Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Title | Composer | Mins | Start |
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 1. | |||
| Sonatina for Trombone and Piano | Kazimierz Serocki (1922 - 1981) | 9 | 11:10 |
| I 'Allegro' II ' Andante Molto Sostenuto' III 'Allegro Vivace' | |||
| Stuart McKee, Tenor Trombone | |||
| 'Sonatina for Trombone and Piano' was written for and commissioned by Polish virtuoso trombonist, Juliusz Pietrachowicz, who at the time was the principal trombonist of the Warsaw Philharmonic, and has been considered since, a staple of the tenor trombone literature. 'Sonatina' consist of three movements, the first utilizes strong, rhythmically driven melodies to create a diversity in phrasing. The second takes full advantage of the singing qualities of the trombone, with passionate, mournful melodic passages. The third, garners the return of the strong rhythmic drive, adding an exciting interplay between the accompanist and soloist. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| The Violin Concerto in D major, Op. 35 | Pyotr Ilyich Tchaikovsky (1840 - 1893) | 16 | 11:21 |
| the first movement | |||
| Mi Yang, violin | |||
| Amir Farid, piano | |||
| The Violin Concerto in D major, Op. 35, was written by Pyotr Ilyich Tchaikovsky in 1878. It is one of the best known violin concertos. The lyricism of the first movement has given fuller voice in the second, the Canzonetta (¡°little song¡±); note the chorale-like opening theme, the somber, folk-like main theme, the brief, sweet diversion in the middle. Even in the bustling, dazzling, unpredictable rondo finale, the lyrical element emerges prominently, even in the soulful and brooding episodes. All of the finale¡¯s themes, Tchaikovsky acknowledged, have a strong Russian flavor, and there are some rustic effects in the scoring. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| The Foggy, Foggy Dew | Edward Benjamin Britten (1913 - 1976) | 3 | 11:39 |
| Nathan Camilleri, Voice | |||
| Amir Farid, piano | |||
| Whilst the first verse commences with fairly innocent connotations, it is soon realised through Britten's comical (I-V) bass-line that the piece is playful in nature. An old English Folk Song, "The Foggy, Foggy Dew" is in fact a double entendre; leaning towards the bachelor's erotic relationship with the fair young maid. The maid's troubles in the second verse are most likely associated with pregnancy as it once was seen as a taboo. Sadly, her absence in the third was most likely a result of the historically high mortality rate for mothers in child birth. Our insensitive bachelor recounts this story in a jestful and light-hearted manner. | |||
| Im wunderöschonen Monat Mai | Robert Alexander Schumann (1810 - 1856) | ||
| Nathan Camilleri, Voice | |||
| Amir Farid, piano | |||
| This lieder opens Schumann's song-cycle Dichterliebe; which translates as The Poet's Love. In English, the poem reads as follows: In the wonderfully beautiful Month of May When all the buds are bursting open, There, from my own heart Bursts forth my own love. In the wonderfully beautiful Month of May, When all the birds are singing, So have I confessed to her My yearning and my longing. Schumann finishes the piece on the dominant 7th V chord, suggesting the sense of unreturned love. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Concerto no 3 in C major Opus 26 | Sergei Prokofiev (1891 - 1953) | 20 | 11:44 |
| i. Andante- Allegro ii. Tema con Variazione iii. Allegro ma non troppo | |||
| David Soo, Piano | |||
| Rhodri Clarke, piano | |||
| Sergei Prokofiev\'s third piano concerto is regarded today as one of the pianistic staples in the repertoire. The concerto opens with a solo clarinet line before bursting into exuberance. Prokofiev uses much humour in all of his music and there are hints of balletic rhythms in this piece. This concerto is unique because of the composers\' ability to have the orchestra and soloist playing in equal roles. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 1. Chairs Needed: 1. | |||
| Cello Concerto Nr.1 In Eb Major, Op.107 | Dmitri Shostakovich (1906 - 1975) | 25 | 12:06 |
| I. Allegretto II. Moderato III. Cadenza IV. Allegro Con Moto | |||
| Joshua Dema, Violoncello | |||
| Shostakovich composed both cello concertos for Russian cello icon Mstislav Rostropovich. Concerto No. 1 was completed in a post-Stalinist timein Russia. It is a deeply personal work, reflecting Shostakovich’s ambivalent emotions and insecurities at having to constantly walk an “artistic tightrope” in Soviet Russia’s unpredictable and often hostile cultural environment. It is Perhaps the most popular twentieth-century cello concerto (and one of the most difficult ever of its kind). The central thematic feature here is a series of like-sounding variants on Shostakovich’s hallmark four-note “DSCH” sequence. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Fantasie in F minor Op.49 | Frederic Chopin (1810 - 1849) | 13 | 12:33 |
| Kathy Chow, Piano | |||
| This large-scaled composition is considered one of Chopin’s masterpieces. The Fantasy opens with a solemn and mysterious march-like introduction leading to a passionate drama with a central chorale, Lento sostenuto, of unusual serenity. | |||