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. | |||
| Cello Concerto in A minor, Op 129 | Robert Schumann (1810 - 1856) | 8 | 11:10 |
| 3 | |||
| Regina Baek, Cello | |||
| Rhodri Clarke, piano | |||
| The Cello Concerto in A minor, Op. 129, by Robert Schumann. This was completed in a period of only two weeks, between 10 October and 24 October 1850, shortly after Schumann became the music director at Düsseldorf. The concerto was never played in Schumann's lifetime. It premiered on 23 April 1860, four years after his death, in Oldenburg, with Ludwig Ebert as soloist. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Aimons-nous | Camille Saint-Saëns (1835 - 1921) | 3 | 11:20 |
| Victoria Lazaris, Voice | |||
| Rhodri Clarke, piano | |||
| Aimons-nous is a setting of Théodore Faullin de Banville's text (1823 - 1891) by Camille Saint-Saëns. Translating in English to 'Let us love,' the piece's lyrical and chromatic style amplifies the poetry in which love transcends death. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Prelude Op. 23, No. 5 | Sergei Rachmaninov (1873 - 1943) | 5 | 11:25 |
| Guy Breaden, Piano | |||
| Alla marcia | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Weep you no more | Roger Quilter (1877 - 1953) | 2 | 11:32 |
| Victoria Kokkinos, Voice | |||
| Rhodri Clarke, piano | |||
| The original poem was written by John Dowland. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Piano trio in F# minor | Arno Babjian (1921 - 1983) | 10 | 11:36 |
| Minseo Lee, Piano | |||
| Jeannie Kim (cello), May Zeng (violin), Minseo Lee (piano) | |||
| The Piano Trio is considered one of his most important works. In three substantial movements, it is passionate and full of memorable melodies with wonderful writing for all three instruments. The first movement, an Allegro, begins in dramatic fashion with the strings playing the main theme in unison. Like a leitmotif, this theme reappears in each of the following movements. The second movement, Andante, begins very softly with the violin introducing the lovely main theme high on its e-string. Eventually the cello joins in and the theme is intertwined between them in a very original fashion. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 2. Chairs Needed: 2. | |||
| Piano Trio no. 1 in D Minor, Opus 49 | Felix Mendelssohn (1809 - 1847) | 15 | 11:48 |
| Movements 1, 2 | |||
| Keely Moggach, Violin | |||
| Zhihan Jiang: Piano, Regina Baek: Cello, Keely Moggach: Violin | |||
| Mendelssohn’s first piano trio remains one of his most popular chamber works that is performed frequently today. The piece was premiered in 1840 by violinist Ferdinand David, cellist Franz Karl Witmann, and Mendelssohn on the piano. Robert Schumann declared the piano trio ‘the master-trio of our time, even as Beethoven’s B-flat and D and Schubert’s E-flat at their time, this will delight the future generation.’ The trio’s first movement opens with arching melodies in the strings, gradually and dramatically fuelled by the piano to a tumultuous climax before the much more tranquil second movement. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Prelude in G minor Op.23 No.5 | Sergei Rachmaninoff (1873 - 1943) | 4 | 12:05 |
| Edited by First Edition | |||
| Bobby Yang, Piano | |||
| Prelude in G minor, Op. 23, No. 5, is one of Rachmaninoff's most recognisable preludes. It was included in his Opus 23 set of ten preludes, despite having been written two years earlier than the other nine. Rachmaninoff himself premiered the piece in Moscow on February 10, 1903, along with Preludes No. 1 and 2 from Op. 23 | |||
| 2 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Concerto in E minor, Op.11 | Fryderyk Chopin (1810 - 1849) | 18 | 12:11 |
| I. Allegro Maestoso | |||
| Chris Wang, Piano | |||
| Brian Luo, piano | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Scherzo 2 | Frédéric Chopin (1810 - 1849) | 11 | 12:31 |
| Nicole Cao, Piano | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Klavierstücke in E Flat Minor, D946 No. 1 | Franz Schubert (1797 - 1828) | 10 | 12:44 |
| Jonathan Mouskis-Morrison, Piano | |||
| Impromptus in all but name, the three piano pieces that comprise D946 were completed in 1828 (the year of the composer’s death), and followed the far more well known Impromptus D899 and D935. These collective works exemplify so much of Schubert’s unique sound world and musical personality – daring and unusual harmonies, beautiful songful melodies, and episodes of profound poignancy. In this turbulent work, one can hear the composer’s anger over his approaching death, and a sense of urgency permeates throughout. The lyrically expansive and intimate middle section, in B major, provides the listener a brief glimmer of hope. | |||
| Somewhere | Hiromi Uehara (1979 - ) | ||
| Jonathan Mouskis-Morrison, Piano | |||
| Known for her virtuosic technique, energetic live performances, and a propensity for blending musical genres within her own compositions, Japanese pianist/ composer Hiromi Uehara is a veritable giant in the world of contemporary jazz. Featured on her 2009 album, “Place to Be,” this beautifully tender and lyrical work, while technically very challenging, provides an opportunity for introspection- transporting the listener to a fantastical musical realm that is augmented by lush harmonies, and rhythmic complexity. | |||