Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Octet | Igor Stravinsky (1882 - 1971) |
| I. Sinfonia II. Tema con variazioni III. Finale | |
| Adam Richardson, Flute | |
| Adam Richardson (Flute), Mahalia Stamford (Clarinet), Jye Todorov (Bassoon I), Lily Nash (Bassoon II), Kurt To (Trumpet in C), Andrew Pemberton (Trumpet in A), Kit Millais (Tenor Trombone) and Kiran Samuel (Bass Trombone) | |
| Stravinsky’s Octet is scored for an unusual combination of woodwind and brass instruments: flute, clarinet in B♭ and A, two bassoons, trumpet in C, trumpet in A, tenor trombone, and bass trombone. Because of its dry wind sonorities, divertimento character, and open and self-conscious adoption of \"classical\" forms of the German tradition (sonata, variation, fugue), as well as the fact that the composer published an article asserting his formalist ideas about it shortly after the Octet\'s first performance, it has been generally regarded as the beginning ofneoclassicism in Stravinsky\'s music. | |
| Clarinet Concerto no 2, Op 57 | Louis Spohr (1784 - 1859) |
| I. Allegro Ii. Adagio | |
| Magdalenna Krstevska , Clarinet | |
| Leigh Harrold, 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 Allegro there is much festive writing for trumpets and drums while a march rhythm dominates the second subject. For the Adagio, Spohr chose one of his favourite keys, A flat major, which he had also opted for in the C minor Concerto. Here, though, we have a full-scale movement which beautifully exploits the clarinet’s rich low chalumeau register as well as including a wonderfully powerful contrasting section in C minor where the soloist executes dramatic runs and leaps. | |
| Études-tableaux Op. 39 No 3 in F# minor | Sergei Rachmaninoff (1873 - 1943) |
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| Melinda Seaw, Piano | |
| The Études-tableaux (“study pictures”) are two sets, opus numbers 33 and 39, of piano études composed by Sergei Rachmaninoff. The Op. 39 études-tableaux was written between 1916 and 1917 and published in 1917. Rachmaninoff did not disclose what inspired each piece, stating, “I don’t believe in the artist that discloses too much of his images. Let them paint for themselves what it most suggests.” The Op. 39 set is considered much more demanding technically than the Op. 33 and has been called extremely virtuosic in its approach to keyboard writing. | |
| Sonate en ut# pour saxophone alto et piano | Fernande Decruck (1896 - 1954) |
| I. Trés modéré, expressif II. Noel III. Fileuse | |
| Anthony Vouliotis, Alto Saxophone | |
| Leigh Harrold, piano | |
| French composer Fernande Decruck composed over forty works for saxophone, although many of these works have fallen into obscurity where only several are now published. However, this work of hers has risen to become a cornerstone of the major concert pieces available for saxophone. The work features four movements: the first in a classical sonata form, a slow second movement titled "Noel", the third movement called the "Fileuse" (spinning song), and a rondo-like finale. Decruck's sonata incorporates trends of Impressionism reminiscent to the music of Maurice Ravel, as well as chordal planing, and pentatonic scales. | |
| Konsert för Saxofon och Stråkorkester, Op. 14 | Lars-Erik Larsson (1908 - 1986) |
| I. Allegro molto moderato II. Adagio III. Allegro Scherzando | |
| 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. | |
| Salve Regina in A minor | Giovanni Battista Pergolesi (1710 - 1736) |
| I. Salve Regina II. Ad te clamamus III. Eia ergo IV. O clemens | |
| Helen Ling, Voice | |
| David Macfarlane, piano | |
| The Salve Regina, also known as the Hail Holy Queen, is a Marian hymn of the Roman Catholic Church. Pergolesi's setting was written shortly before his death; is deemed his greatest triumph in the direction of Church music and unsurpassed in purity of style, and pathetic, touching expression. | |
| Sonata for Violin and Piano No. 2 | Charles Ives (1874 - 1954) |
| I. Autumn II. In the Barn | |
| Emma Williams, Violin | |
| Stefan Cassomenos, piano | |
| Charles Edward Ives (1874-1954) was an American modernist composer. He is one of the first American composers of international renown, though his music was largely ignored during his life, and many of his works went unperformed for many years. Over time, he came to be regarded as an \"American original\". Ives combined the American popular and church-music traditions of his youth with European art music, and was among the first composers to engage in a systematic program of experimental music, with musical techniques including polytonality, polyrhythm, tone clusters and aleatoric elements. | |
| Portrait | Cécile Chaminade (1857 - 1944) |
| Rhian Tuohy, Voice | |
| Alicia McGormick, flute and Richard Liu, piano | |
| 'Portrait' is a French chanson for flute, soprano and piano by female composer Cécile Chaminade . The poem describes the appearance of a breath taking beauty through the eyes of an admirer and the emotional effect she has on him. | |
| Wind Quintet in G minor | Paul Taffanel (1844 - 1908) |
| 3. Vivace | |
| Jess Hort, clarinet | |
| Jess Hort (clarinet), Hank Clifton-Williamson (Flute), Melanie Simpson (Horn), Kailen Cresp (Oboe), Emma Morrison (Bassoon) | |
| Paul Taffanel was established as a successful professional flute player, conductor and composer. His wind quintet in G minor is a charming work in three movements, with strong melodic lines and Romantic-style harmonies. The Quintet's final movement is a dashing and brilliant tarrantella that has several impressive and catchy motives that are juggled between all five players. | |