BRITISH MUSIC SOCIETY OF NORTHERN IRELAND 1967-1968 SIXTH RECITAL under the auspices of THE QUEEN'S UNIVERSITY OF BELFAST The Heutling String Quartette WERNER HEUTLING OSWALD GATTERMANN Violin Violin Viola ERICH BOHLSCHEID KONRAD HAESLER Violoncello SIR WILLIAM WHITLA HALL Queen's University, Belfast FRIDAY, 1st MARCH, 1968 at 7.45 p.m.

Quartet in B flat major, Op. 76 No. 4 Joseph Haydn (1732-1809) Allegro con spirito Adagio Menuetto allegro Finale allegro ma non troppo (1799). As was usual in Haydn's day, opus numbers, if they were used at all, were used very erratically. The symphonies do not have them, nor indeed do most of his works except the quartets ; this was due to his publisher who was systematic about these works. They were usually published in batches of six, and those comprising Op. 76 are all masterpieces of mature writing. The English especially found it necessary to give nicknames to some of the eighty-three quartets which Haydn wrote, and this has been called 'The Sunrise'. Imaginative listeners may be able to satisfy themselves why the opening phrase of the first movement could have put this idea in anybody's head. Quartet No. 6 Paul Hindemith (1895-1963) Fast Quiet, scherzando Slow Canon: moderately fast, gay (1945). From 1915 to 1923 Hindemith was leader of the Frankfort Opera orchestra; he then played in the Amar-Hindemith Quartet, his instrument there being the viola with which his name came to be specially associated. In 1934, like so many other German artists, he left Germany, worked for a while in Turkey with his friend Amar, and eventually made his way to America where he became head of the Music Department at Yale. He wrote pro- lifically, being too modern for many and not nearly modern enough for others. For instance he was hostile to Schoenberg's twelve tone theories and felt that music should have a tonal basis.

Some think that the second and fourth movements of this work show Hindemith at his best and wittiest, while the first and third are not so successful, relying on a harmonically decorative rather than a melodic type of counterpoint. Quartet in A minor, D 804 INTERVAL Franz Schubert (1797-1828) Allegro ma non troppo Andante Menuetto allegretto Allegro moderato (1824). By tradition this quartet has the Opus No. 29; nowhere have these numbers less validity than in Schubert's works. For example the Octet, written at the same time, was published much later and is known as Op. 166. In E. O. Deutsch's catalogue they are numbered D 804 and 803 respectively, and this is the only sound guide. The second movement is based on a theme from the incidental music to Rosamunde, written in the previous year. He does not write a set of variations on the theme; rather he develops it in a variety of ways. The opening bars of the third movement are taken from the prelude to his setting of Schiller's "Die Götter Grieschenlands", D 677. Complaints have been made that the divine melancholy of the first three movements is disturbed by the bright finale; this may be so, but it is Schubert at his most be- witching. Mr. Heutling Mr. Gattermann Viola Cello The following are the instruments used by the members of the quartet: Testore, Milan, 1700 Anonymous, Turin Castello, 1778 Gaglani, 1874

LAST CONCERT Saturday, May 4th TERESA BERGANZA, Mezzo-Soprano FELIX LAVILLA, Pianoforte Lamento di Cassandra Quel sguardo sdegnosetto Morte di Santa Ursula Stizzoso, mio stizzoso Arianna a Naxos Con amores la mia madre A la casa, sus a casa Alma sintamos Tonadillas (Seven songs) Cantares; Saeta; Farruca Cavalli Monteverdi Scarlatti Pergolesi Haydn Amchieta Gabriel Esteve Granados Turina N.B. The cost of guest tickets for this concert will be £1 1s Od.