Beethoven's Studies in Thorough-bass, Counterpoint and the Art of Scientific Composition

3

mm

LOUIS

VAN BEETHOVEN S

STUDIES.

(7

LOUIS

VAN BEETHOVE'NS ^

STUDIES IN THOROUGH-BASS, COUNTERPOINT AND THE ART OF SCIENTIFIC COMPOSITION, COLLECTED

FROM THE AUTOGRAPH POSTHUMOUS MANUSCRIPTS OF THE GREAT COMPOSER, AND FIRST PUBLISHED, TOGETHER WITH BIOGRAPHICAL NOTICES, BY

;*<

IGNATIUS VON SEYFRIED; TRANSLATED AND EDITED

BY

HENRY HUGH PIERSON. (EDGAR MANNSFELDT.)

/

WITH BEETHOVEN'S PORTRAIT, AND OTHER ILLUSTRATIVE PLATES.

SCHUBERTH AND COMP. LEIPSIC,

HAMBURGH AND NEW-YORK.

1853.

Mr \l

PREFACE. The

German

first

Beethoven's death

after

work, published soon

edition of this

contains

,

the following introductory

remarks by the Chevalier Ignatius von Seyfried, a friend of Beethoven and himself a musician of some eminence *) :

,

These studies of the immortal Composer are a legacy of such high value to the world of Art, that no one would venture

away from

to take

served

as

it

line to

was found among

here and there have

I

it.

have therefore pre-

form, with the utmost conscientious-

in its original

it,

ness

add a

or

his

posthumous papers; only omitted some tautological examples of

I

one and the same rule, which the zealous pupil had worked out for his own benefit the limits of the work did not allow ;

of such prolixity;

but

These studies are not

to

book of

instructions

,

B's marginal notes are retained.

all

be regarded as a complete systematic

but rather as possessing peculiar interest

and conciseness, and as being the actual course of Thorough-Bass Counterpoint etc. which Beethoven went

in their brevity

,

,

through with Albrechtsberger

,

whose

tuition

he enjoyed for

two years that he was no idle scholar will at once be perand he thus laid the foundation of that solid science ceived, which characterized his future works. It may indeed be asserted :

that

his

theoretical acquirements

were,

notwithstanding

his

evident diligence, less remarkable than might have been ex-

pected; but *)

For a

this

fair

died at Vienna,

ought rather

specimen of

to

be attributed

to the

noble

his compositions see the ,,Libera", p. 63.

He

PREFACE.

VI

audacity of his genius fetters of

,

which prompted him

to

shake

off the

pedantry and old-fashioned prohibitions. His creative

spirit carried

him

far

also enabled

him

to

beyond the prejudices of

the Past,

as

it

enlarge the boundaries of his art, and pla-

advance of the age in which he lived. I have little to add to these remarks; the genuineness of the Studies is unquestionable, and, apart from the ced him

in

collateral interest attached to f

value to

without

them

they are of great intrinsic

,

young musicians who desire

all

unnecessary

Feeling that this

English readers,

work ought

to

be rendered accessible

to

yielded to the solicitations of the Publishers,

I

and re-editing it; to the have added some interesting and authen-

and undertook the task of

new German

to get at the kernel

breaking the shell.

difficulty in

edition

I

translating

of Beethoven,

ticated anecdotes

and

this

to

volume

I

have

appended a few critical remarks upon his works together with some notices respecting his private history which further

,

appeared

to

me desiderata,

satisfactory sketches of his

Music

is

now

life

its

up blanks

filling

known

in

un-

to the public.

America, that a work its

public; twenty-five years ago

would have been confined scattered dilettanti

in the

so universally cultivated in England, and

making such rapid progress sure of

as

hitherto

to professional

is

like this is

circle of readers

musicians and a few

:

rari nantes in gurgite vasto it

is

a blessing for both these great nations that the barbarism

which depreciated and all but ignored the claims of music can no longer be made a ground of reproach to them may this ,

:

book be honoured

in

promoting

,

however

little

,

the interests

of that divinest Art!

HAMBURGH, 1853.

HENRY HUGH PIERSON.

'

CONTENTS

OF THE FIRST PART.

FIRST SECTION.

SYSTEM OF THOROUGH-BASS. Page

CHAPTER

I.

The signatures

1

CHAPTER The treatment

II.

18

of discords

CHAPTER

III.

19

Harmony

CHAPTER

IV.

The organ-point

47

CHAPTER

V. 49

Entire system of Chords

CHAPTER

VI.

52

Chords of suspension with one interval

CHAPTER The same with two

VII.

56

intervals

CHAPTER The same with three

VIII.

59

intervals

CHAPTER Chords as derived from the change

CHAPTER Chords of the 9th, Hth, and 13th

IX. 61

of hass

X. 63

CONTENTS.

VIII

*

SECOND SECTION. THEORY OF COMPOSITION. Page

CHAPTER The elements

of Composition

67

CHAPTER Definition of the

II.

word counterpoint

70

CHAPTER The

five species of

III.

simple counterpoint

CHAPTER Examples

of the

same, as written

in

IV.

two parts

CHAPTER The

first

I.

V.

species of simple three-part counterpoint

CHAPTER

91

CHAPTER

VII.

Third species of the same

95

CHAPTER

VIII.

Fourth species of the same

99

CHAPTER

IX.

same

103

CHAPTER First species of strict

of the

X.

simple four-part counterpoint

CHAPTER Second species

107

XI.

same

110

CHAPTER

XII.

A

Third species of the same

CHAPTER

113

XIII.

Fourth species of the same

119

CHAPTER Fifth species of the

89

VI.

Second species of the same

Fifth species of the

77

XIV.

same

124

CHAPTER XV. Examples

of the free style of contrapuntal composition

130

IX

CONTENTS.

THIRD SECTION.

ESSAY ON THE FUGUE. Page

CHAPTER

I.

CHAPTER

II.

CHAPTER

III.

CHAPTER

IV.

CHAPTER

V.

440

Imitation

465

The two-part fugue

172

The three-part fugue

The four-part fugue

485

214

The choral fugue Double counterpoint

in the

CHAPTER

VI.

CHAPTER

VII.

227

octave

237

Double counterpoint

in the tenth

Double counterpoint

in the twelfth

CHAPTER

2*7

CHAPTER Examples of

all

VIII.

IX-

254

three species of double counterpoint

CHAPTER X. 277

Inversion

CHAPTER

XI.

CHAPTER

XII.

The double fugue

285

The canon

303

APPENDIX. Fragments. Hints for vocal composition

344

On

315

the Recitative

Andante and Allegro

for 2 violins

and

325

cello

CONTENTS OF THE SECOND PART. Biographical notices of Beethoven

3

and anecdotes

40

Traits of character

His last will

23

Authenticated letters

25

Written dialogue

Inventory of his property

30 in

books

,

music, etc

.

32

CONTENTS.

XII

Page

Settlement of pension

Baptismal registry

The

.

36 .

.

38

.

funeral

39

Circular invitation to

42

it

Autopsy

43

Necrologue

44

Elegiac stanza

by Grillparzer Poems and epitaphs on Beethoven Beethoven's monument at Bonn

.

46 48

Remarks upon his character and works The commemoration-festival at Bonn

Hymns performed

45

50 54 56

at the funeral

Choral melody

70

Explanation of the engravings

74

Catalogue of his works

75

PLATES. Facsimile of Beethoven's handwriting.

The medals struck His

monument

honour of

in

in the

cemetery

Original sketch of the

His

monument

at

B.

at Wa'hring.

Adelaide", facsimile.

Bonn.

View

of the

house

in

which he was born.

View

of the

house

in

which he

died.

** IN

STUDIES

THOROUGH-BASS, COUNTERPOINT, AND THE ART OF SCIENTIFIC COMPOSITION.

FIRST SECTION.

SYSTEM OF THOROUGHBASS.

vm signatures; e. g. g-

Unisons.

Seconds.

Thirds.

<

<

<

FIRST SECTION.

Fifths.

<

Sixths.

<

Sevenths.

Octaves, or Eighths.

Ninths.

<

\

<

The Tenths nothing more

th;

sented by the

Fi

succession; but the sake of brevi 3

*

5

1

9

3

SYSTEM OF THOROUGHBASS.

When

the signs of Transposition

become necessary

3 to the progression

which have not been presupposed by the original key these be written as in the following examples. must signs The intervals which are included in the original key are called natural of intervals

intervals,

,

flat

,

or sharp, major or minor; they are called accidental

when

signs of transposition are required to indicate them.

A

stroke through the figure, or a sharp # at the side of

the right or the left, raises the interval half a tone higher;

* f

Is

^ 1

e. g.

it,

either

on

FIRST SECTION. In order to lower an interval a large p or

ti

1

two small

\

{^7

by a whole tone must be placed before it

F3

V

-F

^p

H

(in ;

P

the flat-keys or scales)

e. g.

I

E

SYSTEM OF THOROUGHBASS. Another received method of indicating transposition (and one which it easier to distinguish at a im|? or Jf glance) is to place the sign

renders

,

mediately before the figure;

$5

,

to

draw

if 6,

8,

,

But

$7.

e. g.

,

b* t>5 &2, fy, t)5, ^6, i}7; JJ4 Jf2 better, for the sake of avoiding the chance of mistakes,

it is

a line through the figure;

{?2,

;

e. g.

,

,

$,

2^, 4b,

6&

;

2$, k\, 5^;

,

4,

?.

This kind of stroke occurs but seldom in cases of the Octave or the

Ninth,

being then customary to prefix the $ or

it

e. g.

note;

#8, #9,

t}8, t}9;

J>8,

similarly in cases of the

to

;

{?

stf, 9JJ;

e. g.

or after the

in natura,

And

8>, ty.

or

Unison; $1, tH, fH Ijf, ity, 1J7. Double sharps, flats or naturals (resolutions of transposition) are only be found thus indicated 4n-, or, X2 6X; 2^, or H?5, 7{?[;; i}{?6 5*$;

note,

the sign of transposition stands alone, over

refers

The

;

etc.

Where it

,

,

;

8^;

1)1)3;

to

t>9

or 8#, 9J;

fundamental

the

as aforesaid, always to the Third.

,

figures are always to

be placed over the Bass-part, because nearer

it is customary to write forte & piano, mf., rfz., But sometimes, when, for example, one part is written over

them or underneath them

pp., dolce etc.

another, one for the Violoncello or in Fugues

,

where

part; the simple notes

,

the other for the Contrabasso or Organ,

the entrance of the subject

is

indicated in the Bass-

must be played, and no chords struck before the

figures occur.

When

the right

hand has an

obligate passage to execute,

it is

= = TT IT

expressed

in small notes, e. g.

m

These chords or single intervals, the figured harmony little on one side of

not stand directly over the note, but a the same

moment

be struck

at

to half or

one third of the value of that note;

E

as the bass note

,

but after

e. g.

it

,

to it,

which does are not to

in proportion

FIRST SECTION.

Every indicated harmony

is to

the middle of the next bar, until a

fl

&

'-

be retained as long as the bass -note

common chord is here to be retained new figure appears; see the example:

stands unchanged; for instance, the

to

SYSTEM OF THOROUGHBASS.

H^F

3454 1*32 P^

3

m

544 6

7i?

9

Five figures are lo be interpreted thus

:

^1

:itfc=SiSd=^^i^ 7 b> '

6

^ When two 3 parts (a

figures

minim with

,

adjacent

a dot) the

75>-

,

are placed over a bass note divisible into

harmony which stands

have two thirds of the value of that note (one minim) having but one third of the same.

/

^

^

J,

J

first

indicated

the other

is

to

harmony

FIRST SECTION.

When

there are four figures, the

two

harmonies have severally

first

the value of one entire third of the value of the bass note, thus leaving but

one

third to the other

two

figures

;

"e. g. rt-s

^

^

&=^b=i=^=J3,L

Five figures are to be subdivided as follows

an*"*"'!

;

iFf 9

8

\t1 ^

5

&z Dots placed after the figures

may be used

5*6.

^

4^

j?7 *

S

3

&

= ^==1

&=

But a horizontal stroke serves the same purpose

;

!

e. g.

-&

^ When

way:

*

IF*^? 3

in this

figures are placed over a dot, the

harmony thus

indicated

is

to

be placed before the note which follows after the dot, and the duration of the intervals is to be reckoned by the note preceding it.

:

i,,

^

n

'

-11

;*]

^|=^Hf^a !"*

I

SYSTEM OF THOROUGHBASS. The same

rule

be observed

is to

longer than quaver rests ll_

;

e. g.

in case of rests

,

i.

e.

should they be

10

FIRST SECTION.

ming the chord (and which are a horizontal line

After

two

,

three

,

called regular sequences)

but not always

,

;

H

change the chord F

1

sometimes drawn

or four figures placed over each other

meet with as many horizontal strokes cessary to

is

e. g.

;

e. g.

;

that is

,

in cases

where

we it

generally is

not ne-

SYSTEM OF THOROUGHBASS. First,

the

nished Fifth;

common harmonic

triad

ii

with the lesser Third and the dimi-

e. g.

I Secondly, certain imperfect chords, in which any one

wanting;

fl

e. g.

* ^

*

interval

is

12

FIRST SECTION.

Where

the

words unisono,

the passage in the bass -part

unis.,

is to

all'

unisono,

all'

ottava are written,

be repeated in the octave immediately

above, by the player's right hand; when the accompaniment is again to be enriched by chords they must be indicated by the proper figures e. g. ;

fcz

=]

-5-4-i

i

i

- S5

^h-

so/o, or the abbreviation T. S.

sustained without the addition of res

II

;

e. g.

=

means

harmony

that the bass note is to

until the

be

reappearance of figu-

13

SYSTEM OF THOROUGHBASS.

SECOND CHAPTER. All Discords

must be

legitimately prepared

and resolved

;

i. 'e.

they

must previously have been Concords, and be capable of becoming so again they may be resolved either from above or below; e. g.

;

-

Discords of every kind may be played freely and without preparation over permanent (sustained) basses; inasmuch as they cannot be prepared on account of there being no change of bass, which very circumstance renders their preparation unnecessary;

The insertion cord by

e. g.

of a sign of transposition,

a tone or semitone

,

which lowers a prepared Dis-

does not invalidate

its

preparation

;

e.

g.

_

In like

manner we

1

Sometimes

often find one Discord resolved into another;

+ ^1

it is

T

fi-

not resolved

supplying the place of

its

;

resolution

I

e. g.

#

|._T

the progression of the fundamental bass ;

e. g.

14

FIRST SECTION.

But even where the resolution of a Discord the introduction of other Discords,

sooner or

later, into a Concord.

it

is

still

is

delayed for some time by

indispensable to

This kind of writing

is

resolve

it,

called a retarded

resolution.

Occasionally the right hand does not await the entrance of the bassnote over which a Discord is to be resolved, but anticipates it; for instance :

^ =t And sometimes

this is

done by the

left

hand

;

e. g.

k*a=*==*j

Both cases are termed Anticipatio

,

A. Anticipation in the treble-part,

or a forestalling of the resolution.

when

the oblique stroke /

is

to

be

used , as in the case of the passing notes before mentioned.

t

m

m e

m

3

SYSTEM OF THOROUGHBASS. B. Anticipation in the bass -part,

stroke

may be used

When

is

to

indicate

which the horizontal

as in case of the regular sequences.

the bass-note

before the Discord in the

,

is

repeated by the next chord in the treble-part,

actually resolved

harmonic position;

e. g.

,

it

is

to

be viewed only as a change

16

FIRST SECTION.

Sometimes

If

and

less than the half,

this is

more common;

e. g.

the piece of music be in quick time, and the notes are short,

often find the greater part of

them passing notes

;

we

e. g.

On certain occasions, which will be recurred to in the following pages, we meet with what are called passing intervals. These are of three descriptions

:

First

,

when

Secondly.

changed

,

or:

the bass-note

When

is

permanent

;

e. g.

the intervals forming the accompaniment remain

while the Bass moves on

;

e. g.

un-

^

SYSTEM OF THOROUGHBASS. Thirdly,

when

movement

the

is

17

extended to both parts;

e. g. ^&^j^^ , f

it

1

"

'

i

Accidental major Thirds are generally to be found moving upwards four-part

;

in

harmony they may, however, descend; e.g.

J

.,

J

The common signature for the chord of the Sixth is simply the we meet with symbols for the other integral parts of

occasionally

J,

figure 6 it

;

;

there

are various reasons for this. All

unmelodic sequences

may be

avoided by doubling single intervals. '

f

g

H

4 4

H

:t This artifice becomes particularly necessary rectly after a Sixth this

;

way, and some

the

Example shews what

when

intervals

varieties in the position of the 5th

a Fifth follows di-

may be

doubled in

and 6th;

In the free (or florid) style the Sixth is freauently used in conjunction

with the Octave

:

e. g.

65

\>r

3

SYSTEM OF THOROUGHBASS.

When

the Sixth

other interval

is

R li"l 6

is

played together with the diminished Octave, no

admitted into the chord

I 5

-

* g

If6

:

e. g.

_

&

I 5

Jf

7^66 7

.

b G 6

I S

I

The augmented Sixth is a Discord which may be used without prepabut must always be resolved upwards e. g.

ration

:

,

The Discord formed by the diminished Sixth

When

in the

accompaniment

of the Third or Sixth

mony

is

to

remain as

is it

altered

(

is

of rare occurrence

wrftten over a figured bass

by means

of a short note

,

)

;

e.g.

the position

the foregoing har-

was, whether the time of the movement be slow or

cjuick.

Now Sixth

,

and then a sequence occurs, in connection with a chord of the

when

it

becomes necessary

to

adopt five-part harmony

;

e. g.

zzznzi

SE--H

The supposititious, diminished harmonic lized at all, or only

by

triad

is

usually either not

the sign of the false Fifth (5{?).

symbo-

In the sharp keys

FIRST SECTION. a Natural

is

(Jl)

used

to indicate the false or

minor

Fifth.

find the other figures indicating this triad placed .over the

but inasmuch as the chord of the Six-five

symbolized by the figure

we

5 (5^ or 5^) where

The extreme dicated

red,

supposititious,

Fifth

5,

or

it

is

|

)

with the

;

often

draw an arch over the

advisable to

augmented harmonic triad consists, in addition to the This chord is in-

of the greater Third and the pure Octave.

,

the other figures corresponding to

Discord which

false Fifth is

intend the diminished triad to be used.

the symbol of the extreme Fifth , viz

by

by

5{?

(

we

Occasionally

fundamental note

may

always ascend:

S

:

,

5i}

,

or

,

if it

be prefer-

This form of the Fifth

it.

is

a

not legitimately be used without preparation , and must

e. g.

J

The same Third ,

is

interval, metamorphosed by a change of bass into an extreme commonly used as a grace in a piece of vocal music in slow time,

and as a gentle transition

The chord

to a

new

of the Six-four

must be prepared; the perfect

is

modulation

;

e. g.

indicated thus,

Fifth

may

J.

The diminished

Fifth

sometimes be used unprepared;

e.g.

J M

Here the perfect Fourth

remove the necessity

is

in fact not very dissonant, but this does

for its resolution

tus (sequence of passing notes) e. g.

,

except where

it

not

occurs in a transi-

SYSTEM OF THOROUGHBASS.

The pure Fourth may stand in conjunction with the greater or and be resolved into the perfect triad e. g. Sixth ,

lesser

;

.

=

P fe

1

&-3\

.^-^g5

=EtH=3.

not always necessary, whether the Bass move on or be stationary, because other harmonies are often indicated by a set of figures, which harmonies may indeed postpone the resolution of the Fourth, but do

But

this is

not annul

e. g.

it;

I

#7

When

,

of the Fourth

three-part

in a ,

chord of the Sixth , the Third

the combination

harmony

;

if

Sixth than the Octave.

is

is

delayed by the presence is best treated in

a very delicate one and

a fourth part be required

,

it is

better to double the

In a passage of this sort- all the three Fourths and

both the consonant Sixths

and must also descend.

may be used

;

but the Fourths must be prepared

therefore necessary to indicate them by. a particular sign, for the convenience of. less practised players-. Where the di-

minished Fourth appears,

It is

it is

in connection

with the diminished Sixth

;

e. g.

26

FIRST SECTION.

The augmented Fourth

is

conjoined with the greater Sixth

;

e. g.

( The pure Fourth

is

conjoined with either the greater or lesser Sixth; e.g.

4J_-||_^=

SYSTEM OF THOROUGHBASS.

"

a"",^

27

28

FIRST SECTION. It

would be incorrect

to write the

chord of Six-four

passing Fourth:

" ' ,

,

'

for the sake of a

SYSTEM OF THOROUGHBASS. Instances of the major Sixth connected with the extreme Fourth and .

greater Third

;

u

J

u

.J

J

~

fev l-i$

(y

-

j-__

J3

m

Filling-

up.

Counterpoint.

te^

673213

8765

43-

#3

8

THIRTEENTH CHAPTER. Fourth species of four-part The rule

that the

strict

,

,

simple Counterpoint.

harmony connected with the bound notes

consist of three bars cannot always be so accurately observed.

times necessary to divide a bar into two halves

The bound notes are used

when

,

removed

,

It is

always

some-

as will be seen.

in four-part writing require the

the binds are

shall

same Concords which

thus leaving the intervals of accom-

paniment the same, whether the contrapuntal note be bound or not;

e. g.

120

SECTION

II.

6

s

s

s

s

ssa

i

~

'

I

SSI

IS

Nevertheless this rule the

bound Seventh

is

is

J

often fallacious

3

5

;

;

'

71

instead of :<

=^

S

~ f2-

I

II

,

when

because the resolution of

would produce a forbidden Discord. The be divided into two halves ( the semibreve accordingly for instance

^

is

cannot be observed

it

connected with the Fifth

the ligatura

>

filling-up part

into

must

two minims

)

as

THEORY OF COMPOSITION.

121

SB

Counterpoint.

58

5

13

98

39

85

38

43

9

Canto fermo.

835

Filling-

3

3

3

IS

i

-&-

58358585

up. S

Foundationpart.

&-

~* ;

3

e. g.

Answer.

:

Answer.

JJ

i68

THIRD SECTION. The motivo or subject

the Tonica

both

;

in

this

relation to the

instance,

3Fk* -fx\9

if

of a

nor the Dominant,

a

r r

case the Comes

Fugue may, however, begin neither upon lying between

but upon another interval

must be so arranged

that

it

stands in just

Dux, and begins upon the 5th above or the 4th below.

Theme

in B{?

major commences with

a Second, as follows:

For

ESSAY ON THE FUGUE.

FUGUE

*

4> (2 izt-zE

At the this is

first

G BE

T^!

>

-St==g^^^ Repetition.

FUGA A DUE

VIOLINI

,E

VIOLONCELLO.

No. 4. Allegro.

1 I

^jj

L&

i

1

180

THIRD SECTION. -ft

zip

=a^=JN=^p~S^

ESSAY ON THE FUGUE.

f^-m-r^

JSP ITT

181

f h

JE^^-^^lfE3^=^^^t==j^

THIRD SECTION.

182

.

-$&*p[&f-tf-fpE#srrr^ES&^S^Sig^^ fr

-,--

-^=

P

' 1

UT

'

'^

4-j

ESSAY ON THE FUGUE.

=qi= = i=iizq:^zi 4-f +J ^iP^'-'f -

1

!

3)

I

184

THIRD SECTION.

3

F

P-

,

f--*-jj

^==!stEEi

fi

-

,

=^^:

185

ESSAY ON THE FUGUE. fr

FOURTH CHAPTER. Of

the four-part Fugue.

Here the several responsive parts may enter in the following order Soprano,

Bass,

Tenor,

Alto,

Tenor,

Bass,

Soprano,

Tenor,

Alto,

Soprano,

Bass,

Bass,

Soprano,

Alto,

Tenor,

:

Alto,

between Leader and Companion, and likewise between Tonic and Dominant, remains as aforesaid; and vice versa, viz:

meanwhile the

Dux.

relation

Dux.

Comes.

Dom.

Comes.

Dom.

Ton.

Ton.

In working out the fugue the following regulations are generally observed: \)

When

the piece

the motivo has been taken

spun out by

is

monic periods, and key-note or 2)

care

a

means

cadence

all

is

then

made

the parts, the

web

of

and accompanying har-

pleasure) either upon the

(at

its Fifth.

Without pausing at this close, the Dux or Comes may then re-enter, taken to choose a part in which the subject has not lately

being

appeared: the other parts follow e. in

i.

up by

of the intermediate

keys which bear

in

whatever order the composer likes, and without forcing the

affinity to that of the piece,

parts out of their natural sphere.

To

annexed

a concluding passage

*

ending in a ristretto i. e. the subject is repeated in various tonal regions, one entrance being more quickly succeeded by another than at the beginning. The half-cadence which 3)

occurs here

this is

may

also

,

,

be lengthened by a fermata.

If

the original

theme be

capable of augmentation, inversion, diminution, curtailment and dissection so

much

the better

!

When

the subject has

been conducted

in this artistic

186

THIRD SECTION.

manner through various

keys,

first

kindred, then extraneous

it

time to

is

introduce the final contraction, and

4)

that

may be

it

fairly said

,, finis

this, if possible,

over a stately organ-point,

The usefulness

coronat opus!"

of a rest

before a repetition has been already explained.

The

result of

all

this

is

the following skeleton of a fugue

a.

:

Dux.

b.

Comes; together with their accompanying harmonies, e. Intermediate harmony, f. Comes, g. Dux. h. Comes, i. Dux. Contraction, Comes,

c.

k. Inter:

Inter

:

Dux,

d.

harmony and

harmony,

Imitations.

1.

Dux. m. Comes,

q. Final contraction or concentation.

n. r.

Dux.

o.

Comes,

Organ-point,

s.

p.

Ex-

tended cadence.

A happy of fugues

preceptor

;

selection of

themes tends greatly

to the successful

composition

the following motivi have been sanctioned and approved

by

my

:

FUGARUM THEMATA AD SEMIRESTRICTIONEM ET RESTRICTIONEM APTA No.

1.

No. 3.

No.

:

2.

No.

4.

etc.

No. 7.

No.

8.

No.

9.

&L_i_^5=zqzz

No. s

I-

==1^=^^=^=^^

g^g =F ~ it.

a

_-. __

199

ESSAY ON THE FUGUE.

tfr t-

1

IT-

*

,

^

:=

I

.

|y

,

_4^\

|.

200

THIRD SECTION. tr

itr

4= fe=^

m P-^ tr izki^ita:

y*

t S

5

i

EE

$-f

-TSt"

^ ~ r\*

^

S==Ff

-

ft*

i

*

^

-fff^fe^

ESSAY ON THE FUGUE.

g=jr%fe^L tTTihJ

-*-* frirEfragpgEjjg

-*-

-?-:

-*-

I

ISE

202

THIRD SECTION.

4-^;

3J& tr~~

_.

1

J

J

T|

T

m-P r

^jg^jjl-g^

4

ESSAY ON THE FUGUE.

=3=

1^=4=1^==^=:

E

Hi *===3 0-P-0-*

fe. P"*

k]_ri f-f l-p-^-^^zigq^ipi^ '

i

'

']ib-*

7^ZLJtF-FH:

1

THIRD SECTION.

ESSAY ON THE FUGUE.

fr

ffiK

sos

UOG

THIRD SECTION. i

1

i^

1

^^^=:

i

r, "I

=3=

1

207

ESSAY ON THE FUGUE.

--a^^tr--

--P-*-,^

-^->

--^

EEEE

== 5fc

5=3g^

2on

THIRD SECTION.

^

tr

3

zdbEit:

9-r&-

1*

for

*

'

r

!

I

-

ESSAY ON THE FUGUE. No.

FUGA A QUATRO

5.

VOCI.

Moderate.

re

.

0-

Do

- na no -bis

'-* |

no -bis

-

pa

M

^

-al-FH -n&i

pa

-

pa

cem

Do-na

no -bis

cem

no

,

no

,

-

i

*

Eg

,

-

*

I

f **~i~^^wr'

i

Erfl

1

-

no-

cem, |

-l-^s

Dona nobis

-

bis

pa

-

cem,

pa

bis

pa

n -jf_:

bis

pa

-

cem

,

dona

cem

cem, pa

do - na no -bis

cem,

nobis Beethoven

,

,

Studies.

pa

cem

,

pa

pa

cem,

210

THIRD SECTION.

no -bis

do-na

cem,

pa

pa

fe=

0-

do - na nobis

pa -cem, pa

^=sto=^^33 i^gE^g^ no - bis

cem,

pa

cem,

pa

t-

-f

-

do

cem,

na

>

-*

TH*-

tsi==t

=te== -

na

cem, pa-

cem, pa

do

-

do

cem,

-

na no-bis pa

cem,

Ft= no -

bis

pa

-

cem,

do

-

na no

- bis

-

pa

cem, do

cem,

- na

-

no

bis

S do

na

no

-

bis

ESSAY ON THE FUGUE.

=EEf

1

EEE

lili

212

THIRD SECTION.

--&3

4= cem,

Ej%ggg^

life pa

pa

-

i

cem,

cem, pa

pa

a*= :fi=ig^^^^= T

do

-

na

L

,

ft

- bis

no

pa

=*t Xw^fe=^ ^-g-ajjTi

cem, pa

cejn,

cem,

pa

CS5

,

-

'^q

j

cem,

pa-

^Bjy-f g_g-i: ^^g* ^ q-^+fea-^F^^-L^

-

-

cem, pa

pa

-

i

i

no

cem,

-

bis

cem,

pa-cem, pa-

P no

-

bis

cem

pa

pa

,

do-na no - bis

cem,

do - na nobis -0-

cem, do

-

-

na no

do-na nobis

- bis

pa

pa

-

cem, pa - cem,

cem, pa - cem,

pa

cem,

pa

ESSAY ON THE FUGUE

t=^=Cgg^^B^-g==gg^g^^ cem

pa

,

-

cem

-

pa

,

cem

no

,

-

bis

pa

-

cem,

do-na

cem,

cem, pa

PE

Lt do-na nobis

cem,

pa

do

-

no

bis

pa

-

pa

-

na no - bis

cem, pa

-

-

cem, pa

,

cem

,

pa

cem

-

pa

,

pa

-

-

cem, pa

cerr cem

cem

do-na

,

,

pa

-

pa

cem, pa

cem, pa

_2 bis

BEfe

IP Org. pedale.

1

214

V

THIRD SECTION.

-f

f

r

'

J

F-f-F

^

?

1

ea

215

ESSAY ON THE FUGUE. No.

1.

^p^^^^ffiSfffFp

y

/*--

-

i

~T~

fr^EgE

'

[

1

EltPf

EE

fe

' (

h

t

^^

'

*-l

Chorale.

&

1

216

THIRD SECTION.

-fir-

i

g

free.

.11 4*

[

r

f-

*T^

?*

9*

^

"

i_j

IP

=t=

g^

-

fe'EfEE

THIRD SECTION.

NINTH CHAPTER. Collection of examples in all three kinds of double counterpoint. No.

1.

Counterpoint.

fo

87313 -I

Chorale.

Chorale, 8va acuta.

7676

7

*

5

#

8

I2686S

363

2

3

8

346 S6S

Counterp. Sva gravis. Counterpoint.

3

4

6

3

Chorale.

Chorale, 8va acwfa.

7376

-

8

10

106546789 69363 Counterp. Sva gravis.

ESSAY ON THE FUGUE.

26

32

63

3

No.

2.

Menuetto. Ft'oWwo.

C.

f.

C. p.

C. p. Octavo acuta.

C.

C.

f.

c. p.

f.

Octavo gravis.

345

65

3

256

)

pC

THIRD SECTION.

p. Octavo, acuta.

itd C.

f.

Octava gravis.

/

No.

3.

A.

EEEF^EEgsg=J=H-

B.

Duodecimo, gravis.

tt=i=

as

t=f=m

ESSAY ON THE FUGUE. C.

Quinta acuta.

D.

d

tre:

m '

I

Decima gravis

of the

upper

part.

-*--

pi

0.

E.

Jertta gravis of the

upper

part.

H Beethoven, Studies.

257

238

THIRD SECTION. -T*

f~

-?

fe&fe C=h

^^C

!

|-

JZZ

:

=

EE

^^

F.

Decima acuta of the lower

part.

Octava gravis of the foregoing upper part.

Octava

localis of the foregoing

lower part.

^^ G.

Quvnla gravis of the upper part

let.

E.

Ff=!^=^ Tertia acuta of the

fundam

:

part.

Quinla gravis of the lower part

let.

E.

~

:B : I

s^

ESSAY ON THE FUGUE.

?r-f

,

r

2$

1

contrary, retrograding.

(Would any one believe

that a

composer with a grain of common sense

could ever demean himself to such ridiculous

The two intervals

,

last

species

,

in

are not applicable

which no

when

avoided; they

may

also

is

paid to the value of the

the leading subject contains a bind

two species may be used everywhere

first

trifles?*).

attention

,

bound

provided that

the

;

discords be

be rendered of some small service, inasmuch as

they afford the means of diverging into other keys in a natural manner is

proved by

the concluding note, note,

THREE-PART FUGATO

IN

which

is

as

almost always different.

THE BROAD INVERSION. (Composed by G.

Allegro.

tr

V.

Handel.)

tr

t

Violino

primo.

Violino

secondo.

Basso.

tr

k

fM^-^-f^-f"

qjx-tESE&p

Shade

*)

of Beethoven

,

could'st thou but

know

that even

852, there are still some-self-styled musicians and critics and similar puerilities as matters of importance in composition

grace

\

!

now,

in the

who

year of regard these P.

280

THIRD SECTION.

r;

^

fr

-(22

^ ,

ESSAY ON THE FUGUE.

281

1

:_sci

rrA

^

r

^^^3

l

^^^^^^^

^^diB

^^^J

'-

-

K r\M^_^^^^t__M

282

THIRD SECTION.

^

* \

f& fu--a^^-=r-u=r-

+-+ +-++-

*L

BB-

-l

Ej5^E^E^ifa^=fe

?-NT^"

=

ESSAY ON THE FUGUE.

m

S2 f^pf

*-

^

i*>>

rn

k^f p~^-*-*-f*+J-i rn^f-faE^5^~^*~r ^&^4^zg^^^^-g?^^^:

^

^H

-t-a*

1

0-t-gF1

I

I-

f

E

H-

i=e=^ tr

THIRD SECTION. (3.

^ i

F

^EE 3=3=

SHE

^t=E

Hi

;tet^

r

ElE*

^:

ff

1

ESSAY ON THE FUGUE.

283

ELEVENTH CHAPTER. Of

the double fugue.

This kind of composition is particularly that with only two subjects founded solely upon the counterpoint of the Octave , from which indeed it scarcely differs at all whether both themes enter together at the very com,

,

,

mencement, or separately afterwards, when the repercussions been finished. To these motivi aro also to be selected two different bats appropriate contra-

which are by degrees combined with the leading subjects. The regulations attached to the simple fugue must be followed throughout, in themata,

addition- to those of

double counterpoint

.in

the octave, in order to secure

the necessary transposition of the parts.

To manufacture pensable tave

,

to

a double fugue with three or four subjects it is indisobserve the laws of three-and-four-fold counterpoint in the Oc-

and also the following rules First,

it

is

customary

:

to write

subjects contained in the composition

one or two parts more than there are that one or the other of them may ,

occasionally rest.

Secondly ner, and not all at

,

all

the subjects themselves ought to

move

to consist of notes of equal value;

in a different

man-

they should not begin

once, though they should end together. Thirdly, none but perfect and imperfect chords

the transposition, and no discords;

e. g.

may be produced by

286

THIRD SECTION.

23

'

good. bad.

bad.

Fourthly, the hind of the Ninth is forbidden, because changed in one case into I f , in another into J 1 e. g. ;

IEEEE

bad.

good.

good.

bad.

334

60S

bad.

it

would be

288

THIRD SECTION.

Or better

at the

very outset

:

etc.

Seventhly, the direct introduction of the Sixth with the diminished is forbidden on the accented parts of the bar, and for ,

Third , in motu recto the latter

is to

be substituted the Octave or the Unison. Even

in the contrary

motion the chord of Six-three produces a discord of Six-four, by means of the transposition; the motus obliquus is, and will always prove to be: the

m

safest card.

or

:

improved:

m

bad.

wanting is supplied when the piece is written in which is not to be conlrapuntally transposed. these rules be strictly and carefully observed it is possible to trans-

The

many

interval that

parts

If

by the

,

is

,

free part

,

pose (or string the changes of) a double fugue with three subjects in six ways and one with four subjects in four and twenty ways, without making ,

use of the counterpoint of the Tenth and Twelfth But in order to be sure and not to make one's reckoning without the host of succeeding as the !

,

or count one's chickens before they'ne hatched;

is

saying

sable to examine the subjects narrowly sitions will

Sound

!

)

,

not give rise to some forbidden chords

To

this

transpositions

,

end one should

witt

it

be advi-

and find out whether the transpo:

(

nice

work

for a Poet of

try three primary and then three secondary

according to which the parts appear as follows

:

ESSAY ON THE FUGUE. FIRST PRIMARY TRANSPOS

Upper

281)

SECONDARY TRANSPOS: OF THE SAME.

:

Middle part.

part.

Middle part.

Upper

part.

Lower

Lower

part.

part.

SECOND PRIMARY TRANSPOS

.

SECONDARY TRANSPOS: OF THE SAME.

Lower

part.

Upper

part.

Upper

part.

Lower

part.

Middle part.

Middle part.

THIRD PRIMARY TRANSPOS

SECONDARY TRANSPOS: OF THE SAME.

Middle part.

Lower

Lower

part:

Middle part.

Upper

part.

Upper

part.

part.

easy to see that the ground-part of the primary, transposition is preserved in the secondary, and that consequently the same intervals must It is

be the

result.

NO.

1.

EXAMPLES OF A DOUBLE FUGUE WITH

3

SUBJECTS.

THIRD SECTION.

='

Secondary trans: of

^

F?

E

=t==^i

jEE i

inrT~~P=E

the same.

3

C

S

3(8

4

3

m

Third

primary trans

<

:

^

Secondary trans

:

of

(

the same.

E ABOVE FUGUE

WORKED

OUT.

ite Thema

C.

Th. A.

^E 7%. B.

TAcwia ^.

m

291

ESSAY ON THE FUGUE,

Th. C.

S*

*

-H*^

2

^-

s-F-*r-

*-i~>

=ZI^I^^Bfe=j Th. B.

S Th. B.

JA. 4.

Th.

Th. C.

.

i Decima

Decima

gravis.

Th. A.

gravis.

U

Th. A.

Th

(Semirestrictio.)

.

A.

al rovescio.

Th. B.

Th. B.

Th. A.

Is

..

-)

1

- >""^-f-

-|

^===rf^=^ig:frg ^ 1-^ M~+~tlM al rovescio.

Th. A.

Sexta grav.

Th. C.

Dec. gravis.

THIRD SECTION.

E=j

1^^

TA.

PE 5*

,4.

Si SI ^ i Dec. acuta *

Th. A.

-^

^-rg-^ 3=

^= r- uf "^rT f

acwfa. 77i.

B.

Th. A.

'^

Decima

-t^f Decima

gravis.

'

--

[

Th. B.

Th. A.

Th. C.

^-g--,-Jfr_,_g

.

^ j,

---

_!?_

B.

Tertia acuta. .

S

c.

:

1

Sexta gravis.

C. -i

?PfT~|

1

294

THIRD SECTION.

.

c.

&p=

Th. B.

TA. B.

f%efi Tertia gravis. Th. A.

Th. A.

=t=

Decima acula.

f

E^E

H*

2

--f-f

r-'te*^

-=D

S^tec^nttjt

|^^^ r

r

^

i

ESSAY ON THE FUGUE.

1898 Th. B.

Th. C.

Th. B.

Th. A. :::t

Decima

Th. A.

gravis.

;=t

^1 3.

Th. A.

C.

Th. B. :

^PE

1-

^g=i

s

Th. A.

Ft==

-::;:":

SEE: Tertia acuta. -

-f

-(a

it*

,

iE=Jg=^ 7A. C.

.

B.

^^

Tertia gravis.

**M

I

=|

296

H

THIRD SECTION.

r "[..

m

A-?

^

tr

e Th. C.

TA.

*

*

,4.

~

I

N'

&m i

z^zn:

No. 2. ji. L

^--^-n-r^rg

E

x5

*

^ is

297

ESSAY ON THE FUGLE. B.

?=l!lEEEig c.

-^-

ii= C. ...

M

.

fS.

>9

1

-

^2

_.

|2fce=g^=e

*

P&3EZBt

Hi 1

\-&-

afci

&

1

298

THIRD SECTION. B.

*=s 3Et=EES=^

JHuJz: C.

3E 75^

j

BEE

-

-(=2.

i3i 5.

-

-tf2

::

1

ESSAY ON THE FUGUE.

nP?

'

290

300

THIRD SECTION.

A.

m

1

^^ = =I=&=3 =t

b

a.

}>/

c.

A. ~

3=^EE==fe

m

'*

f=r==pg gg3m=z==i

.t-H=====^-|-^Ltt4z^ =^::=::= :== =

l

+-=z= :

ESSAY ON THE FUGUE.

501

_

i

i3=

1 -J

tt^-

J

-

J j

^^j^i-^zj

Decima acuta.

-q

=j

B.

S^

fc:

T-*

A.

:i==J

_-

"^

*^^^

T

^

s

B.

c.

p

^

s

c.

4.

:i===zr=z=z^=q=z|^2z=i

4=g=^-_g=gg^igEEE| -?K-

fi.

i

THIRD SECTION. B

,4^4-p-g-T* g. r ir i-f

d-hj ^-H^

*r?

i

a

c.

A.

i

c.

:

^=^4riS

:t Sexto, acuta.

A.

1~ TeL.fJfi^= itt]

"Td"

:

303

ESSAY ON THE FUGUE. *

TWELFTH CHAPTER. Of the Canon. The Unison

strictest possible Imitation is to

viz

,

for equal voices

:

The Canon may

last.

also

is

Canon

make

,

i.

e.

in

but in some of

;

certain exceptions

and varia-

The following are the

the like.

different

:

.

The

finite, in

2.

The

infinite,

1

to

in the

is

note to the

the finest opportunity for developing the conundrums of art

mathematical calculations, and sorts of

Seventh and Ninth

,

be found necessary

will

it

Here

tions.

first

be manufactered in the other intervals

the Second, Third, Fourth, Fifth, Sixth

these cases

be used when the Canon

or in the Octave from the

,

and where the close

which the melody closes with a complete cadence. which begins over and over again from the first strain,

made

is

,

at

pleasure

,

at

any point of

division.

The augmented. The diminished.

3. 4.

The shut canon, where the entrance of the parts is indicated only by signs and the whole strain is written continuously in one line without 5.

,

,

pauses.

The open canon, where each part stands above the other, together the rests required up to the point where the voices severally enter;

6.

with i.

all

e. in

the form of a partition or score.

The retrograding canon. The double, four-part; the

7. 8.

triple,

six-part; the quadruple, eight-

part canon.

The Climax; Polymorphus, (multiplex) canon which is indicated by its name.

9.

in a circle,

or round;

the organisation of \

.

The arithmetical and enigmatical canons

,

which

,

like

all

other

kinds of riddles, are easier to invent than to solve, and seldom*) repay the time and trouble spent upon them. In former times people considered it meritorious to cudgel their brains with such laborious is

really

grown

The Canon

a

little

wiser

in the

now

Unison

for equal voices

,

trifles

,

but the world

1

,

is

in fact nothing but a

a tre, a quattro etc. in which one part enters after the regular a due one the has finished its phrase. as soon as The one comother, preceding the that forms bass-cadence selected is which and produces the most monly ,

,

;

complete whole even in two or three parts *)

Never.

;

e. g.

P.

504

THIRD SECTION.

NO.

SKETCH OF A FINITE CANON FOR IN THE UNISON.

1.

3

SOPRANO VOICES

Allegretto.

m

E^

This

is

m

s

i

a shut or locked canon, the third part being written after the

first.

(Here the second voice takes

*.Trf*

it

up from the commencement

17 r f a r*/> /i /*f iKo fKirrl irrvi/^n f*/\rv^ fV (Entrance of the third voice, from the f

commencement.)

h^

In this kind of alternation, as often as the singers like

ban^M

'

*

'

or response, the whole

and the

listeners will stand

it.

may be

K

f

LJ

repeated

The parts should

ESSAY ON THE FUGUE not lia too low nor too high this

an open canon

it

,

must be

because each voice has altered as follows

to

sing

it.

:

(The third part as written in the sketch, because it contains the bass-cadence.)

.

Beethoven

,

Studies.

20

_

To make

506

THIRD SECTION. Dal segno

,

where the parts are united

,

and

after

which they keep on

alternating.

No. 2. Andante.

/TV

,t

E

CANON FOR THREE MENS' VOICES.

507

ESSAY ON THE FUGLE.

~r~r-pG=;=i earth

'tis

sweet

rest

to

sweet

,

rest

to

sweet

,

rest

to

!

OPEN.

arms

In love's soft

'tis

sweet

rest

to

,

sweet

to

sweet

rest,

to

f

rest

In an -

!

y place

the

weary

head

is

fain to rest, the

H*

In

love's

soft

arms

sweet

'tis

to

i

weary

&-

rest,

v

1

^-! head

is

fain

to

rest

In

!

mo

- ther

earth'

Us

^E&

li sweet do

rest

,

sweet

to

rest

!

In

an-y

place the weary ft-

In

love's soft

arms

20*

-9-

'tis

508

THIRD SECTION.

m sweet

rest

to

,

sweet to

gEp^g^PHf head

is fain to rest,

the

3

rest

^

weary head

is

sweet

,

to

rest

!

Sfi

**: rest!

to

fain

m

2zt sweet

rest

to

,

sweet to

rest

,

sweet

to

The same proceeding may be adopted with four or more

No. Moderate.

3.

Canone

rest

parts;

!

e. g.

a quattro voci.

\

=t -

m SHUT.

SOU

ESSAY ON THE FUGUE.

OPEN.

^

r

_

^3 -=-*f

i-*-- --F""*-

ts*E

_

.!

JW r f

I

-Li-^-4

f L ^~^

-.'

m,

-*-

-^1

-f^^r-'^f-

=1==} /

*

.

-^~^

^p^li i

.

i

510

THIRD SECTION.

.

II

g

-jrj*\

ESSAY ON THE FUGUE. 5S ti

F

B-

511

THIRD SECTION.

312

bar, as the Fifth below the preceding part, or Octave below the Alto. According to the second form of composition the canon would stand thus

The

figures indicate

that of (8)

the

Tenor

in

(

5

)

the entrance of the Alto in the Fifth below

;

the Octave below; (12) the Bass in the Twelfth

below.

NO. 5.

A SIMILAR EXAMPLE.

Second below. -\-m

:

f^-^

1

Fourth below.

315

ESSAY ON THE FUGUE. No.

6.

The enigmatic Canon

is

CHROMATIC CANON.

yet

more mystical;

it

is

generally written

without sags, figures, or letters, and sometimes even without clef! is

a sort of problem to be

discovers the clue

worked out,

or rather guessed at,

till

This

a lucky

and the correct answers come out

in pure harmony. The leading thought must be transposed into all the intervals above and below by inversion and contrary tnotion with a sprinkling of rests and breathing points; retrograding and by the inversio cancrizans; augmented hit

,

,

;

and diminished

;

even the obsolete

(or high Bass) are to be

clefs of the

made use

of,

unfortunately cannot be cut in the easy

And what

Macedon.

is

Mezzo-Soprano and Baritone Gordian knot, which

to untie the

manner adopted by Alexander

the advantage of

all

of

much cry and little myself, when I happen to

this?

wool! Perhaps I may some fine day attempt it have nothing better to do; Just now, thank God, I am more sensibly and it will be a hope long while before I waste an hour in such employed ,

profitless

endeavours.

FRAGMENTS. Hints for vocal composition.

RANGE OF THE VOICES. very rare.

soprano. in Tutti

only

to

A

^

^ ^

,

or at most B.

Mezzosoprano

:

Alto:

The

first

three tones are scarcely audible in Tutti, in Tutti only to

G.)

It Tenor:

The three

Baritone or

high Bass.

Deep Bass

*)

**)

:

tones are falsetto**).

last

o=

j

2l_J for

A good standing Not always.

rule,

but not without exceptions.

P. P.

FRAGMEiNTS. It

notes

;

is

pronounce words distinctly upon very low or high most powerful and effective in the middle region.

to

difficult

the voice

is

The Soprano has commonly three different registers in the compass of two octaves. The first contains four chest-tones (voce di petto). from C

In the second

,

The

is

F.

making nine tones, the voice changes.

zfczzzpTZirri:

The high G

to

produced

third register

in the

upper part of the thorax.

above the

hm * from

to

F

5=

^ t

FRAGMENTS. L

3_U-f-

r

*_|

^-4

-^fl_^=^z|

517

FRAGMENTS.

Instead of: rJizz

write: For-sa-ken.

For-sa-ken.

Dis-pera-ta Porzia

al ve - der spirar lo

'

spo-so

a

pas-so

len-to

lo

mm ^fct-rt*-^-$=^ fin all'

segue

a - re-na

e

non sa-ziu

di

la-gri-mar vuol con sospi-rian-

^^=Jjp r

H-g

co 1

L-u

-

ra

in-

ghiollir

di

do

-

4 2

lor

t>

=gsz:

car -bo

-

ni

^ sue

lab-bra

*

con

tui

ac-cen-ti.

i

>

L.

EEEjEi^ The following are bad phrases

of recitative

:

-* _

~r f-m..iigip g-i

'

-

Ifr.

ttr~

-<

<

u~

"

^rJ^i ~

ti

in -

terrom-

nq

-fc

pen-do

r -

br

6

ziizk~

:

arden

FTT" ~m~?~ ~^t=f.

FRAGMENTS.

518 Short hurried sentences

De-il Harmonies

di -

fen-di?

sog-no?

sadness and lamentation

to express 6

And,

me

tu

:

*

b

b

de-sto?

:

c

b

similarly, the modulations taken in the contrary direction: *

6

The

son

rise

and

fall

decrease of emotion

:

of the voice should

4

6

.6

be regulated by the increase or

e. g.

%-.

*-'

-

pg=P= Apollo, di

Ma

Amante

,

o

cie - lo

che veg

!

-

go

Dafne.

mat?

frondo-se

di -

vengon \>i

spunta-no ver-di rami

9e

;

le

tue

mani;

dal-le

membra

b

in ar-bo - re can - giata

tu mie voglie de-

#*====

319

FRAGMENTS.

lu -di

,

di - spie - ta - ta

o

!

Expression of wonderment and delight

Caro Unulfo, guida mi a

ram-mi

A ny

;

qual con - ten

striking effect

is

lei,

to

e

sapra, che son

:

vi-vo,

se in

Milan ve-de-'

!

produced by the voice

falling

along with the harmo-

e. g.

Ah,

my Em-ma - nu-el

!

Re-deem-er!

>-

r4fe stringgling with his

sorrows,

S

full

lies,

de-jec-ted,

^E

of

an-guish,

yet

re-sign'd!

3PCZ

Foj, che inspirate b

low he

i

ca-sti affet-ti al-le nostr' alme, voi, che al pu-di-co

^|

~ ;

I i

tr^5

^gy~

Ime-

520

FRAGMENTS.

E5QE^5E8EE^ESE^EE3i .zn_u-i^-^-g^= b=tfcd ne-o

fo-ste presen-ti

di-fen-de-te

,

nu-mil

o

la,

*

:t The expression

He

is

rendered more forcible by repeating the words

from death the gent

rescued

- le

m

;

e. g.

with love's al-migh-ty

girl,

i^ zrb

by

power,

*

I

think, (with

improved

-p~E.

ci: zjjfcz2nir

It

yonder heav'n

I

swear,

^-

?&

i<

B-

g*

._g=p_gq-^= with love's al-migh-ty

power!

5

some

in the following

alteration of the words)*)

manner

'twas love's om-ni-potence,

the passage might be

:

by yonder heav'n 1 swear.'twas love's om-nipotence

!

A 1

CONTRASTING EMOTIONS. y

_-iff

..

^ESS=f t*^ 1^

Sposo

-ir

confes

*)

figlio,

,

me-ta

-de

r

Grimo-al-do cru-dell

r (che so?)

i

I/-

miei sos-pi-ri!

'

- sar-t i -

_

fc

cliiederli- (o

Diol)

ir

r

che angoscia c qtiesta

I

The same words are retained in the German version (which was not possible and the improvement consists merely in a more correct accentuation of

in english)

the syllables.

P.

521

FRAGMENTS. i?^

gf

*

pt-^

f

T _^

fr

[

1

____rl^

t3 t7

sa - cri

- zio

fi

pa - dre

o

la

BS_ _J^

4j

~-Z^

P-

leg

- ge

., ;

~

^_k-_^_

^

HEH**

^

^

-^ra^t^^te^^^^ =

3

i

,

:-J-g- g

U-

sor-9

J

if

* rzs*

of

525

FRAGMENTS.

'

r

'

Phrases to express interrogation '

:

Minor.

=1 is

that

Mes-si-ah?

is

that Mes-si-ah?

is

that

Mes-si-ah? *f

9

am

bis

I

am

Friend?

I

his Friend?

*

am .

for-sa-ken?

I

*

#

% What form

is that,

so

faint

and

pe

-

What form

rish-ing?

is

b

that,

so

faint

b

and

pe- rish-ing? bf,

The word most important verb. to

to

the sense

must be accented the strongest;

upon a substantive, verb, pronoun, adjective, or adExclamatory questions will be most happily expressed by a skip

the accent

may

fall

reach the principal word in the sentence

;

as for instance

:

21*

FRAGMENTS. Several sorts of exclamations.

^

Sposa

,

figlio,

ger-ma-na, a-mi-co,

oh

Dial

tanti

be-ni in un-dil t

'Tis

Sogno ?

on

-

ly

one

non desta

that

oh

fol

Dei !

lows af-

ter

freddo

Je - sus

ge-lo b

,

hut sad

and

ri-cercan-do mi

325

FRAGMENTS. Andante

:

-4

for

two

violins arid violoncello,

(a Torso or Fragment.}

:

:U

Zfat

Allegro for the

same instruments.

6

7

r

(Overture

r

by

G. F. Handel.)

r

t)

520

= 2: -j

r-

H

"

E

l-

i

G

-d

6

* 0* ^&*

A

"'

"""^

J.^

677 "^ ^^

*^

527

7

7

7

7

6

7

5

so/o.

G

FRAGMENTS. tr

?

mP-PM-

-

'

y

u

>l

T-fj

^ ^

~r

i

c

^

APPENDIX.

BIOGRAPHICAL NOTICES. German

(Translated from the

of

I.

v.

SEYFRIED.)

LUDWIG VAN BEETHOVEN was born the 17. of December 1770

where

his father

was

a tenor-singer in the Electoral chapel.

at

Bonn,

The boy

*)

dis-

played at a very early age a strong passion for music, so much so that his observant father thought it right to teach him the elements of the art at the

commencement of his fifth year but finding in a short time that his own knowledge was not sufficient for a genius whose progress was unusually ;

rapid

BEETHOVEN'S father resigned the

,

Herr VAN DER EDEN pianist in

,

who was

Bonn. After

,

,

office of tuition to the

Court-organist

considered at that time the most accomplished

this master's death

LUDWIG became the pupil

who was remunerated

(the successor of VAN DER EDEN)

of

for his trouble

NEEFE

by

the

Archduke MAXIMILIAN of AUSTRIA, the then Elector of Cologne. This wise pre-

made

ceptor tier

,

who

shewed a preference for the lofwith the works of I. SEBASTIAN BACH, acquainted

his zealous pupil,

styles of composition

already

which continued throughout BEETHOVEN'S

life to

be his especial favourites, as

also those of the immortal HANDEL**). Whilst the gifted

boy,

at the

age of

eleven years, now played the ,, well-tempered harpsichord" with astonishing execution and taste, he made his first attempts at original composition, and

produced variations on the theme of a march, three Solo-Sonatas, and seve-^ which were published at Speyer and Mannheim. The peculiar fteld

ral songs,

for the

display of his genius

pianoforte

,

and

his

power

of

was

,

however

,

that of improvisation

working out a given subject

(of

on the

which GERBER

speaks in his Lexicon of musicians) greatly astonished the learned composer JUNKER, before whom BEETHOVEN once played. BEETHOVEN being now, tho.'

*)

LUDWIG VAN BEETHOVEN used

to

name

the 16. of

December 1772

as his

birtli-r

day, but this appears to have been an error. **)

BEETHOVEN spoke,

of BACH.

however,

much more

reverentially

of

HANDEL than

4

BIOGRAPHICAL NOTICES.

quite a youth, capable of handling the organ with considerable skill, he

appointed (by the Archduke) successor to NEEFE,

and received the

was

title

of

C ourt- organist together with the permission to make a prolonged stay at Vienna, free of all expense, in order to profit by the instructions of the celebrated JOSEPH HAYDN. This great master being, however, invited to conduct ,

the performance of his

own works

in

England

,

he entrusted BEETHOVEN

to

the care of the learned theorist ALBRECHTSBERGER, then director of the music

Cathedral of Vienna, and by him BEETHOVEN

at the

was

first initiated

into the

mysteries of counterpoint*).

The earnest is

attention

which BEETHOVEN paid

to his master's instructions

by the Studies here given to the world and the cannot but remind his readers that this volume contains only the tenth

incontroverlibly proved

editor

part of the Manuscript

;

which was found among BEETHOVEN'S

papers; there being often as theoretical subject, It is

school; and

appended to each which would have been superfluous.

observe that BEETHOVEN'S original cast of mind

to

reject or ridicule

posthumous

as 50 or 60 examples

the publication of

scarcely necessary

made him

many

many

of the rules and wise saws of the old

his sarcastic marginal notes,

which are well worthy

of perusal,

are quite in character with the habit he always retained of clothing his

most

secret thoughts in words. as a composer, and was Vienna as a pianist of the highest order, when the famous, al-

BEETHOVEN had acquired no small reputation regarded in

now

though

forgotten

,

WOELFL appeared

and became BEETHOVEN'S

rival

;

(at

the close of the last century)

indeed the party-feeling in

this case attained

almost as great a height as in the case of GLUCK and PICCINI at Paris**). The amiable prince LICHNOWSKT was the most distinguished of BEETHOVEN'S adherents

,

and the accomplished Baron RAYMUND VON WETZLAR the most zealous

whilher he had *) BEETHOVEN made a short stay at Vienna, in the year 1790 gone for the sake of hearing MOZART, to whom he bad letters of introduction. BEETHOVEN improvised before MOZART, who listened with some indifference, believwith his characing it to be a piece learned by heart. BEETHOVEN then demanded ,

,

ambition, a given theme to work out; MOZART, with a sceptical smile, gave him at once a chromatic motive for a fugue, in which al rovescio, the countersubteristic

,

double fugue lay concealed. BEETHOVEN was not intimidated, and worked out the subject, the secret intention of which he immediately perceived, at great length and with such remarkable originality and power that MOZART'S attention was

ject for a

and his wonder so excited that he stepped softly into the adjoining room where some friends were assembled, and whispered to them with sparkling eyes ,, Don't lose sight of this young man, be will one day tell you some things that rivetted,

:

will surprize

**)

Or

of

you !" HANDEL and BUONONCIM

in

London.

5

BIOGRAPHICAL NOTICES. patron of palace of

WOELFL

the

:

Schonbrunn

latter

possessed a delightful

where he entertained

,

all

villa

the native

,

rear the royal

and foreign musi-

with a truly english*) hospitality. The rival pianists used to meet here and enchant the company with their skill and talent, WOELFL cal artists of merit

being by no means unable improvisator:

two

these

to

cope with BEETHOVEN as an executant and gladiators wrestled with each other,

aftistical

though without animosity, and let their imagination run wild in all manner of capriccios and vagaries of fancy, sometimes playing duets, sometimes working out themes which they had mutually proposed and that so finely ,

they could have been written down they might have belonged to those works which posterity does not willingly let die." As far as mechanical that

if

went it would have been scarcely possible to decide which ought bear away the palm; nature had given WOELFL the advantage of a large hand, with which he played tenths with perfect ease, and which enabled him to make sport of the most difficult chromatic passages. BEETHOVEN'S dexterity to

improvisation

gave tokens of that dark and mysterious colouring

already

which afterwards so strongly characterised his works he was lost in the realm of thought, and forgot time and place when at the instrument he ruled ;

;

over a kingdom of his times he would strike

own

and compelled the spirits to obey him. Somethe keys with such force as to break a string or two, ,

fancying he had an orchestra under his fingers; then he would sink back, and fall into a fit of melancholy. Every shade of feeling was expressed by

him with equal mastery, but he inclined more to pensive than to joyous strains and his playing was less easily understood and appreciated than that ,

of

WOELFL, who was bred

in the school of MOZART

without flatness or poverty of invention

flowing

,

means

to a certain

end

,

ever clear, equable, and Art was to him only the

not used for the display of pedantic learning but for the delighting of his audience, who could always follow his well-arran,

who

have heard HUMMEL play will understand this. The unprejudiced listener found a peculiar pleasure in quietly observing the two noble friends of the musicians who rivalled each other in

ged and perspicuous ideas. Those

,

the attentions and delicate courtesies which they lavished upon their favourites**),

and

in witnessing the full

ciation of their efforts

which both

measure of praise and intelligent apprewere sure to obtain.

artists

There was no envy or jealousy between them, nor did they care much panegyrics of their patrons, because they respected each other's

for the

*)

**)

Literally translated.

Ye english Lords and Ladies, who patronize musical

artists

,

and think

yourselves wonderfully condescending if you give them a place at the second table, read this and profit by the example. p. ,

6

BIOGRAPHICAL NOTICES.

powers

and guaged them more accurately than others could

,

the generous belief (which

world

wide enough

is

,

alas

for

,

is

not universal

who run

all

and both held

;

among musicians

!)

that the

the fiery race of artistic competition,

Fame for the goal. Meanwhile the German empire was

with the temple of

disturbed by war, and the death of BEETHOVEN'S exalted patron, the Elector, had destroyed his hopes of obtaining a higher appointment in his native city; but as he had hitherto been

well remunerated both as pianist and composer, he chose. Vienna for his

permanent residence the more so on account of his two younger brothers followed him thither, and who assisted him in the management of ,

who had

which BEETHOVEN was

his

household

his

compose Quartetts, and succeeded even in earliest attempts: he was fond of this style of music, and it was natural him to give his mind to it, seeing that HAYDN, whose genius may be said

affairs

,

of

At this period he began

for to

have created

larged

its

it

and MOZART

,

boundaries and given

both resident

,

it

whose comprehensive imagination had ennew dignity, were his contemporaries, and

BEETHOVEN

Vienna.

at

deepened and widened it, and bore it been reached by any other composer.

He enjoyed

totally incapable.

to

peculiar advantages

carried the Quartett aloft to

in his friendship

executants SCHUPPANZIGH, WEISS, and LINKE,

still

farther;

he

a height which has not hitherto

members

with the masterly

of Prince

RASUMOWSKY'S

private band. To these skilful players BEETHOVEN used lo shew his Quartettcompositions as soon as completed and fully explain to them his ideas re,

garding the lights and shades of expression which he desired in the perfor-

mance; by

this

means

the Quartetts

were rendered with an

insight into their

and a truth of feeling which made it a common saying at Vienna, ,,if you wish to hear BEETHOVEN'S chamber -music for stringed-instruments really performed, and desire to comprehend it and

spirit

,

a unity of purpose

,

know

its beauties, you must hear it played by those artists." This was the opinion of competent judges, and every one says still, ,,alas, so it was!" For these masters of the craft are now no more.

The opened

instructive intercourse

to

him many

which BEETHOVEN had with SALIERI having he no longer

of the secrets of dramatic Compesition

made

refused to comply with the frequent requests that were

an Opera.

Herr SONNLEITHNER undertook the

,

to

him

to write

which he arranged after the french drama ,,L'amour conjugal," and entitled Leonore or Fidelio. BEETHOVEN promised to compose the music for the operatic company of the theatre ,,an der

and where he

At

Wien,"

now

this time

set to

in

libretto

,

which apartments were assigned to him in earnest, and with much gusto.

gratis

work

commenced BEETHOVEN'S acquaintance with

the editor of

BIOGRAPHICAL NOTICES.

7

which afterwards ripened into a warm friendship. We lived under the same roof, dined together, and although I had long acknowledged the lofty claims of this great Poet of Sound and seen in him a star of the these papers

,

,

magnitude, his childlike disposition, purity of mind, and profound goodness of heart were to me a continual source of fresh enjoyment. All the first

works

unwearied genius produced

that his

in the short space of

two years

upon the mount of olives," the Violin-concerto, the Sinfonia eroica and pastorale, also that in all of which he C-minor, the Pianoforte-concertos in G, E\>, and C-minor the wonderful ,,Leonore," the Oratorio ,,Christ

composed

for

performance

at

own

concerts for his

benefit

,

and which were

all these implayed by the excellent orchestra which I then conducted, mortal works I was fortunate enough to be the first to hear and admire. The

,,Fidelio," now so widely celebrated, was first produced under very unfavourable auspices. Not only were the parts entrusted to vocalists who were

unequal

to

the task,

but the gradual approach of the war to Vienna had

already distracted the attention of the public. For the performance in the theatre at Prague

now

BEETHOVEN wrote

new and

a

less difficult

Overture, which

Score and orchestral parts by M. HASLINGER. In course published of the following year the Opera of Fidelio was chosen by the regisseurs of is

in

the Carinthian-gate theatre for their benefit; the

work was then re-cast

in

present form and reduced to two acts whereto was superadded the fine overture in E-major which , however was not completely copied out

its

,

:

the

first

of Athens," in

G-major, being substituted

for this representation, the

of the

,

evening, and was therefore not played; the Overture to the

first act,

march

for

in Z?J7, the

which did not previously

exist

it.

BEETHOVEN

also

,,

Ruins

composed,

Song of Rocco, and the Finale an extremely melodious Ter-

;

and a charming Duettino for Soprano voices with Violin and Violoncello o b 1 g a t i (in C-major time) were rejected by him , and are unfortunately not to be found in the original Score.

zetto in

{?,

i

In the year

conductor

at

,

%

1809 BEETHOVEN determined

the Court- theatre in Cassel,

to

preferring the prospect of a sure provision for of remuneration for his works,

which was

In order to prevent his departure,

accept the

office of operatic

which was then

all

life to

offered to

him;

the precarious chances

he could reckon upon

and recompense him

for

at Vienna.

ghing up

this

appointment the Archduke RUDOLPH (afterwards Cardinal-Archbishop of 01miitz) and the Princes LOBKOWITZ and KINSKY, made BEETHOVEN the generous ,

offer of

an annual pension of

\

50.*)

,

*) This sum, viewed in proportion was equivalent to 500 in England.

the

document

to the

in

which the

cheapness of Vienna

joint offer

at that time,

BIOGRAPHICAL NOTICES.

8 was made

to

him being couched in the most respectful and flattering terms. to him until he should either receive an appointment

sum was secured

This

of equal value (that of Cassel being of inferior value) or, should this not occur, until his death

;

annexed being

the only condition

to reside in the Austrian

that of his continuing

dominions.

BEETHOVEN, touched by these proofs of appreciation and regard, resolved

remain

to

He remained, unceasingly

at

Vienna

to the great

to build

death carried him

fast-bound with the flowery fetters of gratitude. joy of his friends and admirers, and laboured

up the temple

away

to the

of his

unknown

own

immortality

,

until the angel of

land of purest harmonies

,

and

left

who loved him so w ell, his honoured ashes they rest in our peacechurchyard at WAEHRING, whither no one makes a pilgrimage without bedewing with his tears the sod under which the great magician sleeps. T

us,

;

ful

Who

can regard that sacred spot without feelings which make him return a better and a wiser man? But who, alas, can see it without lamenting

home

our heavy loss

!

Many were received; a medal lorle

,

the marks

of high consideration

was struck

in

honour of him

which BEETHOVEN now

at Paris, a fine

grand-piano-

together with the splendid edition of HANDEL'S complete works, then

were presented to him by friends in London the latter valuable was sent gift by Herr STUMPF, and was a source of the greatest enjoyment to BEETHOVEN during the last few years of his life. He was also presented with the freedom of the city of Vienna and

so rare

,

;

,

made honorary member

of the royal

Swedish Academy

the Society of Musicians at Vienna, etc. etc. But

compensate for the misfortune

that

now

fell

all

of Music , as also

of

these honours could not

upon him, viz: the loss of his The disease of the ear which

hearing, so painful a loss for the musician.

caused his deafness developed itself, indeed, very gradually, but refused, from the very first to yield to any means adopted against it and at length ,

,

ended

in a total deprivation of hearing

,

which rendered

oral

communication

with him impossible.

The unavoidable consequence of this was that BEETHOVEN withdrew from society, and sought refuge in solitude; he became shy and suspicious, his natural

per grew

tendency to melancholy increased to hypochondria, and his temand uncertain. His only pleasures lay in reading, compo-

irritable

and taking walks into the country of which latter recreation he was remarkably fond. A small circle of faithful friends formed his only society. By degrees he began to suffer from other physical evils, which compelled the sing

,

,

once so robust and healthy man to seek medical aid. Dr. WAWRTJCH, an eminent clinical Professor, left nothing untried which could alleviate the suffer-

9

BIOGRAPHICAL NOTICES. ings of his honoured patient for

of dropsy

symptoms

;

but there was no hope of a permanent cure,

on the chest soon declared themselves

He died

.

at 6 p,

effect,

this

he underwent repeated operations, but

disorder advanced with rapid strides

each time with diminished

and

,

while his strength was alarmingly reduced.

m. on the 26. of March 1827.

made his nephew CARL VAN BEETHOVEN his only heir, he was much attached, and whom he had adopted but whose conduct did not repay the affection lavished upon as his son and acknowhim. BEETHOVEN was not at all fond of giving instruction In his last will he

a young

man

to

whom

,

ledged none as his pupils except his nephew, the Archduke RUDOLPH, and the talented FERDINAND RIES.

BEETHOVEN was by no means in narrow circumstances having left sum of 9000 Florins *) (Austrian c.) which, as before mention,

behind him the

ed, was inherited by his nephew. His compositions especially during the later years of his life, were well remunerated, and he received very considerable sums for the copyright of his Symphonies, Quartetts, etc. from the ,

publishers STEINER and Comp., Messieurs SCIIOTT in Mayence, SCHLESIXGER,

and

he sent copies of his second Mass (before publication) European potentates, and received from them, in the aggrebetween and 700 ducats for the same. 600 gate, others.

Moreover

,

to several of the

How

was esteemed and honoured**)

highly BEETHOVEN

at

Vienna

known; Prague, Berlin, and Breslau, as well as other large Germany, paid him the highest honours after his death, and it may well

said

the

that

whole of the

civilized

is

cities of

truly

world mourned his decease.

be

Solemn

Masses (MOZART'S and CHERUBINI'S Requiem) were performed in the churches of St. Augustin and St. Carlo at Vienna on the day of his funeral, and a grand concert was soon afterwards given in his memory, at which none but BEETHOVEN'S compositions were performed the receipts were devoted to the erection of his monument in the churchyard of WAEIIRING. ;

The

which

here reprinted, concerning BEETHOVEN'S funeral was written by an eye-witness. BEETHOVEN was unmarried, and singularly enough, is believed never article

obsequies,

to

is

have been

,

is

well authenticated, and

in

love***).

ance are correctly given

The chief

in

most of

characteristics of his personal appear-

his portraits f)

-

without including the 100 *) About 890 presented monic Society in London, and which were found untouched **) Longo post tempore ,

he was rather below

to

him by the Philhar-

after his death.

!

***) This i) is

The

is

an error.

portrait

by KRIEHUBER

considered the most Beethoven, Studies.

faithful

of Vienna, forming the frontispiece to this volume, P. (because not idealized) likeness extant.

22

TRAITS OF CHARACTER AND ANECDOTES.

10

and enjoyed robust health

the middle height, strongly built,

,

in spite of his

peculiar habits, until within a few years of his death.

TRAITS OF CHARACTER AND ANECDOTES. (From (he German of Seyfried, with additions, derived from private sources, by the Translator.)

BEETHOVEN always spent the summer months in the country, where he was accustomed to write in the open air with the greatest comfort and the richest Modling,

Lower

that

He once took

results.

he might enjoy,

a lodging in the romantic village of

to his heart's content,

Austria, the lovely Briel.

A

the Switzerland of

luggage-waggon with four horses

was

freighted, with a very small proportion of furniture certainly, but on the other hand with an immense mass of musical matters. The lowering machine was

and the proprietor of its treasures marched before it the most perfect contentment of mind. Scarcely per pedes Apostolorum was he out of the city between green cornfields undulated by the put slowly in motion

,

in

with the song of the lark thrilling above him as it greeted advance of spring than his creative spirit awoke. Ideas jostled each other, were selected, arranged, noted down with the pencil and the journey and its object were clean forgotten. The gods only know where zephyrs's breath

,

,

in extasy the

the

Composer had wandered in the long interim but at length about twilight at his chosen Tusculum perspiring at every pore covered with ;

he arrived

,

,

dust, hungry, thirsty, and dead-tired. Heaven help us!

awaited him

adventure

;

two hours ties

,

!

what a spectacle

The waggoner had accomplished his snail's progress without employer, however, who had already paid him, he waited

for his in

vain. Totally unacquainted with the

and having

settled that the horses

he made short work of

it,

shot

down

must sleep his

entire

Composer's eccentriciin their

own

stable

freight into the

market

and returned home without farther delay. BEETHOVEN was at first very angry, then he burst into a fit of laughter, and at length having hired half a dozen of the gaping boys in the street, he had enough to do, place

,

before the hour of midnight

by Luna's beams posit

,

them under a

was

called

by

the watch,

to collect the scattered

and fortunately favored

elements of his property and de-

safe shelter.

When the Composer brought out his Fantasia for the first lime with an Orchestra and Chorus , he directed at the usual hasty rehearsal that the ,

,

second variation should be played through. In the evening, however, completely

TRAITS OF CHARACTER AND ANECDOTES. absorbed the

in his

own

had given, and repeated a combination which

creations, he forgot the order he

while the Orchestra accompanied the

first part,

1i

last,

by any means produce a good effect. At last, when it was a little Composer began to smell a rat, suddenly stopped, looked up amazement at his bewildered band, and said dryly ,,0ver again;" the

did not

too late, the in

Leader, ANTON WRANITZKY, unwillingly asked ,,with the repeat?" ,,Yes" was echoed back and this time things reached a happy conclusion. That he had ,

to a certain

degree affronted these excellent musicians by this irregular at first allow; he contended that it was a duty to, ,

proceeding, he would not

and

repair any previous error,

performance

his Orchestra for self

that the public

spread the story abroad

to

had a

right to expect a perfect

money. Nevertheless he readily begged pardon of the unintentional offence, and was generous enough him-

for their

and

,

to lay all the

blame upon his own

abstraction.

The more

his

want

of hearing

,

and

his

(in

latter years)

his increasing

derangement of bodily health, got the upper hand, the oftener did every fresh symptom bring with it the martyrdom of hypocondriasis. Then would he begin to complain of the deception and treachery of the world, of its wickedness falsehood and suspicion he would exclaim that there were no longer ,

any

,

;

be met with, and in short he saw everything in the and at length he even distrusted his long-tried and

intelligent beings to

darkest possible hue

,

honsekeeper. Suddenly he took the resolution of becoming indepenand this strange idea like all others was no sooner formed than it

faithful

dent ,

was

,

bought

,

eatables.

would

and

work

set himself to

Thus he went on

,

He went himself

carried into execution.

for

to

prepare

some time

to ,

market, chose, bargained and

with his

own hands

and as the few friends

,

his

,

own

whom

he

endure in his neighbourhood made strong remonstrances with him on the subject, he became very indignant, and invited them to dine still

the next day

order that they might

in

in the noble art of Cookery.

would happen, host

to arrive

see the proofs of his proficiency

The guests did not

fail

,

in expectation of

what

They found

their

punctually at the time appointed.

in a dressing-gown,

his

head covered with a

night-cap, his

stately

waist girdled with a cook's blue apron, and fully occupied at the stove. After an hour and a half s trial of patience , during which the imperious

demands

of

chat, dinner

which

is

hunger could

was

at

with' 'difficulty

charitably dispensed as such

warmed through

,

and

be

kept

down by

lively

chit-

length served. The soup reminded one of the refuse

fit

at

hotels;

the beef

only for the digestion of an ostrich

;

was

scarcely

the vegetables

TRAITS OF CHARACTER AND ANECDOTES.

12

swam

in a reservoir of

lukewarm water and grease

burnt to a cinder. Nevertheless

recommence

the attack

,

and the roast meat was

,

the master of the feast failed not heartily to

upon every

and endeavoured

dish,

to

animate his re-

luctant visitors, both by his own example, and by the most extravagant praises of the delicacies set before them. These however, after having con,

trived to

swallow some few morsels, declared themselves

Composer, soon

ulterated juice of the grape. Happily the

rable repast,

;

which he did not again venture

model.

a

and made

and the unad-

memo-

after this

tired of his

himself an indigestion by his

As

,

adventures in the kitchen. He voluntarily resignthe housekeeper was reinstated and her master returned to

grew

ed the sceptre his desk,

satisfied

fresh milk, sweetmeats,

their dinner chiefly of dry bread,

own

to

desert, for the sake of giving

culinary preparations.

Conductor BEETHOVEN could by no means be considered as a

Woe

to the

Orchestra which did not exert

being led astray by his baton composition, and

was

,

all its attention to prevent he had no feeling but for the poetry of his

for

incessantly in motion, through the

numerous

gesticula-

by which he was accustomed to betray its effect upon him. Thus he frequently gave the down beat in any forcible passage although it occurred on the false accent of the bar. He was accustomed to mark the whole protions

,

gress of a diminuendo passage, indicating the most gradual decrease possible, and literally almost slipping down under 'his desk when the pianissimo was

reached. So

,

when

the sound

as from below, and with the

on

tiptoe almost to a

appeared as

if

muscle seemed

As

his

was required to increase he himself rose up commencement of the Tulti, he raised himself ,

and with both

giant height,

about to take his in action

,

iito

flight

his

arms spread out he every nerve and

the clouds;

and the whole man resembled a perpetuum mobile. most woeful discords frequently oc-

deafness increased, however,

curred, the Conductor beating in one time and the band accompanying in another. Piano passages

heard absolutely nothing

were most ;

all

was

easily

conveyed

to

him

,

of the Fortes he

confusion. In such cases, he could only be

guided by his eye; he watched the bowing of the stringed instruments, guessed at the musical phrase which was being executed and soon set himwhich self right. But he did not possess the mechanical gift of conducting ,

indeed

is

seldom

imagination.

to

be met with

in

any composer

of real genius

and

fiery

15

TRAITS OF CHARACTER AND ANECDOTES. Before BEETHOVEN began to be troubled constantly present at the

his organic defect,

by

performance of Operas,

he was

particularly those which

took place in the beautiful Theatre on the Wien, which he preferred visiting it was so conveniently near to his own dwelling. Thither was

because

he more especially attracted by the compositions of CHERUBINI and MEHULJ which were then just beginning to kindle the enthusiasm of the Viennese,

and upon such occasions he planted himself against the back of the Orchestra, and remained as mute as a statue, till the last note had been played. This silence, however, was the only sign by which he showed that the composition

when on

interested him;

the right about, the

things

was

it

difficult,

first

the contrary,

,

It

Above

was generally

silent,

and,

to all

cold and reserved in his opinions about his compeers in art

spirit alone

marble.

did not please him, he turned to

was is

all

nay, next to impossible, to draw from him any sign

either of applause or disapproval; he

pearance

it

time the act-scene dropped, and fled.

restlessly at

work

its

;

fleshly

tenement seemed

;

aphis

like soulless

a curious fact that he would sometimes listen to unmislakeably real exultation, which he proclaimed by the most noisy

bad music with

bursts of laughter.

seldom knew

aware

that

how

It

to

was only

a

pity

,

that those

he was accustomed

to laugh

and witticisms, without giving any

think

no orchestra

in the

at

openly

his

own

secret

thoughts

farther explanation of them.

Our Composer by no means belonged

who

commonly around him

account for such peculiar explosions, and were not

to that class

of vain musicians,

world can be deserving of thanks. Sometimes

indeed he was too indulgent in not requiring faulty passages at rehearsal to be repeated; ,,It will go right next lime" he would say. With regard to expression, he

was

strict in

enforcing the most delicate

nuances,

the most

and shade, as well as an effective and discussed these points without restraint or want of temper tempo rubato, with any body. When however he perceived the musicians entered into his nicely-proportioned distribution of light

and went together with increasing unanimity, wrought upon by the his countenance lighted up in a moment,

ideas,

magic of his artistic creations,

every feature was animated by satisfaction

mouth finest

,

and

a

moment

thundering bravi

lutti

,

a

happy smile played about his it was the artists

rewarded the excited

of triumphant self-consciousness

,

;

before which the shout of

applause from a large and eager audience faded into insignificance. At a trial a prima vista it was often necessary, in spite of the presence of the Conductor, to stop, and thus cut short the thread of the whole composition;

TRAITS OF CHARACTER AND ANECDOTES.

14 even

he would bear very

this

to his

patiently.

symphonies, they lighted

change of time

in

But when, particularly

BEETHOVEN would break out

,

sure them that ,,he should have expected

been

all

into a chuckling laugh

and

nothing less,

and ashe had

that

along prepared for it;" and he showed childish joy at the feat, as

he expressed

of

it,

,,

having thrown such stalwart knights out of the saddle."

While BEETHOVEN was writing mentioned theatre

in the scherzos

confusion upon a sudden and unexpected

his Fidelio,

in the biographical notices, in the

he

has already been

lived, as

buildings connected with the

on the Wien, and gave there several concerts,

tion of his

new

compositions

,

for

the

produc-

as well as for the performance of his earlier

works, which even then had attained to celebrity. Upon the production of his G and E flat, he invited the Editor of this work,

Pianoforte Concertos in C-minor, in the

his

most friendly manner,

over for him, and thoroughly enjoyed he could make out little or nothing was with interpolations and marks of all

to turn

bewilderment when he found

from the Score, descriptions.

covered as

He had

in fact

it

merely noted down the Ritornellos and the first memoranda for himself, and in characters which

notes of the solo passages, as

nobody

else could

others quite blank,

comprehend, and had left many bars half filled-up, to be finished at a more convenient opportunity. Such

being the state of things we came to the agreement that I should before he reached the bottom of each page , be warned to turn over. During the performance however, the Composer, then still cheerful and alive to the enjoy,

,

,

ment

any harmless joke and innocent roguery, could not deny himself the pleasure of putting me into a fidget and delaying the promised signal as long of

as possible that

I

,

generally

till

should have deserted

music atoned

for the

the very last

my

moment. This made me so nervous

post in disgust, had not the beauty of the

Composer's ill-timed pleasantry.

Amongst his favorite dishes was a soup prepared like a panada, upon which he was accustomed to regale himself every thursday for this purpose ;

he required that ten fresh eggs should be brought to him on a plate which, before they were broken, he held up to the light and marked one by one, in ,

order to ascertain their goodness.

If it

was decreed by

Fate that he should

one or two of them, the tell-tale effluvium, a scene immediately voice of thunder cited the hostess to appear, who in the meantime,

perceive, in

ensued.

A

well knowing what the

summons portended, gave only

the door, to the storm brewing within;

if

half an

ear, behind

she ventured to shew herself,

TRAITS OF CHARACTERS AND ANECDOTES. betide

\voe

the

her!

for

threshold;

followed

a

and

volley of rotten eggs

neither

soft

was sure

13 meet her on

to

nor sweet were the epithets that

!

Without a

little

down his ideas upon the inby chance this was referred to in Arc's*) words ,,nicht ohne meine

note book, wherein to jot

stant, he never appeared in the street.

If

conversation, he used to parody Joan of

Fahne darf ich kommen" and with a tenacity quite surprizing did he adhere to this self-imposed law, though in all other respects his household presented an admirable scene of confusion. Books and Music were strewn there sealed here the remains of a cold breakfast about in all directions or half-empty bottles yonder upon the desk the rough sketch of a new near it the last new poem or romance. On the piano might be and quartett, on the table seen the half-finished Score of a symphony as yet in embryo

a proof sheet waiting for correction

private

and business

latus

Composer had

the habit,

(in

manifest contradiction to the

fact,) all

of boasting, at

the eloquence

was only when something that was wanted had to be hunted hours, days, and even weeks, and it remained in obstinate seclusion, he assumed another tone, and the innocent suffered for the faults of

of a Cicero.

that

cove,

every opportunity, of his accuracy and love of order, with

for,

letters

between the windows a respectable stracchino cheese ad the fragments of a Verona saussage; yet in spite of this medley, our

ring the floor

It

,,Yes yes" he would say complainingly nothing can remain in the place where I put it

another.

,,that is all

my

the misfortune!

things are distur-

upon me, a deaf man !" The servants however well knew the goodtempered grumbler; they let him scold to his heart's content, and after a few minutes of ill-humour all was forgotten, until

bed, and tricks are everlastingly played

a similar negligence

produced a similar scene.

He

frequently made himself merry at the expence of his illegible handand said as an excuse, ,,Life is too short to allow one to paint letters and notes**). ,,Schonere Noten brachten mich schwerlich aus den Nothcn."

writing,

The whole

of the morning, viz. from daybreak

dare not come without

till

the hour of dinner,

was

Schiller's Joan of Arc. my Banner would scarcely keep me from necessity." As it will be seen, the point of this sentence consists in the play upon the two words Noten and Nothen, and therefore the translation cannot convey it. Unless I may he allowed to subsitute an English witticism conveying the same sense, Musical notes are not Bank notes. *)

I

**) ,,Fine notes

TRAITS OF CHARACTER AND ANECDOTES.

16 in

employed

mechanical work or transcribing

;

was devo-

the rest of the day

ted to reflection, and the arrangement of his ideas. Scarcely had he swallow-

ed the

last

mouthful of his meal

moment some

,

than off he started (unless he

fresh inspiration)

accustomed walk

to take his

j

felt

at the

e.

he ran

i.

in double quick time if by compulsion twice round the city. He was once seen, just outside the gates, standing quite alone, with his hat off, contemplating the heavens. The moon shone brightly upon his face , on which

as

,

,

an expression of sadness was discernible; this soon changed to one of haughty self-reliance and he was heard to say ,,let them write what stuff they please about me, and call rne all the hard names they will they can ,

no more extinguish the

light of

my

genius than

can darken that moon."

I

BEETHOVEN seldom allowed himself, even among

his intimate

friends,

an opinion upon his compeers in art. What he thought of the undermentioned masters shall be communicated in his own concise words. to let fall

,

is

,,CHEBUBINI

me

to

Operatic Composers.

most worthy

the

of attention

Also with his conception

of the

among

Requiem

all I

living

entirely

and should

I myself write one , I shall take many hints from him." von WEBER in him art could not develope too late to ,,C.M. began learn; itself naturally, and his visible and only aim was to be regarded as a genius*).

agree

,

,,MOZART'S greatest

himself a

work

is

the Zauberflb'te

German Composer.

,

for in that did

he

Don

first

'Juan has the complete moreover, the divine Art ought never to have been lowered

and,

folly of so ,,

show

Italian

cut,

to the

scandalous a subject."

HANDEL

the unequalled master of

is

how, with such small means, such great

all

masters!

effects

Go home and

learn

were produced."

When during his last illness he underwent the operation of tapping , he exclaimed ,,Belter water from the body, than water from the pen."

He received from

a Musical Society the flattering request to compose a which the payment was accompanied with the title of Honorary Member. BEETHOVEN accepted it, but allowed a very long time to elapse without their hearing anything further from him. At last there reached him couched in the most delicate possible terms a written reminder of the

Cantata for them

,

for

,

*)

,

Very probably

inasmuch as he

wa s

a genius

!

P.

17

TRAITS OF CHARACTERS AND ANECDOTES.

duty he had undertaken, signed, in consequence of the absence of the Presi-

by deputy. The

dent,

laconic reply ran as follows:

such things are not be hurried;

have not forgotten; word. ,,I

my

manu

Signed by myself. BEETHOVEN Alas

If

he could not keep

!

he did not happen

entreaties

were

word

his

him

will

keep

propria."

I

to feel inclined for

requisite to bring

I

it

himself, pressing

and repeated

Before he began to

to the pianoforte.

play he would then strike the keys with the palm of his hand, run over them

with one finger and play several time. During a

summer

some

,

had the

some miles wind, back

A

threat, certainly not in earnest

making BEETHOVEN escape and from thence he posted

effect of

distance to

foreign guests

,

that

he became

and obstinately refused what he considered as a service

quite angry,

exacted from him.

house

the

all

nobleman, he was to

the country seat of a

so teased to let himself be heard by at last

laughing heartily at them

little tricks,

visit to

,

,

,

of

imprisonment

in the

as

the

to

town

night to a

on the wings

at

of the

Vienna. As a satisfaction for the insult, his unlucky patron's

bust was offered up a sacrifice.

The

irritated

Composer threw

it

out of

the window.'

As JOSEPH HAYDN'S less

illness increased,

BEETHOVEN

principally from a sort of apprehension

,

had struck out

a path for himself

,

visited

him

less

because he was aware

BEETHOVEN was possessed with a singular passion of habitation

troublesome

was he

,

,

for a constant

although the moving about with ,,bag and baggage" to

him

,

and was each time attended with some

established in a

new

he

which HAYDN did not approve of. Neverin his Telemachus

Mentor frequently enquired after these terms ,,Well, how goes on our Great Mogul?"

theless the amiable old

and

that

dwelling

when something

loss.

change

was very Scarcely

or another displeased

him, and he walked himself foot-sore to find another, sometimes managing so cleverly as to have several sets of lodgings on his hands at once; in this

way as in many others, he the whim of the moment. ,

After

spent

money

to

no purpose, merely indulging

BEETHOVEN became deaf, he spoke but little, writing down his tablets. ,,What is ROSSINI?" was once asked of him he

remarks on his

wrote for answer:

,,a

clever Scene-painter."

TRAITS OF CHARACTER AND ANECDOTES.

18

Alaitre de chapelle being at Vienna, would on no without having made the acquaintance of BEETHOVEN.

KUHLAU, the Danish account leave the

city

,

Mr. HASLINGER therefore got together a

Composer had taken up

excursion to Baden

liltle

abode

,

at

which

summer, and Mr. SELLNER, (the Professor in the Conservatorio) Mr. CONRAD GRAF, the Court Pianoforte-maker, and a warm friend of BEETHOVEN'S, Mr. HOLZ, were the place the

guests honored

by an

his

for the

No sooner were

invitation.

health-giving fountain and had received the hearty

host

,

than was heard

,

short interval of repose

a

after

they arrived at Hygeia's

welcome

of their expectant ,

the unanimous

cry of ,,Let us go out."

Away they went, the eager host leading the way like a bell-wether, and behind him the town-bred trio, who had some difficulty to keep pace with his walking he having formed the determination, ,

as the all

fancy of

the

moment, were lo be

the favorite spots

them completely out. To this end, visited, and of course by the most intricate

to tire

like so many chamois paths. First they clambered up to the ruins of Rauhenstein and Rauheneck, from the towers of which the eye, as far as it could ,

,

reach, wandered over the rich extent of country, spread before it like a carpet. Then the humorous Composer, seizing with a firm hand upon the arm of one of his companions ran at full speed down a nearly perpen,

and shouted with laughter

dicular height,

who

down

at

the droll appearance of his

him over sharp pebbles, brambles, and briars. After overcoming so many perils, the social meal, which was prepared in the lovely Helenenthal, made a rich compensation, and the friends,

slipped

state of equal fatigue

after

with his guests

in

,

here had somewhat more than the

work was completed by The

its

rich

which our wanderer found

himself,

own

enjoyment. The sparkling Sillery wonted effect, and at BEETHOVEN'S house

apparently served but to enhance his

and copious

Amphytrion was

libations

of Johannisberger

most amiable possible temper, to which his friends responded with the warmest cordiality. KUHLAU extemporized a Canon upon the name of BACH, and BEETHOVEN dedicated to ot

the

the best vintage.

memory

of

inserted below.

jovial

this enjoyable

He was

in the

day the impromptu upon the same theme

some pains

to apologise, the next morning, for which might perhaps give annoyance to his esteemed friend, and sent him the little note which we here present to the reader, (v. p. \Q.) at

the joke*)

Kiihl

*)

KCULAU'S

nicht

lau,

name was formed

nicht

of the

lau,

Kiihl

nicht lau, Kiihlau nicht

two words Cool-Lukewarm.

19

TRAITS OF CHARACTER AND ANECDOTES.

and

,

as

I

bassa.

loco.

Kiihl

nicht lau,

Kiihl nicht

lau,

nicht

Kiihl

lau,

that sort of stimulus rather depresses

,

my powers which usually respond quickly the least recollect what I wrote yesterday.

to

,

now and

lau.

Baden, Sept. 3. 4825. to my head yesterday,

have learned by experience

Think

nicht lau.

Champagne mounted

that the

then elevates

do not in

nicht

Kiihl

lau,*

m 8a

must confess

I

nicht

Kiihl

lau.

any demand.

I

then of your most devoted

BEETHOVEN, manu propria.

/~N Many who during BEETHOVEN'S life, and even up to a much later date, were accustomed to move in the higher circles of Vienna, will not fail to Ambassador from the King of Saxony to the was a friend of art and artists, and spoke intercourse with the celebrities of his day. The worthy

recollect M. von GRIESINGEB, the

Austrian Court. M. von GRIESINGER

unreservedly of his old

gentleman was accustomed frequently

man he had been

present

at

the

first

to recur to the fact that as a

young

of the Zauberflote

representation

(MOZART'S Opera ,,The magic Flute/')

With BEETHOVEN

also he

related the following passages ,,

had come

into contact several times

and once

,

:

Although," said the Composer,

,,the libretto of the

Freyschutz was at-

who con-

tacked by the Critics, although there were self-sufficient Musicians

sidered the music as of too popular and unlearned a character, because

was not

synonymous with

real

the Freyschutz could not be denied, and almost

WEBER

it

and obscure, which with some people are terms depth and learning yet the unprecedented success of

tedious, bombastic,

all

living

Composers envied

the possession of such a libretto."

The poet, FRIEDRICH KIND, inconsequence

of this success,

had re-

ceived proposals for writing several

new Operas, and completed two,

which one bore the

Miners" (Die Rutheng anger)

title

of

,,the

.

of

But the

poet of the Freyschutz was sharp enough to perceive that good music is requisite before all things, to ensure the success of an Opera, and ex-

pressed

in

a conversation with

BEETHOVEN would to

me

(at

Teplitz)

set a libretto of his to

,

how

glad he should be

music; but he did not

him, having heard much of B's repulsive manner.

I

if

like to write

undertook

to

sound

TRAITS OF CHARACTER AND ANECDOTES.

20 BEETHOVEN

for

as soon as

it

answer

:

him upon

was

possible

I

,

kept

if

Kind were

to look

it

is

promise. BEETHOVEN

my

much

,,Thank you, thank you very

of the libretto of the Freyschutz, that

public, but

although to

me

that the

both musical and picturesque;

poem I should not

Fidelio has not

My

come when

the time will

this

I

believe

it

peculiar element.

my

is

feel sufficient

been comprehended by the will be prized; nevertheless,

perfectly well aware of the value of

Symphony

made me

quite sensible of the value

back once more into the archives of tradition he would

music.

to

know

I

am

I

it

am

I

;

write an excellent popular Opera; but for such a interest to set

convenient opportunity, and

this subject, at the first

my Fidelio, When I have

it

evident

is

music in

my

always the music of a full orchestra I can exact everything and anything from Instrumentalists, but in vocal composition I must be perpetually asking: Will this sing? No, No, Mr. Frederick Kind must not think

head

it

,

is

;

the worse of

me

for

it,

him

shall never write another Opera." converse about WEBER, and BEETHOVEN extolled

but

They then went on

I

to

much

inordinately, so

so, that

opinions which he has been

were put

made

I

to

but

feel

little

doubt the depreciating

express concerning

that

Composer

mouth. That he praised WEBER from motives of policy a moment be supposed, for he never shrunk from speaking out

into his

cannot for

what he thought, with very little ceremony. M. von GRIESINGER related further: ,,When

we were

both

still

young,

I

only an attache, and BEETHOVEN only a celebrated pianoforte player, but as yet

little

known

as a

Prince LOBKOWITZ.

we happened to be together at gentleman who thought himself a great

composer

A

,

,

entered into a conversation with BEETHOVEN upon a poet's ,,I

all

and

inclinations.

wish" said BEETHOVEN, with his native candour," that I was relieved from the bargain and sale of publication and could meet with some one who ,

could pay to

life

the house of

connoisseur,

me

a certain income for all

publish exclusively

tion.

I

believe

that

GOETHE does

London publisher held

I

life,

wrote

this

;

for

and

which he should possess the right I would not be idle in composi-

with GOTTA

similar terms with

,

and

,

if I

mistake not , HANDEL'S

him."

man", said this grave wiseacre, ,,You must not complain, for you are neither a GOETHE nor a HANDEL, and it is not to be dear young

,,My

expected that you ever will be, for such masters will not be born again."

BECTHOVEN and

bit his lips,

said not another

pretty

word

gave a most contemptuous glance at the speaker, him. Afterwards however he expressed himself

to

warmly upon the insolence

of this flippant individual.

Prince LOBKOWITZ endeavored to of thought,

pened

to

and said

draw BEETHOVEN

into temperate

turn upon this

modes

manner, when the conversation once happerson, ,,My dear BEETHOVEN the gentleman did

in a friendly

,

TRAITS OF CHARACTER AND ANECDOTES. not intend to

here to

wound you;

an established maxim, which most men adproduce such mighty

is

it

Jil

that the present generation cannot possibly

,

spirits as the

,,So

men who

dead who have already earned their fame." the worse your Highness," replied BEETHOVEN,

much

,

will not believe

universal fame

,

I

and

trust in

me

because

,

I

am

as yet

with /

,,but

unknown

to

j

/

cannot hold intercourse."

Many then shook

'their

heads

and called the young Composer arrogant

,

and overbearing. Had these gentry been able to look into the future, they would have been a little ashamed of themselves.

of

Dr. ALFRED JULIUS BECHER*) related the following anecdote, for the truth which he was ready to vouch. BEETHOVEN had received the most flattering proofs of distinction from

the golden Lamb he found himself one day in an hotel at musical men in a and and several observed talking Vienna, literary very animated manner together. He asked what was going on?

England

,,

;

These gentlemen maintain

pose, nor

to estimate

that the English neither

good music," replied Mayseder,

know how

,,but

I

am

to

com-

of another

opinion."

BEETHOVEN answered compositions of

muneration

for

mine

them

sarcastically

:

,,The English have bespoken several

and have sent me handsome reGermans with the exception of the Viennese are appreciate me, and the French find my music beyond

for their Concerts**)

the

;

,

,

only

now

their

powers of performance Accordingly,

lish

beginning

to

it is

:

know

nothing about music!

and the dispute came

to

Is

it

as clear as day, that the

not so? Ha ha!" He laughed heartily,

an end.

BEETHOVEN was

in the strongest sense of the word, a German body Though quite at home in the Latin, French and Italian tongues, he preferred to make use wherever it was possible , of his natural idiom.

and

soul.

,

own way

all his works would have been published with German title-pages. Even the exotic little word pianoforte did he seek to expunge, substituting the peculiar term ,, Hammer-Harpsichord"***) as a far better adapted expression. As a recreation after hard labour, he pre-

Could he have had his

,

ferred, next to his beloved poetry, the study of general history.

Poets of

*)

Germany GOETHE was

One

of the

members

his favorite;

of the

,,

Amongst the

he was fond of Walter

Scott.

Beethoven Dervishes" a name assumed by a he was a very able critic.

Musical Society in Vienna about the period \ 838 to 1848 **) The Philharmonic Society in London. ***) See the Pianiste's Musical Museum. Tobias Haslinger's edition, Vienna.

1.

/

Eng- ^V

;

part: BEETHOVEN'S Sonata No.

L..-.

-

t

61

THE HYMNS.

Amp

1 i

u

s*

Poco sostenuto.

Tenore

I

1

dole.

Rei - ni-ge,

- nila - va me ab i qui-ta - te Va-ter mich,nimm von mir dieSchuld der

Am-pli -us Rei -ni-ge,

- ni la - va me ab i qui-ta - te Va-ter mich,nimm von mir dieSchuld der

Am-pli -us

- ni - te la - va me ab i qui ta Va-ter mich,nimm von mir dieSchuld der

Am-pli-us

Tenore

Basso

1

Rei - ni - ge,

Basso

2< l "

06 i - ni - qui-ta - te to - va we Va-ter mich,nimm vou mir dieSchuld der

tts

Rei -ni-ge,

Pianoforte.

me

- a

et

Siin - de,

me

-

a

et

Siin - de,

me

-

U| P

/^i

me

l~a

-

a

Siin - de,

a

pec

-

mun-du mehr auf

me-o

Un-bill

la-sle

ca-to

me-o

Un-bill

la-sle

o pec - ca-to Un-bill dass kei-ne

a

T

pec - ca-to

dasskei-ne

Siin - de,

~jr

a

dasskei-ne

-

me la

-

mun-da mehr auf

o

mwi

ste

mehr

-

"*" "

et

a

pec - ca-to

dasskei-ne

Un-bill

me -o la

-ste

munda mehr auf

da auf

THE HYMNS.

me

et

a

pec - ca -

von je-der

mir,

me

el

von

rair,

a pec - ca je-d^er

to,

a pec - ca

Siin-de, je-der

to,

a

pec

Siin-de, je-der

to

Un

bill

- ca

Un

-

to

-

bill

'

\A'

me mir,

et a pec-ca-to, pec-ca-to me-o, von je-der Siin-de und je-der Un-bill,

mir,

-,,%-\2'

!-?

et

a pec-ca

von je-der

p-

-

to,

Sunde

pec-ca-to und jeder

me-o, Un-bill,

' .

pec-ca-to

von Siinden I

me

f

f

m

pec-ca-to von Siinden

THE HYMNS.

Lib

e r a

(sung during the benediction of the corpse). (Composed by Sey fried.) ft>

_P_

Tenore

l

'ff

mo

Li-bera me, Domine,

* V&&

r~

1

-

-

- bera de

morte ae -ter -

-

- bera

de

morte ae -ter -

-

de

morte ae -ter

-

-

morte ae-ter

li-bera de

fv

p Tenore 2 Ao Li - bera me, Domine,

P

Basso

li

fp_

l mo

Li - bera me, Domine,

P Basso

li

fp

2-'"

Li - bera

m,

Domine,

li

- bera

(

na

in

di - e

r\>~^~\-y^\ws>

tre -

men

-

la tre -

men

.-

- la tre -

men

il

- la

il

-

da,

quando

coe -

do,

quando

coe-li

mo-

da

quando

coe-li

mo~

quando

coe-li

mo-

li

mo-

;

na

in

di - e

na

in

di - e

na

in

di - e

il

il

-

la

tre -

men

-

-

,

da,

64

THE HYMNS.

ven-di sunt et

ter

ra

vendi sunt

ter

ra,

ter

ra

et

P* dum

,

ve - ne- ris

t?e

- we -

m

IE vendi sunt

et

dum

,

ve - ne- ris

ju-di-ca-re

sae-cu-lum,

ju-di-ca-re

sae-culum per

ig

ju-di-ca-re

sae-cu-lum,

ju-di-ca-re

sae-culum per

i$

ju-di-ca-re

sae-cu-lum,

ju-di-ca-re

sae-culum per

ig

ju-di-ca-re

sae-cu-lum,

ju-di-ca-re

sae-culum per

ig

i

PP

nem.

Tremens

fac-tus

sum e-go

et

ti-me-o

dum

discus-si - o

nem.

Tremens

fac-tus

sum e-go

et

ti-me-o

dum

discus-si -o

e-go

et

ti-me-o

dum

sum e-go

et

ti-me-o

werw.

Tremens

fac-tus

new.

Tremens

fac-tus

sum

dum

discus- si -o

discus-si - o

THE HYMNS.

II

jp

1

_^

I

THE HYMNS.

66 |}^|,

\

f

$0

Cf

^

THE HYMNS.

nem.

-

Re

Re

nem.

-

ter -

quiem

ae

quiem

ae - ter -

nam

nam

do - na,

do - na

do - na,

do - na

a

#_-0Basso

1""

dole.

Du,

dem

nie

im

Le

-

ben

Ruhstatt

dole.

Du,

dem

nie

im

Le

-

ben

Ruhstatt

Basso 2d

Pianoforte.

dolc.l <

T

r

71

THE HYMNS.

ward, und

&

Ruhe

Herd und Haus.

55

ward, und

Herd und Haus.

ward, und

Herd und Haus.

ward, und Herd

Ruhe

Ruhe

und Haus. Ruhe

nun im

nun

nun, ruhe

ira

Grab, ruhe

stil-len

Grab, ruhe

^te F nun im

To -de

still

aus,

im

PP

^=frjgE J^EE^ y^gEB^jgE nun im 7^-fH

To -de

aus,

Gra-be

aus:

und wenn

:^g ==

im

stil-len

Gra-be

aus;

und wenn

im

stil-len

Gra-be

aus;

und wenn

Gra-be aus;

und wenn

-

nun im

To -de,

PP

,

nun im

m^

To -de

aus,

still

im

THE HYMNS.

Freundes

Freundes

Klage,

*: Klage

reicht

ii

- ber's

Grab hinaus

Klage

reicht

ii

- ber's

Grab hinaus,

horch eig'-nen Sangs

reicht

ii

- ber's

Grab hinaus,

horch eig'-nen Sangs

reicht

ii

- ber's

,

horch eig'-nen Sangs

-00Klage

Grab hin-aus

,

horch eig'-nen Sangs

73

THE HYMNS.

oc

'siis-sem Klang,

halb

V ips^HEf c

er-wacht im

stil

-

:

'

halb

siissem Klang, S

"

er-wacht im

9

--

^

Haus.

len, slil-len

i

Haus.

stil-len

stil-len, "

:sm nan

z&l

p

m^E3^E^S^=^^^E^^^^^ -ae-

-4t

'

-y*

stis

1

-

sem Klang

siis-sem Klang,

r

,

(5^

1

(5^~

-f

-a^

halb

er-wacht im

slil

-

halb

er-wacht im

stil

-

'

1

-\

- len

Haus.

len, stil-len

Haus.

len,

stil

r

3=^^

dole.

man

Beethoven, Studies.

-

can

26

-

do.

(* :

EXPLANATION OF THE ENGRAVINGS.

1}

The house

at

Bonn

in

which

the Rhine-street. Another house

is

L. v.

doubt that the one shewn in the engraving 2)

An

Original sketch of the

,,

Beethoven wa's bora, situated in but there is no

sometimes pointed out is

,

the real one.

Adelaide," facsimile.

3) Facsimile of a letter in Beethoven's handwriting.

View of the house

4)

suburb of Vienna;

it

called the

was formerly

of the Wahringer-street

a

number at

cross.

The house

now for some years been very large and used to be inhabited now a barrack , and there is a report

of different families;

it is

is

soon be pulled down. The room in which Beethoven died, the window of which he often used to stand is distinguished by a

current that

and

house, in the Alser

and another which has

called the Beethoven-street.

by

Schwarzspanier

a monastery, anji js situated at the corner

it

will

,

This being the only picture of the house extant,

it

will excite peculiar

interest. 5)

to

it

Copies of the medals struck in honour of Beethoven.

6) Beethoven's tomb in the churchyard of Wahring, near Vienna; close is the grave, and simple monumental tablet, of the Composer Franz Schu-

bert, and also that of Goethe's only granddaughter,

died in her eighteenth year. Beethoven's tomb butterfly, lyre,

semble a garden.

is

Alma von Goethe, who

of dark-grey marble

,

'the

gilt; an alder-tree covers the grave-stone, and so thickly planted with flowers and shrubs as to re-

and name are

the burial-ground

is

CATALOGUE OF THE COMPLETE

WORKS

OP

LUDWIG VAN BEETHOVEN, WITH THE VARIOUS ARRANGEMENTS OF THE SAME IN

,

AS PUBLISHED

GERMANY.

26

VAN BEETHOVEN'S WORKS,

L.

numbered from Op.

to Op. 138.

1.

Drel Trios (Esdur, Gdur, C moll), fiir Pianoforte, Violine u. Violent*. (Dem Fiirsten Lichnowski gewidmet.) Dieselben in Partitur mil Slim men. A r rang. Fiir das Pianoforte zu 4 Handen v. Fr. Schneider.

Op.

1.

Fiir

das Pianoforte allein arr. v- Winkler.

v.

Lobe.

Ebenso

1-

Fiir 2 Violinen, 2

-

2-

-

3.

Ebenso (mil op. Ebenso (rait op.

Trio No. -

Op. 2.

Drel Sonateii

Bralschen und Violoncell.

87).

104).

(Fmoll, Adur, Cdur), fur das Pianoforte.

(I.

Haydn

gewidmet.) Fiir 2 Violinen, Bratsche und Violoncell v. A. Brand. das Pianoforte zu 4 Ha'nden v. /. F. Schwencke. Adagio aus No. \ mit Worten (Die Klage Mein Gliick ist entflohen) unter-

Arrang. Fiir

.

legt v. F.

:

W.

1 mit Worten (Sehnsucht v. Schillerj v. Silcher. Adagio aus No. 2. mit Worten (Schau ich in's Auge ihr) v. Silcher. Largo aus No. 2. fiir das Orchester v- Sey fried. Adagio aus No. 3. fur das Orchester v. Seyfried. Allegretto aus No. 3. mit Worten (Wiedersehen) v. Silcher.

Allegro aus No.

.

Op. 3-

Grosses Trio

Op. 4.

Quintet! (Esdur),

(Esdur), fur Violine, Bratsche und Violoucell. Dasselbe in Partitur. Arrang. Fur Pianoforte und Violoncell (mit op. 64). Fur das Pianoforte zu 4 Ha'nden v. Stegmann. Fiir das Pianoforte zu 2 Ha'nden v. L. Winkler. Die 2 Menuetten daraus fur das Pianoforte zu 4 Ha'nden. fiir

2 Violinen

,

2 Bratschen und Violoncell. Dasselbe

in Partitur. Arrang. Als Octett (Original)

fiir 2 Clarinetlen, 2 Oboen, 2 Horner, und 2 Fagotte. (Oeuvre posthume.) SieheOp. 103. Fiir das Pianoforte zu Handen v. /. P. Schmidt.

Ebenso Fiir

Op. 5-

v.

Klage.

das Pianoforte

v. L.

Winkler.

Rondo darnach (Esdur)

fur das Pianoforte zu 4

Sonate darnach (Esdur)

fiir

Pianoforte, Violine

Handen v. Horr. und Violoncell (m.

Zwel grosse Sonaten

cell

op. 63).

(Fdur, G moll) , fiir Pianoforte und Violon(oder Vloline). (Friedrich Wilhelm II., Kiinigvan Preussen gewidmet.)

Arrang. Fiir Fiir

Fiir 2 Violinen, Bratsche und 2 Violoncello das Pianoforte zu 4 Handen. t das Pianoforte allein v. L. Winkler.

v. F. flies.

78

L. VAN

BEETHOVEN'S COMPOSITIONS.

Noitate

(Ddur), fiir das Pianoforte zu 4 Handen. Flote (oder Violine) v. Burchard. Fiir das Pianoforte allein v. L. Winkler. Rondo daraus fur das Pianoforte allein.

Op. 6- Ijelelitc

A rrang.

und

Ftir Pianoforte

Op. 7. Ctrosse Senate (Esdur) , fiir das Pianoforte. (Babette dc Keglevics gewidmet.) A rrang. Largo daraus mil Worten (Tagwerk ist vollbracht) fur \ Singstimme mit Begleitung des Pianoforte.

Op. 8.

Serenade

(Ddur),

f.

Violine, Bratsche u. Violonc. Dieselbe in Partitur.

und Bratsche v. Matiegka. Violine (oder Flote) v. A. Brand. Fiir das Pianoforte allein v. L. Winkler. Polonaise daraus fiir das Pianoforte zu 4 Handen. Dieselbe fiir 2 Violinen. Das Variationenthema als Lied v. C. P. mit Begleit. des Pianof. (Sanft wie die Friihlingssonne strahlt.) Das Trio der Menuett als Lied v. C. P. mit Begleit. des Pianof. (Gott Amor

A rrang.

Fiir Guitarre, Violine

Fiir Pianoforte

und

und Bacchus). Op. 9. lire! Trios (Gdnr, Ddur, C moll), fur Violine, Bratsche und Violoncell. (Dem Grafen von Browne gewidmet.) Dieselben in Partitur. 3 grosse Trios fiir Pianoforte, Violine und Violoncell (m. op. das Pianoforte zu 4 Handen v. Stegmann. Fur das Pianoforte allein v. L. Winkler. 3 Sonaten fiir das Pianoforte v. Heilmann. No. \ als Sonate fiir Pianoforte und Violine. No. ^. als Sonate fiir Pianoforte allein (m. op. 43). No. 2. als Sonate fiir Pianoforte und Violine v. F. Rahles.

A rrang.

61.).

Fiir

.

Drel Sonaten. (C moll, Fdur, Ddur), fur das Pianoforte. (Der Gravon Browne gewidmet.) Arrang. Fur das Pianoforte zu 4 Handen v. /. F. Schwencke. No. 1 Fiir 2 Violinen, Bratsche und Violoncell v. A. Brand. Adagio daraus fiir Violoncell und Pianoforte v. Burchard. Adagio daraus als Lied (Das ist der Tag des Herrn) fur eine Singst. mit Begleit. des Pianof. v. Hubner. Agnus Dei darnach fiir Orchester und Singstimmen v. G. B. Bierey. No. 2, Fiir 2 Violinen, Bratsche und Violoncell v. A. Brand. No. 3. Fiir 2 Violinen, Bratsche und Violoncell v. F. Ries. Largo daraus mit Worteu (Dein Auge weiss etc.) fiir Singst. mit Begleit. des Pianof. Menuett daraus fur 2 Violinen, Bratsche und Violoncell. Dieselbe fur 2 Violinen, Bratsche, Bass, Flote 2 Oboen (oder 2 Clarinetten),

Op. 10.

fln

.

-1

2 Hb'rner

und .Fagott

drosses Trio.

Op. 11. Violoncell.

v.

Baldenecker.

(B dur), fur

Pianoforte

,

Glarinette (oder Violine)

und

(Der Grafin von Thum gewidmet.} Arrang, Fiir 2 Violinen, 2 Bratschen und Violoncell. Fiir das Pianoforte zu 4 Handen v- F. Schneider. Fiir das Pianoforte allein v. /. C. Lobe. Ebenso v. L. 'Winkler.

Op. 12.

Drei Sonaten

(Ddur, Adur, Esdur),

fiir

Pianoforte und Violine.

(F. A. Salieri gewidmet.} Fiir 2 Violinen, Bratsche

Arrang-

Fiir Pianoforte

und

und Violoncell. Flote v. L. Drouet.

Fur das Pianoforte zu

4

Handen.

das Pianoforte allein v. L. Winkler. Andante aus No. 2 mit Worteq (Mir bewahrt Dein Busen mit Begleitung des Pianoforte. Fiir

etc.) fiir

\

Singst.

L.

70

BEETHOVEN'S COMPOSITIONS.

VAN

Andante aus No. 2 fiir d. Orch. v. Seyfried. Rondo aus No. 2 ebenso von demselben. Adagio aus No. 3 ebenso von demselben. Op. 13. So 11 ate (pathetiqiie, C moll) gewidmet.)

Arrang.

Fiir

fiir

das Pianoforte. (Dem Fursten Lichnowsky

neunstimmige Harmonic.

Fiir 2 Violinen, 2 Bratschen und Violoncell. Fiir 2 Violinen, Bratsche und Violoncell v. Blumenthal.

Hartmann.

Fiir 2 Violinen v. F.

das Pianoforte zu 4 Ha'nden v. C. G. Lickl. Ebenso v. Fr. Mockwitz. Fiir das Pianoforte allein mit Applicatur v. C. Czerny. Ebenso mit Fingersatz v. C. Greulich. Adagio daraus mit unterlegtem Text (Das Auge der Geliebten Fiir

W

Op. 14-

Zwei Sonate it

(Edur, Gdur),

fiir

etc.) v.

SUcher.

das Pianoforte. (Dem Baron von

Braun gewidmet.) das Pianoforte zu 4 Ha'nden. 2 Violinen, Bratsche und Violoncell. 2. Fiir 2 Violinen, Bratsche und Violoncell. 2. Fitr 2 Violinen v. F. Hartmann. Allegretto aus No. \ fiir Orchester (zehhstimmig)

Arrang.

Fiir

No. No. No.

\. Fiir

.

v.

Baldenecker

.

Concert

(Cdur), fiir das Pianoforte mit Begl. des Orchesters. Op. 15. Erstes (Der Fiirstin Odescalchi, geb. Grtifin Keglevics gewidmet.) Dasselbe in Partitur. Arrang. Fiir das Pianoforte mit Begleitung v. 2 Violinen, 2 Bratschen, Violoncell und Bass. Eiir das Pianoforte mit Begleitung von 2 Violinen Bratsche und Violoncell. Fiir 2 Pianoforte Fiir das Pianoforte zu 4 Ha'nden v. 1. P. Schmidt. Fiir das Pianoforte allein. Largo daraus fiir das Pianoforte allein. ,

Op. 16.

Grouses Quintett

(Esdur),

fiir

Pianoforte, Oboe, Clariuette

,

Horn

und Kagott.

Arrang.

Fiir

das Pianoforte mit Begleitung von 2 Violinen, Bratsche und Violoncell.

Fiir 2 Violinen, Bratsche und Violoncell. Fiir Pianoforte, Violine, Bratsche und Violoncell. Fiir 2 Pianoforte von C. Czerny. Fiir

das Pianoforte zu

Fiir Pianoforte

Fiir

4

Ha'nden.

und Physharmonica oder

das Pianoforte allein

v.

2 Pianofortes v. Lickl.

Winkler.

Op. 17- Sonate (Fdur), fiir Pianoforte und Horn (oder Violine, oder Bralselie, oder Violoncell, oder Flote, oder Oboe, oder Clarinelte). Arrang. Sinfonie cone, nach der Sonate op. 17 fiir 2 Violinen, Bratsche, Violoncell, Contrabass, Flote, 2 Clarinetten. 2 Fagotto Fiir 2 Violinen, 2 Bratschen und Violoncell. Fiir das Pianoforte zu 4 Ha'nden.

Ebenso

und

2

Horner

v. F. Ebers.

arr. v. Horrose'.

das Pianoforte allein. Ebenso arr. v. L. Winkler. Adagio und Rondo daraus fiir das Pianoforte. Fiir

Op. 18- Seehs Quartette (F dur , G dur , D dur , C moll A dur , B dur) fiir 2 Violinen, Bratsche und Violoncell. (Der Fiirstin von Lobkowitz gewidmet.} Dieselben in Partitur No. 1 6. 8. Dieselben in Partitur in einem Bande in p.'. Arrang. Als grosse Sonaten fiir Pianoforte mit Violine und willkiihrlichcr Vio.

loncell -Begleitung (m. op. 60-) Fiir

das Pianoforte zu

Ebenso

v.

C. Klage.

4

Ha'nden

v.

Mockwitz.

80

L. VAN Fiir

BEETHOVEN'S COMPOSITIONS.

das Pianoforte allein

v. L.

Winkler.

Theme fav. mil lOVar. ausdem Quartett No. 5 fiirdasPianofortezu4Hiinden. Rondo aus No. 6 fur das Pianoforte zu 4 Ha'nden v. Horr. Variationen iiber das Andante aus No. 5 fiir 2 Guitarren v. Schuster. Senate fiir das Pianoforte wovon der zweite Satz aus No. 5 entnommen La Malinconia aus No. 6 fiir das Pianoforte zu 4 Ha'nden. Dieselbe fiir das Pianoforte zu 2 Handen.

ist.

Op. 19- Zweites Concert (Bdur) fiir das Pianoforte mil Begleitung des Orchesters. (C. Nickl Edlem von Nickelsberg gewidmet.) Dasselbe in Partitur. A r rang. Fiir das Pianoforte zu 4 Ha'nden v. X. Gleichauf. Fiir das Pianoforte allein. ,

Septett (Esdur), fur Violine, Bratsche, Horn, Clarinette, Fagott, Vloloncell Mini Contrabass. Dasselbe in Partitur.

Op. 20.

Arrang.

Fiir

Blasinstrumente (elfstimmig)

v.

Crusell.

Ebenso (neunstimmig). Fur 2 Violinen, 2 Bratschen und Violoncell. Fiir Flote, Violine, 2 Bratschen und Violoncell (in G-) v. /. Mahr. Fiir Pianoforte, Violine, Bratsche und Violoncell v. SchwenckeFur Pianoforte rait Begleitung der Flbte, Violine und Violoncell v. /. N. Hummel. Fur Pianoforte, Violine und Violoncell v. C. G. Belcke. Fiir Pianoforte, Clarinette (oder Violine) und Violoncell vom Componisten arr. und mil Op. 38 herausgegeben. Fiir Pianoforte und Violine v. Gleichauf. Fiir Pianoforte und Violoncell v. C. Burchard. Fiir 2 Pianofortes zu 8 Handen v. G. M. Schmidt. Fiir 2 Pianofortes oder Physharmoriica und Pianoforte. Fiir das Pianoforte zu 4 Ha'nden v. C. Czerny. Ebenso v. W. Marks. Ebenso v. Fr. Mockwitz. Ebenso in * verschiednen Ausgaben. Fur das Pianoforte allein v. C. Czerny. Ebenso v. /. N. Hummel. Ebenso v. Fr. Liszt. Ebenso v. L. Winkler. ,

Aus dem Septett einzeln: Menuett fiir das Pianoforte zu 4 Ha'nden v. C. Czerny. Adagio cantabile fur das Pianoforte v. Fr. Liszt. Andante mit Variationen fiir das Pinnoforle v. demselben. Menuett und Scherzo fiir das Pianoforte v. demselben. Menuett fiir das Pianoforte v. C. Czerny. Lied nach der Menuett (Viel bildschdni Deandln gibts) fiir eine Singstimme mit Begleitung des Pianoforte. Menuett cavato fiir das Pianoforte.

Rondo fiir das Pianoforte v. Horr. Variationen fiir das Pianoforte. Variationen nach dem Andante fiir 2 Guitarren v. Schuster (m. Op. 3.) Variationen daraus fiir Violine und Guilarre v. Diabelli. Du nach dem Adagio fiir Gesang und Pianoforte , nebst eigner Dichtung (Schuldlos wie Veilchenbliithe etc.) iibertragen v. Christern. !

Op. 21.

Erste grosse Symphonic

fur das Orchester. Dieselbe

(C dur)

in Parlitur. Fiir 2 Violinen, 2 Bratschen, 2 Oboen und 2 Hb'rner v. F. Ebers. Fiir 2 Violinen, 2 Bratschen und Violoncell.

Arrang.

Fiir 2 Violinen, Bratsche und Violoncell. Fiir Pianoforte rn. Begleit. der Flote, Violine

Fiir Pianoforte

und

Fiir 2 Pianofortes Fiir

Violine v. F.

zu

8

Handen

und

W.

Arnold. v. G. M. Schmidt.

das Pianoforte zu 4 Ha'nden v. C. Czerny.

Violoncell v.

/.

N. Hummel.

L. VAN Fiir

81

BEETHOVEN'S COMPOSITIONS.

das Pianoforte zu

4

Handen

v. Zulehner.

Fur das Pianoforte allein v. Gelinek. Ebenso v. /. N. Hummel. Ebenso v. Fr. Kalkbrenner. Ebenso v. L, Winkler. Op. 22. Cirosse Senate (Bdurj, fiir das Pianoforte. (Dem Grafen von Browne gewidmet.) A r rang. Fur das Pianoforte zu 4 Ha'nden v. C. Czerny. Op. 23.

Arra

Sonate (Amoll), fur Pianoforte und Violine. ng. Fiir 2 Violinen, Bratsche und Violoncell v. Helnzius. Fiir Violine, Bratsche und Violonceli v. A. Brand.

Ebenso arr. v. A. Uber. Fur das Pianoforte zu 4 Handen. Fur das Pianoforte zu 2 Handen v.

L. Winkler.

Senate

(Fdur), fur Pianoforte und Violine. Arrang. Fiir 2 Violinen, Bratsche und Violoncell v. Heinziiis. Fiir das Pianoforte zu 4 Ha'nden.

Op. 24.

Ebenso arr. v. Halm. Fur das Pianoforte allein v. L. Winkler Adagio daraus mit Worten (Eleonore)

.

fur eine

Singstimme mil Begleitung

des Pianoforte.

Serenade

(Ddur), fur Flote, Violine u. Bratsche. DieselbeinParlilur. und Bratsche v. Matiegka. Fiir Pianoforte und Flote Oder Violine vorn Componisten. Fiir das Pianoforte zu 4 Handen.

Op. 25-

Arrang.

Fiir Guitarre, Violine

Ebenso

v. /. Moscheles.

das Pianoforte allein v. L. Winkler. Andante daraus mit Worlen (Du hist mir mehr als alles Gliick) Singstimme mit Begleitung des Pianoforte. Fiir

Op. 26. Grogse gewidmet.)

Sonate

fiir

eine

(Asdur) fur das Pianoforte. (Dem Fiirsten Lichnowsky

Fiir 2 Violinen v. F. Hartmann. das Pianoforte zn 4 Handen. Andante daraus mit Worten (Schmiickt etc.) v. Silcher. Dasselbe mit unterlegten Worten v. F. K. Griepenkerl. (Mit Adagio aus der Cis moll Sonate Op. 27 No. 2.) Dasselbe fiir 2 Violinen, Bratsche und Violoncell. Dasselbe fur 2 Guilarren v. Carulli (Op. 155)

Arrang. Fiir

Trauermarsch daraus:

Fiir

Orch ester.

das Pianoforte zu 4 Handen v. /. P. Schmidt. Fiir das Pianoforte allein. Fiir

v- F.

X. Chotek.

Ebenso

Ebenso

in

A moll.

Fiir die Guitarre v. S. Volker.

Lieblings-Variationen daraus fur das Pianoforte. Das Variationenthema als Lied (Wo der Mond mit bleichem Schimmer) fiir eine Singstimme mit Begleitung des Pianoforte v. Hiibner. Dasselbe als Lied (Entfernt von der heimischen traulichen Flur) fiir eine Singstimme mit Begleitung des Pianoforte. Dasselbe als Gesang (Aus dunkelm Laub) fiir eine Tenor und 2 Bassstimmen. ,

Zwei Sonaten

(Esdur, Cis moll), (beide zugenannt: Sonata quasi fantasia) fur das Pianoforte. (Der Furstin Lichtenstein gewidmet.) Arrang. Adagio aus No. 2 als Kyiie fiir Gesang und Orchester in Partitur v.

Op. 27'

una

G. B. Bierey.

Dasselbe als Kyrie eleison fur Gesang. Partitur und Stimmen.

L. VAN

8SJ

BEETHOVEN'S COMPOSITIONS.

rait unterlegten Worten fiir Gesang und Pianoforte v. F. K. Griepenkerl. (Mit dem Andante aus Op. 26.) Dasselbe als Duett fiir 2 Violinen v. F. Hartmann. Allegretto aus No. 2. Fiir 2 Violinen, Bratsche und Violoncell.

Dasselbe

\. Fiir 2 Violinen, Bratsche und Violoncell. aus No. \. Fiir 2 Violinen, Bratsche und Violoncell. Adagio aus No. 2. Als Lied (Es zieht ein stiller Engel) fiir eine Singstimme mit Begleitung des Pianoforte v. Hubner.

Andante aus No.

Allegro

(4.

Satz)

Op. 28. Grosse Sonate (Pastorale Ddur) , fiir das Pianoforte. (Joseph Edlem von Sonnenfels gewidmet.) Arrang. Fiir 2 Violinen, Bratsche und Violoncell v. G. B. Bierey (ra. Op. 14.)

Ebenso

v. F. Ries.

Fiir Violine,

Bratsche und Violoncell

v. A. Uber.

Quintet* (Cdur), fur 2 Violinen , 2 Bratscben und Violoncell. Grafen von Fries gewidmet.) Dasselbe in Partitur. 8. In Partitur. 12. Arrang. Fiir das Pianoforte zu 4 Handen v. X. Gleichauf.

Op. 29.

Ebenso v. C.Klage. Ebenso v. /. P. Schmidt. Ebenso das Rondo daraus Fiir

das Pianoforte allein

v.

/.

v. L.

P. Schmidt. Winkler.

Drei Sonaten (Adur, Cmoll, Gdurj, (Dem Kaiser Alexander I. gewidmet.) A rrang. Fur 2 Violinen, Bratsche und Violoncell v. Fiir Pianoforte und Flote v. L. Drouet.

Op. 30.

Fur das Pianoforte zu

Op. 31.

4

das Pianoforte allein

No. No.

2 rait

Pianoforte und Violine.

P. G. Heinzius.

v. L.

Winkler.

Worten (Gruss der Seelenetc.) fiir Gesang und Pianoforte Flote, Violine, 2 Bratschen und Violoncell (m. Op. 85.)

v. Silcher.

Drei Sonaten

(Gdur, 1) moll, Esdur), fiir das Pianoforte. Violinen, Bratsche und Violoncell vora Componisten. 3. Fiir 2 Violinen, Bratsche und Violoncell v. F. hies. 1 Fiir Violine, Bratsche und Violoncell v. A. Uber. 2 und 3. Fiir 2 Violinen v. F. Harlmann. das Pianoforte zu 4 Handen.

Arrang. No. No. No. No. Fiir

1. Fiir 2

.

An

die Hoffinung (von Op. 32. (No. 32.) mit Begleitung des Pianoforte. Op. 33.

fiir

Handen.

Fiir

3 fur

(Dem

Bagatellen

Arrang. No.

4.

(7

Tiedge)

fur eine Singslimine

fiir das Pianoforte. Bratsche und Violoncell.

pieces),

Fiir 2 Violinen,

No. 6 Ebenso.

SeehB Variationen

fiber ein Origiiial-Tliema (Fdur), fur das Pianoforte. (Der Furstin Odeschalchi gewidmet.) Arran g. Das Thema fiir 2 Violinen, Bratsche und Violoncell. Adagio mit Worten v. C. P. (Abschiedslied Des Schicksals ernste Ma'chte etc.) Abschiedslied nach dem Thema (Des Schicksals ernste Ma'chte) fiir eine Singstimme mit Begleitung der Guitarre v. A. Diabelli.

Op. 34.

:

Op. 35.

Funfzehn Variationen mit einer Fuge

(Esdur), fur das

Pianoforte. (Dem Grafen Lichnowsky gewidmet.)

Op. 36-

Zweite Symphonic

(Ddur),f. d.Orchester. Dieselbc inParlilur.8.

2 Violinen, 2-Bratschen, Bass, 2 Oboen und 2 Hbrner v. F. Eber. Fiir 2 Violinen 2 Bratschen Violoncell (oblig.}, Contrabass, Flote und 2 Hdrner (ad lib.) v. F. Ries, Fiir 2 Violinen, 2 Bratschen und Violoncell.

Arrang. Fur

,

,

Fur Pianoforte mit Violine, Flote und Violoncell v. /. N. Hummel. Componisten.

Fiir Pianoforte, Violine und Violoncell vom Fiir Pianoforte und Violine v. F. W. Arnold.

L.

VAN

85

BEETHOVEN'S COMPOSITIONS.

Fur 2 Pianofortes zu 8 Handen v. E. Hoffmann. Fur das Pianoforte zu 4 llaiulen v. C. Czerny. Ebenso v. Enkhausen. Ebenso v. Fr. Mockwitz.

Ebenso (Bonn). Fur das Pianoforte allein v. /. N. Hummel. Ebenso v. Kalkbrenner. Ebenso v. L. Winkler. Andante daraus mil unterlegten Worten (Frage von Kerner) v. Larghetto daraus fiir Physharmonijca und Pianoforte v. Lickl. Larghetto daraus als Menuett fiir Pianoforte. Op. 37.

Drlttes Concert

(C moll), fur d. Pianoforte mil Begl. d. Orchesters.

(Dem Prinzen Louis Ferdinand von Preussen gewidmet.) Dasselbe Arrang. Fiir das Pianoforte zu 4 Handen v. /. P. Schmidt. Fiir

das Pianoforte allein. (Finale) daraus fiir das Pianoforte zu

Rondo Op. 38.

Crosses Trio

Violoncell, nach dem (Siehe Op. 20)

Silcher.

4

in Partitur.

Handen.

(Esdur), fur Pianoforte, Clarinette (oder Violine) und Seplett Op. 20. arrangirt vom Componisten.

Zwei

Praliidien Op. 39. Pianoforte oder Orgel.

durch

alle 18

Dur-Tonarten

fiir

Romanze

(Gdur), fur die Violine mit Begleitung von 2 Violinen, Flote , 2 Oboen , 2 Fagotte und Horn. Arrang. Fiir die Violine mit Pianoforte. Fiir das Pianoforte allein v. L. Winkler. Fiir das Pianoforte allein v. F. W. Eppner.

Op. 40.

Bratsclie

,

Bass

,

.

Serenade (D dur) fur Pianoforte und Flote (oder Violine) arrangirt nach der Serenade Op. 25 vom Componisten.

Op. 41.

,

(Siehe Op. 25.)

Op. 42.

]Vottrno

Serenade Op. (Siehe Op.

Op. 43.

(Ddur)", fiir Pianoforte

und

Bratsclie arrangirt

nach der

vom Componisten.

8.)

das Pianoforte zu 4 Handen. Fiir das Pianoforte allein v. Eppner. Polonaise daraus fiir das Pianoforte zu 4 Handen. Dieselbe fiir das Pianoforte allein. Dieselbe fiir 2 Violinen. Dieselbe fiir Guitarre und Flote oder Violine.

Arrang.

,

8.

Fiir

Die Geseliopfe des Prometheus

r

,

,

;

Ballet.

Bratsche und Violoncell v. Zulehner. Quartett daraus fiir 2 Violinen, Bratsche und Violoncell. Fiir Flote, Violine, Bratsche und Violoncell v. Zulehner.

Arrang.

Fiir 2 Violinen,

Fiir eine Flote.

Fiir Pianoforte

und

Violine v. Zulehner.

das Pianoforte allein. Ouvertiire allein fiir das Orchester. Fiir

Fiir Pianoforte, Violine, Flote, und Violoncell v. /. N. Hummel. Fiir Harfe und Pianoforte mit willkiihrlicher Begl. v. Violine und Violoncell. Fiir Pianoforte

und

Violine.

.

zu 8 Handen v. G. M. Schmidt. Fiir 2 Pianofortes zu 4 Handen v. C. Czerny. Fiir das Pianoforte zu 4 Handen. Fiir das Pianoforte allein. Allegretto aus No. 6. fiir 2 Violinen, Bratsche und Violoncell. No. 8. fiir das Pianoforte zu 4 Handen. Siebe Op. 9. Fiir 2 Pianofortes

,

^

84

L.

VAN

BEETHOVEN'S COMPOSITIONS.

Vlerzelin Variationen

Op. 44.

(Esdur), fur Pianoforte, Violine und

Violoncell.

Drel srowse Margche

Op. 45.

(G

dur , Es dur ,

D dur)

,

fiir

das Pianoforte

zu 4 Handen. Op. 46- Adelaide (Gedicht von Mat hi son , fiir eine Singslimme mit Begleitung des Pianoforte. Arrang. Mit deutschem, franzdsischem und italieiiischem Text fiir Sopran. Ebenso fiir Alt oder Bariton. Mit englischem Texte fiir Sopran oder Tenor oder Mezzo-Sopran oder Bariton Mit deutschem und italienischem Texte und Begleitung der Guitarre Mit franzosischem und ilalienischem Texte und Begleitung der Guitarre. Mit deutschem, franzosischem und italienischem Texte und Begleitung des Pianoforte und Horn oder Fagott oder Bassethorn oder Violoncell oder Bratsche von Heuschkel. I

.

Fur Violine solo

Ebenso

v.

Fiir Flote

/. /.

und

v. L. de St.

Lubin.

und Pianoforte

Fiir Violoncell

v. R. E.

Bockmuhl.

F. Dotzauer.

Pianoforte variirt.

und Violoncell. und Flote. Physharmonica und Pianoforte oder

Fiir Pianoforte

Fiir Pianoforte

*Fiir

Fur das Pianoforte zu 4 Ha'nden Ebenso v. Horr. Ebenso v. G. W. Marks. Fiir

das Pianoforte

v. C.

fiir

2 Pianofortes v. Lickl.

Czerny.

allein v. Behrens.

Ebenso (im leichten Stil) v. S. Burkhardt. Ebenso v. H. Cramer. Ebenso v. C. Czerny. Ebenso v. C. W. Ellissen. Ebenso v. Horr. Ebenso (in Notturnoform) v. Huttner. Ebenso v. Kullack. Ebenso (mit einer grossen Cadenz) v. Fr. Liszt. Ebenso v. C. Voss. (Op. 51 No. 3.) Ebenso v. Kullack, und erleichtert v. E. D. Wagner. Ebenso v. R. Willmers. Ebenso v. Zogbaum. (Op. 40.)

Senate

Op. 47.

(A.

dur), (Scritta

in

uno

slilo

'

molto concertanle, quasi come d'un Concerto),

Pianoforte und Violine. (R. Kreutzer gewidmet.) Arrang. Fiir 2 Violinen, 2 Bratschen und Violoncell. Fiir Pianoforte, Violine, Bratsche und Violoncell v. F. Hartmann. Fiir das Pianoforte zu 4 Handen v. C. Czerny. fiir

Ebenso. das Pianoforte allein v. C. Czerny. v. L. Winkler. Die Variationen daraus fiir Pianoforte und Violine. Dieselben fiir das Pianoforte allein. Variationen fav. fiir das Pianoforte zu 4 Handen. Andante daraus fur das Pianoforte (une pens6e). Dasselbe fiir das Pianoforte zu 4 Handen. Fiir

Ebenso

von

Gcllert fiir eine Singstimine mit Begleitung Op. 48. Seeks IJeiBer des Pianoforte. Einzeln: No. \. 3.>4. 5. 6. Arrang. No. 2. 4. 5. 6. fiir das Pianoforte v. Fr. Liszt. No. 5. fiir 4 Mannerstimmen mit Orchester oder Pianoforte v. B. Damcke. Op. 49.

JKwei lei elite Sonaten Einzeln die Menuett aus No. :

(Gmoll, Gdur), fur das Pianoforte. 2.

L.

VAN

85

BEETHOVEN'S COMPOSITIONS.

Romance

(Fdur), fur die Violine mitBegl. von 2 Violinen, Bratsche, Bass, Flo'te, 2 Oboen, 2 Ho'rnern und 2 Fagotten. Arra ng. Fur das Pianoforte v. L. Winkler.

Op. 50.

Ebenso v. Joachim Raff. Als Rondo brillant fur das Pianoforte zu 4 Ha'nden Fur die Violine mit Begleitung des Pianoforte. Op. 51.

A

Zwel Rondo's

r r a n g.

No.

2. Fiir

Czerny. (Op. 44).

(Cdur Gdur), fUr das Pianoforte.

Violine

und

Violoncell v. A. liber.

und

Lleder Op. 52. Acht Gresangedes Pianoforte. E n z e 1 n No. \ Mit Guitarre. No. 1 Mit Pianoforte. No. 2. Mit Pianoforte. No. 3. Mit Pianoforte No. 4. Mit Pianoforte. No. 5. Mit Pianoforte. Ne. 6. Mit Pianoforte. No. 6. Mit Guitarre. No. 6. Mit Guitarre arr. v. Sippel. No. 6. Mit Pianoforte. No. 7. Mit Pianoforte. No. 7. Mit Guitarre. No. 8. Mit Pianoforte. No. 8. Mit Guitarre. t i

v. C.

fiir

eine Singstimme mit Begleitung

.

.

.

Op. 53.

drosse Senate

stein gewidmet.) Arrang. Fiir das Pianoforte

Op. 54.

(Cdur),

zu

4

Soiiate

(No. 51. Fdur).

Hr

Symphonic

fiir

das Pianoforte. (Dem Grafenvon Wold-

Ha'nden fiir

v. Succo.

das Pianoforte.

i tie (Es dur) , (Sinfonia eroica composta per festeggiare sowcnire d'un grand' uomo) , fiir das Orchester. (Dem Fursten von Lobkowitz gewidmet.) Dieselbe in Partitur 8. Arrang. Fiir 2 Violinen, Bratsche, Flote, 2 Clarinetten, 2 Horner und Contrabass

Op. 55. il

v. -F. Ebers. Fiir Flote, 2 Violinen , 2 Bratschen, Violoncell u. Contrabass v. G. Fiir Pianoforte, Violine, Bratsche und Violoncell.

Fur Pianoforte, Violine, Flote und Violoncell Fiir Pianoforte, Flote uud Violoncell. Fiir 2 Pianofortes zu 8 Ha'nden v. E.

Fur das Pianoforte zu 4 Ha'nden Ebenso v. A. E. Muller.

v.

/.

/.

Kcrner.

N. Hummel.

Hofmann.

v. C.

Czerny.

das Pianoforte allein v. /. 2V. Hummel. Ebenso v. Fr. Kalkbrenner. Ebenso v. L. Winkler. Trauermarsch daraus fiir 2 Pianofortes oder Pianoforte und Orgel (oder Fiir

Harmonium) Derselbe fiir Derselbe fur Derselbe fiir Siehe Op.

v. S.

Neukomm.

das Pianoforte v. Fr. Liszt. das Pianoforte.

Physharmonica und Pianoforte

v. Lickl.

87.

Op. 56. Concert (Cdur), fiir Pianoforte, Violine und Violoncell mit Begleitung des Orcheslers. Dasselbe in Partitur. Arrang. Fiir das Pianoforte allein. Polonaise daraus fiir das Pianoforte zu 4 Ha'nden. Dieselbe fiir das Pianoforte allein.

86

L. VAN

Op. 57.

Grosse onate

BEETHOVEN'S COMPOSITIONS. (No. 54. appassionata, Fmoll),

fiir

das Pianoforte.

(Dem Grafen von Brunswick gewidmet.) Arrang. Fur das Pianoforte zu 4 Handen. Clara Wiek und Beethoven, Gedicht von Grillparzer, mitMotiven obiger Sonate musikalisch gegeben fur eine Singstimme rait Begleitung des Pianoforte von /. Vesque von Puttlingen. Andante daraus mit unterlegte'n Worten (An dieNacht) f. Sopran oder Tenor v. Silcher.

Viertow Concert

(Gdur), fur das Pianoforte mit Begleitnng des Op. 58Orchesters. (Dem Erzherzog Rudolph gewidmet.) ^Dassselbe in Parlitur. Arrang. Fijr das Pianoforte allein. Siehe Op. 31. 69.

Op. 59. Drei grosse Quartette (Fdur, Emoll, Cdur), fur 2 Violinen, Bratsche und Violoncell. (Dem Fiirsten Rasoumoffsky gewidmet.) Dieselben in Partitur 8. Dieselben in Partitur 16. Arrang. Als Trio fur Pianoforte, Violine und Violoncell v. F. Hartmann. Fiir das Pianoforte zu 4 Handen v. Stegmann. Andante fav. aus No. 3. Fur 2 Guitarren v. Schuster. (Op. 5.)* Sonate fiir das Pianoforte, \vovon der erste Satz dem Quartett.No. 3. ent-

nommen

ist.

Siehe Op. 69. (Bdur) , fur das Orchester. (Dem Grafen von Op. 60. Vierte Oppersdorf gewidmet.) Dieselbe in Partitur. Arrang. Fiir 2 Violinen, 2 Bratschen, und Violoncell. Fiir Pianoforte m. Begl. von Violine Flote und Violoncell v. I. N. Hummel.

Symphonic

,

Fiir 2 Pianofortes.

zu 8 Handen v. Dietrich. das Pianoforte zu 4 Handen v. C. Czerny. Ebenso v. F. Mockwitz.

Fiir 2 Pianofortes

Fiir

Ebenso

v.

Watts.

Fiir das Pianoforte allein v.

Ebenso

v. Fr.

N. Hummel.

/.

Kalkbrenner.

Siehe Op. 18.

Op. 61. Concert (Ddur), f. die Violine mit Begleitung des Orchesters. (Seinem Freunde von Breuning gewidmet.) Dasselbe in Partitur. Arrang. Fiir das Pianoforte mit Begleitung des Orchesters. Fiir das Pianoforte zu 4 Handen v. X. Gleichauf. Fur das Pianoforte allein. Siehe Op. 9. Op. 62-

Ouvertnre

ztir Tragtfdle

Coriolan

C moll

.

fiir

das Orche-

Hofsecretair von Collin gewidmet.) Dieselbe in Partitur. Arrang. Fiir 2 Pianofortes zu 8 Handen v. G. M. Schmidt. Fiir 2 Pianofortes v. C. Czerny. Fur das Pianoforte zu 4 Handen. Fiir das Pianoforte allein.

(Dem

ster.

Op. 63.

Clrosse Sonate

dem

Op. 64. (No. 64.)

,

Siehe Op.

dem

f.

Pianoforte, Violine

und Violoncell nach

vom Componisten.

Grosse Sonate

Violoncells, nach

Op. 65.

(Esdiir)

Quintett Op. 4. arrangirt Siehe Op. 4.

Trio Op.

3.

(Esdur), fur Pianoforte mit Begleitung des arrangirt vom Componisten.

3.

Scene mid Arie

loser etc.), fiir

(italienisch und deutsch) , (,,Ah! per6do" Ha! treneine Sopranstimme mit Begleitung des Orchesters oder des

Pianoforte. Mit Begleitung des Pianoforte (italienisch und deutsch).

Arrang.

Ebenso (deutsch).

L. VAN

Zwolf Variatioiien

Op. 66.

87

BEETHOVEN'S COMPOSITIONS. (Fdur),

Pianoforte und Violoncell (oder

fiir

Violine), (Ueber: ein Madchen oder Weihchen). Arrang. Fiir das Pianoforte zu 4 Handen.

Symphonic

Fuiifte

(CnioII), f. d. Orchester. Dieselbe in Partitur. Bratschen und Violoncell v. F. Ebers. Fur Pianoforte mit Begl. von Flote, Violine und Violoncell v. /. N. Hummel.

Op. 67.

Arrang.

Fiir 2 Violinen, 2

Fiir Pianoforte, Violine Und willkunrliche Violoncell-Begleitung v. Fiir Pianoforte und Violine v. /. Andr6. Fiir Pianoforte

und

Fiir 2 Pianofortes

Violoncell v.

zu

8

Handen

/.

Andrti.

Andre.

/.

v. E.

Hofmann. M. C. Eberwein. Fiir das Pianoforte zu 4 Handen v. C. Czerny. Ebenso v. F. Ebers. Ebenso v. Fr. Schneider. Fur das Pianoforte allein v. /. N. Hummel. Ebenso v. Fr. Kalkbrenner. Fiir 2 Pianofortes v.

Ebenso v. Fr. Liszt. Andante daraus mit Worten (Ohnc dich was war' mein Leben !) fiir eine Sopran- oder Tenorstimme mit Begleitung des Pianoforte v. Silcher. ,

Seehste (Pastorale, Fdur), fiir das Orchester. Dieselbe in Partitur. Arrang. Fiir 2 Violinen, 2 Bratschen und 2 Violoncells v. Fischer. Fiir Pianoforte mit Begl. von FlOte, Violine und Violoncell v. /. N. Hummel. " v Fiir Pianoforte, Violine und Violoncell v. C. G. Belcke. Fiir Pianoforte mit Violine oder Flote. Fiif 2 Pianofortes v. Eberwein. Fiir das Pianoforte zu 4 Handen v. C. Czerny. Ebenso v. Fr. Mockwitz. Ebenso v. Watts. Fiir das Pianoforte allein v. /. N. Hummel. Ebenso v. Fr. Kalkbrenner.

Symphonic

Op 68-

'

.

Ebenso Sonate Op. 69-

v. Fr. Liszt. fiir

das Pianoforte daraus.

Grosse Sonate

(Adur),

f.

Pianoforte und Violoncell (oder Violine).

(Dem Baron von >

Arrang. Fiir

Gleichenstein gewidmet.) Fiir Pianoforte und Violine.

das Pianoforte zu

4

Handen

v. /. P.

Schmidt.

Op. 70. SEwei Trios (Ddur, Esdur) , fiir Pianoforte , Violine und Violoncell. (Der Grafin Marie von Erdody, geb. Grafin von Nissky gewidmet.) Arrang. Fiir das Pianoforte zu 4 Hauden v. F. Mockwitz.

Ebenso Op. 71.

v.

G. Reichardt.

(Esdur), fur 2 Clarinetten, 2 Homer und 2 Fagotte. Pianoforte, Violine and Violoncell (oder Pianoforte, Clarinette

Sextett

Arrang. Fur

Wustrow. das Pianoforte zu 4 Handen Ebenso.

und

Fagott) v.

Fiir

Op. 72.

I -'

v.

X. Gleichauf.

on ore. Oper In zwei Akten.

(Erste

und zweite Bearbei-

tung). Vollstandiger Klavierauszug.

Leonore. Oper in zwei Akten. Klavierauszug (vergriffen) Ouverture (No. 3.) und Gesange (wie oben) aus der Oper Fidelio (Leonore).

Arrang.

.

Klavierauszug. Neue Ausgabe (vergriffen). Beethoven's Nachlass) sler. Dieselbe in Partitur. Fiir das Pianoforte zu 4 Handen. Fiir das Pianoforte allein.

Erste Ouverture. (Cdur, m. Op. 138 aus

f.

das Orche-

88

L. VAN

Zvveite

Ou verture

BEETHOVEN'S COMPOSITIONS. fiir

(Cdur)

das Orchester. Dieselbe in Partitur.

Fur das Pianoforte zu 4 Handen. Fur das Pianoforte allein.

Dritte Ouverture (Cdur),

fur das Orchester. Dieselbe in Partitur. Bratschen und Violence!! v. C. G. Muller. Fur das Pianoforte zu 8 Handen v. G. M. Schmidt. Fur das Pianoforte zu 4 Handen. Fiir das Pianoforte allein. Fiir 2 Violinen, 2

in zwei Op. 72. Fldello (Leonore). Klavierauszug. Dieselbe in Partilur. A r rang. Fiir neunstimmige Harmoniemusik. Fiir 2 Violinen, 2 Bratschen und Violoncell. Fiir 2 Violinen, Bratsche und Violoncell. Fiir Flote, Violine, Bratsche und Violoncell.

Oper

Fiir Pianoforte

und

Akteii.

(Dritte Bearbeitung).

Violine (oder Flote) v. Grabeler.

Fur Pianoforte und Violine v. A. Brand. Fiir das Pianoforte zu 4 Handen v. Ebers. Fur das Pianoforte allein v. /. P. Schmidt. Ebenso v. Moscheles. Choix d'airs fiir 2 Flo' ten.

Ebenso fiir das Pianoforte v. Moscheles. Auswahl beliebter Stiicke daraus fur das Pianoforte allein. Sechs Favoritarien daraus fiir Flote (oder Violine) und Guitarre Marsch daraus fiir das Pianoforte. Potpourri daraus fiir das Pianoforte zu 4 Handen. Dasselbe fiir das Pianoforte allein. Textbuch zu der Oper. Ouverture (oder vierte Ouverture zu Leonore Edur) in.

f.

v. Dialelli.

d. Orchester. Dieselbe

Partitur.

Fur 2 Violinen,

2 Bratschen

und

Violoncell.

Fiir 2 Violinen, Bratsche und Violoncell. Fiir Pianoforte und Violine.

zu 8 Handen v. G. M. Schmidt. das Pianoforte zu 4 Handen. das Pianoforte allein.

Fiir 2 Pianofortes .

Fiir Fiir

Ffinftes Concert (Esdur), fiir das Pianoforte mil Begleitung des Orchesters. (Dem Erzherzog Rudolph gewidmet.) Dasselbe in Partitur. rran g. Fiir das Pianoforte zu 4 Handen v. X. Gleichauf. Fiir das Pianoforte allein v. /. Moscheles. Rondo daraus fiir das Pianoforte zu 4 Ha'nden. Dasselbe fiir das Pianoforte allein.

Op. 73.

A

Op. 74.

(Es dur), fiir 2 Violinen, Bratsche und Violoncell. (Dem Fiirvon Lobkowitz gewidmet.) Dasselbe in Partitur.

Quartett

sten

Arrang.

Fiir Pianoforte, Violine

und

Violoncell v. C. G. Belcke. /. P. Schmidt.

das Pianoforte zu 4 Ha'nden v. Ebenso v. F. X. Gleichauf. Fiir

Cesange von Coethe

fiir eine Singstinime mil Begleit. Op. 75. Sechs des Pianoforte. (Der Furstin von Kinsky geb. Grlifin von Kerpen gewidmet.) Einzeln No. \. No. 1 Mit Begleitung der Guitarre. No. 2. 3. 4. No. 4. Mit Begleitung der Guitarre. No. 5. 6. No. 5. 6. Mit Begleitung der Guitarre. Siehe Op. 16. .

Op. 76.

Variatioiieii

gewidmet.)

(D dur)

,

fur

das Pianoforte.

(Seinem Freunde Oliva

Fantasle

(Seinem Freunde

(Gmoll), fur das Pianoforte. F. von Brunswick gewidmet.)

Op. 77-

Arr ang. Der

Schlusssatz als Lied (Rauschendes Bachlein) mil Begleitung des Pianoforte v. Buhner. ,

Senate

Op. 78.

(Fis dur)

,

,

,

fur eine

dem Grafen Singstimme

fur das Pianoforte. (Der Gra'ftn Th. von Brunswick '*v*

gewidmet.)

Sonatlne Fantasle

Op. 79.

89

BEETHOVEN'S COMPOSITIONS.

L. VAN

(Gdur), fur das Pianoforte.

Op. 80. (Cmoll), fiir Pianoforte , Chor und Orchester. (Dem Konig Maximilian Joseph von Baiern gewidmet.) Dieselbe in Partitur. A rrang. Fiir Pianoforte, Chor und Flote (oder Violine) zweite Violine, Bratsche ,

und Ebenso

Bass. rait Quartett.

^

und Chor. das Pianoforte zu 4 Handen.

Fiir Pianoforte

Fiir

Fiir das Pianoforte allein. Die Chorstimmen Sopran, :

Op.

Alt,

Tenor und Bass.

Charakteristlgehe Sonate

81:'.

(Es dur), Les adieux, Pabsence

et le re-

das Pianoforte. (Dem Erzherzog Rudolph gewidmet.) Arrang. Fiir das Orchester v. Bierey. lour), fiir

b Op. 81

Sextett

.

(Esdur)

,

Violinen, Bratsche, Violoncell und 2 obligate

fur

Homer. Dasselbe in Partitur. A rrang. Fiir 2 Violinen, 2 Bratschen und Ebenso

Violoncell.

in Partitur.

Fiir Pianoforte, Violine (oder Bratsche) und Violoncell (m. das Pianoforte zu 4 Handen v. /. P. Schmidt.

Op.

83.).

Fiir

Ebenso

v. F.

X. Gleichauf.

Adagio daraus mil Worten (Hdrt vom Strand ein Vespersingen) prane und 2 Basse ohne Begleitung.

und ein Duett

Op. 82. Vier Arietten Begleitung des Pianoforte. Einzeln No. 1. 2. 3. 4. 5. Siehe Op. 44.

(italienisch

fiir

2 So-

und deutsch)

mil

Gesange von

CSoetlte fiir eine Singstimme mit Begleitung Op. 83. Drei des Pianoforte. (Der Furstin von Kinsky, geb. Grafin von Kerpen gewidmet.) Einzeln No. \. 2. 3. No. -1.2. Mit Begleitung der Guitarre. No. 1. 3. Fiir das Pianoforte iibertragen v. Fr. Liszt. Siehe Op. 81 .

Op. 84.

Ouverture und jEwisehenaltte zu Goethe's Egmont.

Partitur.

Arran

2 Violinen, Bratsche

g. Fiir

Fur Pianoforte und Violine

v.

und

Violoncell v. A. Brand. A. Brand.

das Pianoforte zu 4 Handen Zwischenakte (ohne Ouverture)

Fiir

v. V.

Worner.

das Orchester. Dieselben fiir das Pianoforte allein (mit den beiden Gesangen). Symphonic, Entr'act und ClSrchens Arie fiir das Pianoforte allein.

No.

1

und

4.

fiir

Einzeln.

Dieselben fiir das Pianoforte v. Fr. Liszt. Die Declamation v. Mosengeil. Ouverture allein fiir das Orchester in Partitur. Dieselbe in Stimmen (20stimmig).

Ebenso

oder 13 stimmig) Blasinstrumente (9stimmig). fiir tiirkische Musik.

(44

Dieselbe Dieselbe Dieselbe

fiir

fiir

2 Violinen, Bratsche

Beethoven, Studies.

und

Violoncell.

27

90

L. VAN

BEETHOVEN'S COMPOSITIONS.

Dieselbe fur das Pianoforte mil Begleitung von Violine Moscheles. Dieselbe fur 2 Pianofortes zu 8 Dieselbe fur 2 Pianofortes zu 4

,

Flote

und Violoncell

v. I.

Handen

v. G.

M. Schmidt.

Handen. das Pianoforte zu 4 Handen.

Dieselbe fur Dieselbe fur das Pianoforte allcin. Dieselbe v. Kullak.

am

Chrlstus Oellierffe , Oratorlnm fiir Solo - und Chorslimmcn mil Orchester. Partitur. Orcheslerstimmen. Singstimmen compl. Solostimmen. Ghorstimmen. A r rang. Klavierauszug mit Text. Fiir das Pianoforte zu 4 Handen v. E. F. Richter.

Op. 85.

das Pianoforte allein v. C. Czerny. Bratschen und Violoncell. Siehe Op. 30.

Fiir

Fiir Flote, Violine, 2

Messe

Op. 86-

(SHymnen, Cdur),

fiir

Fiirsten von KinsJcy gewidmet.) Partitur.

A r rang. Fiir

Klavierauszug mit Text. das Pianoforte zu 4 Handen

Ebenso

v. C.

Ebenso

v. C.

v. F.

4

Singstimmen und Orchester. (Dem Orchesterstimmen. Singstimmen.

X. Gleichauf.

Czerny. Fiir das Pianoforte allein.

Czerny.

Op. 87. Trio (Cdur), f. 2 Oboen u. englisclies Horn. Dasselbe in Partitur 16. (m. Op. 55.) Arrang. Fiir 2 Violinen und Bratsche (m. Op. 55.). Fur Violine, Bratsche und Violoncell (m. Op. 29.). Fur 2 Violinen und Bass (oder Fagott) (m. Op. 29.). Fur 2 Floten und Bratsche (m. Op. 29.).

und Fagott (m. Op. 29.). Als Senate fiir Pianoforte und Violine. Fiir das Pianoforte zu 4 Handen v. F. X. Gleichauf. Fiir 2 Clarinetten

Adagio daraus mit Worten (Schlafst du

,

lieb

Brautchen

etc.) fur 3

Sopran-

stimmen ohne Begleitung. Siehe Op.

1.

No.

2.

Das Gliiek tier Freundschaft (Lebensgliick).

Op. 88.

(Vita feiice).

Polonaise

(Cdur), fiir das Pianoforte. (Dor Kaiserin von Russland Elisabetha Alexiewna gewidmet.) Op. 90. Sonate (Emoll), f. das Pianoforte. (Dem Grafen Lichnowsky gewidmet.) Arrang. ErsterSatz daraus mit Worten (Wie rastlos unaufhaltsam) fur \ Sopranoder Tenorstimme mit Begleitung des Pianoforte v. Silcher. Zweiter Satz daraus mit Worten (Die Schwalben sind fortgezogen) f. 1 Singstimme mit Begleitung des Pianoforte v. Hubner. Op. 89-

die Schlaeht wel Ylitorla Op. 91. Wellington'* Sleg, fur das Orchester. (Dem Prinz-Regenten von England Georg August Friedrich gewidmet.) Dieselbe in Partitur.

oder

Arrang. Fur Harmoniemusik

(9stimmig).

Fiir 2 Violinen, 2 Bratschen und Violoncell. Fiir Pianoforte, Violine und Violoncell.

Fiir 2 Pianofortes.

Fur das Pianoforte zu Fiir

Op. 92.

das Pianoforte

4

Handen.

allein.

Slebente Symphonic

grafen M.

(Adur),

fiir

das Orchester. (Dem Reichs-

gewidmet.) Dieselbe in Partitur. Arrang. Fiir Harmoniemusik (9stimmig). Fiir 2 Violinen, 2 Bratschen und Violoncell. Fiir Pianoforte, Violine, Flote und Violoncell v. /. N. Hummel. v. Fries

L.

9i

BEETHOVEN'S COMPOSITIONS.

VAN

Fur Pianoforte, Violine und Violoncell. Fiir 2 Pianofortes. Fiir

das Pianoforte zu

Ebenso Ebenso

v. C.

Ebenso Ebenso

v. I.

4

Handen.

Czerny. v. Fr. Mockwitz. Fiir das Pianoforte allein.

N. Hummel.

v. Fr. Liszt.

Allegretto daraus

Physharmonica und Pianoforte

fiir

v. Lickl.

Dasselbe mil Worten (Wiegt inn hiniiber) fiir \ Sopran- oder Tenorstimme mil Begleitung des Pianoforte v. Silcher. Dasselbe ebenso (Hoch auf dem alten Thurme) fiir 1 Singstimrae mil Begleitung des Pianoforte v. Hiibner. Mittelsatz aus demselben ebenso (Weste sauseln deinen Namen).

Achte Symphonle

Op. 93-

Arrang. Fiir

Fiir

(Fdur),

fiir

das Orchester. Dieselbein Partitur.

Harmoniemusik (Qstimmig). 2 Violinen, 2 Bratschen und Violoncell. Pianoforte, Violine und Violoncell. Fiir

Fiir 2 Pianofortes.

Fiir

das Pianoforte zu

Ebenso

4

Handen.

v. C.

Czerny. Fiir das Pianoforte allein.

An

die (aus Tiedge's Urania), Op. 94. Begleitung des Pianoforte). (Der Furstin von Kinsky gewidmet)

Hoffnung

fiir ,

eine Singstimme mil

geb. Grafin

von Kerpen

(Fmoll), f. 2 Viol., Bratsche u. Violonc. (SeinemFreunde, dem Hofsecretair Nic. Zmeskall von Domanovetz gewidmet.) Dasselbe in Partitur 16. Arrang. Fiir das Pianoforte zu 4 Handen v. F. X. Gleichauf.

Quartett

Op. 95.

Op. 96- Senate (Gdur), gewidmet.)

ArrangFiir

fiir

Pianoforte und Violine. (Dem Erzherzog Rudolph

Fiir 2 Violinen, Bratschfe

und

Violoncell.

das Pianoforte zu 4 Handen.

Op. 97. Grosses Trio (Bdtir), fur Pianoforte, Violine und Violoncell. (Dem Erzherzog Rudolph gewidmet.) Arrang. Fiir das Pianoforte zu 4 Handen v. C. Czerny. Rondo daraus fiir das Pianoforte zu 4 Handen. Hymne nach Beethoven von Goethe (Wer darf ihn nennen etc.) zusammengefiigt und zur Bekranzung des Bonner Denkmals bei dessen feierlicher Enthiillung am H. August 1845 dargebracht v. F. Schmidt. (Nach diesem Trio arrangirt.) Andante daraus fiir Physharmonica und Pianoforte v. Lickl.

Op. 98. fiir

An

feme

die Geliehte. (Ein Liederkreis von Al. Jeitteles), eine Singstimme mil Begleitung des Pianoforte.

Der Mann von Wort.

Op. 99. (Gedicht von F. A. eine Singstimme mil Begleitung des Pianoforte.

Op. 100.

Op. 102.

fur

Herkensteln.

Rupprecht), Op. 101.

Kleinschmid),

fiir

(Ein Scliloss na'chst Baden). (Gedicht von I. P. eine oder zwei Singstimmen mil Begleit. des Pianoforte.

.

Sonate (Adur) Zwei Sonaten ,

Violine).

Arrang.

fiir

f.

(Der Freiin Dor. Ertmann gewidmet.)

d. Pianoforte.

(Gdur, Ddur) fiir Pianoforte und Violoncell (oder (Der Griiftn Marie von Erdody, geb. Grafln von Nissky gewidmet.) das Pianoforte zu 4 Handen v. C. Czerny. ,

Grosses Oetett

Op. 103. 2 Fagotte, nach Siehe Op. 4.

dem

(Esdur), fur 2 Clarinettcn, 2 Oboen, 2Ho'rner und Quintett Op. 4. arrangirt vom Componisten.

27*

92

BEETHOVEN'S COMPOSITIONS.

L. VAN

Op. 104.

dem

2 Bratschen und Violoncell nach (Cmoll), fiir 2 Violinen 3. arrangirt vom Coraponisten.

Quintet* Trio Op. Siehe Op.

1.

1.

,

No. No.

3.

Op. 105.

Sechs varllrte

Op. 106.

Gresse Senate

Themen

(sehr leicht ausfiihrbarj fur das PiaBoforte allein, oder mil beliebiger Begleilung einer F16le oder Violine. (In zwei Lieferungen) ,

.

das Pianoforte. (Hammer

fiir

(Bdur),

Clavier)

(Dem Erzherzog Rudolph, Cardinal und Furstbischof von Olmutz gewidmet.) Arrang. Fiir das Pianoforte zu 4 Handen v. Ebers. Adagio daraus mil Worten (Das Grab ist tief und stille) fiir eine Singstimme mil Begleitung des Pianoforte

v.

Hiibner.

Op. 107- Zelin varllrte Tliemen, gieilung einer Flote oder Violine. (In

fiir

fiinf

das Pianoforte mil beliebiger BeLieferungen).

Op. 108- Ffinfiindzwanzlg schottische Ueclei* (mil deutschem u. englischem Text) , fiir eine Singstimme begleitet von Pianoforte, Violine u. Violoncell obligat. (Dem Fursten A. H. Radziwill gewidmet vom Verleger.) Arrang. 1. Heft (der \. Ausgabe. Enthiilt No. 22. 1. 2. 3. 4. 5. 6. 7. der gegenTenor und Bass mil wartigen) dreistimmig fiir Alt (oder Mezzo-Sopran) ,

,

willkuhrlicher Pianofortebegleitung

Op. 109-

Senate

v. luttus

Becker.

(Edur), fur das Pianoforte. (Dem Frautein Maximiliana Bren-

tano gewidmet}

Op. 111.

Senate (Asdnr), Senate (Cmoll),

Op. 112.

Heeresstille

Op. 110.

von Goethe),

fiir

ser der Gedichte,

fiir

das Pianoforte.

das Pianoforte. (Dem Erzherzog Rudolph gewidmet.)

f.

und

glucbliche Fahrt. (Gedicht von I. W. 4 Singstimmen mit Begleitung des Orchesters. (Dem Verfasdem

unsterblichen Goethe gewidmet.)

Dieselbe in Partitur,

Klavierauszug und Singstimmen. Siehe Op.