128

SONATA,
Op. 7'J.

BKKTHOVEN.

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a) It is inipresliDK to observe how much more genius, i. c.. prejudice to its grace,) Becthovra
virility (yet without
exhibits in his treatment of the characteristic local note of his Viennese environment Uhe •LanJler,") when in
tedesca" to the Intermezzo of
the mood for employing it, than does Franz Schubert. The affinity of this 'alia

like name in the grand String-quartet Op. 130, is also worthy of note:

Op 79.
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b)Avoid all useless time-beating with the left hand, but mark the anticipation of the dominant harmony on
a peculiarity of the Master's later style, assures the connoisseur of Beethoven
the third beat, whirh, as with
greater reliability than any antiquarian researches, that this Sonatina is no "Jugendarbeit" (youthful work.)

ll«U&r Printed in the IT. S. A.

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a) The animated waltz- rhythm, in which the third beat also has a slight accent, must be brought out

equally in both hands.

b) This trill is to be conceived simply as an inverted mordent with after-beat (quintuplet), and begun on the prin-
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page, the F.litor has taken the liberty of p'ving a different shading—
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easily induced. If the first 3 measures (tonic) are played piaito, the fourth (dominant) may take an
accent, in order to distinguish it from the 3 first measures of the after- phrase (dominant); the same
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b) The thematic "stretfo" requires that, instead of playing 4 measures in 3 time, 6 measures
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P This inverted sliiie is executed simply thus: ^ /Tr^^

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treotment as a turn.

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a) This waltz, like the celebrated waltz in \V,.her's 'Freischutz;' must be executed pianissimo and with no
rctardat ion whatever; a slipht acceleration in tempo is admissible.
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a") This movement may be reprnrded as the prototype of the modern "Song" without Words, and one
hardly surpassed in amiable and original freshness by any.
Imagine the first subject executed by wind - instruments _ say clarinets and bassoons; one measure be-
fore the second subject, the muted strings fall in, while oboe and flute alternately bear tlie melody.

b) The profuseness in the directions for the fing-ering is justified by our experience, that no play-
er executes with finish pieces of such apparently easy technique until he recognizes them to be "dif-
ficult:' The change of fingers expressly called for in places like is indispensable for

the special reason, that the "vis inertire" of the fingers often causes, in execution, mistaken ideas as

to the leading of the parts

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a) As the passage ascends crescendo, the quintuplet is to be played:

b) The s/ortafii indubitably refers to the second 16th-note E!>, not to the third (£), where it would sound
conrse and tasteless; its sharpness must, moreover, be mitigated by a preceding increase in power ac-
companied by a moderate n'tardnnHu.
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a) As implied by the term "Schneller" (inverted mordent; lit. a "snap") it is well to execute this grace
with a change of fingers condurive to a snap:

h) The Editor divides

llfi-28
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6 hand lead off:

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a) All efforts toward an exact mathematical proprtriioning of thi' accompanimeni-tripU'ts to the duph rhythm
of thr thiiiif, will hi' vain. Only assiduous ^»•pa^atp lirarti.i- with each hand w ill If.ul to the requisite indep-rJence.
Compare Note (a) on Paf;e 131 (Op. 54), where thr method for practice is discussed.

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a) This measure must have the character of an interrogation. The answer, with the re-entrance of the theme,
must follow as naively as possible.
b) The short appoggiaturas must also be included in the value of the principal note,
not fig-uring as auftakts,
but thus:

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