An interesting centered beam in op. 81a

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John Ruggero
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An interesting centered beam in op. 81a

Post by John Ruggero »

The centered beam (at the star) occurs in the introduction to the first movement of Beethoven's piano sonata op. 81a in both the composer's manuscript and the first edition (which is shown here):
op 81a.png
op 81a.png (483.39 KiB) Viewed 1734 times
Because the rest of the beaming in this sonata is almost entirely modern, this beam stands out. I post it as a kind of proof that composers of this era did use centered beaming to communicate special information. There is really no other explanation for why Beethoven would make the engraver to use a centered beam within such an awkward interval.

The arrow shows how these notes lead directly into and are part of the upcoming right hand chords and, at this point, represent middle voices. Beethoven doesn't wants these notes confused with the bass part that is about to enter in the next measure with downward stems.

There is another point of interest. Note the difference in notation between the two chords at A and B. At A Beethoven writes the chord entirely on the top staff despite the lowish ledger line note G. He wants to present this theme as a unit because it is a motto that runs throughout the first movement. At B, however, he places the G flat in the lower staff to show it continuing on into the left hand as the tenor voice. Again this is a indication that the placing of the notes on the staff was not merely a matter of convenience for Beethoven but often imparts important information.
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Harpsichordmaker
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Re: An interesting centered beam in op. 81a

Post by Harpsichordmaker »

A brilliant hypothesis, John.

Only today I’ve learned Beethoven demanded for the first edition of his ninth symphony a strange lyrics alignment. Not “sanft” under one note as we would today, but “sa…” under the note and “nft” under the following, along with its proper syllable. There is a letter of Beethoven to his publisher explaining why: he wanted no chance the singers would pronounce “nft” before the whole length of the note was consumed. The publisher (maybe Schott?) didn’t follow his indications, and so no editor until today. The new critical edition (should be Henle, I believe) prints the lyrics as Beethoven asked, for the first time.

It’s incredible how many subtleties can be conveyed through notation. Not simple to discover, though.
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John Ruggero
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Re: An interesting centered beam in op. 81a

Post by John Ruggero »

Thank you so much, Harpsichordmaker.

What an interesting point!

Around the time that Heinrich Schenker was publishing his book on Beethoven's ninth symphony, the publisher was also considering having him do a new edition of the symphony based on the autograph. Unfortunately, cost intervened and that never happened. Had it, I have no doubt that he would have honored the request, which reflected Beethoven's understandable concern about the correct pronunciation, given the extensive melismas.

Here is the spot from the autograph and first edition (ms. 835 etc. of the last movement):
op 125.4 MS.png
op 125.4 MS.png (512.45 KiB) Viewed 1626 times
op 125.4 ist ed.png
op 125.4 ist ed.png (266.29 KiB) Viewed 1626 times
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Ander
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Re: An interesting centered beam in op. 81a

Post by Ander »

Hi John – I'm not sure I'd read quite so much into this. In my experience, composers are rarely notation specialists (nor should they need to be).

Who knows why Ludwig used a centered beam? If he felt it was important to express the passage of a musical idea from LH to RH, a much clearer, more conventional way would be a line:

beethoven_notation.png
beethoven_notation.png (19.86 KiB) Viewed 1498 times

It seems unlikely he'd expect others to understand such an unconventional use of a beam for something like that.

I also have a hard time thinking he tried to imply thematic continuity by pointing stems in wrong directions (he did the same thing in system 2, bar 2, LH) or with cross-staff notes. I think it's more likely he just dashed all of this down this way in the heat of composition—and the publisher either assumed he'd notated it correctly, or was afraid to suggest changes. (Knowing Ludwig's temperament, who could blame him? LOL)

You'll also notice Ludwig unnecessarily flatted the second Bb in system 2, bar 1, RH; and put noteheads on wrong sides of stems in bars 3 and 4. Was he trying to imply something there, or just not paying attention? (And what are those mysterious "5's" above the first system? Fingering? Why jump around like that?)

Don't get me wrong—I think exploring theories like these is fun. In the long run, though, it may be like reading tea leaves. 😊 Cheers, A.
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John Ruggero
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Re: An interesting centered beam in op. 81a

Post by John Ruggero »

In order to understand what is unique and has special meaning in Beethoven's notation, one has to know what he normally did and what was normal in publishing during Beethoven's time.

Comments:

1. Beethoven never used lines to show voice leading. He always adapts standard notation of his time to convey special ideas, and lines weren't standard. However, centered beams were standard, but generally not used for such small intervals except in special cases such as inner voices written on one staff. This is not one of the special cases either and therefore stands out in a glaring way in Beethoven's entire piano sonata output.

2. The redundant flat sign before the B in measure 6 was inserted by the publisher. It isn't present in Beethoven's manuscript.

3. Seconds like those in ms. 3 and 4 were routinely written and engraved the other-way-around doing that time, so this is nothing special.

4. The 5's are fingering and appear as such in almost all modern editions. Beethoven only put in fingering that indicates something special either technically or musically. In this case using the same finger for these 3 notes would serve to emphasize them in a special way.

5. I had commented on his use of the downturned stem in the bass part of system 2 bar 2 LH. It is very common for him to do this with bass parts even when there is nothing else in the lower staff. In this case, however, it was even more appropriate since the bass octaves must have downturned stems in the next measure.

5. One must remember that these were the days when composers like Beethoven (and not just composers) were incredibly expert in everything regarding their profession. Notation was particularly important because it was the only way they could communicate their ideas.

6.The reason that Beethoven was so irate when publishers changed his notation was that it was very important to him. He didn't write down his music haphazardly in the scores that he sent to be engraved. Even later when he had become very ill and his handwriting and patience degenerated, he continues to be very precise in his use of musical notation even if the score looks amazingly messy. In his earlier days, however, he had a very clear, precise and to me beautiful music manuscript. It is also telling that he generally lays his scores out very spaciously on the music paper to make it as clear as possible for the engraver and leave room for corrections.
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