BRITISH MUSIC SOCIETY OF NORTHERN IRELAND 1970 1971 FIFTH RECITAL under the auspices of THE QUEEN'S UNIVERSITY OF BELFAST Price TRIO DI TRIESTE Renate Zanettovich (violin) Amadeo Baldovino. (cello) Dario de Rosa (piano) SIR WILLIAM WHITLA HALL Queen's University, Belfast SATURDAY, 20TH FEBRUARY, 1971 : : : 5p

SONATA IN C MINOR Allegro Largo Allegro Vivaldi (realised G.F.Ghedini) TRIO IN C MAJOR, OP.87 Begun 1880, finished 1882, published 1883. 1.Allegro. There is no mistaking the Brahms style. The bold opening statement in octaves on the strings introduces a series of short themes modulating to the dominant for the second sub- ject, a gracious theme heard first on the piano. The development begins with the opening theme (in the tonic) and this is soon featured in augmentation (first on the cello), marked to be played animato. The recapitulation is regular, and there is a coda which modulates a good deal, working up the tempo (animato) with fast trip- lets on the piano. Brahms 2. Andante. A theme in A minor with a Scottish snap on the strings, accompanied by syncopated chords on the piano, followed by 5 variations (the 4th is in the major). 3.Scherzo. C minor, pp and leggiero - it rushes. away before we can grasp it. The Trio is poco meno presto, in C major, and much more relaxed and graceful. INTERVAL 4.Finale. Allegro giocoso. In sonata form. The first subject is a smooth melody for strings against repeated staccato piano chords, and this double theme is exploited in the development. The coda uses the string theme in augmentation. EWJB

TRIO IN E FLAT, OP,100 (D.929) Written soon after the B flat Opus 99 trio, in 1827, the year before his death, and published a year later. He may never have seen the published copies. Schubert 1. Allegro. The opening octaves are not unlike the start of the Brahms, and the movement is full of characteristic themes like the rocking repeated chords busily modulating. The second subject in B flat is graceful, and provides most of the material for the development. The development moves easily through one key after another, with a piano part that irresistibly reminds us of the piano A flat Impromptu, except that it has trip- lets instead of semiquavers. 2. Andante con moto. C minor. said to be a Swedish tune (no certain). The second subject is in E flat (re- capitulated later in C major) and the main theme appears in shortened form, un poco piu lento, in the coda. The opening theme is one seems to be 3.Scherzo. Allegro moderato. The main feature of this movement is the canonic imitation between piano and strings. It slides into E major, and back to E flat, and then flirts with C major in typical Schubert fashion. The Trio is in A flat. 4. Allegro moderato. A leisurely spreading move- ment (longer than the first), with the time. changing several times from 6/8 to . There are many themes, and we have Schubert's favourite key- wanderings, bringing us to B flat, and then deviously to B minor, where we unexpectedly hear. the Swedish theme from the Andante played on the cello. It is recapitulated in E flat minor near the end of the movement, and helps to bind the work together. This trick, Cesar Franck's cyclic form, may se old hat to J8; but don't forget that Schubert was writing this trio at a time when its harmonic idiom was still the new romantic style, years before Cesar Franck. The quoting of themes from other movements in the finale of Beethoven's ninth symphony, which may I have provided a model for Schubert, was still something of a novelty. EWJB

NEXT CONCERT RADU LUPU (piano) Variations in F major Sonata in C major, Op.53 Scherzo in B minor, No.1 Sonata in A minor, Op.143 Suite: Out of doors Haydn Beethoven Chopin Schubert Bartok. There will be an Extraordinary General Meeting of the British Music Society of Northern Ireland on Thursday, 25th February 1971 in the Central Hall, Rosemary Street at 8.0 pm