Emre Köseoğlu, ITU MIAM 2nd Masters piano performance recital

This unedited recital was recorded on the 31st of January, 2024 at ITU SDKM. I have to thank my dear professor Assoc. Prof. Dr. Jerfi Aji for preparing me throughout my second year of studying music and also helping me get this recital 'ready' in such a short time - he really has gone above and beyond to help me. Many thanks to my great group of friends - especially Robert Mcdonald and Selçuk Ener for their help from the very beginning of this journey. Selçuk did not miss any chance to give feedback on my playing and Robert showed great help even from far away, especially with Liszt's piece thanks to him I discovered and wanted to play :) Deniz Bayhan, Alper Rumelioğlu, İrem Hayrioğlu, and Alper Erdoğan for giving valuable insights into my playing. Many thanks to Emre Tenker and Beste Öztürk for recording. Big thanks to Prof. Dr. Can Karadoğan for letting me have this recital at SDKM and thanks to many other people for making this possible :)

•L. v. Beethoven (1770-1827) Sonata in C Minor Op. 13
I. Grave - Allegro di molto e con brio 00:00
II. Adagio cantabile 08:52
III. Rondo: Allegro 14:13
•F. Mendelssohn (1809-1847) Lieder ohne Worte
Op. 19 No. 6 in G Minor Venetianisches Gondellied 19:34
Op. 30 No. 1 in E♭ Major 21:38
Op. 30 No. 6 in F♯ Minor Venetianisches Gondellied 26:46
•F. Liszt (1811-1886) Années de Pèlerinage S. 163
IV. Les jeux d'eau à la Villa d'Este in F♯ Major 30:52
•S. Rachmaninoff (1873-1943) 6 Moment Musicaux Op. 16
No. 3 in B minor 40:13
No. 4 in E Minor 45:10
No. 5 in D♭ Major 48:31
•Prelude Op. 32, No. 5 in G Major 53:46

Sonata in C Minor Op. 13 – Ludwig von Beethoven
Beethoven's Sonata Pathétique, composed in 1798 and published in 1799, is dedicated to his friend Prince Karl von Lichnowsky. The first movement, in C minor, follows the classical sonata form. It starts with a slow Grave theme, leading to an Allegro di molto con brio exposition with three themes. The development section, initially in G minor, later modulates to E minor. Beethoven innovatively revisits the Grave in this section. The recapitulation presents themes 1 and 3 in C minor, while theme 2 unexpectedly shifts to F minor before returning to the tonic key. The dramatic coda includes a brief recall of the Grave, concluding with a swift cadence. The second movement, marked Adagio cantabile, is lyrical in a rondo form with contrasting sections. The third movement is a lively Allegro Rondo (ABACADA), featuring a recurring theme and energetic contrast. Beethoven infuses rhythmic drive, syncopations, and dynamic shifts, culminating in a vibrant coda for a dynamic conclusion.

Lieder ohne Worte (Opp. 19&30) – Felix Mendelssohn
German for Songs Without Words is a series of short lyrical piano works that remain as his most famous solo piano compositions by the Romantic composer Felix Mendelssohn. The first two books - Op. 19 and Op. 30 - were written between 1829 and 1834. The eight volumes of Songs Without Words, each consisting of six songs, were written at various points throughout Mendelssohn's life and published separately. The titles attributed to some of the songs were given by Mendelssohn himself such as Venetianisches Gondellied which means Venetian Boat Song.

Années de Pèlerinage S. 163 No. IV – Franz Liszt
French for Years of Pilgrimage is a set of three suites for solo piano by Franz Liszt and is widely considered the masterwork and summation of his musical style. The third book which includes S.163 was published in 1883. The piece Les jeux d'eau à la Villa d'Este (The Fountains of the Villa d'Este) in F♯ major – Over the music, Liszt placed the inscription, "Sed aqua quam ego dabo ei, fiet in eo fons aquae salientis in vitam aeternam" ("But the water that I shall give him shall become in him a well of water springing up into eternal life," from the Gospel of John). This piece, with its advanced harmonies and shimmering textures, is in many ways a precursor of musical Impressionism.

6 Moment Musicaux Op. 16 – Sergei Rachmaninoff
French for "Six Musical Moments" is a set of solo piano pieces composed by Sergei Rachmaninoff between October and December 1896. Each Moment musical reproduces a musical form characteristic of a previous musical era. The forms that appear in Rachmaninoff's incarnation are the nocturne, song without words, barcarolle, virtuoso étude, and theme and variations. No. 3 is described as a mixture of the song without words and funeral march genres. No. 4 is a major exercise in endurance and accuracy: the introduction opens in a left-hand figure requiring a span of a tenth interval. The double melodies Rachmaninoff uses in this work exist purposely to "keep both hands occupied," obscuring the melody and making it difficult for the right hand to project. No. 5 is similar to the form of a barcarolle, a folk song with a rhythmic tuplet accompaniment that displays Rachmaninoff's capability for musical lyricism.