Beethoven; a critical biography . ements ofaccent so habitual with Beethoven are employed in the sameway by the maestro of the princes Esterhazy. And if theScherzo of the first string-quartet (Op. 18) seems so originalin cast by reason of its rhythm, which constitutes a series ofmeasures whose time-signatures might be written 3-3-2, dowe not notice with astonishment, in Haydns FarewellSymphony, a minuet no less curious, whose periodic rhythmis established by 4, 2, 3 and 3 measures? Following his teachers lead, Beethoven is fond of treatingthe same musical theme several times in various ways, a
Beethoven; a critical biography . ements ofaccent so habitual with Beethoven are employed in the sameway by the maestro of the princes Esterhazy. And if theScherzo of the first string-quartet (Op. 18) seems so originalin cast by reason of its rhythm, which constitutes a series ofmeasures whose time-signatures might be written 3-3-2, dowe not notice with astonishment, in Haydns FarewellSymphony, a minuet no less curious, whose periodic rhythmis established by 4, 2, 3 and 3 measures? Following his teachers lead, Beethoven is fond of treatingthe same musical theme several times in various ways, asin the Minuet of the Septet (Op. 20) and the Rondo of Op. 49,No. 2; later, in the Air de ballet of Prometheus repeated inthe Variations, and becoming the Finale of the Third Sym-phony. \J Still better, in his sonata for piano Op. 10, No. 2, he usesone of Haydns own themes (that of the sonata which bears,in most editions, the number 58), and is so taken with thismelody that he employs it, with insignificant alterations, in [ 20 1. G. S. NEEFE 1748-1798 (Gesellschaft der Musikfreunde,Vienna) J. G. ALBRECHTSBERGER 1736-1800 (Historical Museum at Frankfort-on-the-Main)
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectbeethov, bookyear1913
