August 13, 2013 - Ivory II American Concert D 
Ludwig van Beethoven
Piano Sonata No. 8 in C minor, Op. 13 "Pathetique", 1st Mvmt
Volker Rogall, Pianist and Composer, Germany

Beethoven - Piano Sonata No. 8 in C minor, 1st Mvmt

Chopin Heroic Polonaise Op.53 A Flat Major - Played by Valentina Lisitsa

David Robertson, conductor
Recorded at the Sydney Opera House on 15 February 2014
Audio kindly supplied by Silver Partner ABC Classic FM

BEETHOVEN Symphony No.7: 1. Poco sostenuto — Vivace

First Loves
Tim Fain, violin
Robert Koenig, piano

First Loves is a collection of quintessential violin masterpieces which first inspired me to be a violinist. Includes showpieces by Rachmaninoff, Sarasate, Wieniawski, and more, plus “Swan Remix,” my own arrangement of themes from Tchaikovsky's Swan Lake.
As a kid, I was surrounded by classical, pop, rock, jazz, film and contemporary concert music – finding a balance of old and new music is still very important to me. Many of the works on First Loves are the ones that drew me in as a child – Rachmaninoff, Sarasate, and Wieniawski, arrangements by Heifetz, and Kreisler – and remain profoundly relevant today. I’ve also included “Swan Remix,” my own arrangement of themes from Tchaikovsky’s Swan Lake, which I made after my work on-camera and on the soundtrack of the film Black Swan. Each track is dedicated to someone who inspired me or made it possible for me to be the person and the artist that I am today. My hope is that First Loves will inspire others, young and old, to fall in love with the violin as I did.

First Loves

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Scherzo Tarantella - Henryk Wieniawski

Sonata N.8 in C minor op.13 "Pathetique" "Pathétique" "Pathetic"

The title "Pathetique" (or "Pathétique", "Pathetic") while not given by Beethoven himself, was agreed and even used by the composer referring to this famous composition.

The Sonata was composed in the years 1798 and 99 and published by Eder in Vienna as "Grande sonate pathétique pour le clavecin ou piano-forte composée et dédiée a son Altesse Monseigneur le Prince Karl von Lichnowsky."

This very popular work is the summit of Beethoven's piano works composed up to 1800. It is also the second time the composer uses the key of C minor which is very evocative for him. He will be using that key once more, only at the ultimate Sonata N.32, opus 111.

Also characteristic in this Sonata is the slow beginning "Grave". Far from being a "prelude" it is, to quote César Franck, "the cyclical entity (cell) which will project on the whole composition." Even though the idea of a slow introduction has been used before, Beethoven gives to it such a dramatic power that no listener can remain unaffected.

Right after its publication, the "Pathétique sonate" became an immense success.

I. Grave - Allegro di molto e con brio

The three notes: C - D - E-flat following the  "forte-piano", C minor chord and forging this introduction's theme will also appear as the core of the theme of the final Rondo. It is repeated with variations all through the introduction with an orchestral scoring.

The fortissimo chords roughly interrupting the melodic evolution set the stage for the drama.

A glissando-like chromatic down scale projects into the Allegro di molto e con brio which is made of two themes.

The first is an almost straight raising scale of C minor harmonized on each note and presented over a timpani-like, tremolo, left hand part. The other is also a minor key theme with incisive "mordents" which can hardly be called "embellishments". The term "mordant" (biting) if taken literally best describes those "ornaments".

The ending of the movement which re-uses the introductory elements of the Grave, but the powerful forte-piano chords now replaced with silences is a dramatic climax which plunges again into the first Allegro theme and concludes with a brusque coda.

II. Andante cantabile

The second movement is a gracious "lied" with a number of distinct intermediary parts. The theme's specific contour is very close to the Adagio theme of Mozart's K 457 C minor sonata.

All through the movement, the left hand seems to positively hold back the right hand from going to higher keyboard ranges. Even in the serene A-flat major key and with the use of the warm middle keyboard range with a beautifully balanced melodic contour, the second movement delivers only a partial relief within the overall tragic atmosphere of the entire Sonata.

III. Rondo: Allegro

The very gracious theme of the Rondo, seems to float over a dramatic landscape. Dark and tumultuous sections, sharp and incisive fortissimo chords intervene in each section. Only the second couplet, a "fugato" theme with perfect fourth intervals, seems to soothe the dramatic discourse which soon takes over in an even more boisterous way.

Beethoven Complete Piano Sonatas VOL.3

Beethoven Complete Piano Sonatas VOL.3; Sonata op.13 "Pathetique" I

Performer: 't Muziek Frascati, May 14th, 2009, Concert Hall Leuven 
Conductor: Kris Stroobants

http://www.tmuziekfrascati.be/concert/5

--

"Prince Igor is an opera in four acts with a prologue. It was composed by Alexander Borodin. The composer adapted the libretto from the East Slavic epic The Lay of Igor's Host, which recounts the campaign of Russian prince Igor Svyatoslavich against the invading Polovtsian tribes in 1185. The opera was left unfinished upon the composer's death in 1887 and was edited and completed by Nikolai Rimsky-Korsakov and Alexander Glazunov. It was first performed in St. Petersburg, Russia, in 1890." (source: Wikipedia)

'Polovtsian Dances' from 'Prince Igor' (Alexander Borodin)

Sarasate: Zapateado, op.23 n°2 violin Liviu Prunaru, piano Luc Devos

I tried to get the articulation just right, but it just isn't quite there yet. Other than that, I'm not too unhappy with how this recording came out. 

BEETHOVEN Symphony No.7: 1. Poco sostenuto — Vivace

Sydney Symphony Orchestra

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caty_fella try the song siu

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