MUSICAL COMPOSITION

42 MUSICAL COMPOSITIONAll the other countless modifications and transformationswhich this theme went through before it emergedfrom the chrysalis are to be found in the sketch booksof Beethoven (edited by Nottebohm),l a collection whichought to be on the study table of every composer.Fortunately for the student, Beethoven wrote downall the processes of his thoughts and the working outof them on paper, and, still more fortunately, they havebeen to a great extent preserved. The sketch booksare of a value as inestimable to a composer as AlbertDUrer's sketches are to a painter. They give the sameclue to his method of working as the unfinished cornerof Rembrandt's portrait of Burgomaster Six gives tothat artist's technique. It is not necessary to be aGerman scholar to follow the main points of thisunique collection or the direction of Beethoven'sstudies, although a fair knowledge of the language willenable the student to get many an illuminating hintfrom Nottebohm's comments. Two examples of theway in which Beethoven worked upon and improvedhis melodies may be given. They are from the firstand last movements of the well-known Sonata in Fmajor (Op. 24) for pianoforte and violin.The Sketch.FIRST MOVEMENT.I Belllhoteniana and Zweite Beeth01Jeniana, von Gustav Nottebohm.LeiplIil: J. Reiter-Biedermann. 1887.