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JOSEPH KERMAN
77
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F. Ior:
Alle gewaltsame That misfiillt ja den [seligen] G6ttern;
Tugend ehren sie nur und Gerechtigkeit unter den Menschen.
These lines are among many specially marked in Beethoven's
copy of the Odyssey (XIV, 83-84).1" The sketchbook also
contains a disquieting amount of unidentified material, some
of which might well be traceable by means of a thorough
comparison with other sketchbooks. One interesting sketch
Hughes-Hughes suggested might refer to the Quartet in C
sharp minor, Op. 131, composed in late 1825 and I826:b
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'3 All that is really known about this comes from a conversation-book entry
transcribed by Thayer and dated by him in November. Beethoven wrote
'Title for the Quartet'; a strange hand ('des Neffens?', asks Kinsky) wrote
out a suitable formal inscription; and then Beethoven initialled it. From
this Kinsky-Halm infers that the piece was 'ended' in November. Thayer-
Forbes infers that it was 'not completed before November'. Thayer-
Riemann infers that in November the piece was ready to be sent to the
copyist-or had already been sent.
14 See Ludwig Nohl, Beethovens Brevier, Leipzig, 1870, p. 25. On pp. 19-20,
footnote, Nohl draws attention to another project to write a canon on
words from the Odyssey.
11 See Joachim von Hecker, Untersuchungen an den Skizzen zum Streichquartet
cis-moll op. 131 von Beethoven, unpub. diss., Freiburg, 1956. He is inclined
to leave the Egerton sketch out of consideration for Op. 131. An origin
for the sketch may perhaps be traced early in the year, at the top of a
sheet which also has sketches for the finale of the Quartet in E flat,
Op. 127: see the facsimile opposite p. 0o8 of the Sotheby auction catalogue
for i x June, 1963.
16 Unnumbered, unpaginated. The only printed description of these sheets
is apparently Mandyczewski's laconic 'Skizzen zum Bdur-Quartett
op. 1 30. 34 Bl.' in the Zusatz-Band zur Geschichte der K. K. Gesellschaft der
Musikfreunde in Wien: Sammlungen und Statuten, Vienna, 19I 2, p. 88.
85
86
87
'23A' designates a sheet that was cut out of the book and that
forms pages 151-152 of the sketch miscellany Landsberg io T 78
footnote 17). The sheet appears to belong between folios 23 and 24,
sketches read continuously (with the aid of signs) from the end of 23
x6 to the beginning ot 24r/5, and from the end of 23Av/I2 to the be
ning of 24r/I x. The sign at the beginning of 24r/I I ( x) has been mi
in the published transcription as-P
I am grateful to the Stiftung Preussischer Kulturbesitz, Depo
Staatsbibliothek, Tiibingen, Dr. Wilhelm Virneisel, Director,
microfilm of Landsberg io and for permission to print a transcri
of page 152 made from the film (Appendix, p. 94).
88
89
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v Wdia
tion. (No trace yet, however, of the admirable bass G in bar 97-)
This is of course the opposite idea from the recapitulation with
flat-key digressions of Sketch H.
In summary: eight large sketches taken together with some
smaller ones allow us to trace Beethoven's work on the large
91
During the lecture, sketches were played on the piano at a and b, and at e
the development section of the Andante of the Sixth Symphony was played
on the gramophone.
93
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