BRITISH MUSIC SOCIETY OF NORTHERN IRELAND 1969-1970 SEVENTH RECITAL under the auspices of THE QUEEN'S UNIVERSITY OF BELFAST THE PRO ARTE PIANO QUARTET KENNETH SILLITO (Violin) CECIL ARONOWITZ (Viola) TERENCE WEIL (Cello) LAMAR CROWSON (Piano) Price SIR WILLIAM WHITLA HALL Queen's University, Belfast FRIDAY, 20th MARCH, 1970 1/-

It is sometimes argued that neither the string trio nor the piano quartet is a satisfactory medium. The former is limited by the absence of a vital fourth part, the latter by the fundamental dis- parity between three strings and a modern piano. It is true that neither form can boast a repertoire of rich abundance; yet one test of genius is its response to the challenge of technical limitation, and several masterpieces have resulted from this tension. Mozart's exquisite Divertimento (K.563), Beethoven's Opus 9, and Schoenberg's difficult enigmatic string trio are great works. The piano quartets of Mozart and Brahms are similarly indispensable. Quartet in E flat (K.493) Allegro Larghetto Allegretto OMAIS Mozart As G.B.S. once remarked, "there is nothing better in art than Mozart's best." Completed in 1786, a few months after its more familiar and dramatic G minor companion, this work is no less enchanting. But gaiety, as always in Mozart, is curiously equivoc- al in a way which defies verbal description. The difficult piano part and limitless textural inventiveness remind us of the piano concertos compare K.482 in the same key. Since higher praise is scarcely possible little more need be said; but notice in the first movement how the second subject, frequently repeated, estab- lishes unity in diversity. String Trio in C minor, Op. 9 No. 3 Allegro con spirito Adagio con espressione Scherzo: Allegro molto e vivace Finale: Presto Beethoven In music, as elsewhere, the best is frequently the enemy of the good, and prolific genius offers more than we are prepared to digest. Thus our grateful acceptance of the quartets, the cello, violin, and piano sonatas, leaves us replete and unwilling to con- template more than a handful of other chamber works. A name- the "Archduke" piano trio-will help. yet paradoxically in this celebration year Beethoven, like Schubert, remains in certain.

respects a neglected composer. The string trios are a case in point, particularly the splendid Opus 9 group, powerful works which unaided would have made the reputation of a lesser composer. Tonight we shall hear the third of this set, written in 1798. The key signatures prepares us for brooding intensity and drama, and the very opening theme is one which was to haunt Beethoven in later years. (Compare the opening of String Quartet, Op. 130). A richly lyrical adagio, a typical scherzo, and finally a vigorous life-enhancing presto (like the Piano Sonata, Op. 2 No. 3, third movement) all this is echt Beethoven. INTERVAL Quartet in A major, Op. 26 Allegro non troppo Poco adagio Scherzo: poco allegro Finale: allegro Brahms If the C minor piano quartet is comparable to the first concerto in its rugged grandeur, then Op. 26 is like the second concerto, sunny and amiable. "I have grown to like it more and more," wrote Joachim to the composer, "the tone of tenderness is well contrasted with sparkling life." Brahms gave the first performance in November 1862. Hanslick, scarcely a hostile critic was strangely unimpressed: "The themes... sound dry and prosaic ... and one misses the continuous stream of development." Perhaps he had dined poorly that night, or, more likely in Vienna, he was over- whelmed by the Handel Variations which were launched at the same concert. In any case the public disagreed and took the work to its heart, not least because of the "gipsy" finale. In such music the difficulties, which are formidable, can safely be left to the performers. For the listener all is delight. Members are asked to make every effort to avoid coughing during the performance

NEXT CONCERT Saturday, April 11th 1970 ALEXANDER OLIVER Tenor ALASDAIR GRAHAM Piano Music for a while Evening Hynin: Turn, turn thine eyes Song-cycle: Dichterliebe, Op. 48 Heimliche Aufforderung Die Nacht Herr Lenz L'invitation au voyage Extase Phidyle E'en as a lovely flower Yarmouth Fair Purcell Purcell Schumann Richard Strauss Richard Strauss Richard Strauss Richard Strauss Duparc Duparc Frank Bridge Peter Warlock