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CR-087. Maxim Fedotov, Galina Petrova. Beethoven

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CR-087. Maxim Fedotov, Galina Petrova. Beethoven

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Maxim Fedotov is a Russian violinist, "Russian Paganini", "brilliant artist and perfect master" ("Frankfurter Rundschau"). Laureate and winner of major International Violin Competitions: in Tokyo, International Tchaikovsky Competition, Paganini International Violin Competition. Peoples' Artist of Russia, Laureate of the Moscow Government Prize, Professor of the Moscow Conservatory, Head of Violin and Viola Chair of the Russian Music Academy. President of the Association of Tchaikovsky Competition Stars.
Gives guest appearances in the most prestigious concert halls worldwide. Performed more than 50 recitals and symphonic concerts at the Great Hall of the Moscow Conservatory during the last 10 years. Plays with all major Russian orchestras, with a number of European and Japanese orchestras. Performs with world famous conductors. The important part of his artistic life is occupied by performances and recordings in a duet with pianist Galina Petrova. Among his records there are also "24 Caprices" by Paganini ("DML-classics") and a series of CDs "All music for violin and orchestra by Bruch" ("Naxos").
Maxim Fedotov was the first violinist to perform a recital on two Niccolo Paganinis violins - Guarneri del Jesu and J.B.Vuillaume (St.Petersburg, 2003).
Since 2003 he is the principal conductor of the Russian Symphony Orchestra. Since 2006 he is the artistic director and principal conductor of the Moscow Symphony orchestra Russian Philhar-monia.

Galina Petrova is a brilliant pianist - ensemble player. Her mastership is distinguished for "superb piano mastery combined with wonderful music intellectuality and artistic charm" ("La Voce del Popolo"). Merited Artist of Russia, Laureate of the Moscow Government Prize (2003). Soloist of the Moscow State Philharmony.
Performs in all prestigious concert halls of Russia. Toured in Japan, Germany, Italy, France, Turkey, Croatia, Australia, China, countries of the Baltic area and others. Was elected to join Petrovskaya Academy of Science and Arts (St.Petersburg) as its Corresponding Member.
Hold master classes in Japan, Croatia, Australia. Participates in major festivals and culture events - "Moscow Stars", "Russian winter", "Talents of Russia", "Stars of the Planet", Russian culture festivals in different countries. Took part in the "Millenium Concert" at the Grand Hall of the UN General Assembly (New York, 2000). Has made recordings for CDs released by "DML-classics", "Naxos", "Gold Club", etc.
Galina Petrova is the partner of violinist Maxim Fedotov in all his chamber performances. Their duet is considered to be the most harmonious ensemble of our times. Critics call them "Musicians with temperament of a tiger", "the best Moscow duet" ("The Independent Newspaper"), "brilliant Russian virtuosos" ("Nice Matin").

Sonata no.3 in E flat major is the last of three in opus 12. All three sonatas were composed in 1797-98 and dedicated to Antonio Salieri. Beethoven's attitude towards his teacher was always very warm. Long after the end of their studies, "pupil Beethoven" (as he once referred to himself in a note left to Salieri) felt greatest respect to the famous master.
At first, the critics were not very favourable. In the summer of 1799, the reviewer of Allgemeine Musikalische Zeitung wrote: "Nothing but erudition and scholarship! Nothing that would be natural or melodious, no good method, everything is clumsy and awkward" But in a few months time the opinion changed: "Ingenuity, a serious style and a good connection of musical ideas" Sonatas op.12 took a worthy place in today's violinists' repertoire.
Sonata no.4 in A minor op.23 was composed in 1801 and published in October of the same year. It was dedicated to Count Moritz von Fries, an aristocrat in whose house Beethoven played frequently. It was in the Counts music salon where a memorable contest between Beethoven and Steibelt took place. Steibelt, a famous virtuoso, played his compositions; Beethoven, who was also asked to perform, turned his rival's scores upside down, played a caricature theme that appeared as a result, and presented a brilliant improvisation on it. Steibelt left quietly.
At the same time with the Fourth sonata, the Fifth sonata op.24 was written (it was called "The Spring Sonata" by the publisher for its idyllic character). It was also dedicated to von Fries. At first, both sonatas were presented together as opus 23. These two works are a kind of antipodes: dramatic contrasts of the Fourth sonata anticipate the tragic images of the Seventh violin sonata (while the slow movement is perhaps one of Beethoven's most beautiful lyrical revelations for violin and piano). In Spring Sonata, with its serenity, there is practically no conflict at all. This principle of composing two contrasting works of the same genre at the same time became rather common for Beethoven. One of the most famous examples are the two symphonies, the Fifth and the Sixth.
Sonatas op.23 and 24 made a better impression on the critics than the first three ones. The Allgemeine Musikalische Zeitung reviewer noted that they were "among the best Beethoven has written, and that is really to say among the best things being written today.

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