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Sona Jobarteh performed in Weimar on invitation of the University of Music FRANZ LISZT Weimar and its UNESCO Chair of Transcultural Music Studies (TMS). The TMS Chair regularly invites artists to bring the musicology students into contact with various musical cultures for inspiration and exchange.
Sona Jobarteh is the first female Kora virtuoso to come from a west African Griot family. The Kora is one of the most important instruments belonging to the Manding peoples of West Africa (Gambia, Senegal, Mali, Guinea and Guinea-Bissau). It belongs exclusively to griot families, and usually only men who are born into these families have the right to take up the instrument professionally. Sona Jobarteh combines various genres of African Music and western musical elements.
01:02:06 • Snowzard — L I F E
01:07:16 • BLUM — Refreshing
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Image by — Gantas Vaičiulėnas unsplash.com/photos/Re-zztQZ_Ks
00:00:00 • Shill — Dreamer
00:05:39 • SHill — Gaïa
00:09:54 • Rhian Sheehan — Keepsake
00:14:17 • S Hill — Time Stops When The Rain Falls
00:18:12 • Snowzard — O a s i s
00:23:14 • Dept 뎁트 — i still miss you
00:25:52 • Dept 뎁트 — Empty
00:29:11 • Lorin — Air
00:31:28 • HaTom — Naya
00:35:36 • Delectatio — Ominous
00:41:08 • Introspecter — Submerged
00:48:04 • Delectatio — I Wish
00:54:28 • Everbeat — Vik (Diversity of Silence Remix)
00:58:40 • Canoo — Jukai
01:04:55 • Amoeba — Where I Was Meant To Be
01:10:49 • An Imaginal Space — Myths
01:18:49 • Joachim Heinrich — I m An Astronaut
01:22:39 • Jameson Nathan Jones — Carry Me Slowly
01:26:20 • Olli — My Dear (feat. Tämä) (Kaisaku Remix)
01:30:22 • Barry Hudson-Taylor — Motion
01:34:09 • Delectatio — Epiphany
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Image by — Alex Azabache unsplash.com/photos/VQqyf1yOSlQ
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The first movement, in C♯ minor, is written in an approximate truncated sonata form. The movement opens with an octave in the left hand and a triplet figuration in the right. A melody that Hector Berlioz called a «lamentation», mostly by the right hand, is played against an accompanying ostinato triplet rhythm, simultaneously played by the right hand. The movement is played pianissimo or «very quietly», and the loudest it gets is mezzo forte or «moderately loud».
The adagio sostenuto has made a powerful impression on many listeners; for instance, Berlioz said of it that it «is one of those poems that human language does not know how to qualify. The work was very popular in Beethovens day, to the point of exasperating the composer himself, who remarked to Carl Czerny, „Surely Ive written better things.
Allegretto
The second movement is a relatively conventional scherzo and trio, a moment of relative calm written in D-flat major, the enharmonic equivalent of C♯ major, the more easily-notated parallel major of C♯ minor. Franz Liszt described the second movement as “a flower between two chasms.»[citation needed] The slight majority of the movement is in piano, but a handful of sforzandos and forte-pianos helps to maintain the movements cheerful disposition.
Presto agitato
The stormy final movement (C♯ minor), in sonata form, is the weightiest of the three, reflecting an experiment of Beethovens (also carried out in the companion sonata, Opus 27, No. 1 and later on in Opus 101) placement of the most important movement of the sonata last. The writing has many fast arpeggios and strongly accented notes, and an effective performance demands lively and skillful playing.
It is thought that the C-sharp minor sonata, particularly the third movement, was the inspiration for Frédéric Chopins Fantaisie-Impromptu, which manifests the key relationships of the sonatas three movements.
Of the final movement, Charles Rosen has written «it is the most unbridled in its representation of emotion. Even today, two hundred years later, its ferocity is astonishing.
Beethovens heavy use of sforzando notes, together with just a few strategically located fortissimo passages, creates the sense of a very powerful sound in spite of the predominance of piano markings throughout. Within this turbulent sonata-allegro, there are two main themes, with a variety of variation techniques utilized.
Beethovens pedal mark
See also: Piano history and musical performance, Mute (music), and Piano pedals#Beethoven and pedals
At the opening of the work, Beethoven included a written direction that the sustain pedal should be depressed for the entire duration of the first movement. The Italian reads: „Si deve suonare tutto questo pezzo delicatissimamente e senza sordino“. (»One must play this whole piece [meaning «movement»] very delicately and without dampers.") The modern piano has a much longer sustain time than the instruments of Beethovens day, leaving for a rather blurry and dissonant tone.
One option for dealing with this problem is to perform the work on a restored or replicated piano of the kind Beethoven knew. Proponents of historically informed performance using such pianos have found it feasible to perform the work respecting Beethovens original direction.
