Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Deh vieni, non tardar | Wolfgang Amadeus Mozart (1756 - 1791) |
| Emilia Bertolini, Voice | |
| Coady Green, piano | |
| This aria comes from Le nozze di Figaro and is sung by Susanna, the maid to Countess Almaviva. At this moment in the opera, Susanna is dressed in the countess' clothes as part of a plan to trick her unfaithful husband, Count Almaviva. Susanna is adopting the mannerisms of the countess in her singing, her eloquence of language and poise. | |
| Piano Concerto in A minor, Op. 54 | Robert Schumann (1810 - 1856) |
| I. Allegro affettuoso | |
| Priscilla Luu, Piano | |
| Coady Green, piano | |
| Although Schumann had worked on several piano concerti during his lifetime, this remains the only piano concerto he has completed. The concerto was initially written in 1841, as a fantasy for piano and orchestra. However, Schumann later decided to expand his composition into the 3 movement piano concerto we have now. | |
| 'Undine' Sonata Op.167 | Carl Reinecke (1824 - 1910) |
| I. Allegro | |
| Melissa Truman, Flute | |
| Coady Green, piano | |
| The Sonata is based on the tale of Undine, a water-spirit who falls in love with the knight Hildebrand. Their relationship is fated to end badly, and Reinecke captures this longing and angst in his composition. He opens with fifths and light, up-and-down arpeggiation. The first movement's principal theme is perhaps the most water-like element in the sonata. He eludes to the love and turmoil surrounding Undine with passages mimicking the French phrase "Je t'aime". | |
| Piano Concerto No.1, Op.11 | Frédéric Chopin (1810 - 1849) |
| 1st Movement- Allegro Maestoso | |
| Chai Jie Low, Piano | |
| Coady Green, piano | |
| Chopin's Piano Concerto No.1 was written when he was only 20 years old. It was the first of two Chopin concertos to be published and was dedicated to Friedrich Kalkbrenner. A deeply expansive and expressive work, it was performed by Chopin himself at its premiere in 1830 as his final public appearance in Poland. The first movement has three themes which are introduced by the orchestra and then taken over by the piano. | |
| Étude Op 10 no.8 | Frédéric Chopin (1810 - ) |
| - | |
| Jesslyn Majuki Po, Piano | |
| This f major etude is one of the hardest etude by Chopin with left hand playing the melody while right hand accompanying the melody with light runs. | |
| Étude No 7 | Claudé Debussy (1862 - ) |
| - | |
| Jesslyn Majuki Po, Piano | |
| These études were one of the last solo piano pieces written by Debussy before his death.Etude no 7 is written for chromatic exercises. | |
| Violin Concerto in D minor, Op. 47 | Jean Sibelius (1865 - 1957) |
| II- Adagio di molto III-Allegro, ma non tanto | |
| Willard Zhong, Violin | |
| Coady Green, piano | |
| Premiering on the 8th of February 1904, the Sibelius Violin Concerto was a bombastic and colossal... disaster. With a panic to be easily emphasised with, Sibelius had finished his composition just before it was needed, and the soloist at the time, Nováček, was a teacher as opposed to a soloist. But Nováček was proficient, it was more the technical scope that the piece demanded being incredibly, super, ridiculously high (be kind to me). Negativity aside, the second movement is serene through its flowing melodic lines, similar to flapping of a swan, while the third movement is described as a polonaise for polar bears. I'm human, but I'll try | |
| Étude Opus 25 No. 1 | Frédéric Chopin (1810 - 1849) |
| Phoebe Blakey, Piano | |
| A solo piano work written in 1836 and published in 1837, Chopin\'s Étude Op. 25 No. 1 consists entirely of rapid arpeggios and harmonic modulations based on A-flat major. Robert Schumann praised this work in a dissertation on the Études; calling it \"a poem rather than a study\". This piece ha also been alternatively referred to as \"Aeolian Harp\" and \"The Shepherd Boy\". | |
| Scherzo no. 3 in C# Minor, opus 39. | Frédéric Chopin (1810 - 1849) |
| Louis Nicoll, Piano | |
| This piece was written in or after a visit to an abandoned monastery in Majorca, which is interesting if you’re into old-fashioned musicology and like to imagine the singing of a monastic choir during the chorale-like second subject (although strictly speaking Chopin would have also had to imagine the singing of a monastic choir if that’s what inspired him as the monastery was abandoned and there are no singers in an abandoned monastery to inspire a Chorale-Like Second Subject). The tension of the piece stems from the contrast of this second subject with the first, a tension that leads the piece to tear itself apart in a fiery coda. It's lit. | |