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MUSICAL MEMORY. |
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the bass first progresses, B flat, C (b. 76, 77), but secondly, B flat, B natural, C (b. 79 to 81). We have now reached the dominant of the original key leading directly back to the Recapitulation. The manner in which Beethoven habitually emphasises this point, and thus intensifies our longing for the return of the original key and first subject, is well-known to every Beethoven student, and the fact that out of a development of 52 bars, 20 are occupied in circling around this dominant, and preparing the mind to welcome with ever increasing eagerness the return of the tonic, shows again how remarkably this early Sonata reveals, in no uncertain manner, a device which we only see fully developed in the greatest works of this composer. Even over this pedal the emotions of the listener are more and more excited by a skilful and subtle method of increasing elaboration.
106. We have now reached the Recapitulation, and, quite apart from the manner in which it differs in general structure from the first portion, we must carefully note the points, in which it may differ, but to the smallest extent, from the earlier version of the corresponding passages. Such, if not carefully compared, are liable to suffer when played from memory. The first difference we detect is in the bass of bars 105 to 108, where the entry, taking place on the accented instead of the unaccented beats of the bar, gives a fresh interest to the passage. After the pause, the re-entry on the chord of F minor instead of C minor must be carefully noted. With the exception of the presentation of the phrases of the Second Subject in different octaves, there is nothing which requires special comment until we reach the descending scale passage in quavers (b. 132). Here, with the exception of the initial note C, which is the same in both occurrences, the first part of these passages is a reproduction of the corresponding passages in the first portion, and they are not transposed throughout like the bass. The manner in which they end should also be noticed. The cadence-figure (b. 140-2) is harmonized somewhat differently from what it was in the first portion, and there is no small initial note on its first two presentations, otherwise it is repeated the same number of times (three), and then extended into a short coda by means of a harmonic sequence.
107. We have concluded our analysis, and some may think it more suited for a composition student than a piano student, yet it is only by looking deeply into such points that they become indelibly fixed in our memory, and we thus obtain a security in memory-playing which would be difficult to obtain by other methods. Quite apart however from any desire to play from memory, it is only by such a careful and critical study of the works of Beethoven that we become impressed with his wonderful greatness, and this, besides creating in us a deeper interest in his works, should make our interpretation of them, if not perhaps worthy, yet as a result of our earnest efforts, to more fully understand him, less unworthy of his unrivalled genius.
108. The Memorizing of Concertos.*—The study of the foregoing analysis will give the student some idea of the methods he may adopt in memorizing most solo piano music, but a few additional words with
* For the contents of this paragraph I am indebted to Miss Bessie F^darb. (See Preface.) |
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