Genealogy of interpretation and performance of Beethoven's works in modern Germany: Last piano sonatas as an example

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This study examines the relationship between the interpretations of artworks and aspects of their practical performances, such as fingering, phrasing, and so on, focusing on Beethoven’s last few piano sonatas that have been regarded as abstruse. By regarding the interpretations of the sonatas by Heinrich Schenker, who has been considered a typical advocate of the Urtext in preceding studies, this study aims to recontextualize the background regarding this theme and historicize the standpoint of the so-called practical editions in the 19th century.