ferme ee CDS Seat Y iS AT. Shilipp & & ie arma Asa WA ® SONATE §€ GY rea SS) @ PIANOFORTE ey é ; a L.vav BEETHOVEN t . Nuova edizione critica, riveduta e corretta l. NS da & 3) 8) ALFREDO CASELLA ORy *, E.R.1 ER.2 ERS ° Volume I. Volume IL Volume Ill ° a EDIZIONE RICORDI (Copyright MCMRIX & MCMXX,by G Ricordi « Ce.) (Cimprime en ITAUE ) (PaINTED IN FraLy )me SONATA dedicata al Conte Francesco von Brunswick Op.57. Composta nel 1803-04, pubblicata in febbrato 1807 presso il Bureau des arts et de l'industrie» di Lipsia. Allegro assai d.=126 23. (a) ratte te Moenss eccenione aeune poe. dent rtd quate peo eana ext ‘ein dattereclobcolnsidendo osattamente ‘coll’ accordo aottostante. i 0 sta Interpretazlone agionl storiche, eat (Gottovece ¢ misterioso, -—_ io Insiate- ull Indispensabilitd expressiva dt que- poco ritard.- § = PP (@) routes te} pricétant les triltes de ce morceau (sant aucune exception) doivent tre exdcuteos sur len tempe,c'ent & ire en coticidant exactement avec 1 accord comrespondant. It eat inutile dinstster nur ta nacesite expressive de ectte inter. prétetion, oppuyse sur mille raisons his. toriques, e/itipues techniques. (espry ce = tempo F subito ‘8 Corde a —= (a) au the P preceding the tritis of this pleco (without any excention) must Be play. fd on the beat, that Isto say, by colncia- ing exactly withthe corresponding chord. It is unnecessary to insist on this Inter. pretation, which the expression demande, ‘and which is supported by « thousand con- siderations, Mstorleal,techaical and aon thetic.229 lL marcatissimo 4G. a (@) Sono anna raccomnndsbii Yo sou tmodifcaston: (@) tes modifications sutvantes sont trie | (q)'The following modifications are much recommandedles: tobe recommended: @ quarti dique-| (5) 11 ne faut pas marguer les temps de (6) Neither in this bar, nor in the similar ta Dattta, nd elle analoghe quattro se-| cele mesure, ni der merurss annloptct a treat! Tateinzenao accento nuocerotbe al | qué sunt? Un acent en naif natrit a. would Erandionn ditordineritmico del perlodor | ou grondioe diverdre rythmiguede ot. | desteoy tho grand rhythmical dionder ot (te periods. ce this passage.(tranguitio ¢ nobile) Ben legato a 6 (Meno mosso) @-=108 @) 5 (sempre 4.¢.) dole al (a) quasi supertiuo ricordare chet se- | (a) 11 ext presque euperftn de roppeter | ()Itis almost superfluous to remind the condo tema di questo "allegro”” non pud | qu'il eat smporsible de ne pas jouer le ae~ | student that it isimpossibte not to play non venir mionato alquante pid lento del | cond ¢Adme de cet allegra un peu plus lm- | the aecond thome ofthis allegro a'ltile primo (vedi prefazione), tement qus le premier (voir ta préface). | slower than the first (see preface).® tpSs o |PP sempre sensa affrettare (Gempre 4.)282 = (a) La versione originale di questa battu- ta ore: Pers, altro Vesemplo dl Klindworth, bo ereduto doveroro dl soetiturvi Is presen- ‘to modifiasione obe rende I battatasin- retricn colla sua ulterore rpotision in ‘Fe min. Brrore del manosoritte? oppure antiohisorupoll dl ordine planation? on 0} ma nell’ uno come neli’altro cano In Fettifoazlone »’impone a (2) Degne di note In soppressione del clas- ‘ico ritornelio di primo tempo, a quale st rriscontra qui per Ia prima volta (eovettua ‘te le due Sonate Op.27, ove perd il primo tempo non é ai forma tradizionale). Ritro- ‘veremo ancora questa innovazione né Sonate Op. 90, 101, 108, 110. eee (@) La version originale de cette mesure é- Pourtant, suivant Hexemple de Klind- worth, jt ra devoir y substtuer ta [presente modification gui rend la menu: re symétrique & v0 réptition uitéricure en Ba mine Erreur du manuscrit?anti= tues teraputes Vordre pianitiquee? Je tne sain;mais dans Pum on Fete castaree- ‘fication impor. (0) 11 font noter ta'suppression de ta classique reprise de premier mouvement (qui se rencontre icf pour la premicre fos (exception faite your les deus Sonates Op.27 dans lesquelles d’ailteurs le pre- ier mouvement nest pas de forme tra~ Aitionnelle). Nowa retrowcerons cette fnova- tion dans tes Sonates Op.90, 04,109,410. (a) The original version of this bar was: Following the example of Kiindworth.how. fever, I have felt obliged to substitute the present modification bere given, witch makes the bar aymmetrtcal with ts final repetition in F minor. An error in the manuscript? Or scruples ofa plants tie order of bygone aye? I do not know; Dut in ene ense oF the other the rectifi- cation justifies Itselt. ()The suppression ofthe classical "re- ‘petition of the first movement”is worthy of note. I iahere met with for the first ‘ime (with tho exception of the two ona- tas Op.27 In which, however, the fret mo- ‘Yement is notin the traditional form) We shall agatn come across thie innovation in Sonatas Op. 90.101.109-110.(sempre 10) QS (risoluto) 4, S marcdtis-284 (@) ¥ an osservarst che 1b Be ‘sembra racebiudere EO LO aul stato lteite t motivo bt let net: FR i (2) 11 ese & romarquer que ta basse: parott renfermer Questa ontervazions pud essere utile | Cotte observation peut étre ule pour la per i coneeguimento della glusta cspres- | recherche de la juste expression. stone. ‘This observation may be helpful towards the diseovory of the right expression.‘ vi 285 3 sn i sempre motto egpr. 4/4 ‘ 5 as 4 $ i YGempre16) + ea236 (SF con tutta la forsa @a= N= | > la parte inferiore senipre marcatissima Verstono per le tastiora modern Version pour Te elavien moderns (a) nicace ast vantagetoroper Vnten-| (a) 12 ext rév avantageus pour Vinten. | (a) It nof great advantage, fr the dy sith disamtea,dl prendere ts prima nota | sé dinomigue, de prendre la premiére | name Intensity, to take the first note olla m.d.tenendola, benintero,col peda- | note avec la md. (on Ja tenant, bien en. | with the right hand (sustaining it, of ledestro: ‘tend, avec ta pédate droite):237 (@) to-wso « raccomande questa modifi. 1 ferecommande cette mo- | (0) t mate one: aipication: rodent mere gato ates fs tered ot fr ih gaged very rniiy a8 JZorescendo poco @ poco 2 a x 3 Ae (2) Questo of 3 at Liest nbn (0) oe f xt te Liszt. 1 me vembte quton (a) rats of 10 by Lisat. It some to me ike peut s'en pass ‘that one cannot dlepense with It. Mi sembra che 138 farne a meno.at 7 — | -— #: 1 aca T at CTS 3. 239 7 as y (Sempre 16] molto espress.4 (sopra la ms.) ia (4) Votw ta note (0) dela seconde page. (0) 2 épre dissonance, # expressioe PoE rentone fof det” appog- latory du fila justin cet eat dit dans Ia note (a) de la premitre pa- f° de atte Sonate, ere (@) S00 note (2) on the second page. @) tre naren dissonance, which i 0 ox- Wir pressive resulting trom the appogglaturs of the trl, alone muf- fotent to justify what has been sald in note G) of the first page of this Sonate.(Meno mosso) (Gempre 46.) dolce ¢ molto piano (2) 1 manoseritto non porta qui’ ‘cintura. Trattast vsibilmentedi una 0: ‘ne sombre nveceInfinitamente prefe- bile il Fag, perehd simmetrico delle prima volta od asaal pli nobile expres sivo del Za. (@) Le manusorit ne porte pas ict Vp. Posglature. 17 s'agit visiSloment dun ou- tite nti i eR au contratre me semble infiniment prifi. rable, parce gue symitrique de la. pre- mitre fois t beaucoup plus noble ef plus cxpreenyy que le La. PP sempre sensa apfrettare| (sempre 4.6) (@) The manuseript does not contain here ‘the appogglatura. Obviously it ton of omission. Billow indteates = Pj Is tntinitely preferable, because the symmetry of the "first tlne?le much mo- re noble and expressive than the A. onthe contrary tometho2a bay 3 sb: Gai aiai3 rt j ; 7 _—gaz (a) Bitow moaiticd cost Vuttime quarto geile tale versione risulte assolutamente ar- bitrarla, non conforme nb al manoscrit- to antografo dalla Bibllotece del Conter. ‘vatorlo dl Parigihnd alle prime edizton\ deta battut (a) Bitow modific aine le dernion tops version est aBsolument arbitratre, nd tant conforme ni au mamuserit autogra- Phe de la Bibliotheque du Consoreatoire de Paris, ni aux premisres editions. (@) Bitow thus modittes the last boat of the bar: ‘This version, however, i absolutely arbitrary, and is conformable neither tothe autograph ma- anuscript of the "Biblothéqud du Cansern- tolre de Parle” nor tothe first.248244 simile a $$ sempre simile oppure: Oubion: Or else: | (con tutta ta forza)-— (@) Questo —= 3 sonal eaigmatico.toxo- | (@) Ge — oat trie nigmatique. Jo ovis | (0) Tain — in very pusslto 10 ogzer pli convinto che Vintenslone dt | depiue en plus concaincu que intention | and more ofthe couretion that seca ae gute: (EEE | nn coe eee Baar snd I sugssest thie to others,to that each (que chacum pusese on profiter aictle i | may draw vantage from Ibi he thinks semble juste. ft jastiri ante246 Pia allegro dsz180 hegeE BC. (molto agitate) 4 Ne me Saye martellato i the simile at a, a II2a 4pazas east passes == Adesed ‘cei i oe (a) 4.C/sino alla fine) é aN aS, * ; Ss Se Sa q i 1 A (a) Mi sembre pid drammatico, pit im- pressfonante di fare qui un #/(od anche P) subito,« crescere quindi le tre battu- te sino at Sf (0) Pit adatto por smant plooole: © ae tee (d) da Bilow: (pochissimo rail.) pit P (un poco #. pesante) (a) 1a me sombte plus dramatique, plus Iimpreseionant, de faire ich wn nf (Ou ince P) subito, ef dlauementer ensnd- fe Je trots mesures suivanter fuses au ff (2) ee een mane ES © =P Ttem: @) D'apris Bulow: (@) 1 seems to me nore dramatic and more expressive tomake bere nf (oF even a F) subito and in the three fol Towing bars to taken crescendo up to Lf. (0) Detter araptod = for emall hands: 7 () Nem:248 )Si abbia cure di eseguire colle mascima | @)/t faut avoir roin dnvienter cette | a) One. Andante con moto. 4)=100 5 yo ight ee a} Tutto An. dante 1 Corda —— i Piiagevol Hus facile att se Var.1. (Ga md sensa eopressione) i ten. u ould take toplay this AAwith the prectsione sitmica questa Ne dinontmefor. | avee la plus grande précision rythmégue | greatest rhythmical precision andsot trans. imarla,come troppo sovente accadein un stdene posta tranformer on ne Dy | tarmit inn Nanton often happens, comme il arrive trop sourent. re 2) It stould be observed that Beethoven 0) A noter que Beethoven n'a margué aucun oe ‘point aur aucune note dela md pendané {toute la promigre variation. Pas de ttac. fatos donc, mess au eontratre une 0b tation rigoureuse dea valeurs corer, of the written notes. eRe ”249 ‘Var. II. Gompre tiistesso tempo) er ee . SS re _—— _‘ 4) a : a Tt on —" 4, & ‘Var. IIL. Pochissimozpti: mosso 2,142) piano emolio leggiero @)La raccomandazione billowlana,di suo. | @) Za recommandation de Bilow de jouer |) Biilow’s recommendation to play in the ‘are cio’ nel seguente modo a ma. della following manner the right hand in the 26 28 variazione: {rosa superfiua dalias0 odierno del pe. dale. superftuous by the modern em. ployment of the pedal. Dye tegatura det ta figure omessa, per |b) La Hatton dee In cst omisescisibtement | B)'The tie binding the two As mitted, visible errore Wantograto. ‘Par erreur, dans le manwerit eutographe. | obviously by mistake, in the autograph, eRe250 dee. (ten) i eRe a- “Cespressivo) “tte a Z = oppure: ie. Ff CO misterioso| attaoca UA ae Beethoven oesigeva stroppato(oltrechif).| le voulatt arraché (outre que ff). La pré- La presente modificastone permetteri un | sente modification permettra wm accent plus violent. eRe ae282 Allegro ma non troppo #=188-144 Te TEP simile Lo dal cH, @)Laseguente modifioasions dinamioa | ) a eufsante modification dénamigue | @)The following dynamic modification ue ovata 1 Billow) 3 ogg! indiscusea od as. | (due d Bilow) ett aujourd’hué indisoutée | to Bilow)is now-adaye undisputed and ac ‘cettata anche dagligpritipittcomervatori: | et acceptée par lee egprite lee plus conser, ateurea4 eapress. 3 132 1140 it ep) 7 2 SEP aol g13 & Jamd.molto Pe aocompagnante 4 — 7 7 tH i, 4) Si pud ottenero unvosprensiviti pia in tensa, pid lamentona, legande Ia nota bac. sjelods 4, 2. NB.in questo secondo caso, la modificasio. 1ne non deve alterare nelYenecutore icon, otto ideale della figurazione melodicadel. seconde parte: sof continua arisalver. al fa. La logature inforiore & una modi. fcaslons diordine puramente planistice. {ae ete ) On pout obtenir wne expression plus in. tense, plus plasntive,en lant la note base conn 1 tape 2 weeps NRdans ce second casa modification nedoit ‘pas altérer ches Ureioutant la conception ‘eate deta figuration mélodique de late. conde parties Je a0\ continue & ae régoudre ture fu. a liaison tnférteure ext wne me. ‘ification dortre purenent pianistique. eR ) A more intense and plaintive expression may be obtained by on the bass-note thu settee N.Butn this secondexample,the modification should not alter forthe player the ide ception of the melodic figuration of the se- ‘cond part; the in ati to bo resolved on ‘tho The connection below isa modifieatlon of apurely pianistic orter. ny254 forte) aS B ® ‘ —_ (con molta forsa e senza correre!) ag a3 dtarrsnanne Git ie, ‘ltrova durante otto battnte alla m.d.6pet. Intelligente di aa. perla far risaltare in mezzo alle varie fl. (uration! marcendola alquanto, e mante. endo a n.s.f0 une dinamica «accompa. nantes. 4) La erase mélodie: trouve pendant 8 mesures d la md. Led. ‘extant intelligent devra done savoir la faire ressortivau milieu dee différents destina, lente marquant ligirement cf masntenané 2 ta mg-une dynamique Tacconpegnement, aaron OPE EE a, ‘appears for 8 bars in tho right band. Intelligent player, therefore,should know ‘make it stand ont from among the iguree, marking it alightly and maintaining in the left hand the dynemie force of eaecompaniments.= (f): S subitoe risoluto 1{molto espress. 7 = att tt 1 siee: bb aie vt pees Toetysss @1 secondo aovorto nom ¢ aedbene forte) @) Lesccond accord uon of (bien gue ford. | a) Tho second chord net of although forte- Adem per tutti east annloghi che reguene. Mom pour fous lescasanalogues gut suivent. | ‘The semeforalltheaimilarcaaes that fellow, eR »256 PP sottovoce) @)Sioaservi ith del fal quale era inveceb | @)A remarguer lei du lagut ait au con. | @)Noticethetot the Aywhichwas on the uo sel battute prima nell la. | traineb deuset six mesurceatant dane 1a | contrarybtwo and aix bare before and in ndme gare. ‘the same scale era rya | 4 1 a) fa _ 1 ——=£ @)Uinterpretasione di questo: floillssima. Raccemeado particolarmente sds non exagerare git sforsatt. Mai ai deve Derdere dl vista il carattere expressing. Passionato,ma canfabite svratutte, del. Vintiere frammento,tanto mirabile per in ‘sun doloroea eumas! 4) Linterpritation dece passage ext trie Aiffiete. Je reeommande particulizrement dene pas exagérer lesesforzatin. Jamats if tue faut perdre de vue lo earactive expres sif,passionnésmais vurtout cantabile de fragment tout entier sf admirable pour 2 ‘ouloureuse chumaniten. 2) The interpretation ofthis passage iavery Aiticult-I particularly recommend thatthe forsati be not exaggerated. One should never lose sight of the expressive, prosio — nate but above all ean/abife character of the ‘whole fragmont,so admirable for its sor — rowfal «humanity »