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HUDDERSFIELD MUSIC SOCIETY Ninety First Season 2008/09 St Paul's Hall Huddersfield Given in association with the "Music at the University of Huddersfield" Evening Concert Series Making Music THE NATIONAL FEDERATION OF MUSIC SOCIETIES D Yorkshire Arts www.huddersfield-music-society.org.uk Registered Charity 529340 President: Stephen Smith

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Monday 6th October 2008 Emma Kirkby and The Rose Consort of Viols Dame Emma Kirkby needs no introduction. We are delighted that she has teamed up with the Rose Consort for what will be an unforgettable evening. The Swan and the Nightingale: Music "apt for Voyce and Viols" from Elizabethan and Jacobean England, including pieces from Orlando Gibbons' "First Set of Madigals & Mottets" of 1612, consort songs by William Byrd, together with other music as enjoyed by "gentlemen and merchants of good account" in the City of London around 1600: Italian madrigals by Luca Marenzio, sublime fantasias, pavans and galliards by Dowland, Ferrabosco, Holborne and their contemporaries. Monday 17th November 2008 RTÉ Vanbrugh String Quartet A second visit from the Quartet which is based in Cork as Resident Quartet to Radio Telefis Eireann Haydn: String Quartet Op.76 No.5 Beethoven: String Quartet Op.95 Arvo Pärt: Summa Schumann: String Quartet Op.41 No.3

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HUDDERSFIELD MUSIC SOCIETY Ninety First Season 2008/09 BOOKING FORM (to be detached) 望 T

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e e r n t C d 1 RTÉ VANBRUGH STRING QUARTET to Monday 8th December 2008 James Turnbull (oboe) and Elizabeth Burgess (piano) A young oboist accommpanied by an accomplished pianist Benjamin Britten: Two Insect Pieces Benjamin Britten: Temporal Variations Howells: Oboe Sonata Edwin Roxburgh: Antares (1988) Gerald Finzi: (arr. Ferguson) Interlude Edmund Rubbra: Oboe Sonata in C Monday 9th February 2009 Herold String Quartet Winners of the 2001 annual award from the prestigious Czech Chamber Music Society. Dvořák: Cypresses (Selection: Nos 3,5,11,12) Smetana: String Quartet No.2 Beethoven: Quartet Op.131 Monday 23rd February 2009 Endellion String Quartet The quartet was formed in 1979 and has been 'Quartet in Residence' at Cambridge University since 1992. Haydn: String Quartet Op.50 No.5 Janáček: String Quartet No.2 "Intimate Letters" Beethoven: String Quartet Op.18 No.6 VA

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BOOKING ARRANGEMENTS Single Season Ticket Double Season Ticket Single Concert Ticket Except Concert 1 Student Season Ticket Student Single Ticket 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 2008. TICKETS Name Address Post this form with cheque payable to Huddersfield Music Society to the Hon Treasurer, Mr Michael Lord, 14 Garsdale Road, Newsome, Tel 01484 310104 Postcode Huddersfield HD4 6QZ. BOOKING FORM Please send ........... single/double season tickets Please send .....…... ........ single concert tickets for concert number(s) E-mail: michaellord@wizzo.org.uk I enclose cheque Fax 01484 425658 ........... £92 £172 £15 £20 £18 £3 Telephone Total £ Would Double Season Ticket holders please add the name of the second purchaser for our membership register: Monday 2nd March 2009 Carducci String Quartet The Carducci String Quartet, half Irish and half British is recognised today as one of Europe's top young string quartets. Haydn: String Quartet Op.20 No.4 Shostakovich: String Quartet No.8 Schubert: "Death and the Maiden" Wit Monday 23rd March 2009 Andrew Brownell (Piano) 2nd Prize and Benjamin Britten Prize, 2006 Leeds International Pianoforte Competition Bach: English Suite No.1 in A major Mozart: Sonata in A K 331 Schumann: Arabesque Schumann: Fantasy Op.17

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Single Season Ticket Double Season Ticket Single Concert Ticket Except Concert 1 Student Season Ticket Student Single Ticket We acknowledge with thanks support from the University of Huddersfield to which the Society is affiliated. The Society is grateful for financial help also from: Mrs M Glendinning, P Michael Lord, PL Michelson, JC S Smith, JG Sykes, Mrs E R Taylor, Mrs L Walker, and for support from: Making Music (National Federation of Music Societies) and the Countess of Munster Musical Trust. TO HALIFAX & M62 TICKETS 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. A629 NEW NORTH ROADO TRINITY STREET NORTH CASTLE GATE STATION BUS TO MANCHESTER A62 MANCHESTER ROAD RAILWAY STATION SUD 1008 00G00 ୦୦୮ 001 O A616 CHAPEL HILL QUEESNGATE CAR PARK Car Parking should be available QUEESN ST SOUTHO SOUTHGATE TO LEEDS QUEEN LEEDS ROAD A62 £92 £172 £15 £20 £18 £3 ST. PAUL'S HALL TO WAKEFIELD & SHEFFIELD A629 WAKEFIELD ROAD UNIVERSITY OF HUDDERSFIELD St Paul's for a small fee. The car park is lit and attended. Concerts usually end at about 9.30p.m. across Queensgate from

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HUDDERSFIELD MUSIC SOCIETY L WT. Ninety First Season 2008-2009 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 6 October 2008 ROSE CONSORT OF VIOLS IBI AZIZ JOHN BRYAN ALISON CRUM ROY MARKS PETER WENDLAND WITH EMMA KIRKBY (SOPRANO) Emma Kirkby originally had no expectations of becoming a professional singer. As a classics student at at Oxford and then a schoolteacher she sang for pleasure in choirs and small groups, always feeling most at home in renaissance and baroque repertoire. She joined the Taverner Choir in 1971, and in 1973 began her long association with the Consort of Musicke. She took part in the early Decca Florilegium recordings Photo by David Kornfeld/BIS with both the Consort of Musicke and the Academy of Ancient Music, at a time when most college-trained sopranos were not seeking a sound appropriate for early instruments. She therefore had to find her own approach, with enormous help from Jessica Cash in London, and from the many directors, fellow singers and instrumentalists with whom she has worked, building up long-term relationships in particular with London Baroque, the Freiburger Barockorchester, L'Orfeo (of Linz), the Orchestra of the Age of Enlightenment, the Palladian Ensemble and Florilegium. To date, she has made well over a hundred recordings of all kinds, from sequences of Hildegarde of Bingen to madrigals of the Italian and English Renaissance, cantatas and oratorios of the Baroque, and works of Mozart, Haydn and J.C. Bach. Universally acclaimed for her achievements, in 1999 she was voted Artist of the Year by Classic FM Radio listeners; in 2000 she was awarded the OBE; in April 2007 a BBC Music Magazine poll of critics to find the '100 greatest sopranos' put her at number 10; in July 2007 she was the subject of a South Bank Show on ITV; and in November 2007 she became a Dame. - 1 -

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The ROSE SE Consort of Viols John Bryan photo: Stephan Renard John Bryan Head of Music and Drama at the University of Huddersfield; Artistic Adviser to York Early Music Festival; conductor and broadcaster. Alison Crum photo: - Stephan Renard Alison Crum Professor of Viol at Trinity College of Music, London; President, Viola da Gamba Society of Great Britain; Author of "Play the Viol" (OUP, 1989). Roy Marks photo: - Stephan Renard Roy Marks Editor and publisher for Marks Music; freelance player, particularly of violone; doubles on viols and theorbo. Peter Wendland Based in London, performs and teaches viol at several academies in Germany; performs as a soloist and in baroque ensembles. Ibi Aziz was taught by Alison Crum and attended master classes by Jordi Savall and Wieland Kuijken. He now keeps a busy schedule performing with various groups in the UK and abroad. -2- -

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The Rose Consort of Viols takes its name from the celebrated family of viol makers, whose work spanned the growth and flowering of the English consort repertoire. With its unique blend of intimacy, intricacy, passion and flamboyance, this music ranges from Taverner and Byrd, to Lawes, Locke and Purcell. The Consort performs extensively throughout the UK and Europe, appears regularly on the BBC and in the major London concert halls, and has also featured at festivals in Canada and the USA, as well as at the Greenwich International Festival of Early Music in London. Concerts have included guest soloists such as sopranos Emma Kirkby and Ellen Hargis, mezzos Catherine King and Clare Wilkinson, the vocal groups Red Byrd, Stile Antico and the BBC Singers, lutenists Jacob Heringman, Jakob Lindberg and Christopher Wilson, and keyboard player Timothy Roberts. The Consort has received awards for its research and performance of commissioned and performed new pieces for newly devised programmes, and has also voices and viols by Malcolm Bruno, Elizabeth Liddle and Ivan Moody. The Rose Consort has made a number of highly acclaimed recordings on the Amon Ra, Woodmasterne and Naxos labels. Its CDs for Naxos include an anthology of Elizabethan consort music, in addition to those of Byrd, Dowland, Gibbons, Jenkins, Lawes, Tomkins and Purcell (selected by The Sunday Times as the best available version). The Rose Consort has also issued CDs of instrumental music by the Ferraboscos (father and son) and John Ward on the German label cpo. The Consort featured on the cover CD of the May 2008 BBC Music Magazine, and has recently issued a recording of music by Four Gentlemen of the Chapel Royal: Tallis, Tye, Byrd and Tomkins, on the Deux-Elles label. The Rose Consort is in residence each July at Dartington International Summer School, and appeared as a guest ensemble at last year's Pan-Pacific Gamba Gathering in Hawaii. www.roseconsort.co.uk Peter Wendland photo: - Amanda Seaborn Ibi Aziz photo: Roxana Gundry -3-

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PROGRAMME NOTES In 1560 the Goldsmiths' Company met at their great livery hall in the City of London for the annual election feast, 'And all ye dynner tyme ye syngyng chyldren of Paules played upon their vialles & songe verye pleasaunt songes to ye delectacion & reioysynge of ye whole companie.' The Elizabethans devised a unique style of solo song with viol consort, in which a rich polyphonic fabric shared the musical interest between all the parts without detracting from the clarity of a single voice. declaiming the text. William Byrd, the consummate master of this style, described it as 'made for instruments to expresse the harmony, & one voyce to pronounce the dittie'. By the early seventeenth century singing with viols was clearly in vogue amongst the amateur performers who were avidly buying the many published collections of madrigals and other material, such as Orlando Gibbons' The First Set of Madrigals and Mottets of 5. Parts: apt for Viols and Voyces (London, 1612). Both Byrd and Gibbons tended to select poetry with a serious or moralistic content, and used the song with viols especially well for elegies such as the extended 'Nay let me weep' honouring the memory of an unnamed young man, possibly Prince Henry, the heir to the throne. The last years of Queen Elizabeth I's reign and those of the first Stuart monarchs witnessed a boom in the performance of music from the European continent, especially Italian madri- gals. An initial focal point for this hobby was the house of Nicholas Yonge in the City of London. Yonge, a lay-clerk at St. Paul's, entertained a great number of Gentlemen and Mer- chants of good accompt (as well of this realme as of forreine nations) ... by the exercise of Musicke daily used in my house, and by furnishing them with Bookes of that kinde yeerly sent. me out of Italy and other places'. The problem was that few of his clients understood the Italian poetry, and either sang the music without words, or played it on instruments. So Yonge had the texts translated into English, publishing two collections - 4- - A

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} } 2 1 of Musica Transalpina in 1588 and 1597, including music by Lassus and the Italian Ferrabosco who had already settled in London. Other publications of continental pieces followed, Thomas Watson's Italian Madrigalls Englished of 1590 focusing almost exclusively on works by Marenzio, whose music was prized by Henry Peacham in his 1622 The Compleat Gentle- man: 'For delicious air and sweet invention in madrigals, Luca Marenzio excelleth all other whosoever.' Many younger English composers cashed in by offering their own music to both singers and the rapidly growing number of string players. Wilbye's unequalled evocation of night, with which we end this programme, is usually heard as a six-voice madrigal, but it too was published as being 'apt both for Voyals and Voyces'. Several sixteenth century songs enjoyed such fame in their own time that they became the focus of other composers' reworkings. One such was Lassus's 'Susanne ung jour', first published in 1560. Its text was 'Englished' and the music slightly modified to take the new words in Yonge's Musica Transalpina of 1588 (the version performed tonight). The soprano line of Lassus's song was used with only small modifi- cations in the majestic 'Pavan' by the German composer Som- mer, while Dowland's reworking of Lassus's material, in 'M. Buctons Galliard' sticks quite closely to the original chanson, creating some interesting tension by forcing the model's duple meter into the triple meter of the dance. While many Eliza- bethan composers began to develop the purely instrumental fantasia as the pre-eminent form of consort music, based on a series of overlapping contrapuntal 'points' or phrases, others maintained the older medieval tradition of basing their pieces on a plainsong cantus firmus. The In Nomine is a quintessen- tially English genre in which one part sustains the plainsong antiphon 'Gloria tibi Trinitas' in long notes while the others. weave increasingly complex counterpoint around it. The set- tings by Byrd and Ward illustrate the variety of invention this can conjure from different generations of composers. -5- - John Bryan

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The Swan and the Nightingale Music 'apt for Voyce and Viols' from Elizabethan and Jacobean England PROGRAMME Dainty fine bird Trust not too much fair youth What is our life Fantasia a3 No. 2 The silver swan Pavan Paradizo Almain The Honie-suckle Nay let me weep (1st part) Ne'er let the sun (2nd part) Yet if that age (3rd part) Fantasia De la court Cor mio, deh, non languire In Nomine a5 Die not, fond man Orlando Gibbons 1583-1625 Antony Holborne c.1545-1602 Orlando Gibbons Robert Parsons c.1535-1572 John Ward c. 1589-1638 INTERVAL -6-

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The Nightingale Fantasia Cuckoo Alfonso Ferrabosco senior 1543-88 Evr'y singing Byrd hemminged Dolorous mournful cares O Lord how vain In Nomine a5 No. 4 My mistress had a little dog Pavan (on Susanne un jour) Susanna fayre M. Buctons Galliard Draw on sweet night Richard Nicholson 1563-1639 Luca Marenzio 1553/4-1599 William Byrd c. 1540-1623 diw Johann Sommer d. 1627 Orlando Lassus 1532-1594 John Dowland 1563-1626 John Wilbye 1574-1628 Rose Consort of Viols' latest CD: Four Gentlemen of the Chapel Royal with Clare Wilkinson (mezzo) Deux-Elles DXL 1129 Music by Tallis, Tye, Byrd and Tomkins an attractively varied selection of vocal and instrumental music ... that all works extremely well' Goldberg The Rose Consort, one of our top viol consorts, is in expressive and ele- gant form' www.musicweb-international The viol playing is good ... delicately shaped ... a musical and experi- enced ensemble' BBC Music Magazine the Rose Consort play in a sublimely unfussy, unfettered manner worthy of the music' Gramophone -7-

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FORTHCOMING EVENTS UNIVERSITY OF HUDDERSFIELD DEPARTMENT OF MUSIC & DRAMA Tuesday 7 October at 1.15 pm in St Paul's Hall Emma Kirkby: Guest Masterclass with current and former students from the Department of Music accompanied by members of the Rose Consort of Viols. Free of charge Tuesday 7 October at 6.30 pm in Phipps Concert Hall, Creative Arts Building Professor John Bryan: Inaugural Lecture-recital with the Rose Consort of Viols Songs without Words: an Approach to the Performance of Elizabethan and Jacobean Consort Music strumental music in England in the years around 1600 was closely related to vocal music, both in the manuscripts and printed editions in which it was collected, and in its musical style. Many sixteenth-century viol players were trained as singers too, and most Renaissance writers on instrumental technique advise players to imitate the way voices express both verbal texts and music. How can modern players of the glorious viol consort repertory put into practice the concepts that research into these late Renaissance sources reveals? How might an understanding of the relationship between texts and music, whether explicit or not, inform our performance and understanding of these 'songs without words'? The Rose Consort of Viols will provide 'live' musical examples to illustrate the lecture. If you would like to attend, please contact Jayne Jefferies 01484 472359 HALIFAX PHILHARMONIC CLUB Friday 17 October at 7.30 pm at Square Chapel Centre for the Arts, Halifax. Trevor Pinnock & Adam Walker The world renowned harpsichordist and conductor performs an evening of classical music. He is joined by young flautist Adam Walker, who is making his Proms debut with the BBC National Orchestra of Wales this year. The performance includes: Bach, Sonata in E flat major Handel, Suite No. 7 in G minor Bach, Sonata in A major Knussen, 'Masks' Haydn, Sonata in D major Bach, Sonata in B minor Tickets £13.50, concessions £12.00, full-time students £5.00, under 16s £5.00 Box office 01422 349422 or www.squarechapel.co.uk -8-

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ARTS OFFICERS President Stephen Smith Hon. Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk Hon. Treasurer P. Michael Lord Tel: 01484 310104 Fax: 01484 425658 e-mail: michaellord@wizzo.org.uk COMMITTEE Ralph Barker, John Bryan, Margaret Collison, Alastair Cridland, Verity Cridland, Marjorie Glendinning, Helen Howden, 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: Mrs M Glendinning, P Michael Lord, P L Michelson, J C S Smith. JG Sykes, Mrs E R Taylor, Mrs L Walker and for practical help with our database from Hilary Norcliffe, Society Archivist. ENGLAND COUNCIL Making Music THE NATIONAL FEDERATION OF MUSIC SOCIETIES

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Season's Performances 6th October 2008 EMMA KIRKBY AND THE ROSE CONSORT OF VIOLS The Swan and the Nightingale: Music"apt for voyce and viols" from Elizabethan and Jacobean England including pieces from Orlando Gibbons" "First set of Madrigals & Motets" of 1612, consort songs by William Byrd. 17th November 2008 RTÉ VANBRUGH STRING QUARTET Haydn String Quartet Op.76 No.5 Beethoven String Quartet Op.95 Arvo Pärt Summa, Schumann String Quartet Op.41 No.3 8th December 2008 JAMES TURNBULL (oboe) and ELIZABETH BURGESS (Piano) Britten Two Insect pieces, Temporal Variations Howells Oboe Sonata Edwin Roxburgh Antares (1988), Finzi (arr Ferguson) Interlude Edmund Rubbra Oboe Sonata in C 9th February 2009 HEROLD STRING QUARTET Dvorák Cypresses (Selection: Nos 3,5,11,12), Smetana String Quartet no.2 D Minor, Beethoven String Quartet C-sharp minor Op.131 23rd February 2009 ENDELLION STRING QUARTET Haydn String Quartet Op.50 No 5 Janácek String Quartet No2, Intimate Letters Beethoven String Quartet Op.18 No.6 2nd March 2009 CARDUCCI STRING QUARTET Haydn String Quartet Op.20 No.4, Shostakovich String Quartet No.8, Schubert "Death and the Maiden" 23rd March 2009 ANDREW BROWNELL (piano) Bach English Suite No. 1 in A major Mozart Sonata in A K 331 Schumann Arabesque Op. 18 Schumann Fantasy Op.17 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 LL WT. Ninety First Season 2008-2009 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 17 November 2008 THE RTÉ VANBRUGH STRING QUARTET Winner of the 1988 London In- ternational String Quartet Com- ÉIRE 55c petition and now in its twenty-first concert season, the RTÉ Vanbrugh Quartet is one of Europe's most successful quar- tets, widely recognised for its beauty of sound, clarity of tex- ture and integrity of interpreta- tion. Ceathairéad Vanbrugh RTÉ RTE GREGORY ELLIS, KEITH PASCOE - Violins SIMON ASPELL - Viola CHRISTOPHER MARWOOD - Cello The Quartet is based in Cork as Resident Quartet to Radio Telefis Eireann, Ireland's national broadcasting service; the mem- bers of the Quartet are also Artists in Residence to University College, Cork, and founders of the internationally acclaimed West Cork Chamber Music Festival. In April 2005 the Quartet hosted European Quartet Week, as part of Cork's tenure as European Capital of Culture. The RTÉ Vanbrugh Quartet's current overseas season includes concerts in the UK, the USA, Italy, Austria, Estonia and China. Hyperion recently released the second of two Vanbrugh Quartet CDs of chamber music by Charles Villiers Stanford ("alive with melodic invention and supremely crafted... consistently stylish playing" Classic FM maga- zine). The Quartet's recent recording of three of Boccherini's cello quintets, on Hyperion, was featured as Editor's Choice in Gramophone magazine ("delectable, sophisticated, nostalgic"); other recent CDs in- clude Metronome's second CD devoted to the music of Piers Hellawell, a Black Box release of Ian Wilson's three quartets and a recording for Hyperion of works for quartet and soprano by John Tavener. They join a discography of twenty-two releases which includes the complete Beethoven Quartets ("mighty impressive throughout" BBC Music Maga- zine) and works by Haydn, Schubert, Dvorak, Janacek, Dohnanyi, E.J. Moeran, Robert Simpson, John Tavener, John McCabe, John Kinsella, Raymond Deane, Brian Boydell and Walter Beckett. www.vanbrughquartet.com 1

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PROGRAMME NOTES Quartet in D major, op 76 no 5 Last performed at HMS by The Lindsay Quartet, 14 March 2005 Allegretto-Allegro Largo cantabile e mesto Menuetto: Allegro Finale: Presto Published in 1799 as part of the usual set of six, this quartet was written when Haydn was at the height of his powers, having been released by the death of his patron, the Prince of Esterháza, to travel and gain commissions else- where. The set was commissioned by the Count Erdödy. The first movement opens with a lyrical and relaxed theme in D major, changing to the more complicated and expressive counterpoint with which we associate Haydn's later works. The four instruments work co-operatively in their different roles of leading and accompanying. A slow movement unfolds in an exploration of colours in the distant key of F sharp major exhibiting Haydn's new understanding of the viola and its possibilities of contributing imaginatively to the textures. The third movement is a warm and vigorous minuet, its cross accents in the second section enlivening and contrasting with a fairly conventional trio in the minor key. Haydn 1732-1809 A flourish of dominant and tonic chords introduce the finale, whose simple themes and harmonies are deceptive. In spite of its apparent rustic simplicity it has a clear and tight sonata structure. C. Stanton OTHER FORTHCOMING EVENTS Square Chapel Centre for the Arts, Halifax Friday 21st November, 7.30pm Halifax Philharmonic Club Eroica Quartet Mendelssohn, Op.80 F minor Beethoven, Op.95 F minor Borodin, Quartet no. 2 in D Tickets £13.50, concessions £12.00, Cons full-time students £5.00, under 16s £5.00 2 Box Office 01422 349422

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3 ) Quartet in F minor op 95 "Serioso" Last performed at HMS by the Vertavo Quartet, 10 March 1997 Allegro con brio Allegretto ma non troppo Allegretto assai vivace ma serioso Larghetto espressivo - Allegretto agitato - Allegro This quartet was written in 1810 at a barren time for Beethoven, amidst increasing deafness and disappointment from a thwarted love affair, both of which severely affected his output during that year. Beethoven 1770-1827 It was a radical and introspective work, difficult for the public to accept even after the controversial Razumovsky quartets. The serioso third movement underlines the subjective and troubled nature of the music as does the savage unison of the opening of the first movement. Its palpable aggression is barely contained within the short, compressed movement and the chal- lenging dissonances and key changes are often startling, for example, the surprise of sudden upward unison major scales for which there is no aural preparation. The tension is temporarily released by a simple descending scale from the cello at the start of the second movement. Later a slow fugue introduced by the viola unwinds, reflecting Beethoven's intense interest in Bach's counter- point at that time. The clarity of its controlled and reflective contrapuntal textures, nevertheless do not conceal intimations of dark and profound emotion. The movement finally comes to rest on an ambiguous diminished seventh which links directly into an agitated and painful third movement whose only relief is to be found in a gentler major trio-substitute of smooth chords against a dancing first violin accompaniment. A gentle sighing introduction at the beginning of the final movement seems to indicate an acceptance of fate on Beethoven's part but leads into a mood of buoyant cheerfulness, albeit punctuated by accents and extreme dynam- ics. The sudden appearance of very fast quavers in a scurrying coda concludes the work triumphantly in a major key, almost in denial of previous distress. C. Stanton INTERVAL 3

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Summa Pärt's Summa - a synthesis, a summary of life's experiences - was originally created in 1978 as a setting for four solo voices of the Church's most cogent declaration of its faith, as expressed in the Latin words of the Mass: Credo in unum Deum ("We believe in one God"). The work winds its gently flowing lines around the ancient text, sometimes placing pairs of voices against each other (a technique greatly favoured in Renaissance sacred music), sometimes creating haunting modal harmonies from the weaving together of all the voices. The transporting of Summa into the realm of the pure, wordless music of the string ensemble only heightens its aura of wonder, mystery, and timelessness. Arvo Pärt 1935- Andante expressive-Allegro moderato Assai agitato Adagio Molto Finale: Allegro molto vivace String Quartet in A op 41 no 3 Last performed at HMS by The Belcea Quartet, 16 January 2006 Schumann 1820-1856 In 1842 Schumann wrote the three quartets of opus 41 in an attempt to release himself from the struggle of composing the intensely subjective piano music which was undermining his health. He was urged by Clara to try to compose some music which was "more easily understandable" and "striving to give pleasure". These quartets are dedicated to Mendelssohn whose work he admired. This quartet is in A major, a key defining brightness and warmth. Its motif of a falling fifth opens the gentle Andante introduction and also permeates the whole of the first movement. Schumann's skilful manipulation of his melodic material is displayed throughout in his colourful polyphony, already relished by him in his piano music. The Scherzo is a variation movement with signs of agitation in its continually displaced rhythms at the beginning. The theme becomes clearer in the third variation which is robust and imitative. Number four is more earnest and introspective, number five is vigorous and the movement concludes with a lyrical coda. Evidence of Schumann's abundant gifts for lyrical melody personalise the slow movement with its contemplative and endless interplay of parts. The Finale has a spirited and quicksilver rondo theme insinuating itself between its contrasting sections which often embody folk elements. The repetition of dotted rhythms, combined with rising pitch towards the end, brings the music to a fulfilling resolution. C. Stanton 4 NEXT CONCERT - Monday 8 December 2008 - For details see the back cover. 1

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OFFICERS President Stephen Smith Hon. Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk Hon. Treasurer P. Michael Lord Tel: 01484 310104 Fax: 01484 425658 e-mail: michaellord@wizzo.org.uk COMMITTEE Ralph Barker, John Bryan, Margaret Collison, Alastair Cridland, Verity Cridland, Marjorie Glendinning, Helen Howden, Christine Stanton We acknowledge with thanks support for our concerts from The University of Huddersfield to which the Society is affiliated ARTS The Society is grateful for financial help also from: Mrs M Glendinning, P Michael Lord, P L Michelson, J C S Smith. JG Sykes, Mrs E R Taylor, Mrs L Walker and for practical help with our database from Hilary Norcliffe, Society Archivist. COUNCIL ENGLAND Making Music THE NATIONAL FEDERATION OF MUSIC SOCIETIES

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Season's Performances 6th October 2008 EMMA KIRKBY AND THE ROSE CONSORT OF VIOLS The Swan and the Nightingale: Music"apt for voyce and viols" from Elizabethan and Jacobean England including pieces from Orlando Gibbons "First set of Madrigals & Motets" of 1612, consort songs by William Byrd. 17th November 2008 RTÉ VANBRUGH STRING QUARTET Haydn String Quartet Op.76 No.5 Beethoven String Quartet Op.95 Arvo Pärt Summa, Schumann String Quartet Op.41 No.3 8th December 2008 JAMES TURNBULL (oboe) and ELIZABETH BURGESS (Piano) Britten Two Insect pieces, Temporal Variations Howells Oboe Sonata Edwin Roxburgh Antares (1988), Finzi (arr Ferguson) Interlude Edmund Rubbra Oboe Sonata in C 9th February 2009 HEROLD STRING QUARTET Dvorák Cypresses (Selection: Nos 3,5,11,12), Smetana String Quartet no.2 D Minor, Beethoven String Quartet C-sharp minor Op.131 23rd February 2009 ENDELLION STRING QUARTET Haydn String Quartet Op.50 No 5 Janácek String Quartet No2, Intimate Letters Beethoven String Quartet Op.18 No.6 2nd March 2009 CARDUCCI STRING QUARTET Haydn String Quartet Op.20 No.4, Shostakovich String Quartet No.8, Schubert "Death and the Maiden" 23rd March 2009 ANDREW BROWNELL (piano) Bach English Suite No. 1 in A major Mozart Sonata in A K 331 Schumann Arabesque Op. 18 Schumann Fantasy Op.17 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 || WT. Ninety First Season 2008-2009 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 8 December 2008 James Turnbull (oboe) with Elizabeth Burgess (piano) Born in 1984, James Turnbull began playing the oboe aged 7. After a period of private tuition, James studied with Irene Pragnell at the Junior Guildhall School of Music and Drama, before learning with Melanie Ragge at the Junior Academy of Music. In July 2005 he graduated with First Class Honours in Music from Christ Church, Oxford University. The following year he completed his Postgraduate Diploma in Perform- ance and LRAM Teaching Diploma at the Royal Academy of Music. While at the R.A.M. James studied concurrently with Celia Nicklin, Tess Miller and Chris Cowie and took masterclasses with François Leleux, Hansjorg Schellenberger and Douglas Boyd. Since September 2006, James has been studying with Professor Nicholas JAMES TURNBULL - oboe Daniel at the Trossingen University of Music in Germany. 24 As a soloist, James has performed live on BBC Radio 3's 'In Tune' and on BBC Television's 'Songs of Praise'. As well as recitals, James has performed several concertos. In 2001 he played Bach Concerto for Oboe and Violin in St. John's Smith Square and also on tour in Japan. In 2007 he performed Mozart Sinfonia Concertante K297b with the Süd- westdeutsche Philharmonie Konstanz in Germany. As well as being selected for the Countess of Munster recital scheme, he has recently been awarded funding by the Harriet Cohen Memorial Musical Trust to complete his first professional recording. James is also an active chamber musician. In 2004 James performed Mozart's Quintet K406b with the Allegri Quartet as part of their Jubilee Season. James has also performed 'Gran Partita' for 13 Winds at the Cheltenham Festival under the direction of Douglas Boyd and in the festival orchestra at the Oxford Chamber Music Festival in 2006 appearing with Natalie Clein and Priya Mitchell amongst others. In January 2008 he completed a series of wind octet concerts with Nicholas Daniel and the Südwestdeutsche Philharmonie Konstanz. 1 James Turnbull

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Born in Sussex, Elizabeth Burgess was edu- cated at Uppingham School, spent a year as Assistant Organist at Winchester College, and then became Organ Scholar at Christ Church Cathedral, Oxford - the first time a woman has been appointed to this position where she read for a music degree, graduating with First Class Honours in June 2005. Now primarily a pianist, living and working in London, Elizabeth has taken up a postgraduate scholarship at the Royal Academy of Music to study piano accom- paniment with Michael Dussek. Here she works with a range of singers and instrumentalists and was recently awarded the Major van Someren- Godferey prize for the accompaniment of Eng- lish Song. Elizabeth has broadcast on national ELIZABETH BURGESS - piano TV and live on BBC Radio 3 and 4, has appeared on commercial CD recordings and has toured in Europe, USA and New Zealand. In addition, Elizabeth recently concluded three years of working for the rapidly-expanding Oxford Lieder Festival, keeps up a busy schedule of organ playing and choral directing, and teaches part-time at Eton College. - NEXT HUDDERSFIELD MUSIC SOCIETY CONCERT Monday 9 February 2009 The Herold String Quartet winners of the 2001 annual award from the 500 prestigious Czech Chamber Music Society Dvořák Smetana Beethoven Cypresses (Numbers 3,5,11,12) String Quartet No 2 Quartet opus 131 OTHER FORTHCOMING EVENTS Square Chapel Centre for the Arts, Halifax Friday 12 December, 7.30pm Peter Hill and Ben Frith - piano duo Pieces previously played at the Royal National College for Music's Messiaen Portrait, Igor Stravinsky's The Rite of Spring and Olivier Messiaen's Visions de l'Amen. Tickets £13.50, concessions £12.00, full-time students £5.00, under 16s £5.00 Halifax Philharmonic Club 2 Box Office 01422 349422

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0 J Arcadia - English music for the oboe is Gerald Finzi (1901-1956) Benjamin Britten (1913-1976) Herbert Howells (1892-1983) Benjamin Britten John Ireland (1879- 1962) Edmund Rubbra (1901-1986) The Oboe Interlude (arr. Ferguson) Two Insect Pieces Oboe Sonata INTERVAL Temporal Variations April (piano solo) Oboe Sonata "deemed too delicate for military music, too difficult for the amateur player and too brash for the domestic salon...." (Geoffrey Burgess) Tonight's now familiar and widely played oboe is the result of a period of instability and change right up until the end of the nineteenth century. An early appearance as the French "hautbois", an adaptation of the seventeenth-century shawm, was at the Court of Louis XIV. It's individ- ual and exotic tone was ideal for opera and other dramatic works, and a pair of oboes became standard in Baroque and Classical orchestral music. Composers however, largely ignored it as a solo instrument due to its difficult mechanisms and thus often temperamental nature. After passing through a variety of makers in France and Germany, resulting in a diversity of national styles and tone-production, a viable system was finally established by Boehm, designer of the modern flute. The arrival of the Industrial Revolution enabled the mass-production of the oboe with its complex key system. 3 Despite long overdue standardization of the oboe and its final acceptance, foreign oboe players continued to be imported for English orchestral performances into the nineteenth century. British players did not emerge (partly due to lack of solo repertoire) until Leon Goossens came on the British musical scene, teaching and inspiring a new generation of oboists, and teaching pupils who included Evelyn Rothwell and Sidney Sutcliffe at the Royal Academy of Music. The popularity of the oboe grew, its flexibility of tone, and variety of dynamics and colour inspiring many twentieth century composers such as Gordon Jacob, Rutland Boughton, Cyril Scott, Malcolm Arnold, Dame Ethel Smythe, and Vaughan Williams to write music for Leon Goossens. A stream of new works followed in the 30s and 40s, providing new material for amateur and professional players alike. Tonight's programme can be regarded therefore as a continuing legacy to Goossens. C Stanton

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Finzi and Rubbra, born in the same year, were both young enough to avoid the Great War but came from diametrically opposed backgrounds. Rubbra's insatiable curiosity about music and his pianistic promise enabled him to overcome unpropitious personal circumstances, whereas Finzi came from a more privileged background, allowing him to compose within the tranquillity of the Gloucestershire countryside and later to return there after studying in London. He left behind him a rich collection of songs, excelling himself in the subtleties of miniature forms. Rubbra on the other hand, undertook a rigorous musical training in the academic forms of harmony and counterpoint and composed a huge and diverse body of orchestral and chamber music including eleven symphonies employing a bold harmonic vocabulary. Gerald Finzi was a great melodist and almost a poet himself, with an immaculate sense of word setting and a keen response to the verse setting. Composing for oboe can only have been a step away from his song composition. Well-known for his war settings, his ability to convey a sense of desolation is almost unequalled. He wrote Interlude for Leon Goossens in 1936. Edmund Rubbra also composed large and small-scale vocal works and is perhaps remembered most fondly for his extensive collection of recorder music for the amateur player. He was a capable young pianist and his piano style is inspired by his fascination with the rhythmic intensity of Bartok. His oboe sonata is in three movements. Howells and Ireland Both studied at the Royal College of Music with Sir Charles Stanford although under very different circumstances: Howells entered the College after a very traditional training at choir school whilst Ireland signed himself up at the age of 13 without the knowledge of his parents. (It may interest concert-goers to know that he attended Leeds Grammar School for a time.) Herbert Howells is known for his huge body of choral music. His music is greatly influenced by Tudor music and the landscape of Gloucestershire. His Oboe Sonata, written for Goossens in 1943, is an important work in two movements, revealing his lyrical gifts in the first movement and rhythmic energy in the second. As with his Rhapsodic quintet for clarinet and strings, heard recently at these concerts, he demonstrates his ability to capture the essence and character of solo wind instruments. John Ireland's music is highly personal in style and he favoured smaller forms such as chamber music, songs and choral works. His unconventional harmonies and rhythmic sophistication also owe much to the early influ- ences of Debussy and Ravel, and later to his fascination with the music of Stravinsky and Bartok. He wrote a number of short evocative piano pieces and April is one of a pair composed in 1925. Benjamin Britten had already written "reams and reams of compositions" (in his own words) and filled opus 1-100 by the time he was fourteen. Music formed an important part of his upbringing from an early age as his mother was an amateur singer. His vivid and graphically picturesque Insect Pieces were written in 1935, a year before the equally idiosyncratic but more academic Temporal Variations. As in all his instrumental writing he shows his understanding of the uniqueness of the oboe. 4 C Stanton

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OFFICERS President Stephen Smith Hon. Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk Hon. Treasurer P. Michael Lord Tel: 01484 310104 Fax: 01484 425658 e-mail: michaellord@wizzo.org.uk COMMITTEE Ralph Barker, John Bryan, Margaret Collison, Alastair Cridland, Verity Cridland, Marjorie Glendinning, Helen Howden, Christine Stanton We acknowledge with thanks support for our concerts from The University of Huddersfield to which the Society is affiliated ARTS The Society is grateful for financial help also from: Mrs M Glendinning, P Michael Lord, P L Michelson, J C S Smith. JG Sykes, Mrs E R Taylor, Mrs L Walker and for practical help with our database from Hilary Norcliffe, Society Archivist. OUNCIL ENGLAND Making Music THE NATIONAL FEDERATION OF MUSIC SOCIETIES

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Season's Performances 6th October 2008 EMMA KIRKBY AND THE ROSE CONSORT OF VIOLS The Swan and the Nightingale: Music"apt for voyce and viols" from Elizabethan and Jacobean England including pieces from Orlando Gibbons" "First set of Madrigals & Motets" of 1612, consort songs by William Byrd. 17th November 2008 RTÉ VANBRUGH STRING QUARTET Haydn String Quartet Op.76 No.5 Beethoven String Quartet Op.95 Arvo Pärt Summa, Schumann String Quartet Op.41 No.3 8th December 2008 JAMES TURNBULL (oboe) and ELIZABETH BURGESS (Piano) Britten Two Insect pieces, Temporal Variations Howells Oboe Sonata Edwin Roxburgh Antares (1988), Finzi (arr Ferguson) Interlude Edmund Rubbra Oboe Sonata in C 9th February 2009 HEROLD STRING QUARTET Dvorák Cypresses (Selection: Nos 3,5,11,12), Smetana String Quartet no.2 D Minor, Beethoven String Quartet C-sharp minor Op.131 23rd February 2009 ENDELLION STRING QUARTET Haydn String Quartet Op.50 No 5 Janácek String Quartet No2, Intimate Letters Beethoven String Quartet Op.18 No.6 2nd March 2009 CARDUCCI STRING QUARTET Haydn String Quartet Op.20 No.4, Shostakovich String Quartet No.8, Schubert "Death and the Maiden" 23rd March 2009 ANDREW BROWNELL (piano) Bach English Suite No. 1 in A major Mozart Sonata in A K 331 Schumann Arabesque Op. 18 Schumann Fantasy Op.17 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 WT. Ninety First Season 2008-2009 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 9 February 2009 The Herold String Quartet The Herold Quartet takes its name from the Czech musician Jiří Herold (1875- 1934) who played viola with the Czech Quartet (which included Josef Suk, Dvořák's son-in-law) in the first quarter of the 20th century. Besides being a respected violinist and violist he wrote a number of chamber works, constructed more than 50 violins, and taught at the Prague Conservatory. The Quartet performs regularly in the major concert halls in its home city of Prague and in venues in the Czech Republic. It has had successful tours in France, Spain, Germany, Italy, Greece, USA, Japan, Brazil and Australia and made its UK debut at the Wigmore Hall in 2005. It has recorded CDs of the last quartets of the Czech composers, Smetana, Dvořák and Janáček, and of three Mozart quartets. PETR ZDVIHAL - First violin, graduated from the Conservatory in Pardubice and the Academy of Performing Arts in Prague. He won prizes for performances of compositions by Beethoven and has performed as a soloist with more than fifteen Czech and international orchestras in Czech Republic, Germany and Spain. At present he is a concertmaster of the Czech Radio Symphony Orchestra. JAN VALTA - Second violin, is a graduate of the Conservatory in Teplice and of the Academy of Performing Arts in Prague. He won several national prizes for the performance of chamber music and, at the age of 19, became a member of the Czech Philharmonic Orchestra. During his two seasons with the Orchestra he took part in several international tours through Europe, Japan, and Malaysia and has performed as a soloist in Austria, Germany and France. He teaches violin at the Conservatory in Teplice. KAREL UNTERMÜLLER - Viola, graduated from the Conservatory in Prague and the Academy of Performing Arts in Prague. He has performed as a soloist with several Czech orchestras including the Suk Chamber Orchestra, Chamber Philharmonic Orchestra of Pardubice, and the West-Czech Philharmonic Orches- tra. He has played on several occasions with the Czech violinist Josef Suk (the grandson of his namesake above), including recording two CDs of chamber music by Dvořák and Suk (the elder). DAVID HAVELÍK - Cello, is a graduate of the Conservatory in Prague and of the Academy of Performing Arts in Prague. He has won prizes in several interna- tional competitions such as the Concertino Praga, Heran's Cello Competition, and Beethoven's Hradec. He has performed in many European countries and in Japan and recorded for Czech Radio, Czech Television, WRD, ORF and others. 1

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Cypresses Selection: Nos 3,5,11,12. When thy sweet glances Here gaze I Nature lies peaceful You are asking why Like many composers Dvořák earned his living as a viola player before he became a conductor and later devoted himself to composi- tion. These pieces are transcriptions of a set of eighteen love songs, written in 1865 called Cypresses. The original songs were inspired by his infatuation with his pupil, Josefina Cermkov, although it was her sister Anna whom Dvořák was later to marry. He wrote the string quartet arrangements in 1887. They form an exquisite set of minia- tures from which we hear only a selection tonight. High shimmering textures punctuated by pizzicato chords introduce the first piece which has a middle section in a minor key, introducing a brief glimpse of unrest. The second piece begins with a rocking pattern from the cello under a shared melody played by viola and second violin. The third is an energetic celebration of nature, contain- ing equal peace and joy. There is both tenderness and passion in the last piece with hints of unrest in its accompaniments and feelings of urgency in fast passages. One can only guess at the meaning behind. its enigmatic title. Programme notes by C Stanton NEXT HUDDERSFIELD MUSIC SOCIETY CONCERT The Endellion String Quartet Quartet No 50 op 5 Quartet No 2, "Intimate Letters" Quartet Op 18, No 6 Dvořák 1841-1904 Sonata in C major op. 102 no.1 Cello Suite no. 1 op.72 Suite no. 2 in D minor Sonata in D major op.102 no.2 Monday 23 February, 7.30pm Haydn Janáček Beethoven jou OTHER FORTHCOMING EVENTS Square Chapel Centre for the Arts, Halifax Nick Trygstadt (cello) & Sam Armstrong (piano) 2 Friday 6 March, 7.30pm Halifax Philharmonic Club Beethoven Britten Bach Beethoven Box Office 01422 349422

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J Quartet no 2 in D minor Bedřich Smetana 1824-1884 Last performed at HMS by the Janáček Quartet, 10 February 1992 1 Allegro 2 Allegro moderato - Andante cantabile 3 Allegro non piu moderato, ma agitato e con fuoco Presto - Allegro - Moderato allegro - con fuoco 4 This quartet was composed just over a year before his death, after Smetana had gone completely deaf and contains "a whirlwind of music" in his own words. Its vigour is extraordinary for a man so close to the end of his life and still shows his impeccable and operatic sense of timing. The work also has resonances with Beethoven's opus 131 in that its content represents the inner conflict which had dominated his life since the start of his illness. S There are two contrasting passages at the start of the first movement - an arresting triplet start at the opening, moving towards a section of extraordi- nary melodic and harmonic beauty. These two ideas are the basis for much development. BEDŘICH SMETANA The second movement is a wonderfully boisterous polka with a contrasting calmer section. The underlying passion emerges through its adroit counterpoint. Nostalgia permeates its textures. The composer's personal struggles can be easily detected behind the furious opening of the third movement, whose intensity remains present even in the quieter but serious passages. Brilliance and sentiment are mixed in the last movement but Smetana completes the quartet with a suitably defiant ending! INTERVAL 3

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String Quartet - Opus 131dobe Beethoven Last performed at HMS by Quator Danel, 11 March 2002 1 Adagio ma non troppo e molto espressivo 2 Allegro molto vivace 3 Allegro moderato 4 Andante ma non troppo e molto cantabile (Theme and variations) 5 Presto 6 Adagio quasi un poco andante 7 Allegro 1770-1827 The C sharp minor quartet was considered by Beethoven to be his greatest work, written between 1825 and 1826. It was the only one of his final four quartets left unperformed sadly, until his memorial service. Following the Ninth Symphony in 1924, the composer moved in his late quartets towards a more intimate form of expression. His increasing deafness and personal difficulties affected him severely to the point of suicide. Therefore it is unsurprising that the superlative craftsmanship of late quartets is combined with an astonishing eloquence and intensity. The central movement is a Theme and Variations, a form much favoured by Beethoven in later years (for example, in the Diabelli variations for piano and the slow movement of the opus 127 quartet). Unconventionally, this quartet has seven contrasting movements which are played without a break. The solemn opening fugue serves as a meditative introduction, its independent parts creating a shifting palette of harmonic colours. From its contrapuntal texture the allegro lilting major theme of a less troubled second movement emerges. Its final two gentle D major chords turn to two arresting forte chords in B minor heralding the Allegro moderato, a brief movement of only eleven bars in recitative-like style which takes the listener into the central fourth movement. The Theme is in two parts each varied in its repeat. A first variation bears witness to growing intensity, whilst the second contains a measured accompa- niment in its inner parts. A slower third is more pliant, its instruction lusinghiero meaning "coaxing", often featuring just two or three instruments. It dissolves into a flowing Adagio fourth variation where pizzicato chords pleasingly punctu- ate a flowing texture. The curious rhythmic unrest of the fifth variation is due to short phrases starting always on a weak beat (2nd or 4th quaver) of the bar, giving it an ephemeral quality. Repeated chords mark the start of a phlegmatic sixth variation but it is insistently interrupted by an explosive cello motif. It concludes with a slowly rising violin trill, controlling and anticipating the final restatement of the original, but now altered theme. After the Theme and Variations, three movements complete the work: first, a wild Presto followed by a solemn Adagio which once more reverts to the earlier reflective mood. The final movement ranges between the dramatic and a lyricism which is profound and beautiful and the work concludes in a typically Beethoven style with a forceful statement of triumph over adversity. 4

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ARTS OFFICERS President Stephen Smith Hon. Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk Hon. Treasurer P. Michael Lord Tel: 01484 310104 Fax: 01484 425658 e-mail: michaellord@wizzo.org.uk COMMITTEE Ralph Barker, John Bryan, Margaret Collison, Alastair Cridland, Verity Cridland, Marjorie Glendinning, Helen Howden, 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: Mrs M Glendinning, P Michael Lord, PL Michelson, J C S Smith. JG Sykes, Mrs E R Taylor, Mrs L Walker and for practical help with our database from Hilary Norcliffe, Society Archivist. COUNCIL ENGLAND Making Music THE NATIONAL FEDERATION OF MUSIC SOCIETIES

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Season's Performances 6th October 2008 EMMA KIRKBY AND THE ROSE CONSORT OF VIOLS The Swan and the Nightingale: Music"apt for voyce and viols" from Elizabethan and Jacobean England including pieces from Orlando Gibbons" "First set of Madrigals & Motets" of 1612, consort songs by William Byrd. 17th November 2008 RTÉ VANBRUGH STRING QUARTET Haydn String Quartet Op.76 No.5 Beethoven String Quartet Op.95 Arvo Pärt Summa, Schumann String Quartet Op.41 No.3 8th December 2008 JAMES TURNBULL (oboe) and ELIZABETH BURGESS (Piano) Britten Two Insect pieces, Temporal Variations Howells Oboe Sonata Edwin Roxburgh Antares (1988), Finzi (arr Ferguson) Interlude Edmund Rubbra Oboe Sonata in C 9th February 2009 HEROLD STRING QUARTET Dvorák Cypresses (Selection: Nos 3,5,11,12), Smetana String Quartet no.2 D Minor, Beethoven String Quartet C-sharp minor Op.131 23rd February 2009 ENDELLION STRING QUARTET Haydn String Quartet Op.50 No 5 Janácek String Quartet No2, Intimate Letters Beethoven String Quartet Op.18 No.6 2nd March 2009 CARDUCCI STRING QUARTET Haydn String Quartet Op.20 No.4, Shostakovich String Quartet No.8, Schubert "Death and the Maiden" 23rd March 2009 ANDREW BROWNELL (piano) Bach English Suite No. 1 in A major Mozart Sonata in A K 331 Schumann Arabesque Op. 18 Schumann Fantasy Op.17 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 W WT. Ninety First Season 2008-2009 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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I Huddersfield Music Society Monday 23 February 2009 The Endellion String Quartet ANDREW WATKINSON, VIOLIN RALPH DE SOUSA, VIOLIN GARFIELD JACKSON, VIOLA DAVID WATERMAN, CELLO The Endellion Quartet has, during the thirty years since it was found- ed, built up a formidable interna- tional reputation. Its schedule has included regular tours of North and South America and concerts in Australasia, the Far East, the Mid- dle East, South Africa and every West European country. In Britain, the Endellion String Quartet has appeared at nearly all of the major series and festivals and is regularly broadcast on BBC radio and television; it has appeared at the Proms, and it has been featured in the week-long programmes 'Artist of the Week' and 'Artists in Focus'. Its presence in London has been marked by several series both at the South Bank and Wigmore Hall. Since 1992 it has been Quartet in Residence at Cambridge University which in 2009 celebrates its Eight Hundredth Anniversary coinciding with the Endellions' Thirtieth. The Endellions' recordings include works by Mozart, Britten, Bartok, Dvorak, Smetana, Foulds, Walton, Bridge, Schubert, Barber, Amy Beach and Tchaikovsky. Their 1987 recording for EMI of the complete string chamber music of Britten was selected as Chamber Music Recording of the Year by both the Daily Telegraph and The Guardian, and was the most highly recommended version in Radio 3's Record Review. To celebrate the two anniversaries they have released a boxed set of the complete Beethoven quartets and viola quintets (supported by the Stradivari Trust). The quartet texts used in these recordings have been prepared by the notable Beethoven scholar and editor, Jonathan Del Mar, in collaboration with the Endellion Quartet. These texts include striking restorations of Beethoven's original notes, har- monies, rhythms, slurrings, articulations, and expression marks, using newly available sources. 1

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Quartet Op.50 No 5 in F major 1 Allegro moderato 2 Poco adagio 3 Tempo di menuet-Allegretto 4 Finale-Vivace Haydn 1732-1809 Following the success of the Haydn's op 33 set of quartets, the form was finally recognised as an accepted medium of composition. He continued by writing the opus 50 "Prussian" set in 1786, possibly, in part, a response to Mozart's dedication of six quartets two years previously in Vienna. Clearly Haydn was influenced by the younger composer's harmonic range and ease of phrasing, but these works are grander than his opus 33. They show a natural progression in style and complexity in the continuation of his lifelong and epic musical journey. Haydn's unique capabilities lay in his adept handling of largely simple themes and ideas to create rigorous argument and intellectual weight. The short opening phrase is deceptively simple, giving rise to wealth of ingenious development The two rhythmic chords also heard at the beginning are subsequently delivered in a variety of guises, for in- stance decorated by triplet scales or as single cello notes in this movement and also in the minuet, thereby further confirming the unity of the entire work. Haydn passes the opening phrase amongst the players. Very fast triplet scales and decoration characterise the devel- opment built on the opening theme and characteristic pauses provide humour in the coda. The second movement has a dreamlike melody, its delicate figuration emerging from a steady pulse and later turning to triplets and delight- ful textures built from contrary motion scales. The esoteric key changes seem to help to sustain the trancelike mood. A somewhat restrained third movement is defined by a characteristic little turn at the start of the opening theme. A smooth and embellished melody is punctuated by the two redolent chords. There is much contrapuntal exchange throughout the minuet and a dramatic unison version of the same theme introduces the trio section in a minor key. The fourth movement in 6/8 time is gloriously spirited and featuring a joyful rising phrase. It manages to contain its effervescence in appar- ently inexaustible but controlled repetition. Drama is introduced by some brilliant passagework and modulation before the embellished return of the main theme and the inevitable two chord ending. Notes by C Stanton 2

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û 0 Quartet no 2 'Intimate Letters' Last performed at HMS by The Prazak Quartet, 10 January 2005 1 Andante-Allegro 2 Adagio 3 Moderato 4 Allegro Janáček 1854-1928 Both this and Janáček's first quartet were inspired by an obsessive love for Kamila Stösslová, a married woman who was thirty eight years his junior. She became his muse for the last decade of his life but it appears to have been a one-sided relationship, albeit one that aroused such powerful feelings in the composer, inspiring immense creativity. Through this period Janáček found time to compose his string quartets and the ever-popular works of the Glagolitic Mass and the Sinfonietta. Both quartets are therefore highly personal and emotional works and this one was composed in the last year of his life. The work is divided into four movements, but that is where its similarity to the conventional classical quartet ends. Its flexible melodic lines reflect the composer's strong alliance with the countryside. Their essence recalls his fascination with speech idioms and language, and his absorption with the sounds of nature. His colourful twentieth century harmonic language is moulded from the essential characteris- tics of folk music and although it does not follow the rules of classical harmony, it retains a fundamental tonal feel. The quartet has a motto which is presented at the start and used variously in all movements. The movements are free extended forms beyond the conventional structures of quartet writing. Emphasis on form can be replaced with Janáček's unique and expressive textures, his individual melodic ideas and personal emotions. The viola plays a prominent part, for example, the opening melody in the second movement. (Janáček originally wished to use a viola d'amore but instead he often marks the part sul ponticello (play as closely as possible to the bridge), the result being an idiosyncratic thin and brittle tone. Of the third movement Janáček wrote to Kamila, "Today I have succeeded in writing a piece in which the earth begins to tremble... Here I can find a place for my most beautiful melodies", and of the Finale, "It shall reflect the anguish I feel about you". INTERVAL 3

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Quartet op 18 no 6 Last performed at HMS by The Dante String Quartet, 8 March 2004 Beethoven 1770-1827 1. Allegro con brio 2. Adagio ma non troppo 3. Scherzo (Allegro) 4. La Malinconia: Adagio-Allegretto quasi allegro The two sets of opus 18 quartets were published in 1801. They already show Beethoven freed from the influences of Mozart and Haydn and working in a new idiom with the use of shorter, organic themes and more dramatic use of modulation and harmony. The first movement is a bustling and cheerful movement in B flat with scale passages and cheerful conversation between the instruments containing a characteristic Beethovian turn to the minor in its second subject. Thereafter we see his increasing dexterity with the expansion of themes in the development section and dramatic excursions into unex- pected and remote keys. The slow movement is a wonderfully relaxed contrapuntal movement with a middle section in the minor mode. The dramatic contrasts and dislocated accents of the scherzo are disturb- ing for the listener and at times make it impossible to locate the first beat of the bar. A trio follows, linked back into the scherzo by an aggressive unison passage in B flat minor. Finally, following a long melancholic introduction (reflecting the title of the fourth movement), there is an uninhibited dance section with the two themes in antithesis. These two sections alternate but gradually the faster music predominates. The prestissimo ending is sudden and impet- uous. NEXT HUDDERSFIELD MUSIC SOCIETY CONCERTS The Carducci String Quartet Haydn: Quartet Op 20 No 4 Janáček: Quartet No 8 Schubert: "Death and the Maiden" Monday 2 March, 7.30pm Andrew Brownell - Piano Bach: "English" Suite No. 1 in A, BWV 806 Mozart: Sonata in A, K.331 Hummel: Variations sur un thème d'Armide de Gluck Schumann: Arabesque, Op. 18 Franck: Prelude, Chorale, and Fugue 4 Monday 23 March, 7.30pm Please note change of Andrew Brownell's programme from that advertised

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OFFICERS President Stephen Smith Hon. Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk Hon. Treasurer P. Michael Lord Tel: 01484 310104 Fax: 01484 425658 e-mail: michaellord@wizzo.org.uk COMMITTEE Ralph Barker, John Bryan, Margaret Collison, Alastair Cridland, Verity Cridland, Marjorie Glendinning, Helen Howden, Christine Stanton We acknowledge with thanks support for our concerts from The University of Huddersfield to which the Society is affiliated ARTS The Society is grateful for financial help also from: Mrs M Glendinning, P Michael Lord, P L Michelson, JC S Smith. JG Sykes, Mrs E R Taylor, Mrs L Walker and for practical help with our database from Hilary Norcliffe, Society Archivist. COUNCIL ENGLAND Making Music THE NATIONAL FEDERATION OF MUSIC SOCIETIES

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Season's Performances 6th October 2008 EMMA KIRKBY AND THE ROSE CONSORT OF VIOLS The Swan and the Nightingale: Music "apt for voyce and viols" from Elizabethan and Jacobean England including pieces from Orlando Gibbons' "First set of Madrigals & Motets" of 1612, consort songs by William Byrd. 17th November 2008 RTÉ VANBRUGH STRING QUARTET Haydn String Quartet Op.76 No.5 Beethoven String Quartet Op.95 Arvo Pärt Summa, Schumann String Quartet Op.41 No.3 8th December 2008 JAMES TURNBULL (oboe) and ELIZABETH BURGESS (Piano) Britten Two Insect pieces, Temporal Variations Howells Oboe Sonata Edwin Roxburgh Antares (1988), Finzi (arr Ferguson) Interlude Edmund Rubbra Oboe Sonata in C 9th February 2009 HEROLD STRING QUARTET Dvorák Cypresses (Selection: Nos 3,5,11,12), Smetana String Quartet no.2 D Minor, Beethoven String Quartet C-sharp minor Op.131 23rd February 2009 ENDELLION STRING QUARTET Haydn String Quartet Op.50 No 5 Janácek String Quartet No2, Intimate Letters Beethoven String Quartet Op.18 No.6 2nd March 2009 CARDUCCI STRING QUARTET Haydn String Quartet Op.20 No.4, Shostakovich String Quartet No.8, Schubert "Death and the Maiden" 23rd March 2009 ANDREW BROWNELL (piano) Bach English Suite No. 1 in A major Mozart Sonata in A K 331 Schumann Arabesque Op. 18 Schumann Fantasy Op.17 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 7 T WI. Ninety First Season 2008-2009 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 March 2009 The Carducci String Quartet HUDDERSFIELD MUSIC SOCIETY IS DELIGHTED TO DEDICATE TONIGHT'S CONCERT TO MRS MARJORIE GLENDINNING IN GRATITUDE FOR HER HELP AND SUPPORT OVER MANY YEARS MATTHEW DENTON - violin MICHELLE FLEMING - violin EMMA DENTON - cello EOIN SCHMIDT-MARTIN - viola The Carducci Quartet is recognised as one of today's most exciting young string quartets. Winners of the Concert Artists Guild Competition in New York, and with major prizes at the Bordeaux, London and Osaka competi- tions, the quartet has established an enthusiastic international following. After performing numerous concerts at the Italian Castagnetto-Carducci Festival in 2001 the quartet adopted the name "Carducci" with the blessing of the Mayor. They are now in demand at conservatoires around the UK and Ireland, holding residencies at Trinity College of Music in London, Cardiff University, Cork School of Music and the Gloucester Academy of Music. They have recently collaborated with many well-known musicians including the RTE Vanburgh Quartet, who played for HMS in November, and appeared at the Verbier, West Cork and Wratislavia Cantans Festivals, an Aldeburgh residency and broadcasts for BBC Radio 3, RTE Lyric FM and BBC television. They are passionate about taking Classical music to the next generation and run chamber music courses for young musicians in France and Ireland. They perform for school children and coach on the National Youth String Quartet Weekend run by the London String Quartet Foundation at Chetham's School of Music. The Carducci Quartet gratefully acknowledges the support of the Coln Trust. 1

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Quartet in D Op.20 No.4 Last performed at HMS by The Leipzig Quartet, 1 December 1997 1 Allegro di molto 2 Un poco adagio e affetuoso 3 Menuetto: Allegretto alla zingarese 4 Presto e scherzando Haydn 1732-1809 The opus 20 "Sun" quartets, completed in 1772, were a landmark in Haydn's quartet writing. He had achieved a mature style with the opus 20 set as he had done with the Sturm und Drang symphonies from the same period. The opening of the first movement has a quiet dignity in which a gentle triplet theme gives rise to an abundance of development. The cello, at last having achieved complete emancipation, no longer serves as just a bass part and foundation for the work's harmonic structure as in the Baroque period. It contributes a wider range of pitch and its own distinctive tone qualities, giving it equal weight to the other parts. The comparatively extended first movement also highlights the increasing significance of development in a sonata movement of Classical struc- ture. Secondly comes a short Minuet in Hungarian style, full of stabbing cross accents with, by contrast, an innocent little trio. Four variations on a meditative D minor theme form the third move- ment where each individual player has the opportunity to enjoy the melodic solo line. An impassioned coda leads on from the fourth variation. The final movement is infused with the high spirits of gypsy music with its wealth of invention and rhythmic unpredictability. NEXT HUDDERSFIELD MUSIC SOCIETY CONCERT Andrew Brownell - Piano Bach: "English" Suite No. 1 in A, BWV 806 Mozart: Sonata in A, K.331 Hummel: Variations sur un thème d'Armide de Gluck Schumann: Arabesque, Op. 18 Franck: Prelude, Chorale, and Fugue 2 Monday 23 March, 7.30pm Please note change of Andrew Brownell's programme from that advertised For this concert only, holders of season tickets are invited to bring a guest free of charge (two guests if you have a double ticket) to enjoy the experience of live classical music.

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0 D Quartet No.8 dised" Shostakovich 1906-1975 Last performed at HMS by The Nomos Quartet, 4 November 1996 1 Largo 3 Allegretto 5 Largo 2 Allegro molto 4 Largo com 01 This quartet was written after his second visit to the ruined city of Dresden in the summer of 1960 and was dedicated "to the victims of fascism and war". Whether Shostakovich himself or the authorities imposed this dedication is a curious question. The composer viewed the quartet as his epitaph, having planned to commit suicide after writing it, so it is no surprise that its content is highly personal and indeed autobiographical, containing quotations from his earlier works. In common with much of his output, the music reflects the hardship in which he grew up and his struggle to conform to standards set by the Soviet regime whilst remaining true to his artistic integrity; an impossible endeavour in which he often failed. The first movement opens with Shostakovich's signature theme of DSCH, (D, E flat, C, and B natural), used as a motto throughout the work and as a basis for much development. The music is highly introspective and in spite of a poignant violin melody from his first symphony there is little relief from the harsh realities of life. Aggres- sive repeated chords cut in to start the second movement, which, with its gradually rising pitch, leads to a strongly rhythmic Jewish sounding theme taken from an earlier piano trio. After this, the music becomes increasingly passionate until an abrupt change into 3/4 time prepares for the start of the third movement. Its melody is again evolved from the DSCH motto and the composer's contempt for the authorities is barely disguised as a wry and slightly grotesque waltz. Later in this movement, he recalls the main theme of his cello concerto, and after some development he begins the fourth move- ment with the concerto theme played at a very slow speed and joined by the same harsh chords from the start of the second movement. The music proceeds with fervent intensity, its mood often severely oppressive. A fifth movement largo section ends the quartet in sombre mood, giving eloquent expression to Shostakovich's feelings of futility. INTERVAL 3

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Quartet in D minor, D 531 "Death and the Maiden" Schubert 1797-1828 1 Allegro 3 Scherzo: Allegro molto Schubert produced an enormous amount of chamber music in his tragically short life. His quartet writing was completed in sixteen years. This com- pares with a span of over thirty years for Haydn or Beethoven and this work is regarded therefore, as a mature work in spite of the fact that he was only 27 when it was completed in March 1824. The quartet takes its name from the song with the same title and the use of minor keys in all four movements is unprecedented. 2 Andante con moto 4 Presto The arresting rhythmic opening prepares us for a dramatic work but the tension of such passages is alternated with quieter and more relaxed sections of lyrical beauty. Schubert is known not only for his gift of extended melody in his songs, but his use of a bold harmonic palette. In this work he extends this aspect by an almost experimental use of key. The movement also demonstrates his contrapuntal skills and expertise in the development of small melodic fragments in Classical style. The second movement is built on the theme of Schubert's own song, " Der Tod und das Mädchen" with six variations followed by a coda. After a very simple statement of the theme, the variations provide ample opportunity for the three lower instruments to excel; for example, the cello makes use of its higher register to enjoy the melody in the second variation. Each movement is contrasted with the previous variation; for example, a lyrical fourth follows a third of taut and rhythmic vitality. The Scherzo is a short, defiant movement of robust syncopations and clear harmonic structures. Its contrasting Trio offers a natural grace and inno- cence where Schubert is at his most inspired in the effortless creation of melody and light textures. The Finale completes the work in no less dramatic manner, the ingenious treatment of its rondo theme propelled by an almost uninterrupted rhyth- mic energy. A huge variety of dynamics and pitch are enhanced by an equally stunning range of instrumental colour and technique. The music ends in a whirlwind of brilliance and passion. OTHER FORTHCOMING EVENTS Square Chapel Centre for the Arts, Halifax Nick Trygstadt (cello) & Sam Armstrong (piano) Sonata in C major op.102 no.1 Cello Suite no. 1 op.72 Suite no. 2 in D minor Sonata in D major op.102 no.2 4 Friday 6 March, 7.30pm Halifax Philharmonic Club Beethoven Britten Bach Beethoven Box Office 01422 349422

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Hon. Treasurer P. Michael Lord Tel: 01484 310104 Fax: 01484 425658 e-mail: michaellord@wizzo.org.uk ARTS OFFICERS President Stephen Smith Hon. Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk We acknowledge with thanks support for our concerts from The University of Huddersfield to which the Society is affiliated The Society is grateful for financial help also from: Mrs M Glendinning, P Michael Lord, P L Michelson, J C S Smith. JG Sykes, Mrs E R Taylor, Mrs L Walker COMMITTEE Ralph Barker, John Bryan, Margaret Collison, Alastair Cridland, Verity Cridland, Marjorie Glendinning, Helen Howden, Christine Stanton and for practical help with our database from Hilary Norcliffe, Society Archivist. OUNCIL ENGLAND Making Music THE NATIONAL FEDERATION OF MUSIC SOCIETIES

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Season's Performances 6th October 2008 EMMA KIRKBY AND THE ROSE CONSORT OF VIOLS The Swan and the Nightingale: Music"apt for voyce and viols" from Elizabethan and Jacobean England including pieces from Orlando Gibbons" "First set of Madrigals & Motets" of 1612, consort songs by William Byrd. 17th November 2008 RTÉ VANBRUGH STRING QUARTET Haydn String Quartet Op.76 No.5 Beethoven String Quartet Op.95 Arvo Pärt Summa, Schumann String Quartet Op.41 No.3 8th December 2008 JAMES TURNBULL (oboe) and ELIZABETH BURGESS (Piano) Britten Two Insect pieces, Temporal Variations Howells Oboe Sonata Edwin Roxburgh Antares (1988), Finzi (arr Ferguson) Interlude Edmund Rubbra Oboe Sonata in C 9th February 2009 HEROLD STRING QUARTET Dvorák Cypresses (Selection: Nos 3,5,11,12), Smetana String Quartet no.2 D Minor, Beethoven String Quartet C-sharp minor Op.131 23rd February 2009 ENDELLION STRING QUARTET Haydn String Quartet Op.50 No 5 Janácek String Quartet No2, Intimate Letters Beethoven String Quartet Op.18 No.6 2nd March 2009 CARDUCCI STRING QUARTET Haydn String Quartet Op.20 No.4, Shostakovich String Quartet No.8, Schubert "Death and the Maiden" 23rd March 2009 ANDREW BROWNELL (piano) Bach English Suite No. 1 in A major Mozart Sonata in A K 331 Schumann Arabesque Op. 18 Schumann Fantasy Op.17 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 LL. WT. Ninety First Season 2008-2009 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 23 March 2009 Andrew Brownell - Piano as Andrew Brownell has been a multiple prizewinner in international competi- tions, including joint Second Prize at the 2002 International J. S. Bach Competi- tion in Leipzig, and First Prize at the 2005 J.N. Hummel Competition in Brati- slava, but he is best known to English audiences for winning a highly praised Second Prize and the Benjamin Britten Special Prize at the 2006 Leeds Interna- tional Pianoforte Competition. Since then he been invited to play with orchestras across the world including the Hallé Orchestra, the Hermitage State Orchestra and the Brighton Philharmonic Orchestra under such conductors as Mark Elder, Murray Sidlin, Mihal Friedrich Haider, and Jorge Velazco. Dworzynski, Andrew was raised in Portland, Oregon, and began studying the piano at the age of four. His teachers have included Nellie Tholen in Portland, Nancy Weems and Horacio Gutiérrez at the University of Houston; and John Perry at the University of Southern California (Los Angeles). He is currently pursuing doctoral work in the class of Joan Havill at the Guildhall School of Music and Drama in London. Also an accomplished organist, he has appeared as a recitalist across the United States, and was recently made an Associate of the Royal College of Organists. Andrew will be back in Huddersfield on Friday 12 June in the Town Hall to play Mozart's Concerto in C, K 467, with the Royal Liverpool Philharmonic Orchestra conducted by Owain Arwel Hughes. 1

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English Suite No. 1 in A, BWV 806 Prelude: Allemande: Courante I: Courante II (avec deux doubles): Sarabande: Bourrée I: Bourrée II: Gigue. The element of improvisation runs strongly through tonight's programme and indeed some form of decoration was expected from the player of an eighteenth century dance suite in the repeated sections of a two-part dance. The English suite, a version of the popular French and Italian forms is comprised of short dance movements, usually in the same key and prefaced with some sort of free-style prelude and concluding with a lively jig or Gigue. Bach 1685-1750 In this suite opportunity for improvisation also arises in the two variations or Doubles following the second Courante. The musical style of each nation varied according to the various styles of courtly dancing; in the French Ordres of Couperin and Rameau, for instance, the music was characteristically longer and embellished, and often known by fanciful and descriptive titles. The English suites therefore reflect their foreign counter- parts and show Bach's mastery of the influential French and Italian idioms. Bach's English suites were probably composed sometime between 1708 and 1714 when he was employed at Weimar, but there is some doubt as to their exact origins. The first of this set of six bears the title, 'Fait pour les Anglais' and they were all probably the result of an English commis- sion. nibu Piano Sonata no 11 in A major, K 331 1 Theme and variations: Andante grazioso 2 Minuet 3 Rondo alla turca: Allegretto Mozart 1756-1791 This attractive sonata will be well-known and possibly played by many members in the audience. It was written in the summer of 1778 when Mozart visited Vienna and there are clear indications of his desire to win the approval of audiences and impress society with his mastery of popular styles. The simple theme of the first movement is succeeded by a set of witty and appealing variations, each one exploiting a different set of techniques. A bold opening statement leads into an unusual and highly figured minuet contrasting with its gentle and legato trio which follows. 2 The brilliance of the last movement was calculated to thrill audiences, with its imitation of the exotic percussion of the Turkish Janissary bands of the Ottoman empire. Western fashionable society was being increasingly influenced by cultural input from the East. Indeed special pianos were invented (and still exist) to include these effects. INTERVAL

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J :) Variations sur un thème d'Armide de Gluck Hummel 1778-1837 Johann Nepomuk Hummel was born in Austria, a keyboard prodigy who made his Viennese debut at the age of nine in a concert conducted by Mozart. His influence as player and technician extended into the late 19th century through his treatise A Complete Theoretical and Practical Course of Instruction on the Art of Playing the Piano Forte, published in 1828. He taught Czerny who in turn taught Liszt. John Field also found a model for his Nocturnes in Hummel's slow movements with their arched melodies and irregular arabesques, a form which Chopin subsequently claimed and brought to perfection. Hummel rivalled Beethoven's fame as an impro- viser but somehow failed to become a household name in spite of his obvious accomplishment as an outstanding musician. Perhaps he was unfortunate to be born a contemporary of Beethoven. His compositions are balanced and Classical in style, often using a Clementi-style tech- nique with lots of Alberti bass accompaniments and dotted rhythms. Variation form springs directly from the improvisation which was widely used, and which was an obligatory part of music making throughout the seventeenth and eighteenth centuries. This set of ten variations, com- posed in 1815, is based upon a Musette from a set of dances in Gluck's opera Armide. The variations are contrasting, some of the early ones having great contrapuntal interest, while others, unsurprisingly, are closer to middle period Beethoven in style. The work ends by observing certain Classical conventions of the variation form in which the penulti- mate variation is an Adagio with some very proto-Chopinesque or Fieldian fioritura (the embellished vocal line found in nineteenth century opera). The final variation is in a contrasting metre and segues into an unexpectedly complex coda. Arabesque, op 18 Schumann 1810 -1856 This single miniature of 1839 stands alone, written after some of Schumann's monumental piano works such as Études Symphoniques, Kreisleriana, Davidsbündlertänze, Carnaval and the more modest, but no less crafted Kinderszenen. The Arabesque reflects his song output with its gently ornamental melody. The melody of the first section is repeated between two more assertive contrasting sections. A dreamlike and poetic postlude ends the work, similar to the reflective passages with which he often ends his song cycles such as Dichterliebe. 3

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Prelude, Chorale, and Fugue Once again the element of improvisation is exceedingly strong in Franck's keyboard music, due to the fact that his acclaimed improvisational skills on the organ are reflected in his piano compositions. This work contains also many indications of his fine piano technique, which demands an imaginative range of dynamics and textures. He became a respected teacher and organist in Paris after studies to become a pianist did not result in the solo career his father had envisaged for him. The improvisational element is clearly heard in the strongly chordal Prelude. The tonic key of B minor is clearly established with the powerful and extended use of a repeated bass note or pedal on B, an organ technique which he frequently employs. The Chorale section exploits the Romantic piano as played by virtuosos such as Liszt and Chopin whom Franck admired. It is easy to understand the popularity of the piano with its potential to offer such extremities of dynamic range and sound. The chords are often enormously extended and impossible to reach without employing arpeggiando (spreading of chords) or crossing of hands, offering further opportunity for impressive and extravagant display. Finally, although the appearance of a fugue subject certainly resembles Bach at the outset, here, however, the resemblance to Bach finishes. Where Bach would have worked out a fugue of perfect proportions from the simple descending subject, Franck constructs from it a suitably dazzling movement which brings the whole work to brilliant conclusion, offering much opportunity for pianistic virtuosity. Programme notes by C Stanton ww je César Franck 1822-1890 Philharmonic ORCHEST Huddersfield Town Hall Mozart Stravinsky Brahms Flute Concerto (K 314) Firebird Suite (1919 version) Symphony No 2 4 Saturday 25 April, 7.30 pm Soloist: James Squire Visit the official Huddersfield Philharmonic Society website at: www.huddersfield-phil.org.uk

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S d f 6 ✓ h OFFICERS President Stephen Smith Hon. Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk Hon. Treasurer P. Michael Lord Tel: 01484 310104 Fax: 01484 425658 e-mail: michaellord@wizzo.org.uk ARTS COMMITTEE Ralph Barker, John Bryan, Margaret Collison, Alastair Cridland, Verity Cridland, Marjorie Glendinning, Helen Howden, 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: Mrs M Glendinning, P Michael Lord, PL Michelson, JC S Smith. JG Sykes, Mrs E R Taylor, Mrs L Walker and for practical help with our database from Hilary Norcliffe, Society Archivist. COUNCIL ENGLAND Making Music THE NATIONAL FEDERATION OF MUSIC SOCIETIES

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Season's Performances 6th October 2008 EMMA KIRKBY AND THE ROSE CONSORT OF VIOLS The Swan and the Nightingale: Music"apt for voyce and viols" from Elizabethan and Jacobean England including pieces from Orlando Gibbons' "First set of Madrigals & Motets" of 1612, consort songs by William Byrd. 17th November 2008 RTÉ VANBRUGH STRING QUARTET Haydn String Quartet Op.76 No.5 Beethoven String Quartet Op.95 Arvo Pärt Summa, Schumann String Quartet Op.41 No.3 8th December 2008 JAMES TURNBULL (oboe) and ELIZABETH BURGESS (Piano) Britten Two Insect pieces, Temporal Variations Howells Oboe Sonata Edwin Roxburgh Antares (1988), Finzi (arr Ferguson) Interlude Edmund Rubbra Oboe Sonata in C 9th February 2009 HEROLD STRING QUARTET Dvorák Cypresses (Selection: Nos 3,5,11,12), Smetana String Quartet no.2 D Minor, Beethoven String Quartet C-sharp minor Op.131 23rd February 2009 ENDELLION STRING QUARTET Haydn String Quartet Op.50 No 5 Janácek String Quartet No2, Intimate Letters Beethoven String Quartet Op.18 No.6 2nd March 2009 CARDUCCI STRING QUARTET Haydn String Quartet Op.20 No.4, Shostakovich String Quartet No.8, Schubert "Death and the Maiden" 23rd March 2009 ANDREW BROWNELL (piano) Bach English Suite No. 1 in A major Mozart Sonata in A K 331 Schumann Arabesque Op. 18 Schumann Fantasy Op.17 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.