Saturday 31 January 2009, 8.00 pm, Great Hall, QUB Franz Schubert (1797-1828) Quartettsatz in C minor, D703 Seventeen quartets by Schubert survive, though a few only in fragmentary form. More than half, however, are teenage apprentice works, written for domestic performance. The period around 1820 seems to have been a time of crisis for Schubert, as it saw him begin a number of projects that he failed to complete. The reasons for this are probably a mixture of medical, financial and musical he had had problems with his operas, and was generally unsure about the direction his music should take). Among the works abandoned were his cantata, Lazarus, two symphonies, several piano works and, most famously, the B minor symphony and the C minor string quartet (from December 1820), of which only this remarkable opening allegro and 41 bars of a slow movement were finished. In fact, it is hard to imagine how Schubert could have satisfactorily followed this marvellously dramatic music. W. A. Mozart (1756-1791) String Quartet in D minor, K421 Allegro moderato: Andante: Minuet and trio (allegretto): Allegretto ma non troppo The early 1780s were a time of great change in Mozart's life; in 1781 his dissatisfaction with his lot as an employee of the Archbishop of Salzburg finally came to a head and he was ignominiously (and painfully!) dismissed. In 1782, against his father's wishes, he married Constanze Weber. That year Haydn published his opus 33 quartets, written, as he said, 'in an entirely new and special style. This inspired Mozart to return to the genre after nine years, and he completed a set of six quartets, composed in two groups separated by a gap of over a year, and published in 1785 with a celebrated dedication to Haydn, 'a very celebrated man, his best Friend'. The D minor quartet was composed in the summer of 1783, around the time of the birth of his first child (though this hardly explains the quartet's generally turbulent and melancholy mood). a 19

20 Saturday 31 January 2009, 8.00 pm, Great Hall, QUB Bedrich Smetana (1824-1884) String Quartet no 2 in D minor Allegro: Allegro moderato - andante cantabile : Allegro non piu moderato, ma agitato e con fuoco: Presto Smetana's two surviving quartets come from late in his life, when ill-health was already seriously affecting his career. His health began to deteriorate in 1874; like Schubert half a century earlier, he was suffering from syphilis, which led to his becoming deaf, and eventually to a complete mental breakdown in the year before his death in the Prague asylum. The first quartet, 'From my life (1876), is one of his best-known compositions. The second, completed shortly before his breakdown, is less familiar, but is a worthy companion. The opening movement takes over where the first quartet left off. It is stormy and moody, with many changes of tempo, in a way that looks forward to the music of Janacek, something that could be said, indeed, of the whole work. The idiom, especially in the third movement, is remarkably modern for 1882! The second movement is a miniature polka. Franz Schubert String Quintet in C, D956 Allegro ma non troppo : Adagio: Scherzo and trio: Allegretto Even though his health was deteriorating rapidly in the last year of his short life, Schubert continued to produce new works at an amazing rate - piano works, including three great sonatas, choral works, songs, large portions of a tenth symphony... The Quintet was completed by the beginning of October, though it wasn't performed until 1850, or published until three years later. Only then could it receive the recognition it deserved as one of the greatest chamber works ever written. It is full of wonderful moments: the cello duet presentation of the second main theme of the first movement, the rich instrumentation and poetic vision of the second movement, the confident vigour of the one-in-a-bar scherzo, with its elegiac trio, and the characteristically jaunty second theme of the finale, attractively scored for violin and cello against an interesting triplet accompaniment - another example of the great variety of colours Schubert achieves with his instrumental forces. The work as a whole is permeated by the so-called 'Neopolitan' relationship that is, the juxtaposition of two keys a semitone apart. In the slow movement, this relationship affects the key structure of the whole movement - E major outer sections are contrasted with a turbulent F minor central section. Similarly, the scherzo is in C, with its trio section in D flat. The finale brings the whole work to a magnificent conclusion with a final neopolitan relationship, a great resolving cadence, the note D flat settling emphatically on the home tonic of C. Alec Macdonald Ⓒ Saturo Wi The trac out: of t rep Th to I anc Ne on the Th of Pr Sti me ex of Fr all at T al at C cl L th V A

Saturday 31 January 2009, 8.00 pm, Great Hall, QUB Wihan String Quartet The Wihan Quartet, formed in 1985 and heirs to the great Czech musical tradition, continues to this day with its original four members. The Quartet's outstanding reputation for the interpretation of its native Czech heritage and of the many classical, romantic and modern masterpieces of the string quartet repertoire is widely acknowledged. They have developed an impressive international career, which includes visits to major festivals in Europe and the Far East. They visit the United States and Japan regularly and have had highly acclaimed tours of Australia and New Zealand. They are frequent visitors to the UK and can often be heard on BBC Radio 3 as well as in concert at Wigmore Hall, Bridgewater Hall, the South Bank and many other venues throughout the country. The Quartet has made many recordings and full details of their discography of over 25 CDs, and also the DVD of their 20th Anniversary concert in Prague, can be found on their website. Their recordings of all the Beethoven String Quartets, for Lotos, Prague, are now available a boxed set. Their most recent release of Smetana Quartets on Arco Diva has attracted many excellent reviews. Musicweb said: "The music making on this disc has a feeling of "rightness" that makes comparisons largely superfluous" From October 2007 to March 2008, the Wihan gave the first ever series of all the Beethoven Quartets in Prague, and this series was repeated in the UK at Blackheath Halls during May and June 2008. The Wihan are 'Quartet in Residence' at Trinity College of Music, London, and for several years have taught many of the UK's gifted young Quartets at Pro Corda in Suffolk. The Quartet are great supporters of the work of the CAVATINA Chamber Music Trust, giving inspirational concerts and master classes to young people in many parts of the country. Leos Cepicky plays on a 2003 prize-winning violin by Jan Spidlen, owned by the violin dealer Mila Strnad. Jan Schulmeister plays on a Stefano Scamparella violin (Brescia 1893) and Jiri Zigmund's viola is a 1659 Andrea Hieronimus Amati, on permament loan from the Czech State collection. Ales Kasprik's cello was made in 1887 by Karel Boromejsky Dvorak (no relation). C 21

Saturday 31 January 2009, 8.00 pm, Great Hall, QUB Raphael Wallfisch With a discography of over 60 CDs and concert appearances with many of the world's greatest orchestras and conductors, Raphael Wallfisch is at the height of his powers as a performer. With a masterful technique and a soaring, singing sound that evokes a tradition continued from his teacher, Piatigorsky, he is among the most celebrated cellists performing on the international stage. Most recently he has performed with the Minnesota Orchestra, Budapest Festival Orchestra and Bournemouth Symphony as well as the London Symphony, London Philharmonic, Leipzig Gewandhaus, Los Angeles Philharmonic, Warsaw Philharmonic, Czech Philharmonic and many others. A popular visitor to major music festivals worldwide, he has played at the BBC Proms, the Edinburgh International, Aldeburgh, Spoleto, Prades, Bergen International, Montpellier, Pablo Casals and Schleswig-Holstein Festivals. Raphael Wallfisch's extensive discography explores both the mainstream concerto repertoire and countless lesser-known works by Dohnanyi, Respighi, and Martinu, as well as Richard Strauss, Dvorak, Kabalevsky and Khachaturian. Perhaps more than any other cellist he has championed British composers, with recordings of works by MacMillan, Finzi, Delius, Bax, Bliss, Britten, Moeran and Leighton. Britain's leading composers have worked closely with Raphael Wallfisch, several having written works especially for him. These include Sir Peter Maxwell Davies, Kenneth Leighton, James MacMillan, Paul Patterson, Robert Simpson and Sir John Tavener. www.raphaelwallfisch.com

RAPHAEL WALLFISCH Cello CATHAL BRESLIN Piano Sunday 1 February 2009, 11.30 am Harty Room, QUB Masterclass on Schubert's 'Arpeggione Sonata' featuring David McCann and David Sloan RAPHAEL WALLFISCH Raphael Wallfisch is committed to and passionate about teaching, and devotes a significant amount of his time to this activity. He is professor of cello at the Zürich Winterthur Konservatorium in Switzerland and at the Royal College of Music in London. 23

24 Sunday 1 February 2009, 11.30 am, Harty Room, QUB Cathal Breslin Cathal Breslin was born in Derry, Northern Ireland. An exciting international career has taken him to critically acclaimed performances in Concert Halls throughout Europe, U.S.A. and Asia. Recent concerto performances have been with orchestras such as the Turin Philharmonic in Italy, National Symphony Orchestra of Ireland, Ulster Orchestra, Camerata Ireland and the National Youth Orchestra of Ireland, and with such prestigious conductors as Vladimir Altschuler, Christian Gansch, Barry Douglas, Giovanni Battista Rigon, Niklas Willen, and Gearoid Grant. Recent solo recitals have been in Florida, Ohio, California, Michigan and Texas, Hong Kong, Tokyo and Hamamatsu in Asia, and throughout Europe. Upcoming solo recitals in the 2008/9 Season include a Carnegie Hall Recital in New York, El Ateneo in Madrid, Spain, Palacio Foz in Lisbon, Portugal, Zala Bulgaria in Sofia, Bulgaria, and throughout Ireland, Italy and the U.S. Cathal has been awarded top prizes in some of the most prestigious International Piano Competitions in the World, such as "Viotti" in Vercelli/ Milan, "Carlet" in Valencia, "Grand Konzerteum" in Athens, and "Iowa" in the U.S. He has broadcast regularly for BBC Radio 3, RTE Ireland, RTVE Spain, and has performed on Japanese, Spanish and Irish Television. His Mozart recording for the European Broadcasting Union "Mozart Project 2006" has been broadcast on National Radio Stations in over 30 countries throughout the world. Studies were in London with John Barstow, in Manchester with Kathryn Stott, and in Madrid with Joaquin Soriano. He recently received the Doctor of Musical Arts Degree from the University of Michigan in Ann Arbor, where he studied with Arthur Greene. During this time he was a Fulbright Scholar and a Bank of Ireland Millennium Scholar. Da Davic of Mu the St Silver and M Orch under where Conce Day David of Edi Britain Edinb live or the U Irvine was av Cham Judge perfor Sympl

tional Halls ave and ictors ttista and rope. ecital gal, U.S. celli/ va" in, art has hout n ctor here olar David McCannn David McCann was born in Belfast and attended the City of Belfast School of Music where he was a recipient of the Marguerite Swann Memorial Award, the Stephen Parker Memorial Award, the Leonard Pugh Prize and an ABRSM Silver Award. He has worked with the Ulster Orchestra, Camerata Ireland and Manchester Camerata, and has recently completed the BBC Philharmonic Orchestra's Professional Experience Scheme. David is now a third year undergraduate student at the Royal Northern College of Music in Manchester where he studies with Gregor Horsch, principal cellist of the Royal Concertgebouw Orchestra. David Sloan David Sloan is currently studying Mathematics and Music at the University of Edinburgh. He is principal cello of the National Youth Orchestra of Great Britain and also the Chamber and String Orchestras at the University of Edinburgh and a member of the Ulster Youth Orchestra. He has performed live on BBC Radio Ulster's Sounds Classical and recently gave a recital at the Ulster Bank Belfast Festival. David is currently studying cello with Robert Irvine at the Royal Scottish Academy of Music and Drama. In 2006 David was awarded a Playing for Peace Scholarship to the Apple Hill Center for Chamber Music, New Hampshire, USA. In April 2008 he won the Catherine Judge Memorial Award. As part of winning this award, David recently performed the Elgar Cello Concerto with David Brophy and the DIT Symphony Orchestra in Dublin and Belfast. a 25

26 CHRISTIANNE STOTIJN Mezzo Soprano JOSEPH BREINL Piano Sunday 1 February 2009, 3.00 pm Great Hall, QUB SCHUBERT Lieder on texts by Mayrhofer Schnsucht, D516 Beim Winde, D669 Trost, D671 Auf der Donau, D553 Heliopolis I, D753 Heliopolis II, D754 Freiwilliges Versinken, D700 Fahrt zum Hades, D526 Auflösung, D807 Interval GRIEG 6 Lieder, op 48 SCHUBERT Im Walde (Waldesnacht), D708 An den Mond, D193 Nachtstück, D672 Der Zwerg, D771 Nacht und Träume, D827 Erlkönig, D328 Sund. Sch Joha abbe Inste him; from to be (a sti who May inde resu to sa the l top the frier wor Fr Son Seh Beir Tro: Auf Hel Hel Frei Fah Auf

Sundlay 1 February 2009, 3.00 pm, Great Hall, QUB Schubert and Mayrhofer Johann Mayrhofer (1787-1836) studied for the priesthood at the famous abbey of St Florian, but soon discovered this wasn't his true vocation. Instead, he changed to law. Writing poetry was an important sideline for him: so important, in fact, that for a time he tried to carn his living purely from his writing. Not surprisingly, this didn't work out, and he was obliged (a strange and stressful choice of career, one would have thought, for a man to become a civil servant, working in the unpopular Office of Censorship who was a passionate advocate of freedom of speech!) Mayrhofer and Schubert first met in 1814. A close friendship soon developed; indeed, from 1819 to 1821 the pair shared lodgings. Their fruitful collaboration resulted in nearly fifty songs, including some of Schubert's finest. That is not to say that Mayrhofer was a particularly 'good' poet, though he was probably the best of Schubert's amateur collaborators (it could be argued that really top notch poetry neither needs nor benefits from musical setting). However, the composer obviously found inspiration in the often melancholy lines of his friend. Tragically depression more and more became a part of Mayrhofer's world, leading finally to his suicide at the age of 48. Franz Schubert (1797-1828) Songs to texts by Mayrhofer Sehnsucht (Longing) (1817?) Beim Winde (Windy Weather) (Autumn 1819) Trost (Consolation) (Autumn 1819) Auf der Donau (On the Danube) (1817?) Heliopolis I (In the cold, raw North) Heliopolis II (Rock piled upon Rock) Mayrhofer wrote his sequence of poems, Heliopolis, in 1821. Schubert set two of the poems the following year; probably the poet hoped he would have set the complete cycle. Freiwilliges Versinken (Free Fall) (1817?) Fahrt zum Hades (Journey to Hell) (January 1817) Auflösung (Dissolution) (March 1824) a 27

28 Sunday 1 February 2009, 3.00 pm, Great Hall, QUB Edvard Grieg (1843-1907) Six Songs, op 48 As a young man, Grieg was a student in Leipzig, and it isn't surprising, then, that at that time he set a number of German poets in the original language, eg. His opus 2 songs to poems by Chamisso and Heine (1861) and his opus 4 songs, to words by the same two poets plus Uhland, dedicated to his new fiancée, Nina Hagerup (1864). After this the composer concentrated on Danish and then, when his nationalism took root, Norwegian words. However, in the 1880s, as a mature composer, with most of the works by which he is best- known already composed, Grieg returned to German poetry and set six, dedicated to the Swedish-born Wagnerian soprano, Ellen Gulbranson. The first two songs were written in September 1884, while the remaining four songs followed in August 1889. Gruss (Greeting), words by Heine. Dereinst, Gedanke mein (One day my thoughts), words by Geibel. Lauf der Welt (The way of the World), words by Uhland. Die verschwiegene Nachtigall (The discreet Nightingale). The words are by the 12th century Walther von der Vogelweide, and the song is reminiscent of a folk-song, a pastoral love song, some of whose original earthiness has been 'refined' in its modern German translation! Zur Rosenheit (At Rose-time), words by Goethe. Ein Traum (A Dream). One of the most often performed of Grieg's songs, the words are by Friedrich Bodenstedt who, like Geibel, was a popular member of the Munich literary circle in the mid 19th century. Fra Six Sc Im W An de May Beeth Nach Der Z Nach poem Erlkö comp unab Alec

Franz Schubert Six Songs Im Walde (In the Forest) (December 1820, poem by Schlegel). An den Mond (To the Moon) (poem by Holty). This is an early song, dated May 17, 1815. The accompaniment has an (unconscious?) resemblance to Beethoven's Moonlight sonata. Nachtstück (Nocturne) (October 1819, poem by Mayrhofer) Der Zwerg (The Dwarf) (1822? Poem by Von Collin) Nacht und Träume (Night and Dreams) Like the previous song, this sets a poem by Von Collin, and possibly dates from 1822. Erlkönig (The Erl King) This famous setting of Goethe's dramatic ballad was composed in 1815. The galloping triplets, which the composer was apparently unable to play, only cease at the song's tragic conclusion. Alec Macdonald Ⓒ а 29

30 Sunday 1 February 2009, 3.00 pm. Great Hall, QUB Christianne Stotijn Christianne Stotijn started out playing violin, and gained a solo diploma in 2000 at the Amsterdam Conservatoire. She then pursued her vocal studies in Metz, London, and Amsterdam where, under supervision of Udo Reinemann, she graduated in 2003 with the highest distinction. Since then, Christianne's vocal coaches have included Noelle Barker, Udo Reinemann, Jard van Nes and Dame Janet Baker. Christianne's greatest passion is for the Lied repertoire. An enthusiastic chamber musician, she has appeared at many Chamber Music festivals and regularly performs with pianists Joseph Breinl and Julius Drake. Christianne has recorded CDs of Schubert, Berg, Wolf + Mahler and, most recently, Tchaikovsky, for Onyx. Her CD of Frank Martin music for MDG label won the Echo Klassik Award 2008. Christianne has sung in the world's premier concert halls such as the Concertgebouw Amsterdam, Musikverein Vienna, Carnegie Hall New York, Théâtre des Champs Elysées, Théâtre du Châtelet Paris, Mozarteum Salzburg and Palais des Beaux Arts Brussels, Teatro alla Scala Milan, Wigmore Hall and at The Proms in The Royal Albert Hall, London. On the operatic stage, Christianne has appeared at the Aix en Provence Festival, Monnaie, Netherlands Opera and Paris Opera and is due to appear at Covent Garden, Monnaie, Bilbao Opera and Teatro Municipal de Santiago in Chile. Christianne has worked with celebrated conductors such as Bernard Haitink, Rene Jacobs, Gustavo Dudamel, Sir Andrew Davis, Jaap van Zweden, Gennadi Rozhdestvensky, Philippe Herreweghe, Hartmut Haenchen, Frans Brüggen, Marc Minkowski and Mark Wigglesworth, and has performed with leading orchestras such as Melbourne and Chicago Symphony Orchestras, Boston Philharmonic, Royal Concertgebouw Orchestra, Die Akademie für Alte Musik, Orchestre des Champs Elysées, Orchestre National de France, Concerto Köln, Sinfonietta Amsterdam, Orchestra della Scala, and the Combattimento Consort Amsterdam. Christianne has won several prizes including the 2005/06 ECHO Rising Stars Award, the 2005 Borletti Buitoni Award, 2008 Dutch Music Prize and was a BBC New Generation Artist. Sunda Jos Josef Herr a sch his st song in 20 Duri Walk Grat with of the Josef the N Inter Chri: Josef van c Bree for th Josep Klavi Hols! Beeth and a recita Sant Unde have Philh Konz and S North

1 1, 15 d ne on rk, arg 11 ear go nk, adi -en, ng on erto ento g and Sunday 1 February 2009, 3.00 pm, Great Hall, QUB Joseph Breinl Joseph Breinl was born in Munich. He studied piano in Munich with Karl- Hermann Mrongovius and Gitti Pirner and gained his diploma in 2001. As a scholarship holder of the Studienstiftung des Deutschen Volkes he continued his studies at the Amsterdam Conservatoire, studying both solo piano and song accompaniment with Willem Brons and Rudolf Jansen. He graduated in 2003 with the highest distinction. During his studies he attended masterclasses with Roger Vignoles, Sarah Walker, Paul Badura-Skoda and Graham Johnson. After his masterclass Graham Johnson invited the young accompanist to come to London to work with him more intensively. Graham Johnson awarded him also the scholarship of the Klavierfestival Ruhr 2002 and became his teacher and mentor. Joseph Breinl is currently employed as an accompanist and vocal coach at the Musikhochschule München. He was a prize winner at the Wigmore Hall International Song Competition, 2003, and with the Dutch mezzo-soprano Christianne Stotijn he also was awarded the ECHO Rising Star prize 2005. Joseph Breinl works together regularly with Christianne Stotijn and Mattijs van de Woerd and recent performances also include recitals with Michelle Breedt and Udo Reinemann. Since June 2004 he is also the song accompanist for the German soprano Kammersängerin Waltraud Meier. Joseph Breinl has appeared as an accompanist at the Munich Opera Festival, Klavierfestival Ruhr, Richard-Strauss-Festival Garmisch and at the Schleswig- Holstein Music Festival. He performed at the Munich Opera House, Beethovenhall Bonn, Concertgebouw Amsterdam, the Wigmore Hall London and at the Schubertiade in Schwarzenberg / Austria. He also appears in recital at the Theatre des Champs-Elysees in Paris, Mozarteum Salzburg, Santory Hall Tokyo and at the Delft Chamber Music Festival. Under the auspices of the ECHO Rising Star prize he and Christianne Stotijn have performed at the Concertgebouw Amsterdam, Megaron Athen, Philharmonie Cologne, Carnegie Hall, Vienna Konzerthaus, Stockholm Konzerthaus, Festspielhaus Baden-Baden, Palais des Beaux Arts Brussels, and Symphony Hall Birmingham and undertook their first recital tour of North America. 31

32 Belfast Music Society PRESIDENT John Bryson PATRONS Elizabeth Bicker MBE Leonard Pugh OBE Sean Rafferty CONCERTS MANAGER Pamela Smith BOARD OF MANAGEMENT Sheila Sloan (Chair) Richard Yarr (Vice-Chair) Stephen Mungavin (Hon. Treasurer) Jill Deacon (Hon. Secretary) Piers Hellawell Lauren Kerr Nuala Shaw The four celebrity concerts will be broadcast on BBC Radio 3's Lunchtime Concert from Tuesday 17 to Friday 20 February 2009. BBC RADIO Friends of BMS Friends of Belfast Music Society was formed in 1995 to support the work of BMS and to provide additional financial assistance. FRIENDS OF BELFAST MUSIC SOCIETY (3) The social side of membership is very important; in our decade we have visited all parts of Ireland in pursuit of good food and wine, interesting places and associated music. For more information please visit the BMS website at: www.belfastmusicsociety.org Friends of BMS are particularly interested in nurturing the talents of young musicians. Trik Before to two Havel progra and cr for the That' and th so for as org the Pi when Song music that c fresh Pam and s mode unde celeb earlic Ulste achie 1988 Pam her c and a tw I like grar abov expl she her Pam and Mic

NT surer) 3 work of ave g places Tribute to Pamela Rogers Before I knew Pamela Rogers she worked in the BBC as Personal Assistant Havelock Nelson. Beyond the usual practicalities she excelled at writing to two legendary producers in the Music Department, Billy Boucher and programme notes and scripts. So, as well as being efficient she was original and creative. This and her multi-tasking capacities made her a natural choice for the post of Music Director at the Arts Council of Northern Ireland. That would have been in 1972. By that time I was in charge of Literature and the Traditional Arts. Pretty soon we became good friends and remained so for thirty-five years. In those days the Arts Council initiated events. As well as organising musical performances in Belfast, Pamela toured artists around the Province. She was particularly good at talent-spotting young musicians when she was in Britain or further afield - for instance, Felicity Lott and the Songmakers' Almanac who are now world-famous. Thanks to Pamela, musicians of this calibre willingly journeyed to any venue in Northern Ireland that could provide a suitable space. Performance and repertoire were always fresh and uncompromising. Pamela's tours and concerts also highlighted home-grown talents from north and south. Lawrence Glover and Charles Lynch come to mind. Lynch, a modest Pickwickian figure, could play with astonishing power. Seriously underrated, he was on his day a great pianist. Refusing to heed fashion or celebrity, Pamela backed only what she would call "the real thing." From the earliest negotiations she also made a crucial contribution to the future of the Ulster Orchestra. The symphony orchestra is, she insisted, one of the greatest achievements of the human mind. Pamela retired from the Arts Council in 1988, but continued to do valuable work for the Belfast Music Society. Pamela was the embodiment of thoughtfulness and kindness. I often visited her office to ask for advice. She was clear-headed, principled, loyal, imaginative and often very funny: she was a fine mimic and teller of stories, usually with a twist of lemon. She lived just around the corner from me. Over the years I liked to call and listen to her own lovely playing on her cat-festooned baby grand-mutual favourites such as Chopin, late Brahms (the intermezzi) and above all Schubert. It was important for Pamela that she should read and explore these masterpieces for herself. And, perhaps even more importantly, she found it a huge spiritual experience to play in small ensembles with her friends. Pamela Rogers illuminated our cultural life. She was a marvellous colleague and friend. I find it very difficult to imagine the world of music without her. Michael Longley a 33

34 SUMMER CELEBRITY RECITAL Thursday 21 May 2009, 8.00 pm Belfast Harbour Commission Tasmin Little Violin John Lenehan Piano KREISLER Praeludium and Allegro BACH Sonata in E major, BWV 1016 MOZART Sonata in C, K 296 GRIEG Sonata No. 2 in G TCHAIKOVSKY 'Melodie' from Souvenir d'un Lieu Cher BARTOK Romanian Folk Dances

bas Belfast Music Society World-class chamber music since 1921 www.belfastmusicsociety.org C 35

bas Belfast Music Society World-class chamber music since 1921. www.belfastmusicsociety.org