METAL CENTRE'S REVIEW OF THE GREAT KAT BEETHOVEN'S "MOONLIGHT MOSH" MUSIC VIDEO!
Pawel, Metal Centre https://www.metalcentre.com/2020/09/the-great-kat-beethovens-moonlight-mosh/

THE GREAT KAT, that is Katherine Thomas, she is musically educated as a guitar and violin virtuoso, known as the “Goddess of Shredding” and referred to as “Beethoven’s reincarnation” and has been crushing classical music with great passion and re-arranging them in a “metal” way and serving them in a very extreme audiovisual message full of theatrical, sometimes sadomasochistic or military form… In some sense, she also is a controversial music educator to focusing attention of Metal fans on a classical music.

THE GREAT KAT’s compositions are usually very short, sharp and brutal guitar-violin sequences, played at a dizzying pace, also enriched with a rhythm section.
This time, on the occasion of Ludwig van Beethoven’s 250th birthday, the Great Katherine presented her own arrangement of one of Beethoven’s most popular compositions, the Piano Sonata No. 14 cis-moll op. 27 No 2, called “Sonata quasi una fantasia”, and known as “Moonlight Sonata”, which is one of the most famous sonatas in the history of music, which was created in the years 1800-1801. At that time, the thirty-year-old composer dedicated it to his beloved, Countess Giulietta Guicciardi, who was also his student.
THE GREAT KAT transcribes the sonata and re-arranges it for the guitar and the violin with accompaniment of the bass guitar and the piano…

What was my surprise hearing this piece (knowing the original form perfectly)! I was expecting Katherine’s track will be the same as ever! Full of rage and “shredding” speed guitar-violin piece sprinkled with blood and sadomasochistic eroticism! However, “Beethoven’s Moonlight Mosh” is a track in a neoclassical Metal style, perfectly played with sensitivity, at a reasonably speedy pace (compared to the original).And the melodic line even gently (as for THE GREAT KAT) flows, sometimes it is stormy or wavy. Well, the guitars (solo and rhythmic) are distorted, they harmonize with the violin. The piano fills the background, and the bass holds up a medium-fast pace creating an atmospheric whole, in which this melancholic mood (from the original) is preserved.

However, Katherine wouldn’t be herself if she didn’t add some demonic guitar squeals and licks and dark themes to the song. As a result, the song additionally takes on that somewhat predatory, even biting tone. Of course, there are no very speedy tearing guitar-violin phrases typical of THE GREAT KAT, but there is still this piercing, slightly psychotic melody.

This track definitely showed a different face of THE GREAT KAT.