The Adagio movement of Beethoven’s Pathetique Sonata requires attentive listening, deep in the key practicing, muscle memory, and a natural breath that flows out of phrases.
I start with the top most voice and work my way through to the alto and bass. (practicing individual lines)
Blocking is applied to the alto and should be executed musically using a supple wrist with a smooth follow-through from one chord to another. When the alto chords are unraveled, a flexible wrist enables a rolling motion. (muscle memory helps) The moving notes within the alto draw the player’s attention, not the same notes played by the thumb.
Ultimately, intensified listening wedded to the physical side of playing, go a long way to realize an imagined sound ideal.
The bass, or cello line is isolated and phrased with needed depth into the keys..
Various lines that were sectioned or “voiced” out can then be combined in different ways such as soprano and bass:
The ultimate goal is to put all voices together with the desired balance, preserving the uppermost voice (the melody) as the leading line, balanced nicely against the middle voice, and supporting bass. (cello line)