Beethoven’s Broadwood piano, from Alamy.com
This movement has appeared in the ABRSM syllabus on several occasions, and it has swapped between Grades 3 and 4 throughout the years that I have collated. It has been in the Grade 3 syllabus before in 1897 and 1995.
Jane Magrath in her excellent book, “The Pianist’s Guide to Standard Teaching and Performance Literature, published 1995 Alfred Publishing states ‘the first movement is one of the most frequently played teaching pieces by Beethoven, perhaps due to the energetic scale passages and the rapid broken-chord accompaniment. It is cheerful in nature and is in rounded-binary form with a Coda. Sixteenth notes proceed from hand to hand, and the scale passages and Alberti bass present the main technical challenges’.
Although this piece is attributed to Beethoven, there are some who doubt whether Beethoven wrote it.
Character/story of the piece – this piece contains many contrasts, be it articulation, dynamics, touch or melodically. These contrasts need to be subtly highlighted for the listener, so they are aware of the different themes in the piece. It is interesting to note that the opening theme does not return in the articulation as one would expect. The player should think of a story where there are two characters are, to a certain extent, at odds with each other. The character who represents the first theme is not present in their original form in the recapitulation however, a modified version is where the two characters partake in a ‘give-and-take’ scenario in bars 60 – 63.
Form – as stated above, Jane Magrath states that it is in rounded binary form. The following is from www.mytutor.co.uk - ‘Binary form and rounded binary form are mostly the same in that they both have two related themes, one in each section, A and B, modulate to the dominant at the end of the A section, and back to the tonic at the end of the B section. The A and B sections are both repeated in binary and rounded binary form. The difference is, however, that in rounded binary, the theme from the A section comes back at the end of the B section, slightly altered. Therefore the form for binary is simply A:B, whereas for rounded binary it is A:B(A')’. However, as is stated, the first theme does not return in the B section as would be expected. The modulation at the end of the first section to C major is brief, to say the least as immediately there is a scale passage leading back to F major to the start of the B section.
There are numerous key changes at the start of the B section, Beethoven explores C minor, Bflat major, G minor, D minor and C major. The rapid changes of key in the first part of the B section provides tension and uncertainty.
Main part of the music – the main part of the music should occur at the end of the piece with the final two triumphant chords. Nevertheless, each section should have focus provided by a main part too, provided these do not eclipse the overall main part. In bars 1 -18 the main part should occur at the start of bar 13, in bars 19 – 34 should occur at the start of bar 23 and in bars 35 – 50 it should occur in bar 42. The forte dynamics should never be forced or accented, always consider the dynamics applied within the context of the Classical period.
Phrasing – this is interesting as the first section does not contain question-and-answer type phrases. However, within some of the phrases there is a question-and-answer effect. For example, in the first phrase bars 3 and 4 balance and ‘answer’ bars 1 and 2. The third phrase begins on the second beat of the bar, which differs from the first two phrases which commenced on the first beat of the bar. At the start of the B section the phrases are more predictable in length, being four bars long, but again not necessarily in a question-and-answer format. The start of the final section of the piece commences on the second beat, this being the second them that was presented in the A section. The ends of all three sections contain phrases that exceed four bars, for example the final phrase of the A section is 6.5 bars long.
Tempo, time signature and rhythmic patterns – the copy that I have has a metronome marking of 92 crotchet beats per minute. This suggested speed is appropriate however some players may find this a little difficult to attain, or if they do, it is at the expense of clarity and precision in the semiquaver patterns. As is always the case, the player must use the metronome in the learning process so that the rhythmic patterns are played correctly as there is a danger that the quaver patterns could be played too quickly in comparison with the semiquaver patterns. It is interesting to note that this piece is in duple time and not quadruple time. There are occasions where the piece feels as if it could be in quadruple time, as if some of the bar lines have been removed. The player must be very careful in observing all the rests, these add to the interest and drama in the piece.
From Alamy.com
Touch/Articulation – often an intense and energetic touch is required when playing this piece however contrast can be achieved by becoming more cantabile on occasion. The two-note slurs should be played as usual with a gentle emphasis on the first note of the two. A cantabile touch can be employed in the RH in bars 21, 25 and so on as a contrast to the first part of the phrase. Beethoven uses the word dolce at the beginning of bar 61, possibly Beethoven is requiring of the player a cantabile touch in conjunction with the quieter dynamics. There is so much to be observed in this piece articulation-wise, two-note slurs, three-note slurs, longer slurs, detached markings and stronger staccato marks, some of which are combined with slurs. It would be extremely advisable for the player to practice this piece for the most part at a slower tempo so that these markings, along with other details, can be fully observed. In addition to this, the player must consider how the application of these articulation marks affect the character of the music and how they combine with the touch and the dynamic changes too. As with the dynamics, the stronger staccato marks should be played within the context of the Classical period. In one account it suggests that the semiquavers could be played detached; this may not be achievable for most players.
Balance between the hands – for the most part, this piece requires RH balance. Nevertheless, there are instances where the hands are in ‘conversation’ with each other where they are of equal importance. And, even where the balance is to the RH, the LH often has an important role to play, be it dynamically or melodically. There are occasions where the LH moves in tandem with the RH such as in bar 3. The hands are more equally balanced in bars 21 and 25.
Dynamics – as discussed before, this is another aspect that can be employed when providing contrasts in this piece. The sudden changes in dynamics are present right at the start with bars 1 and 2 being at a forte level and bars 3 and 4 at a piano level. Control in the dynamics applied is crucial when playing this piece. When playing this piece, the player must be aware the dynamic levels they are going to use and how each phrase’s dynamics correlate to overall dynamic scheme. As is always the case, the player must be aware that this piece is from the Classical period, therefore the dynamics used not be too loud or harsh.
Rubato – a few hesitations in appropriate places is advisable when playing this piece however it would be wise to not use too much rubato. A small slowing in bar 18 is suitable for example. It would be sensible to not slow in the final bars considering that Beethoven has written crotchet rests in both hands, to a certain extent he has written in the rubato himself.
Ornaments – the acciaccaturas should be played on the beat, as quickly as possible. These ornaments provide a delicacy to the music when played. It is a good idea to consider whey Beethoven has used this ornament and how it affects the character of the music. There is a danger that these ornaments could be significantly louder than the music around them, relaxation and providing enough space for the movement of the arm, hand and elbow are the keys to the successful playing of these.
Considerations when playing this piece –
· The LH notes at the beginning of bars 36 and 38 require careful playing to avoid an abrupt sound when lifting off. The lift from these notes should be achieved from the keybed and with the finger in contact with the key as it is lifted.
· Some players may note be sure about what to do with the LH in bars 40 and 41, it would be best to leave the LH suspended above the keys at that point, gradually moving up the keyboard to be ready for the chord in bar 42.
· Any single line melody must have direction and energy; the dynamic scheme at these points- is of vital importance.
· The cross-beat slurs, for example in bar 21 provide interest and variation.
· There are many repeated notes in this piece, and these require careful consideration as to how they are played.
· There is a feeling of expectation provided by the rests in bars 22 and 26.
· Notice the resolution in bar 4, the player must be careful in released the LH at the correct time.
· The second section contains some very inventive melodic development. The interplay between the hands in bars 34 to 39 is very effective, for example.
· The highest notes of a melodic pattern should not necessarily be played the loudest. Often the player should ‘reach’ for these notes with the finger, often no. 5, prepared to play. This will ensure that there is no unwanted emphasis on this note.
· Beethoven could have used a two-note slur on such patterns in the RH in bars 9 and 10.
· The range that Beethoven is using here feels as if it is pushing boundaries for the time.
· Any single melodic line must have direction and energy as there is a danger that these parts could become boring and ‘stuck in the mud’.
· Use of the metronome is vital whilst learning this piece as well as maintaining the appropriate speed once it has become familiar.
www.mytutor.co.uk/answers/14214/GCSE/Music/What-is-the-difference-between-binary-form-and-rounded-binary-form