Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Piano Concerto No. 2 in F minor, Op. 21 | Fryderyk Chopin (1810 - 1849) |
| I. Maestoso. II. Larghetto. III. Allegro vivace. | |
| Hannah Shin, Piano | |
| Konrad Olszewski, piano | |
| The F minor concerto is the first of the two Chopin concerti, even though it was published second, making it incorrectly known as No. 2. In Chopin's exquisite hands, the concerto is a monologue. In passage after passage, Chopin writes music for it that is brilliant, virtuosic, and richly ornamented, yet never trivial. Liszt and Schumann both admired Chopin's slow movement, a quietly stunning nocturne with a rhapsodic, embellished piano melody that sounds almost improvised. The dazzling finale is a mazurka, too quirky, complex, and unpredictable to be danced. | |
| Quartet | Anji Dang (1999 - ) |
| Bethany Clarkson, Piano | |
| Anji Dang (piano), Bethany Clarkson (piano), Matthew Castle (Clarinet), Timothy O'Malley (Trumpet) | |
| This quartet is written for the trumpet, the clarinet and piano four-hands. The main section of this piece is built from three themes. The first theme is introduced by the melody of the trumpet, with the harmonization of the clarinet. After some elaboration, the second theme is introduced softly by the clarinet with the accompaniment of piano-four hands in the same key. This theme is also elaborated on. The third theme presents in the relative minor key, opens with the solo of the piano. The first theme finally returns again to the tonic key. | |
| Sonata in G Minor for Cello and Piano Op.19 | Sergei Rachmaninoff (1873 - 1943) |
| III. Andante | |
| Michael, Tenor Trombone | |
| Konrad Olszewski, piano | |
| This sonata was Rachmaninoff's last chamber composition before he died. Around the turn of the 20th Century,he was still going through a crisis of confidence which had been triggered by the disastrous premiere of his Symphony No.1. The composer was unable to write almost anything in the following three years, until he began hypnotherapy sessions which helped him overcome his block.This particular movement in the sonata is considered one of Rachmaninoff's most expressive melodies. Today, it has become a favourite amongst trombonists to perform. | |
| Gaspard de la nuit (Scarbo) | Joseph Maurice Ravel (1875 - 1937) |
| 3. (Scarbo) | |
| Brian Luo, Piano | |
| Scarbo is written in G♯ minor and based on 'Scarbo' from the poem "Gaspard de la Nuit" by Aloysius Bertrand and depicts the malicious fiend, Scarbo. | |
| Den Tod niemand zwingen kunnt (BWV 4) | Johann Christian Bach (1685 - 1750) |
| Arranged by Johann Christian Bach | |
| Isabelle Mazzarella, Voice | |
| Konrad Olszewski, piano | |
| Isabelle Mazzarella and Miriam Whiting-Reilly | |
| 'Den Tod niemand zwingen kunnt\' is from Bach\'s First Easter Cantata'Christ lag in Todes Banden\' and was composed in 1707. The piece roughly translates to \'No one could defeat death\'. | |
| Barcarolle | Jacques Offenbach (1819 - 1890) |
| Isabelle Mazzarella, Voice | |
| Konrad Olszewski, piano | |
| Isabelle Mazzarella and Miriam Whiting-Reilly | |
| From Offenbach\'s final Opera \'The Tales of Hoffmann\', this piece is considered to be the most famous Barcarolle ever written. Set in Venice during the Opera\'s Third Act, it is sung by Giulietta and the Venetian Courtesan Nicklausse. | |
| Prelude Op. 45 | Frederic Chopin (1810 - 1849) |
| Timothy Kan, Piano | |
| A slow lyrical piece filled with beautiful suspensions and resolutions in the main theme. As the piece progresses, one can observe Chopin's more advanced uses of harmony in his compositional style. | |
| Ballade No. 2 | Franz Liszt (1811 - 1886) |
| Timothy Kan, Piano | |
| This ballade has often been linked with the story of Hero and Leander, but it is more generally accepted to have been inspired by Gottfried Bürger’s ballad Lenore. The piece opens up with a chromatic undertow that sets up an ominous atmosphere. It is then contrasted with a lighter and sweeter theme. Throughout the piece, one can observe the episodic elements of a ballad and how Liszt uses them for thematic transformation. | |