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


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