HMS 92


HMS 92

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HUDDERSFIELD MUSIC SOCIETY Ninety Second Season 2009/10 St Paul's Hall, Huddersfield All concerts start at 7.30pm Given in association with the "Music at the University of Huddersfield" Evening Concert Series Making Music THE NATIONAL FEDERATION OF MUSIC SOCIETIES Yorkshire Arts www.huddersfield-music-society.org.uk Registered Charity 529340 President: Stephen Smith

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Monday 5th October 2009 Scott Brothers Piano Duo A chance to hear the Scott brothers playing two Steinway grand pianos. Shostakovich: Concertino Op 94 (2 pianos) Schubert: Fantasy in F minor (duet) Ligeti: Sonatina (1950) (duet) Saint Saëns: Danse Macabre (2 pianos) Brahms: Haydn Variations Op 56b (2 pianos) Ravel: Ma Mère l'Oye (duet) Lutoslawski: Paganini variations (2 pianos) We thank our anonymous sponsor for supporting this concert B T Monday 9th November 2009 Wihan String Quartet With their unique and spellbinding sound, The Wihan Quartet has made an impact in concert venues around the world. Panufnik: Cavatina and Moravian Dance Beethoven: String Quartet No. 10 in E flat major, Op. 74 'Harp' Dvořák: String Quartet in A flat major Op. 105

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HUDDERSFIELD MUSIC SOCIETY Ninety Second Season 2009/10 BOOKING FORM (to be detached)

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Monday 7th December 2009 Pavel Haas Quartet Since winning the Paolo Borciani competition in Italy in Spring 2005, the Pavel Haas Quartet have quickly become known to audiences, critics and promoters throughout the musical world. Schubert: Quartettsatz (Movement for String Quartet) in C minor D 703 Haas: String Quartet No.2 "From the Monkey Mountains" Smetana: String Quartet No.1 "From My Life" Monday January 11th 2010 Coull String Quartet Quartet-in-Residence at the University of Warwick since 1977, the Coull Quartet has performed and broadcast extensively throughout the UK Mozart: Quartet in D minor K421 Ravel: String Quartet Mendelssohn: Quartet No 4 in E minor Op 44 no2 Monday Ist February 2010 Edinburgh Quartet and Nicholas Ashton (piano) The Edinburgh Quartet was one of the first university-based quartets in the UK and is now resident at Napier University Edinburgh. Haydn: String Quartet in G major Op.77 No1 Britten: String Quartet no. 3 Schumann: Piano Quintet in E flat, Op.44 Nicholas Ashton, who plays with the Edinburgh Quartet on February 1st 2010 b

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BOOKING ARRANGEMENTS Single Season Ticket Double Season Ticket Single Concert Ticket Student Season Ticket Student Single Ticket Please send Please send Tickets may be obtained by using the booking form below or from Huddersfield Information Centre, Albion Street (tel 01484 223200), or at the door. Please return unwanted season tickets to the Treasurer by 23rd September 2009. Name Address TICKETS Post this form with cheque payable to Huddersfield Music Society to the Hon Treasurer, Mr Michael Lord, 38 Ingleton Road, Newsome, Postcode Huddersfield HD4 6QX. Tel 01484 310104 E-mail: michaellord@wizzo.org.uk ......... ......... for concert number(s)... I enclose cheque BOOKING FORM single/double season tickets single concert tickets ............ Telephone £95 £177 £16 Total £ £15 £3 Would Double Season Ticket holders please add the name of the second purchaser for our membership register: Monday 22nd March 2010 Fujita Piano Trio London-based piano trio of three award-winning Japanese sisters Haydn: Trio in G Hob XV25 "Gypsy Rondo" Shostakovich: Trio in E minor Op 67 Mendelessohn: Trio in D minor Op 49 Monday 19th April 2010 Florilegium One of Britain's most outstanding period instrument ensembles Music for the Sun King. French Music as performed in Versailles including works by Rameau, Rebel, Leclair, Morel, Couperin and Marais

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Single Season Ticket Double Season Ticket Single Concert Ticket Student Season Ticket Student Single Ticket We acknowledge with thanks support from the University of Huddersfield to which the Society is affiliated. TICKETS 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, TO HALIFAX & M62 and for support from: Making Music (National Federation of Music Societies) and the Countess of Munster Musical Trust. A629 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. NEW NORTH ROADO TRINITY STREET NORTH CASTLE GATE STATION BUS TO MANCHESTER A62 MANCHESTER ROAD BOD RAILWAY STATION 400 070 30 1009 00G00 ୦୦୮ 001 A616 CHAPEL HILL QUEESINGATE CAR PARK Car Parking should be available QUEESN ST SOUTHO SOUTHGATE TO LEEDS LEEDS ROAD A62 QUEENSCA £95 £177 £16 £15 £3 ST. PAUL'S HALL UNIVERSITY OF HUDDERSFIELD TO WAKEFIELD SHEFFIELD A629 WAKEFIELD ROAD 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 WT. Ninety Second Season 2009-2010 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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ARTS OFFICERS ENGLAND President Stephen Smith COUNCIL Hon. Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk Hon. Treasurer P Michael Lord Tel: 01484 310104 Email: michaellord@wizzo.org.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, PL Michelson, JC S Smith JG Sykes, Mrs ER Taylor and for practical help with our database from Hilary Norcliffe, Society Archivist. COMMITTEE John Bryan, Margaret Collison, Alastair Cridland, Verity Cridland, Helen Howden, Christine Stanton Making Music

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2 Huddersfield Music Society Monday 5 October 2009 Scott Brothers - Piano Duo CAR d M Jonathan continued his studies in USA and Holland and was awarded the W.T. Best Gold Medal by the Worshipful Company of Musicians and subsequently received the Freedom of the City of London. He is currently on the keyboard faculty of RNCM and organist-in-residence at Salford University. In addition to recent concertos with the BBC Philharmonic, Hallé Orchestra and RPO, Jonathan has also recorded the piano music for the soundtrack to the 2008 film of Brideshead Revisited and his perform- ances of Gershwin's Rhapsody in Blue with English National Ballet last summer at the Royal Albert Hall were described as 'scintillating' by the Sunday Times. Born in Manchester, Jonathan and Tom both studied at Chetham's School of Music and at the Royal Northern College of Music (RNCM). Tom read Music on the joint course at The University of Manchester, gained the Thomas Beecham Medal for Excellence in his degree and subsequently achieved a distinction in his Masters degree. He made his concerto debut with the Hallé Or- chestra, aged 17, with Prokofiev's Piano Concerto No.1 at The Bridge- water Hall, Manchester. Tom cur- rently tutors at RNCM and The University of Manchester where he has recently completed his PhD. The Scott Brothers Duo's recent CD's of Duos for Piano & Organ and Duets for Piano have received great critical acclaim. The discs have featured on BBC radio 2 and 3, and achieved 'editor's choice' in Organists' Review, being described as "tremendous musicianship.....a superb exam- ple of the way in which the duo works together." International Piano Magazine said that "There are few piano duet recordings so beautifully engineered...I doubt whether Debussy's Petite Suite or Ravel's Ma Mère l'Oye have ever sounded more beguiling on disc. 1 www.scottbrothersduo.com

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Scott Brothers piano duo The history of the piano duet is as old as the piano itself. Four hands at one piano in the eighteenth century was a way of providing entertainment as well as the opportunity for social interaction. The repertoire of original works for piano duet or two pianos has also been increased by a large number of valuable arrangements and transcrip- tions of the major works of orchestral and symphonic repertoire. Perhaps the art of duet playing on two pianos is not quite so popular nowadays but it is a fact that there are people in this audience who still meet for regular sessions! Dmitri Shostakovich (1906-1975) Concertino Op.94 [2 pianos] This work shows the composer's capacity for making the most of the instrument's percussive capability with well-developed angular and impudent themes. There are also restrained and contrasting passages of lyrical meditation and sentiment. The work typically drives the performers to the outer reaches of the keyboard but its resilient and rhythmic drive is sometimes interrupted by more sober and reflective music. Shostakovich's fondness for counterpoint and chromaticism is apparent throughout. Franz Schubert (1797-1828) Fantasy in F minor D 940 [duet] Schubert wrote many works for two players at one keyboard. This was written in the last year of his life when pre-occupied with illness and his own mortality even though still a young man. Its pathos and emotion lend spiritual awareness and it has become probably his most popular work for duettists. The work opens with an understated theme of transparent beauty but a central section brings feelings of disturbance and agitation. György Ligeti (1923-2006) Sonatina (1950) [duet] Fully caught up in the tragedy of war as a Jew, Ligeti's close family was broken up and he lost both father and brother in concentration camps. Upon returning to his studies in Budapest after the war he spent a year researching Romanian folk music. He then taught harmony, counterpoint and formal analysis. His music was inevitably restricted by a period of political repression and the Sonatina was written at this time. Strains of Bartok are evident in its folk tonality and rhythms. His music tends to be more tonal and accessible than that of many of his contemporaries despite forays into electronic composition later on. The Sonatina is a charming small-scale work 2

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} } with three contrasting movements, each of which is short and very accessible. The first movement is captivatingly rhythmic, the second more contemplative and the third ends almost apologetically. Camille Saint-Saëns (1835-1921) Danse Macabre [2 pianos arr. by the composer] This familiar and atmospheric orchestral work began life as a kind of art song based upon a French text and was first performed in 1872. It was orchestrated by the composer two years later replacing the vocal line with an obligato solo violin. But it was Liszt who first recognised the work's potential for the virtuoso pianist and tran- scribed it for piano followed by the composer's own arrangement for two pianos. Certainly this is a piece which appears in several formats, not unlike the Paganini Caprice later in this programme! It's colourful storyline is based upon superstition and rituals related to Death and his power to call forth the dead to dance at Hallowe'en. Its increasing exhilaration leads to a climax which culminates in the solemn toll of a bell at daybreak. INTERVAL Johannes Brahms (1833-1897) Haydn Variations Op. 56b [2 pianos] Best known as orchestral variations it is interesting to learn that Brahms first drafted these for a piano duo in 1873, a not uncommon event in his composing. He demonstrates his seemingly endless capacity for composing sets of variations upon a theme, which in this case is deceptively simple and light-hearted and composed by Haydn. The variations are richly harmonised, demonstrating ingenious rhyth- mic variety and breathtaking artistry. Maurice Ravel (1875-1937) Ma Mère l'Oye [duet] 1 Pavane, Sleeping Beauty in the Wood 2 Tom Thumb 3 Little Ugly Girl, Empress of the Pagodas 4 Beauty and the Beast 5 The Fairy Garden Written originally for piano duet for children of friends, the Mother Goose Suite is a set of highly personal and colourful pieces inspired. by the fairy tales of Charles Perrault. Each of Ravel's pieces is a highly 3

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individual portrayal of a different sound world, often incorporating subtle and gentle humour. The sound pictures vary from the sheer luminosity and otherworldly sound of the opening and closing move- ments to the highly characterised fourth, with its characters clearly recognisable in their melodic representations. In a clear pictorial representation of Tom Thumb lost in a wood, the music also moves in circles and bird sounds are to be heard later on. The Eastern influence of the Land of the Pagodas is conjured up by its percussive and delicate modal patterns. Like the Brahms variations, these pieces ended up being orchestrated and developed into a ballet score. Witold Lutoslawski (1913-1994) Paganini Variations [2 pianos] The familiar theme is instantly recognisable but presented in various guises ranging from the whimsical to the exotic. The work originated from the repertoire of Lutoslawski and his friend, Andrzej Panufnik, (one of the most famous Polish composers), playing in cafes, from 1940 to 1944. The duo had a repertoire of nearly two hundred pieces, with arrangements of classical music from Bach to Beethoven and Tchaikovsky as well as, among other works, an elaboration by the composer of Debussy's L'Après-midi d'un Faune and this transcription of Paganini's solo violin Caprice No 24 in A minor. Its simple harmonic and melodic framework provides a sound basis for improvisation or variation. Notes by C Stanton NEXT HUDDERSFIELD MUSIC SOCIETY CONCERT Wihan String Quartet Panufnik Beethoven Dvořák London Concertante Martinu Brahms Korngold Monday 9 November, 7.30pm Cavatina and Moravian Dance Quartet No 10 in E flat major, Op 74, "The Harp" Quartet in A flat major Op 105 HALIFAX PHILHARMONIC CLUB 4 Friday 16 October, 7.30pm String Sextet No 1 in B flat Op 18 String Sextet Box Office 01422 349422

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Season's Performances 5th October 2009 SCOTT BROTHERS PIANO DUO Dimitri Shostakovich: Concertino Op 94 (2 pianos) Franz Schubert: Fantasy in F minor D940 (duet) György Ligeti: Sonatina (1950) (duet) Camille Saint-Saëns: Danse Macabre (2 pianos arr by composer) Johannes Brahms: Haydn Variations Op 56b (2 Pianos) Maurice Ravel: Ma Mère L'Oye (duet) Witold Lutoslawski: Paganini Variations (2 pianos) 9th November 2009 WIHAN STRING QUARTET Roxanna Panufnik: Cavatina and Moravian Dance Ludwig Van Beethoven: String Quartet No. 10 in E flat major, Op 74 'Harp' Antonin Dvořák: String Quartet in A flat major Op 105 7th December 2009 PAVAL HAAS QUARTET Franz Schubert: Quartettsatz (Movement for String Quartet) in C minor, D703 Pavel Haas: String Quartet No 2 'From the Monkey Mountains' Bedřich Smetana: String Quartet no.1 'From My Life' 11th January 2010 COULL STRING QUARTET Wolfgang Amadeus Mozart: Quartet in D minor K421 Maurice Ravel: String Quartet Felix Mendelssohn: Quartet no 4 in E minor Op 44 no 2 1st February 2010 EDINBURGH QUARTET AND NICHOLAS ASHTON Joseph Haydn: String Quartet in G major Op 77 No 1 Benjamin Britten: String Quartet no 3 Robert Schumann: Piano Quintet in E flat, Op 44 22nd March 2010 FUJITA PIANO TRIO Joseph Haydn: Trio in G Hob XV25 'Gypsy Rondo' Dmitri Shostakovich: Trio in E minor Op 67 Felix Mendelssohn: Trio in D minor Op 49 19th April 2010 FLORILEGIUM Music for the Sun King French music as performed in Versailles including works by Rameau, Rebel, Leclair, Morel, Couperin, Marais 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 Second Season 2009-2010 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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ARTS OFFICERS ENGLAND President Stephen Smith COUNCIL Hon. Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk Hon. Treasurer P Michael Lord Tel: 01484 310104 Email: michaellord@wizzo.org.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, PL Michelson, JC S Smith JG Sykes, Mrs E R Taylor and for practical help with our database from Hilary Norcliffe, Society Archivist. COMMITTEE John Bryan, Margaret Collison, Alastair Cridland, Verity Cridland, Helen Howden, Christine Stanton Making Music

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Huddersfield Music Society Monday 9 November 2009 The Wihan String Quartet Jan Schulmeister Second Violin A Leoš Čepický First Violin Aleš Kaspřík Cello Jiří Žigmund Viola The Wihan Quartet, formed in 1985, are heirs to the great Czech musical tradition and are widely recognised for their interpretation of the Czech heritage and of the many classical, romantic and modern masterpieces of the string quartet repertoire. They have developed an impressive international career, which in- cludes visits to major festivals in Europe and the Far East. They visit the United States and Japan regularly, and have had highly acclaimed tours of Australia and New Zealand. They can often be heard on BBC Radio 3 as well as in concert at Wigmore Hall, Bridgewater Hall, the South Bank and many other venues throughout the country. 1 During 2008 the Quartet completed the first ever cycle of Beethoven Quartets in Prague which was released on the Nimbus Alliance label. The cycle was repeated at Blackheath Halls, London. They are cur- rently Quartet in Residence at Trinity College of Music, London, and for several years have taught many of the UK's gifted young Quartets at Pro Corda in Suffolk. The Wihan are great supporters of the work of the Cavatina Chamber Music Trust, giving inspirational concerts and master classes to young people in many parts of the country. Taken from www.wihanquartet.com

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Cavatina & Moravian Dance Roxanne Panufnik b.1968 Roxanna Panufnik studied composition at the Royal Academy of Music. She has written a wide range of pieces including opera, ballet, music theatre, choral works, chamber music and music for film and television. Her works have been performed all over the UK, Europe, Asia, Australia and the USA. She has also worked for the BBC, as a researcher and in November 1993, wrote and presented Radio 3's "Composer of the Week" on her father, Sir Andrzej Panufnik. The composer writes: When Cavatina Chamber Music Trust's founders, Simon and Pamela Maja- ro, approached me to compose a work for the Wihan String Quartet (whom I first heard, in 1991, when they won the London International String Quartet Competition with a work by my father, Andrzej Panufnik), they had. a very detailed brief in mind for the first movement. They wanted a cavatina, appropriately, that would be a "signature tune" for the Trust. It needed to be suitable for their outreach work in schools and therefore to have an easily memorable melody which occurred in all instruments in various guises and could be recognised whenever it occurred, by the young listeners. It also needed to be programmable for a quartet, in a concert context. My Cavatina has a simple 4-note motif which occurs in all instruments some 19 times in the short introduction, alone! The Cavatina ends with a lullaby version of the motif which can either be played slowly and dreamily or at a slightly faster, more rocking pace if the performers feel that they are breaching the boundaries of a younger audience's concentration span! The subject for the second movement, Moravian Dance, was left com- pletely up to me. I wanted to celebrate the Wihan's "Czech-ness" and found a fabulous Moravian traditional melody on a 1957 recording of the Jasénka Folk String Trio - music which impressed me with its raw and intense joie de vivre. This music was originally accompanying Pair Dances and I have kept that notion throughout the piece, marrying violin I with the 'cello and violin II with the viola. The first 45 seconds are a literal transcription of the music (although the viola solos were originally sung) but then a fantasy builds, enhancing its innate quirkiness, not just in the melody but in the rhythm and harmony also. I have dedicated Cavatina & Moravian Dance to Simon and Pamela Majaro, and thank them for choosing me to fulfil such an important and personal mission. Thanks also go to the Wihan Quartet for their patience and help during the creative process. R Panufnik, 16 January, 2007 2

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1 ) String Quartet in E flat major, op74 Jah Last performed at HMS by The Takács Quartet, November 29 1999 1 Poco adagio - Allegro 2 Adagio ma non troppo 3 Presto - Più presto quasi prestissimo - 4 Allegretto con variazioni Written in 1809 a few years after the Rasumovsky quartets and whilst Beethoven was working on his fifth symphony, this quartet is often known by its nickname, "The Harp", due to the delightful pizzicato motifs in the first allegro section and elsewhere. Beethoven 1770-1827 The slow introduction would have tested eighteenth century ears towards its end. Its search for the right key entails a period of unresolved chromat- icism, moving through "an unnecessary jumble of harsh dissonances", according to an article in the Allegemeine musikalische Zeitung. It evokes slight feeling of unease. The harp idea is a recurring motif and occurs in the cheerful opening of the allegro. Later there is a move to a darker, more dramatic vein of develop- ment once again ending with unsettling repetition and trills. The movement concludes in its brighter aspect after passages of glorious freedom where the first violin has a demanding virtuoso violin passage. The second movement begins reflectively, the beauty of its extended melodic lines supported by a largely harmonic texture. Exquisite accompa- nying lines interweave with the melody, lending delicacy to the texture. Throughout, the music embraces surprisingly sudden dynamic changes, often passionate but always returning to the sensitivity and tenderness of the opening. The aggressive contrast of the third movement is very characteristic of Beethoven. Its relentless forward motion stems from the main theme which is the speeded up version of the four note "Fate" motif from fifth symphony, propelling it along. An equally furious presto section breaks in twice. It leads to the final movement without a break and the quartet ends (uniquely for Beethoven) with a theme and set of variations. The theme's unsettled demeanour is due to a rhythmic idiosyncrasy where the first note of each phrase precedes the barline, thus creating a curious leaning into each phrase. There are five variations, alternately energetic and lyrical. The second is a rare opportunity for a sublime viola solo. The last variation is very unsettled with continuous triplet pedals, mainly in the bass, but after a passage of acceleration the work concludes modestly and unexpect- edly with a quiet closing cadence. INTERVAL 3

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String Quartet no 14 in A flat, op 105 Last performed at HMS by The Stamic Quartet, January 30 2006 1 Adagio ma non troppo - Allegro appassionato 2 Molto vivace 3 Lento e molto cantabile 4 Allegro non tanto This quartet and opus 104 are acknowledged to be amongst Dvorák's finest chamber works. Written in 1895 over several months when he was also revising his cello concerto, it was first performed by the Bohemia Quartet which included his pupil and prospective son-in-law Josef Suk. Dvorák 1841-1904 The dark minor introduction is deceptive, given that thereafter the music is largely sparkling and irrepressibly joyous. All instruments have opportu- nities to initiate musical ideas, and themes are clear cut and uplifting. Its dance rhythms express a love of the countryside and of general joie de vivre, occasionally giving way to wistful nostalgia. The second movement is a strongly rhythmic Furiant, displaying the typical cross rhythms of the Czech dance and introducing an innocently playful pizzicato accompaniment. It has a more romantic middle section where there is captivating interplay between pairs of instruments, and falling chromatic lines lend a sensuousness to the music. Dvorák claimed to be inexpressibly happy whilst writing the work and the third movement again captures his intense pleasure. It is perfectly crafted with no superfluous material; its ravishing melodic lines are strongly supported by a strong bass line and luxuriant harmonies. The finale opens with a slightly menacing cello announcement and ensuing tremolos, a device which wouldn't be out of place accompanying a film or thriller. The cello theme remains recognisable but continually evolves throughout the movement, accommodating its shape and spirit to the context. Boisterous good humour sometimes gives way to a vein of wistfulness, contributing to the emotional breadth of the work. Notes by C Stanton HALIFAX PHILHARMONIC CLUB Red Priest Piers Adams - Recorders Julia Bishop - Violin Angela East - Cello Howard Beach - Harpsichord Carnival of the Seasons - An evening of flamboyant Baroque music 4 Friday 13 November, 7.30pm Square Chapel, Halifax Box Office 01422 349422

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Season's Performances 5th October 2009 SCOTT BROTHERS PIANO DUO Dimitri Shostakovich: Concertino Op 94 (2 pianos) Franz Schubert: Fantasy in F minor D940 (duet) György Ligeti: Sonatina (1950) (duet) Camille Saint-Saëns: Danse Macabre (2 pianos arr by composer) Johannes Brahms: Haydn Variations Op 56b (2 Pianos) Maurice Ravel: Ma Mère L'Oye (duet) Witold Lutoslawski : Paganini Variations (2 pianos) 9th November 2009 WIHAN STRING QUARTET Roxanna Panufnik: Cavatina and Moravian Dance Ludwig Van Beethoven: String Quartet No. 10 in E flat major, Op 74 'Harp' Antonin Dvořák: String Quartet in A flat major Op 105 7th December 2009 PAVAL HAAS QUARTET Franz Schubert: Quartettsatz (Movement for String Quartet) in C minor, D703 Pavel Haas: String Quartet No 2 'From the Monkey Mountains' Bedřich Smetana: String Quartet no.1 'From My Life' 11th January 2010 COULL STRING QUARTET Wolfgang Amadeus Mozart: Quartet in D minor K421 Maurice Ravel: String Quartet Felix Mendelssohn: Quartet no 4 in E minor Op 44 no 2 1st February 2010 EDINBURGH QUARTET AND NICHOLAS ASHTON Joseph Haydn: String Quartet in G major Op 77 No 1 Benjamin Britten: String Quartet no 3 Robert Schumann: Piano Quintet in E flat, Op 44 22nd March 2010 FUJITA PIANO TRIO Joseph Haydn: Trio in G Hob XV25 'Gypsy Rondo' Dmitri Shostakovich: Trio in E minor Op 67 Felix Mendelssohn: Trio in D minor Op 49 19th April 2010 FLORILEGIUM Music for the Sun King French music as performed in Versailles including works by Rameau, Rebel, Leclair, Morel, Couperin, Marais 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 Second Season 2009-2010 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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ARTS ENGLAND OFFICERS COUNCIL President Stephen Smith David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk Hon. Secretary Hon. Treasurer P Michael Lord Tel: 01484 310104 Email: michaellord@wizzo.org.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, PL Michelson, JC S Smith JG Sykes, Mrs E R Taylor and for practical help with our database from Hilary Norcliffe, Society Archivist. sig COMMITTEE John Bryan, Margaret Collison, Alastair Cridland, Verity Cridland, Helen Howden, Christine Stanton Making Music

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Huddersfield Music Society entie Monday 7 December 2009 The Pavel Haas String Quartet Veronika Jaruskova Violin Eva Karova - Violin Pavel Nikl - Viola Peter Jarusek - Cello Since winning the Paolo Borciani competition in It- aly in Spring 2005, the Pavel Haas Quartet has become recognised as one of the most exciting young quartets to emerge from the Czech Republic in recent years. They have toured major concert halls worldwide, from St Petersburg to the Carnegie Hall and from London to Tokyo, attracting rapturous audiences and critical acclaim. tere 96 The quartet is named after the composer of the second piece tonight. Pavel Hass was borne in Brno into a Jewish family in 1899. His father was a shoemaker by trade and his mother from Odessa in Russia. Having begun his musical education at the age of 14 he studied at the Conservatory from 1919 to 1921 followed by two years under Leoš Janáček, with whom he had a great musical affinity. While still working in his father's business he wrote more than 50 works of all kinds. In 1941 he was arrested and deported to Theresienstadt concentration camp, having divorced his wife so that she and his young daughter would not be arrested also. He wrote several pieces there, most of which have not survived, before being moved to Auschwitz where he was sent to the gas chamber. The Pavel Haas Quartet has released two discs on the Supraphon label. Their third disk is due out this autumn with recordings of Prokofiev's String Quartets Nos 1 and 2. The first recording of Janáček Quartet No 2 'Intimate Letters' and Haas Quartet No 2 'From the Monkey Mountains' was voted one of the CDs of 2006 by The Daily Telegraph. The Quartet's second disc was released in autumn 2007 completing their recordings of the string quartet works by Haas and Janáček, featuring Janáček's Quartet No 1 'Kreutzer Sonata' and Haas' Quartets Nos 1 and 3. 1

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String Quartet no 12 in C minor, D 703 Quartettsatz' Franz Schubert 1797-1828 Last performed at HMS by The Bronte Quartet, October 20 2003 Allegro assai Perhaps it is surprising that this single movement has found a place in the quartet repertoire as Schubert left a large number of incom- plete works. This single movement, written in 1820, was the only one to achieve permanent status. Possibly because he was highly self critical, it was never completed to become a full four movement quartet. But fortunately he didn't discard it and he did in fact begin. an Andante to follow it. Nevertheless, written at only 24 years old just before he wrote his three last and greatest quartets including Death and the Maiden, it is evident that he had achieved a mature style. Having completed five symphonies and five operas by the time he wrote it, Schubert turned in his maturity, like many other composers, to the more intimate and demanding genre of chamber music. The work begins with hushed intensity and a kind of urgency, hardly rising above a pianissimo dynamic and inviting the listener to share its intimacy. Highly lyrical, and occasionally passionate, it is written in fairly standard sonata form, but with three principal subjects. instead of the usual two, anticipating the form of his last and greatest works. The opening tremolos demand instant attention to the rhythmic and melodic shape of the first three notes which is fundamental to the whole work. Many of Schubert's later tunes and accompanying figurations are ingeniously derived from this simple opening idea. His skill as a craftsman in control of his resources is apparent, as well as his capacity to explore the depths of human emotion and passion. Whilst it may be sad to think that this work was never apparently completed, it is clearly a masterpiece which stands by itself and deservedly so. Its possible rejection, even destruction by Schubert, would have been a loss to all musicians and music-lovers. 2 C Stanton

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String Quartet no 2 Pavel Haas 1899-1944 'From the Monkey Mountains' pniue 1 Landscape: Andante 2. Coach, Coachman and Horse: Andante 3. The Moon and I: Largo e misterioso 4. Wild Night: Vivace e con fuoco Haas wrote his string quartet no 2 (out of a total of three) at the age of 26, three years after he finished his composition studies in Janáček's master class studio. The work shows that out of all Janáček's students, Haas was closest to his teacher concerning his way of understanding and making personal use of certain principles of Janáček's musical creation. This is most true of the function of a more or less omnipresent musical figuration which embarks on its own thematic activity and joins individual parts of a movement into a fluid whole in spite of their different tempos (Janacek's timing). This is what makes Haas' second quartet a true quartet, i.e. cyclical sonata-form composition. This all in spite of its provocative title. ("Monkey Mountains" used to be a BRNO nickname for nearby Vysocina, the Czech highland, a popular recreational area) and the titles of its four parts give the impression of a programmatic suite of atmospheric scenes from a summer vacation. The opening landscape, however, grows from the quiet mood of chirping birds and whispering forests by touching a sense of home "Coach, Coachman and Horse" is also more than just a bizarre imitation of a creaky cart, but part of a cyclic whole (its opening theme and tempo being identical with the first movement's) which works meticulously with the three subjects identified in the title. The third part, "The Moon and I" is the lyrical focus and most personal part of the composition with a glorious fortissimo climax and a return to the "Landscape" of the first movement before its close. The closing "Wild Night" by its very title implies the mixture of elements of some magical intoxication with a dancing frenzy - and the effective contrast of its naive, folk-like melody before its emphatic close. Daring for its time, this experiment in introducing jazz elements was not well received at its Brno premiere (by the Moravian Quartet on March 16th, 1926); the ensemble continued to play only the quartet version. INTERVAL - 3 Jiří Beneš

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String Quartet no 1 in E minor Bedřich Smetana 1824-1884 Last performed at HMS by The Prazak Quartet, November 12 2007 1 Allegro vivo appassionato 2 Allegro moderato alla polka 2 Largo sostenuto 4 Vivace 'From My Life' O print2 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, works which were composed later in his career and reflected his study of the folk music of his native Bohemia with its pentatonic scales and dance rhythms. 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. In the energetic second movement he recalls youthful passions and love of dancing in its Polka-style dance rhythms. It is not difficult to appreciate 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. HALIFAX PHILHARMONIC CLUB Dante Quartet Quartet in D minor op.56 (Voces Intimae) Quartet in C major op.54 no.2 Quartet in B flat Major op. 130 (with Grosse Fugue) Square Chapel, Halifax 4 C Stanton Friday 11 December 2009 Sibelius Haydn Beethoven Box Office 01422 349422

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Season's Performances 5th October 2009 SCOTT BROTHERS PIANO DUO Dimitri Shostakovich: Concertino Op 94 (2 pianos) Franz Schubert: Fantasy in F minor D940 (duet) György Ligeti: Sonatina (1950) (duet) Camille Saint-Saëns: Danse Macabre (2 pianos arr by composer) Johannes Brahms: Haydn Variations Op 56b (2 Pianos) Maurice Ravel: Ma Mère L'Oye (duet) Witold Lutoslawski: Paganini Variations (2 pianos) 9th November 2009 WIHAN STRING QUARTET Roxanna Panufnik: Cavatina and Moravian Dance Ludwig Van Beethoven: String Quartet No. 10 in E flat major, Op 74 'Harp' Antonin Dvořák: String Quartet in A flat major Op 105 7th December 2009 PAVAL HAAS QUARTET Franz Schubert: Quartettsatz (Movement for String Quartet) in C minor, D703 Pavel Haas: String Quartet No 2 'From the Monkey Mountains' Bedřich Smetana: String Quartet no.1 'From My Life' 11th January 2010 COULL STRING QUARTET Wolfgang Amadeus Mozart: Quartet in D minor K421 Maurice Ravel: String Quartet Felix Mendelssohn: Quartet no 4 in E minor Op 44 no 2 1st February 2010 EDINBURGH QUARTET AND NICHOLAS ASHTON Joseph Haydn: String Quartet in G major Op 77 No 1 Benjamin Britten: String Quartet no 3 Robert Schumann: Piano Quintet in E flat, Op 44 22nd March 2010 FUJITA PIANO TRIO Joseph Haydn: Trio in G Hob XV25 'Gypsy Rondo' Dmitri Shostakovich: Trio in E minor Op 67 Felix Mendelssohn: Trio in D minor Op 49 19th April 2010 FLORILEGIUM Music for the Sun King French music as performed in Versailles including works by Rameau, Rebel, Leclair, Morel, Couperin, Marais 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 II WT. Ninety Second Season 2009-2010 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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ARTS OFFICERS ENGLAND President Stephen Smith COUNCIL Hon. Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk Hon. Treasurer P Michael Lord Tel: 01484 310104 Email: michaellord@wizzo.org.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, PL Michelson, JC S Smith JG Sykes, Mrs E R Taylor and for practical help with our database from Hilary Norcliffe, Society Archivist. COMMITTEE John Bryan, Margaret Collison, Alastair Cridland, Verity Cridland, Helen Howden, Christine Stanton Making Music

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Huddersfield Music Society potre Monday 1 February 2010 The Edinburgh String Quartet with Nicholas Ashton (piano) Tristan Gurney, violin Philip Burrin, violin Michael Beeston, viola Mark Bailey, cello The Edinburgh Quartet has a distinguished international profile and is Scotland's pre- mier string quartet. It is among the UK's longest-es- tablished university-based ensembles, having been founded in 1959 by Professor Sydney Newman at the University of Edin- burgh. It is Scotland's only full-time chamber ensemble and is resident at the Ian Tomlin School of Music, Edinburgh Napier University, and at the University of Glasgow. After its formation the Edinburgh Quartet quickly became established as one of the foremost British ensembles. Its broad base of international activities has enabled a deep study of the great mainstream of classical quartet repertoire, and the quartet is also enthusiastic to encourage newer writers. In addition to regular tours to Western Europe, the USA and Canada, the Edinburgh Quartet has travelled to South America, the Caribbean, Poland, Russia, Croatia, many Middle Eastern countries, Hong Kong and Singapore. A strong educational programme has contributed hugely over the years to the musical development of the young and the young at heart alike. Nicholas Ashton combines his appointment as lec- turer at Edinburgh's Napier University with a career both as soloist and chamber musician. Following his education at Chetham's School, Manchester, and the Royal Northern College of Music, he went on to study at the Conservatoire de Musique Genève and the Hochschule fur Musik Frankfurt am Main, where he worked as a professional solo pianist for several years before returning to the UK. He plays regularly with the Edinburgh Quartet, having performed all the major quintet repertoire; and with Andrew Wilde, with whom he is recording the complete works for duet and two pianos by Mozart in 2010. 1

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String Quartet op.77 no 1 in G major Last performed at HMS by The Brontë String Quartet, October 20, 2003 1 Allegro Moderato 3 Menuetto: Presto Haydn completed only two of the usual six in this set of string quartets, commissioned by Prince Lobkowitz and written in 1799. With the scaling down of his duties at the court of Esterháza, he was able to visit the musical capitals of Europe and absorb some of their sophistication, but the folk music of his childhood still remained fundamental to his composing. A light dance-like theme opens the quartet, later prompting some elegant exchange between violin and cello. Its second subject is built from fluid triplet arpeggios. The development section, displaying skilful working out of both themes, is heralded by a theatrical flourish and dramatic key change. Haydn 1732-1809 2 Adagio 4 Finale: Presto The solemn unison opening of the second movement in the distant key of E flat major heralds a sustained and majestic movement featuring long phrases and lyrical statements from the individual members of the quartet. A central section presents a hushed passage of dissonant sequences and repetition before the movement returns to the serenity of its opening material. The third movement reflects the trend to turn a conventional minuet into something much faster with a strong one-in-a-bar rhythm. The drone of the trio emphasises its rusticity contrasting with the presto sections either side. The Gould Piano Trio Lucy Gould - Violin Alison Neary - Cello Benjamin Frith - Piano Lastly comes a movement which takes the three opening notes of the unison theme of the second movement and develops them to form the substance of the entire movement. It was a technique often used by Beethoven. Skilful and extended interplay of parts are the result and there is, of course, much witty and virtuosic decoration. HALIFAX PHILHARMONIC CLUB Piano Trio No 1 Piano Trio No 1 in D minor op 49 Piano Trio in G Major op 26 Square Chapel, Halifax 2 Friday 12 February 2010 Martinu Mendelssohn Dvorak Box Office 01422 349422

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String Quartet no 3 Last performed at HMS by The Lyndsays, March 8, 1999 1 Duets - with moderate movement 2 Ostinato - very fast 3 Solo - very calm Benjamin Britten 1913-1976 4 Burlesque - fast (con fuoco) 5 Recitative and Passacaglia (La Serenissima) - slow "I want the work to end with a question" - Britten Written in 1975, the whole work is made up of questions and uncertainties. Over thirty years after composing his second quartet, Britten wrote his third and last major work. It was premiered after his death and has strong connections with his final opera "Death in Venice", and was indeed, com- pleted on a final trip to Venice. The reduced lines of the quartet are characteristic of his mature style and the pared down textures produce a simpler and more potent language. Its five movements form a symmetrical arch-like form. An underlying anxiety is discernible in the first movement where the instru- ments play in all possible duet combinations, enabling very direct communi- cation and flow of ideas. Instrumental effects such as trills and pizzicato add to a palate of subtle textural and tonal colours and contrast with a faster and aggressive section which briefly takes over. The second movement is a short one with a bell-like ostinato (repeated pattern) of four notes spanning almost three octaves. (Britten loved the sound of bells and especially those he heard on this last visit to Venice). The ostinato is played pizzicato beneath legato lines in the second section. Textural similarities can be found in Britten's earlier works. Unsurprisingly this movement comes to a halt on a rising phrase. The central and poised third movement with its serene violin solo and central bird-song cadenza is a hypnotic canvas of subtlety and sublimity. Britten's spellbinding music with surreal effects is a unique language which can only be experienced in the moment and does not lend itself to any kind of verbal description. The weird Burlesque, marked "with fire", is frenetic but wryly ironic and occasionally reminiscent of Shostakovich. Its barely suppressed excitement is increased by more instrumental gymnastics. Finally, in Recitative Britten reverts to the echoes of his melancholic and profound opera, "Death in Venice", whose story had so many parallels with that of his own and Peter Pears. Despite its introspection, the second section is underpinned by a repeated bass line or Passacaglia, a much favoured discipline used by his muse, Purcell. The music grows more tender and lyrical, its yearning instrumental solos leading to brief spells of drama. Gradually an increasingly unified texture brings the music to a halt, but without any real kind of resolution, confirming Britten's quotation. 3

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Piano Quintet in E flat op 44 Last performed at HMS by The Martinü String Quartet, John Thwaites, October 17, 2005 1 Allegro brillante 2 In modo d'una marcia. Un poco largamente 3 Scherzo molto vivace 4 Allegro, ma non troppo After 1842 Schumann concentrated exclusively on his chamber music, composing his piano quintet after three string quartets. Its combination of drama and emotion make this one of his best-loved and most appealing works. An opening chordal flourish heralds a passionate and expressive movement with a wonderfully lyrical second subject based upon ascending and descending scales. The brilliant piano writing displays the new romantic potential of the nineteenth century instrument. The opening theme of the second movement is in a brooding minor key, with repeated notes and limited melodic movement. Its regular appearance is interrupted by episodes of a contrasting nature: the first, an expansive major section where the piano is limited to an accompanying role, and the second, which is dominated by an undercurrent of agitato triplet rhythms. The Scherzo starts in a mood of exhilaration with precipitous scales and syncopated responses and leads to a calmer trio based on a triplet accompaniment with string exchanges above. After a return to the scherzo there is a second trio featuring brilliant rapid semiquavers in the minor key. The last movement is characterized by this same exhilaration. It opens in the relative minor key of C minor, progressing to a slightly calmer development section, which also exploits the contrapuntal possibilities of earlier themes. The tempo broadens and the home key of E flat is ushered in with a fugato passage. The work concludes with an emphatic coda. Notes by C Stanton * * Philharmonic Schumann 1810-1856 Offenbach Elgar Dukas Grieg Britten ORCHEST Saturday 6 February 2010 Huddersfield Town Hall - 7.30 Overture - Orpheus in the Underworld Suite No 2 - The Wand of Youth The Sorcerer's Apprentice Suite No 1 - Peer Gynt Young Person's Guide to the Orchestral A programme of short, exciting, and well-known pieces designed to appeal to all the family. An ideal concert to prove to youngsters that live orchestral music can be fun and worth listening to! Tickets available from Huddersfield Information Office, or at the door. 4

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Season's Performances 5th October 2009 SCOTT BROTHERS PIANO DUO Dimitri Shostakovich: Concertino Op 94 (2 pianos) Franz Schubert: Fantasy in F minor D940 (duet) György Ligeti: Sonatina (1950) (duet) Camille Saint-Saëns: Danse Macabre (2 pianos arr by composer) Johannes Brahms: Haydn Variations Op 56b (2 Pianos) Maurice Ravel: Ma Mère L'Oye (duet) Witold Lutoslawski: Paganini Variations (2 pianos) 9th November 2009 WIHAN STRING QUARTET Roxanna Panufnik: Cavatina and Moravian Dance Ludwig Van Beethoven: String Quartet No. 10 in E flat major, Op 74 'Harp' Antonin Dvořák: String Quartet in A flat major Op 105 7th December 2009 PAVAL HAAS QUARTET Franz Schubert: Quartettsatz (Movement for String Quartet) in C minor, D703 Pavel Haas: String Quartet No 2 'From the Monkey Mountains' Bedřich Smetana: String Quartet no.1 'From My Life' 11th January 2010 COULL STRING QUARTET Wolfgang Amadeus Mozart: Quartet in D minor K421 Maurice Ravel: String Quartet Felix Mendelssohn: Quartet no 4 in E minor Op 44 no 2 1st February 2010 EDINBURGH QUARTET AND NICHOLAS ASHTON Joseph Haydn: String Quartet in G major Op 77 No 1 Benjamin Britten: String Quartet no 3 Robert Schumann: Piano Quintet in E flat, Op 44 22nd March 2010 FUJITA PIANO TRIO Joseph Haydn: Trio in G Hob XV25 'Gypsy Rondo' Dmitri Shostakovich: Trio in E minor Op 67 Felix Mendelssohn: Trio in D minor Op 49 19th April 2010 FLORILEGIUM Music for the Sun King French music as performed in Versailles including works by Rameau, Rebel, Leclair, Morel, Couperin, Marais 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 W1. Ninety Second Season 2009-2010 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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ARTS ENGLAND OFFICERS COUNCIL President Stephen Smith David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk Hon. Secretary Hon. Treasurer P Michael Lord Tel: 01484 310104 Email: michaellord@wizzo.org.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, PL Michelson, JC S Smith JG Sykes, Mrs E R Taylor and for practical help with our database from Hilary Norcliffe, Society Archivist. COMMITTEE icon. John Bryan, Margaret Collison, Alastair Cridland, Verity Cridland, Helen Howden, Christine Stanton Making Music ble

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Huddersfield Music Society Monday 22 February 2010 The Coull String Quartet A 1 Roger Coull started playing the violin, at the age of 12, as an alternative pastime to cycling and collecting newts. Although his parents doubted that this new craze would catch on, he was soon hooked. He was playing a lot of orchestral music by the age of 16, when he was seduced into chamber music on a course in Germany. Later he was coached by Sidney Griller, at the Royal Academy of Music, who suggested that he form a quartet with a view to a professional career, and the Coull Quartet was formed with like-minded students in 1974. There have been a few changes down the years: Philip Gallaway was a founder member, Nicholas Roberts has been with the group for ten years, and Gustav Clarkson joined in 2004, after playing with the Eroica Quartet. They are known for the freshness of their interpretation, suitably tempered ey performed for us in March 1982. violin Roger Coull Philip Gallaway violin Gustav Clarkson viola Nicholas Roberts cello ce at the University of Warwick since 1977, d and broadcast extensively throughout the e, and has toured India, the Far East, Middle lia. In the UK the Quartet has appeared at es and festivals, and is frequently invited to s at Sea'. The Quartet gives an annual series vick Arts Centre, where it is actively involved ourishing musical life. They toured China in Brazilian pianist, Clélia Iruzun, an exciting epeat. 1 of the standard string quartet repertoire, the commissions to its name. It is constantly vider audience, and is currently involved in al ng music with science and the visual arts. Information adapted from www.coullquartet.com

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Huddersfield Music Society St Paul's Hall, University of Huddersfield 7.30 pm MONDAY 22nd FEBRUARY 2010 COULL QUARTET Roger Coull (violin) Philip Gallaway (violin) Gustav Clarkson (viola) Nicholas Roberts (cello) MOZART D minor quartet RAVEL String Quartet MENDELSSOHN Op44 No2 in E minor Single tickets £16.00 (students £3.00) Obtainable on the door or contact 01484 310104 This concert has been rearranged from 11 January Original tickets will be accepted

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Huddersfield Music Society Monday 22 February 2010 The Coull String Quartet 20 violin Roger Coull Philip Gallaway violin Gustav Clarkson viola Nicholas Roberts cello Roger Coull started playing the violin, at the age of 12, as an alternative pastime to cycling and collecting newts. Although his parents doubted that this new craze would catch on, he was soon hooked. He was playing a lot of orchestral music by the age of 16, when he was seduced into chamber music on a course in Germany. Later he was coached by Sidney Griller, at the Royal Academy of Music, who suggested that he form a quartet with a view to a professional career, and the Coull Quartet was formed with like-minded students in 1974. There have been a few changes down the years: Philip Gallaway was a founder member, Nicholas Roberts has been with the group for ten years, and Gustav Clarkson joined in 2004, after playing with the Eroica Quartet. They are known for the freshness of their interpretation, suitably tempered by their increasing maturity. They performed for us in March 1982. Having been Quartet-in-Residence at the University of Warwick since 1977, the Coull Quartet has performed and broadcast extensively throughout the UK, the USA and Western Europe, and has toured India, the Far East, Middle East, South America and Australia. In the UK the Quartet has appeared at most of the major music societies and festivals, and is frequently invited to take part in P&O's 'Music Festivals at Sea'. The Quartet gives an annual series of recitals at the renowned Warwick Arts Centre, where it is actively involved in the University of Warwick's flourishing musical life. They toured China in October 2009 with the brilliant Brazilian pianist, Clélia Iruzun, an exciting experience which they hope to repeat. In addition to performing most of the standard string quartet repertoire, the Coull has an impressive list of commissions to its name. It is constantly exploring new ways to reach a wider audience, and is currently involved in a number of exciting projects linking music with science and the visual arts. Information adapted from www.coullquartet.com 1

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String Quartet K 421 in D minor Last performed at HMS by The Franz Schubert Quartet of Vienna, March 27, 1995 1 Allegro 2 Andante Mozart 1756-1791 3 Menuetto: Allegretto 4 Allegretto non troppo "Six quartets for two violins, viola and violoncello. Especially for Mr Joseph Haydn, the orchestra conductor and musical director of Prince Esterhazy. Composed and dedicated to him by his friend WA Mozart." This dedication refers to a set of six quartets composed by Mozart as a response to Haydn's op 33, which itself was a turning point in the history of the string quartet. These innovative quartets were written in a "completely new and special style", according to the composer. Mozart admired Haydn's achievement and set himself the challenge of trying to equal and match their quality. He began in 1782 and struggled for four years to complete them, involving, in his own words, "long and laborious work". This quartet from the set is the only one in a minor key, in D minor. It was composed at the birth of Constanza's first child and completed in 1783. A sense of melancholy pervades the work from the start of the first movement which opens with extraordinary beauty of line, tastefully embellished. Much of the composer's development focuses on this aspect of its melodies. The slow movement in the key of F major remains serious with a prominent rising semiquaver arpeggio figure in the second phrase which is constantly heard thereafter. Despite its overall dignity the movement also contains moments of drama. The unsettled nature of the first movement returns in the Minuet with a taut dotted figure from the beginning which embeds itself throughout the textures. A delightfully contrasting trio is somewhat reminiscent of the Viennese style with pizzicato accompaniment beneath its happy melodies. Lastly there is a set of variations on a lilting siciliano-like theme in two repeated sections. Each variation is differently characterized with the first violin playing florid elaborations on the melody in the first, and in the second the two violins playing violent cross rhythms over the smooth triplets of the viola. Mozart's affection for the viola is demonstrated in the unusual melodic prominence he gives to it in the third variation. The fourth moves to a less troubled D major and encourages eloquent exchanges between the viola and cello. Finally an extended version of the theme returns to reach greater extremes of expressiveness. 2 a La 1 F V W L

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) Quartet for Strings in F major Last performed at HMS by The Dante Quartet, March 8, 2004 1 Allegro moderato. Très doux 2 Assez vif. Très rhythmé Ravel wrote only one quartet, in 1903. Dedicated to his teacher Fauré: "à ma cher maître Gabriel Fauré", it was admired by Debussy who had written his only quartet ten years earlier. Ravel's work shares some affinity with Debussy's in its presentation of movements and delicacy of string. writing. But differences between the two are also evident in that Ravel approached the form in a Classical manner, which he had learnt from writing orchestral music, piano concertos, chamber and keyboard works, opera and ballet whilst Debussy was more concerned with exploring instrumental colour. The first movement is in sonata form, using evocative modal harmony. Both subjects are equally melodious with the emphasis on the subtleties of changing textures and dynamics rather than contrasting ideas. Ravel 1875-1937 3 Très lent 4 Vif et agité An animated pizzicato scherzo frolics between 6/8 and 3/4 time signa- tures and contains colourful extravagances. A slower and doleful middle section introduces some chromatic harmony to its contemplation before a gradual return to the opening section. A muted third movement theme is an echo from the first movement and it proceeds in an intense and brooding manner, employing a variety of string effects to produce a myriad of imaginative textures. Vertavo Quartet The final ferocious and rhythmic movement, again using part of a theme from the first movement, completes the quartet. INTERVAL HALIFAX PHILHARMONIC CLUB Quartet in F major op 18 no 1 Quartet no 4 Quartet no 3 in A major op 41 Square Chapel, Halifax 3 Friday 26 February 2010 Beethoven Bartok Schumann Box Office 01422 349422

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Quartet in E minor Op.44, No 2 Last performed at HMS by The Fairfield Quartet, December 8, 1986 1 Allegro assai appassionato 2 Scherzo: allegro di molto 3 Andante 4 Presto agitato Mendelssohn 1809-1847 Mendelssohn started work on his Op.44 string quartets during the course of a blissful honeymoon in the Rhineland in the spring of 1837. Strangely, however, this one in E minor is far from expressing feelings of contentment and joy, but instead conveys restlessness and an underlying anxiety in the first and last movements. The two central movements are more like interludes from the outer movements which are composed in a more Classical style, but also defined by their passion and conflict. The opening immediately presents a feeling of restlessness in its syncopated accompaniment and the unsettled mood increases with the following passages of turbulent semiquavers. A calmer second subject in the major key brings temporary relief, but the tempestuous nature of the movement quickly reasserts itself. Towards the end once again a gentler theme in E major appears. Nevertheless the movement con- cludes in its former mood of unease. The second movement has textures of a typical light fairy-tale scherzo, for which Mendelssohn is well-known. But it is not without some feelings of disquiet and an inability to settle. There is a contrasting short trio-like section of gentle melody accompanied by pizzicato notes from the cello. The third movement abounds with extended lyrical melodies which have an affinity with the composer's Songs without Words. Their beauty seems to surround the listener and accompanying melodies entwine themselves around the main tune, lending not only harmonic support but a richly textured lyricism to enthrall the listener. Lastly a presto movement returns in a ferment of unrest in the minor key. Mendelssohn's accomplishment in the writing of counterpoint is self-evident, as each part is clearly distinguishable, yet relates to, and depends on, the others. This is a clear reflection of his interest and admiration for Bach whose work he rigorously studied. Again the tension is briefly relieved by a move to E major with a rising tune towards the end, but gives way to despair once again, the work ending in the minor key. Notes by C Stanton 4

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Season's Performances 5th October 2009 SCOTT BROTHERS PIANO DUO Dimitri Shostakovich: Concertino Op 94 (2 pianos) Franz Schubert: Fantasy in F minor D940 (duet) György Ligeti: Sonatina (1950) (duet) Camille Saint-Saëns: Danse Macabre (2 pianos arr by composer) Johannes Brahms: Haydn Variations Op 56b (2 Pianos) Maurice Ravel: Ma Mère L'Oye (duet) Witold Lutoslawski: Paganini Variations (2 pianos) 9th November 2009 WIHAN STRING QUARTET Roxanna Panufnik: Cavatina and Moravian Dance Ludwig Van Beethoven: String Quartet No. 10 in E flat major, Op 74 'Harp' Antonin Dvořák: String Quartet in A flat major Op 105 7th December 2009 PAVAL HAAS QUARTET Franz Schubert: Quartettsatz (Movement for String Quartet) in C minor, D703 Pavel Haas: String Quartet No 2 'From the Monkey Mountains' Bedřich Smetana: String Quartet no.1 'From My Life' 11th January 2010 COULL STRING QUARTET Wolfgang Amadeus Mozart: Quartet in D minor K421 Maurice Ravel: String Quartet Felix Mendelssohn: Quartet no 4 in E minor Op 44 no 2 1st February 2010 EDINBURGH QUARTET AND NICHOLAS ASHTON Joseph Haydn: String Quartet in G major Op 77 No 1 Benjamin Britten: String Quartet no 3 Robert Schumann: Piano Quintet in E flat, Op 44 22nd March 2010 FUJITA PIANO TRIO Joseph Haydn: Trio in G Hob XV25 'Gypsy Rondo' Dmitri Shostakovich: Trio in E minor Op 67 Felix Mendelssohn: Trio in D minor Op 49 19th April 2010 FLORILEGIUM Music for the Sun King French music as performed in Versailles including works by Rameau, Rebel, Leclair, Morel, Couperin, Marais 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. Ninety Second Season 2009-2010 St. Paul's Concert Hall, Queensgate Monday 7.30pm www.huddersfield-music-society.org.uk Registered Charity 529340 President: Stephen Smith 6

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ARTS ENGLAND OFFICERS COUNCIL President Stephen Smith David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk Hon. Secretary Hon. Treasurer P Michael Lord Tel: 01484 310104 Email: michaellord@wizzo.org.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, PL Michelson, JC S Smith JG Sykes, Mrs E R Taylor and for practical help with our database from Hilary Norcliffe, Society Archivist. 1²4 COMMITTEE John Bryan, Margaret Collison, Alastair Cridland, Verity Cridland, Helen Howden, Christine Stanton Making Music

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Huddersfield Music Society Monday 22 March 2010 The Fujita Piano Trio The Fujita sisters, daughters of a Japanese diplomat, have been playing chamber music together since early childhood. They made a highly acclaimed debut at the Wigmore Hall in March 1999. Concert engagements have taken the Trio to more than 100 venues in the UK. Overseas, they have played in Canada, France, Italy, Ireland, Roma- nia, Egypt, Morocco and Turkey, and they have won numerous awards and prizes, both as a Trio and individually. Megumi Fujita was born in New Zealand and started to study piano at the age of five in Japan. After studying in Atlanta, USA and Baghdad, she joined the Yehudi Menuhin School in 1979 to study with Simon Nicholls and Louis Kentner. At 19, she was selected as a post-graduate student at the Rubin Academy of Music, Tel-Aviv University and studied with Irina Zarit- skaya winning First Prize in the Piano Competition at the Academy the same year. She continued her post-graduate studies at the Royal College of Music with Irina Zaritskaya, winning the Hopkinson Gold Medal in 1986. She has performed numerous concertos and recitals throughout the world, and has broadcast on the radio including on BBC Radio 3, Japan NHK FM radio, Canadian Radio, Moroccan national radio, and the Romanian national TV and radio. She has recorded numerous CDs. Honoka Fujita was born in Japan, and studied in various countries before settling in the UK in 1985. She started to study the cello under Una O'Sullivan and Joan Lavelle in Ireland, then continued her studies with Prof. Uzi Wiesel, in Tel Aviv. She entered the Guildhall School of Music and Drama, and graduated with B.Mus. (Hons), followed by the Concert Recital Diploma (Premier Prix) in 1997, studying with both Jennifer Ward Clarke and Raphael Wallfisch. Honoka has played the Beethoven Triple concerto with her sisters at the major venues including the Barbican Hall, the Queen Elizabeth Hall, Radio Hall, Bucharest - which was broadcasted live by TV and Radio, and the Brahms Double Concerto at the St.John's Smith Square. 1

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Violinist Arisa Fujita is in great demand both as a soloist and chamber musician, as well as teaching at the Guildhall School of Music and Drama. Born in Japan, Arisa came to England in 1985 to study with David Takeno. She entered Guildhall School of Music and Drama in 1991 and graduated with B.Mus (Hons) First Class Degree in 1995 and gained Concert Recital Diploma (Premier Prix) in 1998. Since then she has followed a glittering career studded with many prestigious prizes. Arisa has recently performed in concerts with the cellist Steven Isserlis performing Saint-Saens' "La muse et le poete" for Violin, Cello and Orchestra in Oxford, Bath and Swindon. 1 Andante 2 Poco adagio, cantabile 3 Finale: Rondo all'ingherese Extracted from www.fujita.worldonline.co.uk Piano trio in G Hob. XV25 "Gypsy Rondo" Last performed at HMS by The Nash Ensemble Piano Trio, November 26 1984 Haydn 17321809 Amongst his vast output, Haydn found time to write at least forty piano trios which are fine examples of his tireless imagination. In spite of their apparent simplicity and small scale proportions, each is an individual gem, showing a wealth of invention within a perfectly crafted miniature. In this case, the "gypsy" reference underlines his admiration for folk music whose style enriched so much of his musical output, and which is so clearly demonstrated in the last movement. It is also evident that the piano part is the central inspiration for these works, the cello's role often doubling the piano's bass line - not without reason, given that the bass of the eight- eenth century piano had little resonance or sustaining power. Neverthe- less this later trio is a fine example of the composer's unselfconscious singularity. Its opening andante is a cheerful and flowing movement. Later a minor section intervenes but hardly breaks the easy going geniality of the whole movement. A return to the major key brings a more decorated version of the opening...in the piano part, naturally! The triple time slow movement is also permeated with warmth and goodwill, its melody enhanced by characteristic turns in the piano part. 2 The incessant tunes, evocative of gypsy fiddlers, and the syncopated rhythms of the final movement, marked in the Hungarian style, will certainly be familiar to listeners!

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0 Piano Trio in E minor op 67 Last performed at HMS by the Guarneri Piano Trio of Prague, January 25, 1999 1 Andante - Moderato 2 Allegro non troppo 3 Largo 4 Allegretto Shostakovich 1906-1975 Throughout his life Shostakovich faced much fierce and public criticism from the Soviet authorities. His attempts to embrace the abiding political morality of the time without compromising his artistic integrity were often unsuccessful in their eyes. However smaller works such as this trio, despite its clearly emotive and personal content, didn't invite criticism. C The work, written in 1944, was begun days after his closest friend and guide, Ivan Sollertinsky, died as the result of his deprivations during the Siege of Leningrad. Both Shostakovich and Sollertinsky shared an interest. in Jewish culture and folk music, whose themes appear in this work. Ghostly harmonics from the cello open the first movement and its theme proceeds in canon with muted violin and piano, the extremes of low bass piano octaves contrasting with the high pitched harmonic notes of the strings. The ideas are subjected to constant repetition and the melodies are played as canons (or rounds) between instruments. A change to a brisker pace means a less predictable rhythmic structure, and therefore increasing excitement, with the addition of various instrumental effects. The opening theme of the scherzo is the main idea for development and it is accompanied by dry piano chords. The relentless rhythmic impetus propels the music quickly to its conclusion. Several majestic, chromatic piano chords herald the start of some in- tensely beautiful and compelling melody in the slow movement. The violin and cello explore their extreme ranges in intertwining melody whilst the piano occupies a subservient role throughout, creating space for the expression of solemn thoughts. INTERVAL The last movement introduces two Jewish-type tunes, one played at the start by the violin, and another soon after in octaves by the piano. Shostakovich develops these throughout, changing time-signatures, speeds, and often breaking them up into shorter components. The inten- sity built from constant repetition reaches a climax when both strings fuse into a single high pitched tune in parallel motion leading to an impassioned piano cadenza. After a brief attempt at reviving both melodies, (in opposite instrumentation to their first appearance), the music disintegrates, leaving the listener with the opening chords from the largo and a few last utterances from the cello and violin. 3

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Piano trio in D minor op 49 Last performed at HMS by the Gould Piano Trio November 1, 1993 1 Molto allegro et agitato 2 Andante con moto tranquillo 3 Scherzo: Leggero e vivace 4 Finale: Allegro quasi appassionato Mendelssohn 1809-1847 Mendelssohn was fundamentally closer to the eighteenth century in his use of form and harmony. His engaging melodies and arpeggiated accompaniments, derived from eighteenth century harmony, define his style and also suggest "parlour" music with its classical figuration rather than the full-blown Romanticism of Chopin and Liszt. In this instance he was writing for an instrument which was fast gaining popularity in a domestic setting, no longer the sole preserve of the wealthy aristocracy. The first movement in D minor flows seamlessly from one idea to another, its rich piano writing often dominating the texture. Its two extended melodic main ideas are treated in the manner of classical sonata form and they are developed in the more turbulent central section. The opening theme returns in the cello with a countermelody in the violin part, and its repeat is ever more extravagant, ending in a blaze of decoration and embellishment. A mood of exquisite relaxation permeates the second movement in B flat major: a marked contrast to the driven nature and tension of the first. The opening played by the piano could easily be a Song without Words, and the two stringed instruments are almost just a pleasant addition to the movement, permitted to echo the tunes which the piano initiates. Whilst Mendelssohn manifests the classical spirit, his claim to true originality is in the delicately poetic scoring of his Scherzo. Its gossamer light texture echoes the unique style of his Midsummer Night's Dream fragile fairy music, where the instrumental lines dart around with mercurial haste. There is little respite for the pianist, pushed to the limits in the D minor Finale with challenging and showy passage work. The cello and violin are given some contrasting and expressive melodic material, but there is no doubt that this work is one for the piano virtuoso, moving as it does with increasing pace towards a brilliant and tumultuous conclusion. Programme notes by C Stanton 4

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Season's Performances 5th October 2009 SCOTT BROTHERS PIANO DUO Dimitri Shostakovich: Concertino Op 94 (2 pianos) Franz Schubert: Fantasy in F minor D940 (duet) György Ligeti: Sonatina (1950) (duet) Camille Saint-Saëns: Danse Macabre (2 pianos arr by composer) Johannes Brahms: Haydn Variations Op 56b (2 Pianos) Maurice Ravel: Ma Mère L'Oye (duet) Witold Lutoslawski: Paganini Variations (2 pianos) 9th November 2009 WIHAN STRING QUARTET Roxanna Panufnik: Cavatina and Moravian Dance Ludwig van Beethoven: String Quartet No. 10 in E flat major, Op 74 'Harp' Antonin Dvořák: String Quartet in A flat major Op 105 7th December 2009 PAVAL HAAS QUARTET Franz Schubert: Quartettsatz (Movement for String Quartet) in C minor, D703 Pavel Haas: String Quartet No 2 'From the Monkey Mountains' Bedřich Smetana: String Quartet no.1 'From My Life' 11th January 2010 COULL STRING QUARTET Wolfgang Amadeus Mozart: Quartet in D minor K421 Maurice Ravel: String Quartet Felix Mendelssohn: Quartet no 4 in E minor Op 44 no 2 1st February 2010 EDINBURGH QUARTET AND NICHOLAS ASHTON Joseph Haydn: String Quartet in G major Op 77 No 1 Benjamin Britten: String Quartet no 3 Robert Schumann: Piano Quintet in E flat, Op 44 22nd March 2010 FUJITA PIANO TRIO Joseph Haydn: Trio in G Hob XV25 'Gypsy Rondo' Dmitri Shostakovich: Trio in E minor Op 67 Felix Mendelssohn: Trio in D minor Op 49 19th April 2010 FLORILEGIUM Music for the Sun King French music as performed in Versailles including works by Rameau, Rebel, Leclair, Morel, Couperin, Marais 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 Second Season 2009-2010 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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ARTS OFFICERS ENGLAND President Stephen Smith COUNCIL Hon. Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk Hon. Treasurer P Michael Lord Tel: 01484 310104 Email: michaellord@wizzo.org.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, PL Michelson, JC S Smith JG Sykes, Mrs E R Taylor and for practical help with our database from Hilary Norcliffe, Society Archivist. COMMITTEE John Bryan, Margaret Collison, Alastair Cridland, Verity Cridland, Helen Howden, Christine Stanton Making Music

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Huddersfield Music Society Monday, 19 April 2010 Florilegium Director: Ashley Solomon A Programme of Eighteenth Century Music Ashley Solomon - Flute Bojan Čičić - Violin Erik Dippenaar - Harpsichord APOLOGY Unfortunately two of the original four players from Florilegium have been unable to travel to this evening's performance because of the cancellation of aircraft flights over Europe. Much of the programme for tonight's concert has had to be changed from that advertised and we are very grateful to Ashley Solo- mon, Bojan Čičić, and especially to Erik Dippenaar, who has stepped in to play for us at very short notice. We apologise for these changes and hope that you enjoy the concert. Huddersfield Music Society 1

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Floril um Director Ashley Solomon Regular performances in some of the world's most prestigious venues have confirmed Florilegium's status as one of Britain's most outstanding period instrument ensembles. Since their formation in 1991 they have established a reputation for stylish and exciting interpretations, from intimate chamber works to large-scale orchestral and choral repertoire, frequently working with some of the world's finest musicians. Concert venues include Sydney Opera House, Esplanade (Singapore), Teatro Colon (Buenos Aires), Concertgebouw (Amsterdam), Konzerthaus (Vienna), Beethoven-Haus (Bonn), Handel-Haus (Halle) and Frick Collection (New York). Among the numerous residencies Florilegium have held was Ensemble- in-Residence at London's Wigmore Hall from 1998 to 2000, performing several series of concerts each year and becoming actively involved in the Hall's education work. Since September 2008 they have been Ensemble in Association at the Royal College of Music. 2008/09 started with a tour of Bach's Brandenburg Concerti and Orches- tral Suites in France, and several performances of Bach's Musical Offering including Wigmore Hall. In addition to numerous concerts at home and abroad to celebrate the anniversaries of Haydn, Handel and Purcell, these three composers dominated the remainder of 2009, culminating in a Handel/ Purcell concert at Wigmore Hall with Dame Emma Kirkby on New Year's Eve. 2010 started with a Bolivian Baroque concert in Singapore. Other performances will celebrate the 300th anni- versary of Pergolesi's birth with concerts in UK, (including Wigmore Hall and York), at the Budapest Festival, in Spain, Austria, Italy and Germany. The group's discography of twenty recordings for the Dutch label Chan- nel Classics have been awarded many prizes including a Gramophone Award nomination, Diapasons d'Or and Chocs de la Musique from France. Telemann's Paris Quartets Volume 2 was Editor's Choice from Gramo- phone Magazine and won the Classical Internet Award from Classicstoday.com. Florilegium's second volume of Baroque Music from the Missions of the Moxos and Chiquitos Indians was awarded the group's sixth Gramophone Editor's Choice in March 2007 and nominated for a 2008 BBC Music Magazine award. The third volume, just released is BBC Music Magazine's CD of the Month, April 2010. Future releases in 2010 include a disc of music by Pergolesi, and Florilegium's arrange- ments of Bach's Organ Trio Son 2

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As Director of Florilegium much of Ashley Solomon's time is spent working and performing with Florilegium, which he co-founded in 1991. They have a busy touring schedule and each year perform at major international festivals and concert series throughout Europe as well as the Americas. Born in Sussex, Ashley won a recorder and flute scholarship to the Royal Academy of Music in London where he was awarded first class honours. He went on to complete his post-graduate studies there in 1991. As well as performing as a soloist, from 1997-2000 Ashley was a frequent guest principal flautist with the Sydney based Australian Chamber Orchestral when they performed on period instruments. In 1998 he was made an Associate of the Royal Academy of Music and this was followed in 2000 with Honorary Membership of the Royal College of Music, where he has been Professor since 1994. In 2006 he was appointed to the new position of Head of Historical Performance at the Royal College of Music. He is much in demand for masterclasses. Bojan Čičić originally graduated with a diploma in modern violin from The Zagreb Academy of Music. In 2005 he obtained a post-graduate diploma in baroque violin with François Fernandez from the Paris Con- servatoire, and in 2007, a Masters Degree with Distinction from the Guildhall School of Music and Drama in London, in the class of Rachel Podger. Bojan works regularly with The Orchestra of the Age of Enlightenment, Amsterdam Baroque Orchestra, The Gabrielli Consort, and The Sixteen. In 2006, he was Leader in a production of Purcell Dido and Aeneas for the Aix-en-Provence Festival, under the direction of Kenneth Weiss. In August 2006 Trevor Pinnock asked him to be one of the soloists in the European Brandenburg Ensemble on their tour across Europe and in the Far East. Erik Dippenaar was born in South Africa. At the end of 2003 he obtained the degree B.Mus. (cum laude) from the University of Stellen- bosch. In July 2007 he was awarded an M.Mus. in Advanced Performance (with distinction) by the Royal College of Music, London. Erik is currently doing an Artist Diploma in harpsichord and fortepiano at the RCM under Jane Chapman (harpsichord) and Geoffrey Govier (fortepiano). He is financially supported by the Richard Carne and Ruth Dyson Awards. In June 2006 Erik was the winner of the RCM Early Music Competition, and in May 2007 he was given Honourable Mention at the eight Broad- wood Harpsichord Competition. During the seventh London Handel Singing Competition in March 2008, he was awarded the Accompanist's Prize. Erik is a member of the group Musici Infatagabili, who won the Broadwood Early Keyboard Ensemble Competition held at Fenton House during May 2008. Extracted from www.florilegium.org.uk 3

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Deuxième Recréation de Musique 1697-1764 - Ouverture Gravement - Légèrement, Sarabande, Menuet, Badinage, Chaconne, Tambourin Pieces for solo harpsichord - To be announced Programme Concerto in D major RV94 -Allegro - Largo - Allegro Trio Sonata in B minor Fantasie for solo flute INTERVAL - Sonata for violin and continuo Op 9 No 7 Jean-Marie Leclair Jean-Philippe Rameau 1683-1764 4 Antonio Vivaldi 1678-1741 George Frideric Handel 1685-1759 Leclair Les Caractères de la Danse Jean-Féry Rebel 1666-1747 - Prelude - Courante - Menuet - Bouree - Chaconne - Sarabande Gigue Rigaudon - Passepied - Gavotte - Sonate - Loure - Musette Georg Philipp Telemann 1681-1767

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} ) Programme Notes The music of Jean-Marie Leclair exemplifies the union of Italian and French styles perfectly in works which are always of the highest quality. His Deuxième Recréation de Musique Opus 8, published in Paris around 1737, is a good example of this. Being conceived primarily for flutes, with violins as alternative instruments, the music is wholly unvirtuosic in character, and instead relies upon simple and charming French dance-forms for its structure, preceded by an extrovert and vigorous French Ouverture and culminating in a majes- tic Chaconne. The increasing emotional intensity of this movement. is, however, immediately dispersed by the final Tambourins - two delightfully light-hearted movements with rustic origins. Jean-Philippe Rameau was the leading French composer of his time, particularly after the death of Couperin in 1733. He made a significant and lasting contribution to musical theory. Born in Dijon, two years before the year of birth of Handel, Bach and Domenico Scarlatti, Rameau spent the earlier part of his career principally as organist at Clermont Cathedral. In 1722 or 1723, however, he settled in Paris, publishing further collections of harpsichord pieces. and his important Treatise on Harmony Antonio Vivaldi was born, grew up and worked in Venice, still the Mecca of the arts. The son of a notable violinist, he became a virtuoso performer on the instrument himself which later gave him the opportunity to travel widely in Italy and abroad. But he was above all a prolific and important composer. He took holy orders in 1703. In the same year he took up an appointment as teacher of violin and composer of instrumental music at the Conservatorio dell' Ospidale della Pietà, the most famous of Venice's institutions for orphaned girls and an outstanding music centre. Congenital asthma, which let him off pastoral duties, gave him more time and scope musically. Perhaps his most important innovation was the development of the Concerto, an early example of which we are to hear tonight. He wrote over 500. The Concerto in D, RV 94 is in chamber style. In the outer movements the violin dominates with a showily brilliant part. In the slow movement the flute sings one of Vivaldi's dreamily poetic 5

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melodies - very like the slow movement from the Winter concerto from the Four Seasons concertos now so popular. George Frideric Handel was born in what is now Germany, in the same year as Domenico Scarlatti and J S Bach. He started as an organist, and worked as a violinist and harpsichordist in the local opera house. After moving to Italy in 1706, where he spent three years, he spent a further ten moving around Europe to promote his operas. Finally settling in London, although with many visits abroad, he earned his living promoting his operas and, from 1741, his oratorios. He is buried in Westminster Abbey. The Trio Sonata in B minor is one of a number that Handel wrote and it appears in two versions - this one in B minor and another in C minor. The reason is probably that the B minor version was for the comparatively new transverse flute that is used today, whereas the C minor one was for the recorder; (C minor was not such a suitable key for the transverse flute of those days.) There are four move- ments - slow, fast, slow and fast. Georg Philipp Telemann was also born in present day Germany and, although he travelled widely throughout Europe, was based there throughout his life. He was a life-long friend of Handel and godfather to JS Bach's son, CPE Bach. A self-taught musician, he had a highly prolific output and was well thought of in his time. However his music was played less frequently until the end of the 19th century by which time he was almost forgotten. The revival came in the early 20th century and now his work is often performed and many recordings are available. He wrote twelve fantasias for unaccompanied transverse flute but, as was common at the time, arranged and transposed these for the recorder and other instruments. The fantasias alternate, rhythmically and melodically, free forms with definite dance movements. Tele- mann's instructions are to give personal interpretations to the free sections and to ensure that no two performances should be the same! This work, like the others in the set, calls for considerable technical virtuosity. Although little known today, Jean-Féry Rebel remains one of the leading French composers of the first half of the eighteenth century. He was only eight when he attracted the attention of Lully, who took 6

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him on as his pupil and taught him violin and composition. He began his professional life as violinist and harpsichordist at the Académie Royale de Musique and gradually rose through the musical hierarchy ending as violinist in the Chapelle Royale and chamber composer for the King. The novel genre of the "symphonie de danse", a choreo- graphed "symphony" independent of stage spectacles was in vogue in France in the early part of the 18th century and in keeping with current fashion Rebel published his Caractères de la danse in 1715. All the great female dancers of the time (including Marie Sallé) included it in their programmes. The work's fame spread beyond the country's confines and led to a performance in England in 1725. If the choreographic element was crucial in determining the success of Les caractères, the work also owed its reputation to the originality of the score, with its novel blend of dance suite and sonata. The dances - eleven in number, preceded by a prelude - are not developed and sometimes only a handful of bars allow us to identify them. With rare dexterity Rebel presents us with a whole selection of the dances in vogue at this time within the space of only a few minutes. O Ashley Solomon 2010 (Leclair and Rebel) Kathleen Davis 1995 (Vivaldi) Philharmonic ORCHESTR Saturday, 24 April 2010, 7.30 Music for St George's Day English music from the 20th century - I Vaughan Williams - Overture - The Waspsonai Arnold Four Cornish Dances Elgar Romance for Bassoon and Orchestra Vaughan Williams - Symphony No 2 - The London Symphony Huddersfield Town Halla 7 Conductor - Natalia Luis-Bassa Bassoon Soloist - David Robinson Tickets available from the website or at the door.

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1. Barbirolli quartet - Monday 25 October 2010 Haydn Szymanowski Nathan Williamson Mendelssohn Next Season's Programme String Quartet no. 44 in E major, op. 54, no. 3 Quartet no. 2, op. 56 String Quartet 2010 Quartet no. 6 in F minor, op. 80 2. Dante Quartet - 8 November 2010 Haydn Barber Cesar Franck Quartet No. 42 in C major, op. 54, no. 2 String Quartet No. 1, Op. 11 Quartet in D major 3. Carducci quartet - 6 December 2010 Haydn Moeran Phillip Glass Beethoven Beethoven Stravinsky Quartet No. 30 ("The Joke") op. 33, no. 2 String Quartet no 1 in A Minor String Quartet no. 2 - Company String Quartet no.11 in F-, op.95 ("Serioso") 4. Alexei Grynyuk piano - 17 January 2011 Chopin 6 Pieces Beethoven Liszt Sonata No 23 in F minor, Op 57 ("Appassionata") Petrach Sonnet No 104, and Mephisto Waltz 5. Maggini Quartet - 7 February 2011 Beethoven Frank Bridge Mendelssohn String Quartet op.18 no.3 String Quartet no.2 String Quartet op.44 no.3 6. Maria Milstein (Violin) and Miriam Leskis (Piano) - 21 March 2011 Schubert Sonatine in a minor D385; op 137 no 2 Janacek Sonata Sonata op.12 no 3 in e flat Major; Divertimento (after "the Fairy's Kiss"). 7. Wiener Mozart Trio - 11 April 2011 Mozart Beethoven Ravel Piano trio no.2 in G major, KV 496, comp.1786 Piano trio op. 70/1 in D major (ghost) Piano trio in a minor, comp. 1914 Please note that this programme is published in good faith but the Society reserves the right to alter the artists or programmes for any concert. Season Tickets: Single Tickets: Single £95, Double £177 Buy before April 30, 2010 and save £1 per person! £16 per concert, available on our website www.huddersfield-music-society.org.uk or at the door. 8

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Season's Performances 5th October 2009 SCOTT BROTHERS PIANO DUO Dimitri Shostakovich: Concertino Op 94 (2 pianos) Franz Schubert: Fantasy in F minor D940 (duet) György Ligeti: Sonatina (1950) (duet) Camille Saint-Saëns: Danse Macabre (2 pianos arr by composer) Johannes Brahms: Haydn Variations Op 56b (2 Pianos) Maurice Ravel: Ma Mère L'Oye (duet) Witold Lutoslawski : Paganini Variations (2 pianos) 9th November 2009 WIHAN STRING QUARTET Roxanna Panufnik: Cavatina and Moravian Dance Ludwig Van Beethoven: String Quartet No. 10 in E flat major, Op 74 'Harp' Antonin Dvořák: String Quartet in A flat major Op 105 7th December 2009 PAVAL HAAS QUARTET Franz Schubert: Quartettsatz (Movement for String Quartet) in C minor, D703 Pavel Haas: String Quartet No 2 'From the Monkey Mountains' Bedřich Smetana: String Quartet no.1 'From My Life' 11th January 2010 COULL STRING QUARTET Wolfgang Amadeus Mozart: Quartet in D minor K421 Maurice Ravel: String Quartet Felix Mendelssohn: Quartet no 4 in E minor Op 44 no 2 1st February 2010 EDINBURGH QUARTET AND NICHOLAS ASHTON Joseph Haydn: String Quartet in G major Op 77 No 1 Benjamin Britten: String Quartet no 3 Robert Schumann: Piano Quintet in E flat, Op 44 22nd March 2010 FUJITA PIANO TRIO Joseph Haydn: Trio in G Hob XV25 'Gypsy Rondo' Dmitri Shostakovich: Trio in E minor Op 67 Felix Mendelssohn: Trio in D minor Op 49 19th April 2010 FLORILEGIUM Music for the Sun King French music as performed in Versailles including works by Rameau, Rebel, Leclair, Morel, Couperin, Marais 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.