BRITISH MUSIC SOCIETY OF NORTHERN IRELAND 1975-76 SEASON SIXTH RECITAL bris (Szonta revod jed FOU TSONG ont stano (piano) old oo ogl Friday 26 March 1976 at 7.30 p.m. Sir William Whitla Hall The Queen's University of Belfast boom

2 Sonata in C major (K.330) Allegro moderato Andante cantabile Allegretto Mozart (1756-1791) 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. Sonata in C minor (op 111) Maestoso - Allegro con brio ed appassionato Beethoven (1770-1827) 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. 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. INTERVAL

3 Estampes Pagodes La Soirée dans Grenade Jardins sous la pluie Debussy (1862-1918) 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........ - 4 Mazurkas (op 30) 3 Mazurkas (op 50) C minor B₁ minor D major C# minor Chopin (1810-1849) G₁ major Ab major C# minor 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) Chopin 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. *****