Conservatorium of Music
Friday Performance Class
Friday Performance Class
| Title | Composer | Mins | Start |
| MUSICA PROIBITA | GASTALDON (1861 - 1939) | 10 | 13:15 |
| nuolin ouyang, vocal | |||
| Konrad Olszewski, piano | |||
| a italian repertoria very famous and lovely \r\nand i got music score with the F | |||
| ah per sempre io ti perdei | vicenzo bellini (1801 - 1835) | ||
| nuolin ouyang, vocal | |||
| Konrad Olszewski, piano | |||
| a ARIA from opera I Puritani for baritone\r\ni got music score | |||
| Grieg Concerto in Aminor op. 16 | Edvard Grieg (1843 - 1907) | 20 | 13:37 |
| I. , II. | |||
| Anna Gao, Piano | |||
| Konrad Olszewski, piano | |||
| Composed in 1868, it was the only Concerto completed by Grieg. It was greatly influenced by Schumann's style. | |||
| Vingt Regards Sur L\'Enfant Jésus | Messiaen, Olivier (1908 - 1992) | 11 | 14:09 |
| XI: Première communion de la Vierge | |||
| Samuel Hill, Piano | |||
| One of "twenty gazes on the infant Jesus", this one focuses on Mary's joy after learning that she will be the mother of Jesus. Her closeness with God is powerfully represented through the recurrence of the 'Dieu' theme from Regard du Père; and the same theme is eventually worked into Mary's Magnificat, a joyful song of praise recorded in the Gospels. Messiaen writes: "After the Annunciation, the Virgin Mary worships Jesus within herself... my God, my Son, my Magnificat! — my love without voice." (trans. Dennis Vannier) | |||
| Rondo in D Minor, Wq. 61/4, H. 290 | Bach, C.P.E. (1714 - 1788) | ||
| Samuel Hill, Piano | |||
| C.P.E. Bach's work is fascinating from a stylistic standpoint, as he stood between the baroque and classical periods. He is closely associated with the empfindsamkeit, or sentimental style; and this piece in particular highlights how the rondo form is a powerful vehicle for the stark contrasts in mood this style entails. | |||
| Humoreske Op.20 | Schumann (1810 - 1856) | 10 | 14:32 |
| 1. Einfach 2. Hastig | |||
| Yuhao Yan, Piano | |||
| Schumann wrote in a letter to his beloved Clara from Vienna in March 1839, “All week I’ve been sitting at the piano and composing and writing and laughing and crying, all at the same time. You will find this beautifully illustrated in my Opus 20, the great Humoreske.†| |||
| Humoreske Op.20 | Schumann (1810 - 1856) | ||
| 3. Einfach und zart 4. Innig | |||
| Yuhao Yan, Piano | |||
| Schumann wrote in a letter to his beloved Clara from Vienna in March 1839, “All week I’ve been sitting at the piano and composing and writing and laughing and crying, all at the same time. You will find this beautifully illustrated in my Opus 20, the great Humoreske.†| |||