647 641814 BRITISH MUSIC SOCIETY OF NORTHERN IRELAND SEASON 1972-73 641 FIRST RECITAL under the auspices of THE QUEEN'S UNIVERSITY OF BELFAST THE EDINBURGH QUARTET MILES BASTER (Violin) AUSTIN PATTERSON (Violin) MICHAEL BEESTON (Viola) DAVID EDWARDS (Cello) Price SIR WILLIAM WHITLA HALL Queen's University, Belfast THURSDAY, OCTOBER 12th, 1972 PR2 : 5p

Quartet in E flat K.428 Allegro, ma non troppo Andante con moto Menuetto; Allegretto Allegro vivace Mozart 1783 was an important year in Mozart's life-apart from his compositions, it was the year of the birth of Constanze's first child. The Quartet in D minor K421 was written at this time and followed within a few weeks by another masterpiece in the same genre, Quartet in E flat K428. This was a complete contrast to its predecessor, a warmth and serenity compared to the earlier turbulence. This is noticeable from the start of the first movement, with its first subject of a rising octave played by all the instru- ments in unison. Later the first violin is given the second subject which is restated at once by the viola. The development section has a series of arresting modulations which catch one's attention. The Andantino is in A flat and 6/8 time, a meditative movement heightened by the use of chromatic syncopation. The minuet which follows is more conventional in character and the finale has a lightness and airiness which charms the listener. Notice the resemblance of one of the main themes to the second subject of the first movement. Quartet No. 2 Op. 92 in F major. Allegro sostenuto Adagio Allegro Prokofieff For such a prolific composer in so many fields of music, it is surprising that Prokofieff only wrote two string quartets, the first in 1930 and the twelve years later. The composer wa staying in the Caucasus mountains at the time and he was strongly influenced by the folk music he heard around him. The virile qualities of the melodies appealed to him and it is this aspect which he highlights in this quartet. Two contrasting themes form the basis of the first movement, one bold and sweeping, the other ponderous and solemn. The second movement is dominated by

melodic decorations so typical of eastern music. The work con- cludes with a rondo-sonata movement with two secondary themes and a slow central episode. It is full of life and incident-qualities which combine to make this quartet one of the outstanding in the repertoire of Soviet chamber music. INTERVAL Quartet Op. 132 in A minor Beethoven Assai sostenuto-Allegro Allegro ma non tanto Molto Adagio Alla marcia, assai vivace-Allegro appassionato This quartet was written as the result of a crisis-the date of its composition coincides with Beethoven's illness lasting from April to August, 1825, when he was confined to bed for a month. It has been described as "A remembrance of those terrible hours. of pain and a hymn of thanksgiving to Him in whose hands is the life of man". The introductory phrase of four notes played by the cello is the key to the whole movement, and indeed appears in various guises throughout the work. It is impossible in a short space to deal with more than the outlines of the movements. The slow introduction leads to an allegro, cast in the unusual form of three expositions interrupted by developments of the introduc- tory theme. The second movement, with a pastoral trio section, is graceful and not very quick and bears a thematic relevance to the texture of the first movement. Then follows the famous "Holy Song of thanksgiving in the Lydian mode, to God from one healed of sickness", an Aria or Lied in five sections, in which the three appearances of the aria are alternated with episodes in D major. A short A major movement, alla marcia, leads to a bridge passage which links it with the finale a rondo, originally intended by Beethoven for the Ninth Symphony. Members are asked to make every effort to avoid coughing during the performance

NEXT CONCERT Saturday, November 4th, 1972 THE FELSEN TRIO Miriam Nathaniel, soprano Wilfred Goddard, clarinet Jane Scott-Butler, piano Works by Spohr, Janacek and Hindemith, etc., and "The Shepherd on the Rock" (Schubert).