Introduction to the "Appassionata" Sonata

This is one of Beethoven's three great sonatas. By the way, have you noticed that among Beethoven's sonatas, only three first movements are in compound meter: this 'Appassionata' Sonata, Op. 7, and Op. 101? He wrote most of his first movements in simple meter. What is the significance of using compound meter? Please look at the opening.

The Significance of Compound Meter and Tension

If I were the composer, I might have used 4/4 time and triplets instead of 16th notes for the unison passage at the beginning (measures 1-2). I might have tied the first two notes of the triplet and used the remaining one in place of the untied 16th note that is actually written. Why did Beethoven not do that? Please try playing this opening in 4/4 time using triplets.

How does it feel? Doesn't it lack a certain tension? Using 16th notes in 12/8 time results in a shorter duration before the next note compared to using triplets in 4/4 time. In other words, it creates a sense of compression. This way, even at pp, tension is generated.

The Constant Triple Division

Furthermore, the constant flow of three divisions within each beat in Beethoven's mind contributes to the special atmosphere of this sonata. This will be discussed later.

Analysis of Measures 1-13: Dynamics and Trills

From measures 1-13, the dynamic is almost entirely pp. Crescendo and decrescendo markings appear in measures 9 and 11, but all other sections are pp. Therefore, we follow these markings, but maintain the tension. Measures 3 and 7 might offer a slight sense of relief, but since the chords are in inversion, they do not provide much repose. The speed of the trill on the third beat of measure 3 should ultimately match the speed of the 16th notes on the fourth beat (the same applies to measure 7).

Common Mistakes and Rhythmic Interpretation in Measure 4

A common mistake is to strictly observe the quarter note value for the first chord in measure 4; however, adhering too rigidly to the rests can make it sound mechanical. Instead, create the impression of the sound lingering with reverberation in the hall and then gently fading away. Of course, this is done while still observing the rests, so avoid sustaining the sound excessively.

The "Fate" Rhythm in Measure 10

Now, please look at measure 10. On the third beat, there are three eighth notes, and on the fourth beat, there is a quarter note. Doesn't this rhythm sound familiar? This is the rhythm used at the beginning of Beethoven's Symphony No. 5. What exactly is the meaning of this rhythm? It depicts the sound of knocking on a door. It is a depiction of the fear of someone knocking at the door. It is the fear of not knowing who is at the door. And this fear continues through measures 12-13, leading to a sudden emotional turmoil expressed by the arpeggio in measure 14. This is how it should be understood.

Emotional Outburst and Meter Recognition in Measure 17

And in measure 17, we finally have the depiction of an emotional outburst. There is one point to note here. As mentioned earlier, this is in 12/8 time. Many performers consistently fail to recognize the beat in measures 17, 20, and 22. Some even accelerate abruptly. Here, it is crucial to firmly recognize the beat and feel the downbeat when playing.

The Pervasive Triple Division

When playing passages like these, and also passages like measure 21, one should always be aware of the continuous flow of three divisions within each beat. A typical, or rather, the most prominent example of this is from measure 24 onwards. Here, the three divisions per beat are clearly flowing, making it easy to perceive.

Tempo Considerations: Measures 24-40

From measure 24 to measure 34, some editions include tempo change markings. This means that, slightly, I interpret this as a passage where the tempo can be played a little faster. Conversely, from measures 35-40, the tempo should be slightly more relaxed to accurately maintain the written 16th-note rhythm.

Pedaling Specifics

• Measures 51-52: Apply the pedal on the first and third beats, and release it on the second and fourth beats.
• Measures 55-56: The same applies.

Melody Line Balance

A part where the melody line becomes difficult to hear is the F-flat on the second beat of measure 54. This is because it is close to the right hand. In measure 58, it is an octave, so it can be heard somehow, but in measure 54, pay attention to the balance.

Tension Peak in Measure 60

Measure 60 is where the tension reaches its peak. The key is not to play it smoothly, but to play it as if it is difficult.

Left Hand Clarity in Measures 91-92

To ensure the left-hand notes are clear in measures 91-92, apply the pedal on each beat to avoid muddiness, making the bass A-flat and A distinctly audible.

Right Hand Note Reading in Measure 209

In measure 209, on the fourth beat, misreading of the right-hand note is common. Only the fourth beat has a different note.

Pedaling in Modern Pianos: Measures 235-237

Although 'sempre ped' is written for measures 235-237, similar to the cadenza in the 'Tempest' Sonata, I would slightly re-pedal. This marking was suited for pianos of Beethoven's era; applying it this way on a modern piano will result in severe muddiness.

Fastest Tempo from Measure 239

From measure 239 onwards, the tempo becomes the fastest yet. It starts at the fastest possible tempo from the initial four chords.