Interpretation Problems

Interesting question. The problems you raise are two, and two different ones. I will go in order. The fact that Beethoven in another (previous) version indicates a different articulation is not binding, in my opinion. There is another case, namely the Variations on the theme of the "Eroica" (which are actually prior to the Symphony) where the theme is written in long values, while in the symphony it is played pizzicato: this does not impose (nor authorize, in my view) playing the variations' theme staccato for piano, but it would nonetheless be a choice with some reason, even if I do not approve of it. Beethoven in the Minuetto of op. 49 no. 2 did not write staccato articulation, therefore it is not staccato. But he did not write legato articulation either, therefore it is not even legato. I believe it should be played naturally, i.e., separated but not staccato, and phrasing as the part suggests (that is, with a minuet step).

Great Variations, I haven't played them for years! And I felt like playing the theme staccato and my teacher used to tell me not to do it

She was right...

Some points:

- performance practice carries weight

- how much 18th-century music has precise indications regarding phrasing?

- generally, when composers write for keyboard (Op. 49 is more harpsichordistic... rather than pianistic) they are well aware of how other instruments sound or should sound

- The good Charles Rosen (may he rest in peace) regarding Op. 49 said:

"Op. 49 also belongs to the 18th-century sonatas."

[...]

"Op. 49 No. 2 is less personal (compared to Op. 49 No. 1). It is evident that Beethoven dedicated little effort to it; dynamic markings are almost entirely missing."

It could very well be that, in addition to dynamics, he failed to mark the staccato out of negligence.

I think it is important that the interpretation has its own coherence, and if an interpreter wanted to use a staccato, by virtue of the fact that the identical passage played by an orchestral ensemble is proposed by Beethoven himself with staccato, I would not blame them... as long as this choice is made within an artistic context and not so much for....

While the discussion regarding interpretation continues, I took a tour through my sketchbooks. What you see below is page 106 verso of the Kafka Skizzenbuch (Kafka Miscellanea) kept at the British Museum:

And here is the detail of the theme: Not bad.... Our [composer] copied it from another notebook called "NE 257" of the BH. Where do I find this beautiful copy: Mythical..... Undoubtedly Opus 49 derives from the material of the little booklet, at least in this movement; the first movement is sketched on the same pages 106 verso - recto of the Kafka. The other sketches of the little booklet are in Berlin: Staatsbibliothek zu Berlin Preußischer Kulturbesitz, Musikabteilung mit Mendelssohn-Archiv and at the Jagiellonska library in Krakow. Aside from the fact that they only correspond in the first section of the exposition, did you see what a stroke of genius the elision of the double note in the fourth bar is? Imagine that he will make the same choice by eliding the double note from the sketch of the andante of the Ninth Symphony 20 and more years later! So, staccato? I would avoid a staccato that is too heavy; it has a bassoon effect, a bit like what is sometimes heard in Waldstein..... I don't mind it, but perhaps it isn't quite correct.

Happy Holidays to all!!

OrlandiArmando wrote:

have you seen what a stroke of genius the elision of the double note in the fourth measure is? Do you think he will make the same choice by eliding the double note from the sketch of the Andante of the Ninth Symphony 20 and more years later!

... true

I thank everyone for clearing up my ideas a bit