HMS 93


HMS 93

1 HMS_93_0001

▲back to top
Ocr'd Text:
HUDDERSFIELD MUSIC SOCIETY Ninety Third Season 2010/11 St Paul's Hall, Huddersfield All concerts start at 7.30 pm Given in the association with the "Music at the University of Huddersfield" Evening Concert Series Making Music WT. THE NATIONAL FEDERATION OF MUSIC SOCIETIES Yorkshire Arts www.huddersfield-music-society.org.uk Registered Charity 529340 President: Stephen Smith

2 HMS_93_0002

▲back to top
Ocr'd Text:
Monday 25th October 2010 Barbirolli Quartet Known for its diverse, prolific repertoire and dynamic approach to performance. Haydn: String Quartet no 44 in E major Op 54 no 3 Hob 111:59 Szymanowski: Quartet no 2 Op 56 Nathan Williamson:String Quartet 2010 Mendelssohn: Quartet no 6 in F minor Op 80 Monday 8th November 2010 Dante Quartet Known for its imaginative programming and the emotional intensity of its performances. Haydn: Quartet no 42 in C Major Op 54 no 2 Barber: String Quartet no 1 Op 11 Franck: String Quartet in D Major 0

3 HMS_93_0003

▲back to top
Ocr'd Text:
HUDDERSFIELD MUSIC SOCIETY Ninety Third Season 2010/11 Booking form (to be detached) WT.

4 HMS_93_0004

▲back to top
Ocr'd Text:
Monday 6th December 2010 Carducci Quartet This Anglo-Irish Quartet is recognised as one of today's most exciting young string quartets. Haydn: Quartet no 30 in E flat major ("The Joke") Op 33 no 2 Moeran: String Quartet no 1 in A minor Philip Glass: String Quartet no 2 Company Beethoven: String Quartet no 11 in F minor Op 95 ("Serioso") Monday 17th January 2011 Alexei Grynyuk This Ukranian Pianist studied at the Royal Academy. Monday 17th January 2011 Alexei Grunyuk Chopin: Polonaise in C # minor Op 26 no 1 Chopin: Nocturne in F Op 15 no 1 Chopin: Variations on a German Air in E major Chopin: Three Mazurkas Op 59 Chopin: Nocturne in C # minor Op 27 no 1 Chopin: Polonaise in A flat "Heroic" Op 53 Beethoven:"Appassionata" Sonata No 23 in F Minor Op 57 Liszt: Petrarch Sonnet no 104 Liszt: Mephisto Waltz Monday 7th February 2011 Maggini Quartet One of the world's finest string quartets, performing at major festivals and concert halls throughout Europe. Beethoven: String Quartet Op 18 no 3 Frank Bridge: String Quartet no 2 Mendelssohn: String Quartet Op 44 no 3

5 HMS_93_0005

▲back to top
Ocr'd Text:
Booking arrangements TICKETS Single Season Ticket Double Season Ticket Single Concert Ticket Student Season Ticket Student Single Ticket Tickets may be obtained by using the booking form below or at the door. Please return unwanted season tickets to the treasurer by September 23rd 2010 Post this form with cheque payable to Huddersfield Music Society Hon Treasurer Mr. Michael Lord, 38 Ingleton Rd, Newsome, HD4 6QX. Tel 01484 310104 Name Single concert ticketsmay be bought on line on our website www.huddersfield-music-society.org.uk Address Please send .…........... single concert tickets £95 £177 £16 Please send .….......... single/double season tickets for concert number(s) .…..….……….….. Postcode BOOKING FORM £15 £3 Telephone I enclose cheque Would Double Season Ticket holders please add the name of the second purchaser for our membership register: Total £ Monday 21st March 2011 Maria Milstein and Miriam Leskis A young Russian Violinist and a pianist from Israel, born in Moscow. Schubert: Sonatine in A minor D 385 Op 137 no 2 Janacek: Sonata Beethoven: Sonata Op 12 no 3 in E flat Major Stravinsky: Divertimento (after "The Fairy's Kiss") Monday 11th April 2011 Wiener Mozart Trio One of a small group of ensembles known in virtually all the important music centres. Mozart: Piano Trio no 2 in G major KV 496 comp 1786 Beethoven: Piano trio Op 70/1 in D Major (Ghost) Ravel: Piano Trio in A minor comp 1914

6 HMS_93_0006

▲back to top
Ocr'd Text:
Single Season Ticket Double Season Ticket Student Season Ticket Single Concert Ticket Single Student Ticket THP TICKETS We acknowledge with thanks support from the University of Huddersfield to which the Society is affiliated. The Society is grateful for financial help from: Mrs. M. Glendinning, P. Michael Lord P Michelson, J.C.S. Smith, J.G.Sykes, Mrs.E.R Taylor, Mrs A.D. Fanelly and for support from: Making Music (National Federation of Music Societies) And the Countess of Munster Trust NEW NORT NORTH NB This brochure 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 CASTLE CATE BUS TO MANCHESTER ASZ MANOMETER ROAD RAILWAY STATION HDD 1000元 00000 On 000 001 £95 £177 £15 30 T QUEESAGATE £16 £3 CAR PARK TO LEEDS TO WAKEFIELD 29 WAKEFIELD ROAD ST. PAUL'S HALL The car park is lit and attended. Concerts usually end at about 9.30pm UNIVERSITY OF HUDDERSFIELD Car parking should be available across Queensgate from St Paul's for a small fee.

7 HMS_93_0007

▲back to top
Ocr'd Text:
HUDDERSFIELD MUSIC SOCIETY || I T WT. Ninety Third Season 2010 - 2011 St. Paul's Concert Hall, Queensgate Monday 7.30pm www.huddersfield-music-society.org.uk Registered Charity 529340 President: Stephen Smith

8 HMS_93_0008

▲back to top
Ocr'd Text:
Hon. Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk OFFICERS SINN President Stephen Smith John Bryan, Margaret Collison, Alastair Cridland, Verity Cridland, Helen Howden, John Rawlinson, Christine Stanton TS We acknowledge with thanks support for our concerts from The University of Huddersfield to which the Society is affiliated. COUNCIL Hon. Treasurer P Michael Lord Tel: 01484 310104 The Society is grateful for financial help from our donors which makes this series possible, and for practical assistance with our database from Hilary Norcliffe, Society Archivist. ENGLAND COMMITTEE Making Music THE NATIONAL FEDERATION

9 HMS_93_0009

▲back to top
Ocr'd Text:
Huddersfield Music Society Monday 25 October 2010 The Barbirolli Quartet Rakhi Singh - violin Ella Brinch - viola Katie Stillman - violin Ashok Klouda - cello The Barbirolli Quartet is known for its diverse, prolific repertoire and dynamic ap- proach to performance, with The Times describing them as "forthright, full-blooded musicians, afraid of nothing" and The Strad hailing their "superbly realised perform- ance" and "precision of en- semble at formidable rates of energy". Following their selection by the European Concert Halls Organisation (ECHO) as the UK Concert Halls' nominated 'Rising Stars', the Barbirolli Quartet toured Europe's leading concert halls, comprising performances in thirteen cities, in early 2010. They also gave their Kirckman Concert Society Award recital at the Wigmore Hall in London and returned to Dartington Summer School where they performed the Brahms Quintet with Stephen Kovacevich. The Barbirolli Quartet's previous achievements have included winning a Tunnell Trust Award, being chosen for the Countess of Munster Musical Trust Recital Scheme and making their Purcell Room debut as Park Lane Group Young Artists, to critical acclaim. After their highly successful appearance at the Cheltenham Festival in 2008, they returned in 2009 with a collaborative performance alongside the Australian String Quartet. They also toured Singapore, New Zealand and Australia, giving concerts and adjudicating the Pettman/ROSL Arts International Scholarship, supported by the Royal Over- Seas League. The Barbirolli Quartet has recently been awarded a Chamber Music Fellow- ship by the Royal Academy of Music. As Artists Fellows at London's Guildhall School 2008-2010 they studied with The Belcea Quartet and Alasdair Tait. They continue as Quartet in Residence at Salford University. 1 The Barbirolli Quartet is very grateful to the Richard Carne Trust for its generous support. Tashmina Artists

10 HMS_93_0010

▲back to top
Ocr'd Text:
String Quartet op 54 no 3 1 Allegro 2 Largo cantabile 3 Menuetto: allegretto 4 Finale: presto Haydn 1732-1809 Completed by 1788, this quartet is one of the two sets Op 54 and 55, written for Johann Tost, a violinist in the Esterházy orchestra. They comprise six quartets altogether. Understandably prominent therefore is the first violin with a virtuosic part "lending fire and eloquence to the music" (Rosemary Hughes). The simple themes of the opening movement are developed with character- istic imagination, their fluid interplay an example of Haydn's highly skilled craftsmanship. An expansive second movement opens with serene and sustained melody in the first violin. The cello responds with important phrases linking its sections, occasionally initiating the melodic exchange. Once again the first violin part has frequent opportunities for gentle decorative display. The instruments often play in pairs. The "Scotch snap" figure is the main feature from the start of the lively minuet which all instruments employ and it proceeds energetically. The trio is slightly less assertive, but equally rhythmic. It starts with a unison statement and the idiosyncratic "Scotch snap" is absent, returning with the repeat of the minuet. The opening theme of the last movement is introduced by the second violin and the first comes in eight bars later with embellishment. There is more exchange between the parts, again sometimes grouped in pairs and it scampers cheerfully along. The approach of the end is distinguished by Haydn's ever present humour, as the music suddenly pauses, then sets off more than once in a different direction and key. Quartet no 2 op 56 1 Moderato, dolce e tranquillo 2 Vivace, scherzando 3 Lento 2 Szymanowski 1882 - 1937 Born of mixed Swedish and Polish parentage, Szymanowski made his life in Poland, but failed to distinguish himself there. He visited the Western world as a young man and fell under the influence of Wagner and Ravel, two distinctly different styles of composition. His interest in late Romanticists, including Strauss, Tchaikovsky and Brahms, provided a starting point for his writing as did Stravinsky later.

11 HMS_93_0011

▲back to top
Ocr'd Text:
Szymanowski's quartets are very much in the Classical tradition regarding structure but he strove to extend his sound world even beyond Romantic and Impressionist influences. This second quartet, composed in 1927, is therefore a synthesis of several composing styles including folk music. It was first performed by the Warsaw quartet in 1929. Although the first movement follows a modified classical form, the subtle and seductive colours of the opening accompaniment have strong affiliations with Debussy. His luminous textures and unique colour palettes, combined with pizzicato, tremolando and sforzandi are often startling. He also explores the extreme ranges of dynamics and pitch. The sensuous and mysterious tex- tures of the opening lead into a world of musical contrasts. The second movement is instantly sparkling and lives up to the scherzando title, meaning playful or a joke. A shift later toward contemplative and luxuriant textures serves to emphasize the contrasting mercurial aspect of the opening. Szymanowksi acknowledged the inspiration of the Southern mountains of Poland named the Tatra, and his fugal subjects in the last movement are built from the region's haunting folk themes. His use of fugue form is not unprec- edented, providing unmistakable evidence of inspiration from Bartok and Stravinsky. The central section once again explores unusual combinations of sound and effects. It's speed and dramatic power build towards the end, climaxing in a series of arresting chords. INTERVAL String Quartet 2010 Nathan Williamson In writing this Quartet I wanted to explore the tension in creating a work for the most objective of Western ensembles for which have been composed so many profound and deeply personal works. To compose for quartet is an Apollo/Dionysus head/heart dichotomy which is infinitely taxing and exciting. I decided to reflect this conundrum by using many contradictory ideas in a lot of smaller sections to create an overall arch-form, combining a stop-start feel with a sense of direction and a very wide variety of different styles, tempi, emotional affects and ideas, all of which are related but are separate. Some of these are repeated, some are developed and others are neither. They are all based on the simple, objective features of music - upbeats and down- beats, dissonance and consonance, how two lines work together. The music is quirky but not funny, fast but not energised, and contented without necessarily being cheerful, and overall has a great sense of loneliness - composing is a solitary occupation, after all while at the same time being fairly light-hearted, or, at least, certainly not sad or serious. The piece is in one movement of about 10 minutes. Nathan Williamson, October 2010 3 -

12 HMS_93_0012

▲back to top
Ocr'd Text:
String quartet No 6 in F minor, op 80 1 Allegro vivace assai - Presto 2 Allegro assai 3 Adagio 4 Allegro molto ".....perhaps the pent-up emotion of years was released by his sister's death and his own increasing physical frailty" Wilfred Mellers This last quartet was written in 1847 soon after the composer's sister, Fanny, died. It is dark and intense, unlike his other sunny and fluent compositions, but undoubtedly is the greatest of his quartets. Anguish and despair are expressed unequivocally in all movements, apart from the third, in which there is less intense emotion, but instead a poignant searching. The opening of the first movement is unambiguous in its collective tempestu- ous tremolos alternating with individual and heartfelt statements. Its compel- ling rhythmic impetus and extravagant declamations express high dramatic intensity although the music briefly gives way to moments of quiet desolation. The second movement continues in the same vein, and the violent syncopa- tion in the accompaniment is almost painful to hear. Perhaps it is significant that many of the musical lines are descending, lending extra pathos. Mendelssohn 1809-1847 A quieter third movement opens with a descending cello line. The contrapun- tal melodies seem to explore endlessly reaching no conclusion. Mendelssohn's usual arching melodies seem to be notably absent. The intense anguish of the first two movements returns to the final move- ment. Short motivic ideas are repeated endlessly, reflecting pain and unrest. Later repeated dissonant chords and chromatic lines characterise the writing. A contrasting section in a major key appears briefly but the music returns to the endless agitation and torment with perhaps a feeling of resignation in the final coda. Programme notes by C Stanton an H ERSFI Philharmonic ORCHES 13 November 2010 Explosive: Handel, Bach, Beethoven 5 February 2011 Romantic: Tchaikovski, Ravel, Rimsky-Korsakov 30 April 2011 Russian: Mussorgsky, Rimsky-Korsakov, and Shostakovich The new season of explosive, romantic and Russian music starts in November. Pick up a brochure, which includes a booking form, from the programme desk. Don't miss this stunning, beautiful and exciting music played in the Town Hall. 4

13 HMS_93_0013

▲back to top
Ocr'd Text:
4 7

14 HMS_93_0014

▲back to top
Ocr'd Text:
Season's Performances 25th October 2010 BARBIROLLI QUARTET Haydn: String Quartet no 44 in E major Op 54 no 3 Szymanowski: Quartet no 2 Op 56 Nathan Williamson: String Quartet 2010 Mendelssohn: Quartet no 6 in F minor Op 80 8th November 2010 DANTE QUARTET Haydn: Quartet no 42 in C major Op 54 no 2 Barber: String no 1 Op 11 Franck: String Quartet in D major 6th December 2010 CARDUCCI QUARTET Haydn: Quartet no 30 in E flat major ("The Joke") Op 33 no 2 Moeran: String Quartet No 1 in A minor Philip Glass: String Quartet no 2 Company Beethoven: String Quartet no 11 in F minor Op 95 ("Serioso") 17th January 2011 ALEXEI GRYNYUK Chopin: Polonaise in C# minor Op 26 no 1 Chopin: Nocturne in F Op 15 no 1 Chopin: Variations on a German Air in E major Chopin: Three Mazurkas Op 59 Chopin: Nocturne in C# minor Op 27 no 1 Chopin: Polonaise in A flat "Heroic" Op 53 Beethoven: "Appassionata" Sonata no 23 in F minor Op 57 Liszt: Petrarch Sonnet no 104 Liszt: Mephisto Waltz 7th February 2011 MAGGINI QUARTET Beethoven: String Quartet Op 18 no 3 Frank Bridge: String Quartet no 2 Mendelssohn: String Quartet Op 44 no 3 21st March 2011 MARIA MILSTEIN and MIRIAM LESKIS Schubert: Sonatine in A minor D 385 Op 137 no 2 Janacek: Sonata Beethoven: Sonata op 12 no 3 in E flat major Stravinsky: Divertimento (after "The Fairy Kiss") 11th April 2011 WIENER MOZART TRIO Mozart: Piano Trio in G major KV 496 Beethoven: Piano trio Op 70/1 in D major ("Ghost") Ravel: Piano Trio in A minor 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.

15 HMS_93_0015

▲back to top
Ocr'd Text:
HUDDERSFIELD MUSIC SOCIETY 1 W IL I WT. Ninety Third Season 2010 - 2011 St. Paul's Concert Hall, Queensgate Monday 7.30pm www.huddersfield-music-society.org.uk Registered Charity 529340 President: Stephen Smith

16 HMS_93_0016

▲back to top
Ocr'd Text:
Hon. Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk OFFICERS President Stephen Smith John Bryan, Margaret Collison, Alastair Cridland, Verity Cridland, Helen Howden, John Rawlinson, Christine Stanton ARTS Hon. Treasurer P Michael Lord Tel: 01484 310104 We acknowledge with thanks support for our concerts from The University of Huddersfield to which the Society is affiliated. COUNCIL COMMITTEE The Society is grateful for financial help from our donors which makes this series possible, and for practical assistance with our database from Hilary Norcliffe, Society Archivist. ENGLAND Making Music THE NATIONAL FEDERATION

17 HMS_93_0017

▲back to top
Ocr'd Text:
Huddersfield Music Society Monday 8 November 2010 The Dante Quartet Krysia Osostowicz - violin Judith Busbridge - viola Giles Francis - violin Bernard Gregor-Smith - cello Winner of the prestigious Royal Philhar- monic Society Award for best chamber ensemble in 2007, the Dante Quartet is known for its imaginative programming and the emotional intensity of its per- formances. The group was founded in 1995 at the International Musicians Seminar at Prussia Cove, Cornwall, and chose the name of Dante to reflect the idea of a great and challenging journey. The Dante Quartet plays at major con- cert halls, music societies and festivals throughout the UK, and in the past two years has appeared at the Aldeburgh, Bath, Cheltenham and City of London Festivals as well as London's Wigmore Hall and Kings Place. The quartet broadcasts regularly on BBC Radio 3 and has also performed in France, Germany, Holland, Spain, Switzerland, Poland and Finland. In August 2009 the Quartet was featured at the Paunat Festival in France. Last year the Dante Quartet's Hyperion recording of Franck and Fauré's string quartets was honoured with a BBC Music Magazine Award in the UK. The quartet's latest recording for Hyperion, of Debussy and Ravel's quartets, is attracting enthu- siastic reviews. The Dante Quartet enjoys a special association with King's College, Cambridge, including master-classes, collaborations with the renowned King's College Choir and quartet concerts including poetry readings. The Quartet has taught at the Guildhall School of Music and Drama, at Dartington and Cadenza Summer Schools and in Spain, and worked in association with the pioneering Cavatina Chamber Music Trust. Concert engagements are often combined with open rehearsals or workshops for young people, and the Dante Quartet also offers special programmes to children in schools who might never otherwise hear live classical music. The Quartet recently commissioned and premiered five new works inspired by Dante, under the title of the Divine Comedy Project, by Roxanna Panufnik, Cheryl Frances-Hoad, Dmitri Smirnov and Elena and Alissa Firsova. 1 Plans for 2010 include a CD of quartets by Sibelius and Smetana, concerts in the Czech Republic and the Netherlands, and further projects at King's College, Cam- bridge. www.dantequartet.org

18 HMS_93_0018

▲back to top
Ocr'd Text:
String Quartet in C major, op 54 no 2 Haydn 1732 - 1809 Last performed at HMS by The Lindsay Quartet, March 14, 2005, also performed at HMS by the Amadeus String Quartet, October 12, 1953. 1 Vivace 3 Menuetto: Allegretto 2 Adagio 4 Finale: Adagio-Presto-Adagio Written between 1788 and 1799 opus 54 and 55 comprise six quartets in total, which were dedicated to a professional violinist Johann Tost, who had at one time led the second violins in the Esterházy orchestra. Their especially prominent first violin parts do seem to mark a slight departure from Haydn's philosophy of the democracy and equality of parts, but, according to Rosemary Hughes, this "is used as an artistic resource, calling for technical virtuosity from the first violin to lend fire and eloquence to the music". A purposeful start to the first movement gives the impression of carefree lightheartedness. Later unexpected pauses and swift key changes point to the substance of the work. Again, the prominent first violin part in the concise slow movement adagio in the minor key, is explained by Rosemary Hughes: "the first violin breaks into impassioned arabesques above the dark and brooding melody, in the manner of a wild Hungarian lament." This work of profound expression is a clear indication of Haydn's success in bringing this musical form, originally created by him, to maturity. The cheerful and seemingly carefree minuet has an unusual and dra- matic trio in the tonic minor key. Unusual is the slow introduction to the last movement which proceeds in a relaxed fashion before giving way to the final short presto, charac- terised by high spirits until reaching an unexpected halt, after which the music comes to a conclusion at a more relaxed speed. UDDERSFI Philharmonic ORCHEST Musick for the Royal Fireworks Brandenburg Concerto no 3 in G Wellington's Victory (Battle Symphony) Symphony no 5 Saturday, 13 November, 2010 at 7.30 Huddersfield Town Hall Tickets via the website or at the door Handel Bach 2 Beethoven Beethoven The Musick for the Royal Fireworks will be played in the original orchestration for wind instru- ments, but we hope without the fire which destroyed the pavilion during the first performance!

19 HMS_93_0019

▲back to top
Ocr'd Text:
Y J String Quartet in B minor op 11 Samuel Barber 1910-1981 Last performed at HMS by The Alexander String Quartet on January 17, 2004. 1 Molto allegro e appassionato 2 Molto adagio (attacca; basis for 'Adagio for Strings') 3 Molto allegro (come prima). Presto Living at the time of the emerging great giants of American music, Gershwin, Copland and Bernstein, Barber chose to compose in an entirely unique and original style owing more to his interest in the cosmopolitan influences of European techniques of composition and art rather than those fashionable in his own native America. His inclination to disregard the so-called fashionable trends in composing earned him criticism for his maverick ideas, in spite of the fact that time has now proved Samuel Barber to be a composer of distinction, remaining true to his artistic integrity. This quartet was written in 1936 and its second movement attained a disproportionate success with his string orchestral arrangement of the Adagio in the second movement, requested and performed by Toscanini in 1938. Barber never seemed to overcome the popularity of what became perhaps one of the most widely performed works of contempo- rary American music, appearing in many guises including film music. In spite of his regular production of works of quality, Barber lost confidence in himself, his later works overshadowed by this one piece, which hardly reflected his true talents as a composer. The first movement opens with an energetic unison statement of the main theme, rising in fourths, awkwardly modern in its rhythmic pat- tern, its impact announcing its individuality. A beautiful chorale-like section moves towards the contrasting second theme which is more lyrical and extended. The development ebbs and flows between collab- orative rhythmic statement from all instruments, and individual dra- matic rhetoric. The music also provides space for exploration and contemplation as well as for the dramatic and the intense. It moves to a fiery conclusion. The second movement needs no introduction. The melody moves only stepwise with utmost calm and tranquility, and the one well-known theme is treated canonically. The music grows from a simple statement to an emotional climax. The short final movement revisits past material from the first movement in a kind of echo, culminating in a sober ending. Programme notes by C Stanton INTERVAL 3

20 HMS_93_0020

▲back to top
Ocr'd Text:
String Quartet in D major 1 Poco lento - Allegro 3 Larghetto César Franck was inspired by the German Classicists and this classically- modelled string quartet follows in the line of the Beethoven and Schumann whose music he admired deeply. His harmonic complexity, however, bears resemblance to the chromaticism of that ultimate Romantic, Wagner. Al- though limited in output, his chamber music is always accomplished and has been taken into the main repertoire. The string quartet was written around 1889, when the composer was at the height of his compositional powers. César Franck 1822-1890 2 Scherzo - Vivace 4 Finale: Allegro molto It begins with a wonderful slow introduction, marked molto largamente e sostenuto, building towards the allegro section in D minor. Its lyricism is absorbed and exploited through the intricate contrapuntal texture. Not untypical for Franck, the development section is in fugal form, its first theme languidly introduced by the viola. It reflects Franck's training as an organist of exemplary improvisational skills, and for whom Bach was a great inspira- tion. After a recapitulation there is a return to the poco lento of the introduc- tion. Muted strings present the initially fragmented material in a capricious scher- zo, punctuated with unexpected rests, silences and accents. A contrasting mood occurs in the more legato trio, with enquiring phrases and pauses, an integral part of the music. Echoes of the trio return after the repeated scherzo. The third movement opens with an extended melody of melancholy pathos in the first violin. There are opportunities for all instruments to indulge their beauty of tone and dynamic range within the increasing emotional intensity of the music. Badke Quartet An arresting unison statement opens the fourth movement, alternating with a gentler response. There is a muted recollection of the scherzo and the cello returns to the introduction of the first movement, unifying the whole work - an often exploited technique of this composer. Often brilliant, sometimes emotional, sometimes profound, this is a remarkable movement in its range of expression. Yet it still remains within the confines of a Classical form. Quartet op 76, no 2, Fifths Quartet no 2, Intimate Letters Quartet no 2 in A minor op 13 Square Chapel, Halifax HALIFAX PHILHARMONIC CLUB 4 Friday 19 November, 2010 Haydn Janacek Mendelssohn Box Office 01422 349422

21 HMS_93_0021

▲back to top
Ocr'd Text:

22 HMS_93_0022

▲back to top
Ocr'd Text:
Season's Performances 25th October 2010 BARBIROLLI QUARTET Haydn: String Quartet no 44 in E major Op 54 no 3 Szymanowski: Quartet no 2 Op 56 Nathan Williamson: String Quartet 2010 Mendelssohn: Quartet no 6 in F minor Op 80 8th November 2010 DANTE QUARTET Haydn: Quartet no 42 in C major Op 54 no 2 Barber: String no 1 Op 11 Franck: String Quartet in D major 6th December 2010 CARDUCCI QUARTET Haydn: Quartet no 30 in E flat major ("The Joke") Op 33 no 2 Moeran: String Quartet No 1 in A minor Philip Glass: String Quartet no 2 Company Beethoven: String Quartet no 11 in F minor Op 95 ("Serioso") 17th January 2011 ALEXEI GRYNYUK Chopin: Polonaise in C# minor Op 26 no 1 Chopin: Nocturne in F Op 15 no 1 Chopin: Variations on a German Air in E major Chopin: Three Mazurkas Op 59 Chopin: Nocturne in C# minor Op 27 no 1 Chopin: Polonaise in A flat "Heroic" Op 53 Beethoven: "Appassionata" Sonata no 23 in F minor Op 57 Liszt: Petrarch Sonnet no 104 Liszt: Mephisto Waltz 7th February 2011 MAGGINI QUARTET Beethoven: String Quartet Op 18 no 3 Frank Bridge: String Quartet no 2 Mendelssohn: String Quartet Op 44 no 3 21st March 2011 MARIA MILSTEIN and MIRIAM LESKIS Schubert: Sonatine in A minor D 385 Op 137 no 2 Janacek: Sonata Beethoven: Sonata op 12 no 3 in E flat major Stravinsky: Divertimento (after "The Fairy Kiss") 11th April 2011 WIENER MOZART TRIO Mozart: Piano Trio in G major KV 496 Beethoven: Piano trio Op 70/1 in D major ("Ghost") Ravel: Piano Trio in A minor 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.

23 HMS_93_0023

▲back to top
Ocr'd Text:
HUDDERSFIELD MUSIC SOCIETY WT. Ninety Third Season 2010-2011 St. Paul's Concert Hall, Queensgate Monday 7.30pm www.huddersfield-music-society.org.uk Registered Charity 529340 President: Stephen Smith

24 HMS_93_0024

▲back to top
Ocr'd Text:
Hon. Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk OFFICERS President Stephen Smith ARTS John Bryan, Margaret Collison, Alastair Cridland, Verity Cridland, Helen Howden, John Rawlinson, Christine Stanton COUNCIL Hon. Treasurer P Michael Lord Tel: 01484 310104 We acknowledge with thanks support for our concerts from The University of Huddersfield to which the Society is affiliated. ENGLAND COMMITTEE The Society is grateful for financial help from our donors which makes this series possible, and for practical assistance with our database from Hilary Norcliffe, Society Archivist. Making Music THE NATIONAL FEDERATION

25 HMS_93_0025

▲back to top
Ocr'd Text:
Huddersfield Music Society Monday 6 December 2010 The Carducci Quartet Matthew Denton - violin Michelle Fleming - violin Eoin Schmidt-Martin - viola Emma Denton - cello This is a welcome return by the Carducci who played for us in March last year. Then they played Haydn Op. 20 No 4, Shostakovich No 8, and Schubert's "Death and the Maiden" to a rapturous audience response. Hardly surprising as the they are recognised as one of today's most exciting quartets. Based in the UK, the quartet holds residencies at Cardiff University and Dean Close School and is visiting quartet in residence at Trinity College of Music in London, Repton School and the Cork School of Music in Ireland. This season will see the quartet perform over 90 concerts worldwide, including performances at London's Wigmore Hall. European tours include multiple stops in Spain, Portugal, Denmark, France and throughout the UK, including their own festival in Highnam. The Anglo-Irish Carducci quartet has established an enthusiastic international following and appearances include Carnegie Hall, Washington's Library of Congress, the Verbier, West Cork and Wratislavia Cantans Festivals, an Aldeburgh residency, broadcasts for BBC Radio 3, RTE Lyric FM and BBC television, a cycle of the complete Bartok quartets and a Naxos recording of the Philip Glass quartets, one of which we are hearing this evening. They have also recorded works by Haydn and C20th composers G. Whettam and J. Horovitz on their own label Carducci classics. Their international engagements have taken them to the USA, Japan and throughout Europe 1 The quartet are passionate about taking classical music to the next genera- tion and run chamber music courses for young musicians in the UK, France and Ireland. Their educational work continues with performances for school children supported by their own charity, The Carducci Music Trust, and for the Cavatina Chamber Music Trust and West Cork Music. The quartet has also visited Gloucestershire primary schools, supported by the Summerfield Trust. They regularly coach on the National Youth String Quartet Weekend, run by the London String Quartet Foundation at Chetham's School of Music. The Carducci Quartet gratefully acknowledges the support of the Coln Trust.

26 HMS_93_0026

▲back to top
Ocr'd Text:
String Quartet in E flat, op 33, no 2 "The Joke" Last performed at HMS by the Lindsays, 14 March 2005 1 Allegro moderato 3 Largo e sostenuto Haydn 1732-1809 2 Scherzo 4 Finale The six quartets published in 1781 under the opus 33 title, mark a defining point in musical history. Composed in a new and special way, they are concise, yet full of intricacies. Haydn converted an increas- ingly ornate Classical style to his own personal requirements, result- ing in greater simplicity of expression. He also allowed the conventional roles of the individual instruments to be less clearly defined, so that they could mix and cross over devices which are clearly demonstrated in this work, particularly in the opening of the slow movement. - The quartet opens with disarming appeal, its lightheartedness and candour concealing a flexible yet taut construction. The instruments, released from their accepted roles, constantly adapt to one another. The second movement is a charming scherzo, but retains the dance- like charm of the minuet. The idiomatic sliding in the first violin part of the trio is an example of the wit which Haydn constantly insinuates into his compositions. 2 A solemn cello and viola duet at the beginning of the adagio, again quite unprecedented, demonstrates just how bold Haydn was pre- pared to be in breaking new ground. The two violins enter and lead to a second section with contrasting ideas and dynamic syncopated rhythms. The counterpoint which underpins the return of the opening melody assists in retaining the overall freshness of the work. The last movement is probably the reason why the quartet is affec- tionately known as 'The Joke', characterised by its high spirits and continual hesitations, as well as sudden halts and confusing silences, especially towards the end. The use of silence became an important ingredient in Haydn's quartet style, sometimes defining his humour, as well as other musical ideas. The expected final phrase never arrives and the uninformed listener should beware of anticipating the end! Programme notes by C. Stanton

27 HMS_93_0027

▲back to top
Ocr'd Text:
String Quartet in A minor 1 Allegro 2 Andante con moto 3 Rondo. Allegro vivace Moeran is better known for his songs and orchestral works, but he first won fame as a composer of chamber music. He was a contemporary of wartime generation composers such as Finzi, Gurney and Vaughan Williams. His studies with John Ireland after the Great War, in which he served, gave rise to this quartet in 1921 and his music shows the influence of the folk elements which coloured many of his compositions and of Moeran's contemporaries. Moeran 1894-1950 The opening theme of the first movement is presented by the cello with flowing lines and with repeated patterned accompaniments. Later there is contrapuntal development of this and subsequent themes. The overall mood is perhaps one of nostalgia, although passionate chords conclude the movement where the viola is allowed the final word. The viola continues, opening the next movement with a haunting melody, a prelude to a contemplative slow movement. Parallel harmonies and changing textures abound and it concludes on an ambiguous chord. The third movement is a high-spirited and energetic dance-like move- ment. Towards the middle, a repeated four-note pattern begins as an accompaniment in the cello part, is passed between instruments and builds to a climax through its insistent repetition. A high-spirited finale concludes what Moeran considered to be one of his best early works. INTERVAL String Quartet no 2 Company "....a composer with repetitive structures" (Philip Glass) The music of Glass's Second Quartet is one of two quartets and it began life as incidental music for the staging of Samuel Beckett's prose-poem Company, a meditation on mortality. 3 Philip Glass 1937- In the first movement the lower strings work together playing character- istic patterns whilst the violins move freely above. As always the interest is in the phrasing and subtleties of synchronisation between the instru- mental parts.

28 HMS_93_0028

▲back to top
Ocr'd Text:
The robust harmonic opening to the second short movement introduces a sense of conflict between bars in two and three beat time, creating a feeling of unrest. The third, also short movement, has a much a gentler rocking rhythm where the interest lies in its slight dissonances. There is again preoccupation with a continually shifting pulse. The upper and lower strings work in rhythmic contrast, as the music moves to an anxious and inconclusive ending. String Quartet in F minor op 95 "Serioso" Last performed at HMS by the Vanbrugh Quartet, 17 November 2008 and previously by The Amadeous String Quartet, 16 December 1949 1 Allegro con brio 2 Beethoven 1770-1827 Allegretto ma non troppo 3 Allegretto assai vivace ma serioso 4 Larghetto espressivo - Allegretto agitato - Allegro This quartet was written in 1810 at a barren time for Beethoven, amidst increasing deafness and disappointment from a thwarted love affair, both of which severely affected his output during that year. It was a radical and introspective work and was difficult for the public to accept. The savage unison of the opening of the first movement under- lines the subjective troubled nature of the music. Its aggression seems barely contained and the challenging dissonances and key changes are often startling. The tension is temporarily released by a simple descending scale from the cello at the start of the second movement. Later a slow fugue, introduced by the viola, unwinds, reflecting Beethoven's intense interest in Bach's counterpoint at that time. Still tangible are intimations of dark and profound emotion. The movement finally comes to rest on a dimin- ished seventh which links directly into an agitated and painful third movement. The only relief is to be found in a gentler major trio-substitute. A gentle sighing introduction at the beginning of the final movement seems to indicate an acceptance of fate on Beethoven's part and leads into a mood of buoyant cheerfulness, albeit punctuated by accents and extreme dynamics. The sudden appearance of very fast quavers in a scurrying coda concludes the work triumphantly in a major key, almost in denial of previous distress. 4

29 HMS_93_0029

▲back to top
Ocr'd Text:

30 HMS_93_0030

▲back to top
Ocr'd Text:
Season's Performances 25th October 2010 BARBIROLLI QUARTET Haydn: String Quartet no 44 in E major Op 54 no 3 Szymanowski: Quartet no 2 Op 56 Nathan Williamson: String Quartet 2010 Mendelssohn: Quartet no 6 in F minor Op 80 8th November 2010 DANTE QUARTET Haydn: Quartet no 42 in C major Op 54 no 2 Barber: String no 1 Op 11 Franck: String Quartet in D major 6th December 2010 CARDUCCI QUARTET Haydn: Quartet no 30 in E flat major ("The Joke") Op 33 no 2 Moeran: String Quartet No 1 in A minor Philip Glass: String Quartet no 2 Company Beethoven: String Quartet no 11 in F minor Op 95 ("Serioso") 17th January 2011 ALEXEI GRYNYUK Chopin: Polonaise in C# minor Op 26 no 1 Chopin: Nocturne in F Op 15 no 1 Chopin: Variations on a German Air in E major Chopin: Three Mazurkas Op 59 Chopin: Nocturne in C# minor Op 27 no 1 Chopin: Polonaise in A flat "Heroic" Op 53 Beethoven: "Appassionata" Sonata no 23 in F minor Op 57 Liszt: Petrarch Sonnet no 104 Liszt: Mephisto Waltz 7th February 2011 MAGGINI QUARTET Beethoven: String Quartet Op 18 no 3 Frank Bridge: String Quartet no 2 Mendelssohn: String Quartet Op 44 no 3 21st March 2011 MARIA MILSTEIN and MIRIAM LESKIS Schubert: Sonatine in A minor D 385 Op 137 no 2 Janacek: Sonata Beethoven: Sonata op 12 no 3 in E flat major Stravinsky: Divertimento (after "The Fairy Kiss") 11th April 2011 WIENER MOZART TRIO Mozart: Piano Trio in G major KV 496 Beethoven: Piano trio Op 70/1 in D major ("Ghost") Ravel: Piano Trio in A minor 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.

31 HMS_93_0031

▲back to top
Ocr'd Text:
HUDDERSFIELD MUSIC SOCIETY IL WT. Ninety Third Season 2010-2011 St. Paul's Concert Hall, Queensgate Monday 7.30pm www.huddersfield-music-society.org.uk Registered Charity 529340 President: Stephen Smith

32 HMS_93_0032

▲back to top
Ocr'd Text:
Hon. Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk OFFICERS President Stephen Smith COUNCIL John Bryan, Margaret Collison, Alastair Cridland, Verity Cridland, Helen Howden, John Rawlinson, Christine Stanton ARTS Hon. Treasurer P Michael Lord Tel: 01484 310104 We acknowledge with thanks support for our concerts from The University of Huddersfield to which the Society is affiliated. ENGLAND COMMITTEE The Society is grateful for financial help from our donors which makes this series possible, and for practical assistance with our database from Hilary Norcliffe, Society Archivist. Making Music THE NATIONAL FEDERATION

33 HMS_93_0033

▲back to top
Ocr'd Text:
Huddersfield Music Society Monday 17 January 2011 Alexei Grynyuk - Piano We are delighted to welcome back the Brit- ish-Ukrainian pianist Alexei Grynyuk for his third visit to the Huddersfield Music Society. He was last here as accompanist to Ruth Palmer in October 2007. Alexei started performing at the age of six and studied at the Kiev Conservatoire under Valery Kozlov before winning a scholarship to the Royal Academy of Music in London, where he studied with Hamish Milne. After being awarded the first prize at the Sergei Diaghilev All-Soviet-Union competition in Moscow at the age of thirteen Alexei has achieved numerous successes at interna- tional piano competitions, most notably first prizes at the Vladimir Horowitz Competition in Kiev and the Shanghai Piano Competition in China. Equally at home in Classical, Romantic and Twentieth-Century repertoire Alexei's career has gone from strength to strength since his last visit. Described by 'Le Figaro' (Paris) as ...master of transparent and sover- eign touch...astonishing personality and absolutely transcendental virtu- osity', Alexei's recital appearances have expanded to many of the world's most renowned concert halls including the Great Hall of Moscow Conservatoire, 'Piano Series' at the Metropolitan Museum of Art in New York, Wigmore Hall & South Bank Centre in London, Salle Cortot & Salle Gaveau in Paris and other prominent venues of Europe, United States, Mexico, Morocco and Far East. Acclaimed by London's 'Musical Opinion' Magazine for his "breathtaking technical accomplishment and musicianship of the highest order" Alexei has been invited to perform at such prestigious festivals as Cervantino (Mexico), Duszniki Chopin Festival (Poland), Musical Kremlin Interna- tional Festival (Moscow), Musica Sacra (Maastricht), Davos Festival (Switzerland), Newport Music Festival (Rhode Island) and International Keyboard Festival (New York). His performances have been broadcast on BBC Radio 3, Hessicher Rundfunk (Frankfurt), Bayerischer Rundfunk, 1

34 HMS_93_0034

▲back to top
Ocr'd Text:
KRO4 Hilversum, Radio France and televised on Ukrainian, Chinese and Russian channels. Upcoming engagements include a Wigmore Hall recital, a recital tour in Japan and a tour with National Symphony Orchestra of Ukraine. The Composers in tonight's concert The piano compositions of three musical giants are displayed in this recital. They had in common the capacity for imaginative invention, plus the skill and artistry to exploit every aspect of piano technique in order to engage the emotions of their listeners. Beethoven (1770-1827) was an intellectual undergoing spiritual tur- moil. He was also a fierce critic of every note he wrote. His exploration of new piano technique and harmonic progression broke the Classical mould for ever and transformed the subsequent development of piano playing and composition. His music is therefore the precursor to Chopin and Liszt, and, through his unique powers of dramatic writing, signpost- ing the way for the great Romantics. Chopin (1810-1849) was a voluntary exile from his own country of Poland but perfectly at home in the artistic life of Paris. He composed music which often speaks of suffering and pathos, but which could also be intense and profound. Likewise he also owed a debt to the past, in particular to Mozart, whose operatic style and melodic ingenuity influ- enced his piano writing. Liszt (1811-1886), was often considered an "Artist as Hero". He became a legend throughout Europe where his physical beauty and legendary improvisations earned him what we would now term 'celebrity status'. He was the ultimate virtuoso, modelling himself on Paganini. His extraordinary compositions, visiting the extremes of emotion, were more often than not inspired by literary sources or other subjective themes. UDDERSFIE H EL D Philharmonic Fantasy overture - Romeo and Juliet Bolero Sheherazade Saturday, 5 February, 2011 at 7.30 Huddersfield Town Hall Tickets via the website or at the door Tchaikovsky Ravel Rimsky-Korsakov Drama, dance and story-telling all focus on aspects of love in this concert. A truly romantic evening for young and old lovers alike. 2

35 HMS_93_0035

▲back to top
Ocr'd Text:
} } Frédéric Chopin Polonaise in C sharp minor op 26 no 1 (1835) All things Polish became popular in Paris after the Russian suppression of Poland's uprising in 1830, including their simple dance forms. Chopin raised the polonaise to a new level of sophistication and this majestic opening speaks of his fierce national pride and patriotism. There is an equal amount of characteristically beautiful legato melody. Nocturne in C sharp minor, op 27 no 1 (1835) The broken chord opening, over which there is an extended melody, is typical of Chopin. The harmonies are often dissonant and the second section is very passionate, offering a wealth of harmonic possibility. Variations on a German Air in E major (1824) Variations were a popular form used by many predecessors such as Hummel, Beethoven and Mozart. They were often based on popular tunes of the day either from opera or folk tunes. This is in the second category. It begins with a delicate and improvisatory prelude to the simple theme which, traditionally, is in two sections. Each of the four variations presents the theme in different figuration, key and mood. The work concludes with a brilliant waltz. Three mazurkas, op 59 (1845) In each of these later works Chopin explores contrasting moods. The first in A minor is rather introspective, allowing space for embellishment. The second highly popular mazurka in A flat major is in two sections, each are based on a different musical idea. The third in F sharp minor reveals an unexpected depth of feeling beneath its simplicity. It is often complex and chromatic. Nocturne in F major op 15 no 1 (1832) This is one of his popular Nocturnes, displaying the recognisable chordal accompaniment underpinning a simple melody. It has a characteristic and contrasting stormy passage which interrupts the mood of calmness. Polonaise in A flat major op 53 "Heroic" (1843) Here is an extrovert work, primarily concerned with the strong rhythms of a village dance elevated to the ballroom. After the flourishes of the opening section its nickname becomes obvious as it explodes into a highly rhythmic dance. INTERVAL 3

36 HMS_93_0036

▲back to top
Ocr'd Text:
Beethoven - Sonata in F minor op 57 " Appassionata" (1806) This and the Waldstein sonata clearly mark the end of the Classical sonata and the birth of Romantic piano music. Indeed it is a milestone, both in Beethoven's own development, as well as in the history of music. The first movement, marked Allegro assai, begins quietly, but its emotional directness is forthright and unsparing. Beethoven's capacity for sustained development is clear and disciplined, achieving at the same time a huge range of impressive effects. The Andante second movement is in variation form. Its theme is tranquil, developed through three variations and returning to the main theme at the end. He pauses on two diminished chords marked pp and ff before the music moves directly into the final movement, marked Allegro ma non troppo and based on a moto perpetuo theme. This encapsulates Beethoven's extraordinary ability to unsettle and provoke. From this point a compelling and tumultuous final movement emerges. Its dramatic power increases cumulatively, aided by the stunning virtuosity of the music as well as by a huge and explosive range of dynamics, abrupt key changes and chords which appear unconnected, before reaching the final torrential Presto. Liszt - Petrarch Sonnet no 104 (1839) This impassioned and well-known work is from the second set of Années de Pélerinage, inspired by, and composed in Italy. It is a piano version of a song based upon the Petrarch sonnet called Pace non trovo, about the sad fate of two lovers damned for their forbidden love. After the dark and introspective opening, its simple melody is revealed, later unleashing Liszt's powers of ravishing improvisation. Sometimes contemplative, sometimes awesome in its virtuosity, the work proceeds through a kaleidoscope of emotions, before drawing to a beguiling conclusion. Liszt - Mephisto waltz (1861) A more mature work, this was written to illustrate the devil in musical terms. The four Mephisto waltzes were originally scored for orchestra and conceived on a grand scale. In this first and most popular, there is gargantuan display and wonderful extravagance, but also dreaminess and tenderness in the central section. The piece is hugely architectural and it builds to a controlled but breathtaking climax before the end. Programme notes by C Stanton Pavel Haas Quartet HALIFAX PHILHARMONIC CLUB Britten - Three Divertimenti Schubert - Quartettsaltz Square Chapel, Halifax Friday 21 February, 2011 Ravel - Quartet in F major Dvorak - Quartet in F major Op 96 (American) 4 Box Office 01422 349422

37 HMS_93_0037

▲back to top
Ocr'd Text:
a n al d e 1₁ e n S it er || d al e a d d S S of al d S d it n

38 HMS_93_0038

▲back to top
Ocr'd Text:
Season's Performances 25th October 2010 BARBIROLLI QUARTET Haydn: String Quartet no 44 in E major Op 54 no 3 Szymanowski: Quartet no 2 Op 56 Nathan Williamson: String Quartet 2010 Mendelssohn: Quartet no 6 in F minor Op 80 8th November 2010 DANTE QUARTET Haydn: Quartet no 42 in C major Op 54 no 2 Barber: String no 1 Op 11 Franck: String Quartet in D major 6th December 2010 CARDUCCI QUARTET Haydn: Quartet no 30 in E flat major ("The Joke") Op 33 no 2 Moeran: String Quartet No 1 in A minor Philip Glass: String Quartet no 2 Company Beethoven: String Quartet no 11 in F minor Op 95 ("Serioso") 17th January 2011 ALEXEI GRYNYUK Chopin: Polonaise in C# minor Op 26 no 1 Chopin: Nocturne in F Op 15 no 1 Chopin: Variations on a German Air in E major Chopin: Three Mazurkas Op 59 Chopin: Nocturne in C# minor Op 27 no 1 Chopin: Polonaise in A flat "Heroic" Op 53 Beethoven: "Appassionata" Sonata no 23 in F minor Op 57 Liszt: Petrarch Sonnet no 104 Liszt: Mephisto Waltz 7th February 2011 MAGGINI QUARTET Beethoven: String Quartet Op 18 no 3 Frank Bridge: String Quartet no 2 Mendelssohn: String Quartet Op 44 no 3 21st March 2011 MARIA MILSTEIN and MIRIAM LESKIS Schubert: Sonatine in A minor D 385 Op 137 no 2 Janacek: Sonata Beethoven: Sonata op 12 no 3 in E flat major Stravinsky: Divertimento (after "The Fairy Kiss") 11th April 2011 WIENER MOZART TRIO Mozart: Piano Trio in G major KV 496 Beethoven: Piano trio Op 70/1 in D major ("Ghost") Ravel: Piano Trio in A minor 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.

39 HMS_93_0039

▲back to top
Ocr'd Text:
HUDDERSFIELD MUSIC SOCIETY J I WT. Ninety Third Season 2010 - 2011 St. Paul's Concert Hall, Queensgate Monday 7.30pm www.huddersfield-music-society.org.uk Registered Charity 529340 President: Stephen Smith

40 HMS_93_0040

▲back to top
Ocr'd Text:
OFFICERS Hon. Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk President Stephen Smith SINN Hon. Treasurer P Michael Lord Tel: 01484 310104 John Bryan, Margaret Collison, Alastair Cridland, Verity Cridland, Helen Howden, John Rawlinson, Christine Stanton COUNCIL COMMITTEE 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 from our donors which makes this series possible, and for practical assistance with our database from Hilary Norcliffe, Society Archivist. Making Music

41 HMS_93_0041

▲back to top
Ocr'd Text:
Huddersfield Music Society Monday 7 February 2011 The Maggini Quartet The Maggini Quartet was formed in 1988 and named after Giovanni Paolo Maggini (c.1580-c.1630) a highly-regarded maker of stringed instruments in Brescia, Italy. It is now established as one of the finest British string quartets with a huge list of recordings of quartets, quintets and other musical combinations. They are known for their commitment to both British and contemporary music, and are taking part in a long standing collaboration with Sir Peter Maxwell Davies. Susanne Stanzeleit, first violin, is the relative newcomer to the group. Renowned as a soloist with an unusually challenging and extensive reper- toire, she is in high demand as guest-leader of many of the foremost chamber orchestras, ensembles and contemporary music groups in the UK. Susanne was leader of the Werethina String Quartet for many years and led the Edinburgh String Quartet between 1999-2002. Among her many recordings are two discs of British piano quartets with the Primrose Piano Quartet, which she founded in 2003 with Robin Ireland. David Angel, second violin, was a founder pupil of the Yehudi Menuin School from which he won an Associate Board Scholarship to the Royal Academy of Music. He was a co-founder of the Maggini Quartet in 1988. Co-leader of the second violin section of the London Mozart Players, he has led the second violins of many of the leading London chamber orchestras including the London Chamber Orchestra, London Musici, Orchestra of St. John's and Sinfonia 21. David has a long-standing duo with pianist David Elwin, with collaborations including their tour of Japan in 2007. Martin Outram, viola, studied at Cambridge University and the Royal Acad- emy of Music with John White. Since then Martin has enjoyed a wide ranging career as quartet player, soloist and teacher. In addition to his work with the Maggini Quartet, Martin appears frequently as a soloist and in recital with Julian Rolton, with whom he has recorded several discs for Naxos. Michal Kaznowski, cello, teaches at the Purcell School and is in constant demand as a soloist with many orchestras, as a broadcast recitalist, as well as performing in chamber music concerts with other artists including Peter Donohoe. When, in 1979, he was appointed principal cello in the City of Birmingham Symphony Orchestra under Simon Rattle, he was the youngest principal cello in the country. He continues to act as guest principal cello in many of the leading freelance orchestras in London and the provinces. 1

42 HMS_93_0042

▲back to top
Ocr'd Text:
String Quartet, op 18 no 3 in D major Beethoven 1770-1827 Last performed at HMS by The Tokyo String Quartet on November 28, 2006. 1. Allegro 2. Andante con moto 3. Allegro 4. Presto This quartet is one of Beethoven's earliest, a set of six written during the period 1798-1800. His model was of course, Haydn, whose example he closely followed in these early works. He had already written a sym- phony and was invited by his publisher to compose some string quartets. The quartet opens serenely with the solo first violin playing a poetic theme over sustained harmonies. It leads to a more sprightly passage incorporating repeated triplet figures and sforzandi, and eventually to a surprising key change and new idea in C major. But this is only a brief interlude before the movement turns back towards a more conventional key for the development section. After a short development ending with a typically emphatic statement of repeated fortissimo chords, the open- ing theme is restated an octave lower by the second violin. The opening legato quaver theme of the second movement is presented, unusually, by the second violin and in a distant key, a technique favoured by Beethoven. He then increases the speed with a melodic idea characterised by demi-semiquavers and dotted notes. The material is combined and developed. The third movement begins with a nonchalant flowing theme from which the entire movement is derived and it leads to a contrasting, sustained trio section in the minor key before returning to the opening theme. Note the characteristic pauses and underlying pedal notes as Beethoven builds tension towards the end. Finally the quartet finishes with a playful fast movement in quavers, in which there are constant key changes and skips from one registration to another. The work ends with a quiet intensity. FUNDRAISING CONCERT Monday 14 February 2011, 7.30 We are having a concert here next Monday to raise funds for the Society with local musicians playing classical music, including an opportunity to hear this magnificent organ. Please see the poster for details. Tickets, £10 (£3 for students), are available during the interval. Please come along and support the Society. 2

43 HMS_93_0043

▲back to top
Ocr'd Text:
2 String Quartet no 2 in G minor Frank Bridge 1879-1941 1. Allegro ben moderato 2. Allegro vivo - Andante con moto - Tempo 1 3. Molto adagio - Allegro vivace Frank Bridge was a string player and it is in the field of chamber music that he chiefly made his reputation. This quartet, composed in 1915, is considered his first mature work and was awarded a Cobbett prize. (Perhaps the prize is more familiar for its "Phantasy" category award, spawning many works of that nature from his contemporaries). The second movement of this quartet relates most to a phantasy form. The music resonates with the atmosphere of the English countryside. The bold and imaginative harmonies of the flowing opening of the first movement are suggestive of the English folk movement. The music is suffused by triplets lending the music a feeling of fluidity and sometimes giving way to sudden bursts of rhythmic energy. A reflective second theme is introduced by the viola over an oscillating triplet accompani- ment. The gentle melodies are passed between the four players, creating a wide range of mood. Its contrapuntal and conversational elements sustain the flow of the music as the instruments dovetail with one another, supporting and initiating ideas. The triplets are still in evidence in the second movement and with light and airy textures they give the illusion of forward momentum. An expressive slower section creates an impression of sultry laziness, and the listener will not be surprised to know that he was writing his tone poem, 'Summer' at the same time. The triplets then rise through the textures, returning the music to the first section. There is exciting use of chromaticism and parallel harmonies especially in the loud passages. At the end the music evaporates into the air. The Molto adagio of the final movement opens in blissful rapture with a transformation of the second theme of the first movement, which returns again after the colourful and playful Allegro vivace section, contributing to the taut structure of the whole work. This work is Bridge's first masterpiece in writing for this medium and reveals his consummate skill and artistry. INTERVAL 3

44 HMS_93_0044

▲back to top
Ocr'd Text:
Quartet op 44 no 3 in E flat major 1. Allegro vivace 2. Scherzo: Assai leggiero vivace 3. Adagio non troppo 4. Molto allegro con fuoco Mendelssohn 1809-1847 Although written in the Classical tradition, Mendelssohn had by now in his fifth quartet found his own style, indebted to, but unlike Beethoven. Written in the key of E flat major its style is mature, not surprisingly, considering he had been writing chamber music since the age of ten, including the famous octet at the age of nineteen. The entire quartet is suffused with strong sense of optimism, foreshadow- ing none of the suffering of opus 80, written ten years later, (heard in the opening concert of this season). Its lively opening starts with a character- istic gesture which returns frequently and later becomes an accompani- ment figure. There are strong subsidiary themes and later, exciting and spacious development, making virtuosic demands upon all players. The first movement proceeds to its end with an infinite unveiling of melodies which increase in brilliance and intensity. The Scherzo continues "combining sonata drama with the feathery, danc- ing texture which is the essence of Mendelssohnian fancy" (Mellers). Its controlled, imaginative harmonic progression gives a clue to its success as a dramatic piece. A fine example of Mendelssohn's artistry and control, the third movement offers hypnotic melodic lines which seem effortless and expansive, with just the occasional hint of suffering. In complete contrast the highly energetic final movement lends high octane exuberance in its almost unceasing semiquaver movement. The Italian heading to the movement meaning 'very quickly and with fire' endorses this. The music occasionally reverts to legato melody, but the work builds towards a brilliant and breathtaking conclusion on upward rising scales, as at the outset of the movement. Programme notes by C Stanton HALIFAX PHILHARMONIC CLUB London Bridge Ensemble Friday 11 February, 2011, 7:30 Ivan Ludlow - baritone, Arisa Fujita - violin, Kate Gould - cello, Daniel Tong - piano A Schubert evening including a selection of songs, and piano trios D 897 and D 929. Square Chapel, Halifax Box Office 01422 349422 4

45 HMS_93_0045

▲back to top
Ocr'd Text:
S I

46 HMS_93_0046

▲back to top
Ocr'd Text:
Season's Performances 25th October 2010 BARBIROLLI QUARTET Haydn: String Quartet no 44 in E major Op 54 no 3 Szymanowski: Quartet no 2 Op 56 Nathan Williamson: String Quartet 2010 Mendelssohn: Quartet no 6 in F minor Op 80 8th November 2010 DANTE QUARTET Haydn: Quartet no 42 in C major Op 54 no 2 Barber: String no 1 Op 11 Franck: String Quartet in D major 6th December 2010 CARDUCCI QUARTET Haydn: Quartet no 30 in E flat major ("The Joke") Op 33 no 2 Moeran: String Quartet No 1 in A minor Philip Glass: String Quartet no 2 Company Beethoven: String Quartet no 11 in F minor Op 95 ("Serioso") 17th January 2011 ALEXEI GRYNYUK Chopin: Polonaise in C# minor Op 26 no 1 Chopin: Nocturne in F Op 15 no 1 Chopin: Variations on a German Air in E major Chopin: Three Mazurkas Op 59 Chopin: Nocturne in C# minor Op 27 no 1 Chopin: Polonaise in A flat "Heroic" Op 53 Beethoven: "Appassionata" Sonata no 23 in F minor Op 57 Liszt: Petrarch Sonnet no 104 Liszt: Mephisto Waltz 7th February 2011 MAGGINI QUARTET Beethoven: String Quartet Op 18 no 3 Frank Bridge: String Quartet no 2 Mendelssohn: String Quartet Op 44 no 3 21st March 2011 MARIA MILSTEIN and MIRIAM LESKIS Schubert: Sonatine in A minor D 385 Op 137 no 2 Janacek: Sonata Beethoven: Sonata op 12 no 3 in E flat major Stravinsky: Divertimento (after "The Fairy Kiss") 11th April 2011 WIENER MOZART TRIO Mozart: Piano Trio in G major KV 496 Beethoven: Piano trio Op 70/1 in D major ("Ghost") Ravel Piano Trio in A minor 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.

47 HMS_93_0047

▲back to top
Ocr'd Text:
HUDDERSFIELD MUSIC SOCIETY LL WT. Ninety Third Season 2010 - 2011 St. Paul's Concert Hall, Queensgate Monday 7.30pm www.huddersfield-music-society.org.uk Registered Charity 529340 President: Stephen Smith

48 HMS_93_0048

▲back to top
Ocr'd Text:
Hon. Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk OFFICERS President Stephen Smith John Bryan, Margaret Collison, Alastair Cridland, Verity Cridland, Helen Howden, John Rawlinson, Christine Stanton ARTS Hon. Treasurer P Michael Lord Tel: 01484 310104 We acknowledge with thanks support for our concerts from The University of Huddersfield to which the Society is affiliated. COUNCIL COMMITTEE The Society is grateful for financial help from our donors which makes this series possible, and for practical assistance with our database from Hilary Norcliffe, Society Archivist. ENGLAND Making Music THE NATIONAL FEDERATION OF MUSIC SOCIETIES

49 HMS_93_0049

▲back to top
Ocr'd Text:
q Huddersfield Music Society Monday 21 March 2011 Maria Milstein - violin and Miriam Leskis - piano Maria Milstein was born in Moscow to a family of musicians. She started playing the violin in 1990 at the age of five and, a year later, the family moved to France. In 1997 she was awarded first prize at the UFAM Interna- tional Youth Competition in Paris. She studied from 2001 to 2004 at the Music Academy of Fiesole (Italy,) and from 2004 to 2010 at the Amsterdam Con- servatoire, where she received her bachelor and master diplomas with the highest distinctions, after a period in the Guildhall School of Music in 2008/09, as part of the Erasmus programme. Maria gives concerts throughout Europe, and has appeared as a soloist or with orchestra in such important halls as the Recital Hall of the Concertge- bouw in Amsterdam, the Main Hall of the Muziekgebouw (Amsterdam), the Wigmore Hall (London), the Tchaikovsky Conservatoire in Moscow, the "Cortot" Hall in Paris, the "Molière" Hall in Lyon, the "Doelen" in Rotterdam and the Teatro Grande in Brescia (Italy). Maria is also very active in the chamber music field as a member of the Van Baerle Trio. She has been selected for prestigious concert series such as the "New Masters on Tour", and the "Young Dutch musicians" series in the Concertgebouw (with the Van Baerle Trio). Maria plays on a Testore violin (Milan, 1707) from the Amsterdam Conservatoire's collection. Miriam Leskis was also born in Moscow and grew up in Israel. She started taking piano lessons at the age of five. Her studies were supported by scholarships from the Rubin and Hasaddna conservatories in Jerusalem and the Israel-America Culture Foundation. She performed as soloist in Israel, Russia and Switzerland. After her obligatory military service Miriam studied at the Hebrew University in Jerusalem from which she holds a double major in Musicology and Philosophy as well as a Masters in Cultural Studies, all with distinction. Later she studied for a Masters degree in piano accompaniment at the Guildhall School of Music and Drama receiving a Concert Recital Diploma. While studying she won the Cunard Carpathia Accompanist Prize and the Cunard Prize for English Song Accompaniment. Since graduating she has been in huge demand as an accompanist and has appeared at the International City of London Festival, and at events for the Wigmore Hall Study Group, and is regularly invited for concerts by music societies across the UK. 1

50 HMS_93_0050

▲back to top
Ocr'd Text:
Sonatina in A minor, D385 op 137 1 Allegro moderato 2 Andante 3 Menuetto This sonatina is one of three composed in 1816 and is typical of Schubert's power to communicate simply and directly. The roles of the two instruments are perhaps more supportive and complimentary than in the Beethoven sonata. Schubert 1797-1828 Its opening theme is built on a simple chordal idea, tinged with an occasional melancholic dissonance. There is a contrasting second subject before a short development in which the various keys are visited then rejected before returning to the recapitulation. In a rather restrained slow movement the lyrical qualities of both instruments are emphasised, their relationship being like that of two equals conversing in a polite and respectful way, listening to one another and taking it in turns to lead and support. The violin sets off rather firmly in a determined but short minuet which tends to favour the violin rather than the piano. It has a second contrasting theme in lieu of a trio. In the fourth movement the lyricism seems to extend endlessly and without effort. For once the main idea is introduced by the violin, although the piano is permitted later to introduce a melodic episode. The contrasting section containing triplets introduces a hint of drama before the final recapitulation of ideas. Sonata Last performed at HMS by Ruth Palmer and Alexei Grynyuk, October 8 2007. 1 Con moto 2 Ballada: Con moto Leoš Janáček 1854-1928 2 3 Allegretto 4 Adagio This sonata was one of Janáček's last works and its intensity reflects his affinity with his Czech homeland and its ethnic music. The work was started in 1914 when the Russian armies entered into Hungary at the start of the Great War. Possibly the last movement, which is the climax of the work, reflects succinctly the emotional turbulence of these events. The first movement is varied in its very personal expression and its flexible rhythms are in keeping with Janáček's fascination with speech rhythms. The subtlety of its harmonic colours is occasionally reminiscent of Debussy.

51 HMS_93_0051

▲back to top
Ocr'd Text:
} A wonderfully lyrical and flowing ballade is constructed upon an exquisite harmonic palette. An engagingly sentimental section in which both instru- ments play the same simple melody with delicate accompaniment occurs twice. The third movement is typical of Eastern European folk music with strong duple rhythms accompanied by extravagant trills and effects, containing unmistakable elements of improvisation as in all movements. The last movement is the climax of the work where improvisational elements are particularly evident in the violin part, which becomes more of a protago- nist to the piano. Its underlying unrest abounds in the insistent violin motifs against the flowing piano melody. Towards the end the piano joins in with the more radical utterances of the violin, contributing trills and tremelos, and the music fades in a thoughtful manner but lacking finality. INTERVAL Sonata op 12 no 3 in E flat 1 Allegro con spirito 2 Adagio con molto espressione 3 Rondo: Allegro molto Beethoven 1770-1827 The piano is more than equal to the violin in this early violin and piano sonata and it is likely that many of the main themes were conceived pianistically by Beethoven. Written in 1798, during his first years in Vienna, it was dedicated to Beethoven's friend, Antonio Salieri, Kapellmeister of the Viennese court, and was composed in the same year as the Pathétique piano sonata. The equality of the two instruments is quickly displayed in their shared allocation of themes. Their witty repartee lends the whole work a feeling of supreme self-confidence and the competitive element bestows a spontaneity to the music. A commanding flourish opens the first movement and a cheerful exchange between instruments commences at once in the presentation of the two main themes. They include much brilliance and virtuosity and the music radiates conviction. Despite the obvious combative nature of the work, the opportu- nity occurs for a sustained legato passage of great beauty in the development section. Unsurprisingly, the more tranquil nature of the slow second movement allows for greater intensity, displaying the violin at its most expressive. Even so, there is some delightful badinage which breaks through briefly. The interchange of ideas in the witty final movement are fast and brilliant, not least in the returning rondo theme which opens it and is heard many more times in different guises. Sometimes the music contains exaggerated decora- 3

52 HMS_93_0052

▲back to top
Ocr'd Text:
tion and episodes of pure drama and hilarity with a wide range of dynamic variation. Remote keys are visited briefly, emphasising the music's return to the comfort of E flat major. A fugue beginning close to the end is dispatched unceremoniously and the growing intoxication leads to an unexpectedly simple ending. Divertimento (after The Fairy's Kiss) Last performed at HMS by Phillippe Graffin & Stephen Coombs, February 15, 1999 1 Sinfonia 2 Danses suisses Stravinsky 1882-1971 3 Scherzo 4 Pas de deux: Adagio, Variation, Coda From 1920 Stravinsky was exiled, living in Paris with many other brilliant and similarly creative individuals such as Picasso, Bakst, Matisse, Nijinsky, Bal- anchine, Cocteau and the dancers who worked for Diaghilev. Stravinsky met and collaborated with all of these and many more through his association with Diaghilev's Ballet Russes. His ballet, The Fairy's Kiss was composed just after the Diaghilev period in 1928, and is a loving homage to the Russia of the composer's childhood. It contains references to many songs and piano pieces by Tchaikovsky and was adapted for violin and piano in 1934. The imaginative qualities of the original ballet are recaptured using the piano's infinite rhythmic and orchestral resources combined with the violin's unique capacity for colour and adeptness. The first movement sinfonia moves from spare and languid melody and into a more intense and expressive mood, developing motifs drawn from the opening. Later, the clear gestural qualities from the original music begin to reveal themselves through its assertive rhythms and idiosyncratic violin part as well as the startling changes of mood and texture. A sudden change of tempo into a rhythmic and simple Russian tune leads straight into the second movement. Its frequent rhythmic anomalies and striking effects are reminiscent of earlier ballets such as The Rite of Spring and Petrouchka. A change to lilting triple time lends fluidity to the music giving it a new character in the third movement. At first it seems somewhat querulous and uncertain but a broad range of ideas give it confidence and a sense of balance. The theme of the last, three-part movement is restrained and understated. It provides opportunity for wonderful flowing melody and tonal quality from the violin. The variation is wonderfully light and witty at first with recollec- tions of the dance hall. Even more capricious is the final breathless coda, requiring agility and precision from the players. The music becomes increas- ingly brilliant in its rhythmic displacement and provides a captivating final to the work. Programme notes by C Stanton 4

53 HMS_93_0053

▲back to top
Ocr'd Text:
Season's Performances 25th October 2010 BARBIROLLI QUARTET Haydn: String Quartet no 44 in E major Op 54 no 3 Szymanowski: Quartet no 2 Op 56 Nathan Williamson: String Quartet 2010 Mendelssohn: Quartet no 6 in F minor Op 80 8th November 2010 DANTE QUARTET Haydn: Quartet no 42 in C major Op 54 no 2 Barber: String no 1 Op 11 Franck: String Quartet in D major 6th December 2010 CARDUCCI QUARTET Haydn: Quartet no 30 in E flat major ("The Joke") Op 33 no 2 Moeran: String Quartet No 1 in A minor Philip Glass: String Quartet no 2 Company Beethoven: String Quartet no 11 in F minor Op 95 ("Serioso") 17th January 2011 ALEXEI GRYNYUK Chopin: Polonaise in C# minor Op 26 no 1 Chopin: Nocturne in F Op 15 no 1 Chopin: Variations on a German Air in E major Chopin: Three Mazurkas Op 59 Chopin: Nocturne in C# minor Op 27 no 1 Chopin: Polonaise in A flat "Heroic" Op 53 Beethoven: "Appassionata" Sonata no 23 in F minor Op 57 Liszt: Petrarch Sonnet no 104 Liszt: Mephisto Waltz 7th February 2011 MAGGINI QUARTET Beethoven: String Quartet Op 18 no 3 Frank Bridge: String Quartet no 2 Mendelssohn: String Quartet Op 44 no 3 21st March 2011 MARIA MILSTEIN and MIRIAM LESKIS Schubert: Sonatine in A minor D 385 Op 137 no 2 Janacek: Sonata Beethoven: Sonata op 12 no 3 in E flat major Stravinsky: Divertimento (after "The Fairy Kiss") 11th April 2011 WIENER MOZART TRIO Mozart: Piano Trio in G major KV 496 Beethoven: Piano trio Op 70/1 in D major ("Ghost") Ravel: Piano Trio in A minor 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.

54 HMS_93_0054

▲back to top
Ocr'd Text:

55 HMS_93_0055

▲back to top
Ocr'd Text:
HUDDERSFIELD MUSIC SOCIETY u WT. Ninety Third Season 2010 - 2011 St. Paul's Concert Hall, Queensgate Monday 7.30pm www.huddersfield-music-society.org.uk Registered Charity 529340 President: Stephen Smith Ć

56 HMS_93_0056

▲back to top
Ocr'd Text:
Hon. Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk OFFICERS President Stephen Smith SINN John Bryan, Margaret Collison, Alastair Cridland, Verity Cridland, Helen Howden, John Rawlinson, Christine Stanton COUNCIL Hon. Treasurer P Michael Lord Tel: 01484 310104 We acknowledge with thanks support for our concerts from The University of Huddersfield to which the Society is affiliated. ENGLAND COMMITTEE The Society is grateful for financial help from our donors which makes this series possible, and for practical assistance with our database from Hilary Norcliffe, Society Archivist. Making Music THE NATIONAL FEDERATION

57 HMS_93_0057

▲back to top
Ocr'd Text:
Huddersfield Music Society Monday 11 April 2011 HO Vienna Mozart Trio Irena Auner - piano Daniel Auner - violin Diethard Auner - cello The close personal relationship between the members of the Vienna Mozart Trio have enabled them to develop a common musical language and special sound to characterise and distinguish the ensemble. They delight in conveying music as a spontaneous and original experience, familiarising a wide range of audiences with all epochs and styles of trio music from Mozart to the present day. Born in Russia, Irena moved to Vienna to continue her studies in 1983, and formed the Duo Auner with her husband, Diethard, in 1984. Together they performed in many European countries and took part in several international festivals, while remaining based in Vienna teaching at the Vienna Music School and the Wiener Neus- tadt Conservatory. 1 In 1991 they formed the Vienna Mozart Trio in which they were joined by their son, Daniel, in 2008. Daniel was born in 1987 and won several national and international competitions, including the Johannes Brahms 1987 competition in Dresden, before joining the trio. He has toured as a soloist with several orchestras and chamber ensembles in Russia and China, as well as in several European countries.

58 HMS_93_0058

▲back to top
Ocr'd Text:
Piano Trio in G major K496 Last performed at HMS by The Orion Piano Trio, November 16, 1970. 1 Allegro 2 Andante 3 Allegretto This piano trio is one of four written in 1786 during a highly creative period for Mozart. Compared with his piano concertos the piano is more of a partner in this trio and less of a protagonist. The genre was a popular one in Vienna and it seems quite likely that they were written to make money. A confident and beautifully crafted piano statement at the start leaves no doubt as to who is in charge and it is joined by the violin in a delightful exchange of the same ideas. The work sparkles with joy, but offers dramatic modulations and wonderful chromaticism in the slightly more explosive development where the cello plays a more active role. It is worth noting however that in the closing bars over a tonic pedal the cello has a critical chromatic line. The dignified opening of the Andante has endlessly lyrical scale passages for all players woven into the textures. The counterpoint is gentle and sometimes chromatic. The final movement is a set of six variations beginning with a perky two-part Gavotte theme in which there is plenty of piano adornment. The first variation leads with seemingly endless and cheerful badinage to which the two string instruments happily respond. The violin is most prominent in the second variation with a soaring melody, later turning to triplet configurations, and the third variation features string lyricism once again decorated with piano bravura. At last the cello has the opportunity to be expressive at the start of the flowing fourth minor variation. The adagio fifth variation has a surprise change of tempo, and is perhaps the most beautiful of all, especially in its second half. It leads into the final confident restatement of the theme. Philharmonic UDD Mozart 1756-1791 Mussorgsky Rachmaninoff Shostakovich - Night on a Bare Mountain - Rhapsody on a Theme of Paganini - Symphony No 5 in D minor op. 47 Saturday 30 April 2011 Huddersfield Town Hall 7.30 pm Conductor: Nick Smith Soloist: Will Green (piano) Tickets available from Huddersfield Information Office, or at the door. 2

59 HMS_93_0059

▲back to top
Ocr'd Text:
Piano Trio in D major 'Ghost' op 70 no 1 Last performed at HMS by the Abegg Piano Trio, November 11, 1985. 1 Allegro vivace e con brio 2 Largo assai ed espressivo 3 Presto Beethoven 1770-1827 This work is one of two composed in 1808 during the period in which Beethoven produced his fourth, fifth and sixth symphonies. Dedicated to the Hungarian Countess, Marie von Erdödy, it was greeted with enthusi- astic pleasure by her at its first performance at her house. It is a great work of charisma and dignity, owing its nickname to the strange and unprecedented effects in the piano part of the second movement. The first movement bursts in with a cheerful unison theme based on a no-nonsense rhythmic downward scale, a motif which will reappear in the development section. A more lyrical second subject follows, and thereaf- ter a relatively extended and complex development, where the contra- puntal treatment of the first subject intensifies. Dramatic key changes are employed here to extraordinary effect. In the recapitulation Beethoven characteristically contrasts passages of great beauty with others of sheer driving force, before ending the movement in the same spectacular fashion as it began. The eerie music of the second movement in the key of D minor is remarkable and original. Unfolding in the piano part the accompaniment is constructed from long passages of tremolos in which the shifting harmonies and mysterious textures create suspense. Occasionally things may be heard to go bump in the night with sudden effects and dramatic gestures in the piano part, which otherwise provides a harmonic under- flow against which the instruments converse. The piano opens the mercurial third movement, breaking the tension with an energetic theme which is tossed about in a carefree manner between the instruments. There is much bravura invention from the piano which interrupts the flow of the music. The music becomes much more unpre- dictable and wayward towards the end, often building up only to relax into a new direction. A final thrilling outburst brings the work to a satisfying conclusion. Notes by C Stanton INTERVAL 3

60 HMS_93_0060

▲back to top
Ocr'd Text:
Piano Trio in A minor Last performed at HMS by the Grion Piano Trio, February 9, 1976. Modéré Pantoum: Assez vif Passacaille: Très large Final: Animé Maurice Ravel 1875-1937 In the summer of 1914 Ravel went to St-Jean-de-Luz as a Basque and in the autumn returned to Paris as a Frenchman. Like his mother, he was born in Ciboure, a tiny fishing port just north of Spain on the Atlantic coast, and, though he was brought up entirely in Paris, he identified more and more in later life with the Basque country, its landscape, its people, its language and its music. The first movement of the Piano Trio, which was written across the river from Ciboure in St-Jean-de-Luz, is an undisguised expression of affection for what Ravel proudly called "my country." If the opening theme is, as the composer declared, "Basque in colour" so is the whole movement, which preserves much the same exotic modality and hypnotic additive rhythms throughout. The two middle movements of the Piano Trio are of more structural than idiomatic interest: Pantoum, which takes its title from an elaborate Malaysian verse form, is remarkable above all for the ingenious way in which it combines the two triple-time tunes of the first section with a broader melody in quadruple time in the middle. Passacaille, which is based exclusively on the theme introduced in the bass of the piano, provides a necessary element of stability. The Final - which was completed after Germany declared war on France in August 1914 and at the same time as the composer was making determined efforts to get himself enlisted for active service - opens with another theme of Basque rhythmic associations, as though it were to be another tribute to the region. But, after a development section ringing with military trumpet calls in the mas- sively scored piano part, it changes direction and expands its expres- sive scope far beyond local considerations to a climax so comprehensive that the three instruments have to resort to orchestral procedures to make their heroic point. The Piano Trio was first performed in Paris in January 1915 and Ravel was finally allowed to enlist, as a truck driver, two months later. Notes by kind permission of Gerald Larner 4

61 HMS_93_0061

▲back to top
Ocr'd Text:
7 nd ne ne ne ts nt in at ne t, ve al an e ne e. ne on as as a IS- SO ral el

62 HMS_93_0062

▲back to top
Ocr'd Text:
Season's Performances 25th October 2010 BARBIROLLI QUARTET Haydn: String Quartet no 44 in E major Op 54 no 3 Szymanowski: Quartet no 2 Op 56 Nathan Williamson: String Quartet 2010 Mendelssohn: Quartet no 6 in F minor Op 80 8th November 2010 DANTE QUARTET Haydn: Quartet no 42 in C major Op 54 no 2 Barber: String no 1 Op 11 Franck: String Quartet in D major 6th December 2010 CARDUCCI QUARTET Haydn: Quartet no 30 in E flat major ("The Joke") Op 33 no 2 Moeran: String Quartet No 1 in A minor Philip Glass: String Quartet no 2 Company Beethoven: String Quartet no 11 in F minor Op 95 ("Serioso") 17th January 2011 ALEXEI GRYNYUK Chopin: Polonaise in C# minor Op 26 no 1 Chopin: Nocturne in F Op 15 no 1 Chopin: Variations on a German Air in E major Chopin: Three Mazurkas Op 59 Chopin: Nocturne in C# minor Op 27 no 1 Chopin: Polonaise in A flat "Heroic" Op 53 Beethoven: "Appassionata" Sonata no 23 in F minor Op 57 Liszt: Petrarch Sonnet no 104 Liszt: Mephisto Waltz 7th February 2011 MAGGINI QUARTET Beethoven: String Quartet Op 18 no 3 Frank Bridge: String Quartet no 2 Mendelssohn: String Quartet Op 44 no 3 21st March 2011 MARIA MILSTEIN and MIRIAM LESKIS Schubert: Sonatine in A minor D 385 Op 137 no 2 Janacek: Sonata Beethoven: Sonata op 12 no 3 in E flat major Stravinsky: Divertimento (after "The Fairy Kiss") 11th April 2011 WIENER MOZART TRIO Mozart: Piano Trio in G major KV 496 Beethoven: Piano trio Op 70/1 in D major ("Ghost") Ravel: Piano Trio in A minor 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.

63 HMS_93_0063

▲back to top
Ocr'd Text:
HUDDERSFIELD MUSIC SOCIETY [I WT. Ninety Third Season 2010-2011 St. Paul's Concert Hall, Queensgate Monday 7.30pm www.huddersfield-music-society.org.uk Registered Charity 529340 President: Stephen Smith

64 HMS_93_0064

▲back to top
Ocr'd Text:
Hon. Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk OFFICERS President Stephen Smith ARTS John Bryan, Margaret Collison, Alastair Cridland, Verity Cridland, Helen Howden, John Rawlinson, Christine Stanton COUNCIL Hon. Treasurer P Michael Lord Tel: 01484 310104 We acknowledge with thanks support for our concerts from The University of Huddersfield to which the Society is affiliated. 1974 COMMITTEE The Society is grateful for financial help from our donors which makes this series possible, and for practical assistance with our database from Hilary Norcliffe, Society Archivist. Making Music

65 HMS_93_0065

▲back to top
Ocr'd Text:
Huddersfield Music Society Monday 14 February 2011 Fundraising Concert The Society acknowledges with grateful thanks the time and talent given by all our performers. This occasion will help towards contin- uing to engage international artists in the future. As pointed out in the annual report, which was sent to all subscribers, our financial situation is not as healthy as we would wish. Donations to the Society are always welcome, and gift aid forms are available from the Treasurer on request. As is usual for a fundraising evening we are running a modest raffle, and used CDs are for sale in the interval when tickets for wine will also be available at £1.50 a glass. Many thanks to all of you for supporting us this evening, and especial thanks to those of you who have already given us extra financial help. Jennifer Scholes (flute) with Jonathan Fisher (piano) W.A.Mozart - Flute Concerto No.2 in D, K.314 After completing A Levels in 2005 Jennifer commenced employment. and, after three years, realised she wanted to further her musical education and enrolled at Huddersfield University as a mature stu- dent. She feels very privileged to have flute lessons with Alan Lockwood, and hopes her graduation in the summer leads to a musical career. Jonathan Fisher is a pianist who has contracts at The University of Huddersfield and The Royal Northern College of Music. As a student at the University and RNCM, he has always been a keen supporter of the music society. He played for the society, two years ago, in music for piano and wind quintet. 1

66 HMS_93_0066

▲back to top
Ocr'd Text:
Frédéric Chopin Claude Debussy Meiko Wakabayashi (piano) - Mazurka Op.59 No.1 - - Mazurka Op.7 No.2 - Pagodes - La Fille aux Cheveux de Lin Born in Nagano, Japan, Meiko started to play the piano at the age of four. She won the first prize at the All Japan Student Competition. twice in the 1980s. The first time she was also awarded the third prize in violin, which drew attention from musical institutes abroad. Meiko was invited to Moscow to study piano and performing arts. Through- out her teenage years she travelled widely, playing at the Mozart Festival in Prague and studying in Paris and Rome. Following success- ful concert performances at the Montefiascone Music Festival, Italy, she was awarded performing diplomas in piano and chamber music. Following a period of recuperation after an accident, she came to London and achieved a postgraduate certificate in keyboard studies at Trinity College. Since then, she has been performing as a pianist, violinist and a chamber musician for music societies and other organisations. It is her fifth year in Yorkshire as a peripatetic violin teacher, and Meiko enjoys being here. Her most recent engagements include a contribution to a project by the BBC entitled 'A Symphony for Yorkshire', and a series of fundraising functions at Nostell Priory. Elly Bosworth (soprano) with Stephen Smith (piano) A Programme of English Songs Tell me lovely shepherd Nocturne If thou wilt ease thine heart O can ye sew cushions? Silent Noon The cloths of heaven Now sleeps the crimson petal Beloved William Boyce (arr by Elizabeth Poston) Benjamin Britten Benjamin Britten Benjamin Britten Ralph Vaughan Williams Thomas F. Dunhill Roger Quilter Michael Head INTERVAL 2

67 HMS_93_0067

▲back to top
Ocr'd Text:
A Recital of English Songs Elly Bosworth soprano Stephen Smith piano Tell Me, Lovely Shepherd Music: William Boyce (1710-1779) Arranged by Elizabeth Poston (1905-1987) Tell me lovely Shepherd where, Tell me where Thou feed'st at noon thy fleecy care, Direct me to the sweet retreat, That guards thee from the mid-day heat. Left by the flocks I lonely stray without a guide and lose my way. Where rest at noon thy bleating care? Gentle Shepherd tell me where - Tell me where, tell me where, tell me where, tell me where, Where rest at noon thy bleating care? Gentle Shepherd tell me where, tell me gentle Shepherd where. Nocturne Words: W. H. Auden (1907 - 1973) Music: Benjamin Britten (1913-1976) Now thro' night's caressing grip earth and all her oceans slip, Capes of China slide away from her fingers into day And th' Americas incline coasts towards her shadow line. Now the ragged vagrants creep into crooked holes to sleep: Just and unjust, worst and best, change their places as they rest: Awkward lovers lie in fields where disdainful beauty yields: While the splendid and the proud naked stand before the crowd And the losing gambler gains and the beggar entertains: May sleep's healing power extend through these hours to our friend. Unpursued by hostile force, traction engine, bull or horse Or revolting succubus; Calmly till the morning break Let him lie, then gently wake.

68 HMS_93_0068

▲back to top
Ocr'd Text:
If Thou Wilt Ease Thine Heart Words: Thomas Lovell Beddoes (1803-1849) Music: Benjamin Britten If thou wilt ease thine heart of love and all its smart, Then sleep, dear, sleep; And not a sorrow hang any tear on your eyelashes; Lie still and deep, sad soul, Until the sea wave washes the rim of the sun tomorrow, In the eastern sky. But wilt thou cure thine heart of love and all its smart, Then die dear, die, die, dear, die; 'Tis deeper, sweeter, than on a rose bank to lie dreaming With folded eye; And then alone, amid the beaming of love's stars, Thou'lt meet her in eastern sky. O Can Ye Sew Cushions? Words: Scottish folksong Music: Benjamin Britten O can ye sew cushions and can ye sew sheets And can ye sing ballulow when the bairn greets? And hie and baw, birdie; and hie and baw lamb, And hee and baw birdie, my bonnie wee lamb. Hie-o wie-o what will I do wi' ye? Black's the life that I lead wi' ye Many o'you, little for to gi' ye, Hie-o wie-o what will I do wi ye? I've placed my cradle on yon hilly top And aye as the wind blew my cradle did rock. O hush-a-by, babie o baw lily loo, And hie and baw, birdie my bonnie wee doo.

69 HMS_93_0069

▲back to top
Ocr'd Text:
Silent Noon Words: Dante Gabriel Rossetti (1828-1882) Music: Ralph Vaughan Williams (1872-1958) Your hands lie open in the long fresh grass, The finger points look through like rosy blooms: Your eyes smile peace. The pasture gleams and glooms 'Neath billowing skies that scatter and amass. All round our nest, far as the eye can pass, Are golden kingcup fields with silver edge, Where the cow parsley skirts the hawthorn hedge. 'Tis visible silence, still as the hourglass. Deep in the sun-search'd growths the dragonfly hangs Like a blue thread loosen'd from the sky: So this wing'd hour is dropt to us from above. Oh! clasp we to our hearts, for death less dow'r, This close-companion'd inarticulate hour, When twofold silence was the song of love. The Cloths of Heaven Words: W. B. Yeats (1865- 1939) Music: Thomas Dunhill (1877-1946) Had I the heaven's embroidered cloths, Enwrought with golden and silver light, The blue and the dim and the dark cloths Of light and night and the half light, I would spread the cloths under your feet: But I, being poor, have only my dreams; I have spread my dreams under your feet; Tread softly, tread softly because you tread on my dreams.

70 HMS_93_0070

▲back to top
Ocr'd Text:
Now Sleeps the Crimson Petal Words: Alfred, Lord Tennyson (1809-1892) Music: Roger Quilter (1887 - 1953) Now sleeps the crimson petal, now the white; Nor waves the cypress in the palace walk; Nor winks the gold fin in the porph'ry font: The firefly wakens: waken thou with me. Now folds the lily all her sweetness up, And slips into the bosom of the lake: So fold thyself, my dearest, thou, and slip, Slip into my bosom and be lost, Be lost in me. Beloved Words: Francis Ledwidge (1891-1917) Music: Michael Head (1900-1976) Nothing but sweet music wakes My Beloved, my Beloved. Sleeping by the blue lakes, My own Beloved! Song of lark and song of thrush, My Beloved! My Beloved! Sing in morning's rosy blush, My own Beloved! When your eyes dawn blue and clear, My Beloved, My beloved You will find me waiting here My own Beloved! You will find me waiting here My own Beloved! Į L

71 HMS_93_0071

▲back to top
Ocr'd Text:
Elly Bosworth is a teacher of singing and classroom music at Hudders- field Grammar school and sings with the Huddersfield Choral Society and the Choir of Huddersfield Parish Church where she is also director of music. She graduated from the University of Huddersfield with an MMus in performance in 2009, during which time she took part in a masterclass with Emma Kirkby and performed in concerts in Saint Paul's and Wakefield Cathedral. She has also been a soloist with the Huddersfield Choral Society on tours to Reims, Brno and the Saint Magnus Festival in Orkney. Stephen Smith is President of Huddersfield Music Society and has served on the Committee for well over thirty years. He has been involved in musical activities throughout his life both as a player and as a listener. An English graduate and teacher, he retired from his Head of Department post almost ten years ago. In September 2002 he was delighted to be appointed as Organist at Huddersfield Parish Church which has given him a key role in music-making in the town. Apart from music his other interests include literature, theatre, dogs, travel and cooking and eating good food. William Robertson (cello) with Jane Robertson (piano) - Prelude from Suite II, BWV 1008 - Elegy op.24 - Requiebros JS Bach Gabriel Fauré Gaspar Cassadó William Robertson has studied the cello since he was 7 under the guidance of Mary Cawood. He was a member of the National Children's Orchestra for 4 years and plays principal cello with Kirklees Youth Symphony Orchestra. In 2008 he won the Holmfirth Rotary Club Millennium Trophy and Prize and has performed in masterclasses with Alexander Baillie. William has recently been accepted at Cheth- ams School of Music in Manchester for sixth form studies. Jane Robertson, trained at the Watford School of Music and at the RCM. After graduating she gave a number of solo recitals in and around London as well as making recordings and doing live broad- casts for regional television. Since moving to Yorkshire she has undertaken freelance accompanying work as well as performing solo concerto engagements. In 2007 she undertook the role of Alice Elgar (only the hands!) for a biographical film made for the Elgar Museum in Worcester. She is the resident accompanist for the Mastersingers and the Huddersfield Choral Society Junior Choirs. 3

72 HMS_93_0072

▲back to top
Ocr'd Text:
JS Bach Olivier Messiaen Daniel Justin (organ) - Prelude in B Minor, BWV 544 - Dieu Parmi Nous (From 'La Nativité') Daniel Justin was born in Bristol. At age 10, he won a Music Scholar- ship to Downside School in Somerset, and began studying under Christopher Tambling. When he entered the Sixth Form, he began Organ lessons with David Bednall. Daniel has performed recitals at Downside, and in several Churches in the Bristol area, notably at St. Mary Redcliffe and the Colston Hall. Since coming to the north in 2008, he has performed at various venues in Yorkshire and Lincoln- shire. He gained Grade 8 aged 16 and ARCO (Associateship of the Royal College of Organists) at age 18. Daniel is the Organ Scholar at Wakefield Cathedral, and spent 9 months last year as Acting Assistant Director of Music. He is currently working towards a BMus at the University of Huddersfield, and will be moving to Leeds Cathedral in September to work as Assistant Organist. David Allsopp (piano) Music for St Valentine's Day Love is the sweetest thing (1933) Ray Noble Isn't this a lovely day (to be caught Night and day (1932) The way you look tonight (1936) Cheek to cheek (1935) in the rain) (1935) Irving Berlin Cole Porter Jerome Kern/Dorothy Fields Irving Berlin Top Hat, White Tie and Tails (1935) Irving Berlin David Allsopp is Honorary Secretary of the Huddersfield Music Society and plays piano purely for pleasure. He has no aspirations for a career as a performer. He is however, immensely thrilled to be making this, his debut performance, to a Huddersfield audience (apart from a night in a pub once) and hopes his sense of musicality will make up for any mistakes. 4

73 HMS_93_0073

▲back to top
Ocr'd Text:
ir- er an at St in 7- ne at nt ne in ty er ut ub S. Prestas

74 HMS_93_0074

▲back to top
Ocr'd Text:
Season's Performances 25th October 2010 BARBIROLLI QUARTET Haydn: String Quartet no 44 in E major Op 54 no 3 Szymanowski: Quartet no 2 Op 56 Nathan Williamson: String Quartet 2010 Mendelssohn: Quartet no 6 in F minor Op 80 8th November 2010 DANTE QUARTET Haydn: Quartet no 42 in C major Op 54 no 2 Barber: String no 1 Op 11 Franck: String Quartet in D major 6th December 2010 CARDUCCI QUARTET Haydn: Quartet no 30 in E flat major ("The Joke") Op 33 no 2 Moeran: String Quartet No 1 in A minor Philip Glass: String Quartet no 2 Company Beethoven: String Quartet no 11 in F minor Op 95 ("Serioso") 17th January 2011 ALEXEI GRYNYUK Chopin: Polonaise in C# minor Op 26 no 1 Chopin: Nocturne in F Op 15 no 1 Chopin: Variations on a German Air in E major Chopin: Three Mazurkas Op 59 Chopin: Nocturne in C# minor Op 27 no 1 Chopin: Polonaise in A flat "Heroic" Op 53 Beethoven: "Appassionata" Sonata no 23 in F minor Op 57 Liszt: Petrarch Sonnet no 104 Liszt: Mephisto Waltz 7th February 2011 MAGGINI QUARTET Beethoven: String Quartet Op 18 no 3 Frank Bridge: String Quartet no 2 Mendelssohn: String Quartet Op 44 no 3 21st March 2011 MARIA MILSTEIN and MIRIAM LESKIS Schubert: Sonatine in A minor D 385 Op 137 no 2 Janacek: Sonata Beethoven: Sonata op 12 no 3 in E flat major Stravinsky: Divertimento (after "The Fairy Kiss") 11th April 2011 WIENER MOZART TRIO Mozart: Piano Trio in G major KV 496 Beethoven: Piano trio Op 70/1 in D major ("Ghost") Ravel Piano Trio in A minor : 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.