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. | |||
| \'I shall find for you\', The Consul | Gian Carlo Menotti (1911 - 2007) | 4 | 11:10 |
| Arranged by Alexandra Amerides | |||
| Alexandra Amerides, Contralto | |||
| Konrad Olszewski, piano | |||
| In a totalitarian nation, the political dissident John Sorel is on the run from the secret police. At his home, his wife Magda and his mother hide him. The police arrive and search, but cannot find him. John says that he will escape to the border, and tells Magda to go to the consul and apply for a visa to leave the country. He will wait to cross the border until his wife, mother and child are safe. While they wait to obtain visas from the consul, John's mother sings a lullaby to calm the baby who has taken ill. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Etude Op 25 No.1 and 2 | Fredric Chopin (1810 - 1849) | 5 | 11:16 |
| Nicole Ng, Piano | |||
| Chopin's Op.25 Etudes are dedicated to Franz's Liszt's mistress, Marie d'Agoult. Op.25 No.1, nicknamed 'Aeolian Harp', has a reminiscing harmonic modulations, and rapid arpeggios based on the key A-flat major. While Op. 25 No.2, nicknamed 'the Bees', is based on polyrhythms, with pairs of quaver triplets played in the right hand, against crotchet triplets in the left. Even though it is in the key of F minor, in a quick-paced tempo, the beauty of this Etude lies in its melodic direction, and its climax in the coda. | |||
| 1 piano(s) needed with lid(s) short stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 1. | |||
| Schéhérazade | Maurice Ravel (1875 - 1937) | 15 | 11:23 |
| I. Asie II. La flûte enchantée III. L'indifférent | |||
| Ruth Blythman, Voice | |||
| Konrad Olszewski, piano | |||
| Set to poetry by Tristan Klingsor, Ravel’s extraordinary illustration of exoticism is perhaps best on display in this evocative song cycle. I. Asie takes us inside the narrators fantasy to explore the people, sounds and landscapes of Asia. We’re swept into the poets tour of various countries including Persia, India and China. II. In La flûte enchantée a young slave girl’s master is fast asleep. Outside her window, she can hear her lover playing a flute, each note feeling like a kiss on her cheek. III. In L'indifférent, the narrator is deeply enamoured with an androgynous youth who declines an invitation and walks away with a graceful wave. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Fantasiestücke, Op. 12 | Robert Schumann (1810 - 1856) | 25 | 11:40 |
| I. Des Abends II. Aufschwung III. Warum? IV. Grillen V. In der Nacht VI. Fabel VIII. Träumes-Wirren VIII. Ende vom Lied | |||
| Hannah Shin, Piano | |||
| Schumann's collection of eight short "Fantasiestücke" (Fantasy pieces) are a display of the fantastical and dramatic style characteristic of the composer. Divided into two books of four pieces each, the first book begins with "Des Abends", an intimate miniature, "Aufschwung" with its dramatic upswing, followed by "Warum?" with its secretive innocence, and the whimsical "Grillen". The second book opens feverishly with "In der Nacht", evoking the story of Hero and Leander, followed by "Fabel" with its dreamy 'Once upon a time', "Träumes-Wirren" unfurling with its dazzling spins, and ending self-reflectively in "Ende vom Lied". | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Madrigal | Phillipe Gaubert (1879 - 1941) | 5 | 12:07 |
| Sean, FLUTE | |||
| This piece was composed in the year Gaubert`s teacher Paul Taffenel died. The introduction must have been inspired by César Franck`s violin sonata, while there is a connection with Fauré melodically. | |||