Scholars and performers have long wondered when and why Beethoven composed an alternative ending to his string quartet, Opus 130. The original, the Grosse Fuge, was an immense and heavy multi-sectioned fugal finale; the second was a much shorter and lighter hybrid sonata-rondo form finale. The second finale was the last substantial piece Beethoven composed and is reminiscent of earlier dance-like 2/4 Allegro finales composed by Beethoven, likely influenced by Haydn. This style is seemingly incongruous with our current understanding of Beethoven’s late style, centered around foreign harmonies and forms, with expansive thematic material. While research on this topic has been extensive, including studies in biography, source material, reception history, and harmonic and formal analysis, it has not led to a fully adequate understanding of this second finale. My study aims to provide a fresh understanding of this movement through the examination and evaluation of the later stages of its composition. The major sections of revision found in the composing score, Berlin, Deutsche Staatsbibliothek, MS Autograph 19c, and the autograph fair copy, Berlin, Deutsche Staatsbibliothek, MS Grasnick 10, are closely studied here for the first time. In order to highlight important steps in the creative process, I have selected four heavily revised areas from each of the sonata-form sections of this movement as shown in both manuscripts. My interpretation of these revisions is based on comparison to parallel sections in both manuscripts and the final version, as shown in transcriptions of these passages from the sketches along with accompanying images of the original pages. For each of these sections, I attempt to suggest the order in which Beethoven made his revisions, and I discuss their formal, thematic and harmonic implications. As a whole, these revisions reveal Beethoven’s concern for economical treatment of thematic material, especially motives from theme 1a, and a concern for playing upon the harmonic and formal expectations of his audience. The voicing of theme 2a in the exposition and recapitulation, and the voicing and texture of theme 1a in the development, the false and authentic recapitulations and the coda are analyzed in terms of momentum, sectional balance, texture, and dramatic tension. I suggest that further study of these sketches and related primary source material might help to revise our notion of Beethoven’s late style.

Carl Czerny (1791–1857) lived at the turn of the nineteenth century, when the piano underwent significant development as an instrument, and subsequently generated a huge repertoire. While Czerny is mostly remembered for his piano exercises and etudes, his writings about music as well as his works in serious style reveal a man with a sophisticated awareness of the importance of piano technique, entwined with profound musical ideas and an understanding of music that make him a forerunner of the romantic style. This study focuses on Czerny’s Opus 500 Complete Theoretical and Practical Piano Forte School (1839), and its Supplement (1845). Through analysis of the tutorial’s content it attempts to prove the deep connection between piano technique and expressive playing in Czerny’s teaching. The first five chapters of this work compare elements of expressive playing, such as articulation, dynamics and tempo, as presented in different tutorials written before Czerny’s opus 500, clearly relevant to Czerny. The remaining chapters of this study discuss the pedagogical path that Czerny suggests to master those same aspects, especially through scales and scale-based exercises, and through constant attention to improving the listening skills of the student. The purpose of this work is to reassess Czerny as a key figure of modern piano technique, as a teacher and pedagogue able to introduce pianists to mechanical training while honing the essential skills to perform any piece of music in any style expressively.

Made available in DSpace on 2016-06-02T20:13:15Z (GMT). No. of bitstreams: 1 5659.pdf: 423776 bytes, checksum: 6281b1f112277d9e670009ebce3fd8fd (MD5) Previous issue date: 2007-08-21 / Financiadora de Estudos e Projetos / This dissertation intends to investigate Adorno s analysis concerning Beethoven s late style in the attempt of understanding the importance delegated to this composer s works, which led Adorno to identify it with the beginning of a process that would culminate in Schoenberg. For doing that, we will use these comprised fragments in Beethoven s work: the philosophy of music, in special The Style I and II . / A presente dissertação procura investigar as análises de Adorno acerca do estilo tardio de Beethoven na tentativa de compreender a importância delegada às obras deste compositor que levaram Adorno a identificá-lo com o início de um processo que culminaria em Schoenberg. Para tanto, utilizaremos os fragmentos compreendidos na obra Beethoven: the philosophy of music, em especial The Style I e II .

The lecture recital was given December 5, 1971. A discussion of Beethoven's 33 Variations on a Waltz by Diabelli, Op. 120 included the circumstances under which the work was composed, analysis of the composition, and controversial opinions on the Variations. The piece was then performed by memory. In addition to the lecture recital three other public recitals were performed. These consisted entirely of solo literature for the piano. The first solo recital was on April 12, 1970, and included works of Bach, Beethoven, and Liszt. Part of the preparation included the writing of program notes of a historical and analytical nature. The second solo recital, on January 31, 1971, consisted entirely of sonatas by Beethoven, Chopin, and Prokofiev. The final solo program, on August 11, 1972, included works by Bach, Schumann, and Granados. All four programs were recorded on magnetic tape and are filed, along with the written version of the lecture material, as a part of the dissertation.

Master of Music / School of Music, Theatre, and Dance / Slawomir Dobrzanski / The purpose of this Master’s report is to analyze the five-piano works at the author’s piano recital on April 8, 2018. The discussed pieces are Ludwig van Beethoven’s Sonata in G major Op. 31, No.1; Fryderyk Franciszek Chopin’s Nocturne Op. 55, No. 2 and Ballade in G minor, Op. 23; Manuel M. Ponce’s Prelude and Fugue on a theme by Handel; and Joaquín Larregla Urbieta’s ¡Viva Navarra! Jota de Concierto. The author approaches the analysis and study of the pieces from the historical, theoretical, and stylistic perspectives.

abstract: During the nineteenth century, it was common for pianists to publish their own editions of Beethoven’s piano sonatas. They did this to demonstrate their understanding of the pieces. Towards the end of the century, musicians focused their attention on critical editions in an effort to reproduce the composer’s original intention. Unfortunately, this caused interpretive editions such as those created in the nineteenth century to fade from attention. This research focuses on situating these interpretive editions within the greater discourse surrounding the editorial development of Beethoven’s piano sonatas. The study opens with the critical reception of Beethoven, his Sonata in C-sharp minor, Op. 27 No. 2, also known as the “Moonlight” Sonata, the organology of the nineteenth-century fortepianos and the editorial practices of subsequent editions of the piece. It also contextualizes the aesthetic and performance practice of nineteenth-century piano playing. I go on to analyze and demonstrate how the performance practices conveyed in the modern Henle edition (1976) differ from those in selected earlier interpretive editions. I will conclude with an assessment of the ways in which nineteenth-century performance practices were reflected by contemporary editions. This study compares the First edition (1802) and seven selected editions of Beethoven’s “Moonlight” Sonata by Ignaz Moscheles (1814), Carl Czerny (1846), Franz Liszt (1857), Louis Köhler (1869), Hugo Riemann (1885), Sigmund Lebert and Hans von Bülow (1896), and Carl Krebs (1898) with the Henle edition. It covers the tempo, rubato, articulations, phrasing, dynamics, fingerings, pedaling, ornamentation, note-stem and beaming, pitch, and rhythm. I evaluate these editorial changes and performance practice to determine that, compared to modern practice, the 19th century fostered a tendency of applying rubato, longer slurs, diverse articulations, and expanded dynamic range. Furthermore, the instructions of fingerings, pedaling and ornamentation became more detailed towards the end of the century. / Dissertation/Thesis / Doctoral Dissertation Music 2020

Albert Schweitzers autobiographische Mitteilung, sein Strasbourger Lehrer Gustav Jacobsthal habe nur die Musik vor Ludwig van Beethoven als Kunst gelten lassen, wird anhand von Vorlesungsskizzen im Berliner Nachlass Jacobsthals einer Prüfung unterzogen. Dabei ergibt sich, dass Jacobsthal speziell den Spätstil Beethovens einer sehr viel differenzierteren Kritik unterzogen hatte. Sie mündete darin, dass Beethoven zu Gunsten der Verabsolutierung des partikularen musikalischen Ausdrucks die kompositorische Einheitlichkeit eines musikalischen Kunstwerks verletze. Jede zukünftige Musik müsse zwar an den expressiven Errungenschaften Beethovens anknüpfen, aber den Weg der Desintegration der Formkräfte wieder verlassen. / Eine gekürzte Fassung dieses Artikels wurde publiziert in: Die Musikforschung 55 (2002), S. 373-385.

Zum Sextett: Was ich an Beethoven bewundere? Seinen Sinn für musikalische Logik und zum Teil atemberaubende Ent- und Verwicklungen, kontrapunktiert von Einbrüchen unerwarteter Ereignisse und von Diskontinuität, außerdem die emotionale Intensität, die aber diszipliniert wird durch seine individuell erzeugten Formen, die niemals leere Hülsen sind. Eher ist es dieser allgemeine Aspekt, der mich zur Komposition des kurz vor der Coronakrise als Beitrag zum Beethoven-Jahr 2020 abgeschlossenen Sextetts inspiriert hat, als die konkreten zitierten, im Grunde austauschbaren Motive aus zwei seiner Klaviersonaten. Die zitierten oder angedeuteten Motive/Abschnitte entstammen den Finalsätzen der Sonaten D-Dur op. 10,3 und f-Moll op. 57 („Appassionata“). (Matthias Drude)

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