Beethoven: Symphony No. 7 in A Major, op. 92 - NEC Philharmonia

Beethoven’s Symphony No. 7 performed by NEC Philharmonia, led by Hugh Wolff, in a special Manuscript Expressive Markings edition prepared by Nicholas Kitchen. Please see below for more information about this edition.


A Note by Nicholas Kitchen about the Manuscript Expressive Markings edition of Beethoven Symphony 7, Op. 92

Using the computer to always read off of full scores, I realized soon that I could also read off of primary sources such as manuscripts or corrected copies or contrasting editions. With every composer, this is interesting, but with Beethoven I have found myself compelled to notice and show through new editions an elaborate system of expressive marking that Beethoven used in his manuscripts.

And what are the marks? A range of dynamics, a range of different staccati, two types of expressive swell pairs and various tiny but significant items like the beams connecting the stems of notes, and particular lines showing the exact continuity of a crescendo or diminuendo.

Beethoven used no fewer than 22 levels of dynamics, between fff and ppp// (the "/" is my method of representing lines that are drawn on the stems of the letter "p").

The 4 types of staccati are: dot, small line staccato, medium line staccato, large line staccato.

The two types of expressive swell pairs are: closed pairs forming a diamond; and open pairs, with one pair opening from a point, then a gap, and a separate pair closing to a point (the type we normally see).

And the meaning?

Starting with the dynamics, I believe the varied dynamics are intended to encourage various levels of emotional intensity and delineate moments of greater importance. So, when "f" is replaced by "fo" that moment has more importance and intensity. When "fo" is replaced by "for" it goes one level further, and the same for "for" to "forte". I don't think any of them is exactly louder, though the extra intensity might make it seem louder.

Then "ppmo" and "ffmo" are a pair of opposites indicating the highest level of both emotional intensity and importance. "ffmo" is used frequently and thrillingly in the 7th symphony. There is a moment you can notice even without the score that is a fantastic use of "ppp//". In the third movement, there is the rambunctious main section "Presto" and then the swaying flavor of the contrasting trio "assai meno presto". It goes back to the rambunctious music and then back to the swaying music. And the moment when it hangs in suspense before the return to rambunctiousness? -- "ppp//"!

As for the staccati, I think the varied lengths encourage various levels of intensity in the bite of the attack. Dot might be like the syllable "ta", small line staccato like "tta"; medium line staccato like 'Tta" and long line staccato "TTa. Various lengths and levels of detachment can result from the marks and sometimes the strongest staccato may be in the softest dynamic or the lightest one in the loudest. Many will look at the variety of staccati and evaluate them responding to some of the spectacular messiness that can occur in Beethoven manuscripts. Quite reasonably, they say, "surely these different lengths are accidents!". I might agree, were it not that in manuscript after manuscirpt - thousands and thousands of times, when Beethoven marks portato - the marking that combines dots under a slur - he marks the dots with exquisite accuracy, often right next to long, medium or small line staccato.

The expressive swells seem to ask for a surge of expression that likely will also affect the volume. These expressive swells do very well to be read as stretching the time at their widest point, and I think it matters to Beethoven whether they are a closed diamond or and open pair in the same way it would matter to him whether a certain idea was unified under one slur, or separated into two slurs. In the majority of cases he uses closed diamond swell pairs and uses the separate pairs for special cases.

Because these expressive marks are so vividly marked in the manuscript, I choose to make this edition being as faithful as I can to the manuscript. I made a similar edition of Op. 127, available on the website of the Center for Beethoven Research at Boston University. I am aware genuine changes were made after the manuscript stage, and for this reason I suggest the performer consult a carefully prepared urtext edition in combination with this manuscript edition. Noting the transformation of ideas is truly illuminating.

Overall, Beethoven was a composer who strenuously avoided unnecessary writing out. At the first hint of something repeating, he will mark "come sopra" = "as above". Some will say these marks I am so interested in are random and have no meaning. But I ask, why would someone with such an aversion to making unnecessary marks make the same - and I do mean exactly the same - extraneous marks in his scores for 25 years?

Nicholas Kitchen January 2020