WB ESAT LOR ENT TLRS AEORIE Gores DIE as AT: Philipp & college itustre, all amice’ caxridaimo? : % ws fe, cation x (A dledica Seat non Love of * SONATE €@ . c & PIANOFORTE Ss S © ) L.van BEETHOVEN is a Nuova edizione critica, riveduta e corretta MN Re da .. ALFREDO CASELLA 1 8 \ e 4? ER.4 ER2 ERS Volume I. Volume IL Volume IIL, te EDIZIONE RICORDI (Copyright MOMMIX & MCMXX,by G Ricordi « Ce.) (Cimprimé en ITAUE ) (PrinteD IN IrALY )#0 SONATA dedicata all’Arciduca Rodolfo Op.106. Composta nel 1818 - 19, pubblicata in Settembre 1819 presso Artaria,a Vienna ¢ detta: soxave PUR DAS HAMMERKLAVIER. Amegro defi. 29. (@) Beethoven segnd tui stesso In questa ‘Sonata i tempi metronomicl, ¢ fu I’untca ‘volta. Perd aleune delle sue indleazionl so- o-vlatbllmentelnaate, Con, a exemple I prime tempo porta 4:18, aaa ‘mente incompetibile colla grandiosita“na- Ploonlen aqua graaitco braze mi ale. 1 2 dl Billow 3 indubbiamente Bi elute. (2) mMoaiticazion\ consigilabili onde otte- (©) Pedate di Beothoven. (@) cuenta sso 3 input per past ‘ele Spud meifeary cot Ustrrnte anterne SEER B assolutamento da eseludere. _@. % larary ‘ (a) Beethoven a dévigné Iniméme, seule. ment dans cette Sonate, le indications die inétronome. Cependant quelques.unes de ‘ces indications ne sont évidemment pas ‘tris exactes. Ainsh par exemple, te 15" mow. ‘vement indiquait J=188 etext absolument ‘incompatible avec la grandeur napoléo - nienne de cette imposante page musicale. La d:118 de Biitow eat sans aucun doute hs juste. ®) Modifications & conseitter pour obte- ir plus de puissance: ed Tpsete. (0) Pitdate de Beethoven. @) cot art on impious ees sateen pat emir et: Lime rigete otic: PEL tat ehotomens darter. (@) Deotnoven himself marked the metro. namical Indleations in tha Sonata, and it va the only time, However few of i {ndleations are evidently inexact. For tn- ‘stance, the first tempo bore 238, abso Intely compatible with the"Rapoteonle” randosity of thls granite ple of music. Billow’s J: 142 is undoubtedly Bore correct. ©) advisable moditteations for the obtatn. eee gree tas [giete safes (©) Beethoven's pedal. (4) techn pont fr pnb, 1 may bo modified thus The soe ut asta: EEE Iw absolutely to be excluded.@) —— (a) 1 tattoo antobe edtstont: (2) voat prime volt Dans toute les anciennes tions: a Yoyer ta premtire fol. Im all the old ditions: Seo the firet time.‘eSpr.emare. ersB ——— (@) Attra alteggiatura -alquanto'thopiaians,- suggerita da Bilow: Autre doigte-enser “i la Chopin.,~evggéré par Bulow: Other Magering - rather" Chopinian,; suggested by Bulow: (2) La seguente modificazions render’ la sonorits aseai pli soddisfacente per le orecchie moderne: Lamodification mtvante domnera wne sonorite plus tatigfuisante avixoreities moderne ‘The following modification will render the sonority far more satisfactory to modern ears: era94 - e = ttt Konuru 2 4% 2 aga anid +3 dolce ed espresdivo mee eel oe _ = SSS aga z ot 1! {—_ -—"—_ uu Ge pose animate) a ss tornanto at tempo 1?) b @) : (a) Sesvene por me alquanto troppo ri- | (@)La figuration euitante.guoiguemesrm. | (> Although rather too rigid and “ar. sida ed “aritmetica,,tuttavla la eoguen- | Alant érop rigidr et trop “arithmétique,, | ithmetical,, for my taste, yet the follow. te flgurazions potra glovare a certisti- | pourra aider certains dléees: ing numeration may be of use to certain alos: scholars: 454 454895983 28tornando at tempo I. 95 ? A ie (4) Come gt accennal nel prino tempo | (@) Dansce cascomme pour le premier emps | (a) As atrendy mentioned tn the first ett op. 68,11 semplice uddoppiamento(o | de1’np.51,1 fut de doubler (ou de quadra- | tempo of Opus 69,tho doubling or quadru- quadreplicamento) preconizeato da Bi- | pler)taraler dela note du point oreue | pling) expoused by Bilow, late case al- Tow tn questo uso pure,nea reponde al- | comme leconsils Bilon,nerépond pes & | to, doce not anewar tothe ant rhyéhmc- ‘entiritmiche dlls vera. B | a fnalitéantirythmique du point dirgse. | al fnaltien af the real The following Linorpritation ocoate et dnc conocer: | interpretation le therefore advisable (2) Fereion éotdommant erronte de pres toute os Cations oncirmnes et modernet?96 ‘ i en ee (a) ua seguente versione, dovuta a Ri (@)La version sutvante de Riemann sem- | (4) The following version, due to Riemann Sapesnenatern te ecb te Ome catican t fra rr r—%4(a) Totte te edtztont migliort-vecehte © nuove ad eocestone al quella di Germer, anno gut: GEES “corrsions er entomente contrarie allo spirite delt'an- tore, ¢.ad ogat modo inglustificabite.. . (a) Toutes tos motttouren ditions,ancton. en of modernes, except celle de Germer, ont ess t= D (a) An tho beat editions-both old and new. cng rb ere: l=eR. ©, FO, 1 ~(pesani (a) ® nota Is discussione intavolatasi at- ‘torno a queate due battute. Avendo Bee- ‘thown omeato if a tutt {Za -flno al ri- torno della tonalita & Sb- Bulow for- uli, colle sus abituale“verve, despoti- exe polemica, i! convinclmento che que- sta omissions ai Beethoven fosse iavoce sostenitort, quall ad @’ Indy, I Dukas, eee. Secondo me lao perta,bilowians non rege ad un esame eritioe di buons fede. Anzitatto Beetbo- ven dimenticava spestissimo git acciden. 1-anche nel suo! manoscritt p atl, Pot il semplice“aspetto,el!inter- allo Danteredbe da s0- Yo a svolare M'assurdita del concetto. In seguito, vi éMimposeibiitd di una armo- alzeazlone soddisfacente di entrambe le Dattute (bisognerebve supperre: tea” ‘ibs tafine, pid esaurlente ancora, 1o ‘echizso beetboventan citato da Notte. ohm nel “Musikallsches Wochenblatt,, 1875, pog. 208: Cadono cost tutte le accuse dl“rtialle- zazione,,¢ di“faltificazions,,mosee da low e soguacl a colore che trovano quel celebre Za # bruttiesimo od aeso- Iutamente ilogico. © oraima ts modificazione di Biilow : (0) vot note prcntente ue ey (@) 0m connatt tes discussions gue cet deus menures ont proveguth. Beethoven cyont onde etd fous Ces La juga’ eu re tour on ton de 815, Bilow, acee ater, potcmigue ct derpotirue habiucle, « dé lard gue ectte omission de Beethoven we fait u'ane géniale enarmonte roulne. Bion des artistes se sont ranges &Uidee de Ditow, pce. Pilbert,d indy, Dukor ete. Seton moi, la “découverte, du céltbre Slandate ne rivate pas dune critique de Senne fol. Avant tout, Becthreen nbait tris ocent des accidents, meme dont 4¢4 smamccrits les plus sotgnénet puis 1"es- pevtymine de inervae. nbpirett & tas teat & démontrer Fabra itd gota chon. Enaate, wnt hermano: liom stiefaisonte dex dei meruret est Simpouible (il foudratt mpposer: ee) 7 = win, pour trancher le eatin, i ei te Wexputea de Beethoven citée par Noe tedohin dans J Madallckes Wochenblat, 1875, page 28: De ettefozom, toutes tes accusations de"trs. ial pt dePaleification portécs par Bi low et par bien dautren & ceux gut trou: vent cealibre Lag trie laid et fort tln- Fire, tombent delen-mimes ©) La modification de Bulow ext exceltente: () Voyer ta note previdente = — (@) Twe discussion engaged around thes two meagures is well-known. As Bectbo, ven omitiad the j before all the As unt the retura tothe key of B)-Bilow, with his habitual deepotial and polema!a- er, persuaded that this omission of Beethovea's was instead a genial and deliberate enharmonic moduletioa. And Bilow's assertion found tenacious and Valuable supporters, such an 4 Albert, indy, Dukes ete, To my way of thinking, Bilow's"tiscovery,, cannot stand erit_ eal nd uxprejudiced serutiay. iret of al, Beethoven very often forgot the ac. celdeatala-even ta his moet accurate ma muscripte. Apala, the very “epect,of the ioterval: BPRS ERE= woot, by Iteelt, suttice to reveal the absurdity of thle 1dea. Once agala, there isthe ixpos- sibility of a satisfactory harmonization ‘of both the measuresions would have to suppose: a) # we hee ‘There is at Inet, and most conclusive of ‘al, Beethoven's sketch, quoted by Notee- ‘ohm in hie"Musikallsches Wocbenblat, 1875, page 208 = i Before thi, all the charges of trivial teation,and of feleifcation, brought by Billow and ble followers, agalaet those who find that famous A# very ugly and sbeolutely logical, must definitely fll. © Bitiow's modification ts best: (0) 800 the preceding note.100 ritard. ay i ae OnE PS “etpelen caine) i Tae idle 2 eS : aes + Gaatabite o legato a i faye (0) on protrtras: FF WD / De pee mm Easier: bend Preferably: eS a eraot t (2) Vedi prima volte. | © tayerta premiére ois. (a) See the first time(dem ta 24 volta, (idem ta 2™ fois) 72: (the same the time) (0) motstieartone anal sonsigliabile: Modifications & consetlir ! Highly advisable modification: era104 i i a ae ; “ta el ae ep ED ~ ag oy ido mo ae oe op = ma (un poco animate) : (© wotiinsinn pero mani feat: Modification pour ter main feminine Modification for woman's band: (0) Schema ritmico (vod osservasione delle prima volta)P<— — sempre P ¢ dolce, seusa affrettarebi xo <2 =— (a) Wott nota precedente, (O) Vayes ta note président. | (a) 00 proceting note. rRScherzo (a) ‘Assai Vivace J= 60-66 TI Pe aT a BT 107 P — SE ER EY cree St 2 ie = = “3 Pec Pek Ph Pe Me NE = = = a , uo ((@) Notts prima edtstone inglose lo Soter. | (a) Dons la premiére edition anglaise, | (Inthe firet Engllsh edition, the Scher zo sta dopo P Adagio. eSenerzo cient aprés J’ AdaBto. rocomes after the Adagio.408 degatissimo (@) Per te plecote ment: Pour les petites maine: For small hePresto d=198 5 2 t.0.P gtaccatiss}mo Og uo = Sf VS? Prestissimo Plusiours anctennes ditions frangaises ont la version rythmiue si Several old French editions have the following erroneous rhythmical version: (2) ottima is interpretaztone dinamice e pia xtone dt Bilow: Lintergrétation dynamipue et pianistique te ce pasrage dapria Védition Biitow est excelente: ‘The best dynamic and pianist interpretation ofthis passage ts n Bilow x edition: ‘Tempo 1. Prestissimo, z v, ND. owparde in puis comt pve ‘ote pote omaine somarved shove: era10 —— orese.|eee b, E P(nop secco) T > eke he Ko sm poco ritard. ard Presto tee be (sensa ritard.)cod Adagio ¢ sostenuto #)= 92 ‘appassionato e con molto sentimento una corda, mezza voce at oe a : ‘ee Ras << : P3as fe ee ae ea ea a ¥ ——= 2s << a ee 4 5 a : vi ’ { —= ——_|doleissimo | od : = "i I subtto ee 2 vt: TTS yf SSB ; — 1"7 I I a (ase eta pen er a cates Sas igere Va si pochi giorni prima della pubblicezio. (@) 11 est intérensant de rappeler que cet adagion & som origine,commengait & ta ‘merure ef que Beethoven a ajoutd Ia premiere mesure quelques joure avent ea publication. Defore ite publication Ro ”SN SS [meno piano) con grande espress. ¢ => pressive tre corde ERs >4 L + 1 1 1 1 (a) Questo La erat veli'edisione originale. | (a) CeLa étasth dane I'éditionoriginale. | (@) This A waskin the original edition, Verrore # flegrante, Leerrowr eat flagrante. ‘The mistake is flagrsLS Fr a poof sost. ,*, = | pp 4 22 | ue. of | ; i ? SS tee a iy Ny mi (poco f) r , 2 é Lo {I —— (a) La suppression du ol aigu ext con- | (@) The omasion of the G above is melo. eiter dane Pintrdt mélodique ically recommendable. aaa (@) Le soppressione del sol superiors & Paccomandabile nelPinterease melodieo- era ’46 / SS ate & 8} SATE DP ene x: aoe ESS OE 6 sfiet & ; oy A ed eS ee (aeema epresteg We (anémando sssivamente 4 H+ \ nel tempo ¢ nell’ espressione) bee we. do wf f“a7 = : + a er te, Oe AA on eras of ec poco ptf molto espress. ? ‘t eee : 7 * (@) Versione onigaate, alters cost In | (@) Version originale amet atérée dans | () Original version in many editions — 4 4 ‘molte ediztont" Pataretets ~ dolcissimoae Pre te se ¥ a SSS EF tM f) con grande espressi ae. # # en, (@) Atcune detlo migliori etisioni(Stein. pony Speen sy E ———— t= 1 (a) Quetques-ance dea meilieures éai- | (A) A fow of the best editions (Steiner. = Ceara es sermon egamig nies EE en AEE any mons ban feo *120 etett de Pespress.ma cat. $4 mato 2 ‘* st 1" - —— ® Die} fo8D Pileg. sempre) ayttee, (@)Stando alle aimmetria colla prima,vol. aya preteribile: ove. (©) Da preterirst: se mon mi Pa 6 adozione posta costituire Feche In lun atto dirriverenza verso Beethoven io (a) Powr la symitri premiare fois,eat ate, (0) Par symitrie anette promiive Sots, (on obtiondrait la modification sutvante: ious tne parait pas irrdvérencieus enters Bee. thoten a eo t I ES (a) Carrying out « certai (0) Symmotreally wit should obtain the following modifi ote, yee sae 3 Under every aspect this version seems to ime preferable to the otherjand1 do not think that ite adoption can constitute an act of irreverence towards Beethoven, ’124 (@) Toutes tea éditions vaufcellede Hose. | (@)AM the editions excepting Mosrkow - Howski, portent Fat. La conparaison - | skivs-have FY-A comparizon with he first ‘premiére fois en démontre Ver | time,-and the ear itself immediately reveal the mistake, era »122 (semprevP) BS e3 + 3 as a Se ae ———— Psubito ee to, i 2S s poco all? € = atempo aa Ss oe tranquitto, nobite) aempreTet L Cee faa n 4 1 1 1 1 1! ——_ - a (ataverion dt ntew: BEEBE soe mane HE vitor versen: BABY: we, te sembra indispensabite semble indispenseble, ‘scams to bo indiepen ees 2eh aa ee oe Grete andere (@) Diteggiature originale di Beethoven . Per Vinterpretazione esatta ai questa bat. ‘uta nella mano yYedasi nota eepli ‘ativa a proposito dl un passe analogo, nell’ Adagio dell op- 40. a Crretretsion originate: $= Sa SSS Se on els pee ee > SS > ee (G) Doigté original de Beethoven. Four: ry tote af at aaalogous pesage i he dagio of Opus 110. & || ee eas Pe124 (come tontano) we? te & a" NEE SE a SS (senza arpeggtare), HS pst le condeca ak 4 _toonsa arpeggtare _*"_** "= _, (a) tnsaine ergata &betorn, | Ca) Fnttion original de Aerawrn | (O) Betton gaa ndenton, Sointewes micman tears | eiicm iinet sarteraen | ‘susstetce Gat tneteate na Easterns Wace | Legale teratel Rc” | ST shot set inners era >425 £ a. tT (@) Indlcarione originale di Beethoven © Bignifloante be og J del Largo v divine in quattro Vindicasiqne metronomice origi argo (e'=76) & state rispetiate, dealt det ritmo. (@) Indication originale de Beethoven gus signific que chaque noire dy Large doit itre décomposte en quatre Vindication méfronomsgue originale pour le Largo(s=76)a sé respect ‘quoigue le moucement puitse sembler Guelquefois un pou lent Aux endroits of Berthoven, dans cette idéate du rytime i (@) Original indlcation of Beothoven’s eaalng tht each dof te Large must be aubdlvided into four jetronomical indication 76) has been respect. ‘points of this introduction, whore Beoth: Doldly omitted the Bar=tine of the measuren(thus forego. ‘ contury the latest innova ‘thought It useful to Indi. » by means of dotted lines,the ideal subdivisions of the rhythmase Allegro #= 116 tate a ‘dificult rhythm,on the part Fi meno“agill, intellettualmente. dont Vinteliigence manque de souplesse. | of those exeoutante who are intellectual eat Iy less “agilens- fea Fuga a tre voci,con alcune licenze ben marcato e deciso sopra (@) 11 tempo di Beethoven era: (@) Le mowvement de Beethoven était: (@) Beethoven's time was: 42144.Butis ‘Une semble génératenent | seems generally incompatible with & roee une exécution nerte | clean and correct execution128 (@) Nell edizions originale questo man. "| (a) Dans 1’ (@) 10 the original edition thisk was inck- cava. Venne Miatabilito con Faglone da | quait. {até retadli avec raison par Cra. | ing. It was justly restored by Cramer, Cramer, ma non adottate in tutte le e. | mer sans toulefots cire adopte par tou. | but not adopted in all the modern edi - izioni moderne {es toe éditions modernes. ti ER ,1 4 ee (a) Mosskowels euggire dans sa récente | (@) In bis recent, oxcell : Mosskowskt very hapPi the following modification ‘The same twomeasures farther on. ( Proterivite por mani i grandecsten. | ()4 priférer pourlengrandes mains | (b) Preferable or broad hands. stone: PEBRTE wo te ae te. er 7 ena 2Bsy Swe awd? orgy »a tempo, grazioso SS, "y mrt leggero, quasi schersando z hot a (senza affrettore) © sopra's he ‘energico, con tutth ta forza Lipe, : @ ‘Sotto alla ma. * (@) Wetton onginae aver i segvente exrore: Liddition mntenait Verreur ruivante ‘The original edition bore the following error.tha 4 & 2 Tee ff (compe mareatssino) ‘ye fe Zee ce 3 f Vet fy vg ht ot (OI est intévessant de constater que le fo grove existant dans le manuserit de ‘oi composizione della. Sonat nel cul finale gia fec\rilevare apparitions del FE. i dans le finalyet Van 1918 ef 1849, époque dans lafuette la Sonate présente ful com Jat dija signaté Vapparstion d al quattro tant! ver 1 “tib- posto fre pares tate ulterior, i enecurione ‘poste,te clavier avait ete amplifié de Guatre touches dane Le registre grave Te‘sib (mie entre parentheses) des dows inesuret suivantes est obligaloire, (uot que ne falsant pas partic de Porigin year of the writing of the present one, the Keyboard of the planoforte had beeo lextendod by four keys In thelow notes ‘The Bb (placed in parenthesis)of the two Test me obligatoryee (@)Rédslone originale © motte altre: (@) Réition originate ot beaucoup d’au- | (@) Original edition and many others: ‘eopendant ledo§ sem - Me beauccup plus loptque- perd Ul doh sombre ansat pli however the Ch scoms fare logleo. meré logleal. nee ?(@) 1a molte ediztont- fra queate or (@) Dans Voriginal ct dans plusieurs sale: manea It Legature ‘ditions la Haison manque= (@)Ledtstone originale( 4840) ole relat. ‘va ristampa(4966) barne qui la men ‘lone on legato. Peri tutte le miglior! sd'ziont mglerne-seguendo Vesemplo dl F.Hlller @ €.Relnecko-sognane invece- come nella presente-ben legato. (2) Questo soif-conforme alledizione 0. (@) Visition originate de $840 ct celle fe 1950 portentict Pinication non e- ato. Pourtent toutes lee metlowres front medernen,tlon Pecmple de FI leret GoRetneck, portent au contrasre, comme dant ta présente, indication wen legato (2) Co00t§ selon Medion originate ot le excetenter dations de Pow Stine rib stat on com faire uals de mowathicux dened. tree ditions nom moins remarguadter (losntowshi par exemple) Te bute por Senna itd du eolfgue te tone porfertonen? conforma om tnt diafonigue du pases 135 ben tegato Ae. th (a) The original edltion(4048) and its relative reprint (886) have heres men ton of not lagafo. However, the be dern editions - following the example of Filliler and C.Relnecke- mark lnstead, sin the present one, well legato (b) Tis Gf- according to the original edition andoother excellent ones(Bilows, ‘Steingraber’s,d’ Albert's, Germer's ete.) Is, lnstead,qualified as monstruous, ln others, equally authoritative(Moszkow tii"s for instance). Personally,1 am con. vineod of the authenticity of thedf,per- fectly conformable to the dlatone sense of thie passage. ERO ,St (@) Baalae eign rope Original edit! z= (0) ast ot no a re magg-tenaiat, Tens tes ies jupwe et majeur sons reaton {ite Cnc hab malonate eR(G) Sola csccurione possfble al questo passe: 9, Ty ‘axioution postible de ce passage: ‘The only execution possible In this pasdage:sempre dolce e cantabile = geere. 1 < > = k iS ¢ originale aveva: (@) L'édition originate portast. | @ The ortginal edition bore: SE retaatomnns es eons snpan | (COLE tae nnn — Plus logique, €R3 logical. ’T (@)Tutte Ie edlston! hanno qul: (@) Toutes tee éditions ont de (@) Ai the editions have here: 2 eee. La modifieasions s0- ete, La modification adop. E ete. The modification adopt- pra adottaia, fu suggeritadaKlindworth | (ée plas Tout « été introduite por Klind. | od above, was suggested by Kllndworth, oriprosa ds Germer worth of adoptie par Germer. and taken up by Germer ER3 >1a Sere me Se Se Oi oR Fe coe4az qo iat ree, 7 we @ Bitton, quoigue itant dam Went audacious consellait fe o te. afin d'attinuer 1” har a vig sneval a dicsse de Beethoven, qu'il qualifiatt Phon igh — E superfine dimostrare Passurdita el Pible-Il est suprrfta de dimontrer com. | Iie superfluous to demonstrate the abeund- tenibilita logice di questa pé bien cette correction pédante et ridicuic | ity and the lopial unsustainablenese ofthis sea e ridicola'tes cst adeurde of Iogiguement insoutenable | pedantlo and ridleulous ‘correction, () La modification suivante cst de (2) Tre following excellent motification () Di Kiinaworth ta 9 modificazione: Klindworths Is Klindworth’s: aT(@)List’s vor finitely recom (@) La version Bien connue de Liset eatin. ‘recommandable: Etttt F