BRITISH MUSIC SOCIETY OF NORTHERN IRELAND THIRD RECITAL ΤΗ Ε SMETANA Jiří Novák Lubomir Kostecký Milan Škampa Antonín Kohout QUARTET ..... Violin Violin Viola Cello Saturday 31 January 1981 Elmwood Hall 7.30pm

Quartet in A K.464 Allegro Menuetto Andante Allegro ma non troppo WA Mozar This quartet, completed in 1784, is sometimes called "The Drum" because of a distinctive drumming bass which emerges in the third movement. The The first movement has, unusually, a short, subsidiary theme in C major which introduces the second subject proper. The exposition ends with a reference, in the codetta, to the second section of the main theme, and significantly, this is included in the ultimate coda in a prominent position. minuet which follows (still in A) is merely a framework into which Mozart pours music which is almost savage in intensity. The first part of the main theme is based on the second section of the theme of the previous movement, and the rhyth- mic pattern of the codetta from that movement appears both in the minuet and at the end of the romantic trio theme, offering temporary relief in its lush, swelling harmony. The real relief, however, comes in the third movement which is a theme and variations. The tranquility of the smoothly-flowing theme extends to the variations which seem to grow increasingly independent. In the last variation before the theme returns, the cello breaks into the cheerful drumming accompaniment below the sweetly-moving upper strings. The finale, in sonata form, takes us back to the previous movements: the first section of the main subject has the rhythmic form of the opening of the minuet, while the second section has that of the main theme of the first movement. The familiar throbbing returns in the cello, this time as a sinister ostinato bass, after which we suddenly find our- selves back in the romance of the trio theme which Mozart now recreates using the harmonic material of the main opening theme. Quartet No.2 ("Intimate Letters") L Janacek This quartet was written in 1928, a few months before the composer's death, and was not published until 1948. The title "Intimate Letters" was given to the work by Janacek as an indication of the story behind its composition: at

7 years old, the composer fell in love with a very young woman, Mme. Kamile Stosslova. The first movement describes their first meeting; the second, their meeting in a Moravian spa in the summer while the third expresses at first joyful feelings, which then melt into a vision of the lady. The fourth interprets fear, then longing and fulfilment. The "programme" of the work can easily be followed, but there is much in the actual music worthy of attention. The quartet is free of traditional forms and traditional melody: it has no key signatures, and indeed one cannot really speak of keys, although the movements end with diatonic chords. The listener can, if he likes, let his imagination play on the programmatic content of the work, but there is no real need that the quartet is a passionate outburst is obvious, as is the fact that it makes great technical demands on its interpreters. ΙΝΤΕR VAL Quartet in E minor Op.59 No.2 Allegro Molto Adagio Allegretto Presto L van Beethoven The three quartets of Op.59 were completed in 1806 with a dedication to Count Rasoumowsky, the Russian nobleman who had commissioned them. The second of these, in E minor, opens with an intense and questioning atmosphere: a short, doubting phrase in the tonic key followed, after a pause, by the same phrase a semitone higher. These chords, combined with the many short pauses and strange shifting rhythms, all strengthen the feeling of uncertainty and indecision only in the final coda is a decision reached. The E major adagio which follows is sublime and full of divine beauty - one can well believe Beethoven's remark that he wrote the theme while gazing at the starry sky. The third movement is once again tentative with its shifting rhythms and abruptly contrasting trio based on a Russian folk-song. The ensuing finale, although under the influence of sonata form, is an unrestrained marchlike move- ment. Despite this, it has often been said that the music represents a 'false dawn of hope'.

TONIGHTS ARTISTS We are both honoured and privileged to present the world- famous SMETANA QUARTET tonight. Its devotion, range of repertoire and concert style have set the most demanding yardsticks for all Czechoslovakian art, and at their first public appearance in 1945, the promise which they showed was clearly recognised. The Smetana Quartet have rounded the world several times: in the USA they have appeared 107 times, in Moscow 13 times, in Tokyo 10 times. They have performed Smetana's quartet From My Life more than 700 times, Janacek's quartets more than 500 times and Beethoven's quartets about 100 times. Hardly more needs to be said to demonstrate that the Smetana Quartet is not only famous throughout the world, but also one of the world's select league of ensembles. All its four members are now professors at the Prague Conservatory and bearers of the highest state decorations. NEXT CONCERT ERICH GRUENBERG (violin) with JOANNA GRUENBERG (piano) Saturday 14 February 1981 Elmwood Hall 7.30pm * * * * * * * * * Please note that the ALIRIO DIAZ concert, advertised as taking place on Saturday 28 March, will now take place on FRIDAY 27 MARCH 1981