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BeethovenOpus 106, 1st movement complicated trills
#2708274 01/25/18 01:34 AM
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Reading through Beethovens Opus 106 and does anyone have the written our notes and suggested fingering for the complicated trills on page 6, 18 and 19 of the first movement? My editions does not have the measures numbered so i am estimating but its is obvious to any pianist what I am requesting. My email is urourogyn@yahoo.com and serge1127@#yahoo.com. Thank you very much.


Serge P. Marinkovic, MD

Re: BeethovenOpus 106, 1st movement complicated trills
Serge Marinkovic #2708278 01/25/18 01:45 AM
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Hello, I'm working on op.106 right now. Can you describe better which passages you mean? With all due respect, pages numbers is not a way to communicate about music.

Page 6 sounds like it could be the closing theme of the exposition, in which case, it's like any late Beethoven 'long trill,' where it is a 1-2 trill when the melody is above, and probably 3-5 when it is below.

18 and 19 is probably in the fugue. The trill is part of the principle theme, so you will definitely have to be more specific.


Michael

"Genius is nothing more than an extraordinary capacity for patience."
Leonardo da Vinci
Re: BeethovenOpus 106, 1st movement complicated trills
Serge Marinkovic #2708280 01/25/18 01:57 AM
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Using Cooper's edition of the Beethoven Piano Sonatas they are the following measures

106-111, 338-343, 366-372

Thank you for any assistance you can provide.


Serge P. Marinkovic, MD

Re: BeethovenOpus 106, 1st movement complicated trills
Serge Marinkovic #2708381 01/25/18 12:39 PM
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The editions of Von Bülow and Schnabel on IMSLP write out solutions to the trills.


WhoDwaldi
Howard (by Kawai) 5' 10"
Re: BeethovenOpus 106, 1st movement complicated trills
Serge Marinkovic #2708429 01/25/18 03:23 PM
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106-111: The trill starts on as a 2-3, then continues as a 1-2. On 111, it's 3-5.

338-342: The trill is 2-3. On 343, it's 1-2. The octave strikes can be played alone on the attack, the trill can follow. Meaning, you don't need to ever play 3 notes at once (B flat + octave.) This is especially important on the G's (mm.339, 341,) and the B-flat octave in m.340. Immediately after the strike, I jump down to a 2-3 trill. It's ok if there are gaps in the melody; and, this passage doesn't need a lot of pedal to sing, because those high notes do not have dampers, therefore holding them with your 5th finger is a waste of tension. A fast strike makes them bell-like, and a perfectly delightful closing theme at that.

366-371: A very tricky passage, mostly to keep the dynamic down, for the cresc. to be meaningful. I keep the trills at 2-1 all the way through. RH is 2-1, not 1-2, even in 368. It's ok to abandon the trill right on the downbeat to leap up to the B-flat in the melody. This 2-5 stretch is musical, because it gives the melody that bell-like quality, by being picked at from below - a kind of earth and sky effect. You are not 'cheating' by not holding onto the melody - on the contrary, I think the texture affords it - and you can use pedal. After all, this is the measure with the cresc.

As for the LH - also difficult. I keep it 2-1 all the way. If you LH is sluggish and tight in the 3-4-5 range like mine, it is very difficult to be melodic here. It's subtle, but I avoid ever playing two notes at once. Every strike of the moving line is alone (not counting the top line - of course, they are struck together.). In this cloudy texture, and with the speed of the trill, it can be seem seamless. A lot of what goes on on a piano is an illusion.

372: The downbeat is 2-5, but then I immediately switch to a 1-3 trill. I abandon the B-flat in the RH, and keep the pedal down. This is the one and only cadential trill, and it is beautiful when mixed with pedal.


I get so much out of this sonata. Do share any thoughts you have.


Michael

"Genius is nothing more than an extraordinary capacity for patience."
Leonardo da Vinci

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