Smatep-mstedtd s wech Thursday) 16/4/94 Belfast Music Society Celebrity Concerts

܀ ܀ ܀ ysterious, with ROBERT COHEN a rather (Cello) ELIZABETH BURLEY (Piano) ܀ ܀ ܀ Sonata in A BOCCHERINI Sonata in C op 119 PROKOFIEV INTERVAL Philip's Peace AGNEW Variations on a Slovak Theme Sonata in A op 69 ܀ ܀ Saturday 16 April 1994 Elmwood Hall, 7.30 pm ܀ ܀ ܀ Supported by the ARTS COUNCIL MARTINŮ BEETHOVEN

Sonata in A adagio allegro изпод тяЗНОЯ (olls) Luigi Boccherini 1743-1805 Boccherini was a cellist and many of his compositions involve his own instrument, either in a starring role (in the nine concertos and over thirty sonatas, for example), or as an unusually dominant partner in the huge number of string quartets (nearly 100 in total) and quintets (even more of these). Many of these works reveal his love of sound for its own sake, and he often makes use of unusual effects. A ni storio2 Six of the cello sonatas, originally composed with accompaniment for basso continuo (harpsichord with or without an additional bass instrument - often a second cello), were published in London in 1770. The last of these is the best known. 996 a'qul svol s no 201891-1953 Serge Prokofiev Po go A mi sieno? Sonata in C, op 119 andante grave -moderato animato moderato - andante dolce allegro ma non troppo Apart from the cello concerto, all Prokofiev's mature music for that instrument was inspired by the playing of, and written for, the great Russian cellist Mstislav Rostropovich. In fact, practically the last music he wrote was the beginning of a sonata for unaccompanied cello, left incomplete at his death. The first movement of the cello and piano sonata opens with a long slow introduction, begun with great seriousness by the cello on its own, the music of which returns later in the movement. The listener will soon be aware of the sharp contrasts between flowing lyrical lines and jagged 1-

percussive writing, typical of the composer but also a thoroughly Russian characteristic. The rest of the first movement is lively but unsettled in mood; the conclusion is mysterious, with bell-like sounds. The second movement is a rather grotesque march that might have stepped straight out of the pages of one of the composer's operas or ballets. There is a singing, contrasting, 'trio' section before the march returns, this time quite briefly, to end with distinctly tongue-in-cheek humour. The finale opens with a beautifully flowing theme; a second theme returns to the rhythm of the march. In the movement's centre, the cello presents a slow and solemn melody. The triumphant - bombastic? - ending tries, but surely fails, to be convincing. The changing moods of this music, even though typical of the composer, must reflect to some degree Prokofiev's personal circumstances. By 1949, when he came to write the sonata, he had experienced the deprivations of the war, his enforced divorce and second marriage, and, in 1948, personal humiliation and professional demolition at the hands of Stalin and his 'artistic' henchmen; he was a sad and broken man. Philip's Peace Elaine Agnew 1967 I was commissioned to write this piece shortly after the birth of my nephew Philip Gerard Clements and immediately decided to dedicate the piece to him. This created two ideas in my mind. Throughout the piece the pulse (equivalent to that of a second) stays constant but within it there are different rhythmic groupings and styles. The other idea is that of an initial theme which undergoes change and development. The opening theme and first section use only four pitches with a distinctive intervallic structure. The introduction of a long F piano pedal presents a new slower section before a simple repetitive quaver figure gradually dev- elops into a melodic cello line. The F piano pedal takes us back through material from the second section before recapping on the opening of the piece. Elaine Agnew -2-

Variations on a Slovak Theme Bohuslav Martinů 1890-1959 Although his first instrument was the violin, the cello seems to have had a particular place in Martinů's affections. Among his large output of compositions in all forms are nine works for cello and piano, at the core of which are three sonatas. This set of variations, almost the last music Martinů wrote, is one of many late works which were stimulated by memories of the beloved homeland he had not seen since fleeing on the eve of the Nazi invasion. It was written at the conductor Paul Sacher's house in Switzerland where Martinů was convalescing from a major operation. The theme (which curiously is not actually Slovakian but a Czech folksong, If I had known, is stated simply on the cello after an introductory flourish on the piano; there follow five short variations. Sonata in A, op 69 allegro ma non tanto Ludwig van Beethoven 1770-1827 scherzo (allegro molto) adagio cantabile - allegro vivace The third and greatest of Beethoven's five cello sonatas was composed in 1807/8, i.e. it is contemporary with the 5th and 6th symphonies. It bears a dedication to one of his patrons, Baron Ignaz von Gleichenstein. In this work Beethoven exploits the instrument's singing capabilities to the full. This is revealed from the very opening where the movement's noble main theme is stated by the cello unaccompanied. The secondary themes are more energetic and forceful, but the cello continues to sing through them. In contrast, the scherzo that follows is jagged and syncopated, Beethoven enjoying to the full the rhythmic tricks he plays on his listeners - the original meaning of scherzo is, indeed, 'a joke'. In only one of the five sonatas does Beethoven write a full slow movement. The other four merely have significant slow introductions to the finale movement and that is the case here. But what feeling and depth Beethoven explores in just 18 - 3 -

bars! Then a pause, and in breaks one of the composer's instantly memorable finale themes. Throughout this sonata one marvels at Beethoven's skilful writing for the instrument and regrets that he composed no concerto for the cello. Alec Macdonald 1994 ROBERT COHEN Robert Cohen is firmly established as one of the world's leading cellists with an international career which has taken him on several major tours of the USA, Europe, Eastern Europe, Scandinavia, Australia and New Zealand performing with conductors such as Abbado, Dorati, Marriner, Masur, Muti, Rattle, Sinopoli and Yansons. He is constantly in demand as a recitalist and chamber musician and in addition to a busy concert schedule, he broadcasts regularly on radio and television, gives highly successful master-classes and, since 1988, has been Director of the Charleston Manor Festival in East Sussex. Robert Cohen, born in London in 1959, began cello studies at the age of five and for five consecutive years from the age of eight won the Suggia Prize for potential soloists under 21. From 1969-1976 he studied with William Pleeth, making his London debut at the Royal Festival Hall at the age of twelve. He won the Young Concert Artists International Competition in New York in 1978 and later that same year was awarded the Piatigorsky Prize at the Tanglewood Festival. In 1981 he won the UNESCO International Competition in Czechoslovakia.bu Friw slubados gend a aad bns nsdo Robert Cohen has recently been signed by Decca to record all the British repertoire for cello and orchestra on their Argo label. This will be launched by an exciting re-recording of the Elgar Concerto. Cohen's recording career began when he was only nineteen with an award-winning record of the Elgar Concerto with the London Philharmonic for EMI Classics for Pleasure. This record has now sold nearly 200,000 copies and has been awarded a Silver Disc. In addition to recordings of the Dvorak, Tchaikovsky and Rodrigo concertos and several solo discs, Robert Cohen - 4-

has recorded the Beethoven Triple Concerto with Zimmermann and Manz and the English Chamber Orchestra/Saraste and, in 1987, following an outstanding tour of Germany and a Royal Festival Hall concert, Deutsche Grammophon released a recording of the Schubert String Quintet with Cohen and the Amadeus Quartet. Cohen's latest recording of the complete Bach Suites for Collins Classics has received the highest critical acclaim. Cohen has appeared on television a number of times including two documentaries one for Thames Television and one for BBC's Omnibus - and performing Beethoven in a Music in Camera series and the Bach solo Sarabands in a six-programme series on Elgar entitled There is Music in the Air. His cello is the "Bonjour" Stradivarius of 1692. vidgid zavi ELIZABETH BURLEY Elizabeth Burley has been described by the Daily Telegraph as "one of our finest young accompanists". In 1977 she won an Associated Board Scholarship to study with John Barstow at the Royal College of Music, and was later awarded a Countess of Munster Scholarship, a Macklins Bursary and a Myra Hess Scholarship to study accompanying and ensemble playing with Paul Hamburger. She has given concerts throughout the UK and abroad with many notable musicians including the virtuoso trumpet player Haken Hardenburger and cellist Robert Cohen, and has a busy schedule with the Lowbury Piano Trio (Pauline Lowbury - violin and Ursula Smith - cello). Wigmore Hall appearances have been highly acclaimed in the national press and she is familiar to TV audiences as the official accompanist for both the 1990 and 1992 BBC Young Musician of the Year competitions and master class series. Solo engagements have included a concerto with the City of Birmingham Symphony Orchestra and performances of Stravinsky's Petroushka with the Scottish National Orchestra under Yuri Temirkanov. -5-

She has broadcast frequently on BBC radio and appeared in two recital programmes made by Thames TV for their series Solo which was shown during 1989 and subsequently recorded by Chandos Records. ELAINE AGNEW After graduating in Music from Queen's University, Elaine travelled to Glasgow for compositional studies with James MacMillan at the Royal Scottish Academy of Music and Drama. Works from this time have been performed by the Scottish Chamber Orchestra, the Royal Scottish National Orchestra, the BBC Scottish Symphony Orchestra and the Paragon Ensemble. Her music reveals a passion for folk elements, often inspired by subjects from Celtic mythology. Onciq) Elaine has supervised a number of composer-in-residence schemes in Scotland and Northern Ireland, and has just finished working on a major commission for gamelan, western instruments and voices which was premiered during the Strathclyde Regional Council's Community and Education Music Festival in November, 1993. The commission included a six-week intensive study period in Indonesia with expert gamelan musicians. Recent performances include Ballyvaughan (alto saxophone and piano) in the Purcell Room, London; Three Angry Men! (string trio) in the National Concert Hall, Dublin and Missa Brevis performed by the National Chamber Choir in Dublin Castle. She is presently writing a new piece for the Irish Chamber Orchestra. -6-

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