Introduction to the Sonata

This is a representative Beethoven sonata, as if it broke forbidden rules. With the appearance of this sonata, everything that was implicitly understood as forbidden was broken. However, the ever-present elements of string quartet, piano trio, and orchestral textures are still alive in the background. The section from measure 51 onwards can truly be described as a string quartet. Always imagine instrumental music when performing.

Technical Difficulty and Recommendation

This sonata is technically very difficult; for the author, the technical demands of this sonata are considerably greater, to the extent that the "Appassionata" sonata feels easier. While I believe it's a sonata everyone feels compelled to play, in my personal opinion, among Beethoven's early and middle period sonatas, this one should be approached last.

Tempo and Subdivision

The opening section, measures 1-10, is often played quite carelessly. What becomes careless is the issue of timing (rhythm). When the tempo is like the grave indicated at the beginning, and note values range from quarter notes to 32nd notes, it's easy for the timing to become erratic, and understandably so. In such cases, we use a method called "subdivision." Subdivision means breaking down, and it involves basing the rhythm on smaller note values.

The most difficult method is to base the rhythm on quarter notes, which leads to confusion. The most reliable method is to think in terms of 32nd notes, but this results in a very fast metronome click, so it's better to base the rhythm on the preceding 16th notes.

For example, set the metronome to 100-110 for one 16th note. Then, when you play a quarter note, it will be four clicks, making it easier to count. Basing it on 8th notes is also fine, but please try with 16th notes first. If you do this, there will be two measures where it becomes slightly awkward: measures 4 and 10. Since the note values in these measures are finer than 32nd notes, you cannot proceed strictly with the metronome. As they are cadenza-like sections, it's acceptable to take a little time.

For all measures other than these two, please count precisely.

Important Points for Beethoven Sonatas

Before entering the next exposition, Allegro di molto e con brio, I will explain two important points to note when playing Beethoven's sonatas. These points apply not only to this sonata but to all of Beethoven's works, so please remember them.

• 1. Understanding Sforzando (sfz)
  First, the meaning of sforzando. It's a symbol with a small 's' to the left of 'forte', which many learners understand as "play only that note especially strongly." In reality, it means "play only that note strongly within its dynamic range." In other words, the former understanding implies playing a loud sound regardless of whether it's p or f, but in reality, the strength of the sforzando varies depending on the dynamic.

For example, if there's a sforzando in a forte section, you'll play a quite loud sound, but if there's a sforzando in a piano section, it will only be a slight accent. For example, look at measure 27. The marking is p. Therefore, the sforzando on the second beat should only be a slight accent.

• 2. Adhering to Dynamic Markings
  The other point is about dynamic indications. If he (Beethoven) writes, for example, a crescendo, you crescendo from that point, but you follow his request. For example, look at measure 11. From measures 11-14, the melodic line is continuously ascending, isn't it? So, one might be tempted to crescendo, but he requests a crescendo only from measure 15. Therefore, you should remain at p until this point. Precisely adhering to the placement of dynamics is the second important point.

Musical Understanding

Regarding musical understanding, fundamentally, when chords are divided into major, minor, diminished, and augmented, it's generally safe to consider that minor and diminished chords express feelings of sorrow, while major chords express positive feelings such as relief or anticipation.

For example, in the opening measures 1-10, we see Beethoven's favored abrupt dynamic changes. The sudden fortes seen throughout should be understood as sorrowful cries in this context. In measures 1-3, minor and diminished triads are used. It's certainly not a cheerful mood. And from measure 5 onwards, a truly gentle, peaceful melody flows. However, on the fourth beat, it suddenly becomes fortissimo + diminished triad. In terms of psychological state, consider this as an idea like suddenly recalling something sorrowful, or reality momentarily flashing through one's mind.