Trill measure 29 3rd movement "Moonlight" sonata (Beethoven op. 27 no. 2)
Trill in Measure 29 of the 3rd Movement “Moonlight” Sonata (Beethoven op. 27 no. 2)
Consensus on Trill Execution
There is a general consensus among experts that the trill in measure 29 should start on the principle note A# with finger 4 and consist of 5 total notes, including the trill ending. This execution provides a starting point for pianists to approach this particular ornamentation.
Varying Opinions on Specific Details
Different editors and pianists have expressed varying opinions regarding the specific details of the trill. One area of contention is the rhythm and fingering. For example, some editors suggest a trill rhythm of 3+2 or 2+3, while others recommend a continuous trill with a rhythm of 5. Fingering suggestions range from 4..34 to 45323, highlighting the diversity of approaches taken by different musicians.
Deviation from Convention
One interesting aspect is that some editors suggest starting the trill on the upper note B instead of A#, deviating from the convention of starting trills on the main note. This departure from the norm adds an element of individual interpretation and highlights the artistic freedom granted to performers.
Individual Performer’s Taste
The number of notes within a trill, the rhythm of the shaking notes, and the trill endings can vary depending on the taste of individual performers. This flexibility allows pianists to infuse their personal artistic choices into their interpretation of the trill, resulting in unique performances.
Historical Context
Trills and turns in the 19th century served different functions based on their placement within the music. Trills located at the beginning of a strong beat acted as accenting ornaments, while those assigned to weak beats served as connecting embellishments. The specific execution of trills, including the number of notes and rhythm, was influenced by the taste and style of individual performers during this era.
Sources:
- Music: Practice & Theory Stack Exchange (https://music.stackexchange.com/questions/10125/trill-measure-29-3rd-movement-moonlight-sonata-beethoven-op-27-no-2)
- Piano Street (https://www.pianostreet.com/smf/index.php?topic=6037.0)
- World of Beethoven (https://worldofbeethoven.com/learning-the-sonatas/)
Note: The information presented in this article is based on the available sources and may not represent an exhaustive analysis of the topic.
FAQs
How should the trill in measure 29 be executed?
The trill in measure 29 of the 3rd movement of Beethoven’s “Moonlight” Sonata is generally executed by starting on the principle note A# with finger 4 and consisting of 5 total notes, including the trill ending.
Are there different opinions on the specific details of the trill?
Yes, different editors and pianists have varying opinions on the specific details of the trill, such as the rhythm and fingering. Some suggest a trill rhythm of 3+2 or 2+3, while others recommend a continuous trill with a rhythm of 5. Fingering suggestions range from 4..34 to 45323.
Is it acceptable to start the trill on the upper note B instead of A#?
Some editors suggest starting the trill on the upper note B instead of A#, which deviates from the convention of starting trills on the main note. While this is a departure from the norm, it allows for individual interpretation and artistic freedom for performers.
Can the number of notes and rhythm of the trill vary?
Yes, the number of notes within a trill, the rhythm of the shaking notes, and the trill endings can depend on the taste of individual performers. This flexibility allows pianists to incorporate their personal artistic choices into their interpretation of the trill.
What was the function of trills in the 19th century?
In the 19th century, trills and turns served different functions based on their placement within the music. Trills located at the beginning of a strong beat acted as accenting ornaments, while those assigned to weak beats served as connecting embellishments. The execution of trills was influenced by the taste and style of individual performers during this era.