"EETHOVENPIANOSONATAS

  SONATANO PATHTIQUEIN#MINOR/P
 'RAVE!LLEGRODIMOLTOECONBRIO
 !DAGIOCANTABILE
 2ONDO!LLEGRO 
  SONATANO MOONLIGHTIN#MINOR/P
 !DAGIOSOSTENUTO
 !LLEGRETTO
 0RESTOAGITATO
  SONATANO TEMPESTIN$MINOR/P
 ,ARGO
 !DAGIO
 !LLEGRETTO
  SONATANO APPASSIONATAIN&MINOR/P
 !LLEGROASSAI
 !NDANTECONMOTO
 !LLEGROMANONTROPPOn0RESTO

h4HE POPULARITY OF THESE SONATAS CAN PROBABLY BE ATTRIBUTED TO THE PUBLICS
LIKINGFORTITLESSINCETHOSEWITHTITLESAREAMONGTHEBESTLOVEDv3OSAIDTHE
PIANIST%DWIN&ISCHERHOWEVERUNFAIRITMAYBEONTHOSE"EETHOVENSONATAS
OR(AYDNSYMPHONIESFORTHATMATTER LACKINGASOBRIQUETTHEMEMORABLE
NICKNAMES UNDOUBTEDLY HELPED TO ESTABLISH THESE WORKS IN THE PUBLIC
IMAGINATIONWHERETHEYHAVEREMAINEDSINCE"EETHOVENSDAY

2
 5NLIKE THE OTHER WORKS ON THIS RECORDING THE 'RANDE 3ONATE
0ATHTIQUE WAS SO TITLED BY ITS COMPOSER )TS MOOD OF HIGH SERIOUSNESS IS
ESTABLISHEDINTHE'RAVEINTRODUCTIONWHICHTURNSOUTTOBERATHERMORETHAN
THAT)TSREAPPEARANCEINTHEDEVELOPMENTANDRECAPITULATIONLOOKSFORWARD
TOTHEhARRESTMOVEMENTvPOLARIZATIONOFTHE/P 4EMPEST SONATA4HE
POPULARITYOFTHE 0ATHTIQUE ISDUEINPARTTOTHESTRAIGHTFORWARDAPPEALOF
THE !DAGIOCANTABILE ASIMPLERONDOWHOSEMEMORABLETHEMEISSUNGOUT
INTHERICHTENORREGISTEROFTHEINSTRUMENT4HECONCLUDING 2ONDO DESPITE
THE DElANT h"EETHOVEN IN # MINORv lNAL GESTURE IS LIGHTER IN MOOD THAN
ITS PRECEDING MOVEMENTS ITS RATHER ELUSIVE THEME WHICH "EETHOVEN IS
SAIDTOHAVEPLAYEDhHUMOROUSLYvISAWORLDAWAYFROMTHEBROW FURROWED
SENTIMENTSOFTHEOPENINGMOVEMENT
4HE -OONLIGHT TITLEDERIVESFROMASTRIKINGIMAGEFROMTHEPENOF
THEPOETANDCRITIC,UDWIG2ELLSTABnhABOATVISITINGTHEWILDPLACESON,AKE
,UCERNE BY MOONLIGHTv 4HE PREDOMINANTLY LOW SONORITIES OF THE OPENING
!DAGIOSOSTENUTO CERTAINLYCONJURESUPACREPUSCULARSCENE4IMOTHY*ONES
HASSUGGESTEDTHATTHECONSTANT PIANO ORSOFTER DYNAMICANDTHEDESOLATE
TOLLINGMELODYCOULDBEhAREPRESENTATIONOF"EETHOVENSIMPAIREDAUDITORY
WORLDANDnATTHESAMETIMEnALAMENTFORITSLOSSv4HEBRIEF !LLEGRETTO
nhAmOWERBETWEENTWOABYSSESvIN,ISZTSTELLINGPHRASEnISDIRECTEDTOBE
PLAYED ATTACCA FROM THE !DAGIO AND SERVES AS A MODERATELY PACED BRIDGE
BETWEEN THE SLOW OPENING MOVEMENT AND THE CLIMACTIC lNALE "EETHOVEN
EMPLOYEDASIMILARFORMALSTRATEGYBOTHIN/P.OLIKETHE -OONLIGHT
ENTITLED 3ONATAQUASIUNAFANTASIA ASWELLASTHEPRECEDING/PSONATA
)NALLOFTHESEWORKS"EETHOVENlNDSNEWWAYSOFINTERCONNECTINGMATERIALS
BETWEENMOVEMENTSANDOFTRANSFERRINGWEIGHTTOTHElNALES4HECONCLUDING

3
0RESTOAGITATOOFTHE-OONLIGHT TRANSFORMSMATERIALFROMTHE!DAGIOSOSTENUTO
INAMOVEMENTOFASTONISHINGDRIVEANDFORCE
)NDIRECTLYWEHAVE"EETHOVENTOTHANKFORTHE 4EMPEST TAGTOHIS
$ MINOR SONATA /P  .O  !NTON 3CHINDLER ONE OF "EETHOVENS CIRCLE
REPORTEDTHATHEONCEASKED"EETHOVENTOEXPLAINTHEhKEYvTOTHE/PP
ANDSONATASTOBEGNOMICALLYADVISEDhJUSTREAD3HAKESPEARES4EMPESTv
4HESTORYHASARINGOFTRUTHABOUTITITWASNOTTHEONLYTIMETHAT"EETHOVEN
MADEREFERENCETO3HAKESPEAREWITHREGARDTOHIDDENhPROGRAMMESvINHIS
MUSIC)FITWASHISINTENTIONTOLINKHISGENIUSWITH3HAKESPEARESITWORKED
DURINGTHENINETEENTHCENTURYTHENOTIONBECAMEACRITICALCOMMONPLACE4HE
$MINORSONATAOPENSWITHASTARKOPPOSITIONOFMATERIALSASOFTARPEGGIATED
CHORD MARKED ,ARGO FOLLOWED BY A NERVOUS BURST OF ACTIVE MUSIC WHICH
HASMORETHANAHINTOFTHEOPERAHOUSEABOUTIT4HEARPEGGIOSTAKEONAN
UNSETTLINGQUALITYWHENTHEYREAPPEARATTHEBEGINNINGOFTHERECAPITULAION
4HEY mOWER INTO STRANGE RECITATIVES THEIR POETRY INTENSIlED BY THEIR VERY
WORDLESSNESS !S #HARLES 2OSEN HAS REMARKED "EETHOVENS DIRECTION TO
HOLDDOWNTHESUSTAININGPEDALATTHISPOINTLENDSTHEMhAHOLLOWANDEVEN
CAVERNOUSQUALITYLIKEAVOICEFROMTHETOMBv"OTHTHEARPEGGIATEDCHORD
ANDELEMENTSOFTHERECITATIVESAREEMPLOYEDINTHESUCCEEDING !DAGIO IN
WHICHTHECONCEPTOFOPPOSITESISALSOCONTINUED(ERETHEFARTHESTREACHES
OF"EETHOVENSPIANOAREEXPLOITEDINADIALOGUEOFEXTREMEREGISTERS)NTHE
CONCLUDING !LLEGRETTO THE ARPEGGIO IS TRANSFORMED INTO THE MATERIAL FOR A
NAGGING PERPETUUMMOBILE INWHICHTHEINTIMATIONOFTHEHUMANVOICEEVER
PRESENTDURINGTHElRSTTWOMOVEMENTSSEEMSENTIRELYABSENT
#ZERNY DECLARED "EETHOVENS /P  SONATA TO BE hMUCH TOO
MAGNIlCENTv FOR ITS !PPASSIONATA TITLE "EETHOVEN DISLIKED THE NICKNAME

4
PROVIDEDBYHISPUBLISHERALTHOUGHHEDECLAREDHIMSELFSATISlEDBYTHEWORK
ITSELF4HE ENORMOUS SCALE OF ITS OPENING MOVEMENT IS SYMPHONIC BOTH IN
STRUCTUREANDSHEERVOLUMEFORTHElRSTTIMEAWORKFORSOLOPIANOCOULD
CHALLENGETHEPOWEROFANORCHESTRA4HE!PPASSIONATACOULDONLYHAVEBEEN
CONCEIVED FOR A STATE OF THE ART INSTRUMENT )N  "EETHOVEN ACQUIRED
AN %RARD GRAND PIANO WHICH AFFORDED HIM AN EXTENDED TREBLE RANGE AS
WELLASCONSIDERABLYINCREASEDROBUSTNESS4HE7ALTERFORTEPIANOONWHICH
HE PERFORMED THE 0ATHTIQUE WOULD HAVE BEEN REDUCED TO MATCHWOOD BY
THE SHATTERING POWER OF THE FORTISSIMO CHORDAL ASSAULTS WHICH "EETHOVEN
UNLEASHES AT VARIOUS POINTS IN THIS STORMY MOVEMENT 4HE !NDANTE CON
MOTO PRESAGES"EETHOVENS VISIONARY SLOWMOVEMENTS IN HIS lNALSONATAS
!STATELYCHORALE LIKETHEMEISSUBJECTEDTOTHREEVARIATIONSWHICHASCEND
BYDEGREESINTOHIGHERREGISTERSOFTHEINSTRUMENT!S$ONALD&RANCIS4OVEY
REMARKEDTHE!NDANTEIShxADREAMTHATMUSTBESHATTEREDATTHElRSTHINT
OFACTIONv4HElNALEATUMULTUOUS!LLEGROMANONTROPPOISASONATAFORMIN
WHICH"EETHOVENDIRECTSTHEPERFORMERTOREPEATBOTHTHEDEVELOPMENTAND
RECAPITULATION THEREBY CREATING AN EFFECTIVE COUNTERWEIGHT TO THE MASSIVE
OPENINGMOVEMENT)NTHECODATHEPULSEISFURTHERINCREASEDTOA0RESTOFOR
ASAVAGE$IONYSIACDANCETHATBREAKSINTOAlNALFRENZIEDSTATEMENTOFTHE
OPENINGMATERIAL

0ROGRAMMENOTEBY
3ANDY-ATHESON%DINBURGH*ANUARY

5
!24520):!22/
!RTUR0IZARROPLAYSA"LTHNERCONCERTGRANDPIANOMODELCMv
SUPPLIEDCOURTESYOFTHE"LTHNER0IANO#ENTRE,ONDONnWWWBLUTHNERSCOUK
!RTUR0IZARROUSESTHE(EINRICH3CHENKEREDITION
ORIGINALLYPUBLISHEDBY5NIVERSAL %DITION!'6IENNA
INTHEREPUBLICATIONBY$OVER0UBLICATIONS)NC

3INCEWINNINGTHE,EEDS)NTERNATIONAL0IANO#OMPETITIONIN!RTUR0IZARRO
PURSUESATRULYINTERNATIONALCAREER2ENOWNEDFORHISLYRICALPOETICISMAND
OUTSTANDINGVIRTUOSITY!RTUR0IZARROPERFORMSREGULARLYTHROUGHOUTTHEWORLD
WITHTHELEADINGORCHESTRASANDTHEWORLDSMOSTDISTINGUISHEDCONDUCTORS
INCLUDING%SA 0EKKA3ALONEN3IR!NDREW$AVIS#HARLES$UTOIT&RANZ7ELSER
-STAND3IR3IMON2ATTLE
!RTUR REGULARLY APPEARS AS A RECITALIST AND CHAMBER MUSICIAN!S
A RECITALIST !RTUR HAS PERFORMED AT MANY OF THE WORLDS MOST PRESTIGIOUS
VENUESANDFESTIVALSINCLUDING7ASHINGTONS+ENNEDY#ENTRE4HE7IGMORE
(ALLTHE!LDEBURGH&ESTIVAL.EUES'EWANDHAUS&RANKFURT!LTE/PER4HTRE
DU#HTELET-USE$/RSAY:URICH4ONHALLETHE""#0ROMSANDTHE.(+
AND/RCHARD(ALLSIN*APAN!RTURSREGULARCHAMBERMUSICAPPEARANCESHAVE
PARTNERED HIM WITH 2APHAEL /LEG #HRISTIAN !LTENBURGER 4RULS -RK 4OBY
(OFFMANNTHE3T,AWRENCEANDTHE-UIR1UARTETS
!RTUR0IZARROHASRECORDEDEXTENSIVELYFOR#OLLINS#LASSICSTOGREAT
CRITICALACCLAIM!RTURHASALSORELEASEDADISCOFTWOPIANOWORKSBY-ILHAUD
WITH3TEPHEN#OOMBSFOR(YPERION7ITH*OAN%NRIC,LUNA!RTURHASRELEASED
A #$ FOR (ARMONIA -UNDI OF 3PANISH MUSIC FOR CLARINET AND PIANO!RTURS
RECORDINGOF2ACHMANINOVSTHIRDPIANOCONCERTOWITH-ARTYN"RABBINSAND

6
THE .$2 /RCHESTRA HAS BEEN PARTICULARLY WELL RECEIVED !LSO WITH -ARTYN
"RABBINS!RTURRECENTLYRECORDEDTHEPREMIERE#$OFTHE@$RAMATIC&ANTASY
AND @#ONCERTO FOR 0IANO  /RCHESTRA BY *OSE 6IANNA DA -OTTA WITH THE
'ULBENKIAN/RCHESTRA4HIS#$IS!RTURSDEBUTALBUMFOR,INN2ECORDS

RECORDEDAT0OTTON(ALL3UFFOLK /CTOBER

PRODUCEDANDENGINEEREDBY0HILIP(OBBS
POST PRODUCTIONBY*ULIA4HOMAS
PIANOTECHNICIAN"RUNO4ORRENS
ORIGINALPHOTOGRAPHOF!RTUR0IZARROBY-IKE/WEN
COVER"EETHOVENWITHTHEMANUSCRIPTOFTHEh-ISSASOLEMNISvn
PAINTINGBY*OSEPH+ARL3TIELER  0HOTO!+',ONDON
DESIGNANDPHOTO TOUCHINGBY*OHN(AXBY+NARESBOROUGH
!RTUR0IZARROS7ORLDWIDE-ANAGEMENT4OM#ROXON-ANAGEMENT

3! #$REMIXBY0HILIP(OBBSAND*ULIA4HOMAS
3! #$MASTERINGAT&INESPLICE
FORMOREINFORMATIONABOUT3! #$PLEASEVISITWWWLINNRECORDSCOMSACD

ALSOAVAILABLE"EETHOVEN,AST0IANO3ONATAS#+$