Beethoven The Early Romantic Composers Series Editor: Michael Spitzer Titles in the Series: Schubert Julian Horton Schumann Roe Min-Kok Chopin John Rink Beethoven Michael Spitzer Mendelssohn Benedict Taylor Beethoven Edited by Michael Spitzer University ofL iverpool, UK ~l Routledge ~ ~ Taylor & Francis Group LONDON AND NEW YORK First published 2015 by Ashgate Publishing Published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint of the Taylor & Francis Group, an informa business Copyright © Michael Spitzer 2015. For copyright of individual articles please refer to the Acknowledgements. All rights reserved. No part ofthis book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library. The Library of Congress has cataloged the printed edition as follows: 2015932188 ISBN 13: 978-1-4724-4030-3 (hbk) Contents Acknowledgements vii Series Preface ix Introduction xi PART I HISTORY AND HISTORIOGRAPHY Carl Dahlhaus (1991), 'The Biographical Method' , in Ludwig van Beethoven: Approaches to his Music, trans. Mary Whittall, Oxford: Clarendon Press, pp.l-lO. 3 2 Scott Burnham (1995), 'Beethoven's Hero', in Beethoven Hero, Princeton: Princeton University Press, pp. 3-28. 13 3 K.M. Knittel (2006), '''Late'', Last, and Least: On being Beethoven's Quartet in F Major, Op. 135', Music & Letters, 87, pp. 16-5\. 45 4 Lewis Lockwood (1994), 'Beethoven before 1800: The Mozart Legacy', Beethoven Forum, 3, pp. 39-52. 81 5 Alexander L. Ringer (1970), 'Beethoven and the London Pianoforte School', Musical Quarterly, 56, pp. 742-58. 95 6 Warren Kirkendale (1971), 'New Roads to Old Ideas in Beethoven's Missa Solemnis', in Paul Henry Lang (ed.), The Creative World of Beethoven, New York: Norton, pp. 163-99. 113 PART II DOCUMENTS AND SKETCHES 7 Maynard Solomon (1998), 'Beethoven's Birth Year', in Beethoven Essays, Cambridge, MA: Harvard University Press, pp. 35--42. 153 8 Hans-Werner Kuthen (2001), 'Das "Heiligenstadter Testament" im Licht der Freimaurerei. Beethovens "Ietzter Wille" als ein Beweis fur seine Zugehorigkeit zur Logenbruderschaft?" Hudebni veda, 38, pp. 376-96. 165 9 Maynard Solomon (1972), 'New Light on Beethoven's Letter to an Unknown Woman', Musical Quarterly, 58, pp. 572-87. 187 10 Alan Tyson (1970), 'Conversations with Beethoven', Musical Times, 111, pp. 25-28. 203 11 William Drabkin (1991), 'Beethoven's Understanding of "Sonata Form": The Evidence of the Sketchbooks', in William Kinderman (ed.), Beethoven's Compositional Process, Lincoln: University of Nebraska Press, pp. 14-19. 207 12 Philip Gossett (1974), 'Beethoven's Sixth Symphony: Sketches for the First Movement', Journal oft he American Musicological Society, 27, pp. 248-84. 213 vi Beethoven 13 Robert Winter (1977), 'Plans for the Structure of the String Quartet in C Sharp Minor Op. 131', in Alan Tyson (ed.), Beethoven Studies 2, Oxford: Oxford University Press, pp. 106-37. 251 PART III ANALYSIS 14 Joseph Kerman (1994), 'Tovey's Beethoven', in Write all these Down: Essays on Music, Berkeley: University of California Press, pp. 155-72. 285 15 Robert S. Hatten (1994), 'A Case Study for Interpretation: The Third Movement of Op. 106 (Hammerklavier)" in Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation, Bloomington: Indiana University Press, pp. 9-28. 303 16 Janet Schmalfeldt (1995), 'Form as the Process of Becoming: The Beethoven- Hegelian Tradition and the "Tempest" Sonata', Beethoven Forum, 4, pp. 37-71. 327 17 Michael Spitzer (1996), 'The Significance of Recapitulation in Beethoven's "Waldstein" Sonata', Beethoven Forum, 5, pp. 103-17. 363 18 Edward T. Cone (1989), 'Beethoven's Experiments in Composition: The Late Bagatelles', in Robert Morgan (ed.), Music: A View from Delft. Selected Essays, Chicago: University of Chicago Press, pp. 179-200. 379 PART IV AESTHETICS AND HERMENEUTICS 19 Rose Rosengard Subotnik (1976), 'Adorno's Diagnosis of Beethoven's Late Style: Early Symptom of a Fatal Condition' , Journal of the American Musicological Society, 29, pp. 242-75. 403 20 Rey M. Longyear (1970), 'Beethoven and Romantic Irony', Musical Quarterly, 56,pp.647-64. 437 21 Owen Jander (1985), 'Beethoven's "Orpheus in Hades": The Andante con moto of the Fourth Piano Concerto', 19th-Century Music, 8, pp. 195-212. 455 22 Sanna Pederson (2000), 'Beethoven and Masculinity', in Scott Burnham and Michael P. Steinberg (eds), Beethoven and his World, Princeton: Princeton University Press, pp. 313-3l. 473 23 Richard Taruskin (1989), 'Resisting the Ninth', 19th-Century Music, 12, pp.241-56. 493 24 Holly Rogers (2006), 'Beethoven's Myth Sympathy: Hollywood's Re-Construction' , British Postgraduate Musicology, 8, at http://britishpost- graduatemusicology.org/bpm8/Rogers.html 509 Name Index 523 Acknowledgements Ashgate would like to thank our researchers and the contributing authors who provided copies, along with the following for their pennission to reprint copyright material. Harvard University Press for the essay: Maynard Solomon (1998), 'Beethoven's Birth Year', in Beethoven Essays, Cambridge, MA: Harvard University Press, pp. 35-42. Copyright © 1998 by the President and Fellows of Harvard College. Indiana University Press for the essay: Robert S. Hatten (1994), 'A Case Study for Interpretation: The Third Movement of Op. 106 (Hammerklavier)" in Musical Meaning in Beethoven: Markedness, Correlation, and interpretation, Bloomington: Indiana University Press, pp. 9-28. Copyright © 1994 Robert S. Hatten. All rights reserved. Institute of Ethnology of the Czech Academy of Sciences, Department of Music History for the essay: Hans-Werner Kuthen (2001), 'Das "Heiligenstadter Testament" im Licht der Freimaurerei. Beethovens "Ietzter Wille" als ein Beweis fur seine Zugehorigkeit zur Logenbruderschaft?', Hudebni veda, 38, pp. 376-96. Copyright © 2001 Academia, Praha. Laaber-Verlag GmbH for the essay: Carl Dahlhaus (1991), 'The Biographical Method', in Ludwig van Beethoven: Approaches to his Music, trans. Mary Whittall, Oxford: Clarendon Press, pp. 1-10. Copyright © 1991 Oxford University Press. The Musical Times Publications Ltd for the essay: Alan Tyson (1970), 'Conversations with Beethoven', Musical Times, 111, pp. 25-8. Oxford University Press for the essays: K.M. Knittel (2006), "'Late", Last, and Least: On being Beethoven's Quartet in F Major, Op. 135', Music & Letters, 87, pp. 16-51. Copyright © 2006 The author. Published by Oxford University Press. All rights reserved; Alexander L. Ringer (1970), 'Beethoven and the London Pianoforte School', Musical Quarterly, 56, pp. 742-58. Reprinted by permission of Oxford University Press; Warren Kirkendale (1971), 'New Roads to Old Ideas in Beethoven's Missa Solemn is ' , in Paul Henry Lang (ed.), The Creative World of Beethoven, New York: Norton, pp. 163-99. Copyright © 1970 by G. Schirmer, Inc. Reprinted by permission of Oxford University Press; Maynard Solomon (1972), 'New Light on Beethoven's Letter to an Unknown Woman', Musical Quarterly, 58, pp. 572-87. Reprinted by permission of Oxford University Press; Robert Winter (1977), 'Plans for the Structure ofthe String Quartet in C Sharp Minor Op. 131', in Alan Tyson (ed.), Beethoven Studies 2, Oxford: Oxford University Press, pp. 106-37. Copyright © 1977 Oxford University Press; Edward T. Cone (1989), 'Beethoven's Experiments in Composition: The Late Bagatelles', in Robert Morgan (ed.), Music: A View from Delft. Selected Essays, Chicago: University of Chicago Press, pp. 179-200. Copyright © 1989 by the University of Chicago. Reprinted by pennission of Oxford University Press; Rey M. Longyear (1970), 'Beethoven and Romantic Irony', Musical Quarterly, 56, pp. 647-64. Copyright © 1970 Oxford University Press. viii Beethoven Princeton University Press for the essays: Scott Burnham (1995), 'Beethoven's Hero', in Beethoven Hero, Princeton: Princeton University Press, pp. 3-28. Copyright © 1995 Princeton University Press. Reprinted by permission of Princeton University Press; Sanna Pederson (2000), 'Beethoven and Masculinity', in Scott Burnham and Michael P. Steinberg (eds), Beethoven and his World, Princeton: Princeton University Press, pp. 313-31. Copyright © 2000 Princeton University Press. Reprinted by permission of Princeton University Press. University of California Press for the essays: Philip Gossett (1974), 'Beethoven's Sixth Symphony: Sketches for the First Movement', Journal of the American Musicological Society, 27, pp. 248-84. Copyright © 1974 The American Musicological Society; Joseph Kerman (1994), 'Tovey's Beethoven', in Write all these Down: Essays on Music, Berkeley: University of California Press, pp. 155-72. Copyright © 1994 The Regents ofthe University of California; Rose Rosengard Subotnik (1976), 'Adorno's Diagnosis of Beethoven's Late Style: Early Symptom of a Fatal Condition', Journal of the American Musicological Society, 29, pp. 242-75. Copyright © 1976 The American Musicological Society; Owen Jander (1985), 'Beethoven's "Orpheus in Hades": The Andante con moto of the Fourth Piano Concerto', 19th-Century Music, 8, pp. 195-212. Copyright © 1985 by the Regents of the University of California; Richard Taruskin (1989), 'Resisting the Ninth', 19th-Century Music, 12, pp. 241-56. Copyright © 1989 by the Regents ofthe University of California. University of Nebraska Press for the essays: Lewis Lockwood (1994), 'Beethoven before 1800: The Mozart Legacy', Beethoven Forum, 3, pp. 39-52. Copyright © 1994 by the University of Nebraska Press. Reprinted by permission of the University of Nebraska Press; William Drabkin (1991), 'Beethoven's Understanding of "Sonata Form": The Evidence of the Sketchbooks', in William Kinderman (ed.), Beethoven's Compositional Process, Lincoln: University of Nebraska Press, pp. 14-19. Copyright © 1991 University of Nebraska Press. Reprinted by permission of Nebraska University Press; Janet Schmalfeldt (1995), 'Form as the Process of Becoming: The Beethoven-Hegelian Tradition and the "Tempest" Sonata', Beethoven Forum, 4, pp. 37-7l. Copyright © 1995 by the University of Nebraska Press. Reprinted by permission of Nebraska University Press; Michael Spitzer (1996), 'The Significance of Recapitulation in Beethoven's "Waldstein" Sonata', Beethoven Forum, 5, pp. 103-17. Copyright © 1996 by the University of Nebraska Press. Reprinted by permission of Nebraska University Press. For the images reprinted in this volume, acknowledgement goes to: San Jose State University (Ch. 3, Plate 1); Bayerische Staatsbibliothek, Munich (Ch. 6, Plate I); and Houghton Library, Harvard University (Ch. 21, Plate 3). Every effort has been made to trace all the copyright holders, but if any have been inadvertently overlooked the publishers will be pleased to make the necessary arrangement at the first opportunity. Publisher's Note The material in this volume has been reproduced using the facsimile method. This means we can retain the original pagination to facilitate easy and correct citation ofthe original essays. It also explains the variety of typefaces, page layouts and numbering. Series Preface Much of the world's most popular music was composed in the first half of the nineteenth century. The five composers represented in this series sit at the core of the Western art- music tradition, and have received an enormous amount of critical and scholarly attention. Beethoven and Schubert worked at the cusp between the Classical style and Romanticism; Schumann, Mendelssohn and Chopin formed part of what Charles Rosen called 'The Romantic Generation', a group of composers born around 1810 who could be said to have invented musical modernity. Of these five titanic figures, none needs much introduction or apology, with Mendelssohn being the exception of a once-neglected composer whose time has come again. Nevertheless, these early nineteenth-century composers do collectively elicit a kind of cultural re-affirmation on our part: against postmodernity's challenge towards this tradition and against the blithe assumption - after Musicology's respective analytical, critical and (now) digital turns - that earlier writers have nothing to teach us about this tradition. And this is why the five editors of the books in this series have been tasked to throw their nets as widely as possible, in order to capture not just the latest scholarly perspectives on this music, but also older, perhaps less fashionable, but arguably still invaluable literature. Priority has been given to items in English, but a few seminal contributions appear either in a foreign language or in new, previously unpublished translations. Extended introductions also situate the contents of individual volumes in broad scholarly contexts. 'The Early Romantic Composers' intends both to increase access to the published literature and to provide scholars, students and general music lovers alike with a reliable reference source. [t is hoped that reading and re-reading essays in the series will not only enhance appreciation of Beethoven, Schubert, Schumann, Mendelssohn and Chopin, the environments in which they worked, and the musical cultures in which they flourished, but also stimulate further engagement with the large secondary literature on these five great musicians. M[CHAEL SPITZER Series Editor