Beethoven's Sketchbooks for the Year 1821

我的研究领域是贝多芬素描的转录和解释。为了了解贝多芬的作品和他的文体发展，仔细阅读贝多芬的速写已经有很长的历史了，可以追溯到19世纪中叶，其中许多文件已经全部或部分转录，并以传真出版。它们被音乐学家、理论家和作曲家用作进入创作过程的最深处的途径。然而，贝多芬晚年的大部分速写本仍然相对鲜为人知。它们更难读，部分原因是贝多芬在19世纪10年代和20年代的笔迹每况愈下，部分原因是素描材料的日益复杂。此外，他的创作过程在19世纪10年代末发生了根本性的变化，大约在那个时候，他的听力恶化到了不得不借助笔记本与朋友交谈的程度。贝多芬以每年大约一页的速度填满了长约100页的标准风景格式“书桌速写本”，旁边还有一系列平行的“袖珍速写本”：将音乐纸张对折(有时未缝合)的小集合，形成一本作曲家可以外出使用的小册子。这些袖珍速写本大约在1815年开始出现，在1819年至1822年的弥撒后期(《米莎·索伦尼斯》)和最后三首钢琴奏鸣曲的创作中，数量相当多。我正在与伊利诺伊大学出版社谈判，准备一本被称为Artaria 197的手稿，这是贝多芬在1821年使用的一本88页的速写本。我研究的主要成果将是《Artaria 197》的传真和抄写版，以及带有历史和批判性评论的版本。它将包括以现代印刷格式完整地呈现贝多芬的符号，这些符号通常是外行人难以辨认的，任何有文化的音乐家都可以阅读。评论将详细介绍手稿是如何组合在一起的，何时使用的，以及它与当时使用的其他手稿(口袋速写本，成品的亲笔签名)之间的关系。对手稿的工作自然会导致论文更紧密地集中在晚期作品的各个方面。我之前出版了一本关于米莎·索伦尼斯的手册，以及两篇关于米莎·索伦尼后来的素描的文章。2007年的《贝多芬论坛》杂志暂时接受了对钢琴奏鸣曲作品110的素描的新研究；在其中，我展示了第二乐章的袖珍素描如何与Artaria 197中的素描相关联，以及所有这些材料如何揭示奏鸣曲的含义，根据最近的研究，这部作品声称具有自传情节。我计划在这项工作的基础上，对贝多芬1822年使用的素描本进行类似的研究，并准备该系列的下一个办公桌素描本《Artaria 201》的版本。

My research is in the field of Beethoven sketch transcription and interpretation. The close reading of Beethoven's sketches for an understanding of his works and his stylistic development has a long history, dating back to the middle of the nineteenth century, and many of these documents have been transcribed in whole or part, and published in facsimile. They have been used by musicologists, theorists and composers alike as a way into the deepest recesses of the creative process.Most of the sketchbooks from Beethoven's later years, however, remain relatively unknown. They are more difficult to read, partly because of Beethoven's deteriorating handwriting in the 1810s and 20s, partly because of the increasing complexity of the material sketched. Moreover, his creative process changed radically in the late 1810s, around the time that his hearing deteriorated to such an extent that he had to converse with his friends with the aid of notebooks. Alongside the standard landscape-format 'desk sketchbooks' of approximately 100 pages in length, which Beethoven filled at about the rate of one per year, there runs a series of parallel 'pocket sketchbooks': small gatherings of music paper folded in half (and sometimes left unstitched) to form a booklet that the composer could use away from home. These pocket sketchbooks begin to appear about 1815, and are quite numerous during the composition of the late setting of the Mass (the 'Missa solemnis') and the last three piano sonatas, between 1819 and 1822,I am in negotiations with the University of Illinois Press to prepare an edition of the manuscript known as Artaria 197, an 88-page sketchbook used by Beethoven in the year 1821. An edition of Artaria 197, in facsimile and transcription, with historical and critical commentary, would be the primary output of my research. It would comprise a complete rendering of Beethoven's notations, which are often illegible to the untrained eye, in a modern printed format that can be read by any literate musician. The commentary would give detailed information about how the manuscript is put together, when it was used, and how it relates to other manuscripts used at the time (pocket sketchbooks, autograph scores of finished works).Working on the sketches will lead naturally to essays more closely focussed on aspects of the late works. I have previously published a handbook on the Missa solemnis and two articles about the later sketches for the Missa solemnis. A new study of the sketches for the Piano Sonata Op. 110 has provisionally been accepted by the journal 'Beethoven Forum' for 2007; in it I have shown how the pocket sketches for the second movement are related to those in Artaria 197, and how all this material informs the meaning of the sonata, a work which -- according to recent research -- is claimed to have an autobiographical plot.I plan to follow up this work with a similar study of the sketchbooks Beethoven used in 1822, and to prepare an edition of the next desk sketchbook in the series, Artaria 201.