board BRITISH MUSIC SOCIETY OF NORTHERN IRELAND The Department of Music, Queen's University 720 and The Arts Council of Northern Ireland. sviswi in association with 398 bassgasllado a àreas 91 0 3922ed on 21 bous pliaups gaid SECOND RECITAL U bellde.ed nes ULSTER SOLOISTS ENSEMBLE to wsi ya as to asso with Havelock Nelson (piano) Colin Fleming (flute) Brian Overton (oboe) Chris King (clarinet) Charles Millar (bassoon) Chris Blake (horn) Saturday 20th October 1979 Elmwood Hall 7.30 p.m.

Quintet in E flat major, Op.16 for piano and wind Grave Allegro, ma non troppo Andante cantabile Rondo It is strange that this Quintet and the Mozart Quintet, K. 452 which we are to hear later, are the only ones employing the combination of piano, oboe, clarinet, bassoon and horn to have found a place in the repertoire. Ludwig van Beethoven (1770-1827) The Beethoven Quintet was written in 1796, twelve years after the Mozart work, and is, in fact, modelled on the earlier quintet. Indeed, it seems that Beethoven found in his predecessor's achievement a challenge, and set out to write something equally good, if not better, in the same medium. Consequently, this is one of the very few of Beethoven's works which can be called "Mozartian" and unfortunately it has suffered from comparisons with the Mozart Quintet. The first theme in the final rondo of this work recalls that of the rondo of Mozart's K.452 and there is also a possible recollection of the first movement of Clementi's Sonata Op.8 No.2 (published in 1782) in the finale of this Op. 16 Quintet. As in much of Beethoven's early ensemble music, the piano plays the leading rôle. In 1810, Beethoven re- arranged the Quintet for a piano quartet. Sextuor for Piano, Flute, Oboe, Clarinet, Bassoon and Horn Allegro vivace Divertissement Finale Francis Poulenc (1899-1963) Originally composed in 1932 during the same period as Le Bal Masqué and the Concerto for Two Pianos, this Sextet

was later extensively revised and a definitive version produced in August 1939. The first movement is in a conglomerate structure typical of the composer - Introduction-A-B-A-Coda. The ensuing Divertissement once again exploits a loose ternary shape with a middle section contrasted in tempo, thematic material and mood. The Finale falls into a rondo form, suddenly curtailed by a slow epilogue which ends the work. The Sextet is characteristically light and unintense in nature and displays Poulenc's masterly writing for key- board and wind instruments, individually and in combination. *************** INTERVAL *************** Quintet in E flat major, K.452 for piano and wind Wolfgang Amadeus Mozart (1756-1791) - Largo Allegro Moderato Larghetto Rondo (Allegretto) Completed in March 1784, this K. 452 Quintet is one of finest works of Mozart's middle period. He himself had a particular affection for it, and referred to it in April of the same year as "the best work I have ever composed." It has, indeed, qualities that, although common in his later works, are not so completely and wonderfully displayed in any of his earlier compositions. One of the work's most striking qualities is Mozart's sense of colour and character of each instrument, and the skill with which the balance. between them is always maintained. The Quintet begins with an introductory Largo which leads into the ordinary first-movement form. This is in Mozart's happiest vein, the brilliantly effective instru- mental writing coming near to a concertante style yet remaining within the boundaries of true chamber music.

The slow movement falls into two sections, each of which is rounded off with a melody of haunting beauty, heard first on the piano, then taken up in canon by the clarinet and the oboe. In the last movement, before the final statement of the theme there is a "cadenza in tempo" in which the instru- ments enter in close imitation enlivened by sparkling figur- ation on the piano. A coda of enchanting lightness and gaiety brings the work to an end. mamus The Ulster Soloists Ensemble is made up of principal players of the Ulster Orchestra, and the Ensemble give recitals from their wide repertoire in and around the Province, especially in schools. Dr. Havelock Nelson needs. no introduction as one of the leading figures in the musical activity of the Province. CASA TONIGHT'S ARTISTS We would like to extend our very grateful thanks to the Ulster Soloists Ensemble and to Dr. Nelson for agreeing to step in, in place of our advertised artists, at such very short notice. to have NEXT CONCERT Monday 19th November at 7.30 p.m. Whitla Hall CATHY BERBERIAN (soprano) HAROLD LESTER (piano) mol ods ism avhvi (In Conjunction with 'Festival '79') abnel w guiniston