A COMPARISON OF BEETHOVEN‟S AND SCHUBERT‟S COMPOSITIONAL PROCESSES
Kyle Vanderburg Beethoven & Schubert - MUSC 5970 November 22, 2011
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Introduction Franz Schubert and Ludwig van Beethoven are composers that are often compared and contrasted in a number of ways due to their proximity to each other in the early nineteenth century. In addition to style and focus, one such contrast is in the area of compositional process, with Beethoven producing a large number of drafts and sketches, and Schubert seemingly writing as quickly as possible without revision. While there is certainly no single correct way to write music, the process by which composers compose has great influence on their musical output. Perhaps the key to the differences between Beethoven‟s and Schubert‟s music can be partially explained by examining their composition processes. Once these processes are determined and analyzed, it may be possible to use this information in teaching composition. Beethoven’s Compositional Process The individual compositional process is a procedure that has as many iterations as it has composers who compose.1 Of the composers with whom we are generally familiar, Ludwig van Beethoven‟s method of composition stands out as being very methodical and structured. His extensive use of sketches, sketchbooks, and drafts are starkly contrasted with other significant composers of his time such as Joseph Haydn, Wolfgang Amadeus Mozart, and Franz Schubert. These three composers are usually regarded as extremely prolific, seemingly writing entire works from beginning to end, without drafts, and moving on to the next. Beethoven‟s process, however, is significantly different and prolonged. The immediate first difference in Beethoven‟s process is his extensive use of sketches. Much of this information comes to us from Gustav Nottebohm, who was the first to write extensively on In-depth studies of compositional processes in general may be found in Stan Bennett, "The Process of Musical Creation: Interviews with Eight Composers," Journal of Research in Music Education 24, No. 1 (Spring, 1976); Mary A. Kennedy, "Listening to the Music: Compositional Processes of High School Composers," Journal of Research in Music Education 50, No. 2 (Summer, 2002), and Milton Babbitt, Pierre Boulez, Harrison Birtwistle, Brian Ferneyhough, Steve Reich, Franco Donatoni, Louis Andriessen, and Gyorgy Ligeti “Brave New Worlds: Leading composers offer their anniversary predictions and speculations…,” The Musical Times 135, no. 18 (Jun., 1994). 1
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the Beethoven sketches. Unfortunately, recent scholarship has cast doubt on the completeness of Nottebohm‟s writing.2 Of the sketches Nottebohm addressed, approximately 50 sketchbooks and about 350 other groupings of papers exist today.3 Many of these drafts come from the five-year period between 1798 and 1803, during which time Beethoven began composing in significant genres.4 While there are no intact sketchbooks prior to 1798, other sketches and portions of sketches date back to Beethoven‟s time in Bonn in 1790 and earlier. The inclusion of the Bonn sketches show that Beethoven sketched continually, and with the move from Bonn to Vienna in 1792 he brought some of these sketches with him. While in Vienna, he continued to sketch on individual sheets, switching to sketchbooks in 1798. The early loose sketches were placed in a large portfolio for storage and occasional consultation.5 Beethoven‟s change from loose drafts to sketchbooks enabled him to “sketch more systematically and extensively.”6 It was during this change that Beethoven seems to start becoming more self-conscious about his attempts at composing, especially regarding those larger works, and slightly altered his routine. Beethoven‟s earlier sketches, those from Bonn, are significantly neater and organized than the later notes from Vienna. They seem less like working notes and more like preserved reminders. Uncompleted works are found in these sketches, such as several contredanses, allemandes, and variations on a theme by count Waldstein for piano, four hands. With the exception of these few pieces, most of the Bonn sketches are short, undeveloped sections of works.7 It is not
Joseph Kerman, "Beethoven‟s Early Sketches," The Musical Quarterly 56, No. 4 (Oct., 1970): 515. Ibid., 516. 4 Works composed during this time include Beethoven‟s first six string quartets (Op. 18) and his first three symphonies (Opp. 21, 36, and 55). 5 Kerman, 516. 6 Ibid., 522. 7 Ibid. 2 3
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until the Eroica Symphony that we see longer drafts such as continuity drafts. After this symphony, these drafts become more common.8 Analyses of these sketches show Beethoven‟s compositional process was surprisingly consistent. The method by which Beethoven composed in Bonn was continued in Vienna. This process, as demonstrated through various pieces, is a linear five-step model shown in figure 1.9
Preliminary Sketch
Complete Outline
Development
Continuity Drafts
Autographs
Figure 1
The work begins as a preliminary sketch, being created out of a motivic idea or, in the case of the Waldstein sonata, keyboard exercises.10 After this initial compositional kernel was established, Beethoven mapped an overall outline of the entire work, followed by a variety of development on the motivic ideas. This is followed by a series of continuity drafts, which allowed the composer to see how well the parts fit together. Finally, Beethoven would produce a finished autograph of the work.11 Schubert’s Compositional Process This method is quite different from the procedure employed by Beethoven‟s contemporary, Franz Schubert. Schubert falls into the category of composers mentioned earlier, a collection of prolific composers who appear to work without drafts, having us think that writing music was easy for them. This view of these composers, especially Schubert, has us believe that they were prodigies, that they possessed genius. An early 20th-century article says of Schubert “As a matter of fact, he had Kerman addresses the issue of continuity drafts and their use further in Joseph Kerman, "Beethoven‟s Early Sketches," The Musical Quarterly 56, No. 4 (Oct., 1970): 529. 9 Barry Cooper, “The Evolution of the First Movement of Beethoven's 'Waldstein' Sonata,” Music & Letters 58, No. 2 (Apr., 1977): 171. 10 Ibid. 11 This process is outlined in great detail regarding the Waldstein Sonata in Barry Cooper, “The Evolution of the First Movement of Beethoven's 'Waldstein' Sonata,” Music & Letters 58, No. 2 (Apr., 1977): 171. 8
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no methods. He was entirely a creature of impulse, though that impulse was, without exception, of the highest and noblest kind.”12 However, like we have seen with Nottebohm‟s involvement with the Beethoven sketches, years of history have painted a picture of Schubert‟s compositional process (or lack thereof) that is not quite true. The majority of this idea comes from George Grove‟s appendix to the earliest Schubert biography where he “declared that the autographs of the symphonies were indeed neat, without corrections, and fully dated and signed.”13 In hindsight this was untrue, as nearly 3800 corrected mistakes were later found in Schubert manuscripts.14 Recent research by John Reed paints a different picture. Reed‟s comparison of drafts of the “Sketch” symphony of 1821 and drafts of the “Great” symphony clearly indicates a traceable working process, though not one that is as clearly marked as Beethoven‟s. Further analysis into corrections made on Schubert‟s autograph material indicates that many of the mistakes in Schubert‟s drafts and autographs were due to inattention, such as differences in transposition and clefs. This seems to indicate that Schubert was copying the material from another source such as an earlier manuscript, which was then discarded.15 In analyzing the autograph scores of Schubert‟s symphonies, a compositional process can be discerned. First, Schubert would create a sketched piano score, then map the melody-carrying lines to the full orchestral score. He would then fill in the other parts, working one page at a time, using different shades of ink for the melody and other voices. This use of different colors of ink and the pace of one page at a time provides evidence for Schubert‟s workflow. Through this process,
L. Michael Griffel, "A reappraisal of Schubert‟s Methods of Composition," The Musical Quarterly 63, No. 2 (Apr., 1977): 187. 13 Ibid., 187. 14 Ibid. 15 Ibid., 190. 12
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Schubert would recopy the messiest pages and discard the originals, meaning that the cleanest pages in his manuscripts were the ones that caused the most trouble.16 Once finished with copying a score, Schubert would create a title page and then discard the originals and sketches. This was the custom among composers (except Beethoven). Schubert‟s process is hinted at in many of his symphonic manuscripts, but perhaps it is the most apparent in the “Unfinished” symphony. Smaller handwriting, different shades of ink, mistakes in transposition, and a variety of other small mistakes suggest that Schubert was working from an earlier draft. From this description of Schubert‟s compositional process, we see a linear four-step procedure, as is diagrammed in Figure 2.17 Piano Sketch
Mapped Melody
Mapped Supporting Parts
Autograph
Figure 2
Comparison of Processes Comparing the compositional processes of Beethoven and Schubert show a few similarities. Both composers had a set method of composition, which is unsurprising.18 Both used drafts, though Beethoven kept his and Schubert did not. Both composers started with a piano sketch, which was then orchestrated into a larger work. More telling, however, are their differences. Beethoven‟s five-step workflow seems to be less streamlined than Schubert‟s four-step process. This makes sense considering the perceived creative process of each composer, Beethoven with his methodical slow plodding, Schubert with his carefree prolificacy. The largest difference between the two workflows regards form. Beethoven‟s five-step workflow includes two steps
Griffel, "A reappraisal of Schubert‟s Methods of Composition," 190. This method was diagrammed using information from L. Michael Griffel, "A reappraisal of Schubert‟s Methods of Composition," The Musical Quarterly 63, No. 2 (Apr., 1977): 186-210; and John Reed, "How the „Great‟ C Major Was Written" in Music & Letters 56, No. 1 (Jan., 1975): 18-25. 18 Music education research and interviews with composers indicate that the majority of composers have a set composing routine. For more information regarding this subject, consult the materials mentioned in footnote 1. 16 17
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dedicated to unity of form (namely, the “complete outline” and “continuity drafts” steps), while Schubert‟s workflow has no mention of unity. It is instead assumed that Schubert addressed any major questions regarding formal unity in the initial piano sketch stage, and used the bulk of his compositional process for orchestration. Or perhaps Schubert was more focused on melodic rather than harmonic motion, which would free him from concentrating on form and allow him to primarily work with melody-driven development. Beethoven, however, takes the opposite approach, taking meticulous care to see that his forms are unified, as seen by his “continuity drafts” and “complete outline” stages. While formal unity seems to be missing from Schubert‟s process, Beethoven‟s process is missing orchestration. Beethoven‟s process of orchestration is similar to Schubert‟s process of formal unity. Both composers come to these tasks with a sense of intuition.19 Beethoven‟s approach to orchestration and Schubert‟s approach to form seem to be holistic in nature. Influence of Compositional Process on Music Both Beethoven and Schubert‟s music show direct and indirect links to their compositional processes. As an overall example, Schubert‟s generally melodically-driven music resembles his streamlined workflow, while Beethoven‟s choppy workflow matches his motive-driven work which often involves the sparring of opposing forces. This is not to say that Schubert‟s works are betterconstructed or that Beethoven‟s works are segmented. Rather, each composer‟s workflow accents the individual composer‟s mindset and attitude. In this way, both workflows are an outgrowth of the individual composer‟s preferences. Beethoven was influenced significantly through and by struggle, and his music emulates that struggle through primarily motivic means. The process by which Beethoven achieves this is similarly marked by struggle (especially when Beethoven‟s process is compared to Schubert‟s). This intuition may be due to each composer‟s other works. Schubert‟s extensive experience with lieder may have honed his lyricism, while Beethoven‟s work with large forms may have sharpened his orchestration skills. 19
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In contrast, Schubert‟s lyricism is drastically different from Beethoven‟s confrontational style. In Schubert‟s music we often find unassuming, non-heroic, but perfectly fine melodies that may show struggle, but not the sort of struggle on the level of Beethoven‟s music. The majority of Schubert‟s early works are non-confrontational and unassuming, similar to Schubert‟s own personality. This is indicated by the composer‟s workflow, which focuses on the accumulation of melodic ideas. There is a logical correlation between each composer‟s composing process and their musical output. However, it is unclear as to which way causality flows here. Is Schubert‟s music lyrical because his process is streamlined, or is it because he thought in lyrical lines? Is Beethoven‟s music dark and foreboding because of his composing routine, or is his music simply the result of his personality acting through his process? Regardless of the influence each composer‟s process had on their music, the public‟s perception of each composer‟s process is powerful. Beethoven‟s process is well-known due to his large collection of sketches, and partially due to that factor, Beethoven is viewed as a perfectionist composer who meticulously worked out ideas. On the other hand, Schubert‟s perceived workflow is quite different from his actual workflow. L. Michael Griffel writes If Schubert had left the world with symphonies in autograph scores as grubby as the score of, for instances, his Overture in D Major, D. 26, posterity would have judged him as a very hard worker and perfectionist. Similarly, if he had left absolutely clean final copies, posterity would have assumed that he had done his hard work during some previous stage or stages of the composition. Because his practices did not run to either of these extremes, posterity has misjudged and misunderstood him.20 Due to this mismatching of Schubert‟s actual and perceived composition procedures, he is frequently considered a lesser composer than Beethoven. Instead, Schubert seems to be as much of a perfectionist as Beethoven, but rather than work through a number of sketches, Schubert instead would opt to rewrite entire sections of his works, if not entire works. 20
Griffel, "A reappraisal of Schubert‟s Methods of Composition," 210.
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Applications in Composition Study The study of Beethoven and Schubert‟s compositional processes can be quite useful for the developing composer. Comparing each composer‟s aesthetic and writing procedure can inform the developing composer about his or her own music. An in-depth analysis of the student composer‟s writing process can be effective in determining whether there are steps that may be added, omitted, altered, or streamlined. A composer-conducted comparison of process and musical output can be useful in determining style and identifying any allowances that should be made. For example, the author attempted to complete such a comparison. Based on the memory of past composition workflow, the procedure outlined in Figure 3 was identified.
Initial Idea
Continuity Draft
Development
Mapped Melody
Mapped Supporting Parts
Autograph
Figure 3
The author‟s self-identified form shares attributes with both Beethoven and Schubert. The orchestration process is the same as Schubert‟s, while the initial idea and continuity draft are closerrelated to Beethoven. This produces a musical style which is somewhere between Beethoven‟s strict adherence to form and Schubert‟s lyricism.21 Such an experiment is difficult to conduct individually, as objectively judging one‟s own music is a problematic task that should be undertaken with the assistance of an instructor. The analysis of a composer‟s style and process is informative to the developing composer, but care should be taken so that the information is used in development of style, and not as trivia. Another useful compositional exercise is the act of emulation. Perhaps asking the student composer to emulate either Beethoven or Schubert‟s process will allow the student to focus on form or harmonic design, depending on which process is chosen. In addition to experimenting with
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Also note that the process is a 6-step process compared to Beethoven‟s 5-step and Schubert‟s 4-step.
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compositional technique, this exercise also informs developing composers about the writing processes of Beethoven and Schubert, which may lead to a better understanding of their music in history and theory courses. Additionally, emulation of technique may also be useful in emulation of aesthetic or style. Conclusion Despite being contemporaries, Ludwig van Beethoven and Franz Schubert were vastly different composers. This can be seen through their respective writing practices, with Schubert‟s being more streamlined and melody-centric, and Beethoven‟s being more segmented and formal. The study of Beethoven‟s and Schubert‟s compositional process may be useful in musicology, theory, and composition pedagogy. The re-evaluation of the evidence of Schubert‟s process shows a different Schubert than what history would have us believe. The investigation of both processes allow us to see a different view of both composers, especially in regards to why Beethoven and Schubert wrote music the way they did. A historically-informed mindset on each composer‟s process could be informative in theoretical analyses of musical works. Additionally, the implementation of composition-process study may be used with developing composers, either in analyzing students‟ individual processes, or by emulating the processes of the great composers.
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