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The Virtual
Concert Hall
CONCERT 3
PROGRAMME
Ludwig
van Beethoven: Sonatas op. 90, 13 “Pathetique”, 53 “Waldstein” or “Aurora”
Click on the titles in the right column to listen, or
right-click and “save as” to download
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Beethoven’s op. 90 is a Sonata without the central slow movement: the
wonderful “Cantabile” (singbar), “not too fast” (nicht zu geschwind) is in
the form of a final rondò. Its unusual narrative taste and its
pre-schubertian treatment of the melody, after a first movement with dramatic
but always moderate and highly expressive tones, introduce to a final section
where a deep nostalgic sense seems to prevent the composer from taking his
leave of this sweet line, that fades out very gradually in more and more broken
interrogative phrases. If you listen to the final section of Schumann’s
Humoreske, Concert Series 1, Concert n. 1, you will find a similar
atmosphere. |
Ludwig van Beethoven Sonata op. 90 1.
Mit
Lebhaftigkeit und durchaus mit Empfindung und Ausdruck 2.
Nicht zu
geschwind und sehr singbar vorgetragen Fabio Grasso, piano |
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The Sonata op. 13 is the first Beethoven’s Sonata with a slow
introduction to the first movement. The strong contrast between this section and
the agitated Allegro is one of the most important factors that give to this
Sonata the “pathos”, in “Sturm und Drang” climate, which inspired the creator
of its title. After the placid lyric oasis of the very famous Adagio, the
pathetique atmosphere comes back in the third, but with slightly attenuated
colours and a sort of more resigned feeling. That is not so different from
the relation between the first and the third movement of the “Storm Sonata”
op. 31 n. 2, that you can listen in Concert Series 1, Concert n. 2 |
Ludwig van Beethoven Sonata op. 13 “Pathetique” 1. Grave – Allegro di molto e con brio Fabio Grasso, piano (live) |
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The op. 53
presents one of the most bright and clear atmospheres that we can find in the
entire corpus of the Sonatas. Both in the first and in the couple
second-third movement Beethoven looks for whispering timbres of the piano, to
create by contrasts and crescendos sudden joyful explosions of light. In a
website called Rosenfinger it was a must to insert this “Aurora” Sonata, even
because our name is inspired by the vertiginous beauty of the beginning of
the final Rondò. Here it seems that Beethoven had in mind the homeric
description of the rose-fingered |
Sonata op. 53 “Aurora” / “Waldstein” Fabio Grasso, piano (live) |
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