Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Clarinet Concerto No. 2 in E flat major, Op. 57 | Louis Spohr (1784 - 1859) |
| I. Allegro | |
| Magdalenna Krstevska, Clarinet | |
| Rhodri Clarke, piano | |
| Spohr's second Clarinet Concerto in E flat major was written in the Spring of 1810 for the contemporary clarinet virtuoso, Johann Simon Hermstedt (1778–1846). Throughout the concerto, Spohr follows tradition with a full-scale opening tutti though, after a call to attention from the orchestra in the first few bars, he slyly lets the soloist respond briefly before the tutti gets fully under way. There is much festive writing for trumpets and drums while a march rhythm dominates the second subject. The ‘development’ section brings with it a new theme which provides a contrasting romantic lyrical quality to the surrounding festive pomp. | |
| Cuatro Madrigales Amatorios (Four Madrigales of Love) | Joaquín Rodrigo (1901 - 1999) |
| 1. ¿Con qué la lavaré? (with what shall I wash?) 2. Vos me matásteis (You destroyed me) 3. ¿De dónde venís, amore? (From where have you come, beloved?) 4. De los álamos vengo, madre (From the poplars I come, Mother) | |
| Helen Ling, Soprano | |
| Rhodri Clarke, piano | |
| Born in Valencia, Spain, Rodrigo lost his sight at the age of three, however went on to become a successful pianist, composer and musicologist. All four songs are set to the same collection of sixteenth-century poetry of Juan Vasquez, and Rodrigo retains a certain Baroque 'flavour' throughout. The themes of despair, deceit and delight are examined in this short song cycle. | |
| Clarinet Sonata no.2 Op.120 | Johannes Brahms (1833 - 1897) |
| II. Allegro appassionato | |
| Jess Hort , clarinet | |
| Rhodri Clarke, piano | |
| Towards the end of his life, Brahms composed two clarinet sonatas, dedicated to German clarinetist Richard Muhlfeld. The sonatas stem from a period in Brahms' life where he discovered the beauty of the sound and colour of the clarinet, and the second movement of his clarinet sonata in E flat, allegro appassionato, conveys the rich and colourful timbre the clarinet is admired for. | |
| Arms of Reality | Connor Taylor (1987 - ) |
| Connor Taylor, Piano | |
| Daniel Carison - bass baritone voice, Connor Taylor - piano | |
| This composition arose through my poetry writing and the influence of a newfound intrigue in film composer Ludovico Einaudi's latest album of music 'In A Time Lapse'. His music connected with me extraordinarily arousing a questioning of reality. The text is esoteric and contemplative. It reflects on the very intangible nature of reality. That one can almost be removed from one's own grasp of the truth; that is, what we perceive to be reality. We can become an onlooker to that which passes us by and forms our perception of reality. Yet in some sense the only reality is the one within us. This modern art song explores the 'Arms of Reality | |
| Heartbeat of Rebirth | Connor Taylor (1987 - ) |
| Connor Taylor, Piano | |
| Daniel Carison - bass baritone voice, Connor Taylor - piano | |
| This artsong was originally composed for mixed quartet. It has been rearranged for bass-baritone voice and piano. The lyrics describe a self-discovery process, resulting in the emergence of a phoenix reborn. From nothing a wing gently beats accompanied by a heartbeat until flame bursts forth the birth within. There is an evolution where change becomes the constant. Transformation. Revelation. From ashes the phoenix rises, new life reborn. | |
| Danses Sacree et Profane | Claude Debussy (1862 - 1918) |
| I. Sacree II. Profane | |
| Samantha Ramirez, Harp | |
| Nicole Ng, piano | |
| A most well known work in the harp repertoire, the Danses Sacree et Profane were composed in 1904 for the chromatic harp and string orchestra. Following this, Debussy also wrote a piano rendition of the work for Manuel de Falla. A serene, static atmosphere is set in the Danse Sacree followed by a worldly, animated Danse Profane. Modal harmonies, Plainchant-like themes can be heard in the first contrasting with fiery Spanish flamenco gestures in the second. The Danses are one of two works Debussy wrote for solo and orchestra. | |
| Prelude and Fugue In C Major, Op. 87 No. 1 | Dmitri Dmitriyevich Shostakovich (1906 - 1975) |
| Quetzal Rodriguez, Piano | |
| In 1948 Shostakovich was viciously attacked by the Soviet Ministry of Culture, banning his works and leaving him under the danger of imprisonment and execution. Yes, the Preludes and Fugues were composed 200 years after the death of J.S. Bach, but I don’t believe the work is celebratory: Bach’s music was for many years limited in the USSR due to its religious background. It is inside this ambiance of oppression and danger that Opus 87 was written, thus it is one of the composer’s most personal works. It is a work that showcases his humor (for example, the C Major fugue contains no chromatic notes), his sorrows and his joys. | |
| Trio in E-flat Major, K. 498 | Wolfgang Amadeus Mozart (1756 - 1791) |
| Arranged by Anthony Vouliotis | |
| I. Andante | |
| Anthony Vouliotis, Tenor Saxophone | |
| Louis Nicoll, piano | |
| Anthony Vouliotis (Tenor Saxophone), Hayden Brown (Clarinet), Louis Nicoll (piano) | |
| Mozart's Trio in E-flat Major, named the Kegelstatt Trio, was originally composed for Piano, Violin and Viola, with the original Clarinet part described as an alternative part to the Violin. Prior to the composition of this trio, there were no pieces written for the combination of Piano, Viola and Clarinet. The German word "Kegelstatt" translates to a place where skittles are played, but unlike Mozart's 12 duos for French Horns, there is no evidence to suggest that he was playing skittles whilst composing the trio. The piece is light-hearted and commences with an Andante movement in 6/8 time rather than a traditional Allegro-style opening. | |