This is the first movement, which demands many challenges. How can one captivate an audience in this movement?

Tempo

First, let's discuss the tempo. This first movement is not in 4/4 time; it is in 2/4 time. Therefore, one must feel and perform it in two beats per measure. A common pitfall is playing this movement too slowly, which leads to numerous problems. It is Adagio Sostenuto in 2/4 time. So, what tempo should one aim for? From here on, these are the author's thoughts and preferences.

Regarding the issue of 'flow,' which will be explained next, playing at approximately quarter note = 65 will prevent it from being too fast while maintaining the flow.

It can be demonstrated that Beethoven's tempo marking of Adagio was not reliant on a metronome. This is evident from the Adagio marking in measures 188-189 of the third movement. In that case, it is also in 4/4 time, so one must count four beats per measure. If the tempo set for the first movement as Adagio (which would mean two clicks per measure) were applied to measures 188-189 of the third movement, playing with four clicks per measure, it becomes clear how nonsensical that would be. It is evident that the Adagio in the first movement and the Adagio in the third movement have completely different tempos.

It can be inferred that Beethoven simply used the Adagio marking to mean 'particularly slowly.'

Flow

The author believes that the most crucial point in this movement is 'flow.' This boils down to absolutely never stopping the triplets. With the exception of the last two measures of this movement, most measures are filled with triplets, without rests longer than one beat. Excluding the last two measures, rests are actually written in only five places: measure 5, measures 9-10, measure 29, measure 31, and measure 66. And these rests are almost exclusively for the right-hand melody line.

Therefore, it is important not to stop the triplets, but there are typical instances where triplets tend to stop. This occurs in the dotted eighth note + sixteenth note rhythm sections written from measure 5 onwards. Regardless of this rhythm, the triplets must never lose their timing. Many learners are misled by the dotted rhythm in these sections and take more time than necessary.

From measure 32 onwards, peaking at measures 35-36, the music builds tension. It then comes to a temporary close by measure 41, but even during this section, the triplets should fundamentally not be stopped. If anything, one might slightly pull the tempo when playing the highest note in measures 35-36.

Dynamics

As indicated by the instruction 'like a muted sound' (or 'with a mute'), pp is the fundamental dynamic for this movement. In this movement, the p marking indicates the loudest volume. However, the music must not become entirely flat. Control should be maintained within the range of p and pp. Although no dynamic marking is written for measures 35-36, the author would personally aim to bring the dynamics up to around mf in measures 35-36.

Balance

There is no end to performers who play the melody line and the triplets at nearly the same volume and with the same timbre. A clear distinction must be made between the melody line and the triplets. Try playing only the melody line as a single voice. In slow pieces like this, it sometimes happens that the melody line is not fully grasped. When practicing the single melody line, try playing it at a slightly faster tempo.