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.

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.

Beethoven's folksong arrangements and variations have been coldly received in recent scholarship. Their melodic and harmonic simplicity, fusion of highbrow and lowbrow styles, seemingly diminished emphasis on originality, and the assorted nationalities of the tunes have caused them to be viewed as musical rubble within the heritage of Western art music. The canonic composer's relationship with the Scottish amateur folksong collector and publisher George Thomson, as well as with his audience, amateur music lovers, has been largely downplayed in the reception of Beethoven. I define Beethoven's engagement with folksongs and their audience as the "Beethoven Folksong Project," evaluating it in the history of Beethoven reception as well as within the cultural and ideological contexts of the British Isles and German-speaking lands at the turn of the nineteenth century. I broaden the image of Beethoven during his lifetime by demonstrating that he served as an ideal not only for highly educated listeners and performers but also for amateur music lovers in search of cultivation through music. I explore the repertory under consideration in relation to the idea of Bildung ("formation" or "education" of the self or of selves as a nation) that pervaded contemporary culture, manifesting itself in music as the tradition of Bildungsmusik ("music for self-improvement"). Drawing on both contemporary reviews and recent studies, I show that the music's demanding yet comprehensible nature involved a wide range of elements from folk, popular, and chamber music to Hausmusik ("house music"), Unterhaltungsmusik ("music for entertainment"), Alpenmusik ("music of the Alps"), and even Gassenhauer ("street music"). Within the tradition of Bildungsmusik, adaptation of folksongs for domestic music-making, recomposition of pre-existing materials, collaboration between professionals and amateurs, and incorporation of musics familiar to and popular with contemporaries served as significant means for the composer to communicate with a middle-class audience. The hybrid and flexible nature of the folksong settings was not an awkward mix of various kinds of "trivial" music but rather a reflection of political, cultural, and social phenomena in Europe at the turn of the nineteenth century.

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.

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