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Essay On Beethoven's Music

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There are two ways to interpret these measures. The first way is to imagine the sforzando as the staccato to sing the top voice. In Barenboim’s version, he applied this interpretation to not accent more on the sforzando to avoid the interruption the smooth melody. Nevertheless, some scholars might doubt this interpretation of the less sforzando. As we discussed in the previous example, the sforzando have the significant role to portray his heroic spirit in Beethoven’s music. This beginning of the second movement, however, underscores the sforzando that might interrupt the smooth melody.
The Goode and Rubinstein’s version applied the second way that followed the indications of the score. This interpretation is to emphasize the sforzando to produce the feeling of pause and to make the listener hear more progression in the melody. In Goode’s version, he followed every Beethoven’s indication and make the sforzando naturally to extend the smooth melody. In comparison with Rubinstein’s version, Goode utilized the sforzando at every time and make the fluency of the melody. Rubinstein applied the sforzando in some measures, but he did not follow
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Even though they have different viewpoints on interpreting their ideas, the listeners were facilitated to develop more interpretations of Beethoven’s ideas in possible way. For me, I would prefer Goode’s version that respects every instruction of Beethoven and make it sound reasonable to shape Beethoven’s music. Indeed, the value of Rubinstein’s version is critical for pianists. In terms of the characteristics of Beethoven, his version is not suitable for students to listen and learn his rendition. The Barenboim’s version offers the entirely new viewpoints on interpretation Beethoven’s music. His music not entirely followed the indication of Beethoven, but Barenboim developed his unique and reasonable interpretation to depict Beethoven’s
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