English: As the caption's introduction, There are two editions of Moonlight Sonata (2nd Movement), regarding with which I cannot decided to keep or give up one, besides the other. They were all after a careful notation-reading, but, the first one was formal and more carefully; while, the other, a little bit of rough, but 'emotional reaches' onto a higher musicality, in my mind. If classroom-teaching, I would choose the first one, while, outside performing, the second one better.

You may ask me: Jason, how could you understand the musicality of this movement? And, what type was it in your imagination? My musicality of this edition's recording is:

those several weeks, in library and some CDs, I heard some... but not quite enough... I thought... I heard Liszt's translation through Wikipedia, almost: like a little flower smiling between two heavy rocky layers - 1st Movement (Funeral March- hopeless love in reality) and 3rd Movement (I have stated it's musicality in my field)... Further, I understood some of Austrian Freud's Dream-unconsciousness Analysis & Therapy (some in my educational background... such as id, childhood), through I never would like to shoulder him or apply his ways with anyone of my pure Vienna music school... If without any 'mad complexes or self-reasonability', how could we appreciate so amazing a classic world including Beethoven?   Oh, sorry, plus Beethoven's  Heligenstadt Testament, it became so heavy and even breathless... Don't mention too many things, Jason! Just, You knew, between two severe emotions covering your head, there was usually a short and light self-relaxing complex, or to say, psychedelic (self-trancing or in drug condition) time, that Beethoven might feel he was wandering outside reality's consciousness-boundary and in his Wonderland...   that he saw the heaven and maybe, a happiness moment (a possible future but dying) with his beloved someone... and would be with some kids... in a whole & normal family... Oh, Beethoven, all promises and words, in that moment, should become the truths and your dreams fulfilled out of your struggling reality... Just and only one moment, you felt 'enough good' and would like - wandering in that fantasy, never get back... It's Beethoven's own therapy for love, life and on-going fate. 

This point, in musical language & reality, should be mentioned as: Here, from the historical observation, a thing needs to be clarified: Baroque-regression (back-reasoning) was usually made by classical composers (in Vienna school: Mozart, Haydn and Beethoven etc.), especially in their later years of life for calming down the dramatical emotions, and keeping Life's Reasonability. Meanwhile, from Haydn, they discussed and created classical counterpoints from symphony and string quartet together, to modify creative inspirations. Beethoven also inherited it. Therefore, when we play some in piano, we need to analyse and apply some special techniques, commonly used in classical polyphony, to pick up the main from the background, sentence by sentence, as an era-responding.)Jason M. C., Han (talk) 03:44, 15 May 2019 (UTC)

Jason... we understood some... could you say some others, such as techniques? Many points, I would state in Wikiversity teaching & learning field...but mention two: Why so many 'sfs' or 'fp'? They are 'Deaf Loves' - losing in his life- not really want to 'sf' but the depth of emotions, among which , the peak of A (Rondo ABA) was my favorite. The other, I preferred, was little 'Ghost-Wandering' (through Chromatic Roots) in B part... which gave me a short feeling of 'British Psychedelia'... (I used to be familiar with, or I thought).

This is the second edition - much more expressive and open level with trance-wandering, day-dreaming style and a pronounced title. About the pronounced title, I can hear my English voice... Personally, I like this style. You knew, when oversee-studying, I usually presented many things to many people in English... It's also one of my performances. Now, chances fewer, but to my students, or in online writings, I usually did... I thought: like music, voices had magic...