kolisch_tempo and character in beethovens music ii

Tempo and Character in Beethoven's Music (Continued)Author(s): Rudolf KolischSource: The Musical Quarterly, Vol. 77, No. 2 (Summer, 1993), pp. 268-342Published by: Oxford University PressStable URL: http://www.jstor.org/stable/742558Accessed: 25/07/2010 23:40

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Institutions, Industries, Technologies

Tempo and Character in Beethoven's Music (continued)

Rudolf Kolisch

[The following text is the continuation of a longer analysis begun in the last Musical Quarterly (vol. 77, no. 1). For both

an introduction to Kolisch and the theoretical context for this typology the reader is referred to that issue.]

What Beethoven indicated as Allegro in all its varieties-from Allegro moderato to Allegro molto vivace--covers a very wide range of tempi (69 to 216) and includes 21 types.

The types in which the Allegro tempo is modified on the slow side by the indications moderato or ma non troppo (the two terms differ only in degree) I shall call "Cantabile Allegro," in order to convey that the prevailing tone of these pieces is thoroughly song-like.

24) "Allegro cantabile" C j = 120-138 Violin Sonata, op. 12/111 Allegro con spirito Horn Sonata, op. 17 Allegro moderato Piano Concerto No. 4, op. 58 Allegro moderato Piano Sonata, op. 78 Allegro ma non troppo Piano Trio, op. 97 Allegro moderato String Quartet, op. 130 Allegro String Quartet, op. 132 Allegro

Phenomenologically this type is characterized by the dualism of its song-like formations and its sixteenth-note motives, occurring either side by side [op. 78, op. 132] or, as in op. 130, one above another. It is striking that op. 130 and op. 132 are marked "Allegro," although it is clear that the intended tempo cannot be the "normal- form" of the " Allegro (,

= 144-176) discussed below. A further fami- ly resemblance of these three pieces consists in their slow introductions.

268

Tempo and Character in Beethoven's Music 269

Op. 12/III Allegro con spirito

Op. 58 Allegro moderato

Op. 78 Allegro ma non troppo


p t,,h ,oin + ... .. f

. _

p

.,i

p ,hI,' rP

270 The Musical Quarterly

Op. 130 Allegro

Jr

Op. 132 Allegro

25) Allegro moderato = 84-90 Piano Sonata, op. 90 Nicht zu geschwind und sehr singbar vor-

zutragen Violin Sonata, op. 96 Poco Allegretto Piano Trio, op. 97 Allegro moderato Symphony No. 9, op. 125 Allegro, ma non troppo, un poco maestoso

j= 88 String Quartet, op. 135 Allegretto

Within the ' form of Allegro moderato we find a most interesting type in the last movement of op. 97, which is repeated in the Alle- gretto of op. 135. The richness of the rhythmical grouping and the motivic articulation in short notes might lead one to assume, particularly in op. 135, that it is a 4 meter-an assumption which, as the principal features of the movement show, would be mistaken.

Op. 90 Nicht zu geschwind und sehr singbar vorgetragen

p ,

/- u J -1 ? - qii I;,i


Op. 96 Poco Allegretto


Op. 125 Allegro, ma non troppo, un poco maestoso

IL do

Op. 135 Allegretto

26) Allegro ma non troppo = 69-88 Piano Sonata, op. 14/I Horn Sonata, op. 17 Violin Sonata, op. 24 String Quintet, op. 29 Violin Sonata, op. 30/I Piano Sonata, op. 31/I Rondo (for Piano), op. 51/I Violin Concerto, op. 61 Cello Sonata, op. 69

Rondo. Allegro comodo Rondo. Allegro moderato Rondo. Allegro ma non troppo Allegro moderato Allegretto con Variazioni Rondo. Allegretto Moderato e grazioso Allegro ma non troppo C Allegro, ma non tanto


Woodwind Sextet, op. 71 Rondo. Allegretto Meeresstille und Glickliche Fahrt,

op. 112 Poco sostenuto = 84 Overture to Die Ruinen von

Athen, op. 113 Allegro, ma non troppo

The alla breve form of the slow Allegro exhibits the typical "Alle- gro melody" articulated in quarter notes and conceived in long phrases without separation into small motives.

In op. 61, as in other instances, Beethoven violates his system of tempo notation by leaving out the alla breve sign. I hope that its phe- nomenological identity with op. 69, which does bear the alla breve sign, is adequate proof of the identity in character and tempo of the two pieces.

Op. 14/I Allegro comodo

P cesc,

P


Op. 31/I Allegretto

P r

- -

"

-- -- -

----i-- -

4H --

o ---------- ---- - ....._-



Op. 69 Allegro, ma non tanto

p dolce

Op. 112 1 Poco sostenuto

27) Allegro ma non troppo = 92-96 Piano Sonata, op. 14/II Allegro String Quartet, op. 18/II Allegro = 96

This type is characterized by the ornamented grazioso opening phrase, and the calmly flowing dolce answering phrase.

Op. 14/11 Allegro

Op. 18/11 Allegro

p 4' 46 JF --Mon


28) Allegro ma non troppo 2 (1) J = 76-80 Symphony No. 4, op. 60 Allegro ma non troppo = 80 Piano Trio, op. 70/II Finale. Allegro

These two pieces present a curious anomaly which we shall find repeated in the cases of op. 53 and op. 67: the meter is not 2 but '. Owing to the strangeness of the notation, it is no wonder that the accuracy of the metronome marking of op. 60 has often been questioned. If the meter signature were ', the tempo would be perfectly understandable.


Op. 70/11 Allegro

29) Allegro ma non troppo . = 84-92 Piano Quintet, op. 16 Piano Sonata, op. 28 String Quartet, op. 59/II Piano Trio, op. 70/II String Quartet, op. 95 Piano Sonata, op. 110

Rondo. Allegro ma non troppo Rondo. Allegro ma non troppo Allegro J. = 84 Allegro ma non troppo Allegretto agitato J. = 92 Fuga. Allegro ma non troppo

This type has a sombre, passionate character. Motives in sixteenth notes alternate with trochaic formations. What is particularly characteristic is the combination of a hard-driving sixteenth-note motive with an energetic trochaic theme. The Allegretto agitato of op. 95 is an exception, strange and solitary like everything else in this


extraordinarily advanced work. In his search for an appropriate desig- nation Beethoven here apparently came upon the quite original marking "Allegretto agitato, " which somehow really does justice to the harassed-one might almost say "nervous" -character of this movement. The relationship between op. 70/II and op. 95 is very striking.


Op. 59/II Allegro

Op. 70/11 Allegro ma non troppo

20

Op. 95 Allegretto agitato

Op. i10 27 Fuga. Allegro ma non troppo

~iii~F:


30) Allegro ma non troppo J = 116-144 Piano Quintet, op. 16 Allegro, ma non troppo Piano Sonata, op. 54 In Tempo d'un Menuetto Violin Sonata, op. 96 Allegro moderato

Op. 54 In Tempo d'un Menuetto


31) Allegro ma non troppo . = 72-76 Violin Sonata, op. 12/II Allegro piac vole Piano Sonata, op. 28 Allegro

These two movements are of the waltz type, i.e. conceived in whole measures. In the violin sonata the Liindler character is quite obvious. But the piano sonata also reveals itself clearly as a waltz, with its ostinato quarter-notes in the bass and the legato figurations gliding gently above them.

Op. 28 Allegro

rrr rrr rrr rr rrr r"


32) Allegro C J = 144-176 Piano Trio, op. 1/I Allegro Cello Sonata, op. 5/I Allegro Piano Sonata, op. 14/I Allegro String Quartet, op. 18/IV Allegro ma non tanto = 84 Violin Sonata, op. 24 Allegro Triple Concerto, op. 56 Allegro String Quartet, op. 59/I Allegro J = 88 Symphony No. 5, op. 67 Allegro 1 = 84 Piano Concerto No. 5, op. 73 Allegro String Quartet, op. 74 Allegro J = 84 Serenade, op. 8 Marcia. Allegro String Quartet, op. 59/III Allegro vivace = 88 Woodwind Trio, op. 87 Allegro Piano Sonata, op. 101 Lebhaft. MarschmaBig. Vivace alla Marcia Cello Sonata, op. 102/I Allegro vivace J = 144 String Quartet, op. 132 Alla Marcia, assai vivace

The "normal form" of the Allegro (Allegro ordinario) no longer appears very often in Beethoven's works. The march-character movements represent a variant of this type; their distinguishing characteristic is the dotted eighth note.

Op. 5/1 1 Allegro

p doh7'2

Op. 18/IV Allegro ma non tanto

----I ------ -~:


Op. 24 Allegro

A 0 i k

P- q.9-

Op. 59/I 1 Allegro

) 4

u/fe dolce

Op. 67 Allegro

Op. 73

Op. 74 Allegro 1 3

--.'". ? r

-

r= 1


Op. 59/1II Allegro vivace

n o. . r. '

Op. 101 Lebhaft. MarschmiBig Vivace alla marcia

l'

- - - - - - - - - - - - - - - - - - - - - - - - -

Op. 102/1 Allegro vivace

33) Allegro 4 = 112-132 Piano Sonata, op. 2/I Allegro String Quartet, op. 18/III Allegro J = 120 Symphony No. 1, op. 21 Allegro con brio J = 112 Violin Sonata, op. 30/II Finale. Allegro Piano Sonata, op. 31/II Allegro Overture to Fidelio, op. 72 Allegro Piano Sonata, op. 81 a Allegro Piano Sonata, op. 106 Allegro J = 138 (!) String Quartet, op. 127 Finale String Quartet, op. 131 No. 7. Allegro String Quartet, op. 135 Allegro Overture No. 1 to Leonore,

op. 138 Allegro con brio

String Trio, op. 9/II Rondo. Allegro Piano Sonata, op. 13 Rondo. Allegro String Quartet, op. 18/IV Allegro o= 66


Op. 2/I Allegro

Op. 18/111 Allegro

Op. 21 13 Allegro con brio

P -.

Op. 30/11 Allegro

Op. 31/If Adagio Allegro

Op. 72 37 Allegro I

p ,,v,-..jfi" -


Op. 81a Allegro ten.,,

l :eIli l.'-,.. - - i l " l

'. I

Op. 106 Allegro

Op. 127 Finale

Allegro 6

< :i il ,

Op. 13 Op. 1Allegro

Allegro

R. '" ', t .

... ," i,:, -' _: i"

. .t I 'l i l i

..........


Op. 18/IV Allegro

34) Allegro = 112-132

Piano Trio, op. 1/II Allegro vivace Piano Sonata, op. 2/II Allegro vivace Piano Sonata, op. 10/II Allegro Piano Sonata, op. 57 Allegro ma non troppo String Quartet, op. 59/I Allegro J = 126 Symphony No. 6, op. 68 Allegro ma non troppo = 66 Piano Sonata, op. 101 Geschwinde, doch nicht zu sehr, und mit

Entschlossenheit. Allegro Cello Sonata, op. 102/I Allegro vivace j = 120 String Trio, op. 3 Finale. Allegro Piano Sonata, op. 10/III Rondo. Allegro C Piano Concerto No. 1, op. 15 Rondo. Allegro String Quartet, op. 18/I Allegro J = 120 Serenade, op. 25 Allegro vivace e disinvolto Piano Sonata, op. 26 Allegro Piano Concerto No. 3, op. 37 Rondo. Allegro String Quartet, op. 130 Finale. Allegro

It is surprising that the first movement of op. 68 is marked Alle- gro ma non troppo, though it has a faster tempo than the motivically related finale of op. 59/I, which bears the marking Allegro.

The rondo form of this type exhibits a light-hearted character which is close to that of the Early Classic Rondo. The resemblance of certain configurations--the rondo does after all involve a great diver- sity of form--is illustrated by the accompanying examples.

The Rondo of op. 10/III, which is notated in 4 meter, is really in 2 meter--a fact pointed out by Riemann. The principal tone occurring on the third quarter, concealed by the rests during the first appearance of the theme-which is probably what brought this notation about-, is fully in evidence in the Ritornello (m. 84 ff.). There is no instance of a real Allegro in 4 meter as a Rondo.


Op. 2/II Allegro vivace

Op. 10/II Allegro

P

Op. 59/I Allegro

tr' r tr

-

tr ft " Op


Op. 101 Geschwinde, doch nicht zu sehr, und mit Entschlossenheit Allegro

33

Allegro vivace 21(5) P

p l '"-'-

F2o',


Op. 15 Allegro

Op. 1 8/1 Allegro

Op. 130 3 Allegro

& "

35) Allegro (4) 152-176

Cello Sonata, op. 5/II Rondo. Allegro Piano Sonata, op. 31/III Scherzo. Allegretto vivace

Op. 5/I1 Allegro

Op. 31/111 Scherzo. Allegretto vivace

-1* 1,' 2 - .N""lmm=R I

.I , ' "


36) Allegro . = 104-112 String Trio, op. 9/III Allegro con spirito String Quartet, op. 18/V Allegro (A major) . = 104 Symphony No. 7, op. 92 Vivace (A major) . = 104 Violin Sonata, op. 12/I Rondo. Allegro Piano Sonata, op. 49/I Rondo. Allegro Violin Concerto, op. 61 Rondo Piano Concerto No. 5, op. 73 Rondo. Allegro Sextet, op. 81 b Rondo. Allegro

This type of rondo form has a gently rocking character, with dotted-eighth-note formations and sixteenth-note passages.

Op. 18/V Allegro

f ffpp I m---------

------,-

Op. 92 Vivace

Op. 12/I Allegro (,

? ,*.M . . =n " I

i11 Vv--t i


Op. 61 t

I p p delicatamente

PP

Op. 73

if p

Op. 81b Allegro

37) Allegro =152-168 37) Allegro4 = 152-168

String Quartet, op. 18/I Allegro con brio J. = 54 Violin Sonata, op. 30/I Allegro Piano Sonata, op. 31/III Allegro Woodwind Sextet, op. 71 Allegro Overture to Egmont, op. 84 Allegro Piano Sonata, op. 90 Mit Lebhaftigkeit und durchaus mit Emp-

findung und Ausdruck String Quartet, op. 127 Allegro

Op. 18/I I Allegro con brio

K j .-------


Op. 30/I 1 Allegro

... . Ii- e A

Op. 31/III Allegro

I -ritar dan . ..do ?

Op. 90 Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck

1 .'- .

29

Op. I27

Allegro

I rAi ne I

Op. 90

Allegro


38) Allegro con brio C = 152-200 Piano Sonata, op. 2/III Allegro con brio String Trio, op. 3 Allegro con brio String Trio, op. 9/I Allegro con brio Piano Trio, op. 11 Allegro con brio Violin Sonata, op. 12/I Allegro con brio Piano Concerto No. 1, op. 15 Allegro con brio String Quartet, op. 18/VI Allegro con brio o= 80 Piano Concerto No. 2, op. 19 Allegro con brio Septet, op. 20 Allegro con brio J = 96 Piano Sonata, op. 22 Allegro con brio Violin Sonata, op. 30/II Allegro con brio Symphony No. 2, op. 36 Allegro con brio J = 100 Piano Concerto No. 3, op. 37 Allegro con brio Piano Sonata, op. 53 Allegro con brio Overture to Coriolan, op. 62 Allegro con brio Sextet, op. 81 b Allegro con brio String Quartet, op. 95 Allegro con brio J = 92 Cello Sonata, op. 102/II Allegro con brio Woodwind Octet, op. 103 Allegro t (in op. 4: Allegro con brio C) Piano Sonata, op. 111 Allegro con brio ed appassionato

"Riihrung ist nur fuir Frauenzimmer; einem Mann muB Musik Feuer aus dem Geiste schlagen." ("Sentiment is only for females; music must ignite a man's spirit. " - Beethoven[ ?])17

We meet this type no fewer than twenty times in the first movements of multi-movement works, from op. 2 to op. 111. There is a profound reason for this quantitative predominance: this type is the true Beethoven character, the one that represents him most clearly. Its distinguishing feature is the sixteenth-note figure which, while externally inconspicuous--taking the form of a mere turn, a mordent or a scale segment--is in reality the surging flame, the fire that Beethoven ignites from within his own spirit.

Op. 2/III Allegro con brio

/4r

V__ I

ra t io j . "1


Op. 3 Allegro con brio

Op. 9/I Allegro con brio 20

f.., " ' sf'

7 - A F


Op. 12/I Allegro con brio



Op. 18/VI

Op. 19.. Allegro con brio Op. 208/

Allegro con brio

fP


? L Op. 20

Op. 30/22 Allegro con brio

:I _Ir

&1I


Op. 36 34 (1) Allegro con brio

F I IN F -4-4

)P P


Op. 152/I

Op. 53

Allegro con brio Op. 95

Allegro con brio

Op. 103 Allegro

F.,' '" i i i i, I1-1 i 1 1 1


Op. III Allegro con brio ed appassionato

21

The types bearing the indications Allegro assai, Allegro vivace, Allegro molto vivace, and Allegro molto e con brio are already approach- ing the extreme speed of the presto. The only instance of a ' meter in this region is:

39) Allegro assai '8 . = 132 Piano Sonata, op. 57 Allegro assai

Op. 57 Allegro assai

6 A. ,4eg mt 132 pp -----I

40) Allegro molto 4 = 132-168 Piano Sonata, op. 13 Allegro di molto e con brio String Quartet, op. 18/V Allegro o= 76 String Quartet, op. 59/III Allegro molto o= 84 Symphony No. 4, op. 60 Allegro vivace o= 80 Cello Sonata, op. 69 Allegro vivace Symphony No. 8, op. 93 Allegro vivace o= 84

Violin Sonata, op. 23 Allegro molto Symphony No. 2, op. 36 Allegro molto J = 152


Op. 13 is characterized by its staccato quarter-notes; op. 18/V and op. 59/III by the rhythm J J J.

The uncanny creeping minor movement of op. 23 has nothing in common with the demonically merry major movement of op. 36, except the tempo. The character of the former is reminiscent of the Presto movements in Sonata form, while the latter is more like the Allegro molto type.

Op. 13 Allegro di molto e con brio

Op. 59/III Allegro molto

"'o W. ,

14 1 -1- = , W

f

Op. 60 Allegro vivace (42)

Op. 69 Allegro vivace

I r pI i I l ia 1l i1

I l I Ii

I I -IW

I


(42


Op. 23 Allegro molto s --- P

Op. 36 Allegro molto

41) Allegro molto = 144-160 Piano Sonata, op. 31/I Allegro vivace (G major) Symphony No. 3, op. 55 Finale. Allegro molto (EB major) = 76 Symphony No. 7, op. 92 Allegro con brio J = 72 Overture Die Weihe des Hauses,

op. 124 Allegro con brio C

Serenade, op. 8 Scherzo. Allegro molto Violin Sonata, op. 12/III Rondo. Allegro molto (EB major) Piano Sonata, op. 27/I Allegro vivace (EB major) Violin Sonata, op. 30/III Allegro vivace (G major) Piano Concerto No. 4, op. 58 Rondo. Vivace (G major) Piano Sonata, op. 78 Allegro vivace Piano Sonata, op. 79 Vivace (G major) Alla Ingharese quasi un

Capriccio, op. 129 (no tempo marking) (G major)

Common to these merry pieces (in which the predominance of the keys of E-flat major and G major is striking) is a theme articulated in eighth-notes over an accompaniment in running sixteenths. The motive iJ plays a large role.


Op. 31/I Allegro vivace

P


ff 0.


if s.f f.

ss Op. 124 Allegro con brio

Allegro molto


.

10 a ,I T5


Op. 30/III Allegro vivace

5. t

Op. 58 ii Vivace

PP


Op. 79 i Vivace

42) Allegro con brio ) = 108

42) Allegro con brio t (:) d = 108 Symphony No. 5, op. 67 Allegro con brio J = 108

In op. 67 we find repeated the case of the Fourth Symphony's Finale, in a fast tempo and con brio character. It is not immediately clear why Beethoven chose this unusual notation. One might readily assume that he wished to meet the con brio character halfway through the accumulation of downbeat impulses. But the inflection of many of this movement's figures contradicts this (cf. the upper voice in m. 63 ff. in the example); where the impulses are important, they are underscored by the marking sf.



43) Allegro molto . = 112-152 Piano Sonata, op. 7 Allegro molto e con brio Violin Sonata, op. 12/II Allegro vivace String Quintet, op. 29 Presto Violin Sonata, op. 30/III Allegro assai Piano Sonata, op. 81 a Vivacissimamente. Im lebhaftesten

ZeitmaBe Meeresstille und Glickliche Fahrt,

op. 112 Allegro vivace . = 138 Overture Zur Namensfeier, Allegro assai vivace

op. 115 String Quartet, op. 131 No. 2. Allegro molto vivace Piano Sonata, op. 2/III Allegro assai Cello Sonata, op. 5/I Rondo. Allegro vivace Piano Concerto No. 2, op. 19 Rondo. Allegro molto

The "sparkling" character of these movements is distinguished by a mixture of eighth-note motives and passage-like sixteenth-note figures. The serious piece in this species (op. 131), whose character is one of restrained passion, has a fundamentally different physiognomy: no more sixteenth notes!

Op. 7 1 Allegro vivace

P,,

",, j I U__J I, L [ V ' : i .... v " - .....



1 Allegro assai O P.

...0/I. .. . . . . .


40 Sf"

C" - schwin- t' c

chw` I

inch die Wc l Ic c nahl sid dIie For n- n: schon.

o chon sch' ich dai Land!

S"1

Op. 131 Allegro molto vivace 1111 poo ritud.

PP T, 13--------

- -. I-- -.


Op. 5/I1 1 Allegro vivace

p


s4 m

44) Allegro molto e con brio ' = 180-216 Piano Trio, op. 1/III Allegro con brio Piano Sonata, op. 6 Allegro molto Piano Sonata, op. 10/I Allegro molto e con brio Symphony No. 3, op. 55 Allegro con brio J. = 60 Piano Trio, op. 70/I Allegro vivace e con brio Symphony No. 8, op. 93 Allegro vivace e con brio J. = 69 String Quartet, op. 132 Allegro appassionato

Here the formations ,

and f express the brio.

Op. 1/III Allegro con brio

11

Op. 10/I Allegro molto e con brio

f " 9f P :

-o'

M I w,,

W m .? ? i -

- - . !



w. kf

,

i, i

Op. 70/1 Allegro vivace e con brio

_Ii I .

I I W WI I 4 e I=

Op. 93 Allegro vivace e con brio

12

45) Presto O/ = 112-144; = 176

String Trio, op. 9/I Presto t String Trio, op. 9/111 Finale. Presto 4 Septet, op. 20 Presto t j = 112 Piano Sonata, op. 27/II Presto agitato C


In these instances, Beethoven suspended the systematic meaning of the terms Presto and Prestissimo. These are pieces in which he notated triplets (op. 20) and sixteenth notes (op. 27/II), which would be unplayable in a true Presto tempo. Apparently he gave in to the impulse to indicate an idiomatic brilliance, especially in the pieces for piano, by referring to the fastest tempo. Op. 20 17 ) Presto tr

Op. 27/II 1 Presto

u-Ni t"

I I Ii

i . .I

46) Presto ? = 152-176 Piano Sonata, op. 10/III Presto Violin Sonata, op. 47 Presto Piano Trio, op. 70/I Presto

String Quartet, op. 59/II Finale. Presto o= 88

The themes of this group are characterized by an upward surge of their opening phrases to a fermata; their relationship is underscored further by the broken-chord formations in eighth notes. The dactylic rhythm in the finale of op. 59/II gives it a stamp all its own.

Op. 10/III Presto

MI. r " M "Ir

: - : : . . .' ...... .. , ............. I TJ I. d . 4 M ,


Op. 47 Presto

28

t

"

Op. 70/1

Presto

Op. 59/

f

-


47) Presto 4 = 160-184 Piano Trio, op. 1/I Finale. Presto Piano Trio, op. 1/II Finale. Presto Piano Sonata, op. 10/II Presto String Quartet, op. 18/II Allegro molto quasi Presto J = 92 Symphony No. 1, op. 21 Allegro molto e vivace J = 88 Woodwind Trio, op. 87 Finale. Presto Woodwind Octet, op. 103 Finale. Presto t (in op. 4: .) Overture to Konig Stephan, op. Presto

117

These movements differ only in degree from the corresponding Allegro molto pieces. Their relatedness to each other is immediately apparent from the examples.

Op. i/I Presto

Presto

op...o..... .

Op. 21 Allegro molto e vivace


Op. 18/II 9 Allegro molto quasi Presto

Op. 117 1(41) Presto

48) Presto . = 176-192

48) Presto s. = 176-192 String Quartet, op. 18/III Presto . = 96 Violin Sonata, op. 23 Presto Piano Sonata, op. 31/III Presto con fuoco Violin Sonata, op. 47 Presto Piano Sonata, op. 109 Prestissimo

The three "tarantella" pieces (op. 18/III, op. 31/III, op. 47) are obviously siblings.

Op. 18/III Presto

Op. 23

2I sI

Op. 31/III pA

f

Presto con fuoco

I IW ; .' .,..,-OP .,

F' i" 41m F


Op. 47 Presto

i ?i

i 1K

F -

Op. 1092 5 Prestissimo

... .---.:

bell intrato

49) Presto = 240-252

Cello Sonata, op. 5/II Allegro molto pi'i tosto presto Piano Sonata, op. 79 Presto alla tedesca

Op. 5/II Allegro molto piu tosto presto 78


Op. 79 Presto alla tedesca

50) Prestissimo 4 = 144-160 Piano Trio, op. 1/III Finale. Prestissimo Piano Sonata, op. 2/I Finale. Prestissimo Piano Sonata, op. 10/I Finale. Prestissimo

Op. 1/III and op. 2/I are distinguished by their dolce legato subsid- iary themes.

The finale of op. 10/I, in which motivic sixteenth-note figures appear, can be understood only as an instance of notation in halved note values. As a Prestissimo alla breve it would have to be notated

The tempo (200) thus refers to the quarter notes and not to the halves (cf. op. 10/III, type 46).

Op. 1/III 21 Prestissimo

Op. 2/I Prestissimo


Op. 10/I Prestissimo

It is in the domain of the Scherzo that Beethoven's capacity to create character types is revealed to the fullest extent. Beethoven leads the Scherzo far away from its origins as a dance and also far away from the inherited Early Classic types; he drives it through all the phases of demonic passion to its very negation in the "Scherzo serioso." The multiplicity of types among Beethoven's Scherzi has led to great confusion in the determination of their tempi.

Above all else, what must be clarified is whether the tempo marking refers to the quarter notes or to entire measures. As we will see, there are scherzi in quarter notes as well as menuetti in whole measures. I shall attempt to introduce order into this chaos by divid- ing them into five groups.

I. The True Menuett

S 1) Menuetto J= 116-144

String Trio, op. 3 Menuetto. Moderato Serenade, op. 8 Menuetto. Allegretto Septet, op. 20 Tempo di Menuetto = 120 Piano Sonata, op. 22 Minuetto Serenade, op. 25 Tempo ordinario d'un Menuetto Piano Sonata, op. 31/III Menuetto. Moderato e grazioso Piano Sonata, op. 49/II Tempo di Menuetto String Quartet, op. 59/III Menuetto grazioso J = 116 Symphony No. 8, op. 93 Tempo di Menuetto J = 126

In op. 59/III and in op. 93 there is a richness of motivic organi- zation and development that goes far beyond the conventional minuet type.


Op. 8 Menuetto. Allegretto

Trio 23

-

;

.. . .. ..,

Op. 20 Tempo di Menuetto Trio

Op. 22 Menuetto

P

Minore ' i' S

-

R E 'J. . a- :op*.. . ." i. . . ... . . . ...rv


Op. 31/III Menuetto. Moderato e grazioso

7"W I,"

T I ,

Trio

P

Op. 25 Tempo ordinario d'un Menuetto f'"'"

Trio I

Op. 59/III Menuetto. Grazioso

39 TrioI


Op. 93 Tempo di Menuetto

(Trio)

p ,doe

3 3

II. Waltzes

S2) Waltz-Type, ' ./ . = 63-84 Piano Trio, op. 1/III Menuetto. Quasi Allegro Piano Sonata, op. 2/I Menuetto. Allegretto Piano Sonata, op. 2/II Scherzo. Allegretto String Trio, op. 3 Menuetto. Allegretto String Trio, op. 9/II Menuetto. Allegro Piano Sonata, op. 10/II Allegretto Piano Sonata, op. 10/III Menuetto. Allegro Piano Sonata, op. 14/I Allegretto Piano Sonata, op. 14/II Scherzo. Allegro assai 8 String Quartett, op. 18/IV Menuetto. Allegretto . = 84 String Quartett, op. 18/V Menuetto . = 76 Serenade, op. 25 Allegro scherzando e vivace Piano Sonata, op. 27/II Allegretto String Quartet, op. 59/II Allegretto . = 69 Piano Trio, op. 70/II Allegretto ma non troppo Woodwind Sextet, op. 71 Menuetto. Quasi Allegretto Violin Sonata, op. 96 Scherzo. Allegro Piano Trio, op. 97 Scherzo. Allegro String Quartet, op. 130 Alla danza tedesca. Allegro assai String Quartet, op. 132 Allegro ma non tanto

These movements, most of them marked "Menuetto Allegretto" and with tempo indications that refer to complete measures, are of course no longer real Minuets at all, but rather pieces descended from


the "Landler Dance" or "German Dance," stylized almost to the point of becoming true Scherzi. What makes it clear that they are in whole measures is the fact that there are no motives in small notes. The themes are articulated in quarter notes and evenly flowing eighth notes.

The Trios in these movements clearly indicate their derivation from the "Landler." Op. 59/II is a special case. Above an ostinato rhythm J. ,h there arises a piece which runs the gamut of expression. The Trio Maggiore transforms a "Thime Russe" into a Waltz, raising the pitch of intensity to orgiastic frenzy. The tempo J. = 69 is very often questioned, but it is just in the dialectic of the two opposed elements-dance rhythm and tempo, on the one hand, and passion- ately expressive features, on the other--that the particular charm of this piece lies.

Op. 14/II is, like op. 130, a "German Dance"-that is, a quick waltz. Should doubts remain, despite the agreement of their tempo indication, key, and motive, the Trio of op. 14/II presents convincing evidence that what we are dealing with here can not be an Allegro Scherzo.

Op. 14/I 1 Allegretto

63 Maggiore

A ---AR 4i 1.-----

1

)!7 f __


Op. 14/11 Scherzo. Allegro assai

jP 23

)i P

73

Op. 18/1V Menuetto. Allegretto

51 Trio I .. .

Op. 59/11 Allegretto

I' F " F I "

Menuettgo Are toI


Op. 96 Scherzo. Allegro

1 *

Trio

Op. 130 Alla danza tedesca. Allegro assai

P p

(Trio) 25 ? |

I-

-

-

-

-


Op. 132 1 Allegro ma non tanto

v , !

(Trio) p dol/e

III. Allegro in Quarter-Notes S3) Scherzo' = 156-207 String Quartet, op. 18/II Scherzo. Allegro . = 52 String Quartet, op. 18/VI Scherzo. Allegro . = 63 Violin Sonata, op. 30/II Scherzo. Allegro

String Quartet, op. 95 Allegro assai vivace ma serioso J. = 69 String Quartet, op. 127 Scherzando vivace

The scherzi in which the tempo marking refers to the quarter notes are characterized by the presence of motives in small note values or by "syncopation." The contradictio in adjecto of the "Scherzo serioso" also belongs to this type. It shows its stern face in the dotted eighth-note motive which is characteristic of the type.


Op. 18/II Scherzo. Allegro

Op. 18/VI Scherzo. Allegro f

Trio

Op. 30/11 Scherzo. Allegro

1i ,

Sf I .

I' ,f

sf

Trio 52 .t

P


Op. 95 Allegro assai vivace ma serioso

(Trio) 41

p esl,,-

U. p''

sf p ,. , ., , ---------------g

Op. 127 Scherzando vivace pp 3

Presto 149

13 PP


IV. The True Allegro Scherzo

The Scherzo allegro in whole measures--the true Beethoven Scherzo- appears in four different tempo gradations. Rarely did Beethoven carry through his system of tempo indications so systematically and with such sensitivity to tempo gradations as in these instances.

S4) Scherzo Allegro 4 J. = 88-100 Piano Trio, op. 1/II Scherzo. Allegro Piano Sonata, op. 2/III Scherzo. Allegro Piano Sonata, op. 7 Allegro String Trio, op. 9/I Scherzo. Allegro String Quartet, op. 18/III Allegro . = 100 String Quintet, op. 29 Scherzo. Allegro Symphony No. 2, op. 36 Scherzo. Allegro J. = 100 Symphony No. 4, op. 60 Menuetto. Allegro vivace J. = 100 Symphony No. 5, op. 67 Allegro . = 96 Woodwind Octet, op. 103 Menuetto. Allegro

Two principal features are characteristic of this type: legato quarter notes and staccato quarter notes. (The theme of op. 67 embodies both.) The Trios often contain eighth-note figures derived from the "Lindler."

Op. 18/1Il Allegro

Minore


Op. 36 Scherzo. Allegro

Trio 85


Trio Un poco meno Allegro

91

p/olZ


Op. 67 19 Allegro

: ",-6,!,i 4' J

, , T,2

IF I ,

t I , I

(Trio)

In the Beethoven scherzi, the tempo and meter of the trios are generally not different from those of the main sections. Exceptions include the scherzo of the Fourth Symphony whose trio is designated un poco meno allegro (J. = 88), and the scherzo of the Sixth Sym- phony, whose trio is in 2 (j = 132). The strongest contrast is in the presto scherzo of the Seventh Symphony (type S8) with the indication assai meno presto (J. = 84). In the scherzo of the Ninth Symphony, the quarter notes of the main part (348) accelerate to 464 as quarter- notes in an alla breve presto (o= 116).

The trio of the String Quartet op. 74, piiz presto quasi Prestissimo (J.J. = 100), is set in a tempo twice that of the main section (J. = 100). This, however, may be understood to be in the same tempo if the trio is considered to be in as Beethoven himself sug- gests: "si ha s'immaginar la battuta di ." S5) Scherzo Allegro molto 4 J. = 108-112 Piano Trio, op. 1/I Scherzo. Allegro assai String Quartet, op. 18/I Scherzo. Allegro molto . = 112 Symphony No. 1, op. 21 Menuetto. Allegro molto e vivace

J. = 108 Piano Sonata, op. 26 Scherzo. Allegro molto Piano Sonata, op. 28 Scherzo. Allegro vivace Symphony No. 6, op. 68 Allegro . = 108 Cello Sonata, op. 69 Scherzo. Allegro molto Woodwind Trio, op. 87 Menuetto. Allegro molto. Scherzo String Quartet, op. 135 Vivace


In this group the essential features of the Allegro Scherzo reap- pear. But the eighth notes occur less frequently, in accordance with the heightened tempo. The syncopated example in op. 69 is a particularly interesting case.

Op. 18/I 1 Scherzo. Allegro molto

90 Trio

Op. 21

Trio

Op. 26 Scherzo. Allegro molto

- --


Op. 28 Scherzo. Allegro vivace

1 - ,

Op. 68 Allegro

(Trio) 165 In Tempo d'Allegro

110

Iiff

) i:: ,. .i t

_

t -


Op. 135 Vivace

C r,

(Trio) 98

S_ fP

S6) Scherzo Allegro molto J. = 116-126 vivace 4

String Trio, op. 9/III Scherzo. Allegro molto e vivace 8 Septet, op. 20 Scherzo. Allegro molto e vivace . = 126 Piano Sonata, op. 27/I Allegro molto e vivace Symphony No. 3, op. 55 Scherzo. Allegro vivace . = 116 Symphony No. 9, op. 125 Molto vivace . = 116

Here the eighth notes have disappeared almost completely, and the bouncing quarter notes dominate the scene.

Op. 9/III Scherzo. Allegro molto e vivace fp

(Trio) 43. I.L .1

PP- 611 " ++ ,F -


Op. 20 Scherzo. Allegro molto e vivace

& f fP4

= 7

Trio 81

Op. 27/1 Allegro molto e vivace

6 :. _

| f.


Op. 55 Scherzo. Allegro vivace

Trio 167 64 i .6

-A- 167

S7) Presto Scherzo , = 240-300 Violin Sonata, op. 24 Scherzo. Allegro molto ' String Quartet, op. 74 Presto ' J. = 100 Piano Sonata, op. 106 Scherzo. Assai vivace . = 80

Serenade, op. 25 Allegro molto q

Op. 125 Molto vivace

9

PP

(Trio) 414 Presto A ii I

-ia

Op. 24 Scherzo. Allegro molto

P


Op. 74 Presto

Pihi presto quasi prestissimo Si ha s'immaginar la battuta

di,6

S8) Presto Scherzo . = 132

S8) Presto Scherzo .

132

Symphony No. 7, op. 92 PrestoJ. = 132

This unique instance of the Presto Scherzo in whole measures marks the outer limit of this series.

Op. 106 Scherzo. Assai vivace


Op. 92 Presto

Assai meno presto 149

V. Scherzo in duple Rhythm S9) Scherzo in duple Rhythm j/o= 126-184 Piano Sonata, op. 110 Allegro molto 4 String Quartet, op. 130 Presto 4 String Quartet, op. 131 No. 5. Presto 4

The three examples of scherzi in duple rhythm represent the highest degree of stylization. Here the connection to its origins in the dance is completely broken off, and only the shell of the original structure has been retained, now filled with entirely new contents.


(Trio) I I

(Trio)

'd"b l, Ji


Op. 130 Presto

PP ---

L'istesso tempo 17

i" Sf Sf if A

.I rk I-

r, 0- rr, - Ii-

Op. 131 Presto -

......

.......

-

--

lo-r -

(Trio) Ritmo di quattro battute

117 I

-

I A

) '

*

.

I ' ' ' ' ? k

Notes 17. The only known source for this alleged and troublesome quotation is Bettina Brentano. If it were to be authenticated, however, I feel its primary significance would be in reference to the slow movements [D.S.].


Index

The following index lists all pieces discussed and/or classified within the body of the text, followed by the type number and the metronome indications. Metronome markings given by Beethoven are in bold; the others represent Kolisch's application of Beethoven's system of tempo notation to the works for which Beethoven did not expressly give metronome markings. Piano Trio, op. 1/I

Allegro C 32 = 176 Adagio cantabile 5 = 44 Scherzo. Allegro assai S5 J. = 112 Finale. Presto 4 47 = 168

Piano Trio, op. 1/II Allegro vivace 34 = 120 Largo con espressione 4 . = 26 Scherzo. Allegro S4 . = 88 Finale. Presto 4 47 = 168

Piano Trio, op. 1/III Allegro con brio 4 44 = 180 Andante cantabile con Variazioni 2 11 = 60 Menuetto. Quasi Allegro ' S2 J. = 63 Finale. Prestissimo 50 J = 160

Piano Sonata, op. 2/I Allegro 33 = 120 Adagio 5 = 40 Menuetto. Allegretto S2 J. = 63 Finale. Prestissimo 0 50 J = 144

Piano Sonata, op. 2/II Allegro vivace 34 = 132 Largo appassionato 5 = 40 Scherzo. Allegretto S2 . = 69 Rondo. Grazioso C 17 = 120

Piano Sonata, op. 2/III Allegro con brio C 38 = 168 Adagio 3 = 50 Scherzo. Allegro 4 S4 . = 88 Allegro assai 43

,.

= 116

String Trio, op. 3 Allegro con brio C 38 = 160


Andante 16 = 120 Menuetto. Allegretto S2 J. = 63 Adagio ' 2 = 36 Menuetto. Moderato S1 = 120 Finale. Allegro 34 = 132

String Quintet, op. 4: see op. 103

Cello Sonata, op. 5/I Allegro C 32 = 168 Rondo. Allegro vivace 43 . = 112

Cello Sonata, op. 5/II Allegro molto piii tosto presto 4 49 = 240 Rondo. Allegro 35 = 152

Piano Sonata (four hands), op. 6 Allegro molto ' 44 = 216 Rondo. Moderato C 17 = 100

Piano Sonata, op. 7 Allegro molto e con brio 43 . = 132 Largo, con gran espressione 5 = 40 Allegro 4 [S4] [J. = 76] Rondo. Poco Allegretto e grazioso 2 18 = 69

Serenade (String Trio), op. 8 Marcia. Allegro C 32 = 144 Adagio 5 = 40 Menuetto. Allegretto S1 = 144 Adagio 2 = 40 Scherzo. Allegro molto 41 = 160 Allegretto alla Polacca ' 21 = 100 Tema. Andante quasi Allegretto 11 = 66 Marcia. Allegro C 32 = 144

String Trio, op. 9/I Allegro con brio 38 = 160 Adagio, ma non tanto, e cantabile 6 = 44 Scherzo. Allegro S4 . = 88 Presto 4 45 J = 144

String Trio, op. 9/II Allegretto 2 18 = 76 Andante quasi Allegretto 6 13

,.

= 50 Menuetto. Allegro f S2 J. = 76 Rondo. Allegro & 33 = 132


String Trio, op. 9/III Allegro con spirito 36 . = 104 Adagio con espressione 2 = 32 Scherzo. Allegro molto e vivace S6 = 116 Finale. Presto 45 J = 112

Piano Sonata, op. 10/I Allegro molto e con brio 44 = 207 Adagio molto ' 2 = 32 Finale. Prestissimo 50 J = 100

Piano Sonata, op. 10/II Allegro 34 = 112 Allegretto S2 J. = 76 Presto 47 = 168

Piano Sonata, op. 10/III Presto 46 = 152 Largo e mesto 4 . = 24 Menuetto. Allegro4 S2 . = 76 Rondo. Allegro C 34 = 132

Piano Trio, op. 11 Allegro con brio C 38 = 168 Adagio 5 = 40 Allegretto C 17 = 120

Violin Sonata, op. 12/I Allegro con brio C 38 = 168 Tema con Variazioni. Andante con moto 11 = 66 Rondo. Allegro 36 . = 112

Violin Sonata, op. 12/II Allegro vivace 43. = 120 Andante, pi; tosto Allegretto 4 18 = 72 Allegro piacevole ' 31 J. = 76

Violin Sonata, op. 12/III Allegro con spirito C 24 = 126 Adagio con molta espressione 5 = 40 Rondo. Allegro molto 41 = 152

Piano Sonata, op. 13 Allegro di molto e con brio 40 J = 152 Adagio cantabile % 2

,

= 36 Rondo. Allegro & 33 = 132

Piano Sonata, op. 14/I Allegro C 32 = 152


Allegretto S2 . = 69 Rondo. Allegro comodo 26 = 84

Piano Sonata op. 14/II Allegro 27 = 92 Andante 10 = 50 Scherzo. Allegro assai S2 . = 84

Piano Concerto No. 1, op. 15 Allegro con brio C 38 = 168 Largo t 1 = 30 Rondo. Allegro 4 34 = 132

Piano Quintet, op. 16 Allegro, ma non troppo 4 30 = 144 Andante cantabile 12 = 88 Rondo. Allegro, ma non troppo 29 = 88

Horn Sonata, op. 17 Allegro moderato C 24 = 138 Poco Adagio, quasi Andante - = 50 Rondo. Allegro moderato 4 26 8 = 80

String Quartet, op. 18/1 Allegro con brio 4 37 . = 54 Adagio affetuoso ed appassionato 6 = 138 Scherzo. Allegro molto S S5 J. = 112 Allegro4 34 = 120

String Quartet, op. 18/II Allegro4 27 = 96 Adagio cantabile 5 = 72 Allegro - = 69 Scherzo. Allegro S3 . = 52 Allegro molto quasi Presto 47 J = 92

String Quartet, op. 18/III Allegro 33 = 120 Andante con moto 2 19 p = 92 Allegro S4 . = 100 Presto6 48 . = 96

String Quartet, op. 18/IV Allegro ma non tanto C 32 J = 84 Andante scherzoso quasi Allegretto 22 . = 56 Menuetto. Allegretto S2 J. = 84 Allegro 33 o = 66 Prestissimo

- o = 84


String Quartet, op. 18/V Allegro 36 . = 104 Menuetto S2 . = 76 Andante cantabile 2 11 = 100 Poco Adagio - = 88 Allegro 40 o = 76

String Quartet, op. 18/VI Allegro con brio t 38 o 80 Adagio, ma non troppo 3 = 80 Scherzo. Allegro S3 . = 63 La Malinconia. Adagio 2 - = 58 Allegretto quasi Allegro 3 23

,.

= 88 Poco Adagio - = 69 Prestissimo - . = 112

Piano Concerto No. 2, op. 19 Allegro con brio C 38

,

= 160 Adagio3 5 = 40 Rondo. Allegro molto 43

,.

= 120

Septet, op. 20 Adagio - = 72 Allegro con brio 4 38 = 96 Adagio cantabile 6 = 132 Tempo di Minuetto 3 S1

,

= 120 Andante 11 = 120 Scherzo. Allegro molto e vivace 3 S6 . = 126 Andante con moto alla Marcia

_

- = 76 Presto 45 = 112

Symphony No. 1, op. 21 Adagio molto C - = 88 Allegro con brio 33 = 112 Andante cantabile con moto 3 16 = 120 Menuetto. Allegro molto e vivace 3 S5 . = 108 Adagio - = 63 Allegro molto e vivace 4 47 = 88

Piano Sonata, op. 22 Allegro con brio C 38 . = 160 Adagio con molta espressione 6 . 40 Minuetto S1 = 116 Rondo. Allegretto 2 18 = 69

Violin Sonata, op. 23 Presto 48 . = 160 Andante scherzoso, pii Allegretto I 18

,

= 76 Allegro molto 4 40 = 160


Violin Sonata, op. 24 Allegro C 32 = 144 Adagio molto espressivo 5 = 42 Scherzo. Allegro molto S7 = 240 Rondo. Allegro ma non troppo 26 J = 84

Serenade, op. 25 Entrata. Allegro C [24,32] = 132 Tempo ordinario d'un Menuetto ~ 1 = 116 Allegro molto S7 = 276 Andante con Variazioni 11 = 60 Allegro scherzando e vivace S S2 J. = 84 Adagio 2 = 40 Allegro vivace e disinvolto [34] = 208

Piano Sonata, op. 26 Andante con Variazioni 16 = 92 Scherzo. Allegro molto 4 S5 J. = 108 Marcia funebre C 1 J= 30 Allegro 34 = 120

Piano Sonata, op. 27/I Andante 10 = 46 Allegro molto e vivace S6 . = 116 Adagio con espressione 5 = 36 Allegro vivace 41 = 144

Piano Sonata, op. 27/II Adagio sostenuto 1 J= 30 Allegretto S2 . = 76 Presto agitato C 45 = 176

Piano Sonata, op. 28 Allegro 31 J. = 72 Andante 19 = 92 Scherzo. Allegro vivace 4 S5 J. = 108 Rondo. Allegro ma non troppo 29 . = 88

String Quintet, op. 29 Allegro moderato 0 26 = 84 Adagio molto espressivo 5 = 40 Scherzo. Allegro S4 J. = 100 Presto 43

,.

= 120

Violin Sonata, op. 30/I Allegro t 37 = 152


Adagio molto espressivo 4 2 = 36 Allegretto con Variazioni 26 J = 88

Violin Sonata, op. 30/II Allegro con brio C 38 = 160 Adagio cantabile 1 = 30 Scherzo. Allegro S3 = 207 Finale. Allegro t 33 = 120

Violin Sonata, op. 30/III Allegro assai 43 . = 120 Tempo di Minuetto ma molto moderato

e grazioso 14 = 76 Allegro vivace 2 41 = 152

Piano Sonata, op. 31/I Allegro vivace 41 = 144 Adagio grazioso 9 6 40 Rondo. Allegretto 26 = 88

Piano Sonata, op. 31/II Allegro 33 = 120 Adagio 5 = 44 Allegretto 23 . = 88

Piano Sonata, op. 31/III Allegro 37 = 160 Scherzo. Allegretto vivace 35 = 176 Menuetto. Moderato e grazioso S1 = 116 Presto con fuoco 48 . = 176

Symphony No. 2, op. 36 Adagio molto 4 = 84 Allegro con brio C 38 = 100 Larghetto 16 = 92 Scherzo. Allegro S4 . = 100 Allegro molto t 40 J = 152

Piano Concerto No. 3, op. 37 Allegro con brio C 38 = 160 Largo 7 = 52 Rondo. Allegro 34 = 120

Piano Trio, op. 38: see op. 20

Romance, op. 40 (no tempo marking) 1 J = 30


Serenade, op. 41: see op. 25

Nocturne, op. 42: see op. 8

Violin Sonata, op. 47 Presto 46 = 176 Andante con Variazioni 2 11 = 60 Presto: 48 . = 192

Piano Sonata, op. 49/I Andante 2 18 J= 72 Rondo. Allegro 36 . = 104

Piano Sonata, op. 49/II Allegro, ma non troppo [26] = 80 Tempo di Menuetto S1 = 120

Romance, op. 50 Adagio cantabile & 1 = 30

Rondo (for piano), op. 51/I Moderato e grazioso t 26 J = 69

Rondo (for piano), op. 51/II Andante cantabile e grazioso 11 = 56

Piano Sonata, op. 53 Allegro con brio C 38 = 176 Introduzione. Adagio molto - = 622 Rondo. Allegretto moderato 4 18 J = 60

Piano Sonata, op. 54 In Tempo d'un Menuetto 30 = 116 Allegretto 2 18 = 60

Symphony No. 3, op. 55 Allegro con brio 4 44 . = 60 Marcia funebre. Adagio assai 2 = 80 Scherzo. Allegro vivace S6 . = 116 Alla breve - o =116 Finale. Allegro molto 4 41 J = 76 Poco Andante - = 108 Presto - = 116

Triple Concerto, op. 56 Allegro C 32 = 152 Largo 7 = 52 Rondo alla Polacca 21 J = 100


Piano Sonata, op. 57 Allegro assai 12 39 . = 132 Andante con moto 2 11 = 66 Allegro ma non troppo 34 = 132

Piano Concerto No. 4, op. 58 Allegro moderato C 24 = 120 Andante con molto - "senza tempo" Rondo. Vivace 41 = 144

String Quartet, op. 59/I Allegro C 32 = 88 Allegretto vivace e sempre scherzando 22 .. = 56 Adagio molto e mesto 3 = 88 Molto cantabile

- = 88

Allegro' 34 = 126 Adagio ma non troppo - = 69 Presto - . = 92

String Quartet, op. 59/II Allegro 29 . = 84 Molto Adagio C 1

,

= 60 Allegretto S2 . = 69 Finale. Presto 46 o = 88 Piiu presto o = 112

String Quartet, op. 59/111 Introduzione. Andante con moto

- 4 = 69

Allegro vivace C 32 = 88 Andante con moto quasi Allegretto 13 .. = 56 Menuetto grazioso S1 3 = 116 Allegro molto t 40 o = 84

Symphony No. 4, op. 60 Adagio - = 66 Allegro vivace 40 o 80 Adagio 5 = 84 Menuetto. Allegro vivace S4 . = 100 Trio. Un poco meno Allegro - . = 88 Allegro ma non troppo 28 = 80

Violin Concerto, op. 61 Allegro ma non troppo C 26 J = 72 Larghetto 8 J= 60 Rondo 36 J. = 104

Overture to Coriolan, op. 62 Allegro con brio C 38 . = 176


Piano Trio, op. 63: see op. 103

Cello Sonata, op. 64: see op. 3

Symphony No. 5, op. 67 Allegro con brio , 42 = 108 Andante con moto 16 = 92 Allegro S4 . = 96 Allegro C 32 = 84 Presto

- o = 112

Symphony No. 6, op. 68 Allegro ma non troppo 34 = 66 Andante molto mosso 9 = 50 Allegro S5 . = 108 In tempo d'Allegro I - 1 = 132 Allegro C - = 80 Allegretto 13 . = 60

Cello Sonata, op. 69 Allegro, ma non tanto 26 J = 72 Scherzo. Allegro molto 4 S5 J. = 108 Allegro vivace 40 = 132

Piano Trio, op. 70/I Allegro vivace e con brio 4 44

,

= 180 Largo assai ed espressivo 3 = 40 Presto 46 = 152

Piano Trio, op. 70/II Allegro ma non troppo 29 .. = 88 Allegretto 18 = 66 Allegretto ma non troppo S2 . = 63 Finale. Allegro 28 = 76

Woodwind Sextet, op. 71 Allegro 37 = 160 Adagio 3 = 50 Menuetto. Quasi Allegretto S S2 4. = 69 Rondo. Allegretto t 26 = 84

Overture to Fidelio, op. 72 Allegro 33 J = 120

Piano Concerto No. 5, op. 73 Allegro e 32 = 144 Adagio un poco mosso 1 J = 32 Rondo. Allegro 36

,.

= 104


String Quartet, op. 74 Poco Adagio - = 60 Allegro C 32 = 84 Adagio ma non troppo 7 = 72 Presto S7 . = 100 Pii presto quasi prestissimo = 100 Allegretto con Variazioni - = 100 Un poco piui vivace - = 76 Allegro4 - = 84

Piano Sonata, op. 78 Allegro ma non troppo 24 = 126 Allegro vivace 41 = 144

Piano Sonata, op. 79 Presto alla tedesca 4 49 = 252 Andante 15

. = 50 Vivace 41 = 152

Piano Sonata, op. 81 a Allegro 33 = 120 Andante espressivo 2 12 = 72 Vivacissimamente. Im lebhaftesten ZeitmaBe 43 . = 120

Piano Sonata, op. 81 b Allegro con brio C 38 = 160 Adagio 2 = 40 Rondo. Allegro 36 . = 104

Overture to Egmont, op. 84 Allegro~ 37 = 168

Woodwind Trio, op. 87 Allegro C 32 = 152 Adagio cantabile 5 = 40 Menuetto. Allegro molto. Scherzo S S5 4. = 112 Finale. Presto 47 = 176

Polonaise (for piano), op. 89 Alla Polacca, vivace 4 21 = 100

Piano Sonata, op. 90 Mit Lebhaftigkeit und durchaus mit Empfindung und

Ausdruck 37 = 168 Nicht zu geschwind und sehr singbar vorzutragen 2 25 = 90

Symphony No. 7, op. 92 Poco sostenuto C - = 69


Vivace 36 .

= 104 Allegretto2 18 = 76 Presto ' S8 . = 132 Assai meno presto - . = 84 Allegro con brio ' 41 = 72

Symphony No. 8, op. 93 Allegro vivace e con brio 4 44 J. = 69 Allegretto scherzando 2 19 = 88 Tempo di Menuetto ~ S1 . = 126 Allegro vivace 40 o = 84

String Quartet, op. 95 Allegro con brio C 38 = 92 Allegretto ma non troppo 18 = 66 Allegro assai vivace ma serioso S3 4. = 69 PiUL Allegro - . = 80 Larghetto espressivo

- = 56

Allegretto agitato 29 . = 92 Allegro [molto] = 92

Violin Sonata, op. 96 Allegro moderato f 30 J = 126 Adagio espressivo 2 2 J = 36 Scherzo. Allegro S2 J. = 69 Poco Allegretto 2 25 J = 88

Piano Trio, op. 97 Allegro moderato C 24 J = 132 Scherzo. Allegro S2 J. = 63 Andante cantabile 14

,

= 63 Allegro moderato 2 25

,

= 84

Piano Sonata, op. 101 Etwas lebhaft und mit der innigsten Empfindung. 20

Allegretto, ma non troppo 6s . = 72 Lebhaft. MarschmaBig. Vivace alla Marcia C 32 J = 152 Langsam und sehnsuchtvoll. Adagio, ma non troppo, -

con affetto

= 48 Geschwinde, doch nicht zu sehr, und mit Entschlossenheit. 34

Allegro 2 = 126

Cello Sonata, op. 102/I Andante6 4 / = 88 Allegro vivace 32

,

= 144 Adagio - = 56 Tempo d'Andante - b = 88 Allegro vivace 2 34 = 120


Cello Sonata, op. 102/II Allegro con brio C 38 = 168 Adagio con molto sentimento d'affetto 3 = 44 Allegro fugato 4 [37] = 152

Woodwind Octet, op. 103 Allegro t (in op. 4: Allegro con brio C) 38 = 152 Andante 13 . = 50 Menuetto. Allegro S4 . = 92 Finale. Presto t (in op. 4: ) 47 J = 160

String Quintet, op. 104: see op. 1/III Piano Sonata, op. 106

Allegro t 33 = 138 [120?] Scherzo. Assai vivace ' S7 . = 80 Adagio sostenuto. Appassionato e con molto sentimento 4 = 92 Largo

- = 76

Allegro risoluto - = 144

Piano Sonata, op. 109 Vivace, ma non troppo

2 - = 116

Prestissimo 48 ,.

= 176 Gesangvoll, mit innigster Empfindung. Andante molto 14

cantabile ed espressivo = 63

Piano Sonata, op. 110 Moderato cantabile molto espressivo 14 = 76 Allegro molto 2 S9 J = 126 Adagio ma non troppo C - = 32 Adagio ma non troppo 1- = 50 Fuga. Allegro ma non troppo 29 . = 92

Piano Sonata, op. 111 Allegro con brio ed appassionato C 38 = 152 Arietta. Adagio molto semplice e cantabile s 6 J. = 50

Cantata Meeresstille und Gliickliche Fahrt, op. 112 Poco sostenuto t 26 = 84 Allegro vivace 6 43 . = 138

Overture to Die Ruinen von Athen, op. 113 Allegro, ma non troppo t 26 7 = 72

Overture Zur Namensfeier, op. 115 Allegro assai vivace 6 43 . = 132


Overture to Kdnig Stephan, op. 117 Presto' 47 = 176

Opferlied, op.121b Mit innigem andachtigem Geftihl, in ziemlich langsamer -

Bewegung C = 66

Overture to Die Weihe des Hauses, op. 124 Allegro con brio C 41 = 144

Symphony No. 9, op. 125 Allegro, ma non troppo, un poco maestoso 4 25 = 88 Molto vivace ' S6 . = 116 Presto

- o = 116 Adagio molto e cantabile C 1 = 60 Andante moderato - = 63 Finale. Presto - . = 66 Allegro ma non troppo - = 88 Allegro assai C - = 80 Allegro assai vivace. Alla Marcia - (.)= 84 Andante maestoso

- = 72

Adagio ma non troppo, ma divoto - J = 60 Allegro energico, sempre ben marcato - (.)= 84 Allegro ma non tanto - J = 120 Prestissimo - = 132 Maestoso

-J = 60

String Quartet, op. 127 Allegro 37 = 168 Adagio, ma non troppo e molto cantabile ' 4 . = 30 Scherzando vivace S3 S= 200 Finale ~ 33 J = 120

Alla Ingharese quasi un Capriccio, op. 129 (no tempo marking) 4 41 = 160

String Quartet, op. 130 Allegro C 24 = 126 Presto~ S9 J = 184 Andante con moto, ma non troppo. Poco scherzoso C 8 = 63 Alla danza tedesca. Allegro assai S2 . = 72 Cavatina. Adagio molto espressivo 5 = 36 GroBe Fuge. Overtura. Allegro - . = 144-152

Meno mosso e moderato 2 - = 100 Allegro C - = 144-152 Meno mosso e moderato 2 - = 96

Allegro molto e con brio ] - . = 152 Finale. Allegro 34 = 120


String Quartet, op. 131 No. 1. Adagio ma non troppo e molto espressivo 1 = 30 No. 2. Allegro molto vivace 6 43 J. = 152 No. 3. Allegro moderato C - "senza tempo" No. 4. Andante ma non troppo e molto cantabile ' 11 J = 56 No. 5. Presto t S9 0 = 132 No. 6. Adagio quasi un poco andante 4 14 = 60 No. 7. Allegro 33 = 120

String Quartet, op. 132 Allegro C 24 = 126 Allegro ma non tanto S2 J. = 72 Canzona di ringraziamento. Molto adagio C 1 = 30 Alla Marcia, assai vivace C 32 = 168 Allegro appassionato 4 44 = 180

Gro3e Fuge, op. 133: see op. 130

Fugue, op. 134: see op. 130

String Quartet, op. 135 Allegretto 2 25 = 84 Vivace S5 J. = 108 Lento assai, cantante e tranquillo 4 . = 24 Allegro t 33 = 132

Fugue for String Quartet, op. 137 Allegretto' - = 168

Overture No. 1 to Leonore, op. 138 Allegro con brio t 33 J = 120

Andante (for piano), WoO 57 Andante grazioso con moto 3 16 = 92

Article Contentsp. 268p. 269p. 270p. 271p. 272p. 273p. 274p. 275p. 276p. 277p. 278p. 279p. 280p. 281p. 282p. 283p. 284p. 285p. 286p. 287p. 288p. 289p. 290p. 291p. 292p. 293p. 294p. 295p. 296p. 297p. 298p. 299p. 300p. 301p. 302p. 303p. 304p. 305p. 306p. 307p. 308p. 309p. 310p. 311p. 312p. 313p. 314p. 315p. 316p. 317p. 318p. 319p. 320p. 321p. 322p. 323p. 324p. 325p. 326p. 327p. 328p. 329p. 330p. 331p. 332p. 333p. 334p. 335p. 336p. 337p. 338p. 339p. 340p. 341p. 342

Issue Table of ContentsThe Musical Quarterly, Vol. 77, No. 2 (Summer, 1993), pp. 155-366Front MatterNotes from the EditorThe Future of a Tradition [pp. 155-160]

American Musics"Music for the Masses": Milton Babbitt's Cold War Music Theory [pp. 161-192]

Music and CultureJ. S. Bach's Brandenburg Concertos as a Meaningful Set [pp. 193-235]

The Twentieth CenturyEditor's Note to Philip Glass's "Akhnaten" [pp. 236-240]Philip Glass's "Akhnaten" [pp. 241-267]

Institutions, Industries, TechnologiesTempo and Character in Beethoven's Music (Continued) [pp. 268-342]

Primary SourcesOut of Notes: Signification, Interpretation, and the Problem of Miles Davis [pp. 343-365]

Back Matter [pp. 366-366]

kolisch_tempo and character in beethovens music ii

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