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In addition to being one of Beethoven’s most emblematic works, the Piano Sonata no.32 op.111 (1821-22) is a manifesto of radical modernity. It begins the process of disintegration of sonata form, a formal pillar for any composer of the preceding century, and introduces in its second movement a new method of constructing the musical phrase, to such an extent that some commentators regard it as marking the first stirrings of jazz. The innovations it presented, particularly in the field of rhythm, left most of the composer’s contemporaries perplexed. Here is an ideal space for the Aka Moon trio to occupy. It has called on three strong musical personalities for the occasion: the singer Fredy Massamba, who contributes his expressive power as an African storyteller; the rising star of the Portuguese accordion João Barradas, who adds a flavour of urban modernity with the added feature of playing both acoustic and electronic instruments; and the pianist Fabian Fiorini, a longstanding partner of the trio, who acts as the ‘mirror musician’ for Beethoven’s sonata. It is through this nexus of meanings with multiple resonances that Fabrizio Cassol approaches Beethoven’s sonata, synchronising emotional spaces that rise above periods, cultures and social or aesthetic viewpoints.