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Album available // Beethoven: The 32 Piano Sonatas by Claudio Arrau
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Ludwig van Beethoven (1770-1827) Piano Sonata No. 8 in C minor, Op. 13 "Pathetique"
00:00 I. Grave, Allegro di molto e con brio (2026 Remastered, Amsterdam 1963)
09:03 II. Adagio cantabile (2026 Remastered, Amsterdam 1963)
15:23 III. Rondo. Allegro (2026 Remastered, Amsterdam 1963)
Piano: Claudio Arrau
Recorded in 1963, at Amsterdam
New mastering in 2026 by AB for https://classicalmusicreference.com/
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Radiofrance: "Beethoven wrote several sonatas containing movements of a distinctly *pathetic* character, yet the adjective is especially fitting for the Eighth. It was in fact bestowed by the publisher Eder, who issued the work in 1799 under the title *Grande sonate pathétique pour le clavecin ou pianoforte* ("Grand Pathetique Sonata for Harpsichord or Pianoforte"). Today, the reference to the harpsichord—clearly a commercial consideration—can only raise a smile.
Here Beethoven composed his first sonata with a slow introduction. Yet is the term "introduction" truly appropriate? The Grave's powerful chords, marked by their majestic dotted rhythm, return before both the development and the coda. By assigning this section a structural function, Beethoven emphasizes the importance of its tragic accents. This inclination toward pathos, already evident in the *Cantata on the Death of Joseph II* (1790), permeates what is often called his "heroic" decade (c. 1803–1814), in works such as the *Symphony No. 3 "Eroica"*, the *Egmont Overture*, and the opera *Fidelio*. The *Allegro di molto e con brio* prolongs this atmosphere with a syncopated motif that surges upward into the treble over a restless accompaniment. The ascending trajectory of this thematic idea creates a wide span between the two hands, heightening the music's emotional tension. After a development that is as brief as it is feverish, the recapitulation contains numerous irregularities, as though any return to equilibrium had become impossible.
The *Adagio cantabile* owes its eloquent lyricism to the simplicity of its *sostenuto* melodic line. At the centre of the movement, repeated chords and several abrupt *sforzandos* interrupt the warmth of the opening section. They also prevent its complete restoration: when the initial melody returns in the final section, its accompaniment still bears the imprint of the central episode.
The finale adopts a lighter tone than the preceding movements. It favours the clarity of a linear texture and gives prominent space to the major mode. Yet it concludes with a dazzling, explosive gesture, as if to justify the epithet "Pathétique," which has remained inseparable from this sonata ever since its publication."
Album available // Beethoven: The 32 Piano Sonatas by Claudio Arrau
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Other Album available // Beethoven: Piano Sonatas Op. 109, 110, 111 by Sviatoslav Richter
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Ludwig Van Beethoven PLAYLIST (reference recordings): https://www.youtube.com/playlist?list=PL3UZpQL9LIxOhkdci2M8WKMSVaf9WiF8x