Conservatorium of Music
Thursday Concert Class
Thursday Concert Class
| Variations on The Beautiful Snow | Jean-Baptiste Arban (1825 - 1889) |
| Theme\\r\\nVariation 1\\r\\nVariation 2\\r\\nVariation 3\\r\\nVariation 4 | |
| Clancy McCue, Trumpet | |
| Rhodri Clarke, piano | |
| Known as the first famed virtuoso of the piston cornet, Arban was a major figure in bringing the cornet and trumpet into focus as a solo instrument. Arban is best known for his technique method book that is still a major teaching tool in the present day. This piece is one of a collection of test pieces that Arban wrote with the intention of combining all techniques covered in his method book. | |
| Violin Sonata No. 2 in D minor, Op. 121 | Robert Schumann (1810 - 1856) |
| I. Ziemlich langsam - lebhaft II. Sehr lebhaft | |
| May Zeng, Violin | |
| Rhodri Clarke, piano | |
| Written towards the end of his life, this virtuosic sonata is characterised by the close thematic dovetailing of the movements and its feverish, relentless nature. | |
| Scherzo No.3 | Frederic Chopin (1810 - 1849) |
| Suki Gui, Piano | |
| No.3 Op.39 in c# minor. | |
| Piano Sonata Op 14 no. 2 | Beethoven (1770 - 1827) |
| Allegro - Andante - Scherzo | |
| Sweeney Marhsall, Piano | |
| Beethoven's tenth piano sonata, written in G major. A lyrical and humorous piece. | |
| Préludes - Book 2, L.123: Feux d\'artifice | Claude Debussy (1862 - 1918) |
| - | |
| Roi Zhang, piano | |
| - | |
| Children’s corner | Claude Debussy (1862 - 1918) |
| 3, 6 | |
| Roi Zhang, piano | |
| - | |
| Piano Sonata No 24 Op 78 | Ludwig van Beethoven (1770 - 1827) |
| 1. Adagio cantabile\\r\\n2. Allegro vivace\\r\\n | |
| Amber Chong, Piano | |
| The Piano Sonata No. 24 in F♯ major, Op. 78, nicknamed \\\"à Thérèse\\\" (because it was written for Countess Thérèse von Brunswick) was written by Ludwig van Beethoven in 1809. | |
| Sonata No. 30 in E Major, Op. 109. | Ludwig van Beethoven (1770 - 1827) |
| 1. Vivace ma non troppo | |
| Madeleine Groves-Crawford, Piano | |
| Written in 1820, Op. 109 is Beethoven\\\'s third last piano sonata and perfectly captures the ideals and style of late Beethoven. | |
| Prelude in Jazz Style, Op. 53, No. 3 in G Major | Nikolai Kapustin (1937 - 2020) |
| Madeleine Groves-Crawford, Piano | |
| Kapustin's 24 Jazz Preludes seem to be influenced by Chopin with their key scheme and brevity. They present a range of jazz elements and almost appear as improvisations. | |
| Variations on a Theme by Robert Schumann, Op. 20 | Clara Schumann (1819 - 1896) |
| Charlotte Roberts, Piano | |
| This work is one of the last Clara composed for piano. She presented the piece to Robert Schumann, her husband, for the last birthday he spent with his family. | |
| Piano Sonata No.13 in B-flat major, K.333 | Wolfgang Amadeus Mozart (1756 - 1791) |
| First and second movements | |
| Khanh-Ngan Nguyen, Piano | |
| Sonata Op.40 No.2 | Muzio Clementi (1752 - 1832) |
| Mvt.1 | |
| Thu Giang Le, Piano | |
| The first movement starts with an introduction of high pathos and stabbing dissonance; even its middle section in the relative major (D major) suggests not relief, but something like melancholy resignation. | |
| Widmung(Liebeslied) | Robert Schumann (1810 - 1856) |
| Arranged by Franz Liszt | |
| Thu Giang Le, Piano | |
| Written by Robert Schumann in 1840 (this piece was from a set of Lieder called Myrthen, Op.25), this piece was later arranged for piano solo by Franz Liszt. Myrthen was dedicated to Clara Wieck as a wedding gift, as he finally married Clara in September, despite the opposition from Clara’s father (who was also Robert’s piano teacher). | |
| Nocturne in C minor op. 48 no. 1 | Frédéric Chopin (1810 - 1849) |
| Anna Le, piano | |
| Mephisto Waltz No. 1 S. 514 | Franz Liszt (1811 - 1886) |
| Zitong Ren, Piano | |
| Liszt included the following in the printed score: There is a wedding feast in progress in the village inn, with music, dancing, carousing. Mephistopheles and Faust pass by, and Mephistopheles induces Faust to enter and take part in the festivities. Mephistopheles snatches the fiddle from the hands of a lethargic fiddler and draws from it indescribably seductive and intoxicating strains. The amorous Faust whirls about with a full-blooded village beauty in a wild dance; they waltz in mad abandon out of the room, into the open, away into the woods. The sounds of the fiddle grow softer and softer, and the nightingale warbles his love-laden song. | |