Скачать с ютуб Beethoven Violin Sonata no. 9, op. 47, ‘Kreutzer’ | Shunske Sato, violin; Shuann Chai, fortepiano в хорошем качестве

Beethoven Violin Sonata no. 9, op. 47, ‘Kreutzer’ | Shunske Sato, violin; Shuann Chai, fortepiano

This Sonata is one of Beethoven's most iconic works, full of fire, beauty, audacity - and just a touch of humor where you'd least expect it. Shunske Sato, violin | Shuann Chai, fortepiano Recorded 19 January 2024 at Westvest90 Schiedam Recording Mediatrack, Ernst Coutinho for Cobra Records COBRA0094 Fortepiano Michael Rosenberger, ca. 1820 on loan from the collection of the Nationaal Muziekinstrumenten Fonds Violin Auguste Bernardel, 1846, gut string setup | bow Stephan Sänger, copy after Tourte Video Onno van Ameijde FULL VIDEO and full album available at https://cobrarecords.com/kreutzer Streaming services Spotify, Apple Music, Qobuz & more at https://smartlink.musik.digital/bee1h... Hires DSD downloads in Stereo, Binaural and surround at https://www.nativedsd.com https://www.shunskesato.com I https://www.shuannchai.com Perhaps the most outrageous background story to any of Beethoven's Sonatas for piano and violin belongs to opus 47. It all began with a summons from one of Beethoven’s patrons, Prince Lobkovitz, who introduced Beethoven to the 24-year old virtuoso George Bridgetower. A dazzling violinist, his Polish-Caribbean ancestry was a novelty in the rarefied circles in which he performed, and he was a winsome conversationalist in five languages. The two musicians immediately hit it off, performing together at numerous private concerts and then carousing through the night. Their collaboration reached a peak when Bridgetower asked Beethoven for a new sonata, to be premiered at an exclusive concert with all of Vienna’s musical luminaries in attendance. Much to Beethoven’s embarrassment, the new work was not completed in time and the performance had to be moved to a later date. Beethoven completed the first two movements at 4:30 a.m. on the new concert date, and hastily appropriated the last movement of his yet-unpublished Sonata op. 30, no. 1 (fortunately also in the key of A) to serve as a Finale. Bridgetower performed at the concert by reading Beethoven’s manuscript from over his shoulder. At the point when the violin was meant to play a virtuosic cadenza, Bridgetower delivered in such a fashion that Beethoven sprang from the piano bench and kissed him in delight before continuing with the performance. An electrifying performance such as this should have solidified any friendship, but shortly afterwards, the two men quarreled vehemently and they never spoke to each other again. Bridgetower left Vienna shortly thereafter, and Beethoven – ever a fickle friend – changed the dedication of his op. 47 to the French violinist and pedagogue Rodolphe Kreutzer. Kreutzer, whom Beethoven had met only once in passing, was mystified by the unexpected dedication. After glancing at a few pages he pronounced the work to be “outrageously unintelligible”, and never played a note of it. His dislike of Beethoven was so long-lasting, in fact, that he was seen running from the concert hall with his hands covering his ears while attending the rehearsal for the Paris premiere of the composer’s Second Symphony in 1813. Isn’t it about time we started calling this the ‘Bridgetower Sonata’ instead?