16.12. - BEETHOVEN. INTO A CREATIVE FRENZY #2 – Chamber concerto | CONCERT ONLINE

16.12., 7:00 pm | CONCERT ONLINE
BEETHOVEN. INTO A CREATIVE FRENZY #2
Chamber concerto
Chamber Hall in CKK Jordanki

Concert online will be streamed on our YouTube channel 
on 16th December at 7:00 p.m.
Concert will be available to watch to 30th June 2021.
Stream: YouTube
 
Artists:
Marcin Zdunik – cello
Aleksander Dębicz – piano
 
Programme:
Music of the Future
L. van Beethoven – Sonata in A major, Op. 69
L. van Beethoven – Sonata in D major, Op. 102, No. 2
Musical duets improvisations on the basis of nine Beethoven’s symphonies
 

Ludwig van Beethoven paved the way and was a point of reference for the future generations of composers also in the field of the sonata for cello and piano.

The completion of the Cello Sonata No. 3 in A Major, Op. 69 for cello and piano occurred at the moment of the flourishing of Beethoven’s creative fecundity. The composition, finished in 1808 (just like Symphony No. 5 and 6), was dedicated to the composer’s friend – baron Ignaz Freiherr von Gleichenstein – an amateur cellist. The piece, with the inscription: “Inter Lacrimas et Luctum” (“In tears and grief”), moves the most sensitive strings of the listener’s soul with its lyricism and melancholy. The intellectual and emotional dialogue of both instruments takes on various “sound frames”, now touching lyrical and reflective tones, then tones impetuous and energetic. The second movement –  Adagio cantabile, of an outstandingly ode-like character, is an augury of musical Romanticism. Beethoven was well aware that grief and tears are a part of the human condition. But he also knew that the human being can be strong, and overcoming their own weaknesses, they can emerge “like a phoenix out of the ashes” to again and again face the world anew.

In the mature sonatas of Opus 102, musicologists seek the beginning of the third period of Beethoven’s work, marked by experiments in sound and form. Here, the element of expression and the creative individualism overcome the classical formal shackles, while the increased interest in polyphony – in the finale of Sonata in D major, Op. 102, No. 2 appears a fugue – will from now on accompany the master until the very end of his creative path.