Piano Sonata Op.106, "Hammerklavier" (L.Beethoven)

A transcription of Beethoven's 29th piano sonata (Op.106) in Lilypond format.

Feel free to open an issue if you have suggestions for improvements.

Mvmt. I:

• Input all notes
• Check correctness
• Dynamics and other events
• Fix/check all todos
• Layout optimization

Mvmt. II:

• Input all notes
• Check correctness
• Dynamics and other events
• Fix/check all todos
• Layout optimization

Mvmt. III:

• Input all notes
• Check correctness
• Dynamics and other events
• Fix/check all todos
• Layout optimization

Mvmt. IV:

• Input all notes
• Check correctness
• Dynamics and other events
• Fix/check all todos
• Layout optimization

Introduction

The Hammerklavier sonata is Beethoven's longest and most uniquely challenging work for both the performer and the interpreter. It was first published in Vienna and subsequently London, but no autographs have ever been found aside from a few corrections penned by Beethoven.

The first edition of the Op.106 was advertised in the Wiener Zeitung on September 15, 1819, by Viennese publisher Artaria, and carried the title Grosse Sonate für das Hammer-Klavier in line with Beethoven's request—here reproduced in the more modern spelling without hyphens. This was in fact the second work to be given that title (the first being Op.101), but today it is only used to refer to the Op.106.

Since no autographs are available, the primary source material for this engraving is the first edition published by Artaria in 1819.

Notes

u = upper staff; l = lower staff; M = measure(s)

The Hammerklavier is the only sonata for which Beethoven included explicit tempo markings (for I, III and IV), but they are widely considered to be unreasonably fast. For example, while the first movement is set to 138 to the half-note, it is generally performed at around 90–110.

1st movement

• Stretches of a tenth occur in M 16, 76-79, 165, 167, 313-316.
• 16 u: The first chord, which stretches a tenth, appears as an arpeggio in some editions.
• 265 l: The beams have been grouped as per M 27. (Groups of two, rather than groups of four.)

2nd movement

• todo: note about beethoven's use of slurs 2-2 rather than 4
• 37 u: The second c is not present in the first edition, but present in analogous passages and added in later editions. TODO: london?

3rd movement

• Stretches of a tenth occur in M 22–23, 90, 169-170, 183-186.
• 39 u: Slur on lower voice not present in the first edition.
• 41 l: The ais is neutral in first edition; Henle notes that the London first edition has a sharp here.
• 42 u: The third d in the lower voice is tied to the next note in the first edition. Henle notes this is probably an engraving error.
• 49, 51 u: Slurs not present as per original edition despite analogous lines in M 45, 47.
• 52 u: The p as per the London first edition.
• 103 l: First edition prints a tied 16 and 8. This should be 16 and 16. Many later editions print octaves here, but they are not present in the original.
• 137 u: Moved the top voice ais to the same voice as the lower ais, as per M 52.

4th movement

• Several of the opening measures are much longer than their prescribed 4/4 time and are to be played with liberal tempo.
• 43 u: the e is neutral as per London first edition.
• 45 l: Henle notes that the final es should possibly be an e.
• 52 l: Sforzante as per London first edition; Altaria has fortissimo here.
• 369 u: the only time we see 32nd notes instead of grace notes ending a trill.

Copyright

© 2016-2017, Michiel Sikma michiel@sikma.org

Licensed under CC BY-SA 4.0.

Original work by L.Beethoven, published in 1819—copyright expired.