Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Title | Composer | Mins | Start |
| 1 piano(s) needed with lid(s) short stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 1. | |||
| Sonata in A major | César Franck (1822 - 1890) | 13 | 11:10 |
| I. Allegretto ben moderato II. Alegro molto | |||
| Melissa Truman, Flute | |||
| Leigh Harrold, piano | |||
| The Violin Sonata in A was originally written in 1886, when César Franck was 63, as a wedding present for the 31-year-old violinist Eugène Ysaÿe. It was later adapted for the flute. A lyrical Allegretto opens the sonata, supplanting the usual quick-paced first movement, but by no means diminished in intensity or profundity. Turbulence arrives, however, in the Allegro second movement, opening with a furious introduction from the piano, followed by a passionate melody from the flute. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Nocturne, Opus 19, No. 4 | Pyotr Ilyich Tchaikovsky (1840 - 1893) | 5 | 11:25 |
| Bethany Clarkson, Piano | |||
| Tchaikovsky wrote this beautiful Nocturne as part of a set of 6 pieces for piano, but later also arranged this particular piece for cello and orchestra in 1888. A Nocturne is a piece designed to capture the spirit of night time, and Nocturnes are often very tranquil and expressive, but can also be lively, as in the case of Debussy's Fêtes Nocturne, which describes a festival. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 1. | |||
| Variations on Trockne Blumen | Franz Schubert (1797 - 1828) | 16 | 11:32 |
| Gabriella Alberti, Flute | |||
| Leigh Harrold, piano | |||
| The piece Trockne Blumen translates to 'Dried Flowers', and tells the story of a wanderer who falls in love with a millers daughter. He takes the dried flowers to his grave, so in the spring they can bloom and she will remember his love and devotion towards her. | |||
| 2 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Slavonic Dances | Antonín Dvořák (1841 - 1904) | 15 | 11:50 |
| Op. 46 No.7 Skocna and No.8 Furiant, Op. 72 No.2 Dumka | |||
| Eve Zhuang, Piano | |||
| Ivy Tsang (Piano Duet) | |||
| Dvořák's Slavonic dances were compositions made originally for piano four hands, then were orchestrated upon request from Dvořák's publisher. He composed 16 duets in total, separated into Op. 46 and Op. 72. His works were heavily inspired by Brahm's Hungarian dances and embodies such qualities of fast-paced dance rhythms especially in works such as the Skocna and Furiant. In the Dumka, rhythms are much less hurried, and rightfully bring forth the rich, melodious qualities of dance music. | |||
| Slavonic Dances Op.72 | Antonín Dvořák (1841 - 1904) | ||
| No.2 Dumka | |||
| Eve Zhuang, Piano | |||
| Ivy Tsang (Piano Duet) | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 2. | |||
| Trio Original for piano, flute and violin, Op. 75 | Kaspar Kummer (1795 - 1870) | 9 | 12:07 |
| 1. Allegro ma non tanto 2. Andante poco Adagio - Poco Allegretto scherzando | |||
| Jirene Beh, Flute | |||
| Jirene Beh - Flute, Anastasia Tionadewi - Piano & Cienna Irwin - Viola | |||
| German composer Kaspar Kummer completed this Trio for flute, viola & piano in 1832. It was then later adapted for the violin and also turned into a quintet for 2 flutes, viola, cello and guitar. The first movement of this four movement work begins with a somewhat heroic Allegro non tanto. The second movement however starts as a sad song without words which then becomes cheerful and chirpy in the middle section, only to return back to its sad song. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Le tombeau de Couperin | Maurice Ravel (1874 - 1937) | 4 | 12:18 |
| VI. Toccata | |||
| Anastasia Tionadewi, Piano | |||
| Tombeau in the title is a musical term popular from the 17th century meaning "a piece written as a memorial". The specific Couperin, among a family noted as musicians for about two centuries, that Ravel intended to evoke is thought to be François Couperin "the Great". This Toccata was composed after WWI, and was dedicated to Captain Joseph de Marilave, husband of Marguerite Long, who gave the first performance of the original piano version. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Etudes-Tableaux Op.39 No.8 | Sergei Rachmaninoff (1873 - 1943) | 8 | 12:24 |
| Kathy Wang, piano | |||
| Rachmaninoff's etudes are a mixture of both technique and musical depth. This D minor etude contains colorful harmony and contrapuntal texture, with double notes throughout the piece and hidden melody lines flowing in the bass.The tempo for this piece is Allergo moderato, sensitive dynamic change is required. | |||
| Prelude and Fugue in E flat Major£¬BWV 876 | Johann Sebastian Bach (1685 - 1750) | ||
| ll¨´¨¬ | |||
| Kathy Wang, piano | |||
| The theme for this prelude is mainly built on a simple descending three note in the bass and reproduced in the dominant key. This tonal fugue is slow and calm£¬the four voices firstly appeared stepwise as the subject and answer. the whole piece mainly stays in the tonic and dominant key. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 2. | |||
| Six songs for Clarinet, Piano and Voice Op.103 | Louis Spohr (1784 - 1859) | 15 | 12:34 |
| 1. Sei still mein Herz 2. Zwiegesang 3. Sehnsucht 4. Wiegenlied 5. Das heimlich Lied 6. Wach auf! | |||
| Wern ai Toh, Voice | |||
| Yufei Wu (Piano), Kim Ho (Clarinet), Chloe Toh (Voice) | |||
| Spohr dedicated this set to Princess Sondershausen who also commissioned it. The first song recounts a time when the poet loved and trusted someone but was ultimately betrayed. The second movement takes on a more light-hearted theme of hope where the clarinet and voice personify a bird and a young girl respectively. The third songs describes the poet's longing to be in a brighter place but is disappointed by how life’s limitations restrain him from doing so. The fourth movement is a lullaby while the fifth dictates the inner struggles and painful memories of the poet. The last song speaks of someone who is afraid and doubtful to try and love | |||