AMMAZDOXI THE BELFAST MUSIC SOCIETY S.on Esociation with at tatasu 82732 (sxol edT) THE ARTS COUNCIL FOR NORTHERN IRELAND and THE MUSIC DEPARTMENT, QUEEN'S UNIVERSITY 8.00 tetraup 201702 THE FAIRFIELD QUARTET 8991-800140N065800 Elmwood Hall TO 7.30 p. m. Saturday 18 October 1986 1881-OPT. boring Jetsup gal138

I 2 18/1 of being split up into separate motives, any of to be taken by its composer and used to build up his edifice. To take just one example in this movement, the rhythm from the opening theme dominates the rest of the movement. ERI pitdataso 03szebpa onge[IA The Scherzo takes us into the realm of the country dance, whereas we seem to move indoors for the OJUTS 205 OXIDY more stately minuet-like trio section Lis Listen out for a curious little oscillating motive heard A similar the. slow several times in the first violin part. times in especially as like main theme. , D various fit an fo This THE motive. appears at movement that follows, accompaniment to the hymn theme apens the movement on the viola, in duet with the cello, and is immediately repeated on the two violins, this time with the oscillating motive on the cello. A contrasting dramatic interruption with great contrasts of dynamics follows, before the hymn theme returns, this time on the second violin and voila, with the oscillating motive on the first violin. A similar pattern shapes the rest of the movement. 91301 LEYAN 301 10 100 as 1st [lov i oels Jud Jatsup fatwt.olbolon, 10 splnomod bedbexau sdt at 10 The theme of the finale shows Haydn's wit at its best; a perky little theme that in any other hand might seem banal. But, look closely and notice how perfectly constructed it is 4 phrases, balancing each other, each with the same rhymical shape (although the 4th is only heard complete at its very last appearance). And the joke of the rtet's nickname? If you know the work already, you won't need to be reminded of it, and if you don't, well, I wouldn't like to spoil the surprise. sont ind grillal sotrosad. to siquos s teul ofal beanebnoo ed hivos - eiqmis sidaqed esed Jeed e'nbysl Ita siit! tud (13581159 buo sa

String Quartet no. 3 in F, Op.73 $9up a'doivotaand Yam Baod oved as 3 D. Shostakovich 1906-1975UP 101 10700LOVOM $d3 vowded aldri blizmo solo allegretto al moderato con moto allegro non troppo adagio hela moderato of vom svi1 ils fuodquosds aranaloog stevill inemevos ferit eds to oliso avoda benoismem tokietan There were two major crises in Shostakovich's career, when he and his fellow composers invoked the wrath of the authorities for writing music that wasn't suitably edifying and popular and 'soviet'; the first in 1936, the second in 1948. In Shostakovich's case, the trouble was caused by works such as his 9th Symphony, composed in 1945, which turned out to be not the massive heroic outpouring glorifying Stalin and the glorious if victory of the Russian people over the scourge of o Nazi-ism, etc., etc., desired by Stalin and his d henchman Zhdanov, but a witty five movement work in Shostakovich's lightest tovein.eup The third quartet, which like the symphony has movements, shares some of its lightness of mood - though as in much of Shostakovich's music, there be is always a suggestion that such gaiety is merelyze skin deep, hiding 2. much more serious, sinister, tone. The quartet was the only major T work of the composer to be published after the up symphony, before the axe fell. The other music he was working on at the time, including the violin concerto and the fourth quartet, was hastily 18 shelved until the storm blew itself over (which it s rapidly did after Stalin's death)..simnit five is even adt BXT 818-at Vladoasion asoubor , al ezus was al ataegses mods fatit mat stoled

4 The third quartet was written aine11946 and 2 dedicated, as have been many of Shostakovich's quartets, to the Beethoven Quartet. There are movement. close thematic links between the movements; for example, the middle theme of the last movement; is played by the cello, otom. no disanos inverted version of the opening theme of the first s Both themes are accompanied oibybs insistent rhythmic astinatos, a feature aftstheam accompaniments throughout all five movements. The opening of the first movement illustrates well the characteristics of a common Shostakoviche themes odf clear F major over a repeating, rather banale Fo major accompaniment - for a couple of bars: then, although the baclockwork-likeistbaccompaniment d continues, the melody starts going wrong, anda' wanders far afield before being brought home again al by its anchoring accompaniment.dse aid es dous olazed svilesem od JD# ed o Juo bantut dotw The second movement, with its relentless 13/400 accompaniment figures is somewhat reminiscent of ly the scherzo of the wartime 8th Symphony. After asi time,pwthe initial impetus relents and the musicred takes on the quality of a ghostly waltz; finally st all subsides into silence. There follows aup typically restless and energetic Shostakovich c scherzo; rhythmically complex, to (alternating 2/4 d and 3/4), aver repeating accompaniment figures.id at .eucizes 9100 doust s gatbid.qosb olda The fourth movements is the userious heart of the te quartet; it alternates dramatic unison passages.cow with a poignantly lyrical sline. At repeating ya accompaniment figuren soon appears; nother music ow gradually collapses into short lyrical phrases and:00 a rhythmic) ostinato in the cello leads straight da into the finale, (tob a swaggering, brather st melancholy little tune in 6/8. The cello introduces its new tune in 3/4, mentioned above, before the first theme reappears.

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String Quartet in f minor, Op. 95 adtud abitud xet Igatasies in clouter and Ino L. Van Beethoven 1770-1827 eande 341380t * no adst Alitesupe 06 Rad doldy allegra con briol allegretto ma non troppo sati sviven os allegro assai vivace ma serioso A larghetto allegretto agitato allegro This quartet is unique in Beethoven's output; it occupies a special position that is hard to define. It is traditional to divide Beethoven's compositional career into three parts; from his middle period had come the three marvellous folksong inspired Opus 59 Rasumovsky quartets; the revolutionary, inimitable, late quartets were still ahead of him. Yet Opus 95 is not a transitional work, rather it stands on its own. Beethoven recognised its unique character when he wrote on the manuscript 'quartett serioso'; it perhaps reflects his gloomy mood at the time, not helped by his increasing deafness and the fact that his marriage plans had fallen through. He began work on the quartet in May 1810, immediately after completing the incidental music for Goethe's Egmont. The Quartet is Beethoven's shortest, but this shortness is as a result of compression - the music has the same concentrated intensity that is found in the late quartets, and there is a toughness reminiscent of those quartets too. The quartet opens with a dramatic unison call attention; the octave leaps that follow another fingerprint of the late quartet style. might seem strange for a single bar motive to be the main theme of the movement, but this is a to are It

8131THA & THOI MOT 7 exh rel reflection on the concentration of Beethoven's thought, and also on the inventiveness of his theme, that it can be the source of so much of the movement. A further characteristic of this first movement is the important use Beethoven makes of silence to dramatically underline the different sections.12 d3iw anos261, gaizst elldy oblida auotonsa e bevtoos: sia sybirdas0 19JIA The second movement has a lyrical songlike character and is distinguished by a complex contrapuntal texture. The movement opens with a curious descending scale with cat-like tread', marked mezza voce. and this returns at the end, leading the music straight into the scherzo very un-jokey' scherzo, marked 'serioso' by the composer. Note the viola and cello phrases echoed in inversion by the two violins. In the trip to there is a slow moving hymn in the lower three parts, against a counterpoint of constant quavers in the first violin.bs This movement is in five parts, with two appearances of the trio section and esona1011e 0379000 bae als lost blee Octave leaps characterise the brief serious larghetto introduction to the finale; the music then accelerates into the main 6/8 movement. the end there is a brief pause, and then, with surprising gaiety after all that has gone before, w the movement gallops away, molto leggieramente, to a close.edmens A golveig elolv "ol est At belfol Indige co bacord end ode eldesert bootak sud 36 asi sidasend edt to anniv s Bw bas otball Invites augas assatovo layox odt 19b10 Alec. Macdonald.is s babies es bno rojdequo3 106100A Tenoital 938 add tolaul 10 spalin vihaint to qhawollel

TONIGHT'S ARTISTS Ruth Erlich (1st Violin) was brought up in Belfast where she studied violin with Jaroslav Vanacek.d At the age of 15 she appeared as soloist at the Royal Festival Hall with the National Youth o Orchestra, of which she was a member for five c College, le years. Ruth read music at King's Cambridge, while taking lessons with Frederick Grinke. After Cambridge she received a generous award from the Countess of Munster Trust which d enabled her to study for 2 years in America with do Donald Weilerstein of the Cleveland Quartet.nuestroo pobesitad-diso dibwaisua galbasoesb euoj tuo bazea Junior ef before ev Academymoo She was t ed, to bmutes stit basedov se Jennifer Godson (2nd Violin) was a Exhibitioner at the Royal College of Music winning the Dove Scholarship to the Royal of Music to study with David Martin. awarded the Recital Diploma in 1981 and gained a di scholarship with the Countess of Munster Trust to enable further study with Frederick Grinke. has since continued to devote some of her time to solo recitals and concerto performances. helrauniis8 Steind edi sabrejostado assi She al eum ext Jedit add odnotouboral batangTEI Catherine Marwood (Viola) won an Open Scholarshiped to the Royal Academy of Music where she studiedent with Stephen Shingles. While at the Academy sheque won many awards and prizes including the Theodore odt Holland Prize for viola playing. As a member of s the Marwood Ensemble, she has broadcast on Capital Radio and was a winner of the Ensemble Prize at the Royal Overseas League Festival. Catherine also plays the recorder. In 1974 she won the National Recorder Competition and was awarded a fellowship of Trinity College of Music at the age of 17.

Julia Desbruslais ('Cello) won an Open Scholarship to the Royal Academy of Music where she studied with Florence Hooton. Whilst at the Academy she WOD many awards and prizes including the Sybil Barlow Prize, Ruth Waddell Scholarship, Sir Edward Cooper and Heller Prizes and the Suggia Award. She was awarded the Recital Diploma in 1979. Since leaving the Academy Julia has perfomed many concertos and solo recitals, including a broadcast at the Queen Elizabeth Hall. She has broadcast on contemporary music 3 with the Radio ensemble, AQUARIUS. NEXT RECITAL Saturday 1 November 1986 7.30 p. m. - Elmwood Hall LINDA HIRST Mezzo Soprano GRAHAM JOHNSON Piano

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