Title | Composer | Mins | Start |
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Sonate C Major (K. 309) | Wolfgang Amadeus Mozart (1756 - 1791) | 11 | 11:10 |
1st Movement - Allegro con spirito | |||
Noreen Suyudy, Piano | |||
3 Pieces, Op. 2 | Alexander Scriabin (1872 - 1915) | ||
Noreen Suyudy, Piano | |||
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 No. 7 \"Capriccio\" | Johannes Brahms (1833 - 1897) | 9 | 11:23 |
Noreen Suyudy, Piano | |||
3 Pieces, Op. 2 | Alexander Scriabin (1872 - 1915) | ||
Noreen Suyudy, Piano | |||
1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
Sonata in No.31 in A flat Major, Op.110 | Ludwig Van Beethoven (1770 - 1827) | 18 | 11:34 |
I. Moderato cantabile molto espressivo | |||
Chris Wang, Piano | |||
Sonata in B minor, Op.58 No.3 | Fryderyk Chopin (1810 - 1849) | ||
I. Allegro maestoso\\r\\nIV Finale: Presto non tanto | |||
Chris Wang, Piano | |||
1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
Etude Op.10, No. 4 | Frédéric Chopin (1810 - 1849) | 15 | 11:54 |
Chutong Yi, piano | |||
Andante Spianato et Grande Polonaise brillant, Op.22 | Frédéric Chopin (1810 - 1849) | ||
Chutong Yi, piano | |||
1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
Impressoes Seresteiras | Heitor Villalobos (1887 - 1959) | 6 | 12:11 |
1 | |||
Ricardo Roche Idini, Piano | |||
Impressoes seresteiras, or the impressions of a serenade musician is the second work of the set called Ciclo brasileiro or Brazilian Cycle composed by Heitor Villalobos in 1936 when he was in Rio do Janeiro. | |||
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Keyboard Sonata in A Major, H.186 | Bach, C.P.E. (1714 - 1788) | 15 | 12:19 |
I. Allegro Assai II. Poco Adagio III. Allegro | |||
Samuel Hill, Piano | |||
The first and third movements of this sonata are both bright and energetic, but the first movement offers more typically “classical” homophonic textures, whereas the third movement resembles a gigue. As with many of C.P.E. Bach’s sonatas, the second movement is an example of the "empfindsamkeit" (sentimental) style for which he is best known. | |||