Beethoven and the Double Bar

Verfasser / Komponist: Cooper, Barry
Medientyp: E-Article
veröffentlicht: Oxford University Press
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finc.format ElectronicArticle
finc.mega_collection sid-55-col-jstormusic
sid-55-col-jstoras3
JSTOR Music Archive
JSTOR Arts & Sciences III Archive
finc.id ai-55-aHR0cHM6Ly93d3cuanN0b3Iub3JnL3N0YWJsZS8zMDE2Mjg2Nw
finc.source_id 55
ris.type EJOUR
rft.atitle Beethoven and the Double Bar
rft.epage 483
rft.genre article
rft.issn 0027-4224
1477-4631
rft.issue 3
rft.jtitle Music & Letters
rft.tpages 25
rft.pages 458-483
rft.pub Oxford University Press
rft.date 2007-08-01
x.date 2007-08-01T00:00:00Z
rft.spage 458
rft.volume 88
abstract <p>The design and location of double bars in Beethoven's autograph scores is very different from what one might deduce from recent scholarly editions of his music, which normally disregard this feature of his notation. The study of double bars has in fact been generally neglected in musicology as a whole, yet the signs present several problems. These are particularly acute in Beethoven's music, especially in works that consist of movements or sections not wholly independent of each other. A survey of a large number of his autograph scores reveals that his use of double bars is very complex but largely systematic, and has significant implications for how he envisaged the boundaries between sections of his works. These implications offer fresh clues to the most appropriate interpretation in performance at relevant points. Beethoven's double bars also provide startling evidence that the Third Piano Concerto was composed mainly in 1800 rather than 1803, and that the Violin Romance Op. 50 was originally the slow movement of a concerto-most likely WoO 5.</p>
authors Cooper Barry
languages eng
url https://www.jstor.org/stable/30162867
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