NOTATIO

I always thought of the Beethoven opening as melodic and didn't think about harmony. After the discussion, I'd say that he's intentionally using (what may be analyzed) as an F minor arpeggiation with an F minor 64 leading to C (adumbrated with the E natural in the following triplet). When Beethoven ...

I'll give it a test.

I think that the lowest notes being the melody seems to be the correct interpretation. It fits the harmony. It's a rather interesting voice exchange procedure.

I think you are correct. Though Beethoven did vary stuff for different occurrences of the "same" object, this seems different in that there are no other signals. I would guess that he probably would have also changed articulation or slurs or dynamics if he really wanted to move the express...

I didn't try to play these but I did look a bit closer. I found one dissertation and one book on performance interpretation. Neither were that helpful. From looking at part of the score (in the first posts, and a few in the literature), it seems that the domain of these markings is shorter than I wo...

I'll make one more guess then look at some music notation papers that I have access to. One possibility is that the domains of the terms "cresc" and the hairpins are different. There may be an implied cancellation of one or the other so a hairpin may imply something like <> rather than jus...

My next guess (for using "cresc" and hairpins) is that the music is to be read (or at least phrased) contrapuntally. The emphasis for each hand occurs at different parts of the phrase. I didn't analyze enough to see which term applies to which part.

My first guess is that it means to increase loudness on the first three RH notes (and perhaps the LH chord if not creating an imbalance), then drop off a bit at the "dim" and start a new crescendo at the next wedge. Alternatively, I could read it as a crescendo for the RH upper voice and a...

Just to add an amateur opinion (though I've read lots of tangos on todotango.com to get an idea of how 4-beat 2/4 looks; the newer composers use 4/4. I find all about the same when sight-reading. (Though this can become sigh-treading at times.) It's more important to be consistent throughout a piece...

Good catch. Beethoven's version does make it a bit easier to play.