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IAN BENT
THE 'COMPOSITIONAL
PROCESS'IN MUSIC
THEORY1713-1850
ThuswroteHeinrichChristoph
Koch(1749-1816)in 1782,in theIntroduction
to Volume1 of his composition
manual,VersucheinerAnleitungzur Composition.2 Kochqualifies
thisremarkverycarefullyat thispoint.Nonetheless,by
thetimethathecametowriteVolume2, publishedin 1787,hisremarkseemsto
havebeenthoroughly
misunderstood:
At the verybeginningofthe Introductionto PartI, I promisedto drawa line
of distinctionbetweenharmonyand melody, and to answerin such a way
thatpeoplecanabideby the verdictthe age-oldcontroversyas to whethera
pieceof musiccanbe reducedultimatelyto melodyor to harmony.I do not
know how some of my readers. . . can have got it into theirheads that I
intendedto give it as my opiniontherethatit must be harmonywhichfirst
arisesin the formationof a pieceof musicin the mindof the composer.3
3:1, 1984
29
IAN BENT
Thushavingpushedtheargument
asfarashecanfromthe'material'
pointof
view,he turnsto whathe callsthe 'formal'aspectof the issue thatis, the
compositional
processviewedastheevolutionofanunfoldingstructure
in time.
Forthe phasesof thisevolution,Kochturnsto the well-established
eighteenth-century
terminological
trinity:Anlage Ausfahrung Ausarbeitung.
Koch adoptedthese threetermsfrom the eminentSwissaestheticianand
lexicographer
JohantGeorgSulzer(172(}79),whousedtheminVolume1ofhis
Allgemeine
TheorzederschonenKunste
. . . (Leipzig:M. G.Weidmann,17714,
2/177K9),in 1771,to designatethe threephasesof artisticcreation.Koch's
discussion
quotesdirectlyfromSulzeratseveralpoints;andthelaterdefinitions
of these termsthat Koch suppliesin his Musikalisches
Lexikon,welchesdie
theoretische
undpraktische
Tonhunst
. . . enthalt(Frankfurt
amMain:A. Hermann, 1802)are modelleddirectlyupon the definitionsof Sulzer.In the
followingdiscussion
I willtranslate
thesetermssoastoleavethemalittleoftheir
eighteenth-century
flavour,ratherthanattemptingto find theirmost exact
counterparts
inmodernEnglish:AnlageasGroundplan,
Ausfahrung
asArticulation,Ausarbeitung
asElaboration.
InKoch's'formal'
conception
ofthecompositional
process,thephaseswhich
thesethreetermsrepresentaresuccessiveandcontiguous.Thecomposerfirst
constructshis Groundplan;
only whenthatis completelyfinishedmayone
proceedto theArticulation;
andonlywhenthatis wholeandcompletemayone
proceedto theElaboration.
Anypremature
advancement
to thenextphasewill
haveadverseconsequences;
on this,KochquotesSulzer:
A work will have difficulty in achieving more than mediocrityin its
completeness, if the Groundplanhas not been completed before the
Articulation.Incompletenessin the Groundplanrobs the composerof the
fire and even the heartto carryout the Articulation.Isolatedbeautiesare
30
MUSIC
ANALYSIS
3:1, 1984
<
>
>
_l
ll
l-
|l
l^
ll
1713-1850
THEORY
IN MUSIC
PROCESS
COMPOSITIONAL
THE
It is betterto
of theGroundplan.
to coverup theshortcomings
insufficient
altogether,thanby meansof
discarda workof incompleteGroundplan
incomplete.6
to producesomething
andElaboration
Articulation
laborious
betweenthefirst
therelationship
Thereis nobetterwayin whichto illustrate
inwhichhe
twoof thesestagesof evolutionthantociteKoch'sownillustration,
analysesanariafromthePassionsettingDer Tod3resu,writtenin 1755by Carl
in
despairingly
HeinrichGraun(1703/F59),of whichA. B. Marxcommented
1847thatJ. S. Bach'sStMatthewPassionhadtakena centurytobeappreciated
Theariaunderanalysisis 'Ein
in popularity.7
andwouldneversurpassGraun's
Gebethum neue Starke',and Ex. 1 showswhat Koch deducesto be the
Ex. 1
Xllegrctto.
>
,C
ee s btti
fjw
i '
et&tft,
wLtl<H*>3
I U
I
llt
ZoWtn
* Dun
Qt U e
IF
waH-?-j-P
rE-tr
I ' '
lU
eD
'
s
Itr
----
t- *
<,,
ort
ts
terr
btr
""&
tafrtll
t 15
rF,
|-
[r;&tJ 21,5l-le
.
bus
I t
ef
lerfl-
*r
;) 9
^ bOrt
"
1a's
1
->--11
gt-
t
MUSIC
ANALYSIS
3:1, 1984
ber
tberr ri;e
eZ
".
hloll
31
1_4
,,,,,,,,,,,,,,i
-4I
-4
XXXXXXEXXXi4/,s.t////////Ax1
-6
>
-6
IAN BENT
Groundplan
forthefirstsectionof thisaria,layingit outon twostaves.Koch
presentsthisin the fullexpectation
thathis readerwillknowthe finishedaria
intimately,andwill thereforebe ableby comparison
of the Groundplan
with
whathe knowsto understand
whatis involvedin theArticulation.
Forthemodernreader,to whomtheariais notsofamiliar,Fig. 1graphsout
thecomparison.
TheGroundplan
is represented
atthetopascomprising
three
main musicalideas (here black, void and shadedrespectively),and as
containing
alreadyits thematiclinkages.Beneaththatis theentireariasection,
comprising
anintroductory
ritornello,
thefirstsolopassage,themid-ritornello,
thesecondsolopassageandtheclosingritornello,
withpresenceof thethematic
ideasshownbyshading.Inparticular,
theGroundplan
is shownprojected
onto
Fig. 1
G r o u n d p l a n:
1-Y//////X/Y////
Articz I ation:
=;
aXE/XE/XXEEEXES
t
l
so1
Ritorn.
lla
19
Solo I
Ritorn.
INZ-ZZ-I
AT
Az
___
+2
+2
_
Solo
-I
Y.,/////./,'S,/X/S,S,/SS',v,x,,'x,, W/f,/XE,,/XAXEXEEXEXS
2
x
__
R it o r n .
1E-7-I
s__
AZ
__
-ZZ-I
I
32
MUSIC ANALYSIS
3:1, 1984
THE
COMPOSI
I IONAL
PROCESS
IN MUSIC
THEORY
1713-1850
Fig. 2b
PRODUCT
Er f i n d u n g
PROCESS
PRODUCT
E r f in d u n g
Anlage
Ausf u hrung
Anlage
Ausf uhrung
Ausf uhrung
Au sarbe itung
( Ausf uhrung )
Ausarbeitung
Ausarbeitung
( Ausarbe i tung )
3:1, 1984
33
IAN BENT
Disposition(Anordnung)
fitsinto the schemeeasilyenough.In his discussionof
Invention, Koch makes clear that to all but the loftiest composers,who can
invent a Groundplanstraightinto finalform, this processis itself dividedinto
two stages: first, the invention of the units themselves, to which the tellll
Invention applies in its strong sense; second, their disposition within the
Groundplanand the inventionof the linkages,to which the term Disposition
applies.
The term Draft (Enewurf)presentsa more complexsituation.In his article
'Anlage', Sulzer never once uses this term; and Koch quotes virtuallyevery
word of Sulzer'sarticlein definitionof Anlage. However, Sulzerprovidesa
quite separatearticle, 'Entwurfr,in which the termAnlageis similarlynever
used. The two conceptsareclearlycoincidentwithinthe compositionalprocess.
Koch drawsmaterialfrom both of Sulzer'sarticles,fashioninga relationship
betweenthem. Oncethe composerhasenteredinto the full floodof imaginaiion
and has invented the main musicalideas of the composition,and these ideas
have revealedthemselvesin their true relaiionships,he says, not a moment
shouldbe lost in gettingthis unifiedmusicalimagedownon paper:
This Groundplan,now madevisible, or set downin notation,is calledthe
Draftof the piece. It is necessaryin the firstplace,as hasalreadybeensaid,
so thatnothingof the unitywhichwasconstructedunderinspirationshould
be lost, especiallyas one begins to think over how it can be articulatedto
fullest advantage;but also in the secondplace, so that one can durlngthe
Articulationsee the main ideas at a glancein their closestproximity,and
thereby avoid being led by one's imagination into remotely-related
subsidiaryideas.
After completionof the Groundplanand of the Draft of this, the next
stageln the evolutionof piecesis theirArticulation.. . .9
MUSIC ANALYSIS
3:1, 1984
Entwurf
THE
COMPOSITIONAL
PROCESS
Fig. 3
PRODUCT
PROCESS
[Erfindung
Erfindung
_^
i,
tordnung
l
,)
An Ia g e
Ausfu hrung
Ausarbeitung
MUSIC ANALYSIS
3:1, 1984
35
IAN BENT
MUSIC ANALYSIS
3:1, 1984
Erfindung
THE
Erfindung
PROCESS
COMPOSITIONAL
IN MUSIC
THEORY
1713-1850
II
Koch's Versuchis nowadaysbest knownfor its treatiseon melodicconstruction, which occupiesthe latterhalf of the secondvolumeand the whole of the
third, and has recentlybeen publishedin Englishtranslation.13However,his
study of the compositionalprocess, comprisingthe first half of the second
volume, 120pagesin all, andentitledVonderAbsicht,vonderinnernBeschaffenis well worthstudy.
derTonstucke,
heitundvorzaglichvonderEntstehungsart
in theducalorchestraatRudolstadt,somefifteen
Kochwasaninstrumentalist
milessouthof Weimar.Fiftyyearslater,JohannChristianLobe( 1797-1881)was
an instrumentalistin the ducal orchestraat Weimar.Both men had studied
initiallyin Weimar,Kochas a violinist,Lobe as a flautistandviolaplayer.Both
were composersin a small way, and both are rememberednow only for their
writingson music. (Lest the latterpoint shouldbe underestimated,note that
derMusik,first publishedin 1851, has been more or less
Lobe's Katechismus
continuouslyin printsincethattime, andstillappearsin GermanBooksinPrznt
1981182,in the eightheditionof its fourthseries,dated 1973.)
dermusikalischen
Lobeissuedthefirstvolumeof his majorwork,theLehrbuch
in 1850.14In viewofthe similarityof upbringingandenvironment
Komposition,
of LobeandKoch,it is perhapsnotsurprisingthatLobe,althoughwritingnearly
eighty years later, and in the middle of the nineteenthcentury, was greatly
interestedin the compositionalprocess, and assigned to it a terminological
schemaofthreephases.Nor is it surprisingthattwoof Koch'sthreetermsforthe
processesareadoptedwithinLobe'sschema,as Fig. 4 shows.
Fig. 4
LOBE
KOCH
2 Umwandling
Ausfuhrung
Skizzirung
Ausarbeitung
MUSIC ANALYSIS
3:1, 1984
Ausfu hru ng
37
IAN BENT
MUSIC ANALYSIS
3:1, 1984
THE
PROCESS
COMPOSITIONAL
IN MUSIC
THEORY
171F1850
addedtheselatterto thethirdeditionof
successfulsaleof hissketch-materials,
hisbiography
(1860).19
Komposition,
dermusikalischen
Returningnowto 1850,andLobe'sLehrbuch
SeptetOp.20;
asearlyasp. 10he presentsmotifsextractedfromBeethoven's
and on pp. 11-12motifsfromthe openingmovementof Op. 18 No. 2 and
otherworks.Near the end of the firstvolume,Lobe makesthe following
remark:
At the beginningof this workI havealreadygivena few examples,
gropingforisolated
sketchbooks,
of Beethoven's
drawnfromBeethoven's
ideas, modifyingthem and improvingthem. Here are some further
examplesof firstdraftsandsketchesfromhispen,whichshowthatforthe
most parthe threwup verydisjointed,incompleteideas,doingso for
entirelydifferentworksat the sametime workswhichhe articulated
only much later. [He then presentsthe very sketchesfor the Tenth
SymphonyandOvertureon B.A.C.H.exactlyas in Musikalisch-kritisches
Repertorium
in 1844,andgivenagainin A. B. Marx'sstudyof Beethoven
in 1859.]2
>
der Hauptgedanken
Grundskizze
1 Skizze
1 Entwurf
PR OZ E DU R
themetische
Fortfuhrung
thema tische
Umwand lung
Arbeit
2 Skizze
>
3 PROZEDUR
vollstandige
Skizzirung
>
Skizze
vollstendige
Hauptmelodiefeden
[4 PROZ E DU R ]
Ausfuhrung
MUSIC ANALYSIS
in der
3:1, 1984
Partitur
>
Partitur
39
720.
724.
!
.+;;tt
*-b^-Xt >_
g3t
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IAN BENT
sc9to.
ti# 3
#bi 2 *) ,; I J 11
--
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722.
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Schlussgruppe .
. Zurersin Periodedarln.
721|.
+gre
i*. Zur zweitell Periode.
OK[
c. Zur dritba Periode.
*_ . .
...
ILF4Dt
oderanstattc. die darunterliegendeFigur,welchedurchdie ganse
Periodegeht:
significantly,
thatthereareno linksbetweenthe elements,as therewerein
Koch'sGroundplan.
The secondphasecomprisesThematicTransformation,
or Continuation,
or ThematicWorkingof that material.Inventionis now over, and a proliferationof fragmentary
variantsof the inventedmaterialnowensues(such
40
MUSIC ANALYSIS
3:1, 1984
784.
THE
1&
COMPOSITIONAL
*-;JS;0
1l
PROCESS
IN MUSIC
1713-1850
THEORY
Ex.3
24?_
t--
;i jJiS-';
| *$
s. I_R_j g;
1-
--1l-3-
81 :
tJ l l :
tt,9 -
i_J_"Xt
h
It is themappingof thetotal
Thethirdphraseis preciselythatconstruction.
to phase2 of
structurefromthe resourcescreatedthus far. It corresponds
Koch'sschema.Whenthisprocedureis complete,everybarof the piecewill
thematicandtonal,
havebeenmappedinto place,withall the relationships,
workedout,asin Ex.4 (below,pp. 42-6).23
At this point, the confluenceof synthesisand analysisis reached.This
example,earlierin the volume,servedas Lobe'sanalysisof the movement.
Nowit is recalledastheThirdSketch,orFinishedSketch,of thecompositional
process.It constitutesthe PrincipalMelodicStrand.It is not the firstlinear
analysisto be producedby a theorist,but it is the firstone in whichthe
continuous
melodiclineis derivedfromallthevoicesof thetextureequallyand
rules.
withestablished
consistently,
andderivedin accordance
betweenKoch'susageand
Thedifference
inmeaningofthewordAusfahrung
Lobe'snow becomesclear.In Kochit wasa 'leadingoutwards'in time:the
expandingof a brief stock of coherentmaterialinto a fully- articulated
in space:theexpansionof a fullystructure.In Lobeit is a 'leadingoutwards'
definedstructure,expressedinitiallyas a singlehorizontalline, upwardsand
in scorelines,laidoutphysically
downwards
intofour(ormore)simultaneous
form:theAusfahrung
inderPartitur.
of whatJoshuaRifkin
Lobe's'Principal
MelodicStrand'is thecounterpart
Indeed,in
has calledth.e'continuitydraft'in Beethoven'ssketch-materials.
Lobe'ssecondandthirdsketchescanbe seenpreciselywhatLewisLockwood
categorizes,
followingNottebohm,as:
1) variantversionsof discretemotifs, phrases,or themes,consecutivelyor
nonconsecutivelyordered;2) continuitydraftsfor entire sections, movements, or evenentirecompositions....24
MUSIC ANALYSIS
3:1, 1984
41
nLs4
_e
IAN BENT
Quaritt 11von Be e t b o se n.
Ex. 4
ju@ro.
4. Ahemagruppe.
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t-q0
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49 - c-
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t.
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igL
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7-D.
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mr
=2+,.,
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!-w
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42
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MUSIC ANALYSIS
3:1, 1984
<
THE COMPOSITIONAL
J-*
PROCESS
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MUSIC
ANALYSIS
3:1, 1984
43
1.
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IAN BENT
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MUSIC ANALYSIS
3:1, 1984
,I X 1 1wE
, yrx
!
THE
COMPOSITIONAL
PROCESS
ER-:r
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MUSICANALYSIS
3:1, 1984
45
IAN BENT
40-G.
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MUSIC ANALYSIS
3:1, 1984
Ausarbeitung___;.
Erfindung--
THE
vErfindung
Ausarbeitun9
COMPOSITIONAL
Erfindung
Ausarbeitung
PROCESS
E nt w u r f
III
As I noted earlier, Koch derived his terminologyfor the phases of the
compositionalprocessfrom those of Sulzerfor the creativeprocessin general.
These terms were not coined by Sulzer, althoughSulzerattachedparticular
valuesto them. They can all be tracedbackinto Baroquearthistory;and some
of them surfacein worksof music theory. To take but one exampleof many,
Walther'sLexicon(1732) gives as the definitionof the Latin term Elaboratio:
'die Ausarbeitungeiner Composition'.25The very fact that Waltheroffers no
itself suggests that the term was commonlyunderentry underAusarbeitung
stood.
had, in Baroque theory, its Latin
Each of the three principalprocesses
designationas well as its vernacular.Thus JohannMattheson(1681-1764), in
Orchestre
(1713),presentsall six terms
his firstbookon music,Dasneu-eroffnete
when(in a verybriefdiscussionin Part2, Ch. 1, 'Concerningthe GeneralRules
of ConsonanceandDissonance')he remarksthata compositioncomprisesthree
things: 'Inventio,(Die Erfindung)Elaboratio,(Die Ausarbeitung)Excecutio,
(die Ausfuhrungoder Auffuhrung). . .X.26 Indeed, he presentsseven terms.
By ignoring the significanceof the seventh term, it is possible to set up a
parallelismwith Koch'sschema(Fig. 6), a parallelismin whichthe secondand
thirdtermsaretransposed:
Fig. 6
SULZER / KOCH
MAT T H E SO N
17 13
(Inventio)
17 3 9
(Inventio)
|
Ei nrichtung
( Dis pos it io )
177 1/ 1787
Riss7 Entwurf
>Ausfiihrung
/
//
I
(Elaboratio)
( Elaboretio )
I
/
Schmuckung
(Decora t i o )
I
f
t
t
Ausfuhrung u-tAusfuhrung)
i Auffuhrung;
Auffuhrung }
J
t(Excecutio)
(Excecutio) J
Anlege
//
//
X
3:1, 1984
47
IAN BENT
MUSIC ANALYSIS
3:1, 1984
(Elaboratio
Erfindung
THE
COMPOSITIONAL
) Erfindung
/
PROCESS
(Inventio)
Ausarbeitung
>r
Ausfuhrung
/
'
Ausfuhrung
)
(Excecutio
<
Ausarbeitung
of
to theArticulation
beforefullcompletion
Sulzer'sadviceagainstproceeding
as
hereandin severalotherpassagesin Mattheson
theGroundplan
is mirrored
Dispositiontakestime;if it is hurried
betweenDispositionandElaboration.
37).Sulzer's
(Ch.14, %533,
thentheElaboration
willbe themoretroublesome
and Koch'sdescriptionsof the artist'sstateof mind are also mirroredby
Mattheson:
Inventionrequiresfire and spirit;Dispositionrequiresorder,measure;
Elaborationrequirescold bloodandcircumspection.30
description
of theproductof Invention
Ofparticular
interestis Mattheson's
heador jotteddownon
asa stockof musicalideas(whetherin thecomposer's
paper),
. . . in the same way that we lay up a stock of words and expressionsin
language, . . . so that thereafterby means of these we can bring our
thoughts,whetherin speechorin writing,mostreadilyto utterancewithout
havingalwaysto consulta dictionaryfor whatwe need.
To be sure, anyonewho finds it convenient,or who is driven to it by
necessity, can always preparefor himself a written collectionin which
everythingthatpleaseshim or thatoccursto him fromtime to time by way
of fineprogressionsorturnsof phrasemaybe foundorganizedundercertain
headingsand labels,fromwhichhe can as need arisesderiveguidanceand
comfort.However,it wouldprobablybe a lameandpatchycreationwhich
MUSIC ANALYSIS
3:1, 1984
49
IAN BENT
MUSIC ANALYSIS
3:1, 1984
THE
COMPOSITIONAL
PROCESS
IV
The aboveenquiryhas tracedthe presenceof certainmusicaltermsin five
theoreticalsourcesrangedover some 140years.It has beenpossibleto observe
how some of these terms retainedtheir place in the scheme of things, how
othersdecayed,and how yet othersenteredthat scheme.Whathas emergedis
informativeonly up to a point. Thereafter,it iS only suggestive.It does not
projectbeforeour eyes a historicalcontinuumover those 140 years. It leaves
us speculatingabout the changing conceptualizationof the compositional
processoverthatlong period.
We can see a three-phaseschema, holding good right to the end of the
period,althoughcovertlyacquiringa fourthphasein Lobe. Two of the terms
and Ausfuhrung,
remain constant. The third,
for these phases, Erfindung
Ausarbeitung,
loses its place in Lobe (yet Arbeitis used there in the sense of
thematic elaboration).Invading this schema is the awakeningconcept of
'sketching':the notion of collectingfragmentary,germinalmaterialsdirectly
on paperand workingthem in an impassionedway. The transcendentalstate
of inspiration,viewed by the eighteenthcenturyas if it were some unstable
material,some fissionableelement, and containedwithin the Inventionso as
not to contaminatethe later stages of compositionand thereby produce an
incoherent and ill-proportionedwork of art, is in the nineteenth century
progressivelyfreedfromSitscontainmentand allowedto spreadacrossthe face
of the compositionalprocess. Perhapswe can see in this a reflectionof the
changefromthe eighteenth-centuryview of the artistas doer and producerin
a worldof art regulatedby taste, tO the Romanticview of the artistas creator,
exaltedfor his originality.Perhapswe can see, too, the metamorphosisof the
concept of genius from that of an inner luminosityto that of a compulsive
striving for self-expression.And in Lobe's identificationof the startingmatter of compositionas cell-like figures we can perhaps see the practical
acknowledgmentin music theory of the manifestationof organicgrowth in
music.
MUSIC ANALYSIS
3:1, 1984
51
IAN BENT
NOTES
1. H. C. Koch: VersucheinerAnleitungzur Composition
(Leipzig and Rudolstadt:
AdamFriedrichBohme, 1782-93),Vol. 1 (1782),p. 9:
Dennwaskanin einemTonstuckeeherentstehenalsdie einfacheHarmonie?Und
wie kanich die AuflosungeinesTonstucksfurvollendethalten,wennich nichtbis
aufdie einfacheHarmoniezuruckgegangenbin?
2. This paper was first read, in shorterform, at the 49th annualmeeting of the
AmericanMusicologicalSocietyin Louisville,Kentucky,on 29 October1983.
3. Ibid., Vol. 2 (1787),p. 47:
Gleichzu Anfangeder Einleitungdes erstenTheils versprachich, zwischender
Harmonieund Melodieeine Liniezu ziehen,und die bekannteStreitfrage,ob die
Harmonieoder die Melodieeher sey, ob sich ein Tonstuckin Melodieoder in
Harmonieauflosenlasse, so zu beantworten,dassmansichbey derEntscheidung
beruhigenkonne.Ich weissnichtwie einigemeinerLeser. . . auf den Gedanken
haben kommenkonnen, als hatte ich dadurchzu erkennengeben wollen, die
Harmoniemusse bey der Entstehungeines Tonstucksin der Seele des Componistenzuerstentstehen.
5. Ibid.,p.50:
Die Sacheso betrachtetdeuchtmich, dassdie Fragematerielbetrachtet,garnicht
mehr stattfindenkann;denn wederdie Melodie,noch die Harmoniekannden
leztenGradder Auflosungeines Tonstucksausmachen.Sie entstehenbeydeaus
einemund ebendemselbenStoffe . . .
6. quoted ibid,p. 57, fromSulzer's'Anlage':
Schwerlichwirdein Werkzu eineruberdas MittelmassigesteigendenVollkommenheit kommen, wenn die Anlage nicht vor der Ausfuhrungvollkommen
gewesen.Die Unvollkommenheitder Anlagebenimmtdem Kunstlerdas Feuer
und sogar den Muth zur Ausfuhrung.Einzelne Schonheitensind nicht vermogenddie Fehlerder Anlagezu bedecken.Besserist es allemalein Werkvon
unvollkommener
Anlageganzzu verwerfen,alsdurchmuhsameAusfuhrungund
AusarbeitungetwasUnvollkommeneszu machen.
MUSIC ANALYSIS
3:1, 1984
THE
COMPOSITIONAL
PROCESS
almostcompletein P.
'Genie',whicharetranslated
10. Sulzer,articles'Begeisterung',
andEarly-Nineteenth
in theEighteenth
le HurayandJ. Day:MusicandAesthetics
127-33.
Centuries(Cambridge:CUP,1981),pp.
Vol.2, p. 98:
11. Koch:Versuch,
So wie die Anlagehauptsachlichdie Sachedes begeistertenGenieswar, so ist
nun die Ausfuhrungmehr der Gegenstanddes Geschmacks,wobey aber auch
ihre
zugleich die hohern Seelenkrafte,z.B. Verstandund Beurtheilungskraft
Wurksamkeitaussernmussen....
3:1, 1984
53
IAN BENT
21.
22.
23.
24.
25.
26.
27.
28.
A. B. Marx:Lud7AngsanBeethoven:
LebenundSchaffen(Berlin:OttoJanke,1859),
Vol. 2, pp 289f.
Ibid., pp.334f.
Ibid., pp. 339f.
Ibid., pp. 316f. Havingappearedthereas analysis,it is recalledas Ausfahrung
der
Skizzeon p. 344.
L. Lockwood:'Problemesde creationmusicaleau XIXe siecle: 1. On Beethoven's
SketchesandAutographs:SomeProblemsof DefinitionandInterpretation',
Acta
musicologica,
Vol. 43, No. l , 1970,pp. 3247, see p. 42; forRifkin,see ibid.,n. 16.
J. G. Walther:Musicalisches
LexiconOderMusicalische
Bibliothec. . . (Leipzig:
WolffgangDeer, 1732,reprinted1953),p. 223.
J. Mattheson:Das neu-eroffnete
Orchestre,
OderUniverselle
undgrundlicheAnleitung
(Hamburg:printedprivately,1713),p. 104.
J. Mattheson:Der volfkommene
Capellmeister
(Hamburg:Herold, 1739, reprinted
1954),Part2, Chs 4 and 14, especiallypp. 121f, 235. For a discussionof how the
termsof contemporaryrhetoricaltheorywere absorbedinto this extendedset of
terms,see W. Arlt:'ZurHandhabungder"inveniio"in derdeutschenMusiklehre
des fruhenachtzehntenJahrhunderts',in New MatthesonStudies,ed. G. Buelow
and H.-J. Marx (Cambridge:CUP, 1984). An English translaiion of Der
vollkommene
Capellmeister
by E. C. Harrissis available(AnnArbor:UMIResearch
Press, 1981).
Ibid., Ch. 14, 4:
. . . so ist sie eine nette AnordnungallerTheile und Umstandein der Melodie,
oderin einemgantzenmelodischenWercke,fastaufdieArt,wiemanein Gebaude
einrichtetund abzeichnet,einenEntwurffoderRiss machet,um anzuzeigen,wo
ein Saal,eine Stube,eine Kammeru.s.w. angelegetwerdensollen.
29. Ibid.,30:
Wersichalso,seinerFeriigkeitim Setzenungeachtet,deroberwehntenMethode,
aufgewisseungezwungeneArtbedienenwill, derentwerffeetwaaufeinemBogen
sein volligesVorhaben,reissees auf das grobsteab, und richtees ordentlichein,
ehe und bevorer zurAusarbeitungschreitet.
30. Ibid., 37:
Die Erfindungwill FeuerundGeisthaben;die EinrichtungOrdnungundMaasse;
die AusarbeitungkaltBlut undBedachtsamkeit.
31.Ibid.,Ch.4,17-18:
. aufdieselbeArt, wie wiruns einenVorrathan WorternundAusdruckungen
bey dem Reden, . . . mittelstdessenhernachunsreGedancken,es sey mundlich
MUSIC ANALYSIS
54
3:1, 1984
THE
COMPOSITIONAL
PROCESS
p. 235.
33. C. Czerny: School of Practical Composition.. ., Op. 600, trans. J. Bishop
Tonset(London:RobertCocks,n.d.; Germanoriginal Die Schulederpraktischen
zung, Berlin:Simrock,n.d.), Vol. 1, p. 20. See W. S. Newman:'AboutCarl
of "SonataForm" ', 7Ournalof the
Czerny'sOp.600 andthe "First"Description
AmericanMusicologicalSociety,Vol.20,No.3,1967,pp.513-5.
MUSIC ANALYSIS
3:1, 1984
ss