1533-1 BRITISH MUSIC SOCIETY OF NORTHERN IRELAND in association with 30 THE ARTS COUNCIL OF NORTHERN IRELAND bas Redw 39800 MYUNG RECITAL BY WHA CHUNG (cello) and PATSY TO H (piano) at Fisherwick Presbyterian Church, Malone Road Monday 7 December 1981, 7.30 p.m. anelg baselgeta sve 37620xd nausvos

SONATA NO. 2 IN D MAJOR, op. 58 Allegro assai vivace Allegretto scherzando Adagio Molto Allegro e vivace Felix Mendelssohn (1805-1847) Viewed in context, the solo works for individual instruments by Mendelssohn play a relatively minor part in his overall output, yet their importance should not be underestimated: of his two cello sonatas, the later work in D major dating from 1843 was written for Paul Mendelssohn and was planned during a difficult period for the composer when he was experiencing artistic disappointments in Berlin, but simul- taneously contemplating the wide ranging opportunities offered to him in Leipzig. This transitional period in his life is reflected in the concentrated expression of op. 58. The expansive opening Allegro immediately reveals an affinity with the Italian Symphony in its 6/8 time, rushing triplet figuration, brilliant piano writing and soaring first subject played by the cello. The second subject, though not in marked contrast with the first idea, is suitably flowing and spontaneous. The second movement is full of charm and delicacy in the best tradition of a Mendelssohnian scherzo. Even more illumin- ating is the imaginative use of telling pizzicato displayed by the cello in response to the opening theme stated by the piano. The rather abrupt character of the outer sections is complemented by the soothing melodic flow of the central episode. The brief Adagio that follows is in the character of a chorale. Massive arpeggiated piano chords underpin a recitative-like commentary from the cello. This leads almost directly into the final movement by means of a diminished seventh chord.

Perhaps the level of invention found here is not as consistant as in the earlier sections but nevertheless, the muscular activity of both cello and piano is thoroughly typical of the composer. Paul Hindemith (1895-1963) Lebhaft, sehr markiet (mit festen Bogenstrichen) - HT Mässig schnell, gemächlich (durchweg sehr leise) om 85 Lebhafte viertel (ohne jeden Ausdruck und stets pianissimo) - Mässig schnell (sehr scharf markierte Viertel) 19 daulf EIR OWO 913 SONATA FOR SOLO CELLO, op. 25 no.3 o ods Hindemith's output (like that of Beethoven's) can be conveniently divided into 3 periods: from 1918-1923 when the composer was influenced by a wide diversity of styles; 1924-1932 when he reached a mature neo-Baroque style; 1933-1963 when he adapted his own unique harmonic language to classical sonata form. The Sonata for Solo Cello was composed during his early period at a time when he was undergoing a process of self-discovery. Rather than project this expression through the medium of orchestral works, Hindemith The main chose the more intimate world of chamber music. from from focus of this output was the string quartet, but he did revive interest in the solo string sonata, a genre which had received scant attention since the solo sonatas, partitas and suites for violin and cello by J S Bach. This solo work was completed in July 1922 in the space of one evening's work and is testimony to Hindemith's speed of concise compositional thought. It is symmetrical in form with quickish sections wrapped around a central slow movement. si 8310820bx vidolup olisno ********************** im ods govisb dod yd. bozode su INTERVAL bonio de Hau ********************** ada mi wiados10pk/

SONATA IN D MAJOR, op. 102, no. 2 Ludwig van Beethoven (1770-1827) Allegro con brio Adagio con molto sentimento d'affetto - Allegro fugato The sonatas for piano and cello by Beethoven can be regarded as a most significant addition to the chamber music repertoire in the late eighteenth and early nineteenth centuries. Numbering five in all, they span a lengthy period in his creative career: two early works (op. 5) dating from 1796, which demonstrate the influence of the classical tradition; the popular A major Sonata (op. 69) composed in 1809; the final two (op. 102) written in 1815 but not published until four years later. Both late sonatas (no. 1 in C major, no. 2 in D major) which form op. 102 were probably first performed by Joseph Linke, an eminent German cellist employed by the household of the Countess Maria von Erdödy in Croatia, to whom the D major work is dedicated. As part of his musical responsibilities, Linke taught his instrument to the younger members of the family. The fifth sonata, like the third, dispenses with a slow introduction in favour of an immediate statement of the somewhat tentative first subject of the Allegro played by the piano, to which the cello initially responds with a more assured rising arpeggio figure. A vigorous second subject duly arrives (not unlike the opening idea) leading to a development section punctuated by dynamic extremes. Unusually, the exposition is first heard in the subdominant key, but the D major tonality quickly reasserts itself. A typical coda drives the movement through to a thrilling climax. Delicate ornamented figuration is a feature shared by both instruments in the second movement where two D minor sections

flank a more relaxed central section in the tonic major. This leads indirectly into an energetic fugal finale whose momentum is suddenly halted. A new thematic motif is hinted at, but is cast aside as the three-part fugal writing, now revitalised, is sustained to the end.bs nosivad INTRODUCTION AND POLONAISE BRILLANTE, op. 3 Frédéric Chopin (1810-1849) The only instrument in which Chopin showed any genuine interest apart from his beloved piano was the cello. This interest cul- minated in the late G minor sonata but he also wrote several shorter pieces for it, including op. 3. Dating from the period 1828-29, the Polonaise was completed first, followed by the Introduction a few months later. It could best be described as a brilliant salon piece conceived when the composer was only nineteen and still forming an identifiable compositional style. Chopin dedicated the work to Joseph Merk a prominent cellist in Vienna whose playing he greatly admired. The scoring for cello is sympathetic, especially the counter- subject in F major, but the sparkling piano writing perhaps puts the work in its true perspective, which is further re- inforced by the Pole's own comments on the work contained in a letter to a friend: "I wrote an Alla Polacca with cello no accompaniment during my visit to Prince Radziwill. It is nothing more than a brilliant drawing room piece suitable for the ladies. I should like Princess Wanda [his piano pupill to practise it. I am supposed to have given her lessons. is a beautiful girl of seventeen, and it was charming to guide her delicate fingers." XAL She 103180 Programme notes by Graham Nelson obcall

THE FISHERWICK ORGANsxsler Tom & Jasli regions as biul psibul absst On Saturday 12 December at 8.00 p.m. there will be a recital The soloists will The to mark the installation of the new organ. be Philip Cranmer, Donald Davison and Geoffrey Trory. following evening, 13 December there will also be a recital of organ and Advent music. TONIGHT'S ARTISTS Myung-Wha Chung was born in Korea, and at the age of 13 was the winner of the Korean National competition - the youngest musician ever to win this prize. Subsequently she studied with Leonard Rose and then Gregor Piatigorsky in the United States. A landmark in her career occurred in 1971 when she won the first prize in the Geneva International Musical Competition. Since then she has become a leading artist throughout the world both as a soloist and as a member of the Chung Trio. Patsy Toh was born in China and came to London at the age of 12. There she studied at the Royal Academy with Harold Craxton, winning several prizes. She now lives in London and the artists with whom she has worked include James Galway, Cho-Liang Lin, Yona Etlinger and Mischa Maisky. sow ;***************************************************************** NEXT RECITAL Haydn Dvořák Beethoven Saturday 30 January 1982 Hall, 7.30 p.m. THE CHILINGIRIAN QUARTET 189 Quartet op. 76 no. 4 Quartet in A flat, op. 105 Quartet op. 59, no. 1