Christian Thielemann

Christian Thielemann

Tuesday, May 24, 2016

Ludwig van Beethoven: Sonata for violin & piano No.9 "Kreutzer" – Patricia Kopatchinskaja, Fazıl Say (HD 1080p)














Turkish virtuoso pianist and composer Fazıl Say and Moldovan-Austrian violinist Patricia Kopatchinskaja interpret the Sonata for violin & piano No.9 "Kreutzer", Op.47, by Ludwig van Beethoven. Recorded at Izmir, Ahmed Adnan Saygun Sanat Merkezi (AASKM), on December 30, 2011.



Although the "Kreutzer" Sonata, Op.47, is dedicated to Rodolphe Kreutzer, the original dedication was to George P. Bridgetower (1778-1860), for whom the piece was written. Bridgetower, an African-Polish violinist who lived in London, toured Europe in 1802 and 1803. Upon his arrival in Vienna he was introduced by Prince Lichnowsky to Beethoven, who set about fashioning two movements to precede a finale he had originally intended for the Op.30/1 sonata. Because the date for Bridgetower's concert had been set, Beethoven had to work quickly to complete the virtuosic piece before its first performance by Bridgetower and the composer on May 24, 1803.

Rodolphe Kreutzer (1766-1831) was a French violinist of great renown whom Beethoven met in Vienna in 1798. Beethoven's decision to dedicate the sonata to Kreutzer instead of Bridgetower was probably related to his intended move to Paris and a wish to ingratiate himself with French musical luminaries. (Beethoven was also considering "Bonaparte" as a title for his Third Symphony.) Legend has it that Beethoven changed the dedication because he and Bridgetower quarreled over a woman. Kreutzer most likely never knew of the dedication, and it is almost certain that he never played the piece.

The "Kreutzer" Sonata was published in 1805 by Simrock in Bonn and Birchall in London. Beethoven described the piece as "written in a very concertante style, like that of a concerto", explaining the internal conflict generally associated with his larger works. Furthermore, the piano writing is much more powerful than in preceding works, anticipating the piano sonatas Opp. 53 and 54.

Beethoven's "new path" is everywhere evident in the first movement of the "Kreutzer" Sonata. The only slow introduction Beethoven ever wrote for a violin sonata is actually the only portion of the movement in A major, which gives way to A minor at the beginning of the Presto sonata-form section. Although thematic material is very abundant, Beethoven focuses on one theme from the closing group throughout the development, which spirals progressively deeper into flat-key territory, realizing the implications of B flat major's brief appearance early in the exposition. Development of the first theme does not occur until the lengthy, weighty coda, which is much more symphonic than chamber-style in conception. The vast dimensions and free formal treatment of Beethoven's great middle-period works are not far away.

More lighthearted than the preceding movement, the central Andante, in F major, is a set of variations. The third of the four variations is in the tonic minor. In each variation, Beethoven stretches the melodic aspect of the theme nearly beyond recognition while maintaining the harmonic progression and pattern of repetition of the original.

A tarantella rhythm and 6/8 time contribute to the finale's atmosphere of interminable forward motion, which is enhanced by the introduction of the first theme in a fugal treatment, The sonata-form movement features a second theme on the dominant and in 2/4, which shifts immediately back to 6/8 for the closing material. Because it was originally intended for the Sonata in A major, Op.30/1, the finale was extant months before Beethoven composed the first two movements. The prominence of F major in the development section of the finale may have prompted Beethoven to compose the Andante in that key, as well as to touch on flat keys in the first movement. In Tolstoy's novella The Kreutzer Sonata, the work symbolizes the ultimate in the powerful sensuous appeal of music.

Source: John Palmer (allmusic.com)















Τη Σονάτα για βιολί αρ. 9, έργο 47, του Λούντβιχ βαν Μπετόβεν, ερμηνεύουν η Μολδαβο-αυστριακή βιολονίστρια Patricia Kopatchinskaja και ο Τούρκος πιανίστας και συνθέτης Φαζέλ Σάι. Η συναυλία δόθηκε στη Σμύρνη, στο Πολιτιστικό Κέντρο Ahmed Adnan Saygun, στις 30 Δεκεμβρίου 2011.



Ο Λούντβιχ βαν Μπετόβεν ολοκλήρωσε τη σύνθεση της Σονάτας για βιολί αρ. 9 το 1803, με αφιέρωση στο φίλο του, Τζορτζ Μπριτζτάουερ (1778-1860), έναν σπουδαίο βιολονίστα με πολωνικές και αφρικανικές ρίζες, που ζούσε στο Λονδίνο.

Η πρεμιέρα του έργου δόθηκε στις 24 Μαΐου 1803 στο θέατρο Αουγκάρτεν της Βιένης, σε μια ασυνήθιστη ώρα για συναυλία. Ήταν 8 το πρωί, όταν ο Μπριτζτάουερ ερμήνευσε το έργο, παρουσία του Μπετόβεν. Αμέσως μετά, οι δύο άνδρες πήγαν στο κοντινότερο καπηλειό, όπου μέθυσαν άγρια. Ο Μπριτζτάουερ πρόσβαλε μία γνωστή του Μπετόβεν και αυτός οργισμένος απέσυρε την αφιέρωση.

Αργότερα, ο Μπετόβεν αφιέρωσε το έργο στον διακεκριμένο Γαλλογερμανό βιολονίστα και συνθέτη Ροντόλφ Κρόιτσερ (1766-1831), ο οποίος ποτέ δεν το ερμήνευσε, επειδή το θεωρούσε «εξοργιστικά ακατανόητο». Οι δύο άνδρες είχαν συναντηθεί μόνο μια φορά και ο Κρόιτσερ δεν εκτιμούσε ιδιαίτερα το έργο του Μπετόβεν. Πάντως, η σύνθεση αυτή του Μπετόβεν έμεινε στην ιστορία ως Σονάτα του Κρόιτσερ και με αυτή την ονομασία είναι γνωστή σήμερα.

Η Σονάτα για βιολί αρ. 9 είναι ένα απαιτητικό έργο για τον σολίστα, με μεγάλη διάρκεια για σονάτα, που φθάνει περίπου τα 43 λεπτά. Το έργο ενέπνευσε τον σπουδαίο Ρώσο συγγραφέα Λέοντα Τολστόι στη νουβέλα του «Η Σονάτα του Κρόιτσερ».

Πηγή: sansimera.gr



Ludwig van Beethoven (1770-1827)

♪ Sonata for violin & piano No.9 "Kreutzer", Op.47 (1802-1803)

i. Adagio sostenuto – Presto
ii. Andante con variazioni
iii. Finale. Presto

Patricia Kopatchinskaja, violin
Fazıl Say, piano

Izmir, Ahmed Adnan Saygun Sanat Merkezi (AASKM), December 30, 2011 (30 Δεκεμβρίου 2011)

(HD 1080p)

First publication: May 24, 2016 – Last update: May 18, 2017







































More photos


See also

George Gershwin: Rhapsody in Blue & Summertime – Fazıl Say, Junge Norddeutsche Philharmonie, Alexander Shelley (HD 1080p)

Wolfgang Amadeus Mozart: Piano Concerto No.21 in C major – Fazıl Say, hr-Sinfonieorchester, Peter Oundjian (HD 1080p)

Ludwig van Beethoven: Romances for Violin and Orchestra No.1 in G major & No.2 in F major – Renaud Capuçon, Gewandhausorchester, Kurt Masur (HD 1080p)

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