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The Bulow-Lebert edition of the Beethoven Sonatas of 1894 is richly annotated. While most of the editors notes are applicable only to the particular sonata, or musical phrase in question, to my great delight not a few of the comments readily lend themselves to general anecdotal adaptation. Consider these remarks pearls of wisdom gathered from a literary sea rendered largely obsolete by time. Compiled here is a list from Book II—adapted for the general use and enjoyment of the pianist.

Playing descending and ascending third motives in the left and right hands respectively:

“Even a player with the most deeply rooted antipathy to programs [‘musical gesticulation’] cannot help seeing, that in the falling pairs of thirds for the left hand the gesture of beckoning with a handkerchief—the tone picture of a sign—is illustrated, a sign apprising the coming one of the waiting one’s presence.”

Playing with haste:

“We caution the player equally against external haste and internal barrenness.”

Playing triplets with exactitude:

“A pedantically exact proportionment of the triplets as the composer directs is inculcated for those who meditate no mutilation. Its necessity will be evident to any well-trained ear…”

Rhythmic freedom:

“Only by dint of continually renewed study can the conscientious player learn the just limit.”

“Grace is not compatible with haste.”

“[Frequently] all fluctuations of the tempo demanded by the psychic expression are incorporated in [a musical expression] itself, its rhythmical notation being perfectly lucid. All that is needful is to play “in time.”

“Non presto” at the same time implies “non lento.”

Emotional effusion in music:

“Joy attains to consistency.”

“[Sometimes] neither “word” nor “gesture” is illustrated, but only the “gaze.”

”...the psychic subjectivity of the player is, after all, the factor which lends the peculiar charm for the hearer to the performance of even a classical work—” Think: Cage 4’33”

“The ethereal delicacy which the performance of [certain passages], can be taught only by living example.”

“The requisite of wellnigh exuberant grace … cannot be taught theoretically.”

“Reverent self-abandonment is required in order to do justice [to a passage] of sorrowful sublimity. Here “piano – playing” ceases; whoever is unable to lend soulful ‘speech’ to his instrument, should content himself with ‘reading.’”

“As the language of tones possesses a syntax quite analogous to that of words—though unhappily not yet formulated in any text-book—[certain musical analogies] may conformably be defined as an “anacoluthon” (literally, a lack of grammatical sequence…) Or may be termed an “aposiopesis.”

Repetition of the Musical Phrase

“The striving after different effects of shading each time the principal theme returns [is] a demand which is justifiable only in the case of ingenious plays on tone.”

Arpeggios:

“Even in the performance of classical works an arpeggio of isolated and consequently empty-sounding intervals (e.g.: the fourth and fifth) is necessary in exceptional cases.”

Running Passages:

The exaggeration [of shading in a running passage] ... so readily inclines to sentimentality or unrest.

Polyphonic Repetition:

”...quid pro quo’s in phrasing are capable, as experience teaches, of spoiling the effect of an entire piece; and it is incredible how little conscientious care pianists…bestow on such refinements of a correct execution. Members of the string – and wind – bands, not being required to think and feel polyphonically, are seldomer guilty of such lapses.”

General Articulation:

“The words ‘sopra’ and ‘sotto’ are meant to indicate, that in crossing hands the player should pass his right hand “over” or “under” the left.”

“On very sonorous pianos, the tempo may be taken slower.”

“The staccato in the accompaniment must not be exaggerated, nor should the hand playing it be lifted too high.”