NON-LINEAR AND MULTI-LINEAR TIME IN BEETHOVEN’S OPUS 127: AN ANALYTICAL STUDY OF THE “KRAKOW” SKETCH MATERIALS Michael Lively, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF PH ILOSOPHY UNIVERSITY OF NORTH TEXAS August 2010 APPROVED: Timothy Jackson, Major Professor Frank M. Heidlberger, Minor Professor Stephen Slottow, Committee Member Eileen Hayes, Chair of the Division of Music History, Theory, and Ethnomusicology James C. Scott, Dean of the College of Music James D. Meernik, Acting Dean of the Robert B. Toulouse School of Graduate Studies Lively, Michael, Non-linear and multi-linear time in Beethoven’s Opus 127: An analytical study of the “Krakow” sketch materials. Doctor of Philosophy (Music Theory), August 2010, 302 pp., 10 tables, 61 examples, bibliography, 161 titles. Beethoven’s complex manipulation of formal structures, especially his tendency to build important connections and transformative continuities between non-adjacent sections of musical works, may be seen to function as an attempt to control and sometimes to distort the listener’s perception of both the narrative process of musical directionality, as well as the subjective interpretation of time itself. Temporal distortion often lies at the heart of Beethoven’s complex contrapuntal language, demonstrated equally through the composer’s often enigmatic disruption of phrase-periodic gestures, as well as by occasional instances of overtly incongruous temporal shifts. The “Krakow” collection of compositional sketches for Beethoven’s String Quartet in E- Flat, Op. 127, provides a number of instances of “non-linear” or “multi-linear” musical continuity. The term “Krakow” sketches, when referenced in this dissertation, specifically designates the group of Beethoven manuscripts possessed by the Biblioteka Jagiellońska in Krakow, Poland, but which formerly were held by the Royal Library in Berlin. Structural voice- leading analyses are provided for selected portions of the “Krakow” collection; these analyses are then compared to voice-leading graphs and analytical reductions of the corresponding material from Beethoven’s published versions of the same musical passages. In some cases the sketches supply almost complete texts, for which critical transcriptions are included as extended examples within the dissertation. The primary analytical technique applied to both compositional sketches as well as to complete musical texts derives from Heinrich Schenker’s theory of structural voice-leading and graphical reduction. An important method of critical assessment, from which a number of theoretical arguments are developed, is the contention that Beethoven’s contrapuntal language, at least in regard to the op. 127 String Quartet, relies heavily upon a temporal distortion of both form and phrase-periodic gestures, requiring the listener to actively re-construct the continuity of Beethoven’s subjective formal archetypes. Copyright 2010 by Michael Lively ii TABLE OF CONTENTS Page LIST OF TABLES ...........................................................................................................................v LIST OF MUSICAL EXAMPLES ................................................................................................ vi INTRODUCTION ...........................................................................................................................1 Chapters 1. THEMATIC, FORMAL, AND VOICE-LEADING ANALYSIS OF THE FIRST MOVEMENT OF OPUS 127 ..................................................................................4 2. THEMATIC, FORMAL, AND VOICE-LEADING ANALYSIS OF THE SECOND MOVEMENT OF OPUS 127 ...............................................................22 3. HISTORY, PROVENANCE, AND CONTENTS OF THE PRIMARY SKETCH SOURCES..............................................................................................................31 4. THE PROCESS OF INTERPRETATION AND TRANSCRIPTION ..................48 5. NON-LINEAR AND MULTI-LINEAR MUSICAL TIME ..................................54 6. TEMPORAL DISCONTINUITY AND THE LATE-PERIOD WORKS OF BEETHOVEN........................................................................................................70 7. ANALYSIS OF THE SKETCHES CORRESPONDING TO THE FIRST MOVEMENT OF OPUS 127 ................................................................................80 8. ANALYSIS OF THE SKETCHES CORRESPONDING TO THE SECOND MOVEMENT OF OPUS 127 ..............................................................................124 9. ANALYSIS OF THE SKETCHES CORRESPONDING TO THE THIRD AND FOURTH MOVEMENTS OPOUFS 127 ............................................................180 10. THE PHENOMENOLOGY OF TEMPORAL DISCONTINUITY AND THE POSTMODERN ESTHETIC IN BEETHOVEN’S LATE-PERIOD STRING QUARTETS .........................................................................................................200 CONCLUSION ............................................................................................................................213 Appendices A. CRITICAL NOTES FOR EXAMPLE 7-1 ..........................................................215 iii B. CRITICAL NOTES FOR EXAMPLE 7-2 ..........................................................237 C. CRITICAL NOTES FOR EXAMPLE 8-1 ..........................................................240 D. VOICE-LEADING REDUCTION OF THE FIRST MOVEMENT ...................254 E. VOICE-LEADING REDUCTION OF THE SECOND MOVEMENT ..............270 BIBLIOGRAPHY ........................................................................................................................292 iv LIST OF TABLES Page 1-1. Formal Diagram of the Exposition ......................................................................................9 1-2. Formal Diagram of the Development ................................................................................14 1-3. Formal Diagram of the Recapitulation ..............................................................................18 3-1. The Five Primary Source Groupings .................................................................................36 3-2. JTW Diagram of ARTARIA 206 .......................................................................................41 3-3. Sieghard Brandenburg’s Diagram of ARTARIA 206 .......................................................44 3-4. Sieghard Brandenburg’s Diagram of ARTARIA 207 .......................................................47 7-1. Formal Diagram of Op. 127, First Movement ...................................................................81 8-1. Formal Diagram of Op. 127, Second Movement .............................................................153 9-1. Formal Diagram of Op. 127, Third Movement ................................................................190 v LIST OF MUSICAL EXAMPLES Page 1-1. Deryck Cooke’s Motive A .................................................................................................10 1-2. Voice Leading mm. 1-80 ...................................................................................................12 1-3. Motive of Chromatic Expansion, Exposition .....................................................................15 1-4. Voice Leading, Development ............................................................................................16 1-5. Voice Leading, Recapitulation...........................................................................................19 1-6. Voice-Leading, Coda .........................................................................................................20 2-1. Voice Leading, Theme .......................................................................................................24 2-2. Deryck Cooke’s Motive B .................................................................................................24 2-3. Voice Leading, Variations 1-3 ...........................................................................................26 2-4. Voice Leading, Variations 4-6 ...........................................................................................28 5-1. Non-Linear Relationship of Structural Upbeats and the Structural Downbeat in Beethoven’s Op. 135, First Movement ..............................................................................55 5-2. A Possible Melodic Archetype for Mm. 91-98 of Beethoven’s Sixth Symphony, Third Movement ..........................................................................................................................63 5-3. A Possible Melodic Archetype for Mm. 514-523 of Beethoven’s Ninth Symphony, Second Movement .............................................................................................................64 5-4. Multi-Linear Continuity Related to the Early Horn Entrance in the Eroica Symphony ...65 5-5. Multi-Linear Continuity on the First Movement of Op. 127 .............................................66 6-1. Narrative Text, Narrative, and Narrative Construct ...........................................................78 7-1. Group D, pp. 81-91 ............................................................................................................83 7-2. Group D, pp. 93-6 ..............................................................................................................96 7-3. Mm. 1-80..........................................................................................................................101 7-4. Group D, p. 94 .................................................................................................................103