BRITISH MUSIC SOCIETY OF NORTHERN IRELAND 1954 1955 FIRST RECITAL under the auspices of THE QUEEN'S UNIVERSITY OF BELFAST CAMPOLI (Violin) ERNEST LUSH (Pianoforte) The Sir William Whitla Hall Queen's University, Belfast FRIDAY, OCTOBER, 8th 1954

SONATA IN G MINOR Programme I Adagio Presto non troppo Largo Allegro commodo. Guiseppe Tartini (1692-1770) was one of a distinguished group of Italian composers and violinists contemporary with Bach and Handel. He was the founder of a school of violin- playing at Padua, where he spent the greater part of his life. He also made certain improvements in the construction and technique of the bow. Tartini His most famous work is the "Devil's Trill" Sonata, which the composer alleged that he based upon a marvellous perform- ance by the Devil heard by him in a dream. But the Sonata in G minor, sometimes called "Dido forsaken", on account of its dramatic pathos, is certainly not inferior as music to that more sensational composition, which contains nothing as expressive as the opening movement of the work in to-night's programme. II CHACONNE FROM PARTITA No. 2 IN D MINOR (for Unaccompanied Violin) Bach During his term of service as Kapellmeister at Cothen, Bach composed three Sonatas and three Partitas (or Suites) for solo violin, probably for performance by Joseph Spiess, the principal violinist in the orchestra. The second Partita in D minor contains as its finale the famous Chaconne, which is a supreme test, not only of the technical ability and physical endurance of the executant, but also of his musical and intellectual powers.

The first four movements of the Partita are comparatively simple compositions in dance forms derived from Germany (the Allemande, a moderately quick movement), France (the livelier Courante, Shakespeare's Corranto), Spain (the stately Sara- bande), and Italy (the Gigue or Jig, which is a real fiddler's dance, the name being a corruption of the German Geige). The Chaconne also derives from Spain. But all these forms are transmuted out of recognition as dance music by Bach's genius -and none more so than the Chaconne, of which he makes a tremendous 'set of twenty-nine variations on a "ground". The variations fall into four well-defined groups. In the first group the "ground", stated at the outset, predominates, with a second theme as counterpoint. In the sixth, seventh and eighth variations, a new theme comes to the fore, and a fourth appears in the twelfth Variation. These four themes are then summed up in the fifteenth Variation, which forms a central climax. The key then changes to D major and a variant of the third theme is the main material, for the next nine Variations. For the final group of four Variations the minor key is resumed. and the piece ends with a re-statement of the main theme. III SONATA IN F, OP. 24, "THE SPRING" Allegro Adagio molto espressivo Scherzo and Trio Rondo: Allegro ma non troppo Beethoven Although this sonata was not given its title by Beethoven himself, yet its music, by its gay, buoyant mood, its feeling of warmth and sunshine, does certainly justify the name. It has been remarked that this and the other violin sonatas are true duos for the violin and the piano, and in this F major work, the themes and their development are shared equally by both instruments. The principal theme of this first movement, played by both in turn, is brilliant in character. The second, heard a little later, is more forceful, but is followed by a charm- ing little motif, with a reiterated note that is in delightful contrast. It is the secondary subject that occupies most attention in the middle part of the movement, its phrases deve- loped on the pianoforte against ornamented figures from the

violin, the mood of the whole movement being one of serene happiness. The adagio takes the form of variations upon a brief theme, dreamy and languorous as a summer's day, first given out on the pianoforte. The latter has the first variation, a graceful "decoration" on the melody; the violin replies with a minor key version, then the pianoforte plays a still more ornate treatment of the theme; finally the two join in some brilliant passages, which seem to suggest a very ecstacy of quiet happiness. The Scherzo has a quaint little theme with a trio of bustling figures. The finale is a Rondo, the subject of which is a most genial melody varied at each return, with some well contrasted episodes between. Here the mood is one of spirited gaiety. INTERVAL SONATA IN A MAJOR IV Allegro ben moderato Allegro Recitative Fantasia Allegro poco mosso Cesar Franck Franck composed his solitary Violin Sonata in 1886 for Eugene Ysaye, the famous Belgian violinist. In form the work is unusual. The principal movement comes second, the opening Allegretto being in the nature of a graceful prelude. Yet from its first three notes nearly all the material of the music is derived. The figure is transformed in rhythm, but the intervals persist and form the basis of the long, melodic sequences which are a feature of Franck's style. In place of the usual type of slow movement, there is a "recitative", a free fantasia which looks backward to the first movements and forward to the finale, which is in rondo form, with its cheerful main theme started as a canon at the octave.