Conservatorium of Music
Friday Performance Class
Friday Performance Class
| Title | Composer | Mins | Start |
| \\\\\\\'Undine\\\\\\\' Sonata Op. 167 | Carl Reinecke (1824 - 1910) | 5 | 13:15 |
| 1 | |||
| Esther Battersby, Flute | |||
| Konrad Olszewski, piano | |||
| This flute sonata is based on the German Romantic novel ‘Undine’, by Friedrich de la Motte Fouque, which tells the tale of a water spirit who falls in love with a mortal man in order to gain an immortal soul. This first movement depicts Undine in her underwater world. | |||
| Fratres | Arvo Part (1935 - N/A) | 10 | 13:32 |
| Ceridwen, Cello | |||
| Konrad Olszewski, piano | |||
| Piano Concerto No. 25 K503 | W.A. Mozart (1756 - 1791) | 15 | 13:54 |
| I. Allegro Maestoso | |||
| Timothy O\'Malley, Piano | |||
| Konrad Olszewski, piano | |||
| The piano concertos show Mozart composing at his most fluent. Number 25 exemplifies both his finely balanced harmony and motivic mastery. Listen for the repeated note rhythmic figure, quoted directly in Beethoven's 4th Piano Concerto and recognised as a potential inspiration for the fate motif of Beethoven 5th symphony. The one and only dun dun dun DUNNNNNNN. Enjoy :) | |||
| Cello Concerto No.2 Op.119 | Camille Saint-Saëns (1835 - 1921) | 18 | 14:21 |
| Allegro moderato e maestoso - Andante sostenuto Allegro non troppo - Cadenza - Molto allegro | |||
| Wendy Ju, Cello | |||
| Konrad Olszewski, piano | |||
| Everyone knows Cello Concerto No.1 as the only Cello Concerto that Saint-Saëns composed. But actually, there is Cello Concerto No.2, which is shaded by Concerto no.1. This Work was written in 1902 and was dedicated to the Dutch virtuoso cellist, and was first performed in Paris in 1905. The first movement opens with a fiery bolero rhythm which is carried out, followed by a prayer. It has elements of sonata and ternary forms. The second movement opens with virtuosic, frantic elements, giving relentless perpetual motion by the soloist. | |||
| Op10 No1 and No10 | Frederick Chopin (1810 - 1849) | 4 | 14:51 |
| Zhihan Jiang, Piano | |||
| Two etudes one involving widespread arpeggios and the other a pattern through various articulation and poetic lyricism. | |||
| Étude No. 3, Un sospiro from Trois études de concert S.144 | Franz Liszt (1811 - 1886) | 10 | 15:07 |
| Bernie Maitri, Piano | |||
| One of Franz Liszt’s most well-known and beloved compositions for the piano is the final etude of his Trois études de concert (Three Concert Etudes), Un sospiro. The Italian subtitles of this etude were not given by Liszt himself and only appeared in later editions., Un sospiro (“A Sighâ€) poignantly conveys the Romantic emotionalism of Liszt’s music. A study in crossing the hands, this etude features a swooning pentatonic melody embedded in arpeggiated figures played by alternating hands throughout the piece. | |||
| Étude in D-sharp minor, Op. 8, No. 12 | Alexander Scriabin (1871 - 1915) | ||
| Bernie Maitri, Piano | |||
| Étude No.12 in D sharp minor, marked patetico is probably Scriabin's most famous and frequently performed piano piece. It was a favourite encore of great pianists of the first half of the twentieth century. Op.8 No.12 is to Scriabin what Op.10, No.12 is to Chopin: a tremorous, affecting, "revolutionary" étude, a defiant march that is also an elegy of sorrow. | |||