Trill question - Beethoven Op. 49 No. 2

[sleepingcats]

In measures 4 and 8 (and others like it in the rest of the piece), is the trill supposed to start on the C (main note) or the D above?

I've read that for Beethoven the trills start on the note above the main note; however, in 2 recordings I've heard (one on my Yamaha digital and one of a Richard Goode sample on Amazon), they both start on the main note, the C.

Is there an exception to the "rule" or is it up to the performer in certain cases?

Thanks in advance!

[quantum]

In most Beethoven (especially early works) yes the trill does start on the upper note.  I just checked my edition (Peters - Arrau) and there is no suggestion with fingering. 

Editions may suggest the trill starting note by the order of fingering (check yours):
RH 23 means start with the main note
RH 32 means start with the upper note

Schirmer suggests starting with the main note. 

A case can be made that because the previous note D is the same as the auxiliary note of the trill that immediately follows, one may start on the main note. 

Let's wait for some more replies

[TheHammer]

Yeah, Beethoven lived in a transitional period concerning trills - between starting with the upper note and the new way of starting with the main note. So, nowadays people normally do not come to a real conclusion on how it should be played (that is, concerning Beethoven's complete oeuvre), most often it is up to the performer and his ear. So my first advice is: test both trills, then decide which sounds better, take this one. For me, it would be the trill with the main note beginning, for the same reason quantum suggested: there is just no point in playing the D again, the special character of the appogiatura (the D when starting with it) has been anticipated by the melody-D.

There is further proof. See in measure 2 the LH, it goes B-A-G. That is the same melodic idea as in measure 4 RH (D-C-B) so you probably do not want to alienate this melody in the exposition (which you would do in starting on the C. It would make the impression of a repeated note and would only make sense if the C was kind of the end of the melody line, so that the appogiatura is justified). Anyway, these are just my thoughts, and you are right that this is an early Beethoven sonata and normally you would start the trill above...I say it again, it is up to you.

By the way, have you noticed that there are nearly no dynamic and articulation markings in the original edition? Especially compared to the op.49/2? this may be pure coincidence, but perhaps you can derive that Beethoven gives you a bit more freedom (seeing that this Sonata is quite straight-forward, so you don't have to search for something under the surface...). Or in other words, don't heed the edition you are having, just come up with your own interpration, there is no word delivered on how Beethoven wanted this to be played.

So, listen to your ear...

[allchopin]

Like quantum said, I would begin with the main note because the previous note was the upper note of the trill.  Repeating this note doesn't make much sense in the idea of a trill (to create dissonance).

[sleepingcats]

Thanks to all for your replies. I have the Dover (Schenker) edition. It shows the trill starting with the 2nd finger but that's it. It does sound better starting on the main note, but my teacher taught me to start it on the upper note. I didn't question it until I first heard the recording in my digital piano. I'll have to go with the majority!