## Dissertation Index

 Author: McCallum, Peter, H.J. Title: The Analytical Significance of Beethoven's Sketches for the String Quartet in F major, opus 135 Institution: University of Sydney Begun: August 1987 Completed: March 1995 Abstract: The thesis is an analysis and transcription of the surviving sketches of Beethoven's String Quartet in F major, opus 135 from the point of view of analytical theory. Music analysis contains both explicit and implied assumptions which can, in part, be tested against the composer's own working drafts and sketches. The intention is not to invalidate theory but to contextualise it. Important among these assumptions are those which concern themselves with intentionality and unity. For the first movement, the sketches suggests combinatorial strategies which could be set against organicist metaphors, while the drafts for the development raise issues of large-scale voice leading and the structural significance of register. Discussion of the sketches for the second movement revolves around phrase structure and hyperrhythm, while those for the third movement are pertinent to motivic unity and the structural function of register. The sketches for WoO 196 suggest a tension between the demands of motivic identity and voice-leading which was carried over into the finale of opus 135. The thesis concludes that the unity of this work is most usefully seen, not in terms of its immanent integrity, nor in terms of its contribution to the organicist narratives, but rather as the result of a set of responses by its composer to the interaction of sometimes conflicting compositional habits, aesthetic values and circumstances. Keywords: Beethoven, sketch study, analysis, unity, compositional process, genesis, Schenker TOC: VOLUME I: ANALYSIS ABSTRACT i ACKNOWLEDGMENTS ii LIST OF TABLES vi LIST OF FIGURES vi ABBREVIATIONS vii INTRODUCTION 1 Chapter 1 1 Thesis 1 PART 1: THEORY 7 Chapter 2 Analysis and Sketch Study 7 Positivist Musicology and Modernist Analysis 7 Postmodern Thought and New Approaches to Contextuality 14 Sketch Study, Organicism, Schenker and Schenkerians 16 Contextualising Analysis 21 PART 2: PRELIMINARIES TO THE ANALYSIS 31 Chapter 3: Historical and Biographical Background 31 Chronological and Biographical Issues Relevant to the Analysis 31 Chapter 4: Sources 48 Definitions Relating to the Sources 49 Background 52 Previous Literature on the Sketches for opus 135 54 Survey of the Individual Manuscripts 56 The Desk Sketchbook: Kullak 56 The Pocket Sketchbooks: Autograph 9, Bundle 4 and Autograph 10, Bundle 1 57 The Pocket Sketchbooks: Artaria 205, Bundle 3 and MS 62/66 58 The Sketch Miscellanies: Artaria 216, Artaria 210 and Artaria 209 62 Vienna A74A 64 PART 3: THE SKETCHES 77 Introduction to Part 3 77 Chapter 5: Preliminary Ideas and Tonal Overviews 79 Preliminary ideas 82 First Preliminary Idea 83 Second Preliminary Idea 87 Third Preliminary Idea 92 Tonal Overviews 95 First Overview 95 Second Overview 97 Chapter 6: The First Movement 103 Introduction 103 Catalogue of Sketches for the First Movement 104 Beginnings and Endings 107 The Sketches 118 Towards Integration: the Motive of the Third 141 The Drafts for the Development in Artaria 216 150 The Development in Score Draft 1(b) 155 The Development in Score Draft 2 157 Score Draft 2(b) 158 Chapter 7: The Second Movement 168 Motives: Unity and Parody 169 Draft in Artaria 205, Bundle 3, pp. 30-32, 28 192 Score Draft 1 195 Score Draft 2 200 Drafts for the trio section 207 Score Draft 1 213 Score Draft 2 214 Score Draft 3 215 Score Draft 4 216 Chapter 8: The Third Movement 227 Unity and Disruption 230 The D Theme within opus 131 234 Tonal overview for opus 131, VI-VII 237 Su?er ruhegesang' sketch 240 Kullak f. 46r, f. 47r 242 Issues in Analysing Variations 243 2tes Stuck' sketch 248 Score Sketches for Variation 2 248 Score Draft 1 249 Score Draft 2(a) 249 Score Draft 2(b) 249 Fragment 1 250 Score Draft 3 251 Score sketches for Variation 4 252 Chapter 9: The Sketches for WoO 196 262 Counterpoint, Semantics and Syntax 262 Historical Background to WoO 196 266 The Sketches for WoO 196 274 Chapter 10: The Fourth Movement 284 Subject and Countersubject 287 Paths from F major to A major 303 Towards Thematic Integration 307 The Question Reached With Difficulty 319 The Second Theme 324 CONCLUSION 342 Chapter 11: 342 BIBLIOGRAPHY 353 VOLULME II: TRANSCRIPTIONS INTRODUCTION 1 A Note on the Transcriptions 1 Layout of Volume II 5 TRANSCRIPTIONS AND FACSIMILES 10 DESK SKETCHBOOKS 10 Sketches for opus 135 and related material in Kullak 10 Facsimile of Kullak, f. 39r, 39v 48 INDIVIDUAL LEAVES IN DESK SKETCHBOOK FORMAT 51 Vienna A74A 51 POCKET SKETCHBOOKS 53 Sketches for the D theme as Coda for opus 131 in Autograph 9, Bundle 4 53 Sketches for the D theme as Coda for opus 131 in Autograph 10, Bundle 1 56 Sketches for opus 135 and related material in Artaria 205, Bundle 3 58 INDIVIDUAL LEAVES IN POCKET SKETCHBOOK FORMAT 83 MS 66(6) 83 SCORE SKETCHES 88 Score Sketches for the First Movement 88 Facsimile of Artaria 216, p. 85 88 Score Draft 1 (a) 90 Score Draft 1 (b) 97 Facsimile of Artaria 210, p. 319 106 Fragment 1 108 Fragment 2 111 Facsimile of Artaria 216, p. 69 116 Score Draft 2 (a) 118 Score Draft 2 (b 135 Discarded Autograph Fragments 146 Other Score Fragments 153 Score Sketches for the Second Movement 158 Score Draft 1 158 Score Draft 2 165 Score Draft 3 173 Score Draft 4 182 Fragments 197 Score Sketches for D theme as Coda for opus 131 205 Coda for draft autograph of opus 131, VII 205 Sketch for transition to D Coda 210 Score Sketches for the Third Movement 212 Score Draft 1 212 Score Draft 2 (a) 217 Facsimile of Artaria 209, p. 39 226 Score Draft 2 (b) 228 Score Draft 3 235 Fragments 246 Score Sketches for the canon, WoO 196 "Es muss sein" 253 Facsimiles of sketches and autograph for the canon, WoO 196 "Es muss sein" 260 Score Sketches for the Fourth Movement 268 Score Draft 1 268 Score Draft 2 283 Score Draft 3 288 Fragments 293 RECONSTRUCTED POCKET SKETCHBOOK Pocket Sketchbook MS 62/66 INSERT IN BACK COVER Contact: Sydney Conservatorium of Music, Macquarie St, Sydney 2000, Australia Voice:61 2 230 3759 Fax: 61 2 230 3747 email: petermc@pitt.conmusic.su.oz.au