Beethoven sonata 1

[orbulation]

Im about to go into RCM 10, and my teacher has given me Beethoven’s sonata no 1 in f minor(I’m doing the Stuttgard version) and I want to ask for tips on playing it. I mainly want to know about dynamic control and stability in the left hand, but any tips are appreciated!

[lelle]

Which is the Stuttgard (Stuttgart?) version? Can you post a link to a score or explain how it differs from the normal version?

[orbulation]

https://s9.imslp.org/files/imglnks/usimg/d/d1/IMSLP90564-PMLP01446-Beethoven,_Lv,_Piano_Sonata_No.1,_Op.2_No.1,_Moscheles.pdf I misspelt it it’s stuttgart.

[droprenstein]

Are you playing all four movements, or just the first? I looked at the score, played through it a few times, enough to get the idea of the entire piece, and the 4th movement is your biggest concern if you're playing all of it. Here are a few ideas:
Spend some time practicing completely staccato. This is a tip I picked up from a peer for general improvement of any piece, and it works extremely well to perfect your mobility and control in one stroke. Josh Wright explains this concept very well.
The first movement looks a bit intimidating, but it largely consists of scales, not much to think about. If you know your basic theory, the impressive sounding passages should come naturally.
Focus on perfecting rhythm. I noticed that this piece can be a bit rhythmically confusing, from the strange nature of the opening movement to the 2 against 3 in the finale. So count like your life depends on it, because it does. Or, at least, your progression into RCM 10(impressive, by the way! A lot of people quit before they get anywhere near RCM 10).
We would benefit from you recording what you have and posting it here. It's hard to give tips without a video, or at least a recording.

[brogers70]

Another rhythmic issue is the second movement - there's along passage of 2 or 4 against an accompaniment in 3 (actually 4 or 8 against 6). There are lots of ornaments in the melody and you have to be careful not to assimilate the duple rhythm of the ornaments to the triple rhythm of the accompaniment. It's a beautiful passage, but for me anyway, it took a long time to keep the rhythms of the two hands clear and distinct.