Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Batti, batti o bel Masetto | Wolfgang Amadeus Mozart (1756 - 1791) |
| Act I, Scene V, Don Giovanni | |
| Leah Phillips, Soprano | |
| Coady Green, piano | |
| With Masetto angry at Zerlina for going off with Don Giovanni, Zerlina pleads with him to beat her if he wants, but that she is innocent of anything to do with Don Giovanni. Beat me, dear Masetto, beat your poor Zerlina. I'll stand here as meek as a lamb and bear the blows you lay on me You can tear my hair out, put out my eyes, yet your dear hands gladly I'll kiss. Ah! I see you've no mind to: let's make peace, dearest love! In happiness and joy let's pass our days and nights. | |
| Piano sonata no.17, op.31 no.2 | Ludwig Van Beethoven (1770 - 1827) |
| 3rd movement | |
| Da Young Wi, Piano | |
| The sonata was completed in 1802 and it is referred to as "The Tempest" sonata. Though, the title was not given by Beethoven, it came from the claim by Beethoven's friend Anton Schindler that he was inspired by Shakespeare's play "The Tempest". The final movement is in sonata-rondo form showing dramatic restless mood. Arpeggio is the main accompanying figure throughout the piece. | |
| Mass in B minor, BWV 232 | Johann Sebastian Bach (- - -) |
| Agnus Dei | |
| Alexandra Amerides , Contralto | |
| Coady Green, piano | |
| N/A | |
| Piano Sonata no. 24 in F# Major, Op.78 | Ludwig van Beethoven (1770 - 1827) |
| I. Adagio Cantabile - Allegro ma non troppo II. Allegro Vivace | |
| Ian Mercado, Piano | |
| Beethoven had written this piece after taking nearly a five-year break from piano sonata composition, after finishing the great 'Appassionata' sonata. This sonata was a work which Beethoven had considerable affection for, due to its lightness and beauty. Scholar, Maynard Solomon notes that this and the "Appassionata" sonata, were Beethoven's favorite of his piano sonatas prior to the "Hammerklavier". | |
| Violin Sonata No.2 in A major Op.100 | Johannes Brahms (1833 - 1897) |
| First Movement | |
| Hui Yan Yap, Violin | |
| Coady Green, piano | |
| This piece was written while Brahms was spending his summer in the Bernese Oberland, Switzerland in 1886. The second Violin Sonata is the shortest amongst the three violin sonatas. It is also considered the most lyrical and difficult of the three to bring off successfully, and to exhibit its balance of lyricism and virtuosity. It maintains a radiant, happy mood throughout. | |
| Sonata No.6 Op.82 | Sergei Prokofiev (1891 - 1953) |
| Finale | |
| Lefei Chang, piano | |
| Sergei Prokofiev's Piano Sonata No. 6 in A major, Op. 82 (1940) is a sonata for solo piano, the first of the Three War Sonatas. The sonata was first performed on 8 April 1940 in Moscow. | |
| Duex poems Op32, no1 | Alexander Scriabin (1872 - 1915) |
| Lefei Chang, piano | |
| Two poems by Scriabin were composed in 1903 and published 1905. The first of these two short Poèmes, marked Andante cantabile, has an airy innocence in its glistening mists and hazy images. It is impressionistic without invoking the musical language of Debussy, and is marked by bursts of passion. | |
| Theme and 10 Variation D.156 | Franz Schubert (1797 - 1828) |
| Jesslyn Majuki Po, piano | |
| This piece, 10 variation on theme in F major, were written when Franz Schubert was 18. This was his first major piano work to sport a songful theme that is unmistakably Schubertian, two years before his first completed piano sonata. | |
| Piano suite Op.14 | Bela Bartok (1881 - 1945) |
| I - Allegretto II - Scherzo | |
| Jesslyn Majuki Po, piano | |
| This piece were debuted by Bela Bartok on 21 April 1919 in Budapest. This is one of Bartok's most significant work for piano. makes extensive use of other folk-like elements, such as a Romanian Ardeleanda rhythm in the first movement. Bartok also uses a twelve-tone row in the second movement, which is probably the only one in Bartók's entire body of works. | |
| Sonata No.17 in D minor, Opus 31 No. 2 | Ludwig van Beethoven (1770 - 1827) |
| 3rd Movement Allegretto | |
| John Lee, Piano | |
| Beethoven's Piano Sonata No.17 in D minor is usually referred to as "The Tempest.” However, the sonata was not given this title by Beethoven. Instead the name comes from his associate Anton Schindler who claimed that the sonata was inspired by a Shakespearean play called “The Tempest.” | |
| English Suite no.2 in A minor BWV 807 | Johann Sebastian Bach (1685 - 1750) |
| I. Prelude | |
| Timothy Kan, Piano | |
| This is the 2nd english suite of the 6 english suites Bach had composed. The prelude takes an ABA form. Its contrapunctal nature and melodies are propelled by barrages of semiquavers which are often complimented by stately quavers in the opposite hand. | |
| Gaspard de la nuit | Maurice Ravel (1875 - 1937) |
| III. Scarbo | |
| Christopher Wong, Piano | |
| Ravel’s inspiration to write Gaspard de la nuitderived from vivid and macabre poems by the French Romantic poet Aloysius Bertrand (1807-1841), to whose work Ravel was introduced by the pianist Ricardo Viñes, a fellow pupil at the Paris Conservatoire. In 1908 Ravel set three poems from Bertrand’s eponymous collection, written in 1830. This piece portrays the unpredictable, lightning-like appearances and disappearances of the malicious dwarf Scarbo, who changes his shape, size and colour at will. The scintillating, hallucinatory effects require such technical dexterity as to have earned Gaspard an almost mythic status among pianists. | |