1
2
3
4
5
6
8
7
Eroica I. Development (end)
9
10
11
Allgemeinerer Rahmen, musik. Schaffensprozess.
Inspiration. 19. Jahrh., romantische Schaffenstheorie. Moderne Psychologie,
Bahle. Seine Experimente. (Strauß: 2 Takte)
Prozess vom Unbestimmten zum Bestimmten. Vorstellung des Ganzen - mehr
oder weniger. Verbindlichkeit, Konsistenz. Suche nach Fortsetzungen. Idee
der musikalischen Logik. Beziehung zwischen Sprache u. Musik (Suzanne
Langner). Das "Unerwartete" u. das "Notwendige".
Exempel in Beethoven.
II
1
2
3
4
a
b
c
final vers.
A
Dom.
-
-
-
.
.
.
Tonic
B
Theme in Bb
-
x
x
.
.
.
-
B'
Th. in C min.
x
-
-
.
.
.
x
C
sketchy
x
x (compl.)
x
.
.
.
x
D
x
x
x
x
.
.
.
x
E
6 meas.
17 m.
18 m.
20 m.
.
.
.
18 m.
F
9 meas.
with Db,
var. chrom.
3 + 4,
chrom.
no Db
3 x 4
with
middle
part
3 x 4 + 3
middle p.,
Db
3 x 4
(minor)
.
definit.
3x4, Db
F'
-
7 m.
chrom.
codda
-
1 m.
7
5
-
4
G
-
-
rhythm
bridge
x
-
x
x
1
2
3
4
5
6
7
8
K
Cb chords
-
-
-
-
-
x
-
x
L
-
-
-
-
runs
-
x
-
-
M
dominant
scale
-
-
-
intermitt;
trem.
-
-
x
x
N
-
-
-
-
-
-
Ears
line
-
(also in 3 and
x
4 above !)
O
"cumulus"
-
x
x
x
x
(on D)
x
x
x
P
2 sfz meas
Dom.
after O
-
x
x
x
-
x
-
x
Q
-
recap
on D
-
-
-
-
-
-
-
Eroica I
Beethoven, Eroica 1st movment
Opening Section:
Sketch No.
1
2
3
4
4a
4b
4c
final
version
Features:
introductary
A
measures
Dom.
-
-
-
.
.
.
Tonic
theme in B flat
B
x
-
x
x
.
.
.
-
theme in C minor
B'
x
x
-
-
.
.
.
x
rhythmic trans-
C
ition
sktechy
x
x
(complete)
x
.
.
.
x
D
skalewise motion
x
x
x
x
.
.
.
x
runs
E
6 meas.
17 meas.
18 m.
20 m.
.
.
.
18 meas.
second theme
F
9 meas.,
modul. to
D flat;
rudementary
6 + 4 m.
no modul.,
"sigh"
3 x 4 m.
with con-
trary
motion
3 x 4 + 3,
modul.,
contrary
motion
3 x 4
.
x
3 x 4, mod.,
contrary
motion,
"sigh"
chromatic appendix
F'
-
7 meas.
-
1 meas.
7
5
-
4
G
pulsating transition
-
-
x
x
-
-
x
x
Development:
Sketch No.
1
2
3
4
5
6
7
8
final
version
Features:
C flat major
K
chords
x
-
-
-
-
-
x
-
x
runs
L
-
-
-
-
x
-
x
-
-
intermittent
M
tremolo
-
-
-
-
x
-
-
x
x
ascending
N
bass line
*)
-
-
-
-
-
-
x
-
x
"cumulus"
O
x
-
x
x
x
x
with extra
dissonance
x
x
x
two meas.
P
after O
x
-
x
x
x
-
x
-
x
recapitulation
D
in D major
-
x
-
-
-
-
-
-
(after O,
x
in F major)
*) see also Sketches 3 and 4
of Opening Section
Beethoven, Eroica, 1st movement
Opening Section:
Sketch N.
1
2
3
4
4a
4b
4c
final version
Features:
A
introductory
measures
Dom.
-
-
-
.
.
.
Tonic
B
theme in B flat
x
-
x
x
.
.
.
-
B'
theme in C minor
x
x
-
-
.
.
.
x
C
rhythm
transition
sketchy
x
x (complete)
x
.
.
.
x
D
scalewise motion
x
x
x
x
.
.
.
x
E
runs
6 meas.
17 meas
18 meas
20 meas.
.
.
.
18 meas.
second theme
F
9 meas.,
modual.
to D flat.,
rudimentary
6 + 4 meas
no modul
"right"
3 x 4 m
with
contrary
motion
3 x 4 +3
modul.
contr.
motion
3 x 4
.
x
3 x 4, modul.,
contrary motion,
"right"
F'
chromatic
appendix
-
7 meas.
-
1 meas.
7
8
-
4
G
pulsating
transition
-
-
x
x
-
-
x
x
Development:
Sketch N.
1
2
3
4
5
6
7
8
final version
features:
K
C flat major
chords
x
-
-
-
-
-
x
-
x
L
runs
-
-
-
-
x
-
x
-
-
M
intermittent
tremolo
-
-
-
-
x
-
-
x
x
N
ascending
leav line *)
-
-
-
-
-
-
x
-
x
O
"cumulus"
x
-
x
x
x
x
with
extra
disson
x
x
x
two meas
P
after O
x
-
x
x
x
-
x
-
x
Q
reapitet.
in D major
-
x
-
-
-
-
-
-
x (after O,
in F major)
*) see also Sketches 3 and 4
of opening Section
Eroica
Paul Mies, Beethoven's Sketches
Oxf. U. Press; London 1929
Gustav Nottebohm, Zweite Beethoveniana
Leipzig 1887
NB Hier muss es scheinen
als wolle man das Trio
in D machen, jedoch
geht es hiernach
überraschend in B.
