BRITISH MUSIC SOCIETY OF NORTHERN IRELAND in association with THE DEPARTMENT OF MUSIC, QUEEN'S UNIVERSITY and THE ARTS COUNCIL OF NORTHERN IRELAND FIFTH RECITAL DORA SCHWARZBERG (violin) VICTOR DEREVIANKO (piano) Elmwood Hall hele bos Saturday 12 January, 1980

Sonata No. 6 in G major. Op. 30 No. 3 Ludwig van Beethoven (1770-1827) Allegro assai Tempo di menuetto, ma moderato e grazioso Allegro vivace The ten violin sonatas which Beethoven completed were all written between 1797 and 1803 - a period when the composer was growing in maturity and stature and seeking to impose his creative powers upon the established classical tradition. These sonatas are all genuine duos, where both instruments are not only treated as equal partners with regard to distri- bution of thematic material, but also take into account the inherent difficulties of tone balance. The Op. 30 set of three sonatas, dating from 1802, were dedicated to Emperor Alexander I and completed in the same year as the Second Symphony and the Op. 31 piano sonatas. Each work arouses three distinct passions within the composer: his passionate love for a woman, his passionate identity with the patriotic spirit and his passionate interest in nature, as invoked in the Third Sonata - a pastoral work "full of rustic impressions and the bucolic spirit of the country dance" (Cobbett). The first movement owes its constructive allegiance to the sonata form models of Haydn and Mozart. A vigorous undulating figure stated in unison by both instruments fulfills a double role in that it catches the immediate attention of the listener and also introduces an important thematic germ. Giving way to a graceful violin theme prompted by the piano, the latter instrument, in turn, introduces the second subject in the unusual key of D minor. A brief development exploiting the opening theme, leads to a regular recapitulation without a coda.

One of Beethoven's most haunting melodies is heard in the opening bars of the Tempo di Menuetto its lilting nature creating a swaying, rhythmic pulse which is main- tained throughout the whole movement. A second section of equal melodic charm provides a basic rondo framework with a coda summarizing the sense of partnership between the instruments. The sparkling finale, in the manner of a country dance, finds the violin spinning an infectious melody over the constantly rippling semiquaver figure of the piano which sets the dance in motion. This opening idea dominates the proceedings, gradually becoming more and more agitated until a sudden tonal shift in the piano halts it, heralding the onset of the climactic coda. Suite for violin and piano. Op. 6 Introduction: March Moto Perpetuo Lullaby Waltz Benjamin Britten (1913 1976) This early chamber work was completed when Britten was pass- ing through a formative stage of compositional development and adjustment as he strove for a means of self-expression. Written soon after the popular Simple Symphony. Op. 4 and Holiday Diary. Op. 5 for solo piano, this suite was completed in 1935 and given its first performance the following year. Whereas the two earlier works were an expression of high-spirited exuberance, the Suite for violin and piano strives towards a more sophisticated form of wit. A musical motto is quoted on the title page - E F B C - but these particular notes play a less significant part in the work overall than the general contour of the motif and its inversion, appearing in each section in a different guise.

The introduction begins in a declamatory fashion, the violin leading the way with a melodic line based upon a whole tone scale, as the piano accompaniment provides fanfare figures - a characteristic feature of many later scores. There follows a cryptic march, full of nervous rhythms, sparse textures and leaping melodic lines. A short central section, making effective use of artificial. violin harmonics, serves to momentarily ease the original tension before an abbreviated return to the opening section concludes the movement. Rhythmic urgency is the predominant feature of the moto perpetuo. Based upon a loosely structured sonata form, Britten skilfully gives the impression of a continuously unfolding movement by variation of texture and speed. Momentum is maintained throughout the development section, which ends with a long pedal point, leading to the restate- ment of the material of the opening section the elements of which are heard, this time, in reverse order. Throughout, there is only indirect reference to key a familiar stylistic trait in the music of the composer from this early period. A more direct approach to diatonic harmony appears in the Lullaby, where simple piano chords accompany a melodic line which reaches emphemeral heights. Musical wit is fully apparent in the concluding Waltz - a deliberate parody of a familiar form. In a ternary design, a melody in sixths re-creates the Viennese conception of the form whilst the French influence is seen through the characteristic decoration of the melodic line. ********************** INTERVAL **********************

Sonata No. 3 in D minor. Op. 108 Allegro Adagio Johannes Brahms (1833-1897) Un poco presto e con sentimento Presto agitato Brahms completed his final sonata for violin and piano in 1889, two years after the publication of his A major sonata for the same combination. Despite the fact that this work has four movements and is written in symphonic scale, it is, in fact, the shortest of the three. The opening theme of the Allegro, is typical of Brahms in its breadth and restless nature, affording plenty of scope for development in the episode which leads to the persuasive second theme, introduced by the piano. The extended development section is remarkable in that it is built entirely upon a dominant pedal, over which most of the material heard derives from the opening idea. second subject in the recapitulation is sandwiched between two statements of the opening theme the first having some alteration to the piano accompaniment. A coda using a tonic pedal finally succeeds in resolving the turbulent atmosphere which haunts the entire movement. The The Adagio allows the violin to explore some of its richest sonorities through a theme both long and eloquent which dominates the movement. Its majestic course is only broken momentarily by a brief flourish using double stops, leading back restatement of the main theme an octave higher. Simple, yet so appealing, this melody surely finds Brahms at his captivating best. The lyricism of the Adagio is replaced, in the third movement, by a more abrupt, drooping figure, full of wistful melancholy. A scherzo in all but name, the outer sections.

in F# minor are relieved by a more optimistic central episode in the remote key of F major. The finale exemplifies the composer's symphonic approach. In the form of a tarantella, with its passionate yet contrasting themes and urgent rhythms, one is reminded of the corresponding movements from both the Violin Concerto and the Horn Trio. Each of the themes inspires its own brand of exhilaration and the fire and energy of the agitato coda brings the work to an appropriately exciting conclusion. Programme notes by Graham Nelson TONIGHT'S ARTISTS Dora Schwarzberg was born in Tashkent, U.S.S.R. of an extremely musical family - her first teacher, in fact being her grandmother. She entered The Moscow Conservatoire and in 1969 won first prize at the international competition in Genoa. In 1973 she emigrated to Israel where she played for Issac Stern and Pablo Casals, both of whom were highly impressed by her. Miss Schwarzberg made her début at the Carnegie Hall in 1975 and in 1976 she won first prize at the Carl Flesch Competition in London. Since then she has appeared with many orchestras, including the Royal Philharmonic, the London Symphony, the City of Birmingham Symphony Orchestra and, of course, our own Ulster Orchestra. In addition to her career as soloist, Miss Schwarzberg also leads the Vidom Trio. Victor Derevianko studied at the Gnessin Institute in Moscow and was one of the founder members of the original Vidom Trio, who established a considerable reputation in the U.S.S.R. When he emigrated to Israel in 1974, he was already well-known, both as a soloist and as Professor of Piano and Chamber Music at the Gnessin Institute. His reputation in the West has been re-established through the

re-formed Vidom Trio and he is now on the faculty of Tel Aviv University, at the Rubin Academy of Music. ************ NEXT CONCERT Thursday 14 February, at 7.30 p.m. Elmwood Hall DMITRI ALEXEEV (piano) Please note that this concert is to take place midweek