Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Myrthen Op.25 | Robert Schumann (1810 - 1856) |
| 3. ‘Der Nussbaum’ | |
| Lily Flynn, Voice | |
| Rhodri Clarke, piano | |
| Myrthen is a cycle of 26 songs that Schumann wrote for Clara Schumann as a wedding gift. Der Nussbaum or ‘the chestnut tree’, an enchanting poem by Julius Mosen, speaks of the leaves of a chestnut tree, who whisper of a maiden sleepily, dreamily thinking and singing softly of a bridegroom and her future next year. | |
| Piano Concerto No. 1 in G minor, Op. 25 | Felix Mendelssohn (1809 - 1847) |
| 1. Molto allegro con fuoco | |
| Devina Christi, piano | |
| Rhodri Clarke, piano | |
| Mendelssohn’s 1st piano concerto written in 1830-31, first premiered in Munich in 1831. Very energetic, with the 1st movement begins with a stormy and short introduction by orchestra, then the piano enters with very fast, and vigour. With a typical sonata form, it has contrasting lyrical theme in the middle in its relative major key before coming back to the stormy passage. | |
| Piano Sonata No. 6 in F major, Op. 10 No. 2 | Ludwig van Beethoven (1770 - 1827) |
| I. Allegro\\r\\nII. Allegretto\\r\\nIII. Presto | |
| Samuel Lee, Piano | |
| Ludwig van Beethoven dedicated the Op. 10 set of sonatas to Count Johann Georg von Browne's wife, Anna Margarete. | |
| Concerto in E minor, Op.11 | Fryderyk Chopin (1810 - 1849) |
| 1st movement | |
| Chris Wang, Piano | |
| Rhodri Clarke, piano | |
| The first movement of Chopin No.1 Concerto in E minor. | |
| The Violin Sonata No. 2 in D minor, Op. 121 2nd movement | Robert Schumann (1810 - 1856) |
| 2nd movement, Sehr lebhaft | |
| Davis Takagi, Violin | |
| The first movement begins with a stately sequence of chords, the contour of which is then used for the first subject proper. The fourth bar of this theme contains a distinctive syncopated rhythm that plays a role in the link to the second subject, and is also used extensively in the development. The vigorously driving second movement in B minor (♯vi in relation to the home key) is of the scherzo genre, and appears to have influenced the young Johannes Brahms, particularly in the C minor scherzo he wrote for the F-A-E Sonata. Near the end of this movement, the chorale melody \\\"Gelobet seist du, Jesu Christ\\\" is quoted triumphantly in the m | |
| Mercado persa | Manuel Moreno Junquera (1956 - 2011) |
| Max parritt, Guitar | |
| Vals bulerias | |
| Prelude and Fugue in C major BWV 846 | J.S. Bach (1685 - 1750) |
| Edited by Carl Czerny | |
| Ezekiel Rowland, Piano | |
| The Well-Tempered Clavier, BWV 846–893, consists of two sets of preludes and fugues in all 24 major and minor keys for keyboard by Johann Sebastian Bach. | |
| Prelude and Fugue in F minor BWV 857 | J.S Bach (1685 - 1750) |
| Edited by Carl Czerny | |
| Ezekiel Rowland, Piano | |
| The Well-Tempered Clavier, BWV 846–893, consists of two sets of preludes and fugues in all 24 major and minor keys for keyboard by Johann Sebastian Bach. | |
| Keyboard Sonata in E Major 162 | Domenico Scarlatti (1685 - 1757) |
| Edited by Stoddard Lincoln | |
| Catherine Zhu, Piano | |
| This work is in the third volume of The Scholar's Scarlatti(graded progression of sonatas). | |
| Nutcracker suite piano transcription | Pyotr Ilyich Tchaikovsky (1840 - 1893) |
| Arranged by Pletnev | |
| 4 | |
| Catherine Zhu, Piano | |
| The 4th movement depicts the scene of the 'Pine Forest in Winter within the suite. The work opens with the serene main theme and soon builds to a climax that can be associated with a full orchestra playing. Eventually, the music fades to a close, ending the scene. | |
| bwv 997 | Bach (1685 - ) |
| Carlen, Classical Guitar | |
| solo | |
| Davidsbündlertänze Op. 6 | Robert Schumann (1810 - 1856) |
| Book 1 | |
| Yuhao Yan, Piano | |
| The Davidsbund ("League of David") of the title takes its name from the Biblical champion of music, David, royal poet and singer and slayer of the Philistine Goliath. The league itself was a romantic literary device, inspired both by literary models and by the real artistic and political associations of the Vormarz. Its principal figures were the passionate, enterprising Florestan, with whom Schumann identified, and his alter ego, the sensitive, gentle Eusebius. | |