THE SAMPLER

BEETHOVEN
The 35 Piano Sonatas
A new critical edition by
BARRY COOPER

The Associated Board of

the Royal Schools of Music

INTRODUCTION
Why publish a new edition of Beethovens Piano Sonatas? There
are after all many editions already in existence. We believe,
however, that none of them is really adequate for todays purposes,
and that the new edition by Barry Cooper is superior in several
respects.This sampler has been produced to illustrate the features.
Barry Cooper is a professor of music at the University of
Manchester in the UK. One of the worlds leading experts on
Beethoven and author of three books on the composer, he is also
General Editor and co-author of The Beethoven Compendium.
His completion of the first movement of the composers un-
finished Tenth Symphony attracted widespread international
attention in 1988 and has been recorded several times.
The edition is many things. Firstly, it is a critical edition, or
Urtext as it is commonly known. The German term Urtext
means literally original text; the purpose of such editions is to
represent as faithfully as possible what the composer wrote,
with a minimum of editorial alteration. The edition, therefore,
reflects the original notation of the sonatas, as they were first
published, retaining a level of detail that is lost if modernized.
However, unlike most Urtext editions Barry Coopers edition of
The 35 Piano Sonatas provides a full critical commentary to
the music text. It gives an account of the sources used, the rela-
tionship between them, and shows the authority for editorial
decisions. It assembles what is known of the composers last
intentions, through careful assessment of the sources, and com-
pares previous important editions of the sonatas. It also retains
more of the original notation than other Urtext editions, in
such features as internal double bars (which can affect the way
the music is understood and played).
Secondly, this edition is for todays performers. In the general
Introduction and Commentaries to each Sonata, Barry Cooper has
provided a comprehensive guide to interpreting and performing
the music. Theres discussion of performance practice, 18th-cen-
tury conventions, and the instruments on which the sonatas were
originally played. For tempos, the edition includes the metronome
marks of Carl Czerny, Beethovens pupil, friend and leading in-
terpreter. There is also detailed advice on how to interpret and
perform each passage where the original notation is puzzling or
ambiguous in some way.This feature is not found in other editions.
1
Thirdly, this edition is for teachers. The music text, as men-
tioned above, is Beethovens. With no extraneous editorial
markings, users are free to make informed decisions, based on
the Commentary or general Introduction. The Introduction
covers both written and unwritten conventions (notational and
in performance) as well as the views of 18th-century theorists.
The commentaries to individual sonatas, meanwhile, cover the
debates and pitfalls surrounding certain passages, and where
other editions can be misleading. Advice from Czerny on inter-
pretation is also included, as are pertinent quotes from Donald
Tovey, the co-creator, with Harold Craxton, of the first ABRSM
edition of these works.
The edition includes the three sonatas catalogued as WoO 47,
excluded from other modern editions, but actually called
sonatas not sonatinas by Beethoven himself.They were even
included in the very first complete edition of his piano sonatas,
prepared shortly after his death by a friend after much discus-
sion with him. They are indeed fully-fledged, three-movement
sonatas, and a remarkable achievement for a 12-year-old.
Thus the ABRSM edition contains much that is new, benefiting
from Barry Coopers specialist knowledge and unrivalled insight
into Beethovens entire output. The level of detail found in the
edition makes it the most comprehensive study to date, with
commentaries amounting to over 150,000 words.
The commentaries are essential reading if you are to under-
stand, perform and teach these extraordinary works. For exam-
ple, advice is given on articulation, ornamentation, pedalling,
tempos and dynamics.There are many points that may challenge
your existing perception of how Beethoven should be played.
The commentaries are bound as a separate volume inside the
back of the music volume.This allows you to open the commen-
taries alongside the music at the appropriate page and follow the
detailed commentary on the passage in question.
The general Introduction also discusses issues of performance
practice under the headings Instruments, Pedalling, Tempo
and the Metronome, Dynamics, Slurs, Staccato,
Ornaments, and Repeats, and has a section on editorial
method, explaining abbreviations found in the commentaries
and editorial markings in the music.
2
The CDs that come with the edition demonstrate some of its
important features. The examples show two things - first, how
knowledge of the sonorities and idiosyncrasies of the pianos of
Beethovens time will help performers and teachers understand
how the composers soundworld can be recaptured on a mod-
ern piano; second, how the advice in the commentaries and
general introduction illuminates distinctive performance issues.
The introductory CDs make use of original pianos from
Beethovens time - with these sounds in your head, Barry
Coopers edition will help you understand how performance
conventions of Beethovens time could be adopted and repro-
duced on modern pianos.
Finally, two distinctive features of the edition will help in par-
ticular those who wish to study or teach these works. Ornament
THE SAMPLER
The following pages of this sampler demonstrate key features
of the edition. As an example, extracts from the Commentary
to Sonata in G, Op. 31 No. 1, are shown, with extracts from that
Sonata.
Key features:
latest original research, such as insight into Beethovens use
of staccato markings and appoggiaturas
account of sources used
correction of long-standing errors and misconceptions
critical commentary to each sonata, including history, full
assessment of the sources, detailed notes on interpretation
and music examples
detailed advice on how to perform each passage
realization of ornaments above the stave
Czernys metronome marks
quotes from Tovey
Beethovens original fingering shown in large print
additional fingering by David Ward, professor of fortepiano
and historical performance at the Royal College of
Music, London
realizations are given in the music, above the staves, where they
are needed, and not as footnotes; secondly, unlike other edi-
tions, Coopers draws on the experience and expertise of a spe-
cialist period-instrument performer and teacher, David Ward, a
professor at the Royal College of Music, to provide fingering
suggestions. Like any editorial fingerings, these must be adapt-
ed to individual needs and can be substituted if necessary.
Here is an edition for the 21st century. Based on the latest
Beethoven scholarship and research, it is more authoritative and
comprehensive than any previous edition.This is an edition that
is also complete, in that it recognizes, for the first time in
recent years, the three early works as sonatas in their own right.
Here is an edition that provides scholar, performer and teacher
alike with unparalleled insights into these amazing works.
Like so many ABRSM editions, the
new edition of Beethoven Sonatas is
distinctive for its attention to the student
and performer.
Attractively produced and modestly priced,
this is an edition which promises to reach its
aim to be faithful to Beethovens intentions,
and should be widely used by pianists,
students, teachers and all those interested
in the detail and wider context of these
canonic masterpieces.
Arietta
Journal of the Beethoven Piano Society of Europe

NOTE ON EDITORIAL FINGERING
Czerny reports that he was instructed by his teacher Beethoven
to read C.P.E. Bachs Essay on the True Art of Playing Keyboard
Instruments, first published (in German) in 1753.This remarkably
thorough book contains no fewer than 38 pages on fingering.
Here are two extracts:
there is only one good system of keyboard fingering, and very
few passages permit alternative fingerings. Again, almost every
new figure calls for its own distinctive fingering...
correct employment of the fingers is inseparably related to the
whole art of performance. More is lost through poor fingering
than can be replaced by all conceivable artistry and good taste.
Some 35 years later a more flexible approach is shown in the
School of Clavier Playing (the Klavierschule) by Daniel Gottlob
Trk:
There are passages where only one kind of fingering is possible
and others which can be fingered in a number of ways.It
would not be easy to find two keyboard players whowould
make use of the same fingering throughout. Both are neverthe-
less able to play excellently and have good fingering
Then follow 58 pages on the subject, with examples of almost
every type of passage and ways in which to finger them.
Suggestions for fingering can be helpful, particularly for the less
experienced player and in a teaching edition such as this. But it
is a curious exercise to make them when one is well aware that
much of what is suggested may be replaced by a teachers or
students preferred patterns. When adding fingerings to these
extraordinary works I have considered the following points
(among others):
a) Comfort of hand position, taking into account where the
hand is coming from and going to. Also, the average size of
hand and the differences between hands, e.g. the very vari-
able stretch between inner fingers.
b) Dynamic requirements, e.g. using stronger fingers for loud-
er, more emphasized notes.
c) Phrasing and articulation, how to help fingers and hands
follow the phrasing, and not assuming a continuous legato.
d) Pedalling and, in the earlier sonatas especially, not assuming
the use of pedal except in obviously resonant or arpeggiated
passages. Fingers should be able to achieve a convincing lega-
to without relying on pedalling.
3
After completing the fingering for the first edited sonata,
I wrote the following to Barry Cooper:
It has been a fascinating but also somewhat unsatisfactory task, as
I know that much of what I find works for me will not be
so comfortable for different hands and will inevitably be
changed.I have left some passages and particularly chords and
ornaments without much, if any, fingering, as so much depends
on the shape and size of the hand for chords and on general facil-
ity for ornaments. Sometimes I wondered if there was any point
in putting in any fingering at all; and I think some of the finger-
ings may be surprising or at best idio-syncratic. Also, how much
to put in? There are times when you have to put in a lot to make
the patterns clear. I have little hesitation in taking right hand
notes with the left hand, or vice versa, if this seems a more com-
fortable solution. However, I know that some people feel very
strongly that this should never be done. I feel that piano music is
written for ten fingers, more than for two hands although
there are times when a composer wants a special effect by
employing the hands in a particular way. I also favour substitu-
tion and fingers crossing over each other when required.
As part of the process, Barry Cooper queried my more
unusual fingerings and as a result some were revised or simply
left out. If surprising fingerings remain, these must be held to
be my responsibility.All passages were tried out on my Viennese
fortepianos as well as on modern instruments.
To conclude, here is C.P.E. Bach again, describing what must
be the aim of good fingering to be able to forget about it and
concentrate on the music:
through diligent practice, execution becomes, and must become,
so mechanical that a stage is reached when, without further con-
cern, full attention may be directed to the expression of more
important matters.
DAVID WARD
London, 2007
4 30
30
30

SONATAininG,G,Op.
SONATA Op.3131No.
No.11
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just outsideoutside
outside Vienna,
Vienna,
Vienna, butbut
but thethe
the sonatasonata
sonata shows
shows shows none
nonenone
way.
way. way. Czerny
Czerny
Czerny adds:
adds:
adds: Not
Not Not long
longlong afterwards
afterwards
afterwards thethe
the three
three
three sonatas
sonatas
sonatas
of of
of thethe
the despair
despair
despair andand
and anguish
anguish
anguish revealed
revealed
revealed later
laterlater in in
in his his
his famous
famous
famous
Op.Op.
Op. 31 31
31 appeared,
appeared,
appeared, in in which
in which
which oneone
one maymay
may seesee
see thatthat
that he he
he hadhad
had partially
partially
partially
Heiligenstadt
Heiligenstadt
Heiligenstadt Testament
Testament
Testament of of
of October
October
October thatthat
that year,year,
year, when
when when he he
he
carried
carried
carried outout
out hishis
his resolve
resolve
resolve (see(see
(see O.G.
O.G. O.G. Sonneck,
Sonneck,
Sonneck, ed.,ed.,
ed., Beethoven:
Beethoven:
Beethoven:
lamented
lamented
lamented his his
his increasing
increasing
increasing deafness
deafness
deafness andand
and resultant
resultant
resultant isolation.
isolation.
isolation.
Impressions
Impressions
Impressions by his
by by his
his Contemporaries,
Contemporaries,
Contemporaries, repr.
repr.repr. New
New New York,
York,York, 1967
19671967 p., 31
,, p. p.).).31).
31
TheThe
The three
three
three sonatas
sonatas
sonatas werewere
were duly
duly dulysentsent
sent to to Ngeli,
to Ngeli,
Ngeli, butbut
but he he preferred
he preferred
preferred to to
to It seems
ItIt seems
seems likely,
likely,
likely, however,
however,
however, thatthat
that Beethoven
Beethoven
Beethoven waswas
was referring
referring
referring to to
thethe
to the
publish
publish
publish them
themthemin in twos
in twos
twos (no(no
(no doubt
doubt doubt stillstill
still hopinghoping
hoping forfor
for a fourth
aa fourth
fourth one),
one),
one), twotwo
two contemporary
contemporary
contemporary setssets
sets of of variations,
of variations,
variations, Opp.
Opp. Opp. 34 34
34 andand
and 35,,35
35 , rather
rather
rather
andandbrought
and broughtout
brought outoutthe
thethefirst
firstfirsttwo
twotwothe thethefollowing
followingApril.
following April.
April. than
than than
these
thesethese sonatas,
sonatas,
sonatas, since
since since
he he expressly
he expressly
expressly toldtold
told Breitkof
Breitkof
Breitkof & & Hrtel
& Hrtel
Hrtel in in
in
Unfortunately,
Unfortunately,
Unfortunately, Beethoven
Beethoven
Beethoven waswas
was never
never
never given
givengiven a chance
aa chance
chance to to correct
to correct
correct October
October
October 1802
1802 1802 thatthat
that thethe
the manner
manner
manner of these
of of these
these variations
variations
variations waswas
was entirely
entirely
entirely
thethe
the proofs
proofs
proofs of of these,
of these,
these, andand
and thethe
the edition,
edition,
edition, whichwhich
which bears
bears bearsno no
no opusopus
opus num-
num-num- new
new new andand
and thatthat
that he he
he diddid
did notnot
not normally
normally
normally notice
notice
notice whether
whether
whether hishis
his ideas
ideas
ideas
ber,ber,
ber, contains
contains
contains some
some some serious
serious
serious errors.
errors.
errors. Carl
Carl Carl wrote
wrote
wrote to to Breitkopf
to Breitkopf
Breitkopf &&& were
were werenew
new new or or
not.not.
or not. Indeed,Indeed,
Indeed, thethe
the originality
originality
originality in in the
in the
the Op.Op.
Op. sonatas
sonatas
31 sonatas
31 31
Hrtel
Hrtel
Hrtel on on
on May
21 May
21 21 May asking
asking
asking them
them them to to publish
to publish
publish an an announcement
an announcement
announcement to to
to is arguably
isis arguably
arguably lessless
less striking
striking
striking than
than than
in in
in some
some some of of
of those
those those immediately
immediately
immediately
thisthis
this effect
effect
effect in in their
in their
their journal
journal
journal thethe
the Allgemeine
Allgemeine
Allgemeine Musikalische
Musikalische
Musikalische Zeitung,
Zeitung,
Zeitung, before
beforebefore andand
and after,after,
after, such
such such as as
as thethe
the Moonlight
Moonlight
Moonlight (1801
((1801
1801 ) and
)) and
and thethe
the
though
though
though no no
no announcement
announcement
announcement waswas
was made.
made.
made. Ferdinand
Ferdinand
Ferdinand Ries
RiesRies relates
relates
relates Waldstein
Waldstein
Waldstein (1803
((1803
1803 44).).4Nevertheless,
). Nevertheless,
Nevertheless, thethe
the present
present
present sonata
sonata
sonata hashas
has
how,
how,how,when
whenwhen thethe
the edition
edition
edition firstfirst
first arrived
arrived
arrived (not
(not (not
justjust
just thethe
the proof proof
proof copy,
copy,
copy, as as
as many
many many unusual
unusual
unusual or or
or novel
novel novel features,
features,
features, including
including
including thethe
the useuse
use of of the
of the
the medi-
medi-
medi-
Ries
RiesRies claimed),
claimed),
claimed), he he
he played
played
played thethe
the sonatas
sonatas
sonatas through
through
through to to Beethoven,
to Beethoven,
Beethoven, antant
ant forfor
for thethe
the second
second
second subject
subject
subject in in
in thethe
the firstfirst
first movement,
movement,
movement, andand
and an an
an
who
who who became
became
became increasingly
increasingly
increasingly angry
angry angry over
overoverthethe
the misprints,
misprints,
misprints, especially
especially
especially extraordinarily
extraordinarily
extraordinarily long
long longandand
and elaborate
elaborate
elaborate slow
slow slow movement.
movement.
movement.
 5
31 31
Commentary
Commentary andand
alignment, where
alignment, whereA has
A has
generally
generallybeen followed
been as itas isit is
followed
likely to to
likely be be
closer to to
closer Beethovens autograph.
Beethovens autograph.Since B and
Since B and DD
Autograph: lost.
Autograph: lost. contribute no no
contribute additional evidence,
additional they
evidence, have
they been
have disregarded.
been disregarded.
TheThe
sources used
sources areare
used as follows:
as follows:
2
A (first
A (firstedition):
edition):Deux sonates
Deux sonatespourpour
le piano forteforte
le piano composes
composesparpar
Louis vanvan
Louis BeethovenZuric:
BeethovenZuric: chezchez
JeanJean
George Naigueli
George Naigueli (No. 5 in5 in
(No. Allegro vivace
Allegro (B =(B72=72
vivace 80)80)
thethe
series Rpertoire
series Rpertoire desdes
clavecinistes),
clavecinistes), 229
pp.pp. 2.29 Exemplar
. Exemplar in in TheThe humorous
humorous opening,
opening, with thethe
with hands notnot
hands quite together,
quite together, setssets
London,
London, British
BritishLibrary,
Library,f.10f..o.
10.o.There
Thereareare
manymany MSMS annota-
annota- thethetone forfor
tone thisthis
movement,
movement, andand thethe
sudden
suddenlurch to Ftomajor
lurch F majorin in
tions
tionsin inthisthisexemplar
exemplar mainly mainlyadded
addedfingerings
fingeringsandand barsbars1112
1112 reinforces
reinforces thisthis
mood.mood. Czerny
Czernyrecommends
recommends thatthat
thethe
corrections
corrections of of obvious
obvious errors
errors such
suchas as
missing
missing accidentals.
accidentals. second
second subject
subject(bars 66 6673),73too,
(bars ), too,be be
performed
performed facetiously
facetiously
These
Thesechanges
changes do do
notnot
appear
appear to to
have reliable
have reliable authority
authority (the(the (followed
(followed by by
an anenergetic
energetic statement
statement in the l.h.).
in the This
l.h.). second
This second
fourfour
spurious
spuriousbarsbars
in the
in thefirstfirst
movement
movement areare
notnot cancelled),
cancelled), subject
subject is unexpectedly
is unexpectedly in B,in B,alternating
alternating with B minor
with B minor the the
andand
they have
they havetherefore been
therefore disregarded
been disregardedhere.
here. firstfirst
time Beethoven
time Beethoven hadhad used usedthethemediant
mediantat this point
at this pointin ain a
major-key
major-key work.
work. HisHisoriginal
original idea, however,
idea, however, waswas to have
to have thethe
B (another
B (anotherexemplar
exemplarof of
thethe
firstfirst
edition): Vienna,
edition): Vienna,National-
National- whole
whole of of
thethe
second
secondgroup
group basedbasedaround
aroundB minor.
B minor. Czernys
Czernys
bibliothek,
bibliothek,Hoboken
Hoboken Collection,
Collection, S.H.S.H.Beethoven
Beethoven (see(see
161161 metronome
metronome markmarkinduces
induces a very lively
a very movement,
lively movement, butbut
a slight-
a slight-
facsimile in Jeffery
facsimile in Jeffery
1989 ). The
1989 texttext
). The is essentially identical
is essentially to A,
identical to A, ly lyslower
slower speed
speed would
would alsoalso be beacceptable,
acceptable, especially
especially in in
a a 3
butbut
without
withoutthethe
MSMSalterations.
alterations. resonant
resonant acoustic,
acoustic, where
where some some of the detail
of the might
detail mightotherwise
otherwise
C (second
C (secondedition, copy-text):
edition, copy-text):
Deux sonates,
Deux pourpour
sonates, le piano-forte,
le piano-forte, be be
lost.lost.
composes parpar
composes Louis vanvan
Louis Beethoven. Oeuvre
Beethoven. 31.31
Oeuvre Editiou [sic][sic]
. Editiou trestres
cor-cor- 1.lh.1m TheThe
1.lh.1m staccato dash
staccato is only
dash in E,
is only in E,
as also in bars
as also in bars andand
46 46
recte Bonn:
recte Bonn: chezchez
N. N.
Simrock, pp.pp.
Simrock, 325
3.25Exemplar
. Exemplar in British
in British . The
194194 systematic
. The introduction
systematic introductionof this
of this variant (though
variant it isit is
(though
Library, f.10f..n.
Library, 10.n. missing in bars
missing in bars andand
112112 ) suggests
280280 it isitprobably
) suggests correct.
is probably It It
correct.
D (another
D (another exemplar
exemplar of the second
of the secondedition):
edition):
Trois sonates,
Trois pourpour
sonates, could,
could,of course,
of course,be be
an unauthorized
an unauthorized editorial
editorialchange to match
change to match
le lepiano forte,Vienna,
pianoforte, Vienna,Nationalbibliothek,
Nationalbibliothek,Hoboken Hoboken thethefollowing
following bars, butbut
bars, CappiCappididdid
notnot
generally make
generally make suchsuch
Collection,
Collection, S.H. Beethoven
S.H. Beethoven (see(see
171171 facsimile in Jeffery
facsimile in Jeffery
1989 ). ).
1989 changes,
changes, even where
even wherestaccatos
staccatoswere
wereobviously
obviouslymissing
missingin Ain A 4
Although
Although thethe
price is raised
price from
is raised from CsCs
6 francs
6 francsto to
9 francs,
9 francs, (e.g.
(e.g.barsbars
6262
3).3In
). bars
In bars
112112 andand thethe
280280 l.h.l.h.
chord would
chord wouldstillstill
reflecting
reflecting thethe
inclusion
inclusionof the third
of the sonata,
third thethe
sonata, musical texttext
musical of of bestbest
be be
played somewhat
played somewhat staccato certainly
staccato certainlyshorter than
shorter thanthethe
thethe
firstfirst
sonata is essentially
sonata identical
is essentially to C.
identical to C. r.h.r.h.
dotted
dottednote, which
note, whichin turn should
in turn be be
should detached from
detached from thethe
following
following runrun
since there
since is no
there legato
is no mark.
legato mark.
E (third
E (third
edition):
edition):
Trois sonates
Trois pourpour
sonates le clavecin o o
le clavecin pianoforte com-
pianoforte com-
1 poses parpar
poses Louis vanvan
Louis Beethoven Oeuvre
Beethoven 29.29
Oeuvre No. 1. Vienna:
. No. chezchez
1. Vienna: JeanJean 3.rh.23m
3.rh.23m Quaver restrest
Quaver andand
quaver in all
quaver sources
in all but
sources there
but is is
there
Cappi,
Cappi, 227
pp.pp. 2.27Exemplar
. Exemplar in in
Brno,
Brno,Oddelen dejin
Oddelen hudby,
dejin hudby, no no
signsign
of this variant
of this later
variant in the
later movement,
in the movement, or in
or the sketch-
in the sketch-
Moravsk
Moravsk zemsk
zemsk muzeum.
muzeum. es,es,
andandso itsomust be be
it must a misprint.
a misprint.
As Asexplained
explained above,
above, Simrocks
Simrocks edition
editionof sonatas
of sonatas 121incorp-
2 incorp- 4 11.lhm Source
4 11.lhm A omits
Source A omits
all all
staccatos, butbut
staccatos, they areare
they added in Cin C 4
added
orates a list
orates of some
a list of some 80 corrections
80 corrections to errors
to errors thatthat
hadhad
appeared
appeared E, perhaps
andand E, perhaps
by by
analogy with
analogy with 1515
barsbars 22.22.
in the firstfirst
in the edition,
edition, andand
Simrock
Simrock evidently
evidently alsoalso
mademadesomesomecor-cor- 19.s2.23m c2 inc2 all
19.s2.23m sources;
in all butbut
sources; compare barsbars
compare 8 and 23.23.
8 and
rections
rectionsof his own.
of his own.In general,
In general, therefore,
therefore, C/D C/D gives thethe
gives most most
reliable text.
reliable It does,
text. It does,however,
however, introduce
introduce somesome errors. In par-
errors. In par- 42ms omitted
42ms in A,
omitted E. E.
in A,
ticular, very
ticular, minor
very minor variants
variants in C/D
in C/D such suchas the
as thealignment
alignment of of 43m TheThe
43m second pairpair
second of slurs clearly
of slurs stops
clearly before
stops thethe
before bar-line
bar-line
dynamics
dynamics (about
(about which
which Ngeli
Ngeli waswas generally
generally fairly careful,
fairly careful, in A A (and
in (and even more
even moreclearly in bar
clearly in bar ). Their
293293 prolongation
). Their prolongation
judging
judgingby by his his
editions
editions of other
of other Beethoven
Beethoven sonatas
sonatas where
where his his to.44
to 44 1 (but notnot
.1 (but 1) C
.1).in
294294 inisCclearly unauthorized.
is clearly unauthorized.
E; rfz
E; rfz
source
sourceis known)
is known) areareunlikely
unlikely to tobe beduedue to tocorrections
corrections by by
Beethoven.
Beethoven. TheyThey are,are,
therefore,
therefore, probably
probably lessless
accurate
accurate at at 44mrf in A,
44mrf in A, in C.
in C.
This makes
This little
makes sense
little (cf.(cf.
sense barbar ), ),
294294
times
timesthan thanthetheversionversionin inA/B. A/B.Distinguishing
Distinguishingbetween between andand
Ngeli must
Ngeli have
must misread
have Beethovens
misread Beethovenss.s.
Beethovens
Beethovens corrections,
corrections, possible
possiblerevisions,
revisions, Simrocks
Simrocks correct
correct 48mf
48mfin all sources.
in all ButBut
sources. it could be be
it could a misprint in A,
a misprint in A,
copied
copied
butbutunauthorized
unauthorized amendments,
amendments, andanderrors
errorsby by Simrock,
Simrock, how-how- from fourfour
from (or(or
eight) barsbars
eight) later andand
later leftleft
uncorrected in the
uncorrected other
in the other
ever, cannot
ever, cannot always
always be beachieved
achieved with withcertainty
certainty andandmustmust at at sources.
sources.
times be be
times based
based on on editorial
editorial judgment
judgment of ofprobabilities,
probabilities, using
using
evidence
evidence of both
of bothmusical
musical style andand
style of how
of how thethe
musicmusicwaswastrans-
trans- 64 645m
5m
TheThe
cresc. is placed
cresc. oneone
is placed note earlier
note in C.
earlier A and
in C. E omit
A and E omit
mitted.
mitted.A further
A further complication
complication comes
comes from fromthetheCappi
Cappiedition,
edition, thethe
slurs, which
slurs, whichmaymaynotnot
be be
authentic.
authentic.
which
which used usedNgelis
Ngelis as asits its
copy-text
copy-text butbut alsoalsoincorporated
incorporated
66 73.rhm AllAll
66 73.rhm of of
thisthis
theme, except
theme, thethe
except semiquaver runs,
semiquaver runs,
amendments
amendments deriving
deriving from fromBeethoven,
Beethoven, plusplus
some some newnewerrors.
errors. 1.be be
Account ofsomewhat
sources used touch.
should
should played with
played somewhat
with detached
detached touch.
Cappis
Cappis variants
variantssometimes
sometimes alter thethe
alter balance
balance of ofprobabilities
probabilities
forforchoosing
choosing between
between thetheNgeli
Ngeli andandSimrock
Simrock versions,
versions, butbut 2.
74 746.lhm
6.lhm Czernys
TheThefirstfirst metronome
note of these
note andand
of these marks
similar barsbars
similar should pre-pre-
should
sometimes
sometimes only introduce
only introduce further uncertainty.
further uncertainty. A full listlist
A full of all
of all sumably
sumably be be
somewhat
somewhat staccato, as in
staccato, as the previous
in the previous r.h.r.h.
phrase;
phrase;
variants between
variants between thethe
three sources
three sourceslieslies
outside
outside thethescope of the
scope of the the3.
butbut Performance
sources
the sources show showno no advice
staccato signsign
staccato forfor
thisthis
figure when
figure whenit isit is
present
presentedition;
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principal onesones arearelisted below.
listed below. AllAll in the l.h.l.h.
in the until barbar
until . And
243243 . Anda slightly firmer
a slightly firmertouch
touchthan in in
than
departures
departures fromfrom thethecopy-text
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usual,except
except 4.
66 66
rh.rh. 7171 Correction
seems
seems of long-standing
appropriate
appropriate forfor
thethe oferrors
bassbass thethe
of harmony
harmony
obvious
obviousomissions
omissions in Cin of
C material
of material in A,
in A,andand matters
matters of layout
of layout (notice thethe
(notice added
added s ins bar 76).76).
in bar
 1, 3.rhmTry starting these trills on the upper note, which was
170 82.lhmThe staccatos are only in C, but seem justified. No still normal practice in 1802. But a main-note start is also
pedal is marked anywhere in this sonata, but in two somewhat 33(d) Beethoven Op31 No1 29/10/07 16:48 Page 34
acceptable. Other trills, e.g. bars 24, 26, also work well from
6 similar passages in later sonatas (Op. 53 III.295 312 and
the s indicates the upper note. 33
the 247m 81a III.A37and
Op.Sources 44E) place Beethoven above thea r.h. stave; but
sustained pedal
not Beethoven
throughout;
79.lh.1, presumably
81.lh.1m thus sintended
Thea similar marks effectit formayl.h.
presumably have once been again.
apply intended
just to the here, 247m 4.bm SourceACand
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place the restsinstead above of thedot r.h.onstave;b.1, but which
with
l.h.,
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complementing
8mSource Athe perhaps sustained
has staccatos,
f 1 g1 here.but right
Thethe up until
sources
version bar 193
in Cdoandnot orE at could bepresumably
Beethoven authentic; Aintended and E have it forcrotchet
l.h. oncerest instead of b.3,
again.
cks makeleastthis191 . Czerny
apparent. also recommends pedal for this passage. 34
which is clearly incorrect.
appears to be a late revision rather than a mere correction of(d) Beethoven 254.rh.7Op31 8mSource No1 29/10/07 A has f 1 g1 16:48 here. The Page version34 in C and E
an error.
89, 91.rhmNote Slurs that both versions
are omitted in A, E, differandfrom couldthe be exposition
Simrocks 33
5.rh.1, 3, 5m
appears to be a late revisionThese ornaments rather were than a mere printed as pairsof of
correction but thi
west (bar 86).
invention. demisemiquavers in A (e 1 1
g , f a
1 1
, g c
1 2
), but were corrected edition
o the 247mSources A and E place the s above the r.h. stave; but an error. Note that both versions differ from the exposition
not BeethovenIfStaccato
935.rhm
256.rh.1m the stretch
presumably is only is too
in E.difficult,
intended it for l.h. useonce l.h. again.
for the lowest to86
(bar ). notes in C and E (as in bar 69 in all sources). It is pos-
single chords
fore alto note in each bar. sible, however, that Beethoven wrote them as single 59.rh.1
hich 254.rh.7 8m
2723.bm As Source
in bars 104 A has 5,f A 1 1
gand here.
C show The crotchets
version inhere, C and andE 256.rh.1m
demisemiquavers
34 Staccato is(not in E.
only semiquavers), as shown in E, since he
ocks 98m The p is placed
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placed
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and versions differ from opposite),
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pitu- time C hasThe
this10.rh.27m no staccato
fingeringmarks. reflect
seems
298m
(bar less
After
). likely
this bar stylistically
four additional (despite bars barappear
108). Similarly,
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both
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102 the P appears on beat 1 in all the sources. In the recapitu- and E are not quite identical, however, for E omits the last fig-
to single notesbarinfour C and E (as in bar in all sources).
69appear It is pos- 64mA
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ier).
efore sible, however, that Beethoven wrote them as single 59.rh.1
almost on, the second quaver beat, which is presumably cor- Beethoven probably wrote out the fingerings separately for seems
iod,
hich 2723.bm As in bars 104 5 , A and C show crotchets here, and demisemiquavers (not semiquavers), as shown in E, since he ets in b
rect in the exposition too (though C again shows them earlier). each publisher, rather than a single list to be copied out. semiqu
nhem this time Cdynamics has no staccato marks. in sources of this period, often did in similar contexts. the
bar Preplaced were common 21.t.79mSlur is in E only probably a justified editorial cor- pace.skeT
pitu- especially 10.rh.27m The fingering is in both C and E, as also in bar 74 . C reflect
Afterwhen,
298mreports
Ries thisthat
bar asfourhere, there wasbars
whenadditional
he first playedappear
little roomin to
the sonata A:align them
from the rection. ic accen
n,
hetsor accurately. and E are not quite identical, however, for E omits the last fig- 64m As
cor-
so in Ngeli edition to Beethoven, Beethoven jumped up in a rage, ure
23.rh.3min barThe 10 slur
whereas is from C omitsthe quaver the last rest,two andin so barthe 74soprano
. Thus, 67.rhm
A and shouting: Ries reports that when he first played the sonata from the priate,
ier).
nless ran over, These
1045.bm and allfour but notespushed areme crotchets
from the in piano, crotchets a1 should
Beethoven
Ngeli edition beprobably
completely
to Beethoven, wrote unaccented.
out the fingerings
Beethoven jumped up separately
in a rage,for
a mispr
with staccato dots in C. Yet curiously, E has quavers (as alsoand in seems t
riod,
used 1 Where the devil does it say that? His astonishment raneach
over, publisher,
and all rather
but thanthe
pushed a single
methree fromlistbass
to
thebe copied
piano, out.
shouting: 6971.
bars 25 6.bm Source C shows slurs as ties between semiqu
hem anger 272 canhardly
3). This variant when
be imagined is difficult
he saw ittoprinted explainthatunless way
rgot Beethoven himself Where the
the four bass devil
SlurGs, does
is inbutE the it say
onlyversion that?
probably
in A and His astonishment
E seems
a justified and
preferable.
editorial cor- pace. TB
thing
n list (Franz Wegeler andcorrected
Ferdinandthe Ries,Ngeli exemplarBeethoven,
Remembering being used tr. 21.t.79m
anger can hardly be imagined when he saw it printed that way source
by Cappi, andthat remembered the effect Take care to hold down the bass Gs, and add some expression
rection. ic accen
ered Frederick
Ries reports Noonan, London,
when he 1988
first pp. 77hethe
,played 8wanted
).sonata
Ries claimsbut
from forgot
that
the (Franz Wegeler and Ferdinand Ries, Remembering Beethoven, tr.
chets that it was notated as staccatoBeethoven
crotchets and rubato to intensify the repetitions of the figure before
oked the extra
Ngeli bars
edition were composed
to Beethoven, by Ngeli in the correction
himself,
jumped butinit aseems
up list
rage, 23.rh.3m
Frederick The slurLondon,
Noonan, is from the quaver
pp.. 77rest,
, 26 8).and Riessoclaims
the sopranothat
76.lh.1
67.rhm
so in sent
equally to Simrock.
possible (Alternatively, Simrock might have altered restoring calm with the p 1988
in bar achords
mispr
dnless
has ran over, and allthat butthe pushed MS Ngelime from used thewas piano,in some shouting:way
etc. 1
should
thea extra bars bewerecompletely composed unaccented.
by Ngeli himself, but it seems
quavers
unclear. to
Where Certainly, staccato crotchets
the sketches on the
showmuchgrounds that this
indecision at this looked It is suggested here, s
hets
used clearer.)
the devil does
Cappis version
it say that?
must derive from
His astonishment
Beethoven and
and
has
26.rhm
equally
25 6.bmpossible
Source that C thethat
shows MSthe the trill pauses
Ngeli
three used
bass
on ainfinal
was
slurs as some
ties
G without
way
between 6971.r
less point,
anger can andhardly
neitherbethe final version
imagined whennor he sawNgelis is present.
it printed that way termination;
unclear. Certainly, the the run sketches
then begins show as a separate gesture at after
this a 878mB
thing
rgot therefore been adopted here. Since 106 7.b has plain crotchets the four bass Gs, but the version in Amuch and Eindecision
seems preferable. surely
(Franz Wegeler and Ferdinand Ries, Remembering Beethoven, tr. breath,
point, in true operatic manner. Observe approximately the sources
n list in all sources, Beethoven presumably intended themclaims to be thatless Takeand careneither
to hold thedownfinal theversion bass nor Gs,Ngelis
and add issome present.expression
ered Frederick Noonan, London, 1988 , pp. 77 8 ). Ries note values in the run, but not necessarily in strict time: for 95.rhm
but staccato. and rubato to intensify the repetitions of the figure before 76.lh.1
the extra bars were composed by Ngeli himself, but it seems example the run can start relatively slowly and speed up later.
oked
was Adagio grazioso (Cchord
= 116 126) restoring calm with the p in bar 26. 3rd, 5th
chords;
d has 11819.rhm
equally possibleThe tied
that the MSis the same
Ngeli as
used 116 was 17 .rh
in in
some A, but
way Keep it quite smooth. But the beaming is not entirely arbi- spondin
The remarkable breadth of this slow movement points theatway here, se
chets is correct
unclear. in C and
Certainly, Ethe asketches
further indication
show much thatindecision
Beethoven was
this trary, and
26.rhm
Adagio It issosuggested
grazioso (C = that
the slightest the
116 accent 126trill
) onpausesthe first onnotea final G without
of the second be a c
chet to Beethovens
involved
point, andinneither middle-period
the preparation
the final version of E. style,nor andNgelis
it can be expected to
is present. Thetermination;
group would the
remarkable be run thenof thisbegins
appropriate.
breadth The as
slow same a separate
movement applies gesture
to the
points after
way ofa
theseries 87 8m
less last almost ten minutes. Czernys recommended speed is amoun
d in In both places Aashows to breath,
groups
Beethovens ininbartrue 90.operatic manner.
middle-period style, and Observeit canapproximately
be expected tothe surely i
pro-
140,
about148.rhm
right, but he advises certainthedegree first note as a crotchet
of liveliness to note
last almostvalues ten in the
minutes. run, but not
Czernys necessarily
recommended in strict time:
speed isfor 97mTh
,C)but and the last
prevent the as a quaver
music dragging. clearly
It is an error
helpful to as it isofamended
think three beats in 29.t.8mb in E but this is harmonically incorrect. 95.rhm
only; t
is both C and per E. Whether there should be s of both times (as pro- example
about right,the butrun hecan start a
advises relatively
certain slowly degreeand speed up later.
of liveliness to rd,dyn
3the 5th
was
ems (not nine) bar,
Adagio grazioso ( = 116 126) C
and also to be aware the movements Keep
31.lh.1m
prevent Itmusic
it quite
the is possible
smooth.
dragging. thatButItBeethoven
thehelpful
is beaming intended
to thinkis not anentirely
of e herebeats
three asarbi-
well
posed
shape, whichorisfabreadth
here)
The remarkable
both
simple times
ofABA
(representing
thisformslow with movement
forzato,
coda. TheasA the
points
in C) is
section
way (cf.
trary, bar and 5 ); so but
the he probably
slightest accent
(not nine) per bar, and also to be aware of the movements preferred
on the to keep
first note the of accompani-
the second
spondin
only on
uncertain,
2 (bars 1 34 but
, whichthe slight
return mismatch
with shown
decorations in atA 65 and
98 E
) seems
has its be a cl
chet to Beethovens middle-period style, and it can be expected to ment
group to the
would r.h.
be quintuplet
appropriate.
shape, which is a simple ABA form with coda. The A sectionas clean
The sameas possible,
applies as
to shown
the series in all
of 101.rh
line uncharacteristic.
own internalten structure in addition essentially AA1BA,speed with Ais amount
ed in last almost minutes. Czernys recommended sources.
groups
(bars 1 34 in, bar
which 90 . return with decorations at 65 98 ) has its no writ
s no An eight-bar
upper-note
pro- being
141, aright,
about149.rhm standard but he advisesphrase. astart
certainto
This the form
degreetrillscan is more
of be
liveliness in line
projected to own internal structure in addition essentially AA 1BA, with A 97m
Beetho Th
dded with
in recommendations
performance through of theorists
suitable of
phrasing, the day,
rubato sinceand there
emphasisis no 33.rh etc.m
29.t.8m b in EThe but usethisof staccato
is harmonically dots is incorrect.
strikingly systematic in only; th
prevent the music dragging. It is helpful to think of three beats being
C)
end-is slur
at the
(not from
cadences.
nine) the
per previous
Rubato
bar, and note.
is in
also factA
to termination
appropriate
be aware of could
throughout,
the be
movements added
since thisamovement
standard eight-bar in all sources, phrase. This form
appearing can be projected
on repeated chords and sketche
the dyn
in 31.lh.1m
performance It is possible
throughwhile that
suitable Beethoven
phrasing, intended an ande here as well
eems
ad of (with
the
shape,texture- in bar
Ewhich , F = in 149
is isessentially
141a simple that), form
ABA but
of an itwith
was
aria probably
with light,
coda. ThenotAplucked
intend-
section light scale passages dashes appearrubato on arpeggio emphasis
patterns. 108mon
only S
(cf. cadences.
at the bar 5); butRubato he probablyis in fact preferred
appropriate to keep the accompani-
throughout, since
ed as it is
accompaniment not marked;
think and of ifa you can
serenade
(bars 134, which return with decorations at 6598) has its fit in
for eight
voice notes
and instead
mandolin, of The autograph score must therefore have contained some evi- the sou
line thement
texture
dence
to theis r.h.
for this
quintuplet
essentially
distinction, thatasand ofclean
an
thearia
as possible,
with light,
engravers
as shown
of the plucked in all
sources 101.rh.
except
r.h. six,
owngointernal
where ahead. structure
flexibility of rhythm is part of
in addition the style. But
essentially AA1BA, be surewithtoA sources.
accompaniment think of a serenade for voicepreserving.
and mandolin, no writ
is no
con- sustain
being athe bass notes
standard where
eight-bar marked,
phrase. This as inform barscan 1E 4be . projected clearly believed it was significant and worth decresc
dded 160.lh.4m Sources A and E have G here, while has g in r.h. where flexibility of rhythm is part
33.rh etc.mThe use of staccato dots is strikingly systematic in of the style. But be sure to Beetho
in performance throughthis suitable phrasing, rubato and emphasis A and E omit and the
end- too; but any
1, 3.rhm Trynotion
startingthat these trillsis what on Beethoven
the upper note, intended which is con-
was
34.lhm
sustain theSources
this movement bass notes in allwhere
sources, marked,staccatos
appearing as inon lh.1134.and begin slur
bars
on repeated chords and sketche
. No at the cadences.
tradicted by the Rubato is in fact appropriate throughout, since
sketches. on lh.4, while C adds staccato on lh.4 and has separate slurs on 112.b.1
ad of still normal practice in 1802. But a main-note start is also 1, light
3.rhm scale
Try passagesthese
starting whiletrills dashes on appear
the upper on note,
arpeggio which patterns.
was 108m So
what the texture is essentially that of an aria with light, plucked lh. 5 6 and 7 9 . None of these variants seems as satisfactory as rect, it
acceptable. Other
17082.lhm trills, e.g.
The staccatos arebars only24 in,C, 26but, also seemwork well from
justified. No The
still autograph
normal practice score inmust1802 therefore
. But a have
main-note contained start some
is alsoevi- the sou
and accompaniment think of a serenade for voice and mandolin, what is proposed here. bars 11
r.h. the upper
pedal is markednote. anywhere in this sonata, but in two somewhat dence forOther
acceptable. this distinction,
trills, e.g. bars and 24 the, 26engravers
, also work of well
the sources
from except
edal where flexibility of rhythm is part of the style. But be sure to why it
similar passages in later sonatas (Op. 53 III.295 312 and .1mThe
theclearly
51upper believed
note. sources it was should perhaps
significant andhave worth added fp here, as in
preserving. decresc
con-
ere, sustain
4.bm the bass
Source C notesquaver
has whererest marked,instead as in of bars
dot 4.b.1, which
1on E) plac
Op. 81a III.37 44) Beethoven indicates a sustained pedal bars 49 and 50. and
or at could be authentic; A andeffect E havemay crotchet rest intended
instead ofhere, b.3, 34.lhm 1. SourcesMusic Aexamples
and E omitwithin staccatosthe on commentaries
lh.13 and begin slur the the
fol
throughout; thus a similar
1, 3.rhmTry starting these trills on the upper note, which was have been 4.bm
on Source
52.rhmlh. , Notice
whileC hasthe
C quaver
addschanged rest
staccato instead
articulation
on lh. of
and dot
compared
has on b.
separate 1
with, which
bar
slurs on
51 .
. No which is clearly incorrect. 4 4 this
112.b.1 and
with the pedal
still normal perhapsinsustained
practice 1802. But right up until bar
a main-note 193isoralso
start at could
This
lh. becould
2.
authentic;
and Performance
be a. A andofadvice
printers
None Eerror
havein
these crotchet
A
variants and C rest
seems (it instead
matches
as ofbarb.51
satisfactory 3, in
as rect,
115 it
what 5 6 7 9
least 191. Czerny
acceptable. Otheralso recommends
trills, e.g. bars 24pedal , 26, for alsothis work passage.
well from which isisclearly incorrect. 6m
and E),
what but may
proposed well be
here. a deliberate change by Beethoven for the bars 11
the upper note. movem
sake3.of variety.Research into Beethovens original why it
pedal 51.1mThe sources should perhaps have added fp here, as in tempo.
here, 4.bmSource C has quaver rest instead of dot on b.1, which
fingering E) plac
bars
57.rh.5m 49 and In 50 the. sources the tail of the middle note joins to that the res
or at could be authentic; A and E have crotchet rest instead of b.3, of the top note, making it a crotchet, unlike in rh.2 and rh.8, the
phrasefoll
which is clearly incorrect. 52.rhm Notice the changed articulation compared with bar 51 . this and
This could be a printers error in A and C (it matches bar 51 in
115 6m
E), but may well be a deliberate change by Beethoven for the
movem
sake of variety.
tempo.
 the17.lhm
dynamic, Thewhile
slur C starts on lh.
has only p.1Thusin all
thesources
version (but
givencf. baris 21
here
31.lh.1mIt is possible that Beethoven intended an e here as well occa
where it is correct).
only one of several possibilities.
(cf. bar 5); but he probably preferred to keep the accompani- ures
ment to the r.h. quintuplet as clean as possible, as shown in all 36.lh.7 8m
101.rh.13m g e inAE;hasrather
Source attractive
trills for but probably
both soprano and alto,a and print- enha
sources. no ing
written (cf. bar 38). Such double trills are not abnormal in 7
errorterminations. figu
33.rh etc.mThe use of staccato dots is strikingly systematic in Beethoven
37 41mand Thethey
s markscouldarerepresent
unmistakablyan earlier version,
just for r.h. inbut the E,
A and prom
this movement in all sources, appearing on repeated chords and sketches show only single
though somewhat ambiguous in C. trills as in C and E.
213.
touch was papparently
light scale passages while dashes appear on arpeggio patterns. 108m Some editors have suggested in this bar,intended
but it ishere
not in in b
4252.bm A detached (and
The autograph score must therefore have contained some evi- theinsources. Thus, the music should remain generally loud,
57.lh), since there are no slurs. 226
dence for this distinction, and the engravers of the sources except for the accompanying semiquaver figuration, until the
1 clearly believed it was significant and worth preserving. 46mThe p(which
decrescendo appears roughly
is absent in Aunder the third
but present quaver
in both C and in Ethe seem
sources, but may be
and therefore must be correct). intended to apply from the fourth quaver form
34.lhmSources A and E omit staccatos on lh.13 and begin slur to c
(or alternatively from the second). In the recapitulation (bar
on lh.4, while C adds staccato on lh.4 and has separate slurs on 112.b.10mSources A and E add s on the A-. If this were cor- long
182) the dynamics are different.
lh.56 and 79. None of these variants seems as satisfactory as rect, it would be hard to explain why there is no matching s in imp
d) Beethovenwhat
Op31is No1 29/10/07
proposed here. 16:48 Page 35 bars53.rh.1m
111 (where all sources
All sources haveplace
a1.the s on
This the G)
could be and 113, andfor
a misprint
why +; isbut
f 1it missing C. It seems
in theinparallel more
passage likely
(bars 9) A
188that (copied
there by an
is also 233m
51.1mThe sources should perhaps have added fp here, asetc.
in
bars 49 and 50. placed the s(188
E) irregularity in 112
.rh.one note early,
6, where there and
is a gthat single sinstead
thesources
in all on 241
theoffollowing
the expected quaverb).beatThus,in Cit applies
seems to bothlikely
more hands, in in
that bothboth mak
52.rhmNotice the changed articulation compared with bar 51. thiscases
and the next bar.wanted to add interest by avoiding the most
Beethoven far t
This could be a printers error in A and C (it matches bar 51 in 35
115obvious
6mAnyandhint predictable pattern,
of rallentando hereandmight
to reduce
implyemphasis
that the on of th
E), but may well be a deliberate change by Beethoven for the the 3rd ofisthe chord.and it is therefore best to keep up the
Rondo:
sake Allegretto (B = 96 108)
of variety.
movement
the energetic ending,
style but also give some point to the p in bar 110. 252
A graceful finale, this rondo could go a little slower than tempo.
The86sources
120mOn The
the
placeother
this phand,
inconsistent resist
slurring
one note theofwhich
later, temptation
the main toillogical.
seemsfigure shortenetc.
here as here
Czernys In
57.rh.5m the sources
indication but the tail of no
certainly thefaster,
middleand
note joins
very to that
definitely theeither
rests,four
whichor five notes is typical of the random minorofvariants
are very long: listen to them as part the have
of the top note, making it a crotchet, unlike in rh.2 and rh.8, 118.rh.1m
phrase are Staccato
that structure. E only possibly
commonisininBeethovens scores.incorrect.
He seems not to have
with two beats per bar. As so often with Beethoven, the gentle 258
opening gives little hint of what is to come later on in this been troubled
1329.lhm by them,notes
The staccato and soneed we plenty
should not worry unduly
of emphasis
cal a
2 case an intense middle section in the minor, and a rather quirky whether
sharply these are
attacked all played
with great the same way
bravura or whether
(CCz) rather the thanper-
appe
conclusion (very humorous, and rather eccentric, in formeraway.
snatched observes the differences to create interesting variety.
Czernys words). But these passages should be borne in mind 271
8m150
1499250, All slurs
51, and
153staccatos
4.tmAll are in A,anbutadditional
missinghave
sources all are in C
when choosing the initial tempo. The final dislocated chords octa
redundant 938 alto
(except tenor slur slur)
acrossand
thealso in E; thus
bar-line in allthey
threemust stempre-
places, from
recall the one at the very beginning of the sonata, and should the
Beethoven.
sumably due to a misreading of the bass ties in Beethovens MS.
evoke a similar mood. has
186987m All The
110m sources
dynamics heresaremarks
have the a littlealigned under
puzzling, andrh.
it 6seems the
1 8mThe beautiful, expressive, and extremely melodious surely a printing
Beethoven error, since
probably preplaced
omitted some.dynamics
In bars were some s
common.
98100 tion
theme, must be played as cantabile as possible, and the four-part marks to match bars 1068, or alternatively a crescendo, could relia
3 harmony given with a firm and sustained touch (CCz). Thus 188.rh.6mSee note on 53.rh.1.
well be added, to allow for the diminuendo in 101. One might final
the tenor should be legato even though some slurs are missing. wishis to
alsocresc.
190m E only.
in add a diminuendo in bar 109 to match 101; and a in th
9 10mIn these and similar bars the alignment of the hairpin is sudden f in bar
202.rh.4 12mMost modern106 , matching that ininvert
editions 114, would not only
the figure here,suit leap
somewhat variable in the sources; it may have been intended presumably to avoid a repeated note at the start of bar 203. All
just for the two crotchets after the bar-line, as shown in bar 76. the sources, however, have it as shown, and it would be rash to
17.lhmThe slur starts on lh.1 in all sources (but cf. bar 21 assume that this was simply a printing error, since Beethoven
where it is correct). occasionally used repeated notes within similar oscillating fig-
ures elsewhere (e.g. Op. 31/2.I, bars 312). The version given
36.lh.7 8mg e in E; rather attractive but probably a print- enhances the contrast between this passage and the preceding
4 ing error (cf. bar 38).
figuration (201.rh.4 202.rh.3), by avoiding yet another
37 41mThe s marks are unmistakably just for r.h. in A and E, prominent high g2.
though somewhat ambiguous in C. 213.rhmSlur extends to rh.3 in A, C (and to rh.3 in all sources
4252.bmA detached touch was apparently intended here (and in bar 214).
in 57.lh), since there are no slurs. 226 7mAs in bar 115 of the previous movement, the music
46mThe p appears roughly under the third quaver in the seems to terminate long before the actual end, and the per-
sources, but may be intended to apply from the fourth quaver former should try to find means of signalling that there is more
(or alternatively from the second). In the recapitulation (bar to come. Again, however, the following rest, and the much
182) the dynamics are different. longer one in bars 22930, where the adagio marking might
imply 1.something close to half
Beethovens use speed, must not be
of staccato curtailed.
dots
53.rh.1mAll sources have a1. This could be a misprint for
f 1+; but in the parallel passage (bars 1889) there is also an 233mThis second adagio passage should perhaps be marked p.
and dashes
irregularity (188.rh.6, where there is a g in all sources instead 2413mContinue at the slow speed until the presto mark,
of the expected b). Thus, it seems more likely that in both making the crescendo only very gradual it is easy to reach f
cases Beethoven wanted to add interest by avoiding the most far too2.soon. The trill is bestadvice
Performance begun on the main note (because
obvious and predictable pattern, and to reduce emphasis on of the preceding slur).
the 3rd of the chord. 3. It Quotes
252 5m is possiblefrom
that Czerny
Beethoven intended a crescendo
86 120mThe inconsistent slurring of the main figure here as here, 4. than f subito
ratherCorrection at bar 256; and in bar 260 he may
of error
either four or five notes is typical of the random minor variants have intended the p to be placed halfway through the bar.
that are common in Beethovens scores. He seems not to have
258 70mThe mixture of staccato dots and dashes is quite logi-
been troubled by them, and so we should not worry unduly
cal as in the previous movement, and may well be authentic. It
whether these are all played the same way or whether the per-
appears in both A and C (but somewhat modified in E).
former observes the differences to create interesting variety.
271 4mSource A omits bars 271 and 274 completely, and adds
1
8

SONATA in G
composed 1802 BEETHOVEN, Op. 31 No. 1
Edited by Barry Cooper

Allegro vivace

13

19

27

cresc.
 9
33

37

41

47

53

60

cresc.

Sympathetic page turns

10
66

72

77

82

87

93

cresc.

etc.
 11
Adagio grazioso

1 7

etc.

2 6
10 6
6 6

7
leggieramente

6
12 6
6

leggieramente

3 14

3
]

1. Realisation of ornaments 2. Beethovens fingering shown 3. David Wards editorial

above the stave in large print fingering clearly differentiated
12
17

cresc.

20

cresc.

23

26

27

30 5
5 5
 13
Dot staccato
without slur
32

cresc. cresc.

34

36

38

cresc.

40

dim.

42

etc.
14

Rondo
Allegretto Clear layout

cresc. cresc.

[ ]

13

3 3

18

22

cresc.

26

cresc.

6
 15

30
6

34

cresc.

38

cresc.

42
3

3
cresc.

46

50
16

54

cresc.

58

cresc.

62

dim.

66

70

74

cresc. cresc.

3
3

etc.
BEETHOVEN
The 35 Piano Sonatas
A critical edition of the 35 piano sonatas by Professor
Barry Cooper, renowned Beethoven specialist. Created
for todays performers, teachers and scholars, this is the
most comprehensive study of these extraordinary works
yet undertaken.

Key features
the only modern edition to include all 35 sonatas as
a set

faithful to the original notation, correcting

long-standing errors found in other editions

presents new and important research

general Introduction covering performance

practice, including tempo, articulation, pedalling
and dynamics

commentary to each sonata, including history,

full assessment of the sources and detailed notes
on interpretation

Available:
3 volumes separately
Boxed set of all 3 volumes in a slipcase

Each volume contains a bonus audio CD

of commentary and demonstrations