BRITISH MUSIC SOCIETY OF NORTHERN IRELAND (1981-OTTT) 1975-76 SEASON SIXTH RECITAL Jalsa FOU (piano) olid noo orgell TSONG zoninni stano osodass Friday 26 March 1976 at 7.30 p.m. bris Sir William Whitla Hall The Queen's University of Belfast 11: (Sonra Hoce liv vood

Sonata in C major (K.330) 2 Allegro moderato Andante cantabile. Allegretto Sonata in C minor (op 111) This sonata is one of five dating from Mozart's sojourn in Paris. Perhaps more than any of the others, it exhibits the intricacy of craftsmanship and sense of balance that characterize Mozart's best work. This is not as some maintain. superficial or second-rate Mozart (simply because it is not in G minor?); it is a brilliant and uplifting composition. Mozart (1756-1791) Beethoven (1770-1827) Maestoso - Allegro con brio ed appassionato Arietta: Adagio molto semplice e cantabile This is Beethoven's last piano sonata, and falls into two movements, which stand in utter contrast with each other. The first opens with a maestoso introduction of unadorned solemnity, inducing a mood which endures through the Allegro con brio ed appassionata which follows: the main theme is uncompromisingly grim in statement and treatment. INTERVAL Beethoven uses the bright C major key for the Arietta which follows. Everything is different: gentleness and restraint obtain until the very end, which itself is totally tranquil.

Estampes 4 Mazurkas (op 30) 3 3 Mazurkas (op 50) Pagodes La Soirée dans Grenade Jardins sous la pluie These are imaginary musical voyages to three very different cosmoi. Debussy himself said of them, "If you have no means of travelling you must compensate yourself by using your imagination": and this Baudelairean ethic has given us musical passports to the Far East, and to Spain, as well as to the "Jardins" of Debussy's native France. All three are typical Debussy - depictionist, but very much depicting in the absence of reality.... C minor B, minor D major c# minor Debussy (1862-1918) G major A major c# minor Chopin (1810-1849) In It was above all in the mazurka that Chopin was able to abandon the Western scene and transport himself into an almost Oriental atmosphere. these two sets we may observe both the infinite variety of which Chopin was capable, and the cultural polarity of this homely Polish form, which was so grateful to his compositional technique.

4 Polonaise in A major (op 53) The point of listening to Chopin is to hear the notes, and not to make observations about the necessary piano techniques. But in this polonaise the virtuosity is unblushingly obvious: in spite of the formal unity of the piece the effect is brilliantly kaleidoscopic. Every trick in the pianist's book is exploited to dazzling advantage. Notes by David Crookes. Chopin * * * * *