Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Concerto | Tansman (1897 - 1986) |
| As much as possible | |
| Jamilla Lamb, Clarinet | |
| Rhodri Clarke, piano | |
| N/A | |
| Come sleep | Glanville Hicks (1912 - 1990) |
| Yujia Du, Voice | |
| Poem by John Fletcher (1579) | |
| sebben crudele | Antonio Caldara (1670 - 1736) |
| Yujia Du, Voice | |
| "Sebben, crudele" is an aria from Antonio Caldara's 1710 opera, La costanza in amor vince l'inganno (Faithfulness in love conquers treachery). It comes from the third scene of the opera's first act, and is sung by the character Aminta, a nobleman whose wife is unfaithful. | |
| Étude Op. 10 No. 6 | Frédéric Chopin (1810 - 1849) |
| Jonathan Mouskis-Morrison, Piano | |
| One of Chopin’s few slow-tempo études, this beautifully romantic and lyrical work focuses on expressivity and chromatic structuring of the melody, as well as polyphonic texture. The key of E flat minor gives the piece a sense of malaise, while a brief key change to E major in the middle section provides the listener a glimmer of hope, which doesn’t occur again until the very last major resolution chord in the final bar. | |
| Étude Op. 91, No. 16 | Moritz Moszkowski (1854 - 1925) |
| Jonathan Mouskis-Morrison, Piano | |
| This lively and energetic work features rapid unison arpeggios, spaced an octave apart throughout the entirety of the piece, while also featuring very effective dynamic contrasts. Eerie and ghostly, one ponders if the composer possibly drew inspiration from the final movement of Chopin’s Sonata in B Flat Minor, Op. 35 | |
| Sonata in A minor, K. 54 | Domenico Scarlatti (1685 - 1757) |
| Milo Mugavin, Piano | |
| Etude in A-flat, Op. 25 No. 1 | Frederic Chopin (1810 - 1849) |
| Milo Mugavin, Piano | |
| Etude Op.33, No.8 in G minor | Sergei Rachmaninoff (1873 - 1943) |
| Guy Breaden, Piano | |
| From the first set of his etudes-tableaux, Rachmaninoff writes a study for melody voicing and balancing of layers and textures. The five note motif presented in the beginning is the basis of almost all of the material developed in this piece. | |
| Etude in E Major Op. 72 No. 1 | Moritz Moszkowski (1854 - 1925) |
| Chernyue Khor, Piano | |
| The first etude of a set of 15. | |
| Impromptu No. 1 in A Flat Major Op. 29 | Frederic Chopin (1810 - 1839) |
| Chernyue Khor, Piano | |
| - | |
| Etude op.42 no.1 | Alexander Scriabin (1872 - 1915) |
| Racheal Zhou, Piano | |
| Opus 10 number 8 in the key of F major | |
| Etude op.10 no.8 | Frederik Chopin (1810 - 1849) |
| Racheal Zhou, Piano | |
| Opus 42 number 1 in the key of Db major | |
| Prelude and Fugue No. 8 in Eb Minor from WTC Book 1 | Johann Sebastian Bach (1685 - 1750) |
| Madeleine Groves-Crawford, Piano | |
| Bach's Eb Minor Prelude and Fugue features a desolate and despairing prelude, paired with a lengthy three-voice fugue. Interestingly. the fugue is written in D# minor which can be considered more outwardly hopeful than Eb minor. | |
| Tango Piazzolla ma non Troppo | Igor Rogalyov (1948 - ) |
| Iris Su, Piano | |
| Cindy Yi, Iris Su | |
| The tango for two piano "Piazzolla ma non troppo" ("Piazzolla but not too Much") dates 2002. Its first version which is left unpublished was intended for piano solo. Later there were created the other two versions. The one for cello and piano was represented by the Petersburgian cellist Sergei Roldugin and the author himself in 2002. The version for two pianos saw the world at the Athens International Pianists' Competition "Concerteum" in 2002. | |
| Etude opus 25 no. 12 | Frederic Chopin (1810 - 1849) |
| Ezekiel Rowland, Piano | |
| This Etude was written in the 1830s and is nicknamed “ocean” Etude. It is a study of arpeggios. | |
| Exercises in Finger dexterity opus 740 no. 50 | Carl Czerny (1791 - 1857) |
| Ezekiel Rowland, Piano | |
| This Etude is written in the 1840s and is a study in arpeggios similarly to Chopins “ocean” Etude, but has more technical challenges. | |
| Etude op.10 n.1 | Frederic Chopin (1810 - 1848) |
| Ricardo R Idini, Piano | |
| First of the set of Etudes op.10 composed for Liszt | |
| L. 136: 1 Pour Les “Cinq Doigts” | Claude Debussy (1862 - 1918) |
| 1 | |
| Charlotte Roberts, Piano | |
| Debussys first Etude | |
| Etude Op. 25 No. 12 | Frederic Chopin (1810 - 1849) |
| Charlotte Roberts, Piano | |
| Ocean | |
| Étude Op. 25, No. 1 | Frédéric Chopin (1810 - 1849) |
| Jovanna Amaris Koerniawan, Piano | |
| Étude-Tableaux, Op. 33 No. 5 in D minor | Sergei Rachmaninoff (1873 - 1943) |
| Jovanna Amaris Koerniawan, Piano | |
| Transcendental Etude No.7 | Franz Liszt (1811 - 1886) |
| Nicole Cao, Piano | |
| “Eroica” | |
| Piano Sonata no. 2 in D minor Op. 14 | Sergei Prokofiev (1891 - 1953) |
| 1. Allegro ma non troppo 2. Scherzo 3. Andante 4. Vivace | |
| Sean Neylan, Piano | |
| First published in 1913, Prokofiev dedicated the work to his friend and fellow student at the St. Petersburg Conservatory, Maximilian Schmidthof, who took his own life that same year. | |