The End of Sonatas Essay

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The End of Sonatas Probably no other figure in the arts meets with such a strong universal response as Ludwig van Beethoven. People may pity van Gogh, respect Michelangelo and Shakespeare, and admire Leonardo da Vinci, but Beethoven instantly summons up a powerful, positive image: that of the tough, ugly, angry genius staring down adversity and delivering one deeply expressive masterpiece after another (Kerman and Tomlinson 227). That is the reason my choice of a concert on Beethoven’s last sonatas “Violin Sonata No. 10 in G Major, Op. 96 and Sonata in C minor, Op. 111.” The concert was performed at the Isabella Stewart Gardner Museum (ISGM) by Canadian violinist Corey Cerovsek and Finnish pianist Paavali Jumppanen. I am not sure when the concert was performed, but according to the ISGM the two performers performed all of Beethoven’s violin sonatas in 2003 and 2004. For both sonatas the performers played exceptionally well. In the violin sonata they knew exactly how to feed off of each other. When a part of the music called for more violin sound Jumppanen knew exactly how much too back off enough but not completely out and vice versa. When both instruments were used to drive a certain area, both matched each other well one to overpowering the other. In the piano sonata Jumppanen played like the award winning pianist that he is. When the music called for the accents, crescendos, and decrescendos I believe he performed it just as Beethoven might have envisioned it. According to the All About Beethoven website, the violin sonata was “written in 1812 and dedicated to French violinist Pierre Rode” (All About Beethoven). This piece is also written during a point in Beethoven’s life where he was possibly going through some hard romantic times. It was also written after his deafness had begun to set in. Being deaf and continuing to produce magnificent pieces of music

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