Haydn, Mozart, and Beethoven: Studies in the Music of the Classical Period. Essays in Honour of Alan Tyson

355 Pages·1999·32.08 MB·English

by  Sieghard Brandenburg

H A Y D N , M O Z A R T ,
& B E E T H O V E N
Studies in the Music o f the
Classical Period
ESSAYS IN H O N O U R OF
A LA N T Y S O N
EDITED BY
SIEG H A RD B R A N D E N B U R G
C L A R E N D O N PRESS * OXFORD
H A Y D N , M O Z A R T ,
& B E E T H O V E N

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ISBN 0-19-816362-2
Foreword
These essays in honour of Alan Tyson were presented to him in a rudimen­
tary typescript on the occasion of his 65th birthday party at the Garrick Club
on 27 October 1991, in the presence of a number of the contributors. Since
that date, a great deal of additional work had to be done before the volume
could see the light of day: new contributions were received, and all those
essays originally submitted in German had to be translated into English,
resubmitted to their authors for approval (in some cases for revision), and
most recent bibliographical data incorporated. If this Festschrift is now being
published after the honorand’s 70th birthday, this in no way diminishes the
timeliness of a tribute to an outstanding and versatile scholar whose contribu­
tions to musicology and the study of musical sources have brought him
international recognition. The bibliography of his publications covers a wide
field, ranging from psychoanalysis to rastrology: indeed, it is largely due to
his seminal studies in the latter area that the examination of watermarks and
paper in the analysis and dating of music manuscripts has become a widely
accepted and practised discipline. His magnum opus, the monumental classifica­
tion of the watermarks in all extant manuscripts of Mozart, was published
as a separate double volume of the Neue Mozart-Ausgabe.
New aspects of Beethoven research initiated by Tyson are no less signifi­
cant, such as his book on the English editions of Beethoven’s compositions,
proving the until then unsuspected importance of these sources for the
establishing of correct texts. As editor of the newly published ‘Briefwechsel
Gesamtausgabe’ of Beethoven’s complete correspondence (6 vols. Henle
Verlag, Munich 1996—7), the undersigned acknowledges his great indebted­
ness to Tyson’s ‘Prolegomena to a Future Edition of Beethoven’s Letters’ (in
Beethoven Studies 2, ed. A. Tyson, 1977) in determining the structure of his
edition. If a planned full-scale biography of Beethoven had to be shelved in
favour of the all-consuming Mozart researches, a shorter version written for
the New Grove testifies to Tyson’s mastery of the subject, as does his work
on Beethoven letters. Publications on Haydn, Clementi, and others are
further testimony to his versatility in presenting original topics relating to the
music, music publishing, and scribal practices of the Classical period.
Foreword
VI
Few scholars have presented the results of their investigations with the
lucidity and elegance of style so felicitously characteristic of all Tyson’s writings.
The contributors to the present book, as well as countless scholars and
students in many countries, have benefited from his friendship and expertise
and are indebted to him for his advice and ever-ready help in dealing with
their questions and problems— moreover, all his friends have enjoyed Alan
Tyson’s companionship, zest, and wit, which have made him such a con­
spicuous and engaging personality, not least within the orbit of All Souls
College.
S.B.
Contents
List of Plates ix
1. Watermarks are Singles, Too: A Miscellany of Research Notes I
Jan LaRue, New York
2. The Sextet in C Major, by J. C. or J. C. F. Bach? 13
Stephen Roe, London
3. A New Manuscript from dem enti’s Early Years as a
Keyboard Virtuoso 21
Oliver Neighbour, London
4. The Triumph of Variability: Haydn’s Articulation Markings in
the Autograph of Sonata No. 49 in E Flat 33
James Webster, Cornell University
5. Haydn’s ‘Entwurf-Katalog’: Two Questions 65
Sonja Gerlach, Cologne
6. Haydn’s Copyist Peter Rampl 85
Günter Thomas, Cologne
7. Mozart and the Four-Hand Sonata K. I9d 91
Cliff Eisen, King’s College, London
8. The Adagio in F Major, K3 Anhang 206a = K6 Anhang A 65 101
Neal Zaslaw, Cornell University
9. A Sketch-Leaf for Mozart’s Contredanse ‘La Bataille’, K. 535 115
f Wolfgang Plath, Augsburg
10. ‘N .N .’ Revisited: New Light on Mozart’s Late Correspondence 127
John Arthur, Berlin
11. Mozart’s Key Signatures: A Peculiar Feature of his Autograph
Scores 147
Albi Rosenthal, Oxford
12. Beethoven’s Minority 151
Joseph Kerman, Berkeley
Vili Contents
13. Beethoven as Colourist: Another Look at his String Quartet
Arrangement of the Piano Sonata, Op. 14 No. 1 175
Lewis Lockwood, Harvard
14. Exploring the Eroica: Aspects of the New Critical Edition 181
Bathia Churgin, Bar Ilan University (Israel)
15. An Orchestral Version of Beethoven’s Marsch zur großen
Wachtparade 213
Clemens Brenneis, Berlin
16. Deconstructing Beethoven’s Sketchbooks 225
Douglas Johnson, Rutgers
17. Johanna van Beethoven’s Embezzlement 237
Sieghard Brandenburg, Bonn
18. Some Romantic Images in Beethoven 253
Maynard Solomon, New York
19. In Search of Palestrina: Beethoven in the Archives 283
Richard Kramer, Stony Brook
Bibliography of Alan Tyson’s Publications 301
Index of Works 311
General Index 315
List o f Plates
(between pp. 150 and 151)
P l . i . First surviving page of Haydn’s ‘Entwurf-Katalog’ (Staatsbibliothek zu Berlin-
Preußischer Kulturbesitz-Musikabteilung mit Mendelssohn-Archiv)
P l . 2. Peter Rampl’s invoice for copying Joseph Eybler’s Twelve Minuets and Thirteen
German Dances of 1794 (Wiener Stadt- und Landesarchiv)
Pl. 3. Joseph Eybler, Twelve Minuets (1794), first page of Peter Rampl’s copy of the
full score (Vienna, Österreichische Nationalbibliothek)
Pl. 4. Leopold Mozart, MS copy of the Adagio in F major, K. Anh. 206a = A 65 (by
kind permission of the Stiftelsen Musikkulturens Främjande, Stockholm)
P l . 5. Tracing of the watermark of the MS shown in Pl. 4 (by kind permission of
Erling Lomnäs)
Pl. 6. Second rriovt. of the Piano Concerto K. 43 c = Anh. C 15.02
Pl. 7. Letter of Mozart to his wife, Frankfurt am Main, 28 Sept. 1790 (Briefe No.
1135), autograph (Jerusalem, Jewish National and University Library)
Pl. 8. Letter of Mozart to his wife, Vienna, PJune 1791 (Briefe No. 1163), autograph
(Garmisch-Partenkirchen, the estate of Dr Richard Strauss)
P l . 9. Letter of Mozart to his wife, Vienna, 5 July 1791 (Briefe No. 1179), autograph
(Copenhagen, Det Kongelige Bibliotek, Ny kgl. Sami. 3607. 4°)
Pl. 10. Letter of Mozart to his wife, Vienna, traditionally assigned to 8-9 Oct. 1791
(Briefe, No. 1195), autograph
(a) fo. T (Glasgow University Library, Zavertal Collection, Farmer MS. 271/5)
(.b) photomontage of the separate halves of fo. 2r (upper: Salzburg, Internationale
Stiftung Mozarteum; lower: Glasgow University Library, Zavertal Collection, Farmer
MS. 271/5)