Beethoven’s “Für Elise” (or Bagatelle in A minor WoO 59) is certainly one of the most well-known piano pieces of all time. The graceful, meandering simplicity of this slightly melancholy music makes it a favorite with the public. The piece was composed in Beethoven’s middle period, around 1810. However, it was not published until 1865, several decades after the composer’s death, by the Beethoven scholar Ludwig Nohl.
The title, meaning “To Elise”, has puzzled Beethoven researchers. There is no record of any woman named Elise in Beethoven’s life, and the fact that the original autograph manuscript is missing has fueled speculation. One of the most established theories, suggested by Max Unger, is that Nohl misread the dedication, and that Beethoven intended to name the piece “Für Therese”. Around 1810, Beethoven was in love with a woman called Therese Malfatti, and even proposed to her, but was rejected. The other main theory is that Elise might have been a nickname for the opera singer Elisabeth Röckel, Beethoven’s close friend, who later married the composer Johann Nepomuk Hummel.
Practice & Performance Tips:
Because of its great popularity, Für Elise is perhaps played and taught more than any other piano piece. For many piano beginners, its an important goal to be able to play at least the first section. And the first 22 measures are certainly playable even for someone with quite limited skills. To be able to perform the complete work, one should have acquired a more solid... Sign up for a Gold membership to read the practice tips.
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Hi this is my first post here at this site I am a self taught pianist I had no music teacher or music lessons (except some videos no youtube).There is no one here in my country that teaches piano or music so I had to learn everything by myself, which made me worried about my way of learning piano and the way I play. also there is no one I know who knows about music so that I can ask him/her about my performance,my family and friends says that I play well but they are not musicians. So this site is my only way to know whether I am good or bad at this. also I must say that I am practicing piano for a year and a half and the pieces I learned so far :
Chopin - prelude in e minor Bach - Prelude in C major Beethoven - Fur Elise Chopin - Nocturne op.9 no.2 Beethoven - Moonlight sonata 1st movement
other thing I'd like to say is that I don't learn by sheet music or by ear.. I only need to know the sequence of the notes and hear some record multiple times.. eventually I learn to play it. please give me your honest opinion regarding my record of Fur Elise any advice will be appreciated. on a scale of one (very bad) to 10(perfect) how good do you think it is note: I am playing using a keyboard (Casio WK-6600) Thank you.
I was playing Fur Elise at my lesson, and on the main theme(Is that what its called?) of E-Eb-E-Eb-E-B-D-C-A, for the "E-Eb" part, the sheet music(and my teacher) says use 5-4-5-4-5, but I prefer to use 4-3-4-3-4.
Personally I find playing the piece far easier with 3-4 as opposed to 5-4.
I marked what confused me. Isn't that the repeat sign? If so, why is it there twice? I don't see one at the beginning of the piece. Also, what do the 1 and 2 above the marked in red mean?
Does that mean the first part is in the C key? If so, how do you play it? in the G key it goes F g A b C D E, so how does it go in the C key? Also, after the 2 first 2 right hand notes the first meassure is closed, does that mean we're back in the G key?
Would someone please note down which notes are the first of the left and right hand movements? This is what I'm reading:
B B right hand first meassure Nothing left hand meassure
B C B C right hand second measure GBE x 12 left GB#E x 4 hand second meassure
I had no time to ask my teacher because he gave me the Chopin piece right before the lesson ended and another student came in. We did go through most of the piece though.
Just learned to play this last week so this is when I still have some more work to do on it. Still have some problems to get the middle part to be perfect but it's going forward and will put up one more later this year.
This slow motion short movie will help you to play Fur Elise, even if you're not a good reader or reader at all! All sections are divided and detailed in slow motion. No blabbing. Straightforward to the point:
That made me a little angry too...music is all about paying attention to even the tiniest details, and yet she missed a rather huge one...
The accompanying blurb asks
"Does Lisitsa play from a hitherto unknown manuscript, with a time signature change in that bar, or are the missing notes part of a PR trick or ironic joke? Did she learn the piece from [one Ozie Cargile] or any other of the hordes of incorrect YouTube "tutorials"? Perhaps more likely, we are listening to the result of a misreading from childhood left unaddressed".
Well, if the last of these is the case (and each of the remainder seem at least as unlikely as each of the others as to be unworthy of serious consideration), then she'd be in the good company of Shura Cherkassky, no less, who admitted in an interview quite late in life that, when preparing Beethoven's Op. 101 sonata for performance that season, he discovered for the first time that he'd been misreading something ever since he'd first set fingers on the piece at least 60 years earlier...
The blurb continues
"As a matter of fact, Lisitsa has had a performance of Für Elise up on YouTube since 2009 (also skipping that beat), attracting a whopping number of 2.7 million views and receiving over 3,300 YT-comments. Considering her presence on YouTube, Facebook and Twitter, one would have wished that at least somebody of her fans could have helpfully pointed her mistake out, so that she could play the piece correctly on her Decca debut.
This may say more about the nature and substance of social media than about anything else".
Or maybe it just tells people that all of those listeners must, like some people here, be "in love with her" and so would not have been so discourteous and ungallant as to mention it.
It goes on
"But there are also several professional reviews of the new album out there already, talking among other things about “admirable lightness of touch and appreciation of rhythmic flow to her Für Elise”. Nobody mentions that the bar 14 reading is by far the most unique[sic - a thing is either unique or it isn't; "uniqueness" is not a comparative] feature of this recording. What does that mean? Does[sic] music journalists take the time to really listen to [or to split their infinitives over?] the albums they review? Or is it a "The Emperor’s New Clothes" syndrome?"
I neither know nor care, frankly, but I daresay that there are a few here who'd rather Ms Lisitsa dispensed with clothes altogether, be they the Emperor's or anyone else's and be they new or old, but that's another matter altogether.
It goes on
"Have we already heard so many incorrect versions that we are all immune? Or is this passage in its correct form such a tremendous metric somersault of Beethovenian wizardry that nobody is supposed to know where the downbeats are anyway?"
Mon Dieu! What kind of question is that? We're not talking Elliott Carter's metric modulation processes or Brian Ferneyhough's nested tuplets here, are we?...
The blurb then tells us all
"How to get it right"
Not content with that, however, it goes on to inform us that
"On a side note[it doesn't tell us which side or which note], in one of his several versions[,] Richard Clayderman skips the entire bar 14! This seems however like a deliberate artistic decision to get the structure to fit his re-arrangement of the time signature in the whole piece from 3/8 into 12/16". Preferring as I do not to be drawn into the question of whether or to what extent M. Pagès might be capable of "artistic decisions", it seems to me more like a good idea in the making but which didn't quite see itself to the full fruition that it arguably might have done had he cut the entire piece...
In conclusion, the writer opines that
"Since listening to recordings do have impact on the learning process, not least for less experienced players, Clayderman’s 1.1 million and Lisitsa’s 2.6 million Für Elise views on YouTube (not to mention all the incorrect "tutorials") may indeed inspire many to play piano but can also cause confusion".
I'd question the extent if any to which the former is likely but the latter is such a statement of the b*e*d**g obvious that it hardly needs saying.
If only Richard Clayderman were in love with Valentina Lisitsa, we could perhaps all move on and leave them both to Dis-Ere one another and make whoopee with their missing semiquavers...
Looking for pedaling suggestions for my student for Fur Elise. I have two copies, one with pedaling marked, one without. I know how I play it, but I think I often use the pedal too much for this style of music so looking for objective advice. Thanks.
I am 14 and i started piano classes for 5 months. I started with pieces lower than grade one, but then i suddenly started feeling much more conformable, so my teacher gave me pieces that were harder. Like Bach's 1st invention. Now my new piece is fur elise. Do you think that I am ready to play it? I will be doing the grade 4 exam in november. I also have no problem in memorizing, so i dont mind the piece being long.
I worked out the staves to be DFACE for the Treble and FACEG for the Clef... surely that's not right? It's moved by 5 notes!
I really want to learn this song until it sounds exactly right, I've been practicing it for a week (starting from almost no experience lol) I have the sheet music for it, I can read it just fine (ie. super slowly lol), but what the? why are my staves all muddled???
While I'm at it, what's a "32nd note C major"? I'm guessing "32nd note" refers to the timing/tempo?
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