Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Sonata in D major No.277 | Johann Joachim Quantz (1697 - 1773) |
| Movement 1 (Allegro Assai), Movement 2 (Arioso) & Movement 3 (alla Forlana ma Presto). | |
| Molly Jenkins, Flute | |
| Jacob Abela, piano | |
| Quantz has written nearly 300 sonata's for the flute. This sonata in D major is one of only six that breaks from his usual pattern of slow-fast-fast, instead you will hear two lively movements at each end of the performance juxtaposed by a slow movement in between. | |
| Retrato Brasilerio | Baden Powell (1937 - 2000) |
| single piece | |
| Isam Ibrahim, Classical guitar | |
| In this portrait, Baden Powell paints, in a simple melody, the deepest and most emotional expression of the Brazilian soul. | |
| Milonga | Máximo Diego Pujol (1957 - ) |
| Movement III from Suite Del Plata | |
| Isam Ibrahim, Classical guitar | |
| Milonga is a musical genre that originated in the RÃo de la Plata areas of Argentina, Uruguay and the Brazilian state of Rio Grande do Sul. It is an exciting habanera with a syncopated beat and arpeggios. | |
| Sonata No.13 in B-flat Major, K.333 | Wolfgang Amadeus Mozart (1756 - 1791) |
| 3rd movement | |
| Katniss Li , Piano | |
| This movement is a sonata-rondo. It’s often played with a playfulness, resembles the 1st movement in its chord pattern and music phrases. Interestingly, this movement has a Cadenza in Tempo in recapitulation, which is unusual for a pianoforte sonata. | |
| Trumpet Concerto in E Flat | Joseph Haydn (1732 - 1809) |
| 1, 2 and 3 | |
| Jennifer Bylund, Trumpet | |
| Jacob Abela, piano | |
| A staple of trumpet repertoire and a favourite of the audition panel, the Haydn Trumpet Concerto was originally written in 1796 to show off the pinnacle of new music technology- the keyed trumpet. Look out world, trumpets could now play chromatics.This piece is a monument to the bromance between Joseph Haydn and his virtuoso trumpeter friend Anton Weidinger. A beautiful piece of music for (what I'm assuming was) a beautiful friendship. | |
| Fantasia in D minor K.397 | Wolfgang Amadeus Mozart (1756 - 1791) |
| Sam Liu, Piano | |
| One of Mozart\\\'s pieces that were unfinished and discovered after his death. Opening on an Andante introduction, the piece then moves to the Adagio section with 2 themes, concluding with an elegant Allegretto section in D major. | |
| Après une Lecture du Dante - Fantasia quasi Sonata | Franz Liszt (1811 - 1886) |
| Sam Liu, Piano | |
| This masterpiece comes from Liszt\\\'s second set of the Years of Pilgrimage. Featuring nine different motifs throughout the piece, representing the descending to hell. | |
| Lied von Anton Rubeinstein, Op.34, No.9 | Anton Rubinstein (1829 - 1894) |
| Arranged by Franz Liszt | |
| Nhat Thien Lam, Piano | |
| This piece is certainly one of his simplest, and Liszt carries the simplicity into his transcription with such delicacy of innocence, yet hopelessness intertwined as well. | |
| Solo de Concours | Theo Charlier (1868 - 1944) |
| James O\'Hehir, Trumpet | |
| Theo Charlier (1868-1944) is a prominent figure in the trumpeting world. A trumpet player, teacher and composer, he is most recognised for his Trumpet literature especially his excellent study book entitled 36 Etudes Transcendantes which has become essential for developing lyrical trumpet playing among other things. Solo de Concours is an intense and dramatic piece that incorporates many different sides of trumpet playing. The passionate upper register passages; lyrical melodies; tricky technical lines all demand a lot of expressiveness and musicality. | |
| Etude-Tableaux Op.33 No.4 in D Minor | Sergei Rachmaninoff (1873 - 1943) |
| Sina Mehdifar, Piano | |
| The Études-Tableaux were intended to be "picture pieces", essentially "musical evocations of external visual stimuli". This Etude starts with a simple march that grows into a thing of striking contrapuntal complexity. | |
| Étude op.10 no.4 in C♯ minor(Torrent) | Frédéric Chopin (1810 - 1849) |
| Sina Mehdifar, Piano | |
| This study, a very fast Presto con fuoco, features continuous sixteenth notes, in perpetuum mobile fashion involving both hands. This etude is not polyphonic in nature however Chopin must have had a Bach Invention in mind when he composed this piece. Chopin scholar Robert Collet believes that the study "has more than a hint of something elemental, demoniacal and even sinister." | |