Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| O Astronauta | Baden Powell de Aquino (1937 - 2000) |
| Mark Donato, Guitar | |
| Baden Powell de Aquino was a prominent Brazilian guitarist throughout the 20th century. His music has been influenced by a range of styles including samba, bossa nova, Afro-Bahian ritual music and choro. For this reason, he has developed an idiosyncratic style of play that has left an indelible mark on the culture of Brazilian music. | |
| Thoughts of Love | Arthur Pryor (1869 - 1942) |
| Kit Millais, Euphonium | |
| Konrad Olszewski, piano | |
| Arthur Pryor’s Thoughts of Love was composed in 1893 and was written in the style of a concert waltz. Arthur Pryor was an American trombonist of virtuosic ability who spent most of his career as part of the John Phillip Sousa band. Thoughts of Love was one of Pryor’s first compositions he played with John Phillip Sousa band. When he played this piece it sealed his position in the band and was described to be awe inspiring to watch and listen to. Pryor stated later in his life that “he preferred playing ballads in his rich vibrato before he went into fireworks mode”. | |
| Après une Lecture de Dante: Fantasia quasi Sonata | Franz Liszt (1811 - 1886) |
| Christopher Wong, Piano | |
| In the late 1830s, Franz Liszt initially sketched a piece consisting of two movements for piano entitled Fragment after Dante. He then revised his work to its finalised adaptation in 1849, until it was finally published in 1856 as a component of Années de pèlerinage (Years of Pilgrimage), a cycle of pieces for piano inspired from examples of art ranging from literature to architecture. Based on a reading of an epic poem, the Divine Comedy, written by Dante Alighieri, an imaginative vision of the afterlife was conveyed through his description of his journey through Hell (Inferno), Purgatory (Purgatorio) and Heaven (Paradiso). | |
| In Line | Jimmy OHare (1996 - ) |
| Jimmy OHare, Contemporary Guitar | |
| This piece was written with a focus on extracting and combining melodic, harmonic and percussive elements on the guitar. The first section features an evolving melodic idea that is later abandoned in the second and third sections where harmony and percussion take a more central role in the development of the piece. | |
| Fantasie in C, Op. 17 | Robert Schumann (1810 - 1856) |
| 1. Durchaus fantastisch und leidenschaftlich vorzutragen; Im Legenden-Ton 2. Mäßig. Durchaus energisch 3.Langsam getragen. Durchweg leise zu halten. | |
| Kevin Chow, Piano | |
| Schumann dedicated this fantasie to Liszt. The first movement is rhapsodic and passionate; the middle movement (in E-flat major) is a grandiose rondo based on a majestic march. Importantly the final movement is a slow movement. | |