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. | |||
| Piano Concerto No.3, Op.26 | Sergei Prokofiev (1891 - 1953) | 10 | 11:10 |
| III. Allegro, ma non troppo | |||
| Chutong Yi, Piano | |||
| TBA, piano | |||
| 2 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Piano Concerto no.1 in C Major, Op. 15 | Ludwig van Beethoven (1770 - 1827) | 13 | 11:22 |
| I. Allegro con brio | |||
| Devina Christi, piano | |||
| Rhodri Clarke, piano | |||
| Written in sonata form with an orchestral exposition, cadenza, and coda. The solo exposition is in G major, then followed by development in E flat major, with recapitulation in C major. | |||
| 2 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Piano Concerto No.1 in E-flat major, S.124 | Franz Liszt (1811 - 1886) | 20 | 11:37 |
| i. Allegro maestoso ii. Quasi adagio iii. Allegretto vivace - allegro animato iv. Allegro marziale animato | |||
| Luke Zhang, Piano | |||
| Rhodri Clarke, piano | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Laue Sommernacht | Alma Schindler Mahler (1879 - 1964) | 5 | 11:59 |
| Sophie Whitehead, Voice | |||
| Rhodri Clarke, piano | |||
| One of A. Mahler's earlier compositions written prior to her meeting G. Mahler | |||
| Leibst du um Schonheit | Gustav Mahler (1860 - 1911) | ||
| Sophie Whitehead, Voice | |||
| Rhodri Clarke, piano | |||
| A selection from the Ruecket Lieder song cycle | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Konzert fur Violoncello und Orchester Op. 43 | Mieczysław Weinberg (1919 - 1996) | 12 | 12:06 |
| I. Adagio II. Moderato | |||
| Marcus Ho, Cello | |||
| Rhodri Clarke, piano | |||
| Weinberg’s Cello Concerto is one of those products of the time of the Soviet Union’s 1948 anti-formalism campaign that went into the composer’s desk drawer, in this case only to emerge in 1957, four years after the death of Stalin. It’s a folkloric work rippled with Jewish themes, a first movement anticipating the motif of Shostakovich’s Cello Concerto and a second movement that anticipates Fiddler on the Roof. In the thick of Soviet antisemitism, Weinberg shouted out his Jewishness. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Etude Op. 76 No. 2 | Jean Sibelius (1865 - 1957) | 2 | 12:20 |
| Jamie Ruta, Piano | |||
| This Etude is number two from a set of thirteen pieces titled Treize Morceaux Op. 76 which was composed from 1911-1919. Musicologist, pianist and pedagogue Erik Tawaststjerna states that the Op. 76 suite contains some of Sibelius's finest miniatures for the 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. 53 No. 21, Waldstein, in C Major | Ludwig Von Beethoven (1770 - 1822) | 10 | 12:24 |
| 1 | |||
| Charlotte Roberts, Piano | |||
| One of Beethovens most notable sonatas in this middle period of his life. | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Humoresque | Pancho Vladigerov (1899 - 1978) | 8 | 12:36 |
| Catherine Zhu, Piano | |||
| Humoresque is the third piece from Vladigerov’s 3 Pieces Op.15 | |||
| Sonata 2 | Grazyna Bacewitz (1909 - 1969) | ||
| 3. Toccata | |||
| Catherine Zhu, Piano | |||
| Virtuosic Finale to Sonata | |||
| 1 piano(s) needed with lid(s) full stick. 0 chairs needed for page turners. Stands Needed: 0. Chairs Needed: 0. | |||
| Out of Doors, Sz. 81, BB. 89 | Béla Bartók (1881 - 1945) | 9 | 12:46 |
| 1. With Drums and Pipes 3. Musettes 4. The Night\'s Music | |||
| Samuel Lee, Piano | |||
| The movement titles are programmatic in nature, which is rarely seen in works of Bartok | |||