THE BRITISH MUSIC SOCIETY OF NORTHERN IRELAND in association with The Arts Council of Northern Ireland The Department of Music, Queen's University and SEVENTH RECITAL DREAM TIGER Margaret Field (soprano) Peter Hill (piano) Elizabeth Perry (violin) Rohan de Saram (cello) Douglas Young (piano) Thursday 1 June, 1978, 7.30 p.m. Members' Rooms, Balmoral

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Trio in F major 5881) This short trio in two movements was one of three originally composed for flute, cello and keyboard, but with the option of using violin instead of flute. The second movement has a minuet-like quality. dow Menu propos enfantins. 79 viser anistos The War Song of the King of the Beans What the little Princess of the Tulips said Waltz of the Almond Chocolates Little Prelude for the Morning Lullaby seeds i Jex s March of the Great Staircase Joseph Haydn (1732-1809) Cabaret Songs Erik Satie arr. Douglas Young (1866-1925) On being Jealous of his Comrade with a Swollen Head On Eating up your Friend's Piece of Bread Taking advantage of the Corms on his Feet to grab his Hoop These nine miniatures were originally composed as children's piano pieces. In these arrangements I have 'recomposed' them to show off the virtuosity of the violin and cello. Erik Satie: nav bi Francis Poulenc: s box Isl La Diva de l'Empire Je te veux Arnold Schoenberg: Jedem das Seine brew doticellos eine Mahnung wa Hotel Lovely House Gigerlette T These songs will be introduced by the singer. Kurt Weill: Arnold Schoenberg: 10

Duo for violin and cello, Op.7 (1914) Allegro serioso, non troppo Adagio dyon Maestoso e largamente, ma non troppo lento - Presto varp oi-sonin seed dovon boos Though an early work, the Duo already shows clearly the characteristics of Kodály's mature style. With Bartók, Kodály was responsible for the collection and study of vast amounts of the folk music of Hungary, and both com- posers draw on this experience for the distinctive sound of their music. The Duo contains freely evolving melodies related to the improvised instrumental style of Hungarian folk musicians, and, in the final Presto, introduces the more metrical rhythm of a children's song As a composer Kodály retained a lasting reverence for classical models. The opening Allegro is in sonata form, whilst the Adagio is fantasia-like, with fugal elements. The final movement refers to the Adagio in its intro- duction, which leads to a ternary movement with coda. po shi BabaBoGoS Four songs RRRRRR INTERVAL Zoltán Kodály (1882-1967) BOR *=*=*=~~~~~~~~~~~~ Douglas Young (b1947) To Blossoms (Herrick) Ful Fadom Five (Shakespeare) The Cat and the Moon (Yeats) The Wild Swans at Coole (Yeats) sdag01-26CONTA The first two songs in this collection were written when I was sixteen in the spring of 1964. The Wild Swans at Coole' was composed in the autumn of 1976 following a holiday in the West and North of Ireland; 'The Cat and the Moon' followed in the spring of 1977.

The Rite of Spring Stravinsky's own version of The Rite of Spring' for piano duet is almost a new composition. Although the musical substance corresponds closely to the orchestral version, the smaller medium reveals how essentially pianistic Stravinsky's musical imagination was in 1912. The opening of Part II is particularly transformed. The sections of the ballet are: Part I: Adoration of the Earth -ods bed aed. ved ad Introduction des amon 3A 890 eded whosiv sdt of doel most eg The Augurs of Springsga Ritual of Abduction Spring Rounds Ritual of the Rival Tribes ed of aneb Procession of the Sage Total Enly The Sage red Dailus ss Dance of the Earth dod Igor Stravinsky (1882-1971) neitags sda HomA Part II: The Sacrifice Introduction Mystic Circles of Young Girls Glorification of the Chosen One Evocation of the Ancestors Ritual Action of the Ancestors Sacrificial Dance Buvo Programme notes by Douglas Young and Anthony Carver (Kodály) la sa s Jais 013-32

TONIGHT'S ARTISTS Australian-born Margaret Field made her London debut in a 1973 Wigmore Hall Recital. Since then she has estab- lished herself as a soloist with music and choral societies throughout Britain and has performed sev l times in London's Queen Elizabeth Hall, Purcell Room, and Royal Festival Hall. She has sung in major festivals, and broadcasts frequently with the BBC. Recent engagements have been with the Northern Sinfonia, Barber Institute, South Yorkshire Arts, London Bach Society, and as guest artist with the New London Ballet. She returned to Australia in 1975 for concerts and recording engagements with the ABC, and again in 1976 to sing Euridice for the Victoria State Opera. At home in a repertoire that ranges from Bach to the avant-garde, she has had enor- mous success with her idiomatic singing of works from the French repertoire, especially songs of Ravel and Fauré. A graduate of Melbourne University, she teaches singing in the Music Department of Sheffield University. SUP ONS TO Elizabeth Perry was one of the first students to be taken by the Menuhin School, where she studied violin for several years. She continued her studies at the Julliard School in New York, and has given many concerts with Mr Menuhin himself. She recently premièred a new work by the distinguished American composer Christian Wolff. pititost odl Rohan de Saram was born in Ceylon, but came at an early age to Europe, studying cello in Italy. His highly successful concert career has included several world tours. In 1975 he was invited by Xenakis to play 'Nomos Alpha' at the Bonn Festival. The use of micro-intervals in this work inspired Henri Pousseur to write a new cello compo- sition for Mr de Saram which divides the octave into 19 exactly equal divisions. He will shortly première a new work by Christian Wolff and new concertos by Jeremy Dale Roberts and Douglas Young. In addition to contemporary work, Mr de Saram is in demand the world over for classi- cal recitals. This year he will be visiting Australia and Indonesia in addition to work throughout Europe.

Peter Hill was a pupil of Cyril Smith and recipient of the Chappell Gold Medal while studying at Oxford University and the Royal College of Music. For two years he was research fellow at Royal Holloway College, University of London, during which time he studied Xenakis's piano music with the composer in Paris. Since January 1976 he has been a Lecturer in Music at Sheffield University where he has founded a thriving series of lunch- time concerts. He combines his position there with rapidly multiplying concert and broadcasting commitments for both contemporary and classical music. In the autumn of this year, Mr Hill will be establishing a piano trio (with Fosemary Furniss and Colin Carr), which will be in residence at Sheffield University for the 1978/1979 season. Douglas Young, was born in London in 1947 and studied music at the Royal College of Music with Antony Hopkins, Steven Savage and Anthony Milner. Since 1969 he has worked with several ballet and dance companies in Britain and Germany, collaborating with Ronald Hynd on the crea- tion of the ballets 'Pasiphae' (Munich State Ballet 1970) and 'Charlotte Brontë' (Royal Ballet 1974). In 1971, Mr Young won the first Karl Rankl Prize with his orches- tral work 'Departure', and in the following year he ful- filled two commissions from the English Chamber Orchestra. From 1973-1975 he was a recipient of a Fellowship at Trinity College, Cambridge, during which time he founded the ensemble Dreamtiger and began a performing career as pianist and conductor organising a season of concerts in London which featured the music of Xenakis and Pousseur. From 1975-1977, he was Composer in Residence for the Leicestershire Education Authority, working with children and amateurs in industrial areas of the county. He is currently working in the Department of Cultural and Community Studies at Sussex University, and is a Trustee of the Riverside Studios, London.