BRITISH MUSIC SOCIETY OF NORTHERN IRELAND in association with The Arts Council of Northern Ireland and The Department of Music, Queen's University FIRST RECITAL DAPHNE ARLOW (mezzo-soprano) PHILIP HAMMOND (piano) eval Da following the Annual General Meeting on Saturday 26 September 1981 in the Harty Room

SIETE CANCIONES POPULARES ES PANOLAS Manuel de Falla (1876-1946) The Seven Spanish Folksongs were written between 1913-14 after a prolonged period of residence in France, during which time de Falla was much influenced by the music of Debussy and others of the early twentieth-century French school of composers. This particular set of songs is however specifically based on Spanish folksong and dance music, the piano accompaniment frequently imitating sonorities more associated with guitar music. Both texts and melodies are traditional. El paño moruno What a small price one can ask for even fine Moorish cloth once it is stained. Seguidilla murciana Because of your fickleness, I compare you to coins which pass from one person to another. They become scratched and worn, and people thinking them false refuse them. Asturiana Seeking consolation, I lay down by a green pine-tree. When it saw my tears, it too cried. Jota No one believes our love for each other, because we are quiet. We know its existence. Already I must leave but only until tomorrow. Adios! Nana Sleep well, little one. Sleep until the morning light! Canción How treacherous are your eyes! Do you know what it costs to look into them? Ah, you no longer love me, but once you were mine. My gain at other times is worth more than that which I have lost. Polo In my heart I feel a bitter pain, about which I will tell no one. Cursed be love and the person who has made me understand it.

MELODIES (28 Henri Duparc (1848-1933) Duparc's creative life as a composer was sadly curtailed in 1885 by an illness. His output is therefore limited to fourteen songs, two orchestral pieces and a motet. His b melodies alone, however, have assured him an outstanding position in the annals of French musical history, as they are each perfect examples of the late Romantic genre, and indeed foreshadow the harmonic palette of the so-called 'Impressionist' composers. In these songs, Duparc finely balances the vocal line and its long, flowing phrases with intrinsic and rich piano writing.0 Extase (text by Jean Lahor) On a pale lily my heart sleeps softly as though dead. An exquisite death, perfumed with the breath of the beloved. en i dom Elégie (text by Thomas Moore) Do not whisper his name, he who rests coldly and without honour in the shade of death. Silently and sadly fall our tears like the dew of night. But like the dew which will sparkle on his grave, our secret tears will preserve his memory. Chanson triste (text by Jean Lahor) A soft summer moonbeam is enclosed in your heart and I will bathe in its healing light. I will forget past sadnesses when you cradle me in your arms, and you will sing to me a song about our love, with your eyes full of sadness. Soupir (text by Sully Prudhomme) Never more to see him or hear his voice, but still faithful, always to await him and always to love. La vie antérieure (text by Charles Baudelaire) A long time I lived under wide porticos which the sun, reflected off the sea, coloured with a thousand fires. Their line of pillars in the evening light made them appear like grottos. The surge of the sea, while mirroring images of the sky, sounded mystical and powerful, a rich music in the colours of the setting sun. There I lived in a voluptuous calm, amidst waves, splendours, scents, which refreshed me whose only care was to fathom the sad secret which made me languish.

FRAUENLIEBE UND -LEBEN (op. 42) Robert Schumann (1810-1856) No one could deny that Schumann's marriage to Clara Wieck in 1840 had a profound effect on his compositional output. He had at that time reached the summit of his creative powers and within the space of that year alone produced over 140 songs, amongst which lie some of his greatest masterpieces. If one is to accept Schumann as the Romantic he undoubtedly was, it is only to be expected that he should find the subjective intimacy of Chamisso's 'A woman's love and life' cycle of poems particularly intriguing at this stage in his life. He made this setting of the poems in July 1840, a short time before his marriage to Clara. Seit ich ihn gesehen lice scopia Since I have seen him, I think I am blind. His image drifts beford me as if I was dreaming. Nothing else interests me since I have seen him. Er, der Herrlichste von allen He, the most glorious, how kind and gentle he is. see him makes me happy and sad at the same time. bless the one he chooses, even though my heart should break. Only to I will Ich kann's nicht fassen (sonal I cannot believe it! I must be dreaming! How could he have chosen me from all others? Let me die in this dream, in tears of infinite joy. Du Ring an meinem Finger You ring on my finger, I touch you to my lips and my heart. Childhood is over, and Life's infinite, deep value has opened before my eyes. I live only for him. Helft mir, ihr Schwestern star Help me, my sisters, remove my foolish anxiety that I may receive him with bright eyes. Joyfully I leave you to join my beloved. Susser Freund Sweet friend, you cannot understand how I can weep. Let me whisper my joy. Here by my bed the cradle will be placed, and from it your image will smile up at me. Your image!

An meinem Herzen In my heart, on my breast, you my delight. Happiness is love, and love happiness. Only a mother knows what it means to love and to be happy. Nun hast du mir den ersten Schmerz getan Now you have caused me the first pain that really hurt. sleep the sleep of death, and my world is empty. I have loved and I have lived. Now the veil falls and I silently withdraw into myself. There I have you and my lost happiness. Programme notes by Philip Hammond out 309 317 TONIGHT'S ARTISTS You DAPHNE ARLOW has become one of the province's leading mezzo- sopranos, through her many recitals and broadcasts. Despite a busy home-life with her husband and three children, she is a frequent soloist with many of the choral societies in Northern Ireland, though she is perhaps most noted for her operatic roles with the Studio Opera Group, most recently as La belle Helene in Offenbach's operetta of the same name. She has appeared on television several times with Dr Havelock Nelson, and has given many song recitals on BBC Radio Ulster and Radio 3. PHILIP HAMMOND's reputation as a musician rests upon his wide variety of interests. He is Director of Music at Cabin Hill Preparatory school, Part-time Tutor in Music at Queen's University, and numbers amongst his other pursuits composition, journalism, and musical criticism. He is also well-known as a broadcaster with the BBC. DAPHNE ARLOW AND PHILIP HAMMOND formed their very successful partnership three years ago, during which time they have included in their repertoire songs by Poulenc, Harty, Stanford, Rachmaninov and Quilter. They have appeared in several venues throughout the province and broadcast many times.

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