Piano Forum

as far as i'm concerned, it's not a 'new' way at all even from beethoven's perspective.  beethoven crossed over between classical and romantic - and although the sonata dedicated to haydn is in a classical context - it is clearly a teaching piece and beethoven HIMSELF chooses to start from the lower note as he is teaching his students in the first measures!  he could have written it :  E - FE FE  FE - D  G.   so...what better idea to get than from the master himself.  remember, he wasn't seeking to be like everyone else and was probably teaching haydn a thing or two.  'hey, master - look at this - i can also trill from the bottom note.' 

and, i stick to my guns about giving away secrets.  try it both ways - tell me which way sounds the best!  that's the ultimate. some like a lot of ornamentation.  i like simple ornamentation.  the baroque era over did it.  the classical era toned it down and made it part of the melody.  and the romantic era just incorporated it longer term - into the phrase.

measures 56, 58, 59 make it MUCH easier to trill from the bottom note (fast triplet) for a beginner student.  also, beethoven himself WRITES IN THE TURNS at measure 45.  some OVERDO everything and add a turn to a turn.  make it simple is my motto.  and in measure 78 - we know that in beethoven's time and after - they could choose to make this appogiatura on the beat (making this all 16th notes and played DCBC.  much of mozart's music is played this way, too!  for older students - they could trill longer - but the younger ones can keep it simple!  this seems to be the ONLY marking that makes trills start from the top (a written in appogiatura).

ps another give-away that this is a teaching piece is that beethoven writes in the ENDING for the trill in measure 21 so that the student can figure out what to do in between.  i have an idea (could be wrong - but it's what i would do when teaching this piece) - that to teach students about DOUBLE NOTE trilling in measure 23 - he simply told them to match the bottom note in measure 21 and play the B (treble) with the F (bass) the C with the G, the B A B as a TRIPLET that co-existed with the D and G in the bass - thus being perfectly set up to play the little ending with thirty-second notes that are slow enough to lead into the C as to hear them clearly and for a beginner to play them well.  when they learned that - they could move to two note trilling making the BC play with F, and so forth.  still from the bottom in my book and ending with a triplet paired against duple on the last two sixteenth beats (again - making the double trilling easier on measure 23).

you may feel that the ending indicated how fast the whole trill was to go.  in that case it could be played all 32nd notes but would be MUCH harder to double trill at measure 23.  this is just my interpretation.  suppose that it is all in the beholder's ear.  i don't like to hear the C given away.  but, as one gets used to what one likes to do - there's no saying that it has to be from the bottom note.  it's just easier to teach that way because the speed of the piece is 'allegro con brio.'  when student would reach measures 56, 58, 59 - they would be hard pressed to get all the notes in with slight arpeggios too.