Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Title | Composer | Mins | Start |
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Mitridate, re di Ponto, K. 87 | Wolfgang Amadeus Mozart (1756 - 1791) | 7 | 11:10 |
| "Son reo, l’error confesso" | |||
| Alexandra Amerides , Contralto | |||
| Rhodri Clarke, piano | |||
| King Mitridate, now aware of his son Farnace's plot to join the Roman's against him, arrests the prince and plans his revenge to execute him. In this aria Farnace admits his treason but also implicates his younger brother, Sifare. Revealing in his confession that he is not the only one working to overthrow the King and that even the beauteous can be deadly. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 1. | |||
| Violin sonata in D minor, op. 108 | Johannes Brahms (1833 - 1897) | 25 | 11:19 |
| I: Allegro II: Adagio III: Un poco presto e con sentimento IV: Presto agitato | |||
| Willard Zhong , Violin | |||
| Chris Wong , piano | |||
| Brahms' third violin sonata is filled with lyrical lines and courageous cries. The first movement has both, starting with a keenly sad line, played sotto voce- "under the voice", before erupting into a heroic forte. The second subject in the piano is hopeful, later echoed by the violin. A heavy yet sentimental melody begins the second movement, almost a waltz, singing violin accompanied by piano, which rise into climactic thirds before finally lapsing into peace. The third stutters agitatedly, the piano now at the fore, and ends quietly. Just as the air settles roars the fourth, virtuosic frenzy bringing the piece to a close. Enjoy! | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Prelude and Fugue No. 2 in C minor Book 2, BWV 871 | J.S. Bach (1685 - 1750) | 3 | 11:46 |
| Timothy Kan, Piano | |||
| The Prelude is mainly in a two part texture occasionally shifting to a three-part texture when an extra voice is added for a fuller chord. The texture usually consists of running semi-quavers that are complemented by quavers in the other voice. The fugue also has this semiquaver/quaver complementary relationship exploring pathos with the meandering quality of the subject. | |||