Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Violin Concerto in D Major, Op. 35 | Pyotr Ilyich Tchaikovsky (1840 - 1893) |
| I: Allegro moderato - Moderato assai | |
| Emily Sun, Violin | |
| In 1878, Tchaikovsky visited Clarens, Switzerland while recovering from depression brought on by his disastrous marriage. There, he was accompanied by the violinist Josif Kotek, who arrived with a new collection of violin repertoire, including Edouard Lalo's violin concerto "Symphonie espagnole". Tchaikovsky was particularly delighted by Lalo's work, which inspired him to compose his own violin concerto. While the concerto was initially not well received, and even considered unplayable by some violinists, it is now perhaps one of the best known violin concertos. | |
| Madrigal | Philippe Gaubert (1879 - 1941) |
| Wil Rigby, Flute | |
| Rhodri Clarke, piano | |
| Philippe Gaubert was one of the masters of the modern french school and the teacher of Marcel Moyse. He wrote extensively for flute including three sonatas and many shorter works including the Madrigal. This short work was written in 1908 with its focus being on the lyrical and emotional qualities of the performer, much in the same way that its namesake, the vocal Madrigal aimed to convey. | |
| Marche pour Trompette et Piano | Raymond Gallois Montburn (1918 - 1994) |
| Eric Beale, Trumpet | |
| Rhodri Clarke, piano | |
| Montbrun was a French violinist and composer born in Vietnam. He studied violin and composition at the Conservatoire de Paris, and won the Prix de Rome in 1944. | |
| Introduction and Variations on Trockne Blumen | Franz Schubert (1797 - 1828) |
| Introduction, Theme, Variation I, Variation II and Variation III | |
| Gabriella Alberti, Flute | |
| Rhodri Clarke, piano | |
| The piece is based on the eighteenth song cycle called "Trockne Blumen", which translates to 'Dry Flowers', and tells the story of a wanderer who falls in love with a millers daughter. Soon after though, he becomes obsessed with a hunter nearby who is draped in the colour green. The wanderer becomes obsessed with the colour green, and begins to fantasize about death. This leads to his demise, as he drowns in the river which lead him to the millers beautiful daughter. The miller takes the dry flowers to his grave, so they can bloom in spring, a symbolization of the undying love he has for the millers daughter. | |
| Homenaja pour Guitare | Manuel de Falla (1876 - 1946) |
| Arranged by M. Llobet | |
| Clancy McLeod, Classical Guitar | |
| De Falla wrote this hommage shortly after the death of Claude Debussy who was a dear friend. This piece has been transcribed from guitar to orchestra. | |
| Sonatas K. 239,L.281 | Giuseppe Domenico Scarlatti (1685 - 1757) |
| Arranged by David Russell | |
| Clancy McLeod, Classical Guitar | |
| Originally for harpsichord this has been transcribed for guitar. | |
| Grande Valse Brillante, Op. 18 / Andante Spianato and Grande Polonaise Brillante, Op. 22 / Etude in C-sharp minor, Op. 25 No. 7 | Fryderyk Chopin (1810 - 1849) |
| Hannah Shin, Piano | |
| Chopin's Grande Valse Brillante is one of his most loved and well-known works. It is a Parisian waltz, each of the dance themes bringing a different melodic character and dance motion. The Andante Spianato was added a few years after the composition of the Grande Polonaise as an introduction to the work. It has the character of a nocturne. The polonaise features a distinctly Polish theme. It is the last of Chopin's works in a purely virtuosic style. The Etude Op. 25 No. 7 is often called the "Cello" etude, featuring a bel canto melody in the left hand. | |
| Sonata in B minor, Op. 58 | Fryderyk Chopin (1810 - 1849) |
| I. Allegro Maestoso / II. Scherzo: Molto vivace / III. Largo / IV. Finale: Presto non tanto | |
| Hannah Shin, Piano | |
| Chopin's third sonata shows the essence of Romantic music. The opening movement begins with an exceptionally strong and resolute theme. The lyrical counter-theme is a manifestation of beauty, expressed with simplicity, but also with poetical elation. The development adopts the tone and character of a ballade. The second movement brings a breath from another world, with a trio section like a nostalgic echo from a world that has passed. The third movement has the shape and character of a nocturne, an aria of the night. The frenzied, electrifying finale has the tone and spirit of a ballade. | |