Beethoven Piano Sonata #10, Opus 14 No. 2 – G G Major General Information Composed between 1798-1799 – Early Beethoven Dedicated to Baroness Josefa von Braun Around 15 minutes in length Three movements – Fast, Slow, Fast The first movement is Sonata Allegro form The second movement is a theme and variations The third movement is a modified rondo Each movement has a coda- the third movement’s coda is the longest Form – First Movement – Allegro (Sonata (Sonata Allegro Form) Exposition – (1 - 63) - 63 measures Theme (Group)
G – Major B – Major G – Major G – Major -> G7 C – Major C – Major G – Major Circle progression ending in G G Major
Pedagogical Concerns
Tricky rhythmic patterns – Quick three against two – mms. 20-23; 81-98; 114-120 - Syncopation – mms. 6-7; 47-57 Counterpoint can be confusing at times – mms. 1-8; 33-41; 81-98 Fast scale passages – however quite simple rhythmically – mms. 43, 45; 107-114 Carrying the melodic line through triplet textures – mms. 81-98; 115-120 Second movement -Articulation and voicing
Third movement -Rhythmic complexity – lots of duple/triplet figures in 3/8 Solutions include hands separate practice, simplification – both harmonically as well as rhythmically, practicing in rhythms and slow-fast practice
Editions - A comparative guide Edited by Artur Schabel – (published by Alfred now) Historical edition by Artur Schnabel. Fingerings are often clever and need to be worked on for some time before the strength of the fingering is apparent. Great footnotes in multiple languages and additional italics to help guide the performer as well as roman numerals showing the length of phrases prove useful. Unfortunately, sometimes the reading of music can be more difficult than Henle editions due to the added text. There are great interpretations of pedaling as well as tempi markings, though should be taken cautiously as Schnabel played the Beethoven sonatas VERY FAST and changed the pedal frequently. The measures are not numbered. G. Henle Verlag - Urtext – Another great edition of the Beethoven Sonatas. The benefit here is scholarship. The fingering can be excellent at times and other times completely awkward (hand size can change this dramatically). The edition layout is quite smooth making reading much easier than the Schabel edition. The measures are already numbered. There are comments and remarks at the end of the editi on but not nearly to the extent that are in the Schnabel edition. Breitkopf and Hartel – not as popular as the above listed editions here in the United States. The edition looks very clean, without fingerings or editorial remarks. The measures are not numbered either. Great for sightreading and simplicity.
