TEMPO PROPORTIONS AMONG MOVEMENTS AND WITHIN THE SAME MOVEMENT IN L.V. BEETHOVEN’S PIANO SONATAS
It is certainly not unknown in the field of music interpretation that Beethoven did not use to note tempo indications in the movements of each one of his 32 piano sonatas excepting Hammerklavier op. 106. However, in many cases of the sonatas becomes noticeable –distinctly or concealed– the existence of an internal interface among their movements or/and within the same movement regarding the parameter of tempo proportions which adds rhythmic cohesion and unity to these compositions. From this point of view, the present study aims to detect and annotate the most characteristic points of rhythmical analogies in Beethoven’s sonatas based on existing references and tempo indications proposals as well as on the writer’s personal interpretative approach featuring as main aspect the dominance of a principal tempo in each sonata that conceives the work as a whole in order to comprise a legit suggestion of executant approach and a potential interpretative guide for the pianists.