BRITISH MUSIC SOCIETY OF NORTHERN IRELAND 1955 1956 THIRD RECITAL under the auspices of THE QUEEN'S UNIVERSITY OF BELFAST The Zagreb Soloists Ensemble Violins: Ivan Pinkava Ivan Weiland Josip Klima Dragutin Hrdjok Vilko Bacic Edo Pecaric Tomislav Sestak Violas: Stefano Passaggio Dusan Stranic Stjepan Aranjos Cellos: Fred Kiefer Bass: Zvonko Pomykalo Milan Prosenik Baritone Solo: VLADIMIR RUZDJAK Conductor: ANTONIO JANIGRO The Sir William Whitla Ha Queen's University, Belfast FRIDAY, NOVEMBER 11th 1955

CONCERTO IN D MAJOR Antonio Vivaldi (1675-1741) Soloist Antonio Janigro Vivaldi, the greatest of Venetian composers, is known to us now as the first of the great modern composers for the violin. But like most musicians of his time, he wrote many operas and much church music (he had taken minor orders and was known as "The Red-Headed Priest"), which is now not at all known. His influence on his contemporaries, including Bach, was profound. Of his numerous concertos (he is known to have written 221 for violin and 38 for bassoon) a large number has survived. PROLOGUE, MADRIGAL, CANZONA Claudio Monteverdi (1567-1643) Soloist Vladimir Ruzdjak Cremona's place in musical history is important. It saw the perfection of the violin and was the home of the greatest violin-makers; it also saw the birth of Monteverdi, one of the key figures in the history of music. He was for a time attached. to the ducal court of Mantua and from 1613 till his death was Maestro di Capella at St. Mark's, Venice. He was supreme as a vocal composer, but his influence on instrumental writing, mainly through his accompaniments, must not be overlooked. The mere list of his compositions fills twelve pages of the new edition of Grove's Dictionary of Music. SUITE IN A MAJOR Giovanni Mane Giornovichi (?1740-1804) This composer (whose racial origins seem better indicated by the alternative spellings Jarnevic or Jarnovich) was born in Palermo. He became a violinist of prominence, whom some judges did not hesitate to compare with Paganini. Many cities experienced his art, his conceit and his insolence; indeed, in London, J. B. Cramer challenged him to a duel, but he did not accept. A sojourn in Edinburgh led to the publication of

two works difficult to associate with his back-ground, "Mr. Jarnovichi's Reel, composed by himself," and "Jarnovichi's Horn- pipe". He was not, by the standards of his time, a prolific composer, writing mostly for strings. He died in St. Petersburg. INTERVAL CONCERTO A CINQUE Tomasso Albinoni (1671-1750) A fellow-townsman and contemporary of Vivaldi, Albinoni was one of the few amateurs (in the modern sense of the word) of his day, having no need to earn his living from the profession of music. He composed prolifically (he has 48 operas to his credit); his published work includes over two dozen concerti a cinque, i.e., five-part compositions in the Concerto Grosso form, where the oncerto effect is achieved by the contrast of the various groups of players against one another, not by the contrast of one soloist against a group. FOUR SONGS Purcell (?1659-1695)/Britten (1913- ) "Music for a while." "Turn then thine eyes." "Sweeter than roses." "Man is for the woman made." Arranged from Benjamin Britten's "Orpheus Britannicus" settings, by Vladimir Ruzdjak, by permission of Boosey and Hawkes, Ltd. Soloist-Vladimir Ruzdjak. DIVERTIMENTO IN D MAJOR, K. 136 Wolfgang Amadeus Mozart (1756-1791) Allegro Andante Presto The This work was composed when Mozart was sixteen. catalogue number has been altered by Einstein in the new edition of Köchel to 125a.

NEXT CONCERT FRIDAY, DECEMBER 16th HEATHER HARPER RALPH HOLMES JOHN STREETS The Blessed Virgin's Expostulation Three Greek Epigrams Die Allmacht; Suleika I & II Die Georgine; Meinem Kinde; Schlechtes Wetter; Cäcille 6 La Folia Sonata in C Minor, Op. 30, No. 2 - Caprice No. 3 Chant de Roxane Six Roumanian Dances Soprano Violin Pianoforte Purcell Rainer Schubert R. Strauss Corelli Beethoven Paganini Szymanowski Bartok

Trio Sonata in D minor for treble recorder and oboe, with viola da gamba and harpsichord continuo Largo Allegro Adagio - Vivace A Flemish musician, active in London during the early eighteenth century, Loeillet was a member of the Queen's Theatre Orchestra at Haymarket. In 1710 he left his post. to set himself up as a private music teacher - a highly rewarding move, since his weekly private concerts came to attract many wealthy gentlemen. Descant and sopranino recorders with viola da gamba and harpsichord J B Loeillet (1680-1730) Greensleeves to a Ground Anon 17th century Le Rossignol en Amour Francois Couperin (1668-1733) In 1693, Couperin was chosen by Louis XIV to replace one of the four organists of the Royal Chapel and following his success at court as a teacher and composer, he began to publish his works, beginning with the Premier Livre de Clavecin in 1713 and his treatise L'art de toucher le clavecin in 1716. Solo Harpsichord Minuet Minuet Sonata in C minor for oboe with viola da gamba and harpsichord continuo Much of Rameau's harpsichord and chamber music was composed early in his career, his first publication for harpsichord being the Premier livre de pieces de clavecin. J P Rameau (1683-1769) J Duphly (1715-1789) Adagio Allegro Antonio Vivaldi (1678-1741) Adagio Vivace

The son of a violinist in the orchestra at St Mark's Venice, Antonio Vivaldi was ordained priest in 1703. He taught at one of the Venetian conservatories, where he was eventually appointed "maestro di concerti", and it was for this institution that he composed much of his music. INTERVAL Music for two unaccompanied recorders Duo in C major G F Handel (1685-1759) Anon 18th century Largo and double The popularity of the recorder in the 18th century in England is reflected in the number of contemporary song sheets which included the melody transposed to a suitable key "for the flute". The publication of the Division Flute in 1706 resulted in the appearance of many airs with sets of divisions. Music for treble and bass viols with harpsichord Lachrimae Pavan John Dowland (1563-1626) Marin Marais (1656-1723) Louis de Caix d'Hervelois Deux Musettes Deux Tambourins The set of seven Lacrimae Pavans is undoubtedly the best- known work of the early 17th century English lutenist, John Dowland. Published c.1604, the work has a doleful quality which caught the imagination of many of Dowland's contemporaries - the opening descending phrase was often quoted by other composers. Though he composed a number of works for the stage, Marin Marais is now best remembered for instrumental composit- ions for his own instrument, the viol. Like Louis de Caix d'Hervelois, he was a pupil of Sieur de Sainte-Columbe. William Mathias (b.1934) Concertino for treble recorder, oboe, viola da gamba and harpsichord (1974) Born in Wales, William Mathias has written a considerable amount of music, having studied composition at the Royal Academy of Music with Lennox Berkeley. His works are

not considered as being 'avant garde', his attitude being more 'classical' with Mozart as his ideal. The appeal of his music is largely through the sheer beauty of its sound, an excellent example being the Harp Concerto (1970) which is indebted to the music of Britten and Tippett. GP Telemann (1681-1767) Trio Sonata in C minor for treble recorder and oboe with viola da gamba and harpsichord continuo. Largo - Vivace - Andante - Allegro The son of a clergyman, Telemann studied at Leipzig University where he founded a student society known as the Collegium Musicum. After several appointments as Kapellmeister, he was elected to the post of Musikdirector of the principal churches in Hamburg. Telemann was one of the most prolific composers of all has sometimes been criticised for its its rather facile charm. time, and his music lack of depth and TONIGHT'S ARTISTS The DOLMETSCH CONCERTANTE specialises in authentic interpretation of music from the 16th to 18th centuries. They frequently collaborate with other artists, enabling them to present a wide variety of programmes with a rich variety of tone colours, including the performance of works by modern composers. They have given concerts. for festivals, music societies and schools all over the country. THE * * * NEXT RECITAL SMETANA QUARTET Saturday 31 January 1981 Elmwood Hall, 7.30pm