Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Frère! Voyez le beau bouquet! | Jules Massenet (1842 - 1912) |
| Act II of Werther | |
| Phoebe Edwards, Voice | |
| Rhodri Clarke, piano | |
| "Frère! Voyez" is Sophie's only aria in Massenet's Werther, standing as a brief expression of innocence and joy in the ultimate tragedy of Werther and Charlotte's impossible romance. Sophie is the 15 year old sister of Charlotte, who is caught between loving Werther and fulfilling her mother’s dying wish that she marry Albert, for whom she does not feel strongly. Somewhat ironically, Sophie’s aria is a celebration of freedom in love, with the perhaps naive belief that “God allows us to be happyâ€, therefore contrasting with the opera's core focus on the pain of an un-pursuable love. | |
| Six Morceaux Op.51 No.6 | Pyotr Ilyich Tchaikovsky (1840 - 1893) |
| Valse Sentimentale | |
| Qihan Sun, Piano | |
| Tchaikovsky's Valse sentimentale, the last of his Six morceaux (Six Pieces), for piano, Op. 51, was composed in 1882, during a very difficult period in the composer's life. From the late 1870s until 1885, the composer felt restless, somewhat disoriented, and unsure of his creative powers | |
| Sonata for Clarinet and Piano, no.1, Opus. 120 | Johannes Brahms (1833 - 1897) |
| movement 1, Allegro appassionato | |
| Lily tamir-regev, clarinet | |
| Rhodri Clarke, piano | |
| The clarinet sonatas were dedicated to Richard Muhlfeld and stem from a period late in Brahms's life where he discovered the beauty of the sound and tonal colour of the clarinet. | |
| Davidsbündlertänze Op. 6 | Robert Schumann (1810 - 1856) |
| Book 2 | |
| Yuhao Yan, piano | |
| The pianist-scholar Charles Rosen offers an insightful observation about Davidsbündlertänze: “The meaning of the Davidsbündlertänze cannot be put into words, of course, but it comes closer to words than any other piece of music that I know. With its combination of memory and nostalgia, humour and willfulness… the work seems to hint at something hidden within it, intended for us to guess at and not to find. It is, in any case, the reticent Eusebius that has the last word.†| |
| Prelude and Fugue in C# major, BWV848 | Johann Sebastian Bach (1685 - 1750) |
| - | |
| Nicole Cao, Piano | |
| - | |
| Bach Prelude and Fugue in Ab Major WTC Book 1 | Johann Sebastian Bach (1685 - 1750) |
| TRIEU HUYNH, Piano | |
| Bach wrote 48 Prelude and Fugues for the 'clavier' which translates to 'keyboard,' meaning Bach never set a exact precedent for which instruments these pieces are to be played on especially since the pianoforte as we know it today did not exist during Bach's life. Bach's Ab major prelude in book one of the more simplistic Preludes in his sets, composed in a style more acustomed to his two part inventions. On the other hand, the fugue is by contrast significantly more difficult both technically and music. It demands extra attentiveness to all 4 voices to compliment eachother. | |
| Scherzo op31 no2 | Frédéric Chopin (1810 - 1849) |
| Lydia Liu, Piano | |
| The work was composed and published between 1835 and 1837,[1] and was dedicated to Countess Adèle Fürstenstein. | |
| Sonata in Ab Major Op. 110 | Ludwig van Beethoven (1770 - 1827) |
| I. Moderato cantabile molto espressivo II. Allegro molto III. Adagio ma non troppo – Allegro ma non troppo | |
| Tim 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. | |
| Ballade in F minor Op. 52 | Frederic Chopin (1810 - 1849) |
| Tim Kan, piano | |
| Written in 1842, this ballade is commonly considered one of Chopin's masterpieces, and one of the masterpieces of 19th-century piano music. The Chopin ballades hold significance in the history of piano repertoire as Chopin was the first to experiment with the Ballade form. His ballades turned out to be so popular and successful that other composers such as Liszt and Brahms also produced Ballade works. The ballade form, although somewhat resembles parts of sonata form, is characterized by its narrative and story-telling nature. | |