Album de 26 Sonatas Favoritas

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/

SONATA ALBUM-Bk. 2 Piano

SCHIRMER'S LIBRARYOF MUSICAL CLASSICS

VoL 340

SONATA ALBUM

For the Piano

Book II

$6.00

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SCHIRMER'S LIBRARYOF MUSICAL CLASSICS

SONATA ALBUMTwenty-Six Favorite Sonatas

For the Piano

By

HAYDN, MOZARL and BEETHOVEN

Edited, Revised, and Fingered by

SIGMUND LEBERT, HANS VON BULOWAND OTHERS

IN TWO BOOKS

Book I: 15 SONATAS — Library Volume 329

Book II: 11 SONATAS — Library Volume 340

G. SCHIRMER New York/London

Copyright. 1806, by G. Schirmer, Inc.

I. Iks u. t. A.

C o ntents

Book I

Haydn Moz art

AllfgTo con bnp.

1.

Allejiio ron brio.

4.

5.

Past' 2.

Pa-e 13.

Pa".- 2Z.

^^ Pa ^0 30.

Pri'sto.

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Page 46.

Pa"v 5C.

Pujre 65.

All^'iiro.

^"jfJr.J l Jir^ PaM 83.

Andante grazioso.

10. ^ H CJjr P l^> pi J J^^ ra^-o 96.

11.

Op. 49

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Beethoven

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Pa"e 128.

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Alleero.

Op. 14, N'.''

15.

Op. 14. N9 2.

Allegro.

5tKSr Page 154.

ContentsBook n-!—"-—K-

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HaydnAllegretto innocente.

mmp

Allegro

18

Allegro moderate.

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Pa^e 8.

Allegro assa i.

Mozart

Allegro.

Page 30. 21. i !» <*f I

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Pai,

Allegro maestoso.

62.

Page 42. 22 Pa^'e 83.

Beethoven

Page 102.

f P

24

Allegro.

f P

Page 124.

Adagio sostenuto

Page 143.

Andante con Variazioni.

Page 161.

1iin89

SONATAAbbreviations: M. T. sig;nifies M.iin Theme; Ep., Episode; S. T., Sub-Theme; CI. T., Closing Theme; D. G.,

Uevelopment-Group; Md. T., Mid -Theme; R., Return; Tr., Transition; Cod., Codetta; I, II, and III, l^i, 21.'*,

and 31'' parts of a movement in song- form (Liedform.)^ JOSEPH HAYDN.

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SONATAAbbreviations: M. T. signifies Main Theme; Ep, Episode; S. T, Sub-Theme; CI.T, Closing Theme; D. G. , Develop-

ment-group; Md.T., Mid-Theme; R., Return; Tr,Transition; Cod , Codetta; I, II, and III, signif)- 1st, 2nd,and 3rd parts

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a) Make a considerable pause after the hold itself.

b) Th is accompaniment -figure in the left hand must be subordinated to the right-hand part throughout'*•*• **

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c) Both hands must begin and end the arpr^^it, tog-ether, and with a crescendo in the right-hand part, so that its

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a) As at b) on 1st Pjgc of this Sonata.

b) Begin the embellishment together with the first bass note.

a) After lifting" both hands, proceed instantly.

b) Make a considerable pause after this hold.11

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harshness.b;The execution of these 2 measures is like that of the first 2 . In all cases, embellishments take their time-valuefrom that of the principal note with which they are connected by a slur, as the above example shows.UShff 14

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a)This grace is also played as a short turn in 4 equal notes, falling on the sixth IG^h -note of the accompaniment -fig^ure.biThe 3 ^acenotes coincide, as a triplet, with the third iC<h-note of the accompaniment- figure.

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SONATA.Abbreviations: M.T. signifies Main Theme-, Ep., Episode; S.T., Sub -Theme; Cl.T., Closing Theme; D.G., Develop-

ment-group; Md.T., Mid-Theme; R., Return; Tr., Transition; Cod., Codetta; I, II, III, 1st, 2nd, and 3rd parts of a

movement in song-form (Liedform).

Revised and Fingered byLVDWI6 KLEE.

All ^ A JOSEPH HAYDN.Allegro moderato. 5M.T.^ _'_ 4 8 1 > — 4 *

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Abbreviations: P. T., Principal Themcj S.T., Second-

ary Theme; M.T., Middle Theme; D., Development.

Allegro assai (J: iss)

P.T.

Sonata II(K. No. 280)

Abreviaciones: T. E, Tema Principal; T. S., TcmaSeg-undo; T.M., Tema Medio; D., Desa'-'-"i1o.

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Edited, revised and fingered by

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Sonata VII(K. No. 333)

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Abbreviations: P.T., Principal Theme; S.T., Second-

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Middle Theme; R., Return.

Abreviaciones: T. P., Tema Principal; T. S., TemaSeg-undo; D., Desarrollo; Ep., Episodio; T. M.,Tema

Medio; K., Retorno.

Allegro maestoso (J^ue)

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SONATE PATHETIQUETo Prince CARL von LICHNOWSKY.

Op. 13.

Abbreviations: M.T. sip;nifies Main Theme; S.T., Sub-Theme; CI. T., Closing Theme; D. G., Developraent-g:roup;

R., Return; Tr., Transition; Md. T., Mid-Theme; Ep., Episode.

Grave.Ci'r 66.)

(introduction.) A "^ — VL.van BEETHOVEN.4 r> 4

a) The 32nd-note must be perceptibly detache<l from the next-foUowingr dotted sixteenth-note, and this lat-

ter sustained for its full value a mode of execution peculiar to such rhythms in the old masters; compaire

HandePs Prelude to the F-minor Fugue, and Bach''s Prelude to the G-minor Fugue in Part II of "The Well-

tempered Clavichord r

b) This run should be performed expressively, and in the second half with a slight retardation, so as to

bring out the melodic outlines.

C) Carefully observe the increasing value of the "lifting-note;'" the first time, the sixth eighth in the meas-

ure is only a sixteenth-note; in the next measure, the D on the second -eighth is a full eighth-note,while

the F on the sixth eighth becomes a quarter-note. This effects a melodic intensification.

102

I«ft89 Copyright, 189i, by G. Schirmer, Inc. Printed in the U. S. A. Copyright renewal assigned, 1923, to G. Schirmer, Inc.

m

Allegro di molto e con brlo.(J=i44.)M.T. 4 5 3 4, f

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a) The relation between the movement of the Introditctiou and the Allegro is properly this: That a whole note

in the latter is exactly equivalent to an eighth-note in the former. Consequently, the Allegro may be begun at

the rate of M.M.d=l3», which movement would not, however, be fast enough further on, in view of the passionate

character developed.

b) In tremolo- figures like these, the player should be' content to mark only such bass notes (and then onlyatthp

first stroke) as indicate a new progression in the harmony.c) The direction agitato also calls for a iioii legato as strict as possible, which, of course, must not impair the e-

venness of the movement.

103

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tsV)i2.fl tempo.

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il) Althoiig-h this "secninl" subjecti too, is passionately ag'itated, the unvarying tempestuous sweep of the first

cannot be Itept up throuyhout. Plaj' the first measure of each four- measure period — the preludinjf bass— some-

what more quietly, the foUowinf,"" three with all the more animation; shade the 16 measures in Eb-minordif-ferently from tlie parallel passa,:^e in !)!>- major; in short, invest the entire dialog-ue with the most va-

ried coloriny possible.

b) Exet.tion: ^fj I- 'f accor<iing to the familiar rule, that all graces take their value from, and are plny-

oil within, the value of the principal note.

C) E.xecution: -^ according to the same rule; beware of the facile and tasteless triplet in

eighth- notes, to which even the anticipated passing shake would be preferable, though ag-ainsl the rules.

101

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a) These first 4 measures are to be played without the least retardation, yet very quietly, and with no ac-

centuation of the accompaniment.l:2K8fl lOR

> ^> }^J''tA.J.f±LrrrL.J.

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a) The hold (pause) must be sustained precisely 3 measures, so as to form another 4- measure period.

But a quarter - rest should precede the reprise of the first division-

b) Retard the entrance of the B in the bass, in order to enhance the pleasurable suspense attendant upon

the enharmonic change of the diminished chord of the seventh in the transition from G -minor to £-minor;

and play the following passage throughout with full dreamy freedom.1S»89

106

Allegro molto e con brio

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a) Despite the identity of this phrase with that in meas. 6 of the first Grare, it must now be played with

a wholly different expression or, rather, with none whatever, this being rendered necessary by the doub-

led rapidity of the movement im^ in the Grate r o in the Allegro).

b) Although the phrasing '^ l»^J ^}= etc. would more nearly correspond to the original form of this pas -

sage in meas. 7 rf sef. of the so-called second subject (Et-minor), it would not be in keeping with the

general (progressional) character of the development -section.

C) The player should slightly sustain the several tones

1XA89

but not so as to make the movement heavy.

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outlines: seven noteslltlSSS

vigorously played suffice in such rapid tempo.

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a' This pi'niio must enter abruptly, which requires some practice, especially with the left hand; similarly in thf

parallel passage 4 measures further on.

*^ **

a I In the origfinal the decrescendo begins at this measure, which seems to us ratjier too prolonged for 6 full

measures, — the more so, because an actual forte would be inadmissible in the preceding; for this reason we con-

sider a pijco cresc. more suitable for the first two measures.

bi Take care not to play e!> instead of F in the right hand, as a C -minor chord is out of the question here; the

C in both Soprano and Bass is simply a passing-note of the dominant chord.

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a) Sustain the hold (pause) 3 full measures (comp. |p .^^.'l^ first holds in the Grare have precisely the same dura-

tion ( subtracting the 32n_d.note t.

^'^ - ^

bt The bass note on the third fourth-note must have a penetrating and prolonged tone, in order to be quite audible

through the seventh eighth -note as the root of the chord of the sixth.

c) This coda cannot be played too rapidly.

d' It is best not to use the pedal with these chords.12589 111

Adagio cantabile.(^:6o)

M.T.^— -^

'

a^ 3| J..

ei) To the best of our knowledge no one hns yet remarked the striking affinity of the theme of this movement, even

with reference to its external melodic structure, to that of one of the loftiest .4 ri>i srton of gTcindest scope from the

Masters last period; _ we mean the .Ittn^in of the Ninth Symphony, written almost a quarter of a century lat-

er. The performance of both demands an equally inspired mood. The player's task, to "make his fingers sing," may per-

haps necessitate a more frequent use of the pedal than we have indicated ,which must of course be controlled by a most watch-

ful ear

.

b) This first middle section of the Rondo (for such this .li/mr/'" is in form) may be taken slightly mr/io andante,

i.e., slower; but no more so than needful (so as not to drag), and. therefore, in only a few places.

C) The turns in this and the next measure should not commence with, but immediately after, a sixteenth-note in the bass,

««»8» thus: iB^fAtMMj!^ and:list

a) A tasteful execution of this grace is impossible in strict time. An abbreviation of the first two prin-

cipal notes (C and B!>) being quite as impracticable as a shifting of the inverted mordent into the pre-

ceding measure as an unaccented appoggiatura, the measure must simply be extended by an addition-

al 32 nd- note.

b) In this repetition of the theme, the left hand may be allowed to play a more expressive part; and,

on the whole, a somewhat lighter shading of the melody is now admissible by way of contrast to the

following (gloomier) middle section.

C) The ascending diminished fifth may be phrased, as it were like a question, to which the succeeding

bass figure may be regarded as the answer.

12589ll»

brillante.franquillo.

a) It appears advisable slightly to hasten this measure and the next, and then to retard the third not in-

considerably, the former on account of the cessation in the harmonic advance, the latter by reason of the

varied modulation, vi-hich must be quite free from disquieting- haste in its return to the theme.

b) Though strictly subordinated to the melody, the triplets should be brought out with animated dis-

tinctness.

C) The two 321<^ -notes in the melody may very properly be sounded with the last note of the triplet of

16^?-notes in the accompaniment; whereas a mathematically exact division would probably confuse both parts.

1X689 114

Tm i ^j

a) Execute like a triplet:

b) In the orig-inal, the shading- of this passage is marked differently from that two measures before, the (//////-

iiiie/tdo already beg-inning with C, and not with a1> as here marked. This latter nuance- the prolong-ation of the

cresce/ido- A^-peals to our feeling- as the more delicate, "more tenderly passionate," to quote Richard Wagners happy

remark on the "Interpretation of Beethoven'.'^

c) Mark the separation of the slurs in this figure and those following; the six notes sound trivial if slurred

together.

12689llli

Rondo.Allegro, (cirse.)

a) Althoug-h this third movement is less "pathetic" than the preceding' ones, the player alone will be to blameshould the Pathetic Sonata end apathetically. The original, to be sure, contains only the most indispensable

expression-marks, which it has been the aim of our Edition to supplement efficiently; as, for example, by the

crescendo ending piaiut in measures 2-3, by emphasizing the distinction to be made, in the figures for the left

hand, between the parts (tones) which are essential (independent) organic elements, and those which are mereharmonif^ filling", etc.

b) In executing this grace, the player must be careful not to produce the effect of parallel octaves with the bass

(F-Ap, and in the next measure Ep-G); rather than this, the slide might he treated as an appendage to the fore-

going notes.

18R89 116

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a) There can fiardly be a doubt that the Master was compelled, by the restricted compass of the keyboard

of his day (only up to F-0, to content himself with the fifth of the dominant chord, instead of rising to the

higher seventh (Ab) as in the three other parallel passagfes. A change in conformity with his original in-

tention '\o impracticable, however, because the ensuing measure would then be made to lie an octave higher,

and would sound somewhat thin for the first time (it is immediately repeated in the octave).

b) These imitations, although pinno, must be played with great animation, and not in that characterless Irgntn

which might be called anti- symphonic.

C) The preceding Romark applies equally to this and similar passages.

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a) The fing-ering- g-iven by ns serves to aid in executing- this run with the exact rhythmic divisions desired

by the composer. The hold which follows appears really superfluous; for, by the prolong-ation of the chord

throug-h ij measures, all demands of the pulsing rhythm which g-oes on even during- the rests of a piece_

are fully met.

118

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a) The tempo, of coarsn, remains the same, but free from any floctnatingr agitation. Observe, that the theme"proper" begins with an ascending fourth, consequently, the left hand should be slightly emphasized in thefifth and si.xth measures. This holds good for meas. 13, 14, etcb) The mark J^ is set rather early, in view of the fact, that the intensification continues through ihe nextsix measures. For this reason, the player will do well to husband his strength at first.

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page 154) be sustained.

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aj The second subject must be played more delicately and quietly here than at its first entrance in El> major,

b) A collision of the two parts on D-' must be avoided by anticipating the ripht hand by an arpeggio in the

left, lifting the left-hand thumb instantly after the stroke; thus: ^^c) The second note in the bass might, in conformity with the parallel passages in the first division,

be Ah.

121

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nif sempre cre.sc. if !/ jyma) These next 13 measures should be played with considerable freedom as regards tempo, and with a decid-

ed independent stress on the lower part in the left hand. Special attention should be paid to the composer's

directions concerning both the shading of meas. 6-7 and 8-9, and their phrasing, which is not In one-meas-

ure rhythm (as the motive at the first glance apparently invites), but in two- measure rhythm. In proportion

to th'' greater or lesser degree of passion put forth by the player before the calniidn, this latter is to be

conceived as a diminuendo and ritnrdando . Excess in either direction is, of course, reprehensible-

b) Particularly note the Aiiftnkt (fractional initial measure) in the bass, here representing the regular in

troduction L i)f *^ By playing the theme wholly without shading on its fourth (and last) appearance,

the close is well prepared and led up to.

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a) Moderate the tempo on coi.imencing- this measure, in order that the ensuinff run can be executed precisely

accordingr to the given divisions and without the least retardation. The following hold may be sustained very

long— as long as the sonority of the piano permits.

b) A ritarduHtlo in this epilogue would be in bad taste; the tempo must be strictly sustained to the close.

**) The jQjy* 'i^ found in all the old Editions, — almost the sole instance where this superlative, surely as fre-

quently intended as rarely used is employed by the Master. Hence follows the necessity of an unusually

powerful crescendo in the preceding run.

iaiiS9tea

To JOSEPH HAYDN.

SONATAOp.2,N9 1.

Abbreviations :"'')M.T. signifies Main Theme; S.T., Sub-Theme; Cl.T., Closing- Theme; D. G., Development - group;

R., Return; Tr., Transition; Md. T., Mid -Theme; Ep., Episode.

L. van BEETHOVEN.

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UG. tjbergang, Md. T. Mittelsatz, Ep. Zwischensatz, Coda, Anhang.

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1S589135 'en. D. C.

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a) In this theme Piano and Forte are to be sharply contradistinguished, without gradual transition from one tothe other.

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a) In this accompaniment the left hand must be subordinated to the melody.

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Sonata quasi una Fantasia.Op. 27, N9 2.To Countess JULIA GlICCIARDI.

Abbreviations: M. T. signifies Main TheniPi S. T., Siib-Themei CI. T., Closing Theme; D. G., Development-

grodii; K., Return; Tr., Transition; Md. T., Mid -Theme; Fji., Episode.

I. Adag-io sostenuto. (J = fii.) L.van BEETHOVEN.

J*sempre pp e con sordini.

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1^¥1 imnwwa) It is evident that the highest part, as the melody, requires a firmer touch than the accompanying

triplet -figure-, and the first note in the latter must never produce the effect of a doubling of the mel-

ody in the lower octave.

b) A more frequent use of the pedal than is marked by the editor, and limited here to the most essen-

tial passages, is allowable; it is not advisable, however, to take the original directions sem/>re senza sorditii

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a) The player must g^uard agrainst carrying- his hand back with over-anxious haste. For, in any event, a

strict pedantic observance of time is out of place in this period, which has rather the character of an

improvisation.14K

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atfarra suhifo il seg-uenfe. \^a) The notes with a dash above them may properlj- be dwelt upon in such a way as to g-ive them the effect

of suspensions, e. g.,; in fact, a utilization of the inner parts, in accordance with

the laws of euphony and the course of the modulation, is recommended throughout the piece.

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IU5h9 147

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latter combines with the left-hand part as a

JEMIU I.|,;,(AUV Of IHB PfiRPOBiflNG .iEW

a) A very common amateurisn error. - which, we regret to say, is countenanced here and in other pla-

ces by Herr Lebert's otherwise so meritorious edition — is the notion that a closer legato is obtainable,

in descending octave - passages, by a change of fingers. Precisely the opposite effect is produced by the

following manipulation: i-, the higher part, the one most strongly affecting the ear, suffers a most

sensible interruption. A slight muscular stretching of the palm of the hand, which is no harder to learn

than shifting on a stringed instrument, will amply fulfil all requirements.

b) An undelayed attack (of the Finale) is quite as indispensable to the general effect as in the two repris-

' es preceding.

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III. Presto ag-itato. (5=88

a) M.T .

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a) This passage, up to the abrupt stroke on the fourth beat in measure 2, must be played with almost

ethereal lifrhtness in the very smoothest j/ii/no. and (if only foi the sake of distinctness as little /r^r//f>

as is in any way compatible with the preat rapidity of the movement.

b) The second stroke has only the significance of an echo, the repercussion of the first. In measure 8 it

is different, owing to its leading over to new matter.

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a) This grace is written out in conformity with its undeviating" mode of execution. Avoid a repeatcentuation of the lowest bass note; an accent is needful only on its first entrance.b) The rapid movement, conjoined with required exertion of strength, hardly admits of a long-er

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agitato.

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'^"/"'"ijjj'^rjjP"be broug-ht out with perfect distinctness only by means of this fingering, troublesome

a) These thirds can

b)°"ft il se^f- evident that a hammering-out of these "passionate" eighth-notes in strict time would be incor-

rect in an ;«sthetic sense. By playing the first half of the measure with stronger emphasis (and hence greater

freedom), as is demanded in particular by the peculiar rhythmic importance of the second eighth-note, and somewhat

accelerating the second half, both the unity of the measure as such, and also the psychical agitation, receive due con-

sideration. C; This melodic phrase, whose performance demands the intensest feeling, is probably to be understood

i.e., more singingly sustained than the marking denotes.thus

KI189IKi

a) The literal execution is:

b) The repetition prescribed here according- to custom impresses us as a chilling- tautolog-y.

c) This movement-fipure, like the similar one in the right hand 4 measures further on, must be played en-

tirely without accentuation; only in the principal modulations, e. p.. the transition from F}t-minor to G- majorand back, individual characteristic intervals may be sligrhtly emphasized. On the other hand, a transformationof the figures into an indistinct tremolo •«-ould,of course, be wholly out of place.

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a) In thp analopons passapo in fhc first liivision, this period embraces 4 measures, whereas it has but 3hen- Thfic ii- no reason why either should be altered for the sake of symmetry of pattern. Both are pood,and greater brevity ami ronciseness in form are .vstniticallj' justified in repetitions.

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a) This soconil hold (pnHse) may he sustained longer than the prtMCilirg. Further, a slipht rest must inter-

vene (for acoustic reasons, apart from esthetic ones) before the reentr.ince of the first subject, .is is in-

dicated by a O over the bar.

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a) There is no irreverence, even to the letter of the composer's work, in enhancing- in analogy with the D- minor

Sonata, Op. 31, N92- the accent marked on the fourth beat by a chord struck with the left hand.

1«589 558

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a) The Editor performs this cadenza with the following- rhythmic divisions, the required ritardaiido then resulting

as a matter of course: >Lfy

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Tempo I, ma tranquillo

Adag-io

51

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yyegualmente piano.

animato e tempestosn

.

a) Adnffio: twice as slow as the yz-ff^/o- movement, but not slower.

b) Avoid a cresrendu in the preceding measures; the forte must enter with instantaneous abruptness, giving-

us a reproduction of the principal divisions in miniature— the deep melancholy of the Adaffi", the wild des -

peration of the Finnle.

lltftRS 180

SONATAOp. 26.

To Prince CARL von LICHNOWSKY.

Abbreviations: M.T. sigriifies Main Theme; S.T., Sub-Theme; Tr., Transition, R., Return.

Andante con Variazioni .(/=«o.)^^i 5 4^:i

L.van BEETHOVEN.4^

a> This arpogg-io-mark is not found in the original; indeed, the Master employed it far more seldom than his pre-

Jpccssors Haydn and Mozart. Isolated exceptions (e.g., in Op. 7, Op. 31 N?2,etc.) simply confirm the easy conjecture,

that the arpeggio style of playing was incompatible with his orchestral habit of thinking. Nevertheless, a moder-

ately free use of the arpeggio in this place — and in various others as well - is eminently proper, not only on tech-

nical, but still more on acoustical, grounds (for the sake of euphony). The reproach of irreverence is disarmed by point-

ing to movements 1 and ? of Op. 109, where we meet with a notation of chords in the form of small tied notes; — in

Op. 27 NV 2, Finale in CJf-minor, he even definitely indicates the breaking of the chord by rhythmically dividing it. Analmost ur noticeable dwelling on the (melodicaJly) most important highest tone is advisable, so as not to alter its rel-

ative value to the next. To be played nearly thus-. and similarly in meas. 24:

fb The counter-melody in the left hand must be brought out in the same independent relief as the thematic song in

the right, and with opposed shading. <y v

C^ Here the trill should undoubtedly be rounded off with an after-beat: -'r'-^^ although the Master desires

this only where he expressly writes it ifor instance, even in the initial theme of the Sonata with Violin, Op. 96, no

after beat must be added).f61

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Copyright renemnl nssiffned, i92S, to G. Schirmer, Inc.Pr;:itP(1 in th» U .S. A.

Var. I

Ln poco piurnosscKjw': 88.)

s

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a) This takinp of the lower tone of the octave with the left hand, in order to facilitate the legato in the

melody, is equally applicable to the last eighth -note of 'the preceding measure.

b) In so-called bravura variations, intended to exhibit an applause- craving virtuosity, a pause after the

theme, and between the sever^il variations, is justifiable; but the art - form of the Variation, Beethoven'sown peculiar creation, will not bear such a chilling interruption. The player should rather strive to at-

tain flowing continuity, and to render the transitions (for instance, the acceleration in the tempo which is

indispensable to the Third Variation, to prevent any effect of dragging) as imperceptible as possible.

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simile.

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12589 163

Var. II.

Piu animato, ma non troppo. (J)r ne.)

a) Thr meloily contained in the after-striking sixteenth-notes, while making itself felt throughout, must

be played no louder (though a trifle mure f/rm/^, as indicated by the short dash_) than the antici-

pating bisis notes alternating with them. Do not neglect to give due weight to the middle parts in the

right hand, which are so essential as an harmonic filling.

b) A slight delay on the second eighth _ a momentary pause, as if at' a semicolon— is iiee<lful to in-

troduce the remoter key (F-major) in which the mid. lie section begins. This nuance may also be observed

both in the Theme and the other Variations, although less imperatively demanded in these cases by ''u-

jflionic considerations.

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'H\> J j J ^ I #— «—1

v^> im f?jt^?jifft^ il'^j' fji'S^ i j i i 'l^'r

1>)^ a <=j * iMtil

a) The cresceitdn in this retrogressional measure is borrowed from the orig^inal transition in the Theme,the bhading' and expression of which must be s-tudiously followed in the performance of each Variation.

b) Observe the accompanying middle part in this and the next measure:

160

Var. ni. (Miuorc.)

Piii sostenuto. (i) -. so.)

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—

P- m m • p^T^f f i7^i^^^ vfrfN^i»

3 8

a)

432sostenuto.

1 2 1 2 3 2 3 2 1

g^^ i I I I

-3—«—*-

cres'c.

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I1 MI i i «=|t=f

24

a6

a) A signature of seven flats is unnecessary, and confuses the pupil's eye. Hummel, in his El- -mi-nor quintet, 'vas also content with the signature of the major key.

b) The sforzato - sign .s/" always applies only to the note or chord over or under which it stands

a rule carefully to be observed throughout this Variation andthe next- following.

166

Var. IV.Con moto. (J'^si)

PPs z

a) The dialogue-form characteristic of this Variation (whose mode of presentation, more especiidly the alternation between

different registers, has often been imitated, particularly by Mendelssohn) requires, in our opinion, a corresponding char-

acteristic shading, for which, especially in the middle section, we have marked a free mode of execution, easily modifi-

able according to individual taste. In the sforzntux themselves (meas. 20-25) certain gradations must be observed, as

''fi f^ xf~ "(f, •'if'Pi— '" short, one should attempt to'color," but without interfering with the requirement of fluent exe-

cution (with sharp contrasts of fcfca to and staccato in the two hands).

b) The normal fingering for sfacrnti/ passages in thirds is elsewhere J and} ,

the latter on white keys.

I«689 167

Var.V.(; t 8S)

a) Not only the bass notes, but also the harmonic middle parts (as the first note in the right hand.>, may be held down:

^ j,L-j - ^^'® '^' indeed, indispensable for the production of the pianistic euphony evidently aimed at here by the

composer. ^__^b^ Here the executant should remember the counter-melody for the right hand in the Theme:

12589 IKS

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a) This charming' Coda must end dreamily, as if lost in reverie, but not beg-in so; therefore, no perceptible changre

in the Tempo should be made, letting the calando, both as regards tone-power and movement, creep on very graciually.

b) Some new editions have the unjustifiable alteration: '^^Tf0) A strict legato, and not', as in the measure preceding and following, .-'TT".

d) The shading pp ~-=z::=^pp marked in some new editions is incorrect.

18689l«9

II. Scherzo.Allegro molto. (J:S8.)

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a) The player should resist any inclination to retard; the more so, as these twelve measures before the reprise

of the Theme are to be reg'arded, in themseWes, as a ritarduitdu of ample leng-th.

b) It is quite as absurd to forbid the use of the thumb on black keys, as to forbid the substitution of a longerfing'er for this, the shortest of all, when thereby an unnecessary change in the position of the hand could be ob-

viated) in deference to any pedantic system of fingering-. In fact, every Beethoven player ought to prepare him-

self for any emergency — extraordinary demands on his technique — by diligently practising the scales in the

flat keys with the fingering for C-major, a plan first suggested by Bertini.171

ie«89

Trio (listesso tempo)

a)

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a) A brief pause before the reentranre of the Scherzo woulJ be entirely in keeping" with a humoristic conception

of these four genuinely Beethovenish transitional measures. They ought then to be played rather emphatically, as if

angrily dismissing the trio - theme, and the reprise of the scherzo - theme taken up in a graceful, bantering style.

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I2R89 173

III. Marcia funebre sulla morte d'un eroe.Andante maestoso.(J ::7a.)

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SIJ21

33:

a.) In contrast with most of the Master's sonatas, in which the internal psychologiral connection between the sev-

eral movements is so marked that their regular succession cannot be interrupted without injury to the effect,

this succession is entirely optional in Op. 26. In this particular it migrht well be called a (modernized)"Suite',' no other unity besides that of key being apparent amid the rich and charming" variety of its con-struction. For this reason, its four numbers may either be played each by itself, or in a different succes -

sion,_e.g., Dead March, Scherzo, Variations, Rondo, which might possibly be "more effective'.'

b) The lowest part in the right hand should be quitted to make way for the left on the third quarter, andsimilarly 4 and 8 measures further on.

c) Take care not to treat the two 16th- notes like the after-beat of a trill; they must be played thus:

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^iM f ,tf |:ff f>;lm.fen.

ft n.

mm>f P cresc.

\f l\\i

/Ift

li

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ii:r 3

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1 84

f*PSJ/ / / r^ y f ff^a a 5^m.\=7

a) The change of fingers marked here facilitates the crescendo in the tremolo, which must keep strictly

to the given number of notes and strive after the effect of a military roll on the drums; in fact, this whole

movement is conceived in a distinctly orchestral spirit, and should therefore be felt and colored in its re -

production like an orchestral piece.

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UB89176

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a) This coda must by no means be treated like a "Bagatelle'.' Both the ascending and descending: pas-

sag-es contain the sum, so to speak, of all agonizing woes, concentrated to wellnigh convulsive expres-

sion-, and in spite of the modulation, to major are not to be conceived as a reconciliation— as if their

spirit justified an immediate passage to the lively Finale-Impromptu.l«IV8f>

177

IV. Rondo.Allegro. (J = 116.)

M.T.

a) Here the Theme proper lies in the lower part; hence the left hand must play somewhat louder thanthe right, which, though playing the same tones, reverses their order, whereby their melodious connec-tion is dissolved, and their significance reduced to that of a mere figurate accompaniment.b) Though extremely few expression-marks occur in the original, the material invites so great a varietyof shading that we have felt justified in making numerous additions in this regard, in order to preventthe player from falling into an indiscriminating "reading-off" or "rattling- off," such as many self-appointedguardians of the classics still unhappily declare to be canonical.

ISiR9178

a) The marking as a sextuple! in the original is doubtless an oversight, and likewise contradicts the t\%'ice-

repeated marking as a double triplet in analogous passages (20 and 18 measures before the close). A (i

over sixteenth -notes indicates one triplet of eighths, not two of sixteenths.

12589 179

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.

3 8 ^»a) Variety is the spice of life. For the repetition of the first subject we have proposed a shading dif-

ferent from that first employed; the player may adopt whichever he pleases. The main point is, in

any event, (o shmfr to lend life, animation and movement to the performance. The omission of

expression -marks on the composer's part is to be regarded simply as a permission for individual free-

dom of intirpretation.I8BS9

IM>

a) This C -minor Episode may be compared, in its character and in the energetic manner of expressionsuited to it, with the A -minor Episode in the Rondo of Op. 53, or (to quote an example in grander style;

with the G- minor Episode in the Finale of the Sinfonia eroica. The fingering, approved by experience,though it may appear peculiar at a first reading, is more reliable than the 3 1 4 1 4 :^ after the Clementi-Hummel method, which latter is wanting in regularly recurring points of support.

b) The fingering for passages in broken thirds in hisnta may also be copied from that for simultaneousthirds in stuccutu (comp. Note b on Page 2:^1), thus: 4 2 4 14241, etc.

liliSfl

ISI

^^^^0^^^ma) In siacculo octave -passages it is best to use the fifth finger instead of the fourth on the black keys

as well, to secure uniformity in the position of the hand (and also in the actual down- stroke).

a) To g-et the sfnrzato effect, .which should be strongly marked, a break is necessary, i.c

concerned must be lifted independently.

b) It is needless to say how un - Beethovenish it would be to couple the diminuendo with

est ritarduudu. Even an acceleration of the closing measures would be more allowable.

181)89 1S3

. the fing'er

the slight -

' ScHi RMER'S Library'

of Musi cal Classics

PIANO SOLO COLLEaiONS

?

SERIES FIVE

SCHUMANN, R.

L.90 Op. 15,

68.

L.95 Op. 16.

L. IIS-T Op. 17.

L.1686 Op. 18,

19, 28.

L. 102 Op. 20.

L.98 Op. 21.

L. 105 Op. 22.

SONATA ALBUML. 329 26 Sonatas by Haydn, Mozart and

L.94 Op. 23,

111.

L. 99 Op. 26.

L.1715 Op. 32.

L.1358 Op. 54.

L. 91 Op. 68.

L.17I6 Op. 72,

76, 126.

L.1690 Op. 82.

L.1707 Op. 92,

134.

L.1275 Op. 99.

L. 1180 Op. 118.

L. 1075 Op. 124.

L. 1688 Op. 133.

L.I00

Scenes from Childhood; Albnm for the

Young (Bauer).

Kreisleriana (Bauer).

Fantasia (Bauer).

Arabesque; Blumenstuck; 3 Romances

(Bauer).

Humoreske (Bauer).

Novelletten (Bauer).

Sonata, Gm and Presto Passionato

(Bauer).

4 Nachtstucke; 3 Fantasiestucke

(Bauer).

Faschingsschw'ank aus Wien (Bauer).

Scherzo, Gigue, Romance and Fughette

(Bauer).

Concerto, Am. 2-Piano Score (Hug)tes).

Album for the Young. 43 Pieces

(Bauer).

4 Fugues; 4 Marches; 7 Pieces in

Fughetta Form (Bauer).

Forest Scenes (Bauer).

Introduction and .\lIegro Appassionato;

Concert Allegro with Introduction.

2-Piano Score (Bauer).

Colored Leaves (Bunte-Blatter) (Bauer).

3 Sonatas for Young People (Bauer).

Album-Leaves (Bauer).

Songs of the Dawn (Bauer).

Album. 22 Pieces.

SCRIABIN, A.

L.1684 16 Preludes (Deis)

SELECTED PIANO SOLOS BY ROMANTICCOMPOSERS

L.1718 Bk. I: ElemcnUry; L. 1719, Bk. II: In-

termediate; L. 1720, Bk. HI: LowerAdvanced.

SELECTED SONATINASL.1594 Bk. I: Elementary; L. 1595, Bk. II: In-

termediate; L. 1596, Bk. Ill: LowerAdvanced.

SELECTIONS FROM SIX FAVORITE OPERASL.1638 Excerpts from "Carmen", "Aida", "La

Traviata", 'The Tales of Hoffmann",

"The Bat", 'The Marriage of Figaro".

Beethoven, Bk. I; L.340, Bk. IL

SONATINA ALBUML. 51 30 Favorite Sonatinas, Rondos and

Pieces (Kohler).

L. 265 15 Favorite Sonatinas. Abridged Version.

SONATINA AND SALON ALBUML. 305 15 Sonatinas and Miscellaneous Pieces

(Scharfenberg).

SONATINAS AND RONDOSL. 693 22 Pieces (Kleinmichel).

STRAUSS, J.

L. 131

SWIFT, N.

L.823

28 Favorite Dances, 6k. I; L. 132, Bk. II;

L. 133, Bk. III.

12 Children's Pieces.

TCHAIKOVSKY, P. I.

L. 1045 Op. 23. Concerto No. 1, Bbm. S-Piano Score

(Joseffy).

L. 909 Op. 37a. The Seasons. 12 Characteristic Pieces

(Ruthardt).

ly. 816 Op. 39. Album for the Young. 24 Easy Pieces

(Ruthardt).

L. 1447 Op. 71a. The Nutcracker Suite (Esipoff-Deis).

L. 1634 Selected Compositions.

TOCCATA ALBUML.1793

WAGNER, R.

L.1103

L. 1636

L.57

By Antheil, Bach, Buxtehude, Czemy,-

Frescobaldi, Froberger, Gabrieli, Hoi-

by, Khatchaturian, Padovano, Paradisi,

Pollini, Prokofieff, Purcell, Rheinber-

ger, Scarlatti and Schumann. (Ba-

logh).

Album. 20 Pieces (Oesterle).

Selections from Operas, Bk. I.

\Vagner-Liszt Album. 9 Transcriptions

from Wagner's Operas.

WEBER, C. M. VonL. 1382 Op. 72. Polonaise Brillante. 2-Piano Score

(Liszt-Spencer).

L. 1189 Op. 79. Concertstijck. 2-Piaiio Score (Sternberg).

L. 1667 Miscellaneous Compositions (Mason).

faG. SCHIRMER New York/London

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