BRITISH MUSIC SOCIETY OF NORTHERN IRELAND 1956 1957 FIFTH RECITAL under the auspices of THE QUEEN'S UNIVERSITY OF BELFAST ANTONIO JANIGRO, Violoncello ERNEST LUSH, Pianoforte THE SIR WILLIAM WHITLA HALL QUEEN'S UNIVERSITY ★ BELFAST FRIDAY, FEBRUARY 1st 1957

ADAGIO AND ALLEGRO Luigi Boccherini (1743-1805) Boccherini has been described as "the wife of Haydn" by some writers. Not only does his style show a kinship with that composer, but he was also extremely prolific in composition, though with less variety in form than his illustrious contemporary. He was a fine cellist and much of his instrumental writing features the cello either solo or in ensemble. These two movements are fine examples of his writing. VARIATIONS ON A THEME OF MOZART IN E FLAT Ludwig van Beethoven (1770-1827) Between the two sonatas for cello and piano (op. 5), written in 1796, and the well known sonata in A major (1808) Beethoven wrote three sets of variations for this combination. The Magic Flute had always been his favourite opera (the reason is not hard to seek) and he naturally found no difficulty in finding two themes from it to set his inspiration going. (The third set of variations is on Handel's "See the conquering hero comes"). The set in E flat, written in 1802 makes use of the duet in which Pamina and Papageno extol the virtues of love. The seven variations present no problem to the listener-notice the lovely fourth variation in the minor and the joyous "romp" in the extended final variation. SUITE No. 3 IN C MAJOR Prelude Allemande Courante Sarabande Bourrée Gigue Johann Sebastian Bach (1685-1750) The unaccompanied violin and violoncello works of Bach are markedly different in expression. As Spitta says, "The pas- sionate and penetrating energy, the inner fire and warmth of the unaccompanied violin works which often grew to be painful in its intensity, are softened down to a quieter beauty and a generally serene grandeur." The structure of the Suites is the customary one (except that in place of the Bourrée is sometimes found a Gavotte). The order of movements allows alternation of fast and slow and this, together with their symmetrical construction, fore- shadows the classicism of half a century later. The Third Suite follows the usual plan, but has one unusual feature, the Courante is evolved from the Allemande, contrary to Bach's normal practice of contrasts in the movements. INTERVAL

SONATA Claude Debussy (1862-1918) Prologue Serenade Finale (Léger et Nerveux) This sonata was completed in 1915, the first of a series of six which Debussy had announced. Unfortunately only three were completed before his death three years later. The cello sonata, the first of the set, was originally to have borne the title "Pierrot fâché avec la Lune" and gives a clue to the composer's intention of returning to the form and spirit of the 18th century sonatas. The Prologue opens and closes in a mood of great calm. The second movement explores the tonal effects of the cello-a serenade in which one can hear the guitar, the flute and even the tam- bourine. The final movement is a high spirited piece, but here and there one can sense the composer's tragedy intruding. SONATA IN E MINOR, Op. 38 Johannes Brahms (1833-1897) Allegro non troppo Allegretto quasi Menuetto Allegro It is interesting to compare this sonata with the only other which Brahms wrote for cello and piano-Sonata in F major, Op. 99. The later work is more exhuberant and makes a far greater use of the cello's powers of rhetoric, while the earlier one dis- plays its power of expression of a broad general melody or its use as a ruminating bass while the piano takes the lead. Note the opening of the first movement where the former characteristic is demonstrated by the principal tune which, beginning on the C string, mounts to the tenor register. After the exceptionally beautiful quiet ending of this movement Brahms chose, for the second, instead of the usual slow movement, a menuetto which obviously finds its roots in the 18th century. Then, as a complete contrast, a vigorous fugal finale brings the sonata to a brilliant finish.

Next Concerts : SATURDAY, FEBRUARY 2nd at 3.0 p.m. ZAGREB SOLOISTS ENSEMBLE Conductor: ANTONIO JANIGRO CELLO CONCERTO IN B FLAT (Soloist, Antonio Janigro) Boccherini Rossini SONATA NO. 3 FOR STRINGS IN MAJOR INTERVAL FUNERAL MUSIC (Soloist, Stefano Passaggio) SIMPLE SYMPHONY SCHERZO SARABANDE, GIGUE, BADINERIE Hindemith Britten Lhotka Corelli FRIDAY, FEBRUARY 22nd THREE SONATAS SONATA IN G MINOR THIRD SONATA ROBERT GOLDSAND, Pianoforte Scarlatti Schumann Hindemith Chopin IMPROMPTU IN F SHARP, Op. 36 VARIATIONS AND FUGUE ON A THEME OF HANDEL Brahms