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。仔细阅读贝多芬的素描以了解他的作品和他的风格发展有着悠久的历史，可以追溯到十九世纪中期，其中许多文件已经全部或部分转录，并以传真形式出版。音乐学家、理论家和作曲家都把它们作为深入创作过程的一种方式。然而，贝多芬晚年的大多数素描本仍然相对不为人所知。它们更难阅读，部分原因是贝多芬在19世纪10年代和20年代的笔迹越来越差，部分原因是素描材料越来越复杂。此外，他的创作过程在19世纪10年代后期发生了根本性的变化，当时他的听力恶化到了不得不借助笔记本与朋友匡威的程度。除了标准的约100页的“桌面速写本”（贝多芬以每年一本的速度填写）外，还有一系列平行的“口袋速写本”：将乐谱对折（有时不缝合）形成一本小册子，作曲家可以在离家时使用。这些袖珍速写本开始出现在1815年左右，并在后期设置的弥撒组成相当多（《弥撒曲》）和最后三首钢琴奏鸣曲，在1819年至1822年之间，我正在与伊利诺伊大学出版社谈判，准备一个被称为Artaria 197的手稿版本，贝多芬在1821年用过的88页素描本一个版本的Artaria 197，在传真和转录，与历史和批判性的评论，将是我的研究的主要成果。它将包括一个完整的贝多芬的注释，这往往是难以辨认的未经训练的眼睛，在一个现代印刷格式，可以阅读任何识字的音乐家。评注将详细说明手稿是如何组合在一起的，何时使用，以及它与当时使用的其他手稿（袖珍速写本，完成作品的签名乐谱）的关系。对速写的研究自然会导致论文更密切地关注晚期作品的各个方面。我以前出版过一本关于弥撒圣书的手册和两篇关于弥撒圣书后来草图的文章。2007年，《贝多芬论坛》杂志暂时接受了一项关于钢琴奏鸣曲作品110草图的新研究;在这篇文章中，我已经展示了第二乐章的袖珍素描是如何与Artaria 197中的素描相关联的，以及所有这些材料是如何告知奏鸣曲的意义的，根据最近的研究，这部作品被认为有自传体的情节。我计划在这部作品之后，对贝多芬1822年使用的素描本进行类似的研究，并准备一个版本的下一个桌面速写本系列，艺术201。

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.