Trinity College of Music London

ATCL RECITAL

SHANNON JACOB
Solo Piano

Thursday 9th December 2010 at 2.30pm

PROGRAMME

I. JOHANNE SEBASTIAN BACH PRELUDE AND FUGUE IN D MINOR

II. WOLFGANG AMADEUS MOZART SONATA IN F MAJOR

I. ALLEGRO
II. ADAGIO
III. ALLEGRO ASSAI

III. FRANZ SCHUBERT IMPROMPTU IN G FLAT,OP 90 NO.3

I. ANDANTE

IV. JOHANNES BRAHMS INTERMEZZO IN A MAJOR,OP 118 NO.2

JOHANNE SEBASTIAN BACH PRELUDE AND FUGUE IN D MINOR
(1685-1750)

PRELUDE

It is a beautiful prelude with a very tense and dramatic atmosphere right till
the very end. Best results are achieved when given a legatissimo touch
throughout, with constant grip of harmonic detail and melodic outline in all
three notes of the triplet. The climax is built up with great boldness and
subtlety by means of a pedal point.

FUGUE

The fugue is mellow, relaxed and serene. The Subject, which is treated by
Inversion and in various kinds of Stretto, is also brought out distinctly even
in those entries which represent merely its first figure, or which come in a
new part of the scale and alter its intervals.

The Countersubject; which is sometimes shared between two parts,

demands an expressive cantabile tone and quite as much distinctness as
the Subject.

Timing:

WOLFGANG AMADEUS MOZART SONATA IN F MAJOR

(1756-1791)

I. ALLEGRO
The first movement of the sonata is hymn-like and melodious. The
seemingly innocent opening compliments the wealth of ideas and
constantly changing textures of the music. At least nine such
textures can be counted in the exposition alone. The aim is for
continuity and not dissection. This first movement moves smoothly
throughout, with the tune being played by the right hand while the left
hand offers accompaniment.

II. ADAGIO
The Adagio may be analyzed as a sonata-form movement without
development. Though one mood pervades the movement, the
difference is noted between the first theme; which is vocal in
character if not in tessitura, and the string-trio texture of the second
group, with more participation of the left hand. This movement is
comparatively slower than the first and third movements, and has a
slow, sweet melody entwined through the movement. This slow
movement is a prologue to the brilliance and finale of the third
movement.

III. ALLEGRO ASSAI

The rapid finale is in 6/8 time. While it starts out with a forte chord
and passagework, it concludes with a pianissimo cadence. This full
sonata-form finale demands brilliance in the passage-work, starting
at the first bar, but a tender lyricism in the themes of bars 15, 50 and
112. Similarly the minor-key theme at bar 50 depends on a sudden
change of dynamics, not of tempo. It is a brilliant finale to the whole
Sonata; full of character, rhythm and dynamics.

Timing:
FRANZ SCHUBERT IMPROMPTU IN G FLAT, OP 90 NO.3
(1797-1828)

I. NO.3 ANDANTE
The melody flows above the accompaniment in singular notes in the
right hand. It is a romantic piece of music and has a wide range of
dynamics; built up crescendos and decrescendos that are a wealth of
emotion through the whole piece. This serenade is a classic example
of Schubert's outstanding lyrical facility, as well as his penchant for
long melodic lines. There is little interruption in the fluttering harp-
like broken triad accompaniment, creating a tense contrast with the
spacious and languid melody.

Timing:
JOHANNES BRAHMS INTERMEZZO IN A MAJOR,OP 118 NO.2
(1833-1897)

The Intermezzo in A-major is a diminutive but irreplaceable

masterpiece which quietly encompasses a world that is in turns
nostalgic, mysterious and melancholy. Every moment of it is
intensely personal and almost heartbreakingly beautiful. Brahms
subjects his themes to inversion and to redistribution within the
texture; deft touches of imitation, double counterpoint and canon.

Timing: