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. | |||
| Piano Concerto No. 2 in F minor, Op. 21 | Fryderyk Chopin (1810 - 1849) | 30 | 11:10 |
| 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. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| WTCII Prelude&Fugue in F sharp minor, bwv 883 | J.S.Bach (1685 - 1750) | 7 | 11:42 |
| Lefei Chang, piano | |||
| The Well-Tempered Clavier, BWV 846–893, is a collection of two sets of preludes and fugues in all 24 major and minor keys, composed for solo keyboard by Johann Sebastian Bach. In Bach's time Clavier (keyboard) was a generic name indicating a variety of keyboard instruments, most typically a harpsichord or clavichord – but not excluding an organ either. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Soprano and Alto duets | Various (1736 - 1891) | 10 | 11:51 |
| Giovanni Battista Pergolesi: Stabat Mater Dolorosa from Stabat Mater, (1736); Engelbert Humperdinck: Abendsegen from Hänsel und Gretel, Act 2, (1891-92) | |||
| Jade Biezen, Voice | |||
| Jade Biezen (Soprano), Emma Warburton (Contralto), Alexander Owens (Bass-Baritone), Natan Fiedorowicz (Piano) | |||
| Stabat Mater was composed by Pergolesi in the final weeks of his life. The 'Stabat Mater' is a Latin poem from the 13th century which explores the sorrows of the Virgin Mary as she wept while her son Jesus died on the cross. Abendsegen (Evening Prayer) is from Humperdinck's 3 act opera, Hänsel und Gretel. The children sing this duet after the Sandman tells them that he loves them dearly, and that he has come to put them to sleep. Gretel reminds Hänsel to say their evening prayer, "When at night I go to sleep, fourteen angels watch do keep... who lead me to Heaven's Paradise", before falling asleep on the forest floor. | |||
| Oratorio de Noël, Op.12 | Camille Saint-Saëns (1835 - 1921) | ||
| Trio: Tecum principium (soprano, tenor, bass) | |||
| Jade Biezen, Voice | |||
| Jade Biezen (Soprano), Emma Warburton (Contralto), Alexander Owens (Bass-Baritone), Natan Fiedorowicz (Piano) | |||
| Also known as Saint-Saëns' Christmas Oratorio, "Oratorio de Noël" is a cantata-like work scored for soloists, chorus, organ, strings and harp. The text was taken from the bible, and the work describes the traditional story of the birth of Jesus, reflecting upon the meaning of the event. "Tecum principium in die virtutis tuae splendoribus sanctorum" is from Psalm 110, "In the day of thy power shall the people offer thee free-will offerings with a holy worship" | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Piano Sonata No. 23 in F minor, Op. 57 “Appassionata†| Ludwig van Beethoven (1770 - 1829) | 25 | 12:03 |
| I. Allegro assai II. Andante con moto III. Allegro ma non troppo | |||
| Anastasia Tionadewi, Piano | |||
| One of his greatest and most technically challenging piano sonatas, the Appassionata was considered by Beethoven to be his most tempestuous piano sonata until the twenty-ninth piano sonata (known as the Hammerklavier). 1803 was the year Beethoven came to grips with the irreversibility of his progressively deteriorating hearing. | |||
| 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) | 20 | 12:30 |
| I. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck II. Nicht zu geschwind und sehr singbar vorgetragen | |||
| Stefan Christie, Piano | |||
| The first movement, in E minor, is written in a 3/4 time. The movement is cast in sonata form in which the exposition is not repeated, and the development section is based almost entirely on the first subject. The second movement is a gentle sonata-rondo movement in E major (the tonic major) and a 2/4 time signature. The main melody to is described as "exquisitely beautiful" and an example of Beethoven's most accomplished melodies | |||
| Nocturne in C minor, Op. 48, No. 1 | Frédéric Chopin (1810 - 1849) | ||
| Stefan Christie, Piano | |||
| The Nocturne in C minor, Op. 48, No. 1 is initially marked lento and is in 4/4 meter. In general, the scheme of the music is ternary form and follows A-B-A'. The piece becomes poco più lento at measure 25 and enters its middle section, which is a chorale in C major. Later, it moves to doppio movimento agitato at measure 49 and features fortissimo octave passages and double octave arpeggi. Finally, the piece ends with a reprise of the initial melody with extremely fast chordal accompaniment. The piece is a total of 77 measures long. The Nocturne in C minor has been categorized as one of Chopin's greatest emotional achievements | |||