Beethoven and tonal prototypes : an inherited and developing relationship

Abstract: English: The idea that the most original, individual and organicist composer of all time used some pre-composed materials and formulae might strike some Beethoven admirers as an abomination. Yet, recent scholarly works have evinced the presence of those materials in some of Beethoven’s most revered masterworks, including those of his last creative period. Galant schemata, contrapuntal techniques, certain thoroughbass procedures, partimento patterns and Satzmodelle appear in the music of Beethoven as they do in the music of any other composer educated in the 18th-century system of training. A general term covering all of these constructs does not yet exist, so I suggest using "tonal prototype". By "tonal prototype" I designate a set of pre-composed materials shared by composers through different generations, handed down by means of imitation and teaching. They are conceptually distinct from topics, even though they may occasionally overlap; they are also more precise and more general. The main venue of transmission occurred through imitation of works that gained the status of "exemplars" and through the practice of specifically designed exercises such as partimenti and solfeggi. A mere quest for these patterns in Beethoven's music makes little sense unless one asks some questions regarding their presence, such as: What is the connection between Beethoven’s studies in thoroughbass and his practice of extemporization? Does Beethoven’s usage of particular patterns correlate with certain genres? Did Beethoven use them throughout his career, or only in certain periods? What is the relationship between schemata and topics in Beethoven’s music?