularly
presented BBC Legends.
Piers Lane's recent appearances have included recitals in Amsterdam,
Auckland, Bremen, Brisbane, Melbourne, Munich, Perth, Sheffield,
Stockholm, Wellington and the Wigmore Hall. He has performed
Messiaen's Turangalila Symphony at Manchester's Bridgewater Hall
with the BBC Philharmonic.
Piers Lane's repertoire of some 60 concertos has led to engagements
with many great orchestras, including five of the ABC orchestras; the
six BBC orchestras; the City of Birmingham, Bournemouth, and many
other orchestras throughout the world. Conductors with whom he has
worked include Andrey Boreyko, Sir Andrew Davis, Sir Charles Groves,
Richard Hickox, Hiroyuki Iwaki, Sir Charles Mackerras, Jerzy
Maksymiuk, Norman del Mar, Maxim Shostakovich, Yan Pascal Tortelier
and Vladimir Verbitsky.
Special collaborations include duo recitals with British violinist Tasmin
Little and two-piano recitals with Canadian pianist Marc-André
Hamelin, with whom he has performed in London and Montreal.
1
Adapted from www.concertartist.info.
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Frédéric Chopin
1810-1849
Chopin, a voluntary exile from his native Poland,
travelled to Europe in order to gain a deeper
knowledge of culture. He left behind a state of
political turmoil that threatened the aristocratic
background into which he had been born and
was more at home in the artistic life of Paris. His
music combines a kind of subjective nostalgia
for his past with the new and sophisticated
Romanticism of European culture. It exhibits
great artistry, and is often extravagant in its
displays of virtuosity, whilst at the same time
imbued with an introspective quality.
The pianoforte, already into its second century, was a much improved
instrument due to the demands of composers, for example,
Beethoven, who had also taken the Classical piano sonata to its limits.
Like Schumann and Mendelssohn, Chopin was forced to find new and
more appropriate vehicles for creative expression. He tended to
compose shorter pieces of a more subjective nature, grouping them
together in sets, and thus exploring the more intimate possibilities of
the pianoforte as well as its increased range. His sets of waltzes,
mazurkas, impromptus, polonaises, nocturnes, études, scherzos, etc.
provided him with an enormous repertoire of beautifully crafted
miniatures to play in the salons of the rich and influential aristocracy,
earning him great popularity as the archetypal Romantic virtuoso of
the keyboard.
The G minor Ballade, opus 23 is a work on a slightly larger scale,
much reminiscent of literary narrative in its sense of dramatic
construction and variety. Its pianistic textures are orchestral. The
cautious but strangely compelling opening gently but firmly draws the
listener into its hypnotic story telling. A myriad of colourful and
contrasting episodes with unusual modulations lead the listener from
one scene to another, sometimes revisiting past themes and ending
with brilliance.
The Nocturnes are highly individual and contrasting pieces,
displaying recognisable features for which they are best known:
endless and often embellished melodic inspiration and adventurous
chordal accompaniments with the use of highly coloured key changes.
Romantic expression is increased through the use of rubato, a "give
and take" in terms of rhythmic flexibility, and similarly, skilful use of
pedal to achieve subtlety of effect.
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)
1
Nocturne no 13 in C minor, opus 48 opens with a strangely
introspective melody, simple yet sublime, and accompanied only by
single chords. Later the piece moves to C major with widely spread
chordal accompaniment. The introduction of double octaves unsettles
the calm, creating a more virtuoso role for the pianist and yet more
dramatic power is unleashed with repeated and agitated left hand
chords beneath the melody, before returning to the troubled minor of
the start.
The second of this pair is no 14 in F sharp minor which displays a
typically beautiful cantabile melody coloured by an exceptionally
imaginative harmonic accompaniment. Chopin's accompaniments are
derived from the commonly used arpeggiated idiom of preceding
composers, Clementi and Hummel, whom he admired. Not
surprisingly, Chopin was an admirer of Mozart and his melodies seem
to owe much to the operatic aria. The return to the first theme, with
additional ornamentation, as in this piece, was an accepted musical
device, which owned much to the da capo aria.
Chopin's second and third sonatas share several common traits
such as their virtuosic demands on the pianist, an unusual choice of
key, the placing of the Scherzo before the slow movement as well as
the use of sonata form in their first movements and the fact that the
first subject does not return in the recapitulation but in the coda. Their
differences lie in opus 35 being an earlier, less confident work with an
almost insignificant finale, whilst Chopin seems to achieve a real sense
of authority in his final B minor sonata.
Sonata Opus 35 in B flat minor
1 Grave - Doppio movimento
2 Scherzo
3 March Funèbre (Lento)
4 Finale (Presto)
The best known movement of opus 35 is undoubtedly the Funeral
March, written two years before the actual sonata, a concept once
again already visited by Beethoven in his opus 26. It is the focal point
of the sonata, (and often parodied), but its measured build of tension
from the simple theme and addition of an exquisite second subject
tune, is masterful. According to Wilfred Mellers in his book, "The
Sonata Principle" the driven and haunted scherzo anticipates some of
the breakdown of tonality later reached in Wagner's Tristan and Isolde.
Its accompanying trio is in a major key.
INTERVAL
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Barcarolle in F sharp major, op 60
One of Chopin's last works, this aptly named and individual work is
dramatic and intense. It opens with the well-known undulating
accompaniment beneath a familiar melody and evolves into an
extended landscape employing a rich harmonic palette of colours.
Sonata Opus 58 in B minor
1 Allegro Maestoso
2 Scherzo (molto vivace)
3 Largo
4 Finale (Presto, non tanto)
This familiar and well-loved final sonata has Classical proportions, its
key relationships supporting a sense of symmetry. Commencing in B
minor and finishing in B major, it has a Scherzo in E flat major which is
balanced by an extended, important episode in the same key in the
final movement, (E flat is the enharmonic equivalent of D sharp, i.e.
the same note, and the third of the B major triad). This key is distant
in terms of the close relationships employed by Classical composers
but much relished by Romantic composers from Beethoven onwards.
The success of this large-scale work and measured cohesiveness is
also due to Chopin's ability to extend and control the ideas and
resources which he had already acquired in his numerous salon pieces.
C Stanton
NEXT CONCERT
HUDDERSFIELD MUSIC SOCIETY (St Paul's Hall)
Monday, 17th March 2008, 7.30 pm
ATRIUM STRING QUARTET
Haydn Quartet in F Op 77 no 2,
Shostakovich Quartet No 3 in F Op 73
Mozart Quartet in B flat K 589
OTHER FORTHCOMING EVENTS
Square Chapel Centre for the Arts, Halifax
Halifax Philharmonic Club
Friday, 8th February, 7.30pm
Highly praised soprano Elizabeth Watts and award-winning pianist Gary
Matthewman perform a programme of songs by Schubert, Debussy and
Strauss.
Huddersfield Philharmonic Orchestra at Huddersfield Town Hall
Saturday, 9th February 2008, 7.30pm
with Guest Narrator Robert Powell
Khachaturian - Sabre Dance (from Ballet Gayaneh)
Prokofiev - Peter and the Wolf
Rachmaninov - Symphony No 2
Kirklees box office 01484 223200
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Hon. Treasurer
P. Michael Lord
Tel: 01484 310104 Fax: 01484 425658 e-mail: michaellord@wizzo.org.uk
OFFICERS
President
Stephen Smith
Hon. Secretary
Gordon Sykes
Tel: 01484 663474 e-mail: gordon.sykes@virgin.net
ARTS
COMMITTEE
David Allsopp, John Bryan, Margaret Collison,
Alastair Cridland, Marjorie Glendinning, Helen Howden,
Linda Walker, Christine Stanton
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, Mrs M Glendinning,
P Michael Lord, T L Michelson, JC S Smith,
JG Sykes, Mrs E R Taylor, Mrs L Walker,
and for practical help with our database from Hilary Norcliffe,
and for production of programmes and posters by David Allsopp
ENGLAND
COUNCIL
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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Season's Performances
8th October 2007
RUTH PALMER (violin) and ALEXEI GRYNYUK (piano)
Beethoven Sonata no.7 in C minor, Op.30 no.2. Janacek sonata for violin & piano;
Bartok Sonata for Solo Violin (1944).
Gershwin from Porgy and Bess:
Summertime and a Woman is a Sometime Thing
My Man's Gone Now and It Ain't necessarily so
29th October 2007
THE HEATH STRING QUARTET
Mozart Quartet in A major K464, Bartok Quartet no 3,
Brahms Quartet op 51 no 1 in C minor
12th November 2007
THE PRAZAK STRING QUARTET
Haydn Quartet in D op 50 no 6 (the Frog), Martinu Quartet no 3 H183,
Smetana Quartet no 1 in E minor T116 (From my life)
14th January 2008
THE GOULD PIANO TRIO
with ROBERT PLANE(clarinet)
Takemitsu 'Between Tides', Debussy Premiere Rhapsodie,
Messiaen Quartet for the End of Time
4th February 2008
PIERS LANE (piano)
Chopin:- Ballade no 1 in G minor op 23, 2 Nocturnes op 48 - no 13 in C minor and
no 14 in F sharp minor, Sonata no 2 in B flat minor op 35 (Funeral
March), Barcarolle in F sharp major op 60 and Sonata no 3 in B minor op 58
17th March 2008
THE ATRIUM STRING QUARTET
Haydn Quartet in F op77 no 2, Shostakovich Quartet no 3,
Mozart Quartet in B flat K589
14th April 2008
THE NEW LONDON CHAMBER ENSEMBLE
Works by Nielsen, Debussy, Berio, Mozart, Ligeti and Stephen Montague
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
TILL
WT.
Ninetieth Season
2007-2008
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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in isit
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Huddersfield Music Society
Monday 17 March 2008
THE ATRIUM STRING QUARTET
Alexey Naumenko - Violin
Dmitry Pitulko - Viola
Anton Ilyunin - Violin
Anna Gorelova - Cello
Fo
Alexey Naumenko Anton Ilyunin Anna Gorelova Dmitry Pitulko
The Atrium String Quartet was the first quartet from Russia to win the two
most important international competitions for string quartets. They first
rose to international prominence in April 2003 when they won the First
al String Quartet
le their debut on
ring Quartet of
Classics.
Jis
1
he St Petersburg
evinson, cellist of
in 2002 at an
ng of quartets by
played for the
and Shostakovich
als in Germany
and (Davos), and
debut tour in the
hicago. They are
triumquartet.com
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Programme Alterations
Monday 17th March 2008
The Atrium String Quartet
The works were played in a different order:
1. Mozart
2. Haydn
3. Shostakovich
Hilary Norcliffe
Archivist
String Quartet No 22 in B flat major K 589 (Prussian) (not No 21 K575 as printed)
String Quartet in F Op 77 No 2
String Quartet No 3 in F Op 73
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Huddersfield Music Society
Monday 17 March 2008
THE ATRIUM STRING QUARTET
Anton Ilyunin - Violin
Anna Gorelova - Cello
Alexey Naumenko - Violin
Dmitry Pitulko - Viola
Alexey Naumenko Anton Ilyunin Anna Gorelova Dmitry Pitulko
The Atrium String Quartet was the first quartet from Russia to win the two
most important international competitions for string quartets. They first
rose to international prominence in April 2003 when they won the First
Prize and the Audience Prize in the London International String Quartet
Competition held at Wigmore Hall, after which they made their debut on
BBC Radio 3 with a performance of the Fifth String Quartet of
Shostakovich and made their debut CD recording for EMI Classics.
The quartet was founded in the autumn of 2000 in the St Petersburg
Conservatoire under the inspiration of Professor Joseph Levinson, cellist of
the celebrated Taneyev Quartet. Following a success in 2002 at an
international competition in Weimar they made a recording of quartets by
Shostakovich and Debussy for MDR in Leipzig. They played for the
Huddersfield Music Society in October 2006.
This season they are releasing a new CD of Beethoven and Shostakovich
music in France and are appearing in major festivals in Germany
(Schleswig-Holstein, Mecklenburg-Vorpommern), Switzerland (Davos), and
in France and the UK. In 2009 the quartet will make their debut tour in the
USA, including concerts in Washington, New York and Chicago. They are
currently living in Berlin.
from www.atriumquartet.com
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Quartet in F op 77 no 2
Last performed at HMS by the Lindsay Quartet, 5 December 1983
1 Allegro moderato
3 Andante
PROGRAMME NOTES
Beethoven's patron, Prince Lobkowitz, commissioned opus 77, but Haydn
completed only two quartets of the usual six. He was nearing the end of his vast
output but was still to produce the "Seasons" oratorio and two very beautiful
Masses.
2 Menuet: Presto
Finale: Vivace assai
4
In the first movement the falling opening phrase with a turn on the first note
remains important in the development section with its widening spectrum of
keys. Despite the gentle nature of both main subjects, a darker mood insinuates
itself into the veneer of elegance and there are passages of prolonged tension
and drama in the development.
Haydn 1732-1809
The Menuet is more of a scherzo in character and its excitement is manifest in
an insistent two-beat staccato figure. Haydn is never predictable however, and
its spirited, frolicsome progress is interrupted by a complete arrest in the second
half before returning to the instrumental jesting. A trio in remote D flat major
has a more static and settled feel, secured by long pedal notes in the cello part.
A wonderfully spare duet between the first violin and cello opens a restrained
Andante whose solemnity pervades the entire movement. A falling theme with a
turn is not unlike that of the first movement and it is harmonically enriched with
chromatic chords in its final statement.
1 Allegretto
2 Moderato con moto
3 Allegro non troppo
Humour is restored in a dance finale imbued with the rusticity of a composer
who never forgot his roots in the countryside. Yet it is also permeated by
sophisticated and perfect linear counterpoint, both of which contribute to
defining the essence of Haydn's achievement.
Shostakovich's 15 string
like most of his music,
The stamina required for such concentrated and elaborate musical composition
is surely astonishing for a composer of seventy years and it is not difficult to
understand why Haydn did not go on to complete a third quartet in opus 77
after this one.
C Stanton
Quartet no 3 in F op 73
4 Adagio
5 Moderato
2
Shostakovich 1906-1975
quartets form an important part of his output and
represent a synthesis of events and places and
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In
st
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of
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expression of feelings. He had to endure personal attacks for exhibiting
"anti-democratic tendencies" and this quartet, like others, had to be
withdrawn during some difficult years after its first performance in 1946.
His attempt to find a musical language that would appease his Communist
critics whilst expressing his own integrity should be borne on mind when
considering the nature of the opening jaunty tune. The pianissimo second
subject with its falling third and dissonant chords hints at the barely
disguised conflict of musical aspirations, and after the apparent insouciance
of the opening, the complicated counterpoint of a double fugue comes as a
surprise.
In the second movement a determined viola ostinato pattern is taken up by
the cello, lending a kind of austerity to the opening. Its triple dance rhythm
sits uncomfortably with the often menacing nature of the musical content.
A defiant third movement introduces a fresh kind of tension in its re-iterated
opening chords and driving rhythms, which are often evocative of martial
sounds and rhythms, and evolve into a curious ironic march with plucked
string syncopation.
The tragic slow movement provides an emotional centre for the work, and
after an introductory unison announcement offers grimly profound
statements reflecting Shostakovich's musical dilemmas and personal
anxieties. Much of the movement is pitched low on the instruments and
concludes with a bleak viola and cello dialogue leading into the contrastingly
carefree themes of the fifth movement which seem to redress the emotional
balance for a while. But even a jaunty interlude introducing a tune of
apparently little consequence over a clichéd rhythmic accompaniment does
not conceal the true pathos of the work. A dramatic climax arrives with a
canon by viola and cello after which hope again seems to recede into the
depths of a quiet ending.
C Stanton
INTERVAL
Quartet no 21 in D K575 (Prussian)
1 Allegretto
3 Menuetto: Allegretto - Trio
Mozart 1756-1791
2 Andante
4 Allegretto
Mozart's friend and pupil, Prince Lichnowsky, introduced him to King
Frederick of Prussia in 1789 and the result was the composition of the three
so-called "Prussian" quartets. However, living through particularly hard
times and possibly lacking the motivation or energy, Mozart failed to
complete the intended set of six. The beautifully crafted and prominent cello
lines for the King himself to play are evidence of his influence upon its
composition but unfortunately the works were not published until after his
death and then without a dedication to the King.
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The cello demonstrates its importance quite early on in the first movement,
and in the development section it is pitted frequently against the first violin
and sometimes against all three instruments. In the second movement
Andante, again it takes a solo role, soaring up into the treble clef. The
expressive quality of the melody with its characteristic appoggiaturas is yet
another reminder of the operatic nature of Mozart's inspiration.
The Menuetto has a dramatic quality with accompanying dissonances and
unexpected accents and once again the cello displays its spectacular high
tenor voice in the Trio.
The opening of the last movement clearly evolves from the first movement.
Its expressiveness is in the purity and variety of its counterpoint, though
sometimes pared down to just two instruments or still retaining perfect
clarity in a full-textured section.
It seems poignant that the King, for whom these quartets were clearly so
singularly composed, probably never played or even heard them, and Mozart
probably received neither credit nor payment for their composition.
NEXT CONCERT
HUDDERSFIELD MUSIC SOCIETY (St Paul's Hall)
Monday, 14th April 2008, 7.30 pm,
THE NEW LONDON CHAMBER ENSEMBLE
William Byrd - Pavan and Galliard
Mozart/Vester - Andante für eine Organwalze K616
Ravel/Nissen - Mother Goose Suite
Alison Beckett - Queue
Berio - Opus Number Zoo (Nos 1,2 & 4)
Nielson - Wind Quintet Op 43
OTHER FORTHCOMING EVENTS
Square Chapel Centre for the Arts, Halifax
Friday 28th March 2008 - 7.30pm
Halifax Philharmonic Club & Music in the Round
Ensemble 360
Schubert Trockne Blumen Variations for flute and piano
Howells Rhapsodic Quintet Op 31
Schubert Octet in F major D803
C Stanton
Tickets £13.50, concessions £12.00, full-time students £5.00, under 16s £2.00
Box Office 01422 349422
Huddersfield Philharmonic Orchestra at Huddersfield Town Hall
Saturday 26th April 2008 - 7.30pm
Von Suppé Overture: Light Cavalry
Brahms Variations on a theme of Haydn
Berlioz Symphonie Fantastique
Kirklees box office 01484 223200
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Ocr'd Text:
Hon. Treasurer
P. Michael Lord
Tel: 01484 310104 Fax: 01484 425658 e-mail: michaellord@wizzo.org.uk
OFFICERS
President
Stephen Smith
Hon. Secretary
Gordon Sykes
Tel: 01484 663474 e-mail: gordon.sykes@virgin.net
ARTS
COMMITTEE
David Allsopp, John Bryan, Margaret Collison,
Alastair Cridland, Marjorie Glendinning, Helen Howden,
Linda Walker, Christine Stanton
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, Mrs M Glendinning,
P Michael Lord, T L Michelson, JC S Smith,
JG Sykes, Mrs E R Taylor, Mrs L Walker,
and for practical help with our database from Hilary Norcliffe,
and for production of programmes and posters by David Allsopp
ENGLAND
COUNCIL
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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Ocr'd Text:
Season's Performances
8th October 2007
RUTH PALMER (violin) and ALEXEI GRYNYUK (piano)
Beethoven Sonata no.7 in C minor, Op.30 no.2. Janacek sonata for violin & piano;
Bartok Sonata for Solo Violin (1944).
Gershwin from Porgy and Bess:
Summertime and a Woman is a Sometime Thing
My Man's Gone Now and It Ain't necessarily so
29th October 2007
THE HEATH STRING QUARTET
Mozart Quartet in A major K464, Bartok Quartet no 3,
Brahms Quartet op 51 no 1 in C minor
12th November 2007
THE PRAZAK STRING QUARTET
Haydn Quartet in D op 50 no 6 (the Frog), Martinu Quartet no 3 H183,
Smetana Quartet no 1 in E minor T116 (From my life)
14th January 2008
THE GOULD PIANO TRIO
with ROBERT PLANE(clarinet)
Takemitsu 'Between Tides', Debussy Première Rhapsodie,
Messiaen Quartet for the End of Time
4th February 2008
PIERS LANE (piano)
Chopin:- Ballade no 1 in G minor op 23, 2 Nocturnes op 48 - no 13 in C minor and
no 14 in F sharp minor, Sonata no 2 in B flat minor op 35 (Funeral
March), Barcarolle in F sharp major op 60 and Sonata no 3 in B minor op 58
17th March 2008
THE ATRIUM STRING QUARTET
Haydn Quartet in F op77 no 2, Shostakovich Quartet no 3,
Mozart Quartet in B flat K589
14th April 2008
THE NEW LONDON CHAMBER ENSEMBLE
Works by Nielsen, Debussy, Berio, Mozart, Ligeti and Stephen Montague
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
UI
WT.
Ninetieth Season
2007-2008
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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RC
Huddersfield Music Society
Monday 14 April 2008
THE NEW LONDON CHAMBER ENSEMBLE
Formed in early 2001, the New London Chamber Ensemble came together as
a result of a passionate love of performance and a mutual desire to explore
new ways of communicating musical energy to its audience. To this end it
has undertaken theatrical training, performed works from memory, staged
and choreographed both music and the spoken word and commissioned new
music. Its programmes range from the finest centrepieces of the chamber
music repertoire to fully staged theatrical works all designed to entertain,
provoke, surprise and enthral its audiences.
The members of the ensemble are all established professional musicians
whose orchestral and chamber music experience includes: Endymion
Ensemble; London Mozart Players; The Philharmonia; London Sinfonietta;
The Academy of St Martins; and The City of London Chamber Ensemble.
Between them, they also work at some of Britain's leading Conservatoires
and Music Schools, including the Royal Academy of Music, Guildhall School of
Music and Drama, and the Purcell School of Music.
from www.newlondonchamberensemble.co.uk
PROGRAMME
Pavan and Galliard
William Byrd 1543-1623
The pavan and galliard are typical dances from the 15th and 16th centuries,
often presented as a pair. The pavan is a stately dance in duple (two) time,
and the introductory dance in a set of dances; the galliard, a lively dance in
6/8 (triple) time with a skipping kicking which provides an opportunity for
dancers - particularly the men - to show off.
The social purpose of dancing is summed up in a quote from Thoinot Arbeau:
"...If you desire to marry you must realise that a mistress is won by the good
temper and grace displayed while dancing. And there is more.... for dancing
is practised to reveal whether lovers are in good health and sound of limb,
after which they are permitted to kiss their mistresses in order that they
may touch and savour one another, thus to ascertain whether they are
shapely or emit an unpleasant odour as of bad meat. Therefore, from this
standpoint, quite apart from the many other advantages to be derived from
dancing, it becomes an essential in a well ordered society."
William Byrd was a prolific composer of motets, madrigals, keyboard and
organ works. During the 1570s he discovered a penchant for writing pavans
and galliards for keyboard, of which this pair is an example, transcribed to
the more modern instrumentation of wind quintet for this concert.
Programme note by Neyire Ashworth © 2007
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Andante in F major (für eine Orgelwalze) K616
Wolfgang Amadeus Mozart (1756-1791) arr Frans Vester (1922-1987)
This piece was the third work that Mozart wrote for a clockwork mechanical
organ (Orgelwalze or Flötenuhr in German) which was much in vogue during the
seventeenth and eighteenth centuries. This Andante was entered by Mozart into
his work catalogue on 4 May 1791 as 'an Andante for a cylinder in a small
organ'. It was almost certainly the result of a commission from a certain Herr
Müller, an eccentric Viennese aristocrat who owned several curious mechanical
organs powered by clockwork.
For composers like Mozart, one of the joys of writing for a mechanical organ was
that the notes were produced by inserting pins into a wooden or metal cylinder
which in turn operated the mechanisms through which the notes were produced
with the help of a bellows blowing air into the organ pipes. Therefore, once the
pins had been placed in the appropriate places in the drum, no human
intervention was required in actually performing the pieces. Mozart was able to
indulge his fantasies and produce music of quite astounding intricacy and
ornamentation. The Andante K616 is much more straightforward in construction
than his two previous pieces, and therefore suitable for quintet. Nonetheless,
this simple piece still contains passages of very ornate and decorative music
which challenge the wind players to the limit.
Derek Warby © 2007
Suite: Ma Mère L'Oye (Mother Goose)
Maurice Ravel (1875-1937)
arr David Nissen
Pavane de la Belle au Bois Dormant (Sleeping Beauty's Pavane)
Petit Poucet (Tom Thumb)
Laideronette, Impératrice des Pagodes (The Ugly Little Girl, Princess of the Pagodas)
Les Entretiens de la Belle et de la Bête (Conversations between Beauty and the Beast)
Ravel composed this suite in 1908 initially as a set of piano duets for the
children of Parisian friends, basing the pieces on characters and illustrations
from a book of fairy tales, his intention being 'to evoke the poetry of childhood'.
Later he orchestrated the four pieces but this version for wind quintet by David
Nissen is an arrangement of the four original piano pieces.
Sleeping Beauty's Pavane, only twenty bars long, takes us back to 'far away and
long ago', setting the scene for fairy tales. Petit Poucet is Tom Thumb who
seems to have been placed in the wrong story and acts out part of the plot from
Hansel and Gretel - becoming lost in the woods because the birds eat his bread-
crumb trail. Laideronette (Ugly little girl) was a character who found herself in a
pagoda land surrounded by porcelain figures and gave Ravel an opportunity to
indulge his fascination with the Orient, setting the movement as pentatonic
melody. The fourth movement (conversations between Beauty and the Beast) is
a gentle waltz which depicts the moment when the Beast's humble character
triumphs over his appearance. Beauty agrees to marry him, whereupon he
becomes, following an oboe cadenza, transformed into a 'Prince more beautiful
than the God of Love'.
Programme note by Derek Warby © 2005
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i
Į
Queue mu
Alison Beckett writes: "Queue was written specifically for the New London
Chamber Ensemble, which put out a request for pieces of new music
involving theatre. I had recently arrived in London from Australia, and the
most obvious, alarming(!) and bewildering aspect of the new culture in
which I found myself was undoubtedly 'The Queue'. I have often favoured
using humour when writing new music, as a means to make new music more
accessible, attended, and appreciated by the general public. I have a
fascination with the 'unwritten laws' which society follow, and 'The Queue',
in all its various forms and guises is so ingrained into the culture of life in
London that I couldn't resist using it to form the basis of a piece.
Alison Beckett
Queue uses several theatrical and musical ideas. The theatrical fragments
use time generously, the metronome literally beating out the seconds of
these realities. This reflects the waiting in the queue; the boredom. The
musical fragments are expressed only for a moment before another idea
interrupts and is heard or seen. This was to recreate the feeling of being
bombarded by rules and regulations, with little space to settle before
another rule demands compliance. For this reason, the musical motive is not
heard in full until quite near the end, when the last person in the queue (the
flautist) is served."
Alison Beckett has composed numerous works which involve theatre, or
which involve a fusion of music and theatre, including a full length musical, a
work that involves live painting alongside the music, and works that involve
actors or the musical performers themselves acting. Her works received
excellent critical and audience acclaim in Australia, and she has continued to
produce new works successfully in the UK since arriving here in 2004.
INTERVAL
Opus Number Zoo
Barn Dance
The Fawn (originally The Horse)
Tom Cats
Luciano Berio (1925-2003)
Opus Number Zoo was the result of a commission from the Dorian Quintet
from New York in 1951. Berio offered the Dorians an arrangement of a piece
he had written for five wind instruments and narrator. This early work is
stylistically closer to that of 'neo-Classical' composers such as Stravinsky,
Milhaud and Poulenc than to the daring challenges offered by some of his
later works.
What was a challenge at the time, however, was Berio's demand that, in the
arrangement he presented to the Dorians, the musicians had to double as
narrators, recounting the four amusing stories (only three of which will be
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performed tonight) as well as playing their instrumental parts. Opus Number Su
Zoo is a delightful miniature of music with theatre and has remained a
popular inclusion to wind quintet programmes for more than 25 years.
Programme note by Derek Warby © 2007
Carl Nielsen (1865-1931)
Wind Quintet Op 43 (FS 100)
Allegro ben moderato
Menuett
Praeludium: Adagio. Tema can variazioni: Un poco andantino
This Quintet was written for a specific group of musicians around 1921, and
was intended not only to exploit the character of the instruments, but also to
reflect the personalities of the people playing them.
Nielsen himself provided a short description of the quintet. "The composer has
here attempted to present the characteristics of the various instruments. Now
they seem to interrupt one another and now they sound alone. The theme for
these variations is the tune of one of Carl Nielsen's spiritual songs, which is
here made the basis of a number of variations, now gay and grotesque, now
elegiac and solemn, ending with the theme itself, simply and gently
expressed."
The first movement is in traditional sonata form, the second is a Menuett with
a rustic quality, while the third movement consists of a short Praeludium
followed by a set of variations. In the Praeludium, the oboe is replaced by the
cor anglais to lend a different tone colour to an already colourful work.
However, the oboe is reinstated for the variations. The theme on which the
variations are based is Nielsen's own chorale tune Min Jesus, lad min Hjerte
faa en saaden Smag paa dig (My Jesus, make my heart to love thee), which is
treated to a rather dissonant arrangement. There follow eleven variations with
a reprise of the theme at the end (albeit now with a different time signature).
This movement was played at Nielsen's funeral in 1931. The work was first
performed by the Copenhagen Quintet in Gothenburg, Sweden on 22 April
1922 and is now considered one of the pillars of wind quintet repertoire.
Programme note by Derek Warby © 2007
FORTHCOMING EVENTS
Huddersfield Philharmonic Orchestra at Huddersfield Town Hall
Saturday 26th April 2008 - 7.30pm
Von Suppé Overture: Light Cavalry
Brahms Variations on a theme of Haydn
Berlioz Symphonie Fantastique
Kirklees box office 01484 223200
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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: michaellord@wizzo.org.uk
COMMITTEE
David Allsopp, John Bryan, Margaret Collison,
Alastair Cridland, Marjorie Glendinning, Helen Howden,
Linda Walker, Christine Stanton
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, Mrs M Glendinning,
P Michael Lord, T L Michelson, JC S Smith,
JG Sykes, Mrs E R Taylor, Mrs L Walker,
and for practical help with our database from Hilary Norcliffe,
and for production of programmes and posters by David Allsopp
ENGLAND
COUNCIL
Making
Music
THE NATIONAL FEDERATION
OF MUSIC SOCIETIES
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Season's Performances
8th October 2007
RUTH PALMER (violin) and ALEXEI GRYNYUK (piano)
Beethoven Sonata no.7 in C minor, Op.30 no.2. Janacek sonata for violin & piano;
Bartok Sonata for Solo Violin (1944).
Gershwin from Porgy and Bess:
Summertime and a Woman is a Sometime Thing
My Man's Gone Now and It Ain't necessarily so
29th October 2007
THE HEATH STRING QUARTET
Mozart Quartet in A major K464, Bartok Quartet no 3,
Brahms Quartet op 51 no 1 in C minor
12th November 2007
THE PRAZAK STRING QUARTET
Haydn Quartet in D op 50 no 6 (the Frog), Martinu Quartet no 3 H183,
Smetana Quartet no 1 in E minor T116 (From my life)
14th January 2008
THE GOULD PIANO TRIO
with ROBERT PLANE(clarinet)
Takemitsu 'Between Tides', Debussy Premiere Rhapsodie,
Messiaen Quartet for the End of Time
4th February 2008
PIERS LANE (piano)
Chopin:- Ballade no 1 in G minor op 23, 2 Nocturnes op 48 - no 13 in C minor and
no 14 in F sharp minor, Sonata no 2 in B flat minor op 35 (Funeral
March), Barcarolle in F sharp major op 60 and Sonata no 3 in B minor op 58
17th March 2008
THE ATRIUM STRING QUARTET
Haydn Quartet in F op77 no 2, Shostakovich Quartet no 3,
Mozart Quartet in B flat K589
14th April 2008
THE NEW LONDON CHAMBER ENSEMBLE
Works by Nielsen, Debussy, Berio, Mozart, Ligeti and Stephen Montague
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.