ateg BRITISH MUSIC The Arts Council of Northern Ireland Raymond Cohen 36 Bing y slow ads eids to ydois SOCIETY OF NORTHERN IRELAND-01T and tedalowad The Department of Music, Queen's University in association with (violin) el abgemila CA PLAT Sploud NOTRA (4001-1481) Above to hop ΤΗΕ COHEN TRIO 30 s01geons lads Anthya Rael sboo 30sillind a daiw mrol OSTSaggs brosse 30) Robert Cohen (cello) sincit ad3 030 3dgaste absol pigias ni sousb care (piano)evodiss vodions si adanos ni ei si s as.go.20H O AL CHIT odprebom ospe SA 038919 108tados otros non orgoJJA 185 second ada Elmwood Hall boo to ze 7.30 p.m., 31 October 1981 80111 0/6 40

TRIO IN E FLAT MAJOR, H.XV: 29 Poco Allegretto Andante ed innocentemente - Finale: Allemande (Presto assai) Joseph Haydn (1732-1809) This is one of the group of trios which Haydn began (and possibly completed) during his second visit to London in 1794-5. They are considered his most substantial works in a form which was then regarded as a lightweight medium for home consumption. The piano part dominates, and although the leading role is occasionally transferred to the violin, the cello in the main doubles the bass line a relic of Baroque continuo practice as well as an enhancement of the insubstantial bass notes on some pianos of Haydn's time. The Poco Allegretto defies formal classification, but may be thought of as an ABA form, where B is a short minor key episode and the A section (a binary form in its own right) is varied on its second appearance. The Andante, beginning in the remote key of B major (cf. Beethoven's 'Emperor' Concerto), leads straight into the Finale. An Allemande is by this date a German dance in triple time, an ancestor of the waltz. There is another Beethovenian touch in the rhythmic trickery of this It is in sonata form with a brilliant coda. movement. TRIO IN G MINOR, op.26 Allegro moderato Largo Scherzo: Presto Finale: Allegro non tanto Antonin Dvořák (1841-1904) This Trio, composed in 1876, is the second of Dvořák's four surviving piano trios. His mastery of the medium is evident in the effortless interaction of the instruments, though so also is a surfeit of repetition, particularly in the outer movements.

tys. The first movement, in sonata form, illustrates how Dvořák's nationalism was not striven after but embedded in the essence of his thematic material. The first subject embodies an early move to the relative major (B flat); this pre-empts the normal long term aim of the exposition, which ends rather inconclusively in D minor after some quite remote modulations. sool assidus brids odr bqxa The Largo is in E flat major, but its main theme turns to C minor in the first phrase, lending a certain melancholy. It returns at the climax of what is essentially a ternary structure with coda. The Scherzo is a lively Brahmsian move- ment making highly original play with five-bar phrases. A curious duple-time transformation of the main idea played by the cello sounds almost like a reminiscence of the first move- doidy Tonin ment. i esvig 1even 31sdudo2 363 3ement and 1a The Finale, a modified rondo, pretends to begin in E Flat major but reaches the tonic in the second phrase. The later transformation of the opening in G major takes us into the world of the Slavonic Dances. *** INTERVAL * * * Augni TRIO IN E FLAT MAJOR, D.929 duda Allegro Andante con moto igning! Scherzo: Allegro moderato Allegro moderato Franz Schubert (1797-1828) nbnA ads to usat Completed in November 1827, this second of Schubert's two great piano trios was the only work of his published out- side Austria during his lifetime. Despite its comparative to neglect in favour of the more relaxed B flat major Trio the one in E flat has strong claims to be considered amongst the greatest of Schubert's chamber works. In its enormous breadth it also has much in common with the last piano sonatas.

In the first Schubert achieves his large-scale structures in two ways: by increasing the number of subject groups and by repeating long stretches of music at different pitches. movement the confident first subject gives way to a lilting but uncertain second theme (with many repeated notes) which begins in a distant key and eventually wanders into the dominant. The third main idea is soft and lyrical, but the assertive first subject material rounds off the exposition. The third subject, treated as a duet for strings, is fashioned into three long para- graphs in the development section, each containing similar magical modulations. The 'slow movement is one of Schubert's 'country walk' pieces, a description which fits its gait but not the intensity of emotion which it develops. We shall all go home singing the glorious opening cello melody in C minor which so fits the character of that in trument that Schubert never gives it to the violin unassisted, though he does entrust the piano with it. The violin is allowed to introduce the consolatory second theme in E flat major. A restatement of the first theme leads into an impassioned development of it passing into distant minor keys. Consolation returns in C major, followed by a brief epilogue. C The Scherzo begins as a strict canon between strings and piano, but relaxes later. The Trio, full of strange accents, introduces a repeated note pattern reminding us of the first movement. Harsh things are said about the Finales in Schubert's late works. The length is heavenly or inordinate - you must judge for yourself. This one is an intriguing mixture of relaxed enter- tainment and darker undercurrents witness the disruptive dim- inished sevenths which often precede a version of the second theme (repeated notes again) and the return of the Andante's cello tune, a device unique in Schubert's works. The change from minor to major during the second statement, the violin joining the cello, propels the music to an epic conclusion. Notes by Anthony F. Carver

TONIGHT'S ARTISTS The Cohen Trio is unique in that not only does it consist of father, mother and son, but each member is an internationally known solo and chamber music player. Since its formation in 1977 it has already gained an enviable reputation. RAYMOND COHEN, the distinguished violinist, is a well known figure in the musical world both here and abroad. He was the first winner of the international Carl Flesch Competition and has since established an international reputation as a soloist, playing with eminent conductors all over the world. spent six years as leader of the Royal Philharmonic Orchestra, and then relinquished his position in order to concentrate on his solo career. He also ANTHYA RAEL made her name while still a child in her native South Africa and completed her studies in London with Ilona Kabos. She has played concertos and given chamber music recitals in Great Britain, Germany, Austria, Spain, U.S.S.R., Israel and South Africa. ROBERT COHEN, born in 1959, has already made a name for himself as one of the leading 'cellists of his generation. He made his debut playing the Saint-Saëns concerto when he was 8, and played a Boccherini concerto at the Royal Festival Hall when he was 12. Since then he has won many prizes including (in 1978) the "Young Concert Artists'" international competition in New York which has resulted in regular concert tours in the U.S.A., and the "Piatigorsky prize" at the Tanglewood Festival. He has also given concerts and broadcasts and appeared on Television in Great Britain, Germany, Holland and Rumania.

2T8ITHA 2 THOINOT Jamani na sl sedmom doas sud hoa bus teram madred Amrod 8319said avslg pleum redonda bos gids mont bolaningen slidsivas as bonis thesis 4 11 ter 51% (16) Fanos tam MYUNG WHA CHUNG (cello) sa NEXT CONCERT og eld bade Fisherwick Church Idézes sonts and ancing diranivald Monday 7 December 1981 at 7.30 p.m. adahald obam SH oaie est l ni nolaivaisT