Autograph sketchleaf for the Missa Solemnis containing drafts for the Sanctus and Benedictus and material for the Gloria.
Autograph ist nicht mehr verfügbar
The recto of the leaf contains a passage in piano score of modulatory material in D major, followed by a long imitative passage in D and a setting of the words, "Sanctus, sanctus, sanctus, Dominus Deus Sabaoth;" additional material may relate to a setting of "Pleni sunt coeli". The verso of the leaf continues with triple time material without text; the second half of the page is marked by Beethoven in pencil "2te Theil Benedict[us]" followed by an additional four bars or more in 12/8 time. – Provenance: The present leaf was formerly in the possession of Anton Schindler (1795-1864), noted conductor, private secretary to Beethoven and author of the earliest biography of the composer. Schindler has annotated one side of the leaf with his identification: "Skizze zum Sanctus der 2ten Messe im 3/4 Takte" (Sketch for the Sanctus of the Second Mass in 3/4 meter) and, on the other side, written "Idee zum Benedictus 2ten Messe" (Idea for the Benedictus of the Second Mass). - A few minor tears to margins. In very good condition overall. - A highly important source, unknown until recently. Not in Douglas Johnson, Alan Tyson and Robert Winter: The Beethoven Sketchbooks, Oxford, 1985 or in Kinsky-Halm. Similar in proportion to Beethoven's large desk sketchbooks (rather than his smaller pocket-books), and in particular to the sketchbook known as "Artaria 195". – According Dr. William Kindermann, one of the most highly regarded authorities on Beethoven: "This is a noteworthy source that documents the genesis of the Sanctus as well as aspects of the genesis of the Benedictus and the Gloria. This sketchleaf was used repeatedly by Beethoven, and although it contains stab holes it is also folded down the middle, indicating that the composer at one point carried it about." Kindermann: Artaria 195 Beethoven's Sketchbook for the Missa Solemnis, pp. 43-46. – "The Missa Solemnis is a monumental work in every sense, and stands beside Bach's B minor Mass as one of the two towering pinnacles in the whole history of the genre. It cost Beethoven more time and energy than any other work, with the possible exception of Fidelio, and took nearly four years from conception to completion [1819-1823]." Cooper: The Beethoven Companion, p. 255.