Beethoven's Ninth Symphony, op. 125 displays a number of intertextualities with the String Quartet in A minor, op. 132. These connections likely result from their shared compositional history; the theme of op. 132's finale was probably originally intended as an instrumental alternative to the final movement of the symphony. The similarities indicate that the pieces share a relationship similar to other famous pairs of Beethoven's pieces, such as the Fifth and Sixth Symphonies opp. 67 and 68, while the differences point to how he justified their alternate endings. The differing narrative trajectories of op. 125 and op. 132 sheds light on Beethoven's process of writing satisfactory conclusions to multi-movement cycles, particularly providing insight into the two finales for the Quartet in B-flat, op. 130: the Grosse Fuge op. 133, or the published rondo. Further examination reveals trends in Beethoven's compositional thought as heroic style gave way to late style.
|Advisor:||Bonds, Mark Evan|
|Commitee:||Finson, Jon, Woerner, Felix|
|School:||The University of North Carolina at Chapel Hill|
|School Location:||United States -- North Carolina|
|Source:||MAI 47/06M, Masters Abstracts International|
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