The Study Of The Performance Notation System Of Beethoven’s Piano Variation In C Minor (WoO 80)

Beethoven, a classical musician and composer, originated a great number of piano works in life, and his partita is characterized in rich contents and distinct style and has established certain influence in piano performance. Beethoven’s Piano Variations in C Minor (WoO 80), a large works produced by Beethoven during his middle origination period, not only presents certain breakthrough in performance skills, but also brings greater variation in musical contents while compared with the partita written by Beethoven before, so that this melody is still in the stage by many performers at present. However, different performers have formed different manners in performing this partita, so that we have to think about the contents of the performance note system of the Piano Variations in C Minor (WoO 80). Two levels have formed in the performance note system of this works-firstly, the partita features of the mystical notation give the works quite a bit of musical notes. Secondly, different pianists bring new contents during the performance of musical notes, forming an "annotation" to the players in the relative annotation.The performance notation system is based on the musical notes of the works. In the musical notes of the Piano Variations in C Minor (WoO 80), the graded annotation has been made from five aspects of speed, strength, expression, tone and pedaling method, to integrally sort and analyze the piano performance symbolism of the works and summarize common performance rules of the system. Such rules not only imply certain in-depth study for performance contents of this works of Beethoven, but also offer certain references for learners, which learn and play the piano and find the annotation of the musical notes.As different performers give different understandings for the musical notes, the performance cases of the works become diversified as well, finally forming different piano performance features. In this paper, the performance cases of Alfred Brendel, Jeno Jando and Glenn Gould are used. These three performers have certain authority and individuality in performing Beethoven’s works. Through their respective playing features, the paper gives a differential comparison and analysis from the assurance of speed and strength and the treatment of musical tone. Moreover, in allusion to their different performance manners for the notation system, we can further understand the characteristics of Beethoven’s works in different cases, learn the rules and difference of the performance notation systems in different versions more deeply, and find more new contents in the musical notes. We can also find that the "new annotations" given by different performers are diversified, even though the musical notes of Beethoven’s works only provide one annotation of the performance symbolism. These "new annotations" offer research meanings in both aesthetics and guidance direction.This paper is composed of five parts:Part 1 is an introduction, mainly describing topic-selecting reasons, research subjects, research methods and creative points; Part 2 gives a further expatiation for the background of the works and certainly summarizes the research subject; Part 3 offers classification and annotation for the musical notes from speed, strength, expression, tone and pedaling method; Part 4 analyzes three performance cases and compares their differences; Part 5 annotate the performance notation system of the works from the aesthetic aspect and sums up their significance.