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. | |||
| Violin Concerto in D minor, Op. 47 | Jean Sibelius (1865 - 1957) | 13 | 11:10 |
| I - Allegro moderato | |||
| Samuel Li, Violin | |||
| Konrad Olszewski, piano | |||
| Sibelius' violin concerto, originally written in 1904 but revised in the next year, was his one and only concerto and is symphonic in scope, perhaps influenced by his proclivity for composing symphonies. The tragic backstory behind this composition forms a dark undercurrent which can be sensed in even the most jubilant sections of the piece. Within this concerto, Sibelius' deep feelings for the violin and his failed aspirations permeate. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Come Raggio di Sol | Antonio Caldara (1670 - 1736) | 3 | 11:25 |
| n/a | |||
| Darcy Towe, Voice | |||
| Konrad Olszewski, piano | |||
| Come raggio di sol (As a ray of sunshine) is an early song of perhaps a “tortured artist.” It speaks of putting on a happy face while “the heart is writhing in secret anguish.” The minor key and droning eighth note pulses add to the melancholy. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Études de concert, Op.35 Automne | Cécile Louise Stéphanie Chaminade (1857 - 1944) | 10 | 11:30 |
| Lydia Liu, piano | |||
| Etude Op.25 No.9 | Frédéric François Chopin (1810 - 1849) | ||
| Lydia Liu, piano | |||
| 2 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Piano Concerto No. 1 Op. 28 | Alberto Ginastera (1916 - 1983) | 13 | 11:42 |
| 1. Cadenza e variant 2. Scherzo allucinante 3. Adagissimo 4. Toccata concertata | |||
| Timothy Kan, Piano | |||
| Konrad Olszewski, piano | |||
| The concerto was Ginastera's first composition for piano since his Piano Sonata No. 1, Op. 22, written in 1952. The work was commissioned by the Koussevitzky Foundation and was completed in 1961. It is dedicated to the memory of Serge and Natalie Koussevitzky. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| The Lover and the Nightingale | Enrique Granados (1867 - 1916) | 6 | 11:57 |
| Shujie Fu, Piano | |||
| a piano piece by the Spanish composer Enrique Granados. The piece, which lasts about six minutes, is part of his suite Goyescas which was inspired by the work of the painter Goya.\r\nWhile the girls known as majas are a frequent subject of Goya, the piece has not been associated with a particular painting. The piece starts with the queja (in English, plaint or sad cry) of the maiden. Near the end there are glittering bird-like trills representing the nightingale. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Confutatis & Lacrimosa from Requiem in D Minor | Wolfgang Amadeus Mozart (1756 - 1791) | 7 | 12:05 |
| Transcribed by Franz Liszt | |||
| Yunqi Ou, Piano | |||
| Confutatis and Lacrimosa from Mozart's Requiem in D minor, K. 626, transcribed by Franz Liszt (1865). Confutatis means “confounded.” It explains that when the accused are confounded and are doomed to the flames of Hell. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Fifteen Hungarian Peasant Songs Sz. 71 | Béla Bartók (1881 - 1945) | 15 | 12:14 |
| Samuel Lee, Piano | |||
| Based on a collection of folk tunes | |||
| At the outgoing | Ihor Naumovich Shamo (1925 - 1982) | ||
| Samuel Lee, Piano | |||
| One of Shamo's pieces | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| 7 Fantasien, Op. 116 | Johannes Brahms (1833 - 1897) | 7 | 12:31 |
| No. 1, Capriccio in D minor \\r\\nand No. 6, Intermezzo in E major\\r\\n | |||
| Madeleine Groves-Crawford, Piano | |||
| The Fantasies Op. 116 were written in 1892 in Brahms\\\' final years and were likely dedicated to Clara Schumann. The seven fantasies share a sense of unity and cohesion, all perhaps underpinned by a sense of death and introspection. No. 1 contains a balance between virtuosic and melodramatic phrases, with lyricism and reflection. Meanwhile, No. 6 consists of delicate inner voices with a hauntingly beautiful middle section. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Venezia e Napoli, Années de pèlerinage II, Supplément, S.162 | Franz Liszt (1811 - 1886) | 10 | 12:40 |
| III. Tarantella | |||
| Devina Christi, piano | |||
| Uses themes by Guillaume-Louis Cottrau, alternates between compound and duple meter. It begins very energetically in G minor with a contrasting, lyrical middle section in Eb major, marked “Canzona Napolitana” (“Neapolitan song”). Finally, it returns to flourishing energy in G major and very is virtuosic, a signature of Liszt’s compositions. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Sonata Hob XVI: 26 in A Major | Joseph Haydn (1732 - 1809) | 8 | 12:52 |
| 1. Allegro Moderato 2. Minuet e Trio 3. Presto | |||
| Charlotte, Piano | |||
| Haydn Sonata in A Major | |||