BRITISH MUSIC SOCIETY OF NORTHERN IRELAND 1955 1956 SIXTH RECITAL under the auspices of THE QUEEN'S UNIVERSITY OF BELFAST SOLOMON (Pianoforte) The Sir William Whitla Hall Queen's University, Belfast FRIDAY, FEBRUARY 3rd 1956

Italian Concerto Allegro Andante Presto Johann Sebastian Bach (1685--1750) The Concerto in the Italian Style, for Clavicembalo (i.e. for harpsichord) is a solo work written on the plan of the concertos with string accompaniment. On a two-manual instrument such as that for which the work was written it was easy to envisage the melody on one key-board and the accompaniment on the other, with both hands combining at other times to give the suggestion of a tutti contrast, such as was to be found in the concertos with string accompaniment. This work is somewhat unusual for Bach in that he provides us, against his usual custom, with the tempo marks for the three movements, and also with frequent forte and piano instructions throughout. Intermezzo in E flat minor, Op. 118, No. 6 Intermezzo in E major, Op. 116, No. 4 Rhapsody in B minor, Op. 79, No. 1 Johannes Brahms (1833-1897) Some critics consider the last piano pieces of Brahms the ripest products of his genius. The Intermezzo in E flat minor (1893) is the most tragical and dramatic of the set from which it comes, working up a bleak and dirge-like little tune which uses only three notes. It is said that this material was originally intended for the slow movement of a fifth symphony. The Intermezzo in E major (1891-2) is an intimate work, which he thought of calling Nocturne, developing out of two trifling scraps of material heard at the opening. The earlier Rhapsody in B minor (1879) recalls the young heaven-storming Johannes" as Billroth called him. It is in Rondo form with a melodious interlude in B major and a poetic coda which contrasts with the general mood.

Sonata in D minor, Op. 31, No. 2 Largo : Allegro Adagio Allegretto (Composed in 1802). The three sonatas of Op. 31 show clearly that Beethoven has emerged from his first period to his maturity. The first movement, one of storm and stress, opens with a slow arpeggio and breaks into a disquieting Allegro; the second subject, in the dominant minor, is likewise tragic. The ghost-like recitatives which occur at the recapitulation are to be noted. The second movement is one of long rounded phrases. The last movement, in sonata form, is for the most part melancholy and wistful, with occasional outbursts of agitation. It is worthy of note that in this movement, with the exception of one quaver near the beginning, Beethoven has maintained an unbroken rhythm of semi-quavers right through a movement of 399 bars. Accord- ing to Czerny the regular rhythm of the first phrase came to him from seeing a horse gallop past his windows at Heiligenstadt. Beethoven, when asked to explain the meaning of this sonata and the Appassionata, replied "Read Shakespeare's Tempest." INTERVAL Ludwig Van Beethoven (1770-1827) Fantaisie in F minor, Op. 49 Nocturne in B flat minor, Op. 9, No. 1 Scherzo in B flat minor, Op. 31 Frederic Chopin (1810-1849) The Fantaisie in F minor (1840-1) belongs generally to the ballade class, but in view of the large number of themes employed and other differences (it is in 4-4 time instead of 6-8, for example) Chopin refrained from giving it this name. In spite of silly legends that have grown up as to the meaning of the work (it is alleged to commerorate a reconciliation between him and Georges Sand) it is safer to look on the great variety of its parts from a purely musical point of view; it is one of Chopin's supreme achieve- ments. The B flat minor Nocturne (1830-1) is the first of the Nocturnes, a beautifully balanced and charming little work. The Scherzo in B flat minor (1837) is a finely constructed work of ecstatic lyricism, drama, soaring melody and triumphant excitement at the end.

NEXT CONCERT FRIDAY, 24th FEBRUARY, 1956 London Harpsichord Ensemble Trio in B flat for Flute, Violin and Continuo Three sonatas for Harpsichord solo Trio in G, Op. 100, No. 2, for Flute and strings Sonata in E flat for Harpsichord and Flute Trio in E for Flute, Violin and Continuo Sonata in A for Violin and Harpsichord Italian Concerto for Harpsichord solo Sonata in G for Cello and Harpsichord Trio in G for Flute, Violin and Continuo ...... C. P. E. Bach Scarlatti Haydn Bach Telemann Handel Bach Sammartini Bach N.B. As part of this concert is to be broadcast. notified that it will start PROMPTLY at 7.45 p.m. Members are