Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Title | Composer | Mins | Start |
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 1. Chairs Needed: 0. | |||
| Haydn Sonata op.23 | Franz Joseph Haydn (1732 - 1809) | 4 | 11:10 |
| 1st Mvt | |||
| Anji Dang, Piano | |||
| Sonata in F major, Hob. XVI: 23, written in 1773 for solo keyboard is known as the most virtuosic of the set of six sonatas. It was dedicated to and printed for Haydn’s patron Prince Nikolaus Esterházy. During virtuosic passages, Haydn does not indicate any specific articulation. Nonetheless, running melodic lines were expected to be executed with enough clarity that each note can be distinctly heard. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Piano Sonata No.2 | Sergie Rachmaninov (1873 - 1943) | 20 | 11:16 |
| I. Allegro agitato II. Non allegro-Lento III. Allegro molto | |||
| Lefei Chang, piano | |||
| Three years after his third piano concerto was finished, Rachmaninoff moved with his family to a house in Rome that Pyotr Ilyich Tchaikovsky had used. It was during this time in Rome that Rachmaninoff started working on his second piano sonata.[1] However, because both of his daughters contracted typhoid fever, he was unable to finish the composition in Rome. Instead, Rachmaninoff moved his family on to Berlin in order to consult with doctors. When the girls were well enough, Rachmaninoff traveled with his family back to his Ivanovka country estate, where he finished the second piano sonata. Its premiere was on 18 Octomber, 1913. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Piano Sonata No. 27 in E minor, Op. 90 | Ludwig van Beethoven (1770 - 1827) | 14 | 11:38 |
| I. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck II. Nicht zu geschwind und sehr singbar vorgetragen | |||
| Stefan Christie, Piano | |||
| The first movement begins with powerful chords that could be a muscular updating of a Renaissance dance; these are answered by more subdued material. The music alternates between fast, impulsive gestures and gentle, bereft sighs, almost always in the minor mode. The second movement revolves around themes constructed from repeated notes, an idea echoed in the quite literal repetitions of the cantabile main subject. The music is not quite as simple as it seems; contrasting episodes introduce fleeting minor-mode shadows, and even some subtle polyphony. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 3. Chairs Needed: 2. | |||
| Not Quite Yet | Michael Stokol (2000 - ) | 3 | 11:54 |
| Michael Stokol, Piano | |||
| Timothy O'Malley, Trumpet; Liam Carroll, Clarinet; Michael Stokol & Anji Dang, Piano | |||
| A bossa nova-inspired piece that was composed to relieve stress—mainly the composer's stress. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Mazurkas, Op. 24 | Fryderyk Chopin (1810 - 1849) | 22 | 11:59 |
| Hannah Shin, Piano | |||
| Chopin's Op. 24 set of mazurkas contains four short pieces. The first mazurka in Op. 24 is a reflective kujawiak, with overtones of sadness and longing. No. 2 is bright and joyous, illustrating the mazurka's folk-dance history. The third mazurka shows Chopin's characteristic style of hinting at sadness and longing while in a major key and lighter mood, and the fourth moves from elegance to passion, at the end fading away to silence. | |||
| Scherzo No. 4 in E major, Op. 54 | Fryderyk Chopin (1810 - 1849) | ||
| Hannah Shin, Piano | |||
| Chopin's fourth Scherzo is unique among his four scherzi for being the only one in a major key. It is generally calmer in temperament, though it still possesses some exceptionally passionate and dramatic moments. The middle section is based on a Polish folk song. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 4. | |||
| Nymphs | Gary Schocker (1959 - ) | 9 | 12:23 |
| 1. Gathering 2. In the wood 3. In the air | |||
| Wil Rigby, Flute | |||
| Jirene Beh (Flute), Lindsay Hicks (flute), Molly Jenkins (flute), Bill Rigby (flute) | |||
| Gary Schocker Is An Americam flautist and composer who has composed extensively for winds. Nymphs is a 3 movement work that contrasts pensive and pastel themes with joyful and dance like motifs. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Book II - Prelude No.6 - General Lavine | Claude Debussy (1862 - 1918) | 3 | 12:34 |
| Hye Jin Park, piano | |||
| Debussy was portraying Edward Labvin in this work. Edward Lavine was an American clown who appeared at the Champs-Elysées' Marigny Theatre in 1910 and 1912, apparently to the great amusement of Debussy. In its cakewalk-like style, the music seems to depict the character's strutting nonchalance one moment, then his clownish mischief the next. The work opens with a playful introduction, then presents a march-like, sashaying theme whose gait is constantly interrupted or simply unable to remain focused on its own step, distracted by some clownish pursuit. Rhythms are elastic here and there is a start-and-stop manner to | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| La Chapelle de Guillaume Tell | Franz Liszt (1811 - 1886) | 7 | 12:39 |
| Matty Serelis, Piano | |||
| This is the opening movement from “First year: Switzerland†in Liszt’s “Années de Pèlerinage†suite. This work was published in 1855. It was inspired by Liszt’s visit to Switzerland with Marie d’Agoult. Lucerne, the home of the chapel, was the first place they visited. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Sonata k457 in C minor | Wolfgang Amadeus Mozart (1756 - 1791) | 12 | 12:48 |
| Mvt. 1 | |||
| Anna Gao, Piano | |||
| One of the two minor sonatas of all of Mozart's 20 sonatas, this Sonata is considered one of the most 'Romantic' in style of Mozart's piano works. It was also considered the most Beethovenian for its tempo marking, molto allegro and as it is in the Beethoven key of C minor. | |||
| Sonata op.36 no. 2 | Sergei Rachmaninoff (1873 - 1943) | ||
| I:Allegro Agitato | |||
| Anna Gao, Piano | |||
| Rachmaninoff began composing his second sonata after the completion of his third piano concerto. | |||