Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Piano Sonata No. 3 in B minor Op. 58 | Frédéric Chopin (1810 - 1849) |
| I. Allegro maestoso II. Scherzo: Molto vivace III. Largo IV. Finale: Presto non tanto | |
| Tian Tian Lan, Piano | |
| Chopin's 3rd sonata opens with quite a long exposition, defined by majestic chords and expansive melody. The second subject is nocturne-like, while the development explores motifs of the first theme, and the recapitulation returns unconventionally to the 2nd subject in B major. The scherzo is short and lively; it is in E flat major and similar to the E flat major melody in Chopin's First Ballade, book-ending a demure B major middle section. The 3rd movement is profoundly beautiful, with sustained melodic lines and innovative harmonies. The finale modulates between dark and jubilant moods, and is the only Chopin sonata to end in a major key. | |
| Piano Concerto No. 3 in C major, Op. 26 | Sergei Prokofiev (1891 - 1953) |
| I. Andante – Allegro - II. Tema con variazioni - III. Allegro, ma non troppo | |
| Hannah Shin, Piano | |
| Konrad Olszewski, piano | |
| This is the most popular and acclaimed of Prokofiev's 5 piano concerti. Unlike many Romantic concerti, the orchestra rises above subsidiary accompaniment to play a very active part in this work. After its slow introduction, the first movement unrolls in the spirit of a perpetuum mobile. The second movement is neo-classical in style, with its theme and variations structure, and is a dazzling example of Prokofiev expressing his slightly sarcastic wit in musical terms. Prokofiev himself described the "caustic humour" of the finale as an "argument" between soloist and orchestra. | |
| Etude Op 10 No 11 | Frederick Chopin (1810 - 1849) |
| Timothy Kan, Piano | |
| An Etude of arpeggiated chords aims to train wrist and finger coordination whilst maintaining a beautiful, lyrical line. | |
| Etude Op. 40 No. 1 | Nikolai Kapustin (1937 - ) |
| Timothy Kan, Piano | |
| A vibrant and energetic etude that targets finger dexterity and syncopated rhythms by the fusion between jazz harmonies and classical virtuosity. | |
| Piano concerto op.16 | Edvard Grieg (1843 - 1907) |
| Anna Gao, 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 E flat major Hob XVI:52 No. 62 | Joseph Haydn (1732 - 1809) |
| Movement I | |
| Sophia, Piano | |
| Composed in 1774, this noble and expansive E flat sonata is a daring exploration of remote tonalities. The last of Haydn’s piano sonatas, it was dedicated to Therese Jansen an eminent pianist from London. The grand opening of the Allegro moderato flows into an abundance of rich ideas full of rhythmic character. | |
| Andante Spianato et Grande Polonaise Brillante in E-flat major | Frederic Chopin (1810 - 1849) |
| Sophia, Piano | |
| Andante spianato et grande polonaise brillante in E-flat major, Op. 22, was composed by Frédéric Chopin between 1830 and 1834. Originally set for piano and orchestra, Grande polonaise brillante in E-flat, was written first. Andante spianato is a beautiful nocturne-lullaby which provides an excellent introduction to the Polonaise which starts with a heroic motif intoned by the horns. The Grande Polonaise is an exceptional display of brilliance and brightness, and the heroic moments of its theme intertwine with melodious ornamental figures. | |