HMS 96


HMS 96

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HUDDERSFIELD MUSIC SOCIETY Ninety Sixth Season 2013/14 St Paul's Hall, Huddersfield All concerts start at 7.30 pm 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 7 October 2013 Rose Consort of Viols with Clare Wilkinson - mezzo-soprano and Jacob Heringman - lute A welcome return by the Roses after five years 'Tears of Sorrowe and Gladnesse, celebrating the music of John Dowland, 450 years since his birth. Music from John Dowland's (1563-1626) intense collection of dance music, Lachrimae, or Seaven Teares figured in seaven Passionate Pavans, interspersed with some of his greatest ayres and lute solos, set in the context of instrumental fantasias, consort songs and Latin motets by two of his great English contemporaries: William Byrd (c.1540-1623) and Peter Philips (1561-1628). Monday 4 November 2013 Gould Piano Trio The return of an ensemble with an enviable reputation for musical integrity and imagination Mozart: Trio in E major K 542 Charles Ives: Piano Trio Schubert: Trio no 2 in E flat major op 100

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HUDDERSFIELD MUSIC SOCIETY Ninety Sixth Season 2013/14 Booking form (to be detached) T WI.

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Monday 2 December 2013 Erringden Ensemble A renowned ensemble from around Hebden Bridge will be playing as a string sextet Tchaikovsky: Souvenir de Florence Strauss: Capriccio Brahms: Sextet in B flat major Monday 13 January 2014 Michael Collins (clarinet) and Michael McHale (piano) Michael won the woodwind prize in the first BBC Young Musician of the Year Competition, now acknowledged as one of the world's finest clarinetists, and returns to us after a long gap Brahms: Clarinet Sonata no 1 in F minor op 120 no 1 Weber: Grand Duo Concertante Bernstein: Clarinet Sonata Lutoslawski: Dance Preludes Muczynski: Time Pieces Horovitz: Sonatina Monday 10 February 2014 Martyn Jackson (violin) Alison Rhind (piano) A British violinist, Martyn has performed throughout the UK, Europe and the Middle East and is making his debut for HMS Beethoven: Sonata in A major op 47 "Kreutzer" Elgar: Sonata in E minor op 82 Wieniawski: Faust Fantasy Monday 3 March 2014 Yevgeny Sudbin (piano) Yevgeny Sudbin is already hailed as potentially one of the greatest pianists of the 21st century Scarlatti: 4 Sonatas Shostakovich: 3 Preludes op 34 Rachmaninov: Selection of preludes from op 32 & op 23 Scriabin: Sonata no 5 Chopin: Ballade no 3 in A flat major Mozart/Sudbin: 'Lacrimosa' Sudbin: A la minute (paraphrase on Chopin's Waltz)

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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. for 1 Lingwood Close, New Mill, Holmfirth HD9 7NN. Email: hudds_music_soc@yahoo.co.uk 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 Post this form with cheque payable to Huddersfield Music Society Please send ............ single concert tickets .......................... Address Postcode BOOKING FORM I enclose cheque £98 £18 £15 £3 .......... Telephone Total £ ...... (dates) 1 Lingwood Close, New Mill, Holmfirth HD9 7NN. Monday 14 April 2014 Benyounes String Quartet The Benyounes Quartet is rapidly emerging as one of the most dynamic and engaging young British string quartets Haydn: String Quartet op 76 no 1 in G major Ravel: String Quartet Mendelssohn: String Quartet op 80 in F minor 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. Please check the Society's website www.huddersfield-music-society.org.uk

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Subscriber Ticket Single Concert Ticket Student Season Ticket Single Student Ticket Subscriber tickets may be obtained from 1 Lingwood Close, New Mill, Holmfirth HD9 7NN. Email: hudds_music_soc@yahoo.co.uk vougu or on the door at the first concert. Tickets for individual concerts can be obtained at the door, as above or online using the link on our website TICKETS www.huddersfield-music-society.org.uk NORTH e TRINITY STREET AIR MANCH TO MANCHESTER RAILWAY STATION 1008 00G00 007 BOA OOU 2900 0080 £98 £18 £15 £3 CAR PARK CHICCE Saro TO WAKEFIELD SHEFFIELD Alisatieasies stry ST. PAUL'S HALL The car park is lit and attended. Concerts usually end at about 9.30pm. UNIVERSITY OF HUDDERSFIELD Car parking is available across Queensgate from St Paul's for a small fee.

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HUDDERSFIELD MUSIC SOCIETY WT. Ninety Sixth Season 2013 - 2014 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 We acknowledge with thanks support for our concerts from The University of Huddersfield to which the Society is affiliated. COMMITTEE John Bryan, Margaret Collison, Alastair Cridland, Verity Cridland, Helen Howden,, Christine Stanton 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 7 October 2013 The RSE Consort of Viols Ibi Aziz, John Bryan, Andrew Kerr, Susanna Pell, Peter Wendland with Clare Wilkinson mezzo-soprano and Jacob Heringman lute The Rose Consort of Viols takes its name from the celebrated family of viol makers, whose work spanned the growth and flowering of the English consort repertoire. The Consort performs extensively throughout the UK and Europe, appears regularly on the BBC and in the major London concert halls, and has also featured at festivals in Canada and the USA, and as a guest ensemble at the Pan-Pacific Gamba Gathering in Hawaii. Concerts have included guest soloists such as Emma Kirkby at HMS in October 2008; the vocal groups Red Byrd, Stile Antico and the BBC Singers; and lutenists Jakob Lindberg and Paul O'Dette. The Consort has received awards for its research and performance of newly devised programmes, and has made a number of highly acclaimed recordings, including most recently An Emer- ald in a Work of Gold, featuring music by Byrd and his contemporaries. Recent engagements have included performances at the BBC Proms 2012 with vocal ensemble Tenebrae; at the National Gallery in London; and for Semana de Música Religiosa in Cuenca, Spain. Plans for later in 2013 include concerts at the Tudeley Festival, as well as the issue of a CD with Clare Wilkinson of music by William Byrd and Peter Philips. See also www.roseconsort.co.uk Biographies of Clare Wilkinson and Jacob Heringman are on page 7 1

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'Teares of Sorrowe and Gladnesse': celebrating the music of John Dowland, 450 years since his birth Lachrimae Antiquae All ye whom Love or Fortune Captaine Digorie Piper his Galiard In Nomine No. 5 How vain the toils Browning Christianus the fourth, his Galliard A shepherd in a shade Trio in the first mode Pater noster M. Henry Noell his Galiard Come again Interval M. John Langtons Pavan The Earle of Essex, his Galliard Wretched Albinus Viae Sion lugent Vezzosi augelli Lasso vita mia Susanne un jour M. Bucton his Galiard Susanna Galliard Attollite portas Tarleton's Riserrectione Adoramus te Christe Lachrimae Verae 2 John Dowland Dowland Dowland William Byrd Byrd Byrd Dowland Dowland Peter Philips Philips mental Dowland Dowland Dowland Dowland Byrd Philips Luca Marenzio Dowland Byrd Dowland Byrd 1563-1623 Dowland c.1540-1623 1561-1628 Orlande de Lassus 1530-1594 Dowland Dowland 1533-1599

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Translations Philips: Pater noster Our Father, which art in heaven, hallowed be thy name; thy kingdom come; thy will be done, in earth as it is in heaven. Give us this day our daily bread. And forgive us our trespasses, as we forgive them that trespass against us. And lead us not into temptation; but deliver us from evil. Amen. Philips: Viae Sion lugent The ways of Zion do mourn, because none come to the solemn feasts: all her gates are desolate: her priests sigh: her virgins are afflicted, and she is in bitterness. (Lamentations 1:4) Dowland: Lasso vita mia My unhappy Life, you are making me die. Cruel love consumes my heart, Inflicts a thousand wounds, which kill me. Woe, alas, do not let me die, Cruel Love makes me suffer a thousand martyrdoms. Byrd: Attolite portas Lift up your gates ye princes, and be ye lifted up O eternal gates: and the King of glory shall enter in. Who is this King of glory? The Lord strong and mighty, the Lord mighty in battle, the Lord of powers, he is the King of glory. Glory be to the Father, and to the Son, and to the Holy Spirit: as it was in the beginning, is now and ever shall be, world without end. Amen. (Psalm 23: 7, 8, 10) Byrd: Adoramus te Christe We adore thee, O Christ, and we bless thee: because by thy holy cross thou hast redeemed the world. 3

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Programme note John Dowland, the 450th anniversary of whose birth we celebrate this year, remains a shadowy figure. We learn most about him from the prefaces to his publications, but these carefully produce his own self-fashioned image. His predilection for melancholic poetry, his adoption of the Lachrimae pavan as his personal emblem, and his many references to the slights he felt from his contemporaries, give us a portrait of an unstable and perhaps 'romantic' character. It is true that Dowland's career suggests that he was, unusually for an Elizabethan musician, more attractive to continental employers than at home. He travelled widely abroad and had to wait until 1612 to obtain the post he had long coveted as one of the royal 'lewters'. But before then he had established for himself something of a stellar career, with well-paid appoint- ments at courts in Germany and for the King of Denmark. He clearly had friends in high places: many of his songs set texts by Elizabethan noble courtiers, some of whom acted as Dowland's patrons, and recent research indicates that once he had returned to London around 1606 he was much in demand playing for masques and teaching the lute to members of the elite families. Of his earlier career, we have only tantalising glimpses. There is no documen- tary evidence of Dowland's place or date of birth, though in his 1612 A Pilgrimes Solace he described himself as 'being now entered into the fiftieth yeare of mine age'. We know nothing of his family background, upbringing or musical training. But in 1580 he went as a servant to Sir Henry Cobham, the Ambassador to the French court in Paris. It was almost certainly there that Dowland would have encountered new French humanist poetry set to music in the fashionable style of the air de cour, which prioritised clarity of verbal expression and a directly melodic approach over the more complex polyph- ony of contemporary English song. Was it also in Paris that he came across Lassus's 'Susanne un jour'? First published in 1567 this was a world-wide 'hit' to which Dowland paid tribute in his 1604 dance collection: M. Buctons Galiard begins, like the chanson, one part at a time using Lassus's distinctive two-part counterpoint. We next hear of Dowland in 1588, the year of the Spanish Armada, when he received his Mus. Bac. from Oxford, along with Thomas Morley. In the early 1590s his music was heard at court, but in 1594 he failed to secure the place in the Queen's music left unfilled on the death of John Johnson so he decided to travel to Germany and Italy, seeking employment abroad but also with the aim of learning the latest musical developments from the great madrigalist Luca Marenzio in Rome. He visited Venice and Ferrara, both centres of the 4

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8 J musical avant garde in the 1590s, and performed at the ducal court in Florence. But he never got as far as Rome, since, as we learn from a long and at times rambling letter that he wrote to Sir Robert Cecil in 1595, he found himself in the company of a group of potentially treacherous English Catho- lics and was afraid he would tainted by association. Of all the Italian madri- galists, it was Marenzio whose music was most popular in England. 'Lasso vita mia' from Dowland's 1612 book shows his complete assimilation of the latest Italian styles, incorporating the fashionable elements of chromaticism and recitative, but with a curiously English addition of a descanting treble viol. The next significant stage in Dowland's career took him in 1598 to a well- paid position at the court of King Christian IV of Denmark, as enthusiastic and lavish a patron of music as he was fond of hard drink. In 1603 Queen Elizabeth was succeeded by James I, whose wife Anne was King Christian's sister. Dowland's hopes of a court appointment in London must have been raised by this turn of events, but despite shuttling back and forth from De ark to England, publishing a further songbook and dedicating his revolutionary set of five-part consort dances with lute to Queen Anne (Dowland's preface states that he had accesse to your Highnesse at Winches- ter' before publication), the English court appointment remained elusive and he was passed over for a nonentity when the next vacancy occurred in 1610. The latter part of Dowland's life was spent in performing and teaching, contributing items to anthologies of psalms and devotional partsongs. His last documented appearance was in the Consorte that played at the funeral solem- nities of James I in 1625; his own death followed within the year. Dowland's personification of himself as 'of the tears' was only a partial view. Melancholy was not only fashionable amongst poets and musicians, but was also seen as having a cathartic property. As Robert Burton's Anatomy of Melancholy (Oxford, 1621) tells us, 'many men are melancholy by hearing musicke, but it is a pleasant melancholy that it causeth... it expells cares, alters their grieved mindes, and easeth in an instant.' This chimes with Dowland's own preface to Lachrimae which 'doth promise teares, vnfit guests in these ioyfull times, yet no doubt pleasant are the teares which Musicke weepes, neither are teares shed alwayes in sorrowe, but sometime in ioy and gladnesse." The lives, careers and music of John Dowland, William Byrd and Peter Philips have much in common, but also exhibit some significant differences. While Dowland protested that he had relinquished his earlier Roman Catholic faith, both Byrd and Philips staunchly maintained theirs. Byrd spent his entire life in Protestant England as a recusant, narrowly avoiding persecution 5

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through the influence of highly placed Catholic patrons and his senior posi- tion in court music circles. Philips, on the other hand, left England in his early twenties because of his faith, never to return, and built a significant reputation on the continent. Byrd was Organist and Master of the Choristers at Lincoln Cathedral (1563-72) and rapidly rose in the esteem of musical connoisseurs. once he returned to London following his appointment as a Gentleman of the Chapel Royal in 1573. He was successful in gaining the patronage of many of the nobility, including Thomas, Lord Paget (who also later employed Philips), and the Earls of Worcester and Northumberland. It appears that Philips may also have studied with Byrd around this time. But in 1582 Philips left England 'to live after his conscience and to sie Italie where he had harde that there were excellent men of his facultie', as he later put it. He spent three years in Rome, working as organist of the English College and imbibing the musical influences of Palestrina, Victoria and Marenzio. In 1590 Philips settled in Antwerp, where he married, and secured a living teaching children to play keyboard instruments. In 1597 he moved to Brussels, spending the rest of his career as court organist in the service of the Archdukes Albert and Isabella. Despite his self-imposed exile, Philips always took pains to describe himself on the title-pages of his publications as 'Inglese' or 'Anglo', and as Henry Peacham commented in The Compleat Gentleman of 1622, Philips 'hath sent us over many excellent songs, as well motets as madrigals', so we know that his music was still performed and admired back in England. Byrd developed a particular style of English song that is markedly different from Dowland's lute-based works. In 1588 he explained how these songs were 'originally made for instruments to expresse the harmony, & one voyce to pronounce the dittie', so avoiding the incomprehensibility that can arise when several voices sing different parts of a poem simultaneously. The vocal part, largely syllabic and of narrower range than those for instruments, usually enters last in the imitative texture, so that the instrumental introduc- tion provides an appropriate mood in advance of the words being sung. Like Byrd, Philips published five collections of motets, the first of which was his Cantiones sacrae ... quinis vocibus that appeared in Antwerp in 1612. Many of these motets reflect the musical concerns of the Roman Counter Reformation, with frequent homophonic sections that help with clarity of the declamation of the texts. However, the two motets performed today hark back to a more consistently imitative style, more readily susceptible to performance by a solo voice above a woven tapestry of instrumental texture. 6

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We precede Philip's setting of the Lord's Prayer with an instrumental trio taken Institution Harmonique, a treatise by Salomon de Caus published in Frankfurt in 1615. © John Bryan Clare Wilkinson enjoys a busy and varied international career. Noted partic- ularly for her interpretations of Bach, highlights have been performances of Cantata 170 and St Matthew Passion, both with Sir John Eliot Gardiner. She has also sung for many other leading directors, including Andrew Parrott, John Butt, Richard Egarr, Christophe Rousset, Nicholas Kraemer, Roy Good- man, Jos van Veldhoven and Bart Van Reyn. This season she makes her debuts with the Concertgebouw Chamber Orchestra, the Drottningholm Ba- roque Ensemble, and the Odense Symphony Orchestra. Equally passionate about consort music, she works regularly with viols, in repertoire ranging from the Renaissance to the modern day. Several new works have been written for her: songs by John Joubert, Duncan Druce and Stephen Wilkinson all received premieres at the Wigmore Hall with Fretwork. Having been named in Opera Now magazine's 'Who's Hot' listing, she also enjoys stage work: Venere in Monteverdi's Ballo delle ingrate at the Proms, David Lang's Little Match Girl Passion with Cryptic Theatre Company, and I Fagiolini's 'secret theatre' project The Full Monteverdi. See also www.clare-wilkinson.com Jacob Heringman studied with Jakob Lindberg at the Royal College of Music in London, and later with Pat O'Brien in New York. Born in America and based in England since 1987, he is in great demand as a soloist and ensemble player, performing regularly throughout Europe, the Americas and the Far East. He has made many recordings of medieval and Renaissance music with leading ensembles and singers, including Emma Kirkby, Michael Chance, Barbara Bonney, Charles Daniels, The King's Singers and the Dufay Collective. Respected for recitals and recordings of deserving but neglected Renaissance repertoire, his solo recordings of Holborne, Bakfark, Josquin, Jane Pickeringe's Lute Book and The Siena Lute Book have all been widely praised by critics. His lute playing can also be heard on the soundtracks of many films, including Harry Potter and the Prisoner of Azkaban, Kingdom of Heaven, Elizabeth: The Golden Age, Ridley Scott's Robin Hood and The Hobbit: An Unexpected Journey. He teaches the lute at the University of York, and at many international summer schools. See also www.heringman.com 7

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HUDDERSFIELD MUSIC SOCIETY ANNUAL GENERAL MEETING As previously notified, the Annual General Meeting of the Society is being held next Monday, October 14 at 7.00pm in Room CAMG/01 of the Creative Arts Building of the University of Huddersfield. This is the curved building alongside the ring road next to the university entrance. All holders of season tickets are members of the Society and eligible to attend and vote at the meeting. Do, please, come along not just to vote but to enter into the discussion on future programmes and other matters that might be raised. The present committee is keen to have your views on the type of music we present, both the instruments and the periods, before we finalise the 2014-15 season Halifax Philharmonic Club Doric String Quartet Haydn Quartet in A major op.20 no.6 Verdi String Quartet Wolf Italian Serenade Haydn Quartet in C major op.20 no.2 Square Chapel, Halifax Box Office 01422 349422, or book through http://www.squarechapel.co.uk 8 Friday 18 October, at 7.30

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Season's Performances 7th October 2013 ROSE CONSORT OF VIOLS with Clare Wilkinson - mezzo-soprano and Jacob Heringman – lute 'Tears of Sorrowe and Gladnesse', celebrating the music of John Dowland, 450 years since his birth. 4th November 2013 GOULD PIANO TRIO Mozart: Trio in E major K 542 Charles Ives: Piano Trio Schubert: Trio no 2 in E flat major op 100 2nd December 2013 ERRINGDEN ENSEMBLE Tchaikovsky: Souvenir de Florence Strauss: Capriccio Brahms: Sextet in B flat major 13th January 2014 MICHAEL COLLINS (clarinet) and MICHAEL MCHALE (piano) Brahms: Clarinet Sonata no 1 in F minor Weber: Grand Duo Concertante Bernstein: Clarinet Sonata Lutoslawski: Dance Preludes Muczynski: Time Pieces Horovitz: Sonatina 10th February 2014 MARTYN JACKSON (violin) ALISON RHIND (piano) Beethoven: Sonata no. 9 "Kreutzer" Elgar: Sonata Wieniawski: Faust Fantasy 3rd March 2014 YEVGENY SUDBIN (piano) Scarlatti: 4 Sonatas Shostakovich: 3 Preludes op 34 Rachmaninov: Preludes op 32 & 23 Scriabin: Sonata no 5 Chopin: Ballade no 3 in A flat major Mozart/Sudbin: 'Lacrimosa' Sudbin: A la minute (paraphrase on Chopin's Waltz) 14th April 2014 BENYOUNES STRING QUARTET Haydn: String Quartet op 76 no 1 in G major Ravel: String Quartet Mendelssohn: String Quartet op 80 in F major 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 Sixth Season 2013-2014 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 Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk TS President Stephen Smith Honorary Vice President P Michael Lord Alastair Cridland 34, Hoyle Ing, Linthwaite Huddersfield. HD7 5RX Tel: 01484 845407 Email: alastair@cridland.net Treasurer Membership Secretary Verity Cridland (Acting) Tel: 01484 845407 Email: verity@cridland.net ENGLAND COUNCIL COMMITTEE 2013 - 2014 We acknowledge with thanks support for our concerts from The University of Huddersfield to which the Society is affiliated. John Bryan, Verity Cridland, Helen Howden, Christine Stanton John Rawlinson 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 4 November 2013 Gould Piano Trio Lucy Gould - violin Alice Neary-cello Benjamin Frith - piano The Gould Trio last visited HMS in Jan- uary 2008, playing quartets and other music with Robert Plane, clarinet. They are old friends of the Society which brought them to Huddersfield soon after they were formed in 1993, in 1995, and again in 1998, after they were chosen as British Rising Stars for the 1998-9 sea- son, and also in 2001 and 2005. Now, having celebrated the 20th anniversary of their founding in the 2011-12 season, they are known and welcomed throughout the musical world. Lucy Gould has commented; 'Playing Piano Trios has been a never ending source of discovery and fascination. We have covered most of the standard repertoire and many lesser known works including pieces we have commis- sioned. I hope we have achieved a good balance between the two, keeping our performances always alive and invigorating!' The trio were the first ensemble to record the complete cycle of Brahms' piano trios, including his two surviving early essays in the genre and the famous clarinet and horn trios (Robert Plane and David Pyatt respectively). An endeavour close to their hearts in recent years has been to reinstate the late British Romantics in the catalogue with Stanford, Bax, and Ireland appearing on Naxos and Cyril Scott on Chandos. Their homage to Messiaen - 'Quatour pour la fin du temps' (Chandos) - in his centenary year was described by BBC Music Magazine as ...the best modern account...' of the work. Reminder to Subscribers: Your season ticket entitles you to bring a guest free of charge to the next concert, the Erringden Ensemble, on December 2. Collect a form at the ticket counter now or at the time. 1

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Piano Trio in E major, K 542 Last performed at HMS by the Gould Trio, October 2, 1995 1 Allegro 2 Andante grazioso 3 Allegro Completed in 1788 with two others, this is one of Mozart's greatest piano trios. All six were written during a period between 1784 and 1788, when he had achieved success as a performer and composer of thirteen piano concertos. Their elegant Classical style is mirrored in the piano trios and they were written originally for the silvery toned fortepiano which was an ideal partner for the two stringed instruments. E major is a rare choice of key for Mozart and seems tinged with a wistfulness. The modulation into remote keys is a device more commonly associated with Schubert, especially in the final movement. The artless simplicity of the downward chromatic phrase introduced by the piano becomes the subject of much skillful development. The more lyrical second subject is led by the violin and the composer achieves characteristic balance between the instruments within contrapuntal and harmonic framework. Fine passage work is recollective of the composer's piano concertos. Mozart 1756-1791 A second movement marked andante grazioso begins with a reflective two-part A major theme from the piano, presented first alone, then enriched by alluring counterpoint from the violin and cello. The minor middle section where the piano assumes an accompanying role to the extensive violin melody is based upon the initial theme. The inspired and brilliant finale has a recurring rondo theme, suddenly intro- ducing brilliant triplet passages for the violin, with which the piano appears to compete by answering with even faster semiquaver passages. The movement is enhanced by the adeptness of its sudden key shifts which are balanced and matched by the perfect transparency of its textures. Philharmonic Rossini Elgar Tchaikovsky ORCHEST Saturday 9 November 2013 Huddersfield Town Hall - 7.30 Overture to "The Barber of Seville" Cello concerto in E minor Symphony No 6 in E minor, "Pathétique" A concert of favourite works to open the season including one of Elgar's last and most famous works played by the BBC's 2012 Young Musician of the Year, Laura van der Heijden. Tickets available from: Huddersfield Library, Wakefield Town Hall, or at the door. 2

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Ĵ J Piano Trio Last performed at HMS by the Gould Trio, February 2, 2001 1 Moderato 2 TSIAJ This scherzo is a joke 3 Moderato con moto Ives's music, for all its daring experiments in rhythm and polyphony, always mixed the sublime with the vulgar and sentimental, and he did so with a freedom and insouciance that could only be done by an American - John Adams 2003 Charles Ives 1874-1954 If it were possible to sum up the composer in one sentence, the above goes some way to explaining his style as well as acknowledging the multifarious influ- ences to which Ives owed his stylistic development. He was a prolific composer who also managed to run a successful business. His musical precociousness as a child, brought up in an American musical town where his father led military bands, meant that participation in small town activities and associated music making were central to his life. This in turn led to his lifelong support of amateur music making. The consequence for his highly individual style was a gift for rhythmic perspicacity, combined with the ability to listen and write in more than one key at a time (polytonality). The public at first found such individuality difficult to accept. More palatable, however, was his propensity to weave popular American melodies into his works. This work was completed in 1911 but not publicly performed until 1948. The textures of the first movement explore the piano as a percussive and melodic instrument against the strong and sensuous lines of the violin and cello. Dissonance abounds and although harmonically unconventional, its contrapun- tal lines and rhythmic anomalies are compelling. A waggish title gives a clue to the extrovert and busy second movement which combines the somewhat banal and familiar nature of slightly altered folk tunes with extrovert spiky rhythms. There are two brief contrasting sections which are strangely suggestive of Debussy's textures and provide relief from the unceas- ing energy of the piece. The epic third movement is a rich tapestry of diverse styles from syncopated ragtime rhythms to richly Romantic, almost Wagnerian passages, and from the well known hymn, Rock of Ages, to introspective and magical tracts. It is a passionate work, equally demanding of its players, yet maintaining a clear textural balance within the bravura writing. INTERVAL 3

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Piano Trio no 2 in E flat major, op 100 Last performed at HMS by the Gould Trio, February 2, 2001 1 Allegro 3 Scherzando. Allegro moderato Schubert 1797 - 1828 2 Andante con moto 4 Allegro moderato This work has many similarities with Mozart's E major piano trio, each in its own way an intimate portrait of the composer. It exploits, for example, the use of poignant and unexpected modulations to distant keys. It was composed in 1827 and written, like many of Schubert's chamber works, to be played pri- vately with his friends. The melodies are engaging and typically expansive - an expression of Schubert's own sunny outlook in the company of good friends in the countryside, although not without occasional visits to a melancholy side. The development of themes within this lengthy movement is continuous, drawn both from the dramatic unison opening and an understated but lyrical second subject played first by the piano in B minor (some distance from E flat major) in characteristic octaves. The two stringed instruments often work collabora- tively, sometimes accompanying the piano or combining the solo role. The solemn opening melody in C minor, played first by the cello accompanied with simple piano chords, is central to the second movement. The importance of the leaping downward octave heard between the third and fourth phrases is curious, almost question-like, and achieves its own validity later, also as a final utterance. In the E flat scherzo Schubert uses the simple device of canon, but an extended third section in E major has a folk dance feel, both ideas having precedents in Haydn's music. The trio is energetic but uneasy in character. Finally, the high-spirited fourth movement moves effortlessly between sections and keys with engaging ease, the instruments exchanging roles frequently. The idiomatic key scheme is highlighted by the alternation of compound time signature with a simple two-beat pulse and there is a return of the second movement theme, on this occasion treated to an innocently effective piano arpeggio accompaniment. The work is an endless kaleidoscope of melodic delights and harmonic subtle- ties to captivate the listener. Programme notes by C. Stanton Saddleworth Chamber Concerts Society 4 The Zelkova String Quartet Wednesday, 27 November 2013 at 7.30 Millgate Arts Centre, Delph Frank Bridge Three idylls for String Quartet Benjamin Britten String Quartet No 2 Felix Mendelssohn String Quartet No 3 Tickets £13 from Paul Amatt, 7 Burnedge Fold Rd, Grasscroft, Oldham OL4 4EE

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Season's Performances 7th October 2013 ROSE CONSORT OF VIOLS with Clare Wilkinson - mezzo-soprano and Jacob Heringman – lute 'Tears of Sorrowe and Gladnesse', celebrating the music of John Dowland, 450 years since his birth. 4th November 2013 GOULD PIANO TRIO Mozart: Trio in E major K 542 Charles Ives: Piano Trio Schubert: Trio no 2 in E flat major op 100 2nd December 2013 ERRINGDEN ENSEMBLE Tchaikovsky: Souvenir de Florence Strauss: Capriccio Brahms: Sextet in B flat major 13th January 2014 MICHAEL COLLINS (clarinet) and MICHAEL MCHALE (piano) Brahms: Clarinet Sonata no 1 in F minor Weber: Grand Duo Concertante Bernstein: Clarinet Sonata Lutoslawski: Dance Preludes Muczynski: Time Pieces Horovitz: Sonatina 10th February 2014 MARTYN JACKSON (violin) ALISON RHIND (piano) Beethoven: Sonata no. 9 "Kreutzer" Elgar: Sonata Wieniawski: Faust Fantasy 3rd March 2014 YEVGENY SUDBIN (piano) Scarlatti: 4 Sonatas Shostakovich: 3 Preludes op 34 Rachmaninov: Preludes op 32 & 23 Scriabin: Sonata no 5 Chopin: Ballade no 3 in A flat major Mozart/Sudbin: 'Lacrimosa' Sudbin: A la minute (paraphrase on Chopin's Waltz) 14th April 2014 BENYOUNES STRING QUARTET Haydn: String Quartet op 76 no 1 in G major Ravel: String Quartet Mendelssohn: String Quartet op 80 in F major 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 UL. WT. Ninety Sixth Season 2013-2014 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 Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk TS President Stephen Smith Honorary Vice President P Michael Lord Treasurer Alastair Cridland 34, Hoyle Ing, Linthwaite Huddersfield. HD7 5RX Tel: 01484 845407 Email: alastair@cridland.net Membership Secretary Verity Cridland (Acting) Tel: 01484 845407 Email: verity@cridland.net ENGLAND COMMITTEE 2013 - 2014 We acknowledge with thanks support for our concerts from The University of Huddersfield to which the Society is affiliated. COUNCIL John Bryan, Verity Cridland, Helen Howden, Christine Stanton John Rawlinson 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 2 December 2013 Erringden Ensemble The Erringden Ensemble was formed in 2009 by cellist Helen Thatcher and violist David Aspin and named after the beautiful area near Hebden Bridge where they lived. It is an flexible group of musicians with a wealth of experi- ence and a passion for chamber music who can be brought together to play any music from string trio to octet. Paul Barritt, violin, is Permanent Guest Leader of the Halle Orchestra, having previously held the posts of leader of the English Chamber Orchestra and the Northern Sinfonia. He runs a chamber music series in Tring in Hertfordshire. Susan Voss, violin, studied at the Guildhall School of Music and Drama. After graduating, she held first violin posts with the Sadlers' Wells Royal Ballet Orchestra and other orchestras. Since moving north Susan has pursued a free- lance career playing with, among others, the Halle and Opera North. David Aspin, viola, is principal violist of the Orchestra of Opera North and the Lancashire Sinfonietta. He is a member of Psappha; the North-West's leading contemporary group which is resident at the University of Manchester. Louise Williams, viola, studied violin in London and New York. After joining the Endellion quartet as a founding member, she had a long relationship with the Lindsays and is currently a member of the Frith piano quartet and the group Arpège, (flute viola harp and horn). Christopher Hoyle, cello, has worked with many of the UK's finest orchestras, including the BBC Philharmonic. He has given solo recitals nationwide includ- ing a performance of Schnittke's Cello Sonata to the composer as part of the Huddersfield Contemporary Music Festival. He currently teaches at the Royal Northern College of Music. Helen Thatcher, cello, formed the Sorrel Quartet in 1987 with whom she has made many recordings including the complete quartets of Shostakovich and Britten, and played in concerts all over the world. You may remember them playing Shostakovich for us in 2003. Helen teaches at the University of Hud- dersfield and gives regular masterclasses at the Royal Academy of Music. Square Chapel, Halifax Friday 6 December 2013, 7.30pm Mahan Esfahani, harpsichord, plays works by Frescobaldi, Bach, Louis Couperin and Domenico Scarlatti. Box Office 01422 349422 Tickets £16 1

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Souvenirs de Florence 1 Allegro con spirito 2 Adagio cantabile Tchaikovsky 1840-1893 3 Allegretto moderato 4 Allegro vivace This work was dedicated to the Chamber Music Society of St Petersburg, receiving its first performance in 1892. Tchaikovsky's aim to compose a real sextet with six independent lines was the result of a stay in Florence, which he declared to be the happiest time of his life. The sextet is full of high spirits and hope. Its four movements are in the Classical style and it was one of Tchaikovsky's final large instrumental pieces, with only the Sixth Symphony to follow. This work is challenging for players, requiring stamina as well as virtuosi- ty. Its first movement in sonata form opens with a compelling and extrovert announcement. The three-note arpeggio figure which emerges from this first subject melody later becomes an accompaniment introducing the sustained second subject and provides later ideal developmental material. Tchaikovsky sometimes struggled with symphonic development, which does not support longer themes easily; but here he demonstrates a hard- won mastery of the form. The second movement follows with the unfolding of lavish and abundant melodies, sometimes as duets. The accompaniments are simple and this movement seems to be a very personal expression for the composer. A bustling middle section is punctuated by dramatic silences, broken by the cello's return to the opening melody and leading to a romantic conclusion. The third movement is characterised by the simpler character of a Slavonic folk song, with straightforward harmonies and an innocent repetitive quality - Tchaikovsky is unable to resist the lure of longer melody! Its rhythmic accentuation is increased by the addition of difficult ricochet bowing in the second section. Lastly comes another sonata form movement evocative of gypsy music with its introductory drone pattern. Half way through, Tchaikovsky intro- duces the first of two contrapuntal passages which display his skills in fugal writing. Since he was writing for the mostly German membership of the St. Petersburg Chamber Music Society, it is likely that he did this to impress with his ability to compose in the Bach tradition. 2

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Capriccio - op 85 for string sextet Richard Strauss 1864-1949 This relatively short piece offers an intense but intimate musical experi- ence and was played as a piece of chamber music at the start of Strauss's last and exquisite opera of the same name. Its unusual subject, apart from the not unexpected eighteen century dalliance (set around 1755), is con- cerned with the dichotomy of whether the music or the words reign supreme in an opera. The librettist and composer, both romantically in- volved with the Countess Madeleine, finally agree to accept that both are of equal importance. The chamber piece has also become a separate concert work standing on its own merit. Its first private performance was in 1942 at the house of the Gauleiter, Baldur von Schirach, a Nazi nobleman in Munich, who had provided Strauss with financial assistance in retaining possession of his house in Vienna. It has an intense and opulent score, written in sonata form. The short falling phrase at the beginning, introduced by the first violin, gives rise to much repetition and development. At the end of the first section a pause on a tremolo chord at the cadence point leads to many declamatory passages and solo virtuosity. It is a dramatic section, possibly hinting at the nature of the plot of the opera to follow. The sensuous nature of the music grows in volume, visiting unre- lated keys and creating dissonance within the textures. (There are hints of the harmonic ambiguity and eventual breakdown of tonality begun by Liszt and Wagner.) Despite the richness of his harmonies, and the Italianate vocal style of his melodies, Strauss retains the intimacy of a chamber work. Philharmonic RCHESTR Hamish MacCunn Howard Blake Leroy Anderson Weber Dvorak Saturday 7 December 2013 me Huddersfield Parish Church - 7.30 with Kenneth Heeks, conductor and David Robinson, bassoon Land of the Mountain and the Flood The Snowman Sleigh Ride Bassoon Concerto in F major Symphony No 8 in G major Tickets at the door of St Peter's Parish Church on the night. non Adults £10 (Concessions £7.50) - Accompanied children FREE! bodo pitadame 3

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String sextet in B flat major, opus 18 Last performed at HMS by the Northern Sinfonia Ensemble March 15, 1976 1 Allegro ma non troppo 2 Andante ma moderato Brahms 1833-1897 3 Scherzo: Allegro molto 4 Rondo: Poco allegretto e grazioso Brahms wrote this sextet in 1859 and it was premiered with the composer's friend and violinist, Joachim playing. Having accepted a position at the Court of Detmold in 1857 for only a few months, Brahms was rewarded with a highly productive period, composing two each of his Serenades and string sextets during this period. The idea of writing for six string instruments was unusual, its only prece- dents being Spohr and Boccherini. The distinctive sonorities of this particu- lar blend of instruments offers great opportunities for textural variety. Brahms treats his first cello as another singing instrument rather as Schubert did in his String Quintet, allowing the other cello to anchor the bass line. Singularly, the second cello is often supported on the bass line by the second viola. The music has Classical proportions with a classic four-movement presentation and sonata structure in the first and last movements. The writing is clear and vivid, contrasting richness with delicacy of texture. The relaxed first movement, in triple time and opened by the cello (reputed to be Joachim's idea), is endlessly lyrical. It has two subjects, the second one being a group of tunes. The serenity and breadth of its melodies are end- lessly captivating. A passionately intense cello theme in D minor begins the second movement. The movement's variation form has been compared with a simple Bach Chaconne, which also had a set of 'divisions' or in this case, six variations. The simple structure also resembles Bach's form in the ingenuity of its textural writing. Brahms' variations become ever more richly scored, a remarkable achievement within such a limited harmonic framework. The dancelike Scherzo with its rhythmic disparities suggests a feeling of recklessness and leads to an equally busy trio, rising in pitch and excitement. There is a comparatively brief reference to the first section and a Beethoven- like recall of the trio just before the end. A final Rondo movement is more ambitious harmonically, with surprising visits to remote keys. Its breathless ending is heralded by an impatient (and difficult) viola solo playing ever faster semiquavers and leading to the final emphatic chords. Programme notes by C. Stanton 4

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Season's Performances 7th October 2013 ROSE CONSORT OF VIOLS with Clare Wilkinson - mezzo-soprano and Jacob Heringman - lute 'Tears of Sorrowe and Gladnesse', celebrating the music of John Dowland, 450 years since his birth. 4th November 2013 GOULD PIANO TRIO Mozart: Trio in E major K 542 Charles Ives: Piano Trio Schubert: Trio no 2 in E flat major op 100 2nd December 2013 ERRINGDEN ENSEMBLE Tchaikovsky: Souvenir de Florence Strauss: Capriccio Brahms: Sextet in B flat major 13th January 2014 MICHAEL COLLINS (clarinet) and MICHAEL MCHALE (piano) Brahms: Clarinet Sonata no 1 in F minor Weber: Grand Duo Concertante Bernstein: Clarinet Sonata Lutoslawski: Dance Preludes Muczynski: Time Pieces Horovitz: Sonatina 10th February 2014 MARTYN JACKSON (violin) ALISON RHIND (piano) Beethoven: Sonata no. 9 "Kreutzer" Elgar: Sonata Wieniawski: Faust Fantasy 3rd March 2014 YEVGENY SUDBIN (piano) Scarlatti: 4 Sonatas Shostakovich: 3 Preludes op 34 Rachmaninov: Preludes op 32 & 23 Scriabin: Sonata no 5 Chopin: Ballade no 3 in A flat major Mozart/Sudbin: 'Lacrimosa' Sudbin: A la minute (paraphrase on Chopin's Waltz) 14th April 2014 BENYOUNES STRING QUARTET Haydn: String Quartet op 76 no 1 in G major Ravel: String Quartet Mendelssohn: String Quartet op 80 in F major 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 Best with Michel Coll LL WT. Ninety Sixth Season 2013 - 2014 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 Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk ARTS President Stephen Smith Honorary Vice President P Michael Lord Treasurer Alastair Cridland 34, Hoyle Ing, Linthwaite Huddersfield. HD7 5RX Tel: 01484 845407 Email: alastair@cridland.net Membership Secretary Verity Cridland (Acting) Tel: 01484 845407 Email: verity@cridland.net COUNCIL ENGLAND We acknowledge with thanks support for our concerts from The University of Huddersfield to which the Society is affiliated. COMMITTEE 2013-2014 John Bryan, Verity Cridland, Helen Howden, Christine Stanton John Rawlinson 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 13 January 2014 Michael Collins, clarinet Michael McHale, piano Michael Collins is among the most prominent British clarinettists of his genera- tion. He has appeared in concert as principal clarinettist with the Philharmonia Orchestra and London Sinfonietta, as a member of the Nash Ensemble, and as a freelance soloist and chamber player. He has made more than 30 recordings for the Hyperion label since 1984, mostly of chamber music, and has also recorded for DG, Chandos, and EMI. His repertoire is broad, taking in much British music, including works by Elgar, Vaughan Williams, Britten, Walton, Arnold, Bax, and Bliss and European composers like Mozart, Brahms, Spohr, Poulenc, Bartók, Richard Strauss and Suk. Michael was born in Isleworth. He enrolled at the Royal College of Music in London in his early teens. His chief teachers there were David Hamilton and Thea King. By the age of 16 he had attained virtuoso status, winning the woodwind prize at the 1978 BBC Young Musician of the Year Competition. In 1981 he joined both the London Sinfonietta and Nash Ensemble. He first appeared at Carnegie Hall in 1982, and the following year made his first record- ing as a member of the Nash Ensemble. In 1984 he recorded three volumes of chamber music by Arnold with the Nash Ensemble and appeared at the Prome- nade Concerts as soloist in an acclaimed performance of Musgrave's Clarinet Concerto. In 1985 he began teaching at the Royal College of Music and, two years later, accepted the post of principal clarinettist for the Philharmonia Or- chestra. He founded the chamber ensemble London Winds in 1988. Michael left his posts at the Philharmonia and the RCM in 1995 to concentrate on freelance work and conducting. He played for HMS in 1994 and 1996. In 2010 he became principal conductor of the City of London Sinfonia. Michael McHale has emerged as one of the leading Irish pianists of his genera- tion and has already a highly-acclaimed CD, 'The Irish Piano', to his credit. He will be recording the two Brahms clarinet concertos with Michael Collins in April. HALIFAX PHILHARMONIC CLUB Anton Stadler Trio Bruch Lutoslawski Dance Preludes Britten Square Chapel, Halifax Four Pieces op 83 Three Character Pieces Prokofiev Schumann Mozart 1 Friday 17 January 2014 3 movements from 'Romeo & Juliet' Marchenerzahlungenop. 132 Trio in E flat, K498 'Kegelstatt' Box Office 01422 349422

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Clarinet Sonata no 1 in F minor, op 120 Last performed at HMS by Janet Hilton and Keith Swallow, February 16, 1974 1 Allegro appassionato 2 Andante un poco adagio 3 Allegretto grazioso 4 Vivace Brahms composed this and one other clarinet sonata for his own pleasure in 1894. Both are works of extreme beauty and were later transcribed for viola. Having adopted radical changes including a new fingering system the clarinet was now ready for the twentieth century. Despite obvious differences in weight and tone, Brahms achieves artistic balance between the instruments, thereby creating a real partnership. Brahms 1833-1897 The work is clearly very personal for Brahms and he exploits the clarinet's capacity for beauty and intensity of tone in the first movement. Its wide melodic leaps are equalled by the breadth of pianistic possibilities in creating different textures and tone colours. The second movement with its poised but fluid melody from the clarinet, and later the piano, is underlaid with dark and brooding harmonies which are evocative of Brahms' nocturnal songs. The third movement has a graceful dance-like character incorporating typical cross rhythms. Its central section is introduced by the piano whilst the clarinet remains at the bottom of its register. Back in F minor a ferociously rhythmic finale barely allows pause for breath, and the piano often introduces themes. Brahms' characteristic use of triplet rhythms figures strongly and the closing coda feels as though the composer has poured all of his most personal emotions into this work. 1 Allegro con fuoco 2 Andante con moto Grand duo concertante Carl Maria von Weber 1786 - 1826 Last performed at HMS by Corinna Harris and Alexander Taylor, December 7, 1998 3 Rondo This virtuoso work was first performed by Weber, himself a brilliant pianist, with Baermann in 1816, for whom the work was written. The clarinet itself was undergo- ing a process of slow change throughout Baermann's lifetime, gradually acquiring greater flexibility and agility. The work resembles a three movement Classical concerto, demanding technical dexterity and expressive tone from the clarinet player. Both instruments enjoy equal status, sharing themes and each taking the initiative in introducing new musical ideas. 2

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} ) The first movement is a bravura display of significant proportions, celebrating the unique tone of the clarinet and promoting piano virtuosity. In the second movement the piano initially assumes an accompanying role, allowing the clarinet to be express itself in eloquent rhapsody. Later it is the turn of the piano to supply the drama in a passionate and demanding solo passage. The work finishes with a Rondo movement which creates more opportunity for display by both instruments. Excitement builds in the long coda and it concludes in flamboyant celebration. Clarinet Sonata INTERVAL 1 Grazioso 2 Andantino - Vivace e leggiero 'adroit, tidy handling of musical ideas' Clinton Cormany This work of 1942 displays a different Bernstein from the extrovert who is better known for such colourful scores such as West Side Story, composed fifteen years later. Perhaps less often acknowledged is his thorough grounding as a student in compositional techniques, such as counterpoint, reflected in the often spare lines of this sonata, reminiscent of his admired contemporary, Hindemith. Dance Preludes The equality of instrumental writing is evident, and Bernstein offers a wide variety of musical styles, the second movement being a mixture of introvert imaginings, charmingly whimsical figuration and jazzy rhythmic energy. 1 Allegro molto 2 Andantino 3 Allegro giocoso Bernstein 1918 - 1990 Lutoslawski 1913 - 1994 3 4 Andante 5 Allegro molto After escaping German capture during World War II, Lutoslawski made his living by playing the piano in bars with his friend Andrzej Panufnik. He did not however escape Russian oppression and had his first symphony banned by the Stalinist authorities as being formalistic and suitable only for the elite. This delightful set of contrasting miniature dances was written in 1954 and later orchestrated by the composer. Around the same time he composed his successful and popular Concerto for Orchestra. Both were written just two years before the official freeing up of artistic controls in Russia in 1956.

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The first piece comes as a sparkling announcement, its movement almost entirely in spiky quavers. Its style has recollections of Bartok as does the meditative second movement exploring the polarity of major and minor. The composer's Polish origins come to the forefront in the brief energetic dance of the third movement, and the fourth is a more restrained testing of sonorites before the perpetual drive and challenging rhythmic disparities of the final fast movement, whose energy and rhetoric once again hint strongly of Bartok. Time Pieces 1 Allegro resoluto 2 Andante espressivo Muczynski, pianist and composer, was born in America, and his published works are relatively few, many involving piano and small scale chamber ensembles. 1 Allegro con brio 2 Andantino The relationship of the instruments in the first movement is both conversational and combative. The second movement is more reflective, the clarinet and piano both exploring ideas. The melodic flow resumes in the third movement with fluctuating time signatures, and the fourth, after a contemplative introduction by the clarinet, becomes a roller coaster of competing accents and rhythmic ideas. Sonatina Joseph Horowitz b 1926 Philharmonic 3 Allegro moderato 4 Introduction: Andante molto - Allegro energico Horowitz is a Jewish emigré from the Vienna of 1938 who established an impressive musical career in Britain. This short work was written in 1981 in response to a request by Gervaise de Peyer, who gave its first performance. It is an appealing and melodic work for the clarinet, employing popular styles. UDD Muczynski 1929 - 2010 The melodic aspect of the first movement resonates with the fluid lines of the early 20 century. Its piano accompaniment varies between broken chords and more dramatic interpolations, according to the mood of the clarinet. A sombre second movement contrasts with the humorous Latin rhythms of the final movement, which also exploits the upper register of the clarinet. Programme notes by C. Stanton Brahms Grieg Shostakovich 3 Furioso ORCHESTR Huddersfield Town Hall Saturday, February 8, 2014 Academic Festival Overture Piano Concerto in A minor (soloist Penelope Thwaites) Symphony No 10 Tickets available through Kirklees box office, on-line, or in Huddersfield library 4

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Season's Performances 7th October 2013 ROSE CONSORT OF VIOLS with Clare Wilkinson - mezzo-soprano and Jacob Heringman - lute 'Tears of Sorrowe and Gladnesse', celebrating the music of John Dowland, 450 years since his birth. 4th November 2013 GOULD PIANO TRIO Mozart: Trio in E major K 542 Charles Ives: Piano Trio Schubert: Trio no 2 in E flat major op 100 2nd December 2013 ERRINGDEN ENSEMBLE Tchaikovsky: Souvenir de Florence Strauss: Capriccio Brahms: Sextet in B flat major 13th January 2014 MICHAEL COLLINS (clarinet) and MICHAEL MCHALE (piano) Brahms: Clarinet Sonata no 1 in F minor Weber: Grand Duo Concertante Bernstein: Clarinet Sonata Lutoslawski: Dance Preludes Muczynski: Time Pieces Horovitz: Sonatina 10th February 2014 MARTYN JACKSON (violin) ALISON RHIND (piano) Beethoven: Sonata no. 9 "Kreutzer" Elgar: Sonata Wieniawski: Faust Fantasy 3rd March 2014 YEVGENY SUDBIN (piano) Scarlatti: 4 Sonatas Shostakovich: 3 Preludes op 34 Rachmaninov: Preludes op 32 & 23 Scriabin: Sonata no 5 Chopin: Ballade no 3 in A flat major Mozart/Sudbin: 'Lacrimosa' Sudbin: A la minute (paraphrase on Chopin's Waltz) 14th April 2014 BENYOUNES STRING QUARTET Haydn: String Quartet op 76 no 1 in G major Ravel: String Quartet Mendelssohn: String Quartet op 80 in F major This schedule is published in good faith but we reserve the right to alter the artists or programme for any concert should circumstances beyond our control make this necessary

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HUDDERSFIELD MUSIC SOCIETY T WT. Ninety Sixth Season 2013 - 2014 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 Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk RTS President Stephen Smith Honorary Vice President P Michael Lord Alastair Cridland 34, Hoyle Ing, Linthwaite Huddersfield. HD7 5RX Tel: 01484 845407 Email: alastair@cridland.net Treasurer Membership Secretary Verity Cridland (Acting) Tel: 01484 845407 Email: verity@cridland.net ENGLAND COUNCIL COMMITTEE 2013 - 2014 We acknowledge with thanks support for our concerts from The University of Huddersfield to which the Society is affiliated. John Bryan, Verity Cridland, Helen Howden, Christine Stanton John Rawlinson 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 February 2014 Martyn Jackson, violin Petr Limonov, piano British violinist Martyn Jackson was born in 1988 and has performed as a solo artist and chamber musician throughout the UK, much of Europe and the Middle East. In addition to his repertoire of chamber music he plays many well-known concertos and is first violinist of the Cavaleri Quartet. Martyn was spotted at an early age and, at the age of 10 was invited by the conductor Sir Simon Rattle to appear in the Channel 4 documentary "Don't stop the Music". He studied at the Royal College of Music in London under Profes- sor Itzhak Rashkovsky, where he won several awards and was a string finalist at the BBC Musician of the Year 2006. Martyn is a selected artist on the Countess of Munster Recital Scheme 2013 and is a Concordia Foundation Artist. As an orchestral musician, he has frequently served as Assistant Concertmaster of the LSO, Philharmonia Orchestra and BBC SSO. Martyn currently studies at the Hochschule für Musik "Hanns Eisler" Berlin with Professor Stephan Picard. He performs on a Jean-Baptiste Vuillaume kindly on loan to him from Frau Angela Schmeink. Petr Limonov was born in 1984 in Moscow. He started playing the piano at the age of 5 and in 1991 he entered the Central Music School. After winning the Nikolai Rubinstein piano competition in Paris (1998) he started giving concerts in Europe, Russia and Japan, sponsored by the Vladimir Spivakov International Foundation. In 2003 Petr was awarded a full international scholarship by the Associated Board of the Royal Schools of Music, which allowed him to continue his studies in the Royal Academy of Music (London) under professor Hamish Milne and visiting professor Alexander Satz. Since then he has taken part in master classes given by Alfred Brendel, Stephen Kovacevich, Stephen Hough, and others. After graduating from RAM Petr continued his studies in Paris and returned in 2010 to London to start his Masters program in the Royal College of Music under Dimitri Alexeev. Petr's notable appearances include the Great Hall of Moscow Conservatory, La Roque d'Antheron festival (broadcast by radio France Musique), Southbank Centre, Cadogan Hall, a recital in Duke's Hall in presence of HRH Prince Charles, and broadcasts for BBC Radio 3. 1

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Sonata no 9 in A major, op 47 'Kreutzer' Beethoven 1770-1827 Last performed at HMS by Dmytro Tkachenko (vn) and Alexei Grynyuk (pf) - February 28, 2005 1 Adagio sostenuto - Presto 2 Andante con variationi 3 Finale: Presto Beethoven wrote ten sonatas for violin and piano and they show a progression from the less sophisticated earlier ones composed for the harpsichord or forte- piano and intended for salon performance, to the brilliant and technically demanding ninth sonata of concerto proportions, designed for a concert hall. The Kreutzer sonata was composed in 1802 and his change of intention is indicated in his sketch for its title page, "molto concertante quasi come d'un concerto". The brilliantly audacious chordal opening from violin followed by piano, forecasts the grandeur and magnitude of the piece. Its momentum is quickly established in an exciting Presto. The contrasting and much simpler second. subject is easily identifiable from its slower pace and sustained lines. In the development the instruments work out the material, sometimes co-operatively but also in adversarial manner. With a facetiously early return to the first presto subject, Beethoven encourages the listener to think that the recapitulation section has begun, but it is in the wrong key and has to be coaxed by the violin into the proper one. The second movement opens with a contrasting theme of supreme beauty and its distant key of F (built on the flattened sixth) creates a sense of repose. Both instruments dazzle and compete in technical virtuosity in three succeeding variations. The fourth is highly expressive with its legato chromatic lines implying the original theme within their delicate tracery. High and extended violin trills herald the ending where an adagio passage closes the movement in peaceful concord. The tranquility is quickly dispelled by a whirlwind tarantella finale where, after a precursory loud chord, the violin introduces a theme with the piano in hot pursuit barely a bar behind. Fierce sforzandi deliberately thwart the natural rhythm and, withstanding two brief lulls in the music, the work builds to an exhilarating and sparkling conclusion. INTERVAL 2

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0 } Violin Sonata in E minor, op 82 Elgar 1857-1934 Last performed at HMS by Rimma Sushanskaya (vn) and James Walker (pf) - December 3, 1990 1. Allegro 2 Romance. Andante 3 Allegro non troppo This work was written in 1918, one of Elgar's four final compositions. The composer wrote it in Sussex where Lady Elgar had acquired a house called 'Brinkwells' for her husband, who had been suffering from a period of non- creativity. His inspiration flowed freely once more and the result was this sonata and his string quartet and piano quintet, composed more or less concurrently. Closely following was the cello concerto in a final late burst of creativity. Each work contains a similar vein of nostalgic melancholy. The sonata was first performed publicly by the famous violinist Albert Sammons with pianist Wil- liam Murdoch; Sammons was a great champion of Elgar's music and made the first recording of his violin concerto. The sonata opens with a passionate main theme featuring a heroic upward leap, subsequently to be developed. The lyrical second subject enters, also fearlessly leaping upwards. Both subjects are closely related, the second growing from an inversion of the first. The palate of harmonies in the development is similarly intrepid, winding chromatically and creating colour through its many transi- tional keys. The instruments respond closely to one another, sometimes dove- tailing or playing in canon. In contrast to the first movement, the restrained opening of this romantic slow movement explores initially the lowest violin range with a restrained range of dynamics, where the music seems to be less decisive with gently searching qualities. Opportunities abound to exploit the sweetest tone of the violin as well as its virtuoso possibilities. The resonant chords and broken chord harmonies of the piano part are richly expressive. The piano writing in the last movement returns to its heroic nature (not unlike that of the piano quintet), setting off at a brisk pace. Constant tempo changes and subtleties of colour abound. Huge chords support ardent violin melody at its most passionate, but Elgar does not hesitate to pause or linger for moments of great tenderness. The reintroduction of the slow movement tune close to the end was significant in that it was added by Elgar when he learned that sadly the dedicatee, violin soloist, Marie Joshua, had died before she could enjoy playing the work. Notably the work begins in a minor key but the final movement returns to an optimistic E major. 3

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Faust Fantasy Op. 20 The themes in this work are taken from Gounod's Faust which was being performed in Paris between 1859 and 1869. Its composer, born in Poland, had studied in Paris, reflecting the French source for his inspiration. The work, composed in 1865, was also transcribed for violin with orchestra. Wieniawski 1835-1880 Notably, Paganini had already written his twenty four Caprices for solo violin, themselves legendary in embracing extravagant and sometimes seemingly impossible technical mastery of hand and bow, as well as endurance on the part of the soloist. The public would therefore be predisposed to expect perform- ances in the same vein. In addition, Wieniawski, a performer and teacher of the violin was ambitious to master every technical challenge. He toured the United States, following the tradition of other composer-performers in writing fantasies for their own recitals, but which also included popular melodies to attract the audiences. The music moves seamlessly between its contrasting sections from the simple directness of the operatic Bel Canto style with its capacity for beautiful tone to opportunities for virtuosic display. The work divides into five sections, plus a final glittering coda, many of which are linked by orchestral or piano interludes. Clearly a piece which demands so much of its soloist must leave breaks, partly to give the violinist a pause from its relentless challenges, but more importantly to allow the listener respite from the ever increasing intensity of the dramatic and virtuosic challenges. It would be customary to introduce some of the many styles to be found in a nineteenth century opera: for example, there is a minor section in the style of a Spanish Tarantelle, and a Tempo di Valse, where the brilliance comes from harmonic effects, huge leaps and saltando (bouncing the bow), to mention a few. The resulting whole is an impressive display of the first order, including a wonderful medley of tunes. It finishes in the glorious brilliance of A major. Programme notes by C. Stanton HALIFAX PHILHARMONIC CLUB Peter Hill, piano Works by Bach, Schoenberg, Berg and Messiaen Square Chapel, Halifax 4 Friday 28 February 2014 Box Office 01422 349422

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Season's Performances 7th October 2013 ROSE CONSORT OF VIOLS with Clare Wilkinson - mezzo-soprano and Jacob Heringman - lute 'Tears of Sorrowe and Gladnesse', celebrating the music of John Dowland, 450 years since his birth. 4th November 2013 GOULD PIANO TRIO Mozart: Trio in E major K 542 Charles Ives: Piano Trio Schubert: Trio no 2 in E flat major op 100 2nd December 2013 ERRINGDEN ENSEMBLE Tchaikovsky: Souvenir de Florence Strauss: Capriccio Brahms: Sextet in B flat major 13th January 2014 MICHAEL COLLINS (clarinet) and MICHAEL MCHALE (piano) Brahms: Clarinet Sonata no 1 in F minor Weber: Grand Duo Concertante Bernstein: Clarinet Sonata Lutoslawski: Dance Preludes Muczynski: Time Pieces Horovitz: Sonatina 10th February 2014 MARTYN JACKSON (violin) ALISON RHIND (piano) Beethoven: Sonata no. 9 "Kreutzer" Elgar: Sonata Wieniawski: Faust Fantasy 3rd March 2014 YEVGENY SUDBIN (piano) Scarlatti: 4 Sonatas Shostakovich: 3 Preludes op 34 Rachmaninov: Preludes op 32 & 23 Scriabin: Sonata no 5 Chopin: Ballade no 3 in A flat major Mozart/Sudbin: 'Lacrimosa' Sudbin: A la minute (paraphrase on Chopin's Waltz) 14th April 2014 BENYOUNES STRING QUARTET Haydn: String Quartet op 76 no 1 in G major Ravel: String Quartet Mendelssohn: String Quartet op 80 in F major 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 yeugenie allein Yevgery LL WT. 3nd of March 2014 Ninety Sixth Season 2013-2014 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 Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk ARTS President Stephen Smith Honorary Vice President P Michael Lord Alastair Cridland 34, Hoyle Ing, Linthwaite Huddersfield. HD7 5RX Tel: 01484 845407 Email: alastair@cridland.net Treasurer Membership Secretary Verity Cridland (Acting) Tel: 01484 845407 Email: verity@cridland.net COUNCIL ENGLAND We acknowledge with thanks support for our concerts from The University of Huddersfield to which the Society is affiliated. COMMITTEE 2013 - 2014 John Bryan, Verity Cridland, Helen Howden, Christine Stanton John Rawlinson 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 3 March 2014 Yevgeny Sudbin, piano Yevgeny Sudbin was born in St Petersburg in 1980 and studied at the St Petersburg Conservatory. When he was aged 10 his family moved to Germany where he won several German piano competitions while studying at the Hoch- schule für Music Hans Eisler in Berlin. He then studied under Christopher Elton at the Purcell School and the Royal Academy of Music for nine years. He is now Visiting Professor of Piano at the RAM. He has lived in the UK since 1997. Sudbin made his debut at the proms in 2008 and, besides giving performances throughout the United States, France and Switzerland, has made many record- ings of Tchaikovsky, Rachmaninov, Medtner, Beethoven, Scarlatti and Scriabin. ** Scarlatti Sonatas in G minor, K455 in G major, K466 in F minor, K27 in B minor Shostakovich Preludes op 34, nos 6,17 & 24 Rachmaninov Preludes op 32 no 5, op 23 no 5 The works in this programme are all single movements of different dimensions. It is interesting to see how differently composers approach their pieces, produc- ing such a diversity of expression. Ultimately they are each a product of their time, reflecting their own cultural and historical environment, but also provid- ing a springboard for the next generation of composers. Domenico Scarlatti, the first composer chronologically in tonight's recital was a Baroque composer born in the same year as Handel and Bach. His keyboard writing was very original and forward looking in its sophisticated treatment of themes and experimentation with different textural writing, anticipating and influencing the Classical style of later composers. Although most of his sonatas were written for the harpsichord, he was familiar with the early fortepiano, possibly writing some sonatas specifically for it. However from his exhaustive output of five hundred plus sonatas, most adapt very well for the modern piano's additional tonal qualities. 1

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Written largely in the keys up to four flats and sharps, the sonatas show the potential of the many additional keys put at his disposal with the advent of equal tempered tuning, much as Bach did with his forty eight Preludes and Fugues, and likewise Shostakovich. Most of his sonatas were written for the Portuguese aristocrat whom he had taught as a child. Scarlatti moved to Spain when she became Queen to Crown Prince Ferdinand, and the composer's longtime em- ployer. Many of his sonatas reveal startling harmonic audacity, especially at cadence points where frequent and effective dissonance is remarkable for its time. The selection we shall hear tonight in G minor, G major, F minor and B minor will never be typical but they do offer a taste of his unparalleled keyboard writing, its variety and his capacity for invention. Shostakovich's three op 34 Preludes were written in 1932. They serve perhaps as a twentieth century equivalent to the Scarlatti sonatas, the modern grand piano offering a richer palate of colour. Shostakovich drew upon his Russian traditions and also on a more diverse mixture of cultural and political influences than Scarlatti, who depended largely upon those of neighbouring countries. The first prelude, no 6 in B minor, displays the composer's typically wry humour, no 17 in A flat major is reminiscent of Chopin, its gentle meandering lyricism often disclosing piquant harmonies. No 24 in D minor is more extro- vert in mood although ending in a characteristically understated manner. Following the previous pieces, these two preludes by Rachmaninov paint a very different picture of Russia in spite of being written less than thirty years earlier. They are born from the traditions of an old and feudal Russia with its proud nationalistic heritage, preceding the struggles of the very different twen- tieth century world of Shostakovich. Whilst the language of the mature Shostakovich was often much more guarded tending towards understatement, that of Rachmaninov was frequently extreme and extrovert. The earlier G major prelude, written in 1910, is a poem of comparatively restrained romanticism and poetic lyricism whilst the second and better known prelude in G minor has always appealed to audiences in the extravagant brilliance of its imperial march rhythms and equally virtuosic and florid central second section of melodic and harmonic luxuriance. INTERVAL 2

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0 Chopin Ballade No 3 A flat major, op 47 Scriabin Sonata No.5, op 53 Mozart/Sudbin 'Lacrimosa' Sudbin 'A la minute' (paraphrase on Chopin's Waltz in Db major op 64 no 1) Each of Chopin's four Ballades is a narrative, visiting a range of emotional experiences. In common with the following sonata by Scriabin, this Ballade is said to have drawn on a poetic source relating the story of the mermaid Undine whose love for a mortal would prove fatal. The gentle ascending opening phrase seems to pose a question and is answered by a downward reply in the lower part. The music traverses hugely varied sections, some passionate and lyrical, others providing virtuoso fireworks or unsettling chromaticism, each increasing in intensity, although encompassing passages of lyrical beauty. It was composed in 1841 providing along with Chopin's other piano music, inspiration for Scriabin. Yet another pianist composer, Scriabin prefaced this sonata with lines from his own poem and was admired by writers and artists like Tolstoy, who described his music as "a sincere expression of genius." The work took only six days to write in 1907 and was later declared by Richter as the most difficult piece in the piano repertoire. Scriabin was drawn to the conciseness and unity of a single movement form. He had recently composed his sensual symphonic poem, Le Poème de l'extase. Despite its relatively short length, this sonata contains a broad range of varied expression. Scriabin viewed his choice of distinctive chords as creating differ- ent individual colours in a highly personal and subjective way. His abandon- ment of the idea of a tonal centre, thus ruling out the usual conventions of classical harmony, results in chords constructed from unusual clusters of notes, often resulting in tritones and diminished sevenths, not unrelated to jazz. The music is restless, often propelled by exhilarating rhythms - but it can also linger in rapt meditation offering an intensity of experience equivalent perhaps to that of hearing a late Beethoven piano sonata. To complete his recital Sudbin follows the long tradition of borrowing other composers' tunes. 3

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The first is surely a touching tribute to Mozart with an incomplete movement from his much loved Requiem. In Sudbin's own words, 'I chose to transcribe Lacrimosa .... because I am interested in exploring the piano's 'vocal' sonorities and this piece provides ample opportunity to do that. Mozart only managed to complete eight bars of the actual movement before death took hold of him.' The second piece is based on Chopin's familiar 'Minute' waltz needs no introduction with its imaginative but clearly recognizable opening. Programme notes by C. Stanton NEXT SEASON Subscriber tickets are available for next season during this concert at a reduced price, see the separate hand-out for details on the pro- gramme. Please support the Society by buying them early. We will be selling second hand CDs at our next concert, the Benyounes String Quartet, on April 14. Please bring any legal CDs that you would like to recycle. The proceeds will go towards the Society's funds. SADDLEWORTH CHAMBER CONCERTS SOCIETY The Villiers String Quartet Haydn Philip Glass Elgar Strauss William Alwyn Mozart Quartet in G major, op 77 no 1 Quartet no 5 Quartet in E minor, op 83 Millgate Arts Centre, Delph. 7 Burnedge Fold Rd, Grasscroft, Oldham OL4 4EE or at the door. Square Chapel, Halifax Wednesday, 12 March 2014 Tickets £13 from Paul Amatt, Treasurer, RNCM Wind Ensemble Conductor Mark Heron, Soloist Kathryn Williams - flute Seranade for 13 Winds, op 7 Concerto for flute and winds Seranade in B flat, K361 - Gran Partita HALIFAX PHILHARMONIC CLUB 4 Friday, 14 March 2014 Box Office 01422 349422

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Season's Performances 7th October 2013 ROSE CONSORT OF VIOLS with Clare Wilkinson - mezzo-soprano and Jacob Heringman - lute 'Tears of Sorrowe and Gladnesse', celebrating the music of John Dowland, 450 years since his birth. 4th November 2013 GOULD PIANO TRIO Mozart: Trio in E major K 542 Charles Ives: Piano Trio Schubert: Trio no 2 in E flat major op 100 2nd December 2013 ERRINGDEN ENSEMBLE Tchaikovsky: Souvenir de Florence Strauss: Capriccio Brahms: Sextet in B flat major 13th January 2014 MICHAEL COLLINS (clarinet) and MICHAEL MCHALE (piano) Brahms: Clarinet Sonata no 1 in F minor Weber: Grand Duo Concertante Bernstein: Clarinet Sonata Lutoslawski: Dance Preludes Muczynski: Time Pieces Horovitz: Sonatina 10th February 2014 MARTYN JACKSON (violin) ALISON RHIND (piano) Beethoven: Sonata no. 9 "Kreutzer" Elgar: Sonata Wieniawski: Faust Fantasy 3rd March 2014 YEVGENY SUDBIN (piano) Scarlatti: 4 Sonatas Shostakovich: 3 Preludes op 34 Rachmaninov: Preludes op 32 & 23 Scriabin: Sonata no 5 Chopin: Ballade no 3 in A flat major Mozart/Sudbin: 'Lacrimosa' Sudbin: A la minute (paraphrase on Chopin's Waltz) 14th April 2014 BENYOUNES STRING QUARTET Haydn: String Quartet op 76 no 1 in G major Ravel: String Quartet Mendelssohn: String Quartet op 80 in F major 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 IL WT. Ninety Sixth Season 2013 - 2014 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 Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk ARTS President Stephen Smith Honorary Vice President P Michael Lord Alastair Cridland 34, Hoyle Ing, Linthwaite Huddersfield. HD7 5RX Tel: 01484 845407 Email: alastair@cridland.net Treasurer Membership Secretary Verity Cridland (Acting) Tel: 01484 845407 Email: verity@cridland.net COUNCIL ENGLAND We acknowledge with thanks support for our concerts from The University of Huddersfield to which the Society is affiliated. COMMITTEE 2013 - 2014 John Bryan, Verity Cridland, Helen Howden, Christine Stanton John Rawlinson 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 14 April 2014 Benyounes String Quartet Zara Benyounes - Violin Emily Holland - Violin Tetsuumi Nagata - Viola Kim Vaughan - Cello The Committee would like to thank the anonymous sponsor who has made this concert possible. Formed in 2007 at the Royal Northern College of Music, where Zara, Emily and Kim studied, the Benyounes Quartet went on to win the Royal Philharmonic Society's prestigious Julius Isserlis Scholarship, funding their studies with Professor Gabor Takacs-Nagy at the Haute Ecole de Musique de Genève. Here they won the conservatoire's most esteemed Prix d'Excellence. Tetsuumi Nagata was born in Canada and studied at the Yehudi Menuhin School in 2000 before Obtaining BMus and MMus degrees at the Guildhall School of Music and Drama. As winners of the 2012 1st International Sandor Vegh String Quartet Competition in Budapest, the Benyounes Quartet is gaining a reputation as one of the most engaging, dynamic and successful young quartets to have emerged in the UK in recent years. Recent notable performances include concerts at Vienna Konzerthaus, Wig- more Hall Coffee Concert Series, Aldeburgh Music Britten Centenary Weekend (broadcast live on BBC Radio 3), Queen Elizabeth Hall, LSO St Luke's, Festival Quatuors a Bordeaux, Dartington, West Cork Chamber Music Festival, Bellerive Festival, North Norfolk Festival, Mondsee Festival and Manchester's Bridgewater Hall. In 2013 the quartet held a residency at St John's Smith Square in which they collaborated with Scottish cellist Philip Higham and pianist Jeremy Young to perform the complete Britten quartets alongside other significant chamber works. The quartet continues to broaden its repertoire by initiating collaborative cham- ber music and cross-arts projects; in 2012 the quartet founded Quercus Ensem- ble, a mixed chamber music group based in Northern Ireland. The quartet works regularly with Shobana Jeyasingh Dance and has collaborated with award winning jazz group 'Empirical', performing in the London Jazz Festival at the Queen Elizabeth Hall and appearing on their album, 'Tabula Rasa'. 1

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String quartet in G major, op76 no 1 Last performed at HMS by the Contempo Quartet, October 29, 2001 1 Allegro con spirito 2 Adagio sostenuto Haydn 1732-1809 3 Menuetto:presto 4 Finale: Allegro ma non troppo Op. 76, a set of quartets completed in 1797, was written after Haydn had become a well established figure in London. These quartets were composed after he had met Beethoven and in many ways reflect Beethoven's own opus 18 set which he admired. The first movement opens with three decisive chords followed by the first theme presented by the cello and taken up imitatively by the other instruments. Some unexpected harmonies lead us to the second subject. A development focuses mainly upon the first subject and its earlier contrapuntal treatment is exploited further in the recapitulation. A solemn theme in C opens the second movement, harmonised and scored with Beethoven-like profundity. It leads to a gentle little conversation between the cello and violin against a repeated note accompaniment in the second violin and viola. These two ideas alternate throughout the movement until a syncopated passage leads into a more assertive and then a questioning section before the final presentation of both themes. A cheerful and vigorous minuet containing some rhythmic ambiguity follows and its trio features the first violin in some agile passage work accompanied by simple pizzicato chords. Unexpectedly the final movement opens in G minor. The theme is presented dramatically in unison and is developed continually in different and harmoni- cally challenging contexts. The triplet figure is developed endlessly and with ingenuity. Towards the ending the music reverts to the less intense major key and presents us with a false ending highly characteristic of the composer. SADDLEWORTH CHAMBER CONCERTS SOCIETY The Galliarda Ensemble Wednesday, 30 April 2014 Enterprising early music specialists, Galliarda, perform music from the Renaissance to the Baroque, featuring compositions by Byrd, Dowland, and Purcell to Handel and Arne. Millgate Arts Centre, Delph. Tickets £13 from Paul Amatt, Treasurer, 7 Burnedge Fold Rd, Grasscroft, Oldham OL4 4EE or at the door. 2

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Quartet for Strings in F major Last performed at HMS by the Coull Quartet, February 22, 2010 1 Allegro moderato. Très doux 2 Assez vif. Très rhythmé Ravel 1875-1937 3 Très lent 4 Vif et agité Ravel wrote only one quartet in 1903. Dedicated to his teacher Fauré, "à mon cher maître, Gabriel Fauré", it was admired by Debussy who had written his sole quartet ten years earlier. Ravel's work shares some affinity with Debussy's in its delicacy of string writing and also in its use of pizzicato in the second movement. Unlike Debussy, Ravel employs a Classical pattern to the move- ments but his own exploration of instrumental colour is compelling and unique. Undoubtedly the second movement has strong recollections of Debussy. The first movement of the quartet is in sonata form and its evocative modal harmony explodes with life and colour. Both first and second subjects are equally melodious with an emphasis rather on the subtleties of changing tex- tures and dynamics rather than significantly contrasting ideas. The striking scherzo features pizzicato at its opening, frolicking between 6/8 and 3/4 time signatures and containing colourful extravagances. As the players resume their bows, all sorts of other effects are introduced into the mix. The middle section introduces an expressive cello solo, supported by the viola and tinged with an air of melancholy. Sudden short bursts of movement and a single pizzicato line herald the gradual return to the skittish opening section leading to its final bars. An expressive third movement allows a viola to linger above otherwise muted strings, in themes derived from both first and second movements. The intense and sometimes passionate music employs a variety of string effects to produce a myriad of imaginative textures. 3 The final rhythmic movement, demanding virtuosity as well as sensitivity, again revisits earlier musical ideas. In this movement there are unmistakable glimpses of wit and roguishness, as well as providing a stylish end to the work. INTERVAL Tickets for next season are on sale in the auditorium and second-hand CDs, kindly donated by our supporters, may also be purchased to help the Society's funds.

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String Quartet op 80 Last performed at HMS by the Barbirolli Quartet, October 25, 2010 1 Allegro vivace assai - Presto 2 Allegro assai 66 .......perhaps the pent-up emotion of years was released by his sister's death and his own increasing physical frailty" Wilfred Mellers Mendelssohn 1809-1847 This last quartet was written in 1847 soon after the death of the composer's sister, Fanny. It is dark and intense, unlike his other sunny and fluent composi- tions, but undoubtedly is the greatest of his quartets. Anguish and despair are expressed unequivocally in all movements, apart from the third, in which there seems to be a poignant searching quality rather than the otherwise intense emotion. The opening of the first movement is unambiguous in its collective tempestuous tremolos alternating with individual and heartfelt statements. Its compelling rhythmic impetus and extravagant declamations express high dramatic intensity although the music briefly gives way to moments of quiet desolation. 3 Adagio 4 Allegro molto The second movement continues in the same vein, and the violent syncopation in the accompaniment conveys pain and uncertainty. Perhaps it is significant that many of the musical lines are descending, lending extra pathos. HUDD A restrained third movement opens with a descending cello line and its contra- puntal melodies seem to explore endlessly without reaching conclusion. Mendelssohn's usual arching melodies are notably absent. The intense anguish of the first two movements returns to the final one. Short motivic ideas are repeated endlessly, reflecting its distress. Later, repeated dissonant chords and chromatic lines characterise the writing. A contrasting major section appears briefly but the music returns to the endless agitation and torment introducing perhaps a sense of resignation in the final coda. Programme notes by C. Stanton Philharmonic Rossini Handel Verdi Strauss Holst ORCHESTE Huddersfield Town Hall Saturday, April 26, 2014 With Hipperholme Grammar School Choir Overture - William Tell Worthy is the Lamb (from the Messiah) Chorus of the Hebrew Slaves (from Nabucco) Four Last Songs - soloist, Cressida Sharp. Orchestral Suite - Planets Suite Tickets available through Kirklees box office, on-line, or in Huddersfield library 4

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Season's Performances 7th October 2013 ROSE CONSORT OF VIOLS with Clare Wilkinson - mezzo-soprano and Jacob Heringman – lute 'Tears of Sorrowe and Gladnesse', celebrating the music of John Dowland, 450 years since his birth. 4th November 2013 GOULD PIANO TRIO Mozart: Trio in E major K 542 Charles Ives: Piano Trio Schubert: Trio no 2 in E flat major op 100 2nd December 2013 ERRINGDEN ENSEMBLE Tchaikovsky: Souvenir de Florence Strauss: Capriccio Brahms: Sextet in B flat major 13th January 2014 MICHAEL COLLINS (clarinet) and MICHAEL MCHALE (piano) Brahms: Clarinet Sonata no 1 in F minor Weber: Grand Duo Concertante Bernstein: Clarinet Sonata Lutoslawski: Dance Preludes Muczynski: Time Pieces Horovitz: Sonatina 10th February 2014 MARTYN JACKSON (violin) ALISON RHIND (piano) Beethoven: Sonata no. 9 "Kreutzer" Elgar: Sonata Wieniawski: Faust Fantasy 3rd March 2014 YEVGENY SUDBIN (piano) Scarlatti: 4 Sonatas Shostakovich: 3 Preludes op 34 Rachmaninov: Preludes op 32 & 23 Scriabin: Sonata no 5 Chopin: Ballade no 3 in A flat major Mozart/Sudbin: 'Lacrimosa' Sudbin: A la minute (paraphrase on Chopin's Waltz) 14th April 2014 BENYOUNES STRING QUARTET Haydn: String Quartet op 76 no 1 in G major Ravel: String Quartet Mendelssohn: String Quartet op 80 in F major 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