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HUDDERSFIELD MUSIC SOCIETY Ninety Eighth Season 2015/16 St Paul's Hall, Huddersfield All concerts start at 7.30 pm 448 WT 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 5 October 2015 Henschel String Quartet The prestigious German quartet makes a return visit. Haydn: Quartet in B minor, op 64 no 2 Schulhoff: Quartet no 1 Schubert: Quartet no 15 in G major, D887 Monday 2 November 2015 Trio Volant with Leanne Cody This vibrant young trio have already established individual solo and chamber careers. Pianist Leanne Cody was an RNCM Gold Medal winner in 2014 and has given regular solo recitals. MATE Poulenc: Oboe Sonata Glinka: Trio Ravel: Sonatine Florent Schmitt: A tour d'anches works by Canteloube, Saint-Saens and Mozart

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HUDDERSFIELD MUSIC SOCIETY Ninety Eighth Season 2015/16 Booking form (to be detached) WT

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Monday 7 December 2015 Cavaleri String Quartet This Quartet was formed in 2008, and has gained a reputation as one of the leading European string quartets. Mozart: Quartet in C major, K465 (Dissonance) Szymanowski: Quartet no 1 Brahms: Quartet no 3 in Bb major, op 67 Monday 11 January 2016 Katherine Bryan (flute) with Pippa Tunnell (harp) Katherine Bryan made her concert debut at the age of just 15. Pippa currently plays as Principal Harp with the Royal Scottish National Orchestra. Mozart: Andante in C Lowell Liebermann: Sonata op 56 Schaposhnikov: Sonata JS Bach: Sonata in C major Saint-Saens: Romance William Alwyn: Crepuscule Paganini: Caprice no 24 Ravi Shankar: L'Aube Enchantée Monday 8 February 2016 Diverso String Quartet Founded in March 2013 by a group of young graduates from four different European musical centres. A Mozart: Quartet in G major, K387 Janacek: Quartet no 1 (Kreutzer Sonata) Bartok: Quartet no 1 Monday 14 March 2016 Shiry Rashkovsky (viola) with Robin Green (piano) Shiry Rashkovsky and Robin Green form a highly charged and musically thoughtful duo. Schumann: Märchenbilder op 113 Kreisler: Schön Rosmarin Bruch: Romance Schubert: Sonata in A minor, D821 (Arpeggione) Paganini (arr. Primrose): La Campanella

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Subscriber Ticket Single Concert Ticket Student Season Ticket Single Student Ticket Booking arrangements Tickets may be obtained by using the form below or at the door Post this form with a cheque payable to Huddersfield Music Society Quarry House, Hoyle Ing, Linthwaite Huddersfield HD7 5RX Email: hudds_music_soc@yahoo.co.uk for Single concert tickets may be bought online using the link on our website www.huddersfield-music-society.org.uk TICKETS Please send ............ subscriber tickets Name Please send ............ single concert tickets Address Postcode Email BOOKING FORM I enclose cheque £98 £18 £15 £3 Telephone ......... Total £ (dates) Monday 11 April 2016 Aurea String Quartet Based in Glasgow, the Aurea Quartet comprises four prize-winning graduates of the Royal Conservatoire of Scotland. tett Haydn: Quartet in A major, op 55 no 1 Bridge: Three Idylls Mendelssohn: Quartet in D major, op 44 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 TICKETS Subscriber tickets may be obtained from Quarry House, Hoyle Ing, Linthwaite Huddersfield HD7 5RX eeliக் all or on the door at the first concert. Tickets for individual concerts can be obtained at the door, from as above or online using the link on our website www.huddersfield-music-society.org.uk HUMON BUS £98 £18 £15 RAILWAY STATION 1009 600 20080 00000 007 00U CAR PARK £3 ST. PAUL'S HALL TO WAKEFIELD UNIVERSITY OF HUDDERSFIELD The car park is lit and attended. Concerts usually end at about 9.30pm. Car parking is available across Queensgate from St Paul's for a small fee. A

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HUDDERSFIELD MUSIC SOCIETY WT. Ninety Eighth Season 2015-2016 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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With تھائی لھا our lest fin ceed Committee Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk ARTS President Stephen Smith Vice President P Michael Lord Treasurer Alastair Cridland 34, Hoyle Ing, Linthwaite, Huddersfield. HD7 5RX Tel: 01484 845407 Email: alastair@cridland.net COUNCIL ENGLAND Maula Membership Secretary Verity Cridland Tel: 01484 845407 Email: verity@cridland.net and John Bryan, Helen Howden, Christine Stanton John Rawlinson We acknowledge with thanks support for our concerts from The University of Huddersfield to which the Society is affiliated. The Society is grateful for financial help from our donors which makes this series possible, and for practical assistance with our database from Hilary Norcliffe, Society Archivist. Kils Making Music THE NATIONAL FEDERATION OF MUSIC SOCIETIES

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Huddersfield Music Society Monday 5 October 2015 The Henschel String Quartet Christoph Henschel & Daniel Bell, violins Monika Henschel, viola Mathias Beyer-Karlshøj, cello The Henschel Quartet, originally with twin brothers and a sister, grew up together near Stuttgart in Germa- ny playing in amateur quartets. They studied in Tel Aviv, in Germany, and at London's Royal College of Music. Finding a cellist to join this close-knit family team was a major problem, and it was not until Mathias Beyer-Karlshøj joined them in 1994, about 30 cellists later, that their music blossomed. In 2011 one of the brothers, Marcus, left and they were joined by Daniel Bell a long serving member of the Berlin Philharmonic Orchestra and member of the Peterson Quartet. We invited them to play for us in January 2013 but the gods were unkind to us and only an audience of less than 50 were able to brave the falling snow and ice and hear a magnificent concert. 1 The quartet's musical journey has included many remarkable highlights. The Henschel Quartet played at the official re-opening of the Anna-Amalia Library in Weimar (a UNESCO World Heritage site), and travelled to Brussels as a Cultural Ambassador of the Federal Republic of Germany. In March 2010 the quartet was privileged to perform at the Vatican in the presence of Pope Benedict XVI. The quartet has regularly been invited to the Royal Palace of Madrid to perform on the four Stradivari of the royal collection. In June 2012 the Henschel Quartet was invited, as the first European quartet in twenty years, to perform Beethoven's complete string quartets in the prestigious Suntory Hall in Tokyo. In the same year Monika Henschel became the president of the newly-formed Association of German String Quartets, and in 2013 Christoph Henschel was appointed Honorary Professor at the University of Augsburg.

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String quartet op 64 no 2 First performance at HMS 1 Allegro spiritoso 2 Adagio non troppo plenar Haydn 1732 - 1809 3 Menuetto - Allegretto 4 Finale: Presto Written in 1790 this quartet is one of six dedicated to Johann Tost, a colleague of Haydn who played in the Esterhazy orchestra. Haydn wrote many quartets for him to play, but the violinist married a lady of the Prince's household, finally giving up his music to become a prosperous merchant. These quartets appeared in London soon after they were composed, performed in a quartet led by Salomon, the violinist and later impresario. Haydn had spent much of the year in Vienna, attending Mozart's Cosi fan tutte in the company of the com- poser. The quartet in B minor contains all the characteristics of others in the minor mode, but it begins with a first violin theme of ambiguous tonality which could be in a major key. Its deceptive cheerfulness is inclined to change suddenly with chromatic surprises and dramatic unisons. The second movement is a radiant adagio in B major, a set of variations which contrast with the stormy opening movement. A purposeful minuet, highly rhythmic and repetitive, follows. There is a con- trasting lyrical trio in B major presenting the first violin with the opportunity to sing in its higher register. Finally a brilliant yet playful finale, possibly slightly tongue in cheek, evolves entirely from the rhythm of the opening theme. The ending typifies the compos- er's ever-present good humour. OTHER LOCAL CONCERTS HALIFAX PHILHARMONIC CLUB Friday October 16 Haydn, Langgaard and Beethoven quartets for strings. 2 Nightingale Quartet SADDLEWORTH CHAMBER CONCERTS SOCIETY Wednesday October 21 DeNote A concert of Beethoven, Haydn, and Mozart sonatas played on a fortepiano and period stringed instruments. See their websites for details and tickets.

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> ( String Quartet no 1 Last performed at HMS by the Flonzaley String Quartet April 4, 1928 T88 (sojam Schulhoff 1894 - 1942 1 Presto con fuoco 2 Allegretto con moto e con malincolia grotesca 3 Allegro giocoso 4 Andante molto sostenuto This quartet has been played once before in Huddersfield, in 1928 by the Flonzaley Quartet, one well known for their tone quality and artistry, who also played new works by living composers. Six days later they gave their final concert in London before they disbanded on 14th April. They repeated the same programme at their final concert in New York. Schulhoff joined the Prague conservatory with recommendation from Dvorak, later moving to Leipzig to study composition with Max Reger. His early influences came from Brahms and Dvorak, also Strauss and later adding Debussy and Scriab- in to the eclectic mix. He was attracted by avant garde artistic trends, encouraging the use of accidental and incongruous effects as a way of challenging the estab- lished thought and the conventions of European Music. He was one of the earliest composers to introduce jazz into his works. Jewish by birth, he found himself drawn towards Communism, but unfortunately when he was just about to leave Prague to live in Russia, having become a Soviet citizen, Hitler attacked the USSR and he was deported to a concentration camp where he tragically died. This work was composed in 1924. As its Italian directions prescribe, the quartet opens with a fast movement which is often aggressive and rhythmically compel- ling. A kaleidoscope of effects, such as harmonics, double stopping, sliding and pizzicatos, exploit the possibilities of the instruments, as throughout the work. The second movement includes enigmatic silences and ironic devices. There are passionate solos from viola and the cello, the latter being required to play very high in the treble clef. The constant revelation of different effects captivates the listener. Crisp, often syncopated, rhythms contribute to what is essentially a folk dance style third movement. The music changes direction frequently, building to a state of jubilation then relaxing. The fourth movement is more profound, its repeated accompaniment patterns and reflective lines resulting in a sultry expressiveness. The first violin has many dramatic utterances, including more than one solo cadenza and all parts have both soaring lines and effects. A return to the opening hypnotic accompaniment in the lower instruments signals the end as the top three parts become gradually sustained. INTERVAL 3 als

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String Quartet no 15 in G major D 887 Last performed at HMS by the Tokyo String Quartet, November 28, 2006 1 Allegro molto moderato 2 Andante un poco mosso Schubert 1797-1828 3 Scherzo: Allegro vivace 4 Allegro assai Written in 1826 but not published until 1851, Schubert's greatest quartet seems a culmulation of all of his personal and professional experience throughout the years. It is both adventurous and assured in its conception. The dramatic opening is spellbinding as the dominant dotted figure emerges from shimmering chords. These two ideas plus a triplet line provide the basis from which an intense and bewitching movement grows. Unison passages and syncopation offer raw passion. The insistent repetition of motifs passes contin- ually through endless keys. Typical of Schubert are glorious eruptions of melody introduced by cello and viola, but always driving in new directions with energy and authority. The music can also be tender as well as passionate. This really is a quartet for the cello which has extended solos throughout the work, also the viola in this movement. Beneath the long flowing themes there is always a wealth of skilful and articulated accompaniment material. The second movement opens with a doleful minor theme from the cello, and variations. Its extended melody is typical of Schubert, always accompanied by ingenious figuration in the other parts. The third variation features solos in every part, and the movement is not without sudden passionate and rhetorical outbursts. At the start of the third movement short accented phrases scatter throughout the parts with quickly changing harmonies. A smoother and restrained section, introduced by the cello, provides contrast, after which there is a return to the earlier style. The fourth movement bursts forth, proceeding with unabated joyous spirits, offering unpredictable key changes and recurrent syncopation whilst constantly urging forward. These unequivocal high spirits prevail, barely interrupted by occasional restrained passages and dynamics. The style is reminiscent of the hilarity of a nineteenth century operatic finale. Towards the end, some tempo- rary restraint is introduced within a harmonic texture, continuing to quieten before the final two triumphant chords. 4 Programme notes by C. Stanton

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Season's Performances 5th October 2015 HENSCHEL STRING QUARTET Haydn: Quartet in B minor, op 64 no 2 Schulhoff: Quartet no 1 Schubert: Quartet no 15 in G major D887 2nd November 2015 TRIO VOLANT WITH LEANNE CODY Poulenc: Oboe Sonata Glinka: Trio Ravel: Sonatine Florent Schmitt: A tour d'anches And works by Canteloube, Saint-Saens and Mozart 7th December 2015 CAVALERI STRING QUARTET Mozart: Quartet in C major, K465 (Dissonance) Szymanowski: Quartet no 1 Brahms: Quartet no 3 in Bb major op 67 11th January 2016 KATHERINE BRYAN WITH PIPPA TUNNELL Mozart: Andante in C Lowell Liebermann: Sonata op 56 Schaposhnikov: Sonata JS Bach: Sonata in C major Saint-Saens: Romance William Alwyn: Crepuscule Paganini: Caprice no 24 Ravi Shankar: L'Aube Enchantée 8th February 2016 DIVERSO STRING QUARTET Mozart: Quartet in G major, K387 Janacek: Quartet no 1 (Kreutzer Sonata) Bartok: Quartet no 1 14th March 2016 SHIRY RASHKOVSKY WITH ROBIN GREEN Schumann: Märchenbilder op 113 Kreisler: Schön Rosmarin Bruch: Romance Schubert: Sonata in A minor D821 (Arpeggione) Paganini (arr Primrose): La Campanella 11th April 2016 AUREA STRING QUARTET Haydn: Quartet in A major, op 55 no 1 Bridge: Three Idylls Mendelssohn: Quartet in D major, op 44 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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TRIO. VOLANT. HUDDERSFIELD MUSIC SOCIETY WT. Ninety Eighth Season 2015 - 2016 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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Committee Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk ARTS President Stephen Smith 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. 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. and John Bryan, 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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يسع Huddersfield Music Society Monday 2 November 2015 Trio Volant Thomas Evans, clarinet Imogen Coe, oboe The Reeds Christopher James, bassoon and Leanne Cody, piano Trio Volant was formed at the Royal Northern College of Music. The Trio regularly give formal recitals and lunchtime concerts in and around Man- chester and the North West. They enjoy the opportunity to perform the lesser known reed trio chamber music repertoire. Trio Volant appear by kind permission of the RNCM Lagale Leanne Cody was an RNCM Gold Medal winner in 2014 and has given regular solo recitals in Manchester and London, including Wigmore Hall, Purcell Rooms, St. Martin-in-the-Fields and Bridgewater Hall. She was selected as a Park Lane Young Artist 2013/2014. h. Judy Radical improvements to the construction of woodwind instruments took place during the seventeenth and eighteenth century, changing the complex- ion of orchestral composition and resulting in the gradual emergence of an entirely new repertoire. Both oboe and bassoon were well developed by the beginning of the eighteenth century, and Handel, Bach and Rameau were already making use of them. The clarinet with its single reed took slightly longer to become a frequent member of the orchestra. Haydn used it in some of his later symphonies and the instrument was available in Salzburg when Mozart began composing, but he did not then adopt what he regarded as a relatively crude instrument played by street musicians. Whilst composing in Vienna in the 1780s, he employed an updated and more sophisticated version which he also used later on in Paris. The characteristic pure tone of today's clarinet was there- fore standard in the orchestral wind section by the start of the nineteenth century. All three woodwinds (and flute too) were seized upon as a means of expression by twentieth century French composers, who exploited the individual timbres of the solo instruments to great effect as well as their potential to blend in ensemble. 1

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TRIO VOLANT WITH LEANNE CODY JOSEPH CANTELOUBE Pastorale from Rustiques CAMILLE SAINT-SAËNS: The Swan, arranged for clarinet, oboe & bassoon, by the Trio Volant FRANCIS POULENC: Oboe Sonata 1 Élégie 2 Scherzo 3 Déploration MIKHAIL GLINKA: Trio Pathétique in D minor 1 Allegro moderato 2 Scherzo. Vivacissimo 3 Largo 4 Allegro con spirito The programme starts with a Pastorale by Canteloube, composed in 1946 for clarinet, oboe and bassoon. The composer's passion for collecting folk melodies of the Auvergne is is strongly reflected in his music. Everyone is familiar with the Swan from Saint-Saëns' 'Carnival of the Animals', composed in 1886 for solo cello and two pianos. It has been transcribed endlessly for various ensembles, including a memorable version. by Peter Ustinov. Tonight's version has been arranged by members of the Trio Volant for themselves. Poulenc's oboe sonata, next on the programme, was completed in 1962 just before his death. It reflects the experimental musical scene in Paris of the early twentieth century when 'Les Six', of which Poulenc was a member, was formed, and the sonata is dedicated to the memory of Prokofiev with whom he was acquainted. The sophistication of the eloquent, French style is ever present in its melodies and jazz chords. Concluding the first half is a piece returning to classical forms and textures with the conventional four movements. The Trio Pathétique by Glinka has its roots firmly established in the Germanic music tradition but also impor- tant are the influences of Russian folk dance and melody with which the 2

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} 3 composer's early life was saturated. He later travelled widely, studying in Italy, Vienna and Berlin, absorbing the music of Mendelssohn and Berlioz as well as the Italian operas of Donizetti and Bellini. All of these contribute to his unique Russian style. INTERVAL MAURICE RAVEL: Sonatine 1 Modéré 2 Mouvement de menuet 3 Animé WOLFGANG AMADEUS MOZART: Divertimento No 3, K439b 1 Allegro 2 Menuetto and Trio 3 Adagio 4 Menuetto and Trio 5 Rondo FLORENT SCHMITT: A Tour d'Anches, op 97 The second half of the programme starts with a piano solo, Sonatine by Ravel. When this was composed in 1904, the new improved instrument had inspired not only the imagination of French composers but composers like Scriabin and Szymanowski with its ability to produce a ravishing variety of sounds. The first of three movements utilises the instrument's capacity for ambigu- ous veiled textures and imaginative chords, using the entire keyboard. There is a downward and recurring four-note theme. A mood of reflection diffuses the minuet after which a sparkling third movement completes the work with virtuosity and with often intriguing and colourful accompaniment figuration. The set of six Mozart Divertimenti was originally composed for three basset horns, for the composer to play with his friends in the early 1780s. The opening of this one will undoubtedly sound familiar to most people who have learnt to play an instrument, its various movements having been arranged for a diversity of instruments. Each of its familiar, classical style movements are in a two-part form. 3

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The final work is by Florent Schmitt, its title, A Tour d'Anches, meaning 'around the reeds' and undoubtedly a play on words. The French composer later in his career devoted much of his energies to composing works for mixed wind ensemble. This one is sparkling and engaging, exploiting and contrasting the unique and contrasting sonorities of the wind soloists. Com- posed between 1939 and 1943, it was dedicated to Fernand Oubradous, the French bassoonist, teacher and conductor. The work's textures and construc- tion bring to mind other contemporary French composers such as Poulenc, Françaix and Ibert. The addition of the piano contributes also to its delight- fully French character, creating a texture quite unlike the more densely- textured Germanic piano quartet. Programme notes by C Stanton PLEASE PASS ON YOUR GUEST TICKETS FOR THE NEXT CONCERT HUD Philharmonic ORCHEST Trio Isimsiz Huddersfield Town Hall Saturday, November 14 2015 Tchaikovsky Dvorak 1812 Overture Cello Concerto Tchaikovsky Symphony No 5 Tickets available through Kirklees box office, on-line, or in Huddersfield library featuring Hade Edge Band soloist Will Robertson HALIFAX PHILHARMONIC CLUB Brahms Piano Trio in C minor op. 101 MacMillan Piano Trio ('14 Little Pictures') Beethoven Piano Trio in B flat op. 97 ('Archduke') Square Chapel, Halifax Friday, November 20 2015 Box Office 01422 349422 SADDLEWORTH CONCERTS SOCIETY Endymion Schubert: String Trio in B flat, D471 Mozart: Quintet for Clarinet and Strings in A, K581 Brahms: Quintet for Clarinet and Strings in B minor, Op. 115 4 Wednesday, December 2 2015 Millgate Arts Centre, Delph. Tickets £14 from Paul Richards, Treasurer, 10 Alphin Close, Hey Farm, Mossley, Ashton under Lyne OL5 9DX or at the door.

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Sur ᏗᏚ for and -W the LIC- anc, ht- ly- I سات

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Season's Performances 5th October 2015 HENSCHEL STRING QUARTET Haydn: Quartet in B minor, op 64 no 2 Schulhoff: Quartet no 1 Schubert: Quartet no 15 in G major D887 2nd November 2015 TRIO VOLANT WITH LEANNE CODY Poulenc: Oboe Sonata Glinka: Trio Ravel: Sonatine Florent Schmitt: A tour d'anches And works by Canteloube, Saint-Saens and Mozart 7th December 2015 CAVALERI STRING QUARTET Mozart: Quartet in C major, K465 (Dissonance) Szymanowski: Quartet no 1 Brahms: Quartet no 3 in Bb major op 67 11th January 2016 KATHERINE BRYAN WITH PIPPA TUNNELL Mozart: Andante in C Lowell Liebermann: Sonata op 56 Schaposhnikov: Sonata JS Bach: Sonata in C major Saint-Saens: Romance William Alwyn: Crepuscule Paganini: Caprice no 24 Ravi Shankar: L'Aube Enchantée 8th February 2016 DIVERSO STRING QUARTET Mozart: Quartet in G major, K387 Janacek: Quartet no 1 (Kreutzer Sonata) Bartok: Quartet no 1 14th March 2016 SHIRY RASHKOVSKY WITH ROBIN GREEN Schumann: Märchenbilder op 113 Kreisler: Schön Rosmarin Bruch: Romance Schubert: Sonata in A minor D821 (Arpeggione) Paganini (arr Primrose): La Campanella 11th April 2016 AUREA STRING QUARTET Haydn: Quartet in A major, op 55 no 1 Bridge: Three Idylls Mendelssohn: Quartet in D major, op 44 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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Caraler SQ HUDDERSFIELD MUSIC SOCIETY WT. Ninety Eighth Season 2015 - 2016 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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Committee Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk ARTS President Stephen Smith 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 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. and John Bryan, 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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Mil Font MO Huddersfield Music Society Monday 7 December 2015 The Cavaleri String Quartet сал Maryl JaBig The Cavaleri String Quartet now consists of Martyn Jackson and Ciaran Mc- Cabe, violins, Ann Beiby, viola, and Reinold Ford, cello. Martyn was born in Hebdon Bridge and is well known to members of the Society having given a very successful concert with Alison Rhind in February 2014. Since its formation in 2008, the Cavaleri Quartet has gained a reputation as one of the leading European string quartets. They have won many prizes in interna- tional competitions culminating in First Prize at the 2012 Hamburg Internation- al Chamber Music Competition and Second Prize at the Osaka International Chamber Music Competition 2014. At Hamburg they were also awarded the Brahms Society Prize and Mendelssohn Prize from the Oscar and Vera Ritter- man Foundation. They first came to prominence in the UK after winning the Royal Over-Seas League Ensemble Competition in 2011, following their Wigmore Hall London debut in 2010 and Southbank debut at the Purcell Room in 2008. The quartet were "RCM Rising Stars" 2008 and were also selected for the Countess of Munster Recital Scheme and both the Kirckman Concert Society and Musicians Benevolent Fund Ensembles Awards. They have just completed three years as the Quartet in Residence at Oxford University and are Ambassadors for the European String Teachers' Association. Highlights of recent seasons include appearances at the Musikverein in Vienna, Festpiele Mecklenburg-Vorpommern, the Schubertiade in Austria, Auditorio Nacionale (Madrid), Teatro Toniolo (Venice) and Rachmaninov Hall (Moscow) as well as a major tour of New Zealand and Australia. They have also performed at all of the major London concert venues, including the Wigmore, Cadogan, Royal Festival and Queen Elizabeth Halls and broadcast live on BBC Radio 3 and overseas. The Cavaleri Quartet's recording of the Mendelssohn Quartet in A minor, op. 13 and Schnittke Quartet no 3 - part of their First Prize award at Hamburg - was released on the Fontenay Classics label in 2013. They have subsequently recorded quartets by David Dubery (Metier label) and Fanny Mendelssohn (Champs Hill Records). 1

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String Quartet in C, K465 'Dissonance' Last performed at HMS by the Sorrel String Quartet, December 5, 1994 1 Allegro vivace assai 2 Andante cantabile 3 Menuetto: Allegretto 4 Allegro molto Mozart 1756-1791 This quartet written in 1785 is one of the set known as the 'Haydn' quartets, in which his respect for the older composer inspired Mozart to try to emulate his mastery of the Classical string quartet. He was indeed successful as Haydn, who on hearing the quartets early on, was convinced by their authority and greatness. The opening bars create a mood of uncertainty and suspense, and build up tension that the release, when it comes, is cathartic. Thus A Hyatt King de- scribes a radical introduction avoiding any hint of the home key until its final bar. With the introduction of a short rising motif from the violin, Mozart continues at a faster speed into the main section. The movement is largely developed from this idea. There are second subject semiquavers and triplets but the development is constructed largely from the initial idea, speeding though multiple keys. The movement ends in joyously light vein but an unexpected harmonic twist delays the ending; something which no doubt Haydn would have applauded. A song-like texture begins the second movement, but the lower parts soon gain equality with their added contrapuntal lines. The dissonances of its often sus- pended harmonies create a movement of intense beauty. The chromatic first violin opening figure of the third movement in is seized upon playfully by the other instruments and used to dramatic effect later, in a unison passage at the beginning of the second half. A trio in C minor contains hints of unrest. The quartet finishes with another substantial sonata form movement of endless ingenuity. The second subject is minor, consisting of dramatic repeated semi- quavers against broken chords. Once again this all offers stunning potential for development. A surprising detour occurs which leads to a temporary standstill, after which a longish coda completes the quartet in irrepressible high spirits. 2 T

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String Quartet no 1 op 37 First performance at HMS Szymanowski 1882 - 1937 1 Lento assai 2 Andantino semplice in modo d'una canzone 3 Vivace Szymanowski forged a musical idiom that drew together the legacy of a full-blooded, post-Wagnerian romanticism and the impressionistic sound- scape of modern French music. Jim Samson (The Guardian) Szymanowski, born in the Ukraine, lived his life against the background of struggles between Poland and Russia and World War 1. He visited the musical centres of Berlin and Leipzig, Paris and London, not to mention Italy and Sicily before this work was written in 1917. In common with other artists and intellectuals living through such uncertain times he continued to travel whilst searching for his own distinctive style. As well as absorbing European influences the composer also sought a spiritual quality in his life, to which end he would later explore a fascination for the cultures and spiritual elements of the Arab and Islamic world. His concern for the future of Polish music was of chief importance to Szymanowski and he never lost his love for the artistic culture of the Tatra mountain region, the unique vibrancy of whose songs and dances captivated him and fed into his wonder- fully distinctive compositional mixed style. ) The first movement slow introduction opens with the solo violin poised above the opulent harmonic accompaniment. A pulsing viola part beneath the main subject is just one of many effects, as the passion and intensity of the quartet begin to emerge. The continuing journey through the composer's imaginative and unique textural soundscapes creates a vividly pictorial movement. Again the solo upwardly soaring line of first violin invites the listener into a slow and often ethereal second movement. As the intensity of the music ebbs and flows, its frequent contrapuntal textures are reminiscent of the French influence of Debussy and Ravel. As the last movement begins with a series of canonic entries, its rhythms recall the simplicity of folk dance. However the parts are intriguingly all written in different keys, resulting in elusive and imaginative harmonies and combinations sometimes bordering on the eccentric. The music embraces all the usual idiosyncratic techniques known to the string family such as pizzicato and harmonics, with others perhaps less familiar. The music characteristically and finally disappears into the ether. 3

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String Quartet no 3 in B flat op 67 Last performed at HMS by the Pražák String Quartet, January 10, 2005 1 Vivace 2 Andante 3 Agitato (Allegro non troppo) 4 Poco allegretto con Variazioni Brahms 1833-1897 Brahms' third quartet was completed in 1875, before any of his symphonies was composed. He was intensely aware of his responsibility in following Haydn and Beethoven, and whilst adhering to the principles of classical style he extended the form to suit his rich harmonic palette. Two important ideas appear in the first section; firstly the opening horn calls of the principal theme in 6/8 time which give way to curious and important syncopation in the fifth phrase, and later a distinctive simple duple dance rhythm. Brahms makes great play with the metrical independence of these ideas throughout the movement. The central development section introduces a new undulating, legato theme marked sotto voce (in an undertone), which visits new keys. It also develops the principal material before the return to the recapitulation. The slow movement unfolds peacefully with a ravishing F major melody and the viola and cello command an important melodic role within the increasingly rich texture of contrapuntal development. A more lavishly scored opening theme returns to close the movement. Brahms chose the viola, the instrument which he himself played, to take the solo role in the third movement, writing for it an eloquent and expansive melody. By introducing it alone and writing the accompanying parts so that they rarely play on the first and strongest beat of the bar, he instinctively solved any potential balance problems. In the short trio, the viola retains the melody which is accompanied by a four-note quaver motif on the cello moving mainly in the opposite direction to the other parts. The work concludes with a set of variations, a form in which Brahms, like Beethoven, excelled. They are based on an elegant two-part theme. In the first two variations the viola once again receives prominence. With the fifth variation the counterpoint becomes increasingly elaborate, its distant flat key and insistent cello pedal notes introducing a sense of unease. Towards the end it becomes clear that the theme has strong associations with the first movement with recollection of the horn calls. Programme notes by C. Stanton 4

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Season's Performances 5th October 2015 HENSCHEL STRING QUARTET Haydn: Quartet in B minor, op 64 no 2 Schulhoff: Quartet no 1 Schubert: Quartet no 15 in G major D887 2nd November 2015 TRIO VOLANT WITH LEANNE CODY Poulenc: Oboe Sonata Glinka: Trio Ravel: Sonatine Florent Schmitt: A tour d'anches And works by Canteloube, Saint-Saens and Mozart 7th December 2015 CAVALERI STRING QUARTET Mozart: Quartet in C major, K465 (Dissonance) Szymanowski: Quartet no 1 Brahms: Quartet no 3 in Bb major op 67 11th January 2016 KATHERINE BRYAN WITH PIPPA TUNNELL Mozart: Andante in C Lowell Liebermann: Sonata op 56 Schaposhnikov: Sonata JS Bach: Sonata in C major Saint-Saens: Romance William Alwyn: Crepuscule Paganini: Caprice no 24 Ravi Shankar: L'Aube Enchantée 8th February 2016 DIVERSO STRING QUARTET Mozart: Quartet in G major, K387 Janacek: Quartet no 1 (Kreutzer Sonata) Bartok: Quartet no 1 14th March 2016 SHIRY RASHKOVSKY WITH ROBIN GREEN Schumann: Märchenbilder op 113 Kreisler: Schön Rosmarin Bruch: Romance Schubert: Sonata in A minor D821 (Arpeggione) Paganini (arr Primrose): La Campanella 11th April 2016 AUREA STRING QUARTET Haydn: Quartet in A major, op 55 no 1 Bridge: Three Idylls Mendelssohn: Quartet in D major, op 44 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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Katherine Bryen & Pippa Tunnell HUDDERSFIELD MUSIC SOCIETY WT. Ninety Eighth Season 2015-2016 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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Committee Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk ARTS President Stephen Smith Vice President P Michael Lord Alastair Cridland 34, Hoyle Ing, Linthwaite, Huddersfield. HD7 5RX Tel: 01484 845407 Email: alastair@cridland.net COUNCIL Treasurer Membership Secretary Verity Cridland Tel: 01484 845407 Email: verity@cridland.net ENGLAND We acknowledge with thanks support for our concerts from The University of Huddersfield to which the Society is affiliated. and 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. John Bryan, Helen Howden, Christine Stanton John Rawlinson Making Music THE NATIONAL FEDERATION OF MUSIC SOCIETIES

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Huddersfield Music Society With logget سعد aygues Lithume Katherine Bryan - Flute Pippa Tunnell - Harp Programme alteration Monday 11th January 2016 William Alwyn: Crepuscule Was replaced by ست Britten: Interlude (from A Ceremony of Carols), Op 28 No 7 Hilary Norcliffe Archivist 1 المسان

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Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk We ackr The Univer ARTS The So Committee Alastair Cridland 34, Hoyle Ing, Linthwaite, Huddersfield. HD7 5RX Tel: 01484 845407 Email: alastair@cridland.net ai President Stephen Smith Membership Secretary Verity Cridland Tel: 01484 845407 Email: verity@cridland.net COU Vice President P Michael Lord ENGLAND Treasurer and r yabaоM THE NATIONAL FEDERATION OF MUSIC SOCIETIES

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Huddersfield Music Society With bot مسلمين Fatheme Katherine Bryan - Flute Pippa Tunnell - Harp Best wishe Tipper Tu ell St Paul's Hall Monday 11 January 2016 1

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Katherine Bryan Katherine Bryan made her concerto debut at the age of 15 with Daniel Harding and the Academy of St. Martin-in-the-Fields in London and later made her US concerto debut at the Lincoln Centre with the Julliard Orchestra. She has since performed as soloist with the BBC Philharmonic, Helsinki Phil- harmonic, Royal Scottish National, Halle, Nurnberger Symphoniker, New York Philharmonic and Eng- lish Baroque orchestras. Katherine's debut solo recording of the Nielsen and Liebermann Con- certos, Poulenc Sonata (orch Ber- keley) and Hue Fantasie with the Royal Scottish National Orchestra conducted by Paul Daniel, was re- leased to great acclaim in September 2010. Further to this success, Katherine released a disc of American Concertos in May 2013, including works by Ibert, Martin and Rouse, which was celebrated by a launch at National Geographic London Store as part of the Cultural Calendar. A winner of the prestigious Audi Music Competition at the age of 15, Katherine initially studied at Chetham School of Music, Manchester and won a full scholarship to study flute at the Julliard School of Music, New York, with Jeanne Baxtresser and Carol Wincenc where she won the four-yearly flute concerto competition. She was also a prize winner at the Royal Overseas League Music Competition in London, the Young Con- cert Artists International Competition in New York, and was a finalist in the BBC Young Musician of the Year for three consecutive competitions. She was awarded the Julius Isserlis Scholarship by the Royal Philhar- monic Society. www.katherinebryan.com/biography 2

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1 1 1 S e 9 f e C Pippa Tunnell Pippa currently plays as Principal Harp with the Royal Scottish Na- tional Orchestra, and appears regu- larly with the BBC Scottish Symphony Orchestra and the Scot- tish Chamber Orchestra. She is Harp Lecturer at the Royal Conservatoire of Scotland, and has over 20 years experience as a teach- er at various institutions and pri- vately at all levels. She is a regular coach for NYOS. Prope Brought up and educated in Edin- burgh, Pippa became a member of the National Youth Orchestra of Great Britain before winning a scholarship to the Royal Northern College of Music to study with Frank Sternefeld. There she won the Hiles Medal and, following her graduation with honours, she won several awards enabling her to take up a place at the Konservatorium in Basel, Switzerland, to study with Ursula Holliger. At this time she was also performing with the Britten Pears Orchestra. tam On her return to the U.K. Pippa built up a successful freelance career, performing as a soloist as well as a chamber and orchestral musician, playing regularly with the Halle Orchestra, the Royal Liverpool Philhar- monic Orchestra, Northern Ballet Theatre, and many other major British ensembles. 3 Recordings include Britten and Rutter as soloist alongside the RSNO Junior Chorus and Les Sirenes, and numerous works with the RSNO and BBC SSO. https://www.rcs.ac.uk/staff/pippa-tunnell/

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Programme 1 Mozart - Andante in C 2 Lowell Liebermann - Sonata op 56 3 Schaposhnikov - Sonata 4 JS Bach - Sonata in C major, BWV 1033 5 Saint-Saens - Romance 6 William Alwyn - Crepuscule for solo harp 7 Paganini - Caprice no 24 for solo flute 8 Ravi Shankar - L'aube Enchantée Mozart: Andante in C, K315 This beautiful movement was composed in 1778 when Mozart had travelled with his mother to spend time in Mannheim, home of the finest orchestra in Europe. It displays the composer at his most lyrical and charming, written originally for flute and orchestra, probably as a concer- to movement but subsequently unused for that purpose. 1756 - 1791 Lowell Lieberman: Sonata op 56 The American composer, Lieberman, was born in 1961 and wrote this work in 1996. It has three clear sections within a single movement structure. The music is formal and controlled, the richness of the harp figuration contrasting with the pure tones of the flute. Its traditional structures are spiced with adventurous harmonies. Lieberman acknowledged his biggest influence to be Shostakovich. The flute becomes virtuosic and the Allegro middle section has a florid harp part. An increase in dramatic tension is integral to its construction. 4

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1 Schaposhnikov: Sonata for flute and harp Andante con moto - Allegro non troppo Menuetto (Allegro) Allegro molto This original work was composed 1926 and its spirited opening presents a sonata in Classical style with the balanced phrasing and conventional harmonies of the period. Strangely the second movement is a minuet in spirit but not in the accustomed triple time. INTERVAL JS Bach: Sonata in C major, BWV 1033 Andante: Presto Allegro Adagio Menuet 1 & 2 1888 - 1967 1685 - 1750 Composed in 1736, the Sonata is like an eighteenth century suite with a slow introduction to the first movement and short, contrasting move- ments, each in two-part form. 5 Saint-Saens: Romance, op 37 in D flat This piece began life for flute and orchestra and was composed as such in 1871. Beneath the melody is a flowing accompaniment and the piece visits the extremes of emotional expression. 1835 - 1921

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William Alwyn: Crepuscule for solo harp Alwyn was himself a brilliant flute player and he composed this delight- ful work at request of the BBC for a Christmas Eve broadcast in 1955 for the harpist, Sidonie Goossens. Although the meaning of the title is 'Twilight', he said it was meant to suggest a cold clear winter's night with frosted snow. Beginning with beguiling single harmonics at the opening, it is atmospheric and imaginative. Paganini: Caprice no 24 for solo flute Last performed at HMS by Lorraine McAslan, December 12.1985 1905 - 1985 Ravi Shankar: L'Aube Enchantée Originally composed for violin as probably the most famous of the set of 24 the theme has given rise to works by other composers. A set of brief and contrasting variations, the original explored different violin tech- niques but requires virtuosity from any instrument. It will be interesting to see how the original double-stopping and pizzicato variations are interpreted for the flute! 1782 - 1840 6 1920 - 2012 This final work is for both flute and harp. The composer draws ravishing sounds from the harp, which of course are inspired by his long acquain- tance with the music as a sitar performer. After an announcing flourish at the beginning, time assumes a limitless dimension, demonstrated by the lingering effects and reflective pauses. The piece unfolds in a meditative and hypnotic manner, equivalent to the sounds and patterns of Eastern music and without any requirement to establish formality of phrase or rhythm. It is enough to dwell in the moment where opportunities for reflection and rhapsody abound, the piece comprising a myriad of magical sounds. Programme notes by C. Stanton

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5 r S t e 0 of f e 2 g 1- SS S. me to he he ton Forthcoming Local Concerts Saddleworth Concerts Society The Eeden Quartet Haydn Durosoir Schubert Beethoven Quartet in F major op 50 no 5 Quartet no 2 in D minor Martinu Copland Barber Watkins Brahms Quartettsatz D703 Quartet in F major op 59 no1 (Rasoumovski) Millgate Arts Centre, Delph. Tickets £14 from Paul Richards, Treasurer, 10 Alphin Close, Hey Farm, Mossley, Ashton under Lyne OL5 9DX or at the door. Wednesday, 10 February 2016 Paul Watkins, cello and Huw Watkins, piano Friday, 15 January 2016 Paul Watkins, the distinguished Welsh cellist and conductor, plays a selection of piec- es with his brother Huw Watkins, pianist and composer. Halifax Philharmonic Club Square Chapel, Halifax Variations on a Slovak Theme Waltz and Celebration (Billy the Kid) Sonata in C minor op. 6 Blue Shadow Falls Sonata no 2 in F op 99 • Philharmonic Huddersfield Philharmonic Society Huddersfield Town Hall Sunday, February 7, 2016 2.30 Box Office 01422 349422 ORCHES A concert to appeal to all ages, one of the last in Huddersfield Town Hall before it is closed for renovations. Much loved music appropriated by Disney for his film Fantasia in the hope that it would bring classical music to people who usually "walk out on that kind of stuff". Compered by Sam Dunkley. Gershwin Rhapsody in Blue Beethoven Symphony No 6 (first movement) Dukas The Sorcerer's Apprentice Saint-Seans Finale from Carnival of the Animals 7 We will also be playing other music by Bach, Mussorgsky and Stravinsky for an afternoon to brighten the winter. Tickets available through Kirklees box office, on-line, or in Huddersfield library.

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Season's Performances 5th October 2015 HENSCHEL STRING QUARTET Haydn: Quartet in B minor, op 64 no 2 Schulhoff: Quartet no 1 Schubert: Quartet no 15 in G major D887 2nd November 2015 TRIO VOLANT WITH LEANNE CODY Poulenc: Oboe Sonata Glinka: Trio Ravel: Sonatine Florent Schmitt: A tour d'anches And works by Canteloube, Saint-Saens and Mozart 7th December 2015 CAVALERI STRING QUARTET Mozart: Quartet in C major, K465 (Dissonance) Szymanowski: Quartet no 1 Brahms: Quartet no 3 in Bb major op 67 11th January 2016 KATHERINE BRYAN WITH PIPPA TUNNELL Mozart: Andante in C Lowell Liebermann: Sonata op 56 Schaposhnikov: Sonata JS Bach: Sonata in C major Saint-Saens: Romance William Alwyn: Crepuscule Paganini: Caprice no 24 Ravi Shankar: L'Aube Enchantée 8th February 2016 DIVERSO STRING QUARTET Mozart: Quartet in G major, K387 Janacek: Quartet no 1 (Kreutzer Sonata) Bartok: Quartet no 1 14th March 2016 SHIRY RASHKOVSKY WITH ROBIN GREEN Schumann: Märchenbilder op 113 Kreisler: Schön Rosmarin Bruch: Romance Schubert: Sonata in A minor D821 (Arpeggione) Paganini (arr Primrose): La Campanella 11th April 2016 AUREA STRING QUARTET Haydn: Quartet in A major, op 55 no 1 Bridge: Three Idylls Mendelssohn: Quartet in D major, op 44 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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Diverso So HUDDERSFIELD MUSIC SOCIETY WT Ninety Eighth Season 2015-2016 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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Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk ARTS Committee President Stephen Smith Vice President P Michael Lord Alastair Cridland 34, Hoyle Ing, Linthwaite, Huddersfield. HD7 5RX Tel: 01484 845407 Email: alastair@cridland.net со COUNCIL Treasurer Membership Secretary Verity Cridland Tel: 01484 845407 Email: verity@cridland.net ENGLAND We acknowledge with thanks support for our concerts from The University of Huddersfield to which the Society is affiliated. The Society is grateful for financial help from our donors which makes this series possible, and for practical assistance with our database from Hilary Norcliffe, Society Archivist. and John Bryan, Helen Howden, Christine Stanton John Rawlinson Making Music THE NATIONAL FEDERATION OF MUSIC SOCIETIES

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Huddersfield Music Society Thank you for the invitation for playing in this wonderful place Divere String Quarket ing in Lofotom 22 Diverso String Quartet росозна Rh. Magdalene Krawczuk 113 Daquara Jays Francand St Paul's Hall Monday 8 February 2016 1

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Huddersfield Music Society Monday 8 February 2016 The Diverso String Quartet The Diverso String Quartet was founded in 2013 on the initiative of four young artists: Dagmara Forys and Marcin Ostrowski (violins), Magdale- na Kravchuk (viola), and Zofia Łodygowska (cello). As their name suggests they come from a variety of countries: Poland, Germany and the UK. The members of the quartet have won awards at chamber music competitions in Katowice, Lodz and Wroclaw, and at numerous national and international solo competitions. As an ensemble, they have studied chamber music at the Berlin University of Arts with the famous Artemis Quartet. They have won the Berlin edition of Live Music Yehudi Menuhin Now and the scholarship "Young Poland". 2

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String Quartet in G major K 387 Last performed at HMS by the Sorrel String Quartet December 5, 1994 1. Allegro vivace assai 2. Menuetto 3. Andante cantabile 4. Molto allegro Mozart 1756-1791 In 1785 Mozart dedicated a set of six quartets of which this is the first, to his mentor, Haydn, commenting that it was ...the fruit of long and laborious endeavour. The finished product however ...has a spontane- ous freshness and fluency of technique (A Hyatt King), in spite of the struggles that went into its composition. The opening is cheerful, with first violin presenting the flowing melodic theme. It continues in the conversational manner in which all instruments achieve equality with independent lines. The second subject is more compact with a rhythmical aspect. The Menuetto is rhythmically fascinating as Mozart sets it up only to spend the rest of the phrase trying to wrong-foot its natural flow with misplaced accents. There are beautiful chromatic touches of expression in the melodic lines. In contrast, the G minor Trio, both dramatic and unexpectedly curious, begins in highly rhetorical fashion with an upward rising announcement. A stream of rapt, contemplative music in C major calm, pours forth in a slow movement containing beautifully calculated climaxes. The Finale is a passage of joyous release where the parts engage in glorious counterpoint. At some point the figuration breaks off to admit a lilting dance tune, which is also developed contrapuntally. Mozart's fertility of invention is breathtaking in the development of themes. This work not only impressed but also worried the composer's contem- poraries such as Dittersdorf, who wrote that it left him out of breath! 3

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String Quartet no 1 in E minor 'Kreutzer Sonata' Last performed at HMS by the Cassia String Quartet January 19, 2015 1. Adagio. Con moto 2. Con moto Janacek 1854 - 1928 3. Con moto. Vivo. Andante 4. Con moto. (Adagio). Più mosso This quartet is a dramatic work taking inspiration from Tolstoy's novel, a study in suffering and death. It was written in 1923 by a composer who was the third and last of three great Czech nationalists. Janacek studied in detail the folklore and natural mysticism of his country and his music is closely allied to the rhythmic and melodic curves of speech, which he believed to be a complete expression of all human predicament. The solo lines of the first movement spring eloquently out of imaginative string textures, which create a continual flow of alternating textures and moods. The final section ends, as do all the movements, quietly and without ostentation. A second movement presents a series of contrasting sections of which the most important are one in folk-dance rhythm, and a unique passage employing harmonics in the upper instruments with the cello solo line. Both are repeated with ever increasing intensity until the final dance section which fades gracefully. The canonic opening distinguishes this from the other movements and within its fluent expressiveness lie almost tangible expressions of human speech and temperament. In common with the other movements, this one is marked con moto once again taking the listener on a journey through a changing canvas of instrumental colour and emotion. Much of the movement contains the characteristic fingerprints of the composer, in which the cumulative effect of melodic repetition of short motifs accompanies extended and artless melody. INTERVAL 4

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0 String Quartet no 1 opus 7 Last performed at HMS by the Eder String Quartet, November 2, 1992 1. Lento 2. Allegretto 3. Introduzione: Allegro Bartok 1881 - 1945 Bartok's six quartets reflect his artistic evolution, written as they were, at fairly regular intervals during his artistic life. According to musicologist Joseph Machlis .....their breadth of vision and profound humanity make them the legitimate progeny of Beethoven. Each one is characteristic of a different stage in Bartok's creative life so that these quartets present an overview of the composer's development, just as do Haydn's works of the same genre. The essence of the composer's important pioneering work in collecting folk music is already instilled in this work which was written in 1909. Its harmonic language carries hints of Richard Strauss and somehow Bartok integrates these highly chromatic lines successfully with the melodic and harmonic content of folk music. The first movement introduces intense and slow lines of expressive polyphony in which the instruments are introduced individually. Each explores its full range of pitch: for instance, the viola begins beneath the cello but then rises above all the other lines. The introduction of a grinding cello drone is the precursor of more individual florid and passionate melody, beginning with the viola. The cello concludes with five pizzicato chords, leading the music back to the meditative textures of the opening. The movement ends in a melancholy violin duet from which the second movement grows quite naturally. The second movement opens with viola and cello replying to the violin duet, commencing a movement which is principally in triple-time. A lively tempo is set by delicate and repetitive quaver patterns played by the first violin, after which the instruments progress mostly in pairs and sometimes threes. A more tranquil passage is followed by a dramatic unison section, itself interrupted by the viola. - continued overleaf 5

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Short repetitive patterns contribute to the invention and underlying energy of this movement. Later there are contrasting speech-like utter- ances and passionate statements but also peaceful moments before the sustained and poised ending. The third movement is prefaced by an exhilarating introduction display- ing eloquent cello and first violin solos. Insistent and rhythmic tremolos usher in a movement of resolute and dynamic energy with rich sonorities, as well as intervals for dramatic reflection. Bartok's original inspiration from folk music within the boundless creativity of his first quartet can never be in doubt. Eeden Quartet Haydn Durosoir Schubert Beethoven Psappha Forthcoming Local Concerts SADDLEWORTH CHAMBER CONCERTS SOCIETY Programme notes by C. Stanton Quartet in F major Op.50 no.5 Quartet no.2 in D minor Wednesday, February 10, 2016 Quartettsatz D703 Quartet in F major Op.59 no.1 (Rasoumovski) Millgate Arts Centre, Delph. Tickets £14 from Paul Richards, Treasurer, 10 Alphin Close, Hey Farm, Mossley, Ashton under Lyne OL5 9DX or at the door. HALIFAX PHILHARMONIC CLUB 6 Ravel Sonata en duo Ligeti Trio for horn, violin and piano Brahms Trio in E flat op.40 for horn, violin and piano Square Chapel, Halifax Friday, February 19, 2016 Box Office 01422 349422

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e S 5, n n on Society News Our next concert is a viola recital given by Shiry Rashkovsky with Robin Green on Monday March 14, 2016. Their programme has been changed and will now consist of: Schumann Kreisler Bruch Schubert Enescu Märchenbilder op 113 Liebesleid Romance Sonata in A minor, D821, Arpeggione Konzertstück Our apologies to all those who were looking forward to the pieces shown on our publicity, the performers requested the changes. We will be starting to sell season tickets for the 99th season at the above concert, and are keeping the prices the same at £98 for the seven concerts. We will also be giving away guest tickets to subscribers. These have been very successful in recent years in introducing members' friends to the concert series. We really appreciate your help in getting people to come and enjoy the experience for themselves. Many believe that such an esoteric acquired taste is not for them and are pleasantly surprised that they enjoy the experience in this beautiful hall. We depend on members to spread the word and invite their friends, which has been successful in the past. Please bring your cheque books with you! 7

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Season's Performances 5th October 2015 HENSCHEL STRING QUARTET Haydn: Quartet in B minor, op 64 no 2 Schulhoff: Quartet no 1 Schubert: Quartet no 15 in G major D887 2nd November 2015 TRIO VOLANT WITH LEANNE CODY Poulenc: Oboe Sonata Glinka: Trio Ravel: Sonatine Florent Schmitt: A tour d'anches And works by Canteloube, Saint-Saens and Mozart 7th December 2015 CAVALERI STRING QUARTET Mozart: Quartet in C major, K465 (Dissonance) Szymanowski: Quartet no 1 Brahms: Quartet no 3 in Bb major op 67 11th January 2016 KATHERINE BRYAN WITH PIPPA TUNNELL Mozart: Andante in C Lowell Liebermann: Sonata op 56 Schaposhnikov: Sonata JS Bach: Sonata in C major Saint-Saens: Romance William Alwyn: Crepuscule Paganini: Caprice no 24 Ravi Shankar: L'Aube Enchantée 8th February 2016 DIVERSO STRING QUARTET Mozart: Quartet in G major, K387 Janacek: Quartet no 1 (Kreutzer Sonata) Bartok: Quartet no 1 14th March 2016 SHIRY RASHKOVSKY WITH ROBIN GREEN Schumann: Märchenbilder op 113 Kreisler: Schön Rosmarin Bruch: Romance Schubert: Sonata in A minor D821 (Arpeggione) Paganini (arr Primrose): La Campanella 11th April 2016 AUREA STRING QUARTET Haydn: Quartet in A major, op 55 no 1 Bridge: Three Idylls Mendelssohn: Quartet in D major, op 44 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 Eighth Season 2015 - 2016 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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Committee Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk ARTS President Stephen Smith Vice President P Michael Lord Alastair Cridland 34, Hoyle Ing, Linthwaite, Huddersfield. HD7 5RX Tel: 01484 845407 Email: alastair@cridland.net COUNCIL Treasurer Membership Secretary Verity Cridland Tel: 01484 845407 Email: verity@cridland.net ENGLAND We acknowledge with thanks support for our concerts from The University of Huddersfield to which the Society is affiliated. and 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. John Bryan, Helen Howden, Christine Stanton John Rawlinson Making Music THE NATIONAL FEDERATION OF MUSIC SOCIETIES

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V Huddersfield Music Society with thank / Shiry Shiry Rashkovsky - viola Robin Green - piano All very best wishes, Robin Creen St Paul's Hall Monday 14 March 2016 1

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Shiry Rashkovsky Shiry Rashkovsky obtained a BA in Political Science at St Catharine's Col- lege, Cambridge, and an Artist Diploma and Masters of Music with First Class Honours at the Royal College of Music, where she studied with Natasha Boyar- ska and Ian Jewel. She was a prize-win- ner of the Cecil Aronowitz Viola Prize, Philharmonia Orchestra Meyer Award, Countess of Munster Musical Trust Recital Scheme, and Martin Musical Scholarship Fund. Following her critically acclaimed Roy- al Festival Hall debut, Shiry has pur- sued an international solo, chamber and teaching career. Highly in demand as a concerto soloist, she has performed with the New Music Ensemble, Kallion Ensemble, Lady Clare Players, Cambridge Symphony Orchestra 'CUMS', and Barnet Symphony Orchestra. She has also broadcast live for BBC Radio 3 and BBC4, New York's WQXR, Italy's RAI, and the Israeli Broadcasting Authority. Invitations to festivals of renown include Prussia Cove Open Chamber Music, Keshet Eilon International Music Centre, and Bowdoin Interna- tional Music Festival, where she has performed as a soloist and in chamber ensembles with members of the Nash Ensemble. Shiry was appointed Professor of Viola at Royal Holloway, University of London in 2013 and is a faculty member of New Virtuosi International Mastercourse and LeAltreNote Music Festival. She currently freelances regularly with the Philharmonia Orchestra and BBC Symphony Orches- tra. 2

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Robin Green Robin Green enjoys an ac- tive career as a soloist, cham- ber musician, conductor and ensemble pianist. He has performed all over the world including recitals at the Queen Elisabeth Hall, Wig- more Hall, the Purcell Room and the Vienna Musikverein, and was a soloist at the 'Interlaken Classics Festival' where he directed a performance of Poulenc's 'Aubade' from the piano with the European Union Youth Orchestra. Together with the pianist Antoine Françoise, Robin is part of the Françoise-Green piano duo. The duo are the 1st prize winners of the Royal Overseas League chamber music prize, and the Concours Nicati in Switzerland. In the 2013/14 season the duo were Park Lane group artists. In 2014 the duo reached the final of the YCAT final at Wigmore Hall. Alongside Shiry Rashkovsky, he has toured England and Wales as part of the few established piano and viola duos, and next season sees a CD recording and further recital engagements. Former recipient of the Leverhulme Chamber music fellowship at the Royal College of Music, Robin is now a staff pianist at the RCM for the conducting program. He graduated from the school in 2008, having studied piano with Yonty Solomon and Andrew Ball. He has appeared on major radio broadcasts in England, France, Switzerland and has recorded for Signum records, Prima facie and Gramola. 3 Abridged from shiryrashkovsky.com

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Märchenbilder op 113 Last performed at HMS by Cecil Aronowitz and Nicola Grünberg, January 24, 1977 1 Nicht schnell 2 Lebhaft 3 Rasch 4 Langsam, mit melancholischem Ausdruck Schumann 1810 1856 - These pieces, literally 'story pictures', were composed during Schu- mann's last years of failing mental health in 1851 for a former pupil. Schumann did not write chamber music in the manner of Schubert or Brahms but chose instead to produce short fantasy pieces in the Romantic idiom, inspired in this case by literary fairytales based on folklore. The conversational style of the two instruments reproduces the traditional stories of an imaginative and intensely coloured world. In the first movement, the instruments explore the musical ideas in a relaxed and expansive lyrical style, There is the potential for plenty of expressive rubato or flexibility in speed. An urgent dotted note rhythm asserts itself from the start of the second piece. In contrast an alternating section is based on semiquavers. The movement changes mood rapidly, delivering a close exchange of ideas between viola and piano. The following movement begins back in the key of D minor as did the first, its fast virtuosic triplets transferring between viola and piano and exploring a variety of keys and pitch. There is a startling transition to the extremely remote key of B major in the middle, whose chromatic figura- tion and uneasy mood perhaps characterise Schumann's darker and alternative 'Eusebius' personality to be found in much of his piano music. This section is short-lived, quickly returning to the triplets. 4 The viola begins in the depths of its range with poignant and eloquent melody. It is hugely reminiscent of the composer's songs and both instruments capture the composer's emotional extremes, the movement finally subsiding into a calm D major.

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Liebesleid Kreisler Last performed at HMS by Emanuel Feuermann and George Reeves, March 6, 1935 To say that this Liebesleid from 1910 is well known and popular need not detract from appreciation of its perfect proportions as well as its old- fashioned romantic charm and wit. Additional expression is lent by engaging touches of chromaticism in both parts. The title is not a mis-spelling of Liebeslied, but Liebesleid translated meaning 'Love's Sorrow' rather than 'Love Song'. 1875-1962 Romance in F major, Op 85 This work was composed in 1911 originally for viola and orchestra. Bruch is well known for his solo string works including Kol Nidrei and three violin concertos, one of these achieving almost cult status with the others being rarely played. The composer admired the viola and wrote several other pieces for it, often paired with the clarinet. The opening is quiet and understated, the viola line thoughtful and tender in its extended phrases, searching and profound. Although this is very much a solo work, the orchestral accompaniment has its own beauty and is characterful, scored for a full range of woodwind and strings, echoing and repeating the solo part. The tone of the clarinet was always a favourite for Bruch. The viola part becomes more extrovert in the second section with characteristic flourishes and much virtuosity in the form of fast scales and arpeggios. INTERVAL Bruch 1838 - 1920 When the opening theme returns it is tranquil and sustained. At the end the viola gently climbs to rest on a poised high note. This work written in the autumn of Bruch's life displays little haste or angst and can be enjoyed for its beautiful outpouring of melody suffused with just suffi- cient passion. 5

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Sonata für Arpeggione Last performed at HMS by Natalie Clein and Paul Lewis, November 3, 2003 1 Allegro moderato 2 Adagio 3 Allegro The title of this sonata written in 1824 refers to the instrument for which it was written. The arpeggione was a kind of bowed guitar developed by Johann Staufer, a Viennese guitar maker, which never became popular, surviving for less than a decade. The compass of this instrument was closest to that of the cello but this work is one of such charm and individuality that all the members of the string family have since claimed it. Schubert 1797 - 1828 The exquisite and tender opening theme in A minor contrasts with a spirited major second subject of articulated semiquavers. Throughout this movement the players exchange ideas, the piano presenting the first theme at the start of the development. There are moments of fire and dramatic fluency from both instruments and also much harmonic inven- tion. Near the end the viola lapses briefly into melodic pathos but recovers to produce a final flourish. The extended expressive melody of the second movement beginning in E major is accompanied by colourful Schubertian harmonies in the piano part and leads straight into a final major movement, an uncomplicated Rondo, in which the main themes enclose passages of viola display. Another relatively late work, this induces a general feeling of warmth and optimism. AUREA QUARTET The final concert for the season is taking place on Monday, April 11, and will be played by the Glasgow based Aurea Quartet who were founded in 2013. Their programme will now consist of Haydn: Beethoven: Tchaikovsky: Quartet op 64 no 6 Quartet op 18 no 4 Quartet no 1 6

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Conzertstück George Enescu 1881 - 1955 Enescu is a little celebrated Romanian composer who came into contact with Western music at an early age when he studied violin in Vienna at the age of eight, also meeting Brahms. He continued his studies in Paris. where he studied composing with Massenet and Fauré. Thereafter, de- spite continuing efforts to return and follow a career in his homeland, he was unable to establish himself under Ceauşescu and the communist regime. He has remained undeservedly less well known in spite of having written a significant body of orchestral repertoire. As a violinist and teacher he was celebrated internationally and taught the young Yehudi Menuhin, playing an important role in his early musical life. The Conzertstück was commissioned in 1906 for an internal competition, for which Enescu was a jury member, at the Paris Conservatoire. The extended and rhapsodic viola melody at the beginning is captivating and characteristic of the composer's Romanian heritage. With a change of key in the middle a new and contrasting section makes more virtuosic demands of the performer in both proficiency and musicality. As expect- ed by a test piece at the highest level, the whole is a challenge for the performer in so many ways, requiring beautiful tone and correct bow control, left hand dexterity and testing every aspect of technique. Programme notes by C. Stanton SADDLEWORTH CHAMBER CONCERTS SOCIETY Riyad Nicolas, piano Bach. Beethoven. Four Etudes Scarlatti Chopin Scriabin Wednesday, March 16, 2016 Prelude and Fugue Book 2, No.1 BWV 870 Sonata Op. 110 By Chopin, Liszt-Paganini, Debussy and Ligeti Sonatas K466 in F minor and K455 in D major Ballade No.4, Op.54 Sonata No.5, Op.53 Millgate Arts Centre, Delph. Tickets £14 from Paul Richards, Treasurer, 10 Alphin Close, Hey Farm, Mossley, Ashton under Lyne OL5 9DX or at the door. 7

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2016-17 Season We are selling season tickets for the 99th season during this and the next concert. The prices are being kept the same at £98 for the seven concerts and we are giving a small discount to subscribers who buy them before April 30, bringing the price down to £95, £190 for two. This is a considerable reduction in the price for seven single tickets so is well worth it even if you think that you may not be able to come to all the concerts during the season. We will also be giving away guest tickets to subscribers for the third and fourth concerts. Do, please, encourage your friends and acquaintances to make use of these and enjoy a free evening of music. Quartetto di Cremona 10 October 2016 7 November 2016 Society News 5 December 2016, 23 January 2017 13 February 2017 27 March 2017 Louis Schwizgebel, piano RNCM Songsters plus pianist Cassia String Quartet Primrose Piano Quartet Laura Van der Heijden, cello, and piano 10 April 2017 Benyouness String Quartet For details of the programmes that have been agreed so far please see the schedules available from the programme sellers or at the season ticket desk. 8

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Season's Performances 5th October 2015 HENSCHEL STRING QUARTET Haydn: Quartet in B minor, op 64 no 2 Schulhoff: Quartet no 1 Schubert: Quartet no 15 in G major D887 2nd November 2015 TRIO VOLANT WITH LEANNE CODY Poulenc: Oboe Sonata Glinka: Trio Ravel: Sonatine Florent Schmitt: A tour d'anches And works by Canteloube, Saint-Saens and Mozart 7th December 2015 CAVALERI STRING QUARTET Mozart: Quartet in C major, K465 (Dissonance) Szymanowski: Quartet no 1 Brahms: Quartet no 3 in Bb major op 67 11th January 2016 KATHERINE BRYAN WITH PIPPA TUNNELL Mozart: Andante in C Lowell Liebermann: Sonata op 56 Schaposhnikov: Sonata JS Bach: Sonata in C major Saint-Saens: Romance William Alwyn: Crepuscule Paganini: Caprice no 24 Ravi Shankar: L'Aube Enchantée 8th February 2016 DIVERSO STRING QUARTET Mozart: Quartet in G major, K387 Janacek: Quartet no 1 (Kreutzer Sonata) Bartok: Quartet no 1 14th March 2016 SHIRY RASHKOVSKY WITH ROBIN GREEN Schumann: Märchenbilder op 113 Kreisler: Schön Rosmarin Bruch: Romance Schubert: Sonata in A minor D821 (Arpeggione) Paganini (arr Primrose): La Campanella 11th April 2016 AUREA STRING QUARTET Haydn: Quartet in A major, op 55 no 1 Bridge: Three Idylls Mendelssohn: Quartet in D major, op 44 This schedule is published in good faith but we reserve the right to alter the artists or programme for any concert should circumstances beyond our control make this necessary

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HUDDERSFIELD MUSIC SOCIETY WI Ninety Eighth Season 2015 - 2016 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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Committee Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk ARTS President Stephen Smith 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 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. and John Bryan, 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 Aurea String Quartet St Paul's Hall Monday 11 April 2016 1

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The Aurea String Quartet 400- The Aurea String Quartet, Philip Brett and Rosemary Attree, violins, Christine Anderson, viola, and Abby Hayward, cello, are based in Glas- gow. They were finalists in the first Sándor Végh International String Quartet Competition in Budapest and winners of the St Martin-in-the-Fields Chamber Music Prize 2014 which has resulted in concert engagements. across Britain. They have since been awarded residencies by Enterprise Music Scotland, St John's Smith Square and at the Wye Valley Chamber Festival. In 2015, the quartet was invited to perform in the Beethoven Plus series at King's Place, at the Edinburgh Festival Fringe, and at the International Musicians Platform Festival. The quartet has performed live on BBC Radio 3 (both on In Tune and Proms Plus) and on BBC Radio Scotland's Classics Unwrapped. A busy 2015 has also included exciting collabora- tions with Daniel Tong, Susan Tomes, Anna Hashimoto and Krysia Ostostowicz. Described as 'magnetic, sparkling and lyrical' this quartet is emerging as one of the UK's most exciting and dynamic young ensembles. 2

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The Aurea String Quartet Haydn. Beethoven Tchaikovsky Programme SUPPORTING & CHAMPIONING VOLUNTARY MUSIC String Quartet in Eb major, op 64 no 6 String Quartet in C minor, op 18 no 4 String Quartet no 1 in D major, op 11 The Society offers sincere apologies for the change in the programme from that advertised on our brochure. Changes of programme are always beyond our control but we do update the website as soon as we know. The Aurea Quartet is the winner of the St Martin's St making Chamber Music Competition 2014. The competition awards an outstanding young ensemble with perform- ance opportunities in the prestigious London venue of St Martin-in-the-Fields and around the UK with volun- tary music groups in partnership with Making Music. 3 Martin in the Fields €

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String Quartet in Eb major, op 64 no 6 Last performed at HMS by the Vogler String Quartet March 26, 2007 1 Allegro 2 Andante 3 Menuetto: Allegretto 4 Finale: Presto Haydn 1732 - 1809 The last of six quartets dedicated to Johann Tost, ex-colleague of Haydn, is altogether more subtle and good humoured than the others, expressing a much more gentle drama, perhaps because of the key chosen. There is less overt display for first violin as in others of this set. The opening movement is warm and graceful and shows Haydn's mastery of part-writing, especially in the development section. But unexpected dramatic moments do still occur in abrupt chord changes and some idiosyncratic chromatic sliding between them. Both first and second subjects share the same theme, a formula favoured by the composer in many of his mature works. Serene and beautiful intersecting melodies open a sublime second movement in the Andante - 'with its melodic lines serenely curving and intersecting in tender dissonance' (Rosemary Hughes). There is a minor key middle section of pulsating drama contrasting with the simple beauty of the first section, which then returns to end the quartet. Cheerful good humour prevails in a real Viennese minuet. The first violin at last is given the opportunity to shine in the Trio's high passage work with its witty portamento feature (sliding) at the begin- ning of phrases. The dashing and rhythmic finale seems to anticipate Beethoven with its dramatic unison passages, pedal notes and pauses. Unusual har- monic modulations add extra impact to its whirlwind and less predict- able nature. 4 S La 1 2 3 [ W b A a V C L þ t

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String quartet in C minor, op 18 no 4 Last performed at HMS by the Jubilee String Quartet October 13, 2014 1 Allegro ma non tanto 2 Scherzo: Andante scherzoso quasi allegro 3 Menuetto: Allegretto 4 Allegro - Prestissimo Beethoven 1770 - 1827 Despite the evidence of spontaneity and youthful vigour in this work, written in the late 1790s, the authority of Beethoven's quartet style was by now well established. A flowing first subject starts the movement in the key of C minor but the dramatic style of the work is swiftly characterised by the accented chords which follow. Adding more melodic material but also shorter repeated ideas, Beethoven sets up the thematic material for his accomplished developmental skills later. The second movement is not slow but more of an elegant and witty dance. Beethoven not only demonstrates his expertise in writing counter- point but the entire movement grows organically from its opening. Curiously, the strong syncopations on the third beats of this minuet unsettle the rhythm, but ultimately give it strength. In contrast the trio section in A flat major is charming and good-natured. This work surely acknowledges Haydn's gypsy music in the finale, with its exuberant and recurring rondo section. The contrasting sections in between seem to energise the rondo more with each return and its final bars are wonderfully individual and typical of the composer in their unexpectedness. INTERVAL 5

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String Quartet no 1 in D major, op 11 Last performed at HMS by the Budapest String Quartet October 16, 1929 1 Moderato e semplice 2 Andante cantabile 3 Scherzo: Allegro non tanto e con fuoco 4 Finale: Allegro giusto Tchaikovsky 1840 - 1893 Tchaikovsky was a member of 'The Five' composers, so-called for their aspirations to compose music in a wholly Russian style. He was also familiar with Western Classical style and forms, having received formal teaching at the St Petersburg Conservatory. His challenge was therefore to reconcile the two influences in his compositions. Of three string quartets, this one in was written in 1871 for performance by his col- leagues at the Moscow conservatory. All three quartets were preparation for later beautiful string ensembles such as the Serenade for String Orchestra and the Souvenirs de Florence sextet. This quartet is sometimes nicknamed the 'Accordion' because of its characteristic opening, with its flowing and repeated chords. There is a powerful con fuoco (fiery) ending to the exposition section, after which upward scales feature and remain throughout the development, also at the return of recapitulation. The second movement is Tchaikovsky's muted conception of a well known folk melody which he had noted down during a visit to his sister in the Ukraine. A sublime lyrical central section is accompanied by pizzicato cello, after which there is a return to the first theme with added counterpoint. The Scherzo is energetic and rhythmic, with displaced accents and contrasting dynamics. In the middle section repeated notes in the cello part create a pedal harmony from two quavers of adjacent pitch. The folk influence is uppermost in a final movement with strong rhythms. A beguiling melody is later introduced by the viola. There is continual exchange between the parts and one or two surprises are encountered before the work builds to its final dynamic ending. Programme notes by C. Stanton 6 20 W Th ar br re ус se W fo ma 10 71 5 23 13 27 10 Fo SC de

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3 D 1 g 1 S a h пе e ell er by ed and llo ng is are ton 2016-17 Season We are again selling season tickets for the 99th season during this concert. The prices are being kept the same at £98 for the seven concerts and we are giving a small discount to subscribers who buy them before April 30, bringing the price down to £95, £190 for two. This is a considerable reduction in the price for seven single tickets so is well worth it even if you think that you may not be able to come to all the concerts during the season. We will also be giving away guest tickets to subscribers for the third and fourth concerts. Do, please, encourage your friends and acquaintances to make use of these and enjoy a free evening of music. 10 October 2016 7 November 2016 5 December 2016 23 January 2017 13 February 2017 Society News 27 March 2017 10 April 2017 Quartetto di Cremona Louis Schwizgebel, piano RNCM Songsters plus pianist Cassia String Quartet Primrose Piano Quartet Laura Van der Heijden, cello, and piano Benyouness String Quartet For details of the programmes that have been agreed so far please see the schedules available from the programme sellers or at the season ticket desk. 7

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ERS Philharmonic ORCHEST Wagner Gershwin Rachmaninov Conductor Soloist RA Dewbury Town Hall Saturday, April 23, 2016, 7:30 Overture - Tannhauser Piano Concerto in F major Symphony No 2 8 Robert Guy Slava Sidorenko Please note that, because of repairs to Huddersfield Town Hall, the concert is taking place in Dewsbury Town Hall. Those of us who were lucky enough to hear Slava Sidorenko play the Gershwin Rhapsody in Blue at the concert in February will be eagerly anticipating the Piano Concerto in F major. Tickets are available through Kirklees box office, on-line, or in Huddersfield library

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Season's Performances 5th October 2015 HENSCHEL STRING QUARTET Haydn: Quartet in B minor, op 64 no 2 Schulhoff: Quartet no 1 Schubert: Quartet no 15 in G major D887 2nd November 2015 TRIO VOLANT WITH LEANNE CODY Poulenc: Oboe Sonata Glinka: Trio Ravel: Sonatine Florent Schmitt: A tour d'anches And works by Canteloube, Saint-Saens and Mozart 7th December 2015 CAVALERI STRING QUARTET Mozart: Quartet in C major, K465 (Dissonance) Szymanowski: Quartet no 1 Brahms: Quartet no 3 in Bb major op 67 11th January 2016 KATHERINE BRYAN WITH PIPPA TUNNELL Mozart: Andante in C Lowell Liebermann: Sonata op 56 Schaposhnikov: Sonata JS Bach: Sonata in C major Saint-Saens: Romance William Alwyn: Crepuscule Paganini: Caprice no 24 Ravi Shankar: L'Aube Enchantée 8th February 2016 DIVERSO STRING QUARTET Mozart: Quartet in G major, K387 Janacek: Quartet no 1 (Kreutzer Sonata) Bartok: Quartet no 1 14th March 2016 SHIRY RASHKOVSKY WITH ROBIN GREEN Schumann: Märchenbilder ор 113 Kreisler: Schön Rosmarin Bruch: Romance Schubert: Sonata in A minor D821 (Arpeggione) Paganini (arr Primrose): La Campanella 11th April 2016 AUREA STRING QUARTET Haydn: Quartet in A major, op 55 no 1 Bridge: Three Idylls Mendelssohn: Quartet in D major, op 44 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