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The Role of Beethoven's 'la gaiete' Movement in the Creation of his Quartet Op. 127

Barry Cooper

Nineteenth Century Music Review. 2014;11(1):33-55.

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Abstract

Several writers, beginning with Gustav Nottebohm, have made mention of a movement entitled ‘la gaiete’ that was at one stage intended for Beethoven's String Quartet in E-flat, Op. 127, but none of them have previously given a full account of this movement. It appears in several sketch sources, notably Artaria 206 (currently in Kraków), and although it was not incorporated into the final version of the quartet, it played an important role in shaping the slow movement of the work. It also had an indirect influence on the coda of the finale. Its precise function in the creation of the quartet becomes much clearer through a detailed study of Beethoven's sketches, which are scattered in many different sources and appear in four formats that run concurrently, making assessment of them difficult. Examining the sketches for the movement also throws light on the chronological relationship between the various sketch sources. Contrary to some accounts, the movement appears never to have been part of a planned six-movement scheme for the work – a scheme that was extremely fleeting and only one of many possibilities for the work's structure.

Bibliographic metadata

Type of resource:
Content type:
Publication status:
Published
Publication type:
Publication form:
Author list:
Published date:
Language:
eng
ISSN:
Place of publication:
Cambridge
Volume:
11
Issue:
1
Start page:
33
End page:
55
Total:
22
Pagination:
33-55
Digital Object Identifier:
10.1017/S1479409814000147
Attached files embargo period:
Immediate release
Attached files release date:
6th August, 2014
Access state:
Active

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University researcher(s):

Record metadata

Manchester eScholar ID:
uk-ac-man-scw:230711
Created by:
Cooper, Barry
Created:
6th August, 2014, 11:26:13
Last modified by:
Cooper, Barry
Last modified:
2nd November, 2015, 14:18:10

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