Op. 2 No. 1 Part three

Development section is coming, and we’ll see what Beethoven ends up doing with his two themes:

The fact is, Beethoven uses almost only the second one. Why? Because the first theme is two much with both feet in in its key: it’s not a theme that you can tweak in a way so that it moves around a lot. The second theme, however, is more unstable and mobile, so the development moves around with the second theme jumping around from one hand to another:

At 0.23 you can hear how Beethoven has put huge accents on syncopations, offbeat notes. I actually think it’s a “warning” of what is to come, which is the first theme played with huge accents on the upper notes.

Here is the syncopation, followed by a hunted (or hunting?) feeling, then searching…searching…crescendo and BAM, we’re back with the first theme, but this time it’s very dominant and strong!

The off-beats, I think they should be felt UP and not heavy. As I write in the “On playing op. 2 No. 1”, I think they can be even more “up”.

I give this to students to listen to, to give them a feeling of how an accent should be “up”:

…bring me UP…I just love that.

2 thoughts on “Op. 2 No. 1 Part three

  1. I bet Beethoven would have LOVED that last one!

    Wonderful when you come back to that first theme. I always like when the entity gets bigger than the sum of its parts.

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