Exploring Individual Voices in Beethoven's Piece

Let us talk about individual voices in this piece. We discussed movement one, emphasizing the strictness of the bass line, the triplets, and the melody.

Main Features of Movement One

In this movement, we have three main features that stand in stark contrast to each other. Here, we're focusing on togetherness and the complexity of a string quartet.

• The composition is written in four voices throughout.
• The very beginning features a three-voice introduction, leading to a four-voice answer question.

Imagining the String Quartet

In envisioning a string quartet, consider the following:

• First Violin
• Second Violin
• Viola
• Cello (paused until later)

From this point onward, we utilize four voices: first and second violins could be imagined in octaves, alongside the viola and cello.

Chamber Music Quality

There are no distinctions between the bass and the middle section, the triplets, and the melodic structure. Here, we are much more 'chamber music-like,' showcasing not just D flat major but also this incredible chamber music quality.

• We will explore the piano's massive range later in the third movement, which follows shortly.

Dynamics and Beethoven's Mark

We start from a piano dynamic, progressing from very soft to very loud, from very low to very high registers. However, here we remain much more constrained. It is essential that we adhere to Beethoven's Allegretto marking and everything present in this Urtext edition.

Legato and Pizzicato

• Bars one and two: Note the legato slurs.
• Following that: very short notes, where one could even imagine a pizzicato by strings.

This has been masterfully repeated by Beethoven with a syncopated variation. Instead of having the melody resolving at expected intervals, it arrives later than anticipated.

Lyrical Phrasing and Crescendo

After this, we find an incredibly lyrical part, leading to an outburst around bar 22.

• This mini crescendo lasts only for practically one bar, then we revert back to piano.

This encapsulates the world of Beethoven, which can be challenging on the piano, you must be incredibly quick and alert, paying careful attention to your fingerings.

Keying Techniques

Avoid using your thumb as much as possible on black key legato passages.

• Imagine your keyboard being really hot: you have to bounce off to achieve a short texture.
• The left hand remains legato while the right hand is separated into two phrases.

Emergence of New Material

Great news about Beethoven: in every two or four bars, especially every phrase, new material emerges, something completely unexpected.

Practice Insights

When practicing this piece, always ask the question, "Why?"

• Why is there a slur in the left hand?
• In the right hand, we have repeating notes, which are less prominent.

As the mini crescendo occurs, you reach a sforzando before transitioning back into piano. The same phrase is then revisited, but there's a new variation emerging each time.

Understanding Beethoven's Humor

Beethoven has an incredible sense of humor; when you expect a resolution, he takes you a step back.

• Strive to be constrained, as this foreshadows both great Impressionist developments and reflects back on the rococo and gallant styles.

This understanding is crucial when you practice and perform this movement.

Enjoy!