Page 15 - Beethoven, Ludwig van. Simfonija v F-duru, opus 68: »ljubljanski prepis« - Symphony in F major, opus 68: ‘Ljubljana transcript’. Uredil/Edited by Jonatan Vinkler. Koper, Ljubljana: Akademija za glasbo Univerze v Ljubljani, Narodna in univerzitetna knjižnica, Založba Univerze na Primorskem, 2019.
P. 15
ns in a way that they challenge scientific discussion in the direction in verum, the contribution of entire editorial and other work by the press 13
which further questions and answers are possible, certainly in a manner qualifies in both the remaining ground categories - pulchrum and unum
befitting every science. In examining this particular manuscript (due to – since all the elements of the joint edition project were added precise- prologue
its age, uniqueness and rarity, as well as its symbolic meaning), a scientist ly what cross-connects the individual elements among one another in a
may wish or even need to apply forensic methods. For the field of musi- single, undivided and inter-connected entirety – in unum.
cology, using a non-invasive research method, in this case, would indeed
make sense, as known by historiography in colour and chemical analy- The connecting element – unum – is deliberately present in the edi-
sis of inks in manuscripts, or by art history in the analysis of the layers tion at hand, and consciously firmly in foreground. In mind here are not
at the formation of paintings. Similarly, in the field of musicological re- the three directly collaborating renowned institutions (UL AG, NUK,
search, for example, precisely in the case of all three manuscript scores and UP) who connected as partners work- and idea-wise in this scientif-
of the ‘Pastoral’ – Beethoven’s autograph and the first (Bonn) and sec- ic and critical edition of the manuscript source of Beethoven’s Sympho-
ond authorised transcript (Ljubljana) – one could obtain genealogical- ny op. 68. Present in the edition – aside from the mentioned – is also a
ly undisputable information on what and in what sequence Beethoven considerably wider and important connecting aspect in musical-histor-
actually wrote with a red pencil, and, therefore, what he meant. Namely, ical, musicological, interpretative, and receptive dimensions, formed by
even small particles of paint residues, also when severely damaged over persons of different epochs, nations, and convictions. At the end of the
the time of two centuries, suffice for such research. This is exactly the 18th century, the main model for this were individuals from Enlighten-
kind of wider discussion that will also be enabled, along with a smaller ment circles who gathered around the famous patron Žiga Zois ( Japelj,
number of print copies, by publication online (website of the Universi- Kumerdej, Linhart, Vodnik, Kopitar et al.) and triggered a new chap-
ty of Primorska Press, Digital Library of Slovenia – dLib) where the edi- ter in the cultural life of Ljubljana. Their influence could still be per-
tion of this ‘Ljubljana’ copy of Beethoven’s Sixth Symphony will also ceived decades later. The same wind also filled the sails of the Philhar-
be internationally accessible to everyone under the usual Creative Com- monic Society. In 1794, it sprang from its famous predecessor by the
mons 4.0 license terms. Providing such availability is rightfully owed to name Academia Phil-Harmonicorum Labaci from 1701. The Philhar-
the symphony which represents, along with the Fifth Symphony, op. 67, monic Society strongly identified itself with it the whole time. Academia
composed at the same time, and other works by Beethoven, not only a Phil-Harmonicorum Labaci formed on the wings of the latest beats of
turning point in the composer’s creative evolution, but also a powerful the Platonic Academy’s humanistic ideals from the times of the Renais-
encouragement in the emergence of a new style in world music, slough- sance and early Baroque. Specifically, it sprang from an exuberant cul-
ing from classical into the Romantic period. tural and intellectual prime that triggered itself with exceptional enthu-
siasm in the entire territory of central Europe at the first favourable time
A considerable contribution in preparing print and online editions, – a decade following the battle of Kahlenberg near Vienna (1683), when
as well as all editorial, design and typography work, was generously giv- it was also evident in Ljubljana that the century-old bloody Turkish des-
en by the new but reputable University of Primorska Press, the only uni- olations were more permanently eliminated. Especially Slovenian lands,
versity press in the Republic of Slovenia, with which the Academy of until then for centuries a victim, but at the same time a rampart for all
Music has been traditionally and successfully collaborating. If the do- of central Europe against Ottoman incursions of conquest, became re-
nated scans from the National and University Library, and five scientif- vived anew in a mere decade. The flourishing academies were only one
ic articles range in the category of transcendent properties bonum and of the expressions of the newly awakened land, also its cultural life. In
which further questions and answers are possible, certainly in a manner qualifies in both the remaining ground categories - pulchrum and unum
befitting every science. In examining this particular manuscript (due to – since all the elements of the joint edition project were added precise- prologue
its age, uniqueness and rarity, as well as its symbolic meaning), a scientist ly what cross-connects the individual elements among one another in a
may wish or even need to apply forensic methods. For the field of musi- single, undivided and inter-connected entirety – in unum.
cology, using a non-invasive research method, in this case, would indeed
make sense, as known by historiography in colour and chemical analy- The connecting element – unum – is deliberately present in the edi-
sis of inks in manuscripts, or by art history in the analysis of the layers tion at hand, and consciously firmly in foreground. In mind here are not
at the formation of paintings. Similarly, in the field of musicological re- the three directly collaborating renowned institutions (UL AG, NUK,
search, for example, precisely in the case of all three manuscript scores and UP) who connected as partners work- and idea-wise in this scientif-
of the ‘Pastoral’ – Beethoven’s autograph and the first (Bonn) and sec- ic and critical edition of the manuscript source of Beethoven’s Sympho-
ond authorised transcript (Ljubljana) – one could obtain genealogical- ny op. 68. Present in the edition – aside from the mentioned – is also a
ly undisputable information on what and in what sequence Beethoven considerably wider and important connecting aspect in musical-histor-
actually wrote with a red pencil, and, therefore, what he meant. Namely, ical, musicological, interpretative, and receptive dimensions, formed by
even small particles of paint residues, also when severely damaged over persons of different epochs, nations, and convictions. At the end of the
the time of two centuries, suffice for such research. This is exactly the 18th century, the main model for this were individuals from Enlighten-
kind of wider discussion that will also be enabled, along with a smaller ment circles who gathered around the famous patron Žiga Zois ( Japelj,
number of print copies, by publication online (website of the Universi- Kumerdej, Linhart, Vodnik, Kopitar et al.) and triggered a new chap-
ty of Primorska Press, Digital Library of Slovenia – dLib) where the edi- ter in the cultural life of Ljubljana. Their influence could still be per-
tion of this ‘Ljubljana’ copy of Beethoven’s Sixth Symphony will also ceived decades later. The same wind also filled the sails of the Philhar-
be internationally accessible to everyone under the usual Creative Com- monic Society. In 1794, it sprang from its famous predecessor by the
mons 4.0 license terms. Providing such availability is rightfully owed to name Academia Phil-Harmonicorum Labaci from 1701. The Philhar-
the symphony which represents, along with the Fifth Symphony, op. 67, monic Society strongly identified itself with it the whole time. Academia
composed at the same time, and other works by Beethoven, not only a Phil-Harmonicorum Labaci formed on the wings of the latest beats of
turning point in the composer’s creative evolution, but also a powerful the Platonic Academy’s humanistic ideals from the times of the Renais-
encouragement in the emergence of a new style in world music, slough- sance and early Baroque. Specifically, it sprang from an exuberant cul-
ing from classical into the Romantic period. tural and intellectual prime that triggered itself with exceptional enthu-
siasm in the entire territory of central Europe at the first favourable time
A considerable contribution in preparing print and online editions, – a decade following the battle of Kahlenberg near Vienna (1683), when
as well as all editorial, design and typography work, was generously giv- it was also evident in Ljubljana that the century-old bloody Turkish des-
en by the new but reputable University of Primorska Press, the only uni- olations were more permanently eliminated. Especially Slovenian lands,
versity press in the Republic of Slovenia, with which the Academy of until then for centuries a victim, but at the same time a rampart for all
Music has been traditionally and successfully collaborating. If the do- of central Europe against Ottoman incursions of conquest, became re-
nated scans from the National and University Library, and five scientif- vived anew in a mere decade. The flourishing academies were only one
ic articles range in the category of transcendent properties bonum and of the expressions of the newly awakened land, also its cultural life. In
