Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Sonata in E minor for flute and continuo (BWV 1034) | Johann Sebastian Bach (1685 - 1750) |
| 1. Adagio ma non tanto 2. Allegro 3. Andante 4. Allegro | |
| Molly Jenkins, Flute | |
| Leigh Harrold, piano | |
| One of many flute sonatas by Johann Sebastian Bach, this particular sonata in E minor has four contrasting movements consisting of a slow-fast-slow-fast format. | |
| Mignon I - Heiß mich nicht reden (from Goethe-Lieder) | Hugo Wolf (1860 - 1903) |
| Grace Gallur, Voice | |
| Leigh Harrold, piano | |
| Mignon is a character in Johann Wolfgang von Goethe's novel "Wilhelm Meister's Apprenticeship". Mignon is a young girl (speculated to be twelve or thirteen at the start of the book). Willhelm rescues Mignon from a dancing troupe and their abusive master who kidnapped her from Italy. Mignon grows less frightened and more well-adjusted in Willhelm's companionship, but becomes attached to him to the point of romanticising their relationship; Willhelm is ignorant of this until after her death. Many composers have set Mignon's songs to their own music; Wolf's explorations grant a high-definition fidelity to the complexities of Mignon's psychology. | |
| 6 Lieder aus Lotosblättern - No.2 Breit' über mein Haupt (op. 19) | Richard Strauss (1864 - 1949) |
| Grace Gallur, Voice | |
| Leigh Harrold, piano | |
| Adolf Friedrich von Schack's poem describes a the narrator's contentment at being in the presence of their lover. The narrator describes their lover's black hair and their bright eyes. They don't want for the sun and the stars - they only want their lover's glances. Strauss' use of the mid to upper soprano tessitura and the exposed yet warm harmonic writing in the piano paints the contrasting images of the stars and the sun, and the lover's black hair and bright eyes. | |
| Ballade No.3 in A flat major, Op. 47 | Frédéric Chopin (1810 - 1849) |
| Mina Furukawa, piano | |
| Frédéric Chopin's four ballades are single-movement pieces for solo piano, composed between 1831 and 1842. They are considered to be some of the most challenging pieces in the standard piano repertoire. Ballade No. 3 in A♠major, Op. 47, dating from 1841, is dedicated to Pauline de Noailles. The form of this Ballade is an arch: ABCBA coda. The first A theme is in two parts; the first part is song-like and the second is dance-like. Out of the four ballades, the third Ballade has the tightest structure. This Ballade also uses development procedures that are successful at heightening the tension. | |
| Poem for Flute and Orchestra | Charles Griffes (1884 - 1920) |
| Lindsay Hicks, flute | |
| Leigh Harrold, piano | |
| 'Poem' is a work for flute and orchestra by American impressionist composer Charles Griffes. It features elements both of the French impressionist style as well as German romanticism and was premiered by Georges Barrère with the New York Symphony Orchestra in 1919. | |
| String Quartet No.14 in D Minor "Death and the Maiden" | Franz Schubert (1797 - 1828) |
| Mvt I. Allegro | |
| Liu Zheng, Violin | |
| Vitus Lai: Violin Guannan Yang: Viola Ming Wu: Cello | |
| Considered to one of Franz Schubert's most powerful work, String Quartet No.14 in D Minor, or better known as "Death and the Maiden," is also called the "one of the pillars of the chamber music repertoire." The quartet's first movement opens with a bold, dramatic gesture, founded upon a pregnant triplet-rhythm motive. This opening motive is whipped to a considerable frenzy before the music quiets, pauses on two chords surrounded by silence, and then launches into the subsidiary subject, a lilting violin duet of contrasting lyrical quality. The development section is a compact and closely worked contrapuntal elaboration of the second theme. | |
| Piano Quartet No. 3 in C minor, Op. 60 | Johannes Brahms (1833 - 1897) |
| Mvt 1: Allegro ma non troppo | |
| Lewis Zhou Chen, Piano quartet | |
| Zack Liu violin, Charley Ma viola, Ming Wu cello | |
| Brahms, feeling pretty stuck after writing the second quartet took 10 years before putting pen to paper again for this quartet. 'Imagine a man who is just going to shoot himself, for there is nothing else to do’, wrote Brahms to his publisher. But those 10 years were pretty damn valuable: breathing life into one of the lesser-played fiery gems of the literature. | |
| Songs for the Coming Day | David Maslanka (1943 - 2017) |
| VIII The Soul Longs for it Own Joy | |
| Joel Cassidy, Soprano sax | |
| Joel Cassidy sop sax, nick Alto, Bailey tenor, Terence bari | |
| Songs for the Coming Day is in nine movements, and runs about 48 minutes. It was commissioned by the Masato Kumoi Sax Quartet and consortium. The movements are relatively brief “songs without words†with titles such as Breathing, Awakening, Letting Go of the Past, and The Soul is Here for its Own Joy. Eight of the nine movements are varying degrees of slow, emphasizing longer durations and quieter dynamics. There is a high demand for precise ensemble awareness and blended tone qualities. The title Songs for the Coming Day reflects my belief that under the chaotic surface of our world there is a rising creative energy through which is growing | |
| Danse Macabre | Saint saëns (1835 - 1921) |
| JiaYiHuang, Piano | |
| Jasmine Blake piano | |
| The Danse Macabre consists of the dead or a personification of death summoning representatives from all walks of life to dance along to the grave, typically with a pope, emperor, king, child, and laborer. It was produced as memento mori, to remind people of the fragility of their lives and how vain were the glories of earthly life. | |
| The Garden of Love | Joel Cassidy (1951 - N/A) |
| Arranged by Joel Cassidy | |
| Joel Cassidy, Soprano Saxophone | |
| Garden of Love is based on a poem by William Blake of the same now. Speech is the source of inspiration: melody and rhythm of spoken word and of bird sounds were analysed and written down in musical notation. The solo instrument performs a dialogue with both speech melody and bird song. The backing combines the sounds of voices, oboe, harpsichord and a variety of birds and electronic sound | |
| Toccata in Eb Minor, Op. 24 | Aram Khachaturian (1903 - 1978) |
| Joyce Lie, Piano | |
| The Toccata was written in 1932 at the Moscow Conservatory as he studied composition with Nikolai Myaskovsky and it is the first movement of the three part suite however second and third movements are less known compared to the Toccata. This piece has an Armenian musical elements and has strong rhythm which drives the piece forward. | |