Internal evidence and Beethoven’s op. 79

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John Ruggero
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Internal evidence and Beethoven’s op. 79

Post by John Ruggero »

The manuscript of Beethoven’s Sonatina op. 79 shows Beethoven’s handwriting at its best. Despite this, there is a note in the slow movement that has caused controversy.

Leading back to the return of the opening theme (ms. 18-22) Beethoven wrote a G in the alto in m. 20 (boxed):
op 79.2 MS.jpeg
op 79.2 MS.jpeg (131.8 KiB) Viewed 2102 times
Many editions, including Schenker’s, change this G to a B-flat:
op 79.2 Schenker.jpeg
op 79.2 Schenker.jpeg (81.65 KiB) Viewed 2102 times
It is very tempting to make this change: the sixth G-B-flat is a motive through the piece. It begins and then appears again in the opening phrase, starts the second phrase and returns to end the first section:
op. 79.2 ms 1-9.jpeg
op. 79.2 ms 1-9.jpeg (152.48 KiB) Viewed 2102 times
When it returns in m. 18 as part of the E-flat triad (encircled in the first example), this seems to be anticipating the return of the opening section. How fitting, then, that it should also appear in m. 20-21, since these measures remind one of m. 2 writ large. And as well, the B-flat would fill out the harmony better than a G.

Couldn’t Beethoven have really intended a B-flat instead of a G and simply written the note one space too low?

Despite this strong argument, the manuscript shows no signs of an error, a correction or indecision. (The left hand was changed one beat later, however.) But more importantly, the G appears on the lower staff. Elsewhere in the piece, the B-flat has always appears with the G on the upper staff, and there is no logical reason that it wouldn’t at this point. It strains credulity to believe that Beethoven not only wrote the note one space too low, something that would be unusual for him, but also one staff too low.

So why would Beethoven write a G rather than a B-flat?

When we compare m. 18 and m. 20, the parallels are obvious, but the differences are crucial. Ms. 18 through the first dotted-quarter beat of 20 are firmly in E-flat major and express the melody B-flat-A-flat-G. The second beat of m. 20 begins the return to G minor. Having reduced to one right hand voice in ms. 19 and the first beat of m. 20, he focuses our attention on the important B-flat that will eventually resolve B-flat-A to G in m. 22:
op 79.2 Analysis.jpeg
op 79.2 Analysis.jpeg (162.99 KiB) Viewed 2084 times
He gingerly brings in the second voice on the second beat of m. 20 with a G to avoid a strong emphasis on the E-flat triad, since we are now moving back to G minor. This also improves the voice-leading in the alto: G-C-sharp-D seems better than B-flat-C-sharp-D. And it does sounds better in general this way, as long as one starts a new phrase on the second beat of m. 20, as directed by Beethoven’s slur.
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Anders Hedelin
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Re: Internal evidence and Beethoven’s op. 79

Post by Anders Hedelin »

I really liked your explanation why the G in the alto of measure 20, John. There could be more to be said about this, but since this is a forum mainly about notation that can wait.
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John Ruggero
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Re: Internal evidence and Beethoven’s op. 79

Post by John Ruggero »

Thank you, Anders. As you imply, there are probably deeper reasons for the G, but that would require a complete analysis of the entire piece.
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