The usual question...

Well, this also demonstrates Beethoven's extreme modernity and that music, when it is truly beautiful, is beautiful no matter how it is played.

When one says... inspiration

I am glad that you liked it too

i find the way it treats the second theme exciting.

Returning to Moonlight, I would like to dedicate a 'dear' thought to L Rellstab. Without irony.
It is true that "as adults" heavy-handed poetic images appear silly (not stupid, but precisely in the - Tuscan - sense of 'lacking flavor').

I read in Andras Schiff's wonderful book on Beethoven's sonatas regarding the most famous first movement:

«Regarding musical interpretation, it should be stated as clearly as possible that the first movement should be played 'alla breve' and without mute, i.e., with the right pedal! In this way, an otherworldly character is produced, far from certain lunar brightness (...) In conclusion, to defend oneself against misplaced poetic flights, it might be useful to think more of a Bach prelude than of a Liszt fantasy inspired by nature» (p. 62).

Ideas that I share.

But when I listened to it for the first time, at thirteen years old, I had already only listened to Beethoven's Fifth and Sixth symphonies (in middle school music class). And I remember that I was crazily curious after reading (by chance) a listening guide in a middle school textbook (not the one we used). A text where they spoke of the most famous work of piano literature, of lunar brightness, of Ludwig Rellstab, etc.. And I was extremely curious to hear how that composer, who I had liked so much in the two symphonies I had heard, had managed to create music with a lunar brightness. It seems to me that about ten days of curiosity passed before I had the time to go and get myself... a record.

In those days I had also thought about "lunar" notes, then when I heard Beethoven's, I immediately told myself they were much better.

I loved it immensely from the very start.

This coming Monday, if all goes well, accompanied by my daughters, I will listen to it in a concert at the Auditorium Gaber (the underground floor of the Pirelli skyscraper) by the very young Martina Consonni. Together with Chopin's Ballade op. 23 and Nocturne op. 27 no. 1.

And so be it! . . . Moonlight. It is always an enchantment.

Then you look back and you can even do without moonlight. However . . .

But... it is true that if we did not know this Sonata by this "romantic" name, Moonlight, many people today would probably be unaware of it.

That is the point!

So, did Rellstab do good to this Sonata - and to Beethoven in general - or did he damage it?

The answer is obvious! And therefore, thank you Rellstab!

Philology has nothing to do with it here, as we are talking about transcription, which was done, is done, and can be done for any work

It seems to me that this Beethoven sonata is very well suited to be performed in different styles. But is the guitar a 7-string? I had never seen it before.

Gerardo wrote:

Philology has nothing to do with it here, as we are talking about transcription, which was done, is done, and can be done for any work

In fact, that's how it is