Page 7 - NW-UM0017-Fantasia-Sonata-unv12

Beethoven now composes a new theme which will be an important factor in the further course of the composition. This
gentle theme I consciously supplemented with a calm left hand in eighth notes. From this point I had to add the left hand,
almost entirely, and I also added the counterpoint from bars B.698-772/R.701-775. The phrase that follows was
supplemented with octaves in the left hand, given the nature and the fact that the composer leads back to the recapitulation,
B.772-794/R.775-798. The recapitulation was again supplemented with the triplet figures in the left hand. Bar B.812 with
the fermata on the G note was omitted because the previous C sharp major gives a more logical connection to bar
B.813/R.816. Moreover this bar is equal to the place in the exposition and it would be illogical to add bar B.812. Bar B.820
was deleted by the composer, therefore I make a connection from bar B.819 to bar B.821/R.822-823. In the edition I have
provided the bars R.835-841 with octaves because the composition asks for this and because the composer clearly suggests
this in bars B.830-839. Very interesting are bars B.849-857/R.850-858. These are almost the same notes as in the
aforementioned Cello Sonata No.2 in G minor Opus 5 No.2 from bar 352. In the cello sonata Beethoven writes fermata, the
fantasy sonata has a rest for one bar, B.848, but with the same effect, R.849. The next bars are written by Beethoven. A
few additions were necessary, mainly in the counterpoint. From bar B.871/R.872 Beethoven cites bars B.112-118/R.107-
113 of the first movement. In the first movement the composer writes the word "adagio" here, presumably the intention
was to repeat this now in the Presto tempo. This interesting phrase is yet another reason to believe that he intended to
call this composition a fantasy sonate, this syntax is similar to that in the later Sonata No.13 in E flat major Opus 27 No.1.
In the handwriting there is an alternative of the same motif, it is not used. The next chromatic phrase was supplemented
with a left hand where I let the phrase in eighth notes move to the left hand so that the phrase continues, taking into
account Beethoven's intention. From bar B.915/R.919 this is very dramatic in particular. The repetition that Beethoven
indicates here is written in full, R.910-926. The composer writes again a large part on one staff but at bar B.945 he
continues on two staves again and writes this fragment almost completely, R.956. I added the same counterpoint to the
previous bars and also the next bars, R.928-947. Beethoven uses here the previously heard lovely motif from bar
B.686/R.687, however he now does so in the coda that ends in a big forte based on the same theme B.963/R.968). From
bar B.984 I do not use the next bars because they are deleted by Beethoven, I go on at bar B.1012/R.996-997. Also bars
B.1020-1023 were deleted by the composer, as well as the unused bars B.1031-1038. This entire phrase could be merged
into a coherent whole, R.996-1017. The fragment that follows is almost completely written by the composer, I adjusted
19
the tempo, Piu presto agitato. This acceleration is common in the Beethoven coda. The composer picks up the main
theme again after the fermata sign of bar B.1084. Beethoven writes the entire next fragment in the top staff. I use a left
hand accompaniment that consists of an eighth figure that finally turns into the previously applied triplet figure, R.1051-
1076. From B.1132 the composer only writes a few main notes. I respected this empty spot, there is just a single addition
which in turn is based on previously used material from the composer. The quarter note of bar B.1146 was changed into a
half note, with an upper voice and fermata as a quiet haven for the final bars. The next empty bar B.1147 was omitted and
I continue with a pedal point in D in order to establish a better connection to Beethoven's own closing bars, R.1112-1127.

Cees Nieuwenhuizen

19 Piano Sonata No.23 Opus 57, third movement from bar 308 Presto; Missa Solemnis Opus 123 in the Gloria from bar 525 Presto;
Der Glorreiche Augenblick Opus 136, sixth movement ‟Es treten hervor…” from bar 120 Presto

IV