Keep. THE BRITISH MUSIC SOCIETY OF NORTHERN IRELAND The Arts Council of Northern Ireland 900 dot and in association with The Music Department, poons vitsom Borgloob 001 Laurpe ope OUDI DOBIVID Vuos od seoqua au maman.. Queen's University FIRST RECITAL 1977-78 SEASON I on a motor 3. Tou odt to atiguont MARIUS MAY (cello) Viledare od hra prom a 30 ote doldu Saturday 22 October to IMOGEN COOPER (piano) at 7.30 p.m. fand ohnerin I PR2 done 1977 T rogo ald aevorg 2008 to no ad of tosta to ebio Elmwood Hall, Queen's University botats st DAT ett at offsobdf

2 Seven Variations in E major on Bei Männern, welche Liebe fühlen Beethoven (1770-1827) Throughout his career, Beethoven wrote many sets of variations and is recognised as a supreme exponent of the form.. His works of this type can be roughly divided into two categories: those of a serious purpose, many of which are among his greatest compositions (including the Ninth Symphony and the Diabelli Variations for piano) and those which are of a more lightweight character, mostly written in the earlier part of his career, designed to give pleasure rather than express the deepest thoughts of the composer. Such a work is the set of variations inspired by a popular theme from Mozart's opera The Magic Flute, written in 1801. (Four years earlier he had composed another set also taken from the same opera.) In this early essay for cello, Beethoven proves his ideal is that of true chamber music, where both instruments are treated as equal partners. On close inspection of the music, the piano appears to have the more elaborate part, a fact hardly surprising in a work using a stringed instrument whose technique was only starting along a pathway of significant development. Beethoven ensures that the cello is as fully exploited as was possible, within the boundaries of existing technique, in order to counter the more brilliant passage-work of the piano. The design of the variations is orthodox, with the structure and harmonic basis of the theme clearly apparent in each variation. The theme is stated by the piano and immediately echoed by the cello in its tenor register. Thereafter, Beethoven finds different ways, often gay and brilliant, sometimes expressive, of dividing the interest between the two instruments. Amongst

the most telling are the slow variations (numbers t four and six) while the Finale in compound timete includes an extended coda, twice the length of any preceding variation, featuring the original at theme. bon a .notarloan0909704 vorg 10tan oinot oft mi Sonata No 1 in E minor (op 38) ot statitadas y otaques a enc(1833-1897) elong Allegro non troppo too dimetish Allegretto quasi Menuetto - Trio Allegro Brahms sous at oirt bas formin odt Brahms excelled at most forms of musical. composition, both small and large scale. He left. outstanding examples of symphonic writing in his ot four symphonies while his finest lieder rank with. those of Schubert and Schumann. It is perhaps with his considerable output of chamber music, however, that one finds the composer at his most inspired, producing such works as the Clarineti Quintet, three string quartets, trio combinations. for horn, piano and clarinet, three sonatas for violin and piano and two for cello and piano. 1910 The cello sonatas represent the extremes of the composer's life. In his earlier years Brahms was tormented by doubt and self-criticism, destroying or making considerable revision in later years to his musical essays. Such a work was the E minor sonata, the opening two movements of which he began in 1862, but suspended until 1865 when he added a third movement. His second cello sonata in F minor followed twenty-one years later as the composer was reaching a new peak of maturity. The Allegro non troppo opens in sombre fashion with a haunting melody heard on the cello's lower register, gradually rising with a restless intensity

to the tenor register. An agitated second theme attempts to arrest the character of the first idea, but with only partial success, having to wait until the dramatic development for fuller exploitation. Following a regular recapitulation, in the tonic major provides a serene a coda section conclusion. 4 In preference to a central slow movement, Brahms springs a surprise by substituting a minuet and trio, which with its elegance of style indebted to the eighteenth century forms a pleasant contrast to the severity of the first movement. A The grace of the minuet and trio is succeeded by a brusque Allegro in the form of a fugue, a device no doubt inspired by the music of J S Bach, for which Brahms had considerable reverence. The question of balance was obviously uppermost in the composer's mind, as the two instruments are not ideal companions in fugal writing. The cello daiv struggles hard for equal partnership with the voj piano throughout the contrapuntal finale, only gaining momentary relief in the occasional lyrical moments that occur. al foly 2011 201 00027601 3 satysfasb et 10-libu ba duco vd bott 03 atory 101 o 1422 sonte 3, ont ear dro end off dotdy to stron 2387 olduct ordeon e shoqd INTERVAL odr 20 Sowo I 160

Pohádka (A Fairytale) (ored moo 5 (20 go) o Janacek forpe (1854-1928) Con motoorgoIIA Con moto Todo Allegro (oreIA) olent Following the nationalistic trend in Czech music established by his compatriots Smetana and Dvorák, Leos Janacek pursued this patriotic ideal to an even further degree in the Twentieth Century. He olou consciously renounced the Western European styles and moulded a personal style which emerged from tow the rhythms and inflexions of Moravian peasant speech and song. Nevertheless, his artistic interests a transcended the borders of his homeland to Russia, a country where music and literature gave him much pleasure throughout his lifetime. He demonstrated this amicable attitude to that country by composing music directly under the influence of many prominent Russian authors, including Tolstoy and Zukovsky. In his Fairytale for cello and piano, Janacek was influenced by Zukovsky's stories about Czar Berendcy but intended no specific programmatic connection with that character in the work, which was completed in 1910 and subsequently revised in 1923. atgoda doldw ni Joomoo Just adf 10 Throughout the three movements, both parts are thematically integrated, with folksong and rhythm prevalent in the fragmented melodic lines and 192 ostinato rhythmic patterns, while the overall structure combines elements of sonata and rondo forms. The effect of worldly make-believe is enchanced by the manner in which each movement seems to dissolved wistfully away, in the best traditions of a piece inspired by folklore... daiw Esstrato Isroing

Sonata in G minor (op 65) 6 Allegro moderato Scherzo (Allegro con brio) Largo Finale (Allegro) issim Chopin (1810-1849) One normally considers the musical output of Chopin to be exclusively confined to compositions for solo piano or piano and orchestra. It is therefore interesting to find among his opus numbers three works for cello and piano. His undoubted association with the instrument stemmed from a lifelong friend- ship with Franchomme, notable French virtuoso cellist of that time. to axebied oft bobne omar HOUSE O 3 stuterstil ba B. It was common practice (and still is) for salg composers to consult with famous contemporary aldt instrumentalists when wishing to write in the most effective manner for a solo instrument both in musical and technical terms. Thus, Franchomme I offered his Polish friend considerable advice and assistance while the latter completed his cello and sonata of 1847. They gave the first performance t together at a private concert in the same year ofer and again on the last concert in which Chopin appeared in the following year, when the composer already was a sick man with tuberculosis, an fant affliction which brought a tragic end to his career. tutoria Latovo edt silay unteting oimityds ofsal foo wh en The first movement opens in concerto-like doo fashion with the piano part assu ng the role of an orchestra as the cello utters a series of IORION glorious melodies, within a tightly controlled sonata form development - a surprising feature quat when one recalls Chopin's personal struggle with large scale forms.

The second movement, a scherzo, contains in its central section, a melody of particular poignance marked cantabile', followed by a reduced version of the opening. TANQVISAM 7 The Largo epitomises the romantic concept of beauty with a memorable melody, if somewhat sombre in character, while the Finale contains many rewards for the cello, yet with the piano receiving a fair share of the honours. ogg Although declining in health during its completion, there is little evidence of despair in the actual music. As one writer stated, 'It is as songful as anything he composed... concentrated essence of Chopin'. Notes by Graham Nelson od 1/2 or satus ex0200 DAD

THE ARTISTS MARIUS MAY was born in London in 1958, and began playing the cello at the age of seven. Two years later he gave his first concert at the Royal College of Music, and when he was twelve played the Cello Concerto by Saint-Saëns in Edinburgh. He studied under Anna Shuttleworth in London and later with such eminent cellists as Pierre Fournier and André Navarra. Since appearing at the Wigmore Hall, London, in 1973, he has performed as soloist with the London Philharmonic, Scottish National Orchestra, BBC Northern Symphony Orchestra and Bournemouth Sinfonietta. Marius May plays a Tond cello dating from the early eighteenth century. IMOGEN COOPER studied with Kathleen Long before going to the Paris conservatoire, where she was a pupil of Jacques Fevrier and Yvonne Lefebure. In 1967 she was awarded the premier prix at the Conservatoire, after which she commenced studies with Alfred Brendel. Since winning the Mozart Prize in 1969 she has given many recitals and performed with the leading British orchestras, including appearances at the Proms. She has made several recordings and her recording with Brendel of the Mozart two-piano concerto will be issued shortly.