Abstract

The question of what constitutes a finished work is thrown open, reminding us that in certain of his completed autographs Beethoven continued the process that he normally reserved for the earlier stages of composition, setting out further choices, possibilities, and interchangeabilities, including radical alterations in goal as well as detail. In particular, the revision of movement endings was one of his long-standing preoccupations. In works of his middle period, Emil Platen observed, Beethoven continued to make essential alterations in the closing sections of movements after the works had already taken concrete notational form; for example, in the scores of the String Quartets, op. 59, “out of a total of seven movement endings, six were altered after the fact, four in essential ways.”6 Indeed the relationship between sketches and compositional goals was always more problematical than traditional scholars were willing to allow. As Lewish Lockwood has shown, the closer one looks at the sketches the less one can continue to accept as an article of faith that “as a work progresses from first inklings to final realization it should pass through successive phases of growth and clarification of structure, and of complication of detail in relation to that structure, becoming progressively more definite en route to its goal.”7 To further thicken the issue, Janet Levy has pointed out that one “cannot assume that the goals of a completed work are necessarily the same as the goals of the sketches for it,” inasmuch as the composer’s intentions may well have changed during the course of composition and we may be left with sketches made in connection with goals no longer reflected in the final work.8 Composition is only partly a teleological process whereby the composer eventually finds a lapidary form for a predetermined idea. With Beethoven, not only is there no prospective inevitability, there may even be no inevitability after the fact. His sketches and autographs may well be series of rough maps to the multiplicity of universes he glimpsed, to a plurality of possibilities, a jammed crossroads of paths taken and not taken. 6. Emil Platen, “Beethovens Autographen als Ausgangspunkt morphologischer Untersuchungen,” in Bericht über den internationalen musikwissenschaftlichen Kongress: Bonn 1970, ed. Carl Dahlhaus et al. , p. 535. See also Lewis Lockwood, “Beethoven and the Problem of Closure: Some Examples from the Middle-Period Chamber Music,” in Beiträge zu Beethovens Kammermusik, p. 270.7. Lockwood, “On Beethoven’s Sketches and Autographs: Some Problems of Definition and Interpretation,” Acta Musicologica 42 : 34.8. Levy, Beethoven’s Compositional Choices, p. 3. Maynard Solomon’s books include Beethoven , Beethoven Essays , and, most recently, Beethoven’s Tagebuch . He has also written on Schubert, Ives, and Freud, and has edited a standard work on Marxist aesthetics. He is currently writing a life of Mozart and a study of the origins of music. In 1990 he was visiting professor of music at Columbia University