Beethoven's Sketchbooks for the Year 1821

贝多芬 1821 年素描本

• 批准号: AH/F001460/1
• 负责人: William Drabkin
• 金额: $ 3.92万
• 依托单位: University of Southampton
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2007
• 资助国家: 英国
• 起止时间: 2007 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FF001460%2F1
• 关键词: Beethoven; Sketchbooks; Year; 1821

My research is in the field of Beethoven sketch transcription and interpretation. The close reading of Beethoven's sketches for an understanding of his works and his stylistic development has a long history, dating back to the middle of the nineteenth century, and many of these documents have been transcribed in whole or part, and published in facsimile. They have been used by musicologists, theorists and composers alike as a way into the deepest recesses of the creative process.Most of the sketchbooks from Beethoven's later years, however, remain relatively unknown. They are more difficult to read, partly because of Beethoven's deteriorating handwriting in the 1810s and 20s, partly because of the increasing complexity of the material sketched. Moreover, his creative process changed radically in the late 1810s, around the time that his hearing deteriorated to such an extent that he had to converse with his friends with the aid of notebooks. Alongside the standard landscape-format 'desk sketchbooks' of approximately 100 pages in length, which Beethoven filled at about the rate of one per year, there runs a series of parallel 'pocket sketchbooks': small gatherings of music paper folded in half (and sometimes left unstitched) to form a booklet that the composer could use away from home. These pocket sketchbooks begin to appear about 1815, and are quite numerous during the composition of the late setting of the Mass (the 'Missa solemnis') and the last three piano sonatas, between 1819 and 1822,I am in negotiations with the University of Illinois Press to prepare an edition of the manuscript known as Artaria 197, an 88-page sketchbook used by Beethoven in the year 1821. An edition of Artaria 197, in facsimile and transcription, with historical and critical commentary, would be the primary output of my research. It would comprise a complete rendering of Beethoven's notations, which are often illegible to the untrained eye, in a modern printed format that can be read by any literate musician. The commentary would give detailed information about how the manuscript is put together, when it was used, and how it relates to other manuscripts used at the time (pocket sketchbooks, autograph scores of finished works).Working on the sketches will lead naturally to essays more closely focussed on aspects of the late works. I have previously published a handbook on the Missa solemnis and two articles about the later sketches for the Missa solemnis. A new study of the sketches for the Piano Sonata Op. 110 has provisionally been accepted by the journal 'Beethoven Forum' for 2007; in it I have shown how the pocket sketches for the second movement are related to those in Artaria 197, and how all this material informs the meaning of the sonata, a work which -- according to recent research -- is claimed to have an autobiographical plot.I plan to follow up this work with a similar study of the sketchbooks Beethoven used in 1822, and to prepare an edition of the next desk sketchbook in the series, Artaria 201.

我的研究是在贝多芬草图转录和解释领域。贝多芬的素描仔细阅读以了解他的作品和他的风格发展具有悠久的历史，可以追溯到十九世纪中叶，其中许多文件已全部或一部分被转录，并在传真上出版。音乐学家，理论家和作曲家都将它们用作进入创作过程中最深的凹陷的一种方式。但是，贝多芬晚年的大多数素描本仍然相对尚不清楚。它们更难阅读，部分原因是贝多芬在1810年和20年代的笔迹不断变化，部分原因是素描的材料的复杂性越来越高。此外，他的创作过程在1810年代后期发生了根本性的变化，大约在他的听力恶化至一定程度上，他不得不在笔记本上与朋友交谈。除了大约100页的标准景观格式“桌子素描本”，贝多芬以每年的速度约为一年，也有一系列平行的“袖珍素描本”：小型音乐纸折叠了一半（有时不缝制），以形成一本小册子，这些小册子可以使用，而这些小册子可以使用。这些袖珍素描本大约在1815年开始出现，在弥撒的晚期（“ Missa solleiss”）和最后三个钢琴奏鸣曲中，我在1819年至1822年之间，我正在与伊利诺伊大学进行谈判，与伊利诺伊大学的媒体进行谈判，以准备一本书，该版本是ARTARIA 197，用Artaria pertharia，是ARTARIA，是ARTARIA的ARTETAR，用Artear Bearke Bearke Bearky of Atther Bearke 197，该版本是一本版本的，该版本是在197年，该版本的版本是On Extery，该版本是一本Experion of Antery，该版本是在Artearia中使用的。传真和转录具有历史和批判性评论，将是我研究的主要成果。这将包括贝多芬的符号的完整渲染图，这些符号通常对未经训练的眼睛而言是难以辨认的，并以现代印刷格式可以由任何识字音乐家阅读。该评论将提供有关手稿如何组合，何时使用的详细信息，以及它与当时使用的其他手稿的关系（Pocket素描本，完成作品的亲笔签名）。在草图上工作将自然地引导到散文上，更加紧密地关注晚期作品的各个方面。我以前曾出版了一本关于Missa Solemnis的手册，并发表了两篇有关Missa Solemnis的草图的文章。对钢琴奏鸣曲的草图的新研究。 110在2007年被《贝多芬论坛》杂志临时接受； in it I have shown how the pocket sketches for the second movement are related to those in Artaria 197, and how all this material informs the meaning of the sonata, a work which -- according to recent research -- is claimed to have an autobiographical plot.I plan to follow up this work with a similar study of the sketchbooks Beethoven used in 1822, and to prepare an edition of the next desk sketchbook in the series, Artaria 201.

项目成果

Ludwig van Beethoven: A Sketchbook from the Year 1821 (Artaria 197)

路德维希·范·贝多芬：1821 年的素描本 (Artaria 197)

• 发表时间: 2010
• 作者: Beethoven, L. V.