Introduction to Beethoven's Sonatas

By this period, Beethoven's sonatas began to exhibit his characteristic style more prominently. This is underpinned by the incorporation of elements from string quartets, piano trios, and orchestral music, alongside distinctively pianistic elements, resulting in a highly virtuosic compositional style.

The Importance of Dynamic Analysis

As the texture became richer, a wider dynamic range became necessary. Have you noticed? This first movement contains a remarkable number of fortissimos, as well as pianissimos. A crucial point when playing this sonata is to analyze which fortissimo is the most emphatic, even among those marked fortissimo. If one were to play strictly according to the written dynamic markings, there might be no room for further dynamic escalation.

Example: Measures 21-22

For instance, in measures 21-22, a fortissimo is marked on each of the three octaves. The author believes that the fortissimo attached to the dotted half note is the most emphatic among these three fortissimos, and therefore, the very first fortissimo should not be played with excessive volume.

Analyzing the Development Section

Furthermore, many fortissimos are written in the development section, so one should analyze while considering where the ultimate dynamic climax will be. Such analysis is by no means difficult. Let's look at the development section, for example. Considering measures 133-140 as two four-measure phrases, one would consider one of these four-measure phrases to be dynamically larger than the other. The author would consider the first four measures to be larger, but this is open to interpretation.

Further Analysis of Sequential Groups

Next, consider measures 141-148 as one unit. Then, measures 149-156 as another. When considering measures 157-160 as a third unit, one should consider which of these three sequential groups has the highest tension. This can be discussed between teacher and student, including the harmonies used and the pitch levels.

Next, considering measures 161-162 as one unit, 163-164 as another, and 165-166 as a third, which of these three sequential groups is the largest dynamically? The author believes it is the last one.

Next, consider measures 167-170 as one group and 171-174 as another, forming two groups. Since the first group has a fortissimo marked and the second has a regular forte, the first group is dynamically larger.

Conclusion

From this point onward, the fermata at measure 183 becomes the final goal, so the tension should be built up towards it. This method of analysis necessitates devising ways to prevent the dynamics from becoming monotonous. Even students can perform this kind of analysis.

Through such analysis, it becomes possible to differentiate between truly emphatic fortissimos and those that are less so, even when both are marked fortissimo. For your reference.