Arthur Ness wrote: >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.
All that is very good information, but at the same time, it is a misrepresentation. This information was first published on line in 1997 here: http://www.orphee.com/irish.htm A full discussion of the pro and cons of the fingering issues here was also published here: http://www.orphee.com/sten.HTM At the time, Arthur Ness expressed a few critical ideas about this on line edition in the RMCG new group. Obviously he knew about this edition first hand and for him to pretend today that he just found out the R&BS availability of the J.G. Holm abschrift, without acknowledging the real source of his knowledge on this subject, me, is not exactly copacetic. As for the availability of this music in Copenhagen, of course I know all about that. I published the complete catalogue of that collection, compiled by its curator Jytte Torpp Larson and edited by Peter Danner who needs no introduction here, already in 1989. One thing always baffled me and that is Arthur's reference to Schulz as a "Leonardo". Not the first time, BTW. On the various occasions I asked him to back up his reference with some documental evidence, I did not get a satisfactory answer. Leonhard Schulz was Austrian, born in Vienna, was a protege of Moscheles and in all the available early 19th century sources he is always referred to as Leonhard. If Arthur knows something I do not, I would certainly appreciate the information. Matanya Ophee Editions Orphe'e, Inc., 1240 Clubview Blvd. N. Columbus, OH 43235-1226 Phone: 614-846-9517 Fax: 614-846-9794 mailto:[EMAIL PROTECTED] http://www.orphee.com http://www.livejournal.com/users/matanya/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
