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. | |||
| Concerto No.2, Op.22 | Henryk Wieniawski (1835 - 1880) | 5 | 11:10 |
| Movement II. Romance | |||
| Jessica Leigh, Violin | |||
| Rhodri Clarke, piano | |||
| Polish-born musician, Wieniawksi, was one of the reigning violinists of his day, worshipped by the public for his creative and recreative artistry, admired and respected by his colleagues. Written during the relatively stable period of his residence in St. Petersburg, the second violin concerto in D minor, Op. 22 is generally considered his finest work. About this second movement, the renowned violinist Leopold Auer said, “It is a song to be sung in away to make us forget the instrument.†| |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| \'In uomini, in soldaiti\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\' from Così fan tutte, K.588 | W.A Mozart (1756 - 1791) | 3 | 11:17 |
| Phoebe Edwards, Voice | |||
| In Mozart's renowned comic opera, Così Fan Tutte, the aria 'In uomini, in soldati' is sung by the character of Despina. She is the wise and witty ladies' made of sisters Fiordiligi and Dorabella. In this aria, she advises the two women on their approach to love and romance, warning them not to be fooled by the guise of men's affections and telling them that men ultimately cannot be trusted. Somewhat of a feminist anthem, this aria challenges the conventional expectation for women to pursue romance and men to pursue pleasure, emphasising that women are capable of loving in the same egocentric, frivolous way that is permitted to men. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Violin Concerto Op. 14 | Samuel Barber (1910 - 1981) | 10 | 11:22 |
| First movement - allegro molto moderato | |||
| Carmen Lui, Violin | |||
| Rhodri Clarke, piano | |||
| The Concerto for Violin and Orchestra was completed in\r\nJuly 1940 at Pocono Lake, Pennsylvania.\r\nThe first movement begins with a lyrical melody introduced by the solo violin, without any orchestral introduction. This movement\r\nas a whole has perhaps more the character of a sonata\r\nthan concerto form. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Légende, Op.66 | Florent Schmitt (1870 - 1958) | 11 | 11:34 |
| Jenny Yang, Saxophone | |||
| Rhodri Clarke, piano | |||
| Within the span of just ten minutes, Schmitt offers us a rhapsodic ballad in its breadth and depth of atmosphere, with a masterfully colourful orchestration coexisting with the solo saxophone. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Petrarch Sonnet 47 | Franz Liszt (1811 - 1886) | 10 | 11:47 |
| Anna Gao, Piano | |||
| Originally a song for voice and piano by Liszt and later transcribed it for piano solo. The vocal version is set to a sonnet by Petrarch. | |||
| El pelele | Enrique Granados (1876 - 1916) | ||
| Anna Gao, Piano | |||
| El Pelele (the straw man) belongs to a suite for piano solo called Goyescas. The pieces within this set are each inspired by paintings by Goya. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Humoreske Op.20 | Schumann (1810 - 1856) | 25 | 11:59 |
| Yuhao Yan, Piano | |||
| Schumann wrote in a letter to his beloved Clara from Vienna in March 1839, "All week I've been sitting at the piano and composing and writing and laughing and crying, all at the same time. You will find this beautifully illustrated in my Opus 20, the great Humoreske." | |||