BRITISH MUSIC SOCIETY OF NORTHERN IRELAND 1970-1971 SIXTH RECITAL under the auspices of THE QUEEN'S UNIVERSITY OF BELFAST Price RADU LUPU : Pianoforte SIR WILLIAM WHITLA HALL Queen's University, Belfast SATURDAY, 27TH MARCH, 1971 8 5p

VARIATIONS IN F MINOR Hayon Written in 1793 when Haydn was 61. In the dedi- cation the work is described (rather misleadingly) as "un piccolo divertimento"; in fact this fine piece is not "small" at all, but with its florid melody and profusion of ornaments is more like a Beethoven slow movement. An Andante in F minor (Binary form) is followed by a Trio in the major and there are two alternating variations and a finale which is based mainly on the F minor mat.- erial. SONATA OP.53 IN C MAJOR WALDSTEIN' Allegro con brio Introduzione: molto adagio Rondo: Allegretto moderato Beethoven Written 1804 and dedicated to Count Waldstein this sonata is of the same period as the 'Eroica' sym- phony, the 'Kreutzer violin sonata and the piano sonata in F minor, Op.57 (the 'Appassionata'). There are three movements, all of which begin pianissimo. In the first movement there is a strong contrast between the rhythm of the first subject (busy and pulsating semiquavers) and the more sedate crotchets and minims of the second. subject in E major (described by Denis Matthews as "quasi-chorale"). The short second movement is a replacement - originally there was a longer movement (the Andante favori in F) which Beethoven later with- drew. It is sustained in tone and mysterious and it acts as a pivot between the coda of the first movement and the first quiet statement of the serene and beautiful Rondo theme. After two episodes in minor keys, and much development, the sonata ends with the Rondo tune played in double time in a brilliant prestissimo.

SCHERZO IN B MINOR, OP.20 Chopin Chopin borrowed the term "Scherzo" from Beethoven to give to a piece in 3/4 time and very quick tempo. Here any resemblance to the Beethoven "Scherzo" ends. Chopin's Scherzos are self-contained works, each on a considerable scale and individually shaped. The B minor Scherzo (first of the four) was written in 1831 when Chopin was 21. The opening theme has been described as "zig-zag" and "surging upwards like flame". Later (in the major key) comes a Trio adap- ted from a Christmas folk song ("Sleep little Jesus") to which tune Chopin wrote a bell-like accompani- ment. The work ends with a dramatic coda. INTERVAL SONATA IN A MINOR (D.784) Allegro giusto Andante Allegro vivace Schubert tasia. Written in 1823, the same year as "Die schöne Müllerin" and a year after the "Wanderer" Fan- Schubert wrote 17 piano sonatas - there is a surprising lack of agreement about them among musicians. Phrases such as "not grateful to the fingers" and "not laid out well for the keyboard" have been used by one writer, while others emphas- ize Schubert's fund of melodic invention and "equal inventiveness of attractive accompanying figures". It has even been said (perhaps by those who cannot see past Beethoven) that Schubert was not a composer for the virtuoso pianist, writing on the whole better piano parts than piano sonatas - certainly it's interesting that there is no Schubert piano concerto. The mood of the A minor sonata is lyrical. The first movement starts bleakly with a 4-bar phrase in octaves. The last two notes of the answering phrase turn into a new theme which first appears as This rhythm, an accompaniment to a march-like tune. which dominates the whole movement, finally appears in double augmentation and in A major at the end, giving what has been described as "a strangely hollow and enigmatic effect".

The material for the slow movement grows from a single theme which is punctuated by a mysterious rhythmic figure in octaves this figure nearly becomes a new theme itself, but subsides again into a counterpoint to the first theme. The last movement (3/4) starts in A minor with a rush of triplets (like a tarantelle and with a hint of tambourines). Later this all gives way to a gentle tune with a "rock-a-bye" accompaniment. work ends dramatically with the first theme re- appearing in octaves. The 'OUT OF DOORS', 5 pieces Bartók Belá Bartók had a traditional training as a vir- tuoso pianist.Later, as a composer, he discarded conventional pianistic figures and concentrated on the chordal and percussive possibilities of the instrument, showing particular interest in rhythm. These 5 pieces were written in 1926 when Bartok was living in Budapest. The titles are self-explanatory. 1. With drums and pipes. An example of his per- oussive writing, with the accent, so to speak, on the drums. 2. Barcarolla. The Venetian 6/8 rhythm is inter- rupted by a 7/8 bar, and before we know where we are we have 5/8, 3/4, 4/8, 3/8 example of Bartok's cross rhythms. A rolling figure persists (in the left hand) and the gon- dolier's song floats over it. typical 3. Musettes. The pipes flutter their ornamental decorations and this leads to a graceful dance (p leggiero), which is soon exhausted; the dance makes another attempt to break through the pipe ornaments before the end. 4. The Night's Music. A study in texture with clusters of notes and much atmospheric bird calling. The influence of Debussy can be traced here. 5. The Chase. Basically a hectic two-in-a-bar gallop, with the left hand keeping up a rush- ing pattern.