Kooperativer Bibliotheksverbund

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Format: 1 online resource(283p.) : , illustrations.

Edition: Electronic reproduction. : Harvard University Press, 1992. Mode of access: World Wide Web.

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ISBN: 9780674430204

Content: It is well known that Mozart developed his works in his head and then simply transcribed them onto paper, while Beethoven labored assiduously over sketches and drafts--"his first ideas," in Stephen Spender's words, "of a clumsiness which makes scholars marvel at how he could, at the end, have developed from them such miraculous results." Indeed Beethoven's extensive sketchbooks (which total over 8,000 pages) and the autograph manuscripts, covering several stages of development, reveal the composer systematically exploring and evolving his musical ideas. Through close investigation of individual works, Lewis Lockwood traces the creative process as it emerges in Beethoven's sketches and manuscripts. Four studies address the composition of the Eroica Symphony from various viewpoints. The chamber works discussed include the Cello Sonata in A Major, Opus 69 (of which the entire autograph manuscript of the first movement is published here in facsimile), the string quartet Opus 59 No. 1, and the Cavatina of the later quartet Opus 130. Lockwood's lucid analysis enhances our understanding of Beethoven's musical strategies and stylistic developments as well as the compositional process itself In a final chapter the author outlines the importance of Beethoven's autographs for the modern performer.

Note: Frontmatter -- , Contents -- , Introduction -- , ONE. On Beethoven's Sketches and Autographs: Some Problems of Definition and Interpretation -- , TWO. The Autograph of the First Movement of the Sonata for Violoncello and Pianoforte, Opus 69 -- , THREE. Beethoven's Sketches for Sehnsucht (WoO 146) -- , FOUR. Eroica Perspectives: Strategy and Design in the First Movement -- , FIVE. The Earliest Sketches for the Eroica Symphony -- , SIX. The Compositional Genesis of the Eroica Finale -- , SEVEN. Planning the Unexpected: Beethoven's Sketches for the Horn Entrance in the Eroica Symphony, First Movement -- , EIGHT. The Problem of Closure: Some Examples from the Middle-Period Chamber Music -- , NINE. Process versus Limits: A View of the Quartet in F Major, Opus 59 No. 1 -- , TEN. On the Cavatina of Beethoven's String Quartet in B-flat Major, Opus 130 -- , ELEVEN. Beethoven's Autograph Manuscripts and the Modern Performer -- , APPENDIX I. Physical Features of the Autograph Manuscript of Opus 69, First Movement -- , APPENDIX II. Beethoven's Correspondence on the Text of Opus 69 -- , APPENDIX III. Use of Additional Staves in the Autograph of Opus 69 -- , APPENDIX IV. Provisional List of Variants in the Autograph of Opus 69 (excluding variants discussed in text) -- , Notes -- , Credits -- , Index of Compositions, Sketches, and Other Documents -- , General Index. , Also available in print edition. , In English.

Additional Edition: ISBN 9780674430181

Language: English

DOI: 10.4159/harvard.9780674430204

URL: https://doi.org/10.4159/harvard.9780674430204