THE BRITISH MUSIC SOCIETY OF NORTHERN IRELAND in association with THE ARTS COUNCIL OF NORTHERN IRELAND and THE MUSIC DEPARTMENT, QUEEN'S UNIVERSITY THE CHILINGIRIAN STRING QUARTET er al BSAX due ga Elmwood Hall 7.30 p.m., 30 January 1982 Iduq-tiven schow Levon Chilingirian (violin) Mark Butler (violin) tete prona sevin Nicholas Logie (viota) (Sebe Bidely i innovom ada Philip de Groote (cello) 10000 3098 ain 36 art reciggsgas broosa.si?

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STRING QUARTET in E flat major, K428 Wolfgang Amadeus Mozart (1756-1791) Allegro ma non troppo Andante con moto Menuetto. Allegretto Allegro vivace K428 is the third of the six quartets Mozart dedicated to Haydn after meeting him in Vienna in 1781 and studying his newly-published op. 33 quartets. They mark Mozart's second. phase of quartet writing, a decade after his first twelve works in the medium, and seem to have been written for his own personal satisfaction, causing him much work, thought and revision. As the dedication says, they were 'the fruit of long and laborious endeavour'. They are certainly an advance in his quartet writing, particularly in the way he thinks of all four parts as important, and also in the tautness and economy of his use of sonata form. The E flat major quartet was written in 1783. Its bleak bare opening in octaves arrives at more certainty, but the Mozartean chromaticism is more sombre than usual and the thought behind the movement seems to slip from one's grasp. The short develop- ment encompasses several ideas from the material, particularly a little ornament from the second subject and soaring triplet arpeggios; the bare octave opening steals in again to start the recapitulation. The second movement continues the mood of reflection tinged with uneasiness. Though it is in sonata form, there is no great feeling of two contrasting subjects, and it is held together by the constantly unwinding 6/8 quaver rhythm. Commentators remark on the almost Tristan-like harmonies in some passages; subtle changes in these in the recapitulation create new tensions.

- 2- The opening two movements are balanced by a Minuet and Trio and a rondo finale in lighter vein. Both certainly contain some Haydnesque touches. STRING QUARTET in A flat major, op. 105 Antonin Dvořák (1841-1904) least After Adagio ma non troppo - Allegro appassionato Molto vivace Lento e molto cantabile Allegro non tanto Dvořák began sketching this quartet during the last week of his three years' stay in America in March 1895, and finished it early in 1896 after his return to Czechoslovakia. He had found a way to bend the formal conventions of the quartet style to his own love of passionate melodies and strong Bohemian rhythms. The first movement, in fact, is in a well worked-out sonata form including a slow introduction whose theme becomes one of two first subject ideas. Both the transition and the second subject have a rhythmic interest which informs the energetic development. The second movement is a 3/4 'Furiant' - a Bohemian dance. noted for its syncopations. In this case, Dvořák seems to be paying an affectionate tribute to the dance rather than writing one. The Trio is a more delicate tune for the first violin solo or in duet with the second violin or cello. moo The Lento is dated 25/12/95 and one can imagine a hymn of thanksgiving for a Christmas being spent at home amongst family and friends again. The movement is, like the second, in ternary form and the simple theme returns beautifully decorated after a more impassioned middle section with a throbbing triplet rhythm which is recalled in the lovely coda.

- 3- The finale is in sonata form, with two second subjects, in E flat and G flat. Its themes are dance-like and it contains a fugal development of the first subject. u63 ********** INTERVAL ********** STRING QUARTET in F major, op. 59 no. 1 ******** ****** Ludwig van Beethoven (1770-1827) Allegro Allegretto vivace e sempre scherzando Adagio molto e mesto Thème russe. Allegro The "Rasumovsky" quartets were written about 1806 and published in 1808. They were commissioned by Count Rasumovsky who had come to Vienna as Russian ambassador in 1792 and who was an amateur violinist with his own quartet in which he played second violin. Although the set (written after a gap of six years from the op. 18 group) is particularly interesting to us today, it was not well received by the public at the time. They are all three rather puzzling and mysterious works, and although Beethoven had learned much from Haydn and Mozart we recognise immediately that we are in a different world. pudo emers

- 4- I think there is no doubt that this extraordinary F major quartet stands with the Eroica symphony as a milestone in Beethoven's development; its breadth, assurance, wealth of ideas, and extension of the quartet medium are breathtaking if one thinks what has gone before or comes after, in other composers' work. There is really too much to take in in any one hearing of the work; it repays close study, not least because all four movements are in sonata form. After the broad simple main subject in the first movement there are a number of subsidiary ideas (all to assume import- ance in the development). A solo cello passage heralds the arrival in the dominant for a 'dolce second subject group. Beethoven dispenses with a repeat of the exposition but plays a trick on us so that when we hear the first subject again we think the repeat is beginning only to find ourselves in a long and wide-ranging development. As in the Eroica, development continues in the recapitulation. There is auta lovely surprise when the main theme is heard in its fullest form just before the extended coda. es soin One grasps anoistesini Isoleum biviv sende eeup s What comes next is a fast, not the slow movement. its structure, disturbing because of its stops and starts, if one listens for a scherzando group (in B flat) based on the rhythmic idea which starts the whole thing off, and an F minor 'trio' with a folktune-like melody. The music, if in a kind of sonata form, still operates rather like a scherzo and trio, developed but repeated. The Adagio (in F minor) is one of Beethoven's more romantic slow movements, near in spirit to, say, Dvořák, with some perhaps rather deliberate pathetic touches, but more profound, in this minor context, major excursions. Again there are two subjects: the second, in C minor, is heard first in the cello. A violin cadenza takes us without a break into the finale, in which Beethoven pays homage to (or perhaps has a private joke at) Count Rasumovsky by slightly misusing a

Russian tune, as he also does in the following quartet.d Beethoven puts his 'Thème russe', which was a slow minor sup tune, into F major and treats it to some witty transformations. We can all enjoy the joke. up ond to notanotxe brisesebi noted onog aan Janw axinii sao 1/ Programme notes by Hilary Bracefield. 31 now and to gnised so the ni sis atnsmevom uot lie sausasd Jessi ton - 5- demovon denit si TONIGHT'S ARTISTS Iqmia bsond en esta droqini omusar os lis) asobi vsibisdua to odmun sexe orend All four members of the Quartet had been students at the Royal College of Music, London, before LEVON CHILINGIRIAN decided to form a string quartet in 1971. Earlier, he and the 2nd violinist, MARK BUTLER, had. ed off the two top prizes for violin-playing at the College, and, together with do NICHOLAS LOGIE, viola, a Yehudi Menuhin School graduate and student of Bruno Giuranna in Rome, and PHILIP DE GROOTE, cello, who had already toured in Europe, the USA and his vol native South Africa as a soloist, these distinguished players form a quartet whose vivid musical interpretations and superb ensemble make it one of the most exciting string quartets of their generation. no band ne bas *************** Beethoven Bartók Chopin Prokofiev NEXT RECITAL tonie Saturday, 6 March, 7.30 p.m. Elmwood Hall SHURA CHERKASSKY (piano) eveq nevonreed : Sonata in C minor, op. 13 : Sonata : Sonata in B flat minor, op. 35 : Sonata no. 7, op. 83

130 IN4

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