In Jane Magrath’s excellent book “The Pianist’s Guide to Standard Teaching and Performance Literature” states that this movement is a ‘graceful, dance-like movement with a few extensions in each hand’.
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Character/story of this piece – this music has a lyrical quality to it. The player could write some words to accompany to music. Or, considering that the piece is in compound time, this provides the music with a dancing quality. The player could imagine two dancers, one for each hand as they play the piece.
Form - this piece is quite similar in style to the first movement of the same Sonatina, and in many ways it is similar in melodic content too. Bars 1 – 8 are the exposition, bars 9 – 21 are the development and these bars are followed by the recapitulation covering bars 21 – 29. Lastly, there is another Coda like passage where the main theme is developed and expanded again.
Main part of the music – this could occur on two occasions in the piece as it is quite long and the listener’s interest must be maintained. A crescendo to forte in bar 19 will provide a focal point for the first part. And, in the penultimate bar, forte dynamics can be used.
Phrasing – all of the phrases commence on the second beat and the player must consider how this affects the character of the music. Most of the phrases are four bars long. The fifth phrase is slightly longer containing five bars and the additional bar helps to connect the development to the recapitulation. The final phrase is shortened to three bars and this helps to add drama and tension to the music. Even though there are similarities between the two movements, there are moments in this movement where the composer moves to D major and C major momentarily.
Tempo, time signature and rhythmic patterns – a speed of a dotted crotchet = 72 is appropriate for portraying the character of the music. The music needs to move with energy and purpose even though it has a lyrical and dancing quality. This is an opportunity for players to explore the effect of playing a piece of music in compound time. The player needs to decide how they will prepare before playing this piece so that the compound time signature is illustrated to the listener. A subtle emphasis on the first notes(s) of the beat will convey the time signature. Most of the rhythmic patterns are not complicated, however the rhythm in bar 30 in the RH may present a concern to some players.
Touch/Articulation – the touch required here is similar to what occurs in the first movement. The exposition and recapitulation should be played as legato as possible but of course, with the exception of applying the slurs in the RH. The LH has different melodic material though in comparison with the first movement. The player must ensure that both LH detached chords are played equally in the first phrase. In the second phrase the LH needs to be played with legato. In the development section, the LH dotted minims should be played with weight from the shoulder so that these chords have resonance and sound for the bar’s length. In bar 8, the original is shown with staccato dots within a slur indicated semi-detached notes. The slurs in the following phrase help to highlight the tension that is accumulating in this part, which is leading to the RH E in bar 19. Beethoven used slurs as if they were bowing indications for string instruments. When a string instrument player changes bow direction, especially after only a few notes, it is usually for the effect that if produces. When changing bow direction, a slight emphasis is given to the first note in the new direction. Most of the articulation has been added by an editor.
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Balance between the hands – the balance is to the RH because the RH contains the melody and the LH is in a supporting role. The LH though is an important part of the music and changes to the LH’s dynamics will contribute significantly to the dynamics of the music overall.
Dynamics – this piece was written in the Classical Period and therefore the dynamics should not be too loud overall. Considering some of the melodic material is repeated, changing the dynamics during the repeats will help to keep the listener engaged. There are numerous opportunities for the player to use crescendos and diminuendos. It is a wise idea that the player does not always play the highest note of a phrase the loudest.
Ornaments – there are a number of accicaituras present in this piece, these need to be played on the beat. The appoggiaturas in bars 30 and 34 may present difficulties for some players and may be best omitted as there is a danger that the flow of the music may be interrupted.
Rubato – small touches of rubato subtly applied are appropriate for this piece however some of the rubato effects have been written in. These are for example, the fermata in bar 19 and the lengthening of the rhythmic values in the last phrase.
Considerations
The LH has a number of changes, sometimes it is playing accompanying chords or at other times, Alberti bass patterns. The LH arpeggio patterns need to be played quickly and with a flourish.
There is a chance that some players may hold onto the second LH chord for example in bar 1 and join it to the subsequent note.
The LH chords, for example in bar 1, should be played more quietly than the notes at the beginning of each beat.
There are instances in this piece where one hand is playing on its own and in these areas, the rhythmic feel must be maintained. These single note passages need to have momentum and direction.
The player needs to be constantly looking and thinking ahead as to what is going to come next. For example, some players may not be prepared for the change at the start of the second section with the acciaccatura that needs to be played, the change of the LH’s melodic material and the change of the direction on the RH.
The development calls for a flamboyant approach with its scalic passages, arpeggiated chords and constantly changing dynamics.