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: 0. | |||
| Vallse d'Obermann | Franz Liszt (1811 - 1886) | 14 | 11:10 |
| Catherine Zhu, Piano | |||
| Liszt was inspired by French Philosopher Etienne de Senancour's novel, "Obermann", which focuses on a young recluse who retreats into the Swiss Alps and ponders on unsettling questions. The work begins with a desolate descending theme in the left hand with hollow right-hand chords. There is the use of chromaticism and dissonances present. Eventually, the music enters the 'celestial' key of C Major. In the end, the music builds passion and virtuosity in the climax. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Sonata in A minor, K. 54 | Domenico Scarlatti (1685 - 1757) | 7 | 11:26 |
| Jovanna Amaris Koerniawan, Piano | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Lieder ohne Worte Op. 19 No. 1 | Felix Mendelssohn Bartholdy (1809 - 1847) | 8 | 11:35 |
| Arranged by Friedrich Hermann | |||
| Davis Takagi, Violin | |||
| Mendelssohn wrote this between 1829-1845, the title is Lieder ohne Worte meaning songs without words. Lieder is a German art song which were popularised by Schubert, Schumann and Wolf. However in these series of songs Mendelssohn decided to compose for the piano only without voice and this is an arrangement for piano and violin by Friedrich Hermann. | |||
| Meditation from ‘Thaïs’ - Andante Religioso | Jules Massanet (1842 - 1912) | ||
| Davis Takagi, Violin | |||
| The story goes like this - Athanaël a cenobite monk meets Thaïs a courtesan and falls madly in love with her and try’s to convert her into Christianity, but he love for her was rather lust for flesh than the spirit. While on the other hand, Thaïs was drowned in her materialistic world and wasn’t interested in Athanaël at all and did not succumb into converting to Christianity. After Thaïs was baptised, Athanaël becomes depressed knowing that he will never see her again, in his dream he sees the vision of Thaïs dying thus the reality. He came to epiphany that everything does not matter except for Athanaël’s love for Thaïs he breaks all his vow | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Theme from “Schindler’s list†| John Williams (1932 - ) | 4 | 11:45 |
| Slowly, tenderly | |||
| Davis Takagi, Violin | |||
| The famous theme from the film “Schindler’s listâ€. The film is about holocaust survivors and what they have gone through in such a terrible time in Poland. When I play this piece I imagine the scene where women had to shave their heads just before they were executed in the gas chamber. I imagine their liberty and freedom in the recapitulation where the violin plays the main theme but an octave high. I also have pictures of Mariupol and the aftermath of the Syrian earthquake. Hope you’ll enjoy my performance. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Prelude and Fugue in D# Minor Book 2 | J.S. Bach (1685 - 1750) | 12 | 11:51 |
| Timothy Kan, Piano | |||
| The prelude propels itself by a constant stream of semiquavers whilst being complemented by an occasional quaver theme in the opposite hand. The subject of the fugue is rather long and expansive so throughout the piece, many instances of stretto can be observed and Bach explores these effects amongst the 4 voices. | |||
| Beethoven Sonata in Ab Major Op 110 | Ludwig van Beethoven (1770 - 1827) | ||
| I. Moderato cantabile molto espressivo | |||
| Timothy Kan, Piano | |||
| Composed in 1821, Beethoven’s Piano Sonata in A flat major is one of Beethoven's last explorations of the Piano Sonata genre. It offers a journey of sophisticated emotions and warmth through its exploration of themes with simple lyricism and varying textures. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Chopin Etude Op.10 No.11 | Fredric Chopin (1810 - 1849) | 3 | 12:05 |
| Timothy Kan, Piano | |||
| An Etude of arpeggiated chords that aims to train wrist and finger coordination whilst maintaining a beautiful, lyrical line. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Impromptus Op 90 No 3 | Franz Schubert (1797 - 1828) | 10 | 12:10 |
| Lydia Liu, Piano | |||
| This serenade is a classic example of Schubert's outstanding lyrical facility, as well as his penchant for long melodic lines. | |||
| jardins sous la pluie | Claude Debussy (1862 - 1918) | ||
| Lydia Liu, Piano | |||
| Estampes (\\\\\\\\\\\\\\\"Prints\\\\\\\\\\\\\\\"), L.100, is a composition for solo piano by Claude Debussy. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Etude op.10 no.10 | Frédéric Chopin (1810 - 1849) | 7 | 12:22 |
| Yizhu Chen, piano | |||
| Études-Tableaux op.39 no.6 | Sergei Rachmaninoff (1873 - 1943) | ||
| Yizhu Chen, piano | |||