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Joined: Oct 2005
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I have a student who is learning Sonata no.15 (Op.28 in D Major).

It's not a piece that I have ever played or taught before although I do know it. My student has the old Associated Board edition with the notes and commentaries by Tovey. It's the same edition I have on my shelf. I know this edition has fallen out of favour recently and has been replaced. Not everyone agrees with some of the things Tovey says.

Anyway, here is my question...

From bar (measure) 135 the theme consists of notes which are tied over the bar line. Tovey suggests that the second note is repeated, like the 'bebung' effect on the clavichord. He gives the fingering 4-3 with the tied note being repeated softly. The trouble is that I don't like it. Also I can't think that I have ever heard it played this way. My student is doing it because that is what it says in the edition (he's a good lad).

What do you think?


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According to Kendall Taylor it comes from Cipriano Potter but is dubious because Beethoven 'invariably gave his fingering 4 3, which is not found here (the manuscript exists).

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Thanks kbk.

That fingering (4-3) is given in this edition but I think I will tell him not to bother. It doesn't really work. It's even less appropriate when the theme is in octaves.


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My student also said that he found a recording by Barenboim on youtube. I did a search but couldn't find it. If anyone can I would appreciate the link. Thanks.


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Hi ChrisH,

Beethoven Sonata Op. 28, Allegro Closing Theme m135 ... no wonder you don’t like the note repeats ... somebody is selling you a pup ... the Closing Theme (m 135) hinges on the upward gallop of the dual LH rhythmic chords plunked on the beat ... creating an alternating duet with the glorious RH tied notes.

If Beethoven intended the alleged Tovey "bebung" effect to chime in the extra RH beat note ... then IMHO the composer would be considered a very dull fellow ... which of course, is nonsense.

Here’s my Schirmer’s Edition (m135 ...) to compare with your own.

Beethoven28-m135...


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