How rare was it, in classical and romantic periods, for composers to notate eighth note and sixteenth note beams across measures? Are there examples from composers other than Schubert?
In two of Schubert’s works (that I know of), he has beams between eighth notes across measures.
In “Letzte Hoffnug” from Winterreise (IMSLP):
From the fourth movement of his second piano trio (IMSLP):
In both cases, it is obviously an attempt to bring out the syncopation.
I am assuming this is Schubert’s notation, because it is in various versions of these scores I’ve checked in IMSLP, but it could be that these are all publisher notations. (Presumably, at the end of the line of the Winterreise example, the notator would have preferred putting a beam on the last C flat, extending to the next measure on the next line, but had no ability to typeset a “half bar?”)
I’ve seen this done in a few 20th century pieces, but I’m honestly more of a Schubert-phile, so I haven’t seen nearly as many scores from other composers from the classical and romantic periods. Enough to know it isn’t common.
But how rare was this during these periods, before and after Schubert? Are there examples from major compositions that I just don’t know about due to my narrow score-reading?