# BEETHOVEN - GRANDE SONATE PATHÉTIQUE Op.13 - A DIFFERENT MASTER-CLASS



## cimirro (Sep 6, 2016)

Hello people,

I had the idea of making a different kind of Master-Class, while I was recording in a studio, using the elements of the book "Scientific System of Interpretation or Musical Hermeneutics".
So it is not about how to interpret the piece in "my way". It is about *what you must to pay attention while doing "your own"* interpretation.

The piece in this Master-Class is Beethoven's "Grande Sonate Pathétique Op.13" since this was the first work where I noticed problems concerning the kind of reading which the pianists do today, and this is why I wrote the book.

Well, I just received the files, so I post here the link for the ones who may have been interested in the recent discussions on this subject.

http://www.opusdissonus.com.br/CIMIRRO_studio-master-class_001.htm

Also, there are the 3 tracks with my recording of the full Sonata Movements and the score's first edition. 
(I used the Urtext edition by Henle, but this is not in public domain so if you have the Henle Urtext I recommend you to use it.)

Please remember I'm not from a English speaking country, so I ask you to apologize my English mistakes in advance. Hopefully it will not be difficult to understand what I mean.

Probably I'll do more Master-Classes like this at some point soon, so I'm open to suggestions about repertoire and if you like it, please let me know.
(If you do not like it, please tell this only to the nearest wall you find around you :lol: )

All the best
Artur Cimirro


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## gardibolt (May 22, 2015)

This looks interesting. I will need to check this out.


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## DaveM (Jun 29, 2015)

I have not had a chance to listen to the master class part, but I did listen to the entire Sonata. By any measure, you are an excellent and skilled pianist. I very much enjoyed it. Your playing is very analytical and exact. The runs are distinctive and without error. (My guess is that you would do very well with Bach ) I was interested in the interpretation of the first movement, the opening chords, a hallmark of the Pathetique, being more pronounced/exaggerated and dramatic than I am used to, but I liked it. The 2nd movement struck me as more of a 'classical period' interpretation as opposed to 'romantic'. I guess I have a preference for the latter, but given the time period in which the work was composed, I can't criticize the choice.

Btw, I have a fair amount of experience recording the grand piano and I tend to be pretty critical about how badly some piano performances are recorded, but your recordings are very well done. I have always preferred and promoted the recording being from the aspect of the pianist with the lower register to the left, upper register to the right as opposed to a broader perspective from beyond the piano such as what listeners might hear in the front row or as sometimes happens, the upper register on the left, lower register to the right as if the listener is standing behind the piano.

Over all, a recording to be proud of! Thanks for posting it.


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## cimirro (Sep 6, 2016)

DaveM said:


> I have not had a chance to listen to the master class part, but I did listen to the entire Sonata. By any measure, you are an excellent and skilled pianist. I very much enjoyed it. Your playing is very analytical and exact. The runs are distinctive and without error. (My guess is that you would do very well with Bach ) I was interested in the interpretation of the first movement, the opening chords, a hallmark of the Pathetique, being more pronounced/exaggerated and dramatic than I am used to, but I liked it. The 2nd movement struck me as more of a 'classical period' interpretation as opposed to 'romantic'. I guess I have a preference for the latter, but given the time period in which the work was composed, I can't criticize the choice.
> 
> Btw, I have a fair amount of experience recording the grand piano and I tend to be pretty critical about how badly some piano performances are recorded, but your recordings are very well done. I have always preferred and promoted the recording being from the aspect of the pianist with the lower register to the left, upper register to the right as opposed to a broader perspective from beyond the piano such as what listeners might hear in the front row or as sometimes happens, the upper register on the left, lower register to the right as if the listener is standing behind the piano.
> 
> Over all, a recording to be proud of! Thanks for posting it.


Thank you very much for your words.
I'm happy you notice all those things about the playing and the recording.

I was thinking about doing Liszt's B minor Sonata in a next Studio Master-Class. Bach's recording can also be a great idea.

All the best
Artur Cimirro


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## Pugg (Aug 8, 2014)

gardibolt said:


> This looks interesting. I will need to check this out.


Me too, will come back.


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## DaveM (Jun 29, 2015)

cimirro said:


> Thank you very much for your words.
> I'm happy you notice all those things about the playing and the recording.
> 
> I was thinking about doing Liszt's B minor Sonata in a next Studio Master-Class. Bach's recording can also be a great idea.


Well, the B minor will be right up your alley because historically it has often been recorded with inaccuracies that are not in the original manuscript.  To me, it is a rather amazing work in that it was composed in the mid 19th century, but, IMO, the last 1/2 to 1/3 of the work (allegro with fugato) anticipated the 20th century. Listeners of the time must have been dismayed, but then one wasn't about to question Liszt.


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## Razumovskymas (Sep 20, 2016)

cimirro said:


> I was thinking about doing Liszt's B minor Sonata in a next Studio Master-Class.
> 
> All the best
> Artur Cimirro


looking forward to that!


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## cimirro (Sep 6, 2016)

Ok, thank you, I will keep the Liszt's B minor Sonata in mind for a next one,  (hopefully more people will show any interest at all) 
In the meantime, here, for Beethoven lovers who have not heard this recording yet, you have another Beethoven I played:

My own piano solo transcription of Egmont Overture Op.84






Hope you enjoy
All the best
Artur Cimirro


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## DaveM (Jun 29, 2015)

cimirro said:


> Ok, thank you, I will keep the Liszt's B minor Sonata in mind for a next one,  (hopefully more people will show any interest at all)
> In the meantime, here, for Beethoven lovers who have not heard this recording yet, you have another Beethoven I played:
> 
> My own piano solo transcription of Egmont Overture Op.84


Very clever. Very nice. Really enjoyed it!


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## cimirro (Sep 6, 2016)

I'm curious about other members impressions too...


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## Pugg (Aug 8, 2014)

cimirro said:


> I'm curious about other members impressions too...


I do think you are doing very well, quit a challenging chance doing the Egmont.
Bravo.


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## Schumanniac (Dec 11, 2016)

cimirro said:


> I'm curious about other members impressions too...


I was quite sceptical, since Egmont is my one of my very favourite beethoven orchestral work after his symphonies, and doubted a piano could ever encompass its majesty but it rather did. The powerful moments were far better conveyed than i thought possible, and the softer parts was actually better imo, it cast a very different mood over the entire piece. Kinda seems like those absolutely beautiful slow sections you did provided the contrast needed to make the powerful moments as overwhelming as the original piece, which was my doubt initially.

Really liked it, Artur, was a mighty fine transcription  Your playing is quite astounding too, very clear and crisp textures.


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## cimirro (Sep 6, 2016)

Dear Pugg, 
You are always very kind 
Thank you so much! I'm happy you enjoy!

Dear Schumanniac,
It is great to hear you were sceptical and the piece changed your opinion,
in a world where everything is too fast, it is nice to hear you are working nice in such "old-slow-art-daily-work".

By the way, I remember when I first heard Egmont, it was some minutes after I buy a Vinyl with Beethoven Overtures.
from the first chords until the end of the piece I was thinking something like: "exactly", "exactly" (don't ask me why)
when it finished I was crazy because I had no full score around and I wanted to start to make a transcription of it.
I got the score only almost one year after that - it was quite difficult to have it in those times in Brazil - and buying was quite expensive and only available around 2000 km from my house (a huge country as you may know) travelling was not an option at those times.
Later I discovered also other transcriptions (Henselt, Stradal, Julian Weiss,) which are quite different - very interesting too.

All the best
Artur


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