My new musical assignment: BEETHOVEN’S “MOONLIGHT SONATA” – 2nd and 3rd Movements

My next musical assignment…

BEETHOVEN’S “MOONLIGHT SONATA” – 2nd and 3rd Movements

This morning, I received my next musical assignment from my spirit guides. It is Beethoven’s “Moonlight Sonata,” 2nd and 3rd movements.

Of course, I have been playing the most famous part of it – the 1st movement – ever since 2008. It was the first “new” piece of classical music that I learned upon my return to piano playing after a 30-year hiatus. And it kept bringing tears to my eyes every time I played it.

I even recorded it in 2011 with Tibetan Bowls complementing the piano (click on ), and in 2013 as a full symphony orchestra version, including the pipe organ (click on, and also as a Sunday Requiem in 2014, as a ‘choral symphony’ (click on

Beethoven wrote his Moonlight Sonata in 1801 when the then 31-year old composer became first aware that he was losing his hearing. And the first movement of Beethoven’s Opus 27 No. 2 C# minor sonata was very popular even in Beethoven’s day, to the point of exasperating the composer himself, who remarked to Czerny, ‘They are always talking about the C# minor Sonata surely I’ve written better things.’

Over two hundred years later, it still remains the most popular and downloaded piece of ‘classical’ music.

But the 2nd and 3rd movements? Frankly, I did not even know they existed until I heard the 3rd movement recently on the Arizona classical music radio station.

So here are now the first two movements of Beethoven’s Moonlight Sonata:

My next musical assignment… Part 2


So I wonder what this guidance about? Are my spirit guides challenging me to get past the arthritic right hand (due to a broken bone in 1981) as they did with Chopin’s Grande Valse Brillante which I recently recorded? This Chopin piece is quite challenging and was painful to play at first, but is getting less so now after about a month of practice?

So maybe that’s it… a therapy for my right hand and for the soul? Because the 3rd movement of the Moonlight Sonata sounds downright intimidating when one hears it played by a professional pianist, like Valentina Lisitsa in this version. It is full or Beethoven’s fury and rage over his loss of hearing. But also his determination not to let that handicap stand in the way of greatness and future creativity.

So maybe this spirit guidance is also about pushing the envelope… as Beethoven has had to do. In my case, overcoming a broken hand, in his, the loss of hearing. Never accepting defeat. Manifesting indefatigable spirit.

That must be it. Because I remember how Chopin’s Grande Valse Brillante was also quite intimidating at first. Now, not so much anymore.

With that as a preamble, here’s now that intimidating 3rd movement… Notice the look of exhaustion, both emotional and physical on the face of the pianist at the end. Spent. That’s how one feels at the end of a piece like this.

I do not know how long it will take. I would be happy if I master this piece by the year end 2017. With my spirit guides’ help.





Ever since my first recording on Aug 3, I have been working on perfecting this brilliant Chopin waltz, It was not easy, because a bone in my right hand which I broke in 1981 doing Tae-Kwan-Do has been hampering my playing of some particularly difficult cords. But I kept at it trying to strengthen the tiny muscles around it. I even had a Chinese hand massage the other day, just on that hand.

The upshot is that my broken hand bone, and the damaged muscles and ligaments around it, have started to give way and become more supple (after the “therapy” of playing this piece twice a day). So you might say that Chopin is helping me heal arthritis, something even the medical doctors cannot do. 🙂

Anyway, this second recording is still not the perfection I am hoping to achieve one day. But it is now approaching the professional pianist level, especially as I did it playing by heart, from memory, without any sheet music. So it is an improvement from the first one which I posted 11 days ago. Enjoy!

CHOPIN GRAND VALSE BRILLANTE, 2nd Recording – a video by Bob Altzar Djurdjevic – played, recorded and directed by ALTZAR – Aug 14, 2017 – recorded on a Steinway in Scottsdale, Arizona

 [SECOND RECORDING, AUG 14, 2017] – [Youtube video – SECOND RECORDING, AUG 14, 2017]


AUGUST 3, 2017 – by Bob Altzar Djurdjevic


This recording is dedicated to Sabrina Sanchez who first identified it for me.

A little over two weeks ago, I received a download from my spirit guides in the ether. I did not know what the music was except that it felt like Chopin to me and I knew it was a waltz

The first person to identify it for me from a short excerpt I had recorded was  Sabrina Sanchez of Phoenix, Arizona. I was very impressed that a young woman from Arizona was so well versed in musicology,  My nephew Stasa Jovanovic from Serbia, a proven musicologist from my past similar experiences, came second.

During the last 2 weeks, I have been working on this piece, on and off. And today, I recorded my own version of it, at least the first one.

[FIRST RECORDING, AUG 3, 2017] [Youtube video – FIRST RECORDING, AUG 3, 2017]

AUDIO VERSION OF GRAND VALSE BRILLANTE – by Bob Altzar Djurdjevic (recorded Aug 2, 2107) [AUDIO FILE]




This first recording is far from perfect. But considering that it has been only a little over two weeks since I received this download without knowing what it was, and that I have never played it before, nor really used sheet music in recent years for my new pieces, this rendition will have to do. For now. Let me know what you think.

By the way, in order to play this piece, which uses so many black keys (in E-flat and D-flat), I had first had to (re)develop and strengthen the tiny muscles that operate the 3rd, 4th, and 5th finger of my right hand. Which was actually quite painful. I had broken my right hand practicing Tae Kwan Do in 1981. And as a result, also have some arthritis there. Not bad. Just enough to be annoying when I play difficult pieces.

I said to Elizabeth last night that editing this recording was like her making a quilt. This piece has at least 8 major themes, and a myriad of minor ones. Plus I made mistakes which I had to edit out of the recording.

In the end, I hope the effort was worth it. I have generally considered Chopin’s music kind of fluffy compared to other composers whose music I play, especially his waltzes. But this is not “just” a waltz. It is a complex musical piece with seven themes and a fast and furious grand finale.

Interestingly, the Grande valse brillante in E-flat majorOp. 18, was composed by Chopin in 1833 and published in 1834. This was his first published waltz composition for solo piano. It does not get better than that.

Here’s what critics have said about this piece:

“The Waltz in E flat major, published as opus 18, is of a profoundly Parisian character, not of the sentimental Viennese variety. It shimmers with the gaiety of elegant society. It was written – ostensibly – in a form consisting of a succession of dance themes – now alike, now incongruous. In essence, however, it is an integral whole, in which one theme passes imperceptibly into another, ends, then returns, building up the drama in grand style. ‘It is a true ballroom picture,’ notes Huneker, ‘spirited and infectious in rhythms.’

Each of the dance themes (there are seven in all) brings a different melodic character and dance motion.” (see

Which is why I just love this piece and will keep working on it until I perfect it some more. Not because of others. Because me. And Chopin.

PS: Here’s my original July 17 FB post asking for help – WHAT IS THIS TUNE? –

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