Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Title | Composer | Mins | Start |
| 2 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Overture to a Midsummer's Night Dream for 8 hands on piano | Felix Mendelssohn (1809 - 1847) | 8 | 11:10 |
| Anastasia Tionadewi, Piano | |||
| Anastasia Tionadewi (piano), Stefan Christie (piano), Mina Furukawa (piano), Hye Jin Park (piano) | |||
| The Overture in E major, Op. 21, was written by Mendelssohn at 17 years and 6 months old. Contemporary music scholar George Grove called it "the greatest marvel of early maturity that the world has ever seen in music". | |||
| 2 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Piano concerto op.16 | Edvard Grieg (1843 - 1907) | 15 | 11:20 |
| II. III. | |||
| Anna Gao, Piano | |||
| Konrad Olszewski, piano | |||
| Composed in 1868, Grieg's piano concerto reflects his love for folks dances and traditions. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Piano Sonata No. 13 in E-flat major "Quasi una fantasia", Op. 27, No. 1 | Ludwig van Beethoven (1770 - 1827) | 7 | 11:37 |
| I. Andante - Allegro - Andante | II. Allegro molto e vivace | |||
| Yiing Yiing Chuah, Piano | |||
| This sonata features an atypical order of movements; the first movement starts off fairly slowly and softly, only to be interrupted by a fast section in the middle, creating a five-part rondo form. The second movement is a scherzo and has many elements to it. A dream-like nature is introduced in the beginning, followed by a lively and playful section in the middle. Lastly, the theme reprises with the left hand playing staccato and legato in the right. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Sarabane et Rigaudon | Jean Clergue (1905 - 1971) | 6 | 11:46 |
| Arranged by Eugene Foveau | |||
| 1. Sarabane 2. Rigaudon | |||
| Sam Fitzgerald, Trumpet | |||
| Konrad Olszewski, piano | |||
| This work, comprising of two French dances of contrasting styles was written during the era of concours pieces. During this time, composers were employed to write works for students to play for auditions, recitals and other assessments. As such there is a vast array of relatively unknown pieces from this era such as this Sarabane and Rigaudon. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Piano Concerto No.2 in C minor, Op.18 | Sergei Rachmaninoff (1873 - 1943) | 12 | 11:54 |
| 1. Moderato | |||
| Ian Mercado, Piano | |||
| Meyrem Ogutveren, piano | |||
| One of Rachmaninoff's most enduringly popular pieces and a staple work in the classical repertoire. After a disastrous premiere of his First Symphony, Rachmaninoff fell into a deep depression for several years, unable to compose. Soon after, he recovered with the premiere of his Second Piano Concerto, leading to a successful comeback. This opening movement begins with dark bell-like chords on the piano leading to stormy runs with the rich melodies of the orchestra accompanying. Bright and lush moments appear which lead into turbulent passages and dramatic climaxes, before closing off with an agitated and dark ending. | |||
| 2 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Piano Concerto No. 3 in C major, Op. 26 | Sergei Prokofiev (1891 - 1953) | 30 | 12:08 |
| 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. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Dichterliebe I-VI (Op. 48) | Robert Schumann (1810 - 1856) | 8 | 12:40 |
| I: Im wunderschönen Monat Mai II: Aus meinen Tränen sprießen III: Die Rose, die Lilie, die Taube, die Sonne IV: Wenn ich in deine Augen seh V: Ich will meine Seele tauchen VI: Im Rhein, im heiligen Strome | |||
| Jack Jordan, Voice | |||
| The first six songs of Schumann's Dichterliebe (A Poet's Love). | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 1. Chairs Needed: 0. | |||
| Etude Op. 25 No. 2 | Frederic Chopin (1810 - 1849) | 3 | 12:50 |
| Jamie Kim, Piano | |||
| Etude Op. 25 No. 2 by Frederic Chopin is in F minor and it is also known as "The Bees." | |||