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HUDDERSFIELD
MUSIC SOCIETY
Ninety Fourth
Season
2011/12
St Paul's Hall, Huddersfield
All concerts start at 7.30 pm
WI
Given in association with the
"Music at the University of Huddersfield"
Evening Concert Series
www.huddersfield-music-society.org.uk
Registered Charity 529340
President: Stephen Smith
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Monday 10th October 2011
Alessandro Taverna (piano)
An Italian pianist who won the Bronze
Medal at the Leeds
International Piano Competition 2009.
Mendelssohn: Fantasy in F sharp minor, op 28
Chopin: Sonata no 3 in B minor, op 38
Chopin: Two Nocturnes, op 62
Busoni: Kammer-Fantaisie über Carmen
Liszt: Overture de Guillaume Tell de Rossini
Monday 7th November 2011
Hanna-Liisa Kirchin
(mezzo soprano)
Colin Brockie (bass baritone)
with Jamie Thompson (piano)
Students from the
Royal Northern College of Music
The varied programme will comprise solos and
duets and will include arias from operas by
Mozart, Verdi and Massenet,
Wolf Lieder and songs by Copland, Britten,
and even Eric Idle.
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HUDDERSFIELD
MUSIC SOCIETY
Ninety Fourth
Season
2011/12
Booking form
(to be detached)
WI.
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Monday 5th December 2011
Heath String Quartet
Formed in 2002 at the Royal Northern College
of Music, they are now senior
Chamber Music Fellows at the
Guildhall School of Music and Drama.
**
Beethoven: Quartet in F minor, op 95 (Serioso)
Janáček: Quartet no 1 (Kreutzer Sonata)
Schubert: Quartet in A minor, D804 (Rosamunde).
Monday 23rd January 2012
Atrium String Quartet
Making its third visit to Huddersfield, the
Atrium Quartet, founded in 2000 in St Petersburg,
has won two of the most prestigious international
string quartet competitions.
Haydn: Quartet in B minor, op 33 no 1
Shostakovich: Quartet no 11 in F minor op 122
Shostakovich: Quartet no 1 in C, op 49
Beethoven: Quartet in F, op 135
Monday 13th February 2012
Pražák String Quartet
The Pražák Quartet, one of today's leading
international chamber music ensembles,
was established in 1972 while its members were
students at the Prague Conservatory.
Mozart: Quartet in D, K575 (Prussian)
Martinů: Quartet no 6
Brahms: Quartet in C minor, op 51 no 1.
Monday 12th March 2012
Fujita Piano Trio
A welcome return by the Fujita sisters
from Japan who have been playing chamber
music together since early childhood.
Haydn: Trio in C XV:27
Dvorak: Trio in E minor (Dumky)
Schubert: Trio in B flat, D898
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Subscriber Ticket
Single Concert Ticket
Booking arrangements
Student Season Ticket
Single Student Ticket
for
(except Pražák Concert £20)
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 2011.
TICKETS
Name
to Hon. Treasurer
Mr. Michael Lord,
38 Ingleton Rd, Newsome, Huddersfield HD4 6QX. Tel 01484 310104
Single concert tickets may be bought on line using the link on our website
www.huddersfield-music-society.org.uk
Please send ............ subscriber tickets
Address
Please send ............. single concert tickets
Postcode
Post this form with cheque payable to
Huddersfield Music Society
..............
........
BOOKING FORM
I enclose cheque
£93
£16
.......
£15
£3
.......
...........
Telephone
Total £
........
(dates)
Monday 2nd April 2012
O Duo
Owen Gunnell and Oliver Cox
were both scholars at
the Royal College of Music
O Duo's programmes include a
kaleidoscopic and invigorating mix of
popular classics and accessible
contemporary music played on two
marimbas, vibraphone and a huge
array of percussion.
Their programme includes some
show-stopping arrangements of works
by Bach, Chopin and Dave Brubeck.
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Subscriber Ticket
Single Concert Ticket
(except Pražák Concert £20)
Student Season Ticket
Single Student Ticket
ملية التلقتها
TICKETS
TRINITY STREET
We acknowledge with thanks support 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 support from:
Making Music (National Federation of Music Societies)
and the Countess of Munster Trust.
NORTH-
4
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.
CABILE GATE
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£93
£16
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CAR PARK
£15
£3
CHIOCENO
TO WAKEFIELD
SHEFFIELD
WAKEFIELD ROAD
Fro
ST. PAUL'S HALL
UNIVERSITY OF
HUDDERSFIELD
Car parking is available across Queensgate from
St Paul's for a small fee.
The car park is lit and attended.
Concerts usually end at about 9.30pm.
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HUDDERSFIELD
MUSIC SOCIETY
11
WT.
Ninety Fourth Season
2011 - 2012
St. Paul's Concert Hall, Queensgate
Monday 7.30pm
www.huddersfield-music-society.org.uk
Registered Charity 529340
President: Stephen Smith
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OFFICERS
President
Stephen Smith
Hon. Secretary
David Allsopp
Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk
Hon. Treasurer
P Michael Lord
Tel: 01484 310104
COMMITTEE
John Bryan, Margaret Collison,
Alastair Cridland, Verity Cridland,
Helen Howden, John Rawlinson, Christine Stanton
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated.
The Society is grateful for financial help from our donors
which makes this series possible,
and for practical assistance with our database
from Hilary Norcliffe, Society Archivist.
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Huddersfield Music Society
Monday 10 October 2011
Alessandro Taverna - piano
Alessandro Taverna has won
numerous awards in national
and international competitions
including, in 2009, the 2nd
Prize in the London Interna-
tional Piano Competition having
played Chopin Concerto No. 1
with the London Philharmonic
Orchestra at the Royal Festival
Hall. Later that year he
achieved 3rd Prize in the Leeds
International Piano Competition, which has confirmed him as one of
the most talented pianists of his generation.
FAZIOU
March
Born in Venice in 1983, Alessandro Taverna began his piano studies
at the Music Academy of Santa Cecilia in Portogruaro with Laura
Candiago Ferrari, graduating cum laude in 2001. He achieved the
Artist Diploma at the Music School for Advanced Studies of Portogru-
aro studying with Piero Rattalino.
He continued at the International Piano Academy in Imola, with
Franco Scala and Leonid Margarius, where he received his Master
Diploma in November 2008.
In January 2009, Alessandro enrolled at the 'Santa Cecilia' National
Music Academy in Rome with Sergio Perticaroli - graduating cum
laude - and later he continued his studies with Arie Vardi at the
Hochschule für Musik, Theater und Medien of Hannover. He was
admitted to the prestigious Lake Como Piano Academy, where he is
able to work with some of the finest personalities of the piano world.
He teaches at the Music Academy Santa Cecilia in Portogruaro.
1
From www.alessandrotaverna.com
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Piano Recital by Alessandro Taverna
This exciting and provocative programme spans the piano repertoire from
the nineteenth into the early twentieth century, by composers who
followed in Beethoven's footsteps. His responsibility for developing piano
technique and the Classical sonata, with its forward looking Romantic
agenda, is now acknowledged and celebrated. His successors, therefore,
were driven to seeking ways of innovative expression and of creating
fresh aural and physical challenges in their music in order to individualise
their piano compositions. Their achievements in the new Romantic period
stretched the bounds of tonality and provided further emotional challenge
to the listener, as well as exploiting the capabilities of the instrument and
increasing its virtuoso potential. Inspiration often came from a much
wider range of arts and cultural sources than before. Nineteenth century
music followed the then current trends of fashion in accepting wide-
ranging influences from other countries, and absorbing them into the
repertoire.
The works in this programme provide an opportunity to see the different
and progressive methods employed by composers to expand the bound-
aries of Romantic expression and to exploit the increasing powers and
colouristic potential of the piano.
Mendelssohn himself felt that he was born too late and is therefore
perhaps essentially the most conservative of tonight's composers. His
Romantic musical sensibility fits more comfortably into the elegance of
Classical expression rather than the intensity of the full-blown Romantic
experience. Thus his piano music is largely designed to fit comfortably
into the drawing room.
Liszt, in many ways was the antithesis to Chopin, although each
explored extreme virtuosity in his own way. Liszt was the archetypal
Romantic hero whose means of expression was often highly exhibitionist,
whilst Chopin's music was essentially a more introverted, dream-like
expression of his inspiration. Although Chopin was undoubtedly harmon-
ically adventurous, Liszt's expertise often broke the bounds of tonality
and directly enabled Wagner to subsequently succeed in disrupting
tonality forever.
Liszt's transcriptions are legendary and in this respect Busoni is his great
virtuoso successor, but with less of the exuberant flamboyance of Liszt.
His music reveals a more concentrated form of expression and also shows
an advanced grasp of techniques employed in the past. In common with
all of these composers his love of Bach's music is reflected in his
compositions. They confirm his belief that new music should take inspira-
tion from the essence of past music. His interest in indeterminate tonality
in his mature works also puts him in familiar territory to Liszt.
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Ĵ
Fantasy in F sharp minor, op 28
1 Con moto agitato
2 Allegro con moto
3 Presto
The title of Fantasy is appropriate, but with its three contrasting move-
ments its other title 'Sonata Ecossaise' is also apt. Written in 1828, and
later revised after playing it to Goethe in Weimar it was dedicated to his
friend, Ignaz Moscheles.
The first and final movements follow the Classical tradition of develop-
ment, but without the rigour of Haydn or Beethoven. The opening
cascades of arpeggios establish the fantasy nature of the work and are
followed by the principal andante theme. The first movement is passion-
ate, containing much virtuosic display although it concludes in a more
reflective manner. The second movement is good-natured and spritely
without the passion and emotion of the previous movement. Brilliant
virtuosity returns to the dramatic and almost non-stop final movement.
Sonata no 3 in B minor, op 58
Last performed at HMS by Piers Lane, February 4, 2008.
1 Allegro Maestoso
2 Scherzo: Molto vivace
Mendelssohn 1809-1847
3 Largo
4 Finale: Presto, non tanto
Chopin 1810-1849
Chopin completed this composition in 1844. Brilliantly dramatic and
virtuosic, it is a weighty work whose opening is instantly electrifying. The
sparkling and mercurial Scherzo is very brief, turning towards a calmer,
more contemplative trio in the major key.
The slow third movement starts with a severe and somewhat threatening
unison passage quickly dispelled in the second phrase, which unfolds a
serene and beautiful melody reflecting Chopin's love of Italian opera. It
continues to a rhapsodic middle section, imbued with a mood of intimacy.
3
Bravura chords, increasing in volume and speed, open a final movement
of breath-taking intensity, featuring a myriad of virtuosic scales. Sudden
changes of key and juxtaposition of unlikely chords, plus the use of the
entire keyboard, make this a thrilling visual as well as aural experience.
It provides an exhilarating conclusion to the sonata.
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Two Nocturnes, op 62
Chopin 1810-1849
These were both written in 1846 at the house of his patron and friend
George Sand shortly before he left her estate at Nohant to return to Paris.
This departure underlined their less than happy co-existence and perhaps
led to a final break-up. Whilst both nocturnes exhibit the dreamlike
qualities of poetic night visions, they do not conform to the format of his
earlier nocturnes, with their soaring melodies over patterned accompani-
ments. This final pair tends to be introspective and sometimes rather
hesitant.
Kammer - Fantasie über Carmen
Last performed at HMS by Egon Petri, January 18, 1939.
The themes of this arrangement will be familiar to most people, but it is
the ingenuity with which Busoni builds his display around them which is
so remarkable. Typical examples are the subtle chromatic harmonic
changes throughout and sparkling adaptations of the well-known Haban-
era. The fluency between sections seems effortless and its ending is
unexpectedly restrained.
Overture de Guillaume Tell de Rossini
This transcription is based upon the overture of a Rossini opera which
dealt directly with nationalistic aspiration. Its subject on an epic theme
brought about a new grand manner of staged opera in France and later
in Germany. The subject would have appealed to Liszt, as would indeed
its expressive use of harmony and orchestral colour. The following
quotation from The Times after its first performance in 1840 is interesting
and sufficient to serve as a note in this case:
Busoni 1866-1924
HALIFAX PHILHARMONIC CLUB
Square Chapel, Halifax
Thursday, October 13, 2011
Box Office 01422 349422
"The overture to William Tell, brought all the performer's power at once
into action. In this overture, Liszt with exquisite taste and tact confined
his additions to the harmonies; and though this composition is probably
one of the fullest scores that Rossini ever wrote, yet the most complete
orchestra by which we have ever heard it performed never produced a
more powerful effect, and certainly was very far behind Liszt in spirit and
unity of execution. How all this is accomplished with ten fingers we
confess ourselves unable to guess; and even could description convey
any idea of Liszt's performance, its possibility would still appear incredi-
ble, except to those who heard it."
Programme notes by C Stanton
4
Liszt 1811-1886
The Danish String Quartet
Haydn: Op. 64 D major (lark)
Nielsen: No. 4 in F Major
Beethoven: Op. 127 in E flat
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Season's Performances
10th October 2011
ALESSANDRO TAVERNA
Mendelssohn: Fantasy in F sharp minor, op 28
Chopin: Sonata no 3 in B minor, op 58
Chopin: Two Nocturnes, op 62
Busoni: Kammer-Fantaisie über Carmen
Liszt: Overture de Guillaume Tell de Rossini
7th November 2011
HANNA-LIISA KIRCHIN, COLIN BROCKIE and JAMIE THOMPSON
The varied programme will comprise solos and
duets and will include arias from operas by
Mozart, Verdi and Massenet,
Wolf Lieder and songs by Copland, Britten
and even Eric Idle.
5th December 2011
HEATH STRING QUARTET
Beethoven: Quartet in F minor, op 95 (Serioso)
Janáček: Quartet no 1 (Kreutzer Sonata)
Schubert: Quartet in A minor, D804 (Rosamunde)
23rd January 2012
ATRIUM STRING QUARTET
Haydn: Quartet B minor, op 33 no 1
Shostakovich: Quartet no 11 in F minor, op 122
Shostakovich: Quartet no 1 in C, op 49
Beethoven: Quartet in F, op 135
13th February 2012
PRAZÁK STRING QUARTET
Mozart: Quartet in D, K575 (Prussian)
Martinů: Quartet no 6
Brahms: Quartet in C minor, op 51 no 1
12th March 2012
FUJITA PIANO TRIO
Haydn: Trio in C XV:27
Dvorak: Trio in E minor (Dumky
Schubert: Trio in B flat, D898
2nd April 2012
O DUO
The vibrant young percussion duo
Their programme includes some
show-stopping arrangements of works
by Bach, Chopin and Dave Brubeck
NB This schedule is published in good faith but we reserve the right to alter the artists or programme for any
concert should circumstances beyond our control make this necessary.
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HUDDERSFIELD
MUSIC SOCIETY
III
WT.
Ninety Fourth Season
2011-2012
St. Paul's Concert Hall, Queensgate
Monday 7.30pm
www.huddersfield-music-society.org.uk
Registered Charity 529340
President: Stephen Smith
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OFFICERS
President
Stephen Smith
Hon. Secretary
David Allsopp
Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk
Hon. Treasurer
P Michael Lord
Tel: 01484 310104
COMMITTEE
John Bryan, Margaret Collison,
Alastair Cridland, Verity Cridland,
Helen Howden, John Rawlinson, Christine Stanton
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated.
The Society is grateful for financial help from our donors
which makes this series possible,
and for practical assistance with our database
from Hilary Norcliffe, Society Archivist.
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Huddersfield Music Society
Monday 7 November 2011
Hanna-Liisa Kirchin mezzo-soprano
Colin Brockie - bass-baritone
with Jamie Thompson - piano
For our second concert of the season we welcome three postgraduate
students who appear by kind permission of the Royal Northern College
of Music.
Hanna-Liisa Kirchin has been studying
with Susan Roper and has been the recipi-
ent of the Elsie Thurston Prize (2007),
Alexander Young Prize (2008), The Eunice
Pettigrew Prize (2009), The Amanda
Roocroft Prize (2010) and most recently
second prize in the Chris Petty English song
prize. She has been a finalist in both the
Frederic Cox Singing Prize and The Joyce
and Michael Kennedy Prize for the singing
of Strauss, as well as The Kenneth Love-
land Gift (2010/2011).
Hanna-Liisa has performed leading roles in
a number of RNCM productions which have
included 2nd woman (Dido and Aeneas),
Paquette (Candide), Bacchis (La Belle
Helene), Cyrus (Belshazzar), Sesto (La Clemenza di Tito) and Mercedes
(Carmen). Roles undertaken in opera excerpts include Ottavia/Virtu
(L'incoronazione di Poppea), Dorabella (Cosi fan tutte), Mrs Herring
(Albert Herring), Orfeo (Orfeo ed Euridice), Mrs Kneebone (A dinner
engagement), Mistress Quickly (Falstaff) and Phoebe (Yeomen of the
Guard).
Recent performances include Elgar's Sea Pictures, Rossini's Petite
Messe Sollenelle and the role of Old Nog in Stephen McNeff's Tarka the
Otter with Buxton Festival Opera. Future performances include Mrs
Herring in the RNCM production of Albert Herring and several recitals.
throughout England.
Hanna-Liisa's postgraduate studies are kindly supported by an Annie
Ridyard Scholarship, The Kathleen Trust and an RNCM bursary.
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Colin Brockie was originally from Ellon, and
first started singing and acting at Haddo
House, being involved with the Children's The-
atre, Youth Theatre and the Choral and Oper-
atic Society.
During his time at Gray's School of Art, hel
participated in many shows including Okla-
homa (Jud), Yeomen of the Guard (Sgt Me-
ryll), Hot Mikado (Pooh-Bah).
Colin was a member of the National Youth
Choir of Scotland (NYCOS) for 11 years, taking
part in four overseas tours and singing with
the choir in London's Albert Hall as part of the
Proms season.
After gaining a BA Hons in Design and Craft from Gray's, Colin came to
study for a Masters in Performance at the RNCM and appeared in the RNCM
operas La Belle Hélène (Agamemnon), Clemenza di Tito (Publio - cover) and
Carmen (Zuniga - cover) and also in fully staged opera scenes of Pelleas et
Melisande (Arkel), Falstaff (Pistol), L'amore dei tre Re (Archibaldo) and
L'incoronazione di Poppea (Seneca).
He has returned to the RNCM this year to study for a Postgraduate Diploma
in Solo Performance with his tutor Stuart MacIntyre.
Jamie Thompson started learning the pi-
ano at the late age of fifteen. After just three
years of playing he received the Olive Marsh
scholarship to study at the Royal Northern
College of Music.
After graduating with first class honours he
is taking a one-year Masters course under
David Jones.
Although currently specialising in accompaniment, Jamie is an enthusiastic
collaborator, soloist, and chamber musician. He has enjoyed much success
as winner of the RNCM's two-piano, English Song, Elsie Thurston, Lieder
and Song Cycle competitions. A recent performance of Poulenc's La Voix
Humaine with soprano Rebecca Lea in London's Purcell Room was met with
great acclaim and he welcomes future performances with singers at both
the Wigmore and Bridgewater Halls.
He has appeared as a soloist in concertos by Beethoven, Grieg, Rach-
maninoff, Tchaikovsky and in addition to this, thoroughly looks forward
to performing composer Michael Small's concerto commission Relics
with the RNCM Symphony Orchestra in March 2011.
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}
1
PROGRAMME
Il cor vi dono - from Cosi fan Tutte - Mozart
Dorabella attempts to fight her feelings for the mysterious Algerian who at-
tempts to woo her, unaware that he is indeed her sister's fiancée in disguise -
an attempt to test the girls' fidelity.
È amore un ladroncello - from Cosi fan Tutte - Mozart
Dorabella's second aria in Cosi fan Tutte finds her attempting to convince her
sister, Fiordiligi, to stray from devotion to their fiancés and to allow herself to fall
in love with the mysterious men who have recently entered their lives.
Madamina, il catalogo é questo - from Don Giovanni - Mozart
Leporello describes to Donna Elvira the numerous ladies that his master, Don
Giovanni, has seduced. Maids to princesses have all succumbed to Don
Giovanni's lecherous ways, in all shapes and sizes.
Elle-est là! Près de lui - from Mignon - Thomas
Mignon laments as Wilhelm, the object of her affection, leaves the room with his
lover Philline. Knowing that he does not love her, she hears the gentle waters
calling to her and prepares to walk out and end her life.
Je t'implore ô mon frère - from Hamlet - Thomas
Hamlet has set off to kill his uncle, King Claudius, to avenge his father's murder.
He finds the King at prayer, praying to his brother for forgiveness as God shall
not listen to his pleas.
Breit über mein haupt (Droop over my head)/Heimliche Auf-
forderung (Secret invitation)/Zueignung (Devotion) - Strauss
A selection of songs by Richard Strauss, each exploring the wonder of love, the
excitement of the first glance across a crowded room, and complete devotion to
another person.
Michaelangelo Lieder - Wolf
These are the last three songs Hugo Wolf wrote. Written at a time when he had
declined into madness and old age, they give an added poignancy to the poems
of Michaelangelo which reflect on past love and recognition, despair that every-
thing must come to an end, and question existence and how to achieve peace.
Trot here, trot there from Veronique - Messager
The debt ridden Vicomte Florestan agrees to an arranged marriage to Hélène,
a wealthy heiress, but continues his affair with the florist's wife, Agathe. Hélène
arrives in Paris and coincidently overhears Florestan and Agathe's break up.
Now knowing her future husband's identity she disguises herself as 'Veronique',
a flower shop assistant and sets off to entice and trap Florestan. Here, after
successfully gaining his attention, Florestan and Veronique share a donkey ride.
INTERVAL
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Alone, and yet alive/ Tit Willow/ There is beauty in the bellow
of the blast from The Mikardo - Gilbert and Sullivan
Katisha mourns the loss of Nanki poo, and is discovered by Ko Ko who promptly
asks for her hand in marriage. After being convinced by his beautiful rendition
of Tit Willow, she agrees to marry him and they duet together about how a ray
of hope can be found in the shadow of darker times.
Over the piano/Toothbrush time - William Bolcom
Two of William Bolcom's incredibly entertaining songs, following an unsuccess-
ful attempt to woo the pianist in the bar, through to the morning after the night
before!
I bought me a cat - Copland
An old American song set by Aaron Copland listing the animals of a contented
farmer
Old Mother Hubbard Hely-Hutchinson
This setting of a classic nursery rhyme by Victor Hely-Hutchinson is set in the
style of Handel and dates from 1912, when the composer was still at school.
Mr Snow - from Carousel - Rodgers and Hammerstein
Carrie Pipperidge tells her friends of the advantages and disadvantages of her
romantic relationship with Enoch Snow.
Ol' man river - from Showboat - Kern and Hammerstein
Dock worker Joe expresses the hardships of the time and the relenting, uncar-
ing flow of the Mississippi river.
The Alto's lament - Goldrich and Heisler
A comedy song presenting the trials and tribulations in the life of an alto.
The Warthog - Flanders and Swann
A tale of the lonely Warthog at a party.
The song that goes like this - Idle
A duet depicting the ever popular and sometimes predictable nature of the
Broadway musical duet.
ERS
Philharmonic
ORCHES
Masquerade suite: Waltz, Romance and Galop
Khachaturian
Brahms
Borodin
Conductor: Nick Smith
-
-
Saturday, November 12, 2011, 7.30
Huddersfield Town Hall
Tickets from the library or at the door
STRA
Violin Concerto
Symphony No 2
Soloist: Martyn Jackson (Violin)
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Ocr'd Text:
Season's Performances
10th October 2011
ALESSANDRO TAVERNA
Mendelssohn: Fantasy in F sharp minor, op 28
Chopin: Sonata no 3 in B minor, op 58
Chopin: Two Nocturnes, op 62
Busoni: Kammer-Fantaisie über Carmen
Liszt: Overture de Guillaume Tell de Rossini
7th November 2011
HANNA-LIISA KIRCHIN, COLIN BROCKIE and JAMIE THOMPSON
The varied programme will comprise solos and
duets and will include arias from operas by
Mozart, Verdi and Massenet,
Wolf Lieder and songs by Copland, Britten
and even Eric Idle.
5th December 2011
HEATH STRING QUARTET
Beethoven: Quartet in F minor, op 95 (Serioso)
Janáček: Quartet no 1 (Kreutzer Sonata)
Schubert: Quartet in A minor, D804 (Rosamunde)
23rd January 2012
ATRIUM STRING QUARTET
Haydn: Quartet B minor, op 33 no 1
Shostakovich: Quartet no 11 in F minor, op 122
Shostakovich: Quartet no 1 in C, op 49
Beethoven: Quartet in F, op 135
13th February 2012
PRAZÁK STRING QUARTET
Mozart: Quartet in D, K575 (Prussian)
Martinů: Quartet no 6
Brahms: Quartet in C minor, op 51 no 1
12th March 2012
FUJITA PIANO TRIO
Haydn: Trio in C XV:27
Dvorak: Trio in E minor (Dumky
Schubert: Trio in B flat, D898
2nd April 2012
O DUO
The vibrant young percussion duo
Their programme includes some
show-stopping arrangements of works
by Bach, Chopin and Dave Brubeck
NB This schedule is published in good faith but we reserve the right to alter the artists or programme for any
concert should circumstances beyond our control make this necessary.
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Ocr'd Text:
HUDDERSFIELD
MUSIC SOCIETY
WT.
Ninety Fourth Season
2011 - 2012
St. Paul's Concert Hall, Queensgate
Monday 7.30pm
www.huddersfield-music-society.org.uk
Registered Charity 529340
President: Stephen Smith
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Ocr'd Text:
OFFICERS
President
Stephen Smith
Hon. Secretary
David Allsopp
Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk
Hon. Treasurer
P Michael Lord
Tel: 01484 310104
COMMITTEE
John Bryan, Margaret Collison,
Alastair Cridland, Verity Cridland,
Helen Howden, John Rawlinson, Christine Stanton
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated.
The Society is grateful for financial help from our donors
which makes this series possible,
and for practical assistance with our database
from Hilary Norcliffe, Society Archivist.
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Ocr'd Text:
Huddersfield Music Society
Monday 5 December 2011
The Heath Quartet
Oliver Heath and Cerys Jones - violins
Gary Pomeroy - viola, Christopher Murray- cello
We are delighted to welcome
back the Heath Quartet who vis-
ited us in October 2007. Then
The Examiner critic admired
their elevation of the art of musi-
cal conversation to the highest
level of eloquence, and their
lightness of touch. Since then,
with Cerys Jones playing second
violin, their reputation has gone
from strength to strength.
In 2008 they won the 1st Prize at
the Tromp International Competi-
tion in Eindhoven and 2nd Prize at the Haydn International Competition in
Vienna. Over the last two years the Quartet has given recitals at major festivals
and venues throughout Europe including Barbican, Bridgewater Hall, Sage
Gateshead, Perth and Queen's Hall Edinburgh, and in several European cities.
They have also broadcast on BBC Radio 3 from Birmingham Town Hall and the
Bath Festival. More recently they have been awarded a prestigious Borletti-
Buitoni Special Ensemble Scholarship and have undertaken two complete
Beethoven Quartet cycles at the Fàcyl Festival in Salamanca Spain and at
Greyfriars Church in Edinburgh. Engagements this season include recitals at
Wigmore Hall as part of the Emerging Talent scheme (supported by the
Mayfield Valley Arts Trust), including the premiere of a new work by Luke
Bedford and collaborations with Stephen Hough and lan Bostridge. In 2010 they
recorded their first CD at the Muziekcentrum Frits Philips and undertook a two
week residency at The Banff Centre in Canada.
1
The Heath Quartet was formed in 2002 at the Royal Northern College of Music,
under the guidance of the late Dr. Christopher Rowland and Alasdair Tait, with
whom they continued their studies at the Reina Sofia in Madrid. During their
studies at the RNCM the Quartet won all the major ensemble prizes and were
Leverhulme Junior Fellows between 2008-10. They are currently Senior Cham-
ber Music Fellows at the Guildhall School of Music & Drama, supported by the
Fidelio Trust.
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String Quartet in F minor, op 95 Beethoven 1770-1827
Serioso
Last performed at HMS by The Carducci Quartet on December 6, 2010.
1 Allegro con brio
2 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,
enduring 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, difficult for the public to
accept even after the controversial Razumovsky quartets. The serioso
third movement underlines the subjective and troubled nature of the
music as does the savage unison of the opening of the first move-
ment. Its palpable aggression is barely contained throughout the
short, compressed movement and the challenging dissonances and
key changes are often startling; for example, the surprise of sudden
upward unison major scales for which there is no aural preparation.
The tension is temporarily released by a simple descending scale from
the cello at the start of the second movement. Later a slow fugue,
introduced by the viola, unwinds, reflecting Beethoven's intense.
interest in Bach's counterpoint at that time. The clarity of its control-
led and reflective contrapuntal textures, nevertheless, do not conceal
intimations of dark and profound emotion. The movement finally
comes to rest on an abstruse diminished seventh which links directly
into an agitated and painful third movement. Its only relief is to be
found in a gentler major trio-substitute of smooth chords against a
dancing first violin accompaniment.
A gentle sighing introduction at the beginning of the final movement
seems to indicate an acceptance of fate on Beethoven's part 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.
2
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String Quartet no 1 in E minor
Kreutzer Sonata
Last performed at HMS by The Jerusalem Quartet on April 15, 2002.
1 Adagio. Con moto
2 Con moto
3 Con moto. Vivo. Andante
4 Con moto. (Adagio). Più mosso
This quartet is a dramatic work taking as its inspiration the essence
of Tolstoy's novel, a study in suffering and death. It was written in
1923 by a composer who was the third and last of three great Czech
nationalists. Janacek studied in detail the folk lore and nature mysti-
cism of his country, and his music is closely allied to the rhythmic and
melodic curves of speech, which he believed to be a complete
expression of all human predicament.
Janacek 1854-1928
The solo lines of the first movement spring eloquently out of imagina-
tive and changing string textures. Following on is a continual flow of
patterned accompaniments and alternating textures and moods. The
final section ends, as all of the movements, quietly and without
ostentation.
The second movement presents a series of contrasting sections of
which the most important are a folk-dance rhythm and a unique
passage employing harmonics in the upper instruments against the
cello solo line. Both are repeated with ever increasing intensity until
the final dance section, which fades gracefully through its final solos.
A canonic opening distinguishes this from other movements and it is
also notable for its fluctuating speeds. Within its fluent expressive-
ness lie almost tangible expressions of human speech and tempera-
ment.
In common with the others, this movement is marked 'con moto' and
it takes the listener once again through a changing canvas of instru-
mental colour and therefore emotion. Much of this movement
contains the characteristic fingerprints of the composer in its cumula-
tive and melodic repetition of short motifs, often accompanying
extended and artless melody.
INTERVAL
3
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String Quartet in A minor, D 804
Rosamunde
Last performed at HMS by The Vellinger Quartet on October 10, 1994.
1 Allegro non troppo
2 Andante
3 Menuetto - Trio: Allegretto 3 Allegro moderato
Meine Ruh' ist hin, Mein Herz ist schwer,
Ich finde sie nimmer und nimmer mehr.
Schubert 1797-1828
My peace is gone, my heart is heavy,
I will never find it again.
This yearning couplet from the beginning of his song, Gretchen am
Spinnrade, also in A minor, indicates his state of mind when Schubert
wrote to tell his friend in 1824 of the newly written A minor and G
minor quartets. His admission to feelings of despair and misery are
certainly reflected in this quartet, although references to other Lieder
exist also in the second and third movements.
The restless accompaniment figure in the two opening bars of the
second violin part are very similar to the piano introduction of the
above song and there is an additional throbbing figure in the two
lower parts. These important ideas open the first movement under a
simple triadic melody. Melodic ideas, one distinguished by a trill and
the other a rising triplet, follow. All of these ideas are assimilated into
the development, making this quartet a fine successor to those of
Haydn and Beethoven.
The theme of the slow movement, originally composed for some
incidental music he wrote for an undistinguished play called
'Rosamunde, Princess of Cyprus', is a familiar one, also used in
Schubert's third piano Impromptu. He employs it here in an increas-
ingly contrapuntal manner.
The minuet is certainly not typical of its genre in its strangely
rhetorical cello opening, its simple texture and modal writing.
Extreme and sudden modulations occur in the second section. The
trio does nothing to contradict a sense of wistfulness, despite a move
to A major, and its third beat sforzandi are unsettling.
Finally, a complete change of mood occurs in the last movement. The
key moves to A major, where its use of dotted rhythms, simple
textures and themes, recall the jauntiness of the Trout quintet, which
he composed five years earlier.
Programme notes by C Stanton
4
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Ocr'd Text:
Huddersfield Music Society
Local chamber concerts in the near future:
Saddleworth Chamber Concerts Society
Wednesday, 7th December 2011 at 7.30
BBC Music Magazine "Rising Star"
Ravel
Schumann
Beethoven
Debussy
Liszt/Wagner
Liszt
Chopin
Alexandra Dariescu, piano
Bach
Odine (Gaspard de la nuit)
Abegg Variations, Op 1
Sonata in E flat, Op 31, No 3
L'Isle joyeuse
Liebestod (Tristan und Isolde)
Ballade No 2 in D minor
Millgate Arts Centre
Delph
Andante Spianato in G major
Grande Polonaise Brillante in E flat major, Op 22
Square Chapel
Halifax
Box Office 01422 349422
Halifax Philharmonic Club
Friday, 9th December 2011 at 7.30
Tickets
Children and music students
Mahan Esfahani, harpsichord
Goldberg Variations
Tickets
£12.00
£ 4.00
£14.00
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Ocr'd Text:
Season's Performances
10th October 2011
ALESSANDRO TAVERNA
Mendelssohn: Fantasy in F sharp minor, op 28
Chopin: Sonata no 3 in B minor, op 58
Chopin: Two Nocturnes, op 62
Busoni: Kammer-Fantaisie über Carmen
Liszt: Overture de Guillaume Tell de Rossini
7th November 2011
HANNA-LIISA KIRCHIN, COLIN BROCKIE and JAMIE THOMPSON
The varied programme will comprise solos and
duets and will include arias from operas by
Mozart, Verdi and Massenet,
Wolf Lieder and songs by Copland, Britten
and even Eric Idle.
5th December 2011
HEATH STRING QUARTET
Beethoven: Quartet in F minor, op 95 (Serioso)
Janáček: Quartet no 1 (Kreutzer Sonata)
Schubert: Quartet in A minor, D804 (Rosamunde)
23rd January 2012
ATRIUM STRING QUARTET
Haydn: Quartet B minor, op 33 no 1
Shostakovich: Quartet no 11 in F minor, op 122
Shostakovich: Quartet no 1 in C, op 49
Beethoven: Quartet in F, op 135
13th February 2012
PRAZÁK STRING QUARTET
Mozart: Quartet in D, K575 (Prussian)
Martinů: Quartet no 6
Brahms: Quartet in C minor, op 51 no 1
12th March 2012
FUJITA PIANO TRIO
Haydn: Trio in C XV:27
Dvorak: Trio in E minor (Dumky
Schubert: Trio in B flat, D898
2nd April 2012
O DUO
The vibrant young percussion duo
Their programme includes some
show-stopping arrangements of works
by Bach, Chopin and Dave Brubeck
NB This schedule is published in good faith but we reserve the right to alter the artists or programme for any
concert should circumstances beyond our control make this necessary.
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Ocr'd Text:
HUDDERSFIELD
MUSIC SOCIETY
1
I
WI.
Ninety Fourth Season
2011 - 2012
St. Paul's Concert Hall, Queensgate
Monday 7.30pm
www.huddersfield-music-society.org.uk
Registered Charity 529340
President: Stephen Smith
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Ocr'd Text:
OFFICERS
President
Stephen Smith
Hon. Secretary
David Allsopp
Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk
Hon. Treasurer
P Michael Lord
Tel: 01484 310104
COMMITTEE
John Bryan, Margaret Collison,
Alastair Cridland, Verity Cridland,
Helen Howden, John Rawlinson, Christine Stanton
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated.
The Society is grateful for financial help from our donors
which makes this series possible,
and for practical assistance with our database
from Hilary Norcliffe, Society Archivist.
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Ocr'd Text:
Huddersfield Music Society
Monday 23 January 2012
The Atrium Quartet
Alexey Naumenko - Violin Anton Ilyunin - Violin
Dmitry Pitulko- Viola
Anna Gorelova - Cello
We are delighted that this concert is being broadcast live on BBC
Radio 3. Please be understanding about any inconvenience caused
by fitting in with the broadcast, and ensure, as always, that your
mobile phones are turned off during the concert, and that coughs.
and sneezes are suitably muffled.
Due to unforeseen circumstances there will be a change to this
evening's programme. Instead of the Beethoven Opus 135 quar-
tet advertised, the Atrium Quartet will be playing Beethoven's
Opus 18 No 1 as the final piece of the evening. Huddersfield Music
Society apologises for this change and hopes that your enjoyment
of the evening will not be affected.
1
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The Huddersfield Music Society regrets to
announce the death on January 12, 2012 of
Marjorie Glendinning
whose funeral took place this afternoon.
Midge, as she was known, was secretary and
mainstay of our Society for many years and a
stalwart supporter of chamber music in the
area. She did unstinting work to establish and
maintain the Music Society's reputation and
we all owe her a great debt of gratitude. We
take this opportunity to extend our sincerest
sympathy and condolences to her family. Her
friendship, advice, expertise and encourage-
ment will be sorely missed.
The performance of Beethoven's quartet, op
18 no 1, this evening is a very appropriate and
much loved piece with which to remember her.
2
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The Atrium Quartet
Alexey Naumenko - Violin
Anton Ilyunin - Violin
Dmitry Pitulko Viola
Anna Gorelova - Cello
This is the third visit to the Huddersfield Music Society by the
Atrium quartet who last came to us in March 2008. The quartet
was formed while the players were studying at the St Petersburg
Conservatoire in 2000 where they graduated in 2003. Since then
they have continued their studies in Amsterdam, at the Netherland
String Quartet Academy, and at the Conservatoire Hanns Eisler in
Berlin. They currently reside in Berlin.
The Atrium Quartet is a winner of two of the most prestigious.
International Competitions for String Quartet: First prize and
Audience Prize of the 9th London International String Quartet
Competition in 2003 and Grand-Prix of the 5th International String
Quartet Competition in Bordeaux in 2007.
3
Highly acclaimed by audiences and press alike the Quartet has
performed throughout Europe, Russia, the USA, Australia, Japan
and Brazil. They have recently played concerts in Hamburg, in
Berlin, at the Concertgebouw in Amsterdam, in Rotterdam, and in
concert tours in the United Kingdom, Festivals in Russia and the
USA, and, of course, in their native city of St Petersburg during
the season 2011-2012.
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Quartet in B minor, op 33 no 1
Last performed at HMS by The Blech Quartet on February 9, 1949.
1 Allegro moderato
2 Scherzo: Allegro di molto
Haydn 1732-1809
3 Andante
4 Finale: Presto
"....six brand new à quadro.... written in a new and special way, for I
have not composed any for ten years"
Haydn announced this new set of string quartets in a letter to
potential subscribers in 1791. The first of the set conveys the self
assurance of a composer at ease with the form he himself created.
With relaxed maturity of style he combines warmth, profundity and
wit. This set inspired Mozart to write his set of six which he dedicated
to Haydn.
In the first movement growth occurs quite naturally from an extended
opening theme. It breaks up easily for development and the initial
feeling of spaciousness allows for expressivity as well as organic
growth.
The following movement is fast and light, on its way to becoming a
one-in-a-bar movement whilst still retaining a classical elegance. A
smoother trio section displays the instruments in pairs.
The Andante, light and uncomplicated, exhibits a restrained jaunti-
ness throughout. Once again Haydn enjoys the pairing of instruments.
and the second idea, a charming chromatic appoggiatura played in
octaves, is mischievously expressive. There is some high passage
work for the first violin.
pr
A final movement sets off with some urgency, presenting an impec-
cable and highly-organised sonata form. Despite much ambiguous
tonality, the end arrives after some artful anticipation!
4
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Ĵ
Quartet no 11 in F minor, op 122 Shostakovich 1906-1975
Last performed at HMS by The Fitzwilliam Quartet on December 8, 1978.
1 Introduction - Andantino
2
3
4
Scherzo - Allegretto
Recitative - Adagio
Étude - Allegro
597
6
Shostakovich's eleventh quartet was dedicated to the memory of his
friend, Vasili Shirinsky, second violinist and co-founder of the
Beethoven Quartet, who had died at the age of 65 in 1965. It may
be helpful to remember that the composer had written a vast quan-
tity of film music by the time this quartet was composed. His later
ones tend to be much more bleak and minimal, (perhaps reminis-
cent of the late quartets of Beethoven) reflecting the terrors of living
in Stalin's Russia.
Humoresque - Allegro
Elegy- Adagio
Finale - Moderato
Like his other later quartets this one has a set of shorter move-
ments with descriptive titles, played without a break. They are often
thematically linked; for instance the opening theme is heard in a
darker form in the Elegy, and the Finale recalls the Scherzo, Etude
and Humoresque.
From the outset the hopelessness of Shostakovich's world is pre-
sented in sparse textures and angular melodic lines creating fre-
quent dissonance. The second movement is a Scherzo with a
childlike and repetitive theme, the third, highly rhetorical in style,
explodes in frenzied motifs accompanied by harsh and sustained
harmonies. Both fourth and fifth movements are self-explanatory,
each with its own ostinato pattern, the former being a fast chro-
matic run and the latter a slower two-note pattern. The insistent
bass line of the sixth movement, a funeral march, evokes darkness
and despair.
5
Anguished and impassioned solos abound, as the music moves into
a muted epilogue. It recalls the repetitive Scherzo theme against a
sustained single bass note. Noteworthy is the striking change in the
harmonies which move in parallel lines near the end, perhaps an
indication of some hope in, for him, a precarious world.
INTERVAL
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Quartet no 1 in C major, op 49
Last performed at HMS by The Sorrel Quartet on January 27, 2003.
1
2
Moderato
Moderato
Shostakovich 1906-1975
3 Allegro molto
4 Allegro
When writing his first string quartet, Shostakovich was well aware of
the precedent created by Beethoven, whom he deeply admired. He
proudly took up the challenge of bringing the string quartet into the
twentieth century.
In 1938 when the work was composed, Shostakovich had been
severely criticised by the state authorities for his lack of adherence to
strict cultural controls which demanded Proletariat music. His opera,
'Lady Macbeth' had been severely condemned as non-formalistic and
therefore subversive by Stalin in 1934. Unsurprisingly his early
quartets tend towards conventionality.
A deceptively simple work the first quartet opens eloquently, con-
trasting with a skittish second subject with glissando cello effects.
The material is briefly developed before a shortened recapitulation.
An expansive viola solo, introduces the second movement in the
relative minor key. It receives contrapuntal treatment and is also
accompanied in a variety of ways before the final presentation
employing delicate pizzicato accompaniment.
In the third movement the addition of mutes lends a veiled quality to
the texture. The sense of mystery is increased by an insistent viola
ostinato figure. It leads to a lilting and tuneful second section with a
folk flavour. Both ideas are repeated and contrasted right up to the
end.
The finale is rhythmic and perhaps more consistent with our expec-
tations of Shostakovich. The viola and cello contribute equally, em-
ploying various and colourful instrumental techniques.
6
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Quartet in F, op 18 no 1
Last performed at HMS by The Prazak Quartet on January 10, 2005.
1 Allegro con brio
2 Adagio affetuoso ed apassionato
Beethoven 1770-1827
3 Scherzo: Allegro molto
4 Allegro Towelbbs2
When Beethoven started to write the set of Opus 18 string quartets
in the late 1790s, he had been settled in Vienna for six years, having
achieved considerable social and professional status as pianist and
piano teacher. They were dedicated to Prince Lobkowitz as were the
last quartets of Haydn, whose example he followed closely in these
early works.
The brisk opening introduces a concise theme, which becomes the
essence of the first movement. It is a conventional sonata movement
that displays the harmonic range and instrumental mastery of a
mature composer.
According to his violinist friend, Karl Friedrich Amenda, to whom he
first showed the quartet, the Adagio was inspired by the tomb scene
in Romeo and Juliet, born out by its combination of romantic intensity
with emotional outbursts and dramatic silences.
A delightfully high-spirited Scherzo delivers a welcome contrast to the
Adagio movement with characteristically offbeat rhythms. An
energetic octave figure, derived from the Scherzo, develops into an
exhilarating trio section.
7
The opening embellishment of the final rondo movement anticipates
its ensuing brilliance but Beethoven mitigates its impetus with
interspersed lyrical episodes and skilful use of counterpoint.
Programme notes by C Stanton
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Ocr'd Text:
Saddleworth Chamber Concerts Society
Ensemble 360, piano quintet
Quintet in E flat, op 87
Duos
Quintet in A major, D667, 'The Trout'
Forthcoming Events
Millgate Arts Centre, Delph
www.saddleworthchamberconcerts.org.uk
Halifax Philharmonic Club
The Prazak String Quartet will be playing for us on February 13
2012 (see the back cover for the programme). If you would like to
hear them twice they are playing at the Square Chapel the
previous Friday, February 10. Their programme for that concert
will be:
Quartet in D K575 Mozart (also being played for us)
Quartet no. 1 Zemlinsky
Quartet in B flat op. 67 Brahms
Tickets available from:
Square Chapel, Halifax
ERS
1 €
Philharmonic
ORCHEST
Wednesday, February 8
Hummel
Rossini
Schubert
U
Verdi
Lutoslawski
Tchaikovsky
Conductor: Nick Smith
Box Office 01422 349422
Saturday, February 4, 2012, 7.30
Huddersfield Town Hall
Tickets from the library or at the door
Overture - La Forza del Destino (The Force of Destiny)
Concerto for Orchestra
The Nutcracker - Act 2
8
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Ocr'd Text:
8
y)
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Ocr'd Text:
Season's Performances
10th October 2011
ALESSANDRO TAVERNA
Mendelssohn: Fantasy in F sharp minor, op 28
Chopin: Sonata no 3 in B minor, op 58
Chopin: Two Nocturnes, op 62
Busoni: Kammer-Fantaisie über Carmen
Liszt: Overture de Guillaume Tell de Rossini
7th November 2011
HANNA-LIISA KIRCHIN, COLIN BROCKIE and JAMIE THOMPSON
The varied programme will comprise solos and
duets and will include arias from operas by
Mozart, Verdi and Massenet,
Wolf Lieder and songs by Copland, Britten
and even Eric Idle.
5th December 2011
HEATH STRING QUARTET
Beethoven: Quartet in F minor, op 95 (Serioso)
Janáček: Quartet no 1 (Kreutzer Sonata)
Schubert: Quartet in A minor, D804 (Rosamunde)
23rd January 2012
ATRIUM STRING QUARTET
Haydn: Quartet B minor, op 33 no 1
Shostakovich: Quartet no 11 in F minor, op 122
Shostakovich: Quartet no 1 in C, op 49
Beethoven: Quartet in F, op 135
13th February 2012
PRAZÁK STRING QUARTET
Mozart: Quartet in D, K575 (Prussian)
Martinů: Quartet no 6
Brahms: Quartet in C minor, op 51 no 1
12th March 2012
FUJITA PIANO TRIO
Haydn: Trio in C XV:27
Dvorak: Trio in E minor (Dumky
Schubert: Trio in B flat, D898
2nd April 2012
O DUO
The vibrant young percussion duo
Their programme includes some
show-stopping arrangements of works
by Bach, Chopin and Dave Brubeck
NB This schedule is published in good faith but we reserve the right to alter the artists or programme for any
concert should circumstances beyond our control make this necessary.
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Ocr'd Text:
HUDDERSFIELD
MUSIC SOCIETY
17
WT.
Ninety Fourth Season
2011 - 2012
St. Paul's Concert Hall, Queensgate
Monday 7.30pm
www.huddersfield-music-society.org.uk
Registered Charity 529340
President: Stephen Smith
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Ocr'd Text:
OFFICERS
President
Stephen Smith
Hon. Secretary
David Allsopp
Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk
Hon. Treasurer
P Michael Lord
Tel: 01484 310104
COMMITTEE
John Bryan, Margaret Collison,
Alastair Cridland, Verity Cridland,
Helen Howden, John Rawlinson, Christine Stanton
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated.
The Society is grateful for financial help from our donors
which makes this series possible,
and for practical assistance with our database
from Hilary Norcliffe, Society Archivist.
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Huddersfield Music Society
Monday 13 February 2012
The Prazak String Quartet
Pavel Hula, violin
Josef Kluson, viola
Vlastimil Holek, violin
Michal Kanka, cello
Tonight we are pleased to
welcome back the Prazak
String Quartet who last
played for us in November
2007. Then they impressed
the reviewer in The Exam-
iner with their "complete
mastery of every musical
demand" made upon them.
Formed during their student days at Prague Conservatory in 1972,
the quartet won prizes at the 1975 Prague Spring Music Festival. In
1978 they were awarded first prize at the Evian String Quartet
Competition as well as a special prize awarded by Radio France for
the best recording during the competition. These established them as
a quartet with an international reputation, and they started more than
30 years of touring the world's musical capitals and making record-
ings for national radios.
When their founding first violin retired in 2010 because of ill-health
they were joined by Pavel Hula, a long term friend and leader of the
Czech-based Kocian Quartet. Their 2010/11 tours have taken them
to 20 North American cities, including New York (Carnegie Hall), Los
Angeles, Houston, Dallas, Philadelphia, Salt Lake City, Tulsa, Mon-
treal, Toronto, and Vancouver.
1
The Prazak Quartet records for Praga/Harmonia Mundi which, to date,
has released over 30 award-winning CDs. In addition to numerous
radio recordings in France, Germany, the Netherlands, and the Czech
Republic, the Prazak Quartet has also made recordings for Supra-
phon, Panton, Orfeo, Ottavo, Bonton, and Nuova Era.
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String Quartet in D, K575 (Prussian) Mozart 1756-1791
Last performed at HMS by The Duke Quartet on February 8, 1993.
1 Allegretto
2 Andante
3 Menuetto: Allegretto - Trio
4 Allegretto
Mozart's friend and pupil, Prince Lichnowsky, introduced him to King
Frederick of Prussia in 1789 and the result was the composition of the
three so-called "Prussian" quartets. However, living through particu-
larly hard times and possibly lacking the motivation or energy, Mozart
failed to complete the intended set of six. The beautifully crafted and
prominent cello lines for the King himself to play are evidence of his
influence upon its composition but unfortunately the works were not
published until after his death and then without a dedication to the King.
The cello demonstrates its importance quite early on in the first
movement, and in the development section it is pitted frequently
against the first violin and sometimes against all three instruments.
In the second movement Andante, the cello again takes a solo role,
soaring up into the treble clef. The expressive quality of the melody
with its characteristic appoggiaturas is yet another reminder of the
operatic nature of Mozart's inspiration.
The Menuetto has a dramatic quality with accompanying dissonances
and unexpected accents and once again the cello displays its spectac-
ular high tenor voice in the Trio.
The opening of the last movement clearly evolves from the first
movement. Its expressiveness is to be found in the purity and variety
of its counterpoint, sometimes pared down to just two instruments or
still retaining perfect clarity in a full-textured section.
It seems poignant that the King, for whom these quartets were clearly
so singularly composed, probably never played or even heard them,
and Mozart probably received neither credit nor payment for their
composition.
2
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String Quartet no 6
1 Adagio moderato
2 Andante
3 Allegro
Bohuslav Martinů 1890-1959
Martinu was a contemporary of Janacek and although Czech by birth,
his studies with Roussel in Paris were followed by a further move to the
United States in 1940. The fact that he never returned to his homeland
does not prevent his music retaining strong melodic and rhythmic
recollections from his native land. His music also contains strong
influences of the neo-classical style of Stravinsky and reflections of
1920's Paris, but is always tinged by romantic sensibility, since the
emotional world held great importance for him.
The first movement gets underway with a spiralling melody from the
first violin, swiftly joined by the other instruments and building towards
strong rhythmic utterances. The rhythmic intensity, recalling his Czech
roots, is rarely absent, but is sometimes emphasised by off-kilter
rhythms. The repetition of short motives is another feature of the
music, and the resulting textural combinations, combined with rhyth-
mic urgency, are redolent of Bartok. More expressive harmonic pas-
sages follow with passionate declamations, but the flow never ceases.
Rapid and scattering two-note patterns provide a harmonic underpin-
ning, against which the melodic lines flow. The patterns extend them-
selves in every direction, building into gorgeous and sustained
harmonic surges. Occasional respite from the continual rhythmic com-
pulsion results when the instruments converse in expressive dialogue.
There is limited time for reflection in this expressive and pared-down
dialogue. The cello especially soars poignantly through the texture
towards the end.
In the last movement jaunty rhythms and flourishes embellish the
fragmented lines. Moments of brief melodic exploration and skittering
rhythmic ideas leap between parts. Fragments of melody detach
themselves, occasionally extending into brief moments of contempla-
tion. No single idea is pursued at any length, thus keeping the music
forward looking and fresh.
INTERVAL
3
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String Quartet in C minor, op 51 no 1
Last performed at HMS by The Heath Quartet on October 29, 2007
- but also by the Amadeus Quartet on December 16, 1949.
Brahms 1833-1897
1 Allegro
3 Allegretto molto moderato e comodo
2 Romanze: Poco adagio 4 Allegro
The two quartets of opus 51 were composed in 1873, whilst Brahms
was on holiday. This quartet was preceded by a wealth of other
chamber music, including other quartets and the famous string sextets,
reflecting his experience with these other combinations. His debt to
the Classical quartet genre is obvious, both in the construction and the
symphonic conception of the work.
The first movement opens with a series of brief and agitated ideas
leading to a more lyrical and contrasting second subject. The material
of this section is developed throughout the movement in a rich variety
of colours and textures, in which the four players have closely interact-
ing roles. The return of the opening theme is played by the cello before
the closing bars of a coda.
The second movement, entitled 'Romanze', is slow and contemplative,
beginning with a gentle horn-like theme in A flat major. Its subtle and
muted colours are evocative of its title.
The third movement begins with a plaintive and repetitive figure in the
key of F minor, a slightly unconventional scherzo movement, but it
soon turns to a lighter contrapuntal triplet section in which the players.
exchange and converse freely. The trio-like section in the major key
has a lighter and more lyrical feel before a return to the more sombre
colours of the opening.
The rhetorical unison opening of the last movement heralds a return to
the more intense character of the first movement. This richly orchestral
and highly profound movement, alternating between dramatic and
thoughtful temperaments, proceeds to an inevitably impassioned con-
clusion.
The Ludwig String Trio
Beethoven: Serenade in D, op 8
Beethoven: String Trio no 1 in G op 9
Mozart: Divertimento in E flat, K 563
HALIFAX PHILHARMONIC CLUB
4
Programme notes by C Stanton
Friday, February 24, 2012
Square Chapel, Halifax
Box Office 01422 349422
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Ocr'd Text:
Paulstur
ill
e
сеlаn е нов
a
Milied kan fes
сей т
رنگار ایران را از
WAS RECENT COROES
3
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Ocr'd Text:
Season's Performances
10th October 2011
ALESSANDRO TAVERNA
Mendelssohn: Fantasy in F sharp minor, op 28
Chopin: Sonata no 3 in B minor, op 58
Chopin: Two Nocturnes, op 62
Busoni: Kammer-Fantaisie über Carmen
Liszt: Overture de Guillaume Tell de Rossini
7th November 2011
HANNA-LIISA KIRCHIN, COLIN BROCKIE and JAMIE THOMPSON
The varied programme will comprise solos and
duets and will include arias from operas by
Mozart, Verdi and Massenet,
Wolf Lieder and songs by Copland, Britten
and even Eric Idle.
5th December 2011
HEATH STRING QUARTET
Beethoven: Quartet in F minor, op 95 (Serioso)
Janáček: Quartet no 1 (Kreutzer Sonata)
Schubert: Quartet in A minor, D804 (Rosamunde)
23rd January 2012
ATRIUM STRING QUARTET
Haydn: Quartet B minor, op 33 no 1
Shostakovich: Quartet no 11 in F minor, op 122
Shostakovich: Quartet no 1 in C, op 49
Beethoven: Quartet in F, op 135
13th February 2012
PRAZÁK STRING QUARTET
Mozart: Quartet in D, K575 (Prussian)
Martinů: Quartet no 6
Brahms: Quartet in C minor, op 51 no 1
12th March 2012
FUJITA PIANO TRIO
Haydn: Trio in C XV:27
Dvorak: Trio in E minor (Dumky
Schubert: Trio in B flat, D898
2nd April 2012
O DUO
The vibrant young percussion duo
Their programme includes some
show-stopping arrangements of works
by Bach, Chopin and Dave Brubeck
NB This schedule is published in good faith but we reserve the right to alter the artists or programme for any
concert should circumstances beyond our control make this necessary.
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Ocr'd Text:
HUDDERSFIELD
MUSIC SOCIETY
LL
WT.
Ninety Fourth Season
2011 - 2012
St. Paul's Concert Hall, Queensgate
Monday 7.30pm
www.huddersfield-music-society.org.uk
Registered Charity 529340
President: Stephen Smith
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Ocr'd Text:
OFFICERS
President
Stephen Smith
Hon. Secretary
David Allsopp
Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk
Hon. Treasurer
P Michael Lord
Tel: 01484 310104
COMMITTEE
John Bryan, Margaret Collison,
Alastair Cridland, Verity Cridland,
Helen Howden, John Rawlinson, Christine Stanton
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated.
The Society is grateful for financial help from our donors
which makes this series possible,
and for practical assistance with our database
from Hilary Norcliffe, Society Archivist.
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Ocr'd Text:
Huddersfield Music Society
Monday 12 March 2012
The Fujita Trio
Arisa Fujita - violin
Megumi Fujita - piano
Honoka Fujita - cello
A very warm welcome back to the Fujita sisters who gave us a
fascinating concert in March 2010. Then they played Haydn, Shosta-
kovich and Mendelssohn; tonight its Haydn, Dvorak and Schubert.
Daughters of a Japanese diplomat, the Trio made a highly acclaimed
debut in the Wigmore Hall in March 1999 and since then has travelled
all over the world and won numerous awards. In addition to playing
as a trio, Megumi accompanies her sisters in recitals and all three
have careers as soloists. As befits such a cosmopolitan trio their early
childhood and training spread across the world.
Arisa Fujita was born in Japan and came to England in 1985 to study
with David Takeno. She entered the Guildhall School of Music and
Drama in 1995, leaving with a first class degree in B.Mus (Hons) in
1998. She has pursued a glittering career and won many prizes since
then.
Megumi Fujita was born in New Zealand and started to study piano in
Japan, at the age of 5. She joined the Yehudi Menuhin School in 1979,
following that with studies at Tel-Aviv University and then at the
Royal College of Music winning the Hopkinson Gold Medal in 1986.
Honoka Fujita was born in Japan and studied in various countries
before settling in the UK in 1985. She started to study the cello in
Ireland before continuing in Tel-Aviv. She entered the Guildhall
School of Music and Drama and followed her B.Mus. (Hons) with the
Concert Recital Diploma (Premier Prix) in 1997.
1
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Piano trio in C major, Hob. XV:27
Last performed at HMS by The Gould Piano Trio on February 12, 2001.
1 Allegro
2 Andante
3 Finale (Presto)
This work was one of many trios composed by Haydn at the end of
the eighteenth century, when the piano was central to amateur music
making. It represents perhaps the antithesis to the string quartet in
its more relaxed, less intellectual style of music. Like Haydn's piano
sonatas it is possible that these works have not achieved the recog-
nition that they deserve because of their apparent simplicity and
small scale conception. Within each individual trio lies a seemingly
inexhaustible fund of beautifully developed material which Haydn has
crafted into a perfect miniature work of art. Although the piano is
central to the work and often appears to dominate, both violin and
cello interact with it, passing ideas, provoking exchanges and occa-
sionally exchanging dialogue between themselves.
Haydn 1732-1809
The first movement is full of charm and opens with a sprightly theme
played by the piano and supported by witty exchange from the other
two instruments. This is followed by a theme built around triplet
figures in which the violin and cello collaborate. The development is
full of lively badinage and there is a delightful feeling of mutual
support between the instruments as well as of a competitive edge.
A serene and thoughtful mood initiates the second movement which
is unexpectedly in A major, but this is short lived as it is punctuated
by excursions into more dramatic and rapidly changing sections
exploiting subtleties of key and humour.
The final movement begins with a flippant fast motif which pervades
the movement. After a deviation into more dramatic territory, a
return to the opening idea completes this exquisite chamber work.
Huddersfield Philharmonic Society
with Huddersfield Choral Society
2
Saturday, April 28, 2012
Handel
Coronation Anthem- Zadok the Priest
Arthur Butterworth Symphony no 7 (world premiere)
Symphony no 9
Beethoven
Huddersfield Town Hall, 7.30
Tickets from the library or on the internet
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)
}
Piano trio in E minor, (Dumky)
Last performed at HMS by The Guarneri Piano Trio of Prague on January 25, 1999.
Dvorak 1841-1904
1 Lento maestoso - Allegro vivace, quasi doppio movimento -
Tempo 1 - Allegro molto
2 Poco adagio - Vivace non troppo
3 Andante - Vivace non troppo - Andante - Allegretto
4 Andante moderato (quasi tempo di marcia) - Allegretto scherzando
- Meno mosso - Allegro - Moderato
5 Allegro
6 Lento maestoso - Vivace, quasi doppio movimento - Lento - Vivace
Dvorak's letter to a friend, regarding these pieces, is perhaps the
clearest description of his intent, if slightly self-deprecating, "I am
now working on something small, something extremely small, but I
hope it will afford you pleasure. It is short pieces for violin, cello and
piano. They will be cheerful and sad. In some places it will be like a
serious song, in others like a happy dance but in a lighter style, more
popular, so to speak, and short; this will result in it being suitable for
both demanding and less demanding minds."
The dumka's origins were in a Ukrainian lament, which later evolved
into an instrumental form, characterised by its alternation between
melancholic and strongly rhythmic dance-like passages. Dvorak's
studies in Slavic folklore, probably influenced by Janacek, led him to
integrate the genre into many of his works, finding in it the potential.
for a freedom of expression in his compositions.
This set of six dumky (plural) were composed in 1891, and the
delightful individuality of the piano parts are due to Dvorak's develop-
ment of his own piano technique, during his studies at the Prague
Organ School. His exploration of the subtleties of piano tone and
figuration are vast. For instance his directions for using the sustaining
pedal are explicit, prolonging and heightening the dumka's unique
harmonic sonorities.
Each dumka contains a wealth of material within its free ranging
construction. The violin and cello employ a variety of techniques,
changing in a moment from subtle effects to candid eloquence, but it
is the combination of all three instruments which produce the most
startling and beguiling textures. In addition, rapid key changes assist
in producing the immense range of colour and mood from passionate
intensity to boisterous rhythmic dances.
INTERVAL
3
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Piano Trio in B flat, D898
Last performed at HMS by The Kungsbacka Piano Trio on February 16, 2004.
1 Allegro moderato
2 Andante un poco mosso
3 Scherzo and Trio: Allegro
4 Rondo: Allegro Vivace
Schubert 1797-1828
Schubert was a pianist and his two piano trios were written probably
within a year of one another, this first completed in 1826. He didn't see
the publication of either, which is true of many of his works, including
the famous 'Trout Quintet' written in 1819.
The piano writing is fresh and often reminiscent of the 'Trout', some-
times presenting a simple theme in simple octaves or exploring the
outer reaches of the keyboard to give the two stringed instruments the
space to be expressive.
The opening of the first movement is full of confidence and typical joie
de vivre, belying the poor state of his health. Its first subject is a
soaring legato melody presented by the two stringed instruments an
octave apart and accompanied by repeated chords in the piano part,
beneath which a little dotted figure insinuates itself into the bass. The
flowing second subject presented first by the cello, and joined by the
violin, is accompanied by triplets. Both accompanying motifs will have
a place in future development. Schubert's harmonic journeys provide a
source of much pleasure with exquisite forays into unprecedented keys;
his reluctance to follow a conventional harmonic route back to the tonic
key is part of the attraction.
The simple songlike cello melody at the beginning of the second
movement is soon joined by the violin, creating irresistible counter-
point. The minor key of the middle section brings unrest and drama in
its figurations. Once again the return of the first theme refuses deli-
ciously to settle back in the tonic key until close to the end.
A bright and sparkling Scherzo with a crystal clear texture demands.
meticulous and rhythmic playing, and contrasts with the smooth me-
lodic trio.
The Schubertian charm and innocence return in the extended final
movement. Its returning theme is stated at the outset and there are
many subsidiary sections and keys, often to dramatic effect. The end
arrives in a blaze of B flat major.
Programme notes by C Stanton
4
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Ocr'd Text:
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Ocr'd Text:
Season's Performances
10th October 2011
ALESSANDRO TAVERNA
Mendelssohn: Fantasy in F sharp minor, op 28
Chopin: Sonata no 3 in B minor, op 58
Chopin: Two Nocturnes, op 62
Busoni: Kammer-Fantaisie über Carmen
Liszt: Overture de Guillaume Tell de Rossini
7th November 2011
HANNA-LIISA KIRCHIN, COLIN BROCKIE and JAMIE THOMPSON
The varied programme will comprise solos and
duets and will include arias from operas by
Mozart, Verdi and Massenet,
Wolf Lieder and songs by Copland, Britten
and even Eric Idle.
5th December 2011
HEATH STRING QUARTET
Beethoven: Quartet in F minor, op 95 (Serioso)
Janáček: Quartet no 1 (Kreutzer Sonata)
Schubert: Quartet in A minor, D804 (Rosamunde)
23rd January 2012
ATRIUM STRING QUARTET
Haydn: Quartet B minor, op 33 no 1
Shostakovich: Quartet no 11 in F minor, op 122
Shostakovich: Quartet no 1 in C, op 49
Beethoven: Quartet in F, op 135
13th February 2012
PRAZÁK STRING QUARTET
Mozart: Quartet in D, K575 (Prussian)
Martinů: Quartet no 6
Brahms: Quartet in C minor, op 51 no 1
12th March 2012
FUJITA PIANO TRIO
Haydn: Trio in C XV:27
Dvorak: Trio in E minor (Dumky
Schubert: Trio in B flat, D898
2nd April 2012
O DUO
The vibrant young percussion duo
Their programme includes some
show-stopping arrangements of works
by Bach, Chopin and Dave Brubeck
NB This schedule is published in good faith but we reserve the right to alter the artists or programme for any
concert should circumstances beyond our control make this necessary.
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59 HMS_94_0059 |
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Ocr'd Text:
HUDDERSFIELD
MUSIC SOCIETY
T
LL
WT.
Ninety Fourth Season
2011 - 2012
St. Paul's Concert Hall, Queensgate
Monday 7.30pm
www.huddersfield-music-society.org.uk
Registered Charity 529340
President: Stephen Smith
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60 HMS_94_0060 |
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Ocr'd Text:
OFFICERS
President
Stephen Smith
Hon. Secretary
David Allsopp
Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk
Hon. Treasurer
P Michael Lord
Tel: 01484 310104
COMMITTEE
John Bryan, Margaret Collison,
Alastair Cridland, Verity Cridland,
Helen Howden, John Rawlinson, Christine Stanton
We acknowledge with thanks support for our concerts from
The University of Huddersfield to which the Society is affiliated.
The Society is grateful for financial help from our donors
which makes this series possible,
and for practical assistance with our database
from Hilary Norcliffe, Society Archivist.
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Ocr'd Text:
Huddersfield Music Society
Monday 2 April 2012
O DUO, percussion
Having been described by The
Daily Telegraph as 'brimming
with style and panache' over the
last two years O Duo have made
their BBC Proms debut, won a
Special Commissioning Award
from the Borletti-Buitoni Trust
and been appointed Artistic Di-
rectors of the Children's Classic
Concerts series in Scotland. In
2010 they returned to the Proms to give the premiere of Wilful Chants
by Stephen Montague with the BBC Symphony Chorus and gave recitals
at Wigmore Hall, Cheltenham, and City of London Festivals.
Extra item played:
Siegel
42nd Street Rondo
Hilary Norcliffe
Archivist
Oliver Cox
Owen Gunnell
1
the Royal College
raduated with First
first Junior Fellow-
e Duo was selected
CAT) in 2005. They
G label in 2007 to
d as the Al Bustan,
Irid, Lucerne, Zug,
h the BBC Philhar-
stras.
Oliver and Owen take a keen interest in education work. They have
given workshops and concerts in schools and special needs centres
throughout the UK, and led creative education projects involving com-
position and performance with London Sinfonietta, Philharmonia Or-
chestra and Sinfonia VIVA.
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Ocr'd Text:
Hon. Secretary
David Allsopp
Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk
We ackno
The Universi
OFFICERS
The Soci
President
Stephen Smith
ana
John Bryan, Margaret Collison,
Alastair Cridland, Verity Cridland,
Helen Howden, John Rawlinson, Christine Stanton
Hon. Treasurer
P Michael Lord
Tel: 01484 310104
COMMITTEE
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Ocr'd Text:
Huddersfield Music Society90
Monday 2 April 2012
O DUO, percussion
Oliver Cox
Owen Gunnell
Having been described by The
Daily Telegraph as 'brimming.
with style and panache' over the
last two years O Duo have made
their BBC Proms debut, won a
Special Commissioning Award
from the Borletti-Buitoni Trust
and been appointed Artistic Di-
rectors of the Children's Classic
Concerts series in Scotland. In
2010 they returned to the Proms to give the premiere of Wilful Chants
by Stephen Montague with the BBC Symphony Chorus and gave recitals
at Wigmore Hall, Cheltenham, and City of London Festivals.
Owen Gunnell and Oliver Cox were both scholars at the Royal College
of Music, where they formed O Duo in 2000. They graduated with First
Class Honours in 2003 and immediately took up the first Junior Fellow-
ship to be given to a percussion duo at the RCM. The Duo was selected
for representation by Young Concert Artists Trust (YCAT) in 2005. They
released their first commercial CD on the Sony BMG label in 2007 to
critical acclaim. They have given concerts as far afield as the Al Bustan,
Harare, and Mexico City Festivals, and in Paris, Madrid, Lucerne, Zug,
Germany and Bulgaria and performed concertos with the BBC Philhar-
monic, London Philharmonic and Philharmonia Orchestras.
Oliver and Owen take a keen interest in education work. They have
given workshops and concerts in schools and special needs centres
throughout the UK, and led creative education projects involving com-
position and performance with London Sinfonietta, Philharmonia Or-
chestra and Sinfonia VIVA.
1
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Ocr'd Text:
O DUO percussion
Oliver Cox and Owen Gunnell
O DUO
ALBÉNIZ
JS BACH
FREDERICK CHOPIN (O DUO)
DAVE BRUBECK/PAUL DESMONDTake Five
MONTI
O DUO
O DUO
PROKOFIEV
PHILIP GLASS
MINORU MIKI
Bongo Fury
Suite Espanola, op 47 (excerpts)
Prelude & Fugue no 5 in D, BWV 850
Etude No.5 in G flat, op 10
Czardas
Searching
INTERVAL
Drumming
Prelude in C, op 12 no 7, Harp
Mad Rush
Marimba Spiritual
1
O DUO (Oliver Cox and Owen Gunnell b.1980)
Bongo Fury (2002)
This was written in August 2002 for the premiere of the Duo's Edinburgh
Festival show. It uses rhythmic material from a variety of sources,
including Cuban Son Montuno and Brazilian Samba Batucada, and is truly
a furious bongo extravaganza.
ISAAC ALBÉNIZ (1860-1909)
Suite Española, Op.47 (excerpts)
Isaac Albéniz's Suite Española Op. 47 is mainly composed of works
written in 1886 which were grouped together in 1887, in honour of the
Queen of Spain. Like many of Albeniz's works for the piano, these pieces
are scenes from different regions and musical styles in Spain. In the
works constituting the Suite Española, the first title makes reference to
the region that each piece represents.
Huddersfield Philharmonic Society
with Huddersfield Choral Society
2
Saturday, April 28, 2012
Handel
Coronation Anthem- Zadok the Priest
Arthur Butterworth Symphony no 7 (world premiere)
Beethoven
Symphony no 9 (The Choral)
Huddersfield Town Hall, 7.30
Tickets from the library or on the internet
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Ocr'd Text:
}
}
J. S BACH (1685-1750) d llannue
(general note)
The music of JS Bach has been played on almost every keyboard
instrument imaginable, including most tuned percussion instruments.
Each of these pieces works especially well on two marimbas, using their
full range and, in particular, the sonorous mid and low registers.
FRYDERYK FRANCISZEK CHOPIN (1810-1849)
Etude No.5 in G flat, Op.10
Étude Op. 10, No. 5, in G-flat major, also known as the Black Key Étude,
was composed by Chopin in 1830 for piano. The right hand plays.
arpeggios almost exclusively on black keys except in measure 66, where
Chopin wrote an F-natural, the only white key for the right hand
throughout the entire piece. The left hand plays the melody, with mostly
chords and octaves, while the right hand accompanies with quick triplets
on black keys. Oliver and Owen play this on two marimbas.
DAVE BRUBECK (b.1920)
Take Five
Born on 6 December 1920 in Concord, California, Dave Brubeck is a jazz
legend. Regarded as a genius in his field, he has written a number of jazz
standards, including In Your Own Sweet Way and The Duke. Brubeck's
style ranges from refined to bombastic, reflecting his mother's attempts
at classical training and his improvisational skills. His long-time musical
partner, alto saxophonist Paul Desmond, wrote the Dave Brubeck
Quartet's most famous piece, Take Five, which is in 5/4 time and has
endured as a jazz classic. Who knows, perhaps the audience might be
able to take part as well....
VITTORIO MONTI (1868 - 1922)
Csárdás (1904)
Vittorio Monti was an Italian composer, violinist and conductor. Born in
Naples he studied at the Conservatorio di San Pietro a Majella. At the
beginning of the 20th century he moved to Paris to conduct the Lam-
oureux Orchestra and wrote several ballets and operettas during this
period. Csárdás (or Czardas) is perhaps the most famous composition
he wrote in 1904. A rhapsodical concert piece originally composed for
violin, mandolin or piano, it is a well-known folk piece based on a
Hungarian csárdás.
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O DUO (Oliver Cox and Owen Gunnell b.1980)
Searching and Drumming
To be introduced on the night.
SERGEI PROKOFIEV (1891-1953)
Prelude in C, Op. 12 No. 7 Harp
INTERVAL
Prokofiev was a formidable pianist. He wrote nine sonatas, five piano
concertos as well as piano versions of his ballets Romeo & Juliet and
Cinderella. The Prelude in C has been transcribed for harp and works
perfectly for two marimbas.
PHILIP GLASS (b.1937)
Mad Rush (1979)
Mad Rush was written for the occasion of the Dalai Lama's first public
address in New York City, in the fall of 1981. Originally an open-struc-
tured or open-ended piece, it was first performed by Glass on organ
during the Dalai Lama's entrance into the Cathedral of St. John the
Divine. It was later performed on Radio Bremen and finally used by
choreographer Lucinda Childs as accompaniment to a dance Mad Rush.
Oliver and Owen perform an edited version on marimbas and vibraphone.
MINORU MIKI (1930 - )
Marimba Spiritual (1983)
Marimba Spiritual was written by the Japanese composer Minoru Miki in
1983 - 'keeping in mind the acute period of starvation and famine in
Africa which was occurring at that time'. The piece is actually in two
sections; the first a 'static requiem', and the second a 'lively resurrec-
tion'. Originally written for solo marimba and three percussionists, it has
been re-arranged for duo, with the drums and marimba battling it out to
the end.
SADDLEWORTH CHAMBER CONCERTS SOCIETY
Erringden Ensemble
Schubert: Trio in B flat major, D 581
Beethoven: Serenade in D major, Op 8
Mozart: Divertimento in E flat major, K 563
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Notes by O Duo
Wednesday, April 18, 2012 7:30
Millgate Arts Centre, Delph
Tickets available at the door
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Ocr'd Text:
O DUO (Oliver Cox and Owen Gunnell b.1980)
Searching and Drumming
To be introduced on the night.
SERGEI PROKOFIEV (1891-1953)
Prelude in C, Op. 12 No. 7 Harp
Prokofiev was a formidable pianist. He wrote nine sonatas, five piano
concertos as well as piano versions of his ballets Romeo & Juliet and
Cinderella. The Prelude in C has been transcribed for harp and works
perfectly for two marimbas.
PHILIP GLASS (b.1937)
Mad Rush (1979)
INTERVAL
Mad Rush was written for the occasion of the Dalai Lama's first public
address in New York City, in the fall of 1981. Originally an open-struc-
tured or open-ended piece, it was first performed by Glass on organ
during the Dalai Lama's entrance into the Cathedral of St. John the
Divine. It was later performed on Radio Bremen and finally used by
choreographer Lucinda Childs as accompaniment to a dance Mad Rush.
Oliver and Owen perform an edited version on marimbas and vibraphone.
MINORU MIKI (1930 - )
Marimba Spiritual
Marimba Spiritual w
1983 - 'keeping in
Africa which was o
sections; the first a
tion'. Originally writ
been re-arranged fo
the end.
SADDLEWORTH CHAMBER CONCERTS SOCIETY
Erringden Ensemble
Schubert: Trio in B flat major, D 581
Beethoven: Serenade in D major, Op 8
Mozart: Divertimento in E flat major, K 563
4
Wednesday, April 18, 2012 7:30
Millgate Arts Centre, Delph
Tickets available at the door
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Season's Performances
10th October 2011
ALESSANDRO TAVERNA
Mendelssohn: Fantasy in F sharp minor, op 28
Chopin: Sonata no 3 in B minor, op 58
Chopin: Two Nocturnes, op 62
Busoni: Kammer-Fantaisie über Carmen
Liszt: Overture de Guillaume Tell de Rossini
7th November 2011
HANNA-LIISA KIRCHIN, COLIN BROCKIE and JAMIE THOMPSON
The varied programme will comprise solos and
duets and will include arias from operas by
Mozart, Verdi and Massenet,
Wolf Lieder and songs by Copland, Britten
and even Eric Idle.
5th December 2011
HEATH STRING QUARTET
Beethoven: Quartet in F minor, op 95 (Serioso)
Janáček: Quartet no 1 (Kreutzer Sonata)
Schubert: Quartet in A minor, D804 (Rosamunde)
23rd January 2012
ATRIUM STRING QUARTET
Haydn: Quartet B minor, op 33 no 1
Shostakovich: Quartet no 11 in F minor, op 122
Shostakovich: Quartet no 1 in C, op 49
Beethoven: Quartet in F, op 135
13th February 2012
PRAZÁK STRING QUARTET
Mozart: Quartet in D, K575 (Prussian)
Martinů: Quartet no 6
Brahms: Quartet in C minor, op 51 no 1
12th March 2012
FUJITA PIANO TRIO
Haydn: Trio in C XV:27
Dvorak: Trio in E minor (Dumky
Schubert: Trio in B flat, D898
2nd April 2012
O DUO
The vibrant young percussion duo
Their programme includes some
show-stopping arrangements of works
by Bach, Chopin and Dave Brubeck
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.
Mi