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You might pencil an X on those two legato markings in the treble and bass, because they appear to be an editor's addition. They are not in either the First Edition (Vienna, 1796) or First London Edition (1812) available at IMSLP. Nor do they appear in two modern urtext editions (ABRMS and Henle) I have that were based on these editions (the autograph is lost).

Just how legato or non legato (almost detached but not staccato, i.e., the default touch) you want to play them should be your musical decision based also, of course, on what you are able to do comfortably. I'm suggesting that you don't have to necessarily strive toward a goal based on markings that aren't Beethoven's. If you agree with the legato markings, that's fine, too.

As you play more, your stretch will improve. Like most of us, you'll probably enjoy returning to the pieces you're learning now -- perhaps several times -- in years to come.

You might pencil an X on those two legato markings in the treble and bass, because they appear to be an editor's addition. They are not in either the First Edition (Vienna, 1796) or First London Edition (1812) available at IMSLP. Nor do they appear in two modern urtext editions (ABRSM and Henle) I have that were based on these editions (the autograph is lost).

Just how legato or non legato (almost detached but not staccato, i.e., the default touch) you want to play them should be your musical decision based also, of course, on what you are able to do comfortably. I'm suggesting that you don't have to necessarily strive toward a goal based on markings that aren't Beethoven's. If you agree with the legato markings, that's fine, too.

As you play more, your stretch will improve. Like most of us, you'll probably enjoy returning to the pieces you're learning now -- perhaps several times -- in years to come.

You might pencil an X on those last two legato markings, because they appear to be an editor's addition. They are not in either the First Edition (Vienna, 1796) or First London Edition (1812) available at IMSLP. Nor do they appear in two modern urtext editions I have that were based on these editions (the autograph is lost).

Just how legato or non legato (almost detached but not staccato, i.e., the default touch) you want to play them should be your musical decision based also, of course, on what you are able to do comfortably. I'm suggesting that you don't have to necessarily strive toward a goal based on markings that aren't Beethoven's. If you agree with the legato marking, that's fine, too.

As you play more, your stretch will improve. Like most of us, you'll probably enjoy returning to the pieces you're learning now -- perhaps several times -- in years to come.

You might pencil an X on those two legato markings in the treble and bass, because they appear to be an editor's addition. They are not in either the First Edition (Vienna, 1796) or First London Edition (1812) available at IMSLP. Nor do they appear in two modern urtext editions (ABRMS and Henle) I have that were based on these editions (the autograph is lost).

Just how legato or non legato (almost detached but not staccato, i.e., the default touch) you want to play them should be your musical decision based also, of course, on what you are able to do comfortably. I'm suggesting that you don't have to necessarily strive toward a goal based on markings that aren't Beethoven's. If you agree with the legato markings, that's fine, too.

As you play more, your stretch will improve. Like most of us, you'll probably enjoy returning to the pieces you're learning now -- perhaps several times -- in years to come.

You might pencil an X on those last two chords because they appear to be an editor's addition. They are not in either the First Edition (Vienna, 1796) or First London Edition (1812) available at IMSLP. Nor do they appear in two modern urtext editions I have that were based on these editions (the autograph is lost).

Just how legato or non legato (almost detached but not staccato, i.e., the default touch) you want to play them should be your musical decision based also, of course, on what you are able to do comfortably. I'm suggesting that you don't have to necessarily strive toward a goal based on markings that aren't Beethoven's. If you agree with the legato marking, that's fine, too.

As you play more, your stretch will improve. Like most of us, you'll probably enjoy returning to the pieces you're learning now -- perhaps several times -- in years to come.

You might pencil an X on those last two legato markings, because they appear to be an editor's addition. They are not in either the First Edition (Vienna, 1796) or First London Edition (1812) available at IMSLP. Nor do they appear in two modern urtext editions I have that were based on these editions (the autograph is lost).

Just how legato or non legato (almost detached but not staccato, i.e., the default touch) you want to play them should be your musical decision based also, of course, on what you are able to do comfortably. I'm suggesting that you don't have to necessarily strive toward a goal based on markings that aren't Beethoven's. If you agree with the legato marking, that's fine, too.

As you play more, your stretch will improve. Like most of us, you'll probably enjoy returning to the pieces you're learning now -- perhaps several times -- in years to come.