An Intriguing Measure in Beethoven’s op. 101
Posted: 20 Aug 2020, 16:15
Beethoven usually used octave signs for passages that include more than four ledger lines, so the following octave sign (at the arrow) from the opening theme from the last movement of Beethoven’s Piano Sonata op. 101 is a borderline case:
Could there be another reason for the octave sign?
Considering the whole phrase, the most emphatic melody notes consist of three descending pairs: C#-B, A-G#, and finally F#-E, filling out the interval of a sixth. The first two pairs are stated very clearly, one note per measure. But the F#-E pair occupies the last four measures:
Because of the extended way in which the F# is elaborated, Beethoven might have been concerned about the visual connection between the F# in m. 5 and its continuation and resolution in m. 8, an octave higher than in m. 5. By using an octave sign, the F# is placed in the same register on the staff in both m. 5 and 8 so that one more easily connects the two visually and hopefully in the performance.
But also intriguing is the strange and difficult-to-engrave centered beaming, which occurs both times the measure appears in the piece.
The whole opening phrase (ms. 1-8) could be viewed as a sixth elaborated by neighboring tones in sixths:
The first two sixths are broken and elaborated by scales as shown here. The last two sixths are unelaborated:
At X one of the scale tones is elaborated by its own scale also through the interval of a sixth. This explains the centered beaming in m. 7 which visually connects the C# at the beginning of the measure, to the C# at the end of the measure to show that the intervening notes are an embellishment of the C# and not the main line. The slur, which Beethoven uses only in m. 7, not in the previous two measures--which are therefore non legato--points this out in the performance.
If Beethoven had written m. 7 at pitch the centered beam would have looked like this:
Not good. So Beethoven had several reasons to use an octave sign in these two measures. To my knowledge, the centered beaming has never appeared in any edition including the first edition, and rarely has the octave sign, which is a shame.
Regarding the penmanship. Beethoven is in clearly in his "excited" mode.
Could there be another reason for the octave sign?
Considering the whole phrase, the most emphatic melody notes consist of three descending pairs: C#-B, A-G#, and finally F#-E, filling out the interval of a sixth. The first two pairs are stated very clearly, one note per measure. But the F#-E pair occupies the last four measures:
Because of the extended way in which the F# is elaborated, Beethoven might have been concerned about the visual connection between the F# in m. 5 and its continuation and resolution in m. 8, an octave higher than in m. 5. By using an octave sign, the F# is placed in the same register on the staff in both m. 5 and 8 so that one more easily connects the two visually and hopefully in the performance.
But also intriguing is the strange and difficult-to-engrave centered beaming, which occurs both times the measure appears in the piece.
The whole opening phrase (ms. 1-8) could be viewed as a sixth elaborated by neighboring tones in sixths:
The first two sixths are broken and elaborated by scales as shown here. The last two sixths are unelaborated:
At X one of the scale tones is elaborated by its own scale also through the interval of a sixth. This explains the centered beaming in m. 7 which visually connects the C# at the beginning of the measure, to the C# at the end of the measure to show that the intervening notes are an embellishment of the C# and not the main line. The slur, which Beethoven uses only in m. 7, not in the previous two measures--which are therefore non legato--points this out in the performance.
If Beethoven had written m. 7 at pitch the centered beam would have looked like this:
Not good. So Beethoven had several reasons to use an octave sign in these two measures. To my knowledge, the centered beaming has never appeared in any edition including the first edition, and rarely has the octave sign, which is a shame.
Regarding the penmanship. Beethoven is in clearly in his "excited" mode.