Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Concerto pour Saxophone alto et Orchestre | Pierre Max Dubois (1930 - 1995) |
| I: Lento espressivo-Allegro II: Lento nostalgico | |
| John Lauricella, Saxophone | |
| Leigh Harrold, piano | |
| A student of Darius Milhaud of Les Six, Dubois was a little-known but respected composer who wrote prolifically for woodwinds and the saxophone in particular, making multiple contributions to the saxophone repertoire. | |
| Sonata No.4 in C Major for Cello and Piano, Opus 102, No. 1 | Ludwig van Beethoven (1770 - 1827) |
| Eliza Sdraulig, Cello | |
| Leigh Harrold, piano | |
| Sonata No. 4 in C Major was composed around the end of 1812. Certain musicologists suggest that works written around this date were the beginning of the 'Late Beethoven' period, characterised by a greater complexity in compositional techniques such as more dissonant harmonies and an increased density in texture. | |
| Sonata in D Major, K. 284 | Wolfgang Amadeus Mozart (1756 - 1791) |
| I. Allegro | |
| Louis Nicoll, Piano | |
| Mozart composed his first 6 piano sonatas between 1774 and 1775 for a concert tour. The earlier sonatas are technically less challenging and reflect their domestic function. The first movement of the sixth, however, with its difficult tremolos and octaves, resembles a piano reduction of an orchestral work, and has the kind of bustling energy found in his operatic and symphonic overtures. | |
| Piano Variations Opus 27 | Anton Von Webern (1883 - 1945) |
| I. Sehr Mäßig II. Sehr Schnell III. Ruhig Fließend | |
| Louis Nicoll, Piano | |
| The Variations for Piano, his only solo piano work, were published in 1936, and premiered a year later. Like many of Webern's works, they were unpopular with contemporary audiences but later appreciated by the Darmstadt generation of composers, leading to a tradition of austere interpretations of his works. However, Webern's conception of these variations, outlined to pianist Peter Stadlen, was more rooted in the romantic tradition. He described the first movement as an 'autumnal Brahmsian intermezzo', while the second movement is a virtuosic binary scherzo. The final movement, according to Alex Ross, has the 'abstract beauty of snowflakes' | |
| Godba | Uros Rojko (1954 - ) |
| I. II. III. IV. | |
| Michellina Chan, Alto Saxophone | |
| Leigh Harrold, piano | |
| Uros Rojko is a Slovenian composer and clarinetist who is currently living and working in Germany. He is a multi-award winning composer who has won the prestigious 1st prize at the International Competition for composition Alban Berg in Vienna. His chamber music compositions are memorable and exploits a wide range of new technique for the instrument. Godba is a piece with strong presence. Each of the 4 movements, though relatively short, are extremely contrasting. In the opening passage of Godba, he uses a small range of notes very effectively by pairing them with impressive cross-rhythms between both instruments. | |
| Flute Concerto in D major, K.314/285d | Wolfang Amadeus Mozart (1756 - 1791) |
| Mvt 1. Allegro Aperto | |
| Sean Marantelli, Flute | |
| Leigh Harrold, piano | |
| The Flute Concerto No. 2 in D Major is an adaptation of the original oboe concerto. Dutch flautist Ferdinand De Jean (1731–1797) commissioned Mozart for four flute quartets and three flute concerti, of which Mozart only completed three quartets and only one new flute concerto. Instead of creating a new second concerto, Mozart rearranged the oboe concerto he had written a year earlier as the second flute concerto, although with substantial changes for it to fit with what the composer deemed flute-like. | |
| Chilago | Robert Sims (1959 - ) |
| Alexander Lammers, Trumpet | |
| NotSureAtPresent, piano | |
| Eerie and barren, desolate, the beauty and intrigue of this small town north west of Cairns lies beneath the ground. Huge underground caverns sparkle with marble (the best in the world). An old smelter stands lifeless in ruins, and is a monument to the workers and pioneers who toiled and gave their lives here. This town, boasted twelve pubs and was populated by five to ten thousand people in its heyday. Many would drive right past now and not stop to explore its wonders and beauty. | |
| Sonata for Trumpet and Organ,Opus 200 | Alan Hovhaness (1911 - 2000) |
| Movements I and III | |
| Anthony Foon, Trumpet | |
| Unknown, piano | |
| Alan Hovhaness composed this sonata in 1962, being classified as a chamber work it is in of two for Trumpet and Organ. Only four of Hovhaness\' chamber works include organ, these were written for two oboes and brass quartet. An American born composer, Hovhaness was organist at St. James church in Massachusetts during the 1940\'s while also studying composition at Tanglewood. As one of his later chamber works this piece survives today; unlike most of his compositions written prior to 1942. The destruction of his compositions prior to 1942 followed the poor reception of his first symphony during a composition seminar at Tanglewood. | |
| Sonata for Viola and Piano opus 11/4 | Paul Hindemith (1895 - 1963) |
| I Fantasie II Thema mit Variationen III Finale (mit Variationen) | |
| Madeleine Coco, Viola | |
| Leigh Harrold, piano | |
| The first Sonata for viola and piano (German: Sonate für Bratsche und Klavier), also known as Sonata in F, Op. 11 No. 4 by Paul Hindemith was composed in 1919. It is the fourth of five instrumental sonatas comprising his opus 11. This sonata and the following Op. 11 No. 5 for solo viola mark Hindemith's decision to abandon playing the violin in favor of its larger cousin. | |