Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Piano Concerto in A Major, no.23 KV488 | Wolfgang Amadeus Mozart (1756 - ) |
| First movement and second movement | |
| Yiyang Zeng, Piano | |
| Konrad Olszewski, piano | |
| . | |
| Seven Elizabethan Lyrics: Weep you no more op. 12 no. 1 | Roger Quilter (1877 - 1953) |
| Darcy Towe, Voice | |
| Konrad Olszewski, piano | |
| With more than fifty art songs and duets to his name, Roger Quilter (1877–1953) is considered one of England's most accomplished vocal-music composers due to his extraordinary sensitivity to poetry and its rhythm. That sensitivity, combined with this often-set sixteenth-century poem, offers conductors and their students many opportunities to explore rhythmic possibilities that aid in presenting a rendition full of nuance and expression. | |
| 3 Leider, Op. 12 | Clara Wieck Schumann (1819 - 1896) |
| 1. Er ist gekommen in Sturm und Regen 2. Liebst du um Schönheit 3. Warum willst du and’re fragen | |
| Victoria Lazaris, Voice | |
| Konrad Olszewski, piano | |
| Clara Schumann’s 3 Leider, Op. 12 sets romantic text by Frederich Rűckert. The first movement, 'Er ist gekommen in Sturm und Regen’ ("He came in storm and rain”), recounts a relationship’s passionate and destined beginnings before affirming the lovers' current devotion. In the second movement, ‘Liebst du um Schönheit’ (“Love you for beauty”), the narrator tells her lover not to love her for beauty, youth or wealth, but for the sake of love itself. In the final movement, ‘Warum willst du and’re fragen’ (“Why do you ask others”), the narrator implores their partner not to listen to strangers' comments, but to trust the love in their eyes. | |
| Sonata in C major Hob XVI:50 | Joseph Haydn (1732 - 1809) |
| Nicole Cao, Piano | |
| Prelude Op.32 no.12 | Sergei Rachmaninoff (1873 - 1943) |
| Nicole Cao, Piano | |
| Fantasia in C minor, K. 475 | Wolfgang Amadeus Mozart (1756 - 1791) |
| Madeleine Groves-Crawford, Piano | |
| Composed in 1785, this Fantasia was published alongside his C minor sonata, K. 457. It consists of five contrasting sections, exploring a wide range of emotions and evoking a sense of improvisation. | |
| Toccata | Aram Khachaturian (1903 - 1978) |
| 1 | |
| Isaac Soo, Piano | |
| He wrote the suite in 1932 while studying at the Moscow Conservatory under Nikolai Myaskovsky. However, the Toccata became so well known so quickly that it is now considered a separate piece; the suite from which it came is little known. The first performance was given by then-classmate Lev Oborin, who also recorded it.\r\n\r\nThe Toccata utilises some Armenian folk melodies and rhythms, as well as baroque and contemporary 20th Century techniques. It begins Allegro marcatissimo. A central section Andante espressivo leads to a reprise of the opening motifs. The coda is based on the central section\\\'s theme. It lasts around 5 minutes. | |
| Sonata No 4, Op 30 | Alexander Scriabin (1872 - 1915) |
| I. Andante\\r\\nII. Prestissimo volando | |
| Josh Tait, Piano | |
| O! wenn es doch immer so bliebe | Franz Liszt (1811 - 1886) |
| Charlotte Roberts , Piano | |
| Lied von Anton Rubinstein, S554/1 | |
| Sonata in F minor, K 69, L 382 | Giuseppe Domenico Scarlatti (1685 - 1757) |
| Jamie Ruta, Piano | |
| Scarlatti composed a total of 555 Keyboard Sonatas dating back from the early 18th Centaury. The K 69, L 382 Sonata displays the compositional style of the early 16th centaury due to its irregular phrase groupings. | |
| Dumka in C minor, Op 59 | Pyotr Ilyich Tchaikovksy (1840 - 1893) |
| Amber Chong, Piano | |
| The Dumka was the result of a commission from the Parisian music publisher Félix Mackar, who in the 1880s had begun to publish Tchaikovsky\\\'s works in France. | |
| Prelude in C sharp minor | Sergei Rachmaninov (1873 - 1943) |
| Francesca Cascino, Piano | |
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