Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Sonata in A major | Cesar Franck (1822 - 1890) |
| Arranged by Jean-Pierre Rampal & Robert Casadesus | |
| Movements 2 (Allegro) & 3 (Recitativo-Fantasia) | |
| Molly Jenkins, Flute | |
| Rhodri Clarke, piano | |
| Originally written for violin, the second movement of Franck's Sonata in A major is turbulent and rhythmically driven greatly contrasting the following movement which is improvisatory and free form in nature. | |
| Piano Sonata Op.109 in E Major | Ludwig van Beethoven (1770 - 1827) |
| I. Vivace ma non troppo — Adagio espressivo II. Prestissimo | |
| Yingge Wang, Piano | |
| Composed in 1820, Op 109 is characterised by a fresh and free approach to the traditional Sonata form, and the wide expressive scope of his set of variations in the third movement. | |
| Flute concerto op 283 | Carl Reinecke (1824 - 1910) |
| 1. Allegro molto moderato | |
| Jessica Zuk, Flute | |
| Rhodri Clarke, piano | |
| Although written in 1908, Carl Reinecke's flute concerto harks back to a much earlier, Romantic, idiom. The work is considered the only major Romantic concerto for flute. | |
| Sonata | William Albright (1944 - 1998) |
| I. Two-Part Invention, II. La follia nuova: a lament for George Cacioppo | |
| Mitchell Flynn, Alto Saxophone | |
| The Sonata for Alto Saxophone and Piano was written in 1984 for a consortium of three saxophone/piano duos, with a grant from the National Endowment for the Arts. It is a virtuosic work with vastly contrasting compositional styles between movements. Mvt I references J.S. Bach\\\'s inventions as it is contrapuntal in nature, though with little traditional resemblance to Bach\\\'s works, twisting the invention form and constantly utilising free material alongside an uneasy tonal centre. Mvt II is slow and sonorous yet powerful, dedicated to the memory of composer George Cacioppo whose music personality lay the foundation of Albright\\\'s thinki | |
| Phoenix for flute and orchestra | John Carmichael (1930 - ) |
| 2. Allegro Vivace | |
| Wil Rigby, Flute | |
| Rhodri Clarke, piano | |
| The second and final movement of \\\'Phoenix\\\' is emblematic of the phoenix taking flight after its rebirth. It begins with a sprightly theme full of vigour with bird calls throughout. The main themes then pass into a flute and harp cadenza which evokes some of the more melancholy aspects of the first movement as well as some dazzling passage. It concludes with a recapitulation of the main themes and a rousing send off. | |
| Cello suite No. 2 in D Minor BWV 1008 | Johann Sebastian Bach (1685 - 1750) |
| VI. Gigue | |
| Alice Hurwood, Cello | |
| Johann Sebastian Bach (1685-1750) was a German composer in the middle to late Baroque period and is well known for his large body of work and influential compositional style. Bach composed many secular works including the beloved sonatas and partitas for solo violin and the unaccompanied cello suites. Bach most likely completed these while serving as musical director to Prince Leopold of Köthen, a position for which he sacrificed spending one month in prison.\r\nIn total there are six suites for cello, in G Major, D Minor, C Major, E flat Major C Minor, and D Major. Each suite consists of 6 movements. | |
| Piano Concerto No. 2 in F minor | Chopin (1810 - 1849) |
| I. Maestoso II. Larghetto | |
| Yuhao Yan, piano | |
| Rhodri Clarke, piano | |
| The compressed first movement, followed by the the breathtaking Larghetto. Liszt wrote that the second movement is "of a perfection almost ideal; its expression now radiant with light, now full of tender pathos." | |
| Se tu m\'ami | Alessandro Parisotti (1853 - 1913) |
| Kristin Astouroghlian, voice | |
| Rhodri Clarke, piano | |
| How can honesty and flirtation join together in one character? In this piece a flirter woman is honestly telling her young shepherd boy lover that she cannot love only him. | |
| La Danza | Gioachino Rossini (1792 - 1868) |
| Kristin Astouroghlian, voice | |
| Rhodri Clarke, piano | |
| Translated to "The Dance", Rossini uses the lyrics and music of the song not only to explain and recreate active and joyful dancing moments, but he also explains how much happiness is involved while preparing to dance to such a music and enjoying great company. | |