SCHULZ Arthur Ness <[EMAIL PROTECTED]> wrote:Dear Erich and Howard,
You are correct. All of the Sor studies,except Op.6, were published after Beethoven's death. As Howard notes, it was probably the other way around if there is any study influenced by the Moonlight. What composer could possibly escape the influence of Beethoven. I even know an Irish fantasia by Leonardo what'is name? that has a harmonic progression very similar to the introduction to Beethoven's Second Symphony. Alas it's in that Danish collection of guitar music, and many accidentals are left out. Also in D minor/major. The guitarist/copyist probably used staff notation as a kind of "aide memoire" for what was essentially playing by ear. Even though many wrong notes were written on the page, his fingers probably went to the correct frets. I found the piece. It's "Recollections of Ireland" by Leonardo Schultz (Op.41). It's RiBs ms244c in that immense collection of guitar music at the Royal Library in Copenhagen. You can download it here: http://www.icoldwell.com/robert/music/library/denmark.html The last hjalf ofthe Introduction is one of those "misterioso" harmonic progressions, emphasizing the tonic minor (here d minor). That is, when the "theme" appears in measure 13 it is colored by the sudden appearance of the major mode (here D Major). It's a Tierce de Picardy effect. In these progressions the F sharp is withheld until it resolves when the "theme" is sounded. This procedure is found frequently in Beethoven, but earlier in Mozart as well. In the Introduction under discussion you need these corrections: B flats in m. 7, 8 and 11 F naturals in m. 10 and 11. The fingerings are wrong, a misreading by the amateur,who attempted to correct himself, but got the wrong notes when he made the correction. Surely Schultz had Beethoven inthe ears when he wrote that passage. ----- Original Message ----- From: Howard Posner Cc: Lute Net Sent: Sunday, August 07, 2005 3:46 PM Subject: [LUTE] Re: OT: Mozart for guitar Eric Crouch wrote: > 2) Someone repeated the belief commonly held among guitarists that > Beethoven wrote "Moonlight Sonata" after hearing Fernando Sor's study > in B minor for guitar. (I think it's from Sor's opus 31, but I'm not > sure because my copy hasn't got the opus no. on it.) I'd be > interested if anyone (perhaps Arthur) knows whether there is any > basis for this belief. Could the basis be that to some listeners, one bunch of arpeggios sounds pretty much like another? Do guitarists really believe this? Unless I am badly misinformed, it's obviously impossible. The Moonlight Sonata was written in 1801 (when Beethoven was 30 and Sor about 23) and published in 1802. Sor had not left Spain by then and none of his music was published before 1804. So it would be impossible for Beethoven to have written the sonata after hearing the Sor study. It is, of course, possible that Beethoven influenced Sor. Howard Posner To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- --------------------------------- How much free photo storage do you get? Store your holiday snaps for FREE with Yahoo! Photos. Get Yahoo! Photos --
