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

博士项目的重点是贝多芬的三重奏和四重奏的草图，他唯一的歌剧“莱昂诺尔”/“费德里奥”。贝多芬在声乐合奏写作方面的努力是众所周知的，因此他向萨列里学习。他还学习了萨列里的歌剧《达娜德斯》、凯鲁比尼的《两个记者》、莫扎特的《唐璜》和《魔笛》，并从中复制了一些段落。这些初步的研究与他本人的歌剧创作意图息息相关。贝多芬现存的大量作曲草图为他的工作方法提供了多方面的证据，并留下了他的音乐思想的痕迹。作为他作品的“传记”的一个组成部分，它们包含了他最终塑造他的作品的音乐思想。勃拉姆斯在谈到贝多芬的速写本时写道：“人们看到了成为，出现。”本研究项目旨在深入了解贝多芬在创作歌剧声乐套曲时的工作方式、困难和解决办法，以及他与萨列里学习的效果以及他抄袭同行的习惯。到目前为止，这只在文献中有所涉及;贝多芬自己的作品的具体含义还没有得到解决。未经编辑的草图将通过transmittance进行访问。关于整个歌剧的推论，它的概念，它的传记，和组成的背景将被绘制。因此，博士项目在几个方面构成了音乐学的迫切需要。

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.