Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Piano Concerto no. 1 | Pyotr Ilyich Tchaikovsky (1840 - 1893) |
| first movement. | |
| Sean Kim, Piano | |
| Rhodri Clarke, piano | |
| The great Op. 23 Piano Concerto no. 1 by Tchaikovsky, is an extraordinary work that testifies to his compositional skills as a maestro orchestrator and his ability to create powerful music. Composed between 1874 and 1875, the concerto is known for its grandeur and lyricism. Throughout the movement, Tchaikovsky weaves together themes of intense passion and sweeping melodies, creating a rich musical tapestry that showcases the full capability of the relationship between the piano and the orchestra. This first movement is truly a masterpiece that transcends eras, as it remains to enthral audiences with its intricate beauty and complexity. | |
| Sonata in A minor, K. 54 | Giuseppe Domenico Scarlatti (1685 - 1757) |
| Jovanna Amaris Koerniawan, Piano | |
| Étude Op. 10, No. 12 | Frédéric Chopin (1810 - 1849) |
| Jovanna Amaris Koerniawan, Piano | |
| Sonata for Trumpet and Piano | Stuart Greenbaum (1996 - ) |
| 1 | |
| James O\'Hehir, Trumpet | |
| Rhodri Clarke, piano | |
| This Sonata serves as the 8th in a series composed by MCM's very own professor of music composition, Stuart Greenbaum. Written for the Head of Trumpet at the MCM, Joel Brennan, Greenbaum has formed an exciting modern piece that brilliantly brings jazz stylistic influences into a more contemporary classical genre. | |
| Summertime | Geroge Gershwin (1898 - 1937) |
| Yue (Ruby) Zheng, Voice | |
| Rhodri Clarke, piano | |
| Soprano piece from the musical Porgy and Bess. | |
| Sonata in C minor, K.116 | Giuseppe Domenico Scarlatti (1685 - 1757) |
| Aiden Abbott, Piano | |
| Gaspard de la nuit M.55 | Maurice Ravel (1875 - 1937) |
| -Ondine -Le gibet -Scarbo | |
| Flinch Kemp, Piano | |
| Ravel’s 1908 piano suite of legendary technical difficulty “Gaspard de la nuit†is a programmatic piece based on a selection of gothic poems by 19th century French poet Alloysius Bertrand. These ingenious poems evoke a series of both morbid and sensuous images; those Ravel chose to set to music being the attempted seduction of a mortal by an undine, a hanged man against the setting sun while a bell tolls in a far off city, and finally the haunting of the author by a goblin-like demon named Scarbo. | |
| Étude in E minor, op. 25 no. 5 | Frédéric Chopin (1810 - 1849) |
| Jay Brendan Del Rosario, Piano | |
| Commonly known as the "Wrong Note" étude, this study tests a pianist's flexibility across a variety of chord shapes while simultaneously demanding a firm and controlled tone in the weak, upper fingers of the right hand. The middle section in E major features a lovely bel canto melody, reminiscent of cello writing. | |
| Étude in C# minor, op. 10 no. 4 | Frédéric Chopin (1810 - 1849) |
| Jay Brendan Del Rosario, Piano | |
| Chopin's "Torrent" étude is a famous showpiece, demanding power and strength across extended scale figures in both hands. The fiery, chromatic nature of the writing lends itself to dramatic and brash interpretations of the music, despite this étude being little more than scales organised in a harmonically beautiful fashion. | |
| Étude Book 1 no. 4, \"Fanfares\" | György Ligeti (1923 - 2006) |
| Jay Brendan Del Rosario, Piano | |
| Ligeti's "Fanfares" is amongst one his most sarcastic. The entire work surrounds an 8 note ostinato based on a whole-tone scale which unyieldingly permeates the background of the work. The melodic material is almost entirely composed of legato figures across an immense dynamic range. | |
| Étude in D major, op. 9 no. 9 | Sergei Rachmaninoff (1873 - 1943) |
| Jay Brendan Del Rosario, Piano | |
| A pompous and grand étude, Rachmaninoff demands a rich and bold character throughout this work. Much of the study surrounds a fanfare-like rhythmic motif, driving in a militaristic theme to the music. The middle section features lush modulations by thirds and stands as remarkably intimate section in contrast to the chromatically sequenced augmented harmony seen in the harsher sections of the étude. | |