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HUDDERSFIELD MUSIC SOCIETY Ninety Ninth Season 2016/17 St Paul's Hall, Huddersfield All concerts start at 7.30 pm W1 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 Ste

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Monday 10 October 2016 Quartetto di Cremona The prestigious Quartetto di Cremona was formed in 2000 at the Stauffer Academy in Cremona, Italy Haydn: String Quartet in G major, op 77 no 1 Mozart: String Quartet in B flat major, K589 Beethoven: String Quartet in A minor, op 132 Monday 7 November 2016 Louis Schwizgebel (piano) Second prize winner at the Leeds International Piano Competition in 2012 and a New Generation Artist on BBC Radio Three 2 Schumann: Kinderszenen, op 15 Chopin: Ballades nos 2 and 3 Beethoven: 32 Variations in C minor Schubert: Piano Sonata in C minor, D958

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HUDDERSFIELD MUSIC SOCIETY Ninety Ninth Season 2016/17 Booking form (to be detached) W WI

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Monday 5 December 2016 RNCM Songsters RNCM ROYAL NORTHERN COLLEGE of MUSIC Three singers and two pianists from the Royal Northern College of Music perform works on themes of' Songs of Travel, Songs of Home' by Schubert, Fauré, Vaughan Williams, Ivor Gurney, de Falla and Ravel; also folk song arrangements by Britten. Monday 23 January 2017 Cassia String Quartet The current resident string quartet with the Arts@Trinity programme in Leeds make a much-anticipated return visit Haydn: Quartet in C major, op 64 no 1 Shostakovich: Quartet no 11 in F minor, op 122 Beethoven: Quartet in F major, op 59 no 1 (Rasumovsky) Monday 13 February 2017 Primrose Piano Quartet Formed in 2004 by pianist John Thwaites and three of the UK's most renowned chamber musicians Mozart: Piano Quartet in E flat major, K493 Françaix: String Trio (1933) Ravel: La Valse (arr. Cohen) Brahms: Piano Quartet no 1 in G minor, op 25 Monday 27 March 2017 Laura Van der Heijden (cello) Tom Poster (piano) Laura won the BBC Young Musician Competition in 2012 and Tom won the Keyboard prize in 2000 Debussy: Cello Sonata in D minor Schumann: 3 Romances, op 94, arr. for cello and piano Martinu: Variations on a Theme of Rossini Fitkin: "L" Fauré: Cello Sonata no 2 in G minor, op 117

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Subscriber Ticket Single Concert Ticket Student Season Ticket Single Student Ticket 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 Booking arrangements Single concert tickets may be bought online using the link on our website www.huddersfield-music-society.org.uk Please send ............ subscriber tickets Name Please send ............ single concert tickets TICKETS ..... Address Email Postcode ................... BOOKING FORM I enclose cheque £98 £18 £15 £3 .......... Telephone Total £ ...... (dates) Monday 10 April 2017 Benyounes Quartet A very welcome return visit by this impressive young string quartet Mozart: String Quartet in E flat major, K428 Beethoven: String Quartet in F minor, op 95 'Serioso' Mendelssohn: String Quartet in E flat major, op 12 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) 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 Quarry House, Hoyle Ing, Linthwaite Huddersfield HD7 5RX or on the door at the first concert Tickets for individual concerts can be obtained at the door, from the above address or using the link on our website TO HAUFAX A529 www.huddersfield-music-society.org.uk NEW TRINITY STREET TICKETS NORTH PP CASTLE GATE TO MANY HESTED A62 MANCHESTER ROAD 400 290 OVEN 1008 00000 300.919 000 QUENT GATE CAR PARK LAKET ZAN2 BOURSYA TO LEEDS £98 £18 £15 £3 LEEDS ROAD AS2 TO WAKEFIELD SHEFFIELD 69 WAKEFELD ROAD ST. PAUL'S HALL UNIVERSITY OF HUDDERSFIELD Car parking is available in the Multi-Storey car park across Queensgate from St Paul's for a small fee. The car park is attended and lit. Concerts usually end at about 9.30pm.

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HUDDERSFIELD MUSIC SOCIETY D IL WT. Ninety Ninth Season 2016-2017 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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ARTS Committee Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk 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, Hilary Norcliffe, Christine Stanton, Julian Rushton, 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 Quartetto di Cremona St Paul's Hall Monday 10 October 2016

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Quartetto di Cremona SP BE Cristiano Gualco, violin: Giovanni Battista Guadagnini, Torino 1776 Paolo Andreoli, violin: Paolo Antonio Testore, Milano ca 1758 Simone Gramaglia, viola: Gioachino Torazzi, ca 1680 Giovanni Scaglione, cello: Don Nicola Amati, Bologna 1712 11 The Quartetto di Cremona formed in 2000 at the Stauffer Academy in Cremonal and continued their studies with Hatto Beyerle. In 2005 the Quartetto di Cremona received a Borletti-Buitoni Trust Fellowship. Building on their early successes, the Quartetto di Cremona has played to critical acclaim at the most important venues and festivals in Europe including the Beethoven Haus and BeethovenFest Bonn, Konzerthaus (Berlin), Klara Festival (Brussels), Mecklenberg Vorpommen Music Festival, Båstad Chamber Music Festival, Turku Music Festival, Handelsbeurs (Gent), Moving on Music Festival (Northern Ireland, recorded by BBC Radio 3), and numerous perform- ances at the Wigmore Hall (London). The Quartetto di Cremona has toured extensively in Australia and performed at the renowned Perth International Art Festival Australia. In the USA, they recently won the eleventh Web Concert Hall Competition In their homeland of Italy they have made their name performing at the Accademia di S. Cecilia in Rome and at the most renowned Italian music societies. The Quartet was nominated "Artist in Residence" at the Societa' del Quartetto of Milan and have been involved in various projects for the 150th 2

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anniversary of the Societa' del Quartetto - when they performed the complete cycle of Beethoven quartets. Recent and forthcoming tours include engagements in the USA, Japan, Mexico and China and in Europe the Quartetto di Cremona will tour the UK, Italy, Scandinavia, Germany, and make a debut tour of Austria. Their extensive repertoire ranges from the early Haydn quartets to Wolfgang Rihm and Helmut Lachenmann, with particular interest in contemporary Italian music including the composers Fabio Vacchi, Luciano Berio and Luigi Nono. Their debut recording for Decca encompassed the complete string quartets by Fabio Vacchi, released in April 2011. From July 2012 over the next two seasons the Quartetto di Cremona will record the complete Beethoven String Quartets. for the German label Audite, which also issued Italian Journey, dedicated to Italian composers in November 2012. An important part of the Quartetto di Cremona's activity is teaching master classes throughout Europe. Since Autumn 2011, the Quartet has taught at the Walter Stauffer Academy in Cremona. and pr Giove Smove J 3 http://www.quartettodicremona.com

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String quartet in G major, op 77 no 1 Last performed at HMS by the Edinburgh Quartet, February 1, 2010 1 Allegro Moderato 2 Adagio 3 Menuetto: Presto 4 Finale: Presto Haydn 1732-1809 Haydn completed only two of his usual six in this set of string quartets commis- sioned by Prince Lobkowitz and composed in 1799. With the scaling down of his duties at the court of Esterháza, he was able to visit some of the of the musical capitals of Europe and to absorb their sophistication, but the folk music of his childhood still remained fundamental to his composing. A light dance-like theme opens the quartet, later prompting some elegant exchange between violin and cello. Its second subject is built from fluid triplet arpeggios. The development section, displaying skilful working out of both themes, is heralded by a theatrical flourish and dramatic key change. The solemn unison opening of the Adagio in the distant key of E flat major heralds a sustained and majestic movement featuring long phrases and lyrical statements from the individual members of the quartet. A central section presents a hushed passage of dissonant sequences and repetition before the movement returns to the serenity of its opening material. The third movement reflects Haydn's inclination to turn a conventional minuet into something much faster with a strong one-in-a-bar rhythm. The drone of the trio emphasises its rusticity, contrasting with the presto sections either side. Lastly comes a movement which develops from the three opening notes of the unison theme of the second movement, a technique often used by Beethoven. There is skilful and extended interplay of parts, employing witty and virtuosic decoration in the development section. 4 Str Las 12 2 3 4 m T CO p fo C le 19 S C r t f a

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Ĵ J String quartet in Bb major, K 589 Last performed at HMS by the Atrium Quartet, March 17, 2008 1 Allegro 2 Larghetto 3 Menuetto: Moderato 4 Allegro assai Mozart 1756-1791 ......the texture flows with a seductive smoothness that almost conceals the music's originality. (Julian Rushton: Mozart) The second quartet from the set of three so-called Prussian quartets, was composed in Vienna for the king of Prussia, Frederick William II, whose proclivity for playing the cello part challenged Mozart to write special parts for him, with melodies which soar upwards into the higher register of the cello. This resulted in lighter and more transparent textures than previously, leading, for example, to the viola playing bass beneath the cello voice. There is however, matching virtuosity in the first violin part and Mozart didn't sacrifice his (and Haydn's) aims to retain the equality of the four voices. The first movement begins in a smooth singing style, the cello rising into the treble register and there is much conversational exchange of short phrases, again initiated by this instrument. Triplet scale passages accompany and link themes and in the development the key change to the minor introduces a section which sounds more tentative and exploratory. A calm and sustained cello melody opens the slow movement with equal and balanced melodic phrases, accompanied by the second violin and viola. The first violin later joins the cello in duet. The gracious, although atypical, minuet is established by a firm opening chord and there is much duet between first viola and cello. It is left to the viola to conclude with two flawless phrases, one ascending and the second descending. An unexpectedly long trio follows, which, although fast and light, has many dramatic moments. The first violin is given opportunity for virtuosity and the music moves to unexpected keys, including a sudden modulation to the distant Db major. The spirited opening theme of the fourth movement is derived from that of the first, and its exchange (often inverted) between the instruments results in flawless counterpoint and a translucent texture. Coming after so much exhil- aration, the movement's ending is almost nonchalant. INTERVAL 5

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String quartet in A minor, op 132 Last performed at HMS by the Jerusalem String Quartet, April 15, 2002 Beethoven 1770-1827 1 Assai sostenuto -Allegro 2 Allegro ma non tanto 3 Heiliger Dankgesang eines Genesenen an die Gottheil, in der lydischen Tonart: Molto adagio - Andante 4 Alla marcia, assai vivace 5 Allegro appassionato This work is the second of a group of three quartets composed by Beethoven towards the end of his life between 1822 and 1825. All three share a common theme or 'motto' of four notes, constructed from the top of the harmonic minor scale and they are dedicated to Prince Galitzin, an amateur cellist and admirer. The dark and sombre opening of the first movement is constructed from a rising version of the motto which pervades the whole movement. Its profound unrest and often despair is attributable to the pain of Beethoven's illness of 1824. In turn plaintive then stoic, its depth of feeling is reflected in the complexity of the counterpoint and through its extremes of expression. A movement of comparative peace and simplicity follows in the guise of a slow scherzo and trio in the major key. The pastoral nature of the trio is largely due to the sound of a drone instrument and is said to be an adaptation of a German dance Beethoven had composed some years earlier. The third movement entitled, 'A song of thanksgiving' begins with a rising sixth introducing a feeling of hopefulness in a uniquely extended and profound movement, initially composed in the Lydian mode. After a lengthy passage the music breaks into a kind of enraptured dance section bearing the title, 'Feeling new strength'. The alternation of these two contrasting ideas enables the listener to empathise with a man who has suffered and recovered from a debilitating illness. Certainly this movement must be one of Beethoven's most intense and longest and it provides an emotional centre to the whole. A brief and cheerful march movement with dotted rhythms follows, which, as it becomes more dramatic, leads into the final movement. The final movement is in triple time and begins with a slightly sad lilting dance which serves as a returning rondo theme. Alternating sections return the music to the dissonance and complex counterpoint of the opening movement. In its final section the pace quickens to finish compellingly in the major key with an orchestral-like flourish. Programme notes by C. Stanton 6

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1 e e 3. t S e IC ts in on Season Tickets Society News Full details of the season's concerts are on the back cover of this pro- gramme. We will be selling season tickets again during the interval at £98 each, £196 for two. Anyone who has purchased a ticket for this concert and wishes to have a season ticket can do so on payment of the difference of £80. In addition to tickets for each concert, subscribers also get guest tickets 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. Our next concert is a piano recital given by the Swiss born pianist Louis Schwizgebel, who achieved international recognition when he won second prize at the Leeds International Piano Competition in 2012. Annual General Meeting All subscribers are members of the society and should have received an invitation to the AGM which is being held on Monday next, October 17 at 7.00, in the Creative Arts Building on the other side of the university's reception area. If the notification has not reached you please ask either Alastair or Verity Cridland who have some spares. After the more formal business of the meeting there will be an opportunity to discuss the plans for the Centenary Season over a glass of wine or a soft drink. As always we will be delighted to hear any suggestions you may have for future concerts. We look forward to seeing you there. 7

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Forthcoming Events Nearby Saddleworth Concerts Society Millgate Arts Centre, Delph, Saddleworth The Elias String Quartet Haydn: String Quartet in D op.76 no.5 Bartok: String Quartet no. 4 Brahms: String Quartet no. 2 in A minor Halifax Philharmonic Club Square Chapel Centre for the Arts, Halifax The Kuss Quartet m Tickets, £14, available from Mr Paul Richards, 10 Alfin Close, Hey Farm, Mossley, Ashton under Lyne OL5 9DX or online at www.saddleworthconcertssociety.org.uk October 12, 2016, 7:30 Our own next concert is on November 7: Beethoven: Quartet in D major op. 18 no. 3 Kurtág: Officium breve Brahms: Quartet no. 3 in B flat major op. 67 October 21, 2016, 7:30 Tickets, £18, concessions £16, available from the Square Chapel Box Office, telephone 01422 349422 8 Louis Schwizgebel, second prize winner of the Leeds International Competition in 2012, plays Schumann, Chopin, Beethoven and Schubert. See back cover for details.

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Season's Performances 10th October 2016 QUARTETTO DI CREMONA Haydn: String Quartet in G major, op 77 no 1 Mozart: String Quartet in B flat major, K589 Beethoven: String Quartet in A minor, op 132 7th November 2016 LOUIS SCHWIZGEBEL (PIANO) Schumann: Kinderszenen, op 15 Chopin: Ballades nos 2 and 3 Beethoven: 32 Variations in C minor Schubert: Piano Sonata in C minor, D958 5th December 2016 RNCM SONGSTERS 'Songs of Travel, Songs of Home' Schubert, Fauré, Vaughan Williams, Ivor Gurney, de Falla and Ravel; Also folk song arrangements by Britten. 23rd January 2017 CASSIA STRING QUARTET Haydn: Quartet in C major, op 64 no 1 Shostakovich: Quartet no 11 in F minor, op 122 Beethoven: Quartet in F major, op 59 no 1 (Rasumovsky) 13th February 2017 PRIMROSE PIANO QUARTET Mozart: Piano Quartet in E flat major, K493 Françaix: String Trio (1933) Ravel: La Valse (arr. Cohen) Brahms: Piano Quartet no 1 in G minor, op 25 27th March 2017 LAURA VAN DER HEIJDEN (cello) WITH TOM POSTER (piano) Debussy: Cello Sonata in D minor Schumann: 3 Romances, op 94, arr. for cello and piano Martinu: Variations on a Theme of Rossini Fitkin: "L" Fauré: Cello Sonata no 2 in G minor, op 117 10th April 2017 BENYOUNES QUARTET Mozart: String Quartet in E flat major, K428 Beethoven: String Quartet in F minor, op 95 'Serioso' Mendelssohn: String Quartet in E flat major, op 12 NB This schedule is published in good faith but we reserve the right to alter the artists or programme for any concert should circumstances beyond our control make this necessary.

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HUDDERSFIELD MUSIC SOCIETY LL WT. Ninety Ninth Season 2016-2017 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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ARTS Committee Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk 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, Hilary Norcliffe, Christine Stanton, Julian Rushton, 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 Louis Schwizgebel 27 Programme signed by Louis Schwizgebel and Dame Fanny Waterman. She had been invited to attend because of her connection with the Leeds International Piano Competition Aged 96 she was almost blind, but delighted to attend. Hilary Norcliffe Archivist

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no Committee President Stephen Smith Vice President P Michael Lord Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk ENGLAND Treasurer Alastair Cridland 34, Hoyle Ing, Linthwaite, Huddersfield. HD7 5RX Tel: 01484 845407 Email: alastair@cridland.net Membership Secretary Verity Cridland Tel: 01484 845407 Email: verity@cridland.net and John Bryan, Helen Howden, Hilary Norcliffe, Christine Stanton, Julian Rushton, John Rawlinson IVIUSIC THE NATIONAL FEDERATION OF MUSIC SOCIETIES

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Huddersfield Music Society D Louis Schwizgebel nowe ROUTE RASM y St Paul's Hally, Monday 7 November 2016 ame Q

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Louis Schwizgebel Born in Geneva in 1987, Swiss-Chinese pianist Louis Schwizgebel has been described as an "insightful musician" by the New York Times (May 2013) and "already one of the great masters of the piano" by Res Musical (July 2014). At the age of seventeen he won the Geneva International Music Competition and, two years later, the Young Concert Artists International Auditions in New York. In 2012 he won second prize at the Leeds International Piano Competition and was a BBC New Generation Artist from 2013-2015. Schwizgebel has performed with many orchestras across the globe in- cluding the London Philharmonic, BBC Symphony, City of Birmingham Symphony, Wiener Symphoniker, Orchestre National de Lyon, Orches- tre de la Suisse Romande, Zurich Tonhalle, Nagoya and Shanghai Phil- harmonic orchestras, Utah Symphony and the Orchestra of St. Luke's (NYC) amongst others. He has worked with conductors such as Edward Gardner, Thierry Fischer, Joshua Weilerstein, Lahav Shani, Robin Ticci- ati, Fabio Luisi, Leonard Slatkin, Louis Langrée, Alondra de la Parra, James Gaffigan and Fabian Gabel amongst others. 2

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He performs regularly in his native Switzerland, both in recital and with the symphony and chamber orchestras; he has played in the major festivals including Progetto Martha Argerich, Menuhin Festival Gstaad and Verbier Festival and in 2016 makes his debut at the Lucerne Festival. In 2014 he made his BBC Proms debut with an electrifying televised performance of Prokofiev's First Concerto and recent recital highlights include performances at London's Wigmore Hall, Klavierfest Ruhr, Fribourg International Piano Series, Munich's Herkulesaal and on tour across Hong Kong and China including in Beijing and Shanghai. Highlights of Schwizgebel's 16/17 season include debuts with the Oslo Philharmonic, Royal Liverpool Philharmonic, Sao Paulo Symphony and the Aurora Orchestra in Bilbao, returns to the Orchestre Chambre de Lausanne, City of Birmingham and Macao Symphony orchestras. In recital he makes his debut at the International Piano Series, London, at the Rudolfinium as part of the Prague Prague Festival, returns to Lugano, Bern and in chamber music he returns to the Mecklenburg Vorpommern Festival and makes his debut at the Concertgebouw Amsterdam. Schwizgebel records for Aparté; his recent recording of Saint-Saens's Piano Concertos 2 and 5 with the BBC Symphony Orchestra received wide and critical acclaim, with BBC Music Magazine describing his playing as "gorgeously singing and wonderfully delicate". Of his record- ing of Beethoven's First and Second Piano Concertos with the London Philharmonic Orchestra Gramophone magazine described Schwizgebel's performance as a "beautifully nuanced account" and his solo disc, Po- ems, featuring works by Ravel, Liszt, Holliger and Schubert was given four stars by Germany's Fono Forum who hailed Schwizgebel "a genu- ine virtuoso, a spirited young genius with real depth". His latest record- ing of Schubert sonatas will be released later in 2016. Schwizgebel studied with Brigitte Meyer in Lausanne and Pascal Devoy- on in Berlin, and then later at the Juilliard School with Emanuel Ax and Robert McDonald, and at London's Royal Academy of Music with Pascal Nemirovski. Schwizgebel is grateful for the support he has received from the Migros Culture Percentage, Hans Wilsdorf Foundation, Mozart Gesellschaft Dortmund and Animato Foundation. 3 http://www.louisschwizgebel.com/

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Kinderszenen, op 15 Last performed at HMS by Paul Lewis, October 6, 2003 This set of simple expressive pieces is designed to recall memories of child- hood. Schumann's simple textures communicate the emotions directly. Each piece is in simple 2 or 3 part form. Schumann 1810 - 1856 1 Von fremden Ländern und Menschen - From foreign lands and people The gentle repetitive melody is accompanied by lilting triplets 2 Kuriose Geschichte - Funny story A cautious revelation with a shift to the minor key 3 Hasche-Mann - Blind man's buff This scampering piece re-captures the excitement in its unexpected accents 4 Bittendes Kind - Pleading child Beginning in the higher register of the piano, this piece is gentle, unhurried and seems to end with a query 5 Glückes genug - Perfect happiness Small sections of right hand melody are often echoed by the left in this cheerful and relaxed piece 6 Wichtige Begebenheit - A great event Strong chords, dotted rhythms and left hand octaves recall pomp and ceremony 7 Träumerei - Dreams Spread chords enhance the dream-like quality - counterpoint beneath the melody and the odd harmonic twist add colour 8 Am Kamin - At the fireside A piece exuding warmth through its rich chords and melodic shapes Ritter vom Steckenpferd - Ride a cock horse Syncopated rhythms in the right hand illustrate the movement of the horse 10 Fast zu ernst - Almost too serious Flowing and in a very remote key, much in Schumann's fantasy style 11 Fürchtenmachen - Bogeyman's coming Varied sections of changing speed and unexpected chromatic notes lend this movement a feeling of unpredictability 12 Kind im Einschlummern - Baby going to sleep Self evident in its rocking rhythm, the sleep motif is often heard in canon. There is an exquisite change to the major key in the centre section. 13 Der Dichter spricht - The poet speaks A beautifully crafted postlude sums up the work in the manner of Schu mann's song cycles. The voice ceases and the melody sings on in the piano part. A fantasy-like middle section increases the wordless poetry as the piece slows into oblivion. 4

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} 1 Ballades, no 2 op 38, and no 3 op 47 Last performed at HMS by: No 2: Jean-Efflam Bavouzet, March 12,1990, and No 3: Yevgeny Sudbin, March 3, 2014. His ornamentation (like Mozart's) is often chromatic, emulating a singer's portamento and rubato (Wilfred Mellers: Man and his Music) Chopin 1810-1849 Chopin admired Mozart's music, especially his operatic works. Whilst his four ballades express a strong sense of nostalgia for his homeland, their melodies show influences of the Italianate operatic melodies at which Mozart excelled. Like Schumann and Mendelssohn, Chopin chooses shorter forms for creative expression as with his sets of waltzes, mazurkas, impromptus, etc, providing him with an enormous repertoire of beautifully crafted miniatures to play in the salons of the rich and influential aristocracy and earning him great popularity as the archetypal Romantic virtuoso of the piano. Ballades were a favourite idiom of nineteenth century Romantic poetry and their narrative form tells a story encompassing a range of experience. The second Ballade was completed in 1839 and moves pictorially from section to section, the first a simple F major pastoral melody. The following section is violently contrasting with fast cascades of arpeggios in both left and right hands, demonstrating a new level of arpeggiated accompaniment where ornamentation and chromatic harmony embellish the line. Although the opening is in a major key, the piece ends, significantly, in A minor. Composed two years later, the third ballade in Ab major is opened by a gentle ascending opening phrase which seems to pose a question and is answered by a downward reply in the lower part. The music again traverses a variety of sections, some passionate and lyrical, others providing virtuoso fireworks or unsettling chromaticism, but each increasing in intensity. INTERVAL Halifax Philharmonic Club Square Chapel Centre for the Arts, Halifax Danish Quartet November 11, 2016, 7:30 Haydn Quartet Op. 76 no. 5 in D major Janacek Quartet no. 2 (Intimate Letters) Beethoven Quartet in C minor op. 18 no. 4 Nordic Folk Music 5 Tickets, £18, concessions £16, available from the Square Chapel Box Office, telephone 01422 349422

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32 Variations in C minor Last performed at HMS by François Duchâble, January 19, 1976 These variations were written in 1806 but Beethoven only gave opus numbers to those with original themes like the Diabelli set. Possibly these, composed to a typical bass line of the type used by Purcell or Handel, were more like a set of studies to him. The significance of this work is that it served as original inspiration for Schubert to write his C minor sonata, the programmed work which follows. The bass line, consisting of 8 bars in triple time, is stated at the beginning, largely confirming the harmonic patterns to follow. What changes in the different variations is the many and varied pianistic techniques explored. The pianist has to play chords, octaves, passages in thirds, arpeggios, scales and other configurations in both hands, also exploring different articulation, changing rhythms and textures. Some variations are more lyrical and melan- cholic, others are virtuoso and fiery but the central C minor tonality is strong throughout, and the variations meld seamlessly one into one another. Beethoven 1770-1827 The last two variations begin with ominous and repetitive arpeggios in C minor in the left hand whilst endless minor scales build up in the right. The whole piece ends with two throwaway chords. What is amazing is that Beethoven keeps the life force and continuity flowing within the variation discipline! Philharmonic ORCHEST Huddersfield Town Hall Saturday, November 12, 2016, 7:30 Tchaikovsky De Falla Copland Bernstein Marquez Conductor Robert Guy Tickets are available through Kirklees box office, on-line, or in Huddersfield library Swan Lake Suite, op 20a The Three-Cornered Hat: suite no 2 Four dance episodes from Rodeo West Side Story Suite Danzon no 2 6

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27 ers sed ea mal ork №g, قه he he nd n, 7- g C e at on Piano sonata in C minor D 958 First performance at Huddersfield Music Society 1 Allegro 2 Adagio 3 Menuetto: Allegro 4 Allegro Schubert 1797 - 1828 Schubert wrote three piano sonatas in the last few months of his life and in this work he makes allusions to his own song cycle, Die Winterreise, an equally profound work. The influence of the Beethoven Variations is clear in the commanding opening chords of this sonata, also in triple time. Its daring concept has much in common with Beethoven's own late sonatas. The impressive first movement in sonata form, driven by compelling rhyth- mic energy, has a gentler second subject which Schubert treats to its own variation after its first appearance. The development section makes use of the dramatic opening chords, taking the listener through challenging keys, often conferred with a slight feeling of menace. There is plenty of excitement in its scale passages and hugely varied accompaniment figures. A glorious second movement of peaceful tranquility follows, leaving space to absorb and appreciate the warmth of Schubert's song-like melodies. Centred around an Ab major tonal sphere, all exploration of key is subtle but with colourful harmonic touches. The darker episodes are nostalgic and reflective, and the harmonic ambiguities are complex in their perambulations to remote keys. The main theme is treated to subtle variation each time it returns, three in all. The minuet is perhaps more flowing then the conventional dance movement and its lighter second section has flashes of brilliance and drama, to which silences contribute significantly. Finally, a tarantella-style movement is unleashed, displaying virtuosity and rapid key change, regularly specialising in dramatic juxtaposition of C major and C minor, very much a Schubertian feature. There are contrasts between sections, some with fine and delicate playing and the final one is spectacular with new ideas expressed. This monumental sonata takes the listener through every human emotion and never ceases to offer up surprises. Finally we reach the optimistic and assertive cadence which has so far eluded us! Programme notes by C. Stanton 7

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Society News At the Society's AGM, which was held a couple of weeks ago, we announced the performers booked for the Centenary Season. The dates are settled but the exact programmes are still under discussion with the artists. As you can see the list consists of artists who have played for us in the past when they were less well known. October 16, 2017 November 6, 2017 December 4, 2017 January 29, 2018 February 12, 2018 March 12, 2018 April 23, 2018 We hope that you are as excited as we are! In normal seasons we spend more than we receive in ticket sales and rely on donations from our subscribers to fill the gap. This season is no exception and we are still short of money for it, and, despite some generous donations to our centenary fund, for the Centenary Season itself. If you are in a position to help, please send or give any donation to our president or treasurer. You could also consider remembering the Society in your will to help the Society continue into the future. We are hoping to arrange some social and fundraising events to celebrate the coming centenary and will also be having a CD sale at the March concert. Angela Hewitt, piano Atrium String Quartet Gould Piano Trio Michael Collins, clarinet, and the Brodsky Quartet Sacconi String Quartet Benjamin Frith and Andrew Brownell, pianos Prazak String Quartet Finally, don't miss the "Songsters" (their name!) from the Royal North- ern College of Music, our next concert on December 5. They are prepar- ing an exciting and varied concert of music ranging from Schubert to Britten, Mendelssohn to Vaughan-Williams. The previous RNCM sing- ers concert in 2011 was greatly enjoyed. Don't forget to bring a friend, if you are a subscriber, this is the first of the guest programmes for which you have a free extra ticket. 8

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Society News At the Society's AGM, which was held a couple of weeks ago, we announced the performers booked for the Centenary Season. The dates are settled but the exact programmes are still under discussion with the artists. As you can see the list consists of artists who have played for us in the past when they were less well known. October 16, 2017 November 6, 2017 December 4, 2017 January 29, 2018 February 12, 2018 March 12, 2018 April 23, 2018 We hope that you are as excited as we are! In normal seasons we spend more than we receive in ticket sales and rely on donations from our subscribers to fill the gap. This season is no exception and we are still short of money for it, and, despite some generous donations to our centenary fund, for the Centenary Season Angela Hewitt, piano Atrium String Quartet Gould Piano Trio Michael Collins, clarinet, and the Brodsky Quartet Sacconi String Quartet Benjamin Frith and Andrew Brownell, pianos Prazak String Quartet 8

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we tes the us tet ely no me son

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Season's Performances 10th October 2016 QUARTETTO DI CREMONA Haydn: String Quartet in G major, op 77 no 1 Mozart: String Quartet in B flat major, K589 Beethoven: String Quartet in A minor, op 132 7th November 2016 LOUIS SCHWIZGEBEL (PIANO) Schumann: Kinderszenen, op 15 Chopin: Ballades nos 2 and 3 Beethoven: 32 Variations in C minor Schubert: Piano Sonata in C minor, D958 5th December 2016 RNCM SONGSTERS 'Songs of Travel, Songs of Home' Schubert, Fauré, Vaughan Williams, Ivor Gurney, de Falla and Ravel; Also folk song arrangements by Britten. 23rd January 2017 CASSIA STRING QUARTET Haydn: Quartet in C major, op 64 no 1 Shostakovich: Quartet no 11 in F minor, op 122 Beethoven: Quartet in F major, op 59 no 1 (Rasumovsky) 13th February 2017 PRIMROSE PIANO QUARTET Mozart: Piano Quartet in E flat major, K493 Françaix: String Trio (1933) Ravel: La Valse (arr. Cohen) Brahms: Piano Quartet no 1 in G minor, op 25 27th March 2017 LAURA VAN DER HEIJDEN (cello) WITH TOM POSTER (piano) Debussy: Cello Sonata in D minor Schumann: 3 Romances, op 94, arr. for cello and piano Martinu: Variations on a Theme of Rossini Fitkin: "L" Fauré: Cello Sonata no 2 in G minor, op 117 10th April 2017 BENYOUNES QUARTET Mozart: String Quartet in E flat major, K428 Beethoven: String Quartet in F minor, op 95 'Serioso' Mendelssohn: String Quartet in E flat major, op 12 NB This schedule is published in good faith but we reserve the right to alter the artists or programme for any concert should circumstances beyond our control make this necessary.

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HUDDERSFIELD MUSIC SOCIETY D 1 WT. Ninety Ninth Season 2016-2017 RNCM Songsters St. Paul's Concert Hall, Queensgate Monday 7.30pm 1 www.huddersfield-music-society.org.uk Registered Charity 529340 President: Stephen Smith

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ARTS Committee Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk 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, Hilary Norcliffe, Christine Stanton, Julian Rushton, 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 x

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Jannes Ber Too Huddersfield Music Society RNCM Songsters James Berry, bass baritone Teng Xiang Ting, soprano Emily Hooker, piano Hayley Parkes, piano St Paul's Hall Monday 5 December 2016 Metalls

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RNCM SONGSTERS James Berry bass-baritone James began his musical training as a chorister at Lichfield Cathedral, before studying at the University of Manchester and the Royal Northern College of Music (RNCM), from which he has just graduated with a bachelor's degree. Upcoming engagements include Messiah with The Brixi Singers. James is currently studying for a master's degree at the RNCM under the tutelage of Paul Nilon, and is grateful to be supported by the Francis Higgins Bursary. He has been a Lay Clerk at Manchester Cathedral since 2015, and in his spare time loves cooking and fell walking. Teng Xiang Ting soprano Teng Xiang Ting is a classically trained soprano from Singapore currently in her third year of postgraduate study at the RNCM, where she studies with Mary Plazas. Her study at the RNCM has been kindly and generously sponsored by the Allan and Nesta Ferguson Charitable Trust. As an experienced performer and recitalist, Xiang Ting made her operatic debut in 2012 with New Opera Singapore, singing the role of Adina in Donizetti's L'elisir d'amore. Her performance was named the Best Debut of 2012 in the Straits Times, Singapore. Since then she has appeared in many leading operatic roles. On the concert platform, Xiang Ting's recent performance as the soprano soloist in Haydn's Nelson Mass with the Ilkley and Otley Choral Societies was described in the Yorkshire Times as having reached "a standard befitting a consummate profes- sional". Upcoming engagements include Handel's Messiah with the Otley Choral Society. Emily Hooker piano Emily recently gained her Masters of Music with distinction from the Royal Northern College of Music under the tutelage of Dina Parakhina, and is now continuing her studies as the John Wilson Junior Fellow in Piano Accompaniment. This follows undergraduate study at the Royal College of Music in London, where, in 2011, as a major prize-winner, she graduated with a first class honours degree. Emily has given many recitals at major London venues, including the Southbank Centre, Steinway Hall, and St. John's Smith Square and she also embarked on a concert tour of Southern Switzerland and Northern Italy. She has collaborated with several orchestras in highly acclaimed performances throughout the UK and Eu- 2

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re ic ng ge He me er LS. nd in ir S, in in S- al al W nt. re, nk a ith Cu- rope, including notable accounts of the Schumann, Grieg, Saint-Saëns 2nd, and Beethoven 4th piano concertos. She has been invited to perform in the Rachmani- nov Hall in Moscow to celebrate the piano sonatas of Nikolai Medtner. Hayley Parkes piano Hayley began studying the piano at the age of 9 and went on to gain a place at Chetham's School of Music when she was 11. Since then she has been an active performer, playing across the country as a soloist, chamber musician and accompa- nist. Appearances include solo performances at the Bridgewater Hall, The Sage, Gateshead and on BBC Radio, as well as performances at BBC Proms and at the Royal Festival Hall. After embarking as a scholar student on the 3 year intensive BMus at the RNCM, Hayley culminated her studies in 2016. She is now the Student Union President at the RNCM. The Songsters appear by kind permission of the Royal Northern College of Music. Society News A warm welcome to our visitors, especially to those who are guests of our subscribers. We hope that you will enjoy this evening of songs sung by The Songsters of the Royal Northern College of Music and will come to some of our instrumental concerts listed on the outside cover of the programme and support us in the future. Our next concert, on Monday, January 23, is given by the Cassia String Quartet who gave us an excellent concert two years ago As part of our preparations for our Centenary Season we are organising a fund-raising concert on Monday, February 27, here in St Pauls. Please make a note in your diary to come and support us as the proceeds will help to contribute towards the centenary concerts. We will also be having a second hand CD sale at the March concert so please save any surplus CDs you wish to dispose of and bring them along in February or March. There is a display, "From Ovations to Arias", in Heritage Quay, the University of Huddersfield's archive, for the next few weeks, which includes a case with items commemorating the history of the Society curated with the help of our archivist, Hilary Norcliffe. It is free and open to all so do drop in if you are nearby. 3

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Songs of Travel, Songs of Home Tonight's programme contains songs which have been performed at subscription concerts in previous years by now famous artists, providing notable landmarks in the history of the Society in the light of its approaching centenary year. For instance, Britten's 'Sweet Polly Oliver' was performed by no less than its composer accompanying Peter Pears in 1947. The incomparable accompanist Gerald Moore with Isobel Baillie performed Gurney's 'Spring' 5 years before that and Kathleen Ferrier sang the riotous 'Oliver Cromwell' just one year after the Britten and Pears visit. Another early performance was the baritone Frederick Goss, who sang the Ravel cycle in 1933. Perhaps less usual was Julian Bream's lute accompaniment in 1955 for Eileen McLoughlin in Schubert's 'Seligkeit', when he would have been at the start of his career. Roderick Williams may still be remembered by today's society members for his more recent 'Songs of Travel' with accompanist Susie Allen in 2005 and Paul Robinson sang Fauré's 'Mando- lin' and 'The Salley Gardens' in 1997. Schubert Der Wanderer Rastlose Liebe Seligkeit Wanderers Nachtlied Schubert's huge output of Lieder is well known. The restrained minor key opening of Der Wanderer begins a heartfelt search for a lost land, the second speaks of the suffering of love and the third is the yearning of a lover for just one glance and has a repeating refrain. The final text by Goethe speaks of peace, silence and ultimately rest. Mendelssohn The wanderer Restless love Bliss The wanderer's nightsong Gruss Herbstlied Greetings Autumn The first is part of a set of six two-part songs written at a time when it was customary for small groups of amateur musicians to meet and play in wealthy homes. Their melodies are unashamedly romantic and relatively easy for ama- teurs to learn. 4

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1 Gabriel Fauré Le papillon et la fleur Les roses d'Ispahan Les berceaux Mandoline Vaughan Williams Songs of travel 1 The vagabond 2 Let beauty awake 3 The roadside fire 4 Youth and love 5 In dreams 6 The infinite shining heavens 7 Whither must I wander These four songs were composed at different times throughout the composer's life (1845-1924). Each one explores a different aspect of love or attachment. The first is a modest little waltz with apposite simple accompaniment whilst the second is a more sensual love song. The third is a play on words in which the rocking cradle accompaniment also represents the swell of the sea for which the children's fathers depart, ironically leaving their sweethearts behind. The final song is a serenade with disguised meanings concerning the games played at Court according to its strict etiquette of love. The butterfly and the flower The roses of Ispahan Lullabies Mandolin 8 Bright is the ring of words 9 I have trod the upward and the downward slope A 5 Vaughan Williams served as a Field Ambulance driver in Flanders during World War 1, witnessing carnage and the loss of close friends such as George Butter- worth. This song cycle, dedicated to the bass-baritone Plunket Greene, was first performed in 1904. It must have been welcomed by audiences and musicians alike, marking the transition from the Victorian parlour song to a more expressive English art form. Although Robert Louis Stevenson's poetry does not offer a real narrative thread from one poem to the next, it explores the dilemma of choosing between a settled life with love, and the freedom to wander and absorb a natural life style. The music colourfully illustrates the romantic wanderings from youth. to old age. The opening tramping piano accompaniment highlights one of the roles of the piano in contributing colour and authenticity to the text. The joyous accompaniments of 'Let beauty awake' and 'The roadside fire', contrast with the W

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chill melancholy of 'In dreams' and the simplicity of 'Whither must I wander'. Both the opening majesty of 'Bright is the ring of words', (its melody, a reference to a favourite hymn of the composer), and the spaciousness of melody and accompaniment of 'The infinite shining heavens', reflect the vast, yet simple. grandeur of the natural world. 'Youth and love' in its simple passion, sums up the essence of the whole work. Musical references recur throughout, most tellingly in the epilogue when the whole work draws to a close and the wanderer faces old age and the journey beyond the grave. Maurice Ravel INTERVAL 1 Chanson de la mariée 2 Là-bas, vers église 3 Quel galante m'est comparable 4 Chanson des cueilleuses de lentisques 5 Tout Gai! Manuel da Falla Cinq mélodies populaire grecques Song of the bride Over by the church Which gallant compares with me Song of the lentisk collectors Be gay! Composed in 1906, these five songs collectively make up a song cycle whose theme is love and marriage. The excitement is in the piano part of the first whose subject is impending marriage. The second, embodying the church, is contempla- tive and in a contrasting third song the lover boasts about his swords and pistols, coloured by a simple Greek flavoured accompaniment. The rich melody over a poised piano part in the fourth song reflects the collection of the mastic or lentisk seeds, picked to make essential oil and the final brief song is contrastingly exuberant. 1 El paño moruno 2 Seguidilla Murciana 3 Asturiana 4 Jota 5 Nana 6 Canción 7 Polo Siete Canciones Populares Españolas () 6 The Moorish cloth Seguidilla Murciana Asturian Jota Nana Song Polo

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d d 5, a sk ly This set of Spanish traditional songs was composed by de Falla in 1914, original- ly for soprano and piano. All the texts deal with love and marriage, some taking a slightly jaundiced view of the process with reference to old wives tales; for instance, the text of the first song, stating that a fine cloth in the store upon which a stain has fallen will have less value, is clearly metaphorical. In the Seguidilla, a type of flamenco, the lover is accused of being inconstant. The third song is a lament from an area of Northern Spain, followed by the Jota, which is a lively triple-time regional dance in which there are accusations of withheld love. The piano part of the fifth is apt for a lullaby and a following vigorous Song attempts to make light of betrayal. The set concludes with a wild Andalusian dance in which the singer cries out her distress, also communicated in the frenzied piano part. Ivor Gurney Sleep Down by the Salley Gardens Spring Gurney fought and suffered horribly when he was wounded in the front lines of World War 1 and gassed at Paschendale. He wrote hundreds of his own poems as well as setting over 300 songs. Both Sleep and Spring come from an early set of five Elizabethan songs, written whilst the composer was studying at the Royal College of Music. The exquisite flowing 'Sleep' gained the admiration of com- poser Finzi, and in 'Spring' birdcalls can be heard. The traditional text of Salley Gardens was a reconstruction by Yeats of an old Irish folk song which he had heard earlier, and this has since given rise to many more musical settings. Traditional songs arranged by Benjamin Britten 1 Oliver Cromwell 2 Down by the Salley Gardens 3 Sweet Polly Oliver 4 The last rose of summer Britten of course was a conscientious objector in WW2, travelling to America with his partner Peter Pears Throughout his life Britten produced a very large collection of 61 folk song settings including some Irish and French and some accompanied by the guitar or harp as well as piano, all highly individual, sensitive and subtle. ** 7

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Saddleworth Concerts Society Millgate Arts Centre, Delph, Saddleworth Alexander Panfilov, piano Beethoven - Piano Sonata No. 8 in C minor ('Pathétique') Schumann - Fantasy in C major, op. 17 Chopin - Ballade No.2 in F major, op.38 Liszt - Piano Sonata in B minor, S. 178 Tickets, £14, available from Mr Paul Richards, 10 Alfin Close, Hey Farm, Mossley, Ashton under Lyne OL5 9DX or online at www.saddleworthconcertssociety.org.uk Halifax Philharmonic Club At the Crossley Gallery, Dean Clough Mozart John Ireland Brahms Benyounes Quartet with Julian Bliss, clarinet, and Jeremy Young, piano December 7, 2016, 7:30 Piano Concerto in C major, K415, arranged by the composer. Fantasy Sonata for clarinet and piano Clarinet Quintet in B minor op 115 Tickets, £18, concessions £16, available from the Square Chapel Box Office, telephone 01422 349422 Please note the venue for this concert. John Williams Torelli Rosetti January 13, 2017, 7:30 Philharmonic A delightful programme of music designed to appeal to all the family and especially to introduce children to live orchestral music. CHEST Harry Potter Suite Trumpet Concerto Double Horn Concerto 8 Huddersfield Parish Church Sunday December 11, 2016, 2:30 Rimsky-Korsakov Capriccio Italien and a magical mixture of Christmas songs and carols Conductor Nicholas Simpson Tickets, £10, are available through Kirklees box office, on-line, or at the door. Accompanied children admitted free.

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6,7:30 OLS 7:30 ser. h 1:30 cially to

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Season's Performances 10th October 2016 QUARTETTO DI CREMONA Haydn: String Quartet in G major, op 77 no 1 Mozart: String Quartet in B flat major, K589 Beethoven: String Quartet in A minor, op 132 7th November 2016 LOUIS SCHWIZGEBEL (PIANO) Schumann: Kinderszenen, op 15 Chopin: Ballades nos 2 and 3 Beethoven: 32 Variations in C minor Schubert: Piano Sonata in C minor, D958 5th December 2016 RNCM SONGSTERS 'Songs of Travel, Songs of Home' Schubert, Fauré, Vaughan Williams, Ivor Gurney, de Falla and Ravel; Also folk song arrangements by Britten. 23rd January 2017 CASSIA STRING QUARTET Haydn: Quartet in C major, op 64 no 1 Shostakovich: Quartet no 11 in F minor, op 122 Beethoven: Quartet in F major, op 59 no 1 (Rasumovsky) 13th February 2017 PRIMROSE PIANO QUARTET Mozart: Piano Quartet in E flat major, K493 Françaix: String Trio (1933) Ravel: La Valse (arr. Cohen) Brahms: Piano Quartet no 1 in G minor, op 25 27th March 2017 LAURA VAN DER HEIJDEN (cello) WITH TOM POSTER (piano) Debussy: Cello Sonata in D minor Schumann: 3 Romances, op 94, arr. for cello and piano Martinu: Variations on a Theme of Rossini Fitkin: "L" Fauré: Cello Sonata no 2 in G minor, op 117 10th April 2017 BENYOUNES QUARTET Mozart: String Quartet in E flat major, K428 Beethoven: String Quartet in F minor, op 95 'Serioso' Mendelssohn: String Quartet in E flat major, op 12 NB This schedule is published in good faith but we reserve the right to alter the artists or programme concert should circumstances beyond our control make this necessary. for any

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HUDDERSFIELD Cassia 80 MUSIC SOCIETY LL WT. Ninety Ninth Season 2016-2017 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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ARTS Committee Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk 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, Hilary Norcliffe, Christine Stanton, Julian Rushton, 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 ♫ fiya thall best guisher V Ber Awelch The Cassia Quartet As St Paul's Hall Monday 23 January 2017

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The Cassia Quartet Ha The Cassia String Quartet, formed in 2010, was born out of a passion for the string quartet repertoire. Recipients of the 2013 Musiciens Entre Guerre et Paix Award from the International Académie Ravel, they were finalists in the Trinity Laban Intercollegiate Competition and winners of the 2013 Nossek String Quartet Prize. The Cassia have performed around the UK and further afield at venues such as the Wigmore Hall, The Crucible (for MitR) Salisbury International Arts Festival and Leeds International Concert Series. They played for us on January 19, 2015. Previously mentored by former Lindsay Quartet leader Peter Cropper they are now an associate quartet of Birmingham Conserva- toire, receiving regular coaching from Robin Ireland and Oliver Wille. Collaborations include commissioning and premiering a quartet by the composer Aaron Parker and performing alongside the clarinettist Nicholas Cox, pianist Sally Halsey and the Ely Sinfonia. As an ensemble the Cassia have led workshops for various schools and youth orchestras. The quartet have also enjoyed working alongside several bands, most notably New Order, The Charlatans and Daughter. 2

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String Quartet in C major, op 64 no 1 First performance at the Huddersfield Music Society 1 Allegro moderato 2 Menuetto: Allegretto ma non troppo 3 Allegretto scherzando 4 Finale: Presto Haydn 1732-1809 By the time this was written in 1790, Haydn was 58 and probably the most celebrated composer in Europe. After years of being obliged to compose for his patron Prince Esterházy, Haydn was now free to accept commissions from outside the court. This quartet comes from a set of twelve comprising opus 54 and 55 of which there are three each, and opus 64 containing the usual six quartets. All were composed for Johann Tost, the talented violinist from Haydn's orchestra and lately turned to business through a well-connected marriage. Haydn had spent much of the year in Vienna, staying in the household of Maria Anna von Genzinger, to whom he grew close, and attending Mozart's Cosi fan tutte. C major seems somehow the right key for the cheerful theme which opens the first movement purposefully. The melody is constructed from arpeggios and scales, their rhythmic variety introducing triplets, all beautifully exploited in the counterpoint of the development. In the spirit of delightful exploration Haydn teases us with a typical diversion from the expected ending with a quiet change of key leading to further creativity before the real conclusion. The minuet theme has a characteristic rhythmic lift and begins in the cello part, responded to by the other instruments. Towards the end of the second section the violins invert the tune, followed closely by the viola and cello. The trio has a similar theme but in the minor key and first played by the viola. The third movement again exhibits the same playful aspect. Each part has an opportunity to play the opening theme or part of it whilst the first violin often displays decoratively above the texture. A lilting rustic style characterises the final movement, its melodies featuring repeated notes and phrases often played in thirds by two instruments. The movement is without affectation and ends quietly. 3

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String Quartet no 11 in F minor, op 122 Shostakovich 1906-1975 Last performed at HMS by the Atrium Quartet, 23 January 2012 1 Introduction - Andantino 2 Scherzo - Allegretto 3 Recitative - Adagio Étude - Allegro 4 5 6 7 Humoresque - Allegro Elegy- Adagio Finale - Moderato Shostakovich's eleventh quartet was dedicated to the memory of his friend, Vasili Shirinsky, second violinist and co-founder of the Beethoven Quartet, who had died at the age of 65 in 1965. It may be helpful to remember that the composer had written a vast quantity of film music by the time this quartet was composed. His later ones tend to be much more bleak and minimal, (perhaps reminiscent of the late quartets of Beethoven) reflecting the terrors of living in Stalin's Russia. Like his other later quartets this one has a set of shorter movements with descriptive titles, played without a break. They are often thematically linked; for instance the opening theme is heard in a darker form in the Elegy, and the finale recalls the Scherzo, Etude and Humoresque. From the outset the hopelessness of Shostakovich's world is presented. through sparse textures and angular melodic lines which create frequent dissonance. The second movement is a Scherzo with a childlike and repetitive theme, the third, highly rhetorical in style, explodes in frenzied motifs accompanied by harsh and sustained harmonies. Both fourth and fifth movements are self-explanatory, each with its own ostinato pattern, the former being a fast chromatic run and the latter a slower two-note pattern. The insistent bass line of the sixth movement, a funeral march, evokes darkness and despair. Anguished and impassioned solos abound, as the music moves into a muted epilogue. It recalls the repetitive Scherzo theme against a sustained single bass note. Noteworthy is the striking change in the harmonies which move in parallel lines near the end, perhaps an indica- tion of some hope in, for him, a precarious world. 4 9

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String Quartet in F major, op 59 no 1 (Rasumovsky) Last performed at HMS by the Sorrell Quartet, 27 January 2003 1 2 Allegro Allegretto vivace e sempre scherzando 3 Adagio molto e mesto 4 Thème Russe: Allegro Beethoven 1770-1827 Beethoven wrote this work during his middle period, beginning it in 1806 with a first performance in Vienna soon afterwards. He had already com- posed his famous Waldstein and Appasionata piano sonatas and his third symphony, fourth piano concerto and the first version of his opera 'Fidelio'. The dedicatee of these quartets, Count Razumovsky, himself often playing second violin in performances of Haydn's quartets, asked for "some quartets with Russian melodies, real or imitated" and his request is complied with in the last movement. Of the three Opus 59 quartets, this one was described at the time by the newspaper critic as, 'very long and difficult......deep in thought and composed with enormous skill, but not generally comprehensi- ble'. It is indeed a mature work in which Beethoven has achieved a unique means of expression. Despite its singularity, the first movement follows the tradition of quartet structure which Beethoven inherited, but stretched by extended and skilful development employing remote keys in unconventional parts of the move- ment. The material of the first movement is cleverly constructed from the rising opening cello theme and a more contrapuntal second subject. The development exploits the question and answer phrases of the opening theme, using repetition, inversion and other techniques. The second subject appears with a new triplet accompaniment. The re-occurrence of the opening mate- rial leads the listener to expect a consolidation of the home key as for the recapitulation, but the suspense is prolonged with more development before a return to the second subject in the anticipated tonic key. There is a strong rhythmic insistence behind Beethoven's themes in the Scherzo movement, but also moments when this ceases altogether. It is a complex assembly of different themes in a variety of contrasting moods. 5

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The third and pivotal movement uses the emotional key of F minor, having some affinity with Florestan's soliloquy in Fidelio, which Beethoven was working on at the same time. It contains a myriad of expression from tenderness to rough humour, thoughtful solitude to the violently expressive. The richly ornamental character of its string writing recalls the slow move- ments of late Mozart quintets. Cadenza-like runs lead into the statement of the obligatory Russian-style theme of the final movement. Beethoven turns this into a lively and impetu- ous dance with all his skills of invention applied to its theme. A change to an Adagio section near the end reveals the theme as it originally was; a folk tune entitled, 'Ah! my luck, such luck', in association with a sad folk tale. The quartet concludes at breakneck speed. Saddleworth Concerts Society Millgate Arts Centre, Delph, Saddleworth The Diverso String Quartet Mozart Mendelssohn Shostakovich Programme notes by C. Stanton February 8 2017, 7:30 Divertimento in B flat major, K137 String Quartet No 6 in F minor, Op 80 String Quartet No 8 in C minor, Op 110 6 Tickets, £14, available from Mr Paul Richards, 10 Alfin Close, Hey Farm, Mossley, Ashton under Lyne OL5 9DX or online at www.saddleworthconcertssociety.org.uk

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Society News A warm welcome to our visitors, especially to those who are guests of our subscribers. We hope that you will enjoy this evening of music played by the Cassia String Quartet and will come to some of our concerts listed on the outside cover of the programme and support us in the future. The fund-raising concert is all ready to go on Monday, February 27, here in St Pauls. Tickets are now on sale from members of the commit- tee at £10 each. The proceeds are going towards the additional cost of next season, which is our one hundredth. For those of you who may have missed our earlier announcement, the performers booked for this centenary season are: October 16, 2017 November 6, 2017 December 4, 2017 January 29, 2018 February 12, 2018 March 12, 2018 April 23, 2018 Angela Hewitt, piano Atrium String Quartet Gould Piano Trio Michael Collins, clarinet, and the Brodsky Quartet Sacconi String Quartet Benjamin Frith and Andrew Brownell, pianos. Prazak String Quartet We will be having a second hand CD sale at the March concert so please save any surplus CDs you wish to dispose of and bring them along in February or March. There is a display, "From Ovations to Arias", in Heritage Quay, the University of Huddersfield's archive, for the next few weeks, which includes a case with items commemorating the history of the Society curated with the help of our archivist, Hilary Norcliffe. It is free and open to all so do drop in if you are nearby. 7

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E Philharmonic An exciting programme of music designed to appeal to all the family and especially to introduce children to live orchestral music. Bring your children (grandchildren?) along to an afternoon concert themed on scary animals. CHES Vaughan Williams Prokofiev Rossini Eric Coates John Williams Conductor Compere/Narrator Huddersfield Town Hall Sunday February 12, 2017, 2:30 Overture - The Wasps Peter and the Wolf Overture - The Thieving Magpie Three Bears Suite Jurassic Park Suite Robert Guy Thom Meredith Tickets are available through Kirklees box office, the information centre in the library, on-line, or at the door. 8

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Season's Performances 10th October 2016 QUARTETTO DI CREMONA Haydn: String Quartet in G major, op 77 no 1 Mozart: String Quartet in B flat major, K589 Beethoven: String Quartet in A minor, op 132 7th November 2016 LOUIS SCHWIZGEBEL (PIANO) Schumann: Kinderszenen, op 15 Chopin: Ballades nos 2 and 3 Beethoven: 32 Variations in C minor Schubert: Piano Sonata in C minor, D958 5th December 2016 RNCM SONGSTERS 'Songs of Travel, Songs of Home' Schubert, Fauré, Vaughan Williams, Ivor Gurney, de Falla and Ravel; Also folk song arrangements by Britten. 23rd January 2017 CASSIA STRING QUARTET Haydn: Quartet in C major, op 64 no 1 Shostakovich: Quartet no 11 in F minor, op 122 Beethoven: Quartet in F major, op 59 no 1 (Rasumovsky) 13th February 2017 PRIMROSE PIANO QUARTET Mozart: Piano Quartet in E flat major, K493 Françaix: String Trio (1933) Ravel: La Valse (arr. Cohen) Brahms: Piano Quartet no 1 in G minor, op 25 27th March 2017 LAURA VAN DER HEIJDEN (cello) WITH TOM POSTER (piano) Debussy: Cello Sonata in D minor Schumann: 3 Romances, op 94, arr. for cello and piano Martinu: Variations on a Theme of Rossini Fitkin: "L" Fauré: Cello Sonata no 2 in G minor, op 117 10th April 2017 BENYOUNES QUARTET Mozart: String Quartet in E flat major, K428 Beethoven: String Quartet in F minor, op 95 'Serioso' Mendelssohn: String Quartet in E flat major, op 12 NB This schedule is published in good faith but we reserve the right to alter the artists or programme concert should circumstances beyond our control make this necessary. for any

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HUDDERSFIELD MUSIC SOCIETY L Primuose Piano Quartet W WT. Ninety Ninth Season 2016-2017 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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ARTS Committee Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk 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 Membership Secretary Verity Cridland Tel: 01484 845407 Email: verity@cridland.net OUNCIL 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, Hilary Norcliffe, Christine Stanton, Julian Rushton, 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 Pro The Mo Not Hila Arch

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Huddersfield Music Society Wit Dorthea Upd Programme Alteration The concert was held on: Hilary Norcliffe Archivist Primrose Piano Quartet lo Monday 13th February 2017 Not as printed (the date of the previous concert) 3 All Bar Wish wicha میں Hi 2 بهنام -13 Feb 2017 lu Taman

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ARTS Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk We ack The Unive Treasurer Alastair Cridland 34, Hoyle Ing, Linthwaite, Huddersfield. HD7 5RX Tel: 01484 845407 Email: alastair@cridland.net The So со COUNCIL Committee Membership Secretary Verity Cridland Tel: 01484 845407 Email: verity@cridland.net a. President Stephen Smith Vice President P Michael Lord ENGLAND John D and Hala Id C IVIUNITY Music THE NATIONAL FEDERATION OF MUSIC SOCIETIES

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eividonk Huddersfield Music Society Wit Darthia Vil All Bar Wish for Primrose Piano Quartet the himur Mee St Paul's Hall Monday 23 January 2017 And the الهندسة 13 Feb 2017 Ae Jam Rug ии

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Primrose Piano Quartet Susanne Stanzeleit, violin Dorothea Vogel, viola Andrew Fuller, cello John Thwaites, piano The Primrose Piano Quartet was formed in 2004 by pianist John Thwaites and three of the UK's most renowned chamber musicians (Lindsay, Allegri, Edinburgh, Maggini Quartets). It is named after the great Scottish violist, William Primrose, who himself played in the Festival Piano Quartet. Along- side their performances of the major repertoire, the Primrose Quartet have researched widely the forgotten legacy of 20th century English composers, and have revived a number of remarkable and unjustly neglected piano quartets. Their award-winning recordings feature works by Dunhill, Hurl- stone, Quilter, Bax, Scott, Alwyn, Howells and Frank Bridge. Sir Peter Maxwell-Davies wrote his Piano Quartet for the Primrose in 2008, which was recorded in 2009 for the Meridian label. Also in 2009 an exciting commission, born out of their strong Scottish connections and timed to celebrate Robert Burns's 250th anniversary, was 2 www

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T 1 7 S the "Burns Air Variations". The Primrose invited a number of their compos- er friends to write a short variation each on Burns' "By Yon Castle Wa", and the resulting 30-minute work received premières in Tunbridge Wells, at the Sound Festival, and at Kings Place, London. Sally Beamish, John Casken, Jacques Cohen, Peter Fribbins, Francis Pott, Zoë Martlew, Piers Hellawell and Stephen Goss are among those who contributed. Two new CDs were recorded in 2010 for the Meridian label: Richard Strauss Piano Quartet, Violin Sonata and Cello Sonata; Maxwell Davies' Piano Quartet, the Burns Air Variations and a previously unrecorded Piano Quintet by Dmitri Smirnov. In 2011 the Quartet recorded a CD of Fauré and Brahms piano quartets, performed on a piano chosen by Brahms, and a CD of Schubert chamber works followed in 2014. For 2014/15 The Primrose were selected for the Making Music Concert Promoters' Network for a third time, and they will be featured again in 2017/18. Another busy performing season both in the UK and abroad saw an extensive tour of Denmark, a visit to Germany and the première of a new piano quartet written for the Primrose by leading British composer, Anthony Payne at London's Kings Place. This season also saw the recording of a new CD of Elgar, Payne, Bowen with a recording of Brahms chamber works planned for 2016. Their own festival in the Hampshire Village of West Meon is now in its sixth year, and they were appointed ensemble-in-resi- dence at the Battle Festival in 2016. Halifax Philharmonic Club At the Crossley Gallery, Dean Clough Britten Oboe Quartet Britten Phantasy Quartet op. 2 for oboe & strings Lennox Berkeley String Trio op. 19 Moeran Fantasy Quartet for oboe & strings Mozart Adagio for cor anglais & string trio K 580a Knussen Cantata op. 15 for oboe & strings Mozart Oboe Quartet in F major K 370 Primrose Piano Quartet 3 February 17, 2017, 7:30 Tickets, £18, concessions £16, available from the Square Chapel Box Office, telephone 01422 349422 Please note the venue for this concert.

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Piano quartet in Eb major K 493 Last performed at HMS by the Schubert Ensemble of London, October 28, 1991 1 Allegro 2 Larghetto 3 Allegretto Mozart 1756-1791 This piano quartet is one of three commissioned by the publisher Hoffmeister. He withdrew the commission after receiving the first quartet, on the grounds that it was too complicated. This didn't prevent Mozart from completing two more works for a largely neglected medium in Classical style. Both are gems of the genre, exploiting richer sonorities than those in the more familiar piano trio. The opening is proclaimed by all instruments and answered by a more reflective piano passage. The strings regularly merge together as a single unit to converse with the piano in spirited exchange. The second subject is a tender two-bar melodic motif proposed by the piano alone, later repeated by violin and viola, continuing to form the basis of much sublime counterpoint later on. These two bars are repeated 37 times, mostly played contrapuntally by the strings with tasteful but virtuosic semiquaver accompaniment from the piano. The whole structure is expansive and perfect, and despite a seemingly unequal balance between piano and strings there is no feeling of the piano threatening to overwhelm the other instruments. The beauty of the second movement is in its exchange of simple statements between the piano and the three stringed instruments. Its serenity offers a sense of spaciousness and exquisite harmonic effects support the balanced and flowing vocal lines which recall the perfection of Mozart's operatic arias. The final movement is sparkling and buoyant with much exchange between the two groups of instruments, but from the opening statement the keyboard is definitely in the ascendancy, controlling its progress. There is also much delightful and independent counterpoint from the strings. The movement is infused by a sense of almost unmitigated joy, especially in piano triplet scale passages. The increasing sense of elation builds up to a long trill in the piano part, beneath which there is some simple exchange of string motifs heralding a last return to the complete rondo theme and joined by the strings in building the excitement up until the end. 4

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String Trio (1933) Last performed at HMS by the Leopold String Trio, October 4, 1999 1 Allegretto - Vivo 2 Scherzo - Vivo 3 Andante 4 Rondo - Vivo Jean Françaix reached maturity between the two world wars and studied with Nadia Boulanger. His style owes more to Ravel and Stravinsky than to his French contemporaries and it reflects neo-classical ideas in reviving ideals, forms and textures of the Baroque and Classical periods, but with the added harmonic and rhythmic subtleties of the twentieth century. Jean Françaix 1912-1997 A brief opening movement conveys a gentle freshness and spontaneity through repetitive but varied textures. Its delicacy and transparency are heightened by the addition of mutes. Additional charm is to be found in regular harmonic dissonance and chromaticism despite a firm C major foundation. The Scherzo is playfully ironic with a middle section featuring some attractive rhythmic displacement. The third movement, also muted, starts with a simple childlike tune above a rocking accompaniment, later to be transferred to the viola. The last movement offers lighthearted wit and irony and combines the rhythmic impetuosity of polka and other dance rhythms, punctuated by more reflective sections containing some bizarre effects. The end arrives unexpectedly after a strongly rhythmic assertion of C major. La Valse (arr Cohen) First performance at the Huddersfield Music Society Ravel 1875 - 1937 In its original orchestral version this work, written between 1919 and 1920, was composed for performance by the Ballets Russes in Paris, but Diaghilev de- clared it unfit for the intended ballet. It has since been accepted into the main orchestral repertoire and also arranged by the composer for piano solo and two pianos. 5 It is undoubtedly a tribute to the sensuous Viennese waltz and this one emerges from an insubstantial and fragmentary opening. The music conveys the swirling images and excitement in its early promise, blossoming into the exhilaration of a full-blown waltz complete with vivid and intense colours.

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The Primrose Quartet commissioned its own arrangement from Jacques Cohen in 2016 and tonight's audience can undoubtedly expect huge demands to be made on just four players to re-create the radiance of the symphonic palette complete with brass and percussion. INTERVAL Piano quartet no 1 in G minor op 25 First performance at the Huddersfield Music Society 1 Allegro 2 Intermezzo: Allegro (ma non troppo) 3 Andante con moto 4 Rondo alla Zingarese Brahms 1833-1897 "It combines a troubled Romantic vocabulary with a poised, almost symphonic mastery of musical architecture." Calum MacDonald This remarkable piano quartet was written between 1857 and 1859 when Brahms was employed in the small ducal court of Detmold in Germany. It was first performed in 1861 in Hamburg with Clara Schumann at the piano. Robert Schumann had recently died and Clara had become an emotional focus for Brahms, with much speculation occurring as to their relationship. Throughout, Brahms maintains a fine balance between his instruments despite the richness of his Romantic sonorities. Generally speaking he avoids having the piano playing in the same pitch range as the other instruments, so that it does not compete with them. The quartet begins with a spacious first movement, its Romantic spirit shaped within the confines of Classical principles - for instance, the melodic shape of the first bar underpins the work, returning frequently in various guises, some- times as an accompaniment figure. The second subject, first played by the cello, is extended and lyrical. The long and complex movement assumes the aspect of a journey, with many opportunities for virtuosity; the abundance of octaves in the piano part, especially its left hand, reflect an improved instrument with a richer tone. The string parts often function as a single component within the texture in order to compete with the piano; Brahms often employs streams of decorative arpeggios to allow them to retain prominence. Rising pitch and volume increase tension towards the end but after a huge fortissimo climax the movement concludes with a magical diminuendo. 6

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t d f f 1 a e of d e Played by muted strings, the second movement is a kind of scherzo. Its textures are more delicate, in contrast to the first movement, and the repeated triplets from the cello at the beginning and passed to the viola, characterise this section, also signalling the return of the Intermezzo after a mercurial trio. There are moments of intensity but on the whole this movement is restrained, presenting an air of mystery until a brief but sparkling coda. 13 A richly harmonised Eb major tune from the strings, accompanied by gentle piano arpeggios, opens the third movement. There is a more rigorous dotted rhythm section initiated by the piano in octaves, but this instrument not permit- ted to play the beautiful opening string melody until the very end of the movement. Fierce mood and fast tempi in the final movement recall the excitement of Haydn's 'Gypsy Rondo' piano trio. Much virtuosity and increasing speed is demanded from all parts. Perhaps it reflects Brahms' early life and his concerts with the Hungarian violinist, Remenyi, from whom he learnt much of the Roma (gypsy) music. A variety of contrasting sections enclose the repeating Rondo theme. The brilliance of this piece is created not only by the speed but by the unpredictability of the changes between sections. Programme notes by C. Stanton Thursday, March 30, 2017 at 7:30 University of Huddersfield Chamber Choir and Early Music Ensemble featuring Four's Company St Paul's Hall Directed by John Bryan, with Four's Company (Amanda Babington and David Milsom violins, John Bryan, bass viol and Graham Cummings harpsichord) and John Scott Whiteley (Organist Emeritus, York Minster) Ein feste Burg: a programme reflecting the 500th anniversary of Martin Luther's 95 Theses that began the Reformation, with elegant settings of Lutheran chorales by his contemporaries, dances and sonatas by later German composers, and organ chorale preludes on Lutheran themes by JS Bach. Adult: £7.50, Senior: £5.00, Student: Free For tickets please visit the online store: https://tinyurl.com/zgvzayp, or call 01484 471873. No tickets will be sent out. Entry by name on the door. 7

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Society News We now have the full programme for the fund-raising concert on Monday, February 27. The concert programme is varied and interesting with something to please everyone, including wine available in the interval. The committee will be selling tickets, at £10 each, this evening. The concert programme is: Eve Forshaw and Edith Berryman violins Concerto for 2 violins in D minor, BVW 1043 (1st movement) JS Bach Prelude, Gavotte and Polka Shostakovich, arr. Levon Atovmyan Jacob Coley clarinet New York Counterpoint: for Amplified Clarinet and Tape (1985) Steve Reich b. 1936 Lynda Robertson flute Tim Wilkes piano Sonata for Flute and Piano François Poulenc University of Huddersfield Chamber Choir directed by John Bryan A selection of anthems from the concert being given by the Chamber Choir and others on March 30. See the notice on page 7 for details. Works by Purcell, Blow, Reger and Mendelssohn. Quattro Saxophone Quartet Chloe Cardin-Stewart soprano saxophone Beth Rimmer alto saxophone Ellie Pickard tenor saxophone Ellie Scales baritone saxophone Arrangements of works by Malcolm Arnold, Giuseppe Verdi, John Wall Callcott and Dmitri Shostakovitch David Allsopp, piano Well-known songs on a theme of "Day and Night" *** CD Sale The second hand CD sale, also in aid of the Society's funds, will be at the March concert so please bring any CDs you don't want to the fundraising concert or even the March concert, itself. 8

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A สิน e 8

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Society News We now have the full programme for the fund-raising concert on Monday, February 27. The concert programme is varied and interesting with something to please everyone, including wine available in the interval. The committee will be selling tickets, at £10 each, this evening. The concert programme is: Eve Forshaw and Edith Berryman violins Concerto for 2 violins in D minor, BVW 1043 (1st movement) JS Bach Prelude, Gavotte and Polka Shostakovich, arr. Levon Atovmyan Jacob Coley clarinet New York Counterpoint: for Amplified Clarinet and Tape (1985) Steve Reich b. 1936 Lynda Robertson flute Tim Wilkes piano Sonata for Flute and Piano University of Huddersfield Chamber Choir A selection of antl others on March Blow, Reger and ] Quattro Saxopho Chloe Cardin-Ste Ellie Pickard teno Arrangements of Callcott and Dmit François Poulenc David Allsopp, p Well-known song CD Sale The sec at the March conc... concert or even the March concert, itself. 8 directed by John Bryan

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day, hing will

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Season's Performances 10th October 2016 QUARTETTO DI CREMONA Haydn: String Quartet in G major, op 77 no 1 Mozart: String Quartet in B flat major, K589 Beethoven: String Quartet in A minor, op 132 7th November 2016 LOUIS SCHWIZGEBEL (PIANO) Schumann: Kinderszenen, op 15 Chopin: Ballades nos 2 and 3 Beethoven: 32 Variations in C minor Schubert: Piano Sonata in C minor, D958 5th December 2016 RNCM SONGSTERS 'Songs of Travel, Songs of Home' Schubert, Fauré, Vaughan Williams, Ivor Gurney, de Falla and Ravel; Also folk song arrangements by Britten. 23rd January 2017 CASSIA STRING QUARTET Haydn: Quartet in C major, op 64 no 1 Shostakovich: Quartet no 11 in F minor, op 122 Beethoven: Quartet in F major, op 59 no 1 (Rasumovsky) 13th February 2017 PRIMROSE PIANO QUARTET Mozart: Piano Quartet in E flat major, K493 Françaix: String Trio (1933) Ravel: La Valse (arr. Cohen) Brahms: Piano Quartet no 1 in G minor, op 25 27th March 2017 LAURA VAN DER HEIJDEN (cello) WITH TOM POSTER (piano) Debussy: Cello Sonata in D minor Schumann: 3 Romances, op 94, arr. for cello and piano Martinu: Variations on a Theme of Rossini Fitkin: "L" Fauré: Cello Sonata no 2 in G minor, op 117 10th April 2017 BENYOUNES QUARTET Mozart: String Quartet in E flat major, K428 Beethoven: String Quartet in F minor, op 95 'Serioso' Mendelssohn: String Quartet in E flat major, op 12 NB This schedule is published in good faith but we reserve the right to alter the artists or programme for any concert should circumstances beyond our control make this necessary.

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HUDDERSFIELD MUSIC SOCIETY J WT. Ninety Ninth Season 2016-2017 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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ARTS Committee Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk 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 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 John Bryan, Helen Howden, Hilary Norcliffe, Christine Stanton, Julian Rushton, 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 Laura Van der Heijden, cello Tom Poster, piano Lauravati Tom Toste x St Paul's Hall Monday 27 March 2017

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Laura van der Heijden Winner of the BBC Young Musician Competition in 2012, cellist Laura van der Heijden has already made a name for herself as a very special emerging talent. Born in England in 1997 as the youngest daughter of a Dutch father and a Swiss mother, Laura's musical studies started on recorder at the age of four. After learning with Marina Logie on cello, Laura had gained ABRSM grade 8 dis- tinctions on both cello and piano by the age of ten. Laura's first public performance as a cel- list was at the age of 9 with the Jupiter Chamber Orchestra. From 2005 to 2014 Laura was a student at the Royal College of Music Junior Department, where she learned piano with Emily Jeffrey and participated in many ensembles. Since 2008 Laura has been a student of the renowned British-Russian cellist Leonid Gorokhov. During her young life Laura has already had many prizes and awards bestowed on her. At the age of 15, Laura was awarded the title of BBC Young Musician 2012, performing Walton's Cello Concerto with Kirill Karabits and the North- ern Sinfonia at The Sage, Gateshead. She was awarded the Director's Prize (2012) and more recently the Esther Coleman Prize (2014) for outstanding contributions to the RCM Junior Department. In November 2013 she played the Elgar cello concerto with the Huddersfield Philharmonic Orchestra. In Septem- ber 2014 Laura was awarded the Landgraf von Hessen Prize at the Kronberg Academy's prestigious international masterclasses. Following her A-levels, Laura spent a gap year dedicated to the cello. It included her debuts in Germany, New Zealand and Australia, performances with the Royal Philharmonic Orchestra, extensive recital tours in the UK, as well as new chamber music projects with Peter Limonov, and with the trio she formed with Huw Watkins and violinist Tobias Feldmann. In October 2016 she joined St. John's College Cambridge to extend and deepen her understanding and knowledge of music. Laura plays a 1780 cello by Joseph Hill, loaned to her by the Boileau family, and is an Ambassador for both the Prince's Foundation for Children & the Arts and Brighton Youth Orchestra. 2

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Tom Poster is internationally recognised as a pianist of outstanding artistry and versa- tility, equally in demand as soloist and chamber musician across an unusually ex- tensive repertoire. Since his London con- certo debut at the age of 13, Tom has appeared in a wide-ranging concerto reper- toire of over 40 major works. Equally at home directing Mozart and Beethoven from the piano as in the high-octane virtu- osity of Rachmaninov or Ligeti, Tom has appeared as soloist with orchestras ranging from the BBC Philharmonic to the St Pe- tersburg State Capella Philharmonic, col- laborating with conductors such as Vladimir Ashkenazy, and Yan Pascal Tortelier. Two major new concertos have recently been written for Tom by David Knotts and Martin Suckling, premiered in 2015 and 2016. Other recent highlights include debuts with the Ulster Orchestra in Belfast and with the Philharmonia at the Royal Festival Hall. Tom Poster V Tom features regularly on BBC radio and television and has made multiple appearances at the BBC Proms. He has given solo recitals throughout the UK and in Canada and France, Germany, Spain and Switzerland. Tom enjoys established duo partnerships with Alison Balsom, Guy Johnston, and Elena Urioste, and collaborates with Ian Bostridge, Laura van der Heijden, Steven Isserlis and Huw Watkins. He has performed piano quintets with the Brodsky, Callino, Carducci, Danish, Elias, Endellion, Heath, Martinu, Medici, Navarra, Sacconi, Skampa and Tippett Quartets. Highlights of the 2016/17 season in- clude two appearances at the Wigmore Hall, curating and performing four concerts of French chamber music for BBC Radio 3 at the Roman River Festival, and a major residency at Wilton's Music Hall as both pianist and composer. Tom studied with Joan Havill at the Guildhall School of Music and Drama, and at King's College, Cambridge, where he gained a Double First in Music. He won First Prize at the Scottish International Piano Competition 2007, and the keyboard sections of the Royal Over-Seas League and BBC Young Musician of the Year Competitions in 2000. 3 A lifelong devotee of the Great American Songbook, Tom's arrangements of Gershwin, Cole Porter and others have been extensively performed and recorded.

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Cello Sonata in D minor, op 117 Last performed at HMS by Alice Neary and Gretel Dowdeswell, January 24, 2000 1 Prologue: Lent, sostenuto e molto risoluto 2 Sérénade: Modérément animé 3 Finale: Animé, léger et nerveux Debussy 1862-1918 'The first movement of the cello sonata is short, the string line so sustained, so spacious in its troubadour-like arabesques, that the music achieves an expres- sive grandeur.' Wilfred Mellers This short sonata was planned to be one of Six sonates pour divers instruments composed by Debussy at the end of his life. Three were completed, the other two being for violin and for flute, viola and harp. The second cello sonata is subtitled Pierrot fait fou avec la lune and reflects a late nineteenth and twenti- eth century interest in reviving the Renaissance Commedia dell'arte characters with Pierrot as the colourful clown. A poem on the subject by Albert Giraud had inspired Schoenberg to compose his Pierrot Lunaire, and possibly De- bussy also, in this work. Despite its comparative brevity the work is intense, an apparent distillation of his composing technique, as found in other late chamber works such as the piano trio and string quartet. A kind of Baroque decorative turn calls for attention in the piano opening introducing the first movement. As the cello joins in, its flexible melodic lines are constructed from fragmentary phrases but the music remains spacious and connected, the instruments communicating and merging as a single entity. An introspective drooping motif from the cello is an example of how a small idea leads to fluent and extended exchange. A rising four-note scale from the cello generates further energy and fervour in both parts. The music is a reminder of the continually transient textures of Debussy's ephemeral and exotic sound world, much derived from the composer's idiosyncratic piano repertoire. The cello ends gently and reflectively to recall the opening piano embellishment, ultimately concluding on a magical major chord. In the Sérénade 'Debussy evokes a world of delicate artifice - the world of Pierrot is programmatic (Mellers). The players interconnect through distinc- tive and imaginative instrumental effects; slides and pizzicato on the cello. Moments of tenderness and more bizarre behaviour continue and alternate to end in an imprecise haze. 4

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J 0 The Finale is a dance movement with regular and strong metre at the start, with a challenging and elaborate piano part. The strong rhythm does not always rule however, giving way to a central section of expressive rubato and a chromatic cello line before returning to the rhythmic ascendancy of the beginning. This unique and visionary sonata, packed with intensity and colourful textures, confirms Debussy's place in musical history as one of a handful of true innovators. Three Romances op 94 First performance at the Huddersfield Music Society 1 Nicht schnell (not fast) 2 Einfach, innig (simple, heartfelt) 3 Nicht schnell Schumann 1810-1856 These pieces were first performed in 1850 by violinist François Schubert and the composer's wife, Clara, for family and friends, but they did not receive a public performance until 1863, long after the composer's death. Originally composed for oboe and piano as a Christmas present for Clara, they were later arranged for violin and clarinet at Schumann's own behest and have since been especially welcomed by cellists; some earlier Romances intended for cello, always a favourite instrument for the composer, are lost. The truth is that their lyrical style would be welcomed by almost any instrument. All three are in ternary form. In the first an extended melodic line is reminis- cent of many of Schumann's songs. The second Romance has a more intimate style; the definition, German Einfach, innig means 'simply, inward', but there is no English word which can accurately capture the introspection of innig. This piece has a stormy middle section. Questioning phrases in the cello part which open the third piece convey an air of mystery, characteristic of the piece and it has a placid middle section in a major key, introduced by the piano. These pieces sit well for the cello with their fluid and expressive melodies but they would be taxing in a different way for oboe, demanding very good breath. control. 5

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Variations on a Theme of Rossini Last performed at HMS by Caroline Dale and Keith Swallow, December 7, 1981 Martinu was himself a violinist and wrote sonatas for both violin and cello. He left his home in Prague in 1923, thereafter spending time in Paris, the United States and finally Switzerland. Although he remained essentially a Czech composer, his music inevitably shows the influence of European composers whose music he had access to. This set of variations was written in 1942 for the Russian-born cellist Gregor Piatigorsky who, like Martinu, was exiled from his home country. The grandiloquent piano opening is followed by a jocular theme played tongue-in-cheek. It precedes two equally light-hearted but versatile and contrasting variations. The percussive quality of the piano plays a vital part in the quick-witted and sparkling banter between the instruments. Martinu 1890 - 1959 The pivotal point of four variations is an unexpectedly withdrawn third, where the mood retreats from the previous teasing and baiting into reflection and intimacy, also achieved through a restricted range of pitch. After a sudden return to high spirits, the music returns into some brilliant play from both instruments ending in a typically brilliant Italian operatic display. INTERVAL "L" First performance at the Huddersfield Music Society These are Fitkin's own notes: Fitkin b 1963 "L" was composed for Yo-Yo Ma and Kathryn Stott in the summer of 2005. The piece pitches some fairly agitated music alongside plateaus of more stable material. It is occasionally kitsch, often brutal and sometimes a little sensual. As the piece progressed I wanted to develop a sense of line in the cello that ran perpendicular to the somewhat vertical nature of the piano writing. 6 The title L is for line, for lust, for life and for longing. It is also Latin for 50. Happy Birthday Yo-Yo.

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59 He ed ch rs ne is d d n Cello Sonata no 2 in G minor, op 117 First performance at the Huddersfield Music Society 1 Allegro 2 Andante 3 Allegro vivo Fauré 1845 - 1924 'I want to tell you that I'm still under the spell of your beautiful Cello Sonata The Andante is a masterpiece of sensitivity and expression and I love the finale, so perky and delightful.' Vincent d'Indy wrote the above to his old friend Fauré after the work's first performance given by cellist André Hekking with pianist Alfred Cortot in 1922. It is the second of two sonatas composed for cello, this one written four years after the first which was a less approachable but beautiful work, undoubt- edly coloured by the First World War. As so often happens, this sonata provides an example of another composer producing some of his most consum- mate works towards the end of his life and against the odds: Fauré's health was breaking down at 76 years old and he was suffering from increasing deafness. Nevertheless his determination to continue composing resulted in this and some of his most beautiful chamber music, including the piano trio and a string quartet. The flowing opening is a conversation between the instruments, their relaxed interplay often in canon. The second theme is characterised by a falling third and again is shared between the instruments. The movement is continuous, rarely pausing for breath, the intensity rising and falling with the rapidly changing dynamic level. The origins of the second movement were in a funeral elegy for wind band composed earlier that year for the centenary of the death of Napoleon. The tension is in the cello part which produces a perpetual outpouring of beautiful and sustained melody rising to passionate declamation, and dying away to the end. Finally a movement confirms the confidence of the work with quicksilver movement and a mood of unsuppressed delight. Contrasting passages of brilliance and reflection allow both instruments to engage in much virtuosity, leading to a dazzling ending. Programme notes by C. Stanton 7

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Music Society News Subscription Tickets. The Centenary Season's brochure is now being distrib- uted and subscription tickets are on sale both before, in the interval, and following the concert. They are priced at £105 for the seven concerts, a substan- tial discount on the £140 you would pay if you were to buy the tickets separately. They will, of course, be sold during the Benyounes Quartet concert in April, and they can also be obtained from the address shown in the brochure. CDs, kindly donated by our subscribers and guests, are on sale at the back of the hall in aid of the funds for the Centenary Celebration Concerts. There will be A Midsummer Serenade in the Parish Church on June 26 as part of the Centenary Fundraising Celebrations: light refreshments, information about the church and the history of the Society, and organ music played by our President. Tickets are available during this and the next concert, from the church, and elsewhere. See the flyers for more information. University of Huddersfield Chamber Choir and Early Music Ensemble featuring Four's Company St Paul's Hall Thursday, March 30, 2017 at 7:30 Directed by John Bryan, with Four's Company (Amanda Babington and David Milsom violins, John Bryan, bass viol and Graham Cummings harpsichord), and John Scott Whiteley (Organist Emeritus, York Minster) Adult: £7.50, Senior: £5.00, Student: Free For tickets please visit the online store: https://tinyurl.com/zgvzayp, or call 01484 471873. No tickets will be sent out. Entry by name on the door. Friday, March 31, 2017, 7:30 Halifax Philharmonic Club At the Crossley Gallery, Dean Clough Cremona Quartet Webern Mozart Beethoven 6 Bagatelles, op 9 Quartet in G major, K387 Quartet in B flat major, op 130, with Grosse Fugue, op 133 Tickets, £18, concessions £16, available from the Square Chapel Box Office, telephone 01422 349422 Please note the venue for this concert. 8

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Season's Performances 10th October 2016 QUARTETTO DI CREMONA Haydn: String Quartet in G major, op 77 no 1 Mozart: String Quartet in B flat major, K589 Beethoven: String Quartet in A minor, op 132 7th November 2016 LOUIS SCHWIZGEBEL (PIANO) Schumann: Kinderszenen, op 15 Chopin: Ballades nos 2 and 3 Beethoven: 32 Variations in C minor Schubert: Piano Sonata in C minor, D958 5th December 2016 RNCM SONGSTERS 'Songs of Travel, Songs of Home' Schubert, Fauré, Vaughan Williams, Ivor Gurney, de Falla and Ravel; Also folk song arrangements by Britten. 23rd January 2017 CASSIA STRING QUARTET Haydn: Quartet in C major, op 64 no 1 Shostakovich: Quartet no 11 in F minor, op 122 Beethoven: Quartet in F major, op 59 no 1 (Rasumovsky) 13th February 2017 PRIMROSE PIANO QUARTET Mozart: Piano Quartet in E flat major, K493 Françaix: String Trio (1933) Ravel: La Valse (arr. Cohen) Brahms: Piano Quartet no 1 in G minor, op 25 27th March 2017 LAURA VAN DER HEIJDEN (cello) WITH TOM POSTER (piano) Debussy: Cello Sonata in D minor Schumann: 3 Romances, op 94, arr. for cello and piano Martinu: Variations on a Theme of Rossini Fitkin: "L" Fauré: Cello Sonata no 2 in G minor, op 117 10th April 2017 BENYOUNES QUARTET Mozart: String Quartet in E flat major, K428 Beethoven: String Quartet in F minor, op 95 'Serioso' Mendelssohn: String Quartet in E flat major, op 12 NB This schedule is published in good faith but we reserve the right to alter the artists or programme for any concert should circumstances beyond our control make this necessary.

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Ben you'res SQ. 10 April 2017. HUDDERSFIELD MUSIC SOCIETY [[| WT. Ninety Ninth Season 2016-2017 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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ARTS Committee Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk 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 OUNCIL 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, Hilary Norcliffe, Christine Stanton, Julian Rushton, 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 you Benyounes Quartet St Paul's Hall Monday 10 April 2017 2:062 Lom Byanes

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Zara Benyounes, violin Hannah Dawson, violin Tetsuumi Nagata, viola Kim Vaughan, cello Benyounes Quartet The polish of the Benyounes Quartet was new... they already seem sea- soned veterans with their tight ensemble and confident projection. The Times - Winners of the 2012 International Sandor Vegh String Quartet Competi- tion in Budapest and 2nd prize winners at the 2014 Orlando International String Quartet Competition, the Benyounes Quartet is gaining a reputa- tion as one of the most engaging, dynamic and successful young quartets to have emerged from the UK in recent years. This year the four founding members of the quartet celebrate 10 years since its formation at the Royal Northern College of Music. Having completed their undergraduate studies, the Benyounes Quartet went on to win the Royal Philharmonic Society's prestigious Julius Isserlis Schol- arship, funding further studies with Professor Gabor Takacs-Nagy at the Haute Ecole de Musique de Geneve. Here they won the conservatoire's most esteemed Prix d'Excellence. The quartet held the Richard Carne Junior Fellowship at Trinity Laban Conservatoire of Music and Dance for two years and is currently resident at Bangor University. Recent notable performances include concerts at Vienna Konzerthaus, Wigmore Hall Coffee Concert Series, Queen Elizabeth Hall, West Cork Chamber Music Festival, Bellerive Festival, North Norfolk Festival, Mondsee Festival, Verbier Festival, Festival d'Aix-en-Provence, Alde- burgh 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 and were subsequently invited to perform for the Aldeburgh Music Britten Centenary Weekend (broadcast live on BBC Radio 3). 2 E le (₁ W A a 11 E A V C T

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S l S "S g n 1. e S e ce S, k al. et ed m ks sic HUDDERSFIELD MUSIC SOCIETY Benyounes Quartet Monday 10 April 2017 PERSONNEL & PROGRAMME CHANGE Emily Holland (violin) and Sara Roberts (viola) are taking maternity leave in March. They will be replaced by Tetsuumi Nagata (viola) (who played for the quartet last time they performed in Huddersfield with us) and Hannah Dawson (violin) from the Sacconi Quartet. As a consequence of these changes, the quartet are making a slight alteration to the programme, to replace Mozart String Quartet in E flat major, K428, with Mozart's String Quartet in C Major, K.465 'Dissonance' The rest of the programme is unchanged: Beethoven String Quartet in F minor, Op.95 'Serioso' Mendelssohn String Quartet in E flat major, Op.12 We hope that you will still find this an enjoyable concert. David Allsopp, Secretary. Tel: 07525 337233 Email hudds music soc@yahoo.co.uk

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I S S g n 1- ne 'S ne ce us, ork al. de- tet ted orm rks usic The quartet continues to broaden its repertoire by initiating collaborative chamber music and cross-arts projects; in 2012 the quartet founded Quercus Ensemble, 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'. In 2016, the quartet took over the Artistic Directorship of Alfriston Summer Music - a highly successful festival in Sussex that is in its 12th year. They recently released their debut recording - Mozart Piano Con- certos with pianist Jeremy Young on Meridian Records and are part of a collaborative album of the complete works for string quartet by Men- delssohn, released by Champs Hill (BBC Music Magazine's Critic's Choice, Sept 14). Emily Holland, who played second violin for us in April 2014, is current- ly on maternity leave which has necessitated the change to the pro- gramme advertised. 3

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String quartet in C, K465 - Dissonance Last performed at HMS by the Cavaleri String Quartet, December 7, 2015 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 as 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 describes a radical introduction avoiding any hint of the home key until its final bar. With the introduction of a short rising motif against repeated quavers at a faster speed, and clearly in C major, the main section of the sonata form movement is introduced. The semiquaver second subject provides a good foil for the first, its brilliance contrasting with the smoother first idea. This compact two bars from which the first subject is grown provides most of the material for the development section. 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 within the counterpoint. The dissonances of its often suspended harmo- nies create moments of intense beauty. The chromatic first violin opening figure of the third movement 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 leading to a temporary halt, after which a longish coda completes the quartet in irrepressible high spirits. 4

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String quartet in F minor, op 95 - Serioso Last performed at HMS by the Heath String Quartet, December 5, 2011 Beethoven 1770-1827 1 Allegro con brio 2 Allegretto ma non troppo 3 Allegretto assai vivace ma serioso 4 Larghetto espressivo - Allegretto agitato - Allegro This quartet was written in 1810 at a less fruitful time for Beethoven, enduring increasing deafness and disappointment from a thwarted love affair, both of which severely affected his output during that year. It was a radical and introspective work, difficult for the public to accept even after the controversial Razumovsky quartets. The serioso third movement underlines the subjective and troubled nature of the music as does the savage unison of the opening of the first movement. Its palpable aggression is barely contained throughout the short, compressed movement and the challenging dissonances and key changes are often startling; for example, the surprise of sudden upward unison major scales for which there is no aural preparation. The tension is temporarily released by a simple descending scale from the cello at the start of the second movement. Later a slow fugue, introduced by the viola, unwinds, reflecting Beethoven's intense interest in Bach's counterpoint at that time. The clarity of its controlled and reflective contrapuntal textures, neverthe- less, do not conceal intimations of dark and profound emotion. The movement finally comes to rest on an abstruse diminished seventh which links directly into an agitated and painful third movement. Its only relief is to be found in a gentler major trio-substitute of smooth chords against a dancing first violin accompani- ment. A gentle sighing introduction at the beginning of the final movement seems to indicate an acceptance of fate on Beethoven's part and leads into a mood of buoyant cheerfulness, albeit punctuated by accents and extreme dynamics. The sudden appearance of very fast quavers in the scurrying coda concludes the work triumphantly in a major key, almost in denial of previous distress. INTERVAL 5

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String quartet in Eb major, op 12 First performance at the Huddersfield Music Society 1 Adagio non troppo - Allegro non tardante 2 Canzonetta: Allegretto 3 Andante espressivo 4 Molto allegro e vivace Mendelssohn published six string quartets during his short lifetime, this one composed in 1829 during an extended trip to the British Isles, when he also composed the Hebrides Overture and his Scottish symphony. He revered the music of Bach and in the same year conducted a performance of Bach's St Matthew Passion. Mendelssohn wrote for most of the chamber combinations for strings, or strings and piano, using Classical forms. He was inspired by the ideals and music of Beethoven which fed into his own compositional style, combined with his own inclination towards Romantic harmony and its key relationships. The first movement of the quartet's four movement structure is in sonata form, the Canzonetta is the equivalent of a scherzo and the slow third movement leads directly into the fourth. Mendelssohn 1809-1847 A beautiful slow introduction opens the work, its sustained contrapuntal texture calm and searching. As the faster main theme of the movement begins, tastefully decorated with typical Mendelssohn arpeggiated accompaniments, there is a feeling of release after the intensity of the previous section. Although this exposition is largely accompanied first violin melody, the texture becomes more imitative in the development section. Towards the end there is a tran- quillo section where the first violin drops out for thirteen bars, before a relaxed progression to the end. Throughout the movement there is the constant ebb and flow of ideas from the four voices, each claiming briefly then relinquishing the musical spotlight. The appealing Canzonetta in G minor is often played on its own. Its textures are light and dance-like, the use of pizzicato and question/answer techniques. accentuating its rhythms. A change of key to G major in the central section introduces a radiance to the music, its detached semiquavers first presented over a drone in the two lower parts, their roles exchanged later on. Rapid key changes increase the excitement and semiquaver motifs pass between the parts, almost seeming to tumble over one another. A slightly stern unison passage brings back order, leading to the return of the first section. () 6 T S 0 n f

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347 ne SO he St ns he e, ey is d al S, IS, gh es n- ed nd The es es on ed ey he on The slow movement rivals some of Beethoven's in its profundity and expres- siveness, the melody supported by rich harmonies with a strong bass line. Its opening phrase is closely allied to that of the slow introduction at the begin- ning of the quartet. Although its serious and beautiful melody is largely in the first violin part, there is complimentary movement in the other parts, jointly contributing to the harmony in creative ways. This movement proceeds calmly apart from a very short dramatic cadenza just before the intense and contrast- ing final movement, whose sudden change to rapid and fiery triplet movement is breathtaking. Its unexpected accents and changes of speed mirror Beethoven's rhetoric. Also in common with his mentor, Mendelssohn selects small nuggets of rhythm to be shared and exchanged in all parts. The highly rhythmic movement alternates with more sustained sections, heightening the emotional intensity towards the end where the first violin has an extended solo cadenza. Programme notes by C. Stanton Philharmonic Come and hear this programme which includes Martyn Jackson, who gave a very successful recital at HMS in February 2014, playing the popular Dvorak concerto, which follows the boisterous Berlioz overture. After the interval comes "The Year 1917" in another centenary year! Berlioz Dvorak Shostakovich Conductor Soloist Huddersfield Town Hall Saturday April 29, 2017, 7:30 Overture Le Carnival Romain Violin Concerto no 1 Symphony no 12- "The Year 1917" - Robert Guy Martyn Jackson 7 Tickets are available through Kirklees box office, the information centre in the library, on-line, or at the door.

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Music Society News Subscription Tickets are on sale both before the concert and in the interval. They are priced at £105 for the seven concerts, a substantial discount on the £140 you would pay if you were to buy the tickets separately. If you were not at the last concert, or if you would like additional brochures to show to your friends, please pick them up from the subscription desk. A Midsummer Serenade is taking place in the Parish Church on June 26 as part of the Centenary Fundraising Celebrations: light refreshments, information about the church and the history of the Society, and organ music played by our President. Tickets are available during the concert, from the church, and elsewhere. See the flyers for more information. Centenary Celebration Buffet Supper. As advertised in the brochure for next season we are holding a Centenary Celebration Buffet Supper on Monday January 8, 2018 in the foyer of the Creative Arts Building in the University. On arrival at 6.30 there will be a glass of wine or a soft drink. A sit-down buffet of hot and cold food will be served from 7.00pm. Further drinks. can be purchased at a bar. There will be a musical interlude by Jonathan Fisher between courses, and the evening will finish with David Allsopp, Secretary, playing, in his inimitable style, suitable popular music to send us on our way. Tickets are available at £20 a head in advance from Verity Cridland, Quarry House, Hoyle Ing, Linthwaite HD7 5RX and will be sold at concerts from the beginning of the next season. Why not get together a table (of up to 10 people) and invite your friends to celebrate our centena- ry, welcome the New Year and end the festive season with a bang? 8

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Season's Performances 10th October 2016 QUARTETTO DI CREMONA Haydn: String Quartet in G major, op 77 no 1 Mozart: String Quartet in B flat major, K589 Beethoven: String Quartet in A minor, op 132 7th November 2016 LOUIS SCHWIZGEBEL (PIANO) Schumann: Kinderszenen, op 15 Chopin: Ballades nos 2 and 3 Beethoven: 32 Variations in C minor Schubert: Piano Sonata in C minor, D958 5th December 2016 RNCM SONGSTERS 'Songs of Travel, Songs of Home' Schubert, Fauré, Vaughan Williams, Ivor Gurney, de Falla and Ravel; Also folk song arrangements by Britten. 23rd January 2017 CASSIA STRING QUARTET Haydn: Quartet in C major, op 64 no 1 Shostakovich: Quartet no 11 in F minor, op 122 Beethoven: Quartet in F major, op 59 no 1 (Rasumovsky) 13th February 2017 PRIMROSE PIANO QUARTET Mozart: Piano Quartet in E flat major, K493 Françaix: String Trio (1933) Ravel: La Valse (arr. Cohen) Brahms: Piano Quartet no 1 in G minor, op 25 27th March 2017 LAURA VAN DER HEIJDEN (cello) WITH TOM POSTER (piano) Debussy: Cello Sonata in D minor Schumann: 3 Romances, op 94, arr. for cello and piano Martinu: Variations on a Theme of Rossini Fitkin: “L” Fauré: Cello Sonata no 2 in G minor, op 117 10th April 2017 BENYOUNES QUARTET Mozart: String Quartet in E flat major, K428 Beethoven: String Quartet in F minor, op 95 'Serioso' Mendelssohn: String Quartet in E flat major, op 12 NB This schedule is published in good faith but we reserve the right to alter the artists or programme for any concert should circumstances beyond our control make this necessary.

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HUDDERSFIELD MUSIC SOCIETY LL WT. Ninety Ninth Season 2016-2017 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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ARTS Committee Secretary David Allsopp Tel: 01484 688105 Email: hudds_music_soc@yahoo.co.uk President Stephen Smith Vice President P Michael Lord OUNCIL Alastair Cridland 34, Hoyle Ing, Linthwaite, Huddersfield. HD7 5RX Tel: 01484 845407 Email: alastair@cridland.net Treasurer ENGLAND Membership Secretary Verity Cridland Tel: 01484 845407 Email: verity@cridland.net We acknowledge with thanks support for our concerts from The University of Huddersfield to which the Society is affiliated. and John Bryan, Helen Howden, Hilary Norcliffe, Christine Stanton, Julian Rushton, 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 27 February 2017 Fundraising Concert in aid of the Centenary Celebration Season The Society acknowledges with grateful thanks the time and talent given by all our performers without which this concert could not have taken place. Many thanks also to all of you for supporting us this evening, and especial thanks to those of you who have given us some extra financial help for the Centenary Season. Wine will be available at £2 a glass in the interval and, for those who like a bit of a challenge, there are quiz sheets being sold at £1 each. A modest prize will be given to the winner at the April concert. Eve Forshaw and Edith Berryman violins Concerto for 2 violins in D minor, BVW 1043 (1st movement) JS Bach Prelude, Gavotte and Polka Shostakovich, arr. Levon Atovmyan Eve Forshaw and Edith Berryman are both pupils of Caroline Goddard, learning the violin with her for 8 and 6 years respectively. Eve is 14 years old and a student at North Halifax Grammar School, who achieved distinction in her grade 7 Associated Board exam in June 2016. She has won awards in local festivals as well as well as taking part in an international Suzuki event at the Royal Albert Hall. She leads the second violins in the Young Philhar- monia orchestra of Square Chapel. Edith is 11 years old and is a pupil at Clough Head Junior and Infant school. She passed grade 5 Associated Board exam in June 2016 with distinction and has had many successes with local festivals such as the Haydn Wood, Mrs Sunderland and Holmfirth. 1

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Jacob Coley clarinet New York Counterpoint: for Amplified Clarinet and Tape (1985) Steve Reich b. 1936 Fast Slow Fast American composer Steve Reich (1936) is associated with the creation of minimal- ist music, along with fellow composers Terry Riley, Philip Glass and La Monte Young. Many of Reich's compositions feature the use of tape to loop, shift and repeat material, and New York Counterpoint makes use of tape to pre-record eleven clarinet lines (including two bass clarinet lines), whilst a solo clarinettist plays the solo line live over the top, although the piece can also be played as an ensemble, with each line played by a different clarinettist. This performance uses a recording made by Matthew Hunt (clarinettist of Ensemble 360), and the aim is to blend the solo clarinet line with the 'accompanying' lines played by Hunt. Lynda Robertson flute Tim Wilkes piano Sonata for Flute and Piano 1 Allegro malinconico 2 Cantilena: Assez lent 3 Presto giocoso Francis Poulenc 1899 - 1963 Lynda studied music at Huddersfield University, majoring in flute performance. After graduating in 2002, she worked for several years as a peripatetic woodwind teacher for Bradford Music Service, but now works exclusively as a private music teacher. She is principal flute in Slaithwaite Philharmonic Orchestra and also performs with other orchestras and ensembles, both locally and further afield. Tim worked for Kirklees as an accountant but was always interested in music. Having had piano lessons for many years in youth, he returned to regular playing in middle age and began to accompany singers and instrumentalists at competitions and exams. He is currently the accompanist for several choirs in the Huddersfield area and is choir director at St Barnabas church. He has sung in Huddersfield Choral Society since 1989. Poulenc completed the flute sonata in 1957. The first movement starts in 2/4 time with the characteristic four demisemiquaver run in the flute part, which is repeated throughout the piece. It contains double tonguing, and some tricky fingerwork in places. It also features Poulenc's trademark motif in the middle section, and ends quietly, leading into the second, slower movement. This begins with two quavers on the piano, which are echoed by the flute during the course of the next two bars. The haunting tune features minimal decoration, and is accompanied by flowing 2

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quavers on the piano. In the middle of the piece, the atmosphere suddenly changes to loud high notes on the flute, reaching a top B. However soon after it returns to the original slow tune. The final movement is predominantly loud and fast, and Poulenc's "trademark motif" mentioned above reappears in the contrasting central section. INTERVAL University of Huddersfield Chamber Choir directed by John Bryan Sophie Cameron, Jennifer Dowdell, Monique Goulé, Naomi Longhurst, Julia Morgan, Leah Norton, Mollie Smith, Laura Turner sopranos Anna Battersby, Charlotte Collier, Gemma Collins, Emily Mooney, Emily Porter, Danni Rivett altos Sean Brines, Jacob Coley, Simon Denson, Edmund Le Brocq, Robert Sutcliffe, Tomas Templeman tenors Daniel Barratt, Paul Brines, Rory Burns, Dominic Cheung, George Ford, Adam Gatenby, Charlie Murray, Ruairidh Pattie, James Wood basses Remember not, Lord, our offences Let thy hand be strengthened [1685] Hear my prayer Wirglauben an einen Gott Henry Purcell 1659-1695 John Blow 1649-1708 Purcell Max Reger 1873-1916 (Achtgeistliche Gesänge, Op. 138/8, 1914) Jauchzetdem Herrn (Psalm 100, tr. Luther) Felix Mendelssohn 1809-1847 Purcell and Blow were close friends and colleagues in the Stuart Chapel Royal. Blow probably taught Purcell, and even vacated his position as organist of West- minster Abbey so that his younger colleague could gain some extra income at the time of his marriage. When Purcell died, all to soon, Blow took his old job back again! These three 'full' anthems show the ways in which Restoration composers brought new expressive harmonies to the tradition of English contrapuntal writing, looking both forwards and back. Blow's anthem was written for the coronation service of James II, while Purcell's eight-voice 'Hear my prayer' is possibly the opening of what might have been a much longer piece. 3 This year we celebrate the 500th anniversary of the event that marks the start of the Reformation. Under Luther's influence, Biblical and liturgical texts were translat- ed into German, providing material that composers have set in a variety of ways ever since. The settings by Reger and Mendelssohn show each composer writing beautifully for his varied vocal forces.

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The full programme, performed by the University Chamber Choir and Early Music Ensemble with baroque ensemble Four's Company and organist John Scott Whiteley is on Thursday 30 March at 7.30 pm, here in St Paul's. See www.hud.ac.uk/concerts Quattro Saxophone Quartet Chloe Cardin-Stewart soprano saxophone Ellie Pickard tenor saxophone Beth Rimmer alto saxophone Ellie Scales baritone saxophone Siciliano - Malcolm Arnold originally wrote this piece for brass band, however, it has since then been re-arranged to include wind and percussion as well as for other ensembles. This lyrical arrangement features soprano saxophone as the soloist. Fidanzata Avventurosa An aria from Verdi's first opera Oberto, composed in 1839. Drink to me only with thine eyes John Wall Callcott borrowed playwright Ben Jonson's poem, 'Song: To Celia', and set the romantic lyrics as a glee for two trebles and a bass around 1790. This arrangement for saxophone quartet remains faithful to Collcott's original melody with slight adjustments to voicing and har- mony. Waltz No. 2 - Shostakovich Originally written for the USSR State Jazz Orchestra, Shostakovich's Waltz No. 2 is taken from his Suite for Jazz Orchestra. David Allsopp piano 'Songs of day and night' Oh what a beautiful mornin' from Oklahoma (1943) by Rodgers and Hammerstein Good morning from Singing in the rain (1952) and originally Babes in Arms (1939) by Brown and Freed Night and day from Gay Divorce (1932) by Cole Porter Tonight from West side story (1956) by Bernstein and Sondheim The way you look tonight from Swing Time (1936) by Kern and Fields Blue moon By Rodgers and Hart (1934) All I do is dream of you from Sadie McKee (1934) by Brown and Freed David is the Hon Secretary of the Huddersfield Music Society. He enjoys playing piano for pleasure but he says you will be pleased to know he does not sing. 4 7

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sic ott See ne it er in n 0 S

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Season's Performances 10th October 2016 QUARTETTO DI CREMONA Haydn: String Quartet in G major, op 77 no 1 Mozart: String Quartet in B flat major, K589 Beethoven: String Quartet in A minor, op 132 7th November 2016 LOUIS SCHWIZGEBEL (PIANO) Schumann: Kinderszenen, op 15 Chopin: Ballades nos 2 and 3 Beethoven: 32 Variations in C minor Schubert: Piano Sonata in C minor, D958 5th December 2016 RNCM SONGSTERS 'Songs of Travel, Songs of Home' Schubert, Fauré, Vaughan Williams, Ivor Gurney, de Falla and Ravel; Also folk song arrangements by Britten. 23rd January 2017 CASSIA STRING QUARTET Haydn: Quartet in C major, op 64 no 1 Shostakovich: Quartet no 11 in F minor, op 122 Beethoven: Quartet in F major, op 59 no 1 (Rasumovsky) 13th February 2017 PRIMROSE PIANO QUARTET Mozart: Piano Quartet in E flat major, K493 Françaix: String Trio (1933) Ravel: La Valse (arr. Cohen) Brahms: Piano Quartet no 1 in G minor, op 25 27th March 2017 LAURA VAN DER HEIJDEN (cello) WITH TOM POSTER (piano) Debussy: Cello Sonata in D minor Schumann: 3 Romances, op 94, arr. for cello and piano Martinu: Variations on a Theme of Rossini Fitkin: "L" Fauré: Cello Sonata no 2 in G minor, op 117 10th April 2017 BENYOUNES QUARTET Mozart: String Quartet in E flat major, K428 Beethoven: String Quartet in F minor, op 95 'Serioso' Mendelssohn: String Quartet in E flat major, op 12 NB This schedule is published in good faith but we reserve the right to alter the artists or programme for any concert should circumstances beyond our control make this necessary. BROT