Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Fetes | Ravel/Debussy (1875 - 1937) |
| Kevin Chow, Piano | |
| Kevin Chow - piano, Hannah Shin - Piano | |
| Meaning 'Festivals', this is an arrangement of Debussy's Nocturne. | |
| Flute Concerto No. 1 | André Jolivet (1905 - 1974) |
| i. Andante cantabile ii. Allegro scherzando iii. Largo iv. Allegro risoluto | |
| Sean Marantelli, Flute | |
| Leigh Harrold, piano | |
| The concerto is cast in four short movements that follow a slow-fast-slow-fast structure reminiscent of the 17th-century Italian sonata da chiesa. Although tonally adventurous, the work is notable for its melodic simplicity and lack of gratuitous virtuosity, which sets it apart from the Romantic tradition of showy concertos. The piece starts with a soft, melancholy melody but gets more and more agitated and dissonant as the piano texture intensifies, although some brighter passages still appear occasionally. After the dark slow movement the work ends with an Allegro risoluto and a propulsive, thrilling finale. | |
| Danse Macabre, Op. 40 | Camille Saint-Saëns (1835 - 1921) |
| Arranged by Ernest Guiraud | |
| Anastasia Tionadewi, Piano | |
| Anastasia Tionadewi (Piano), Stefan Christie (Piano), Paulina Vayenas (Piano), Alexander Hazelbank (Piano) | |
| Danse macabre, Op. 40, is a tone poem for orchestra, written in 1874 by the French composer Camille Saint-Saëns in the key of G minor. It started out in 1872 as an art song for voice and piano with a French text by the poet Henri Cazalis, which is based on an old French superstition. In 1874, the composer expanded and reworked the piece into a tone poem, replacing the vocal line with a solo violin. Shortly after the premiere, the piece was transcribed into a piano arrangement by Franz Liszt, who was a good friend of Saint-Saëns. The best-known piano transcription is by Ernest Guiraud. | |
| Horn Concerto in Bb major, Op.91 | Reinhold Glière (1875 - 1956) |
| first movement | |
| Rosemarry Yang, French horn | |
| Leigh Harrold, piano | |
| Reinhold Glière was a reserved and modest person. During his lifetime, he studied violin and later taught composition at the Moscow Conservatory in Russia. His horn concerto was composed for the famous horn player Valery Polekh. With Tchaikovsky’s violin concerto serving as a model, this eclectic horn concerto was born. “Dear friends, I am happy that there exists a concerto which unites us and helps us to better know and understand each other. I send my greetings to all horn players and wish good luck and success to all.” - Valery Polekh | |
| Paganini etude no.2 | Franz Liszt (1811 - 1886) |
| Kane Chang, piano | |
| The Grandes études de Paganini, S.141, are a series of six études for the piano by Franz Liszt, revised in 1851 from an earlier version (published as Études d'exécution transcendante d'après Paganini, S.140, in 1838). It is almost exclusively in the final version that these pieces are played today. The pieces are all based on the compositions of Niccolò Paganini for violin, and are among the most technically demanding pieces in the piano literature (especially the original versions, before Liszt revised them, thinning the textures and removing some of the more outrageous technical difficulties). The pieces run the gamut of technical hurdle | |
| Miroirs | Maurice Ravel (1875 - 1937) |
| No.3 \"Une barque sur l\'océan\" | |
| Kane Chang, piano | |
| Miroirs (French for "Mirrors") is a five-movement suite for solo piano written by French composer Maurice Ravel between 1904 and 1905. First performed by Ricardo Viñes in 1906, Miroirs contains five movements, each dedicated to a fellow member of the French avant-garde artist group Les Apaches."Une barque sur l'océan" ("A Boat on the Ocean"). F♯ minor. Dedicated to Paul Sordes, the piece recounts a boat as it sails upon the waves of the ocean. Arpeggiated sections and sweeping melodies imitate the flow of ocean currents. It is the longest piece of the set, and the second-most technically difficult. | |
| Le poème des fleurs and Matinée d'été | Jules Massenet (1852 - 1912) |
| I - Prélude IV - Chanson de mai Matinée d'été | |
| Emilia Bertolini, Chamber group | |
| Emilia Bertolini, Rachel Amos, Lyla Levy-Jordan (voice) and Zac Hamilton-Russell (piano) | |
| Le poème des fleurs (poem of the flowers) is a suite for three female singers and piano based on the poetry of Biagio Allievo. Matinée d'été (summer morning) is a trio based on a poem by Camille Distel. | |
| Les trois belles demoiselles | Pauline Viardot (1821 - 1910) |
| Emilia Bertolini, Chamber group | |
| Emilia Bertolini, Rachel Amos, Lyla Levy-Jordan (voice) and Zac Hamilton-Russell (piano) | |
| Les trois belles demoiselles (the three fair maids) is a trio by French mezzo-soprano and composer Pauline Viardot. The text is an adaptation of a 17th century poem by Louis Pomey. | |
| Mephisto Waltz No. 1, "Der Tanz in der Dorfschenke" (The Dance in the Village Inn) | Franz Liszt (1811 - 1886) |
| Hannah Shin, Piano | |
| The following program note is taken by Liszt from Nikolaus Lenau, whose "Faust" inspired Liszt to write this work: "There is a wedding feast in progress in the village inn, with music, dancing, carousing. Mephistopheles and Faust pass by, and Mephistopheles induces Faust to enter and take part in the festivities. Mephistopheles snatches the fiddle from the hands of a lethargic fiddler and draws from it indescribably seductive and intoxicating strains. The amorous Faust whirls about with a full-blooded village beauty in a wild dance; they waltz in mad abandon out of the room, into the open, away into the woods." | |
| Piano Trio no. 2 in C minor, Op. 66 | Felix Mendelssohn (1809 - 1847) |
| I. Allegro energico e con fuoco II. Andante espressivo | |
| Michelle Duong, Piano | |
| Michelle Duong, Piano; Michael Machlak, Violin; Michaela Robb, Cello | |
| The first movement begins with a segmented theme consisting of rising and falling arpeggios and scales. Its generic components make the theme very flexible and well suited to sonata form and trio contrapuntal elaboration, which occurs frequently in the movement. The second movement is cast in the relative major, E flat. Its subdued main theme, played first in block chords in the piano, sets the tone for the whole movement. | |