Hi everyone,

It has taken some time for me to record again but,
thankfully, I have been able to work on Beethoven's Pathetique Sonata.

Some unplanned interpretive things occurred during the recording from the incredible nature of the piano.
The tone was directing me do things that were not in my original concept of the piece.
I hope these things worked. I know the performance is not note perfect.

I also have a video of this performance that I will post in a few days. I've noticed there are
some performance videos posted on the composer pages. Is there a procedure in place to submit a video
audition along with an audio file ? I have several performance videos I would like to submit for the audio files
that are already posted on my artist page.

Regards,
Kaila

Beethoven - Sonata Op.13 ("Pathetique") - 1: Grave; Allegro di molto e con brio (10:25)
Beethoven - Sonata Op.13 ("Pathetique") - 2: Adagio Cantabile (6:49)
Beethoven - Sonata Op.13 ("Pathetique") - 3: Rondo; Allegro (5:18)


Performance Videos:
1: Grave; Allegro di molto e con brio (10:25)
http://www.youtube.com/watch?v=xKCoMysnaNA&list=UULhJuumHMsfqkpKhKdt7y0A&index=3&feature=plcp
2: Adagio Cantabile (6:49)
http://www.youtube.com/watch?v=sVq_T9_56gU&list=UULhJuumHMsfqkpKhKdt7y0A&index=2&feature=plcp
3: Rondo; Allegro (5:18)
http://www.youtube.com/watch?v=iX4IYCzzRMU&list=UULhJuumHMsfqkpKhKdt7y0A&index=1&feature=plcp

A very likeable performance with some nice touches. You sound inspired and at ease with the music. If it's not a sexist thing to say, your playing has a certain feminine charm, which is appealing yet at odds with the angry young man Beethoven. I'd have liked a bit more bite overall, but there's no law saying that Beethoven always must be played so dramatically.
There were a couple of dubious notes, and you're a little taxed in places but nothing that spoils the experience. Of course it would be nice not to have these little flaws but it's a good recording as it stands. I will put it up tonight.

This is on the site. Please check if all is ok. The filenames were correct, but next time can you please also comply with the guidelines for ID3 tagging as described in this sticky topic:
http://pianosociety.com/new/phpBB2/viewtopic.php?f=12&t=5115&p=51530

Re: your question about videos. We have some on the site, but never quite made up our mind what to do about them except for deciding to allow max one per person. Nowadays we (I) lean towards thinking videos are best posted on YouTube.

Hello Kaila,
I have listened to your complete sonata rendition and for me it conveys a wonderful musicianship tied to a very intentional keyboard technique. Your attention to phrase shape, resolution of dissonance, voicing according to function and importance, a tempo that is punctuated according to form, excellent use of rubato and breath, for me is ample display of a mature artist that is more concerned with the lyric quality of this work than it's youthful raw emotional power. Your interpretation, for me, was at once both sensitive and intelligent. If your approach was somewhat reserved, I would think it only slightly so. You gave me such detail in your playing that It was a pleasure to listen to. I appreciate this performance VERY much! Thank you for this excellent contribution.

Regards,
Eddy

I too have listened to your recording. Not all sturm und drang, donnerwetter and all that, but, as Eddy says, with a deeper understanding of the piece. I have always wondered at the contrast between his chasmber music with piano and his solo works: why they were so different, but here I sensed the sonota at the same level, not as angry emotion, but tranquility.

It's very nice, thoughtful playing. Eddy drew attention to the resolution of dissonance, and in the first movement it was interesting how you appeared to make the most of holding on to the dissonant (or rather, requiring to be resolved) chords. Quite a nice effect of tension results.

The only thing I can quibble about, and really it is a quibble which I raise out of interest. In the second movement, of which I am very fond, most of the time you voiced the upper melodic line nicely, but in a few places the upper and lower voices didn't seem to be delineated. Is this an intentional decision, or is it a manifestation of something else? It occurred to me that the separation of voices typically didn't occur when the interval was narrow, but always occurred on the larger intervals around the octave range.

Anyway, a thoroughly enjoyable performance - thanks!

Hello Chris, Eddy, Richard and Andrew,

Thank you for listening to all three movements. Thank you for your encouragement and kind words.
To answer your question Andrew, I did hear the bass as a part of the melody in one or two spots.
I just played it like that because I felt it worked.

I listened to Claudio Arrau's recording for a year and a half almost every day on the way to work.

Odd thing is, when I started playing that piano a lot of things I thought about got pushed away from
my consciousness and the action and the sonority of the piano was all I could think about. I rarely get
to play on a Steinway these days. That particular piano's tone became paramount to the performance.
It was all about the piano in my mind.

I will be posting the video shortly.

Kaila

Hi Kaila,
You go, girl!..I think you did a great job here! Very nice playing.

Thanks Monica. That means a lot to me!

Kaila

Like the above posters, I've enjoyed this recording a lot, especially with regards to the 1st movement, which you play with illuminating poetry (e.g holding onto the dissonant chords etc.) This is quite a feat, given the abundance of so many good recordings of this sonata. It seems that you know precisely how long to wait for the Grave introduction and interludes (almost making me fall over in anticipation), as well as how to shape the phrases and the like. While there are a few regrettable slips in the repeat of the first section of the first mvt, as well as the transitory phrase back to the A section in the slow mvt, this was a joy to listen to, regardless. Thanks for sharing.

Hi, Kaila!

Despite some couple of wrong notes, you shape each phrase with great care. It's really different from my personal approach: I prefer a more direct one in classic pieces like this, but it works for you and makes this a convincing performance!

Kaila - very nice job. I really liked your dynamics and clear articulation in the Adagio Cantabile. The tempo was nice, although to me the middle section could have had more drive (but my ears may be biased on this one from overexposure).

I also really liked the 3rd movement - very clear with nice phrasing.

Great job!

Matt

Hello Jonathan, Luís, and Matt,

Thank you for listening and for your encouragement and perspectives.

The performance videos are now uploaded to youtube, so I will link them here and
in my initial comment frame with audio file site links.

Regards,
Kaila


1: Grave; Allegro di molto e con brio (10:25)
http://www.youtube.com/watch?v=xKCoMysnaNA&list=UULhJuumHMsfqkpKhKdt7y0A&index=3&feature=plcp
2: Adagio Cantabile (6:49)
http://www.youtube.com/watch?v=sVq_T9_56gU&list=UULhJuumHMsfqkpKhKdt7y0A&index=2&feature=plcp
3: Rondo; Allegro (5:18)
http://www.youtube.com/watch?v=iX4IYCzzRMU&list=UULhJuumHMsfqkpKhKdt7y0A&index=1&feature=plcp

Hello Kaila,
For some reasons YouTube doesn't work anymore on my computer, but I could download the mp3 files, and we have listened your Pathetical with my wife. We really enjoyed it ! I haven't found your rendition too 'feminine', I mean you have a good vigor and Beethovenian drive, while you also show a very delicate phrasing. The only minor criticism from us could be the leading voice in the second movement, which could be a little more emphasized, like a string instrument played with a bow - not easy to do on a piano, however ! But the result is globally beautiful, with a special mention for the third movement. Congratulations !

Hello Francois,

Thank you for your careful listening. Your point about the melody in the second movement is an interesting one. There is no doubt that the melody
can be played in a more out front manner. It has a lyricism and appeal that is transcedental and universally known.

Kaila