The Beethoven Sonatas and the Creative Experience

Notes

Notes I. The First Raptus, and All Subsequent Ones 1. Carl Czerny, Vollstiindige theoretisch-practischen Pianoforte-Schule, Op. 500 (Vienna, 1842), Vol. IV, p. 38. 2. Ibid., p. 51. 3. Ibid., pp. 55-56. 4. Ibid., p. 62. 5. The Letters of Beethoven, translated and edited by Emily Anderson (New York: St. Martin's Press, 1961), Vol. II, p. 527. 6. Ibid., p. 578. 7. C. S. Lewis, The Great Divorce, from The Best of C. S. Lewis (Washington, DC: Christianity Today, Inc., 1969), p. 162. II. Technique as Touch 1. Sandra P. Rosenblum, Performance Practices in Classic Piano Music (Bloomington and Indianapolis: Indiana University Press, 1988). 2. Anton Schindler, Beethoven as I Knew Him, edited by Donald W. MacArdle (Chapel Hill: The University of North Carolina Press, 1966), p. 498. 3. Carl Czerny, Pianoforte-Schule (Vienna, 1839), Vol. III, pp. 26-27. 4. Paul Mies, Textkritische Untersuchungen bei Beethoven (Bonn: Beethoven House, 1957), pp. 85-86. 5. Carl Czerny, Pianoforte-Schule (Vienna, 1842),Vol. IV, p. 53. 6. Ibid, p. 63. 7. Ibid., pp. 106-107· 8. Ibid., p. 111. 9. Beethoven Sonatas, edited by Harold Craxton, with commentaries by Donald Francis Tovey (London: Associated Board of the Royal Schools of Music, 1958), Vol. II, p. 124· 10. Hugo Riemann, "Secrets of Artistic Phrasing," The Etude, June 1913, pp. 397-98. 11. Carl Philipp Emmanuel Bach, Essay on the True Art of Playing Keyboard Instruments , translated and edited by William J. Mitchell (New York: Norton, 1949), p. 155. 12. Czerny, Vol. IV, p. 52. 13. Ibid., Vol. III, p. 21. III. Tempo and the Pacing of Musical Ideas 1. Adolph Bernhard Marx, Anleitung zum Vortrag Beethovenscher Klavierwerke (Berlin , 1875), p. 69. 2. Carl Czerny, Pianoforte-Schule (Vienna, 1842), Vol. IV, p. 59. Notes 312 IV. Dynamic Nuance and Musical Line 1. J. S. Bach, Well-Tempered Clavichord [sic], edited by Carl Czerny (New York: Schirmer , 1893), Preface. 2. Walter Georgii, Klaviermusik (Zurich and Freiburg: Atlantis Verlag; 1950), p. 37. 3. Thomas Mann, Siimtliche Erziihlungen (Frankfurt: S. Fischer Verlag, 1963), p. 414. V. The Role of Silence 1. Alfred Einstein, Music in the Romantic Era (New York: Norton, 1947), p. 15. 2. Edmund Carpenter, "Silent Music and Invisible Art," Natural History 87/5 (May 1978): 92. VI. Sound as Color 1. Carl Czerny, Pianoforte-Schule (Vienna, 1842), Vol. IV, pp. 109-10. 2. Beethoven Sonatas, edited by Harold Craxton, with commentaries by Donald Francis Tovey (London: Associated Board of the Royal Schools of Music, 1958), Vol. II, p. 125· VII. Descriptive Music 1. Thayer's Life of Beethoven, edited by Elliot Forbes (Princeton: Princeton University Press, 1967), Vol. II, p. 620. 2. Ibid., Vol. I, p. 261. 3· Ibid., p. 436. 4. Gustav Nottebohm, Zweite Beethoveniana (Leipzig: Peters, 1887), pp. 374-75. 5. Ibid., p. 376. 6. The Letters of Beethoven, translated and edited by Emily Anderson (New York: St. Martin's Press, 1961), Vol. I, pp. 337-38. 7. Adolph Bernhard Marx, Anleitung zum Vortrag Beethovenscher Klavierwerke (Berlin , 1875), p. 142. 8. Ibid., p. 140. 9. Alfred Einstein, Music in the Romantic Era (New York: W. W. Norton, 1947), p. 6. 10. Alfred Christian Kalischer, Beethoven und seine Zeitgenossen (Berlin and Leipzig: Schuster und Loeffler, 1909-1910), Vol. IV, p. 44. VIII. Motivic Development 1. Gustav Nottebohm, Zweite Beethovenia (Leipzig: Peters, 1887), pp. 564-66. 2. Ibid., p. 566. 3. Alfred Christian Kalischer, Beethoven und seine Zeitgenossen (Berlin and Leipzig, 1909-1910), Vol. IV, p. 44. 4. Anton Schindler, Beethoven as I Knew Him, edited by Donald W. MacArdle (Chapel Hill: University of North Carolina Press, 1966), pp. 76-77· 5. Carl Czerny, Pianoforte-Schule (Vienna, 1842), Vol. IV, p. 62. 6. Nottebohm, pp. 437-42. 7. Czerny, p. 62. 8. Nottebohm, p. 438. 9. Martin Cooper, Beethoven, the Last Decade (Oxford and New York: Oxford University Press, 1985), pp. 190-<)1. Notes 313 10. John V. Cockshoot, The Fugue in Beethoven's Piano Music (London: Routledge & Kegan Paul, 1959), pp. 95-120. IX. Quasi una Fantasia 1. Frederic Corder, "Beethoven's Sonatas and How to Play Them," The Etude, December 1926, pp. 897ff. 2. Carl Czerny, Pianoforte-Schule (Vienna, 1842), Vol. IV, p. 51. 3. Ibid. 4. Nottebohm, Zweite Beethoveniana (Leipzig: Peters 1887), pp. 236-43. 5. Ibid., p. 238. 6. Robert Schumann, On Music and Musicians, edited by Konrad Wolff, translated by Paul Rosenfeld (New York, Pantheon, 1952), p. 142. 7. Czerny, p. 50. X. Line and Space 1. Paul Nett!, Beethoven Encyclopedia (New York: Philosophical Library, 1956), p. 300. 2. Anton Schindler, Beethoven as I Knew Him (Chapel Hill: University of North Carolina Press, 1966), p. 209. 3. The Letters of Beethoven, translated and edited by Emily Anderson (New York: St. Martin's Press, 1961), Vol. II, p. 671. 4. Carl Czerny, Pianoforte-Schule (Vienna, 1842), Vol. IV, p. 65. 5. Schindler, p. 209· 6. Adolph Bernhard Marx, Anleitung zum Vortrag Beethovenscher Klavierwerke (Berlin , 1875), p. 146. 7. Alfred Christian Kalischer, Beethoven und seine Zeitgenossen (Berlin and Leipzig: Schuster und Lopfflen, 1909-1910), Vol. III, pp. 121-23. 8. Schindler, p. 437. 9. Marx, p. 147· 10. Ibid., p. 147. XI. Movement as Energized Color 1. Gustav Nottebohm, Ein Skizzenbuch von Beethoven (Breitkopf & Hartel: Leipzig, 1880), pp. 58-66. 2. Carl Czerny, Pianoforte-Schule (Vienna, 1842), Vol. IV, pp. 58-59. 3· Ibid., p. 59· 4· Ibid., p. 59· 5. Nottebohm, pp. 63-64. 6. Ibid., p. 64. 7· Czerny, p. 59· XII. The Moment of Creation 1. Carl Czerny, Pianoforte-Schule (Vienna, 1842), Vol. IV, p. 53. 2. Ibid., p. 55 3. Beethoven Sonatas, edited by Harold Craxton, with commentaries by Donald Francis Tovey (London: Associated Board of the Royal Schools of Music, 1958), Vol. II, p. 124· Notes 314 4. Carl Czerny, iiber den richtigen Vortrag der siimtlichen Beethoven'schen Klavierwerke (Vienna: Universal, 1963), p. 11. 5. Johann Wolfgang von Goethe, Faust (Boston: Heath, Boston, 1892), pp. 56-57 (lines 1224-37). 6. Czerny, Pianoforte-Schule, Vol. IV, p. 55. 7. Tovey, p. 125· 8. Czerny, p. 56. 9. Ibid. 10. Beethoven Sonatas, edited by Eugen d'Albert (Leipzig: Otto Forberg, 1902), p. 113. 11. Czerny, p. 56. 12. Ibid., p. 57. 13. Tovey-Craxton, Vol. II, p. 150. XIII. Facing Two Directions I. Carl Czerny, Pianoforte-Schule (Vienna, 1842), Vol. IV, p. 60. 2. Ibid., pp. 62-63. 3. Gustav Nottebohm, Zweite Beethoveniana (Leipzig: Peters, 1887), p. 298. 4. Ibid., pp. 366-68. XlV. The Enjoyment of Fluency I. Carl Czerny, Pianoforte-Schule (Vienna, 1842), Vol. IV, p. 43. 2. Ibid., p. 44. 3. Anton Schindler, Beethoven as I Knew Him (Chapel Hill: University of North Carolina Press, 1966), p. 406. 4. Thayer's Life of Beethoven (Princeton: Princeton University Press, 1967), Vol. I, p.208. 5· Czerny, p. 47· 6. William Barrett, Death of the Soul (Garden City: Doubleday, 1986), pp. 23-24. 7. Kinsky-Halm, Das Werk Beethovens-Thematisch-Bibliographisches Verzeichnis seiner siimtlichen vollendeten Kompositionen (Munich-Duisburg: Henle, 1955), p. 57. 8. Eric Blom, quoted in The Beethoven Companion, edited by Thomas K. Scherman and Louis Biancolli (Garden City: Doubleday, 1972), p. 287. 9· Czerny, p. 54· 10. Kinsky-Halm, p. 77. II. Donald Francis Tovey, A Companion to Beethoven's Pianoforte Sonatas (London: The Associated Board of the Royal Schools of Music, 1948), p. 191. xv. The Cosmopolitan Impostor I. The Letters of Beethoven, translated and edited by Emily Anderson (New York, St. Martin's Press, 1961), Vol. I, pp. 74-75. 2. Ibid., pp. 74-75. 3. Gustav Nottebohm, Zweite Beethoveniana (Leipzig: Peters, 1887), p. 47. 4. Carl Philipp Emanuel Bach, Essay on the True Art of Playing Keyboard Instruments, translated and edited by William J. Mitchell (New York: Norton, 1949), p. 106. 5. Carl Czerny, Pianoforte-Schule (Vienna, 1842), Vol. IV, p. 46. 6. Ibid., p. 46. Notes 315 XVI. Embracing the Dachstein 1. Carl Czerny, Pianoforte-Schule (Vienna, 1842), Vol. IV, p. 40. 2. Thayer's Life of Beethoven revised and edited by Elliot Forbes (Princeton: Princeton University Press, 1967), Vol. I, p. 207. 3. Czerny,p. 40. 4. Ibid. 5. Nottebohm, Zweite Beethoveniana (Leipzig: Peters, 1887), p. 509. 6. Ibid., p. 511. 7. Czerny, p. 40. 8. The Beethoven Companion edited by Thomas K. Scherman and Louis Biancolli (Garden City: Doubleday, 1973), p. 1157· 9. Ibid., p. 1161. 10. Ibid., p. 1165. 11. Ibid., p. 1167. 12. The Letters of Beethoven, translated and edited by Emily Anderson (New York: St. Martin's Press, 1961), Vol. II, p. 661. 13. Beethoven, the Man and the Artist, as Revealed in His Own Words, compiled by Friedrich Kerst, translated by Henry Edward Krehbiel (New York: Dover [abridged edition ], 1964), p. 25. 14. John Cockshoot, The Fugue in Beethoven's Piano Music (London: Routledge & Kegan Paul, 1959), pp. 86-89. 15. The Poetry of Robert Frost, edited by Edward Connery Latham (New York: Holt, Rinehart and Winston, 1967), p. 296. 16. Nottebohm, p. 135. XVII. A Higher Revelation 1. Thayer's Life of Beethoven, revised and edited by Elliot Forbes (Princeton: Princeton University Press, 1967), Vol. I, p. 494. 2. Carl Czerny, Pianoforte-Schule (Vienna, 1842), Vol. IV, p. 42. 3. Thayer's Life of Beethoven Vol. I, p. 185. 4. Czerny, p. 42. 5. The Letters of Beethoven, translated and edited by Emily Anderson (New York: St. Martin's Press, 1961), Vol. II, pp. 931-32. 6. Franz Gerhard Wegeler and Ferdinand Ries, Biographische Notizen iiber Ludwig van Beethoven (Coblenz, 1838), pp. 94-95. 7. Czerny, p. 69. 8. Alexander Wheelock Thayer, The Life of Ludwig van Beethoven (Carbondale: Southern Illinois University Press, 1960), pp. iv-v. 9. Bela Bartok Letters, edited by Janos Demeny (New York: St. Martin's Press, 1971), pp.161-62. 10. Robert Schumann, On Music and Musicians, translated by Paul Rosenfeld (New York: Pantheon, 1946), p. 98. This page intentionally left blank ...