Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Title | Composer | Mins | Start |
| 2 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Piano Concerto No.4 Op.56 | Nikolai Kapustin (1937 - 2020) | 20 | 11:10 |
| Zihan Zhu, Piano | |||
| TBA, piano | |||
| Quote from N.Kapustin (translated): "Recently I found out that structurally it resembles very much a violin concerto by Alexander Glazunov. The similarity is that a slow lyrical episode is wedged between the exposition and the development...As for real jazz, there is remarkably little of it..." | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Egmont Overture, Op. 84 | Ludwig Von Beethoven (1770 - 1827) | 7 | 11:32 |
| 1 | |||
| Charlotte, Piano | |||
| Originally for Narrator, Orchestra and Soprano in a 40 minute work. Since been transcribed by Hugo Ulrich to 1 Piano 4 hands. | |||
| 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 | 11:41 |
| 1 | |||
| Ricardo Roche Idini, Piano | |||
| Impressoes Seresteiras, or in English, “The Impressions of a serenade musician” is the second piece of the set Ciclo Brasileiro, or Brazilian Cycle composed by Heitor Villalobos in Rio do Janeiro in 1936. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Etude in D major Op. 50 No. 33 | Johann Baptist Cramer (1771 - 1858) | 1 | 11:49 |
| Jamie Ruta, Piano | |||
| Johann Baptist Cramer wrote 84 studies for the Piano. He first learnt the Violin from his father Wilhelm Cramer however Johann admired the Piano and studied with Muzio Clementi. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Irish Tune From Country Derry | Percy Grainger (1882 - 1961) | 9 | 11:52 |
| Noreen Suyudy, Piano | |||
| Deux morceaux, Op. 63 No. 1: Toccata | Wladyslaw Zelenski (1837 - 1921) | ||
| Noreen Suyudy, Piano | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Piano Sonata No. 9 in D major, K311 | Wolfgang Amadeus Mozart (1756 - 1791) | 4 | 12:03 |
| I. Allegro con spirito | |||
| Rachel Shindang, Piano | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Feux d\'artifice | Claude Debussy (1862 - 1918) | 14 | 12:09 |
| Rachel Shindang, Piano | |||
| Debussy's Prelude No. 12 from Book 2. | |||
| Miroirs | Maurice Ravel (1875 - 1937) | ||
| I. Noctuelles | |||
| Rachel Shindang, Piano | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Piano Sonata Op. 7 in E minor | Edvard Grieg (1843 - 1907) | 9 | 12:25 |
| I. Allegro moderato, II. Andante molto | |||
| Cady Lin, Piano | |||
| Piano Sonata in E minor, Op. 7 is an early work by the Norwegian composer Edvard Grieg, composed in 1865 when he was just 22 years old. This piece is notable for being Grieg\\\'s only piano sonata and showcases his burgeoning talent and the influence of his studies and Norwegian folk music. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Piano Sonata No. 2 “The Fire Sermon” | Rautavaara, Einojuhani (1928 - 2016) | 18 | 12:36 |
| I. Molto allegro II. Andante assai III. Allegro brutale | |||
| Samuel Hill, Piano | |||
| The religious imagery at play in The Fire Sermon would be evident even without the title. The dense and echoey chromatic textures in the work create a cathedral-like atmosphere. Within this space, Rautavaara weaves together lyrical and contrapuntal textures using simple but beautiful melodic material. Rautavaara was also attentive to the physical properties both of the player (writing for the shape/symmetry of the hands and arms) and of the instrument (exploring sympathetic resonance). | |||
| The Anne Landa Preludes | Vine, Carl (1954 - ) | ||
| I. Short Story XII. Chorale III. Thumper | |||
| Samuel Hill, Piano | |||
| Performance notes from the composer: Short Story: “This prelude contains a story. But the drama emerges through its own internal logic rather than from a specific series of predetermined events.” Chorale: “Not every chorale needs to be religious, nor necessarily to be sung. References to this essentially liturgical form still seem to end up invoking a sense of pensiveness.” Thumper: “My first piano teacher often reprimanded me for "thumping" the keyboard. She was so stern that it took years to discover that playing loudly might also arise from good musicianship. Here is an open invitation to "thump", although finesse is still advised.” | |||