Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Piano Concerto no.3 Op.30 | Sergei Rachmaninoff (1873 - 1943) |
| 1st movement | |
| Brian Luo, Piano | |
| Konrad Olszewski, piano | |
| A concerto which explores many emotions. | |
| Sonata op. 40 no. 2 | Muzio Clementi (1752 - 1832) |
| Anna Gao, Piano | |
| Clementi was born in Rome, but taken to England at the age of 14. Opus. 40 no. 2, published in 1802, is a two movement Sonata in the key of Bminor.\r\n \r\n | |
| Ballade no. 2, S 171 | Franz Liszt (1811 - 1886) |
| Anna Gao, Piano | |
| Ballade no. 2 was written in 1854, the same year as Liszt\\\'s famous Bminor Sonata. It is one movement tone poem. According to Claudio Arrau, the tone poem is based on the Greek myth of Hero and Leander.\r\n | |
| Slavische Fantasie | Carl Höhne (1870 - 1939) |
| Flynn Seward, Trumpet | |
| Konrad Olszewski, piano | |
| Carl Höhne was a German composer and Cornet player in the late 19th century. Slavische Fantasie is his most well known work. It was originally written for Cornet player Franz Werner in 1899 and is now a popular piece for Trumpet. | |
| Piano Concerto No. 3 | Sergei Prokofiev (1891 - 1953) |
| I. Andante-Allegro. II. Tema con variazioni. III. Allegro, ma non troppo | |
| Hannah Shin, Piano | |
| Konrad Olszewski, piano | |
| An exciting concerto that shows Prokofiev's neo-classical influence. It showcases both a very extended orchestration and percussive piano textures, among others. | |
| Sonata in C minor, K11 | Domenico Scarlatti (1685 - 1757) |
| Minjia Li, Piano | |
| An overall short, joyous and delicate composition | |
| Piano Concerto in A minor, Op. 54 | Robert Schumann (1810 - 1856) |
| Movement 1. Allegro Affetuoso | |
| Francesca Qu, Piano | |
| Konrad Olszewski, piano | |
| Robert Schumann's Piano Concerto in A minor remains one of the most widely performed piano concertos of the romantic period. The work was written for and premiered by his wife, Clara Wieck Schumann. The expansive first movement opens the work with a powerful opening theme followed by a contrasting lyrical duet between the piano and the clarinet, in line with the work's symphonic and collaborative elements between soloist and orchestra. | |