BRITISH MUSIC SOCIETY OF NORTHERN IRELAND 1966-1967 SEVENTH RECITAL under the auspices of THE QUEEN'S UNIVERSITY OF BELFAST CHRISTIAN FERRAS VIOLIN JEAN-CLAUDE AMBROSINI PIANOFORTE SIR WILLIAM WHITLA HALL Queen's University, Belfast MONDAY, 13th FEBRUARY, 1967 at 7.45 p.m.

Sonata in F major, op 24 Allegro Adagio molto espressivo Scherzo Rondo: Allegro ma non troppo Ludwig van Beethoven (1770-1827) This sonata was written in 1801. It is universally known as "The Spring Sonata", but the name was not given by the composer. The title comes from the general feeling of liveliness, growth and vigour that pervades the work. The generous, flowing first subject contrasts magnificently with the impulsive vitality of the second and their interplay is worked out spaciously in the first movement. The leisurely subject of the adagio, given out on the piano with comment from the violin, has obvious affinities with the opening subject of the first movement. There is a very short scherzo, in which the instruments seem to be playing hide and seek with each other; it is, in effect, little more than an introduction to the rondo in alla-breve time, which gives a joyous ending to the sonata. Sonata for unaccompanied violin Serge Nigg (1924- (First performance in Great Britain) Grave Moderato sensibile - Agitato - Maestoso - Tranquillo - Piu mosso e marcato Quasi recitative leading to Allegro risoluto ) Serge Nigg was born in Paris in 1924. This sonata was composed in Paris and near Neuchatel in Switzerland between February 2nd and May 1st, 1965. The technique of composition relies on an enlarged conception of the twelve-tonal system. Divided into three movements (of which the second and third are linked) the sonata is based on a single mathematical base "statement"; this in turn becomes the source of all the work under its most complex aspects, and remains present at all times like a multiple face which changes constantly yet remains unchanged. The first movement takes the overall form of a theme with six variations these are more paraphrases than strict variations, taking a free form and to some extent liberating the tragic and passionate content so powerfully present in the opening thematic statement. INTERVAL The second movement is a Lied of inwardly lyrical character. The third movement sets out as essential emotional states: Ruvido e selvaggio (rough and savage): grazioso and appassionato.

Sonata in G minor Allegro vivo Intermède: Fantasque et léger Finale: Très animé Claude Debussy (1862-1918) For the last two years of his life Debussy was suffering from a painful cancer, and this work, finished in 1917, is the last he wrote. It was to be one of six sonatas for various combinations of instru- ments, but was one of only three completed. The first movement, with its deeply evocative opening, seems to be an inner commun- ing, a series of things recollected in tranquillity. There is a rhapsodic urgency in the second, and the third is the most pas- sionate of the three. Pièce en forme de Habañera Tzigane Maurice Ravel (1875-1937) These pieces illustrate Ravel's interest in Spanish and gypsy music. Tzigane starts as a violin solo with free and varied rhapsodizing, with recollections of Hungarian tunes; then the piano joins in and, after a passage of trills, joins in a lively duet in which most violinistic tricks are exploited. The work ends in a brilliant display of fireworks on the violin. Mr. Ferras has two Stradivari instruments, the President of 1721 and the Minnalolo of 1728 (these instruments have sometimes titles attached to them, often after the names of famous former owners).

LAST CONCERT: Thursday, February 23rd J. S. Bach Handel Nadermann Mozart Godefroid Fauré Cabezon Ferrandière M. Albeniz Beethoven Pierné J. Guridi Albeniz G. Walters G. Salzedo MARISA ROBLES, Harp Two preludes Variations Sonatinal Variations and Rondo Pastorale Concert study Impromptu Pavanne and variations Dance of the dwarfs Sonata Variations on a Swiss air Impromptu caprice Three Basque melodies Viejo Zorziko Malagueña Little suite Song in the night