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Sketches of the Ninth. Facts & Myths. Manuscript sketches autographies fair copies … unique?. Print 1st prints revised prints practical editions Urtext editions … mass-production?. Authenticity? Authority? Myths?. Sketching. Beethoven to Archduke Rudolph, 1823
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Sketches of the Ninth Facts & Myths
Manuscript sketches autographies fair copies … unique? Print 1st prints revised prints practical editions Urtext editions … mass-production? Authenticity? Authority? Myths?
Sketching • Beethoven to Archduke Rudolph, 1823 “at the piano you should jot down your ideas in the form of sketches. For this purpose you should have a small table beside the piano… You should also compose without a piano… This will certainly not give Your Highness a headache; nay, rather, it will afford you real enjoyment when you thus find yourself in the very swim of artistic production.”
The Sketchbooks • B. used and kept sketchbooks (“desk”) since 1798, “pocket” used since 1815 • B. died 26 March 1827, non-musical belongings auctioned 5 May, musical Nachlass auctioned 5 Nov. • Artaria was mainly responsible for the cataloguing and appraisal, and bought 60% of the material (!). • In between, uncountable items were “took away” (esp. Schindler!).
Musical Nachlass Auction 5 Nov. 1827 • material in great disarray • under legal quarantine until Aug. 16 • apartment must be vacated before Sept. 29 • no published catalogue, just one advertisment • local affair, low price • insider trade!
Artaria • Art and Music shop in Vienna • founded 1765 in Mainz, Vienna 1770–1932 • Domenico A. led 1793–1833
Artaria • printed Haydn since 1780 • Mozart since 1781 • Beethoven since 1793 • acquired over 60% of B. musical Nachlass (to be resold later)
Pioneer of Beethoven Sketch Research • Gustav Nottebohm (1817–82) • studied at the Leipzig Conservatory under Mendelssohn, Schumann and Hauptmann, and in Vienna under Sechter • 1858 Board member of the Gesellschaft der Musikfreunde • befriended Brahms
Problems caused by Nottebohm’s transcriptions: • Boldrini (now lost) • undiplomatic:whose “u.s.w.”? • Artaria 201, p. 111 • finale: well fugued?
First Movement: Early Sketches • 1816, Liszt Archive, Weimar
1817-18 • “Boldrini” (employer of Artaria), lost after Nottebohm 1887 • 1,63 ff. • 1,469 ff. coda • struggle between major and minor • 1,92 ff. • 1,1 ff. • Problems • selective • juxtaposed
1817–18 • 1817–18, Schott Archive, Mainz • paused for other works: late piano sonatas opp. 109–111, Diabelli Variations, and esp. Missa solemnis
Advanced Sketches • Early 1823 “Engelmann” • Commission from the Philharmonic Society of London in late 1822
Second Movement • 1815–16 “Scheide” • Grove 1896, “germ of the Scherzo” [?] • 1817, Liszt Archive, Weimar • String Quintet, Hess 40
Third Movement • 1822, Beethovenhaus, Bonn • July 1823, Langsberg 8-2
Third Movement • April 1823, Langsberg 8-2 • order of the movements?
Two symphonies merge into one? • 1818 memorandum • “Adagio cantique”: solemn song in a symphony in ancient modes… • 1822-23 Artaria 201 • Nottebohm 1887: 2 symphonies • London: instrumental finale • “Sinfonie allemand”: choral finale
Humperdinck: Hänsel und GretelTransition from act 1 to act 2 (deceptive cadence)
. Freude schöne Götterfunken Tochter aus Elysium =de 100 . recht fugirt Die Sinfonie aus 4 Stücken darin das 2te Stück im 2/4 Takt wie in d... die... könnte in 6/8tel dur sein u. das 4te Stück Vi=100
The Need of Myths • To satisfy present imaginations • Wagner: from absolute music to Gesamtkunstwerk—opera • Brahms 1st symphony as upholder of the classical ideal.
Literature • Nottebohm: Two Beethoven Sketchbooks: A Description with Musical Extracts (Leipzig, 1865, 1880; London 1979). • D. Johnson, A. Tyson and R. Winter: The Beethoven Sketchbooks: History, Reconstruction, Inventory (Oxford 1985).