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. | |||
| Black Narcissus | Joe Henderson (1937 - 2001) | 15 | 11:10 |
| Arranged by Ramon Ricker | |||
| SuperSax Ensemble, Saxophone | |||
| Josh Clements, Guitar Kat Kalaitzidis, Pno Dani Forsyth, Bass Brandon Bartholomeusz, Asx Thomas Bell, Tsx Justinn Lu, Asx Haley Wolters, Bsx Jenny Yang, Ssx/Tsx Ian Godfrey, Tsx and director | |||
| Black Narcissus was written in the early 1970’s and released on an album of the same name in 1977. Joe Henderson (1937 – 2001) was considered one of the most influential tenor sax players of his generation, as well as being the composer of many jazz standards that have had enduring popularity. As well as leading his own bands, Joe also worked with the greats of his generation including, Herbie Hancock, Miles Davis and Chick Corea. The title of this piece (and the album) reflects a growing political awareness that Henderson was expressing through his music in the later part of the 1960’s. | |||
| Gaviota | Clare Fischer (1928 - 2012) | ||
| Arranged by Ramon Ricker | |||
| SuperSax Ensemble, Saxophone | |||
| Josh Clements, Guitar Kat Kalaitzidis, Pno Dani Forsyth, Bass Brandon Bartholomeusz, Asx Thomas Bell, Tsx Justinn Lu, Asx Haley Wolters, Bsx Jenny Yang, Ssx/Tsx Ian Godfrey, Tsx and director | |||
| Clare Fischer (1928 – 2012) was a Grammy award winning composer, arranger, pianist and band leader, who wrote across many styles including pop, jazz and R&B, though probably best known for his Latin music. Gaviota started life as a Latin inspired song in the Bolero feel and was first released by Poncho Sanchez in 1979. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Prelude & Fugue No.5 in D Major BWV 874 WTK Book II | JS Bach (1685 - 1750) | 14 | 11:27 |
| Sarah Bouquet, Piano | |||
| In the prelude, Bach uses two different times in parallel: flowing quasi-triplets alongside a rather ‘lazy’, sighing common time. We sometimes hear the two contrasting rhythms directly above one another, which creates a slightly disjointed effect. While the fugue of BWV 874 is expressly traditional in structure, Bach employs sonata form: a work in three movements, whereby the beginning is repeated at the end. | |||
| Etudes-Tableaux Op.39 No.2 in A Minor | Sergei Rachmaninoff (1873 - 1943) | ||
| Sarah Bouquet, Piano | |||
| Also known as \\\"The Sea and the Seagulls\\\". The work contains many musical textures that make it a difficult study in touch. It requires performers to restrain themselves and at the same time not sound monotonous. The technical workings of the étude are the 2-over-3 timing, the crossing hands, and large span of the arpeggiated figures for the left hand. This left-hand figure quotes the Dies Irae plainchant, one of the many works by the composer to do so. | |||
| 1 piano(s) needed with lid(s) full stick. 1 chairs needed for page turners. Stands Needed: 1. Chairs Needed: 0. | |||
| Prelude and Fugue in C Sharp Major No.3 WTC | Johann Sebastian Bach (1685 - 1750) | 4 | 11:43 |
| Prelude and Fugue | |||
| Charlotte Roberts, Piano | |||
| A three voice fugue from WTC Book 1 | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Scarlatti sonata in A major K.322 | Domenico Scarlatti (1685 - 1757) | 3 | 11:49 |
| Edited by Schirmer\'s library | |||
| MariaFrancesca Cascino, Piano | |||
| Domenico Scarlatti, after moving to Spain, composed five hundred and fifty five sonatas | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Keyboard Sonata in G major, K.424 | Giuseppe Domenico Scarlatti (1685 - 1757) | 2 | 11:54 |
| Samuel Lee, Piano | |||
| One of Scarlatti's Keyboard sonatas. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Etude Op 25 no. 1 | Frederic Chopin (1810 - 1849) | 6 | 11:58 |
| Sweeney Marshall, Piano | |||
| A-flat major. | |||
| Etude Op 10 no. 9 | Frederic Chopin (1810 - 1849) | ||
| Sweeney Marshall, Piano | |||
| F minor. | |||
| 0 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Suite No.5 in C minor, BWV 1011 | Johann Sebastian Bach (1685 - 1750) | 7 | 12:06 |
| Prelude | |||
| Chaquen B.A, Viola | |||
| Originally written for cello. The Cello Suites, BWV 1007–1012, are suites for unaccompanied cello by Bach. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Sonata in B Minor Op.40 No.2 | Muzio Clementi (1752 - 1832) | 15 | 12:15 |
| I. Molto adagio e Sostenuto – Allegro con fuoco e con espressione II. Largo, mesto e patetico III.Allegro – Tempo Primo – Presto | |||
| Bernie Maitri, Piano | |||
| One of three great sonatas Clementi published prior to his departure to Europe in 1802, this work was experimental in form and displays newly emerging stylistic directions from Clementi. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Etude Op.42, No.4 | Alexander Scriabin (1872 - 1915) | 3 | 12:32 |
| Yunqi Ou, Piano | |||
| A study in polyrhythm | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Études Tableaux, Op 33 No 4 | Sergei Rachmaninoff (1873 - 1943) | 3 | 12:37 |
| Amber Chong, Piano | |||
| The Études-Tableaux ("study pictures), Op. 33, is the first of two sets of piano études composed by Sergei Rachmaninoff. | |||
| Revolutionary Etude Op 10, No 12 | Frederic Chopin (1810 - 1849) | ||
| Amber Chong, Piano | |||
| Étude Op. 10, No. 12 in C minor, known as the \\\"Revolutionary Étud is a solo piano work and the last in his first set, Etudes, Op. 10, dedicated "à son ami Franz Liszt ("to his friend Franz Liszt"). | |||