First Movement: Pastoral and Peaceful Image

This is the first movement, which has a pastoral and peaceful image. This sonata was written approximately three years after the first sonata, and its writing style frequently evokes a string ensemble. These articulations should be observed as much as possible.

Now, regarding the first movement of this sonata, I would like to discuss the pedal, as it is a crucial point. Basically, avoid using the pedal where scales occur, as this will create muddiness. In arpeggio sections, even where muddiness might not occur, it is better not to hold the pedal unnecessarily to clearly bring out the independence of the voices.

Detailed Pedal Explanation (Beginning)

Let's explain from the beginning. Please look at measure 1. The notes in the left hand, from the bass to the third and fifth, are tied and sustained, aren't they? Beethoven might have intended to create warmth and a sense of security by sustaining this bass note. Within this measure, the section where pedal muddiness does not occur is from the dotted eighth note G on the second half of beat 1 to the next two D notes in the right hand. Even if the final A-sharp is held with the pedal, it sounds only for an instant, and considering releasing the pedal in the next measure, there's no need to be overly meticulous. However, use the pedal only for the G, B, D in the left hand. Then, release the pedal when the right-hand melody D arrives. Of course, since the left hand has a quarter note on beat 2, keep the finger on the key to sustain the note.

The reason for not holding the pedal until beat 2 is to allow the right-hand melody D-D-A-sharp on the second half of beat 2 to be heard as a single melodic line. If the pedal is held, the melody line and other notes will sound muddled together.

One might think that the left hand, being tied, doesn't need the pedal, but if the pedal is not used, the right-hand line might be cut off, or the left-hand chord might lack warmth, leading to various inconveniences. Therefore, it is good to use the pedal for a brief moment.

Pedal Instructions by Measure Range

• Measures 5-7: Do not use the pedal at all to allow the independence of the voices to be heard.
• Measures 8-24: The left hand has broken chords, doesn't it? Of course, there isn't a strict rule that the bass note must only be given the value of a sixteenth note. Thinking in terms of an ensemble, consider the bass and other notes as separate instruments. Therefore:

• 1. Sustain the bass note with the 5th finger of the left hand until the next bass note. By doing so, even if you release the pedal in sections where muddiness would inevitably occur if the pedal were used (e.g., a staccato in measure 13, or G-F-sharp on beat 1 of measure 15), the bass will continue to sound.
• 2. Use the pedal on each beat. However, observe rests and staccatos, and ensure no muddiness occurs in measures with ornamental notes that would cause muddiness (e.g., measures 9, 15, 17). Similarly, for melodic notes like G-F-sharp on beat 1 of measure 15, where holding the pedal would cause muddiness, release the pedal to avoid it.

• Measures 24-32: Do not use the pedal at all. Handle all legato and articulation with the fingers.
• Measures 33-40: Use the pedal twice per beat (every half beat).
• Measures 41-43: Do not use the pedal at all.
• Measure 44: Use the pedal on each beat.
• Measure 45: Do not use the pedal at all.
• Measure 46: Use the pedal on each beat.
• Measures 47-51: Use the pedal every half beat.
• Measure 52: No pedal.
• Measure 53: Use the pedal every half beat.
• Measures 54-57: Do the same.
• Measures 58-62: Use the pedal.

Development Section and Beyond

• Development section, Measures 63-67: Use the same pedaling as at the beginning.
• Measures 68-80: Do not use the pedal at all.
• Measures 81-83: Use the pedal only where the left-hand A-flat is sustained.
• Measures 84-85: Do not use the pedal at all.

Thereafter, use similar pedaling, and in measure 97, use the pedal every half beat to reach the goal in measure 98.

For your reference.