Beethoven 2020Analytical and Performative Perspectives

An International Conference

Organized by the Dutch-Flemish Society for Music Theory

29 February - 01 March 2020

Full program and registration at: dfsmt.net�

www.consam.nl

Conservatorium van Amsterdam

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Program Overview

Saturday, 29 February

8.30 – 9.00: Registration (mezzanine)

9.00 – 9.30: Welcome by CvA and conference organizers (Sweelinckzaal)

9.30 – 11.00: Opening plenary session (Sweelinckzaal)

Sketch Studies (Chair: John Koslovsky) Thomas Posen (McGill University), The Eroica Continuity Sketches: A Form-Functional Perspective Bernhard Achhorner (Universität Innsbruck), Traces of Gestures: The Relationship of Reading, Writing, and Interpretation in Beethoven’s Creative Process

11.00 – 11.30: Coffee/tea break (mezzanine)

11.30 – 13.00: Parallel sessions Melody and embellishment (room 4.45) (Chair: Inge Pasmans) Dorian Bandy (McGill University), Beethoven’s Melodic Embellishments: Tradition, Notation, and Memory Stefano Mengozzi (University of Michigan), Meaningful Flaws: The Motivic Import of the “Missing” Notes in the First Movement of Beethoven’s op. 10/3 Arranging and Quoting (room 8.03) (Chair: Patrick van Deurzen) Leah Kang (University of Wisconsin–Madison), Aesthetics of Arrangement: Beethoven Through the Eyes of His Close Contemporaries Nicole Biamonte (McGill University), Hidden Vernacular Quotations in Beethoven’s Middle-Period Music

13.00 – 14.30: Lunch, offered by the Dutch-Flemish Society for Music Theory (mezzanine)

VvM Algemene Leden Vergadering (room 4.45)

14.30 – 16.00: Parallel sessions Timbre and Orchestration (room 4.45) (Chair: Clemens Kemme) Malcolm Miller (Open University / Morley College), Towards a systematic analytic approach to Beethoven’s large-scale structural use of register Nathalie Hérold (Université Strasbourg), A Beethovenian Sound Colour? Timbre and Orchestration Strategies in Beethoven’s Last Piano Sonatas

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Variations (room 8.03) (Chair: Bert Mooiman) Brent Yorgason (Brigham Young University), Expressive Asynchrony in Beethoven’s Piano Variations: Metric Shifts, Drifts, Flips, and Slips Cecilia Oinas (Sibelius Academy, University of Helsinki) and Danijel Detoni (Academy of Music, University of Zagreb), Building dramatic tension in variation form: aspects of analysis and performance in Beethoven’s early Eight Variations in C major WoO 67 for four hands

16.00 – 16.30: Coffee/tea break 16.30 – 18.00: Parallel sessions

Theoretical interlocutors (room 4.45) (Chair: Julia Kursell) Áine Heneghan (University of Michigan), Through the Schoenbergian Lens: Beethoven and the Cultivation of Formgefühl Eric Elder (Brandeis University), Reti’s Beethoven Piano technique (room 8.03) (Chair: Santo Militello) Anna Maria Bordin (Conservatorio Paganini, Genova) and Antonio Tarallo (Conservatorio Nicolini, Piacenza), Beethoven’s Exercises: Understanding the Piano Technique Features of the 32 Sonatas Yannis Rammos (Helsinki, Finland), Pedaling and Tonal Synthese in Beethoven’s Piano Works: A Historical Perspective from Saint Petersburg 19.00 – 22.00: VvM conference dinner: Restaurant 4’33”, Muziekgebouw aan ‘t IJ (Piet Heinkade 1 1019 BR Amsterdam)

Sunday, 1 March

9.00 – 10.30: Parallel sessions Syntactical idiosyncrasy (room 4.45) (Chair: Edwin Paarlberg) Paul Beaudoin (Tallinn, Estonia), Rhetoric as Heuristic in Beethoven’s Third Sonata for Violoncello and Piano Diego Cubero (University of North Texas), Fractured themes in late Beethoven Extra-musical connotations (room 8.03) (Chair: Pieter Bergé) Laura Erel (University of Durham), The Ironic Sonata: How musical puzzles investigates composer-listener interaction in the first movement of Op. 31 no. 1 Yan Zou (Shanghai Conservatory of Music), Understanding and Performing the Tempo and Pedal Signs in the First Movement of Beethoven’s Tempest Sonata CANCELED

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9.45 – 10.30: Toekenning Erelidmaatschap aan Pieter Bergé (lokaal 8.03) [in Dutch]

10.30 – 11.00: Coffe/tea break (mezzanine)

11.00 – 12.30: Parallel sessions

Tonal strategy (room 4.45) (Chair: Ralf Pisters) Hali Fieldman (University of Missouri – Kansas City), Beethoven and the “Dangerous” Harmony Jon Wild (McGill University), Down a whole step: an atypical adjustment to the transition found in several of Beethoven’s Recapitulations Conveying Beethoven (room 8.03) (Chair: Barbara Bleij) Stephen Hinton (Stanford University), Periodization and style: Notes from a Beethoven MOOC Paul Henry Smith (Boston, Massachusetts), Parallel Musical Universes: Simultaneous Variation in Beethoven’s Symphony No. 2, op. 36

12.30 – 14.00: Lunch, provided by the DFSMT (mezzanine)

14.00 – 15.30: Parallel sessions Schemas and Models (room 4.45) (Chair: Job IJzerman) Dmitri Tymoczko (Princeton University), Meet the Ludwig Helena Schuh (Hochschule für Musik, Mainz), Musical models in the Allegro moderato of Beethoven's Fourth Piano Concerto Op. 58 – Staged spontaneity as a category of analysis Form and Performance (room 8.03) (Chair: Karst de Jong) Lea Fink (Max Planck Institute for Empirical Aesthetics), Beethoven’s shadow. A sounding network analysis of paradigms of musical form David Kopp (Boston University), Performance Issues and Formal Ambiguity in Two Piano Sonata First Movements

15.30 – 16.00: Coffee/tea break (mezzanine)

16.00 – 17.00: Closing plenary session (Sweelinckzaal) (Chair: Michiel Schuijer)

Performing and Analyzing Op. 110: A Tribute to Paul Scheepers Inés Costales (Conservatorium Maastricht, Koninklijk Conservatorium Den Haag, Conservatorium van Amsterdam) and John Koslovsky (Conservatorium van Amsterdam, Utrecht University)

17.00 – 18.00: Closing reception hosted by the DFSMT and the CvA (mezzanine)

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Abstracts and Bios

Saturday, 29 February

Sketch Studies (9.30 – 11.00, Sweelinckzaal) Thomas Posen The Eroica Continuity Sketches: A Form-Functional Perspective In this paper, I reconstruct the first three single-line, continuity sketches of Beethoven’s Eroica exposition (Lockwood and Gosman 2013) into “proto-pieces” by realizing the harmonies and textures that the single-voice sketches imply. Using Caplin’s theory of formal functions (1998, 2013), I analyze and then play these proto-pieces at the piano with the goal of elucidating Beethoven’s formal and phrase-structural strategies. In parallel to Adorno’s analysis of the published piece (Vande Moortele 2015), I argue that the sketches show Beethoven’s innovative approaches for problematizing a lyrical subordinate theme in order to elevate rhetorically the arrival of a new lyrical theme in the development. For example, in the first exposition sketch, Beethoven writes a modulating transition that moves chromatically through three distant tonal areas. Thereupon he builds an energetic subordinate theme, part 1 (ST1), while avoiding a lyrical ST2 by bringing back main-theme material in the same keys that were foreshadowed earlier. In the second sketch, Beethoven omits the tonally innovative ST2 from the first sketch and instead writes a fake exposition repeat—a remarkable rhetorical ploy whereby the new ST2 material sounds like a codetta, a retransition, and a seeming restart of the exposition. Instead of trying to find compositional weaknesses in the early sketches that Beethoven sought to purge or revise in later sketches, I search for their compositional strengths. By realizing the continuity sketches as proto-pieces, reorienting the basic analytical goal, and performing them as potentially real pieces, I seek a new approach for understanding Beethoven’s Eroica sketches. —————————— Thomas Posen is a fourth year Ph.D. Candidate in Music Theory at McGill University with active research in the history of music theory, Beethoven sketch studies, and the music of Leonard Bernstein and George Gershwin. He has presented his work at numerous regional, national, and international music conferences such as the Society of Music Theory, the American Musicological Society, and the Medieval and Renaissance Music Conference among others. He has been awarded best student paper awards in both music theory and musicology for his work on Leonard Bernstein’s music to West Side Story.

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(Sketch Studies cont.) Bernhard Achhorner Traces of Gestures: The Relationship of Reading, Writing, and Interpretation in Beethoven’s Creative Process In comparison to any other composer of his day, Beethoven left a wealth of rough drafts and sketches. He notated ideas and elaborations for almost every piece he composed and carefully retained his manuscripts. Hence, musicologists can draw on several thousand surviving pages, which give information about his compositional thinking, acting, and deciding. Although a lot of research on Beethoven’s creative process has been done, the “act of writing” as a tool for composition has been thus far neglected. Music notation has been treated as a storage media of sound, but the latest state of the art illustrates that writing is more than a mere phonological transcript: it combines discursive, notational, and iconic aspects in the form of a peculiar hybridization. This epistemic shift allows particular focus on the visual attributes of writing, bringing the “movement of writing” and the “pictorial character of writing” into the focus of research. Barry Cooper once noted, that “sketches are only like a series of still photographs rather than a moving picture of how a work came into being.” But this paper argues that music notation itself possesses the characteristic to graphically embody movement of gestures. When we think of Beethoven’s handwritten sources, it seems that he not only recorded and organized, but also experienced his music as he wrote it down. Psycholinguistic studies reveal, that writing is a circular process shaped by the reciprocal correlation of idea generation, text generation, and revision – ergo: interpretation (e.g. improvisation on the piano), (re-)writing, and reading. This process of (virtual) performativity expresses itself in the gestural character of handwriting and visualizes musical events through the characteristic style of notation, the groupings and separations of notes, or the inclination of stems and beams. This phenomenon of “inscribed corporeality” will be examined based on sketches and autographs of Beethoven’s chamber music works. —————————— Bernhard Achhorner studied musicology and cultural anthropology at the University of Innsbruck. For the academic year of 2017/18 he was a visiting research fellow at the “Center Austria: The Austrian Marshall Plan Center for European Studies” at the University of New Orleans. Currently, he is working on his dissertation about “Inscribed Physicality: Musical Gesture in Manuscripts and Prints” as a research assistant (prae doc) at the University of Innsbruck for the DACH-project Writing Music. Iconic, performative, operative, and material aspects in musical notation(s).

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Melody and embellishment (11.30 – 13.00, room 4.45) Dorian Bandy Beethoven’s Melodic Embellishments: Tradition, Notation, and Memory The role of florid, melodic embellishment in Beethoven’s oeuvre has been largely overlooked in the critical and analytic literature, with most studies of Beethoven’s ornamentation focusing instead on the performance practice of trills and other local figures, and most studies of his variations focusing on rhythmic and structural issues rather than melodic elaboration. In this paper, I reevaluate Beethoven’s career-long relationship to melodic embellishment. I begin by examining the ways in which his notated embellishments (particularly those composed for keyboard before 1803) blend aspects of both Mozart’s and Haydn’s variation techniques, and thus provide a concrete manifestation of the synthesis often detected in Beethoven’s early works. I go on to argue that Beethoven’s changing relationship to embellishment was prompted not by an increasingly prescriptive approach to notation, as is usually thought, but rather by a wholesale shift in his musical aesthetic which coincided with his retirement from performing. Finally, I explore the resurgence of melodic embellishment in Beethoven’s late period. I argue that, by the 1820s, Beethoven’s florid embellishments take on an almost programmatic quality, appearing almost exclusively alongside musical topics associated with distance, memory, and nostalgia. —————————— Dorian Bandy is an assistant professor at McGill University’s Schulich School of Music, where he teaches in the performance and musicology departments. His scholarly work focuses on Mozart and Beethoven, with a particular focus on improvisation, embellishment, and the intersections of performance and composition. He has also written on seventeenth-century German chamber music and nineteenth-century Lieder. Alongside his scholarly work, he maintains an active career as a conductor and performer on historical violins and keyboards.

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(Melody and Embellishment cont.) Stefano Mengozzi Meaningful Flaws: the Motivic Import of the “Missing” Notes in the First Movement of Beethoven’s op. 10/3 Most modern editions of Beethoven’s op. 10/3 integrate several pitches that lay beyond the standard 5-octave piano of the 1790s – for instance, a low E1 at 15 and a high F#6 at 22 in the first movement. Supporting this long-standing editorial policy is the belief that the original score would surely have included those pitches, seemingly called for by the motivic context, had contemporaneous pianos featured them. Many editions also supply a B2-A2 dyad at 17 that appears to be missing in the original score due to a printer’s error. The Development section, however, functions as a sustained commentary on those earlier “missing” notes, which thus emerge not as regrettable compromises, but rather as motivic markers critically significant to the work’s overall conception. Specifically, the quarter-note octaves F-F# in the right hand at 145-46, and G-Ab at 153-54, recall the D-E octaves at 21; thus, the following split octaves C5-C6 and F5-F6 emphatically fill in the “hole” left vacant at 22. Furthermore, the precipitous falls down a ninth at 147, and down a seventh at 156, arguably compose out the descending seventh at 21-22, confirming that the earlier leap was motivic and intentional, rather than a technical cop-out. The comic stretto of 177-83 confirms this reading, as the interlocking 3-Zuge D-E-G and A-B-C# played by the left hand feature octave doublings on their third pitch at 182-83, reversing the pattern of 21-22. Op. 10/3 does not chafe at the physical limitations of the keyboard; it plays creatively with them. —————————— Stefano Mengozzi (Ph.D., University of Chicago, 1998) is associate professor of music at the University of Michigan. His research concentrates on the music theory of the Medieval and Renaissance periods. His monograph The Renaissance Reform of Medieval Music Theory: Guido of Arezzo Between Myth and History (Cambridge, 2010) attempts to re-evaluate the function and significance of the hexachordal system in the late Middle Ages through an analysis of select treatises from Guido of Arezzo to Zarlino. Recent publications include an article on Dahlhaus’s tonal theory for Theoria, and an essay on music criticism in the early modern era for the Cambridge History of Music Criticism.

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Arranging and Quoting (11.30 – 13.00, room 8.03) Leah Kang Aesthetics of Arrangement: Beethoven Through the Eyes of His Close Contemporaries Given Beethoven’s enduring legacy in music history, one would assume that no stone has been left unturned when it comes to his music. But most nineteenth-century arrangements of his works have neither appeared in modern editions nor received the socio-historical evaluation they deserve. Some of these works were arranged by close associates of Beethoven, other composers, and even the composer himself, and as such, they cover a wide range of compositional quality. But the best of these arrangements deserve modern performance simply by virtue of their inventive reimagining of these timeless works. This paper explores the culture of arrangements from the nineteenth century and demonstrates the art of transcribing between different mediums through the arrangements Beethoven’s friends Carl Czerny, Johann Nepomuk Hummel, Ignaz Moscheles, and Ferdinand Ries. Each composer specialized in different genres of arrangements: Czerny exclusively made piano arrangements of various kinds. Hummel and Moscheles also created piano arrangements but often with ad libitum instruments consisting of flute, violin, and cello. For Ries, in addition to arranging the Second and Third symphonies for chamber ensembles, he created alternative settings that substituted or expanded instrumentation. The ways through composers balanced fidelity to Beethoven’s score with idiomatically arranging for a new medium will be discussed. Selection and distribution of thematic material, instrumental timbres, and textures all become open to the craftsmanship and imagination of the arranger, thereby making the arrangement not merely a literal translation but a re-genesis that offers a new view of the work. Through these arrangements, we can glean insights into how people heard and engaged with music in Beethoven’s time and gain new perspectives on these canonical works. —————————— Leah Kang earned her masters and diploma in piano from Indiana University, and is currently a doctoral candidate at University of Wisconsin-Madison. She taught as Associate Instructor of Music Theory at IU, Teaching Assistant at UW Madison, and music faculty at Antelope Valley College and Citrus College. As a DAAD fellowship recipient, Leah is pursuing research on nineteenth-century chamber music arrangements at the Beethoven-Haus.

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(Arranging and Quoting cont.) Nicole Biamonte Hidden Vernacular Quotations in Beethoven’s Middle-Period Music Beethoven’s music features numerous instances of melodies composed in a folk-like style, but also some instances of existing folk tunes imported into an art-music context, thus combining elements of low and high culture. This technique is especially common in the music of his middle period, a time when he began composing settings of folk melodies commissioned by the Edinburgh publisher George Thomson. Some explicit quotations of vernacular melodies, such as the Russian folk tunes in the Razumovsky quartets, have been extensively discussed in the music-analytical literature—most recently, by Mark Ferraguto in ch. 3 of Beethoven 1806 (2019). However, several other unlabeled vernacular quotations in Beethoven’s music have not been examined or discussed in detail. The Scottish folksong “On the Banks of Allan Water” is the basis of the subordinate theme in the “Appassionata” sonata’s first movement (1807; mm. 36-37), and may have also influenced the rhythm and melodic contour of the main theme (mm. 1-2). The “folia” pattern, a dance tune originally from Portugal that became a popular basis for Baroque variations, is used as the main theme of the second-movement scherzo of the cello sonata op. 69 (1808; mm. 1-16), the minor-key episode in the slow-movement variations of the Fifth Symphony (1808), and the first-movement subordinate theme of the “Emperor” concerto (1809). This paper analyzes these “hidden” quotations, their relationships to the surrounding musical context, whether musical signifiers of low and high art are blended or juxtaposed, and their broader formal and expressive functions within each movement. —————————— Nicole Biamonte is an associate professor of music theory at McGill University in Montreal. She has published research on pitch structures, form, and rhythm and meter in popular music; on 19th-century musical historicism; and on music theory pedagogy, including the edited collection Pop-Culture Pedagogy in the Music Classroom. She is a past editor of the journal Music Theory Online.

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Timbre and Orchestration (14.30 – 16.00, room 4.45) Malcolm Miller Towards a systematic analytic approach to Beethoven’s large-scale structural use of register Beethoven’s oeuvre offers an ideal crucible in which to explore the structural function of sonority, in particular highest peaks and lowest registers, alongside primary parameters such as form, tonality, rhythm and thematic development, to generate large-scale structural coherence within and between movements. Whilst analysts have pinpointed the importance of specific registral events, and local connections between registral sonorities, there has been little attempt to produce a systematic theory. My paper outlines my own evolving approach which combines Schenkerian analysis as conveyed by Ernst Oster, Leonard Meyer’s gap-fill linear theory, as well as explorations of the effects of high register by Robert Fink and contemporary scholars. I illustrate the method with an analysis of registral strategies in a selection of piano sonatas to highlight the shift in Beethoven’s style, from a dramatic use of instrumental range in the first Viennese decade to a more expressive, structural use of high registers and wide registral spans in the last three sonatas, infused with spiritual symbolism. My analysis traces large-scale patterns in the highest and lowest octaves and correlates them with primary tonal-formal structures such as sonata design, also interpreting the significance of gestures such as ascents to peaks followed by opposite motion, wide span sonorities and passagework linking upper and lower registers. For the performer, awareness of large–scale registral structure, in the context of historic instruments, enhances the understanding of tonal-melodic-rhythmic structures, and conveys a radical innovative way to interpret a work’s large-scale narrative. —————————— Dr. Malcolm Miller, musicologist and pianist, is Honorary Associate in Music and Associate Lecturer at the Open University, UK, and lecturer at the City Literary Institute and Morley College. He has published widely on Beethoven, Wagner and contemporary music. His chapter ‘Peak Performance: Register and Structure in Beethoven's Razumovsky Quartets Op.59’ in Beethoven’s String Quartets, ed. Kinderman, University of Illinois Press, 2005. He is contributing editor of Arietta, Journal of the Beethoven Piano Society of Europe. He has contributed several articles to The Wagner Journal and recent chapters on Wagner appear in Ernest Bloch Studies (CUP, 2016) and Music Essence and Context (Springer International Publishing, 2019).

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(Timbre and Orchestration cont.) Nathalie Hérold A Beethovenian Sound Colour? Timbre and Orchestration Strategies in Beethoven’s Last Piano Sonatas Timbre and orchestration analysis and theory are today an active and developing research field, especially in the context of the international ACTOR partnership (Analysis, Creation and Teaching of Orchestration), and in the continuity of major studies by Erickson (1975), Cogan and Escot (1976), Cogan (1984) or Boucourechliev (1991 and 1993) – several of which discussing some aspects of the Beethovenian repertoire. Building on the idea of an “orchestral piano music” (Hering 1974), and thus relating timbre aspects with strategies pertaining to orchestration in a specific pianistic sense, the structural use of timbre in piano music is particularly worth considering in Beethoven’s last piano sonatas (Op. 106 to 111), due to their many timbre innovations – as regards dynamics, articulations, registers, pedalling, etc. – in parallel with a new conception of the musical forms themselves. These piano sonatas will be approached through a joint analysis of scores and audio recordings, on modern and period instruments, on the basis of score annotations, formal diagrams, as well as sonogram and audio features representations at smaller and larger musical scales – in close relation with specific orchestration taxonomies. It will be shown that the organisation of the timbre dimension of form in Beethoven’s last piano sonatas is likely to diverge from other formal conceptions, in particular as regards repetitions, progressions, as well as climaxes, giving rise to a structural autonomy of piano timbre and orchestration, and hence a specific Beethovenian sound colour that can be fully analysed and appreciated only through the consideration of piano performance. —————————— Nathalie Hérold holds a PhD in Arts speciality Music from the University of Strasbourg, a French music conservatory teaching diploma in Piano, and a bachelor’s degree in Mathematics. She is currently a Research Engineer (Ingénieure de recherche) at the GRÉAM (Experimental Research Group on Music in Act) “Laboratory of Excellence” of the University of Strasbourg, where she is pursuing a research project concerning the role of timbre within musical form in the context of 19th- and 20th-century music. She published articles in music journals like Analyse musicale, Musimédiane, Nineteenth-Century Music Review, Nuove Musiche, and Sonus, as well as in several collective books. As a teacher, she has taught both music analysis and music history at the Universities of Strasbourg and Grenoble. She is also Vice-President of the French Society for Music Analysis (SFAM), Co-Editor-in-chief of the French Musurgia journal, and Academic Collaborator of the international ACTOR project (Analysis, Creation and Teaching of Orchestration).

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Variations (14.30 – 16.00, room 8.03) Brent Yorgason Expressive Asynchrony in Beethoven’s Piano Variations: Metric Shifts, Drifts, Flips, and Slips In his variations for piano, Beethoven frequently includes a variation involving expressive asynchrony between hands. Quick hand alternation creates an uneven, agitato surface that presents interesting metric challenges for the listener. Each hand projects a separate stream that the listener may latch on to as they attempt to follow along with the piece metrically. There are many compositional factors that may cause listeners to shift their focus from one metric stream to another, such as dynamic differences between hands, increased melodic activity in one of the hands, the use of accents, or changes in articulation. Sometimes, these factors will cause the listener to experience an unconscious shift of focus from one stream to another, drifting to a metric interpretation is slightly removed from the notated bar line. Steady hand alternation also allows pianists to physically shift their emphasis from one hand to another. These shifts in emphasis can cause a listener to perform a rapid metric flip, moving the events of the metric background immediately into the metric foreground (similar to the experience of visually flipping between the image of a duck and a rabbit). Unexpected temporal events, such as accents that go against the prevailing metric grain, or the failure of expected arrivals to occur, can cause the listener to experience a metric slip, leaving them momentarily disconnected from any metric stream. Beethoven’s variations illustrate the complex relationship between notated meter, performed rhythmic events, and internally-placed beats. —————————— Brent Yorgason is an Associate Professor of music theory at Brigham Young University. He has presented his research in numerous regional, national, and international conferences and has published research in Music Theory Online, Music Theory Spectrum, The Journal of Film Music, and The Journal of American Liszt Studies. He is the Managing Editor of Music Theory Online, the digital author of Inquizitive for Aural Skills (W.W Norton), and creator of the audio-analysis software Audio Timeliner. Brent’s research interests include film music studies, expressive asynchrony and meter, Schenkerian analysis, machine metaphors in music, technology in music pedagogy, and hymnology.

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Cecilia Oinas and Danijel Detoni (Variations cont.) Building dramatic tension in variation form: aspects of analysis and performance in Beethoven’s early Eight Variations in C major WoO 67 for four hands This lecture-recital investigates the interaction between analysis and performance in Beethoven’s early Eight Variations (WoO 67), which was composed between 1791 and 1792. Our goal is to shed light to the art of four-hand playing from an experienced piano duettists’ point of view as well as to consider the growing dramatic tension over the variations which performers may shape in various ways during performance. We will begin by presenting some stylistic and topical aspects typically associated with variation genre in the Classical style. We will then discuss the more specific performance issues found in WoO67, such as the distribution of the material between primo and secondo parts, technical challenges, and the ways in which Beethoven creates various points of conversation among the two pianists during the variations. Finally, we will consider the overarching dramatic narrative and argue that the end-oriented dramatic tendency by stretching the final goals – so essential in Beethoven’s later works – is already present in WoO67: as it turns out, the final variation becomes an elaborated journey that only reaches its closing after multiple temporal changes, evasions, and distortions before ending the entire work with a noisy presto in 6/8. In piano duo performance, this may be further enlivened by the performative aspect of seeing two pianists sitting over the same keyboard, something that also Beethoven was certainly aware of. Indeed, while Beethoven’s four-hand output is relatively sparse, the variations stand out as a highly innovative work by the young Beethoven, and thus deserve more analytical attention. The program includes a performance of the entire Eight Variations WoO 67. —————————— Cecilia Oinas is a Finnish-Hungarian music scholar, music theory lecturer, and a pianist from Sibelius Academy (University of the Arts Helsinki). Her research focuses on analysis and performance studies, performance studies, tonal music theory and interdisciplinary studies. After completing her doctoral degree with distinction at Sibelius Academy in 2017 (Lauri Suurpää as her advisor), she was a visiting post doc researcher for one year (2018-2019) at the University of Music and Performing Arts Graz. From fall 2019, she has been a full-time music theory lecturer (associate professor) at Sibelius Academy. As a pianist, she is specialized in chamber music, piano four hands, and collaborating with classical singers. Pianist Danijel Detoni is one of the most sought-after Croatian artists. Born in Zagreb in 1983, Danijel won his BA and MA degrees in piano in the class of László Baranyay and Balázs Kecskés at the Liszt Ferenc Academy of Music in Budapest and studied for a year as a student of Itamar Golan at the Paris Conservatory. He attended masterclasses and lessons given by artists as Pnina Salzman, Hamsa al-Wadi, Emanuel Krasovsky, Felix Gottlieb, Pál Éder and Dénes Várjon. Danijel regularly makes recordings for Croatian radio and was awarded as the best young musician in 2008 by the Croatian Jeunesses Musicales. He has been teaching piano and chamber music at the Zagreb Music Academy since 2009.

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Theoretical interlocutors (16.30 – 18.00, room 4.45) Áine Heneghan Through the Schoenbergian Lens: Beethoven and the Cultivation of Formgefühl In Schoenberg’s teaching on musical form, it was to the music of Beethoven, particularly the piano sonatas, that he had repeated recourse. This predilection—at once ideological and pragmatic—courses through his Fundamentals of Musical Composition, although the Formenlehre presented therein is incomplete, the published text containing only vestiges of what were intended as broader strategies. The earliest drafts for Fundamentals, read alongside contemporaneous classroom notes from his classes at UCLA (Fall 1937), better illustrate the reach of Schoenberg’s theoretical and pedagogical thinking. His close reading of Beethoven’s Formgestaltung (Stein 1927)—analysis of the Gestalt and its treatment, and consideration of formal principles, relationship of parts, and musical logic—emerges clearly from these early sources. Also revealed are the practical steps he took in teaching composition. Beginning with “a motive from a composition by a master” (e.g., Beethoven’s Op. 2/3-II), thereby obviating the need for invention (“how [students] could compose without being inspired”), Schoenberg then shows as an example how the two-measure Gestalt of Op. 2/3-I, one of the quintessential Beethovenian sentences, may be remodeled in a period. This drawing together of analytical observation and (re)composition is designed to instill in the student a “sense of form.” Such examples, absent from the published text, uncover a Formenlehre, the focus of which is not a typology of forms, but rather the cultivation of an instinctive understanding of form that he designated Formgefühl (feeling for form). —————————— Áine Heneghan is Associate Professor of Music Theory at the University of Michigan. In 2019 she was Visiting Professor at the Universität für Musik und darstellende Kunst Wien. Her research interests include the Second Viennese School, sketch and source study, history of music theory (with an emphasis on theories of form), and the analysis of world music (especially Irish music). Her work has been published in Music Theory Spectrum, Journal of Music Theory, Perspectives of New Music, Journal of the Arnold Schönberg Center, Theory and Practice, and Music Theory & Analysis, as well as in various edited collections.

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(Theoretical Interlocutors cont.) Eric Elder Reti’s Beethoven In his 1976 article, “Tovey’s Beethoven,” Joseph Kerman explored the relationship between the renowned music critic and “the composer who stood at the center of his musical experience” (795). Kerman concluded that, “in Tovey’s method … is the admission that we cannot plumb the mystery of his ‘sublimation’ process. There is genius in the machine, and Tovey makes no attempt to exorcise it” (798). As with Tovey, Beethoven is at the center of Rudolph Reti’s seminal 1951 book, The Thematic Process in Music. Indeed, Reti developed his theory of thematic process through a protracted study of Beethoven’s music undertaken in 1944, which his widow, Jean Réti-Forbes, called “a fresh study of the creative process” (Reti 1962). However, unlike Tovey, Reti was explicitly concerned with the nature of expressive transmission, writing, “Once we succeed in comprehending music in its innermost thematic mechanism, the … esthetic-dramatic content of music becomes incomparably more transparent” (1951, 3). This aspect of Reti’s work has received virtually no attention from later commentators. Utilizing material from the Rudolph and Richard Reti Collection in the Library of Congress, this paper traces the formation of Reti’s thematic process from a proposed three-volume work on Beethoven, through the analytical studies published posthumously as Thematic Patterns in Sonatas of Beethoven (1967), to his mature theoretical constructs. Examination of the latter focuses primarily on the most controversial claims of Reti’s extended analysis of the Ninth Symphony, revealing a nascent theory of narrativity in Beethoven’s music. —————————— Eric Elder is a Candidate for the PhD in Musicology (Theory and Analysis) at Brandeis University, where he works under the direction of Allan Keiler. Like his in-progress dissertation on Rudolph Reti and the thematic process, much of Eric’s work engages the history of music theory, but he maintains active interests in contemporary Schenkerian analysis, the New Formenlehre, musical structures in Ars antiqua motets, and music theory pedagogy, particularly aural skills. Eric is an avid but entirely mediocre harpsichordist.

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Piano technique (16.30 – 18.00, room 8.03) Anna Maria Bordin / Antonio Tarallo Beethoven’s Exercises: Understanding the Piano Technique Features of the 32 Sonatas The analysis of finger exercises extracted from the Nottenbohm notebook (1887), and from the Wielhorsky’s following notes disclose Beethoven’s mindfulness toward details, gestures, experimentation and new sounds. The scarce number (about 42) of these exercises certainly doesn’t allow us to retrieve Beethoven’s opinions about piano gestures in full. However, if conceived as the creative source of a sound and gestural representation, they are an analytical tool for us to focus on the timbre as well as and the technical aspects that were the most relevant for him. Therefore, these sketches become a key to access a generally considered unexplored area, which can be considered revolutionary with respect to a cycle of compositions, like his sonatas, involving his entire life. The study can lead us to understand better how to deal with Beethoven’s sonatas from a perspective that first of all underlines gestural aspects, new sounds and the necessary technical means to convey the perfect architecture of Beethoven’s masterpieces. On the basis of the exercises themselves, we have explored their possible implementation within the sonatas focusing on: a) the type of technical-gestural difficulties; b) the kind of sound which is generally expected; and c) the references to problems in phrasing, relief and expressiveness. This study investigates Beethoven’s profile as a pianist and teacher highlighting the aspects he considered the most important, necessary or simply the newest ones according to his own needs both as pianist and teacher, or in order to achieve the highest performative level in his sonatas. —————————— Antonio Tarallo graduated in 1987 under the supervison of Ennio Pastorino in Reggio Emilia, Italy. He also participated in Vincenzo Balzani’s Masterclasses. Tarallo has performed in concerts for Società dei Concerti and Serate Musicali in Milan, as well as for Società del Gonfalone in Rome. His recital career has led him to important concert halls as the Manzoni Theatre, the Sala Verdi in Milan and the Ponchielli Theatre in Cremona. His CD recordings include live performances with the Rome’s Gonfalone Orchestra, a production of contemporary music with Fabio Grasso and Renato De Grandis’ Preludes in studio complete registration by Wergo. In 2016 he presented this registration in a concert and a Masterclass at the Akademie für Tonkunst in Darmstadt. Anna Maria Bordin graduated from the “Musik-Akademie” of Basel and carried out an intense concert activity. Professor of Piano and Research Coordinator of the Conservatory of Genoa, she is author of two books and numerous international articles. She is member of the Learning - Teaching Working Group of the European Conservatories Association, Evaluation Expert of the Italian Agency for Quality Assurance in Higher Education, and she has collaborated as professor with the University of Pavia and the Academy of Brera. She planned and conducted a ten years experimental piano course for an autistic student, and she spent the last twenty years researching in the fields of theoretical and applied methodology of piano teaching.

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(Piano Technique cont.)

Yannis Rammos

Pedaling and Tonal Synthese in Beethoven’s Piano Works: A Historical Perspective from Saint Petersburg

Blending graphic illustration with demonstration of relevant examples from the piano bench, in this paper I trace the analytical reasoning which permeates Nadezhda Golubovskaya’s pedaling of selected piano works by Beethoven in her monumental treatise of 1967. Distinguished Russian pianist, pedagogue, and harpsichordist steeped in Bach’s thoroughbass tradition, Golubovskaya intended her study—an English translation of which is forthcoming—as a comprehensive compendium on pedaling. Yet with Beethoven featured on one quarter of its pages, and an array of examples which spans half of the Sonatas and five of the Concertos, Golubovskaya’s text may be de facto the sole impactful monograph dedicated to notational, technical, and aesthetic problems of pedaling in the Bonn master’s music. It is also the most analytically inclined: setting the treatise further apart from Western counterparts, such as William Newman’s contributions, is the author’s attention to shaping forces, including Beethoven’s diminutions and grouping structures, well within the gamut of Schenkerian “synthesis.” I especially show that Golubovskaya’s hearing of contrapuntal motion, while accounted for in prose and pedaling strategies of deceptive informality, shares with Schenker’s a rare reconciliation of rigor and nonprescriptiveness. Analogously with the interpretive function of fingerings in the primary and secondary Schenkerian literature involving Beethoven, in which the versatile hand is both provider and kinesthetic arbiter of the masterwork’s inner coherence, pedaling in Golubovskaya’s text is thus revealed to serve a similarly double function: as a procedure breathing timbral imagination into Beethoven’s tonal structures but also, strikingly, as a trope for tonal-analytical discourse. —————————— Dr. Yannis Rammos is a performing pianist and music theorist based in Helsinki and Saint Petersburg, Russia. Formerly a researcher in the Sibelius Academy, he studied tonal theory at the CUNY Graduate Center and completed a PhD at New York University with a dissertation examining anxieties of influence and freedom of hearing in Schenkerian practice. His current research explores intersections of structural hearing and Russian theories of “intonatsia” in artistic performance pedagogy. In 2019–20 he is scheduled to present piano masterclasses and invited lectures at universities in Finland and Greece. He has published on Music Theory & Analysis, Music & Letters and other journals.

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Sunday, 1 March

Syntactical idiosyncrasy (9.00 – 10.30, room 4.45) Paul Beaudoin Rhetoric as Heuristic in Beethoven’s Third Sonata for Violoncello and Piano For Beethoven, 1808 was a remarkable year. The wealth of his compositional activity also appears to correlate with a preoccupation of a specific compositional problem: how many different ways are there to halt the normative musical flow at the onset of a musical composition? By thwarting the listener's expectation of the flow of a musical composition, Beethoven intensifies the rhetorical nature of a work’s opening measures, in much the same way as heard in oratory. By calling attention to the rhetorical moment, Beethoven underscores the importance of essential structural information. Rhetorical devices support the structural ideas that in turn, define the rhetoric - the two dimensions are inseparable. These thwarted moments are dramatic and strongly mark the listener’s consciousness. The result is a musically "rhetorical" question strongly aligned with the principles of oratory. Just as aspects of formal structure combine to create a kind of “organic unity,” the use of rhetorical devices contributes to the overall coherence and drama of the composition. This paper explores how a specific rhetorical device, Aposiopesis, plays a critical role to function as a heuristic for the important works of 1808: Fifth and Sixth Symphonies; The “Ghost” Trio, and the Third ‘Cello Sonata. Through the principles of “rhetoric,” Beethoven gives the ‘cello “something to say” in shaping the large-scale design and narrative flow. In this sense, rhetorical principles allow the music to develop “agents” of discourse, and in particular, allows the ‘cello to gain presence as an independent “orator.” —————————— Paul Beaudoin, PhD is a composer, theorist, educator, editor, author and visual artist. Dr Beaudoin has written on the music of Beethoven, György Ligeti, Milton Babbitt, Morton Feldman, and Stefan Wolpe, and is co-editor of “Music in the USA: A Documentary Companion” (Oxford Univ. Press, 2008). Dr Beaudoin completed his education at the University of Miami, (Coral Gables, FL), the New England Conservatory of Music (Boston, MA) and Brandeis Univ. (Waltham, MA) and currently resides in Tallinn, Estonia.

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(Syntactical Idiosyncrasy cont.) Diego Cubero Fractured Themes in Late Beethoven This paper examines the “fractured nature” (Adorno 1998) of Beethoven’s late works by analyzing a number of themes that break off prior to reaching their expected cadence. While existing research on this topic deals primarily with themes that are cut short by the entrance of another (Kinderman 1995, Spitzer 2006), this paper focuses on themes that dissolve partway through, culminating with a written-out grand pause or fermata. Passages from the B-flat major Bagatelle Op. 119/11, the G minor Bagatelle Op. 126/2, and the last song of An die ferne Geliebte (Op. 98) provide examples of themes that break off on a penultimate dominant, ending not with a half cadence but with a type of unfulfilled authentic cadence that William Caplin (2018) refers to by the term “dissipated cadence.” By contrast, a passage from the B minor Bagatelle Op. 126/4 shows a case where a sentential theme breaks off in the continuation rather than the cadential portion of the phrase. In every case, the fractured theme is followed by a theme of a contrasting character, but the two themes are bound together through Beethoven’s use of what Heinrich Schenker referred to as “linkage technique.” The harmonic and/or melodic link between the two themes helps offset the formal and rhythmic disjointedness of the passage, adding a degree of cohesiveness to the fragmentary nature of the music. In keeping with the theme of the conference, the paper explores the implications of these findings for performance. —————————— Diego Cubero is Assistant Professor of Music Theory at the University of North Texas. His research focuses primarily on the intersection of nineteenth-century music and aesthetics, the music of Brahms, and Schenkerian analysis. He is published in the Journal of Music Theory, Music Theory Online, and on the Palgrave Schopenhauer Handbook, and he has a forthcoming article in Music Analysis that deals with the decay of leading note energy in Brahms’s music.

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Extra-musical connotations (9.00 – 10.30, room 8.03) Laura Erel The Ironic Sonata: How musical puzzles investigates composer-listener interaction in the first movement of Op. 31 no. 1 Mark Evan Bonds once defined irony as a device which, when used skilfully, results in 'a work [which] can be interpreted either at face value or as a . . . commentary upon itself'. In this way, listeners are 'made all the more conscious . . . of the process by which the artist is manipulating the reader's evolving response,' and become part of the musical creation (1991: 67, 69). I argue that Beethoven's unorthodox syntactical play in the first movement of Op. 31 no. 1 – considered by many as marking the start of his 'new path' style – gives rise to an ironic work that invites an active engagement and constant evaluation from listeners. Based on Roni Granot and Nori Jacoby's experiments (2011 & 2012), I use musical puzzles to investigate the ways in which listeners engage with Beethoven's syntax in Op. 31. The piece was segmented based on Form-functional principles (Caplin, 1998). Acting as the control variable is the first movement from Mozart's K. 283: largely an archetypal Classical sonata, it functions as a stylistic guide against which we can compare the extent of Beethoven's innovation. Results are obtained from Music students at Durham University as well as non-analysts, and findings have suggested that Op. 31 – and the 'new path' – is perceived as unorthodox. The various permutations offered by participants suggest that Beethoven's Op. 31 offers the opportunity for constant critical interpretation to listeners – composer and listeners thus become co-creators of musical irony. —————————— Laura Erel is a second-year PhD candidate at Durham University under the supervision of Professors Julian Horton and Tuomas Eerola. Her research, which is fully funded by a Durham Doctoral Studentship, focuses on examining the relevance of music theory and analysis on real-time listening, and consequently, the value of theory and analysis in musical practice. Laura completed her undergraduate studies at Durham University, where she graduated with a First, and recently obtained a masters from the University of Cambridge. She has won numerous academic prizes at both institutions, including the prestigious Durham Vice-chancellor's Scholarship for Academic Excellence and Santander Scholarship for Academic Excellence. Laura is also an accomplished pianist, and is a Fellow of the Royal Schools of Music.

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(Extra-Musical Connotations cont.) [THIS TALK HAS BEEN CANCELED] Yan Zou Understanding and Performing the Tempo and Pedal Signs in the First Movement of Beethoven’s Tempest Sonata In his edition of Beethoven’s Thirty-five Piano Sonatas, Barry Cooper argues that the nickname “Tempest” was one of the fabrications of Anton Schindler; in other words, this sonata has no connection with William Shakespeare’s drama. However, the three tempo signs at the beginning of this movement and the two pedal signs in mm. 143-148 and 153-160 in the recapitulation are the clues that Beethoven gives us for understanding the connection of the sonata with the drama of the same name. This presentation focuses on two main points arising from this interpretation that address both narrative and performative aspects of the sonata: 1. The narrative structure can be traced by understanding the notation in the first movement. The most unique feature is the tempo indications Largo, Allegro, Adagio, respectively, at the beginning of the movement, something seldom found in any other music by Beethoven or other composers. Sir Donald Tovey’s contention that the first movement is like Prospero, the hero of Shakespeare’s Tempest, inspires me to suggest that the three tempo signs are the symbols of the three characters Prospero, Ariel, and Miranda, in the drama. Moreover, the pedal signs in the recapitulation depict Prospero’s monologue after being shipwrecked. 2. Implications of this argument for performance issues will be based on the points raised above, as well as taking into account the sound of the fortepiano in the early nineteenth century, notations in different editions, and the ways to execute the long pedal signs in the recapitulation. —————————— Yan ZOU, PhD, professor at the Musicology Department of Shanghai Conservatory of Music. His major research fields are music analysis and performance theory. He published three books with Shanghai Conservatory of Music Press, including A Guide Reading of the Classic Articles of Chinese Musicology: Music Analysis (with Prof. Yiping Qian, 2011), On the Beginnings of the Classical Sonata Forms (2012), and The Palindrome Structure in Alban Berg (2012), and more than one hundred papers in China. He has been invited to give lectures in the United Kingdom, United States, Russia, Norway, Hong Kong, Macao, and Taiwan.

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Tonal strategy (11.00 – 12.30, room 4.45) Hali Fieldman Beethoven and the “Dangerous” Harmony Asymmetry may be the design feature most significant to tonality as a system. The diatonic scale’s asymmetry helps guide melodic shape and provides counterpoint with the dissonant engine that drives harmony. Asymmetry is more acute at the system level; the circle of fifths appears to be symmetrical, but its behavior relative to a tonic is not at all. In that context, the tonic’s overtone series provides the basis for tension in root motion up by fifth, and for its resolution when tonic return is achieved by falling fifth. Descending motion being the stronger, supported by acoustic properties of major triads in general, such motion “procreates” (Schenker’s term) negatively, with no inherent obligation to reverse course; nor could an ascending return provide systemically necessary tonic resolution. Asymmetry is thus essential to harmonic closure, without which the tonal system as such cannot exist. Beethoven embraced this compositional challenge, exploring the harmonic subdominant throughout his oeuvre. This paper will discuss how he problematized it as tonal opposition to the tonic, as we can see throughout his first symphony. He posed the nominal tonic as subdominant by neglecting to establish its tonic function in the course of lightning moves to the dominant, as in the “Waldstein,” i and op. 18, 1, iii; he echoed initial tonic statements in the Neapolitan (e.g., op. 57, i and quartets opp. 59, 2 and 95). All such problems obviate binary solutions, making necessary the discovery of new harmonic routes toward closure and thus engendering extended formal designs. —————————— Hali Fieldman is a music theorist who was an active flutist in a previous professional life. She is currently Associate Professor of Music Theory at the UMKC Conservatory, on the University of Missouri—Kansas City campus. One of her abiding interests is in music’s temporality; the ways composers in the nineteenth century used harmony in posing what Dahlhaus called the compositional “problem” of a piece is a current focus of that interest.

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(Tonal Strategy cont.) Jon Wild Down a whole step: an atypical adjustment to the transition found in several of Beethoven’s Recapitulations In order to achieve the home-key dominant at the end of a transition in the recapitulation of a sonata-form movement, in preparation for the subordinate theme group’s reappearance in the home key, the simplest transformation of a major-key exposition’s modulating transition would involve transposing its material down a fifth. Beethoven’s recapitulations, however, are well known for rarely taking the most obvious path. This paper explores one characteristic recapitulatory transformation that recurs surprisingly often in his early sonata-form works, wherein transitional material is transposed down one whole tone. This gesture amplifies the flat-side emphasis inherent in the more direct transformation by a fifth, while also creating the opportunity for a restatement that is very close in register to the original. The “recovery" from this flatwards dip in order to regain the home key can take a variety of forms, which I document over the course of more than half a dozen movements. For example, in the expositions of both the String Quartet, Op 18, No 1, and the “Spring” Sonata for piano and violin, Op. 24, an F-major main theme is followed by a transition that includes a flat-side excursion to Ab major. In both recapitulations, Beethoven transposes the corresponding transitional passage down a whole step, to Gb major. Relative to the key for the ensuing subordinate themes, these moments involve the regions of bVI (exposition) and bII (recapitulation), allowing him to approach the respective transition-ending dominants using different harmonic progressions. —————————— Jon Wild is Associate Professor of Music Theory at McGill University in Montreal. He obtained a PhD from Harvard where his advisor was David Lewin. He is active as a composer and has broad analytic interests ranging from Vicentino to Szymanowsky.

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Conveying Beethoven (11.00 – 12.30, room 8.03) Stephen Hinton Periodization and style: Notes from a Beethoven MOOC Teaching music online presents pedagogical challenges, particularly when the course is on Beethoven's string quartets. How to tackle an inherently rich and complex topic in a way that appeals to participants from diverse musical backgrounds, regardless of musical literacy? How, at the same time, to exploit the format of a massive open online course (MOOC) to create opportunities not available in a live classroom? Front and center are periodization and style. One cannot simply ignore the conventional division of Beethoven's life and work into three periods, a division as ubiquitous as it is contested. Nor, in light of the methodological quarrels associated with the composer's biography and its disputed relevance to the analysis and interpretation of the music, can differences of approach and opinion be blithely glossed over. Take, for example, the concept of "late style," frequently invoked in the scholarly literature on the string quartets, where there appears to be little consensus on what style means, let alone when the late period begins. The paper illustrates how a MOOC developed in close collaboration with a professional string quartet has addressed these two prominent issues in Beethoven scholarship, while catering to multiple musical constituencies, from beginner to buff. It also discusses how a digital platform can help steer the content of a course between the Scylla of unsophisticated popular biography and the Charybdis of a vast specialist discourse that variously embraces research into historical performance practice, voice-leading analysis, higher criticism, and sketch-study arcana. —————————— Stephen Hinton is the Avalon Foundation Professor in the Humanities and Professor of Music and, by courtesy, of German Studies at Stanford University. He has published widely on many aspects of modern German music history. His book, Weill’s Musical Theater: Stages of Reform (2012), the first musicological study of Weill’s complete stage works, received the 2013 Kurt Weill Book Prize for outstanding scholarship in music theater since 1900. His writings on Beethoven include “Not Which Tones? The Crux of Beethoven's Ninth,” published in 19th-Century Music. From 2002-06 he served as editor-in-chief of the journal Beethoven Forum.

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(Conveying Beethoven cont.) Paul Henry Smith Parallel Musical Universes: Simultaneous Variation in Beethoven’s Symphony No. 2, op. 36 Beethoven’s fondness for theme and variation is well known, but there is one example wherein the variations all exist “at the same time,” hidden within a minuet and trio form. We introduce the notion of a “sequence" of variations that are being played simultaneously, but which are instantiated by revealing only one single variation at a time. Using techniques developed for DJs performing, we play the variations, and then combine them to show how they appear in Beethoven’s finished work, and then improvise, in real time, to show how we can create new performances based on the same technique. Moldover, a US-based “controllerist” performs the piece via video, using his own custom-built instrument. Our analysis of Beethoven’s second symphony raises questions for performers and theorists alike. Could Beethoven have conceived of simultaneous realities? If so, how closely might his idea resemble the concept of the parallel universe that arose in the twentieth century? Are there other examples in Beethoven’s work where changing surface material reveals new perspectives on an underlying idea? We address instances in Beethoven’s symphonies where a single musical idea is presented via contrasts between musical surface textures. We suggest that such a notion is inherent in the idea of theme and variation, and is thus also manifested in Mozart’s Musikalische Würfelspiel and similar prior examples. Perhaps this approach to thinking about time and shifting perspectives on a single musical idea might inspire further creative understanding of Beethoven’s musical imagination. —————————— Paul Henry Smith is the founder of the Boston Symphonic Laboratory, where musicians practice integrating music analysis with performance to create great musical experiences. Mr. Smith received his MFA in musicology from Brandeis University, where he studied with Eric Chafe and Allan Keiler, and his BA in music theory from Oberlin College. He studied conducting with Sergiu Celibidache at Curtis Institute and in Munich, and with Leonard Bernstein at Tanglewood. Mr. Smith launched startups from the MIT Media Lab, the Harvard Innovation Lab, and New England Conservatory devoted to empowering musical performance with technology. His Fauxharmonic Orchestra gave the the world’s first live performance of a Beethoven symphony using only digital instruments. Apple selected Smith’s AI and machine-learning-powered accompaniment app, Cadenza, as “best new app” in 2015. Smith’s work has been profiled in The Wall Street Journal, The New York Times, and Der Spiegel. Smith has lectured at Seoul National University, MIT, and Columbia University. He has taught music theory and ear training at Brandeis and The Harid Conservatory of Music. Smith currently works as a UX designer for Pearson PLC, creating apps for students in higher education. He plays cello in various amateur chamber groups and orchestras.

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Schemas and Models (14.00 – 15.30, room 4.45) Dmitri Tymoczko Meet the Ludwig My paper identifies a compositional schema that is both characteristic of Beethoven and also a direct consequence of the deep geometry of diatonic dyads. This schema appears in many of Beethoven’s most familiar passages, including: the opening themes of the Tempest, the Pathetique, the Op. 18 no. 5 string quartet, the First Symphony minuet (Op. 21), and the Op. 22 piano sonata minuet; the second themes of the first movements of the first piano sonata, the Eroica, the Appassionata, and the Hammerklavier; the transition and closing themes of the first movement of the Fifth Symphony; and countless developments including those of the first movements of the Kreutzer sonata, the Waldstein, and the Fifth symphony. While this schema is to some extent characteristic of functional harmony in general (e.g. Rice 2015), its unusual prevalence in Beethoven leads me to call it the Ludwig. An interesting question is whether there is a historical antecedent for Beethoven’s unusually heavy use of the schema; I will suggest that the answer may lie with Clementi, whose early piano style is remarkably similar to Beethoven’s (De Saint-Foix 1931, Plantinga 1972). Indeed, Clementi’s fondness for the pattern could explain Beethoven’s supposed remark that those who study Clementi make themselves acquainted with Mozart and other composers, while the converse is not the case (Schindler 1840, 197; 1841, II, 83–84). —————————— Dmitri Tymoczko teaches composition and music theory at Princeton University. He is the author of one book (A Geometry of Music) and four CDs. He has just completed a second book, Tonality: An Owner's Manual.

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(Schemas and Models cont.) Helena Schuh Musical models in the Allegro moderato of Beethoven's Fourth Piano Concerto Op. 58 – Staged spontaneity as a category of analysis Beethoven’s Fourth Piano Concerto was composed in the years 1805-1806 and is considered one of his most improvisational concertos. At the same time the formal structure of the concerto is often highlighted in its departure from the Mozartean concerto model and viewed as highly individualized. Thus, there seems to be a connection between the notion of an individualized concert form and that of an interference of improvisational style with the compositional process. In my presentation I investigate this connection by analyzing one specific aspect of improvisational style in the concerto’s first movement: that of the musical model Fauxbourdon. The Fauxbourdon model is instantiated into diverse musical contexts. First of all the model serves a typically pianistic, improvisational gesture and helps to establish a clear association between the piano sound and the soloist’s identity as »improvisational«. By means of this clear association the model shapes the dramaturgical quality of most of the movement’s development section. Much more than an allusion to the themes of the exposition, the development section draws on references to the Fauxbourdon model, by which the former established separation between the tutti and the soloist is being put on display, then processed and finally being converted into an approximated relation. Overall, I want to show that musical models play a crucial role in both the presentation of an improvisational gesture as well as in the conceptualization of the movement’s formal structure. Being very much a part of historical improvisation practice itself, the awareness of such models and their compositional integration helps creating a link between historical perspectives on improvisation and today’s performative approaches. —————————— Helena Schuh studied Music, German literature and Music Theory at the School of Music Mainz and at the Johannes Gutenberg University Mainz. She received her Master of Education as well as her master in Music Theory in 2016. In her Music Theory studies she was under the guidance of Professor Birger Petersen and Professor Immanuel Ott. Since 2017 she has been teaching music theory at the School of Music Mainz and other institutions. She is currently writing her dissertation about Beethoven’s Fourth Piano Concerto.

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Form and Performance (14.00 – 15.30, room 8.03) Lea Fink Beethoven’s shadow. A sounding network analysis of paradigms of musical form Writings on musical form have evolved with the emancipation of instrumental music since the 17th century. Theorists such as Koch, Riepel and Marx have thoroughly described constituting elements of form. However, who influenced the discourse of musical form most is Beethoven as a composer. In a network analysis of treatises on musical form and the musical examples they use (corpus of 20 books, 1800-2019), we show how the paradigms of sentence and period have evolved under the influence of the music of Beethoven. Repeated use of specific musical examples until today have led to a direct affiliation of prototypes of musical form and Beethoven, while examples of his contemporaries are almost invisible. Although Beethoven himself was strongly influenced by figures such as Clementi, Czerny or Hummel, most performers and theorists today have little awareness of their style. It seems impossible to disassociate the often-taught concepts of sentence and period from Beethoven’s music, but it is worth an experiment to refine them – from both an analytical and a performer’s perspective. We invite 1-2 musicians to join and to consider the network analysis from a practical point of view. Different interpretations of opening phrases of sonata movements serve as examples to compare different understandings of musical form as described in the corpus of the network-analysis. With this approach, we hope to widen our sensibility towards a musical style which is influenced by a strong exposure to Beethoven’s music. —————————— Lea Fink is a researcher at the Max Planck Institute for Empirical Aesthetics in Frankfurt, Germany. She studied Piano and Music Theory in Rostock, complementing her studies in Boston and Vienna. Before coming to Frankfurt, she was head of education and outreach with the Gewandhausorchester Leipzig 2012-2014 and of The Deutsche Kammerphilharmonie Bremen 2014-2018. Her research focuses on perception and understanding of musical form in Western music theory.

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(Form and Performance cont.) David Kopp Performance Issues and Formal Ambiguity in Two Piano Sonata First Movements A collection of essays from 2009, written from diverse analytic perspectives, aims to provide insights relevant to performance of Beethoven’s Tempest sonata (Bergé et al 2009). Most essays address well-known ambiguities regarding formal and thematic elements in the first movement. Yet concentration on performance issues and applicability of recommendations varies greatly. A follow-up volume by five of the authors addresses these issues with annotated scores designed to speak more directly to the performer (Bergé et al 2012). The value of unidirectional score-based analysis for performers has been roundly questioned by segments of the performance studies community, who assert the greater influence of other cognitive, contextual, and physical factors, stress the significance of the performer’s contribution to the artwork’s realization, and argue that performance may equally guide analysis. Study of recordings is essential to this work. This talk will seek to reconcile these attitudes vis-à-vis performance considerations in two other of Beethoven’s sonata first movements well-known to transcend formal conventions: op. 81a and especially op. 101. Formal ambiguities and issues relating to phrase boundaries, thematic placement, metric stress, and harmonic structure will be identified along the lines of the Tempest studies. Implications for performance strategies will be explored and demonstrated in real time. In addition, representative groups of recordings will be analyzed via the Sonic Visualiser application for aspects of expressive timing, phrasing, and dynamic shaping associated with analytically significant events. The range of choices characteristically revealed by this method will aid in evaluating the perceived presence and effect of these events, and their relative influence among other factors. —————————— David Kopp is on the faculty of the Boston University School of Music, where he is head of graduate music theory. He is the author of Chromatic Transformations in Nineteenth-Century Music (Cambridge University Press), along with articles and essays on theory, analysis, and performance of music of the 19th and 20th centuries. As pianist he has recorded for the CRI, New World, and ARTBSN labels.

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Acknowledgements We would like to thank the many people who helped bring this conference together. Without their willingness and assistance, this event would not be possible!

• CvA directors Janneke van der Wijk, Okke Westdorp, and Edo Righini for the use of the CvA facilities and for the extra financial support in organizing our closing reception.

• The program committee members André Douw, Clemens Kemme, Julia Kursell, and

Michiel Schuijer for reading the proposals and discussing the program. We would especially like to thank Clemens Kemme for the initial idea to organize a Beethoven conference and for his unwavering commitment and assistance to all aspects of this event behind the scenes!

• The program session chairs, for their willingness to play an active role in the conference

and stimulate discussion during the sessions.

• Davide Catina, Jakob Gaede, Niccolo Mani, Alessio Meurs, Koen Oosterhuis, Aljoscha Ristow, and Nathalie Vos for their onsite help during the conference. It is greatly appreciated!

• Astrid Rose and Susan Arendsman from the CvA communication office for helping

with the poster and the advertisements, and for offering materials for our conference guests.

• The service department of the CvA for their technical and logistical assistance during

the conference.

• Jan Ezendam, for handling all of the VvM administration with respect to the conference and for the business meeting!

• Edwin Paarlberg and Ralf Pisters, for their assistance in organizational matters. And of course, to all the conference participants, who have come from far and wide to present their research on Beethoven and enrich the musical and intellectual life of Amsterdam during these two days!

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