[SMT-PAIG] Greetings / upcoming PAIG meeting at AMS/SMT (presentation by William Rothstein, with discussion to follow)

[Edward Michael Klorman, Prof]

Dear all,

I hope your semesters are off to a great start! I’m writing to share some additional information about our meeting at the upcoming  AMS/SMT conference:

Friday, November 2
12:30–2:00
Location: Crocket CD

The meeting will take the form of a 45-minute presentation by William Rothstein entitled “Since Schnabel: Pondering Hypermeter in Beethoven’s Piano Sonatas” (see abstract below), followed by an extended analytical discussion for the remainder of our time.

For those who wish to “ponder hypermeter” a bit in advance, Prof. Rothstein has generously prepared some study materials focusing on the first movement of Beethoven’s Sonata in E-Flat Major, op. 31, no. 3. Those materials may be downloaded here:

https://bit.ly/2P6T3eT

We wish to emphasize that everyone is welcome at the meeting and discussion, regardless of whether they have perused the preparatory materials. A handout will be available for the talk, and it will be possible to follow without having done any preparation.

But PAIG members are a curious bunch, so you may find some interesting food for thought in the materials Prof. Rothstein has prepared. If you do download the file, please don’t be intimidated by its length. See p. 2 of the file for a single recommended (but optional!) analytical task to help prepare for the session. The rest of the material is only for those who wish to pursue the topic more deeply.

I hope you’ll feel free to use the PAIG listserv as a place to share your thoughts, too, either before or after the meeting in San Antonio! Looking forward to seeing many of you in a few weeks!

Best wishes,

Ed
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Edward Klorman
Assistant Professor
Area Chair, Music Theory
Schulich School of Music
McGill University

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“Since Schnabel: Pondering Hypermeter in Beethoven’s Piano Sonatas”

William Rothstein (The Graduate Center and Queens College, CUNY)

Abstract:

According to his pupil Konrad Wolff, Schnabel said that when he began to play a passage, he needed to know how far away the end was. Hence the “metrical periods,” as he called them, that he marked in his edition of Beethoven’s piano sonatas, first published in the 1920s. Unfortunately, he never defined very clearly what a “metrical period” is.

Many performing musicians have felt a need similar to Schnabel’s: how to feel, or count, Beethoven’s rhythms of medium size (3–16 measures). The terms “meter,” “metrical period,” and “hypermeter” have been used by many, but the same term often conceals different meanings, as John Paul Ito has rightly pointed out. In this talk, I consider the views of several writers since Schnabel, from Tovey to Temperley to Ito. Excerpts from most or all of the following Beethoven movements will be discussed: op. 28, i; op. 31/3, i; and op. 90, i.
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