Conservatorium of Music
Friday Performance Class
Friday Performance Class
| Title | Composer | Mins | Start |
| Knoxville: Summer of 1915 (Op. 24) | Samuel Barber (1910 - 1981) | 15 | 13:15 |
| Lisette Bolton, voice | |||
| Konrad Olszewski, piano | |||
| Phoenix for flute and orchestra | John Carmichael (1930 - ) | 9 | 13:42 |
| 1. Lento | |||
| Wil rigby, Flute | |||
| Konrad Olszewski, piano | |||
| Piano Concerto op.16 | Edvard Grieg (1843 - 1907) | 14 | 14:03 |
| Anna Gao, Piano | |||
| Grieg's piano concerto in A minor is the only concerto for piano that he wrote in his lifetime. | |||
| Faschingsschwank aus Wien | Robert Schumann (1810 - 1856) | 9 | 14:29 |
| I | |||
| Anna, Piano | |||
| Faschingsschwank aus Wien (carnival scenes for on Vienna) is one of the composers most popular piano cycles, consisting of five movements, each of a different character. He began composing the work in Vienna in 1839. | |||
| Études-Tableaux, Op. 33 No 8 in C# Minor | Sergei Rachmaninoff (1873 - 1943) | 8 | 14:50 |
| Samuel Hill, Piano | |||
| Prelude and Fugue in F Minor BWV 857 (WTC Book 1 no 12) | Johann Sebastian Bach (1685 - 1750) | ||
| Samuel Hill, Piano | |||
| Rachmaninoff's Études-Tableaux, or "study pictures" famously have no stimuli attached to them, so I too will leave it to the audience to "paint for themselves" what the C# Minor study's sombre tempo, and rich, dark, sonorities suggest. The F minor Prelude and Fugue from WTC Book 1 is fascinating to me, in that it strikes me as ahead of its time, with the Prelude's almost Romantic lyrical qualities, and the use of chromatic movement in the Fugue. Overall, a gorgeous pair. | |||
| Wet Night on the Highway | Miriam Hyde (1913 - 2005) | 12 | 15:10 |
| Ray Liang, Piano | |||
| Piano | Sergei Rachmaninov (1873 - 1943) | ||
| 2 | |||
| Ray Liang, Piano | |||
| The composition of Rachmaninov’s second piano sonata followed an arduous journey from its origin in 1913 to its revised form in 1931. Despite the being well received, Rachmaninov was discontent with the state of the work, labelling it ‘superfluous’ and ‘too long’. Thus, he created a revised version, cutting 120 bars and reducing parts of its immense texture. This second movement, similar to the first, reuses the falling third motif throughout. | |||