Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Sång till Lotta (Song for Lotta) | Jan Sandström (1954 - ) |
| Michael Lo, Tenor Trombone | |
| Rhodri Clarke, piano | |
| The story about the piece is presented by the composer as following: "At the time my Motorbike Concerto began its global tour, a very close friend's daughter Lotta, then a little girl, started to play trombone. I told her that I would write a concerto for her too as I did for Christian (Lindberg), when she was a little older - and if she then continued playing the instrument. I did not compose a concerto, but this piece to her birthday, for her to play and for her father to accompany. Lotta did not continue playing trombone, but dedicated her life to other important matters, and is now working for UN in the States and other countries." | |
| Piano sonata No.2, Op.36 | Sergei Rachmaninov (1873 - 1943) |
| mvt 1+2 | |
| Kane Chang, piano | |
| Rachmaninov started work on his second piano sonata in 1913, a few years after the success of his third piano concerto. He started writing the piece in Rome, but due to a fever happened to his daughters, he moved his family to Berlin and finished the piece there. In 1931, Rachmaninov revised this piece and made some changes to the original version. The transition between movements and section were shorten and he reduced the difficulty of virtuosic techniques. The original version lasts for approximately 25 mins and the revised version is only 19 mins. | |
| Scherzo No.3, Op.39 | Frédéric Chopin (1810 - 1849) |
| Sam Liu, Piano | |
| This dramatic Scherzo is perhaps the most unique of the four Scherzos of Chopin. The piece has a ferocious octave motif that repeats throughout it. After the rhythmic first section, the second section is much more lyrical, modulating to a parallel key from C sharp minor to D flat Major. Chopin then uses a mysterious bridge to bring back the original octave motif. The piece ends with an agitated coda with a brilliant Picardy third. | |
| Beethoven: Piano Sonata in A-flat Major, Op. 110 | Ludwig van Beethoven (1770 - 1827) |
| I. Moderato cantabile molto espressivo, II. Allegro molto, III. Adagio ma non troppo - Allegro ma non troppo | |
| Hannah Shin, Piano | |
| A cantabile style dominates most of this sonata, which is the second of Beethoven's last three major piano sonatas. The first movement is almost entirely lyrical, with tender and song-like qualities. The second movement is perhaps the only slightly humourous touch in Beethoven's last sonatas, and the themes are said to be based on two German folk songs. The final movement incorporates both a slow movement and a fugue, with a complex structure and juxtaposition of the sorrowful Arioso lament against the brighter, more hopeful fugue, ending in a triumphant chorale. | |
| Etude no. 5 'La Chasse' | Franz Liszt (1811 - 1886) |
| Anna Gao, Piano | |
| Inspired by virtuoso violinist, Paganini, Liszt composed his set of 'Paganini Etudes'. All are arrangements of pieces from Paganini's caprices. La Chasse is based upon Paganini's 9th caprice. | |