SONATE PATHETIQUE Op. 13.

Transcription

1 To Prnce CARL von LCHNOWSKY. SONATE PATHETQUE Op. 13. Abbrevatons: M.T. sp;nfes Man Theme; S.T., Sub-Theme; C. T., Closng Theme; D. G., Developraent-g:roup; R., Return; Tr., Transton; Md. T., Md-Theme; Ep., Epsode. Grave.C'r 66.) (ntroducton.) A " V L.van 4 r> 4 BEETHOVEN. a) The 32nd-note must be perceptbly detache<l from the next-fouowngr dotted sxteenth-note, and ths latter sustaned for ts full value a mode of executon pecular to such rhythms n the old masters; compare HandePs Prelude to the F-mnor Fugue, and Bach''s Prelude to the G-mnor Fugue n Part of "The Welltempered Clavchord r b) Ths run should be performed expressvely, and n the second half wth a slght retardaton, so as to brng out the melodc outlnes. C) Carefully observe the ncreasng value of the "lftng-note;'" the frst tme, the sxth eghth n the measure s only a sxteenth-note; n the next measure, the D on the second -eghth s a full eghth-note, whle the F on the sxth eghth becomes a quarter-note. Ths effects a melodc ntensfcaton. «ft Copyrght, 189, by G. Schrmer, nc. Prnted n the U. S. A. Copyrght renewal assgned, 1923, to G. Schrmer, nc.

2 m Allegro d molto e con E brlo.(j=44.) M.T , a. f t». *»\ 3 f *a=*2 *» y ' 5 S P l!e -S<2 1 cresc.. b) Sj ) p'l; f 2 t -6-»- 2 cresc. m a) The relaton between the movement of the ntrodtctou and the Allegro s properly ths: That a whole note n the latter s exactly equvalent to an eghth-note n the former. Consequently, the Allegro may be begun at the rate of M.M.d=l3», whch movement would not, however, be fast enough further on, n vew of the passonate character developed. b) n tremolo- fgures lke these, the player should be' content to mark only such bass notes (and then onlyatthp frst stroke) as ndcate a new progresson n the harmony. c) The drecton agtato also calls for a o legato as strct as possble, whch, of course, must not mpar the e- venness of the movement. 103

3 <n 5 h* * 7 * * 77 W - S J/" FT 1 \ j J/ - 77 WW S fl />9<?(7 rtennto. s.t. g, P 4 t tsv )2. tempo. V? _ J?r -"J r r frj'r marcato. *) ma pano. 1 bo: s y: J b) Efe aajj Hj m ten. * f# «# 5, a 1 3, qfac 1, r-'jft g» B l4 «t/ 1 \»J' \»g '',vt f? ///. /' 'f '&D. t» # *«rv t> r$ r$ o 4a tento fe npre. % 5! M-, /V» 8 4 g g JL» &3P a* g f a f --' //// - * 3 4? 1 "f P m P 5 tt 1 t=tt tt=t tt W \>% 11' 3111' V > V l) Althog-h ths "secnnl" subject too, s passonately ag'tated, the unvaryng tempestuous sweep of the frst cannot be tept up throuyhout. Plaj' the frst measure of each four- measure perod the preludnjf bass somewhat more quetly, the fouownf,"" three wth all the more anmaton; shade the 16 measures n Eb-mnordfferently from tle parallel passa,:e n!)!>- major; n short, nvest the entre dalog-ue wth the most vared colorny possble. b) Exet.ton: fj - 'f accor<ng to the famlar rule, that all graces take ther value from, and are plnyol wthn, the value of the prncpal note. C) E.xecuton: - accordng to the same rule; beware of the facle and tasteless trplet n eghth- notes, to whch even the antcpated passng shake would be preferable, though ag-ansl the rules. 101

4 . # / S5 3 * p=z m S «fefe m m 3 ft ' 1 a* m "f * )f dolre. *=f f=*=f r=f r*=*»- tv TV p -M-_ /M- # # ' * f lf 1/* dolce. «*- XT W fck f== r fe 7* 1 * 3 ft 8 poco M cresc. m * F P +v_ l_ /V* w m m decrefc. 'W a _«m m pp (poco slentandn, ma poco.) tk la 1t=g=t t= =f =r=f S s Cl.T., a) '' ;, > «4 f f rl r f r r r f rfff mm (a tempo) legato mm m 'to. *» V == a JU- ra* 1 cresc- " m metto legato P p ' - / :t 1 b ClfLEf S w K=X # ( fcr p ftyryr: * = a J s = w-jl nhxh e «legato *&j). "" K 'to. 1 'Js. g meno /eg'ato. m --J 'to. cresc * = F P F a) These frst 4 measures are to be played wthout the least retardaton, yet very quetly, and wth no accentuaton of the accompanment. l:2k8fl lor

5 > > }J''tA.J.f±LrrrL.J. *&r * a) The hold (pause) must be sustaned precsely 3 measures, so as to form another 4- measure perod. But a quarter - rest should precede the reprse of the frst dvsonb) Retard the entrance of the B n the bass, n order to enhance the pleasurable suspense attendant upon the enharmonc change of the dmnshed chord of the seventh n the transton from G -mnor to -mnor; and play the followng passage throughout wth full dreamy freedom. 1S»89 106

6 3. r? m mm / / a)j> 2? cre.sc. Se? $ # W W W f m M 4U U. p cresc. - P ( - *.tft#### 0. M. 0.! «J s gs 1 cre,s-c. mm '» \-' m p U m HU ** /* 1» # fs S Jl* "dmn. S j» cresc. F=? * H Allegro molto e con bro.- D.G [LCJOU dmn. t># # # -!?# S t?»- f" f" lf" 5 Tf poco ere.se.»/. J* /l 1 «=5? -«-«espress. H mum V > d. #. «e # l>e,#- P3ff5 SWf p dmnuendo.?w. Sat 3 1* Sr l; *P#» # l fe!» 31 * l<f 6 pp C)=z cre/tc. 1 - t ra *. [ < r t g ; J a) Despte the dentty of ths phrase wth that n meas. 6 of the frst Grare, t must now be played wth a wholly dfferent expresson or, rather, wth none whatever, ths beng rendered necessary by the doubled rapdty of the movement m n the Grate r o n the Allegro). b) Although the phrasng ' l»j } = etc. would more nearly correspond to the orgnal form of ths pas - sage n meas. 7 rf sef. of the so-called second subject (Et-mnor), t would not be n keepng wth the general (progressonal) character of the development -secton. C) The player should slghtly sustan the several tones 1XA but not so as to make the movement heavy.

7 . '* Sfrv.- Ht$'z J* 14- y a) marcatxsmo. m s w -4.» <. # mptw V W > L. #11' OTUJJJJ feg ljj xa. -::* 4 - ' '? r=l=±ru cre.vr. ~" '.to. '? ter - * '» ' r=r=. r t!/ f *"rr# w w 9 9?r t y *» *» M ==z 1 3 ' M ** rzr: / / f?>» <gs> # #.g «f="r r r c»p= ff ')A4mm S S mm *=jf ll.p.s f cre.sr ra P 7 m am.?m ra <* rej : g 1* E s y > m mm eresc.. sm»rr:! 15>- > F a) As an excepton to the rule, ths trll must not begn on the auxlary, so as not to blur the melodc outlnes: seven notes lltlsss vgorously played suffce n such rapd tempo. 108

8 ... s m S fe ten p 0- f cresc. T= H»~f*-?r 4J2, p 7y 5! -# J 7» m 0 l? J #=5f f 4 - ~ / = «C t cfe jj 'M :!2L g ± ere.\-c.? w f :S CT fe W>S J«B rj n r'fz. ««. S.T. a f;' p' «1 «Eg g % -% jfc: mfp 44 /4 ten. temdo nempre. [> joro / P P / V +*- ff?? r«- rte. fp?».'/ s p p # p :pa :E. 34? JJ 4 1 fclz L tm \ «- +* P m cre.so Bl / '>j. -n-a - l am. * J j la. /!> w/ :3c: -# -( zr 34«34«1 P==PE f=«f=f=* F=f= r rs a CT o r? o f rf' "rr?.»? 5 a m/ f 4* /v -»*- RFf f=f=f f=l=f f=f=f rv rv r? tr a' Ths p'no must enter abruptly, whch requres some practce, especally wth the left hand; smlarly n thf parallel passage 4 measures further on.

9 * ** a n the orgfnal the decrescendo begns at ths measure, whch seems to us ratjer too prolonged for 6 full measures, the more so, because an actual forte would be nadmssble n the precedng; for ths reason we consder a pjco cresc. more sutable for the frst two measures. b Take care not to play e!> nstead of F n the rght hand, as a C -mnor chord s out of the queston here; the C n both Soprano and Bass s smply a passng-note of the domnant chord. lo

10 U -t» ±. a ereso. «' uu. 4? J J «3 - xs: f marcato. «> v fcb Jfes; 3' r 1 E secco. E *? bl' --?» 1 t M - a) Sustan the hold (pause) 3 full measures (comp. p..'l frst holds n the Grare have precsely the same dura- ' ton ( subtractng the 32n_d.note t. - bt The bass note on the thrd fourth-note must have a penetratng and prolonged tone, n order to be qute audble through the seventh eghth -note as the root of the chord of the sxth. c) Ths coda cannot be played too rapdly. d' t s best not to use the pedal wth these chords jr= ff

11 . Adago cantable.(:6o) ' - M.T. a 3 J.. e) To the best of our knowledge no one hns yet remarked the strkng affnty of the theme of ths movement, even wth reference to ts external melodc structure, to that of one of the loftest.4 r > sr ton of gtcndest scope from the Masters last perod; _ we mean the.ttnn of the Nnth Symphony, wrtten almost a quarter of a century later. The performance of both demands an equally nspred mood. The player's task, to "make hs fngers sng," may perhaps necesstate a more frequent use of the pedal than we have ndcated,whch must of course be controlled by a most watchful ear b) Ths frst mddle secton of the Rondo (for such ths.l/mr/'" s n form) may be taken slghtly mr/o andante,.e., slower; but no more so than needful (so as not to drag), and. therefore, n only a few places. C) The turns n ths and the next measure should not commence wth, but mmedately after, a sxteenth-note n the bass, «8» thus: BfAtMMj! and: lst

12 a) A tasteful executon of ths grace s mpossble n strct tme. An abbrevaton of the frst two prncpal notes (C and B!>) beng qute as mpractcable as a shftng of the nverted mordent nto the precedng measure as an unaccented appoggatura, the measure must smply be extended by an addtonal 32 nd- note. b) n ths repetton of the theme, the left hand may be allowed to play a more expressve part; and, on the whole, a somewhat lghter shadng of the melody s now admssble by way of contrast to the followng (gloomer) mddle secton. C) The ascendng dmnshed ffth may be phrased, as t were lke a queston, to whch the succeedng bass fgure may be regarded as the answer ll»

13 brllante. franqullo. a) t appears advsable slghtly to hasten ths measure and the next, and then to retard the thrd not nconsderably, the former on account of the cessaton n the harmonc advance, the latter by reason of the vared modulaton, v-hch must be qute free from dsquetng- haste n ts return to the theme. b) Though strctly subordnated to the melody, the trplets should be brought out wth anmated dstnctness. C) The two 321< -notes n the melody may very properly be sounded wth the last note of the trplet of 16?-notes n the accompanment; whereas a mathematcally exact dvson would probably confuse both parts. 1X

14 Tm j a) Execute lke a trplet: b) n the org-nal, the shadng- of ths passage s marked dfferently from that two measures before, the (//////- e/tdo already beg-nnng wth C, and not wth a1> as here marked. Ths latter nuance- the prolong-aton of the cresce/do- A-peals to our feelng- as the more delcate, "more tenderly passonate," to quote Rchard Wagners happy remark on the "nterpretaton of Beethoven'.' c) Mark the separaton of the slurs n ths fgure and those followng; the sx notes sound trval f slurred together lll

15 Rondo. Allegro, (crse.) a) Althoug-h ths thrd movement s less "pathetc" than the precedng' ones, the player alone wll be to blame should the Pathetc Sonata end apathetcally. The orgnal, to be sure, contans only the most ndspensable expresson-marks, whch t has been the am of our Edton to supplement effcently; as, for example, by the crescendo endng paut n measures 2-3, by emphaszng the dstncton to be made, n the fgures for the left hand, between the parts (tones) whch are essental (ndependent) organc elements, and those whch are mere harmonf fllng", etc. b) n executng ths grace, the player must be careful not to produce the effect of parallel octaves wth the bass (F-Ap, and n the next measure Ep-G); rather than ths, the slde mght he treated as an appendage to the foregong notes. 18R89 116

16 f dm. ph a 3== ttj gfe tf V #A fe ** S cresc. t ' a) There can fardly be a doubt that the Master was compelled, by the restrcted compass of the keyboard of hs day (only up to F-0, to content hmself wth the ffth of the domnant chord, nstead of rsng to the hgher seventh (Ab) as n the three other parallel passagfes. A change n conformty wth hs orgnal ntenton '\o mpractcable, however, because the ensung measure would then be made to le an octave hgher, and would sound somewhat thn for the frst tme (t s mmedately repeated n the octave). b) These mtatons, although pnno, must be played wth great anmaton, and not n that characterless rgntn whch mght be called ant- symphonc. C) The precedng Romark apples equally to ths and smlar passages

17 y\' J''' p L P 1 3 T' m7 f Tr?=fe -j F J «w'/fm w/ p OTjl - p- tjaj f p r # = s tee wrr m «8.«1.? ' «L p:=3e m n «- '&D. 4*1 3 cresc. to.'* *- *fta. a) The fng-erng- g-ven by ns serves to ad n executng- ths run wth the exact rhythmc dvsons desred by the composer. The hold whch follows appears really superfluous; for, by the prolong-aton of the chord throug-h j measures, all demands of the pulsng rhythm whch g-oes on even durng- the rests of a pece_ are fully met. 118

18 Tranqullo. a) espress. l f''' Ajj 'H\ ] J, S B eretfc. S S 'to. * 'to # «to 2t S f yg jp creftc. blp XT P" 7 5l. W J p-j Q- # '?!:;?. * 'to. «'to *'to. a) The tempo, of coarsn, remans the same, but free from any floctnatngr agtaton. Observe, that the theme "proper" begns wth an ascendng fourth, consequently, the left hand should be slghtly emphaszed n the ffth and s.xth measures. Ths holds good for meas. 13, 14, etc b) The mark J s set rather early, n vew of the fact, that the ntensfcaton contnues through he next sx measures. For ths reason, the player wll do well to husband hs strength at frst. ll»

19 S S& :LjC!!r / / / «- '> m* >. -«- -tvto. n T m 1 J tft p = f SJJ a «J J J JU-1 ff»d. * rnff 3 h a V 'f agtato. j 7;% fj r=g g «k-' r. a LT n 'f / / :f: #>y a) The more cmpestuously the 12 precedng measures have been played, <he longer may (hs hold (see Noto a, page 154) be sustaned. SO

20 «poco anmando. g fcfe P 1 M t 3=f: U m crf.sc. =F C!rrcS[r"ffl' f: T ):t? g W cresc. Cl.T.? 3! g 3 P 3!: * f' fe a 1P ten. gt= ' 142 \ CZ2=Z2 "f '--* r- '}. aj The second subject must be played more delcately and quetly here than at ts frst entrance n El> major, b) A collson of the two parts on D-' must be avoded by antcpatng the rpht hand by an arpeggo n the left, lftng the left-hand thumb nstantly after the stroke; thus: c) The second note n the bass mght, n conformty wth the parallel passages n the frst dvson, be Ah. 121

21 con mofo. (ma nou troppo.) S ten ten th' creftc. r J) m nf sempre cre.sc. f!/ jy a) These next 13 measures should be played wth consderable freedom as regards tempo, and wth a decded ndependent stress on the lower part n the left hand. Specal attenton should be pad to the composer's drectons concernng both the shadng of meas. 6-7 and 8-9, and ther phrasng, whch s not n one-measure rhythm (as the motve at the frst glance apparently nvtes), but n two- measure rhythm. n proporton to th'' greater or lesser degree of passon put forth by the player before the calndn, ths latter s to be conceved as a dmnuendo and rtnrdando. Excess n ether drecton s, of course, reprehensbleb) Partcularly note the Aftnkt (fractonal ntal measure) n the bass, here representng the regular n troducton L )f * By playng the theme wholly wthout shadng on ts fourth (and last) appearance, the close s well prepared and led up to. 1««8<> \%

22 \ con X*oc( ften. Jen. '.> sempre jy P P - -ojp l>e pp ' #»4 s 11 «-j/ 9-*~ &; CT~ n \ r* -r s e W 0- - y-- Jt> tranqmllo e semplce. A 'to. rprf\r fe ;,»:. r >' r' rc r l T") 1 a) Moderate the tempo on co.mencng- ths measure, n order that the ensunff run can be executed precsely accordngr to the gven dvsons and wthout the least retardaton. The followng hold may be sustaned very long as long as the sonorty of the pano permts. b) A rtarduhtlo n ths eplogue would be n bad taste; the tempo must be strctly sustaned to the close. **) The jqjy* ' found n all the old Edtons, almost the sole nstance where ths superlatve, surely as frequently ntended as rarely used s employed by the Master. Hence follows the necessty of an unusually powerful crescendo n the precedng run. as9 tea