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Help with Beethoven's Pathetique?
It would be handy of you have a score with you.
1. Introduction: Except on ms. 10, should we maintain strict timing? On ms. 4, some pianists overlook that on the fourth 16th beat of the fourth beat are 9 notes and they slow down. I confess I find it difficult to compress 9 in that division but I did it. Can we put a bit of retardation there?
2. S.T. (When the arms interchange), Is there a small accent on the solb?
3. Cl. T. 1 no legato after the holds so, no damping of sound needed?
4. Before the repeat, how long should the G7 chord hold?
5. After the repeat, how long should the D7 chord hold?
6. Cm trill, start with fa or mib?
2 Answers
- ?Lv 78 years agoFavorite Answer
1. I would recommend thinking this whole introduction as a mixture of tutti and solo/cadenza passages where tutti parts are to be played a tempo and solo parts more 'freely', much like a 'vocal part' so to speak. Then again...
Ms. 1-3 = **strict tempo**
Ms. 4, Ab, melody RH 2nd 8th note of 3rd beat: *non* legato with preceding F (Beethoven's OWN staccato here...) and *WAIT* (rit. implied...) - think yourself as a singer having to perform the next 19 notes in-one-breath, flawlessly... Important thing to do here is to reach that Eb, 4th beat, *on* time - what you do next depends on how you *feel/understand* the drop to that resolving Eb ms. 5 - playing those 9 hundred twenty-eighth notes a tempo will *most assuredly* kill the music right there (which explains why those pianists you mention do NOT ''overlook that on the fourth 16th beat of the fourth beat are 9 notes'').
(You should also play rit. at the end of ms. 8 and 10, i.e. before important cadential points)
2. You mean here, p. 146, ms. 3?: When Beethoven writes sf, that really means SF! (so, yes, that G flat is to be accentuated).
3. Damping of sound is to be avoided here - at all cost...
4. There's a fermata here, which means this is left to the performer's taste - or rather to the performer's *good taste* (being familiar with period works is always a must with these technical details :-) ).
5. See No. 4 (adding ***about** 2 to 4 additional beats is common practice).
6. Trills (or more precisely mordents) in this piece *always* begin ON the written note.
Very Best,
Raymond