BRITISH MUSIC SOCIETY OF NORTHERN IRELAND 1962 1963 SIXTH RECITAL under the auspices of THE QUEEN'S UNIVERSITY OF BELFAST Quartetto di Roma ARRIGO PELLICIA FRANCO ANTONIONI MASSIMO AMFITHEATROF ORNELLA SANTOLIQUIDO Violin Viola Cello Pianoforte SIR WILLIAM WHITLA HALL Queen's University, Belfast THURSDAY, 24th JANUARY, 1963 at 7.45 p.m.

Quartet No. 2 in F Minor, Op. 2 Felix Mendelssohn-Bartholdy (1809-47) Allegro molto Adagio Intermezzo Allegro molto vivace Mendelssohn has been described as a genius who, with the passage of time, declined into a talent. It is true that he had written most of what he is remembered by before he was twenty-five, some of it before he was twenty. This quartet, written when he was fourteen, certainly has astonishing talent, and undoubtedly foreshadows genius here and there. The first and last movements lack concision; lack of experience drove him to a good deal of padding. The slow movement, however bears unmistakeable marks of the young romantic, but it is the intermezzo, which takes the place of the usual scherzo, that is the most unmistakably Mendelssohnian part of the whole work. Quartet in E Flat, Op. 87 Allegro con fuoco Lento Allegro moderato grazioso Allegro ma non troppo Antonin Dvorak (1841-1904) This work was written in 1889. Dvorak, who could write finely for strings alone and for piano alone, was tempted when he used them in combination, to overstep the bounds of chamber music and write what could only have been adequately expressed by an orch- estra. The first two movements of this work, while containing some chamber-music of exquisite texture, soar at times rather tryingly into the impressive and grandiose. The third movement is a waltz and mazurka combination of great charm. The last movement is an exciting and well-contrasted piece of Slavonic energy. INTERVAL

Quartet in G Minor, Op. 25 Allegro Intermezzo Allegro ma non troppo Andante con moto Rondo alla Zingarese-Presto This work, over which Brahms took some time, was completed in 1861. The first movement is impressive in size, and probably over- copious in material. The dreamy intermezzo forms an excellent contrast to the andante, which livens up rather unexpectedly for a movement with this title. The gipsy music which so fascinated Brahms is the inspiration of the exciting presto with which the work ends. NEXT CONCERTS: February 14th : BELA SIKI Johannes Brahms (1833-1897) SONATA in B Flat Major, K. 333 CARNAVAL, Op. 9 SONATA 1926 SIX PRELUDES FANTASIA BAETICA February 28th: THE AMADEUS STRING QUARTET March 4th: EMMY LOOSE and MARTIN ISEPP Mozart Schumann Bartók Mompou de Falla