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: 0. | |||
| Flute Concerto in G (K.313) | Wolfgang Amadeus Mozart (1756 - 1791) | 25 | 11:10 |
| 1. Allegro Maestoso 2. Adagio ma non troppo 3. Rondo. Tempo di Mentuetto | |||
| Georgia Williams, Flute | |||
| Leigh Harrold, piano | |||
| Mozart famously wrote that he 'cannot bear' writing for the flute. This line came after a nagging letter from his father as he explained why he had not yet completed the “three short easy concertos and a pair of flute quartets” commissioned by amateur flutist Ferdinand de Jean. Mozart instead wrote this lavish and idiomatic Flute concerto, three flute quartets and modeled the D major concerto from the Oboe concerto in C major. Despite Mozart’s protestations, this Concerto is imaginative and beautifully written for the Flute. The work features a majestic Allegro, an emotional Adagio and a sprightly Rondo. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Prelude in B Minor Op. 32 No. 10 | Sergei Rachmaninoff (1873 - 1943) | 7 | 11:37 |
| Connor Taylor, Piano | |||
| Rachmaninoff’s music is often characterised by the picture-like nature of the musical motifs. He did take inspiration for many compositions from scenes of nature of artworks. In some cases the sources of his inspiration are known. It has been suggested by pianist Benno Moiseiwitsch that this prelude was inspired by Arnold Böcklin’s painting The Return. Rachmaninoff did not mention any programmatic associations but he later made some indirect references to them. This tempestuous prelude was written in 1910 along with the other thirteen pieces. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| E Major Sonata K. 380 (L23) | Domenico Scarlatti (1685 - 1757) | 3 | 11:46 |
| Nicole Ng, Piano | |||
| This sonata is one of Scarlatti's most popular keyboard compositions, was preserved in the fourth Venice volume of his sonatas, dated 1754. The Sonata opens hesitantly, the music wanting to lunge forward, it would seem, but held back by an inner tentativeness or timidity. After this clever start-and-stop playfulness, the music jumps to its feet and turns quite lively. Soon a festive dance theme, one of Scarlatti's best known, is presented in stately chords, imparting a truly regal elegance to the atmosphere. In the second half of the work, Scarlatti develops the material from the exposition, focusing mainly on the latter portion. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Konsert för Saxofon och Stråkorkester, Op. 14 | Lars-Erik Larsson (1908 - 1986) | 10 | 11:51 |
| I. Allegro molto moderato | |||
| Michellina Chan, Alto Saxophone | |||
| Leigh Harrold, piano | |||
| Lars-Erik Larsson's Konsert för Saxofon och Stråkorkester, Op. 14 was written for Sigurd Raschèr in 1932 but only premiered in 1934. In 1930, Raschèr demonstrated the possibility of the extended range of the saxophone, achieving four octaves instead of the conventional two and a half. Larsson wrote this concerto with Raschèr's abilities in mind; testing the performer's ability of altissimo. This Swedish work is also one of the first major works for saxophone to utilize ideas of non-standard tonality. The beautiful thematic material is angular and intricately woven throughout the piece. | |||
| 0 piano(s) needed with lid(s) closed. 0 chairs needed for page turners. Stands Needed: 2. Chairs Needed: 2. | |||
| Dawn Day Dusk | Caroline Szeto (1956 - ) | 14 | 12:03 |
| 1. Dawn 2. Day 3. Dusk | |||
| Yunjia Liu, Classical Guitar | |||
| Brandon Lee, Koto | |||
| Caroline Szeto is a Sydney-based composer. She completed her studies in composition with Eric Gross and Peter Sculthorpe, graduating with BMus Hons, MMus Hons and PhD under the supervision of Anne Boyd, from the University of Sydney, where she has lectured in harmony. "Dawn Day Dusk" is a three-movement piece composed for koto and guitar. It is commissioned for guitarist Carolyn Kidd and koto player Satsuki Odamura on behalf of the National Federation of Women's Music in 2001. This piece is also the finalist in the 2007 Classical Music Awards. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Piano Sonata No.9 Op.103 | Sergei Prokofiev (1891 - 1953) | 13 | 12:19 |
| 1st and 4th movement | |||
| Melinda Seaw, Piano | |||
| This Ninth Sonata is notable for the simplicity of its style, as well as for the conciseness and clarity of its structure. It lacks the dramatic conflicts, complexity, and energy of the preceding group of 'War Sonatas.' The conservative musical language may attributed partly to Prokofiev's premonition of the politically repressive times. However, new traits of a more intimate lyricism and introspection can be found in this Sonata. | |||
| 0 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 6. Chairs Needed: 6. | |||
| Brass Sextet in E-Flat Minor, Op. 30 | Oskar Böhme (1870 - 1938) | 10 | 12:34 |
| III. Andante cantabile IV. Finale: Allegro con spirito | |||
| Oscar Mason, Cornet | |||
| Oscar Mason (Cornet) Giulian Favrin (Trumpet) Rachel Owen (Trumpet) Tim Hannah (French Horn) Jessica Jacobs (Trombone) Ben Vega (Tuba) | |||
| Böhme’s Sextet is an imposing work in its scale, sonority and formal, textural and harmonic sophistication, a virtual symphony for brass. The last two movements are unusual and inventive in their formal progressions. The Andante begins with a plaintive theme in the home key and then works itself through episodes of varying intensity before arriving at a heroic, major-mode proclamation of the opening theme. A sudden quiet then overtakes the music, which lapses back into the sad harmonies of the opening for its closing measures. The finale likewise modulates from minor to major during its course, but retains the brighter tonality until the end. | |||