BRITISH MUSIC SOCIETY OF NORTHERN IRELAND 1960 1961 SIXTH RECITAL under the auspices of THE QUEEN'S UNIVERSITY OF BELFAST The Quartetto di Roma ORNELLA SANTOLIQUIDO ARRIGO PELLICIA DINO ASCIOLLA MASSIMO AMFITEATROF * Pianoforte Violin Viola 'Cello SIR WILLIAM WHITLA HALL Queen's University, Belfast SATURDAY, 11th FEBRUARY, 1961 at 7.45 p.m.

QUARTET IN C MINOR, Op. 60 Johannes Brahms (1833-1897) QUARTET (1957) Allegro non troppo Scherzo Allegro Andante Finale: Allegro commodo This work, though published in 1875, had started to form in Brahms' mind some twenty years previously, during the period of Schumann's serious mental disturbances which caused Brahms. so much worry; this is generally thought to account for its tragic mood. The first movement is lightened by the lyrical second sub- ject, which is an eight-bar melody with variations. The Scherzo is a turbulent movement showing Beethoven's influence. In the andante the main burden is carried by the cello, for the most part in its upper register. Giulio Viozzi (1912- ) Lento Molto mosso e inquieto Lento Rondo al Sangiovese Viozzi was born in Trieste, where he is a professor at the Conservatoire; he is pianist, conductor and music critic, and is also known for his theatrical productions. Of his operas one has the intriguing title Allamistakeo; others are Un intervento notturno and La parete bianca. He has also written a ballet Prove di scena, commissioned by the Scala. His symphonic and chamber music output is considerable. This quartet was first performed at the International Festival in Venice in September, 1958, by the Pro Arte Quartet of Bologna. The first movement begins with a slow and serene theme, alternating in canon with strings, im- pulsive and of dramatic force. The second movement has lyrical qualities, being thoughtful and reflective. The last movement is brilliant and genial, recalling a gay reunion of friends, the generous wines of Sangiovese, the hills of Emilia. INTERVAL

QUARTET IN C MINOR, Op. 15 Allegro molto moderato Scherzo: Allegro vivo Adagio Allegro con brio Gabriel Fauré (1845-1942) When Fauré wrote this quartet in 1879 the only major com- poser of chamber music writing in Europe was Brahms. Nothing could contrast more strongly with the German's solidity than the lightness of approach which Fauré shows. A glance at the score will show that the piano part consists of passage after passage of arpeggios, which almost suggest that he thought of it as a harp. The lightness of texture of the sonata-form opening movement is ex- ceeded by that of the Scherzo, which, with its pizzicato strings and insubstantial piano part, has been likened to a flight of fairy insects. The adagio is a solemn theme given out first on the cello. The finale is a hopping mazurka-like movement. W

NEXT CONCERTS: Friday, 10th March ALLEGRI STRING QUARTET Quartet in D Minor, K 173 Quartet in E flat, Op. 51 Quartet in B flat, Op. 130 Friday, 24th March CLIFFORD CURZON (Pianoforte) Andante and Variations in F minor Rondo a capriccio, Op. 129 Sonata in F minor, Op. 5 Four impromptus, Op. 90 Alborado del gracioso: Jeux d'eau Méditation sur un motif de Debussy Feux d'artifice Mozart Dvorak Beethoven QUEEN'S UNIVERSITY MUSIC SOCIETY J. S. BACH'S ST. JOHN PASSION MARION MILFORD ANGELA CARROLL GERALD ENGLISH HARRY NEILL ERIC HINDS BRYAN DOBSON EVAN JOHN Haydn Beethoven FISHERWICK PRESBYTERIAN CHURCH MONDAY, 13th MARCH 7.30 p.m. Queen's University Choir and Orchestra. Conductor: PHILIP CRANMER Brahms Schubert Ravel Kodaly Debussy Soprano Contralto Tenor Tenor Baritone Baritone Organ