Sonata quasi una Fantasia.Op. 27, N9 2.To Countess JULIA GlICCIARDI.

Abbreviations: M. T. signifies Main TheniPi S. T., Siib-Themei CI. T., Closing Theme; D. G., Development-

grodii; K., Return; Tr., Transition; Md. T., Mid -Theme; Fji., Episode.

I. Adag-io sostenuto. (J = fii.) L.van BEETHOVEN.

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1^¥1 imnwwa) It is evident that the highest part, as the melody, requires a firmer touch than the accompanying

triplet -figure-, and the first note in the latter must never produce the effect of a doubling of the mel-

ody in the lower octave.

b) A more frequent use of the pedal than is marked by the editor, and limited here to the most essen-

tial passages, is allowable; it is not advisable, however, to take the original directions sem/>re senza sorditii

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a) The player must g^uard agrainst carrying- his hand back with over-anxious haste. For, in any event, a

strict pedantic observance of time is out of place in this period, which has rather the character of an

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atfarra suhifo il seg-uenfe. \^a) The notes with a dash above them may properlj- be dwelt upon in such a way as to g-ive them the effect

of suspensions, e. g.,; in fact, a utilization of the inner parts, in accordance with

the laws of euphony and the course of the modulation, is recommended throughout the piece.

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a) A very common amateurisn error. - which, we regret to say, is countenanced here and in other pla-

ces by Herr Lebert's otherwise so meritorious edition — is the notion that a closer legato is obtainable,

in descending octave - passages, by a change of fingers. Precisely the opposite effect is produced by the

following manipulation: i-, the higher part, the one most strongly affecting the ear, suffers a most

sensible interruption. A slight muscular stretching of the palm of the hand, which is no harder to learn

than shifting on a stringed instrument, will amply fulfil all requirements.

b) An undelayed attack (of the Finale) is quite as indispensable to the general effect as in the two repris-

' es preceding.

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III. Presto ag-itato. (5=88

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a) This passage, up to the abrupt stroke on the fourth beat in measure 2, must be played with almost

ethereal lifrhtness in the very smoothest j/ii/no. and (if only foi the sake of distinctness as little /r^r//f>

as is in any way compatible with the preat rapidity of the movement.

b) The second stroke has only the significance of an echo, the repercussion of the first. In measure 8 it

is different, owing to its leading over to new matter.

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a) This grace is written out in conformity with its undeviating" mode of execution. Avoid a repeatcentuation of the lowest bass note; an accent is needful only on its first entrance.b) The rapid movement, conjoined with required exertion of strength, hardly admits of a long-er

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a) These thirds can

b)°"ft il se^f- evident that a hammering-out of these "passionate" eighth-notes in strict time would be incor-

rect in an ;«sthetic sense. By playing the first half of the measure with stronger emphasis (and hence greater

freedom), as is demanded in particular by the peculiar rhythmic importance of the second eighth-note, and somewhat

accelerating the second half, both the unity of the measure as such, and also the psychical agitation, receive due con-

sideration. C; This melodic phrase, whose performance demands the intensest feeling, is probably to be understood

i.e., more singingly sustained than the marking denotes.thus

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a) The literal execution is:

b) The repetition prescribed here according- to custom impresses us as a chilling- tautolog-y.

c) This movement-fipure, like the similar one in the right hand 4 measures further on, must be played en-

tirely without accentuation; only in the principal modulations, e. p.. the transition from F}t-minor to G- majorand back, individual characteristic intervals may be sligrhtly emphasized. On the other hand, a transformationof the figures into an indistinct tremolo •«-ould,of course, be wholly out of place.

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a) In thp analopons passapo in fhc first liivision, this period embraces 4 measures, whereas it has but 3hen- Thfic ii- no reason why either should be altered for the sake of symmetry of pattern. Both are pood,and greater brevity ami ronciseness in form are .vstniticallj' justified in repetitions.

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vene (for acoustic reasons, apart from esthetic ones) before the reentr.ince of the first subject, .is is in-

dicated by a O over the bar.

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a) There is no irreverence, even to the letter of the composer's work, in enhancing- in analogy with the D- minor

Sonata, Op. 31, N92- the accent marked on the fourth beat by a chord struck with the left hand.

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Adag-io

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a) Adnffio: twice as slow as the yz-ff^/o- movement, but not slower.

b) Avoid a cresrendu in the preceding measures; the forte must enter with instantaneous abruptness, giving-

us a reproduction of the principal divisions in miniature— the deep melancholy of the Adaffi", the wild des -

peration of the Finnle.

lltftRS 180