THE BRITISH MUSIC SOCIETY OF NORTHERN IRELAND 1950 1951 FOURTH RECITAL under the auspices of THE QUEEN'S UNIVERSITY OF BELFAST QUARTETTO DI ROMA OSCAR ZUCCARINI (violin) IVO MARTININI (violin) ALDO PERRINI (viola) SILVANO ZUCCARINI (violoncello) The Sir William Whitla Hall FRIDAY, 16th FEBRUARY 1951

Programme Quartet in E flat. K. 428. I Allegro ma non troppo Andante con moto Menuetto (Allegretto) Allegro vivace Mozart This is the third of the six great Quartets dedicated to Haydn. It was written in 1783 and published with the other five in 1785. It is not preoccupied with a single mood, like its pre- decessor, the D minor Quartet, but covers a wide field of musical experience. The first movement opens in a romantic mood, but this disperses in serene good spirits. The calm contemplation of the opening and close of the Andante frame a middle section of mystic longing, in which there is a strange anticipation of the opening theme of Wagner's "Tristan." The Minuet is all brightness, though the bagpipe dronings of the Trio may be regarded as breezy rusticity or mournful imaginings according to one's view of the characteristic bagpipe sounds. The Finale, in rondo form, is full of lightness, joy, and high spirits, and finally whisks itself off in a coda of elf-like gaiety.

Cantari alla Madrigalesca. In one Movement II This work, written in 1928, consists of six episodes of varied and contrasting character and, as the title implies, it bears a relation in style to the Madrigals of the 16th century. Throughout the successive pictures which are drawn the free construction of the period is apparent and their basic relationship is to be found in the style of the work as a whole. The six episodes are played without a pause in order to maintain the continuity. III Malipiero Quartet in E flat. Op. 127. Maestoso Allegro Adagio, ma non troppo e molto cantible Scherzo (Vivace) Finale Beethoven Written in 1824, this Quartet was commissioned by Prince Galitzin, and was first performed in 1825. "It was understood by few, and made a bewildering impression," said a contemporary critic. The first movement is ushered in by a short prelude- maestoso-which appears again twice during the course of the movement. In the Adagio, imitation in the entry of the voices suggests the influence of Palestrina, and the movement consists of a series of inspired variations. The Scherzo, though very extended, is nearer to normal procedure, and the Finale, a compound of Sonata and Rondo form, has glorious melody and impulse swinging through it.