Page:A Dictionary of Music and Musicians vol 3.djvu/542

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530

SKETCHES.

The Key is afterwards changed, and the idea assumes a familiar form—

${ << \new Staff \relative c'' { \key f \major \time 3/4 \override Score.TimeSignature #'stencil = ##f \partial 4 \override Score.Rest #'style = #'classical \override Score.BarNumber #'break-visibility = #'#(#f #f #f) c8. d16 | c4 bes a8. bes16 | a4 g f8. fis16 | g4. a8 bes g | f!4 e c'8. d16 | %end line 1 c4 bes a8. bes16 | a4 g f8. g16 | a4. c8 bes g | f4 r a8. b16 %eol2 c2 a16 g a b | c2 a16 g a b | c bes c d e4 d | c2 des8. des16 %eol3 des8. aes16 f4 des'8. des16 | d8. a16 f4 f'8. f16 | f4. des8 c b | bes4 c c8. d16 | %end line 4 c4 bes a8. bes16 | a4 g f8. g16 | << { a4 } \\ { cis,8[ c] } >> bes' g f e | g4 f8 \bar "||" } \new Staff \with { \RemoveAllEmptyStaves } \relative a, { \override Staff.Clef #'stencil = ##f \key f \major \clef bass s4 s2. s s s | s s s s | s s s s | s s s s | s s | a8 d g, bes c c | f,[ f' f,] } >> }$

The Movement now gradually developes into the well-known Andante in F, known as Op. 35, though, as Ries tells us, originally included in the plan of the Sonata we are studying:—

${ \relative c'' { \override Score.BarNumber #'break-visibility = #'#(#f #f #f) \override Score.TimeSignature #'stencil = ##f \time 3/8 \partial 8 \key f \major c32 a c a | bes8[ g] g'16 e g e | f8[ c] c32 a c a | bes8[ g] g'16[ e g e] | f4 f8 ~ | %end line 1 f4 ees8 | des8. ees16 des ees | f4 ees8 | des4 des16 c | c b b8[ b] | c } }$

Still, this passage does not satisfy the Composer, who tries it over and over again; always, however, retaining the lovely Modulation to the key of D♭, and gradually bringing it into the form in which it was eventually printed.

We next find a suggestion for the Episode in B♭,

${ \relative f' { \key bes \major \time 3/8 \override Score.TimeSignature #'stencil = ##f \partial 8. f16 f' f | f ees d c bes a | << { g'16 f ees d c bes | c' bes a g f ees | d } \\ { g,4 s8 a4 } >> } }$

and, lastly, the germ of the Coda.

${ \relative c' { \time 3/8 \override Score.TimeSignature #'stencil = ##f \once \override Score.Clef #'stencil = ##f \partial 8 c32 a c a | f'4[ c] a'32 f a f | c'8[ a] \ottava #1 f''16 c f c | f8 c a | \ottava #0 f c a %eol 1 f c a | \clef bass f4. | ges \bar "" aes4*3/2 \bar "" ges'8 r r | << { e!8 e e | f } \\ { c, c c | f, } >> } }$

The alternation of these Sketches with those for the first and last Movements of the Sonata, coupled with the absence of all trace of a design for the intermediate Movement which now forms part of it, sufficiently corroborates Ries's assertion that the publication of the 'Andante in F,' in a separate form, was an afterthought; while the eminent fitness of this beautiful Movement for the position it was originally intended to fill, tempts us to regret that the 'Waldstein Sonata' should ever have been given to the world without it. But the whole work suffered changes of the most momentous character. The Rondo was originally sketched in Triple Time, though that idea was soon abandoned, in favour of one which, after several trials, more clearly foreshadowed the present Movement; not, however, without long-continued hesitation between a plain and a syncopated form of the principal Subject.

${ \relative c, { \time 4/4 \override Score.TimeSignature #'stencil = ##f \clef bass \tempo "Page 139." c8 r \clef treble g''''4 | e4. c8 | d4 g, | c2 | \clef bass c,,,4 \clef treble g'''' | %end line 1 e4. c8 | d4 g, | c2 | \clef bass g,,4 \clef treble f''' | e4. c8 | b4 c | d2 | %end line 2 \clef bass g,,,4 \clef treble f''' | e4. c8 | b4 c | d4. e8 | d4 e | d4. e8 | %end line 3 d4 e | d g | g g | g16\noBeam g,, b d g b a fis | %end line 4 g d' c ais b g' e cis | d b' a fis s } }$

${ \relative g'' { \override Score.TimeSignature #'stencil = ##f \override Score.Clef #'stencil = ##f \time 2/4 \tempo "Page 139." r8 g4 g8 | g4. e8 | d4 g, | c e | r8 g4 g8 | g4. e8 | d4 g, | c2 } }$

The two following Sketches for the middle section of the Movement, are chiefly remarkable for the change suggested in the second memorandum.

${ \relative e'' { \override Score.TimeSignature #'stencil = ##f \time 2/4 \key ees \major \tempo "Page 136." \partial 4 ees8 d | c g a b | c4 aes'8 g | f c d e | f4 } }$

${ \relative e'' { \override Score.TimeSignature #'stencil = ##f \time 2/4 \key ees \major \tempo "Page 141." \partial 4 ees8 d | c g a b | c c aes' g | f c d e | f f } }$

The passage of Triplets, which afterwards forms so important a feature of the Movement, is first suggested at p. 137, and its future development indicated by the word Triolen on p. 139.

${ \relative c' { \override Score.TimeSignature #'stencil = ##f \time 4/4 \tempo "Page 137." \partial 2 \override TupletNumber #'stencil = ##f \override TupletBracket.bracket-visibility = ##f \tuplet 3/4 4 { c16 e c g c g | c f c a c a c e c g c g } } }$

${ \relative e'' { \override Score.TimeSignature #'stencil = ##f \override Score.Clef #'stencil = ##f \tempo "Page 139." \time 2/4 \partial 4 e8 e_\markup \small \italic "Triolen" | \ottava #1 a8 b c d | e4 d8 d | c b c a | e4 } }$

Then follows the introduction of a new idea:—

${ \relative c { \override Score.TimeSignature #'stencil = ##f \time 3/4 \once \override Score.Clef #'stencil = ##f \clef bass \repeat tremolo 4 { <c a>16 e } \clef treble \ottava #1 e'''8 e \time 2/4 e,[ e] gis gis | a4 b16 d c b | c e d c b d c b | a4 } }$

Finally, on p. 138, we find the first rough draft of the Prestissimo with which the work concludes—or, rather, the embryo which afterwards developed itself into that fiery peroration.