Pathetique sonata

[proustlydemon]

I wanted to try to get as much information on the Beethoven Pathetique sonata as I could before I started working on it.   Any advise?  Any old posts on the forum?  Anyone aware of any books or essays that discuss the technical difficulties of the work? Any suggestions for a preparative piece (the sonata is above, right now, the technical level that I'm at)

All help is appreciated
Chris

[Ludwig Van Rachabji]

Welcome to the forum!

All right, first of all, interpretation is very important. Make sure, during the Allegro di molto e con brio passage(s), that you keep the left hand tremelos very quiet and the right hand clean and staccato. This will take a lot of practice to get a good balance between the two hands. Next, in the Sub-Theme, make sure that your ornaments are very clean. When you reach the Closing Theme, start quietly and build up to the section with the runs (before the repeat), with a crescendo. When the Grave theme returns, try to make the transition into the Development section somewhat mysterious, and of course, expressively. The return of the Grave theme in the Development should be much different from the original occurence of the theme. The melody (and the left hand) should be played staccato, and make sure you observe the contrast between the Forte on the first note and the Piano on the rest. Make sure that your R.H. tremelos are clean and quiet, since the theme is now played with the left hand. There is nothing in the rest of the movement that should be any different from anything I've said. Remember, it's all about keeping it clean while interpreting it correctly. The second movement is not as difficult. Just make sure you play it with expression, and pay close attention to detail. The Rondo should not give you too much trouble either, at least after you have finished the first movement, which is, by far, the most difficult.

You say it is above your technical level. If so, you may wish to reconsider playing this piece. In any piece, it is not ALL about hitting the right notes. Musical difficulty is sometimes much harder than technical difficulty. I assume you have talked to your teacher. I am sure he/she will give you more help than anybody else can.

Good luck!

[abe]

For some reason I found the last movement a bit more difficult than the first. Maybe I was just more of a perfectionist whilst I was working on the last movement than when working on the first. Definately agree with Ludwig about interpretation. This sonata, though overplayed as some would deem it, can sound fresh and exciting every time if played correctly. Good luck!

[Bassman]

Ironically, I just finished this piece!   It was alot of fun.  I think that the 2nd move.  was the hardest!  The Adagio Cantable!  To get the exact feel required for the thumb and first finger, is so difficult.   You must keep it as quiet as possible.  In order to get this smooth feel that will make you sound well beyond your actual level of ability is this:

     Visualize the fill in part or the pp part played through out the piece as a long string.  You have to slowly and smoothly pull it out.  THINK about that while you are playing the fill in part.  I promise if you play it for someone they will say that you are extremely talented and well beyond your years in experience.

-Good Luck

[rachmaninoff_969]

I agree with what has been said, but would like to add something that I feel is integral to the entire piece.  This is the first of Beethoven's sonatas to use an introduction...(reminiscent of the French overture, extensively used by Lully).  Note that the tradition was to end the overture or introduction on tonic harmony.  Beethoven ends this on dominant harmony (you can argue as to what the exact chord is, but it is most certainly dominant or dominant substitute).  This creates a sense of massive intensity, make use of it.  I think it is important to be conscious of these small details when playing the piece, otherwise they never come out right.  Finally, just make note that the introduction comes back later in the movement...this is very unexpected!  Well maybe not today when one has heard the piece several times, but you can make something out of it.  Keep in mind that each time the grave returns it has been further transformed by the intervening material.  This is about the musical experience of the grave section.  Just allow it to flow from the "transitional...reshaping" material.  I hope this is clear.  Good luck with the piece and enjoy, it is a beautiful experience.