Beethoven L. Leichte sonate № 20. Op. 2

The fingering in this edition mау here and there appear somewhat strange. In explanation of the more unusual kinds let it be said t1iat the selection was not mаde exclusively with а view to technical facility, but rather from the desire to secure — at least approximately —the correct musical expression of the passages in question (as the Editor feels they should be interpreted). Quite often the Editor was guided by the pedagogic conception of а piano of which the tone colouring is unaided by the pedal — the fact being that the pedal is very seldom used in the classic piano literature as а means of colouring. In accordance with this conception the use of the реdаl is rarely indicated in this edition. It must be the player's aim to succeed in rendering song- like passages, as if cast in one mould, without recurring to the pedal. 

The fingerings and pedal indications are almost without exception by the Editor; the original texts, especially those of earlier works, contain next to none. The slurs as well as the accents and indications relative to touch were noted by the composer in such an obvious flightiness and carelessness — especially in his early works — that the Editor felt himself not only musically justified, but in duty bound to change them occasionally according to his best judgment, sense and taste: to abbreviate, to lengthen, to supplement, to interpret. Changes of this kind are not especially noted; all other additions made by the Editor are to be recognized either by smaller print or by brackets.

Artur Schnabel