ЯННАЯОСЯТ THE BELFAST MUSIC SOCIETY in association with ssu gris2 (odol adT) S.on CC THE ARTS COUNCIL FOR NORTHERN IRELAND 2081-SEV abysH.L. and THE MUSIC DEPARTMENT, QUEEN'S UNIVERSITY 27 40 at 8.on tetreu ga THE FAIRFIELD QUARTET Elmwood Hall 7.30 p.m. Saturday 18 October 1986 1881-09T1 novodteek nav.

2 S.om 88.00 16 at 11 of being split up into separate motives, any of which is able 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. slidetaso osebna onge[IA The Scherzo takes us into the realm of the country dance, whereas we seem to move indoors for the motive rave appears at various times movement A abyan more stately minuet-like trio sectionesLis Listen out for a curious little oscillating motive heard several times in the first violin part. A similar in the slow that follows, especially as accompaniment to the hymn like main theme. This Foods theme opens the movement on the yiglad 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 t the at av at oels Jud Jetsup The theme of the finale sbows 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, rest of the movement. 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 quartet'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. buo sa to siquoo s taut ofat beansbnoo ed blues gale sideqe cd dead 'abyell Ila will tud - abrodo

3 047 String Quartet no. 3 in F, Op.73 sup baids you dood eved an betnotbeb a'dolvoxstand allegretto al ad moderato con moto D. Shostakovich 1906-1975 allegro non troppo adagio e moderato T vom vil ile tundguards ataca daulli insavos far!? eds to getmoqo 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, 4 which turned out to be not the massive heroic outpouring glorifying Stalin and the glorious? victory of the Russian people over the scourge of s Nazi-ism, etc., etc., desired by Stalin and his henchman Zhdanov, but a witty five movement work in Shostakovich's lightest tovein.eup The third a quartet, which like the symphony has movements, shares some of its lightness of mood - though as in much of Shostakovich's music, thereb is always a suggestion that such gaiety is merely skin deep, hiding a much more serious, even 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 shelved until the storm blew itself over (which it rapidly did after Stalin's death)..isnit olico edT saut It add five is .0381 avoda becolem, al vaut wsa al ataggson nods alt edd stoled viodoanies soubo

movement. 4 The third quartet was written in 1946 and a dedicated, as have been many of Shostakovich's quartets, to the Beethoven Quartet. There are close thematic links between the movements; for example, the middle theme of the last movement; 16 played by the cello, otom.no isan inverted version of the opening theme of the firstis Both themes are accompanied oibybs insistent rhythmic ostinatos, a feature of stheom accompaniments throughout all five movements. The opening of the first movement illustrates well the characteristics of a common Shostakovich the mess T clear F major over a repeating, rather banale Fo major accompaniment - for a couple of bars: then, although the clockwork-like accompaniment continues, the melody starts going wrong, and wanders far afield before being brought home again al by its anchoring accompaniment. ad ec doua drow olaxed sviesam od Jon ed of Juo benut doldw The second movement, with its relentless 3/4 accompaniment figures is somewhat reminiscent of iv the scherzo of the wartime 8th Symphony. After all time, the initial impetus relents and the musicted takes on the quality of a ghostly waltz; finally at all subsides into silence. 9 There follows aug typically restless and energetic Shostakovich scherzo; rhythmically complex, to (alternating 2/4 and 3/4), over repeating accompaniment figures.wis at Cove .Bubties 9100 noust gatbld .qeeb tás The fourth movement is the serious heart of the te quartet; it alternates dramatic unison passagesrow with a poignantly lyrical line. A repeating ya accompaniment figure soon appears; acthe music ow gradually collapses into short lyrical phrases and:00 a rhythmic ostinato in the cello leads straight da into the finale, (to a swaggering, brather melancholy little tune in 6/8. The cello introduces its new tune in 3/4, mentioned above, before the first theme reappears.

5 20 .q0ohm i at du A rather threatening climax builds up, but the music dies away again. The central theme returns, briefly takes on a jogging shape which has something of an equestrian flavour, as iffs attempting to revive itself again, before thes tempo turns to Adagio, and the music finally s evaporates and disappears. iga odjengels odredge! 03 #uvo alaevadisel absupidu aldeasup aft biad calated colleg Istoogece saquo s'avodies abivib otsib at the salteb ald, monte dotato 1930 oopga puoliavy endedt smoo badboineq eibbim oddatelroup levomuesi 02 sugo panigan groeiot 13 Siew 219316up adaleidomial yoldulov them for sal 20 aug0 Je Je to obsode Llite pravo se abINTERVAL opt is ad redwnstostada supinu add beagoo devotee ardi 'ools up does do Jos said add is boom woolgeld atosite qarag dost add basessoiseb galasson atd badguard as fist bed ansigt diheglod leds they fedelben 0181 oya badasup do sow aged thealadis00 notiolaua latnebloat odd gutteloos netis midd jud Joethods a'aevodites et 6d3 - molto divest 6 26 et 1800 T eesnode at tadt valgedal beta odd asd olaum a al sed bag Jednsup stal od al bauol adT .00 dedup sandt 10 Janelle of ets JI odgod up is mosinu oltam diwe wollot jad aqeel sadoo odd 1001308378 elyje Jajtsup staf edd 2013011 Tedious ad od svitom ind igale 101 eyes17 mose odgle sat sidd dudevos ad? to smed at edi

third String Quartet in f minor, Op. 95 eda juda abitud xe Todd A clu den L. Van Beethoven 1770-1827 doidy eqnde 341380 Ano 2015 allegro con brio 26 A 03 03 allegretto ma non troppo i sviven allegro assai vivace ma serioso 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'%3B 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 to attention; the octave leaps that follow are 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 It

BTSITRA B'THOIROT 7 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 to dramatically underline the different sections.? Aw Buo 1992 m bevbeos: sde sgbindas 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 a very un-jokey' scherzo, marked 'serioso' by the composer. Note the viola and cello phrases echoed in inversion by the two violins. In the trio there is a slow moving hymn in the lower three parts, against a counterpoint of constant quavers in the first violin. This movement is in five parts, with two appearances of the trio section and 10110 017000 bre els lost oce At 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 gafety after all that has gone before, the movement gallops away, molto leggieramente, tow a close.edmen s A aobaoid nad ade eldged boowiak add is asi sidasen add to 19ants Bew bae otball and Javides augas.l assetsvo leyox ed ed? now ede # # Alec. Macdonald. s bebrews Bow be cotequoia 936 add de olau to spadlo viata to gdevollel

TONIGHT'S ARTISTS Hall With the Ruth Erlich (1st Violin) was brought up in Belfast where she studied violin with Jaroslav Vanacekt At the age of 15 she appeared as soloist at the Royal Festival National Youth.om Orchestra, of which she was a member for five.c years. Ruth read music at King's College, o Cambridge, while taking lessons with Fredericks Grinke. After Cambridge she received a generous award from the Countess of Munster Trust which enabled her to study for 2 years in America with do Donald Weilerstein of the Cleveland Quartet. heated Jennifer Godson (2nd Violin) was a Junior Exhibitioner at the Royal College of Music before winning the Dove Scholarship to the Royal Academy of Music to study with David Martin. She was at awarded the Recital Diploma in 1981 and gained ad scholarship with the Countess of Munster Trust to enable further study with Frederick Grinke. She al has since continued to devote some of her time to sq solo recitals and concerto performances. 03 aqsel evaf00 Catherine Marwood (Viola) won an Open Scholarshiped to the Royal Academy of Music where she studied with Stephen Shingles. While at the Acadeny she won many awards and prizes including the Theodoret Holland Prize for viola playing. As a member of 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 Won many awards and prizes including the Sybil Barlow Prize, Ruth Waddell Scholarship, Sir Edward Cooper and Heller Prizes and the Suggia Award. She I 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 Radio with contemporary music ensemble, AQUARIUS. 3 the NEXT RECITAL Saturday 1 November 1986 7.30 p.m. - Elmwood Hall LINDA HIRST Mezzo Soprano GRAHAM JOHNSON Piano

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