BRITISH MUSIC SOCIETY OF NORTHERN IRELAND 1952 1953 FIFTH RECITAL under the auspices of THE QUEEN'S UNIVERSITY OF BELFAST MAURICE EISENBERG, 'Cello IVOR KEYS, Pianoforte The Sir William Whitla Hall Queen's University, Belfast FRIDAY, FEBRUARY 27th 1953

THE SECOND CHORALE PRELUDE ON "OUR FATHER" SONATA IN D, OP. 102, No. 2 Ludwig van Beethoven (1770-1827) Allegro con brio Adagio con molto sentimento d'affretto, leading to Allegro fugato. Bach-Kodaly This, Beethoven's last 'cello sonata, shows clear evidences of the onset of his "third period", notably the abrupt and mysterious modulations, the profusion of expressive ornament- ation in the piano part of the slow movement and the virile and somewhat fantastic fugue which is the last movement. The second movement contains its wealth of sentiment in the simplest of designs-a nobly pathetic minor tune giving way to a tranquil major section, then returning greatly orna- mented, thereafter to plunge into deep mystery from which the scale-wise fugue subject suddenly emerges. There is a typical pause in the middle of the fugue after which the 'cello announces a new counter-melody. The dynamics have tremendous fluctu- ations between pp and ff. SUITE (SONATA) No. 3 IN C, FOR UNACCOMPANIED 'CELLO Johann Sebastian Bach (1685-1750) 1 Prelude Courauté 5 Bourrees I and II & Allemande 4 Sarabande 6 Gigue Bach's six suites, sometimes entitled sonatas, for unaccom- panied 'cello were long considered unfit for the concert platform -astonishing tours de force, but mere studies nonetheless. That they were revealed anew in their almost inexhaustible variety was almost wholly due to the devoted labour of Casals which should make tonight's performance by his leading pupil an out- standing event. Except for the prelude the movements are all in simple binary form with repeats. INTERVAL

SONATA IN F, OP. 99 Allegro vivace Adagio affetuoso Allegro Passionato Allegro molto In contrast with the somewhat sombre E Minor 'cello sonata this is one of Brahms' most genial and virile chamber works. The first bars set the mood of uninhibited fervour both by the 'cello's incisive rhetoric and the rolling tremolandi on the piano. The slow movement enters as far away from F major as it can, in F sharp major, yet contains an impassioned central section in F minor. Much is made of the telling pizzicato phrase with which it opens. After the scherzo, which is, for the pianist at any rate, more than energetic, the sonata ends with an exuberant rondo whose last entry is a delicious pizzicato one. SERENATA AND ARIA GAVOTTE Johannes Brahms (1833-1897) PIECE IN C SHARP MINOR Igor Stravinsky (1892 Sergey Prokofiev (1891 Nadia Boulanger (1887

Saturday, March 14th DIETRICH FISCHER-DIESKAU HERMANN REUTTER Mailied Sehnsucht Neue Liebe, Neues Leben Wonne der Wehmut The programme will be devoted to settings of poems of Goethe. Prometheus An Schwager Kronos Meeresstille Rastlose Liebe Erster Verlust Erlkönig Drei Harfnergesänge : - Wer sich der Einsamkeit ergibt. An die Türen will ich schleichen Wer nie sein Brot mit Tränen ass Ob der Koran Phänomen Genialisch Treiben Kophtisches Lied I Kophtisches Lied II Baritone. Pianoforte. Beethoven Schubert Hugo Wolf