Pitch Interpretation and Cyclical Procedures in Middle-Period Beethoven Author(s): Barbara R.

Barry Reviewed work(s): Source: The Musical Quarterly, Vol. 76, No. 2 (Summer, 1992), pp. 184-215 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/742311 . Accessed: 28/12/2011 19:14
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Pitch andCyclical Interpretation Procedures inMiddle-Period Beethoven

I amnot satisfied my with previous works; from onI amgoing take new now to a way. van Beethoven,inLudwig Beethovens Leben, qtd. Alexander Wheelock by Thayer in Written theoutburst creative of the energy following Heiligenstadt the shows "new with strikcrisis, Eroica Symphony Beethoven's way" andclarity. marks extraordinary It an in advance composiingpower tional in of and size, technique, a work unprecedented weight, in Broad spanyet in construction, first concise the movecomplexity. ment integrated means a motivic is of in clear-cut rhythnetwork, by micarticulation long-range tonal in and the Overall, implication. work shows newbreadth conception,time a of a frame more expansivethan previously attempted anycomposer, had been himself by included. are extreme is usual either than for markings more Tempo or slow is march, Haydn Mozart--the movementa funeral adagio vivace. wellas more As in advanced techassai,thescherzo allegro theEroica alsomore is in defined character than nique, strongly Beethoven's earlier and individual of symphonies, this stamp character definitiontoprovide model distinctive is the for in identity subsequent works. the individual movements work, middle-period Within overall in aremore defined melodic, and and harmonic, textural profile, more in expressive Thesefeatures--technical charrange. personal mastery, andexpressive acter distinctive elements of definition, range-become Beethoven's andlanguage themiddle from on. style period The Eroica Symphony
Tradition and innovation: the Eroicatheyare dialectically in related and inextricably linked.The symphonic frameworkbothretained is

184

Middle-Period Beethoven 185

theexpanded dimensions thefirst of andreinterpreted--by movement; section and newconcepts development thedevelopment of in by in thevariation ofthefinale, theinterpenetration form coda;and by Yet dialectic be seenfrom and offugue development. theEroica may either from standpoint tradition, the of twopoints view: of providing which innovation theknown against meaningfully background which the or innovation, diverges; from provides foreground with play classical norms structure process. extending of and andagainst By Beethoven forgedwork powerhad a of traditional formal procedures, some theEroica's of ful coherence expressive and most yet range; were unique Beethoven, may not to innovative but be techniques in lateMozart Haydn. neither and used found However, composer form these nor consistently, do they style defining charactechniques teristics they as were do in Beethoven; to as rather, appear spethey ordevelopmental cial instances formal of exploration techniques. them into and Beethoven, contrast, by integrates centrally thestyle in other them of and syntax theEroica replicates major middle-period us On works-which the way." one level, brings backto the"new in form remarkable advances theEroica clearly a newway compariby At Beethoven's andsecond first sonwith symphonies. thesame orunconsciously--the way new echoes consciously time--whether of which similar marked the Haydn's descriptionhisop. 33 quartets, in master's advances compositional While older significant technique.' in hisearlier works Beethoven viedfor had with in comparison Haydn themajor that hadvirtually with Eroica the created,2 genres Haydn in Beethoven establishes himself decisively hisown"newway." Twooftheprincipal innovative Beethoven in used techniques theEroica strategic reinterpretationcyclical are and pitch procedures. at the constructional ofthe levels Theyoperate respectively twomain work-the intrastructural which refers prime to and level, components within first their the and movement; theinterstructural relationships which both and the level, shows, through material procedure, connectionofsalient first-movement elements other to most movements, to thefinale. notably At theintrastructural thecomponents thefirst of level, subject a of form "cluster such elements, as motive cells, complex" prime
and in often specific harmonic, pitchelements-thepitches rhythmic, in While present someearlier tessituras. suchas the String works, the Quartet, 18, no. 1, and the Piano Trio, op. 1, no. 3, from op. Eroicaon the first-subject forms defining a characteristic of complex The elements works. on levelsofstrucmiddle-period operate different whileothers up set ture;someare used in immediate succession,

186 TheMusical Quarterly

for and In resolution. addition, eleimplications medium- long-range in ments function different according context-for to exammay ways or sections. prime The in elements the ple,as connectors to articulate first first movement theEroica, linearizationtriadic of are of subject, in and the foreground as accompanying figures;3 cello shapes, both in both and C-sharp mm.7 and8, which requires proximate longthe and G-A-flat resolution; upper register range appoggiatura its in m. 9. andtheG-minor derivations;4 harmony will Whilethedissonant be for C-sharp clearly seminal longthe that resolves theproximate it at level harmonic action, way range in m. 9 is alsoofcrucial for The importance themovement. cello in to it by C-sharp mm.7 and8 rises D in m. 9; marked a sforzando, as the is harmonizedsecond inversion minor, Against tied G iii6. in move a semitone G to A-flat m. from celloD, thefirst violins up an The G-A-flat. inner 10,making important line, appoggiatura, in from toF, contributestheV76harmony m. 10. to down G moving resolves I in thenext to measure is confirmedV-I and Thisin turn by at theendofthephrase. of measure notexplained is The significancetheG-minor by In for of criteria resolution thedissonant of C-sharp. terms voiceis the measure functionand leading harmonic progression, G-minor thediminished seventh C-sharp on could resolved be allyextraneous; the seventh ontothefirst inversion-dominant in m. 10,so retaining and line,G-F, thus G-A-flat, alsotheinner appoggiatura, upper-line m. is not redundancy. redundancy actual bypassing 9. Butapparent kind than another ofperspective The inclusion G minor of suggests thesignificant direction harmonic of theunilinear rather, progression; in ontoa structural/temporal which are they grid components mapped own create but not may be usedchronologically,nevertheless their at Understateditsinitial intrinsic referentially.5 G logic appearance, to and will roles playin themovement, in the minor havecrucial at and as entire both a harmony significant work, junctures, also The related itsinitial to contexts within compoappearance. G-minor a of nentin thefirst yields connected group implications represubject schemata: sented thefollowing by to 1. as G minor or iii6)inE-flat, (iii moving V7 (orV76),then of coda; beginning thefinale D 2. with pitch as part theG-minor of the harmony, reinterpretthe notefunction; ingand transforming leading in is I as at the initialappearance--this re-presented the and also at the of at gesture theopening thefinale, imperative

Middle-Period Beethoven 187

3. with minor to the third G-EG moving E-flat, forming prime as contour a section, as a of or either theunderlying flat, feature in thecellofirst sub(as foreground strongly present mm.3-4). ject, and of The most mapexample complementary precise detailed the of can between openings the movements be traced between ping both and first movement thefinale;6 usethesame underlying harmonic Whileconnected through matching schema--iii6-V7-I. in contrasted are the contour, twoopenings nevertheless strikingly in is and G character, in particular, thewaythat minor used.In the is as of first-movement G minor understatedpart ongoing opening, in it of at theoutset thefinale, is blazoned an harmonic motion; assertive (Ex. gesture 1).7
Op. 55,Eroica Finale

m.473

ff

.8f

,i

.'

Example 1.

EroicaSymphony, 55, finale: op. opening

Ifboth contain structural the elements, opening openings prime flourish thefinale deliberately complex implications of is in less than thefirst-movement and,with direct makes opening impact, explicit theconnection between minor E-flat and that G major-a connection in willbe reinforcedthecourse thefinale revisited the of and at of of beginning thefinale digressionthefinale coda.8The peremptory alsoconfirms that eachofthethree E-flat opening retrospectively movements inoneorother ambiguously:first the movement opens ways
withthe dissonant the the C-sharpthatundermines keyofE-flat; scherzo withitsmetrical underscored thepianissimo ambiguity by clarified theme(scherzo, dynamics, onlyat theoboe and first-violin m. 9); the finale withits"off-center" in opening whichthe leading then to note,D, is heardfirst unharmonized, in reference G minor,

188

TheMusical Quarterly

mm. 7-11), at a D and by the end of the flourish chords of (finale, twooctavesbelowthe opening seventh pitchas partof thedominant ofE-flat feature theunderlying of schemais (Ex. 1). A middleground of thebass linearization the dominant seventh E-flat, of which anchors dramatic the of descendgesture a two-octave space-opening flourish the finale of reveals ingD. The exuberant accordingly opening tonaldigression the music's a dialectic between at surface coheand sion at itssubstructure 2). (Ex.
_O.L d.f.

iii4

of linearization V7

Example2.

of finale: reduction the opening EroicaSymphony, analytic

violinis also important The finale's highD in thefirst opening of tessitura. Recurrence a strategic foritsspecific pitchat original to enablesBeethoven use it as a focalpointto articulate tessitura In at or sections changetherhythmic impetus. thefinale the end of m. 117, rhythmic increases at momentum whichstarts thefirst fugue, coalesce (mm. 164texture as and contrapuntal simplifies theparts D, nowplayedbythe flutes 170), anticipates (m. 69); the initial high to deflected B via of a preparation C minor VI-V. This is in turn m. in first B theme(from 76), whichis stated forthefinale minor thenD major.By meansof thesecircumvented forthe minor, keys tessitura. forms It a the the finale theme, pitchD reiterates opening textures and and homophonic between remarkable hinge contrapuntal control pitchand pacing. of consummate showsBeethoven's in featured the central The sameD is strongly G-minor episode is dotted whosearticulated the rhythm (m. 211) between twofugues, in stated bass theme(originally harmonized thefinale pizzicato m. by its The the 12, after introduction). bass themethenreverses roleand in becomesthematic C minor.9 of the of In contrast the beginning thefinale, opening itscoda to form the of mm.431-35) is underpinned the simplest by (presto, at schema,iii-I (Ex. 3).10 The scurrying, gesture the space-opening in is of the movement recalled, compressed rangefrom yet beginning of from instead theupperD. As twooctavesto a tenth, starting G

Middle-Period Beethoven 189

the it and the wellas compressing range, alsocompresses simplifies action: instead thedeliberate of on thedominant seventh after pause theopening flourish 11), thecodaopening rushes the onto (m. both resolves first double-function which the and E-flat, phrase inithe one. Bystarting descent G, theframing the on tiates next pitches the ofthecoda'sopening outline prime G-Ethird, gesture explicitly this a closed is element the"tying function of flat; (corroborating up" thecoda),in contrast theopen-endedness -V76 at thebeginto ofiii The of leadsintoa large-scale reinforcening thefinale. codaopening ment E-flat of as resolution conflicting of and major, a clear-cut in elements themovement, parallels large-scale and the ambiguous ofE-flat theendofthefirst at movement 631 ff, first (m. "grounding" The now recalls movement). G-E-flat third, in E-flat prime major, theverticalization ofthose in two of pitches theopening chords the first form opening which the frame themovement, of and movement, in their in linearizationthefirst-subject theme. cello The subsequent third E-flat alsoarticulated thelasttwochords the in in is of prime first to the two movement-complementary opening chords-which the of frame themovement, at a larger of level and, provide closing from opening the chords thefirst of frame, theentire work, span movement theclosing to chords thefinale. of
Finale CODA

m. 431

Presto

_ ,d , ,, ,.f.

background harmonicschema

d.f.

prime 3rd

3. finale: reduction bars, Symphony, coda,opening with Example Eroica analytic

it is significant the echapp6A-flat that nearthe end of the finale mm.8-9) is thesamepitchand at the finale opening(fortissimo, sametessitura the sforzando as in A-flat the first of subject thefirst movement m. can movement, 10). A close comparison be drawn (first the between modes resolution the twocases,although methof in the

In terms pitch registral of and connection between movements,

190 The Musical Quarterly odsinvolved the characteristics first ofthe vary, reflecting different In movement finale. thefirst-movement and the A-flat, opening, tied the which theme mm. violins, counterpoints cellofirst-subject (first onto beat(m. 11,third 10-11),resolves G on a weak note) quarter so that sense resolutioneroded itsweak its of is in by position the it and at an measure, when next appears m. 13,theG is setover unstable To balance stressed the the needs A-flat, resolution the I. G ontoa strong does tonic, voice-leadingtofall root-position andthis notoccur-atleast, here.11 theendofthefirst not At (m. subject chord E-flat, G in theupper has not line.As wellas 15), thetonic the this also the one, resolving preceding phrase, tonic initiates next so itserves function double between two. the The pattern expected bypassed of but resolution A-flat-G in of thefirst movementalsoreworked thefinale. is in Giventheclear-cut, of it that A-flat rhythmic profile thefinale, is notsurprising thesame is humorously and It by dynamics articulation.is spotlighted strong in first hanging theairin theintroduction 7-9) andthen left (mm. in thecombinationthefinale of thematic subsequently elements--the skeletal bass and (mm.93, 95, 101, pizzicato theme thelyrical melody while V7 harmony the the A-flat does resolves, pitch 103)--sothat movement. not,justas in thefirst deflection, Expectation, surprisethese all devices are Beethoven from learned but Haydn, Beethoven's useofthem combined long-range planning pitch is with tonal and his skill, showing reinterpretation notonly compositional butalso,in the of situations, implicit Haydnesque challenge outclassing typically theolder master thesymphony hisownground. A-flat of on The of m. 103is left when V7 harmonyresolved I at m. the is to suspended Beethoven shifts harmonic the direc107,butin theensuing phrase, tiontoward dominant C minor, the of by emphasized twostaccato fortissimo 115-16)(Ex. 4). Thesechords form artican chords, (mm. to setoff beginning thefirst the ulative of the point fugue. Notably, notes these chords theresolving G, butin a difof two are top pitch context. is as ifBeethoven It the resolves V7 in ferent, unexpected twostages aredeliberately ofphase: first that out the resolves harmonnot toE-flat m. 107,butwith at E-flat, G, at thetop;thesecically the A-flat G at mm.115-16,butin thecontext to ondresolves pitch of is here ofthedominant C minor. WhatBeethoven demonstrating sometimes with mesh is a subtle control pitch/registral which of issues,

and as harmonic resolution, at othertimes, here,meaningfully diverge a from to createa new tonaldirection to articulate new section it or the between outer of the movement. the Underlining connection

Beethoven Middle-Period 191

m. 103

m..107
If

m.116

IW 0[1

--

16N I

motion to finale: 4. fugue Symphony, approach thefirst byhalf-step Example Eroica

the movement's firstA-flat-G reverses first the movements, finale at the same G-A-flat register. appoggiatura subject then in of at Left hanging thebeginning thefinale, resolved the us in A-flat continually wrong-foots our key, wrong theechapp6 Its of to ofa resolution G in thekey E-flat. resolution expectations of after at of be might expected thereturn thekey E-flat thecentral mm.328-48,resolving to of action thetwofugues (dominant pedal, ninth dominant seventh minor and m. E-flat, 349). The dominant the do (mm.347 and348) that prepare E-flat pocoandante have seventh dominant to certain (mm.7-11), parallels theintroduction's in A-flat present theinner is it butat this lines, is although point, WhenA-flat-G as does avoided theupper framing studiedly pitch. in it too, occur, is notonly thewrong butin thewrong key, register in "tick-tock" section as thebassofthat odd,seemingly interpolated to diminish to A-flat 404). The bassfalls G (m.420), dynamics (m. in bursts (m. 431). and coda pianissimo, thefortissimo brusquely in the and the Whilere-presentingA-flat-G another register context, to but section (Ex. prior thecodais a reworking, nota resolution 5). The A-flat from initial the dominant seventh so far been has not at resolved theright andin theright andalthough truly register key, starts G at theright on it thecodapresto register,is againin the It tonal context. is an indication Beethoven's of wrong large-scale that control time pacing thefinal of and to resolution G in thekey of in thefinal E-flat occurs chords themovement 461). At of (m. only G an octave and chord, it higher, is alsoat thetopofthepenultimate on so the to falls E-flat thefinal chord, that lasttwochords again

reinforce prime the now firmly basedin the tonickey. third, G-E-flat, It becomesincreasingly thatone of thewaysBeethoven clear establishes connection within and between movements is large-scale of and motivic and by the reinterpretationstrategic pitches groups

192 The Musical Quarterly

m.404

m.420

Presto m.435 m.431

bII
in G minor IV

iii in Eb major

Example5.

EroicaSymphony, finale: A-flat the to prolongation prior thecoda

the of and prime intervals specific at through reiteration pitches regisWhile illustrated detailin thepresent in ters.12 context theEroica, of have wider in thesetechniques of application thestructural planning in works Beethoven's otherimportant middle as maybe seen period, in the discussion below. As well as creating connection within and between large-scale are usedas pointsofformal articumovements, strategic pitches often whichmaybe demonstrated further lationin the first movement, by in In use Beethoven's of the A-flat-Gmotif the slowmovement. the it a C-minor funeral VI-V, which march, is primarilybass motion, In times the two occursthree during courseofthe movement. thefirst to is subverted destabilized. or of these,resolution C minor either in take Only in thefinal appearance, the coda, does resolution place. in where resolution A-flat the full of This is comparable thefinale, to is avoideduntilthe end of register similarly key right and at the right the movement. the occursafter The first ofA-flat-Gin the slowmovement use withits themein C minor, statement thefuneral-march of opening to major.The return C minor phrase(m. 17) in E-flat complementary to is prepared thebassA-flat-G(mm. 22-30), buttheresolution by as C is the expected minor bypassed whenthe C is replaced V7 in F minor.

193 Middle-Period Beethoven

the use a Whilethefirst is more short-range section, linking are both more and second third uses, dramatically prepared, alsoused The use sections. second ofthebassA-flat-G formal to delineate after maggiore. the After in C-minor section occurs thesecond large is cadence G in at m. 114) there a full theextended (starting fugato of measure thefuneral-march a brief statement thefirst of minor, still a to theme 154),a risein pitch A-flat, sotto voce,then (m. A-flat solidified the in unharmonized in celloandbasses, thunderous with and chord nextmeasure an A-flat blaring by trumpet horns-a the dramatic itbrings mind that to and so sudden intrusively coup falls rescue in Fidelio. The bassA-flat to a dominant call 13 pedal m. march which funeral the for returns thereca(starting 168),over the the resolves (m. pitulation 173). Paradoxically, G, which the theme A-flat-G alsounsettles funeral-march by appoggiatura, dominant which the the destabilizes recapitforming underlying pedal, the of ofthe ulation. procedure therecapitulation (Compare similar of Sonataover dominant a first movement theAppassionata pedal.)It is alsoa paradox theA-flat-G that which connects the to section, anddramatizes return thefuneral-march the of theme, recapitulation of texture dynamics. and doesso byan intense rupture thepreceding In a different butneverthelessa developmental as feature, way, intrusion recalls searing the off-beat sforzandi rupthat this shattering the of ture texture thefirst-movement development to therestaprior In of and for theme. bilization texture key theE-minor development the show of fact, twomovements interesting parallels formal in or section equiva(or fugue fugato thedevelopment procedure-of followed a loud,forceful the across lent)ofthemovement, by slicing in turn followed a consolidation, andthematically. texture, by tonally for outline allows thevitalindividuality ofmaterial (Thisschematic that both andhandling informs movements.) second The A-flat-G articulates recapitulation slow the ofthe movement while accordingly theresolving G to destabilize return C minor. the to using pitch Forthethird ofA-flat-G, use the articuthough, appoggiatura lates formal a of in section themovement, this casethecoda,butit alsoallows expected the stable resolution C minor take to to place.A similar cadence V-VI occurs thebeginning the of at of interrupted coda (m. 209),buthere A-flat the reverses procedure theprior the of
and in use, by a diminuendo reduced dynamics, pianissimo, a ticktocksectionthatanticipates tick-tock the sectionof thefinale to prior itscoda. By a series chromatic of pairedhalfsteps-C-D-flat,B-C, to F-F-sharp-thebass movesdownto G and thenresolves C minor
(m. 223) (Ex. 6).

194 TheMusical Quarterly

Funeral March m.208 m.223

cresc.

VI

Example6.

EroicaSymphony, funeral march: bassprolongation theA-flat-Gappoggiatura of

Earlier was notedin connection it withtheA-flat-Gappoggiaturathatthe secondC-minor sectionis moredeveloped-in boththe and the C-minor and consection, specific wider senses--than first tainsa fugato in starting F minor(m. 114), whichpicksup the F-minor reference from first the C-minor section(the first measure of the funeral-march themein F minor, 31). This fugato m. be seen may in a general senseas partof Beethoven's new conceptofdevelopment, whichis not restricted motivic to and or fragmentation recombination to morefrequent unstable and but modulations, to theuse ofcontraas meansofre-presenting working and out puntaldiscourse a principal the material development developmental-type in and sections. More in the the specifically, fugato theslowmovement parallels firstin movement whichalso starts F in section, fugato the development m. 236). Like theend ofthe slow-movement minor(first movement, the of fugato, first-movement endsin a cataclysmic fugato rupture texture to and for prior tonalconsolidation clarification theE-minortheme.But ifthe slow-movement connects back development fugato to thefirst-movement it also connects forward the two to fugato, in finale thatflank central the G-minor fugues C minor episode-the m. first thebass theme(finale, 118), the secondon thebasstheme on withthe lyrical m. as melody counter subject(finale, 266; see Ex. 7). Extreme dislocation restabilization theremote ofE in and key in minor thefirst are movement eventscentral a development to sectionofpreviously and power. Centralin two unprecedented length 14 in different new rangeofdevelopmental first, Beethoven's respects:
dissonance, procedures,which can encompass extremesof register, The tremendous and extension, and reintegration. fracturing subserestitution tonal and thematicordershow Beethoven's most of quent radical and innovative treatment development.These events cruof and distance cially expose the developmentsection's extremediversity

Middle-Period Beethoven 195

Finale m.117

Cl. (as sounding)

Vln.2

Vln.I

o.Bn
m. 266 Ob. Hn. 1 (as sounding)

Vln.2

Via.

finale: 7. Symphony, thefinale Example Eroica fugues

from movement's the At the tonal opening. thesametime, extreme distance E minor of from E-flat is counterbalanceda high major by levelofintegration. E-minor The theme built precisely same is on the contour thefirst as and underlying subject, this underlying prounity vides basefor essential a the of at diversitythetwothemes themusic's as to central Beethoven's radical most Second, wellas being ofdevelopment, E-minor the theme stands central position in concept in thedevelopment section. Three main areas leadup to it,and key three follow from so itstands center a planofremarkable full in it, In addition, theprincipal areas thedevelopment all in symmetry. key arelinked thirds. Thosewhich E minor from beginthe by approach of descend thirds16 haveonepitch and in ning thedevelopment by common between pairoftriads. each After development the theme, onefurther descent third the from completes equalinterval C to C an
surface.15 Ex. 8.) (See

thenbytherisethrough areasa third octavebelow,followed key of apart,thistimewithtwoof the three pitches the triadin common. The prime third the opening of chords and first now takeon a subject new dimension meaning, the interval of as of mapping large-scale tonalorganization the wholedevelopment for section(Ex. 9).

196 TheMusical Quarterly

Istmvt. Development

theme

(keysignature omitted for A-

clarity)

the Istsubject (from coda)

of (end mvt.)

themeand of contours the development first matching Example8. EroicaSymphony, movement: thefirst subject
148-52 m.170 m.220 mm.

Dev. theme

m.284

m.300 m.308 m.322 m.330 m.388

=
V C maj

Ab maj

,,
E min C maj--C min

Eb min GI maj

V of Ebl,

Example 9.

movement: tonal planning of the development section Eroica Symphony,first

in radicalapproach otherwaysat thisjuncGiven Beethoven's examthe that ture,it is no surprise whatis arguably mostremarkable occurs work in here,at the ple ofpitchreinterpretationthe entire connection theme.The long-range of preparation the development effective. is E-flat E minor simple, extraordinarily and between yet

Middle-Period Beethoven 197

m. 281

theme to approach the development

is as and is reinterThe tonicE-flat respelled enharmonically D-sharp as preted the leadingnote ofE minor(Ex. 10). This reinterpretation

of the and for makes explicit comprehensible choice E minor the theme. it is notpredictable, Though development comprehensible,
E of sion. Over an even larger perspective the movement, in turn dominant mentthemein the coda-a keythatis the secondary of

new and and of potential forges tonalinterpretationsmodes expres-

creative musicallogicthatseizeson unforeseen butshowsa superbly

the notefor F-minor the of statement thedevelopbecomes leading of E-flat in I) and,via thelongstructural dominant themovement (ii of resolution. (mm.603-30),is themeans itsultimate of to dialectical Whatapplied theEroica--the interplay tradition the delineation individualization and of andinnovation, expressive themiddle-period to and quartets piano movements-applies equally These show a like and sonatas theWaldstein theAppassionata. works conflict head between andsyntax, tension creative style presenting The shows definiin on,yetmaintaining equilibrium thework. Eroica differthere of continuitytheclassical graceful style;"1 arequalitative the of encesin expressive between slowmovement Mozart's range of movement theEroica, K.550,andtheslow Symphony, G-minor andin theregistral dramatic the between andcomplexity span, power, K. PianoSonata, 457,andthe C-minor of first movement Mozart's of first movement theAppassionata. in some in movement conflict requires reciprocity engendered thefirst thelast,through In orresolution. themiddleintensification either than characterized in are movements more individually works, period movement thefinale. and the in between first a whole, particular and in ofmood material characteristics predominant Consequently,
connected as but Beethoven's earlier works, theyare also moreclosely and the of becomesthe center instrumental Conflict drama, turned and the had movedbeyond finely thatBeethoven phrase tively

198 TheMusical Quarterly

thefirst movement often are reworked resolved, both, the or or in last.In theAppassionata, conflict notreleased resolved the is or in buttheintensitytheouter of movementssustained the is to finale, In end very ofthework. theE-minor Razoumovsky Quartet, String op. is in of 59, no. 2, conflict dispelled theplay thefinale itstonal by and rider wrong-footingdriving rhythm. Razoumovsky StringQuartet,Op. 59, No. 2 The first movement theE-minor of with a Quartet Razoumovsky opens two-chord followed twotrenchant, two-measure strong gesture, by in the in the pianissimo phrases, first E minor, second theNeapolitan F major. Eachphrase self-contained, is a triadic outline closed a by cadence. Eachone is starkly off a measure's without set by rest perfect link them. wellas in this As this anymodulating between quartet, use the of Beethoven striking ofi-bII alsocharacterizes opening other the and works, middle-period including Appassionata theF-minor Quartet, 95. String op. The unfolding ofthefirst realization as plan movement--its dramatic action formal and determined events by presented design--is On at theoutset themovement. theonehand, of these events are and of they pitch interval specific; consist theharmonic openinterval ofthefirst E-B two endedness, i-V6,andthespace-opening in thejuncture thefirst andtheappoggiatura, of chords, E-F-natural, The twophrases. Neapolitan upa dissonant sets element which conthe flicts thediatonic with and supertonic F-sharp destabilizes tonic E the of out from minor. By key.It forms means leading ofandaway theappoggiatura (violin m. 10) willbe seen(on page C-B 2, contrast, the the backto E minor. 202) to reverse procedure providing way by On theother of formal hand,therealization themovement's and dissostructure control tonal of digression long-range through oftheopening. Whatis on nancedepends theintentional ambiguity Are a as of two thefunction thefirst chords? they frame, in theEroin and Are two ica,oran introduction? thefirst phrases E minor F material? orare an part major introduction, they ofthefirst-subject while in an more Or do they, some complex suggest introduction way, ofthefirst being part subject?18
of at the association, twochords thebeginning the By immediate of recallthe opening the Eroica:bothare metrical markers, quartet calls to the whichestablish tempoand pacing;bothare heraldic frames matched the bothare opening attention, by announcing work;

Middle-Period Beethoven 199

twoconcluding chords out rounding themovement also,in the (and caseoftheEroica, finale well).Butthequartet the as more contains, at least elements interval harmony willbe of and that overtly, prime usedto demarcate principal the sections thefirst of the movement, of and section, beginning thedevelopment recapitulation, coda.The useofan opening frame off of did setting themain part themovement notoriginate Beethoven; with haduseditwith in Haydn elegant style hisG-major an Quartets, 33, no. 5, andop. 76,no. 1, toprovide op. the But the "endbefore beginning." in boththese is instances, gesture and effect on thefinality theperfect of closed, itswitty fully depends which the before hasgotunderway. it cadence, stops movement usestheconventions theframe theintroof and Beethoven, however, duction known as like and departure points, theaccepted familiar features a formal of and them iconography, transforms in theindividual foreground 59, no. 2. Drawing associations metrical ofop. on of to attention, introduction, and Beethoven makes the impulse, gesture in time, integratedcontent but in to opening components separated therest themovement. initial of The which the material, generates is thebackground, in and movement,accordingly presented against thelikeness, frame introduction-a of and remarkable instance the of After and and find Wagner Mahler, Stravinsky Cage,we may it difficultrecapture sense daring to the of of conflict attack, subversive andstructural in resolution thegreat works Beethoven's of middle Mozart to undermine procedures: tonal period. attempted rarely only in theG-minor K. at Symphony, 550,first movement, thebeginning ofthedevelopment, more and at radically, thesame place,in the and PianoConcerto, 595,first K. finale; in theB-flat at movement, thebeginning thedevelopment. of never Mozart, however, virtually doesso at thebeginning a movement, thepossible of with exceptions oftheopening theDissonant of K. chromatic Quartet, 465,whose introduction is both and and in exceptional an exception, theFantasy fantasies a composer C, K. 475 (butthen give greater license). poetic The romantics, drew who between Beethoven frequent comparisons andShakespeare, havebeenmore thanthey may right knew, though notin their of and but high-flown poeticizing works artist, in thenub In Macbeth Othello seeds discontentofconstruction.20 and the of
retention transformation and offormal function.19

at power,ambition, of present the very beginning the revenge--are in unfocused the meansof their play,at first but realization, increasdramatic ingly situations. developedin different While respecting the distinctiveness each artform pointstressed Gotthold of in (a Ephraim thatBeethoven's Lessing's Laocodn),21 one could argue heroicmiddle-

200 TheMusical Quarterly

show thebeginning a piecesome works often at of feature of period orregistral which breaks orunderharmonic, dissonance, into, pitch, in and course of mines, continuityan unexpected, at times radical, action. The Neapolitan theopening theE-minor near of Razoumovsky is justsucha subversive After initial its feature. as Quartet appearance therepeat thefirst of thepitch F-natural recontextualized is as phrase, theseventh V7 in C, dramatized a wide of by registral between span theouter fortissimo and to parts, dynamics, a two-octave down F, leap ontoE-flat 11). Thismove ofE minor C via the out to (Ex. resolving is at of Neapolitan reworked extensivelythefocal point thedevelopment. dynamic registral A and out directions and wedge opens in both is emphasized theoffbeat which resolve all dislocations, by rhythmic at thepowerful fortissimoC (m. 107). Notonly theNeapolitan on is recontextualized ofthevertical as part ofV7, butthebass harmony linealsomakes linearizationthedominant a of in seventh itsdrive toward (Ex. 12). Giventhat move C is thecentral C the to in action thecentral section themovement,canbe regarded thetonal of C as of as an force "subset" themovement, functioning opposite polar in backto E minor.22 function C as a subset The which turn of pulls is confirmedthebeginning thecoda(mm.208b-9),where at of the of two opening chords themovement, andthespace-opening i-V6, fifth re-presented key C (Ex. 13). in the of are

in move11. String Quartet E minor, Razoumovsky,59, no. 2, first op. Example ment: exposition

is of as context V7 (in C). C major,resited VI in E minor, pulled via back to E minor V theni in the tonickey;thistonalaggregate the the movement makesexplicable sameformation and patterns first and reworked vein, in the finale.23 insistently, in a lighter

In thecoda,prime elements brought are back,andat thebeginfeatures presented are of together-the openning thecoda,twosuch in in by ingtwochords C andtheir preparation theNeapolitan the

Middle-Period Beethoven 201

m. 102 DevelopmentA

103

104

105

106

07

'

linearization V7 of motive opening rhythmic

Example 12.

to drive C major

central movement: no. point,with Quartet, 2, first development, Razoumovsky

208b m.

Example 13.

no. of Quartet, 2, first Razoumovsky beginning the coda movement:

sometimes is contour-specific--that the same intervalis used, not it is, at theoriginal butin in or pitch, retrograde, on otherscale inversion,

is an (as Sometimes element pitch-specificin E-F-natural);

The the (E-F-natural) degrees. Neapolitan appoggiatura generates derivations 14): (Ex. following

of 14. Derivations theNeapolitan appoggiatura Example

is noteofE minor, respelled as so enharmonically E-flat, thatpartof V the original is as dominant, ofE minor, recontextualized tonicin E-flat thisformal at of the movement. This stunning move juncture follows similar a to movement the Eroicaat the of procedure the first but the E theme, in theRazoumovsky, moveis from development

At theendoftheexposition time andat theendof (second m.) therecapitulation time theNeapolitan recontextualized is (first m.), and as part B-flat7, theopening chords themovement, of two of in as (Ex. 15). D-sharp, theleading major i-V6,arerestated E-flat

202 The Musical Quarterly

endofexposition m.) (2ndtime m.69b

endofrecapitulation time (1st m.) m.209a. ..

o,

'O

I-

no. movement: recontextualizations Neapoliof the Quartet, 2, first Example 15. Razoumovsky tan appoggiatura

minor E-flat, to whereas the Eroica,thekeysare in thereverse in order-E-flat the tonic,E minor thedevelopment for for theme.Both casesdependon the reinterpretation enharmonic and of respelling and in thecase ofop. 59, no. 2, theopening two D-sharp/E-flat; "marker" are chords prepared thedevelopment end of therecaat and the two by pitulation recontextualizing Neapolitan.The opening of chords the movement have a bass line ofE-D-sharp;and it is this line whichis projected overthe long-range sections the movement, of overthe exposition therecapitulation--the and respelled D-sharp as The other element theopening, of enharmonically E-flat. principal serves themeansofpreparing E-flat forming as the theNeapolitan, by and partof itsdominant. Development coda also use therecontextualbut of izedNeapolitan, in thedominant preparation C, the subset of tonalcenter the movement. C is also partofthe appoggiatura heardat m. 10, C-B, first violin2. While C as a tonalcenter a provides secondary polarattracE the tionawayfrom minor, appoggiatura the provides meansof return the tonickey,in the coda. In a movement tightly to so and tautly thereturn E minor to drawn tonally, wrought rhythmically the must reestablish tonickeywithcorrelative and strength definition. The actionis presented withtheutmost and impact. The economy

Middle-Period Beethoven 203

a of codaopens C, thebassprolonged in throughseries half-step to motions (mm.209-27). C falls B (m. 229)--aninsistently so seventh ninth-and re-presents and the repeated pedal-dominant m. 10. B is extended a full from for eleven measures, appoggiatura level to and with dynamic increasing fortissimo theregistral the span in the bass. is stretchingtheupper against constraining Tension part between upper the increased thesameoff-beat rhythmic by pattern as was andlower of at pairs instruments usedin thedevelopmentthe to The is not build-up approach C major. C-B appoggiatura only in measures thesustained of domihorizontallytheclimactic presented between outer the but in a dominant nant, it is alsoverticalized parts ninth immense of minor and dissonance 16). (Ex. power grinding
m. 10
Vln. I /,, -

Vln. II

CODA

-f

-ff

if

dominant

Example 16.

movement: no. Quartet, 2, first coda, climaxat the structural Razoumovsky

chords.In the coda, thesamefirstinterrogative pairofopen-ended is overthe root-position material stated tonic,and the sucsubject back intothe theNeapolitan now in first violin,turns ceeding phrase, withtwoE-minor ends The movement context E minor. of chords, twochords and the the closing frame thatbothparallels opening of resolves openness i-V6. the

of the is Thisclimax thestructural dominant, hinge themovewith returns themelodic after the which tonic ment, first-subject is over a that material m. 13. In theexposition, material sited from first and sixteenth-note between violin andthesucceeding phrase I4, leadsintoanother the viola(mm.16 and 17) containing Neapolitan

204 TheMusical Quarterly

of as determinant and The potential theNeapolitan structural In movement. theother subversive is notexhausted thefirst by agent it to two the and E-minor movements, scherzo thefinale, returns play that is absent it a significant (It is worth role. from the noting and the "theme-russe" secsecond movement from E-major E-major the Beethoven probably most wanted retain to tions thescherzo; of movementsa special as kind characterof for E-minor the Neapolitan The of and ization conflict, subsequent resolution.) harmonic pattern as anditsforceful resolution flat oftheintrusive supertonic, F-natural, which strongly the so characterizes first a dominant minor ninth, in the is movement,incisively Following "hinge" replayed thescherzo. returns thecadential for the structural dominant, diatonic F-sharp that measures restabilizeminor 17). E (Ex.

m. 17

SII

I -ff

ff 5the

( overthespanof

section)

dominant and the no. 17. Razoumovsky Quartet, 2, scherzo: Neapolitan thestructural Example

of reworkingstrategic re-presentation, Complementation, C The center is in are of elements-all these present thefinale. subset andat thrust opening, by insistently intoattention thewrong-footing the also the articulative crucial points movement reworks Neapolitan. roles C, new remarkable interpretative for shows In fact, finale the The to in or it which connect closely pitch function F-natural. second In element. has for ofthefinale, example, a strong Neapolitan subject of the theexposition, second (mm.70-78) is in thekey B subject
so minor, theNeapolitanpitchforthatkeyis C. This meansthatC, and movement thewrong-footing the subset opening pitchof the first a now assumes new roleas theNeapolitanofB minor of the finale, (Ex. 18).

Middle-Period Beethoven 205

on in is fronts: second the Ingenuitydemonstratedmany subject feature-comes in thedevelopment E minor-arecapitulatory back This indicates so not (m. 216), notin therecapitulation. placement
m. 70

2nd Finale, subject, exposition

no. second 18. Razoumovsky Quartet, 2, finale: subject exposition, Example

of between and much exchange function an development recapitulaofa element thedevelopin but tion, theinterpolationrecapitulation In where and ment. a movement are surprise ingenuity oftheessence, instance a technical with of thisis onefurther virtuosity, Beethoven in an individual theelements sonata rondo and of design reordering skill. of of solution dazzling In theE-minor appearance thesecond is The is the subject pitch F-natural. second subject, Neapolitan marked four-measure dynamically extended a strongly by phrase, highC. F major itsdominant SinceC major alsotheNeais and lighting of one both passage encapsulates usesof politan B minor, couldsaythis as and theNeapolitan, wellas theNeapolitan itsdominant 19). (Ex.
m. 232 4L -

19. Razoumovsky no. uses Quartet, 2, finale: interlocking ofthe Example Neapolitan

The moststunning of theNeapolitan, use comesin the though, into coda, whereit is reintegrated E minor.Like thehammered-out minor ninthin thefirst dominant this movement, Neapolitanis the and dramatic structural It elehingeof the finale. reworks precisely ments from scherzo-strong the and sudden dynamics dynamic The change,wideregistral span-but morepowerfully. extreme range

206 TheMusical Quarterly

is ofthefortissimo measure's silence, Neapolitan cutoff a shocking by in then V ofE minor comes softly. the as wellas thepitch Silence, andharmonic elements thefirst from is element movement,another in this return 20).24Thissearing and (Ex. powerful Neapolitan figure in itsresolution E minor fulfills thefunctions theNeapolitans all of one. the of from beginning thework-except The codahasonelast one reference the card play.In thelastpageofthescore, final to to chromatic in thefirst as of line Neapolitan appears part an ascending with violin from to E'. The movement finishes three of E pairs perfect in the the has so raising cadences: first F-sharp-G theupper line, andresolvingto G; thesecond it has F-natural itsdiatonic to F-sharp in the of line,reversing E-D-sharp theopening D-sharp-E theupper i-V6 at thebeginning thework; third ofcadences a of the falls pair the ofthefirst movement. B-E, reversing space-opening fifth, gesture is The circle nowclosed.
m.340

ff ff

no. coda 20. Razoumovsky Quartet, 2, finale: Example

features characterize works the of conflict, Drama, design-these of fall the that within description"heroic." middle Beethoven's period orHaydn's To saythat Mozart's witty gracefulness equipage elegant in of musical havevanished theface a more conception powerful truth. The the are like but sounds a truism, truisms rarely only and sits of "heroic" oddly theshoulders theFourth on description thePianoSonatain F, op. 54, ortheC-major Pastoral Symphonies, in more smaller frame, Quartet, 59, no. 3, works op. Razoumovsky But in thantheir and relaxed graceful style neighbors. bigger-boned of features theheroic the drama conflict, characterizing and concept, the and arecentral theEroica Fifth to RazouSymphonies, E minor Piano and theWaldstein Appassionata Sonatas. Quartet, movsky The Appassionata Sonata in the is the of or The nature, rather status, conflict treated differently works cited. Sonatathanin theother middle-period just Appassionata

Beethoven Middle-Period 207

eleIn theEroica theE-minor and Quartet, first-subject Razoumovsky in the and transformed finale. This ments lightened partially are in affects formal the of where the design thefinale reworkingturn and variation sonata rondo-is underlying individual of The intoa highly rescoring shaped framework--respectively theform. Waldstein in its Sonatareleases first-movement intensity thefinale a wonderby is conflict unrerondo.25 Onlyin theAppassionata fully expansive is and in movementtaken in thefinale Conflict thefirst solved. up in a correspondingly mode, while firstintense but the replayed of the tonal movement opposition contrasted is resolved, diskeys is course conflict not.26 of two At thebeginning thefirst of elements movement, distinct F minor is arepresented: thelinearizationthetonic-triad of First, theflat theharfollowed G-flat directly by major, forming supertonic i-J element themordent is C-Dmonic juncture II. The second is which a variant themovement's mordent, of natural-C, prime Evenmore than Eroica theE-minor the or C-D-flat-C. Razouclosely is a thefinale theAppassionata direct of of Quartet, reworking movsky in a movement parallel elements of first-movement rather intensity, in a vein-an intentional than reinterpretative reworkinga lighter of and that the nature of matching mode material underscores cyclic Not will thework. only first-movement the elements, particularly and in the return mordent, Neapolitan theprime prominently finale, will of butthere alsobe closeparallels formal and placement pacing the between twomovements. of The developmentsthetwomovements illustrate these vividly In bothinstances, conflict central thedramatic is to action parallels. with ofthedevelopment, theNeapolitan most its agent powerful for tension deflecting direction. thefirstand tonal In engendering the movement in G-flat, development, Neapolitan pitch, appears the context B-flat of minor m. 115. Bya rising motion, at bass V-VI, the is then in reinforcedG-flat it tonally Neapolitan major. Immediately, is respelled as F-sharp, for first in the and the time enharmonically it to of of movement,rises G in thekey C. The cumulative energy thisintensification intosweeping diminished sevenths cliand erupts maxes ontohammered fortissimo the of D-flats-C, latter segment the movement's mordent, magnifieditsstructural now at dominant. prime
withitsbleached-bones version at segment (Comparethisemphatic the end of the recapitulation.) the line through sweeping of Prolonged diminished sevenths the structural and to dominant, resolves F only G at the recapitulation 21). (Ex. The central actionof the development be seen, therefore, as may the conflict between chromaticII and the diatonic the supertonic.

208 TheMusical Quarterly

(octaves omitted clarity) for

development

1st movement

to outlines) (basssimplified chord

m. 118 mm.119-20 m. 115 r oline upper

mm.121-22-130-34

m. 136

Recap.(byoctave displacement)

m. 122
bass, primemordent

m. 130 mm.134-39(also 144-57)

diin....

movement: long-rangeuse of the Neapolitan and Example 21. AppassionataSonata, op. 57, first the prime mordent;analytic reductionof these elements

a as of form pointofrelaxation partof the dominant harmony F so between twosupertonics polarized, is the but minor, thatconflict not resolved. In the finale the is G-flat againat the development, Neapolitan centerofconflict as in the first-movement G-natural. against Just

Beethoven 209 Middle-Period

Finale

m.

on mordent the pitch, Neapolitan recontextualized inBI minor 123.

126

development

mordent prime

m.130

132

m. 133

mordent
segment

on Neapolitan mordent in subdominant Bb minor

of theNeapolitan F-minor contexts in highlighteddifferent

Example22.

uses Sonata, finale: Appassionata development, interlocking of theNeapolitan

mordent Neapolitan m. 143 6-

F6

6.

of inversion mordent

Example23.

section,theNeapolitanmordent Sonata, finale: development Appassionata

in of but minor, appears the context B-flat development, G-flat the on otherprime the herereplays work's element, mordent, the of focus the twomainstruccondensed Neapolitanpitchin a sharply of turalcomponents the outermovements. (See Exx. 22, 23.)

210 TheMusical Quarterly

between outer the movementstheAppassioof Striking parallels nataaredemonstratedmatching formal of harby placement salient and oftheNeapolitan. Far monic features thecontextual reworking of and these similaritiesmood expressive delineation, general beyond make viable descriptionthework cyclic the of as form precise parallels inwhich finale the a variant of reworkingthefirst providescomplete in In the movement. variation form, variation -normatively, classical thesame planning, harmonic structure, key phrase style-exhibits formal sections thetheme, as while elaband progressions, large-scale and The texture changing and articulation, dynamics. register, orating dimension formal of alsoopens a larger variant integration concept up first-movement elements are as for sonata a whole; as prime the just in and so of reworked themanner development variant) thefinale, (in are elements theslowmovement elaborated withof theprincipal (but in Whileindividual variations in outdevelopment) a setofvariations. is the overall not, are theslowmovement self-contained, movement in comleads buttheendoftheslowmovement intothefinale a way link of to Razouparable theslow-movement to thefinale theF-major (F-minor, 57, andF-major, 59, no. 1; the op. Quartet op. movsky will such of of closeness compositional parallels composiperiod make are Yetthetwotransitions differtional understandable).27 procedure the are in theway twomovements connected: slowmovement the ent that of out dissolves in a swirl elaborate ofthequartet figuration fines At the ontothetrill down initiating finale. theendoftheslowmovetheme but the of ment theAppassionata, opening returns, itsresoluThesesame sevenths. diminished tionis blurred twohazy chords, by of at the times out hammered thirteen fortissimo beginning thefinale, movement. of and the shatter serene repose consonance thevariation the is anchored pitch D-flat, continuity. by though, Dynamic rupture, is to the of center theslowmovement,carried andkey through pitch sixteenth-note to and sevenths falls C on theturning diminished figThis of statement thefinale. juncture, the heralds thematic urewhich takes the a hinge between twomovements, up,at a D-flat-C, forming which thestructural is intersection the D-flat-C, level, mordent larger movement. of hinge thefirst and so as sections, therecapitulation development Just with from elements the and finale codaboth strategic re-present compress clashofthesupertonic the The movement. codapresents final first
of it and wrenches back intothe constraints F minor. to herewithreference impordiscussed Some of the techniques necwerenot in themselves middle in tantworks Beethoven's period

Middle-Period 211 Beethoven with the new, essarily norhadthey originated him.Forexample, shift favored harmonic ofunmediated (although flat1)which not I-ii as Beethoven virtually hisownstyle used characteristicstrongly for defined first-movement theAppassionata, theString and (in openings had Quartets, 59, no. 2, andop. 95, as examples) beenusedby op. at of movement alsoat thebeginand Haydn thebeginning thefirst of movementof scherzando- hisC-major ning thesecond String dimensions contrapuntal and Quartet, 33, no. 3. Expanded op. enrichmentdevelopment be found thefirst of can in movement of Mozart's K. movements and Quintet, 515,in thefirst C-Major String finales hisG-Minor of K. K.550,andJupiter Symphony, Symphony, 551. Whatis newin Beethoven's middle is period theconsistently formal framework as distinct individual from the instances; expanded anddaring which rearranges modules formal with he the of versatility their coherence sense internal and of entities, retains underlying yet and as around which a logic; theuseofstrategic pitches axialcenters movementbuilt from is and which diverges contextual it reinterby into to the pretation newandsurprising areas28 form, key frequently, structural ofthemovement. hinge In themiddle-period Beethoven differentiated thefour works, movementsthequartet symphony sharply of and defined characterby drew closer between movefirst ization, conversely, yet, relationships ment finale, and them similar related or and mood, even binding by ofprime first-movement in elements the more, thereinterpretation by finale. Thiscompositional a of procedure form, produceskind cyclic butone conceptually different Schubert's from Wanderer or Fantasy from nineteenth-century likeLiszt's later works B-minor Sonata. Beethoven's of of and expansion dimensions,dynamic tempo ranges, hasas itscontext retention formal the of and design structural princiindividualization ofmovementssetagainst is the ples.The strong concern theorganic ofthework for form overall. Accordingly, largescaleintegrationtheouter of movements for on depends itseffect the internal formal of and delineaautonomy eachmovement itsspecific tionofcharacter material--in relationshipself-standing and the of to whole.(Brahms understood seeming this formal parts a larger parain a different didMahler.) dox,as, way, Beethoven's works the of middle-period form intersectionpopular

of appeal and highart,of the direct impact individual expressive affect the mostrigorous and offormal a reworking design.Theymark in boththe composer's own working, veritable a "newway," change and in listeners' of subsequent perception symphony, sonata,and whichmust now takeintoaccountas revised contexstring quartet,

212 TheMusical Quarterly

tualbackground Eroica, Appassionata, theRazoumovsky the the and means their of dramatization ofmusical and action innoQuartets. By vative these centralize dynamic the procedure, works compositional in from shift direction theAgeofEnlightenment AgeofRevoto the lution.
Notes
1. In a notetohispublisher Artaria 3 Dec. 1781, on described sixquarthe Haydn in tets op. 33 as "composed a quite in newandspecial "Ein Feder, verway" (Georg intended 1, no. 114).Whether Haydn-Brief," gessener Haydn-Studien 2 [1966]: Haydn this to new in in descriptionconvey compositional expertise quartet writing theop. in in 33 set,hisfirst thegenre nearly years, toserve a publicity ten or as for gambit extra an both-remains openquestion. attracting sales--or possibly 2. James "The and Between The Webster, Falling-Out Haydn Beethoven: Evidence in in oftheSources," Beethoven Studies Honor Elliot ed. LockForbes, Lewis Essays: of and Harvard wood Phyllis 3-45. Press, Benjamin (Cambridge: University 1984), 3. Thesemay seenin Fritz und be Beethoven dieGestalt Cassirer, 1925), (Leipzig, 3-7, 9, 12, 17-19,23-26. 4. Cassirer, 8-14, 21-22,26-27. 5, 5. Lewis in Lockwood these features thefollowing significant explains "planted" way: in Thecategory I have mind becharacterized that can as"compositional By I this strategy."

to as part of movement first refer Beethoven's [Eroica, movedeployment, ofthedesign this of small-scale units in as structuresuch way toshape a ment], certain foreground ofmusical ofthe as of thelarger conformation movement, them widely using separated points connecand that the of tion association areoutside sequential norms exposition recapitulation. and

Thus importance the a musical may projected long over time-spans, and over of particular idea be
of theboundariesthefamiliar of divisions themovement. mine, 96) large-scale (emphasis

" in Lewis and Lockwood,'Eroica' Movement," Strategy Design theFirst Perspectives: inBeethoven vol. Studies, 3, ed. AlanTyson Press, (Cambridge: Cambridge University 1982),85-105. 6. The detailed between first the subject thefirst of movement complementation has "Beethoven's Earliest andthefinale theme beenshown Lewis bass Lockwood, by for Musical Sketches theEroica 67 Symphony," Quarterly (1981):457-78.He prowere when that PianoVariations, 35, which the virtually op. complete poses his for Eroica theWielhorsky the in started initial Beethoven sketchbook, sketching He on thefinale, a "furthermore, plan the providedconceptual for finale. goes tosay, the to as a oritsmaterial,notonly key theshape character thesymphony is and of as the theme but its material well, whole, alsoinfluences thematic especially opening ofthefirst movement (461). Allegro" in Process Performance and are 7. The openings discussed Wallace by Berry "Formal 10 Music in theEroica Introductions," Theory regards Spectrum (1988):3-18. Berry as tactic the of theG-minor diversionary between E-flat opening thefinale a necessary the of and but closure thescherzo theE-flat ofthefinale, he doesnotconsider key or role either thefirst movement to thecentral ofG to essential referentiality minor, in thekey plays thefinale.

Middle-Period Beethoven 213 8. On theEroica notes "all Nottebohm that theversions theopensketchbook, [of but are all on on of ingofthefinale] different, they agree starting thedominant G the minor reaching dominant E flat" translation, Gustav and of Nottebohm, 51). (my aus 1803 and EinSkizzenbuchdem Jahre (Leipzig: 1880). Breitkopf Hirtel, 9. There an interesting is ofprocedure the fugues. between two The parallel of statementsthemelodic theme a between the B-minor/D-major provide focal point and endofthefirst material theG-minor to After the fugue thelead-in episode. the statementthecombined of themes 258) provides a G-minor (m. episode, C-major transition thesecond into The first statement follows from first the fugue. accordingly the statement the fugue; second fugue. prepares second 10. Fora discussion tying-up of elements simplification and toessentials, Joseph see "Notes Beethoven's on in vol. Kerman, Codas," Beethoven Studies, 3, ed. AlanTyson Press, (Cambridge: Cambridge University 1982),141-59. in itsdefined tessituraleft is at 11. The A-flat pitch hanging theendoftheexposiat first time measures. occurs It tion, both andsecond (with briefly an enharmonic in m. to unresolveda as (m. G-sharp thebass, 181),rises A-natural 185),andis left the of It resolves G over onto the strategic until lastmeasure thedevelopment. pitch at chord E-flat thebeginning therecapitulation 397 and398),which of of was (mm. at of The dominant themovement of implied theoutset themovement. final (m. this A-flat and at 689 681) reiterates significant at pitch, itis resolved mm. and690. Ofinterestthevery chord themovement, is last of which E-flat has between the outer thus on scalethepitch tessituratheendofthe and at parts, duplicating a large first subtle interconnection between small- large-scale and closure. subject-the 12. See Ernst and Oster, JournalMusic Connection," "Register Large-Scale of Theory 5 (1961):54-71;andOrinGrossman, in StructureSonata Form," Journal "Organic of 12 Music comments: Theory (1968): 164-83.Oster
One might well ask [in the courseofhis discussion keyboard of from works] whyno examples

orchestral were The is in compositions cited. reply that orchestral compositions register plays The the with a of keyboard compositions. reason be that orchestra, such great may variety means itsdisposal, notrequire useofregister thesame at does the to extent themore as endowed instrument. (66) poorly keyboard

in a less role out than in connections, itdoes significant pointing orproviding large-scale

It is possible take opposite to the that orchestral in with view, works, their greater of and defined in a range timbre texture, pitches specific registers provide means may ofstructural a point formal of in articulationthemovement. clarification, 13. Fidelio, 2, scene (NewYork: Act 4 Dover, 1984),200-201. notes in for 14. Nottebohm that thesketches thefirst movement theEroica of the climax to theme dissonant syncoand prior thedevelopment becomes increasingly from sketch sketch, to itwith introduction the ofthe pated essentially contrasting theme (Nottebohm, 30). development 15. The relationshipthedevelopment to thefirst of theme is subject discussed by B. Robert Meikle, "Thematic in the Transformation First Movement Beethoven's of Eroica Music 32 Symphony," Review (1971):205-18. 16. I amindebted Lewis to Lockwood pointing this for out feature. is ofparticular It interest thedevelopment that section theAppassionata, movement, outof first also lines areas This Free key descending thirds. isnoted Heinrich by by Schenker, Comtrans. Oster position, anded. Ernst (NewYork: 1979),fig. 114,no. 8. Longman,

214 TheMusical Quarterly from classical doesnotimply Beethoven the that could 17. Thismove away style andtheHarp notreturn itbydeliberate to choice. The third Razoumovsky quartet of frame the than Quartet 74,areboth style examples a more graceful in a smaller op. is works. heroic The works: Eroica the is heroic subsumed heroic by period nottotally the and the followed theFourth by by Symphony, Fifth thePastoral, between Waldis and Sonatas thegraceful PianoSonata, 54. The unistein Appassionata F-major op. has to those works which nothave do lateral oftheheroic view period tended obscure and of from to thegreat symphonies three nine.If power rhetoric theodd-numbered than it us his "better" hisseventh, gives Beethoven considered eighth symphony criteria wide-ranging subtle more and that havebeenusing toconsider he may pause do. than frequently we the these search clarify interpretative to 18. Farfrom meaning sophistry, questions and them that from conventions transforms in an ofcomplex music borrows existing the of about opening the creative The same individual, may way. questions be raised the A-minor Quartet, 132,as about 59, no. 2. In many ways, A-minor String op. op. in and reworks issues by quartet haskinship quartet compositional raised theE-minor in and character more itsrestless first-movement (although extreme disjunct thelater characteristic late ofthe in slow (more hymn-like movement quartet), theserene and that some of than period), in a finale reworks ofthe quartets those themiddle movement. ofthe potentiality first van Die 19. See LiniHiibsch, op.59 Nr. Ludwig Beethoven: Razoumovsky-Quartette 1, Wilhelm Nr. Nr. Fink, 1983),63. F-Dur, 2, E-Moll, 3, C-Dur(Munich: is Downs: within sonata of action 20. A sense dramatic by design described Philip in succeeds reconciling formal, the "Thefirst movement theEroica] [of requirespatial with sonata form a discursive, conceived of ments thetraditionally narrative, temporal Musical "Beethoven's Way'andtheEroica," 'New drama" G. (585). Philip Downs, ed. in World Beethoven, Paul 56 (1970):585-604.Reprinted TheCreative of Quarterly Norton, 1970),83-102. Henry Lang(NewYork: 10 ed. Laocoin 21. Gotthold Werke, vols, (1766),inGesammelte Lessing, Ephraim Oxford Reich(London: PaulRill(Berlin: University Aufbau, 1968),trans. Dorothy Press, 1965). Beethovens 22. Theodor 1910),82. Helm, (Leipzig: Streichquartette Siegel, of for 23. In thesketches thefinale theRazoumovsky Quartet, 59, no. 2, Notteop. the feature C to is from major E minor a constant that notes thedrive bohm through Riefer Beethoveniana Zweite versions. sketch Biedermann, 1887), Nottebohm, (Leipzig: 84-5. at two after first chords thebeginthe silence that 24. It is significant themeasure's are the chords at does movement notappear therecapitulation; two ofthefirst ning that in fortissimo. and there notes, rescored, filled bysixteenth Possibly, twice, given for has silence beensaved thecoda. in and of a late 25. In Beethoven's works,similar pattern intensity release increasPianoSonata, 111. in texture efflorescent is reworkedtheC-minor op. ingly his the considered Appassionatagreatest that Beethoven 26. Czerny piano reports of the until compositiontheHammerklavier op. 106.TheAppassionata sonata Sonata, abstract that wasalsothelasttime he usedthethree-movement fast-slow-fast pattern is a sonata. 79 is more sonata a for piano facile; 81a,LesAdieux, partially op. Op.

215 Middle-Period Beethoven while eachofthePianoSonaThe extends programmatic. Hammerklavier all norms, The and110,departs theprevious from tas,opp. 101,109, pattern. Sonatas, opp. is the works. 78,90, and 111,areall two-movement TheAppassionata last, possibly is sonatas of thegreatest, thethree-movement in thefast-slow-fast Czerny design. vol. in Wheelock Forbes Thayer, ofBeethoven, 1, ed. Elliott Life quoted Alexander Princeton Press, (Princeton: University 1967),407. of in movement finale thePiano into of 27. Fora discussion thetransitiontheslow Lockwood, Sonata, 57, andtheString Quartet, 59, no. 1, seeLewis op. op. SomeExamples theMiddle-Period from and of "Beethoven theProblem Closure: Bonn Chamber Music," Kammermusik, zu Symposium 1984 Beitrige Beethovens Henle,1987),254-72. (Munich: of contextual 28. Another ofstrategic is reinterpretation example this pitches the of in movement theF-major useofG-flat thefirst Quartet, 59, no. Razoumovsky op. in in minor sectonal 1, anditssubsequent resiting theE-flat fugue thedevelopment tion.