THE BRITISH MUSIC SOCIETY OF NORTHERN IRELAND in association with The Arts Council of Northern Ireland and The Music Department, Queen's University 1976-77 SEASON FIFTH RECITAL STOICA MILANOVA and DORA MILANOVA Saturday, 26 February 1977 at 7.30 pm Elmwood Hall, Queen's University

3 Sonata in B flat (K454) Mozart (eor .go) Tom (1756-91) Largo-Allegro Andante Allegretto A otnoutines rioole o taungoood all otatise odno In 1784 a young attractive Italian violinist of twenty, Regina Strinasacchi, visited Vienna and captured everybody's heart by her appearance and her playing.foly Mozart decided to write a sonata for her on of and hastily composed the Sonata in B flat g major (K454). Indeed at the recital on fol the 24 April he had only time to write p the violin part and played the piano part from memory with the aid of a rough draft t he had scribbled down. After a slow ea eda introduction the Allegro which follows is vo ecast in the usual first movement mould. 93 The Andante is a long and exquisite dialogue between the two instruments while the last movement is a charming Allegretton in rondo form. it oftw anoa anivo. vibruotosq sil-onab s 10 taxinoo steigo a againd bus startolaang s st olanit od odourado Ono bohoold-IIm JAVHEPIC

4 Sonata in D minor (op. 108) (1) tall sta Brahms (1833-97) Allegro Adagio Un poco presto e con sentimento Presto agitato teinfioiv This is the third of Brahms' three taby violin and piano sonatas and it is interesting to note how they differ in popularity among performers - the G major is a favourite of bus violinists, the D minor of pianists and both are equally fond of the A major. The D minor is probably technically the most difficult of the three and is unique in being the only one of the set in four movements. The first movement has been described as 'starting with a great sigh and ending with an even greater one'. one'. In between there is a great variety of mood but the brooding element predominates.b The Adagio that follows is a simple but profoundly moving song while the Scherzo brings a complete contrast of a dance-like character. The finale is a passionate and full-blooded one. INTERVAL

5 Sonata for violin and piano odi mont JI saul eb z2619 Debussy (1860-1918) Allegro vivo Intermède: Fantasque et léger Finale: Très animé In 1915 Debussy set out to write a series of six sonatas for various combinations of instruments. Only three were completed before his death, that for violin and piano being his last work. The first movement is more or less orthodox in form echoes of Stravinsky's 'Rite of Spring can be heard in places. The second movement is a serenade-like inter- lude, not unlike that of the cello and piano sonata, with touches of tender melancholy. The finale which opens with a reminiscence of the first movement, is an exuberent rondo on a theme recalling 'Ibéria'.

Clair de lune 6 This well known piece needs little introduction. It comes from the 'Suite bergamasque' and is an evocation of a moonlit scene in the quiet countryside. Debussy Tzigane toa yaended 2 I Ravel (1875-1937) It's surprising that Ravel never wrote a full-length concerto for any instrument other than the piano, for he had at his disposal so many eminent instrumentalists of the time. The nearest he got to it was in this piece, "Tzigane', composed for Jelly d'Arányi in 1924. Like so many of his works the accompaniment was originally scored for piano and was then transferred to the orchestra. It opens with a brilliant cadenza for unaccompanied violin, fully exploiting the technical resources of the instrument. When the piano joins in the music becomes more and more exciting in typical gipsy-like fashion, and finishes in a burst of fire- works for both players. Programme notes by Havelock Nelson

7 Next Recital: 26 March, 7.30 pm, Elmwood Hall (please note alteration) DE SARAM TRIO Rohan de Saram (cello) Angela Malsbury (clarinet) David Pettit (piano) Trio in B flat (op 11) Sonata for cello and piano (1915) Conversations Trio in A minor (op 114) Beethoven. Debussy Paul Patterson Brahms