BRITISH MUSIC SOCIETY OF NORTHERN IRELAND 1975-76 SEASONIA ottogolfa lanp oeoaudos nebal rostenol tottunel Orgol IA bozoqo storicup xte toxil s'movoddoo 101 att sugo as budeliding bos 0081-30Tt at Jaotsttib ot otni tigtent saitentool a molto olky,olyte snigalevol elsaogao odt, to stooges ont STRING Gomis QUARTET 3 COUNSET THE GELE to takmai tan .efyde MAURICE BRETT (violin) oi brooce nort AUDREY BRETT (violin) (viola) JOHN BOYCE (cello) OLIN moos od ano aby doldy at terit od Luton odd to 201 65q15 FOURTH RECITAL tromovon Eu PETER LEWIS oved of bedaiw novedta a bodega noise rutaso dimost nogur 20-o att gniw flot trogoz odd tont gattoos yd .90 Timp a Thursday 15 January 1976 doldy contould ban ytieastal as solod az izow odd to topilad at 7.30 p.m. ent bas Fat boobni st Elmwood Hall, Queen's University

2 Quartet in C minor (op 13/4) Beethoven (1770-1827) Allegro ma non tanto. Scherzo: Andante scherzoso quasi Allegretto Menuetto: Allegretto Allegro Beethoven's first six quartets, composed in 1798-1800 and published as opus 18 in 1801, offer a fascinating insight into the different aspects of the composer's developing style, while at the same time still showing traces of the important influences which helped to form that style. Thus, the imprint of Haydn can be seen in the first movement in the way in which the second subject is derived from the first. The work is unusual in that in place of the normal slow movement there is a graceful movement marked 'Scherzo', as if Beethoven wished to have as strong a contrast as possible after the serious first movement. The Minuet is far removed from the atmosphere of the eighteenth century salon and Beethoven heightens its sense of urgent intensity by directing that the repeat following the 'trio' section be played at a quicker pace. The finale has an intensity and bluntness which is indeed the hallmark of the work as a whole.

3 Quartet no 4, 'Divertimento (op 33) Kurt Roger (1995-1966) bordat odt at .atlow bo san saizssqqs ozoted orft ni Sostenute - Allegro moderatos bajosi dura en Andante grazioso Finale Kurt Roger was born in Austria and studied at Vienna under (among others) Arnold Schoenberg. In 1940 he enigrated to America, but he spent the last two years of his life in Be st where he is remembered with affection and respect. He was a prolific composer and a notable teacher, holding important posts in Vienna, America and finally at Queen's. Kurt Roger's fourth quartet was composed in 1939. The first movement is predominantly contrapuntal in texture, and the rhythmic and melodic configurations show the composer's affinity with the style of the Baroque period. The second movement has the character of an intermezzo, and is in temnery form with a quicker often anticipated in this movement. The Finale is in fact a set of variations on Hugo Wolf's song 'Abschied', which is about the fate of a critic who visits a poet and disparages the shape of his nose. The tune is gradually

(door unveiled in the introductory section before appearing as a light-hearted waltz. In the following ten variations it is subjected to many ingenious transformations. 4 * * * * * buthuto build av 100 % odnoodo? blom (czesto smas) soms to tasqa od todoxosed botongis 3 Opet ml ozody tanlio mi oli to arsoy out tant OH toodac ban tito athy botodas atsit vodlocot sidston be o qao orition anw bno izbal anov mt atoog tunguiantblen INTERVAL I bosogono any tetrupl vidcntabong at th be ozaltyf oft har a 10a0qmno od bertog ompot # old Telbiup a dach ai sisnit it * * * trd von d also thick tert oft e to odn't stod at od Bognagath has Jacq too olois ridoon Ibbh: botogioita molt to fos topt niet Id,'borioada' gana

del tot intind Quartet in D major (op 76/5) 5 (Ort go) 3 on totta? Haydn (1732-1809) Allegretto Menuetto: Allegro Finale: Presto otionLargo If the quartet which began this evening's programme beces the imprint of a great composer still striving towards mastery of the quartet medium this present work has the strength and effortless grace of Haydn's maturity. To Haydn goes the main credit for the creation of the string quartet medium, and the distance that he travelled from the rudimentary works of histo opus 1 to the refined utterances of his sixt opus 76 quartets (1797) is hard to comprehend. However, there are certain technical features which are as much a part of his late works as those of his youth, albeit worked out on a higher plane - such as the major/ninor contrasts of the first movement. The soul-searching slow movement in the remote key of F sharp major, the warm Minuet with its rather more sombre trio section, and the brillient Finale all in their different ways represent the epitome of the style.

Quartet no 8 (op 110) (200 ogol ofen 6 Largo A Allegro molto Allegretto Largot! Largo Dmitri Shostakovich (b1906) a'animovo akit anged by up of 11 The five movements of this quartet composed in 1960 are played without a break, and utilize a motif which represents the composer's name: D-S (-Es, the German for Fb) - CH(-B in German notation). The work also contains quotations from several of Shostakovich's other compositions, including a passage from. the 1st symphony in the first movement. Boe (TRF) brude auzutno? Icoinfout nttoo art redt an adxow otel atd 10 ting doua 31 02 3.no du, bolzow fodledducy aid to onora atasto opiaaton at a doua - ancig adg wole amidoneop-foos od ovon text? ode to odtetou quade to you atnasz odt mi trouvon eitt ozdars ozom rader att driv font axow Tisdt at [In ofeni illiad oits branitos Lem

7 THE ARTISTS The OLIN STRING QUARTET was formed in 1960 and has given numerous recitals, including broadcasts on Radio 3 and on Radio Eirean, with some performances of new works. All four players are members of the BBC Symphony Orchestra, Maurice Brett being the sub-leader of the orchestra. * * NEXT RECITAL Friday 30 January at 7.30 p.m. in the Elmwood Hall THE GALWAY CHAMBER ENSEMBLE James Galway (flute) John Georgiadis (violin) Roger Best (viola) Moray Welsh (cello) Devienne, Quartet in G; Roussel, Trio in F; Beethoven, Serenade in D; Mozart, Quartet in D.