MARCH 17 2009   “THE MASTERS UNITE”
All Beethoven Program

BAGATELLE IN A MINOR (FUR ELISE)
Performed by Francesco Libetta (Italy)           
The Bagatelle in A Minor (widely known as Fur Elise) is arguably the world’s best known piano piece. The opening phrases resound from video games and cellphones everywhere. It is the piano piece that virtually every young student wants to learn. There is much speculation on the identity of “Elise”. Unfortunately the original (1810) has been lost but some scholars feel the dedication was to Therese, a student romantically pursued by the composer. Others think Elise was her nickname or that when it was finally published in1865 the inscription was miscopied. The work in A Minor is described as a Bagatelle but is closer to a rondo in form with the opening theme appearing three times sandwiching 2 others.

PIANO SONATA NO. 8 in C MINOR Op. 13 “Pathetique”
performed by Francesco Libetta (Italy)

1. Grave: Allegro di molto e con brio
2. Adagio cantabile
3. Rondo-Allegro

Ludwig van Beethoven’s Sonata No. 8 was published in 1799 when the composer was 29 and dedicated to his friend Prince Karl von Lichnowski. The title “Pathetique” was assigned by the publisher, not by Beethoven. The key of C Minor was frequently chosen by Beethoven to express drama and great emotion as shown in the Symphony No.5, the Violin Sonata Op. 30 No. 2, the 32 Variations in C Minor and the final piano sonata, Op. 111

For more:     http://www.classicalarchives.com/work/3932.html#about   

VIOLIN SONATA NO. 8 in G MAJOR  Op. 30 No. 3
Performed by Ida Haendel and Misha Dacic

This sunny and rather humorous work was written in 1801-1802 and published in 1803. Its style lies somewhere between Beethoven’s so called “Early” and “Middle” periods.

1. Allegro assai
2. Tempo di menuetto ma molto moderato e grazioso
3. Allegro vivace

For more :  :     http://www.classicalarchives.com/work/4522.html#about  

SYMPHONY No. 9 in D MINOR Op. 125 “Choral” transcribed by Franz Liszt for 2 pianos
Performed by Kemal Gekic and Misha Dacic

Franz Liszt had the utmost respect for his predecessors, especially Ludwig Van Beethoven. He was fiercely determined that their work be remembered and appreciated by his and future generations.  He wrote that” one meets here and there some artists who protest their high esteem for the classical music of Haydn, Mozart and Beethoven-but it is rather like the way one hears some society women boast of the profundities of German philosophy of which they take care not to have a closer knowledge”. Liszt frequently performed Beethoven piano works but was concerned that the wonders of the orchestral works would not be widely available. He decided to transcribe the nine symphonies for solo piano. The scholarly and reverential Liszt strived to be scrupulously true to the style, intent and phrasing of the original. He was reluctant to tackle the complexities of the ninth with its choral An Die Freude (Ode to Joy) conclusion but did eventually complete it. However it is the earlier 2 piano version (1851) that offers the best presentation of the work. Interestingly Liszt noted much of the original instrumentation in the score and added extra staves for the choral section. The poem is by Friederich Schiller (1759-1805) and its inclusion represents the first time a composer gave the human voice equal prominence with the orchestra in a symphony.

1. Allegro ma non troppo un poco maestoso
2. Molto vivace presto
3. Adagio molto e cantabile-Andante moderato
4. Presto-Recitative-Allegro assai , "Ode to Joy"

For more: http://www.classicalarchives.com/work/4237.html#about  

For the poem and English Translation:
http://shaunak.wordpress.com/2005/11/28/beethovens-9th-an-die-freude-ode-to-joy   

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