Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Title | Composer | Mins | Start |
| 1 piano(s) needed with lid(s) short stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 1. | |||
| Sonatine for Flute and Piano | Adam Richardson (1916 - 2008) | 10 | 11:10 |
| I. Moderato II. Andante Espressivo III. Anime | |||
| Adam Richardson, Flute | |||
| Leigh Harrold, piano | |||
| Sancan's Sonatine, written as a test piece for the Paris Conservatoire. It is very much in the spirit of Debussy, with a flute melody over a gently accompanying piano texture that is to return in recapitulation after contrasting material. A short piano passage leads to a ternary-form Andante espressivo of melancholy lyricism. A flute cadenza is then followed by the final triplet rhythm movement, marked Animé, with its reminiscence of the opening of the work, before the flute resumes the rapid figuration of the last movement, bringing the sonatina to a brilliant conclusion. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Sonata no. 2 | Philippe Gaubert (1879 - 1941) | 14 | 11:22 |
| i. Pastorale ii. Andante iii. Assez Vif | |||
| Sean Edward Paul Marantelli, Flute | |||
| Leigh Harrold, piano | |||
| Philippe Gaubert was one of histories most notable professors of flute at the Conservatoire of Paris. This is one of three sonatas composed by Gaubert, all of which, were composed for his finest pupils. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Piano Sonata no. 2, opus 53 | Alberto Ginastera (1916 - 1983) | 13 | 11:38 |
| I. Allegramente II. Adagio-Scorrevole-Ripresa dell'Adagio III. Ostinato aymará | |||
| Louis Nicoll, Piano | |||
| The first movement has a main subject, a quasi introduction and conclusion, framing developments based on different dances and songs, among them the Argentinian ‘Palapala’. The first part of the second movement is a harawi, a melancholy love song, of pentatonic pre-Columbian origin from Cuzco, with the characteristic vocal inflections of primitive civilisations. The scorrevole evokes the murmurs of the night in the lonely Andean punas. The third movement, Ostinato aymará, takes the form of a toccata whose fundamental rhythm comes from a dance called 'Karnavalito'. [Program notes adapted from the composers' own] | |||