Sonata quasi una Fantasia.

To Countess JULIA GlICCIARDI. Op. 27, N9 2.

Abbreviations: M. T. signifies Main TheniPi S. T., Siib-Themei CI. T., Closing Theme; D. G., Development-
grodii; K., Return; Tr., Transition; Md. T., Mid -Theme; Fji., Episode.

I. Adag-io sostenuto. (J = fii.) L.van BEETHOVEN.

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a) It is evident that the highest part, as the melody, requires a firmer touch than the accompanying
triplet -figure-, and the first note in the latter must never produce the effect of a doubling of the mel-

ody in the lower octave.

b) A more frequent use of the pedal than is marked by the editor, and limited here to the most essen-
tial passages, is allowable; it is not advisable, however, to take the original directions sem/>re senza sorditii
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a) The player must g^uard agrainst carrying- his hand back with over-anxious haste. For, in any event, a
strict pedantic observance of time is out of place in this period, which has rather the character of an
improvisation.
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a) The notes with a dash above them may properlj- be dwelt upon in such a way as to g-ive them the effect
of suspensions, e. g., ; in fact, a utilization of the inner parts, in accordance with

the laws of euphony and the course of the modulation, is recommended throughout the piece.