Leonore from scratch / or / The Origins of Beethoven's Operatic Ensembles

这个博士项目的重点是贝多芬为他唯一的歌剧《列奥诺尔》/《菲德里奥》的三重奏和四重奏绘制的素描。众所周知，贝多芬在声乐合奏创作上举步维艰，因此向萨列里学习。他还学习了萨列里的歌剧《达纳德斯》、切鲁比尼的《双重旅行》、莫扎特的《唐·乔瓦尼》和《魔笛》，并抄袭了其中的段落。这些初步的研究都与他自己的歌剧创作意图密切相关。庞大的贝多芬作曲素描文集为贝多芬的工作方法和音乐思想提供了多种证据。作为他作品《传记》中不可或缺的一部分，这些传记包含了他最终塑造自己作品的音乐理念。勃拉姆斯在谈到贝多芬的素描本时写道，人们看到了正在形成的、正在出现的。这项研究项目旨在深入了解贝多芬的工作方式、在为他的歌剧创作声乐合奏时遇到的困难和解决办法，以及他与萨列里一起学习的效果以及他抄袭同行的习惯。到目前为止，这只在文献中被提及；对于贝多芬自己的工作的具体影响还没有被提及。迄今未编辑的草图将通过抄本提供。关于整个歌剧，它的概念，它的传记，和作曲背景的推断将被得出。因此，博士项目在几个方面构成了对音乐学的渴望。

The doctoral project focuses on Beethoven's sketches for the trios and quartets of his only opera 'Leonore'/'Fidelio'. Beethoven famously struggled with vocal ensemble writing and consequently took lessons from Salieri. He also studied Salieri's opera 'Les Danaïdes', Cherubini's 'Les deux journées', Mozart's 'Don Giovanni' and 'The Magic Flute', copying passages from them. These preliminary studies are closely linked to his own opera composition intentions. The vast corpus of surviving compositional sketches by Beethoven provides manifold evidence of his working methods, and traces of his musical thinking. As an integral part of his works' "biographies", they hold those musical ideas from which he eventually shaped his compositions. 'One sees becoming, emerging', Brahms writes of Beethoven's sketchbooks. This research project aims to yield deep insights into Beethoven's modus operandi, difficulties and solutions in composing the vocal ensembles for his opera with regard to the effect of his studies with Salieri as well as his habit of copying from his peers. So far, this has only been touched upon in the literature; concrete implications for Beethoven's own work have not been addressed. Hitherto unedited sketches will be made accessible through transcriptions. Inferences about the entire opera, its conception, its biographical, and compositional context will be drawn. The doctoral project thus constitutes a desideratum for musicology in several respects.