Posts tagged Ludwig van Beethoven
BEETHOVEN | Piano Concerto No. 2 in B-flat Major, Op. 19: III. mm. 41–48
 
Piano fingerings for Piano Concerto No. 2 in B-flat Major by Ludwig van Beethoven

“This unorthodox fingering is no more difficult to master than more traditional fingerings, but it also has the advantage of making Beethoven's original articulations come out clearly and effortlessly.”

Submitted by Noah Sonderling with thanks to Elisabeth Wright

Published on 10/4/2020

 
Piano ConcertoMichael ClarkLudwig van Beethoven, Piano Concerto No. 2 in B-flat Major (Op. 19), Noah Sonderling, fingering only, clear articulationComment
BEETHOVEN | Sonata in E-flat Major, Op. 27, No. 1: IV. mm. 49–51
 
Piano fingerings for Piano Sonata in E-flat Major, Op. 27, No. 1, by Ludwig van Beethoven

“The left hand is positioned above the right in mm. 50–51. Taking the G in the right hand in m. 52 eliminates an awkward jump in the left hand and allows the left hand the opportunity to get below the right hand for the rest of the passage.”

Submitted by Michael Clark

Published on 1/1/2020

 
Solo PianoMichael ClarkLudwig van Beethoven, Michael Clark, avoid crowding, redistribution, Piano Sonata in E-flat Major (Op. 27/1)
BEETHOVEN | Sonata in E-flat Major, Op. 27, No. 1: IV. mm. 217–20
 
Piano fingerings for Piano Sonata in E-flat Major, Op. 27, No. 1, by Ludwig van Beethoven

“The left hand is positioned above the right in the beginning of m. 218. Taking the B-natural in the right hand eliminates an awkward jump in the left hand and allows the left hand the opportunity to get below the right hand for the rest of the passage.”

Submitted by Michael Clark

Published on 1/1/2020

 
Solo PianoMichael ClarkLudwig van Beethoven, Michael Clark, avoid crowding, redistribution, Piano Sonata in E-flat Major (Op. 27/1)
BEETHOVEN | Sonata in D Minor, Op. 31, No. 2: I. mm. 29–38
 

RH in red, LH in blue

Piano fingerings for Piano Sonata in D Minor (“Tempest”), Op. 31, No. 2, by Ludwig van Beethoven

“When the bass is a whole note, hold the pedal for four beats so the bass sustains while the left hand crosses over the right. This redistribution feels more secure to me than the awkward leap involved in trading the triplets between the hands.”

Submitted by Michael Clark with thanks to Robert Roux

Published on 4/18/2020

 
Solo PianoMichael ClarkLudwig van Beethoven, Michael Clark, hand crossing, redistribution, Piano Sonata in D Minor (Op. 31/2)Comment
BEETHOVEN | Sonata in D Minor, Op. 31, No. 2: I. mm. 119–20
 
Piano fingerings for Sonata in D Minor, Op. 31, No. 2, ("Tempest") by Ludwig van Beethoven

“The leap down to the B-flat is treacherous, and it can be difficult to play it with satisfactory power. Taking it in the right hand eliminates the leap and assures a strong delivery.”

Submitted by Michael Clark with thanks to Robert Roux

Published on 4/18/2020

 
Solo PianoMichael ClarkLudwig van Beethoven, Michael Clark, facilitate leap, hand crossing, wide accompaniment pattern, redistribution, Piano Sonata in D Minor (Op. 31/2), maximize powerComment
BEETHOVEN | Sonata in D Minor, Op. 31, No. 2: II. mm. 19–21
 
Piano fingerings for Sonata in D Minor, Op. 31, No. 2, ("Tempest") by Ludwig van Beethoven

“Transferring the E-flat and G-flat silently into the left hand frees the right hand for a more melodic performance of the turn with stronger fingers.”

Submitted by Michael Clark

Published on 4/18/2020

 
Solo PianoMichael ClarkLudwig van Beethoven, Michael Clark, Silent hand transfer, facilitate ornament, isolate melody, redistribution, Piano Sonata in D Minor (Op. 31/2), facilitate clearer pedaling, use stronger fingersComment