As far as I can tell from the literature, Beethoven rarely spoke about the technical issues of composition (harmony, counterpoint, orchestration and so on ...).
Reading Alfred Mann, The Study of Fugue, Norton, New York 1965, p. 214, I came across this (from Beethoven's notes on the course of counterpoint studies he followed with Albrechtsberger):
"Albrechtsberger told me today that there are some works by the old master Froberger in which the use of the fourth, even that occurring by inversion of the triad, is completely avoided [...]."
I can't tell you if Beethoven ever took this advice to heart, but I will certainly be looking out for any examples of it. Maybe in the Missa?
Reading Alfred Mann, The Study of Fugue, Norton, New York 1965, p. 214, I came across this (from Beethoven's notes on the course of counterpoint studies he followed with Albrechtsberger):
"Albrechtsberger told me today that there are some works by the old master Froberger in which the use of the fourth, even that occurring by inversion of the triad, is completely avoided [...]."
I can't tell you if Beethoven ever took this advice to heart, but I will certainly be looking out for any examples of it. Maybe in the Missa?
Comment