Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Piano Concerto in A minor op.16 | Edvard Grieg (1843 - 1907) |
| I:allegro molto moderato | |
| Anna Gao, Piano | |
| Jacob Abela, piano | |
| Composed in 1868, Grieg's piano concerto reflects his love for folks dances and traditions. The concerto opens with a rumbling drum roll leading to a dramatic descending pattern played by the piano. The main theme is introduced by the orchestra, the melody reminiscent of a folk dance step. Following a short development section and reprise, the soloist continues into an extended cadenza derived from the main theme. The movement closes with a fierce return of the opening descending pattern,leading to the second movement. | |
| Piano Sonata no. 30, op. 109 | Ludwig Van Beethoven (1770 - 1827) |
| I - Vivace ma non troppo II - Prestissimo III - Gesangvoll, mit innigster Empfindung | |
| Meyrem Ogutveren, Piano | |
| This sonata in E Major is one of the last sonatas Beethoven wrote for the piano. It was composed in 1820 and the structure of the various movements demonstrate Beethoven's straying from the pure Classical form. The first movement is an almost improvisatory demonstration of contrasts; fast and slow, soft and loud. The second movement is a blistering Prestissimo, not one usually expects a second movement to be. The third movement is Beethoven at the end of his life in all his glory, a set of variations that span all of his qualities, from introspective to sublime. This sonata truly captures all of what Beethoven was: magnificent. | |
| Concerto No.7 In E Minor | François Devienne (1759 - 1803) |
| Edited by Jean-Pierre Rampal | |
| 1. Allegro | |
| Wil Rigby, Flute | |
| Jacob Abela, piano | |
| François Devienne was a French Flautist, Bassoonist, and Composer in the late 18th Century. He wrote a significant amount of repertoire for the flute including more than twelve concerto's, chamber works as well as a method on playing the flute. He became known as the Mozart of the flute. Devienne's Concerto's contain more than passing similarities to the works of Mozart which is reflected throughout this first movement which somewhat unusually opens the theme for the flute in the relative E major. | |
| Silent noon | Vaughan Williams (1872 - 1958) |
| Emilia Bertolini, Voice | |
| Jacob Abela, piano | |
| This piece takes its text from a poem by preraphaelite poet and painter, Dante Gabriel Rossetti. The protagonist is describing a tranquil afternoon spent with a loved one in perfect silence. | |
| Deh vieni, non tardar | W.A. Mozart (1756 - 1791) |
| Emilia Bertolini, Voice | |
| Jacob Abela, piano | |
| This is Susanna's aria from Le Nozze di Figaro. She sings this song in the garden while waiting for the count whom she intends to trick. Figaro is spying on her so in this song she is both teasing him and singing of her love for him. | |
| Flute Sonata in C Major | Gaetano Donizetti (1797 - 1848) |
| Melissa Truman, Flute | |
| Jacob Abela, piano | |
| Gaetano Donizetti, one of the most famous Italian opera composers of the Romantic Era, wrote this sonata for flute and piano in 1819. It consists of a slow Largo in C minor and a lively Allegro in C major. A prolific opera composer, this piece is dramatic and virtuosic. | |
| El Amor Y La Muerte: Balada (Love and Death: A Ballad), Goyescas, No. 5 | Enrique Granados (1867 - 1916) |
| Hannah Shin, Piano | |
| Granados’s piano suite “Goyescas” was inspired by the paintings of Francisco Goya. After composing the piano suite, Granados later wrote an opera with the same title, using elements of the piano works. The fifth work of this suite, titled “Love and Death: A Ballad”, is a dramatic work in a largely improvisational style. It features rich chromatic harmonies in the style of Wagner. Granados himself said of this work: “All of the themes of Goyescas are united in El amor y la muerte…intense pain, nostalgic love and the final tragedy – death.” | |
| Scherzo No. 4 in E major, Op. 54 | Fryderyk Chopin (1810 - 1849) |
| Hannah Shin, Piano | |
| Chopin's fourth Scherzo is unique among his four scherzi for being the only one in a major key. It is generally calmer in temperament, though it still possesses some exceptionally passionate and dramatic moments. The middle section is based on a Polish folk song. | |