Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Non piu andrai | Wolfgang Amadeus Mozart (1756 - 1791) |
| Callum MacDonald , Voice | |
| Konrad Olszewski, piano | |
| Figaro’s Aria | |
| Der Einsame op 51 | Richard Georg Strauss (1864 - 1949) |
| Callum MacDonald , Voice | |
| Konrad Olszewski, piano | |
| Lied for Bass Voice | |
| Ytpo | Sergei Rachmaninoff (1873 - 1943) |
| Callum MacDonald , Voice | |
| Konrad Olszewski, piano | |
| Russian Art Song | |
| Que Les songes Heureux | Charles-Francois Gounod (1818 - 1893) |
| Callum MacDonald , Voice | |
| Konrad Olszewski, piano | |
| Bass aria from Philémon et Baucis | |
| Prelude in D Minor, Op. 23 No. 3 | Sergei Rachmaninoff (1873 - 1943) |
| Stefan Christie, Piano | |
| This prelude is strictly ternary, following an ABA form with a coda. It has a very martial quality, especially because of its driving rhythm and figuration. Full of energy and rhythmic nuances, this prelude is a fight between bouncy chords and dynamic outbursts. The brief lyrical sections that do occur in this piece are full of orchestral colors, displaying Rachmaninoff’s superb ability to orchestrate. | |
| Waltz in E minor, B. 56 | Frédéric Chopin (1810 - 1849) |
| Yunyin OU, piano | |
| Walts in e minor was the first of Chopin's posthumously published waltzes not to be given an opus number. Although this is the final waltz in the older editions of Chopin, it is believed to have been composed before any of the waltzes published in Chopin's lifetime. | |
| Concerto for Alto Trombone | Georg Christoph Wagenseil (1715 - 1777) |
| I. Adagio II. Allegro Assai | |
| Michael Lo, Alto Trombone | |
| Konrad Olszewski, piano | |
| Wagenseil was born in Vienna and live most of his life composing music for the court. His Concerto for Alto Trombone is the first known concerto written for the instrument. The first movement follows an alternating ritornello and solo section pattern typical of works of the baroque period. The second movement’s faster melody also develops in a typical baroque style. Today the concerto will performed on a modern Eb Alto Trombone. | |
| Piano Concerto No. 2 in F minor, Op. 21 | Fryderyk Chopin (1810 - 1849) |
| I. Maestoso II. Larghetto III. Allegro vivace | |
| Hannah Shin, Piano | |
| Konrad Olszewski, piano | |
| The F minor concerto is the first of the two Chopin concerti, even though it was published second, making it incorrectly known as No. 2. In Chopin’s exquisite hands, the concerto is a monologue. In passage after passage, Chopin writes music for it that is brilliant, virtuosic, and richly ornamented, yet never trivial. Liszt and Schumann both admired Chopin’s slow movement, a quietly stunning nocturne with a rhapsodic, embellished piano melody that sounds almost improvised. The dazzling finale is a mazurka, too quirky, complex, and unpredictable to be danced. | |
| Piano Sonata No. 13 in E flat major, Op 27 no. 1 | Ludwig van Beethoven (1770 - 1827) |
| I. Andante-Allegro-Andante II. Allegro molto e vivace III. Adagio con espressione IV. Allegro vivace | |
| Anastasia Tionadewi, Piano | |
| The Piano Sonata No. 13, published as the first sonata under opus 27, is the often overlooked sibling of the more popular Moonlight sonata. Completed in the same year as the Moonlight, both sonatas share the same subtitle "Quasi una fantasia, meaning "like a fantasy."Sonata quasi una fantasia" already suggests an unusual form and intensity of expression. Beethoven abandons the expected sonata scheme by opening with a slow movement, by returning to themes at surprising times, and by blurring divisions between movements. The sonata ends with a boisterous Allegro that combines features of sonata and rondo form. | |
| Etude Tableaux, Op. 39 no. 6 in A minor | Sergei Rachmaninoff (1873 - 1943) |
| Anastasia Tionadewi, Piano | |
| This aggressive and daunting piece opens with threatening chromatic octave runs low on the keyboard, answered by quick, chattering treble figures that eventually transform themselves into a march. The music grows hectic and, having reached presto, sounds nearly out of control. The effect of the piece is seemingly mysterious yet fully unified. Referred to as "Little Red Riding Hood and the Wolf", the piece ends with the chromatic runs sounding as though the wolf swallowed Red Riding Hood whole. | |