Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Violin Concerto in D major, Op. 61 | Ludwig Van Beethoven (1770 - 1827) |
| Allegro ma non troppo | |
| Marrianne Liu, Violin | |
| Amir Farid, piano | |
| Beethoven wrote the concerto for his colleague Franz Clement, a leading violinist of the day, who had earlier given him helpful advice on his opera Fidelio. The work was premiered on 23 December 1806 in the Theater an der Wien in Vienna, the occasion being a benefit concert for Clement. The first printed edition (1808) was also dedicated to Franz Clement. It is believed that Beethoven finished the solo part so late that Clement had to sight-read part of his performance. | |
| Danzas Argentinas, op. 2 | Alberto Ginastera (1916 - 1983) |
| 2) Danza de la moza donosa | |
| Claire Di Lallo, Piano | |
| Danza de la moza donosa, op. 2 no. 2 (Dance of the Beautiful Maiden) is a melancholy dance in 6/8 time. The opening features an unsure and hesitant melody which plays with tension and release, coloured with chromatic inflections. The middle section leading to the great climax is built on quartal harmonies, giving a feeling of expansiveness. The dance ends with a reprise of the opening melody, this time with a richer harmonisation in 3rds. | |
| Four Bassoon Rags: for Bassoon and Piano | Elena-Kats Chernin (1957 - ) |
| Arranged by the composer | |
| Russian Rag, Cocktail Rag, Removalist Rag, Peggy's Minute Rag | |
| Ellan Hyde, Bassoon | |
| Amir Farid, piano | |
| Born in present day Uzbekistan, Elena Kats-Chernin trained in numerous former Soviet Union music schools from age 14. In 1975 she immigrated to Australia. After composing and performing for numerous small ensembles and theatre companies, she briefly returned to Europe where she wrote for, among others, the Berlin and Vienna state theatres. Upon her return to Australia in 1993, Kats-Chernin wrote'Clocks,' which arguably established her as a favourite among instrumental groups in this country. The first and most well-known 'Russian Rag' was featured in the movie 'Mary and Max' and used as the title theme for ABC Radio's 'Late Night Live | |
| Sicillienne et Allegro Giocoso | Gabriel Grovlez (1879 - 1944) |
| Emma Morrison , Bassoon | |
| Amir Farid, piano | |
| The eminent French composer and conductor, Grovlez really demonstrates the full capacity of the bassoon in this work both technically and emotionally. It commences with an almost improvisatory passage in the bassoon before launching into a lilting lyrical Sicilliene contrasting with a humerous and playful Allegro Giocoso to finish. | |
| Piano Trio No. 2 Op. 92 in E minor | Charles-Camille Saint - Saëns (1835 - 1921) |
| III - Andante con moto | |
| Connor Taylor, Piano | |
| Zamarah Morley - violin, Katherine Fazzolari - cello, Connor Taylor - piano | |
| Although Saint-Saëns was known for his larger orchestral works and instrumental concertos, he devoted a lot of time to writing chamber music. This is the second of 3 piano trios. It is separated from the first by about 30 years and is more complex and varied. The third movement is the only slow movement of the substantial five movement trio. It is a stunningly beautiful movement and deserves to be more heard more often. | |
| Samba Pro Rapha | Yamandu Costa (1980 - ) |
| Arranged by Doug De Vries | |
| Tim Lukey, Guitar | |
| Yamandu Costa is one of the most influential and virtuosic Brazilian guitarists. An avid performer composer, he began playing guitar informally at the age of 7. His "Samba Pro Rapha" is a fast and intense Samba often played in many different ensemble settings. | |
| Cello Sonata in D minor, L.135 | Claude Debussy (1862 - 1918) |
| I. Prologue: Lent, sostenuto e molto risoluto II. Sérénade: Modérément animé III. Finale: Animé, léger et nerveux | |
| Joshua Dema, Violoncello | |
| Amir Farid, piano | |
| The Cello Sonata is a late work by the French composer Claude Debussy. It was the first of a planned series of 'Six sonates pour divers instruments', however Debussy only completed two others. The sonata for cello and piano was written in 1915, and is notable for its brevity, most performances not exceeding 11 minutes. It is a staple of the modern cello repertoire and is commonly regarded as one of the finest masterpieces written for the instrument. The piece makes use of modes and whole-tone and pentatonic scales,. It also utilises many types of extended cello technique, including left-hand pizzicato, spiccato and flautando & false harmonics | |
| Die Mainacht, Op. 43, No. 2 | Johannes Brahms (1833 - 1897) |
| Shakira Tsindos, Voice | |
| Amir Farid, piano | |
| Die Mainacht is the second lied from the Op. 43 collections. Longing for a life of love the protagonist is taunted and troubled by the birds as they 'coo with delight'. The full text composed by Ludwig Hölty consists of four frames of text, however Brahms sets only three to music as to create the ABA structure and to finish with an expressive da capo section. Interestingly, Schubert was the first to set this poem to music and it is said that Brahms felt the earlier composer did not meet it's full expressive potential. | |
| Faites-lui mes aveux (from \'Faust\') | Charles Gounod (1818 - 1893) |
| Shakira Tsindos, Voice | |
| Amir Farid, piano | |
| Faites-lui mes aveux is an aria sung by Siébel, a young boy who has been asked to watch over the beautiful Marguerite while her older brother has gone off to war. Love struck he delivers flowers to her door in the hope that she realises his strong and longing devotion to her. As he gathers a bouquet he is sad to see so many wilted and dying flowers, cursing Satan for this misfortune. He hopes to one day lay a gentle kiss on his beloved's delicate lips. | |
| Apres une Lecture de Dante (Fantasia quasi Sonata) | Franz Liszt (1811 - 1886) |
| Sean Barry, Piano | |
| Although it is often referred to as the 'Dante Sonata', Liszt termed the work Fantasia quasi Sonata. It is a revision of an earlier work titled 'Fragment after Dante' and completes the second volume of Liszt's Annees de Pelerinage. Based around Dante's mythical epic journey through Inferno, Purgatorio and Paradiso, the piece uses two main themes to depict the souls tortured in Hell and the divinity of Heaven. After the menacing tritone introduction the first theme is introduced in D minor, a chromatic melody which transforms later into the second theme in F sharp in which the first returns but is shaped into a melody more fitting for he | |