HMS 95


HMS 95

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HUDDERSFIELD MUSIC SOCIETY Ninety Fifth Season 2012/13 St Paul's Hall, Huddersfield All concerts start at 7.30 pm 11133 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 8 October 2012 Andrew Brownell (piano) Andrew was the 2nd prize winner in the 2006 Leeds Piano Competition and makes a very welcome return to the Society. AN Gabar Bach: English Suite no 3 in G minor Debussy: Preludes Book 1 Prokofiev: Sonata no 8 in B flat Monday 29 October 2012 Rhodes Piano Trio Formed in 2003 at the Royal Northern College of Music, the Trio won all the RNCM's major chamber music prizes. Beethoven: Trio in C minor op 1 no 3 Schumann: Trio in G minor op 110 Beethoven: Trio in B flat op 97 'Archduke'

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HUDDERSFIELD MUSIC SOCIETY Ninety Fifth Season 2012/13 Booking form (to be detached) WI

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Monday 10 December 2012 Borromini String Quartet Up and coming UK based period instrument quartet Borromini String Quartet was formed in 2008. Haydn: Quartet in D minor op 9 no 1 Boccherini: Quartet in E flat op 24 no 3 Boccherini: Quartet in G minor op 24 no 6 Mozart: Quartet in A K 464 Monday 21 January 2013 Henschel String Quartet The Henschel Quartet was formed in 1994 and has won many prizes in international string quartet competitions. Haydn: Quartet in F op 74 no 2 Beethoven: Quartet in C op 59 no 3 Beethoven: Quartet in F op 135 Monday 11 February 2013 Bridge Quartet The Bridge Quartet have a strong English repertoire built around their acclaimed recordings of the chamber music by their namesake. 4 Haydn: String Quartet in F minor op 20 no 5 Bridge: Three Idylls Bridge: Rhapsody Trio for 2 violins and viola Britten: String Quartet no 1 Monday 25 March 2013 Lekker Quintet (RNCM) The Lekker Quintet was formed in 2009 while the members were studying at the University of Manchester. They are all are now postgraduate students at the Royal Northern College of Music. Jenny Dyson - Flute,Shaun Little - Oboe Tom Wood - French Horn, Harry Michalas - Clarinet Laura Mackenzie - Bassoon Programme to be announced at the start of the season

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Subscriber Ticket Single Concert Ticket Student Season Ticket Single Student Ticket Booking arrangements 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 2012. Post this form with cheque payable to Huddersfield Music Society to Hon. Treasurer Mr. Michael Lord, 38 Ingleton Rd, Newsome, Huddersfield HD4 6QX. Tel 01484 310104 for TICKETS Single concert tickets may be bought online using the link on our website www.huddersfield-music-society.org.uk Please send ............ subscriber tickets Name Please send ............ single concert tickets Address Postcode BOOKING FORM I enclose cheque £93 £16 £15 £3 ........ Telephone Total £ ....... (dates) Monday 8 April 2013 Sacconi String Quartet Since its formation at the Royal College of Music in 2001, the Sacconi Quartet has established a secure and substantial reputation. This is their third visit to Huddersfield. Haydn: Quartet in C op 20 no 2 Britten: Quartet no 2 Mendelssohn: Quartet in A minor op 13 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. 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.

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Subscriber Ticket Single Concert Ticket Student Season Ticket Single Student Ticket Subscriber tickets may be obtained from Mr Michael Lord (Hon. Treasurer) 38, Ingleton Road, Newsome, Huddersfield HD4 6QX or on the door at the first concert. HARY Tickets for individual concerts can be obtained at the door, from Mr Lord as above or online using the link on our website www.huddersfield-music-society.org.uk kyykkäidelis a li " TICKETS bed NORTH TO MANCHESTER AMOR ROAD RAILWAY STATION SUO 1009 00000 007 OOV 500 2000 £93 £16 £15 £3 CAR PARK SHEFFIELD ST. PAUL'S HALL UNIVERSITY OF HUDDERSFIELD The car park is lit and attended. Concerts usually end at about 9.30pm. 201² A Car parking is available across Queensgate from St Paul's for a small fee.

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HUDDERSFIELD MUSIC SOCIETY WT. Ninety Fifth Season 2012 - 2013 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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Hon. Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk OFFICERS ARTS President Stephen Smith COUNCIL - ENGLAND Hon. Treasurer P Michael Lord Tel: 01484 310104 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. 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 OF MUSIC SOCIETIES

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Huddersfield Music Society Monday 8 October 2012 Andrew Brownell - Piano mir Since his 2nd Prize finish at the 2006 Leeds International Piano Competition, Andrew Brownell has played to enthusiastic audi- ences across North America and Europe, and press regularly remark on his musical integri- ty, beauty of tone, and scholarly insight. Musical Opinion wrote recently, "Brownell's technique is fabulous, as is his innate musi- cianship, sensitive and powerful" Following his success in Leeds and his in- creasing recognition in the United Kingdom, Huddersfield Music Society took the oppor- tunity of inviting him to play for us in March 2009. We are very pleased that he has again been able to fit us in to his busy schedule. Recent engagements have included a debut recital at Wigmore Hall in London, ongoing collaborations with the Hummel Ensemble and the Wihan Quartet, and world premieres of works by Pierre Thilloy, Bryan Kelly, and Ying Wang. This season, Andrew plays with the Slovak Philharmonic, a debut recital at the Gimhae Festival in South Korea, and other recitals and concerts throughout Europe and North America. He has played on BBC radio and television, Classic FM (UK), NPR, CBC, Mitteldeutscher Rundfunk, and RBB KulturRadio. He has been soloist with orchestras such as the Hallé, Slovak Philharmonic, the Hermitage State Orches- tra, and with the Royal Liverpool Philharmonic under Owain Arwel Hughes in Huddersfield Town Hall. A native of Portland, Oregon, Andrew Brownell began studying the piano at the age of four. His teachers have included Joan Havill at the Guildhall School of Music in London, where he earned a doctorate. An enthusiastic collaborative artist, Andrew Brownell was a member of a prize-winning trio at the 1996 Fischoff Chamber Music Competition (USA). Also an accomplished organist, Andrew was formerly assistant organist at St. James' Episcopal Church, Los Angeles, and was recently made a fellow of the Royal College of Organists. 1

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English Suite no 3 in G minor Last performed at HMS by Rosalyn Tureck on October 10, 1955 Prélude Allemande Courante Gavotte 1 Gavotte 2 Gigue The keyboard suite was a common instrumental form of the seventeenth and eighteenth centuries in France, Germany and England. It linked together a set of dance movements in a common key and often preceded by a prelude. The intermingling of European styles, including the Italian, is apparent in Bach's six English suites, written for the clavier around 1715 when he was in Weimar. The set bore the title, 'Fait pour les Anglais' and they were probably the combined result of an English commission and Bach's study of the suites of a composer, Charles Dieupart, living in London at the time. The suite opens with a crisply rhythmic Prélude, which is in fact a typical Italian concerto movement, revealing how well Bach transferred the existing instrumental forms to the keyboard. Its equivalent of the solo and returning tutti sections are clearly marked. A flowing and gracious Allemande follows, its simple two-section construction becoming the template for all the subse- quent movements. Two triple-time movements are next; first a faster Cour- ante with quaver movement and then a stately Sarabande providing opportunity for decorative improvisation in its repeated sections. Of two Gavottes, the first is lively, the second, a musette, derived from a small French bagpipe with its characteristic drone. Finally a sparkling Gigue, exhibiting an impressive display of counterpoint, completes the work. Schubert Ensemble JS Bach 1685 - 1750 Halifax Philharmonic Club Piano Quartet in F minor op. 2 Piano Quintet in A minor op. 29 Piano Quintet in E flat major op. 44 Square Chapel, Halifax 2 Friday 19 October, at 7.30 Mendelssohn Enescu Schumann Box Office 01422 349422 J

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Preludes Book 1 Last performed at HMS by Pascal Rogé on March 30, 1987 1 Danseuses de Delphes 2 Voiles 3 Le vent dans la plaine 4 Les sons et les parfums tournent dans l'air du soir 5 Les collines d'Anacapri 6 Des pas sur la neige Claude Debussy 1862-1918 7 Ce qu'a vu le vent d'ouest 8 La fille aux cheveux de lin 9 La sérénade interrompue 10 La cathedrale engloutie 11 La danse de Puck 12 Minstrels Debussy refused to follow academic convention, instead creating his own unique musical language responding directly to the senses. His works are evocative and appeal to the senses rather than the intellect. His own playing style, displaying sensitivity of touch and poetic use of keyboard nuance, con- tributed to this approach. His ability to draw extraordinary and idiosyncratic effects from the piano translated directly into his writing for the instrument. He exploited both the percussive nature of the piano and its increased capacity for sustaining sound using the pedals. He was inspired by impressionist painting, poetry and also primitive and exotic music; for example, that of the Javanese Gamelan which he heard at the Paris Exhibition. All of these things fed his pre-occupation with sound itself. and his infinite capacity for creating colour and capturing sensations in sound. He produced ethereal and imaginative harmonic effects from the keyboard. Since Debussy's philosophy, that, 'Pleasure is the law', set French music free from academic and traditional constraints, his two books of Preludes for the piano, the first of which was composed in 1910, display a heightened perception of the imaginative qualities of their titles, each one short but concentrated. They are often linked with extra musical associations such as nature, place or literary idea. Virtuosity is of secondary importance compared with the inherent expres- sion of the subject, although number 6 demands a technique worthy of Liszt. Bells, banjos and boats all have their musical representation. Perhaps Debussy's most characteristic fingerprint is his piquant and original harmonies, sometimes built from pentatonic or whole-tone scales as in numbers 8 and 10. Or they can be drawn out into the prolonged sensory experiences of number 4 or the vague and transient passage of number 3. The diversity of movement is always skilfully conveyed, such as the in the swirling patterns and violent contrasts of numbers 3 and 7, or the stillness of number 6. Translucent textures and delicate figuration abound and changing moods are in accord with the subtleties of the natural world. 3

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Piano Sonata no 8 in B flat, opus 84 Last performed at HMS by Ilya Itin on September 29, 1997 1 Andante dolce 2 Andante sognando 3 Vivace Sergei Prokofiev 1891-1953 The search for a musical idiom in keeping with the epoch of socialism is a worthy, but difficult task for the composer...' (Prokofiev: article in Pravda 1937) Prokofiev's eighth piano sonata was written during the period after 1941 when the German invasion started the long war, and was finished in 1944. Having been obliged to produce appropriately cheerful and patriotic works for the State, he grasped the opportunity to give a true expression of his feelings in his piano sonatas. This one was dedicated to Mira, his inspiration, and with whom he eventually lived. Compared with his previous sonatas the music of the eighth seems understated. It was acclaimed as a critical success however and won a Stalin prize, as did the first performance of the first part of the Eisenstein film, "Ivan the Terrible" at virtually the same time. Both works are powerful and profound, the music born of a long struggle by artists in reconciling the demands of the State with artistic expression. Prokofiev had also lived in Paris as a Russian exile in the twenties and undoubtedly the absorption of the wit and gaiety of the sophisticated French artistic scene with which he was involved, affected his composing. He had played Debussy's music as a young man and greatly admired his unconventional and adventurous employment of musical resources. He began work on his well known fifth symphony at the same time as this sonata. They share certain common characteristics, both are in B flat major and contain a preponderance of slow meditative lyrical music. The sonata also has a mechanistic aspect, perhaps suggested by the authorities in order to reflect the growing industri- alisation of the Soviet Union. The first movement is profound and weighty, falling into several sections. Its contemplative aspect moves effortlessly into a fluid allegro section. The tension relaxes in the short second movement, its triple time seems to create a gentle rocking motion, most soothing after the desolation of the first movement. An energetic and rhythmic final movement proceeds with determination and con- tains all manner of extrovert flourishes and virtuosic figuration. Its resolute marcato central section features short repeated notes often unexpectedly accented. Towards the end it suddenly relaxes into a passage of beauty, to recall wistfully the opening of the first movement, before a purposeful and authoritative conclusion in bravura style. Programme notes by C. Stanton 4

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Season's Performances 8th October 2012 ANDREW BROWNELL Bach: English Suite no 3 in G minor Debussy: Preludes Book 1 Prokofiev: Sonata no 8 in B flat 29th October 2012 RHODES PIANO TRIO Beethoven: Trio in C minor op 1 no 3 Schumann: Trio in G minor op 110 Beethoven: Trio in B flat op 97 'Archduke' 10th December 2012 BORROMINI STRING QUARTET Haydn: String Quartet in D minor op 9 no 1 Boccherini: Quartet in E flat op 24 no 3 Boccherini: Quartet in G minor op 24 no 6 Mozart: Quartet in A K 464 21rd January 2013 HENSCHEL STRING QUARTET Haydn: Quartet in F op 74 no 2 Beethoven: Quartet in C op 59 no 3 Beethoven: Quartet in F op 135 11th February 2013 BRIDGE QUARTET Haydn: String Quartet in F minor op 20 no 5 Bridge: Three Idylls Bridge: Rhapsody Trio for 2 violins and viola Britten: String Quartet no 1 25th March 2013 LEKKER QUINTET (RNCM) Erkki-Sven Tüür: Architectonics György Ligeti: Sechs Bagatellen (6 Bagatelles) Julio Medaglia: Suite "Belle Epoque in Sud-America" Paul Taffanel: Wind Quintet in G minor Samuel Barber: Summer Music op 31 8th April 2013 SACCONI STRING QUARTET Haydn: Quartet in C op 20 no 2 Britten: Quartet no 2 Mendelssohn: Quartet in A minor op 13 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 11 TIL WT. Ninety Fifth Season 2012-2013 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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Hon. Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk OFFICERS ARTS President Stephen Smith COUNCIL Hon. Treasurer P Michael Lord Tel: 01484 310104 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. 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 OF MUSIC SOCIETIES

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Huddersfield Music Society Monday 29 October 2012 As many of you will know, Paul Michelson died suddenly on August 11th. Paul was an active supporter of classical music in Huddersfield. He was a long-serving committee member of the Huddersfield Music Society, and played in the cello section of the Huddersfield Philhar- monic Orchestra for 56 years. The Archduke Trio was a favourite of his and we dedicate tonight's performance to his memory. Rhodes Piano Trio Michael Gurevich, violin David Edmonds, cello Robert Thompson, piano Formed in 2003 at the Royal Northern College of Music, the Rhodes Piano Trio has performed widely in the UK and won all the RNCM's major chamber music prizes. In July 2011 they were awarded 2nd Prize in the 6th Melbourne Interna- tional Chamber Music Competition. Michael Gurevich was born in the Netherlands. He is also a member of the London Haydn Quartet and has performed at venues such as Carnegie Hall, Wigmore Hall, Purcell Room, and the Royal Concertgebouw. He has appeared as a guest leader, director and soloist with ensembles such as the Manchester Camerata, and has has been broadcast regularly on BBC Radio 3. He is a tutor in violin and chamber music at Chetham's School of Music in Manchester. David Edmonds began studying the cello at the age of nine. Two years later he took a place at Chetham's before entering the RNCM to study with Hannah Roberts. During his college years, he participated in chamber music master- classes with the Florestan Trio, the Gould Trio and the Endellion Quartet. In 2007 David was appointed Cello and Bass Coach of Stockport Youth Orchestra and he is also a teacher in cello and musicianship at Yorkshire Young Musicians. Robert Thompson began piano lessons at the age of 7 before going to Chetham's and then the RNCM, graduating with first class honours. In May 2010 he completed his Master's at Yale University. He performs widely as a concerto soloist in repertoire ranging from Mozart to Shostakovich and gives recitals at venues and festivals across the UK. In addition to his busy performing schedule, Robert is Head of Piano at Bedford School. 1

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Piano Trio in C minor op 1 no 3 Last performed at HMS by the Kungsbacka Piano Trio on February 16, 2004 1 Allegro con brio 2 Andante cantabile con variazioni 3 Menuetto: Quasi Allegro 4 Finale: Prestissimo Beethoven 1770-1827 Beethoven wrote the three piano trios of opus one in Vienna in 1795 under the patronage of Carl von Lichnowsky, at about the same time as his public performing debut in this city and the publication of his three opus two piano sonatas. His own mastery of the fortepiano is evident in this work born out by his expectations from the pianist. The first movement is in triple time and has two contrasting subjects, of which the opening subject is repetitive and extended, the second more lyrical and in the relative major key. Beethoven's second movement is a theme and set of five variations, a form in which composers had all too often used predictable and prosaic configurations. This slow movement shows Beethoven's ability to ex- press himself eloquently, avoiding the usual musical clichés. The uncom- plicated but exquisitely crafted theme is introduced by the piano alone and the instrument retains its dominant role in variations one and three. In variation two the piano has the bass line, allowing the cello and violin brief superiority in an interlacing duet. Variations four and five exploit the cantabile tone of both string instruments, the latter adding decorative and chromatic piano counterpoint to the string melodies. A spirited minuet in the tonic minor key coupled with a simpler major trio follows, and the finale brings a balance to the whole work. It equals the length and intensity of the first movement with additionally complex structure and harmony. The emotional feel of the first subject contrasts with a calmer second subject, both differently voiced and developed in the recapitulation. A dramatic coda wanders briefly into unexpected keys and completes the work with a triumphant and unrestrained ending in C major. 2

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0 0 Piano Trio in G minor, op 110 Schumann 1810-1856 1 Bewegt, doch nicht zu rasch 2 Ziemlich langsam 3 Rasch 4 Kräftig, mit Humor C Schumann wrote almost exclusively for the piano before he married. Clara Wieck in 1840. His abundance of piano works include, of course, many songs as well as solo pieces. By the time this piano trio was composed in 1851, he had already written a piano quintet and quartet and two other piano trios. It is accepted that much of his piano music work, central to his composing, was autobiographical. Clearly, in this work Clara is the inspiration, expressed through the passion and sheer joy of his writing. An exuberant rising flourish opens the trio and is then exchanged tire- lessly between the violin and cello. The figure is central to the move- ment, either as a melodic figure or in the piano accompaniment and pure lyricism dominates the sonata form movement from first to last. The restrained slow movement in a major key begins with a tender duet between the string instruments, accompanied by sensual and chromatic piano harmonies. Contrasting with this is a declamatory central section. The third movement has two contrasting ideas: the first in C minor with sudden end of bar accents and syncopation over the bar line giving the music a flow, the second a beautiful and thoughtful major section. Towards the end, dotted rhythms lighten the textures before a return to the music which opened the movement. There is no doubt about the composer's unbridled good humour in the final movement, often spilling over into unexpected sforzandi. This geniality and its lyrical aspect are rarely absent and characterised by a curious sliding chromatic figure, almost tongue in cheek, confirming his joie de vivre. The introduction of triplets by the violin heralds the approach to a similarly high spirited end. INTERVAL 3

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Piano trio in B flat op 97 'Archduke' Last performed at HMS by the Gould Piano Trio on October 10,1995 Beethoven 1770-1827 1 Allegro moderato 2 Scherzo: allegro 3 Andante cantabile, ma però con moto: poco piu adagio 4 Allegro moderato This glorious work is considered to be the greatest of all Beethoven's piano trios. First performed by himself in 1814, having been completed three years. before, it sadly turned out to be Beethoven's last performance as a pianist. According to Spohr his playing was inconsistent and didn't do justice to the great work: "In forte passages the poor deaf man pounded on the keys until the strings jangled and in piano he played so softly that whole groups of notes were omitted". The 'Archduke' was composed for the Archduke Rudolph of Austria, who was a friend and patron - it is difficult to imagine a greater tribute to friendship. It is a work of huge dimensions and substance with an immensely challenging piano part and similarly demanding string parts. The opening theme for the piano is self-assured and passes to the cello after the exposition. An exciting development is characterised by continual interplay between strings and piano, and unexpected accents. Its high dramatic content, often extreme in its dynamics, is always controlled and coherent. The Scherzo has a light playful aspect, yet is still authoritative and powerful. It has the recurring power to startle and surprise. For instance, a darker middle section opens with a chromatic theme starting in the cello alone and, despite its limited range, is treated contrapuntally and builds to fortissimo. Beethoven's gift for producing arresting slow melody at the start of a slow movement is well known. Here is one of his best, its introduction by the piano exquisitely enriched by the odd harmonic surprise. There are four variations of which the final one has syncopated melodic lines over endless and widely spaced chordal patterns in the piano left hand before a return to the serenity of the opening. In the final movement a stylish but playful rondo theme alternates with passages of contrasting brilliance and panâche. The movement's final presto section begins with a very long trill in the piano heightening the anticipated excitement. Programme notes by C. Stanton 4

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Season's Performances 8th October 2012 ANDREW BROWNELL Bach: English Suite no 3 in G minor Debussy: Preludes Book 1 Prokofiev: Sonata no 8 in B flat 29th October 2012 RHODES PIANO TRIO Beethoven: Trio in C minor op 1 no 3 Schumann: Trio in G minor op 110 Beethoven: Trio in B flat op 97 'Archduke' 10th December 2012 BORROMINI STRING QUARTET Haydn: String Quartet in D minor op 9 no 1 Boccherini: Quartet in E flat op 24 no 3 Boccherini: Quartet in G minor op 24 no 6 Mozart: Quartet in A K 464 21rd January 2013 HENSCHEL STRING QUARTET Haydn: Quartet in F op 74 no 2 Beethoven: Quartet in C op 59 no 3 Beethoven: Quartet in F op 135 11th February 2013 BRIDGE QUARTET Haydn:String Quartet in F minor op 20 no 5 Bridge: Three Idylls Bridge: Rhapsody Trio for 2 violins and viola Britten: String Quartet no 1 25th March 2013 LEKKER QUINTET (RNCM) Erkki-Sven Tüür: Architectonics György Ligeti: Sechs Bagatellen (6 Bagatelles) Julio Medaglia: Suite "Belle Epoque in Sud-America" Paul Taffanel: Wind Quintet in G minor Samuel Barber: Summer Music op 31 8th April 2013 SACCONI STRING QUARTET Haydn: Quartet in C op 20 no 2 Britten: Quartet no 2 Mendelssohn: Quartet in A minor op 13 NB This schedule is published in good faith but we reserve the right to alter the artists or programme for any concert should circumstances beyond our control make this necessary.

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HUDDERSFIELD MUSIC SOCIETY WT. Ninety Fifth Season 2012-2013 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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Hon. Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk OFFICERS ARTS President Stephen Smith COUNCIL Hon. Treasurer P Michael Lord Tel: 01484 310104 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. 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 OF MUSIC SOCIETIES

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Huddersfield Music Society Monday 10 December 2012 Borromini String Quartet James Toll, Naomi Burrell violins Sam Kennedy viola Peggy Nolan cello The Borromini String Quartet was formed in 2008, inspired by a passion for chamber music and the exploration of historical performance. The quartet gave its debut performance at the Haydn Chamber Music Festival at the Royal Northern College of Music in 2009. The wealth and charm of Boccherini's chamber works caught the players' imagination and they have recently made a recording of his string quartets, thanks to the inspirational support of James Boyd of the London Haydn Quartet. Other projects have included a performance of Boccherini quartets and quintets with cellist Yoshika Masuda and, as principal members of The Manchester Consort, Haydn's Seven Last Words at the Royal Exchange Theatre, Manchester. They are extremely grateful for the generous loan of fine instruments from the Becket Collection, all set up in the classical style. String Quartet in D minor op 9 no 4 1 Moderato 2 Menuet Haydn 1732 - 1809 3 Adagio - Cantabile 4 Finale: Presto This quartet comes from an early set of six composed in 1769 after Haydn had worked at Esterházy for several years. It is intriguing that Haydn had already recognised the potential of the string quartet for future development as a genre. Up to this point many trios and quartets, written for his employ- er, Prince Nickolaus to play his baryton, could probably be defined as divertimentos. This early quartet displays an awareness of the individuality of the four instruments, and thus Haydn begins to use a first movement form with the capacity for growth, and therefore dramatic tension. 1

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The elegance of this deceptively simple first movement does not conceal its dramatic context - a principal idea formed from shorter phrases, which easily breaks up for development before its return in embellished form at the end of the movement. The minuet is moved to second place, perhaps to allow a lightening of mood after a fairly restrained first movement. Its slightly rustic trio in a major key leaves out the viola and cello, and allows important contrast with the minuet. Its double stopping can sometimes deceive the ear into believing that there are more than two instruments. A serene and aria-like third movement has a gentle extensive melody in the top part, in the main allowing the other instruments to accompany, but not without some intelligent comment on their part. A departure from the normal procedure allows the second violin to open the lighthearted final movement, a sure indication of its equal standing in Haydn's eyes. There is some engaging interplay of parts again, often in pairs, as well as passages of drama and excitement. String Quartet in E flat major, op 24 no 3 Boccherini 1743-1805 1 Allegro affetuoso 2 Largo ma non tanto 3 Menuetto e trio Boccherini's opus 24 was published in 1774, a set of six quartets from which tonight's two are taken. He was both a popular and proficient composer and hugely prolific writer of string quartets and quintets. His works are beautifully crafted and rivalled those of Haydn in popularity, achieving instant success. A cellist himself, he retained the courtly galante style and was more concerned with beauty of tone and melodic line com- bined with rhythmic invention and harmonic variety. With his first marking, Allegro affetuoso, the composer describes this whole quartet as an intimate, private, inward looking piece of beauty. The second movement has long ornamented phrases with a long descending bass line with beautiful mini cadenzas for the violins. 2

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) J The Menuetto e trio incorporates this affetuoso style and is far removed from the new scherzo style characteristic of Mozart's and Haydn's minuets. In the trio, unusually for the time, the viola is given the melody for the whole trio, leading the piece further into a mood of affecting seriousness. String Quartet in G minor, op 24 no 6 Boccherini 1743 - 1805 1 Allegro vivo assai 2 Adagio 3 Minuetto Boccherini's works did not achieve the lasting recognition as those of his contemporaries, Haydn and Mozart, and his present reputation almost solely rests on a well loved cello concerto and a minuet from a string quintet in E major. This quartet opens with an arresting unison statement, heightened by the use of the minor key. Some of its lines are similar to those of the baroque style in their repetition, sequential movement and contrasting dynamic levels. The first movement is fast in the new style, roughly in two parts, but with capacity for development, as in the contemporary symphonic form which was also evolving. Slowly changing harmonies lend a dramatic quality to its controlled first and second violin melodies, which are often in thirds. True to convention the viola retains a subsidiary role and the cello remains on the bass line. Boccherini's concern for beauty of tone is displayed in the second move- ment with a hint of drama created by slow sliding dissonances within a clinging legato texture. The minuet is placed last, a not uncommon position in works of this time. (Haydn often concluded his piano sonatas and trios with a minuet.) This one is lively with plenty of decoration, all very reminiscent of Vivaldi and the Italian style with its scales, sighing appogiaturas and pauses for dramatic effect. INTERVAL 3

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String Quartet in A major K 464 Last performed at HMS by The Heath Quartet, October 29 2007 1 Allegro 2 Menuetto Mozart 1756-1791 3 Andante 4 Allegro Mozart's admiration for Haydn caused him to compose his famous six quartets, (now known as the 'Haydn' quartets), and to dedicate them to the older composer. The respect was indeed mutual. When they were per- formed before Haydn in 1785, the latter remarked to Mozart's father, "I can tell you before God, as an honest man, that your son is the greatest composer I know, either personally or by name; he has taste and moreover the greatest science in composition. K 464 is the central one of the last three, published in 1785 and sits between the 'Hunt' and 'Dissonance' quartets. The beautiful A major quartet is in keeping with Mozart's customary lyrical response to this key. The opening proceeds with a brisk optimism, offering a hint of drama in its unison passage. Mozart's effortless melodic lines create contrapuntal tex- tures which equal Haydn's in skilfulness, and he also shows a similar ability for development. A unison opening declaration at the start of the second movement is dramatic, and later its idiomatic dotted rhythms contribute to a lightness of texture. The contrasting trio offers a more legato aspect involving triplets, leaving the pizazz and sparkle to the minuet. The Andante seems to be the climax of the work. From a slightly angular theme Mozart creates a set of six uniquely original variations. Each instru- ment receives prominence in its own right in the first three. More dramatic is the fourth, suddenly moving to a minor key and presenting an exchange of triplet utterances. A highly contrapuntal texture begins with individual entries in the fifth variation. The final one is underpinned by an idiomatic skipping pattern in the cello, later passed briefly to other parts. 4 The final movement begins with a descending chromatic figure, with an answering motif, material which he develops with devastating dexterity and style. Indeed, this last movement brought an admiring response from Beethoven. The ending seems almost casual after the intensity of the preceding music. Programme notes by C. Stanton

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1 six he er- an est er en in its X- ar IS of ts, ar U- tic ge mal tic an nd om the on

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Season's Performances 8th October 2012 ANDREW BROWNELL Bach: English Suite no 3 in G minor Debussy: Preludes Book 1 Prokofiev: Sonata no 8 in B flat 29th October 2012 RHODES PIANO TRIO Beethoven: Trio in C minor op 1 no 3 Schumann: Trio in G minor op 110 Beethoven: Trio in B flat op 97 'Archduke' 10th December 2012 BORROMINI STRING QUARTET Haydn: String Quartet in D minor op 9 no 1 Boccherini: Quartet in E flat op 24 no 3 Boccherini: Quartet in G minor op 24 no 6 Mozart: Quartet in A K 464 21rd January 2013 HENSCHEL STRING QUARTET Haydn: Quartet in F op 74 no 2 Beethoven: Quartet in C op 59 no 3 Beethoven: Quartet in F op 135 11th February 2013 BRIDGE QUARTET Haydn:String Quartet in F minor op 20 no 5 Bridge: Three Idylls Bridge: Rhapsody Trio for 2 violins and viola Britten: String Quartet no 1 25th March 2013 LEKKER QUINTET (RNCM) Erkki-Sven Tüür: Architectonics György Ligeti: Sechs Bagatellen (6 Bagatelles) Julio Medaglia: Suite "Belle Epoque in Sud-America" Paul Taffanel: Wind Quintet in G minor Samuel Barber: Summer Music op 31 8th April 2013 SACCONI STRING QUARTET Haydn: Quartet in C op 20 no 2 Britten: Quartet no 2 Mendelssohn: Quartet in A minor op 13 NB This schedule is published in good faith but we reserve the right to alter the artists or programme for any concert should circumstances beyond our control make this necessary.

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HUDDERSFIELD MUSIC SOCIETY |||| WT. Ninety Fifth Season 2012 - 2013 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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Hon. Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk OFFICERS ARTS President Stephen Smith COUNCIL Hon. Treasurer P Michael Lord Tel: 01484 310104 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. 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 OF MUSIC SOCIETIES

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9081 Huddersfield Music Society Monday 21 January 2013 Henschel String Quartet The Henschel Quartet, originally with twin brothers and a sister, grew up together near Stuttgart in Germany playing in amateur quartets. They studied in Tel Aviv, in Germany and at London's Royal College of Music. Finding a cellist to join this close-knit family team was a major problem, and it was not until Mathias Beyer- Karlshøj joined them in 1994, about 30 cellists later, that their music blos- somed. In 2011 one of the brothers, Marcus, left and they were joined by Daniel Bell a long serving member of the Berlin Philharmonic Orchestra and member of the Peterson Quartet. Christoph Henschel - Violin Daniel Bell- Violin Monika Henschel-Schwind - Viola Mathias Beyer-Karlshøj - Cello The Henschel Quartet won prizes at competitions in Evian, Banff and Salzburg, and later the gold medal at the 1996 Osaka International String Competition. Today the Quartet is established as one of today's leading string quartets. Constant critical acclaim has led to an impressive interna- tional career and many recordings. CD Exchange Bring your unwanted CDs! One of the features that was well-received at our fund-raising concert in February 2011 was a bring and buy stall for classical CDs. We intend to have another one at the next concert on 11 February 2013 to raise funds for the Society so please bring duplicates, unwanted gifts, and CDs that you do not want to hear again, as well as your wallet or purse! All contributions, provided they are original, not pirated, will be gratefully received. 1

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String Quartet in F major, op 74 no 2 Last performed at HMS by The Tel Aviv Quartet, March 9, 1970 1 Allegro spiritoso 2 Andante grazioso Haydn 1732 - 1809 3 Menuetto 4 Finale: Presto ... ".....it may well be... that the experience of the powerful and accomplished London orchestras ... drove Haydn to stretch his quartet style beyond the limits of the medium in quest of fuller, almost orchestral sonorities." (Rosemary Hughes, BBC music guide) Upon his temporary release from Esterháza after his employer's death, Haydn accepted the invitation of violinist-impresario Salomon to visit London. Both opus 71 and 74 sets of quartets were written in 1793 after he returned. The exposure to a different culture and the large orchestras of London undoubtedly had an effect upon his composing. In this quartet Haydn frequently restricts his texture to three parts, for example at the beginning of the Trio and the Andante, lending it an attractive transpar- ency and allowing the addition of the fourth part to bring greater warmth and contrast. The first movement is one of good humour and high spirits, introduced by an emphatic unison proclamation. The first them gives rise to much extended and cheerful development. Playful trills feature throughout and add to the general exuberance. The Andante theme for the variations is refreshingly simple. In the first varia- tion the two lower instruments take the initiative, playing a third apart. Unusu- ally the second violin becomes the new soloist in a poignant second variation in the minor key. The final return of a more complex version of the theme introduces triplet scale passages. The Minuet is a strongly rhythmic dance, its second half providing bold harmonic colour. In its contrastingly smooth trio in D flat major, the theme is again established by the second violin. At the end, the first violin uses its lowest voice accompanied by delicate pizzicato chords. A fast and brilliantly scored finale has a rhythmic impetus reminiscent of folk music heard by Haydn during his childhood. Passages of prolonged syncopation. introduce a dramatic intensity as do striking downward chromatic motifs over a cello pedal later. The excitement builds further with the introduction of triplet rhythms towards the end, predicting the finality of the closing bars. 2

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d ts y n h e y e d n d al A- 1. in ne ld is est lk on ra let Quartet in C op 59 no 3 (Rasumovsky) Last performed at HMS by The Vogler Quartet, April 19, 2004 1 Andante con moto-Allegro Vivace 2 Andante con moto quasi Allegretto Beethoven 1770 - 1827 3 Menuetto grazioso 4 Allegro molto The three quartets of opus 59 are dedicated to Count Rasumovsky, himself a viola player. They were written in 1804 when Beethoven had begun to achieve a highly individual voice having completed his third symphony, the Waldstein and Kreutzer sonatas and was writing Fidelio. His experiments with larger scale structures are apparent in his unique use of extended harmonic and tonal range. A slow dramatic opening proceeds without any reference to its home key of C major until the Allegro section which starts with a confident statement from the first violin. Beethoven borrows his transitional theme from Mozart's Disso- nance quartet, a work which he heard and admired. The development section produces the harmonic twists and ambiguities which listeners have come to expect from Beethoven's mature writing but were reviled by his first audiences. A slow movement in A minor follows and its severity is compounded by the insistent pizzicato drum like effect from the cello combined with melodic counterpoint in the three upper parts. Sforzandi chords on weak beats and sudden sideways slips in the harmonic progression maintain the despondency of the movement although a light hearted central section brings some relief from its intensity. Beethoven retains the conventional minuet in a graceful and fluid third move- ment, balanced by a cheerful trio starting with a rising staccato arpeggio. A curious coda after the repeat of the minuet ends on an unresolved chord and leads directly into the final movement. This grows from a furiously fast fugal opening based upon a five note motif which grows from its first statement by the viola. Much use of repetition and discordant diminished sevenths increase the dramatic effect and the final coda is heralded by long trills in the upper parts, themselves a forerunner of Beethoven's late style. Saddleworth Chamber Concerts Society Millgate Arts Centre, Delph Wednesday, 6 February 2013 at 7.30 Mozart Britten Brahms The Badke String Quartet Quartet in G major, K387 Quartet no 3 op 94 Quartet in C minor, op 51 no 1 Tickets £12 at the door or from P Arnatt, 7 Burnedge Fold Rd, Grasscroft, Oldham OL4 4EE 3

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Beethoven 1770-1827 String Quartet in F, op 135 Last performed at HMS by The Chilingirian Quartet, March 10, 2003 1 Allegretto 2 Vivace 3 Lento assai, cantate e tranquillo 4 Der schwer gefasste Entschluss (The hard-won decision): Grave, ma non troppo tratto - Allegro This last of Beethoven's late quartets was written at the end of his life after his ninth symphony. It was first performed at his memorial service in 1828 and it is a work of huge contrasts whose depth of thought seems to sum up his life's work. The fragmentary opening ideas in the first movement achieve importance later in the development. They lead to a lyrical and legato first subject. In his late works it seems that Beethoven has achieved complete unanimity: every phrase, every note used is vital to the whole construction, including accompanying figurations. The brisk second movement plunges forward, continually wrong-footed by the end of bar accents. In the trio, the rhythmic drive is propelled by long repetitive passages, highly characteristic of Beethoven, as are the wide first violin leaps. The hushed opening of the third movement ushers in a concentrated meditation on a simple melody. The central minor section containing short utterances is punctuated by pauses as if searching. The return of the first section is even more sublime with increasingly elaborate and colourful textures. The final movement begins with the familiar three-note rhetorical phrase, said to mean, Muss es sein? Must it be? Certainly the adagio opening seems to pose this question. The Allegro utters the answer, Es muss sein! It must be! Whether or not these words refer to Beethoven's music or some domestic arrangement is a moot point. Whatever the truth, they do give meaning and shape to the music. The dramatic language culminates in savagely repeated dissonant chords towards the end. The end is literally the end of a journey for Beethoven, a journey sometimes uncertain and often painful, but which is finally reached with a sense of pride and humility. Programme notes by C. Stanton Philharmonic Huddersfield Town Hall Saturday 9 February 2013 at 7.30 pm Wagner: Overture, The Flying Dutchman Wagner: Prelude and Liebestod, Tristan and Isolde Bruckner: Symphony No 7 4 Soloist: Cressida Sharp Visit the official Huddersfield Philharmonic Society website at: www.huddersfield-phil.org.uk or obtain tickets at the door.

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1 Season's Performances 8th October 2012 ANDREW BROWNELL Bach: English Suite no 3 in G minor Debussy: Preludes Book 1 Prokofiev: Sonata no 8 in B flat 29th October 2012 RHODES PIANO TRIO Beethoven: Trio in C minor op 1 no 3 Schumann: Trio in G minor op 110 Beethoven: Trio in B flat op 97 'Archduke' 10th December 2012 BORROMINI STRING QUARTET Haydn: String Quartet in D minor op 9 no 1 Boccherini: Quartet in E flat op 24 no 3 Boccherini: Quartet in G minor op 24 no 6 Mozart: Quartet in A K 464 21rd January 2013 HENSCHEL STRING QUARTET Haydn: Quartet in F op 74 no 2 Beethoven: Quartet in C op 59 no 3 Beethoven: Quartet in F op 135 11th February 2013 BRIDGE QUARTET Haydn:String Quartet in F minor op 20 no 5 Bridge: Three Idylls Bridge: Rhapsody Trio for 2 violins and viola Britten: String Quartet no 1 25th March 2013 LEKKER QUINTET (RNCM) Erkki-Sven Tüür: Architectonics György Ligeti: Sechs Bagatellen (6 Bagatelles) Julio Medaglia: Suite "Belle Epoque in Sud-America" Paul Taffanel: Wind Quintet in G minor Samuel Barber: Summer Music op 31 8th April 2013 SACCONI STRING QUARTET Haydn: Quartet in C op 20 no 2 Britten: Quartet no 2 Mendelssohn: Quartet in A minor op 13 NB This schedule is published in good faith but we reserve the right to alter the artists or programme for any concert should circumstances beyond our control make this necessary.

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HUDDERSFIELD MUSIC SOCIETY WT. Ninety Fifth Season 2012 - 2013 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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Hon. Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk OFFICERS ARTS President Stephen Smith COUNCIL Hon. Treasurer P Michael Lord Tel: 01484 310104 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. 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 OF MUSIC SOCIETIES

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milowy Huddersfield Music Society Monday 11 February 2013 The Bridge String Quartet Michael Schofield - viola Lucy Wilding - cello Colin Twigg violin 1 Catherine Schofield - violin 2 Since their formation in 1989, the Bridge String Quartet have enjoyed a reputa- tion as ambassadors for English music with their enterprising programming supported by excellent recordings. They have travelled widely to festivals in USA, France, Spain, Italy, Croatia, Bulgaria and Kenya and have broadcast English music live on continental radio stations. Their CDs of Frank Bridge chamber music all received great critical acclaim, the most recent of these featuring his piano quintet, Rhapsody string trio, Lament for 2 violas and smaller quartet works. They have just recorded a CD of chamber music by Ibert and their "Free Spirits" disc featuring Grieg's Impressive G minor quartet received a Strad magazine Chamber music CD choice of the month. String Quartet in F minor op 20 no 5 Last performed at HMS by The Lindsay Quartet, October 19, 1970 1 Moderato 2 Menuet Haydn 1732 - 1809 3 Adagio 4 Finale: Fuga a due soggetti The opus 20 "Sun" quartets, completed in 1772, marked an important stage in Haydn's proficiency in string quartet writing. With their breadth of expression, harmonic control and accomplished textural intricacies, they compare with the symphonic mastery typified in his Sturm und Drang symphonies. Composed in the minor key, this quartet quickly achieves emotional intensity in the first movement. A simple opening violin melody is accompanied by pulsating chords, material which gives rise to extensive development later, the first violin theme evolving into ornate lyricism. The major second subject is not unlike the first but it becomes quite rhythmically distinctive. Later the second violin duets with the first, exchanging passages of semiquavers. The Minuet continues in F minor key with wonderfully shaped melodic phrases, after which the lightness of a Trio in the major key, continues without a break. Its whimsical nature is heightened by the frequent cheeky chromatic appoggiat- uras at the beginning of phrases. 1

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The almost pastoral simplicity of the third movement opens with a first violin melody accompanied by delicate chords. This melody is taken over by the second violin, allowing the first violin to decorate in exquisite style. Despite the calm however, modest touches of drama are always to be found as in sudden accents or the use of silence. The final movement is a complex fugue with two subjects in Baroque tradition, from which Haydn explores every possible combination of contrapuntal inge- nuity. The drama intensifies and builds to a pause on a dissonant chord. Finally the complexity increases with a canon leading to a stunning conclusion. Three Idylls Frank Bridge 1879 - 1941 1 Adagio molto espressivo - Allegretto moderato e rubato 2 Allegretto poco lento 3 Allegro con moto Frank Bridge, himself a talented viola player, played regularly in several string quartets. It is not surprising therefore, that his compositions for the genre are so expressive and idiosyncratic in his treatment of string textures. This work, written in 1906, reveals his quartet writing to be uniquely English but also modern and contemporary, although perhaps not in the folk style of many of his contemporaries. The short imaginative movements have a strong sense of continuity within the overall structure. The first is dark-hued and melancholic and exploits the particular qualities of the viola, giving it important solos. Thus, unsurprisingly, the movement is started by a viola theme, thereafter woven into glorious counterpoint by all players. A change of key brings a faster but still evocative central section containing many effects. Finally mutes are used for the return of the opening section which reaches greater heights of fervour before it dies away. The wistful and downward drooping theme in triple time, which starts the second piece, was later chosen by Benjamin Britten as a theme on which to compose a set of variations for strings, an acknowledgement of the influence of his mentor. It also has a vivacious but short middle section which builds to an emotional climax. Lastly is a movement which introduces and maintains a level of excitement and energy through use of fast repetitive patterns, often from the cello. Bridge also groups instruments in twos or threes for parallel and often highly gestural melodic effects, bringing added excitement. In this dazzling movement he employs a wide variety of dynamics, key and pitch, in addition to the sudden speed changes. 2

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lin the he en on, e- ly 11 ng 50 k. 50 is of of is all on g to of d 50 al ne en Rhapsody trio for 2 violins and viola Bridge 1879 - 1941 The 1928 Rhapsody Trio, written during Bridge's "modernist" phase, inhabits a surreal world. It is not difficult to see why his pupil, Benjamin Britten highly rated this totally overlooked work, programming its posthumous public première as late as 1965 at the Aldeburgh Festival. In his programme notes Britten wrote; "I can well remember discussions about this work, when as a boy I was working with Bridge and heard a try-through of it....in my opinion the work is decidedly worth reviving...it has a strong fantastic character, very personal themes and wonderfully resourceful writing for instruments. It is essentially an arch-form structure. The piece begins and ends mysteriously with a gossamer of scurrying triplets over shadowy sustained harmonies. Into the thematic tapestry major/minor ambiguity is woven throughout. Through ingenious tempo manipulation triple metre first feels like a gently oscillating lullaby. By introducing wider melodic interval sizes, introducing hemiola and displacing the pulse by heavy syncopation the music feels increasingly chal- lenging and fleeting. There follows a beautiful central "plateau" of pentatonic security, where Bridge enchantingly blends the treble voices of the instruments melismatically over accompanimental trills like exotic birdsong. From this reverie the music is propelled through climactic recapitulation to vanish wraith- like into the ether from which it originally emerged. 99 Texturally this particular trio combination presents challenges, but judicious use of harmonics, pizzicato and tremolando and subtle bowing create a magical world of special effects. Note by Michael Schofield INTERVAL CD Bring and Buy There are some secondhand CDs for sale at the back of the hall to raise funds for the Society. As many members missed the announcement at the last concert because of the weather, we will repeat the sale at the concert on March 25, so please bring more unwanted CDs then. All contributions will be gratefully received. Saddleworth Chamber Concerts Society Millgate Arts Centre, Delph Wednesday, 6 March 2013 at 7.30 Works by Debussy, Ibert, Berlioz, Piazzola and others 3 The Trio Fauve Harp, Flute and Violin A Tickets £12 from Paul Amatt, 7 Burnedge Fold Rd, Grasscroft, Oldham OL4 4EE or at the door.

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String Quartet no 1 in D major op 25 Last performed at HMS by the Griller Quartet, November 4, 1944 1 Andante sostenuto - Allegro vivo 2 Allegretto con slancio 3 Andante calmo 4 Molto vivace Britten 1913 - 1976 Written in 1941 this quartet was commissioned by Elizabeth Sprague Coolidge, a wealthy American lady whose patronage was responsible for many chamber compositions from leading composers of the time. Britten was introduced to her through his teacher, Frank Bridge, when he fled wartime Britain for Amer- ica. Britten's unique imagination is clearly shown by his modern sense of tonality and the innovative sonorities in this work. Wide ranging contrasts of pitch and dynamics are also fundamental to the quartet. In the first movement, the opening texture of dissonant and sustained high lines poised above the cello pizzicato chords is eerie and unique. A change to the brisk Allegro section with pulsing rhythmic chords recalls typical Britten march idioms in earlier works. Competing contrapuntal lines create conflict above a pulsing cello line. The two sections alternate. The second movement, is aptly summed up by tonight's viola player, Michael Schofield: .....a brilliantly balletic pastiche of Neapolitan pierrot-like gesture where the hypnotic rhythm and jostling triplets are reminiscent of another contemporary work written in America, Stravinsky's Pulcinella'. A celestial mix of sonorities and muted sounds opens the most intimate and central movement revealing Britten in introspective mood. His melodies have a highly personal quality containing wide vocal leaps characteristic of his operas. His harmonic questing seems to continually test the tonal boundaries with provocative dissonance. A climax is reached when the harmony arrives at, and luxuriates on, a major chord. The subsequent solos are passionate with soaring improvisatory qualities, in particular for the cello and viola. An energetic and rhythmic finale opens with a downward flourish, taken up by the other parts. Strong melodic and syncopated lines drive forwards over repeated spiky patterns. After a contrasting central section the reinstatement of the compulsive rhythm heralds increasingly extravagant rhetoric leading to a breathtaking conclusion. Other programme notes by C. Stanton 4

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76 ge, er to er- ity nd es he ch ea el re er nd ea as. ith nd ng by ver of o a UC

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Season's Performances 8th October 2012 ANDREW BROWNELL Bach: English Suite no 3 in G minor Debussy: Preludes Book 1 Prokofiev: Sonata no 8 in B flat 29th October 2012 RHODES PIANO TRIO Beethoven: Trio in C minor op 1 no 3 Schumann: Trio in G minor op 110 Beethoven: Trio in B flat op 97 'Archduke' 10th December 2012 BORROMINI STRING QUARTET Haydn: String Quartet in D minor op 9 no 1 Boccherini: Quartet in E flat op 24 no 3 Boccherini: Quartet in G minor op 24 no 6 Mozart: Quartet in A K 464 21rd January 2013 HENSCHEL STRING QUARTET Haydn: Quartet in F op 74 no 2 Beethoven: Quartet in C op 59 no 3 Beethoven: Quartet in F op 135 11th February 2013 BRIDGE QUARTET Haydn: String Quartet in F minor op 20 no 5 Bridge: Three Idylls Bridge: Rhapsody Trio for 2 violins and viola Britten: String Quartet no 1 25th March 2013 LEKKER QUINTET (RNCM) Erkki-Sven Tüür: Architectonics György Ligeti: Sechs Bagatellen (6 Bagatelles) Julio Medaglia: Suite "Belle Epoque in Sud-America" Paul Taffanel: Wind Quintet in G minor Samuel Barber: Summer Music op 31 8th April 2013 SACCONI STRING QUARTET Haydn: Quartet in C op 20 no 2 Britten: Quartet no 2 Mendelssohn: Quartet in A minor op 13 NB This schedule is published in good faith but we reserve the right to alter the artists or programme for any concert should circumstances beyond our control make this necessary.

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HUDDERSFIELD MUSIC SOCIETY WT. Ninety Fifth Season 2012-2013 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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Hon. Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk OFFICERS ARTS President Stephen Smith COUNCIL Hon. Treasurer P Michael Lord Tel: 01484 310104 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. 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 OF MUSIC SOCIETIES

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Huddersfield Music Society Monday 25 March 2013 The Lekker Quintet EE Jenny Dyson Shaun Little Tom Wood Laura Mackenzie Harry Michalas flute oboe French horn bassoon clarinet The Lekker Quintet is an exciting wind ensemble, formed in Manchester in 2011. Formerly studying at the Univer- sity of Manchester, all members are now at the Royal Northern College of Music. In the short time that the quintet has been in existence, it has appeared in the North West New Music Festival, and the RNCM Chamber Music Festival. They were recently finalists in the St. Martins- in-the-Field Chamber Music Competi- tion. The group perform an extensive range of repertoire and are regularly coached by Matthew Hunt, Timothy Reynish, Melinda Maxwell and John Miller. $ Individually the players are beginning to forge careers for themselves in the profession, and have performed with the Hallé, Liverpool Philharmonic, Man- chester Camerata, Northern Chamber Orchestra, Manchester Concert Orches- tra, London Sinfonietta Academy, Young Musicians' Symphony Orchestra and Manchester Consort. Despite being based in the North West, members have travelled all over the world, performing in China, USA, South Africa and across Europe, in addition to some of the UK's top concert venues such as the Royal Festival Hall, Royal Albert Hall and Symphony Hall Birmingham. Recent concerts include playing in the Hans Abrahamsen Festival, the Malcolm Arnold Festival and Manchester Cathedral, as well as at King's Place during their annual festival last September. The Lekker Quintet appear by kind permission of the RNCM

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ERKKI-SVEN TÜÜR Architectonics I Erkki-Sven Tüür (b. 1959) initially rose to fame in his native Estonia as a member of the progressive rock band 'In Spe'. He eventually left the group to concentrate on composition, and his works, aided by the onset of perestroika, began to find popularity across Europe. Architectonics I for Wind Quintet was completed in 1984; the piece is built around several contrasting motivic frag- ments that are designed to represent different architectural blocks. Tüür himself describes his pieces in general as 'abstract dramas in sound... they unfold in a space that is constantly shifting, expanding and contracting, not so much like a mosaic, but rather in the manner of a block of sculpture.' Here, these blocks are arranged with an arch-shape structure in mind - an animated middle passage is bookended by two calmer, more mysterious outer sections. Architectonics I combines influences of minimalism, Gregorian plainchant and elements of Western popular and classical music to form a concise yet extraordinarily atmospheric artistic statement. GYÖRGY LIGETI Sechs Bagatellen (6 Bagatelles) i. Allegro con Spirito ii. Rubato - Lamentoso iii. Allegro Grazioso iv. Presto Ruvido v. Adagio - Mesto (Béla Bartók in Memoriam) vi. Molto vivace - Capriccioso György Ligeti's Sechs Bagatellen (1953) remains one of the most important and well-known pieces written for this particular group of instruments. The work. originated as a set of 11 movements for solo piano entitled 'Musica ricercata', from which Ligeti transcribed six for wind quintet. The Bagatelles vary wildly in style and content, ranging from sarcastic, aggressive and acerbic moods (a section in the sixth movement is marked to be played 'as though insane') to more tranquil, pastoral and lyrical moments. There are also explicit influences from Stravinsky and Bartok, to whom one of the movements is dedicated, as well as strong flavours of Hungarian folk music. As is typical of many of Ligeti's works, he places particular emphasis on volatile shifts in texture and timbre. While the musical content does not seem particularly shocking to twenty-first century ears, the Bagatelles were initially censored and banned by the Hungarian government, who thought them far too provocative and contro- versial at a time of conflict in Ligeti's home country. 2

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a 0 1, S f 3 3 e 6 f ) 0 JULIO MEDAGLIA Suite "Belle Epoque In Sud-America" i. Tango ii. Vals Paulista iii. Chorinho 'Walter's Requinta Maluca' Julio Medaglia was born in São Paolo in 1938, later moving to Germany to study conducting where his tutors included the likes of Pierre Boulez, Karlheinz Stockhausen and Sir John Barbirolli. On returning to his native Brazil, he became a prolific composer for film, television and theatre. Belle-Epoque en Sud-America was written for the Berlin Philharmonic Wind Quintet, who have recorded the piece and still perform it regularly. The first movement is a sultry tango, with a slow build up in texture that is eventually dominated by a nimble flute melody. The second is a playful waltz that constantly fluctuates in tempo and mood, with an improvisatory-like oboe solo at the forefront. The final movement ('Chorinho' translates as 'little lament') features a virtuosic E-flat clarinet solo, characterised by rapid scales and arpeggios. The whole piece is typical of Medaglia's compositional style, filled with rhythmic, melodic and harmonic nuances that epitomise the best of Brazilian music and dance. PAUL TAFFANEL Wind Quintet in G minor i. Allegro con moto ii. Andante iii. Vivace INTERVAL Paul Taffanel (1844-1908) studied flute and composition at Paris Conserva- toire, later becoming a Professor there. He is nowadays viewed as having been an important figure in the development of modern flute playing, through his compositions and method books for the instrument. His Wind Quintet in G Minor, dating from 1876, remains one of his most well-loved compositions. It has come to form part of the staple diet for wind groups, and is challenging for all five players with its fast articulated passages and slow lyrical melodies. The three movements follow a typical classical fast-slow-fast structure; the opening movement is dramatic and brooding before a more relaxed second movement, which features an extended horn solo. The final movement is dance-like and energetic, with fragments of melody being passed around the ensemble. The work is one of the first truly substantial pieces for Wind Quintet, both in terms of its length and its musical and emotional content. 3

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SAMUEL BARBER Summer Music Op 31 Samuel Barber (1910-1981) enjoyed a diverse compositional output which included operas, ballets, piano pieces and works for orchestra. However, these are all overshadowed in popularity by his famous Adagio for Strings. Summer Music is a single-movement, through-composed work that evokes feelings of a lethargic, leisurely and languid summer afternoon in Barber's America. The unique individual characteristics of each of the five instruments are highlighted the piece was written specifically for the principal players in the Detroit Symphony Orchestra. The opening section seems to have its roots in Blues. music, perhaps even a nod to Gershwin's Summertime. A lyrical oboe solo follows, yet the overall 'indolent' atmosphere is punctuated with more frenetic episodes, with all instruments locked in hectic dialogue. Summer Music remains one of the most demanding works for wind quintet, both in terms of its technical obstacles and the difficulty in achieving unity of ensemble. However, it also remains ever-popular with audiences today, and demonstrates Barber's chamber writing at its finest. programme notes by Lekker Quintet - 2013-14 Season We are looking forward to next season with great excitement as we have a delightful selection of music and performers to put before you, including the Rose Consort of Viols partnered by Clare Wilkinson, well known to listeners of Radio 3 as a specialist in Baroque music, and Michael Collins, the world-renowned clarinettist, who won the very first BBC Young Musician, and has proceeded from there to play with many of the world's great orchestras under the best conductors. Another highlight will be the recital by Yevgeny Sudbin ("already hailed as potentially one of the greatest pianists of the 21st century" - The Daily Telegraph.) For details see our hand-out. Don't wait, tickets are available during the interval. 7 October 2013 - Rose Consort of Viols with Clare Wilkinson - mezzo-soprano and Jacob Heringman - lute 4 November 2013 - Gould piano trio 2 December 2013 - Erringden ensemble 13 January 2014 - Michael Collins (clarinet) and Michael McHale (piano) 10 February 2014 - Martyn Jackson (violin) Alison Rhind (piano) 3 March 2014 - Yevgeny Sudbin (piano) 14 April 2014 - Benyounes String Quartet 4

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Season's Performances 8th October 2012 ANDREW BROWNELL Bach: English Suite no 3 in G minor Debussy: Preludes Book 1 Prokofiev: Sonata no 8 in B flat 29th October 2012 RHODES PIANO TRIO Beethoven: Trio in C minor op 1 no 3 Schumann: Trio in G minor op 110 Beethoven: Trio in B flat op 97 'Archduke' 10th December 2012 BORROMINI STRING QUARTET Haydn: String Quartet in D minor op 9 no 1 Boccherini: Quartet in E flat op 24 no 3 Boccherini: Quartet in G minor op 24 no 6 Mozart: Quartet in A K 464 21rd January 2013 HENSCHEL STRING QUARTET Haydn: Quartet in F op 74 no 2 Beethoven: Quartet in C op 59 no 3 Beethoven: Quartet in F op 135 11th February 2013 BRIDGE QUARTET Haydn:String Quartet in F minor op 20 no 5 Bridge: Three Idylls Bridge: Rhapsody Trio for 2 violins and viola Britten: String Quartet no 1 25th March 2013 LEKKER QUINTET (RNCM) Erkki-Sven Tüür: Architectonics György Ligeti: Sechs Bagatellen (6 Bagatelles) Julio Medaglia: Suite "Belle Epoque in Sud-America" Paul Taffanel: Wind Quintet in G minor Samuel Barber: Summer Music op 31 8th April 2013 SACCONI STRING QUARTET Haydn: Quartet in C op 20 no 2 Britten: Quartet no 2 Mendelssohn: Quartet in A minor op 13 NB This schedule is published in good faith but we reserve the right to alter the artists or programme for any concert should circumstances beyond our control make this necessary.

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HUDDERSFIELD MUSIC SOCIETY II WT. Ninety Fifth Season 2012 - 2013 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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Hon. Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk OFFICERS ARTS President Stephen Smith COUNCIL - ENGLAND Hon. Treasurer P Michael Lord Tel: 01484 310104 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. 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 OF MUSIC SOCIETIES

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Huddersfield Music Society Monday 8 April 2013 The Sacconi Quartet Mendelssohn Quartet should be: String Quartet No 2 in A minor, Op 13 Hilary Norcliffe Archivist Ben Hancox, violin Hannah Dawson, violin Robin Ashwell, viola Cara Berridge, cello They played for us in November 2004, and again in January 2007 playing clarinet quintets with David Campbell. Since then they have enjoyed a highly successful international career, performing regularly at London's major ven- ues and the rest of the UK, and travelling extensively throughout Europe. They have also made recordings and radio broadcasts. In 2008, the Quartet held the inaugural Sacconi Chamber Music Festival in Folkestone. Now in its sixth year, the festival is an established event in the cultural calendar and is sunanding vaan on voor with challenging programming and exciting collabo- Correction The Sacconi Quartet was formed in 2001 by students at the Royal Col- lege of Music where they are now Quartet in Association in addition to being Quartet in Residence at the Bristol Old Vic Theatre. 1 energy to education d family concerts as programme and the an educational show p, has gone down a cord label. Its most recent release, a disc of Czech quartets, was received with widespread critical acclaim, broadcast on BBC Radio 3 and tipped as a classical chart 'Hot Shot' by Classic FM. The Quartet's debut recording of Haydn's opus 54 quartets was praised in the press and both their Ravel and Haydn CDs were featured in The Full Works programme on Classic FM.

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Hon. Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk We acknow The University The Societ ARTS and; fi OFFICERS John Bryan, Margaret Collison, Alastair Cridland, Verity Cridland, Helen Howden, John Rawlinson, Christine Stanton COUNCIL President Stephen Smith ENGLAND Hon. Treasurer P Michael Lord Tel: 01484 310104 COMMITTEE Making Music THE NATIONAL FEDERATION OF MUSIC SOCIETIES

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Huddersfield Music Society Monday 8 April 2013 The Sacconi Quartet Ben Hancox, violin Hannah Dawson, violin Robin Ashwell, viola Cara Berridge, cello The Sacconi Quartet was formed in 2001 by students at the Royal Col- lege of Music where they are now Quartet in Association in addition to being Quartet in Residence at the Bristol Old Vic Theatre. They played for us in November 2004, and again in January 2007 playing clarinet quintets with David Campbell. Since then they have enjoyed a highly successful international career, performing regularly at London's major ven- ues and the rest of the UK, and travelling extensively throughout Europe. They have also made recordings and radio broadcasts. In 2008, the Quartet held the inaugural Sacconi Chamber Music Festival in Folkestone. Now in its sixth year, the festival is an established event in the cultural calendar and is expanding year on year with challenging programming and exciting collabo- rations. The Sacconi Quartet dedicates much passion, time and energy to education. work. They regularly lead workshops and give school and family concerts as part of the Sacconi Chamber Music Festival outreach programme and the CAVATINA Chamber Music Trust. Their latest project, an educational show entitled The String Thing, with script by Matthew Sharp, has gone down a storm wherever it is performed. 1 The Sacconi Quartet has its own, highly successful, record label. Its most recent release, a disc of Czech quartets, was received with widespread critical acclaim, broadcast on BBC Radio 3 and tipped as a classical chart 'Hot Shot' by Classic FM. The Quartet's debut recording of Haydn's opus 54 quartets was praised in the press and both their Ravel and Haydn CDs were featured in The Full Works programme on Classic FM.

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String Quartet in C, op 20 no 2 Last performed at HMS by the Lindsay Quartet, March 14, 2005 1 Moderato 3 Minuet: Allegro Joseph Haydn 1732-1809 2 Capriccio: Adagio 4 Fuga a quattro sogetti Written in 1772, the simplicity and charm of the opening statement from cello and viola sum up the the new equal status of instruments within the string quartet and the total emancipation of the cello. This set confirms Haydn's unique but always innovative approach to the dramatic possibilities of the new Classical string quartet form. His simple and expressive melodies contain individual components which are often developed, leading to an original and coherent structure. A spacious cello solo opens the first movement, reminding us of its liberation from the bass line and also of Haydn's remit to write cello solos for his patron, Prince Nikolaus to play. (That he was able to retain a lifetime post at Esterháza cannot be surprising, given that the Prince was regularly gifted with his own 'designer' solos!) The second movement begins with a portentous unison announcement which alternates with quieter episodes until once again the cello leads with an idio- matic line. The central section settles into exquisite and extended violin melody accompanied by broken arperggios. A minuet of smooth charm features an intermittent drone, also bringing rhyth- mic interest with a lean toward the last beat of the bar. The instruments are regularly featured in pairs and the second half intoduces a repetitive chromatic melodic fragment. Engaging and gentle sequences unfold at the start of the trio, led by the cello. 2 This fugal finale is not the only one in the set of six opus 20 quartets - there are two others which conclude with a fugue. The serious and complex nature of the fugue is highlighted by the sotto voce directive which focuses attention on the unfolding of the form. The overall sense of balance and the authority of the final movement is underlined by the complexity of the contrapuntal writing. Towards the end, the increasing dynamics anticipate an impressive conclusion.

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O 3 String Quartet no 2 in C major, opus 36 Last performed at HMS by the Dante Quartet, March 8, 2004 1 Allegro calmo senza rigore 3 Chacony-Sostenuto 2 Vivace Britten 1913 - 1976 Britten's three quartets span his life giving a clear indication of the development and change in his composing style. The first performance of this quartet was given on 21st November 1945, the date marking the 250th anniversary of Purcell's death. Britten honoured his muse by way of a Chacony (ground bass form) as the final movement. The first movement falls into three sections. Its restrained C major opening presents three characterful ideas above and below quiescent drones. This leads to a more lively, rhythmic section venturing into an intriguing variety of textures. The central development section is introduced by jagged quaver figures and there is range of experimental sounding string techniques which combine in different ways. The ambiguous key centre of the middle section makes the return to C major of the recapitulation all the more clearly defined. The movement ends with a gentle unfolding of repeated chords, creating a perfect symmetry with the opening bars. The scherzo is an impetuous and light-textured movement, characterised by reiterating chords and scampering passages, at extreme and quickly changing dynamic levels, followed by repeated arpeggios and scale passages. This intro- duces a change of mood. The trio section can be defined by its repetitive accompanying pattern and short cantabile phrases. Lastly, insistent pizzicato chords herald the return of the scherzo. The lengthy final movement is constructed in the tradition of an early Cha- conne, of which Purcell produced many worthy offerings. This one is intro- duced by a short and gestural measure of bass which will be repeated twenty one times. The form challenges the composer to create fresh ideas, rather like an improvisation against the unchanging nature of the ground. In this movement Britten builds a set of ingenious and masterly variations, including three impres- sive solo cadenzas in the Baroque style from the cello, viola and first violin. The composer uses additional seventeenth century techniques such as dotted rhythms, descending bass lines, triplet rhythms and accomplished counterpoint in his tribute to Purcell. The return to C major is underlined finally by emphatic C major chords, whose strength finally closes the movement. INTERVAL 3

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No 2 in A Minor, op Quartet no 13 in A minor Last performed at HMS by the Stamic Quartet, January 30, 2006 op 13 Mendelssohn 1809-1847 1 Adagio - Allegro Vivace 2 Adagio non lento 3 Intermezzo: Allegretto con moto-Allegro di molto 4 Presto-Adagio non lento Mendelssohn's reputation probably rests on his being defined as a Romantic composer but, as an admirer of both Bach and Beethoven, his roots were set firmly in the Classical tradition. In his second quartet there is plenty of evidence of his trying to emulate Beethoven's accomplishments of the middle and late quartets as well as employing contrapuntal techniques used by Bach. It is a youthful work, completed soon after the Midsummer Night's Dream overture in 1827. The opening phrase of the first movement and a later dotted figure are central to the whole work. These concise musical motifs pervade the whole work in the same way as Beethoven's use of similarly succinct ideas were integral to the construction of his late quartets, and in particular opus 132. The serene F major opening of the second movement leads to a fugato theme, first announced by the viola player soon after the start. It leads to a lively central section before a return to the opening. A delightful but restrained Intermezzo opens, in contrast to the overall serious- ness of the quartet. Its scampering contrasting section is characterised by repeated notes and arpeggios, recalling the familiar style of the composer's shorter pieces and colourful incidental music. The fourth movement returns to the intensity of the first two movements, opening with a dramatic recitative passage. Its dramatic impact is created through a series of compelling and contrasting sections. Mendelssohn, whom we perhaps regard as an essentially lyrical composer, demonstrates his ability to approach the profundity of Beethoven using his own idiom. programme notes by C. Stanton Kapten Trio Friday 7 June, 2013, 8.00pm Three outstanding graduates of the Royal Conservatoire of Scotland: Estonian pianist Kristi Kapten, Scottish cellist Duncan Strachan and Holmfirth-raised violinist Rachel Spencer play music by Arvo Pärt, Rory Boyle, Rachmaninov, Bridge and Shostakovich. Square Chapel, Halifax Box Office 01422 349422 4

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No 2 in A Minor, op 13 Quartet no 13 in A minor Last performed at HMS by the Stamic Quartet, January 30, 2006 Mendelssohn 1809-1847 1 Adagio - Allegro Vivace 2 Adagio non lento 3 Intermezzo: Allegretto con moto-Allegro di molto 4 Presto-Adagio non lento Mendelssohn's reputation probably rests on his being defined as a Romantic composer but, as an admirer of both Bach and Beethoven, his roots were set firmly in the Classical tradition. In his second quartet there is plenty of evidence of his trying to emulate Beethoven's accomplishments of the middle and late quartets as well as employing contrapuntal techniques used by Bach. It is a youthful work, completed soon after the Midsummer Night's Dream overture in 1827. The opening phrase of the first movement and a later dotted figure are central to the whole work. These concise musical motifs pervade the whole work in the same way as Beethoven's use of similarly succinct ideas were integral to the construction of his late quartets, and in particular opus 132. The serene F major opening of the second movement leads to a fugato theme, first announced by the viola player soon after the start. It leads to a lively central section before a return to the opening. The fourth moveme opening with a drar through a series of c we perhaps regard as to approach the profu A delightful but restrained Intermezzo opens, in contrast to the overall serious- ness of the quartet. Its scampering contrasting section is characterised by repeated notes and a shorter pieces and co 4 Kapten Trio be Three outstanding graduates of the Royal Conservatoire of Scotland: Estonian pianist Kristi Kapten, Scottish cellist Duncan Strachan and Holmfirth-raised violinist Rachel Spencer play music by Arvo Pärt, Rory Boyle, Rachmaninov, Bridge and Shostakovich. Square Chapel, Halifax Box Office 01422 349422

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Season's Performances 8th October 2012 ANDREW BROWNELL Bach: English Suite no 3 in G minor Debussy: Preludes Book 1 Prokofiev: Sonata no 8 in B flat 29th October 2012 RHODES PIANO TRIO Beethoven: Trio in C minor op 1 no 3 Schumann: Trio in G minor op 110 Beethoven: Trio in B flat op 97 'Archduke' 10th December 2012 BORROMINI STRING QUARTET Haydn: String Quartet in D minor op 9 no 1 Boccherini: Quartet in E flat op 24 no 3 Boccherini: Quartet in G minor op 24 no 6 Mozart: Quartet in A K 464 21rd January 2013 HENSCHEL STRING QUARTET Haydn: Quartet in F op 74 no 2 Beethoven: Quartet in C op 59 no 3 Beethoven: Quartet in F op 135 11th February 2013 BRIDGE QUARTET Haydn: String Quartet in F minor op 20 no 5 Bridge: Three Idylls Bridge: Rhapsody Trio for 2 violins and viola Britten: String Quartet no 1 25th March 2013 LEKKER QUINTET (RNCM) Erkki-Sven Tüür: Architectonics György Ligeti: Sechs Bagatellen (6 Bagatelles) Julio Medaglia: Suite "Belle Epoque in Sud-America" Paul Taffanel: Wind Quintet in G minor Samuel Barber: Summer Music op 31 8th April 2013 SACCONI STRING QUARTET Haydn: Quartet in C op 20 no 2 Britten: Quartet no 2 Mendelssohn: Quartet in A minor op 13 NB This schedule is published in good faith but we reserve the right to alter the artists or programme for concert should circumstances beyond our control make this necessary. any