Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Piano Concerto No.1 Op. 11 | Frédéric Chopin (1810 - 1849) |
| I. Allegro maestoso | |
| Ann Nguyen, Piano | |
| Amir Farid, piano | |
| This is the crowning masterpiece of his early period. This concerto was first performed in Warsaw by the composer himself in 1830 during one of his "farewell" concerts before leaving Poland. The long orchestral build up before the piano's entry evokes Chopin's courage to leave home. | |
| Op. 96/1 | Johannes Brahms (1833 - 1897) |
| Daniel Carison, Voice | |
| Connor Taylor , piano | |
| While Brahms often chose poetry of lesser writers (usually those whose imagination paralleled his own, or who stirred some deep personal feeling), he could be remarkably apt in setting texts of finer quality. Heinrich Heine\'s poem uses imagery both vivid and soothing. Death is the cool night; life is the stifling day. The narrator tells of feeling sleepy, wearied by the day. Over his bed, a tree holds a young nightingale who sings of pure love. The singer hears it, even in his dreams. The song, like the poem, exists in that place between waking and sleeping, between life and death. | |
| Op. 48 No.7 | Robert Schumann (1810 - 1856) |
| Daniel Carison, Voice | |
| Connor Taylor , piano | |
| Found in Schumann\'s sixteen-song cycle Dichterliebe (Poet\'s Love), this song reveals the composer\'s gripping Romanticism and handling of harmonic tension. The poems in the cycle are by Heine and appeared in his Lyrisches Intermezzo. Heine's irony is somewhat changed in tone by Schumann's choice to repeat the words "Ich grolle nicht\" (I bear no grudge) as a refrain and to emphasize the heartbreak of the protagonist as well as his bitter observations. The accompaniment\'s relatively narrow dynamics and static chords (many of which are unresolved sevenths) suggest the frigidity of the woman's heart and the seriousness of the m | |
| Sonata in E minor Opus 38 | Brahms, Johannes (1833 - 1897) |
| 1 | |
| Jovan Pantelich, cello | |
| Amir Farid, piano | |
| Brahms wrote two cello sonatas in his life - both are quite popular and amiable. The E minor sonata takes inspiration from nostalgic Austrian folk songs, especially the dance-like second movement. In true sonata style, the sonata is in sonata form, and true to his word, Brahms actually labels the work Sonata for Piano and Cello - signifying the importance or roles and the level of difficulty of the piano part. | |
| Etude no. 3 in E minor "Toccatina" Opus 40 | Nikolai Kapustin (1937 - ) |
| Kristen Kalantzis, Piano | |
| Kapustin's distinct fusion of classical and jazz idioms is ever present in this work. Technique, endurance and absolute rhythm is demanded of the performer, as well as a sense of ease and improvisation. The jazz harmonies and repeated notes create a sense of urgency and excitement, which in turn makes this piece very enjoyable to play, watch and listen to. It is the third in a set of eight concert etudes. | |
| If Music be the Food of Love (Second Setting) Z.379 | Henry Purcell (1659 - 1695) |
| Leighton H. Triplow, Voice (tenor) | |
| Purcell's second setting of If Music be the Food of Love is cast in G minor. It is far more intricate and embellished than the first version which I performed in semester 1. Syncopation and dotted rhythms are omnipresent whilst melismatic passages appear on important words. A lilting 3/8 passage leads us to the final strong statement - one of my personal favourite passages in the classical music canon. It is undoubtedly one of Purcell's most popular works and a staple of the English Restoration repertory. (Partially Adapted from Classical Archives Online). | |
| Rodelinda HWV 19 | George Frideric Handel (1685 - 1759) |
| Pastorello d’un povero armento | |
| Leighton H. Triplow, Voice (tenor) | |
| Grimoaldo takes an honest look at the beast he has become, longs for a shepherd’s simple life and seeks escape in sleep. (Excerpt from Handel House Synopsis) Poetic Translation: A shepherd of a poor flock sleeps contently beneath the shade of a large tree or laurels. I, monarch of a lavish kingdom do not find repose beneath the shade of purple and gold. (Poetic Translation by L. Triplow) | |
| Beat Me | Barry Cockcroft (1972 - ) |
| Anthony Vouliotis, Tenor Saxophone | |
| Beat Me continues Barry Cockcroft's "jeux de mots" (puns) title series. The piece explores the idea of getting the saxophonist to do more than one thing at the same time – sing and play, play notes while beating the keys, and play notes and harmonics simultaneously. It makes use of the different types of slap tonguing to simulate a bass guitar, multiphonics to simulate the I, IV, V progression from ‘Wild Thing’ made famous by Jimi Hendrix, more distortion to emulate the electric guitar, an extended circular breathing passage that is reminiscent of digideroo playing and an extended drum solo overlaid with a bass guitar riff. | |
| Sonata in b minor Op.58 | Frykeryk Chopin (1810 - 1849) |
| i. Allegro maestoso ii. Scherzo: Molto vivace iii. Largo iv. Finale: Presto non tanto; Agitato | |
| Kevin Chow, Piano | |
| Chopin's 3rd piano sonata was written in 1844 as his last large scale work. The first movement provides a variety of musical ideas, with one of those uniquely Chopin melodies central to it. The short second movement seems the most disjointed as the rapid piano fireworks surround a quiet center. The third movement might give one a sense of a solemnity with its somewhat slow march rhythm, yet the melodies, though perhaps nostalgic, are not sad. Without question, the final movement is the jewel of the Sonata. The music, from its first dramatic notes, is uplifting and the structure, an ABABA form, provides a satisfying conclusion to this work. | |
| Edge of the World | Nathan Daughtrey (1975 - ) |
| Therese Ng, marimba | |
| Robert McDonald, vibraphone | |
| Edge of the World was inspired by the poem and beautiful watercolor print "True Things" by StoryPeople creator Brian Andreas. This poem poignantly captures the essence of two people starting their lives together and looking forward to what the future holds. Nathan Daughtrey composed this piece as a gift for his friends. | |