Beethoven, Ludwig van : Sonate für Klavier Nr.17 1.Satz Largo-Allegro
Work Overview
Genre：sonata
Total Playing Time：9 min 30 sec
Copyright：Public Domain
Commentary (2)
Author : Okada, Akihiro
Last Updated: January 14, 2019
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Author : Okada, Akihiro
First Movement: D minor, Alla breve, Sonata Form
Exposition
The opening of this movement is highly impressive, with its dizzying changes occurring within a mere six measures: a Largo beginning with an arpeggiated dominant chord in first inversion, the presentation of a descending second motive in Allegro, and a half cadence with a turn in Adagio. The tempo slows again to Largo, and upon its confirmation in the relative major, F major (mm. 7-), an expanded theme appears (mm. 21-), featuring an ascending arpeggio in dactylic rhythm and an inversion of the turn figure, accompanied by arpeggios and eighth-note triplets. In other words, these two main themes are different manifestations of common elements. This theme is also confirmed in F major (mm. 29-), and after a transition (mm. 41-), the secondary theme (mm. 55-) is presented in the dominant key (A minor).
The secondary theme, which begins in the low register with the tonic chord in first inversion, has a melodic line that is an expansion of the turn figure, revealing a close connection to the main theme here as well. The emphasis on the second beat with sf also derives from a rhythmic characteristic observed in the confirmation of the second main theme.
Development and Recapitulation
The development section (mm. 93-), which begins Largo like the opening, first explores tonality with ascending arpeggios. It initially hints at the dominant chord of G minor but quickly moves towards a diminished seventh chord on B-sharp, leading to the tonic chord in second inversion of F-sharp major. In a somewhat deceptive manner, the tonality then shifts to F-sharp minor, and the second main theme is developed in Allegro. The chords of the secondary theme appear in a disaggregated form (mm. 122-), leading into the recapitulation (mm. 142-).
The Largo is expanded by the insertion of a recitative-like monophonic melody, and the second main theme loses its original form, transforming into cadenza-like arpeggios and becoming almost entirely part of the transition. The secondary theme is recapitulated in the tonic key, and the movement concludes by gradually subsiding.
Author : Ooi, Kazurou
Last Updated: December 20, 2019
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Author : Ooi, Kazurou
This is one of Beethoven's representative sonatas. Works from this period onwards treat the second and third (or final) movements as equally important, with the flow of each movement taking on a programmatic character. This first movement, too, is a movement that fully conveys Beethoven's strong energy. However, the technique is extremely difficult, and the final result depends on the execution of the left-hand tremolos. Try to see how fast and accurately you can play the left-hand tremolos in measures 26 and 30, among others. Of course, it is entirely possible to master these tremolos with practice. Furthermore, the speed of these triplets determines the overall tempo. If the tempo is too slow, the character of the piece will be compromised; thus, a certain tempo is required, which necessitates the technical ability to play the triplets quickly.
Measures 1-2
Largo means 'broadly' or 'widely'. Depress the pedal and listen slowly as the sound continues to resonate. Continue to listen to the harmonies as if listening to the reverberation.
Measures 2-5
The eighth-note figures in the right hand are clearly articulated. Imagine a violin bowing. In that case, since the first of the two eighth notes is a non-harmonic tone and the second is a resolution, the second note should be played softer than the first. Regarding hand motion, the finger should lift off the key immediately after playing the second note. In other words, it's a continuous motion of down-up, down-up.
Beethoven requests a crescendo from the end of measure 4. Therefore, play p up to this point, and begin the crescendo from where it is marked. Do not crescendo before that.
Measures 8-13
Compared to measures 2-5, the tension clearly increases. Rests also appear in the left hand, and in measures 11-12, rests are placed on the strong beats. With an agitato atmosphere, the tension rises sharply, reaching forte in measure 13.
Measures 21-28
Consider this in two four-measure units, playing the second unit louder than the first. Each phrase has staccato in the first measure, so do not use the pedal here (you may use it on the first beat). For the remaining three measures, use the pedal to achieve legato in both hands.
Measures 29-41
In measure 29, reduce the forte from measure 28 to p. Otherwise, there would be no room for further dynamic development. After reducing to p, you will build tension towards measure 41, so do not play too loudly from the beginning; save the forte for measure 41.
Measures 79-80
This is one of the difficult passages. Ensure that both the two upper voices in the left hand and the bass voice are sustained without interruption, and that the pedal does not create muddiness. The same applies to measures 83-86.
Measures 93-98
Consider these six measures as having three units. Since the harmony differs in each unit, vary the sound even when playing pp. Furthermore, changing the speed of the small arpeggiated notes in each unit will alter the color.
Measures 133-136
This is a passage where a significant majority of learners neglect to count. Count the two beats precisely, just as in the preceding measures. Do not play it like a fermata just because it's a whole note. Even for a whole note, the conductor maintains the count.
Measures 143-148
I believe most players probably hold the pedal down continuously for these six measures. Indeed, the pedal marking is written that way. However, this marking was made to suit pianos of Beethoven's era. If we do the same on the pianos we use today, severe muddiness will occur. As for the author, I would change the pedal when it becomes somewhat muddy, but this is a subjective matter, so I leave it to your own judgment. The same applies to measures 155-158.
Measures 219-224
This is the same issue as the one discussed for measures 143-148. Although the marking indicates holding the pedal down continuously for these six measures, doing so would create such severe muddiness that it would be impossible to discern what notes are being played, and pp would not be achievable. Here, reduce or eliminate the pedal as much as possible.
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