BRITISH MUSIC SOCIETY OF NORTHERN IRELAND 1975-76 SEASON FIRST CONCERT EDEN AND TAMIR Saturday 11 October 1975 at 7.30 p.m. ex fo/s073 in the Whitla Hall Queen's University

Sonata in F, K.497 Adagio Allegro di Molto Andante Allegro Mozart (1756-1791) The year 1786 was a particularly rich year for Mozart's masterpieces - not only did it see the composition of the E Piano Quartet, the Trio for clarinet, viola and piano, the D Major String Quartet (K.499) and the Prague Symphony, but it also produced what is generally recognised as one of his greatest keyboard works, the Sonata in F (K.497) for piano duet. Sir Donald Tovey, for whom the work was a particular favourite, considered rescoring it for string quartet with two cellos in an effort to have the work more frequently performed. Of all the sonatas for piano duet (and there are six) this is what Eric Blom describes as 'great keyboard chamber music'. If you've never heard the work before, you are in for a great treat. Paraphrase on Themes from Don Giovanni' Liszt (1811-1886) The art of extemporising on popular melodies was very popular in the nineteenth century. Liszt was particularly gifted in this field and from these. feats the operatic fantasies were born. The more successful were repeated and gradually formed a shape, in which they were published as concert fantasies. Written in 1841 for solo pia as 'Reminiscences de Don Juan' Liszt later made a two- piano version which was not published until 1877. Remember when you listen to the work that this is not serious music but its prime purpose is to entertain by its charm and virtuosity. Mozart himself

wrote variations on themes by contemporary composers, so Liszt can hardly be faulted for doing the same thing. Suite No 2 (op 17) INTERVAL Introduction Valse Romance Tarantella Rachmaninov (1873-1943) The second suite for two pianos was written in 1901, the same year as his successful Second Pian Concerto. It has become established as one of the masterpieces of the repertoire and the four movements exploit the resources of two piano-playing. The Introduction begins with a Schumannesque four- bar sequence of chords which precede the first of the three main subjects on which the movement is constructed. The second theme appears over a throbbing pedal point. in the left hand and later the third theme, absolutely typical of the composer's lyrical vein, blossoms out into a long sentimental sequence which eventually leads to a recapitulation of the opening themes and a peaceful conclusion to the movement. The Valse is an extended moto perpetuo with delightful cross-rhythms. The trio section relaxes into a warm melody but even here the accompaniment still has a constant rhythm going in the background. After a return to the opening material the movement peacefully fades away. The Romance has probably the greatest depth of all the movements and exploits the marvellous tonal and dynamic range which can be obtained from two pianos.

The Tarantella which concludes the Suite is a virtuoso piece for both players. It employs as its Yet in spite main theme a jaunty Italian folksong. of this, the movement is dominated by a purely Russian feeling and has a sadness which clothes the music in a gloom in spite of its lively tempo. Variations on a Theme of Paganini The Polish composer Witold Lutoslawski is one of the In this. most important composers of the present day. work he uses the well known theme by the violinist Paganini, already incorporated in compositions by a number of other composers, notably Brahms, Schumann and Rachmaninov. Lutoslawski's treatment is completely original in concept, and in the twelve variations and coda his writing for two pianos is brilliant and exciting. Notes by Havelock Nelson NEXT CONCERT Saturday 29 November at 7.30 p.m. in the Elmwood Hall (NB: PLEASE NOTE CHANGE OF VENUE) MORAVIAN STRING QUARTET Lutoslawski (b1913) Quartet in Bb (op 76/4) Haydn Quartet no 1, Janacek Dvorak Quartet in E STANDS & P.S.