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Beethoven's Piano Sonata in E, Op. 109 (Hardcover)
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Beethoven's Piano Sonata in E, Op. 109 (Hardcover)
Series: Studies in Musical Genesis, Structure & Interpretation
Expected to ship within 12 - 17 working days
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In this book on Beethoven's Piano Sonata in E, Op. 109, Nicholas
Marston combines source studies and a Schenkerian analytical
approach to produce one of the most extensive and detailed studies
of a Beethoven piano sonata ever published. The study is based on a
complete transcription of all the surviving autograph musical
sources: the sketches, a fragmentary Urschrift, and the autograph
score. Early printed editions and manuscript copies are also
discussed and the text is handsomely supported by extensive
transcription from the sources. After an introductory chapter in
which previous work - notably that of Heinrich Schenker himself -
on this sonata is reviewed, chapter 2 draws upon Beethoven's
letters, conversation books, sketchbooks, and other sources to
build up a detailed 'biography' of Op. 109. The middle chapters
form the core of the analytical study: the sketches for each of the
three movements are analysed both to reveal aspects of the genesis
of the movement and to build up a particular analytical approach to
the final version. The discussion embraces all levels of detail;
even Beethoven's previously misunderstood notation of final
barlines in the autograph score is shown to be musically
significant. In the concluding chapter the notion of 'sketch' is
extended beyond Op. 109 and the results of the whole study are
summarized. The book might be read as a study in the extension of
conventional Schenkerian analysis. Marston argues that individual
movements of Op. 109 are structurally incomplete and that
satisfactory closure is achieved only at the level of the entire
work. The concluding theme-and-variation movement is crucial, and
Marston offers a rare Schenkerian perspective onlarge-scale
coherence in this genre. But in combining these analytical
perceptions with an understanding of Beethoven's sketches more as
valid proto-compositions in their own right than as wrong turnings
en route to a 'perfect' finished work, Marston also offers a unique
and compelling interpretation of this profound and beautiful
masterpiece of late Beethoven.
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