MUSIC eT) S Ee Sop eV SIE BW Mg Tae aici Gamiseae eile eke ees ere ar sae} Evening 0p oneal a aT CIO) EXAMINATION HALL TRINITY COLLEGE CR OBE Th pos BeccTs Ph OcP lees alee | MUSIC ASSOCHNTION OF IRELAND te aPwi/2sa in encouraging the study and appreciation of music and in helping to make possible its enjoyment by audiences in every part of Ireland How? By the sponsoring of vocal and instrumental bursaries. The commissioning of choral works. The fostering of traditional music, And the support of ‘numerous other musical projects throughout the country. In these and other ways we are happy to play a part in keeping Ireland's traditional love of music alive. Player-Wills I ay THE MUSIC ASSOCIATION OF IRELAND 11Suffolk Street Dublin 2 Tel. 770976 Five years ago the Council of the MAI was anticipating with some trepidation its first Dublin Festival of Twentieth Century Music. How would its members and the rest of the concert-going public of Dublin react to such a concentration of modern and avant-garde music? Would the Festival attract any patrons from outside Dublin, let alone outside the country? Now, with four Festivals behind it, the Council may feel justified in having yielded to the pressure of those individuals who, in 1968, conceived the idea of the Festival and persuaded the Council to undertake the task of organising it. The Festival is now regarded as an important event in the musical life of Dublin. This year, under the Chairmanship of Dr. Seoirse Bodley, the Festival Music Committee has chosen a wide ranging programme maintaining a well judged balance between established twentieth century and avant-garde works. Seven works by Irish Composers will receive first performances, including the winning entry in the Varming Prize Kindly presented by Mr. Sean Mulcahy of Messrs. Varming, Mulcahy, Reilly Associates for the best work submitted by a young Irish Composer. Many other works will be heard for the first time in this country, The concert, devoted to works by “Young Irish Composers” which was established at the first Festival presents nine works this year. It is interesting to note that Eric Sweeney and Raymond Deane, “young composers” at the first Festival in 1969 will have works performed in this year's opening Symphony Concert and Harpsichord Recital respectively. The successful development of the concept of the Festival has been largely due to our successive Festival Organisers and their Committees. To Mrs. Enid Chaloner, who this vear is organising her third Festival, the Council extends special thanks and appreciation On behalf of the Council I have great pleasure in welcoming you all, artists, audience and composers to our 5th Dublin Festival of Twentieth Century Music. I hope you will enjoy performing and listening to the music and will find the music programmes interesting and stimulating. Thank yqu for coming to the Festival and for the pleasure and encouragement you give by your performances and your presence. OLIVE SMITH Chairman of the Council of the MAIColman Pearce was born in Dublin in 1938. After his distinguished appearances as a pianist, he received an 2 Honours Degree in Music (B.Mus.) in 1960 from the ional University of Ireland, winning an Exhibition Kyung-Wha Chung ‘Hans Waldemar Rosen Patricia Dunkerley Marinus Voorberg Richard Bureou William Pearson Courtney Kenny PPE: dune CrokerSiegfried Behrend began his musical training in Berlin and discovered his love for the guitar when he was 17. His interest in this instrument — so far more or less neglected in concert halls — was raised while studying the ancient tabulature. “There was such a Jot of material and I was curious how it would sound”. He only needed 10 months to be equipped with a fine technique and practically all the qualities which were later to win him worldwide fame. The virtuistic ease of his performance and technical ability soon led to enthusiastic press notices and scored first successes abroad. With the support from the German Foreign Office and the Goethe Institute he embarked upon a world-wide tour as an ‘ambassador of music’. Since then tours took him all over the world. Many important persons listened to his music, among them Albert Schweitzer. Behrend met him again — shortly before the great humanitarian’s death, whose teaching of ‘reverence for life’ he wholeheartedly accepts. The fact that this exponent of classical works, notably by Monteverdi, Peri, Bach and Handel, has also enriched the modern guitar repertoire by more than 1,000 new pieces, is another aspect of the artist Behrend. He is a phenomenon of industry, energy and physical endurance: “I am going by plane 250 days a year ...” His schedule includes concerts in Germany and abroad, recording.sessions, film- productions and rehearsals with his own amateur- orchestra. “I am very much interested in experimental ‘music, and I believe in its future.” Claudia Brodzinska Behrend, born in Berlin in 1937, is the wife of Siegfried Behrend, and since 1965 has been travelling all over the world giving concerts with him, From 1956 to 1958, she studied acting with Hilde Korber at the Max Reinhardt School, Berlin, and after appearing in various theatrical productions in Berlin worked for four years at the Schiller Theatre under Boleslaw Barlog. She has taken part in many television plays, including works by Gorki, Gogol, Hubalek, Hanns Korngiebel and Falk Hamack During the last few years she has devoted herself more and more to the avant garde. As a member of the Siegfried Behrend Ensemble for New Music, she developed the various means of voice expression used as a new form in much modem music, and by studying laryngeal technique developed a new and complex range of sound images. Kyung-Wha Chung Although Miss Chung made her sensational European debut only as recently as summer 1970 (with Andre Previn and the London Symphony), she has already become one of the great stars of the younger generation. In the past two years she has played in almost every major centre, including eight times in Berlin (with such conductors as Giulini, Haitink, Jochum and Maazel) and eleven times in the Musikverein Vienna. Within a time span of twelve months, she was playing abroad with all the London orchestras — with the London Symphony in New York, Boston, Philadelphia, ‘Munich, Tokyo, Osaka and her hometown, Seoul; with the London Philharmonic in Berlin; with the Royal Philharmonic and Kempe in New York; and with the New Philharmonia in Bruxelles and Germany, She started her career in America (after seven years of study with the great teacher Ivan Galamian) in 1967 when, at the age of nineteen, she won the Leventritt Competition — a first prize of great prestige, as this most important violin competition is only held once in about five years for this instrument. She continued to study rather than tour America until 1971, but she now plays in most centres. ‘She has appeared ten times on British television in 1972/73, and after her first record (Sibelius/ Tchaikovsky concertos) was voted record of the year by some British critis, she signed a long term contract with Decca, which will result in about twenty records during the next five years. Due to her success, she is now in the lucky position of being able to reduce her future concert activities, in order to give her more time for study. She hopes to return to Korea each year; she made her debut there with the National Symphony playing the Mendelssohn concerto when she was nine. Her parents still live in Korea although most of her six brothers and sisiers are in America and are performing or ‘teaching musicians. June Croker, Dublin-bom Contralto began her studies at the College of Music in Dublin where she won the Internal Scholarship Award. Later she had a short period of study with Prof. Friedrich Mandl of the University of Vienna. Then followed a course of private study with Dr. Hans Waldemar Rosen. She has also taken part in the Summer School at Salzburg’s Mozarteum, where she was chosen to sing at two public concerts, performing works by Brahms, ‘Schumann and R. Strauss. Among the awards she has won is the Gold Medal of the Dublin Feis Ceoil In 1965 Miss Croker joined the Radio Telefis Eireann Singers and in her work with them has taken part in hundreds of radio broadcasts and numerous television programmes. She also made an extensive tour of the Continent with the Singers and had solo recordings for Munich and Hilversum Radio Stations. As asoloist, she has broadcast Song Recitals and works for aito and chamber orchestra ranging from Bach to avant-garde composers and has specialised in lieder. Her concert repertoire includes many first performances of major works in Dublin with leading Choral Societies among these Honegger; St. Joan of Are at the Stake; Stravinsky; Les Noces; Scarlatti; St. Cecilia Mass, as well as other Oratorios, Masses ete, Courtney Kenny, a native of Ballinrobe, Co. Mayo, he studied at the Royal College of Music, London After five years in light music he joined the music staff of the Glyndebourne Opera and worked there for ten seasons. In 1963 he founded Westen Opera, which gave six highly successful seasons in Castlebar, Ballinrobe and Sligo. He has also worked at the Wexford Festival, Much in demand as an accompanist and continuo, player, Mr. Kenny has appeared at the Festival of Great Irish Houses, the Killarney Bach Festival, as well as the English Bach Festival, for the Handel Opera Society and at the BBC Promenade Concerts. Charles Lynch was born in Ireland in 1906. After early studies in his native country, he won the Elizabeth Stokes Scholarship which enabled him to continue his studies at the London Royal Academy ‘of Music, He remained at the Academy for six years up to 1924, his principal teachers there being Benjamin Dale and York Bowen. In 1929, Charles Lynch commenced studies with the famous Egon Petri, then a noted teacher and concert pianist regarded by many as the most brilliant pupil of Busoni. Charles Lynch studied continuously with Petri up to 1934. From 1928 onwards Charles Lynch broadcast frequently in B.B.C. music programmes and was invited on many occasions to give first performances of works that were then contemporary. Notable among these ‘firsts’ were the world-premiere of Emest Bloch’s Piano Sonata ; first performance by an English-speaking pianist of Stravinsky’s arrangement for piano of Three Scenes from his own ‘Petrouchka’, subsequently given its Irish premiere by Charles Lynch in the Royal Dublin Society’s 1940 Season; the first performance in England of Rachmaninoff's Sonata in D minor, undertaken at the request of the ‘composer who had been disappointed with the reception given to the work when he himself had given the world-premiere in America some twenty ‘years earlier. The successful first performance of the ‘work in England led to Charles Lynch receiving special valuable tuition in piano-technique from Rachmaninoff. After the war years Charles Lynch again gave recitals abroad, this time mainly in Continental Europe. He broadcast for many of the continental radio stations and gave recitals in Paris, Geneva, Cologne, The Hague, Amsterdam, Copenhagen, Stockholm, and many other cities, In 1961 Charles Lynch undertook an extensive tour of Australia and New Zealand which coincided with the Liszt 150th Anniversary Celebrations in those countries. Colman Pearce was born in Dublin in 1938. After his distinguished appearances as a pianist, he received an Honours Degree in Music (B.Mus.) in 1960 from the National University of Ireland, winning an Exhibition. For a time he acted as Assistant Music Director of RTE, but left in 1963 to concentrate on a conducting career. He became very well known as a choral conductor, broadcasting frequently with the RTE Singers Gradually, however, his conducting activities increasingly involved working with orchestras, and in 1965 he was placed under contract by RTE as assistant to Tibor Paul, and has continued as one of the permanent conductors of the orchestra. Apart from regular studies with Maestro Paul, Mr. Pearce also studied under Franco Ferrara for a period and spent approximately six months in 1969 as a private pupil of Swarowsky in Vienna, Since then, Mr. Pearce has guest-conducted in London, Munich, Koblenz and Edinburgh, and has been acclaimed by both orchestras and public alike. His guest appearances in "73 included a South American tour. He has worked with many famous artists, including Mindru Katz, Andre Navarra, Joachim Achucarro, Josef Sivo, Agostin Anievas, Vladimir Orloff, Claude Helffer, Bernadette Greevy and Yossi Zivoni. Mr. Pearce has introduced many important contemporary works to the Irish public, including works by Panufnik (Sinfonia Sacra), Liebermann, (Concerto for Jazz Band and Symphony Orchestra), Williamson (Sinfonietta), Lutoslawski (Concerto for Orchestra), Shostakovich (Symphony No.15), as well as works by leading Irish composers. Mr, Pearce is also a composer, and some of his songs, and many of his choral and orchestral arrangements have been broadcast by RTE. William Pearson, born 1934 in Tennessee/U.S.A. studied at the University of Louisville School of Music. Mr. Pearson performed many world premieres before coming to Europe; including “The Tall Kentuckian” by Norman Dello-Joio, “Spoon River” by Wallace Berry, “Double Trouble” by Richard Monhaupt and songs by Robert Below and George Perle. Pearson resides in Germany, where he came as a Fulbright student in 1956. He studied at the State Academy of Music in Cologne and eamed the coveted Konzertdiplom in 1958. Pearson sang as guest at different operas in Germany and Budapest. 1965 saw him in Helsinki where he had a sensational success in the first European staging of “Porgy and Bess”. His first love remains lieder and oratorio. As a concert singer he is renown in Berlin, Hamburg, Dusseldorf, Cologne, Frankfurt, Munich, Basel, Salzburg, Vienna, Prague, Budapest, Milano, Spoleto, Torino, Palermo, Copenhagen and Paris. Mr. Pearson teaches a voice class at the Robert-Schumann-Conservatory in Dusseldorf. This Page Sponsored by E. & T. O'BRIEN, Design and PrintGerard Shanahan Born in Cork, and studied piano- forte there with late Frau Tilly Fleischmann Gave first public recitals in Cork and Dublin at age of 12 — these were followed by an engagement to play at Welsh National Eisteddfod Celebrity Concerts in Holyhead (age 12) — Later became teacher of Piano at Cork Municipal School of Music. Won many awards for piano playing including Pigott, Esposito and Larchet Cups at Feis Ceoil, Dublin. Acted as Soloist and Accompanist on late Count John McCormack’s Farewell Tour. Played with many other well-known singers and instrumentalists. Many broadcast-engagements including Piano Concerti with RTE Symphony Orchestra. ‘Awarded Fellowship of Trinity College of Music, London (Advanced pianoforte playing) Currently on the teaching staff of the College of Music. Mary Sheridan is one of Ireland’s best known singers and was for many years one of the RTE Singers. She has studied both in Ireland and abroad and toured extensively in America, She has taken part in many operas with the Dublin Grand Opera Society, her most spectacular role being *hat of Lui in Puccini's “Turandot” in 1968 and again in 1971. She created the role of Viola in James Wilson’s opera “Twelfth Night”. Miss Sheridan is also very much in demand as an oratorio and as a recital artist. Gillian Smith was born in Dublin and studied with the late Alice Bryan. In 1961 a scholarship took her to the Royal Academy of Music London, where her teacher was Robin Wood. She graduated with recitalist’s Diploma and Chappell Medal in 1965, and after further study with Giudo Agosti and Hona Kabos, Gillian Smith gave her ‘coming-out’ recital in 1966. She has since played throughout Ireland and braodcasts regularly. Her Festival appearances include Belfast, Castletown, Killarney and Dublin. She is also Harpsichordist with NICO. Hans Waldemar Rosen studied at the State Musi ‘Academy of Leipzig and the Universities of Leipzig, and Innsbruck. Having fulfilled engagements as Opera and Choir conductor he became Music Critic of prominent German newspapers. Dr. Rosen had close personal contacts with both Richard Strauss and. Jean Sibelius as well as several other international celebrities. In 1951 he became conductor of the, then, Cor Radio Eireann and is now conductor of the RTE Singers and Choral Society. Marinus Voorberg born in Holland made his first public appearance as an organist when he was ten years old. The same year he played a Mozart Piano Concerto also in public. His career proper began in 1946 when he accepted a post with Netherlands 12. Radio. In 1949 and 1950 Marinus Voorberg studied in Siena, returning to Netherlands Radio to conduct, the stations’ Vocal Ensemble. Since then he has conducted an extensive range of vocal music and has appeared at most major European music festivals. He has also made guest appearances in Munich, Vienna, Stuttgart, Frankfurt, Stockholm, Brussels and Coglone. ‘An accompanist, organist and harpsichordist, Marinus Voorberg is also conductor of the Amsterdam Chamber Orchestra William Young is considered to be one of Ireland’s leading Bass-Baritones and is much in demand throughout the country for leading roles particularly in oratorio. He commenced singing at the age of eight as a chorister in St. Patrick’s Cathedral, Dublin. He studied with Frank Cowle and was a premier Feis Ceoil Prize winner. He performs regularly with the R.T.E. Symphony, New Irish Chamber and the Ulster Orchestras and has a wide repertoire ranging from the classical to contemporary composers in recital, opera and oratorio work. He is a frequent broadcaster with R.T-E. and B.B.C. on both Radio and Television. ‘The Bureau Piano Trio — Richard Bureau studied at the Royal Academy of Music and Elizabeth Angel and Courtney Kenny at the Royal College of Music, where they won various prizes and awards. They have broadcast on radio and television and have given many recitals and concerts as soloists apart from their chamber music activities. Richard Bureau and Blizabeth Angel play on fine examples of old Italian instruments. The violin, a Storioni ~ 1796; the cello a Stradivarious — 1658. ‘The Bureau Piano Trio was formed in 1965 and has since given recitals in London and the provinces. The Trio made a very successful debut at the Wigmore Hall in 1966 followed by equally successful recitals there and at the Purcell Room (Royal Festival Hall) They have given first performances of works specially written for the Trio, notably by Edwin Roxburgh Richard Stoker and James Wilson. ‘The Georgian Brass Ensemble The membérs of the Georgian Brass Ensemble are Principals in the Brass sections of the R.T-E. Symphony Orchestra. They share a desire to further and maintain an interest in the professional Concert Performance of Brass Music, whose range is large, from early Sixteenth Century to the present. ‘The members of the Ensemble are Josef Csibi, Trumpet, Music Director; Szaboles Vedres, Trumpet; Patrick McElwee, Horn; Sean Cahill, Trombone; Hartmut Pritzel, Tuba. Josef Csibi (Miskolc) studied at the Bela Bartok Conservatoire in Budapest, before coming to Ireland in 1964 played Ist Trumpet in the Hungarian State Orchestra. He formed this Ensemble 3 years ago. Szaboles Vedres (Budapest) studied at the Academy of Music in Budapest. Has played with various Orchestras in Hungary before he joined the RTESO in 1967. Patrick McElwee (Dublin) studied at the Royal Irish Academy of Music, played with the BBC Orchestra in Belfast joining the RTESO in 1958, Toured South Africa in 1971 as.a Soloist. Sean Cahill (Killarney) played for many years in Dance Bands, Jazz Bands and Theatre Orchestras before joining the RTESO in 1964. Teaches Trombone, Euphonium and Tuba at the Royal Irish Academy of Music. ‘The Pulcinella Ensemble was formed and is directed by Patricia Dunkerley. It specialises in performing contemporary chamber music and is flexible in size and instrumentation. The Ensemble’s combination at the 20th Century Festival evolved from the choice of the Donatoni and Castiglioni pieces for inclusion in the Festival programme. ‘The members of the Ensemble are Patricia Dunkerley- Bonelli (Flute}; Brian O'Rourke (Clarinet); David Lillis (Violin); John Vallery (Viola); Coral Bognuda (Cello); John Gibson (Piano and Harpsichord) and James Gordon (Percussion). Patricia Dunkerley studied with Andre Prieur taking a diploma from The Royal College of Music, London. She continued her studies with Julius Baker in New York and then went to Rome on an Italian Government Scholarship to study with Severino Gazzelloni at the Conservatorio of Santa Cecilia, following also his ‘Corsi di Perfezionamento” at the ‘Accademia Chigiana in Siena and obtaining a Diploma di Merito. ‘A member of the Radio Telefis Symphony Orchestra for many years, she also appeared as soloist with them on several. occasions. In 1971 she toured the United States of America and Canada with the Orchestra Michelangelo of Florence, appearing as soloist in some 67 concerts, ‘Specialising in contemporary music, Miss Dunkerley hhas participated for some years in the Como Festival of Avant-Garde music in Northern Italy, collaborating with the most noted composers and interpreters of today. In 1969 she was among the prize-winners of the International Festival for contemporary music in Holland, Miss Dunkerley, now married to the noted Italian Oboist. Alessandro Bonelli, lives in Venice and plays with The Societa Cameristica Italiana, The Orchestra Sinfonia of Como, The Opera Orchestra of the Arena in Verona, The Italian Radio Orchestra of Turin, Solisti Veneti and in numerous chamber musi recitals with the Quartetto Veneziano. Brian O'Rourke, born in Dublin, studied there at College of Music and continued his study at Royal Academy of Music, London, with the aid of I.F.M. Scholarship. Before returning to Dublin to join the RTESO played for atime with the Stavanger Ensemble in Norway. Since coming back to Dublin has played a lot of Chamber Music and plays Clarinet in NICO. Recently appointed to Staff of College of Music, Dublin. David Lillis was bom in Dublin. He first studied the violin at the Royal Irish Academy, later moving to London to the Royal College of Music. He took master classes with Max Rostal before joining the London Philharmonic Orchestra. David Lillis has also been a member of the Philharmonia Orchestra and toured Russia, Europe and South America. On his return to Ireland he has been teaching as well as leading the RTESO for a while. For the past seven years Mr. Lillis has been leader of the RTE String Quartet, He has appeared as soloist with the RTESO on mumerous ‘occasions. John Vallery the young viola player was born in Co. Down. He studied the viola, first in Belfast and later in Dublin, with Jaroslav Vanacek. He was a member of the RTESO for two years before recently joining the RTE String Quartet. He has also been involved in several other chamber music groups. Coral Bognuda was born in New Zealand where she first studied before moving to Paris. Here she attended the Conservatoire, winning the Premier Prix for both ‘Cello and Chamber Music. Since her marriage to David Lillis she has been living and working in Ireland. A member of the RTESO for some years she later joined the RTE String Quartet. She has appeared as soloist with the RTESO on several occasions and is also a distinguished cello teacher. James Gordon, born in Chicago to musical parents. Received Bachelors and Masters degrees from North- western University, Evanston Illinois. Percussionist for the University of Chicago Contemporary Chamber Players for 6 years, a group devoted solely to the performance of contemporary chamber musi. Also percussionist for the Chicago Symphony Orchestra, Chicago, The Joffrey Ballet and the ‘American Ballet Theatre. Was a student at the Pierre Monteux School for Conductors and was founder and director of the Colorado Springs Colorado Chamber Music Society (during military service). Currently percussionist for the RTESO. 13.The RTE Singers There are 11 voices in the RTE Singers group. Several are well-known soloists in their own right. In the 16 years of its existence the ‘group has appeared in over 2,000 broadcasts and numerous public concerts. Ail leading Irish composers have written works for them. During the last few years the group has specialised in more and more contemporary works. They have made many tours of the continent and their tour to Germany for the Schwetzingen Festival in 1969 produced many very complimentary notices from the German critics. The Singers visited Germany again in 1972. first part of the first movement, Praeludium, is reached, heightened by two pauses. Tension onsists of the brief introduction and an andante, subsides in the closing pages and the movement fades followed by a scherzo on three landler-like themes, away as it began, on lower strings. headed respectively scherzando, wienerisch and rustico, All are derived from the tone row. There are rN riAamw. & ORGANS FOR GENERATIONS FOUR We have now moved from Cathal Brugha Street, into the business hub of Dublin 48 CAPEL STREET (opp. Lenehans) The largest suppliers of high class pianos in Ireland. We have to date installed over 200 electronic organs in Churches, Convents, Colleges, Halls, etc. NORDELL MUSIC CENTRE TELEPHONE 49643 NIE 15.‘The RTE Singers There are 11 voices in the RTE ‘Singers group. Several are well-known soloists in their own right. In the 16 years of its existence the group has appeared in over 2,000 broadcasts and numerous public concerts. Ail leading Trish composers hhava written worke for thom Turina the lact fou SATURDAY, JANUARY 5 Invitation Symphony Concert St. Patrick's Training College Evening 8 p.m. Kyung Wha Chung (Violin ) RTE. Symphony Orchestra Conductor Colman Pearce Franco Donatoni —_Puppenspiel No.1 Eric Sweeney Canzona Alban Berg Violin Concerto Interval ~ 15 Minutes Witold Lutoslawski Symphony No.2 Puppenspiel No.1 Franco Donatoni Franco Donatoni has written two works entitled Puppenspiel — a game for dolls ~ of which this is the first. It was composed in 1961 and won an award in the third Settimana Internazionale Musica Nova the following year. The subtitle describes the work as a study for a work of music theatre. The piece belongs therefore to quite a growing list of modern works in which the formal structure is dictated as much by the development of an imaginary unspoken drama (the plot of which is not revealed by the composer) as by purely symphonic devices. It is evident that the model in Donatoni’s piece is the Italian commedia del ‘arte with its marionette-like characters and stylised movement which conceal great depths of human tragedy as well as comedy. Donatoni uses minute musical cells in which semi- tonal intervals are closely grouped together and the structure is based on highly irregular rhythmic groups which are carefully dovetailed and designed to achieve the maximum inner movement. The opening section is a misterioso for strings punctuated by “whispering” effects for wind. A dramatic interrup- tion by bongos and other percussion heralds another misterioso in which the groups are more transparently related. The punctuation of this gradually rises in intensity until a further percussion announcement brings in a fortissimo section in the densest possible ‘grouping featuring trombones in arpeggio. As the piece proceeds a greater and greater variety of devices is introdyced and the changes of texture occur more and more frequently as the expression is heightened. The pitches become more indefinite and the music appears to dissolve into more and more years the group has specialised in more and more contemporary works. They have made many tours of the continent and their tour to Germany for the Schwetzingen Festival in 1969 produced many very complimentary notices from the German critics. The Sinoore vicited Germany aonin in 1079 arbitrary forms. A dramatic free section employing the whole orchestra leads to a pause after which a few fragmentary utterances bring the work to a close. Canzona Eric Sweeney Eric Sweeney’s Canzona, which was heard on RTE last August, is scored for wind, timpani, gong, piano, organ and strings. It has a slow, atmospheric introduction leading to a moderato with a constant rhythmic pattern on timpani, piano and double bass, over which are various chords and motifs. A further atmospheric episode leads to an allegro risoluto e moderato in which the music proceeds on its contra- puntal way, flutes, oboes and clarinets improvising on three given figures. After a pause this idea is repeated, then a ello solo ushers in the broad ‘conclusion, Violin Concerto Alban Berg 1) Andante : Allegretto 2) Allegro Berg’s violin concerto was his last work. The American violinist Louis Krasner had asked him for a work but the immediate inspiration was the death, early in 1935, of Alma Mahler’s beautiful and gifted eighteen year old daughter by her second marriage, Manon. Gropius. Berg had come to know Frau Mahler through his admiration of Mahler’s music, and she had always given friendship and encouragement to Berg and his wife. Both had a deep affection for Manon, and Berg expresses this most movingly in the concerto, which he wrote “for Louis Krasner” and dedicated “to the ‘memory of an angel”. He himself was ill when he wrote it, and the first performance took place after his death, which ‘occurred on Christmas Eve, 1935. The work is in two movements, each falling into two parts. The three themes basic to the concerto are a tone row consisting of a sequence of rising thirds and four whole tone steps, heard on the violin after a brief introduction for soloist, woodwind and harp featuring the interval of a fifth: a Carinthian folktune which appears on the horn towards the end of the second part of the first section: and a chorale tune used by Bach in his Cantata No.60, which is heard at the beginning of the adagio section of the second move- ment, played by the solo violin, The thirds of the tone how have diatonic implications, and the whole tone steps quite fortuitously from the opening of the chorale tune. Also when the Carinthian folktune, which appears in G flat, is transposed to D, it can be seen to have an association with the tone row: so that altogether, despite the use of a series, the concerto by no means forswears diatonic relations. 16. The first part of the first movement, Praeltdium, consists of the brief introduction and an andante, followed by a scherzo on three landler-like themes, headed respectively scherzando, wienerisch and rnustico. All are derived from the tone row. There are ‘two rather stormy trios, the first of which is, repeated, and during this repeat the Carinthian tune is heard, and the landler-like mood is restored. It has been suggested that the whole first movement is a portrait of Manon, and that the first part of the second movement, which is directed to be played. with freedom, like a cadenza, may represent the final terror of death. A persistent thythm dominates the opening, the middle episode culminates in a solo cadenza, then the opening material returns, the rhythm helping to build it to an anguished climax. Almost imperceptibly the music slips into the adagio and when the violin sings out the chorale tune, Es ist genug, Herr, wenn es Dir gefallt, so spanne mich doch aus. Mein Jesus kommt, nun gute Nacht, 0 Welt, ich fahr’ ih’s Himmelshaus..." This chorale is presented, with Bach's harmonies in the woodwind, and two beautiful variations follow. ‘Then we have teminiscences of the first movement, including the Carinthian folktune, which is grafted ‘on to the opening of the chorale melody, the rising serial theme is heard again on the violin, and the music dies away into nothing, ‘Symphony No.2 Witold Lutostawski Lutoslawski began his career by writing music rooted in the classical and folk traditions, and this phase of his creative life culminated in the Concerto for Orchestra, finished in 1954. The composer next turned his attention to serial technique, applying it to all formal elements, and in later works developed a system of what he calls “aleatoric counterpoint”. The second symphony, written in 1967, demonstra tes this technique. Briefly it consists of giving the instrumental parts fixed notes to play at a speed roughly indicated to the player, the phrase being repeated for a precisely ordered length of time. The conducted sections in the work, which are in triple time, follow a definite rhythm. There are two movements in this Symphony, the second originally being a piece on its own. The ‘movement is a kind of introduction, and its title, Hesitant, may be taken to mean the laborious, careful placing of the various successive segments of sound. Each segment forms a twelve-note complex in which certain intervals stand out. Each segment also has a distinctive tone colour, though apart from two outbursts on the strings the movement is scored entirely for wind, percussion, piano, celeste and harp. The more extensive second movement begins softly on strings and sets up swirls of sound: after a while the restlessness beneath this seeming calm begins to erupt. Excited figures are heard from different instrumental groups, scale passages slide into glissandi, activity becomes more hectic and louder, sudden accented chords signal changes of tone colour, free rhythms become precise, a climax is reached, heightened by two pauses. Tension subsides in the closing pages and the movement fades way as it began, on lower strings. SUNDAY, JANUARY 6 Young Composer's Concert Examination Hall Trinity College Afternoon 3 p.m. John Gibson Five Songs Denise Kelly Helas Mon Dieu (Sospir d'un Malade) Gerald Barry Almost a Madrigal Roger Doyle Ceol Sidhe David Byers The Nature of Gothic Interval ~ 15 Minutes Roger Doyle Why is Kilkenny so Good? Oliver Hynes Three Burns Songs John Buckley ‘Sonata for Cor Anglais and Piano ‘Melanie Daiken Les Petits Justes, Five Songs John Gibson Anne Cant (Soprano) with Composer (Piano) 1) Abschied —(Astrid Chaes) 3) Mein Baues Klavier — (Eke Laker Schucler) Schwermut — (August Stramm) 4) Brief (Oscar Loerke) 5) Der Panther — (Rilke) The first song Abschied has a piano introduction of rich chord sequences which run through the song. The poem is a poem of farewell, sadness and depression, The vocal line is often accompanied by syncopated pedalling. In the setting of Mein Blaues Klavier there is a playful jolly treatment of the comic and at once serious text. ‘A choral sequence also introduces the third song — ‘Schwermut and this becomes the basis of the complete song. Depression is again the poetic theme. Brief isa love song touched by the transience of existence. The music is lyrical with the piano ‘murmuring under the flow of vocal line. Rilke’s Der Panther is concerned with the animal's imprisoned plight. This may also have a parallel in human terms. The piano introduction paints a restless picture of the Panther’s state, The setting is dramatic With frequent violent piano interjections on the vocal line, The song ends in despair. Composer's NoteHelas Mon Diew (Souspir d’un Malade) Denise Kelly Anne Woodworth (Mezzo-Soprano): Derek Moore (Flute); Denise Kelly (Concert Harp). This is a setting of the words from a work by Claude Le Jeune. The text, under the title “Souspir d’un Malade”, appeared in alittle volume entitled La/ Recrea/Tion Et Passetemps/Des Tristes ... (1573). was deeply moved by the poems, which concern a sick man crying to God for help, and asking him not to abandom him. The voice and lute are made up of melodic fragments, with the harp as an accompani- ment. The flute enters with the harp with a slow introduction. The voice enters with a simple, yet lyrical phrase, which is repeated towards the end of the piece. Z Composer's Note Almost a Madrigal Gerald Barry Anne Woodworth (Mezzo Soprano) and the Composer (Piano). The song cycle Almost a Madrigal was completed last summer and first performed by this afternoon's soloists at an Association of Young Irish Composers’ Concert last October. The texts have been chosen from the 20th Century Italian poet Quasimodo. ‘A characteristic of the cycle is the sparseness of the ‘accompaniment. In the second and third songs the same ground bass moves ceaselessly throughout. This movement pervades the rest of the work which is closely related to the composer's other song cycle Imitation of Joy. The treatment in both cycles is mainly homophonic. Ceol Sidhe Roger Doyle Peter Brown (Uilleann Pipes): Grainne Yeats (Irish Harp) and Paddy Finney (Tin Whistle) Ceol Sidhe is the Irish for Fairy Music. The work was inspired by Irish Folklore. Composer The Nature of Gothic David Byers This work is scored for voice, oboe, clarinet, piano and percussion. Why is Kilkenny So Good? Roger Doyle This is a thirteen-minute concrete music piece for stereo tape recorder. All is revealed in the listening. Composer. Three Burns Songs John Brady, Tenor; Oliver Hynes, Piano. Like the poems of Robert Burns, these settings were Oliver Hynes 18, written at different intervals. They are unified by characteristic harmonies on the piano which pleasantly capture the Scot's atmosphere. The voice part is direct — sometimes of the greatest simplicity, e.g Lassie Lie Near Me and conveys a genuine feeling for the words. Composer's Note Cor Anglais Sonata 1) Molto Moderato 2) Allegro Moderato 3) Scherzando — Allegro Commodo Lindsay Armstrong (Cor Anglais) Gillian Smith (piano) The Sonata was written in the Spring of 1972 for Lindsay Armstrong. [tis in three movements and is, ‘an attempt to show different facets of the Cor’s abilities. The first movement, marked molto ‘moderato is pastoral in mood. An irregularly flowing cor part, is contrasted with more regular rhythmic pattems in the piano. The second movement, marked Allegro Moderato, is rather short and serves as a connection between the first and third movements. Ideas from both these movements are heard in varied form in the second Movement The third movement is marked Scherzando-allegro- commodo. ‘The rhythmic pattern established at the outset by the piano, pervades the whole movement. It is contrasted with short legato passages, but at the end it is the rhythmic pattern that dominates. The whole move- ment is an attempt to show abilities of the cor anglais that have been all too rarely exposed, namely, its capacity for playing music of a light and bouncy nature and its capability of sustaining thythmic drive and energy. The Sonata, as indeed most of the music I have ‘written, has been greatly influenced by folk music, notably that of Ireland and England. Composer's Note Les Petits Justes Melanie Daiken Rosanne Creffield (Soprano) and Composer (Piano) Les Petits Justes, set to texts by the Surrealist poet, Paul Eluard, was written while a student in Paris and completed in January 1967. It received its first performance at the Paris Conservatoire and was subsequently performed in London and at the Cheltenham Festival; it received its first broadcast performance by the BBC in 1971 John Buckley SUNDAY, JANUARY 6 Examination Hall, Trinity College Evening 8 p.m. The Bureau Trio — Richard Bureau (violin) Elizabeth Angel (Cello) Courtney Kenny (Piano) Aaron Copland Piano Trio “Vitebsk Zoltan Kodaly Duo for Violin and Cello James Wilson Trio Op. 58 (First Performance) Interval ~ 15 minutes Maurice Ravel Piano Trio Vitebsk Aaron Copland Study on a Jewish theme, for Violin, Cello and Piano. Vitebsk was completed in 1929 and first performed by Gieseking, Onnou, and Maas at a concert sponsored by the League of Composers at Town Hall, New York on 16th February, 1929. The theme which is used as an integral part of the whole work, was first heard by the ‘composer during a performance of Ansky’s play “The Dybbuk”. The particular version of the folk- tune used in the play was first heard by Ansky in his birthplace, Vitebsk. The quarter-tones and lambic thythms that are so characteristic of this piece and so uncharacteristic of Copland’s music generally, add undeniably ruzzo-hebraic (?) colour to the music. John Andrews Duo for Violin and "Cello Op.7 1) Allegro serioso, non troppo 2) Adagio 3) Maestoso e largamante, ma non troppo leading to Allegro Kodaly’s Duo for Violin and ‘Cello was written 1914 (the same year as Ravel’s Trio being played later this evening). In the Duo Kodaly uses most of the elements of his earlier works. The originality of this particular piece lies particularly in the unusual combination of instruments and the new possibility of sounds which this provides. In his own imaginative way Kodaly uses the tone differences of the Violin and Cello to contrast the similar technical capabilities of the two instruments. Throughout the piece folk themes predominate and ornamental elements abound. The first movement is in regular Sonata form with the principal theme starting on the pentatonic minor seventh (C in a definite D tonality), The second movement could be described as a “sonata” form loosened into a fantasia. Its main theme has a double fugue-like quality attached to it and has a contrasted reprise. Parts of this theme later recur in the form of a simultaneous double fugue Zoltan Kodaly The third movement combines a slow introduction, 1 trio-like middle-section and a closing coda. The theme of the second movement is repeated in the last bars of the introduction as if an extension of the second movement. The coda develops out of a clattering semi-quaver passage of the trio ostinato, Trio Op.s8 James Witson, This work is one continuous movement without variation of tempo: different note-values give the feeling of faster and slower sections. Each instrument develops its own material without reference to that of the other two, so that the work belongs with Ravel's Violin-and-’Cello Sonata and Bartok’s Conerasts rather than with the general run of trios. The violin part is based on tills, tremolos and fast scales: the piano is treated as a rhythm instrument, and the “cello has long lyrical lines of melody. ‘The rhythm is always contained within the bar-line, though the basic 6/4 is subdivided in various ways. Composer's Note Trio in A Minor 1) Modere 2) Pantoum Assez vif 3) Passacaille Tres Large — enchainez 4) Finale In his early creative period Ravel used archaic forms of French and Spanish folk music in his compositions. ‘He was also influenced by Russian national composers but the deciding factor in his future development was the Paris premiere of Stravinsky's “Rite of Spring” in 1913. Ravel realised how the unconventional tonalities and changing thythmic patterns of folk music could enrich and enlarge ‘modern music language. The Trio for Violin, ‘Cello and Piano, written in 1914 saw the fruition of this realization. Maurice Ravel ‘The first movement marked — modere — is notable for its meter — eight eights with an unusual distribution of accents ~ three plus three plus two in the upper register. The Bass retains the more normal pattern of accentuation in four quarters. The rhythm may be compared to Bartok and Eastern European folk music but it also compares closely to Basque dance rhythms. If the movement has a slight archaic sound it may be from Ravel's employment of parallel fifths. In the movement the violin has some particularly *Virtuoso” passages. Ravel titles the second, movement Pantoum. The term ‘comes from Malayan poetry in which the second and fourth lines of the first verse become the first and third lines of the second verse. The movement serves asa scherzo. The rapid 3/4 tempo of the main section being marked again by the ‘Virtuoso’ violin. The tempo relaxes in the trio section of this movement. The piano has a chorale-like subject with broad chords while the strings carry on the motif and meter of the main theme. The shifting accents used by the composer may be his own special manipulation of “Pantoum”. The third movement is a passacaglia (passacaille in French) based on an eight bar theme in 3/2 time. There is an ostinato repetition of this theme three times and in the variations — ten in all — varying accompaniments are repeated an octave higher each, theme.The work ends with a Brilliant Finale — Anime in free rondo form. The swinging thythm of the ‘movement is based on the alternating 5/4, 7/4 times Tremolo chords on the cello together with wide arpeggios on the violin give an orchestral effect and heighten the excitement. The work is dedicated to Andre Gedalge. In a letter to him Ravel said — about the composition of the Trio ‘I have never worked with more insane intensity. Tam working with the assurance and clarity of a madman’.. Certainly the intensity of the Trio is remarkable. MONDAY, JANUARY 7 St. Patrick’s Training College Evening 8 p.m. William Pearson (Baritone) The Pulcinella Ensemble Conductor Seoirse Bodley Franco Donatoni ——_“‘Etwas Ruhiger im Ausdruck” Seoirse Bodley September Preludes for Flute & Piano (first perf.) Niccolo Castiglion’ “Trop” Francis Corcoran Chamber Sonata (First Perf.) Interval — 15 Minutes Peter Maxwell Davies Eight Songs for a Mad King The Council of the Music Association of Ireland wishes to thank Mr. Bill Skinner for his assistance in presenting the Maxwell Davies Work. “Ertwas Ruhiger im Ausdruck”: Franco Donatoni This work was written in 1967 as a result of a commission from the Deutsche Bibliothek in Rome where it received its first performance. The piece is dedicated to Michael Marschall. twas Ruhiger im Ausdruck — loosely translated as “a somewhat calmer mode of expression” — is a continuous and progressive elaboration of a subtle theme taken from Schoenberg's Op.23 for piano. This contains the indication “un po’ piu calmo nell" espressione” — a little calmer in expression. This fragmentary theme is developed by an automatic process until it becomes almost unrecognisable September Preludes Seoirse Bodley This work was written specially at the invitation of tonight’s soloist Patricia Dunkerley-Bonelli and was completed on September 28th 1972. Itis in five movements. The fact that it was finished in September is purely a charming coincidence. The title September Preludes refers rather to my liking for the month of September with its gradual turning towards Autumn and to the serenity of nature as it moves from the brilliant clarity of summer in a change which somehow seems to signify acceptance. As with all irregularly shaped music the connexion of idea and content is indirect and a listener needs to connect directly with the feelings suggested by the title rather than look for illustrative music in the programmatic sense. Though much of the style could be regarded in a general sense as avant-garde and irregular, some of the movements contain static elements that recur. (The repeated notes in No.4, or the high repeated third in the piano part of No.5 are examples of this). Though I have retained control of all the basic elements of these five pieces, considerable freedom is allowed the players in the interpretation. Use is made of approximate-length pauses of different kinds, and the music varies between passages with a definite time- signature and fixed structure, and passages without a strict pulse. In a number of places sets of notes have to be interpreted according to given degrees of density (average closeness of notes) and irregularity. In many cases the music is governed by the direct, reaction of the players to each other rather than by reference to a common musical rhythm. The move- ‘ments vary in length — the shortest being No.3. Essentially, however, this work is musical in concept Analytical notes ate here rather like a finger pointing at the moon — very useful in its way. But one should not confuse the pointed finger with the moon itself. Composer's Note “Tropi” Niccolo Castigh The piece was composed in 1959. The background of the work is silence — strictly measured in seconds, Asseties of instrumental moments are separated by interludes with Piano solo (the use of the pedal projecting an after image into the areas of silence or inactivity). Suspended cymbals and gong enter after central and extended “klangferbenmedolie” on a single note The work is scored for Flute, Clarinet, Violin, Cello, Percussion and Piano. Chamber Souata Francis Corcoran (For Flute, String Trio & Percussion) This work uses old forms for new means of expression; intimate, chamber music; sounded, ergo a sonata; fast slow-fast; is interested in the juxtaposition of the violent and the gentle, courage and world-weariness. Movement I points these tensions of dynamics, tempi, timbres and intervals with its opening fierceness of percussion and strings and its following, smoother statement for strings and later flute. Movement I is subtitled 1! Gioco Dei Numeri. Stroked cymbals, small gong, drum and indeterminate string sounds play over a shifting but constant metric scheme. At the ‘movement's height, the flute enters with an impassioned cadenza. Movement Il takes delight in resolving the contrasting material of the previous two ‘movements. Composer's Note Francis Coreoran’s Chamber Sonata was the winning entry in the Varming Prize — a competition for young Irish composers — sponsored by Mr. Sean Mulcahy of Varming, Mulcahy, Reilly Associates. The Festival Committee wishes to thank Mr. Mulcahy for his generous assistance. Eight Songs for a Mad King Peter Maxwell Davies Text by Randolph Stow and George IIL to Sir Steven Runciman ‘The poems forming the text of this work were suggested by a miniature mechanical organ playing eight tunes, once the property of George III. A scrap of paper sold with it explains that “This Organ was George the third for Birds to sing”. Another fragment identifies its second owner as “James Hughes” who served his Majesty George 3 near 30 years penshen of in 1812 at 30 pouns year served HRH princes ‘Augusta 8 years Half penshen of in 1820 at 30 year”. The organ remained in the family of Hughes until a few years ago when it was acquired by the Hon. Sir Steven Runciman, who in 1966 demonstrated it to me. It left a peculiar and disturbing impression. One imagined the King, in his purple flannel dressing-gown ‘and ermine night-cap, struggling to teach birds to make the music which he could so rarely torture out of his flute and harpsichord. Or trying to sing with them, in that ravaged voice, made almost inhuman by day-long soliloquies, which’ once murdered Handel for Fanny Burney’s entertainment. There were echoes of the story of the Emperor’s nightingale, But this Emperor was mad;and at times he knew it, and wept. ‘The songs are to be understood as the King’s mono- logue while listening to his birds perform, and incorporate some sentences actually spoken by George III. The quotations, and a description of most of the incidents to which reference is made, can be found in the chapters on George III in The Court at Windsor by Christopher Hibbert (Longmans and Penguin Books). Randolph Stow The Music The flute, clarinet, violin and cello, as well as having. their usual accompanimental functions in this work, also represent, on one level, the bullfinches the King was trying to teach to sing. The King has extended “dialogues” with these players individually — in No.3 with the flute, in No.4, the cello, in No.6, the clarinet, and in No.7, the violin, The percussion player stands for the King’s “keeper”. Just as the music of the players is always a comment upon and extension of the King’s music, so the ““bullfinch” and “keeper” aspects of the players’ roles are physical extensions of this musical process — they are projections stemming from the King’s words and music, becoming incarnations of facets of the King’s ‘own psyche. The sounds made by human beings under extreme duress, physical and mental, will be at least in part familiar. With a soloist of extended vocal range, and a capacity for producing chords with his voice (like the clarinet and flute in this work), these poems present a unique opportunity to categorize and exploit these techniques to explore certain extreme regions of experience, already opened up in my Revelation and Fal, a setting of a German expression- ist poem by Trakl Until quite recently “madness” was regarded as something at which to laugh and jeer. The King’s historically authentic quotations from the Messiah in this work evoke this sort of mocking response in the instrumental parts — the stylistic switch is unprepared, and arouses an aggressive reaction. I have, however, quoted far more than the Messiah if not the notes at least aspects of the styles of many composers are referred to, from Handel to Birtwistle. In some ways, I regard the work as a collection of musical objects borrowed from many sources, functioning as musical “stage props”, around which the reciter’s part weaves, lighting them from extraordinary angles, and throwing grotesque’ and distorted shadows from them, giving the musical “objects” an unexpected and sometimes sinister significance. For instance, in No.5, “The Phantom Queen”, an eighteenth-century suite is intermittently suggested in the instrumental parts, and in the Courante, at the words “Starve you, strike you”, the flute part hurries ahead in a 7:6 rhythmic proportion, the clarinet’s rhythms becoming dotted, and its part displaced by octaves, the effect being schizophrenic. In No.7, the sense of “Comfort Ye, My People” is tured inside out by the King’s reference to Sin, and the “Country Dance” of the title becomes a fox-trot. The written-down shape of the music of No.3 becomes an object in fact — it forms a cage, of which the vertical bars are the King’s line, and the flute (bull- finch) part moves between and inside these vertical parts. The climax of the work is the end of No.7, where the King snatches the violin through the bars of the player’s cage and breaks it. This is not just the Killing of a bullfinch — it is a giving-in-to insanity, and a ritual murder by the King of a part of himself, after which, at the beginning of No.8, he can announce his own death. As well as their own instruments, the players have mechanical bird song devices operated by clockwork, and the percussion, player has a collection of bird-call instruments. In No.6 ~ the only number where a straight parody, rather than a distortion or a transformation of Handel occurs, he operates a didjeridoo, the simple hollow tubular instrument of the aboriginals of Amhem Landin Australia, which functions as a downward extension of the timbre of the “crow”. The keyboard player moves between piano and harpsichord, sometimes acting as continuo, sometimes becoming a Second percussion part, and sometimes adding independently developing musical commentary ‘The work was written in February and March of ee Peter Maxwell Davies (Note reprinted by courtesy of Boosey and Hawkes Ltd) TUESDAY, JANUARY 8 Examination Hall Trinity College Lunchtime 1.05 p.m. Courtney Kenny (Harpsichord) Gyorgy Ligeti Continuum Bohuslav Martinu Sonata for Harpsichord Jean Francaix LiInsectarium Raymond Deane Four Inscriptions (First Perf.) ‘Nans Werner Henze Six Absences Continuum Gyorgy Ligeti for Solo Harpsichord ‘Composed in January 1968 at the request of harpsi- chordist Antoinette Vischer, this piece is designed to ‘meet the instrument's special technical features. The player is required to play in the same position simultaneously on both of the two manuals, By this ‘means ‘covered’ effects are obtained, at times also clashes of tonal groups which affect each other but without any real movement as such. What may be called an ‘ideal’ movement arises from the super- imposition of tonalities, rather like two wares which coalesce and repel each other by turns. ‘The harpsichord can be played even faster than the piano with a great speed and lightness of touch. This speed results in the fusion of successive sounds so that a prestissimo flight almost gives the impression of stillness. But this ‘motionlessness’ so often found in my works possesses a ghostly rattle and buzz, thanks to the harpsichord, Everything is beneath the fingers — ‘in’ the fingers. Thave conceived the notes as if they actually came forth from the fingers. I can achieve this flashing speed quite easily because there are no bass notes and the position of the hands does not change: only the spacing of the fingers changes. I wish to compose for the two hands of the player as if for two mobile objects. In spite of the string being plucked, more precise sounds than those of the piano are achieved: nevertheless they succeed in fusing in a single line The intensity of the rapid punctuated attack allows, this continuity to come about. The transition from rhythm to ‘non-rhythm’ is for me a method of research into the nature of static motionlessnes. Continuum has therefore visible antecedents in Lontano and the Study for Organ No.1 — ‘Harmonies’. Sonata for Harpsichord Bohuslay Martinu Poco Allegro — Poco Moderato Cantabile — Allegretto This work of Martinu’s, which recalls the baroque meaning of the term — Sonata, is in three movements, forming an entity by being played without a break. ‘The outer ‘play-happy’ movements are oriented through a unified thematic material. These are dominated by repetitive intervals and broken thirds, contrasting passages of seconds. The central slow ‘movement has an A-B-A-C scheme. Section A which is melodically well defined in a rather solemn way is, offset by the livelier B and C sections. Linsectarium Jean Francaix The work of Francaix’s is a typical example of the composer's elegant style. As the title suggests L'Insectarium is a musical realisation of insect sounds. The work looks back to the ‘programme pieces’ of the great harpsichordists Rameau and Couperin but at the same time the pictures typify Francaix’s own delicate palette. ‘The music makes no other demands on the listener than that of enjoying its sound patterns and descriptions. Listen for the centipede’s busy progress across the Keyboard, the water-fly and spider tremble in repeated notes and trlls — not unlike the shythm of the capriol. The scarab rolls about ‘harmonic’ hills while the army of ants race and scatter on its busy way. Lnsectarium, reminiscent of Cyril Scott's piano pieces, is an engagingly and often amusingly clever piece of harpsichord writing. Four Inscriptions for Harpsichord This work was specially written for Courtney Kenny. Like all of my recent pieces it explores the implications of a deliberately limited range of material. The two outer sections are almost identical Composer's Note Raymond Deane Six Absences This piece was written in Rome in 1960 and is the first of two compositions written for the Harpsichord, by Henze. ‘The Six Absences have one programme. The composer tries to say what he felt during the absence of a loved one. This sentiment in music is not unusual. J.S. Bach wrote a Capriccio at the departure of his beloved brother — Johann Jacob — who joined the Swedish guard in 1704. Beethoven called his Piano Sonata Op. 81a, which he wrote in relation to the departure and return of the Archduke Rudolph in 1809, Les Adieux. Apart from this similarity in sentiment, Henze’s piece has nothing in common with the afore- ‘mentioned works. The style of the Six Absences is impressionistic with the means of the twelve-tone technique, harmonies, fine spun counterpoint and a lyrical line here producing a little work of art. The composer's various feelings of reluctance, resignation, melancholy, gentleness. and hopefulness are conveyed in the various sounds which the harpsichord produces. TUESDAY, JANUARY 8 Examination Hall Trinity College Evening 8 p.m. Radio Telefis Eireann Singers Conductor Hans Waldemar Rosen Georgian Brass Ensemble Directed by Josef Csibi Humphrey Searle Song of the Birds I Have a New Garden Brendan Dunne Tarantella (First Performance) of a Revised Version) Wilhelm Killmayer anti Amorosi John Gardner Theme and Variations for Brass Quartet Eugene Bozza Sonatina for Brass Quintet Interval ~ 15 Minutes Malcolm Arnold Quintet for Brass ‘Amold von Schoenberg Three pieces for mixed chorus from Op.27 Gerald Vietory Four Idylls from Theocritus ‘Song of the Birds Humphrey Searle This short piece was written in 1964 for the London Musical Times, and was first performed in London by the Elizabethan Singers under Louis Halsey. Itis a setting of a pre-Columbian Mexican poem translated by Irene Nicholson. I Have a New Garden Humphrey Searle This setting of an anonymous English poem of the 15th century was commissioned by the British Council for the 1969 British Music Week in Vienna, and first performed there by the Purcell Consort of Voices. ‘The poem is a somewhat bawdy tale about a young ‘man, a girl and a pear tree, Tarantella Brendan Dunne A reading of Belloc’s Tarantella will, believe, convince that the title is only of momentary significance; rather is the poet reminiscing on youth’s carefree exuberance. The poem is set to music from this viewpoint and seeks to convey the changing moods but underlines by manifold repetitions the keyword ‘remember’. The musical language, technique and efforts to achieve structural unity are traditional though tonality is treated in a free manner. The work presents few problems for the listener though the same is hardly true for the singers. Specially composed for Ladies’ Voices for the 1972 Cork International Choral Festival, it has since been rewritten for mixed choir in which form it will receive its first perfor- ‘mance tonight. Composer's Note Canti Amorosi Wilhelm Killmayer 1) Quant voi la rose espanir 2) Ohime! Se tanto amate 3) S'andasse Amor a caccia It is not without good reason there are so many admirers of the 16th Century madrigal. Imitators of the art of madrigal writing however are few yet Wilhelm Killmayer, in his Canti Amorosi has accepted the challenge of endeavouring to create a ‘modern madrigal’ style. ‘The composer has attempted to solve the problem of whether the madrigal was intended for solo voices or small choir. In these, Canti Amorosi he uses four soloists (three sopranos and a tenor) and a small chorus. The solo voices stand out over the chorus’ (Ostinaro figurations. The first two pieces are set to old French and Italian anonymous texts while the third uses a poem by Torquato Tasso. Th Canti Amorosi are an excellent example of Killmayer’s subtle artistry ‘Theme and Variations for Brass Quartet John Gardner Liwrote this piece early in 1951 for Philip Jones, then first trumpeter at the Royal Opera House, who had formed what was, perhaps, Britain's first professional brass quartet with three other members of the orchestra, At that time the crying need for such ensembles was repertoire; and my piece was certainly fone of the first works, if not the first work written for such a combination by a British composer. Since then many better and more considerable works have emerged — I could, with the experience I've had, do better myself now: yet I've still a soft spot for this little piece. It’s happy, varied in texture, and quite fun to play. There are seven variations in different tempos and forms, and a final fugue, all of them basedon the unaccompanied melody played at the outset by the trombone. Composer's Note. Sonatina for Brass Quintet Eugene Bozza 1) Allegro 2) Andante 3) Allegro 4) Finale This French composer has a number of works for brass in his output and this Sonatina was written specially for the brass quintet of the Band of the Guard Republicaine. It has four movements, the first is a lively Allegro, the second is a short Andante with two themes presented in succession. Then follows an Allegro dominated by the opening tune. The Finale which is a cheerful six-eight has a slow introduction. (PMcE) Quintet for Brass. Malcolm Arnold 1) Allegro Vivace 2) Chaconne 3) Con Brio The Quintet for Brass was written in 1961 for the ew York Brass Quintet, one of the most distinguished of American brass ensembles. The outer movements are in Arnold’s brilliant gay style, separated by the grave and sonorous Chaconne. The first movement ‘opens with a duet in canon for the trumpets, which is followed by a rhythmic figure of repeated notes on horn, trombone and tuba. Broadly speaking, the ‘movement is built on the combination and alteration of the flexible theme and the repeated note figure. Variety of tone colour is achieved by use of straight mutes in the trumpets halfway through the movement. The character of the second movement is established immediately with the theme played on horn and tuba, while the other instruments combine with held notes, and then with their own thematic fragments. The climax of the movement is reached when a powerful fanfare-like figure is heard — three short notes and a Jong one. After this, the movement ends quietly on long held notes, ‘The finale is a gay rondo-type piece in which elements of the previous movements are ingeniously employed. Three Choruses from Op.27 Amold von Schoenberg 1) ‘Unentrinnber’ 2) ‘Dusolist nicht, du musst” 3) ‘Mond und Menschen’ The four pieces for mixed chorus Op.27 date from 1925. The first three are ‘2 capella’ with the fourth adding an ensemble of mandolin, clarinet violin and cello. ‘The texts of the first and second choruses are Schoenberg's own. The lines are written in thythmic- ally lively prose. The text of “Mond und Menschen” ~ ‘Moon and Mankind is by the Chinese poet ‘Tschan-JoSu translated by Hans Bethge. The first chorus is a canon in contrary motion, the second another canon while the third is highly’ contrapunctual. These pieces were the first practical application of twelve tone method to four part vocal writing. In these choruses the composer uses, with varying degrees of strictness, forms from old polyphony. In the first two the strictness of these canons match the strictness of the philosophy of ‘fe in the verses while “Mond und Menschen”’is notable for its use of mirror forms, Schoenberg's friend David Josef Bach said of ‘Du sollst nicht, du musst’, “it was a profession of faith. A confession that professes art and religion in one, sinee both spring from one root and culminate in one crown”. Four Idylls from Theocritus Gerard Victory 1) The Cup 2) Bombyka 3) Simaetha 4) Reaper’s Song Gerard Victory wrote ‘Idylls from Theocritus’ in 1972, especially for Dr. Rosen and the RTE Singers. The texts are adapted by the composer from the Greek original by the famous poet, who lived in ‘Syracuse in the 3rd century BC and whose work influenced Virgil. Dr. Victory says of him that at his best he is intensely vivid, often universal in emotional gamut and a brilliant painter of the social life of his time ‘The poem of the first song imagines the progress through life of three figures painted on a cup, the contrapuntal music suggesting the winding decoration. ‘The second poem is a clownish lovesong: the harmony has something of the flavour of a dissonant fairground organ. The third song sets lines from a poem in which a discarded mistress has recourse to witchcraft in order to bring back or to destroy her lover. The fourth song is a delightful combination of a hymn to Demeter and a work song. WEDNESDAY, JANUARY 9 Examination Hall, Trinity College Lunchtime 1.05 p.m. Brian O’Rourke (Clarinet) Gillian Smith (Piano) Paul Hindemith Sonata for Clarinet and Piano Olivier Messiaen Abime des oiseaux Witold Lutoslawski Dance Preludes The Music Association of Ireland Ltd., wishes to thank Brian O'Rourke and Gillian Smith for agreeing to resent this lunchtime recital at very short notice. The illness of Deirdre McNulty has prevented The Harsanyi Duo from appearing this afternoon. WEDNESDAY, JANUARY 9 Examination Hall, Trinity College Evening 8 p.m. Siegiried Behrend (Guitar) Claudia Brodzinska Behrend (Voice) ‘Manuel de Falta “Homenaje” Est Krenek Suite for Guitar Heinz Friedrich Hartig Theme and Variations John MeCabe Canto for guitar Thomas Marco “Albayalde” for guitar Sylvano Bussotti “ultima rara”? pop song for guitar and voice. Interval 15 Minutes Roman Haubenstock —“Discours” (1972) Ramati Krzystztof Penderecki Capriccio for Siegfried Behrend (1973)* Brian Boydell Three pieces for guitar Fantasia, Night Song, ‘Scherzo* Gunther Becker ‘Metathesis for guitar (1965) Siegfried Behrend Solo for voice (1973) for Claudia* Isang Yun Gagok “Homenaje” Le Tombeau de Debussy Manuel de Falla Suite for Guitar Emst Krenek Allegro moderato, Andante sostenuto, Allegretto, Larghetto, Allegro. ‘Theme and Variations Op.26 Nr 2 Heinz FrHartig Canto for Guitar John MeCabe ‘The work is in five sections. The opening and closing parts, an introduction and coda respectively, are very brief, the introduction serving to set the overall mood of the work and to introduce most of the thematic material, and the coda serving to bring the work back to the opening mood and to recall, as if in confused memory, events from the previous sections. ‘The main body of the work is provided by the two quicker more thythmic sections and the central Lento subtitled “Serenade” which they frame. In the Lento, snatches of a serenade and a lament are heard, as if wafted to the listener on an evening breeze, though neither tune is heard in its entirety. This work was cummissioned for the Cardiff Festival of ‘Twentieth Century Music, and was first performed in Cardiff Castle on 22 April 1968 by William Gomez, Composer's Note “Albayalde” for guitar Thomas Marco “Ultima Rara” Pop Song Sylvano Bussotti “Rara” is a symbolic term for my chamber music. “Ultima Rara”is an intimate composition, a work in which the composer has the same relationship to his ‘music as to a beloved person. Hence the introduction of a speaker, or a person who speaks, whether it is the composer himself or someone else, single syllables or fragments of words and sentences, combined with the musical breath of the principal section of the piece and fashioned by means of a technique, a system which reveals the meaning of pauses, bringing fo the surface what is normally restricted to a person’s inner being, and what prompis him to give expression to it through language or music, this being achieved by raising the technique of breathing onto a dramatic level. The relationship between the instrumental line and the ‘logos’ expressed vocally, firstly in the sense of semantic significance and secondly in the sense of a simply flowing melody, whose impulses are laid down by means of pauses made perceptible by the stipulated dynamics, and above all by the musical element which is the most important aspect of this composition, creates what may be likened to a reflection of the composer's own thoughts at the ‘moment of conception of this piece for guitar, a procedure which seeks close association with the characteristics of the instrument.” Composer's Note “Discours” Roman Haubenstock Ramati for voice and guitar, for Claudia and Siegfried Benrena Capriccio for Siegfried Behrend Krzysztof Penderecki Like the Capriccio for ‘cello for Siegfried Palm, which explores all the possibilities of ‘cello writing, the Capriccio for this evening's soloist extends the capabilities of the guitar almost to its limits. As the name suggests, this is quite a humorous piece, but yet not a work to be treated too lightly. ‘The main purpose of the work is to display the virtuosity of Siegfried Behrend, In doing this it also exposes Penderecki’s own virtuosity as a composer, ‘The various degrees of light and shade, tone and colour which the composer manages to infuse into the confines of the guitar are remarkable. The piece abounds in glissandi and pizzicati as well as manyother extraordinary ‘indications’ to the player. But principally ‘Capriccio for Siegfried Behrend’ is meant to be enjoyed by the listener, rather than confuse him with its technicalities. Three Pieces for Guitar for Siegfried Behrend 1) Fantasia 2) Night Song 3) Scherzo In the act of composition my intentions are seldom extra-musical. When faced with supplying a programme note for a new work I am therefore frequently forced to invent what often turns out to be a pre- tentious justification for the noises I have created. Although such explanations are now often regarded as part of the musical experience, I prefer to leave the ‘music to speak for itself with the help of the explicit titles to the movements. It is perhaps relevant to mention that I have always welcomed the challenge of writing for instruments with very limited technical resources, such as the harp (both concert and Irish types), and now the guitar. Brian Boydell Metathesis for guitar (1965) Gunther Becker Solo for Voice (1973)* for Claudia, Siegfried Behrend SGAGOK’ for Guitar and Voice (1972) Isang Yung. ‘Gagok’ was written at the suggestion of Siegfried Behrend for the guest concert tours which he under- took with his wife Claudia and the Wurzburg percussionist Siegfried Fink. At the 1974 Dublin Festival the work will be performed in another version for guitar and voice, without percussion. Just as in ‘Nore’ where Yung adopted certain playing-techniques of Chinese and Korean plucked and string instruments, so in ‘Gagok’ he has attempted to combine the music- making style of east Asian folkloristic music with western sound-language. The voice is treated as a vocalise, into which are incorporated a few Korean words. (The printed edition of ‘Gagok’ has not yet appeared, since the percussionist, Siegfried Fink, has wanted to make a few notational changes). THURSDAY, JANUARY 10 Examination Hall, Trinity College Lunchtime 1.05 p.m. June Croker (Contralto) Gerard Shanahan (Piano) Andrzej Panufnik Darius Milhaud Aloys Fleischmann ‘Homage to Chopin L'Amour Chante Song Cycle from “Tides” (John Montague) (First Performance) Homage a Chopin Andrzej Panufnik The year 1949 was the hundredth anniversary of Chopin’s death. To commemorate this occasion, UNESCO commissioned works from several composers of different nationalities for performance at a special concert in Paris. As the only Pole to receive this invitation, of course I accepted and Ihad an idea to pay my tribute to Chopin not by making use of his themes or his style of piano writing, but rather to attempt to go deep into his roots, drawing on his love of the rustic melodies and rhythms which inspired him throughout his life Thus I made use of folk music from Masovia, the central part of Poland where Chopin was born, and I wrote five vocalises for soprano and piano, inter- ‘weaving the melodies between the two performers. ‘The work is designed symmetrically, both in meter and tempo. In 1966, at the London concert to celebratt Poland’s Millenium, which I myself was conducting, I felt 1 would like to include my Hommage a Chopin,and | prepared a special version replacing voice with flute and piano with a string orchestra, Composer's Note L'Amour Chante Darius Milhaud While these set of nine love songs were written by Milhaud in 1964 in Aspen, Colorado they retain a definite French tradition even if there are occasional American influences creeping in. Milhaud chose poets from the 12th, 16th and 19th ‘centuries for his texts. He did so wisely as each one is as contrasting and varied as the subject matter. The music captures the differing moods of the poems with an unusual range of emotion, tension and passion. Song Cycle from Tides Gohn Montague) Aloys Fleischmann King and Queen; North Sea; A Dream of July; V ne Drak Sea This song ¢; vie is based on four poems from John Montague’s Tides (The Dolmen Press), a book of poems which survey the human scene with compassion, with an acute eye for detail and a rare felicity of imagery and language. In the first poem, clearly an evocation of Henry Moore’s famous sculpture (for a time sited outside the new library of TCD, but here envisaged in a natural setting) man is seen as'a ritual image, in the second tortured by pain and anger, in the third as serene as a girl in a Botticelli painting, while the last poem poses the ineffable question, of the why and wherefore of existence THURSDAY, JANUARY 10 Examination Hall, Trinity College Evening 8 p.m. Charles Lynch (Piano) ‘Samuel Barber ‘Excursions John Ireland Sonatina Amold von Schoenberg Three Pieces Op. 11 Interval ~ 15 Minutes John Kinsella Sonata Bela Bartok Suite “Out of Doors” Four Excursions Op.20 Samuel Barber The Four Excursions which were written in 1944 approximate closely to the four movements of sonata, with the second “Excursion” corresponding to the slow movement. According to a note in the score they are “contrast pieces using classical forms, in an American setting”. Their folkmusic associations, rhythmic patterns, and Suggestions of local instrument are all characteristic, and are easily recognisable. Sonatina John Ireland 1) Moderato 2) Quasi lento 3) Rondo (Ritmico, non troppo allegro) This work was composed between June 1926 and October 1927. It is not an “easy piece” to play — as its title might suggest, and it is more sparse in texture than are most of Ireland’s piano works. The mood of the piece is generally bright and gay, apart from the short and very creepy slow movement. It is an easy piece to follow, its form owing much to the sonatas of Mozart. Philip Heseltine (Peter Warlock) wrote of it “It is quite one of the best things you have done, and your performance came off magnificently. You are ‘one of the very few living composers in whose work ‘one can discern a steady development along wholly personal lines, through a number of years; and in these days when so many musicians leap from one style to its opposite extreme in two successive works in the hope of achieving a factitious semblance of originality, it is more than ever pleasing to encounter a work such as the Sonatina which, for al its very real originality and newness, is clearly the logical development of & style that was already very individual fifteen years ago, or more.” ‘Three Piano Pieces Op.11__Amold von Schoenberg Schoenberg's Op.11 dates from 1909. The first piece is important in the history of music in that it is the frst complete composition to dispense with tonality These pieces, t00, fall into the start of what may be termed Schoenberg's ‘second’ or “atonal-expressionist- period’. The distinction between consonance and dissonance is abolished. In this period the composer's works have a definite formal procedure which are short and lyrical. These pieces, especially the final one, have a free style of themelessness. The harmony lacks all tonal ties with a melody based ‘on notes foreign to the harmony’. In the first piece ‘piano harmonies’ ate achieved by depressing four notes silently. The strings are only made to vibrate by depressing the same notes in a lower octave. ‘An important formal characteristic of these pieces is their brevity and economy of means. ‘The composer made some slight revisions to the pieces in 1924. Piano Sonata John Kinsella This sonata was completed in December 1971 and is, perhaps, closer in form to the sonatas of Skriabin than any previous model. It isin seven continuous sections portraying a series of events, from the Tain Bo Cuaine saga, which immediately precede the birth of Cuchulainn, This event is portrayed at the end of the work and forms the main climax — coming at the end of the final fast section which is in 11/16 time and which uses an eleven note series. The note E is omitted until the end and then appears in reiterated octaves. This section also features wide interval leaps and fast repeated notes at the extreme upper register of the piano in order to create a “fantastic” atmosphere foreshadowing the more exaggerated stories which are told of Cuchulainn’s exploits. The sections of the works are as follows: 1, The Plain: Sustained “Barren” chords and octaves depicting the ravaged empty plain of Emain Macha. ‘The Chase: Over a five-note ostinato the music builds up from ppp to a climax and dies away again as if into the distance. Night in Brug: Quiet transition to — The Birth of Deichtine’s Foster Son: A short section, quietly suppressed, which anticipates the mood and style of section 6. Deichtine’s Grief: A long section in varying moods which prepares for a complete change of mood in — ‘The birth of Cuchulainn: Described previously. The Plain: A shortened revision of opening, Which, as it were, closes the book. Out of Doors Bela Bartok 1) With Drums and Pipes 2) Barcarolla 3) Musetta4) The Night’s Music 5) The Chase Bartok’s Piano Suite “Our of Doors” was written in Budapest between June and August 1926. It was the composer’ first excursion into the world of representational music. Earlier in 1926 Bartok had been working on transcriptions of 17th and 18th Century Italian Keyboard music and this probably helped towards writing “Out of Doors”. The work somewhat resembles the Piano Sonata, It uses the same percussive techniques and repetitive devices. The first movement “With Drums and Pipes” is close to the first movement of the Sonata both in rhythm and melody. It also uses a 2/4 meter with ostinati, repeated notes, intervals of seconds and ninths (both major and minor) and tone clusters. The same characteristics are recognised in the concluding “Chase” which effervesces with energy from beginning to end. These outer exuberant movements are finely contrasted by the three inner ones. The Barcerolla has melodic progressions in fourths while the Musetta is almost devoid of melody. It vibrates to the drone of strange primitive wind instruments. The Night's Music is possibly the most striking move- ment. Bartok was remarkably sensitive to the sounds of nature. Here he captures the eeriness of out-of doors at night. Blurred pianissimo chord-clusters counterbalance the chirping and croaking of nocturnal creatures. At one point a folk-like tune is heard, which in turn is followed by a flute-like melody over a series of chord-clusters. These two subjects are later superimposed on each other and fragments of these continue to the end of the movement. The Suite is dedicated to Ditta Parsztory-Bartok the composer’s second wife. FRIDAY, JANUARY 11 St. Francis Xavier Hall Invitation Symphony Orchestra Evening 8 p.m. Mary Sheridan William Young Guinness Choir (Chorus Master Victor Leeson) RTE Singers and Choral Society (Chorus Master Hans Waldemar Rosen) RTE Symphony Orchestra Conductor Marinus Voorberg Paul Hindemith Suite “Tuttifeantchen” Interval ~ 15 Minutes Paul Hindemith “When Lilacs Last in the Door-Yard Bloom'a”” (An American Requiem) Suite “Tuttifaentchen’ Paul Hindemith Hindemith took this suite from music he wrote in 1922 for a Christmas tale by Hedwig Michel and Franziska Becker. It consists of eleven short pieces, all quite simple and direct. Most of them grow from one idea, as in the first three, Prelude, Song, Intermezzo, which feature a tune on the horn, violas and woodwind respectively. The fourth piece, another Song, is more extended with two main ideas. A sturdy ‘March comes next, and then we have Music for a Punch and Judy, in which flute and oboe chase each other. The seventh piece is the longest and discusses several motifs: itis called Dance of the Wooae,. Doll. Again there are various ideas in the attractive Song which follows. The ninth piece is called ,felodrama and after an exciting opening we have a sequence of sad chords and a string elegy. The tenth piece is a Lullaby featuring a clarinet melody, and the Final ‘Song is appropriately bright and cheerful. “When Lilacs Last in the Door-Yard Bloom’d” (An American Requiem) Paul Hindemith Hindemith was living in the United States, where he had gone when Nazi Germany had condemned his works, when he wrote A Requiem for Those We Love. It was commissioned by Robert Shaw and the Collegiate Chorale and first performed by them in May 1946. The work was intended to commemorate those who had died in the war and also the death of President Roosevelt. Walt Whitman’s poem, inspired by his grief at the assassination of President Lincoln, was chosen for the text. The imagery is associated with that tragic event: lilac was heaped around Lincoln’s coffin: a star shone brightly after the President’s second inauguration: and in Whitman's, mind the song of the hermit thrush was connected with the death. The orchestral prelude is based entirely on a C sharp ‘octave pedal, over which the music moves from A minor through a chromatic progression to C sharp minor. Eleven sections follow. All the solo sections have an arioso vocal line, as often as not punctuated by orchestral comments, though the mezzo-soprano part is unusually more lyrical and more fully accompanied. Where the soloists are in duet the lines are quite separate except in the final bars “lilac and star and bird twined with the chant of my soul...” The first section is for baritone, the second and fifth are given to the mezzo-soprano, and are concerned with the song of the hermit thrush. The third section is a funeral march for baritone and chorus, and the fourth, for the same forces, addresses the sinking sun. The sixth, again for baritone and choir, asks “How shall I warble myself for the dead one there I loved?...”" The extended seventh section is for choir alone and isa fugue glorifying the trees, the rivers, the ranging hills, the scenes of city life — “mighty ‘Manhattan with spires, and the sparkling, hurrying tide, and the ships!”.... “the spreading prairies... the gentle measureless light, the most excellent sun, the stars... lo! this land!” In the eighth number the mezzo-soprano sings again of the bird in the swamp, the baritone of the dark cloud, the long black trail, and the companions thereon, and the song he heard. ‘The ninth number is this song, The Carol of Death, and is given to the choir. It is consoling in mood, hymning the praise of the “sure enwinding arms of cool enfolding Death ... dark Mother ... strong deliveress..."" The baritone solo that follows introduces a march in which he relates his vision of flags borne through the smoke of battles, the staffs splintered and broken....compses....but as the chorus remarks “They themselves suffered not, the living remained and suffered...” An army bugle is heard in the distance during the orchestral postlude to this ‘march. In the finale the baritone takes up the song of the hermit thrush, and keeps the memory of his comrades and “the sweetest, wisest soul of all my days and lands...”” and the mezzo-soprano and the choir join in for the last, reconciling lines. 29,first lessons came from his sister and he later studied the piano with Wittgenstin and Clarence Alder. He moved to Paris to study with Nadia Boulanger in the early twenties. His first major work to attract attention was the Dance Peter Maxwell Davies Francis Corcoran Andrzej Panufnik Raymond Deane ‘Aaron Copland Roger Doyle John BuckleyMalcolm Amold war born in Northampton in 1921. At sixteen he won a scholarship to the Royal College of Music, London, where he studied trumpet with Ernest Hall, piano with Hurst-Bannister and composition and conducting with Gordon Jacob, In 1940 he joined the London Philharmonic Orchestra as a trumpet player and after war service returned to hold the position of principal trumpet until 1948 when he won the Mendelssohn Scholarship and spent a year in Italy. ‘After leaving the London Philharmonic Orchestra he ‘devoted himself to composition and apart from a large ‘number of scores for films he has now over 100 more serious works to his credit. Many commissions have been placed with hhim including the music for the Coronation Ballet " Homage fo the Queen” which was performed by the Sadler's Wells Ballet Company on Coronation Night, and works for Cheltenham Festiva, The Promenade Concerts and other important occasions. His list of works includes six symphonies, eleven concerti and a wealth of music for smaller ensembles. ‘The now famous “Tam O' Shanter” overture has received ‘more performances all over the world than any other contemporary overture. In recent years Malcolm Arnold has appeared in the role of conductor, Both of his own works and other composers in ‘the concert hall and also on radio and television, Well-known for his tuneful writing and expert colourful orchestrations he has endeared himself to a wide and ever-growing public both at home and abroad. ‘Samuel Barber was born in Pennsylvania in 1910, He entered the Curtis Institution of Music in Philadelphia, at the age of thirteen, and studied composition. In 1936 he was awarded the American Prix de Rome for composition. He has Since established himself amongst, what are now, the elder statesmen of American musica life, He has a large output of ‘works ~ symphonies, concerti, chamber music and vocal pieces, including the. opera Vanessa (1958). Among his best Known works are the setting of Amold’s Dover Beach, the Piano Concerto, and the “Adagio” for strings. The opera, Anthony & Cleepatra celebrated the opening of the New Metropolitan Opera House in New York in 1966, Gerald Barry was born in Co. Clare in 1952. He studied at University College Dublin and took piano lessons with Elizabeth Huban and studied the organ with Gerard Gillen. ‘Currently he is studying composition with Peter Schat in Holland, His music includes two song cycles ~ Imitation of Joy and Almost a Madrigal as well as individual songs, instrumental and chamber music. Lessness for voices and ‘orchestra won a Dublin Symphony Orchestra competition in 1972 Bela Bartok was born in 1881 in a small place in Hungary’ that is now in Rumania. His family moved to Pressburg where he studied until, on Dohnanyi’s advice, he went to the Conservatory at Budapest. At first influenced by Liszt, ‘Wagner and Strauss, he then started collecting folk music in collaboration with Kodaly. At 26 he was appointed professor at the Conservatory and despite the great opposition, his works met, continued to live in Budapest, After the First World War his music was better accepted, especially on account of its strong national idiom. In 1940 Bartok left Europe for the United States, His works include 6 string quartets, 3 piano concerti, 2 for violin, a large collection of piano pieces, a concerto for Orchestra and the opera Bluebeard’s Castle, He died in 1948. Alban Berg born Vienns 1885. Before he was fifteen he had already a latge number of songs and duets to his credit even though this was before he had any formal musical education, Berg's meeting with Schoenberg in 1904 was a determining factor in his career. Schoenberg became his teacher and. fiend and from him Berg learned the mastery and command ‘of musical craftsmanship which characterises his work. His ‘music however possesses a warmer, more human element than the terse strictness which permeates some of Schoenberg's pieces. Berg’s published output is rather small but its effect on 20th Century Music has been enormous His first opera Wozzeck dates from 1920 and is now in the repertory of all major houses. Lulu was written mostly between 1928 and 1934 but remained incomplete at the composer's death in 1935, The Violin Concerto was written in the same year. was born in Dublin in 1933. He was ling scholarship which enabled him to study in Germany with David Muller Kray. He is now a Doctor in Music and lectures at University College, Dublin. His music hhas been a feature of the earlier 20th Century Festivals and he has written a number of important works, His style is noted for being concise and introspective. Brian Boydell was born in Dublin in 1917. He graduated from Cambridge with a First Class Honours degree in the Natural Science Tripos having been Choral Exhibitioner at Clare College. He also studied in Heidelberg, at the Royal College of Music and the R.LA.M. under Dr. Larchet, He ‘obtained the Mus.D, degree at Trinity College in 1959 and is at present Professor of Music at the University. He ‘became a Fellow of Trinity College in 1972, He is a founder- ‘member of the Music Association of Ireland, and was conductor of the Dublin Orchestzal Players for over 20 years. He was also founder and director of the Dowland Consort, and a frequent guest conductor with the RTE Symphony ‘Orchestra, His numerous compositions, written for a wide variety of media, include three string quartets, a viol concerto, and music for Patrick Carey's landscape films Eugene Bozza was born in 1905 and brought up in Nice. He studied at the Paris Conservatoire taking violin, conducting and composition, He was awarded several prizes This Page Sponsored by McCULLOUGH PIGOTT LTD. {including the Grand Prix de Rome. His compositions include ‘many chamber pieces particularly for wind and several ballets. He has also been the director of the Conservatoire at Valenciennes, John Buckley Bor in Templeglantine, Co. Limerick in 1951. Has been living in Dublin since 1969. Educated at Ballinakill Co, Laois and St, Patrck’s Training College Dublin. He is teaching in Dublin at present. He has been studying Flute since 1969 with Doris Keogh In 1971 took up composition and has been studying under James Wilson, John Buckley is a committee member fof the Association of Young Irish Composers, since September 1972. Sylvano Bussoti_born in Florence in 1931, studied composition in Paris under Max Deutsch. Second prize at the competition for composition ISCM 1962 and first prize inthe following year and the Amelia prize for music fn 1967, Intense theatrical activity followed, which included scone-designer and costume-designer, and both for his own works and those of Cage, Vereti, Malipiero, Stravinsky, Pueeini, ete. Invited by the University of Buffalo in New York, he spent some months in the United States, directing his compositions at Carnegie Hall, New York. At the V Settimana Internazionale ‘Nuova Musica di Palermo (Fifth International Week of ‘Modern Music of Palermo) he presented the work La Passion selon Sade, which was followed by numerous productions in Europe and America, before he took up a permanent position at the Royal Opera, Stockholm His principal works include: Duo Voc! for soprano, ondes rmartenot and orchestra (1938); Pleces de chair If (1958-60); Septe Fogli (1959); Phrase for Stsing Trio (1960); Torso for voices and orchestra (1962); Fragmentations (1962); 11 Nudo. for voices and instruments (1963); Rara (1965);Sol0 (1966); © ‘Marbre for 11 strings with fixed spinet (1967); Five Italian Fragments for different vocal complex (1968); the Rara Requiem for orchestrated voices (1969); Ultima Rara (Pop Song) for guitar and spoken voice (1969); Rara (film) (1969-70); the Seeds of Gramsci for quartet and orchestra (1966-70) Niccolo Castiglioni was born in Milan in 1932. Studied ‘composition and piano at the Milan Conservatorio. He later studied in Salzburg with Friedrich Gulda (piano) and Boris Blacher (composition). Since 1958 he has attended the “Ferienkurse fur neue Musik™ in Darmstadt, where he has received many first performances, of his works. In 1961 be won the Premio Italia for a ‘composition for Radio. In 1967 he was called to the Michigan University as visiting Professor. Has written much for orchestra including Rondels, Decors, Concerto, Caracteres, Consonant, Ode and with voice and orchestra A Solemn ‘Music I, A Solemn Music Il, Figure, Canzoni and Gyro. ‘Aaron Copland born Brooklyn New York in 1900. His fist lessons came from his sister and he later studied the piiano with Wittgenstin and Clarence Alder. He moved to Paris to study with Nadia Boulanger in the early twenties. His first major work to attract attention was the Dance Symphony of 1925. With Samuel Barber he is now one the elder statesmen of American Music, His works inclu the Ballets ~ Billy the Kid, Rodeo and Appalachian Spring. Several symphonies, concerti and many instrumental and chamber works. Francis Corcoran was bom in Tipperary in 1944, He has travelled widely and studied ie Ieland, Italy and Germany. From 1962 to 1971 he studied composition in Berlin with Boris Blacher, at first as his private student and later attending his master classes atthe Musikhochschule. He is currently inspector of music with the Department of Education in Dublin. Mr. Corcoran has written widely in al forms of must choral, symphonic and chamber works; his ‘Sonata for String Orchestra was recorded by the RTESO last ‘June, His musical interests are wide and catholic, He has just finished a ballet Son of the Sea based on an old Donegal folk-my th, Melanie Daiken was born in London in 1945, daughter of the Irish author and poet, Leslie Daiken, She studied at the Royal Academy of Masic in London (composition under Hugh Wood, piano under Vivian Langrish) and in 1966 was awarded a French Government Scholarship to study composition with Olivier Messiaen and piano with Yvonne Loriod. Her works include a music-theatre piece — Mayakovsky and the Sun ~ commissioned for and performed at the 1971 Edinburgh Festival, piano duets, Etudes pour Eusebius, and works for various instrumental groups. She teaches harmony, counterpoint and composition at the Royal Academy of Music and at London University. Peter Maxwell Davies was born in Manchester in 1934. He ‘was educated at the Royal College of Music Manchester and at the University there, An Italian Government Scholarship took him ta Rome to study with Goffredo Petrass. He is recognised as one of the leading British composers of his generation with major works to his credit in almost every ‘medium. His opera Tavener was produced in Covent Garden in 1972. His connection with the Group ~ The Fires of London (which grew from the Pierrot Players) has resulted in several works specially written with these players in mind ~ Revelation and Fall (1966). Eight Songs for a Mad King (1969), VesalifIcones and From Stone t0 Thorn (1971). While principally devoting himself to composition. Davies is also much in demand as a lecturer and teacher. Raymond Deane Born in Achill, Co. Mayo in 1953 and has lived in Dublin since 1963. His works include Orphica for piano solo, Equivoke for Chamber ensemble, and /dols for ‘organ, which was heard at the last Dublin Festival of 20th Century Music. Sphynxes, an orchestral work, was recently premiered by the Dublin Symphony Orchestra,Franco Donatoni was born in Verona on 9th June 1927, [At the age of seven he began his study of the violin at the city s Civico Liceo Musicale. Having attained a diploma in accountancy he decided to dedicate himself totally to music, thanks to the encouragement given him by Piero Bottagisio, who was his first teacher. He then studied with Ettere Desire and took a diploma in composition and orchestration in 1949 choral music and ‘choral direction in 1950 and in composition in 1951 at the Conservatorio di Bologna under Adone Zecchi and Lino Liviabela He followed this with a two-year course of composition given by Pizzetti at the Accedemia Nazionale di Santa Cecilia of Rome and a diploma followed in 1953. In the same year he began his teaching activity, obtaining the post ‘of teacher of harmony and counterpoint at the Conservatorio °G. B. Martin” in Bologna His Quartetto per archi was singled out at Verceill in 1950 and gained fourth prize at the international competition of Liege in 1951. In 1966 he was awarded the Marzotto prize for music, with Puppenspiel 2 per flauto, ottavino e orchestra. The work ‘was performed for the first time in September of the same ‘year at Valdagno on the occasion of the presentation of the prize, On that occasion the soloist was Severino Guzzellont ‘and Ettore Gracis conducted, In 1967 the Koussevitzky Foundation of New York commissioned from him a work for chamber orchestra, dedicated to Serge and Natalie Koussevitzky, Orts for 14 Instruments was performed in Paris on 21st March 1968 by the Ensemble Musique Vivante conducted by Marcello Panni, Franco Donatont is at present living in Milan, Roger Doyle was born in Dublin in 1949 and is reputed to have stopped crying on the radio being turned on. His works have been performed by the Dublin Barogue Players, the Dublin Symphony Orchestra and the RTE Symphony Orchestra. Mr. Doyle has studied composition with James Wilson and attended a coutse in computer aided electronic music in Stockholm which, inthe composer’ opinion, was rot worth the exorbitant expense. He has aso written the ‘musi for thre films. A long playing record of five of his works isto be released shorly. Roger Doyle isthe drummer) Pianist in the group Supply Demand and Curve. Brendan Dunne Studied composition with Frank Bridge. Mus.B, (U.C.D.) under Prof. John F, Larchet, Attended ‘lasses for Composition and Conducting at Summer Schools of Music under Jean Martinon’s direction. Conducted RESO at irzegular intervals. Considerable choral experience. Orchestral works performed by Jean Martinon and under own direction, Studied serial technique but remained ‘unsympathetic, Being ‘out of joint’ with avant-garde procedures has written little in the last 18 years and has not, taken part in professional music making, Works include a symphony. Actively involved in foundation of MAI Lid. and served on Council for some number of years after inception, ‘Aloys Fleischmann took the degrees of M.A. B Mus. at University College, Cork, and subsequently studied composition and conducting at the State Academy of Music, Munich, and musicology t Munich University. Since 1934 he has been profesor of Music at U.C.C. He is the founder of the Cork Symphony Orchestra, which he still conducts, and ia Frequent guest conductor ofthe RTESO. He i also the Director of the Cork International Choral and Folk Dance Festival. Having been awarded the D.Mus. degree ofthe NUL in 1963, he Was given an honorary doctorate by Dublin University in 1964, elected a member of the Royal Ish Academy in 1966, and in the same year created Officer of Merit of the Geiman Federal Republic. He has produced an carly piano suite recently recorded by hares Lynch, thee ballets, many choral and orchestral works and song eyes, as well as Musi in rend and ‘numerous articles in Grove and in various leaned journals Jean Francaix the French Composer was born in Le Mans in 1912, His father was Director of the Le Mans Conservatoire Where Francaix fist studied before moving to Paris coming under the influence of Nadia Boulanger. His eariest published composition dates from 1932, the year which also saw the completion of his Piano Concertino. Early ‘on Francaix began to write forthe theatse and his works include eight Ballets and three Operas. An Oratorio based on the Apocalypse was composed in 1939. He also has sev chamber pieces and songs to his credit. His music is unusually noted for its elegance, charm and spontaneity. John Gardner was born in Manchester in 1917 and spent his childhood in North Devon where his father, grandfather and great-grandfather had practised medicine for more than © seventy years, He was educated at Wellington College, Berks, and Exeter College, Oxford, where he was Sir Hubert Parry Organ Scholar and gained the degree of B.Mus. He has held many teaching posts: at Repton, Morley College (of which he was Director of Music from 1965 to 1969), the Royal Academy of Music and St, Paul’ Girls’ School, of which he isthe present Director of Music, following in the illustrious footsteps of Holst, Vaughan Williams and Howell. ‘The first work of his to gain notice was the Symphony in D. ‘minor, performed first at Cheltenham in 1951 and thereafter ‘many times elsewhere. 1952 saw the premiere of his CCantiones Sacrae at the Three Choirs Festival and 1957 the premiere of his c- mmissioned opera The Moon and Sixpence at Sadler's Well ater in the same year his Piano Concerto ‘was heard at Cucltonham. His works have been exceptionally successful in the United States, particulary his Flve Hymns in Popular Style, which were written for the Farnham Festival of 1963. In 1972 his opera The Visitors, with alibretto by Ormerod Greenwood, was staged at the Aldeburgh Festival and later at Sadler's Wells by the English Opera Group. John Gibson born 1951. Studied piano with his mother at Tive years old, Went to RIAM for ten years studying under Rhona Marshall and A. J Potter. Played regularly for MAL schools concerts scheme and joint recital scheme. Appeared on RTE radio and television regularly and 1972 recorded Beethoven's 3rd and Mozart K414 Concerti. 1973 recorded David Armstrong's Dialogue for Piano and Orchestra with RTESO. Compositions played at 1970 71 72 20th Century Festival, {At present, having successfully completed two yeats B.Mus. UCD. studying music at the Staatliche Hochschule for Musik, Munich on a German Government Scholarship. Heinz Friedrich Hartig was born in Kassel (Germany) in 1907. He studied music and composition in both Vienna and Berlin, In 1968 he received the Arts Prize of the City of | Berlin. His works, which have been influenced to some extent, by Boris Blacher in the use of variable metres, include chamber ‘music, concerti and choral pieces. He has also produced an interesting quantity of guitar music including the Theme and Variations and Perche in which he uses a setial idiom, Roman Haubenstock-Ramati was born in 1919 in Cracow, Poland. After an extensive musical education Haubenstock-Ramati, became Music Director of Cracow Radio in 1947. He held this post for three years before moving to Tel Avi. Here he established the Central Music Library for the Istacli Government. In 1957 the composer moved to Paris and later still to Vienna and the U.S. He has ‘written a varied amount of orchestral, chamber and electronic music. Many of his works have been heard at the Darmstadt Festival Hans Werner Henze was born in Westphalia in 1926. In 1942 he began his musical studies at the Staatsmusikschule in Brunswick. He entered military service in 1944 and resumed his studies in Heidelberg with Wolfgang Fortner in 1946. In 1950 Henze was appointed Artistic Director and conductor of the Ballet of the State Theatre Wiesbaden, He moved totaly in 1953, where he lived until 1969. The years 1969 and 1970 found him teaching and doing research in Cuba Henze has a very varied number of works to his credit including the operas Boulevard Solitude (1951), King Stag (1955 revised 1962), The Prince of Homburg (1938), Elegy for Young Lovers (1961), The Young Lord (1964) and the Bassarids (1968), The Ballet Ondine was premiered at Covent Garden in 1958 with Margot Fonteyn in the ttle-role. ‘To date there are six Symphonies ~ the sixth being from Henze’s Cuban petiod and the two piano concerti, As well a, concerti for other instruments, Henze has written a ‘considerable number of choral, and instrumental pieces. The choral work The Raft of Medusa, completed in 1968 is dedicated to Che Guevara Paul Hindemith Born at Hanau near Frankfurtam-Main in 1895, he studied in Frankfurt before appearing in public sa violinist, then leader of the Frankfurt Opera Orchestra and then, in'1923, for a while, a member of the Amat String 37. Quartet as viola player. Much of his music has been for chamber groups ashe always had a strong belief in letting people make their own music. He taught composition at the Berlin State Conservatory and published a number of major ‘works on composition and harmony. In 1937 he settled in ‘America, his music having been banned under the Nazi regime. He became Professor of Music at Yale in 1940 and later in Zurich in 1952. His American Requiem dates from 1946. Hindemith died in 1963, Oliver Hynes Born in 1946, lives and teaches in Carlow, his native town, From 1963 until 1968 hestudied Arts and Music at UCD. He has won numerous prizes for compost notably at the Feis Ceoil and the Oireachtas. Some of his choral settings have already been published. He has recently begun studying with Eric Sweeney at the Dublin College of Music John Ireland was born in Cheshize, England in 1879. He ‘studied at the Royal College of Music and at the University ‘of Duzham, He was organist of St. Luke's Church, Chelsea from 1904 to 1926 and a member of the teaching staff of the RCM, His pupils included E. J. Morean, Benjamin Britten and Humphrey Searle. His works contain many lovely songs including the Housmann Cycles Well 1o the Woods No More and The Land of Lost Content, Another cycle Songs of a Wayfarer dates from 1908. ‘The Piano Concerto was written in 1930 two years after the Sonatina. The majority of lreland’s output has been either vocal of piano music with a small number of orchestral pieces including the Symphonic Rhapsody Mai ~ Dun and the popular London Overture. He died in 1962. Denise Kelly Born in Belfast in 1954, she moved to Dublin in 1963. After leaving school she won a scholarship to the Royal Academy, for piano, where she studied with Rhona Marshal, She studied Irish Harp there with Grainne Yeats and Elizabeth Hannon. She is presently at the College of | Music studying Concert Harp with Caitriona Yeats; studies singing with Anne Woodworth. She attended U.C.D. for a teaching course last year, and she is currently reading for her Mus.Bac. at Trinity College. John Kinsella was born in Dublin in 1932 and is currently Assistant Head of Music at Radio Telefis Eireann. His works include a chamber concerto, a song cycle for contralto and instrumental ensemble; other chamber music including two string Quartets, the second of which has been recorded commercially by the Radio Telefis Eireann String Quartet, two “cello concertos and a number of orchestral pieces. Zoltan Kodaly was born in 1882 in Keeskemet in Hungary dand studied at the Royal Academy of Music in BudapestContrary . to popular belief, regular visits to your local can save you money There's a great community spirit down at your local Bank of Ireland office. The Manager there can provide you with a cheque-book and help in your day-to-day financial management. For instance, he can pay your regular bills, arrange finance for your new car and even help your sons and daughters pay their way through college. And when all that’s done, he can look after any spare cash you happen to have. So make it a habit. Nip out to your local soon. And make friends. Bank @ lreland The bank ofalifetime where Bartok was one of his classmates. In 1906 he began his collaboration with Bartok with whom he made a remarkable collection of folk music. A visit to Paris brought him into contact with Debussy. On his return to Budapest he joined the staff of the Academy of Music where he taught for the greater part of his life His music is strongly tonal and avoids the percussive dissonance and primitive chythms so vital to Bartok’s art. Kodaly’s ‘music has a definite national idiom, laced with romantic and impressionist elements. ‘The composer's first big success was in 1923 with Psolmus Hungaricus written for the SOth Anniversary of the uniting of Buda and Pest. Among his most famous works are the ‘opera Hary Janos (1926); The Dances of Galanta (1934); the ‘Peacock'Variations (1939) and the Concerto for Orchestra (1941). Before his death in 1967 Kodaly was elected to the Hungarian National Assembly and was President of the National Arts Council of Hungary, Wilhelm Killmayer born Munich in 1927, He received most of his education in Bavaria and after the war became a pupil of Carl Orff. Killmayer can be described as a “practical man of the theatre dedicated to fastidious light music". His ‘most poplar work to date Le Buffonara isa ‘Ballet Chante’ ‘written between 1959 and 1960, the fist stage version was at Heidetberg in 1961. His output includes two symphonies, 8 piano concerto and a large number of choral pieces and songs. The Canti Amorosi (1953/54) use old French and Italian texts as well as a poem by Tasso. Gyorgy Ligeti was born in Transylvania in 1923. He studied composition with Ferenc Farkas and Sandor Veress in Budapest. Ligeti taught harmony and counterpoint in Budapest from 1980 until 1956 when he let Hungary for Germany becoming involved inthe Electronic Music Studio of Koln, An electronic work Articulations appeared in 1988, His first large orchestzal work, Apparitions (1958-59) was based on ideas already sketched in Hungary some years previously. The sicess ofthis work was surpassed by Atmospheres in 1961. This ‘total happening’ with its 87 ‘minutely elaborated note systems created a new schoo! ‘hich has been followed by numerous imitators. Anmospheres was followed by Adventures (1962), Nouvelles ‘Adventures (1926-65) and the Requiem (1963-1965). The delicately tinted orchestral piece Lontano of 1967 was. played at the 1971 Dublin Festival, Witold Lutoslawski born Warsaw in 1913. He studied at the Warsaw Conservatory with Lefeld for piano and Malliszewski for composition. He has become the most popular living composer in Poland, He has a gift for melody ‘which stems from his interest and study of Polish folk music. His early style somewhat influenced by France but after the war he developed a more definite, clear, idiomatic style of his own. His works include the Symphonic Variations, a Concerto for Orchestra and two Symphonies. Among his smaller scale pieces, his settings of poems by his compatriot Tuwim are among the finest children’s songs of recent years. John McCabe was born in Liverpool in 1939, of Anglo- German parentage. He studied at Manchester University and the Royal Manchester College of Music returning to his. ‘mother’s native country to continue his studies at the Hochschule fur Musik, Munich. From 1965/8 he was pianist- in-esidence at University College, Cardiff, and he now lives in London, where he devotes his time to his work as composer and pianist. His compositions cover most of the established forms, and have received wide international acclaim, with performances in many countries throughout the world, as well as in Britain. Many of his major works have been commissioned, such as his Symphony No.1 (Elegy), which was commissioned by the Halle Concerts Society and was given many performances by the Halle Orchestra under Sir John Barbirolli (himself a great admirer of McCabe's work). His song-cycle Notturni ed Alba_was commissioned for the Three Choirs Festival 1970, This work, frst performed under the baton of Louis Fremaux with Sheila Armstrong as soloist, received triumphant acclaim at its premiere, and has since been given many performances by conductors and orchestras such as Bernard Haitink, James Loughran, Andre Previn, the London Philharmonic, Halle, and London. Symphony Orchestras. Other major works by McCabe include a fulliength children’s opera The Lion, the Witch, and the Wardrobe {after the book by C. $. Lewis), two piano concertos, a violin ‘concerto, and the popular Variations on a theme of Hartmann, His output also includes a large amount of chamber and. keyboard music, several items of which have been commercially recorded, including his String Trio (recently recorded for Argo), his Canto for Guitar Siegfried Behrend/ DGG), and his Rounds for Brass Quintct. His First Symphony has been recorded for Pye (LPO/Snashall), while his Second ‘Symphony, which received a successful premiere at the 1971 Birmingham Festival followed by a triumphant performance at the Royal Festival Hall, London, has recently been recorded for HMV/EMI by Louis Fremaux and the City of Birmingham Symphony Orchestra. Martinu was born in Bohemia in 1890 and after carly violin lessons composed a string quartet at the age of ten, He entered the Prague Conservatory in 1906 and joined the Czech Philharmonic Orchestra in 1913 asa violinist. He became a pupil of Suk’s in 1922. The following year he ‘moved to Paris where he remained until 1940, when he and his wife moved to America, He returned to Prague in 1945. His music is noted for its vitality and originality even if it lacks “any settled style’, His works include several operas and ballets, six symphonies and twenty concertos for various instruments, He has also many solo instrumental and chamber works to his credit, His death occurred in 1959, Darius Milhaud the French Composer, was born in Aix-en Provence in 1892. He moved to Paris in 1909 with the intention of continuing his violin studies, At the Conservatoire his talent for composition was discovered and he decided to abandon a career as a violinist in favour of being @ composer. In the "20's he joined the group known as Les Six. In 1930 his opera Christophe Colomb was premiered in Berlin while a second opera Maximilien was premiered in Paris in 1932. In 1940 he moved to America where he‘remained for many years. While some of his music may be rather lightweight his work is noted for its craftsmanshi For his compositions he may draw upon jazz, folksong or popular music as well as highly involved polyphonic complexities. ‘Mithaud has written many pieces for the theatre including the Ballets Le Boeuf sur le roit and La Creation du Monde. He has also written many songs - Choral and Orchestral works, and Chamber and instrumental music. ‘Andrzej Panufnik was born in Warsaw, Poland, on 24th (one of the three works that won for him all three prizes at ‘Polish music competition), he began an unceasing series of successes that began at the Musiktage in Donaueschingen ‘with Anaklasis in 1960, was followed by Threnody and Polymorphia the next year, and culminated in 1966 with the Saint Luke Passion. Penderecki’s most important current work is Utrenja, the first part of which, The Entombment of Christ, was given its ‘world premiere at the Altenberg Cathedral in April of 1970. ‘The second part, The Resurrection of Christ, was performed at the cathedral in Munster in May of 1971. In addition to the orchestra, two mixed choirs and five solo voices, the Resurrection calls for a boys’ chorus. Utrenja is the Orthodox DUBLIN ARTS FESTIVAL September, 1914. He began composing in his ninth year. In ‘mating, similar to the Roman Catholic matins. Inthe 8 — 17th March 1936, he received his diploma with a distinction for theory Encombment, Ponderecki uses the liturgy for Woly Saturday and composition of music at the Warsaw State Conservatoire, sung in the original church Slavonie (ancient Bulgarian) LOCATION — 7 ‘achieving this in only half the normal time. In 1937-38, he language, The Opea The Dei of London commisoned by DUBLIN'S GEORGIAN NORTH CITY studied the art of conducting with Felix Weingartner at the 1¢ Hamburg State Opera for its 1969 Season, joined the studied the art of conducting with Felix Weingartner at th the Hamburg State Op i FESTIVAT MCE ict State Academy of Music in Vienna. He then completed his ‘musical studies in Paris, and in London, returning to Warsaw at the outbreak of World War Il All the early music of Panufnik is lost: it was burnt during the Warsaw uprising in 1944. His post-1944 musical output consists of numerous works for orchestra, chamber and vocal ‘music and works for piano. Immediately after the war, he was appointed permanent conductor of the Cracow Philharmonic, and later director of the Warsaw Philharmonic Orchestra. From that time ‘onwards he began his very extensive travels, conducting all the leading orchestras of Europe. ‘Since 1954, when he took up residence in England, he has conducted all the major British orchestras, and for two years (2957-59) he was musical director of the City of Birmingham ‘Symphony Orchestra. He chose to leave this postin order to Concentrate more upon composition, travelling occasionally ‘on invitation from leading orchestras across the world In 1963 he was awarded the Prix de Composition Musicale Prince Rainier I de Monaco for his Sinfonia Sacra, which has since become one of Panufnik’s most frequently performed major works. In recent years Andrzej Panufnik’s talents asa composer of contemporary ballet music have received increasing recognition. In 1967 the Joffrey ballet mounted Elegy (choreography by Gerald Arpino) at New York City Center: in November 1968 Cain and Abel (choreography by Kenneth MacMillan) was presented at the Deutsche Oper, Berlin, and in March 1970, a tworact ballet, Miss Julie, also with Sadler's Wells repertory last November. Maurice Ravel was born in France close to the Swiss frontier in 1875, but his family moved to Paris when he was three months old. In 1899 Ravel entered the Paris Conser- vatoire where he studied Composition with Faure. He was influenced by the music of Satie, List and various Russians but from the outset his own music was highly individual. As well as being an extraordinarily gifted composer Ravel was also a very fine teacher ~ pupils included Vaughan Williams, ‘Taileferre and Lennox Berkeley. Among his most famous works are the Ballets Daphnis and Ghloe and La Valse to Choreography by Fokin, the operas L'Heure espagnole and L Enfant es les Sortileges, the Piano Concerti and the many piano pieces. His orchestration of Moussorgsky’s Pictures at an Exhibition show his mastery in this eld, Ravel died in Pars in 1938, Arnold yon Schoenberg. the Austrian composer wes born in Vienna in 1874 and first learned the violin atthe age of eight. The death of his father let Schoenberg's family in ‘rather difficult financial situation forcing the composer to work ina bank. Schoenberg had been composing in private but was without any formal teaching until he became a pupil of Zemlinsky, He moved to Berlin for a while around 1901 ‘where he composed his Symphonic Poem Pelleas and Stephane Grapelli — jazz violinist Ars Antiqua de Paris — Medieval & Renaissance Music Alfred Deller & Desmond Dupre Carmen Or piano recital Series of NICO concerts Young Composers Competition Pipers Concert ‘Season of retrospective Films produced by Irish directors Want to hear something that sounds good? Well, there's only one place to go, McCullough Pigot Lt ae ange cox a Sym orp see cnacainr gee conceit Andi you browse round, you're sur to srosetanaginsshe a Trodrctemgenyeeme eres aa oe Soul to Schubert tn fact. Ose sheet muse chdreography by Kenneth MacMillan, had its first perfor- ‘Melisande, He returned to Vienna in 1903 where he began ‘mance at Stuttgart. In each case both choreography and, his long teaching career ~ his most famous pupils being ‘music received high critical acclaim Berg and Webera, His very recent work, Univeral Prayer, had its world Schoenbers’s music gradually became known in Vienna premiere in New Yorkin May 1970, and was ater recorded although it was not always received too kindly by th press In Westminster Cathedral, London, by Leopold Stokowsk or publi. The D Minor Quarter snd Chamber Symphony (Op:90 had host receptions at thee premieres In 1908 Schoenberg produced the first works to dispense with tonality ~ the Plano pieces Op 11 and the Fifteen Songs of Stefan George Op 15. These were followed by the Five ‘ ‘Orchestral Pieces and the monodrama Erwartung in 1909. “hey Krzysztof Penderecki was born in 1933 in Debica (near Cracow). His most important teacher was Arthur Malawski, 4 significant composer belonging to the neo-Romantic ‘Szymanowski school, who died in 1957, one year before Penderecki concluded his studies. Penderecki’ frst pieces were as independent of the style of his teachers as they were of the Western serial technique, to which some of his ‘composer-compatriots dedicated themselves in Darmstadt. (On the heels of his frst appearance before a world-wide public at the Warsaw Autumn Festival in 1959 with Strophes In 1909 he began to write his “Treatise on Harmony” and returned to Berlin to lecture. Slowly he became international known and his music was heard in England, Germany, Italy, France and the U.S.A. He was forced to leave Germany in 1933 where his music and writings were suppressed, Schoenberg, after a brief stay in Paris, moved to the United States where he remained until his death in Los Angeles in 1951 McCullough , “Pigott a Were Ireland's leading musi store rhapsody anew Pay as 8 visit McCullough Pigott Led, 11/13 Sultolke ‘Street (foot of Grafton Street) Dublin 2[No other single composer in this century has influenced the course of music as has Schoenberg. His abandonment of traditional tonality in favour of his own devised ‘twelve fone" system altered the history of music composition and even of ‘musical sound. Schoenberg's Variations for Orchestra Op.31 composed in 1927-28 are regarded as the turning point in ‘music in the 20th Century. Humphrey Searle was born in Oxford in 1915. He was educated at Winchester, Oxford and at the Royal College of Music where his tutors included John Ireland, He later went to Vienna for private lessons from Anton von Webern, who influenced Searle's music considerably. For a while, from 1938, he was attached to the BBC. Since the war Searle has ‘been connected in one way or another with most British “organisations involving contemporary music. From 1946 all Searle's compositions have used the twelve- tone technique. His Intermezzo for eleven instruments of that year is written in memory of Webern and the Passacaglietta in nomine Arnold Schoenberg was composed for the master's seventy fifth birthday in 1949. Between 1949 and 1952 Searle wrote a trilogy of works for speakers and orchestra. Two, with chorus, use poems by Edith Sitwell, the third ~ Riverrun ~ takes part of Joyce's Finnegan's Wake as its text. Marie Keane has been involved in several performances with RTESO. Humphrey Searle is also a noted writer on music and a classical scholar. Eric Sweeney was born in Dublin in 1948 and was educated at St, Patrick's Cathedral Grammar School and ‘Trinity College. He graduated with a Mus.B. and the Prout award and spent a year in Italy on an tain Government Scholarship. Here he came under the influence of Petrassi and Luigi Nono. His compositions include chamber music, 4 Missa Brevis and several scores for the Abbey Theatre Gerard Victory has been Director of Music of RTE since 1967, after a long broadcasting career as producer in both radio and television, and Deputy Director of Music. He has produced a sizeable catalogue of serious and light ‘works over the last twenty years, Among his most recent performances abroad were the opera Chatterton at the French Radio (1972), his orchestral work Miroir at the [New Irish Chamber Orchestra concert in Frodsham, Cheshire (September "73), his overture Cyrano de Bergerac in Koblenz (October '73) and his opera Music hath Mischief in Liberec, Czechoslovakia (December '73).. James Wilson Bor in London in 1922, but has lived in Ireland since 1948. His output includes a Symphony, several ‘concerti, the Opera Twelfth Night, many works for children and chamber music for some of the less unusual instruments, ‘cor anglais, alto flute and accordion, Apart from many performances and broadcasts in this country, his works have been heard in a number of European, countries, Canada and the USA. His monodrama Tite Tain was given at the 4th Dublin Festival of 20th Century Music in June 1972, Isang Yun_was born on September 17th, 1917 at ‘Tongyong, South Korea. He received his fitst training in Western music from 1939 to 1943 in Korea and Japan. Yon has withdrawn his earliest works published in Korea, 1946— 1956 he taught music at high schools and universities in Korea 1956 ~ 1959 Yun finished his studies at the Paris Conserv toite tthe Berin Hochschule (Blacher, Rufer, chwarz~ Schiling, atthe Datmstadt Courses for New Music. Since 1959, his newer works have been performed at important ‘Avanigarde Festival in Europe and US.A. 1964 Isang. Yun made his home in Belin, 1969/70 he held lectures at the Hannover Musikhochschul, since 1970 he has been teaching composition at the Staaliche Hochschule fur Musik Berin. Yun isa member of the Hamburg Academy of Arts, he eceived some awards in Korea and Germany. His opera Sim Tjong was premiered at the Munich Olympic Games Festival The orchestral work Reak (1966) will be performed by RTESO later this month.