Beethoven‏’s “Pathétique Sonata”, no 8 in C minor, opus 13

by richibi

the very first chord of Beethoven’s Pathétique Sonata,
no 8 in C minor, opus 13, does the same for the
Romantic Era as Descartes’ “I think, therefore I am”
and Shakespeare’s “To be, or not to be” did for the
Age of Reason, it defined its parameters, and set it
on its path, I can think of no other literary equivalent
with anywhere near the same power, the same clarity
and precision as that bold, peremptory statement for
that burgeoning period
Delacroix, too nationalistic, the Romantic poets too
introspective, Beethoven perfect, blending the political
with the personal, the personal with the philosophical,
the philosophical with the transcendental, and the
transcendental finally with the sublime, you come out
of a Beethoven composition not only entertained but
informed, inspired, transformed, he takes you there 
though unknown, to me at least, not yet among the
immortals, Daphne Honma acquits herself quite well
here in Beethoven’s masterpiece, perhaps a little too
plodding at the beginning, I thought, for my taste,
stretching nearly embarrassingly her sforzandos,
those initial arresting statements, Beethoven would
never ‘ve called for that, too much melodramatic
excess would only blur, he knew, the sheen of
unadulterated oracles 
but all is soon set aright, indeed redeemed by what
comes next, Daphne Honma deserves much more
applause than is here her portion
one of Beethoven’s early works, it’s 1798, Beethoven
is 27
psst: an “unadulterated oracle”