Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Concerto in G major WQ169 | Carl Phillip Emmanuel Bach (1714 - 1788) |
| Arranged by William Rigby | |
| 3. Presto | |
| Wil Rigby, Flute | |
| Konrad Olszewski, piano | |
| CPE Bach wrote a number of flute concertos well known for their technical difficulties, especially compared to other works of the time. This presto is a light and sparkling movement filled with large and jagged lines of writing that technique wise are ideally suited to the baroque flute but is more of a challenge for our modern instrument. | |
| Etude Op. 10 No. 5 | Frederic Chopin (1810 - 1849) |
| Jamie Kim, Piano | |
| Etude Op. 10 No. 5 by Frederic Chopin is also known as "Black Keys." | |
| En Foret Op. 40 for horn and piano | Eugene Bozza (1905 - 1991) |
| Cameron Williams, French Horn | |
| Konrad Olszewski, piano | |
| En Forêt by Eugene Bozza (1905-1991) was intended as a test composition for graduate horn students at the Paris Conservatory, it displays every problematic element of horn playing imaginable, including bounding intervals, rapid-fire lip trills, sonorous glissandos, and intricate hand-stopping techniques, all over four octaves from high C to pedal C. | |
| Concerto in B flat major Op. 91 for Horn and Piano | Reinhold Gliere (1875 - 1956) |
| Second movement | |
| Cameron Williams, French Horn | |
| Konrad Olszewski, piano | |
| Reinhold Glière's (1875-1956) Concerto for Horn and Orchestra in B-flat major, Op. 91, was completed in 1951. Despite being composed in the 1950s, the concerto is written in a neoclassical style with strong Romantic influences; three movements comprise the concerto: I. Allegro II. Andante III. Moderato - Allegro vivace | |
| Piano Sonata in D major, K. 311 | Wolfgang Amadeus Mozart (1756 - 1791) |
| I. Allegro con spirito / II. Andante con espressione / III. Rondeau (Allegro) | |
| Hannah Shin, Piano | |
| This sonata has a generally bright, positive character. The first movement has a quasi-orchestral opening, leading into a more lyrical second subject. The second movement is a gentle Andante, in which the opening theme returns more elaborately decorated each time, gently with syncopation. The buoyant third movement is a rondo, which has elements of a concerto - before the reprise of the opening, there is an orchestral tutti which builds up to a cadenza, or perhaps a recitative. | |
| Piano Sonata in B minor, Op. 58 | Fryderyk Chopin (1810 - 1849) |
| I. Allegro Maestoso / II. Scherzo: Molto vivace / III. Largo / IV. Finale: Presto non tanto | |
| Hannah Shin, Piano | |
| Chopin's third sonata shows the essence of Romantic music. The opening movement begins with an exceptionally strong and resolute theme. The lyrical counter-theme is a manifestation of beauty, expressed with simplicity, but also with poetical elation. The development adopts the tone and character of a ballade. The second movement brings a breath from another world, with a trio section like a nostalgic echo from a world that has passed. The third movement has the shape and character of a nocturne, an aria of the night. The frenzied, electrifying finale has the tone and spirit of a ballade. | |
| Beethoven Piano Trio in E flat Major, op.70 no.2 | Ludwig van Beethoven (1770 - 1827) |
| I. Poco Sostenuto - Adagio ma non troppo II. Allegretto | |
| Veronika Reeves, Cello | |
| James He - Piano, Charlotte Strong - Violin, Veronika Reeves - Cello | |
| Beethoven’s E flat Trio op.70 no.2 is one of two Piano Trios written by the composer during his stay at Countess Marie von Erdödy’s estate, with both dedicated to her hospitality. The intimate setting of the opening Poco Sostenuto is gently ruminative though still closely related to the Allegro - whilst the music seems to be moving towards the dominant key of B flat, the introductory phrase is recalled in G flat before diverting to the expected key for the waltz-like second subject. The impact of the two note trill figure in the development creates a delightful contrast with the waltz subject, before closing with a recap of the Tempo I theme. | |
| Piano concerto in A minor, Op.54 | Robert Schumann (1810 - 1856) |
| mvt 3 | |
| Kane Chang, piano | |
| Schumann had earlier worked on several piano concerti: he began one in E-flat major in 1828, from 1829–31 he worked on one in F major, and in 1839, he wrote one movement of a concerto in D minor. None of these works were completed. Already on January 10, 1833, Schumann first expressed the idea of writing a Piano Concerto in A minor. In a letter to his future father-in-law, Friedrich Wieck, he wrote: "I think the piano concerto must be in C major or in A minor."From May 17 to 20 1841, Schumann wrote a fantasy for piano and orchestra, his Phantasie in A minor.[2] Schumann tried unsuccessfully to sell this one-movement piece to publishers. | |