Introduction

This sonata, influenced by composers such as Haydn, whom Beethoven admired, is optimistic. However, compared to his Op. 2 period, it significantly showcases Beethoven's unique style. While the mood around Op. 2 contained some elements of opera buffa and did not feel particularly earnest, the first movement of this sonata is not merely a light drama; one cannot help but feel Beethoven's distinctive and powerful energy. Furthermore, the writing feels as if an orchestral background has been added, not just a piano trio or string quartet.

General Approach to the First Movement

Nevertheless, the first movement of this sonata is extremely optimistic. As it is a movement that conveys a very youthful vigor, it is important to maintain a wide dynamic range and play it with liveliness. Beethoven's favored sudden forte and sudden piano are also found throughout this movement. Let's explain the points to note.

Specific Performance Notes

The opening four measures: multiple instruments (like an orchestra) play p chords, and the solo instrument plays triplets. Play within the p dynamic range. From measures 5 to 12, think of it as having a string quartet-like image. Therefore, although the left-hand accompaniment falls on the downbeat, imagine string instruments flowing horizontally without any accentuation. Above this, the solo instrument plays the melody.

From the second beat of measure 16 to the first beat of measure 18, it suddenly becomes forte. This is because a Gr 65 chord resolves to the dominant of A minor, repeated three times. Therefore, in each measure and on each beat, the downbeat should be played slightly weaker than the upbeat (because it is considered a chord resolution).

The author considers the section from the upbeat of measure 18 to measure 26 to be p. I believe there are others who hold a different view. In other words, there is also the idea of crescendoing towards the ff in measure 27, and that is perfectly acceptable. The reason the author does not think so is that the word "cresc." is not written, and the peak of each phrase is merely a sforzando (the meaning of sforzando is not just to play that specific spot strongly, but to add an accent within that dynamic range. Therefore, a sforzando in a p section should be limited to a slight accent). However, when comparing measures 19-22 and 23-26, I believe measures 23-26 should be slightly louder than measures 19-22. Therefore, the author considers measure 27 to be sub. ff.

Tempo and Rhythm

The overall tempo of this movement should be set so that the 32nd notes in measures 41-43 can be played accurately. In other words, this is one of the sections with the most intricate note values. Adjust the entire movement to this, and of course, maintain a single tempo. Ensure that the tempo does not vary between sections.

From measures 77 to 94, listen carefully to the triplet rhythm to ensure evenness. Some learners struggle with this section.