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464 Flashcards

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1
Q

Theodore Albrecht

A

born 1945

Translated “Letters to Beethoven and Other Correspondence.” (To) 1996

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1
Q

Carl Czerny

A

1791-1857

Student of Beethoven, contributed much to first hand accounts and biographical info about Beethoven

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2
Q

Emily Anderson

A

1891-1962

Focused on translating and compiling “The letters of Beethoven.” (By) 1961

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3
Q

Georg Kinsky

A

1882-1951

Contributed the thematic catalogue but didn’t finish before his death

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4
Q

Douglas Johnson

A

Beethoven sketchbook:
Identity, history and reconstruction
With Tyson and winter

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5
Q

Hans Halm

A

1897-1965

Finished the thematic catalogue started by Kinsky

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6
Q

Joseph Kerman

A

1924-2014

The early sketches of Beethoven

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7
Q

Ferdinand Ries

A

1784-1838
Student of Beethoven, many letters have been sources for Beethoven scholarship additionally his Biographische Notizen über Ludwig van Beethoven

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8
Q

Gustav Nottebohm

A

1817-1882

Wrote and compiled the first Beethoven Thematic catalogue (1868)

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9
Q

Maynard Solomon

A

1930

Musicologist, contribution by work done on the Tagebuch (diary), from 1812-1818

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10
Q

Alexander Wheelock Thayer

And related contributors

A

1817-1897
Wrote first biography of Beethoven.
Edited and translated by Hermann Dieters in 1866-79.
Compiled by Hugo Riemann in 1907
Translated into English by Henry kehrbiel (1921)
And finally into “thayers life of Beethoven” by Elliot Forbes

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11
Q

Robert Winter

A

A Scholar who wrote “Beethoven Sketchbooks: Identity, History, and Reconstruction with Tyson and Johnson

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12
Q

Alan Tyson

A

1926 - 2000. An important scholar who contributed to the “Beethoven sketchbooks: identity, history, and reconstruction with Johnson and Winter”.
Also “Notes on 5 of Beethoven’s Copyists.”
Also “Reconstructing Beethoven’s Sketchbooks”

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13
Q

autograph

A

The original Manuscript, signed by the composer which is sent to the publisher or copywriter and reproduced

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14
Q

Identify four early publishing houses of Beethoven’s music. In each provide the city of publication and the name of the publisher

A

Simrook, Bonn
Molo et Co. Vienna
Artoria and Co. Vienna
Breitkopf und Hartel, leipzig

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15
Q

bifolia

A

refers to a page for sketches which is folded in half to make up two pages of a Sketchbook
Ex. Grasnick I

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16
Q

concordance

A

Opposite of Unica. A work with multiple sources. Ex. Opus 18 is in Grasick 1, 2 and Autograph 19e.

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17
Q

diplomatic transcription

A

A copy of a sketch, with no biases, into very legible notation
Virneisel Dip. Trans. of F major string Quartet op. 18

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18
Q

manuscript

A

refers to an original Autograph or hand written piece of music

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19
Q

manuscript siglum

A

The combination of letters and numbers assigned to a primary source in an archival collection. Ex. Eroica Sketchbook.

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20
Q

parent source

A

Often the Autograph. The principal source from which the other sources of the particular work emanate. Ex. Eroica Sketchbook.

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21
Q

performing part

A

the parts copied out from the Autograph to allow players to perform before publication
ex. Eroica

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22
Q

pocket sketchbook

A

Small sketchbook, combines legibility and mobility. Used as early as 1805. Ex. Boldrine Sketchbook.

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23
Q

Reinschrift

A

“Fair Copy”. The good copy, copied out from the autograph usually by a copyist. Opus 18 version 1 “Amenda Version”

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24
Q

Single leaf

A

A folio containing 2 pages. Mostly used prior to 1798. Ex Auto 19e.

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25
Q

unica

A

first, original. A composition that exists only in one source. Ex. Beethoven’s keyboard manuscript at the National Library in Ottawa.

26
Q

Sketch

A

a jotting of ideas by a composer

Ex. Grasnick 1

27
Q

Two authors have classified the Beethoven sketches according to types. Identify the two authors and the papers they have written.
In each case identify the publication data.

A

1) Barry Cooper: “Types and Relationships of Sketches” Part of “Beethoven and the creative Process”. Oxford, Clarendon Press, 1990. (also includes “The sketchbooks and their use”, “The Visual Appearance of the Sketches”, “The Sketching of Form and Key”, “The Sketching Of Melody”, The Vertical Dimension and the Finishing Touches”.)
2) Lewis Lockwood: “The Beethoven Sketchbooks and the general state of sketch research.” In “Beethoven’s Compositional Process”. University of Nebraska Press, 1991.

28
Q

colla parte

A

Directing the player to another poart in a score. Ex. Egmont.

29
Q

grattage

A

scrape out, refers to eroica symphony’s original dedication to Bonaparte

30
Q

NB

A

Note well. from latin, Note Bene. Ex. Eroica

31
Q

olim

A

in english formerly, speaking about present location in relation to former location. Beethoven keyborad piece at National library in relation to previous location at Mcgill university.

32
Q

8ve

A

Octave, refers to the performance practice of playing the written notes an octave higher than noted. Ex. Ossia examples in Emperor Concerto.

33
Q

r.h.

A

right hand. direction for pianists, Ex. Waldstein sonata

34
Q

vide

A

connects two passages in a sketch from Latin verb video which means “I see”. Ex. Eroica.

35
Q

WoO

A

Work without opus number, a classification of Beethovens Works

36
Q

Identify THREE principal research centres that provide ready access to Beethoven sources. For each centre, identify the city, the proper name of the center, and the holdings on Beethoven

A

Beethoven Haus, Bonn, Many sketches, museum items, and everything related to beethoven!
Gesellschaft der Bibliotek Wien. A performance hall and society that has dedicated itself to to collecting composers’ documents
The “Ira F. Brilliant Center for Beethoven Studies at the San Jose State Uni, Cal. with focus on collecting early editions of Beethoven’s work

37
Q

Define “manuscript stemma”

A

is a strategy of reconstructing the map of parent source material to current day material

38
Q

two functions of manuscript stemma

A
  • identifies the chronology of the particular work

- identifies the filiation of the sources of a particular work

39
Q

Lockwood’s Types of Sketches. Cooper’s types of sketches.

A

1) Movement Plan, Continuity Draft, Sketches of Intermediate Length, Small Scale Sketches.
2) Concept Sketch, Continuity Draft, Variation, Score, Brouillons (french for draft), Piano exercises, Jottings.

40
Q

Oswald Jonas

A

1897 - 1978, Wrote “Introduction to the Theory of Heinrich Schenker” (1934)

41
Q

Heinrich Schenker

A

1868 - 1935, Theorist.

42
Q

Johann Nepomuk Maelzel

A

1772 – 1838, inventor of Beethoven’s Metronome.

43
Q

Vincent Novello

A

1781 – 1861. Founded the publishing firm Novello & Co in 1811.

44
Q

Johann Georg Sulzer

A

1720-1779 was a Swiss professor of Mathematics. Beethoven might have used his Allgemeine Theorie as a source for composition.

45
Q

Franz Gerhard Wegeler

A

1765 - 1848 was a German physician from Bonn, who was a childhood friend of Ludwig van Beethoven. 1838 biography of Beethoven (Biographische Notizen über Ludwig van Beethoven), being published with composer Ferdinand Ries (1784-1838) eleven years after Beethoven’s death.

46
Q

Prince Nikolaus Esterhazy

A

1714-1790 commissioned mass in C, Op. 86

47
Q

Anton Schindler

A

1795-1864, “The Dick” a musician and biographer of Beethoven. Destroyed many conversation books. Wrote an inaccurate biography of Beethoven.

48
Q

Theodore Molt

A

Canadian, in 1825 visited Beethoven. Was given “Freu Dich Des Lebens” (WoO 195)

49
Q

Sonata Form

A

Intro, Exposition, Development, Transition, Recapitulation, Coda.

50
Q

Orthography

A

Study of handwriting

51
Q

Palaeography

A

Study of old handwriting

52
Q

Philology

A

Study of language in written historical sources. Establishes written authenticity.

53
Q

Kompositionwisenschaft

A

the science of composition coined by Haydn.

54
Q

Stammbuch

A

Guest Book

55
Q

Neil Zaslaw

A

Principle Editor and studied Beethoven Watermarks.

56
Q

Joseph Schmidt-Georg

A

Principle editor of the”New Beethoven Collectors Edition”

57
Q

Guido Adler

A

1855-1941, “Classifications of the Artaria collection Sketchbooks”

58
Q

Difference between the dating of Landsberg 6 by Tyson and Syer

A

Tyson: Filled up one sketchbook before moving on.
Syer: Thinks Op 35 was sketched in Kessler and Wielhorsky books at the same time.

59
Q

Alex Wheelock Thayer and associated names.

A

1817 - 1897, Biography on Beethoven. Hermann Dieters 1866-79, Hugo Riemann 1907-08, Henry Krehbiel 1921 translated to English, Elliot Forbes “Thayer’s life of Beethoven.”

60
Q

Carl Dahlhaus

A

1928 - 1989, “Ludwig Van Beethoven: Approaches to his music”

61
Q

Symphonie Characteristiche

A

symphonies based on specific subject matter. Ex 3 and 6.

62
Q

The different Interpretations of Eroica: 10 names and hypotheses.

A

George Crumb?: Thinks it’s a heroic portrait of Bonaparte.
Charles woods agrees with him.

Arnold Schering thinks it depicts a hero from Homers Illiad. Exposition = hectors farewell to his family, the development is a battle, recap is hectors return, the funeral march is hectors death. Scherzo is the material and athletic contests in honour of the fallen patroclus. The finale is an apotheosis of splendour and strength.
Poetic Ideas: Hector Berlioz agreed on many of the above points.
Philosophical ideas: Wagner in 1850 thought eroica was meant to represent an idea of heroism (the human hero), not the biographical depiction of Bonaparte. “Ein Glucklicher Abend” .

Alexander Ulibishev felt it was a program on a hero’s life.
Adolph Marx, a critic, mostly agreed with Wagner.

Wilhelm Lenz, another critic thought:
Allegro: life and death of a hero
Marcia: the funeral:
Scherzo: Ceasefire and Grave
Finale: wake and heroic ballad

Hugo Riemann and Paul Bekker both related the introduction to the finale as the Tempesta theme from “Prometheus”, suggesting the hero is prometheus.

Alexander Seroy thought it was a symphony on freedom and the conclusion to war.

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