BRITISH MUSIC SOCIETY OF NORTHERN IRELAND 1962 1963 FOURTH RECITAL under the auspices of THE QUEEN'S UNIVERSITY OF BELFAST JOHN OGDON Pianoforte SIR WILLIAM WHITLA HALL Queen's University, Belfast THURSDAY, 20th DECEMBER, 1962 at 7.45 p.m.

Johann Sebastian Bach (1685-1750) This is an arrangement by Busoni of the Chaconne from the Partita No. 2 for unaccompanied violin. The chaconne was originally a slow dance measure in which a given theme is fre- quently repeated in the bass, known as a ground bass. In elaborate versions such as this the theme is often harmonically implied rather than actually heard. Sonata in B flat, Op. 106 Chaconne in D minor Ludwig van Beethoven (1770-1827) Allegro Scherzo assai vivace Adagio sostenuto Largo-allegro risoluto This, the mightiest of Beethoven's piano sonatas, is known as the Hammerklavier. It is sometimes assumed that the title has refer- ence to something in the nature of the music itself, something of a specially percussive kind. This is not so; it merely reflects a particular mood of Germanic patriotism, in which he was deter- mined to find a German substitute for the Italian pianoforte. The word merely means hammer-keyboard, as distinct from the plucked harpsicord type. Op.101 in A major is equally entitled to be so called. The sonata was written in 1818, when he was engaged on the Choral Symphony; in it he is trying to bring about a fusion of sonata form and polyphony, as he had in Op.101. Complete success was not achieved in either work and did not come till the last three sonatas; the result is that the pianist is often called on to perform feats that seem far beyond the powers of human fingers, and are indeed beyond the powers of most. But the larger problems are of comprehension and artistic presentation, to present what must at first have seemed like the rag-bag of ideas in the opening movement as a coherent whole, to sustain the shape and penetrate the profundity of the twenty-minute slow movement. to have the intellectual grasp even to remember the colossal fugue of the allegro risoluto. This is not the stuff that virtuoso pianists force on the notice of their fan followings and the work is not often heard; it is hardly to the credit of our own society. that this would seem to be our first hearing of it. INTERVAL

Ballade No. 1 in G minor, Op. 23 Frederic Chopin (1810-1849) Among the Polish exiles in Paris the writings of the Polish poet Mickiewicz were a cause of excitement and a source of inspiration. Chopin claims to have been inspired by his example in writing his Ballades; as a result commentators have spent much time in trying to discover literary and narrative backgrounds for them, but without success. Indeed his aim seems to be similar to Beet- hoven's in the work just heard, to discover a large-scale musical form that should not be tied to sonata form. In spite of the dramatic contrasts and excitements it is best to take this as pure music. It was first sketched in 1831. Sonata in D major, K.576 Allegro Adagio Allegretto Wolfgang Amadeus Mozart (1756-1791) In 1789 Mozart was in Prussia and intended to write a set of six sonatas for the king's daughter. Of these only one, Mozart's last pianoforte sonata, was written. They were intended to be easy; perhaps it it as well this one did not reach the princess, for it is anything but. Ballade in B minor Ferencz Liszt (1811-1886)

NEXT CONCERTS: JANUARY 3rd : THE DOWLAND CONSORT The programme will consist of vocal works by a number of 16th and early 17th century composers. The items will be individually introduced by the Director of the Dowland Consort, Dr. Brian Boydell. JANUARY 24th: QUARTETTO DI ROMA FEBRUARY 14th: SONATA in B Flat Major, K. 333 CARNAVAL, Op. 9 SONATA 1926 SIX PRELUDES FANTASIA BAETICA Mozart Schumann Bartók Mompu de Falla