Piano Sonata No.13 in E-flat major, Op. 27 "Quasi una fantasia"

At Palais Rasumofsky, Vienna, 1983-1984 Daniel Barenboim - piano Ludwig van Beethoven - Sonata No. 13 in E-flat major, Op. 27 No. 1 "Quasi una fantasia" 0:22 Andante - Allegro -Tempo I 5:50 Allegro molto e vivace 8:00 Adagio con espressione 11:13 Allegro vivace. Presto Watch other Beethoven Sonatas performed by Barenboim: https://goo.gl/Z589Zz Watch other performances of Daniel Barenboim: https://goo.gl/ABAVKt Subscribe to EuroArts: https://goo.gl/jrui3M Composed between 1800 and 1801, the Sonatas Nos. 11-13 bridge two very different periods in Beethoven's piano sonatas. Scholar Charles Rosen has described the Sonata No. 11 in B-flat major, Op. 22 (composed in 1800) as the composer's 'farewell to the eighteenth century'. lt was for Beethoven the culmination of the older classical style. With the Sonata No. 12 in A-flat major, Op. 26 on the other hand, Beethoven departs from tradition. Published in Vienna in 1802, only the last movement, a Rondo allegro, is in a conventional form. The third movement, a funeral march 'for an unknown hero', is especially admired, an was played at the composer's own funeral. The stylistic departure began in Op. 26 continued in the two sonatas of Op. 27, which Beethoven completed in 1801 and published together with the description 'quasi una fantasia'. As with the preceding sonata, in Sonata No. 13 in E flat major, Op. 27 No. 1, Beethoven again chose unconventional forms, beginning with the opening movement: an Andante-Allegro-Andante structure that suggests a suite, particularly in the middle 6/8 section. The Grammy award-winning pianist Daniel Barenboim has been active on the concert stage since the age of seven when he made his stage debut in his hometown of Buenos Aires. Well known for his work with the East-Western Divan Orchestra, a group of young Arab and Israeli musicians, he is currently the director of the Berlin State Opera, La Scala (Milan) and the Staatskapelle Berlin. Barenboim is described as "one of the few musicians in the world today who could accurately be describe as legendary". #EuroartsBarenboim

Piano: Wilhelm Kempff Ludwig van Beethoven's Piano Sonata No. 13 in E-flat major "Quasi una fantasia", Op. 27, No. 1, was composed in 1800--1801. Be apart of my Facebook page! http://www.facebook.com/Blop888

WQXR's Beethoven Piano Sonata Marathon, which took place in The Greene Space on Nov. 20, 2011 featured a lineup which spanned a range of personalities and national schools. It included the flamboyant individualists Evan Shinners and Timothy Andres; the Russian powerhouses Daria Rabotkina and Natasha Paremski; and the Chinese up-and-comers Qi Xu and Yuchong Wu. Some, including Jeremy Denk, Jonathan Biss and Alessio Bax, are already boldface names on the international concert circuit; others are on their way.

00:00 - Andante - Allegro - Andante 05:17 - Allegro molto e vivace 07:05 - Adagio con espressione 09:52 - Allegro vivace Richard Goode, 1993

The Complete Sonatas of Beethoven (Live) Joel Schoenhals, piano www.joelschoenhals.com Eastern Michigan University Pease Auditorium March 21, 2014 Greg Knollmeyer, video production http://www.video.gregknollmeyer.com/ Sonata No. 13 in E-flat Major, Op. 27, No. 1 'Quasi una fantasia' (1800/01) This sonata departs even further from tradition. Again, there is no sonata form in the entire work. Beethoven adds the title "Sonata una quasi fantasia" or "Sonata in the style of a fantasy". The work is a fusion of sonata, or formalized music, and fantasy, or improvisatory free composition. He also indicates that the movements are to played "attaca" or continuously. The movements are inextricably linked and the sonata is conceived of more as a whole. The first movement is uncharacteristically simple. Beethoven, the great improviser, even chooses the simplest means to vary the opening theme. Despite the musical simplicity, the movement has a great emotional depth, pointing perhaps to a hidden sadness underneath a naive surface. The second movement in C minor moves from this hidden sadness to a dark night of the soul with psychological turmoil at the surface. A dramatic struggle ends the movement and moves directly to the sublime third movement that reflects a spiritual search common in the later works of Beethoven. An improvisation connects the third movement to the virtuosic and youthful fourth movement. Before the romp that ends the sonata, the third movement theme returns transformed from a sense of seeking to a sense of gratitude, further unifying the work. A theme in Beethoven's life and music is the idea of overcoming struggle. It is difficult not to see this work as just that. - Notes by Joel Schoenhals, 2014 Dan Harteau, piano technician Concert Instrument: This performance features Steinway Model D, serial number 213668. It was manufactured in the Steinway & Sons factory in Queens, New York on March 28, 1922. Presumably, it returned to the Steinway factory for additional work in the 1950s, as there are Steinway 100th anniversary medallions on the fallboard. Sampson R. Field, a former president of the New York Philharmonic and chairman of the Marlboro School of Music and Marlboro Festival in Vermont purchased the instrument in 1953. "Mr. Field headed the Philharmonic from 1978 to 1981 and was a member of its board for more than 20 years. He was an amateur pianist who occasionally played with professionals, and he worked for many years as a volunteer for several organizations that aided the growth and development of the careers of young musicians" (New York Times, obituary, 1991). AC Pianocraft of New York City acquired the piano and it was rebuilt in 2006.