Beethoven’s Sonata

Discussion of Dynamics, Pedaling and Tempo in Selected Sonatas of

Beethoven

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 Introduction
• Changes of the piano during the years of Beethoven's life,
Harpsichord——Hammerklavier, greater dynamic range, more
precise tempo and more pedal functions.
• Beethoven preferred the Broadwood piano, a much larger and more
powerful instrument.
• Compare with and :

• William S. Newman. (1988, p.47-50). Beethoven on Beethoven : playing his piano music his way. New
York : Norton.
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 Topics of discussion

• Dynamics
• Pedaling
• Tempo
• Conclusion
• Basic Principles: Performing Beethoven's sonatas, anything not
originally intended by Beethoven must not be added.

2
 Dynamics——Range
• Beethoven's dynamic markings, which were very detailed in his time, show that Beethoven
was very fond of obvious contrasts.
• Always within the rang of pp-ff, except ppp in Op. 106.

• Beethoven piano sonata in B flat major, 1st movement, bar 401-405

• Stewart, Gordon. (2017). Beethoven's 32 piano sonatas : a handbook for performers(p.47). New York : Oxford University Press.

3
 Dynamics——Repeated melodies without markers(1)

This melody first

appears in bar 33,
marked by Beethoven
with a crescendo Beethoven piano sonata Op. 14 No. 1, in E major, 3rd movement,
notation, and again in bar 33-36
bar 86, unmarked by
Beethoven, for which
we also need to do a
crescendo and sf.
Beethoven piano sonata Op. 14 No. 1, in E major, 3rd
movement, bar 86-89
Stewart,Gordon. (2017). Beethoven's 32 piano sonatas : a handbook
4 for performers(p.47). New York : Oxford University Press.
 Dynamics——Repeated melodies without markers(2)

The dynamic markings

not written at the
beginning of the
movement must be
found from the same
melody that follows.

Stewart,Gordon. (2017). Beethoven's 32 piano sonatas : a handbook for performers(p.47). New York : Oxford University Press.
5
 Dynamics——Incise
• From literature, the softest cuts at the highest level, the loudest cuts
at the lowest level.

Beethoven piano sonata Op. 13 in C minor, 1st movement, bar 11-24

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 Dynamics——Repeated Accent
• Sometimes Beethoven adds sf to each phrase in a continuously
descending group, which indicates not only the need for emphasis
but also a constant crescendo. This is because the sound of pianos of
Beethoven's time decayed relatively quickly.

Beethoven piano sonata Op. 13 in C minor, bar 44-50

• Newman, William. S. (1988). Beethoven on Beethoven——Playing His Piano His Way. W. W. Norton.

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 Dynamics——Length of crescendo
• Beginning in 1806, Beethoven often used the abbreviation cresc. with a dash
to indicate the length of crescendos. Where a dash is not written, it can be
handled freely. I crescendo to the second beat of bar 62 because the melody
that follows is a descending one.

• Rosenblum, Sandra, P. (1988, pp. 394). Performance Practices in Classic Piano Music. Indiana University Press.
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 Dynamics——Discordant Chord
• Sometimes when sf is marked over a discordant chord, then the note
resolved later needs to be soft.

Beethoven piano sonata Op. 13 in C minor, 1st movement, bar 37-43

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 Dynamics——dolce
• In classical works, dolce is sometimes used to indicate a very soft
phrase and change the color.

Beethoven piano sonata Op. 13 in C minor, 3rd movement, bar 24-28

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 Pedalling
• Pedal development: operating from the knee to the feet.
• The types of the pedal:
• Earad piano: Lute pedal, Damper pedal, Dampening pedal,
Action shifting pedal
• Broadwood piano (Beethoven used): Damper pedal, Una pedal
• Sostenuto pedal: Middle pedal (on the morden piano, after
Beethoven’s death)

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 Pedaling——First damper pedal of piano sonata

• First example, piano sonata Op. 26 in A flat major, to increase the

harmonies, because the sound of a Broadwood piano is not as loud as
a modern piano.

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 Pedaling——Different Harmonies
• If the different harmonies, when Beethoven writes the mark of senza sordino,
it is necessary to change the pedal once according to each bass (Czerny said).

Beethoven piano sonata Op. 27 No. 2 in C sharp minor, 1st movement, bar 1-4
• Stewart,Gordon. (2017). Beethoven's 32 piano sonatas : a handbook for performers(p.38). New York : Oxford University Press.
13
 Pedaling——Harmonies mix
• Exception: Sometimes Beethoven wrote down a pedal and kept it that
was intended to be harmonically mixed. Generally tonic and
dominant.

• Stewart,Gordon. (2017). Beethoven's 32 piano sonatas : a handbook for performers(p.39). New York : Oxford University Press.

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 Pedaling——The Sostenuto Pedal
• When it was fitted to modern grand pianos, many performers
used it to maintain Beethoven's bass and thus avoid the chaotic
sound by the damper pedal.

Beethoven piano sonata Op. 27 No. 2 in C sharp minor, 3rd movement, bar 165-166

• Stewart,Gordon. (2017, pp.39-40). Beethoven's 32 piano sonatas : a handbook for performers. New York : Oxford University Press.

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 Pedaling——Una Corda
• Beethoven used una corda in order to obtain a different tone in
his piano sonatas. Perticulaly in crescendo and diminuendo.

Beethoven piano sonata Op. 110 in A flat major, 3rd movement, bar 130-136

• Stewart,Gordon. (2017, pp.42). Beethoven's 32 piano sonatas : a handbook for performers. New York : Oxford University Press.
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 Tempo
• Beethoven was very careful about tempo.
• the rate of speed of the ongoing rhythm.
• Interpretation of metronome speed.
• Three conditions affecting tempo:
• (1) the prevailing note values and patterns.
• (2) the time signature and its traditional tempo associations.
• (3) the tempo inscription.
• Newman, William. S. (1988). Beethoven on Beethoven——Playing His Piano His Way. W. W. Norton.

17
 Tempo——Terms
Beethoven used traditional
Italian tempo indications at the
beginnings of movements
throughout the sonatas.
Sometimes in German terms,
to express the tempo in more Beethoven piano sonata Op. 101 in A major, 1st
detail. movement, bar 1-2

Newman, William. S. (1988). Beethoven on Beethoven——Playing His Piano His Way. W. W. Norton.

18
 Tempo——Piano Sonata Op. 106
• Beethoven wrote down 138 per half note.
• Paul Badura-Skoda played at 116 and 126
• Peter Serkin played at 126
• Friedrich Gulda played on a morden instrument at 126

• Beethoven piano sonata Op. 106 in B flat major bar 1-2

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 Tempo——Piano Sonata Op. 13—Ⅰ
1.The introduction: so slowly
and pathetically that we can
only use semiquavers to indicate
the metronome beat.
2.The final chromatic scale is
very light and fast until the
pause.
3.The following Allegro of
exposition extremely impetuous
and incited.

Beethoven piano sonata Op. 13 in C minor, 1st movement, bar 1-2,10,11-17

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 Tempo——Piano Sonata Op. 13—Ⅱ
• Gould plays Adagio cantabile →Andante in Beethoven's Piano Sonata
Op. 13 2nd movement, at 84 per eighth note. Czerny played at a
tempo of 54 when he learned from Beethoven. Today's pianists play
at a speed of about 63 (as in a recording by Friedrich Gulda).

Beethoven piano sonata Op. 13 in C minor, 2nd movement, bar 1-4

• Newman, William. S. (1988). Beethoven on Beethoven——Playing His Piano His Way. W. W. Norton.
21
 Tempo——Similar Tempo
• Comparing Op. 126 No. 5 and Op. 57, they are similar in three respects, with
the tempo term of Op. 57 being Allegro and that of Op. 126 No. 5 being
Allegretto, so Op. 57 could be a little faster.

Beethoven Bagatelle Op. 126 No. 5 in G

Beethoven piano sonata Op. 57 in F minor,
major, bar 1-4
bar 1-4

• Rosenblum, Sandra, P. (1988, pp. 393-400). Performance Practices in Classic Piano Music. Indiana University Press.

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 Tempo Change——in Same Movement
• In the same movement, only the prevailing note and emotion
changed, tempo changed.

Beethoven piano sonata Op. 53 in C major, 1st

movement, bar 1-4
Beethoven piano sonata Op. 53 in C major, 1st
movement, bar 32-42

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 Tempo Change——in different Movement
• All three conditions affecting the tempo have changed and therefore
the tempo has undergone extreme changes. Such as it in the first
movement and the third movement.

Beethoven piano sonata Op. 27 No. 2 in C sharp Beethoven piano sonata Op. 27 No. 2 in C
minor, 1st movement bar 1-2 sharp minor, 3rd movement bar 1-2
Newman, William. S. Beethoven on Beethoven——Playing His Piano His Way. (1988). W. W. Norton.

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 Tempo——Rubato
• Beethoven used in his later years, and regarding its use.
• Only applies to the first measure
• Begins on the beat, like singing.
• Markings tenuto and un poco espressivo, followed by a tempo.

Beethoven piano sonata Op. 109 in E major, 2nd movement, bar 29-33

• Newman, William. S. (1988, 83-120). Beethoven on Beethoven——Playing His Piano His Way. W. W. Norton.
25
 Fermata
• Beethoven's fermata is used more frequently, usually at the end of a passage, to indicate
ritardando (slowing down).
• Sometimes following attacca subito, indicates a sudden increase in tempo in the next
section.

Beethoven piano sonata Op. 13 in C minor, 1st movement, bar 135-143

• Newman, William. S. (1988, 83-120). Beethoven on Beethoven——Playing His Piano His Way. W. W. Norton.
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 Conclusion
• Piano had a great change in Beethoven’s time.
• Beethoven’s compositional style gradually shifted towards
Romanticism in his later years.
• As a result, the dynamics, pedaling and tempo of his piano sonatas
also changed considerably.
• Studying these can help me to gain a more realistic understanding of
Beethoven's piano sonatas, experience for my future piano studies
and teaching.

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