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384 INTRODUZIONE
Adagio molto.
385
1) The intention of Beethoven's long pedals, which take no account of dissonant passing chords or mixtures, is a spiritual, almost transcendental, binding- together
of larger groups, which his instrument also favored (cf. Op. 31, No. 2, first movement, mm. 143—148 & 153—158). On modern instruments one may try to
achieve this effect by half-pedaling at the passing harmonies (mm. 3, 7, 11, 15, etc.), a kind of legatissimo of the pedal, comparable to legato playing m general.
2) The pp at Gi serves to identify the opening of the motif. 3) Thus in the original edition; some later ones give # 3 in place of f.
386
1) The first 16th note is -detached to identify the opening of the motif. 2) Trill starting with the upper note in 32nds. 3) As Beethoven indicates at mm. 490 ff.,
the trill starting with the upper note is to be played uninterruptedly in 32nds; the fingering given makes this easy to execute.
387
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1) The two 8th-rests in place of a quarter-rest, and the -*)54 directly below the fourth 8th-beat, are based on the original edition MM -
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simplification
or, depending upon the extent of their powers,
can double it by playing two of these sextolets
to every quarter note in the bass At any rate it
is not important if this trill comes to lose some
of its usual speed '
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