Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Opus 25 no. 6, Sonata in D Major | Muzio Clementi (1752 - 1832) |
| I. Presto | |
| Louis Nicoll, Piano | |
| This clementi sonata movement is excellent. He probably wrote it for a student or a baroness or something, they always do that. Clementi does some clever stuff in the sonata—I think that the bass register doesn’t enter significantly until the second subject, which accentuates the difference between the two theme groups of the sonata. Which is kinda clever and neat and interesting, if you like sonata form. There’s also a lot of wit and little jokes in the music and the gestures but if I explain what they are they won’t be funny so just listen carefully. | |
| Opus 25 no. 6, Etude in G# Minor | Frederic Chopin (1810 - 1849) |
| Louis Nicoll, Piano | |
| Chopin’s etude opus 25 no. 6 in G# minor is one of the most difficult etudes, although it doesn’t make a very big deal about it, being generally introverted and subtle in character throughout. Besides the technical challenges, it is a very poetic miniature; I think it’s worth focussing more on the lyricism and poetry and not all the wrong notes I bet I’ll play. | |
| Concertino in E-flat major, Op.26 | Carl Maria von Weber (1786 - 1826) |
| 1.Adagio ma non troppo 2.Thema (Andante) 3.Allegro | |
| Cameron Smith, Clarinet | |
| Weber's Concertino was written for preeminent virtuoso clarinettist of the day Heinrich Baermann. The relationship between Weber and Baermann proved very fruitful and resulted in the composition of the two Clarinet Concerto's and the Quintet. Each work becoming a major part of the clarinet repertory. Weber is most well known for his Opera Der Der Freischütz, and as one of the creators of (Germanic) Romantic Opera. The Concertino is written in this style, the soloist featuring a balance of dramatic vocal and virtuosic writing. | |
| Poème, op. 25 | Ernest Chausson (1855 - 1899) |
| Willard Zhong, Violin | |
| Coady Green, piano | |
| Amédée-Ernest Chausson was born in Paris on January 20, 1855, and died at Limay, near Mantes in the Department of Seine-et-Oise, on June 10, 1899. The opening melody by solo violin post orchestral intro forms the basis of the ensuing middle/end sections, which repeat the material. In between these repetitions are episodes faster tempo.Reviewing a performance of the Poème in 1913, Debussy said of the quiet close that nothing could be "more touching than [this] gentle dreaminess . . . where, casting aside any ideas of description or narrative, the music itself is the sentiment that commands our feelings. . . . Fine music this, and full of ardo | |
| Romanian Folk Dances Sz.56 | Bela Bartok (1881 - 1945) |
| Transcribed by Zoltan Szekely | |
| I- Stick Dance II- Sash Dance III-On the Spot IV-Dance from Bucsum V-Romanian Polka VI-Fast Dance | |
| Tahli Elsner, Violin | |
| Coady Green, piano | |
| From 1906 Bartok traveled the countryside of his native Hungary and surrounding Bulgarian and Slavonic areas listening and learning the traditional music of local people. Using a phonograph he recorded and later notated countless folk melodies. The dances were originally titled Romanian Folk Dances from Hungary, collected in the central basin of Transylvania which was Hungarian territory before being annexed by Romania in 1920.The Romanian Folk Dances were originally composed for piano. | |