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: 0. Chairs Needed: 1. | |||
| Rhapsodie for Saxophone | Claude Debussy (1862 - 1918) | 12 | 11:10 |
| Arranged by Vincent David | |||
| Terence Liu, Saxophone | |||
| Jacob Abela, piano | |||
| In 1901, Elise Hall had commissioned a saxophone concerto to be written by Claude Debussy. However, Debussy was not pleased with the sound of the saxophone and had put it off. It was not until after his death and Elise Hall had gone deaf 18 years later, that the piece was finally premiered. The original Debussy score was very sparse and the majority of the piece was comprised of rests, so current arrangements had adapted the orchestral melodies into the saxophone part. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Chaconne in D minor BWV 1004 | Johann Sebastian Bach (1685 - 1750) | 20 | 11:24 |
| Arranged by Ferruccio Busoni | |||
| Michelle Duong, Piano | |||
| The Partita in D minor for solo violin (BWV 1004) by Johann Sebastian Bach was written between 1717 and 1720. It is a part of his compositional cycle called Sonatas and Partitas for Solo Violin. | |||
| Des pas sur la neige | Claude Debussy (1862 - 1918) | ||
| Michelle Duong, Piano | |||
| Des pas sur la neige is a musical composition by French composer Claude Debussy. It is the sixth piece in the composer's first book of Préludes, written between late 1909 and early 1910. The title is in French and translates to "Footprints in the Snow". | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Faschingsschwank Aus Wien op. 26 | Robert Schumann (1810 - 1856) | 18 | 11:46 |
| I: Sehr Lebhaft | |||
| Anna Gao, Piano | |||
| Faschingsschwank aus Wien (Carnival Scenes from Vienna) is a solo piano work in five movements. Schumann began working on this composition in 1839 when he was in Vienna. | |||
| Stroke | Michael Smetanin (1958 - -) | ||
| Anna Gao, Piano | |||
| This piece was commissioned by Australian Pianist Lisa Moore. The first performance of this piece was in December 1991 at Newcastle Conservatorium of Music, performed by Lisa Moore. In 1988 this piece won the Jean Bogan Prize for Piano Composition. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Widmung, from Myrthen Op. 25 No. 1 | Robert Schumann (1810 - 1856) | 20 | 12:06 |
| Arranged by Franz Liszt | |||
| Richard Liang, Piano | |||
| Originally written by Schumann in 1840, 'Myrthen' was dedicated as a wedding gift for his wife (Clara Wieck). Liszt later arranged the heartfelt song as a virtuosic piano transcription. | |||
| Piano Sonata No. 2 in G minor, Op. 22 | Robert Schumann (1810 - 1856) | ||
| 1. So rasch wie möglich 2. Andantino. Getragen 3. Scherzo. Sehr rasch und markiert 4. Rondo. Presto | |||
| Richard Liang, Piano | |||
| This was Schumann's last piece written in the sonata genre, completed after the release of his third Piano Sonata. His 'Florestan' and 'Eusebius' personalities are both culminated to its full extent in this work, at one moment charged with virtuosic intensity and passion, yet reflective and sensitive the next. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Piano Sonata in B minor, S.178 | Franz Liszt (1811 - 1886) | 30 | 12:28 |
| i: Lento assai - Allegro energico ii: Andante sostenuto iii: Allegro energico - Presto - Andante sostenuto | |||
| James He, Piano | |||
| The Liszt Sonata is one of the most important pieces in piano literature. It is a 30 minute one-movement sonata but within that, it still holds the structure of the fast-slow-fast. This monumental work was dedicated to Robert Schumann after Schumann dedicated his Fantasie in C major op.17 to Liszt. The amazing thing about this sonata is that almost everything is derived from a single motif. A lot of the times it is blended in so well you can’t even hear that it’s still the exact same motif. This piece encompasses every emotion and demands the highest technical and musical ability of the performer. | |||