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Programme Notes



Prelude and Fugue in D minor, BWV 875 (Book 2, no. 6)

The prelude, a didactic two-voice polyphonic piece of work, is dazzlingly fast, powerful and tense throughout, capturing the audience’s attention right from the beginning and keeping them mesmerized till the end. As for the fugue, though shorter, it is a three-voice chromatic study in contrasting rhythms, with alto entering first, then soprano and followed by bass. The piece is slightly slower than the prelude and has an ending of twos against threes, not commonly interpreted during Bach's era.



Sonata in Bb, K.333

This sonata, one of Mozart’s deceptively challenging and longest piano sonatas, is lively and jolly. It is written in a concerto style with both the first, Allegro and last, Allegretto grazioso being fast, while the second, Andante cantabile, is slower. The first and third movements, both in Bb, have a lot in common in terms of repeated theme and variations, changes in tonality and passages gradually becoming more difficult as one plays along. The second movement, being smoother and more flowing, has it in Eb with a different theme that stays similar throughout and some changes in tonality from major to minor and vice versa.



Intermezzo in A, op.118 no.2

A languid idyll, this Intermezzo No A major seems to portray a weary past that is
somewhat enlightened. Given that, there exists a sense of longing, languor, gloom and reflection in the piece. This work of gentle contrasts explores the subtleties of a rippling effect which Brahms conveys using a blend of triplets and normal notes, making it sound absolutely soothing to the ear and intriguing to the mind. Interestingly, this thought-provoking piece was first chosen to feature in an awarding Asian film, Lust Caution, by a renowned French composer, Alexandre Desplat, who was assigned by the director, Ang Lee to score for the film.





Visions Fugitives Op.22 Nos 1 – 5
Based on a poem written by Russian poet Konstantin Bal'mont, Prokofiev wrote these five Vision Fugitives, as well as the other fifteen between 1915 and 1917. The word “Fugitive” in its title is French, meaning fleeting and is derived from a line in the poem which says, "In every fugitive vision I see worlds, full of the changing play of rainbow hues...”. Prokofiev’s discordantly independent tonal, harmonic and rhythmic style was witnessed in all twenty Visions Fugitives. Nos 1 and 2 are rather lento, ethereal and lyrical yet haunting while Nos 3 to 5 are discordantly fast, aggressive yet delectable.





Thanks a million for those who help proofread the notes!!!!