BRITISH MUSIC SOCIETY OF NORTHERN IRELAND in association with The Arts Council of Northern Ireland and The Department of Music, Queen's University SIXTH RECITAL SUK JOSEPH SUK (violin) TRIO JOSEF CHUCHRO (cello) JAN PANENKA (piano) Elmwood Hall, Queen's University 29 April 1978, 7.30 p.m. PR2

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NOTTURNO in E flat major 1993 24 (op 148, D897) Franz Schubert (1797-1828) Published as an Adagio in 1845, this piano trio seems to have been written in 1826 or 1827, *** possibly as an exercise before or as a projected slow movement of the lovely B flat trio, op 99. As it stands, there is not much in the movement to help the players, for it is rhythmically and melodically very simple, although as part of a complete work it might have served as an impor- tant respite. Nevertheless, the two main tunes are well enough differentiated for its shape and climaxes to be interesting, and there is some typically Schubertian chromatic movement. transition to E major for the second tune, the link back to the home tune through F major, and the martial C major reappearance of tune two with its movement to the coda, all point up Schubert's facility in modulation as part of the dramatic structure of a work. ganen0x30101 0203 31 The PIANO TRIO in B flat (op 21) od a lis 3-Finale. (110m R 1 sl oir asl) Anton Dvořák (1841-1904) Allegro molto. Adagio molto e mesto Allegretto Scherzando Allegro vivace ombuds This 1875 trio comes at a turning-point in Dvořák's od life. He had just won an Austrian State Prize which gave him some financial independence (Hanslick was one of the judges). His Moravian vocal duets, written directly before the Trio, were liked both by Brahms who helped Dvořák receive a publishing

contract from Simrock, and by the general public. His Symphony in F major (No. 5) was being written at the same time, and in both works we can see that Dvořák was now becoming master of his craft and able to show something of his own character. DA 1024 The B flat trio marks this turning-point rather well. Formally it has its weak points: the slightly rambling finale, the rather too Schubertian first movement, the unexciting use of piano, but in other ways we can hear the real Dvořák coming through. The first three movements exist in sub-mediant relationship with each other (B flat, G minor, E flat), and there are some Dvořákian modulations within all the movements reminiscent of later works. ORA13 a13 200 The slow movement, for instance, alternates two lyrical tunes moving from G minor to A major, and to F sharp minor for the second appearance of the first melody. There is some relationship between this movement and the finale which starts out in G minor before asserting the home key in a canonic theme, and which uses the main slow movement theme in its development. (It appears first in the cello, high up and ppp.) Perhaps the most delightful section of all is the Polka of the third movement (its trio is in B major!), but there is much to enjoy throughout this work, one of Dvořák's first published offerings in chamber music.Tena * * * * * * * INTERVAL * * * * * * * adv andist ed

PIANO TRIO in G minor (op 15) wago Bedrich Smetana (1824-1884) Moderato assai Allegro ma non agitato - Alternativo I. Andante - Alternativo II. Maestoso eve Finale. Presto do *3000 9 Smetana's only three chamber works are all written out of personal adversity with a programme behind them, and are all intense and moving compositions which deserve to be better known. Two decades separate this trio from the two string quartets, but it, too, is a work of maturity, though not yet with the conscious nationalism of later Smetana. the co a novos One It has its origins in an appalling period of Smetana's life. He married in 1849 and had four daughters. died in 1854 aged two, the second in 1855 aged four, and the fourth born during the composition of this trio, was to die the following year. Smetana's wife was also already showing the effects of the consump- tion which was shortly to kill her.om a anda! edmomam! 29243 Smetana dedicated the trio 'in memory of our eldest child Bedriska (Friedrike) whose rare musical talent. gave us such delight; too early snatched from us by death at the age of 4 years'. He wrote it between September and November 1855; it was performed in December with the composer as pianist. ninugo ods 03 #logo sono sed The programme behind the work is not overt - one can imagine what Smetana had in mind, but he was given no more help than is implied in the dedication. The work has a (Lisztian?) thematic unity engendered by the opening grieving motif (descending chromati- cally through a fifth) which is used in various forms in all three movements in the sadder sections, and which, together with a driving rhythmic force, helps give the trio its moving intensity.

development with The first movement, in sonata form, develops two main themes - the opening motif (with a telling cello counter subject joining it) and a tender and simple cello theme supported by piano which also uses the descending fifth. The instruments rise to a tortured climax in the the two themes contending, until the tension is relieved in a curious hymn-like passage (a variant of the main motif still) answered by a solo piano cadenza. This questioning cadenza is answered by the return of the opening motif. It is up to each listener to respond to this section as the recapitulation drives to its tortured conclusion. Acaden The slow movement, which some think of as a port- rait of the child, begins with another variant of the grief motif disguised into a playful theme followed by a simple Schumannes que piano passage. There are two episodes or 'alternativi'; one tender, also rather like a Schumann piano piece, and one a dignified lament.. The first, particu- larly, has a melting lyricism beautifully balanced between the three instruments. ban Fub 201 The Finale's rondo section utilises the theme of an early sonata which perhaps had meaning for the composer. It is almost a Furioso in two- against-three energy and contrasts effectively with the lyrical and noble sad episodes which hark back once again to the opening motif and also to the questioning cadenza in the first movement. The ending moves from a funeral march to a triumphant G major statement of the episode theme which fades to a quiet reminiscence of the rondo and a final putting aside of grief. Programme notes by Hilary Bracefield

TONIGHT'S ARTISTS Joseph Suk, the leader of this world-famous Trio, is the son of Josef Suk the composer and violinist (1874-1935), and grandson of Dvořák. All three members of the Trio are well-known soloists in their own right. Jan Panenka has recorded three of the Beethoven concertos, and Josef Chuchro the cello concertos of Dvořák and Martinu. ~8~8~8~80 NEXT ~0~0~0~8~8~ CONCERT Thursday, 1 June 1978, 7.30 p.m. at the Members' Room, Balmoral. (Please note the venue and change of date) DREAMTIGER Works by Haydn, Satie, Schoenberg, Kodaly, Young and Stravinsky

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