BRITISH MUSIC SOCIETY OF NORTHERN IRELAND 1953 1954 SIXTH RECITAL under the auspices of THE QUEEN'S UNIVERSITY OF BELFAST THE PASQUIER TRIO JEAN PASQUIER, Violin PIERRE PASQUIER, Viola ETIENNE PASQUIER, 'Cello The Sir William Whitla Hall Queen's University, Belfast FRIDAY, MARCH 19th 1954

Trio in G, Op. 9, No. 1 Ludwig van Beethoven (1770-1827) Trio Adagio-Allegro con brio Adagio ma non tanto e cantabile Scherzo allegro Presto Written in 1797. In his early days, before he came to full- scale orchestral composition, Beethoven experimented with many types of so-called chamber-music. Wind instruments play a great part in them, and some of them derive from the open-air music which a climate so different from ours encouraged. These efforts culminated in the lovely Septet, Op. 20, for strings and wind instruments which Beethoven came to dislike. When he came to write for strings alone, he did not burst straight into the string quartet, to which, in his later life, he was to give an unparalleled significance. There were various string trios (Op. 9 contained three) before he tackled a quartet. It would be a mistake, however, to think that this trio would have liked to be a quartet if it could. It is written with complete mastery for the three instruments and is an impressive work; Beethoven never lost his affection for it. It is to be noted that, in contrast to his predecessor Mozart, he adopts the four regular movements for these Op. 9 works, though he had adopted the looser form- ation of the divertimento in earlier writing. Jean Françaix (1912- ) Allegro vivo Scherzo vivo Andante Rondo vivo It is frequently to be found that outstanding performers or groups of players attract composers to write for them. This trio was written for and dedicated to our distinguished guests of to-night. Its date is 1933. Jean Françaix, at the outset of his career, met some opposition on the ground of the novelty of his idiom. This brief work is unlikely to cause any dismay, for it is decidedly melodious, and very French. The dry wit of the Scherzo and the typical folk-tune effect of the slow movement leave no doubt of their nationality. INTERVAL

Divertimento in E Flat, K.563 Wolfgang Amadeus Mozart (1756-1791) Allegro Adagio Menuetto I Andante Menuetto II Allegro Written in 1788. A divertimento resembles a suite in having more movements than four (Mozart favoured six), but, unlike a suite, does not usually have them in dance form except for the Minuet. This mature and delightful work is a classic model of string trio writing. The variety of tone effects Mozart secures from the three instruments is astonishing, especially if we consider that he relies on straightforward three part writing without double stopping. The Andante is a set of variations. 256 240 736

NEW EDINBURGH STRING QUARTET The B.M.S. is joining with the University in presenting two concerts to be given in the Whitla Hall on Monday and Tuesday, 3rd and 4th May, by the New Edinburgh String Quartet. Tickets will be available for Members of the B.M.S. as announced. Monday, 3rd May : Tuesday, 4th May : Oct. 8 Oct. 29 Nov. 12 Dec. 4 Haydn, Op. 76, No. 1 in G. Beethoven, Op. 18, No. 4 in C Minor. Beethoven, Op. 135 in F. PROGRAMME FOR SEASON 1954-1955 Jan. 21 Feb. 18 Mar. 18 *** Haydn "Lark" Quartet in D. Mozart. Pianoforte Quartet in G Minor. (with Ivor Keys). Schubert, Op. 161 in G. 1954 Campoli and Ernest Lush. To be announced. Vegh String Quartet. Suzanne Danco, Soprano, and Ernest Lush. 1955 Septet of the Wigmore Ensemble. Golden Age Singers. Bela Siki, Pianoforte.