Beethoven’s Opus 18 String Quartets: Selected First Movements in ...

BEETHOVEN'S OPUS 18 STRING QUARTETS: SELECTED FIRST MOVEMENTS IN CONSIDERATION OF THE FORMAL THEORIES OF HEINRICH KOCH AS EXPRESSED IN VERSUCH EINER ANLEITUNG ZUR COMPOSITION Robert Tompkins, B.S.Ed.

Thesis Prepared for the Degree of MASTER OF MUSIC

UNIVERSITY OF NORTH TEXAS December 2006

APPROVED: Frank Heidlberger, Major Professor Graham Phipps, Committee Member and Director

of Graduate Studies in the College of Music John Murphy, Interim Chair of the Division of

Music Theory, History, and Ethnomusicology James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies

Tompkins, Robert, Beethoven's Opus 18 String Quartets: Selected First Movements in Consideration of the Formal Theories of Heinrich Koch as Expressed in Versuch Einer Anleitung Zur Composition. Master of Music (Music Theory), December 2006, 116 pp., 20 tables, 27 musical examples, references, 56 titles.

Heinrich Koch completed his treatise in 1793, a pioneering work regarding the musical phrase as well as a sonata form description (lacking that term). Composition of Opus 18 began in 1798, a momentous project for several reasons in Beethoven's early career. Here, the theories expressed in Koch's Versuch are taken as an analytic springboard into a thorough analysis of the first movement of the quartet published no. 3, which was the first composed; additionally, nos. 1 and 6 are explored to a lesser degree. This study in phrase-analysis demonstrates significance in the fundamental ideas of Koch as applied to a masterwork of the turn of the 19th century.

TABLE OF CONTENTS Page

LIST OF TABLES.......................................................................................................................iii LIST OF MUSICAL EXAMPLES.............................................................................................. iv Chapter

1. INTRODUCTION ................................................................................................ 1 Statement of Topic.................................................................................... 1 Musical Form, Heinrich Koch .................................................................. 3 Beethoven, Opus 18 ................................................................................ 16

2. THE VERSUCH EINER ANLEITUNG ZUR COMPOSITION: KOCH'S THEORY ON MELODY (PHRASE STRUCTURE) AND FIRST-MOVEMENT ALLEGRO FORM.............................................................................................. 21 Melody (Phrase Structure) ...................................................................... 24 Phrase-endings ........................................................................................ 25 Phrase-lengths ......................................................................................... 31 First-movement Allegro Form ................................................................ 42

3. ANALYSIS OF OPUS 18, NO. 3, MVT. I ........................................................ 52 Opus 18, No. 3, First Movement ............................................................ 56 Structure of Phrases ................................................................................ 56 Structure of Larger Form ........................................................................ 87

4. FURTHER REMARKS AND CONCLUSION ............................................... 100 Opus 18, No. 1, Mvt. I .......................................................................... 100 Opus 18, No. 6, Mvt. I .......................................................................... 106 Conclusion ............................................................................................ 109

BIBLIOGRAPHY..................................................................................................................... 113

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LIST OF TABLES Page

1. Koch's Phrase-Endings................................................................................................... 26 2. Terms Related to Phrase-Types in Regard to Endings ................................................... 28 3. Terms Related to Modification of the Caesura ............................................................... 31 4. Koch's Phrase-Types ...................................................................................................... 32 5. Plan for "The First Allegro of the Symphony"............................................................... 45 6. Summary of Plan for Allegro's First Period, as per Versuch ......................................... 47 7. Overall Structure of Phrase a2......................................................................................... 62 8. Phrase Construction of Phrase a2.................................................................................... 81 9. Phrase Construction of Phrase a5.................................................................................... 81 10. Opus 18, No. 3, Mvt I, Phrase Construction................................................................... 86 11. Larger Structure: Op. 18, No. 3, Mvt. I, 269 Bars .......................................................... 87 12. Koch's Plan for First Main Period - Modified................................................................ 90 13. Phrase a (minus anacrusis).............................................................................................. 96 14. Phrase a2 (minus anacrusis) ............................................................................................ 96 15. Phrase c ........................................................................................................................... 97 16. Phrase h........................................................................................................................... 97 17. Op. 18, No. 1, Mvt I (F Major), Phrase Construction................................................... 101 18. Op. 18, No. 3, Mvt. I, mm. 129-151 ............................................................................. 104 19. Larger Structure: Op. 18, No. 1, Mvt. I, 313 bars......................................................... 105 20. Opus 18, No. 6, Mvt I (Bb Major), Phrase Construction.............................................. 107

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LIST OF MUSICAL EXAMPLES Page

1. Koch examples 115a-b from the Versuch....................................................................... 27 2. Op. 18, no. 3, mm. 1-10 (score) ...................................................................................... 57 3. Op. 18, no. 3, mm. 11-27 (reduction) ............................................................................. 59 4. Op. 18, no. 3, mm. 27-31 (reduction) ............................................................................. 62 5. Op. 18, no. 3, mm. 36-39 (reduction) ............................................................................. 63 6. Op. 18, no. 3, mm. 40-45 (reduction) ............................................................................. 64 7. Op. 18, no. 3, mm. 45-51 (reduction) ............................................................................. 64 8. Op. 18, no. 3, mm. 51-57 (reduction) ............................................................................. 65 9. Op. 18, no. 3, mm. 58-68 (reduction) ............................................................................. 66 10. Op. 18, no. 3, mm. 68-75 (score) .................................................................................... 69 11. Op. 18, no. 3, mm. 76-90 (reduction) ............................................................................. 70 12. Plausible 4- & 8-measure configurations for mm. 76-81 ............................................... 71 13. Op. 18, no. 3, mm. 90-104 (reduction) ........................................................................... 72 14. Op. 18, no. 3, mm. 104-108 (reduction) ......................................................................... 74 15. Op. 18, no. 3, mm. 108-122 (reduction) ......................................................................... 74 16. Op. 18, no. 3, mm. 123-126 (reduction) ......................................................................... 75 17. Op. 18, no. 3, mm. 127-134 (score) ................................................................................ 76 18. Op. 18, no. 3, mm. 134-142 (reduction) ......................................................................... 76 19. Op. 18, no. 3, mm. 142-150 (reduction) ......................................................................... 77 20. Op. 18, no. 3, mm. 150-157 (reduction) ......................................................................... 78 21. Op. 18, no. 3, mm. 158-167 (reduction) ......................................................................... 79

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