BRITISH MUSIC SOCIETY OF NORTHERN IRELAND 1965 1966 FIFTH RECITAL under the auspices of THE QUEEN'S UNIVERSITY OF BELFAST ANDOR FOLDES PIANOFORTE SIR WILLIAM WHITLA HALL Queen's University, Belfast FRIDAY, 11th FEBRUARY, 1966 at 7.45 p.m.

Three Moments Musicaux, Op 94, D 780 No 1 in C major No 3 in F minor No 6 in A flat major Franz Schubert (1797-1828) The six pieces of Op 94 were written at various periods in Schubert's life and published in Vienna four months before his death; two of them, 3 and 6, had been published previously in albums. Each piece is shaped in the same way, the opening and closing sections having the same material, with a contrasting section intervening. No 1 in C major, Moderato, has a suggestion of horn calls on the notes of the common chord. No 3 in F minor, Allegro moderato, is reminiscent of gypsy music, plucked strings being suggested by the accompaniment; this was the first of Schubert's works to be published in England, in 1831. No 6 in A flat major, Allegretto, is a quiet reflective work, rich in harmonic colouring. Bagatelles, Op 126 PURSUS Ludwig van Beethoven (1770-1827) No 1 in G major Andante con moto No 2 in G minor Allegro No 3 in E flat major Andante No 4 in B minor Presto No 5 in G major Quasi allegretto No 6 in E flat major Presto These six bagatelles, or trifles, were written in 1823 and 1824 when Beethoven was engaged on the Missa solennis and the Ninth Symphony. They were probably intended to stand together as a whole. He thought highly of them and their simplicity of outline conceals a great deal of hard work and re-writing. The polyphonic preoccupations of his last period are in evidence, there being a two-fold or three-fold melodic interest throughout.

Sonata in C major, Op 53 (Waldstein) Allegro con brio Introduzione: Adagio molto; Rondo: Allegretto moderato Beethoven wrote this sonata in 1804 and dedicated it to Count Waldstein who was not merely a patron of musicians but a musician in his own right. Originally there was a full slow move- ment, later published separately and known as the Andante Favori in F. It is generally accepted that in this sonata a range of sound hitherto unknown from the keyboard was revealed; there was also an exploration of key relationships that must have bewildered his contemporaries. There has been a good deal of speculation as to the effect on the popularity of a Beethoven sonata in its having a name; this one has two, for in France it is known as L'Aurore (The Dawn). INTERVAL Five preludes from Book no 1 Danseuses de Delphes Des pas sur la neige Dance de Puck La fille au cheveux de lin Minstrels Beethoven Claude Debussy (1862-1918) This selection comes from the book of twelve preludes published in 1910. They are generally, and quite naturally, linked up with the impressionist movement in French painting, in that the piano sets out to represent as it were the colour and light of things, rather than their underlying structure. Debussy did not like the parallel and was inclined to lay stress on the solidity of his musical thinking in them. "The dancing priestesses of Delphi" gives a very static impression of the dancers and would seem to recall a painting on a Greek vase rather than the motions of the dance. "Footsteps on the snow" has puzzled commentators; probably no definite picture is to be conjured up. "Puck's dance" needs no explanation. The famous "Girl with the flaxen hair" owes its inspiration to one of four poems by Leconte de Lisle describing Scottish girls. "Minstrels" draws its inspiration from itinerant musicians.

Three pieces from the Háry János suite Intermezzo Song Viennese clock Kodály (1882- ) produced his opera Háry János in Budapest in 1926. It deals with the romantic adventures and boastings of an old soldier. The opera has never made its way in England, but an orchestral suite from it, brilliantly scored, is very popular. It is from this suite that Andor Foldes has made these transcrip- tions. The Intermezzo is based on a gypsy air well known to us from its use by Liszt and Brahms. The Song originates from a duet between two lovers. The Viennese musical clock is a march of mechanical soldiers. Next Concerts . . March 4 THE PRAGUE STRING QUARTET Quartet in F major, Op 18 no 1 Quartet no 3 (in one movement, 1927) Quartet in A flat major, Op 105 Friday, March 18 JOANNA MARTZY (Violin) JEAN ANTONIETTI (Pianoforte) Kodály-Foldes Sonato in E major, no 6 Partita in D minor no 2 (unaccompanied) Sonata in A major, Op 162 Sonata in D major, Op 94 no 2 Beethoven Bartok Dvorak Handel Bach Schubert Prokofiev