Ludwig van Beethoven, Skizzenblatt zur Klaviersonate op. 106, 2. Satz und zu einer Chorsinfonie (op. 125 oder Unv 3), Autograph

Maybe characterize the complete symphony in this manner?

On the reverse of this sketch leaf - it was actually part of a book, as can be seen from the traces of the original binding - there are drafts for the second movement of the Hammerklavier Sonata. Yet the text on the front is more exciting: [three columns on the left:] Adagio Cantique / From[m]er Gesang/ in einer Sinfonie / in den alten Tonarten. [Middle] entweder / für sich allein / oder als Einleitung / in eine Fuge / (...) / [On the right:] vieleicht auf diese weise die / ganze 2te Sinfonie charakteri= /sirt wo alsdenn im lezten / [across the whole line:] Stücke oder schon im adagio / die Singstimmen eintreten / die orchester Violinen etc werden beym lezten Stück verzehnfacht. / Oder das adagio wird auf gewiße weise im lezten / Stücke widerholt wobey alsdann erst die Singstim[m]en / nach u nach eintreten - im adagio text / griechischer Mithos Cantique Eclesiastique / im Allegro Feyer des Bachus."

The leaf dates back to 1817/18. Beethoven had at this time already noted down first ideas for what was later the Ninth Symphony. Yet parallel to this he was planning a further one, a Tenth Symphony. The musings on the "2nd symphony" shown here point to the fact that Beethoven was undecided as to its key - except that it should possibly be an old mode (church mode). He had already chosen D minor as the key for the Ninth; he had noted down the first sketches in this key. It is therefore clear that the "2nd" can only be the unfinished Tenth Symphony. Beethoven had, however, "borrowed" this idea of writing something for chorus and soloists for his Ninth Symphony, even if he did not use a Greek myth as basis for the text. (J.R.)