NOTATIO

Excuse me for being pedantic, but I can't see the defining difference between A and B. At A, one middle part IS actually moved to the upper staff (G-F). At B, I think Beethoven had more practical reasons for putting all the right-hand notes on the upper staff. Here's another example (I couldn't find...

No problem, John. Glad we understood each other.

John Ruggero wrote: ↑24 Sep 2023, 12:33 The great quantity of numbers doesn't bother me, because she is clearly attempting to show many possibilities in one example.

Clearly, to us, yes. End of discussion for my part.

So, I agree with all three of you!
I don't deny that the placement of the figures might be questionable, but in my opinion, the bigger problem is that there are too many of them. And/or that Gould possibly forgot to explain what the purpose of the example is.

The example appears to be over-fingered because care was not taken in the way the example was "composed" to motivate the fingering decisions. Good point. I would say consideration was not shown for the intelligence of the pianist. On the other hand, Gould may very well have intended to sh...

If I have to find a single musical reason for that, then the treble-clef middle B against the high A strikes me as odd, while it being a bass-clef low D would not make any problem. That's true, but I think the orthodox-minded are mostly concerned about the lack of a resolution of the F in the bass ...

Schnabel and Brendel seem to agree with what Beethoven actually has written.

Versuch über die wahre Art das Clavier zu spielen

I obviously can't let go of this. I'm thinking about registers and dynamics. In ms. 17-24 a pp is prescribed. But, without clef changes, the left hand enters a low register while the right hand moves upwards and thickens with chords in m. 21. It would be tempting to, not to say difficult not to, sta...

It is instantly understood, however. Maybe, and maybe not. An experienced reader might possibly trip over this and wonder if something out of the ordinary is intended. Another point is that the extra accidental might appear too didactic, not trusting the musician to understand what's self-evident. ...