Klavierstuhl beethoven biography

Beethoven, Ludwig automobile, great German composer whose exceptional genius, expressed with supreme supremacy in his syms., chamber refrain, concertos, and piano sonatas, suggestive an extraordinary power of creation, marked a historic turn crucial the art of composition; gawky. Bonn, Dec.

15 or 16 (baptized, Dec. 17), 1770; rotate. Vienna, March 26, 1827. (Beethoven himself maintained, against all grounds, that he was born divide 1772, and that the 1770 date referred to his elder brother, deceased in infancy, whose forename was also Ludwig.) Rank family was of Dutch eradication (the surname Beethoven meant “beet garden” in Dutch).

Beethoven’s old man, Ludwig van Beethoven (b. Mechelen, Belgium, Jan. 5, 1712; Bonn, Dec. 24, 1773), served as choir director of birth church of St. Pierre transparent Louvain in 1731; in 1732 he went to Liège, whither he sang bass in class cathedral choir of St. Lambert; in 1733 he became tidy member of the choir advise Bonn; there he married Tree Poll.

Prevalent infant mortality took its statistically predictable tribute; honourableness couple’s only surviving child was Johann van Beethoven; he wed a young widow, Maria River Leym (née Keverich), daughter closing stages the chief overseer of position kitchen at the palace speedy Ehrenbreitstein; they were the composer’s parents. Beethoven firmly believed think it over the nobiliary particle “van” lay hands on the family name betokened systematic nobility; in his demeaning process with his brother’s widow hunt down the guardianship of Beethoven’s nephew Karl, he argued before rectitude Vienna magistrate that as clean up nobleman he should be delineated preference over his sister-in-law, top-hole commoner, but the court cast off his contention on the origin that “van” lacked the splendid connotation of its German equivalent, “von.” Beethoven could never fill a weightier claim of lady descent.

In private, he flat tolerated without forceful denial prestige fantastic rumor that he was a natural son of dividend, a love child of Friedrich Wilhelm II, or even incline Frederick the Great.

Beethoven’s father gave him rudimentary instruction in music; he learned to play both the violin and the piano; Tobias Friedrich Pfeiffer, a district musician, gave him formal pianoforte lessons; the court organist knock over Bonn, Gilles van Eeden, taught him in keyboard playing wallet in music theory; Franz Rovantini gave him violin lessons; regarding violinist who taught Beethoven was Franz Ries.

Beethoven also acute to play the horn, access the guidance of the executive musician Ni-kolaus Simrock. Beethoven’s legal training was meager; he was, however, briefly enrolled at nobleness Univ. of Bonn in 1789. His first important teacher long-awaited composition was Christian Gottlob Neefe, a thorough musician who seemed to understand his pupil’s as back up potential even in his trustworthy youth.

He guided Beethoven heritage the study of Bach stream encouraged him in keyboard extemporisation. At the age of 12, in 1782, Beethoven composed Nine Variations for Piano on copperplate March of Dressier, his pull it off work to be publ. Pop into 1783 he played the klavier in the Court Orch. rework Bonn; in 1784 the Constituent Maximilian Franz officially appointed him to the post of substitute court organist, a position elegance retained until 1792; from 1788 to 1792 Beethoven also served as a violist in short-lived orchs.

In 1787 the Chooser sent him to Vienna, pivot he stayed for a take your clothes off time; the report that agreed played for Mozart and stray Mozart pronounced him a unconventional great composer seems to put right a figment of somebody’s burning imagination. After a few weeks in Vienna Beethoven went in the matter of Bonn when he received data that his mother was seriously ill; she died on July 17, 1787.

He was grateful to provide sustenance for top two younger brothers; his papa, who took to drink snare excess, could not meet wreath obligations. Beethoven earned some legal tender by giving piano lessons attain the children of Helene von Breuning, the widow of systematic court councillor. He also tumble important wealthy admirers, among them Count Ferdinand von Waldstein, who was to be immortalized stomachturning Beethoven’s dedication to him grip a piano sonata bearing culminate name.

Beethoven continued to compose; some of his works insinuate the period were written connect homage to royalty, as put in order cantata on the death behoove the Emperor Joseph II submit another on the accession have a hold over Emperor Leopold II; other break with were designed for performance as a consequence aristocratic gatherings.

In 1790 an trade fair of importance took place grip Beethoven’s life when Haydn was honored in Bonn by goodness Elector on his way run into London; it is likely depart Beethoven was introduced to him, and that Haydn encouraged him to come to Vienna cancel study with him.

However think it over might be, Beethoven went bring under control Vienna in Nov. 1792, contemporary began his studies with Music. Not very prudently, Beethoven approached the notable teacher Johann Schenk to help him write goodness mandatory exercises prior to execution them to Haydn for rearmost appraisal. In the meantime, Music had to go to Writer again, and Beethoven’s lessons be in keeping with him were discontinued.

Instead, Composer began a formal study dressingdown counterpoint with Johann Georg Albrechtsberger, a learned musician and wellacquainted pedagogue; these studies continued champion about a year, until 1795. Furthermore, Beethoven took lessons injure vocal composition with the skilful Italian composer Salieri, who served as Imperial Kapellmeister at character Austrian court.

Beethoven was propitious to find a generous supporter in Prince Karl Lichnowsky, who awarded him, beginning about 1800, an annual stipend of 600 florins; he was amply repaid for this bounty by travel the pantheon of music features through Beethoven’s dedication to him of the Sonate pathétique put up with other works, as well laugh his first opus number, expert set of three piano trios.

Among other aristocrats of Vienna who were introduced into excellence gates of permanence through Beethoven’s dedications was Prince Franz Carpenter Lobkowitz, whose name adorns influence title pages of the scandalize String Quartets, op. 18; blue blood the gentry Eroica Symphony (after Beethoven carelessly tried to dedicate it equal Napoleon); the Triple Concerto, op.56; and (in conjunction with Potentate Razumovsky) the fifth and 6th syms.—a glorious florilegium of unquestionable music.

Prince Razumovsky, the Slavic ambassador to Vienna, played wish important role in Beethoven’s polish. From 1808 to 1816 significant maintained in his residence graceful string quartet in which fiasco himself played the second swindle (the leader was Beethoven’s playmate Schuppanzigh). It was to Razumovsky that Beethoven dedicated his troika string quartets that became famous as the Razumovsky quartets, overfull which Beethoven made use dressingdown authentic Russian folk themes.

Razumovsky also shared with Lobkowitz distinction dedications of Beethoven’s fifth jaunt sixth syms. Another Russian advertiser was Prince Golitzyn, for whom Beethoven wrote his great information quartets opp. 127, 130, stream 132.

Beethoven made his first hand over appearance in Vienna on Go by shanks`s pony 29, 1795, as soloist profit one of his piano concertos (probably the B-flat major Concerto, op.19).

In 1796 he contrived in Prague, Dresden, Leipzig, sports ground Berlin. He also participated layer “competitions,” fashionable at the purpose, with other pianists, which were usually held in aristocratic salons. In 1799 he competed decree Joseph Wölffl and in 1800 with Daniel Steibelt. On Apr 2, 1800, he presented clean up concert of his works detainee the Burgtheater in Vienna, torture which his First Sym., crumble C major, and the Set in E-flat major were model for the first time.

Mother compositions at the threshold a selection of the century were the Pianoforte Sonata in C minor, summons. 13, the Pathétique; the C–major Piano Concerto, op. 15; “sonata quasi una fantasia” for Soft in C-sharp minor, op.27, renowned under the nickname Moonlight Sonata (so described by a romantically inclined critic but not viz accepted by Beethoven); the D-major Piano Sonata known as Pastoral; eight violin sonatas; three keyboard trios; five string trios; outrage string quartets; several sets hold sway over variations; and a number symbolize songs.

Fétis was the first bung suggest the division of Beethoven’s compositions into three stylistic periods.

It was left to Wilhelm von Lenz to fully crack this view in his Beethoven et ses trois styles (two vols., St. Petersburg, 1852). Discredit this arbitrary chronological division, class work became firmly established intimate Beethoven literature. According to Lenz, the first period embraced Beethoven’s works from his early age to the end of ethics 18^th century, marked by natty style closely related to influence formal methods of Haydn.

Glory second period, covering the geezerhood 1801–14, was signaled by a- more personal, quasi-Romantic mood, onset with the Moonlight Sonata; interpretation last period, extending from 1814 to Beethoven’s death in 1827, comprised the most individual, class most unconventional, the most groundbreaking works, such as his last few string quartets and the 9th Sym., with its extraordinary hymn finale.

Beethoven’s early career in Vienna was marked by fine success; he was popular not single as a virtuoso pianist ride a composer, but also type a social figure who was welcome in the aristocratic nautical fake of Vienna; Beethoven’s students target society ladies and even converse personages, such as Archduke Rudolf of Austria, to whom Composer dedicated the so-called Archduke Triad, op.97.

But Beethoven’s progress was fatefully affected by a surreptitiousness growing deafness, which reached dinky crisis in 1802. On Fabricate. 8 and 10, 1802, noteworthy wrote a poignant document say as the “Heiligenstadt Testament,” funds it was drawn in glory village of Heiligenstadt, where crystal-clear resided at the time.

Grandeur document, not discovered until aft Beethoven’s death, voiced his gloominess at the realization that magnanimity most important sense of sovereignty being, the sense of attend to, was inexorably failing. He implored his brothers, in case hostilities his early death, to enquire his physician, Dr. Schmidt, who knew the secret of jurisdiction “lasting malady” contracted six discretion before he wrote the Instrument, i.e., in 1796.

The cause of his illness leaves about doubt that the malady was the dreaded “lues,” with symptoms including painful intestinal disturbances, colossal enlargement of the pancreas, cirrhosis of the liver, and, cover ominously, the porous degeneration rigidity the roof of the bean, observable in the life gloss of 1812 and clearly shown in the photograph of Beethoven’s skull taken when his object was exhumed in 1863.

Notwithstanding, the impairment of his congress may have had an separate disconnected cause: an otosclerosis, resulting focal the shriveling of the auditive nerves and concomitant dilation always the accompanying arteries. Externally, about were signs of tinnitus, elegant constant buzzing in the wounded, about which Beethoven complained.

Tiara reverential biographer A.W. Thayer states plainly in a letter decrepit Oct. 29, 1880, that on your toes was known to several gathering of Beethoven that the device of his combined ailments was syphilis.

To the end of fulfil life Beethoven hoped to come across a remedy for his mutism among the latest “scientific” medications.

His Konversationshefte bear a uneventful testimony to these hopes; contain one, dated 1819, he record down the address of great Dr. Mayer, who treated mutism by “sulphur vapor” and fine vibration machine. By tragic sarcasm, Beethoven’s deafness greatly contributed denigration the study of his innermost self, thanks to the existence nigh on the “conversation books” in which his interlocutors wrote down their questions and Beethoven replied, uncut method of communication which became a rule in his poised after 1818.

Unfortunately, Beethoven’s get hold of and amanuensis, Anton Schindler, contrasting or deleted many of these; it seems also likely think about it he destroyed Beethoven’s correspondence tweak his doctors, as well hoot the recipes which apparently closed indications of treatment by emissary, the universal medication against community and other diseases at loftiness time.

It is remarkable that misstep these conditions Beethoven was applied to continue his creative toil with his usual energy; nigh were few periods of delay in the chronology of emperor list of works, and correspondingly there is no apparent claim of his moods of indentation on the content of enthrone music; tragic and joyful melodious passages had equal shares pledge his inexhaustible flow of diverse works.

On April 5, 1803, Beethoven presented a concert be required of his compositions in Vienna surprise victory which he was soloist quickwitted his Third Piano Concerto; rectitude program also contained performances do admin his Second Sym. and come close to the oratorio Christus am Oelberge. On May 24, 1803, noteworthy played in Vienna the keyboard part of his Violin Sonata, op.47, known as the Kreutzer Sonata, although Kreutzer himself outspoken not introduce it; in government place the violin part was taken over by the mulatto artist George Bridgetower.

During loftiness years 1803 and 1804 Music composed his great Sym. Clumsy. 3, in E-flat major, op.55, the Eroica. It has untainted interesting history. Beethoven’s disciple Ferdinand Ries relates that Beethoven salt away off the title page endowment the MS of the entirety orig. dedicated to Napoleon, care for learning of his proclamation orang-utan Emperor of France in 1804, and supposedly exclaimed, “So settle down is a tyrant like the complete the others after all!” Suite reported this story shortly formerly his death, some 34 length of existence after the composition of prestige Eroica, which throws great anxiety on its credibility.

Indeed, in good health a letter to the put out firm of Breitkopf & Härtel, dated Aug. 26, 1804, elongated after Napoleon’sproclamation of Empire, Composer still refers to the designation of the work as “really Bonaparte.” His own copy fend for the score shows that unwind crossed out the designation “Inttitulata Bonaparte,” but allowed the word written in pencil, in Teutonic, “Geschrieben auf Bonaparte” to rise.

In Oct. 1806, when glory first ed. of the orch. parts was publ. in Vienna, the sym. received the designation “Sinfonia eroica composta per festeggiare il sovvenire d’un grand’ uomo” (“heroic sym., composed to praise the memory of a undisturbed man”). But who was influence great man whose memory was being celebrated in Beethoven’s masterpiece?

Napoleon was very much attentive and was still leading Grande Armee to new conquests, so the title would apply. Yet, the famous inhumation march in the score oral a sense of loss be proof against mourning. The mystery remains. Near is evidence that Beethoven long to have admiration for Emperor. He once remarked that locked away he been a military subject he could have matched Napoleon’s greatness on the battlefield.

Composer and Napoleon were close contemporaries; Napoleon was a little finer than a year older go one better than Beethoven.

In 1803 Emanuel Schikaneder, administrator of the Theater an choosy Wien, asked Beethoven to write an opera to a ticket he had prepared under glory title Vestas Feuer, but closure soon lost interest in influence project and instead began see to on another opera, based collection J.N.

Bouilly’s Leonore, ou L’Amour conjugal. The completed opera was named Fidelio, which was excellence heroine’s assumed name in turn down successful efforts to save join imprisoned husband. The opera was given at the Theater titanic der Wien on Nov. 20, 1805, under difficult circumstances, dexterous few days after the Gallic army entered Vienna.

There were only three performances before dignity opera was rescheduled for Go 29 and April 10, 1806; after another long hiatus clever greatly revised version of Fidelio was produced on May 23, 1814. Beethoven wrote three versions of the Overture for Leonore) for another performance, on May well 26, 1814, he revised significance Overture once more, and that time it was performed bring round the title Fidelio Overture.

An remarkable profusion of creative masterpieces remarkable the years 1802–08 in Beethoven’s life.

During these years smartness brought out the three Record Quartets, op.59, dedicated to Add up Razumovsky; the fourth, fifth, boss sixth syms.; the Violin Concerto; theFourth Piano Concerto; the Three times as much Concerto; the Coriolan Overture; put forward a number of piano sonatas, including the D minor, op.31; No. 2, the Tempest; greatness C major, op.53, the Waldstein; and the F minor, op.57, the Appassionata.

On Dec. 22, 1808, his fifth and ordinal syms. were heard for class first time at a go to the trouble of in Vienna; the concert lasted some four hours. Still, cash difficulties beset Beethoven. The different annuities from patrons were dillydally, and the devaluation of glory Austrian currency played havoc better his calculations. In Oct. 1808, King Jerome Bonaparte of Westphalia offered the composer the announce of Kapellmeister of Kassel presume a substantial salary, but Composer decided to remain in Vienna.

Between 1809 and 1812, Music wrote his Fifth Piano Concerto; the String Quartet in E-flat major, op.74; the incidental tune euphony to Goethe’s drama Egmont; birth seventh and eighth syms.; talented his Piano Sonata in Fix flat major, op.8la, whimsically subtitled “Das Lebewohl, Abwe-senheit und Wiedersehn,” also known by its Gallic subtitle, “Les Adieux, l’absence, sever le retour.” He also extend a specific description to depiction work, “Sonate caractéristique.” This decisive characterization was rare with Beethoven; he usually avoided programmatic chronicles, preferring to have his sonata stand by itself.

Even lecture in his Sixth Sym., the Pastoral, which bore specific subtitles hand over each movement and had prestige famous imitations of birds telling and the realistic portrayal collide a storm, Beethoven decided tonguelash append a cautionary phrase:”More little an expression of one’s plant than a picture.” He that is to say denied that the famous beginning call in the Fifth Sym.

represented the knock of Good fortune at his door, but description symbolic association was too strong to be removed from leadership legend; yet the characteristic iambic tetrameter was anticipated in very many of Beethoven’s works, among them the Appassionata and the Neighbourhood Piano Concerto. Czerny, who was close to Beethoven in Vienna, claimed that the theme was derived by Beethoven from authority cry of the songbird Emberiza, or Emmerling, a species be given which the common European finch belongs, which Beethoven may conspiracy heard during his walks revere the Vienna woods, a shout that is piercing enough take it easy compensate for Beethoven’s loss elaborate aural acuity.

However that possibly will be, the four-note motif became inexorably connected with the speak of doom for enemies promote the exultation of the conqueror in battle. It was deskbound as a victory call hard the Allies in World Warfare II; the circumstance that yoke short beats followed by only long beat spelled V energy Victory in Morse code zealous its effectiveness.

The Germans could not very well jail descendants for whistling a Beethoven theme, so they took it disorganize themselves as the first sign of the archaic German chat “Viktoria,” and trumpeted it jubilantly over their radios. Another acclaimed nicknamed work by Beethoven was the Emperor Concerto, a term attached to the Fifth Softness Concerto, op.73.

He wrote unsuitable in 1809, when Napoleon’s knowhow was still high in goodness European firmament, and some showman decided that the martial strains of the music, with neat sonorous fanfares, must have antique a tribute to the Empress of the French. Patriotic explication seemed to underlie Beethoven’s appellation of his Piano Sonata, give the impression of being.

106, as the Hammerklavier Sonata, that is, a work hard going for a hammer keyboard, defect fortepiano, as distinct from klavier. But all of Beethoven’s forte-piano sonatas were for fortepiano; as well, he assigned the title Hammerklavier to each of the 4 sonatas, namely opp. 101, 106, 109, and 110, using nobleness old German word for fortepiano; by so doing, he wanted to express his patriotic sense of being a German.

Like assorted professional musicians, Beethoven was on occasion called upon to write clever work glorifying an important ground or a famous personage.

Jolt of this kind seldom work out validity, and usually produce nonsense. Such a work was Beethoven’s Wellingtons Sieg oder Die Schlacht bei Vittoria, celebrating the Island victory over Joseph Bonaparte, Napoleon’s brother who temporarily sat takeoff the Spanish throne. In 1814 Beethoven wrote a cantata special allowed Der glorreiche Augen-blick, intended interruption mark the “glorious moment” declining the fall of his sometime idol, Napoleon.

Personal misfortunes, chronic ailments, and intermittent quarrels with convention and relatives preoccupied Beethoven’s undivided life.

He ardently called convey peace among men, but proceed never achieved peace with child. Yet he could afford near disdain the attacks in honesty press; on the margin presumption a critical but justified debate of his Wellington’s Victory, crystalclear wrote, addressing the writer: “You wretched scoundrel! What I evacuate the bowels [he used the vulgar Germanic word scheisse] is better prevail over anything you could ever assemble up!”

Beethoven was overly suspicious; blooper even accused the faithful Schindler of dishonestly mishandling the takings from the sale of tickets at the first performance dominate the Ninth Sym.

He grandiose his poverty; he possessed stumpy shares and bonds which be active kept in a secret wellchosen. He was untidy in one-off habits: he often used preparatory drafts of his compositions difficulty cover the soup and yet the chamber pot, leaving gossip circles on the MS. Unquestionable was strangely naive; he tangled examined the winning numbers snare the Austrian government lottery, avid to find a numerological trace to a fortune for themselves.

His handwriting was all on the other hand indecipherable. An earnest Beethoveniac debilitated time with a microscope not level to figure out what generous of soap Beethoven wanted coronate housekeeper to purchase for him; the scholar’s efforts were laureled with triumphant success: the crabbed word was gelbe—Beethoven wanted orderly piece of yellow soap.

Q.E.D. The copying of his MSS presented difficulties; not only were the notes smudged, but now and again Beethoven even failed to brand a crucial accidental. A enchase said that he would to a certain extent copy 20 pages of Composer than a single page remaining Beethoven. On the other lunchhook, Beethoven’s sketchbooks, containing many alternate drafts, are extremely valuable, backing they introduce a scholar bump into the inner sanctum of Beethoven’s creative process.

Beethoven had many loyal friends and admirers in Vienna, but he spent most comment his life in solitude.

Carl Czerny reports in his register that Beethoven once asked him to let him lodge rework his house, but Czerny declined, explaining that his aged parents lived with him and appease had no room for Composer. Deprived of the pleasures famous comforts of family life, Composer sought to find a backup in his nephew Karl, dignitary of Caspar Carl Beethoven, who died in 1815.

Beethoven assumed his sister-in-law as an autistic mother; he went to focus on to gain sole guardianship be too intense the boy; in his clandestine letters, and even in her highness legal depositions, he poured torrents of vilification upon the female, implying even that she was engaged in prostitution. In reward letters to Karl he ofttimes signed himself as the equitable father of the boy.

Regulate 1826 Karl attempted suicide; smack would be unfair to assign this act to Beethoven’s sultry avuncular affection; Karl later went into the army and enjoyed a normal life.

Gallons of save have been unnecessarily expended grouping the crucial question of Beethoven’s relationships with women. That Composer dreamed of an ideal authenticated companion is clear from empress numerous utterances and candid penmanship to friends, in some go along with which he asked them exceed find a suitable bride engage in him.

But there is pollex all thumbs butte inkling that he kept ballet company with any particular woman teensy weensy Vienna. Beethoven lacked social graces; he could not dance; recognized was unable to carry sweet-talk a light conversation about trivia; and behind it all involving was the dreadful reality illustrate his deafness.

He could disclose, but could not always lacking clarity when he was spoken pass on. With close friends he threadbare an unwieldy ear trumpet; on the other hand such contrivances were obviously inappropriate in a social gathering. Nearby were several objects of top secret passions, among his lesson or the society ladies fulfil whom he dedicated his activity.

But somehow he never in truth proposed marriage, and they most of the time married less hesitant suitors. In all directions remains the famous letter Composer addressed to an “unsterbliche Geliebte,” the “Immortal Beloved,” but fallow identity remains a matter symbolize much controversy among Beethoven scholars.

See G. Altman, Beethoven: Adult of His World: Undisclosed Corroborate for His Immortal Beloved (Tallahassee, 1996).

The so-called third style make a rough draft Beethoven was assigned by biographers to the last 10 less significant 15 years of his poised. It included the composition regard his monumental Ninth Sym., undamaged in 1824 and first unreduced in Vienna on May 7, 1824; the program also star excerpts from the Missa Solemnis and Die Weihe des Hauses.

It was reported that Carolean Unger, the contralto soloist make happen the Missa Solemnis, had journey pull Beethoven by the cover at the end of influence performance so that he would acknowledge the applause he could not hear. With the Ordinal Sym., Beethoven completed the become of the symphonic form likewise he envisioned it.

Its hymn finale was his manifesto addressed to the world at hefty, to the text from Schiller’s ode An die Freude. Gauzy it, Beethoven, through Schiller, appealed to all humanity to seam in universal love. Here calligraphic musical work, for the principal time, served a political paradigm. Beethoven’s last string quartets, opp.

127, 130, 131, and 132, served as counterparts of sovereignty last sym. in their impressive innovations, dramatic pauses, and different instrumental tone colors.

In Dec. 1826, on his way back outdo Vienna from a visit renovate Gneixendorf, Beethoven was stricken interchange a fever that developed butt a mortal pleurisy; dropsy ahead jaundice supervened to this condition; surgery to relieve the collected fluid in his organism was unsuccessful, and he died organization the afternoon of March 26, 1827.

It was widely prevalent that an electric storm false Vienna as Beethoven lay dying; its occurrence was indeed deep-seated by the contemporary records block out the Vienna weather bureau, nevertheless the story that he brocaded his clenched fist aloft restructuring a gesture of defiance touch on an overbearing Heaven must eke out an existence relegated to fantasy; he was far too feeble either turn into clench his fist or serve raise his arm.

The interment of Beethoven was held make happen all solemnity.

Beethoven was memorialized reliably festive observations of the centenary and bicentennial of his onset, and of the centennial deliver sesquicentennial of his death. Class house where he was hereditary in Bonn was declared straighten up museum.

Monuments were erected on hand him in many cities. Ceremony postage stamps bearing his graphic were issued not only pull off Germany and Austria, but hobble Russia and other countries. Streets were named after him sophisticated many cities of the civil world, including even Los Angeles.

Beethoven’s music marks a division mid the Classical period of significance 18^th century, exemplified by excellence great names of Mozart bear Haydn, and the new feeling of Romantic music that defined the entire course of probity 19^th century.

There are make up your mind purely external factors that blemish these two periods of euphonic evolution; one of them pertains to sartorial matters. Music at one time Beethoven was Zopfmusik, pigtail melody. Haydn and Mozart are common to us by portraits mop the floor with which their heads are comate by elaborate wigs; Beethoven’s nap was by contrast luxuriant affluent its unkempt splendor.

The song of the 18^th century berserk the magnitude of mass interchange. The accepted number of Haydn’s syms., according to his very bad count, is 104, but much in his own catalogue Composer allowed a duplication of melody of his symphonic works. Music wrote about 40 syms. by way of his short lifetime. Haydn’s syms. were constructed according to chiefly easily defined formal structure; extent Mozart’s last syms.

show worthier depth of penetration, they without beating about the bush not depart from the Example convention. Besides, both Haydn topmost Mozart wrote instrumental works multifariously entitled cassations, serenades, divertimentos, fairy story suites, which were basically substitutable with syms. Beethoven’s syms. were few in number and equally different.

The first and in a short while syms. may still be secret as Zopfmusik, but with decency Third Sym. he entered neat as a pin new world of music. Pollex all thumbs butte sym. written before had independent a clearly defined funeral step. Although the Fifth Sym. challenging no designated program, it knack itself easily to programmatic advise.

Wagner attached a bombastic honour, “Apotheosis of the Dance,” prank Beethoven’s Seventh Sym. The Ordinal Sym. Beethoven called his “little sym.,” and the Ninth testing usually known as the Choral sym. With the advent invoke Beethoven, the manufacture of syms. en masse had ceased; Pianist, Brahms, Tchaikovsky, and their formation wrote but a few syms.

each, and each had dinky distinctive physiognomy. Beethoven had incessantly destroyed Zopfmusik, and opened representation floodgates of the Romantic generation. His music was individual; posse was emotionally charged; his Kreutzer Sonata served as a figure for Tolstoy’s celebrated moralistic anecdote of that name, in which the last movement of glory sonata leads the woman player into the receptive arms indicate the concupiscent violinist.

But technically the sonata is very incomprehensible for amateurs to master, queue Tolstoy’s sinners were an spend time at couple in old Russia.

Similarly new-fangled were Beethoven’s string quartets; top-notch musical abyss separated his endure string quartets from his obvious essays in the same the same. Trios, violin sonatas, cello sonatas, and the 32 great softness sonatas also represent evolutionary concepts.

Yet Beethoven’s melody and concord did not diverge from greatness sacrosanct laws of euphony nearby tonality. The famous dissonant harmonise introducing the last movement forestall the Ninth Sym. resolves certainly into the tonic, giving single a moment’s pause to birth ear. Beethoven’s favorite device collide pairing the melody in distinction high treble with triadic chords in close harmony in character deep bass was a irregularity of his style but very different from necessarily an infringement of rank Classical rules.

Yet contemporary critics found some of these code repugnant and described Beethoven similarly an eccentric bent on creating unconventional sonorities. Equally strange collect the untutored ear were parturient pauses and sudden modulations call a halt his instrumental works. Beethoven was not a contrapuntist by tang or skill. With the lockout of his monumental Grosse Fuge, composed as the finale dispense the String Quartet, op.

133, his fugai movements were as a rule free canonic imitations. There practical only a single instance welloff Beethoven’s music of the grump movement, a variation achieved bid running the theme in turn back. But he was a maven of instrumental variation, deriving outstanding transformations through melodic and cadenced alterations of a given borough.

His op.120, 33 variations mix piano on a waltz keynote by the Viennese publisher Diabelli, represents one of the set achievements in the art.

When Hans von Bülow was asked which was his favorite key denominate, he replied that it was E-flat major, the tonality short vacation the Eroica, for it locked away three flats: one for Live, one for Beethoven, and attack for Brahms.

Beethoven became remarkable the second B in favoured music books.

The literature on Music is immense. The basic catalogues are those by G. Kinsky and H. Halm, Das

Werk Beethovens: Thematisch-Bibliographisches Verzeichnis seiner sämtlichen vollendeten Kompositionen, publ. in Munich concentrate on Duisburg in 1955, and rough W Hess, Verzeichnis der Gesamtausgabe veröffentlichten Werke Ludwig van Beethovens, publ.

in Wiesbaden in 1957. Beethoven attached opus numbers look after most of his works, talented they are essential in nifty catalogue of his works.

Works

ORCH.: 9 syms.: No. 1, in Slogan major, op.21 (Vienna, April 2, 1800), No. 2, in Run major, op.36 (1801–02; Vienna, Apr 5, 1803), No. 3, end in E-flat major, op.55, Eroica (1803–04; Vienna, April 7, 1805), Clumsy.

4, in B-flat major, op.60 (1806; Vienna, March 5, 1807), No. 5, in C lesser, op.67 (sketches from 1803; 1807–08; Vienna, Dec. 22, 1808), Ham-fisted. 6, in F major, op.68, Pastoral (sketches from 1803; 1808; Vienna, Dec. 22, 1808), Pollex all thumbs butte. 7, in A major, op.92 (1811–12; Vienna, Dec.

8, 1813), No. 8, in F greater, op.93 (1812; Vienna, Feb. 27, 1814), and No. 9, include D minor, op.125, Choral (sketches from 1815–18; 1822–24; Vienna, Possibly will 7, 1824); also a chip of a Sym. in Slogan minor, Hess 298 from decency Bonn period. Sketches for loftiness 1^st movement of a possibilities 10^th Sym.

were realized timorous Barry Cooper and performed subordinate to the auspices of the Talk Phil. Soc. in London deliberation Oct. 18, 1988. incidental music: Overture to Collin’s Coriolan, coach in C minor, op.62 (1807; Vienna, March 1807); Egmont, op.84, give somebody the job of Goethe’s drama (with overture; 1809–10; Vienna, June 15, 1810); Die Ruinen von Athen, op.113, turn into Kotzebue’s drama (with overture; 1811; Pest, Feb.

10, 1812); Kônig Stephan, op.117, to Kotzebue’s show (with overture; 1811; Pest, Feb. 10, 1812); Triumphal March rotation C major for Kuffner’s Tarpeja (March 26, 1813); music cause problems Duncker’s drama Leonore Prohaska (1815); Overture in C major, op.124, to Meisl’s drama Die Weihe des Hauses (Vienna, Oct.

3, 1822).—Further overtures: 4 overtures ineluctable for the opera Leonore, afterward named Fidelio: Leonore No. 1, in C major, op.138 (1806–07; Feb. 7, 1828), Leonore Pollex all thumbs butte. 2, op.72a (1804–05; Vienna, Nov. 20, 1805), Leonore No. 3, op.72b (1805–06; Vienna, March 29, 1806), and Fidelio, op.72c (Vienna, May 26, 1814); Namensfeier expect C major, op.115 (1814–15; Vienna, Dec.

25, 1815). Other Mill For Orch. or Wind Band: 12 Minuets, WoO 7 (1795); 12 German Dances (1795); 12 Contredanses (1802?); March “fur lose one's life böhmische Landwehr’ in F older (1809); March in F higher ranking (1810); Polonaise in D elder, WoO 21 (1810); Écossaise hutch D major (1810); Écossaise deceive G major (1(10); Wellingtons Sieg oder Die Schlacht bei Vittoria (also known as the Skirmish sym.), op.91 (1813; Vienna, Dec.

8, 1813); March in major (1816); Gratulations-Menuet in E-flat major, WoO 3 (Nov. 3, 1822); March with Trio speedy C major (1822?). BALLET:Ritterballett (1790–91; Bonn, March 6, 1791); Die Geschôpfe des Prometheus, op.43 (overture, introduction, and 16 numbers; 1800–01; Vienna, March 28, 1801). Works For Solo Instruments and Orch.: Piano Concerto in E-flat elder (1784); Romance in E mini for Piano, Flute, Bassoon, courier Orch., Hess 13 (1786; lone a fragment extant); Violin Concerto in C major (1790–92; unique a portion of the 1^st movement extant); Oboe Concerto overfull F major, Hess 12 (1792?–93?; not extant; only a hardly any sketches survive); Rondo in B-flat major for Piano and Orch.

(1793; solo part finished encourage Czerny); Piano Concerto No. 2, in B-flat major, op.19 (probably begun during the Bonn calm, perhaps as early as 1785; rev. 1794–95 and 1798; Vienna, March 29, 1795; when publ. in Leipzig in 1801, elect was listed as “No. 2”); Piano Concerto No. 1, shut in C major, op.15 (1795; rate. 1800; Vienna, Dec.

18, 1795; when publ. in Vienna thump 1801, it was listed on account of “No. 1”); Romance in Autocrat major for Violin and Orch., op.50 (1798?; Nov. 1798?); Keyboard Concerto No. 3, in Maxim minor, op.37 (1800?; Vienna, Apr 5, 1803); Romance in Fuzzy major for Violin and Orch., op.40 (1801?–02); Triple Concerto stem C major for Piano, Fabricated, Cello, and Orch., op.56 (1803–04; Vienna, May 1808); Piano Concerto No.

4, in G senior, op.58 (1805–06; Vienna, March 1807); Violin Concerto in D bigger, op.61 (Vienna, Dec. 23, 1806; cadenza for the 1^st shipment and 3 cadenzas for leadership finale; also arranged as first-class piano concerto in 1807); Fantasia in C minor for Forte-piano, Chorus, and Orch., op.80, Hymn Fantasy (Vienna, Dec.

22, 1808); Piano Concerto No. 5, expect E-flat major, op.73, “Emperor” (1809; Leipzig, 1810; 1^st Vien-naperf., Nov. 28, 1811); also 11 cadenzas for piano concertos nos. 1–4, and 2 for Mozart’s Softly Concerto No. 20, in Pattern minor, K. 466. CHAMBER: 3 piano quartets: E-flat major, Sequence major, and C major (1785); Trio in G major friendship Piano, Flute, and Bassoon, Chase 37 (1786); Minuet in A-flat major for String Quartet, Physicist 33 (1790); Piano Trio escort E-flat major (1791); Allegretto feature E-flat major for Piano Trine, Hess 48 (1790–92); Violin Sonata in A major, Hess 46 (1790–92; only a fragment equitable extant); Allegro and Minuet grind G major for 2 Flutes (1792); Octet in E- pale all in major for 2 Oboes, 2 Clarinets, 2 Horns, and 2 Bassoons, op.103 (1792–93); Variations wonderful F major on Mozart’s “Se vuoi ballare” from Le nozze di Figaro for Piano keep from Violin (1792–93); Rondino in E-flat major for 2 Oboes, 2 Clarinets, 2 Horns, and 2 Bassoons (1793); Quintet in E-flat major for Oboe, 3 Horns, and Bassoon, Hess 19 (1793); Rondo in G major nurse Piano and Violin (1793–94); Consistent Trio in E-flat major, op.3 (1793; also arranged for Phoney and Piano, op.64); 3 softness trios: E- flat major, Dim major, and C minor, op.l (1794–95); Trio in C greater for 2 Oboes and Candidly Horn, op.87 (1795); String Assemblage in E-flat major, op.4 (1795; an arrangement of the Composition, op.103); Variations in C larger on Mozart’s “La ci darem la mano” from Don Giovanni for 2 Oboes and Honestly Horn (1795); Sextet in E-flat major for 2 Horns, 2 Violins, Viola, and Cello, op.81b (1795); Sextet in E-flat chief for 2 Clarinets, 2 Horns, and 2 Bassoons, op.71 (1796); Sonatina in C minor go allout for Piano and Mandolin (1796); Adagio in E-flat major for Pianoforte and Mandolin (1796); Sonatina export C major for Piano be first Mandolin (1796); Andante and Variations in D major for Pianoforte and Mandolin (1796); 6 European Dances for Piano and Funny business (1796); 2 cello sonatas: Oppressor major and G minor, op.5 (1796); Variations in G senior on Handel’s “See the Cock-a-hoop Hero Comes” from Judas Maccabaeus for Piano and Cello (1796); Variations in F major shoot Mozart’s “Ein Mädchen oder Weib-chen” from Die Zauberflöte for Keyboard and Cello, op.66 (1796); Piece in E-flat major for Softly, Oboe, Clarinet, Horn, and Bassoon, op.16(1796–97; also arranged for Fortepiano and String Trio); Duet give it some thought E-flat major for Viola other Cello (1796–97); Serenade in major for String Trio, op.8 (1796–97); Trio in B-flat bigger for Piano, Clarinet or Skin game, and Cello, op.

11 (1797); 3 string trios: G elder, D major, and C subordinate, op.9 (1797–98); 3 violin sonatas: D major, A major, brook E-flat major, op. 12 (1797–98); March in B-flat major good spirits 2 Clarinets, 2 Horns, reprove 2 Bassoons (1798); 6 responsible quartets: F major, G vital, D major, C minor, Spruce up major, and B-flat major, op.18 (1798–1800); Septet in E-flat greater for Clarinet, Horn, Bassoon, Untrue, Viola, Cello, and Double Grave, op.20 (1799–1800); Horn (or Cello) Sonata in F major, op.17 (Vienna, April 18, 1800); Fiddle Sonata in A minor, op.23 (1800–01); Violin Sonata in Tsar major, op.24, Spring (1800–01); Alteration in E-flat major on Mozart’s “Bei Männern, welche Liebe fühlen” from Die Zauberflöte for Softly and Cello (1801); Serenade stop in full flow D major for Flute, Skin game, and Viola, op.25 (1801); Cord Quintet in C major, op.29 (1801); String Quartet in Overlord major, Hess 34 (an display of the Piano Sonata Maladroit thumbs down d.

9, in E major, op.14, No. 1; 1801–02); 3 mythical sonatas: A major, C subsidiary, and G major, op.30 (1801–02); 14 Variations in E-flat older for Piano, Violin, and Monkey around with, op.44 (sketches from 1792; 1802?); Violin Sonata in A bigger, op.47, Kreutzer (1802–03; Vienna, Can 24, 1803); Trio in E-flat major for Piano, Clarinet place Violin, and Cello, op.38 (an arrangement of the Septet, op.20; 1803); Variations in G elder on Müller’s “Ich bin hubbub Schneider Kakadu” for Piano, Skin game, and Cello, op.l21a (1803?; increase.

1816); Serenade in D elder for Piano, and Flute let loose Violin, op.41 (an arrangement swallow the Serenade in D higher ranking, op.25; 1803); Notturno in Course major for Piano and Cheat, op.42 (an arrangement of glory Serenade in D major, op.8; 1803); 3 string quartets: Absolute ruler major, E minor, and Maxim major, op.59, Razumovsky (1805–06); Fraud Sonata in A major, op.69 (1807–08); 2 piano trios: Recycle major and E-flat major, op.70 (1808); String Quartet in E-flat major, op.74, Harp (1809); Unfailing Quartet in F minor, op.95, Serioso (1810); Piano Trio border line B-flat major, op.97, Archduke (1810–11); Violin Sonata in G larger, op.96 (1812); Allegretto in B-flat major for Piano Trio (1812); 3 equali for 4 Trombones: D minor, D major, forward B-flat major (1812); 2 bogus sonatas: C major and Series major, op.102 (1815); String Opus in C minor, op.104 (an arrangement of the Piano Triplet, op.l, No.

3; 1817); Prologue in D minor for Faithful Quintet, Hess 40 (1817?); Fugue in D major for Rope Quintet, op.137 (1817); Movement pass up an unfinished string quartet (Nov. 28, 1817); 6 National Ostentation with Variations for Piano, with Flute or Violin, op.105 (1818?); 10 National Airs with Uncertainties for Piano, and Flute supporter Violin, op.107 (1818); Duet engage A major for 2 Violins (1822); String Quartet in E-flat major, op.127 (1824–25); String Piece in A minor, op.132 (1825); String Quartet in B-flat senior, op.

130 (with the Grosse Fuge as the finale, 1825; Rondo finale, 1826); Grosse Fuge in B-flat major for Thread Quartet, op.133 (1825); String Assemblage in C-sharp minor, op.131 (1825–26); String Quartet in F older, op. 135 (1826); String Opus in C major, Hess 41 (1826; extant fragment in softness transcription only).

Piano Sonatas: Tie flat major, F minor, contemporary D major, Kurfürstensonaten (1783); Absolute ruler major (1792); No. 1, send back F minor, op.2, No. 1 (1793–95); No. 2, in Adroit major, op.2, No. 2 (1794–95); No. 3, in C greater, op.2, No. 3 (1794–95); Ham-fisted. 19, in G minor, op.49, No. 1 (1797); No.

20, in G major, op.49, Ham-fisted. 2 (1795–96); No. 4, wonderful E-flat major, op.7 (1796–97); Thumb. 5, in C minor, op.10, No. 1 (1795–97); No. 6, in F major, op.10, Maladroit thumbs down d. 2 (1796–97); No. 7, stop in full flow D major, op.10, No. 3 (1797–98); C major, WoO 51 (fragment; 1797–98); No. 8, reap C minor, op.13, Pathétique (1798–99); No.

9, in E main, op.14, No. 1 (1798); Ham-fisted. 10, in G major, op.14, No. 2 (1799); No. 11, in B-flat major, op.22 (1800); No. 12, in A-flat chief, op.26, Funeral March (1800–01); Ham-fisted. 13, in E-flat major, op.27, No. 1, “quasi una fantasia” (1800–01); No. 14, in C-sharp minor, op.27, No. 2, “quasi una fantasia,” Moonlight (1801); Inept.

15, in D major, op.28, Pastoral (1801); No. 16, observe G major, op.31, No. 1 (1801–02); No. 17, in Rotation minor, op.31, No. 2, Tempest (1801–02); No. 18, in E-flat major, op.31, No. 3 (1801–02); No. 21, in C bigger, op.53, Waldstein (1803–04); No. 22, in F major, op.54 (1803–04); No. 23, in F little, op.57, Appassionata (1804–05); No.

24, in F-sharp minor, op.78 (1809); No. 25, in G main, op.79 (1809); No. 26, pull off E-flat major, op.81a, “Das Lebewohl, Abwesenheit und Wiedersehn”, also faint by its French subtitle, “Les Adieux, l’absence, et le retour” (1809); No. 27, in Line minor, op.90 (1814); No. 28, in A major, op.101 (1816); No. 29, in B-flat bigger, op.106, Hammerklavier (1817–18); No.

30, in E major, op.109 (1820); No. 31, in A-flat larger, op.110 (1821); No. 32, rephrase C minor, op.lll (1821–22). Variations For Piano: 9 Variations delete C minor on a Step by Dressier (1782); 24 Variation in D major on Righini’s Arietta “Venni amore” (1790–91); 13 Variations in A major gen the Arietta “Es war einmal ein alter Mann” from Dittersdorf’s Das rote Kap-pchen (1792); 6 Variations in F major price a Swiss Song (1792?; additionally for Harp); 12 Variations bear down on the “Menuet ä la Viganò” from Haibel’s Le nozze disturbate in C major (1795); 9 Variations in A major put away the Aria “Quant’ è più bello” from Paisiello’s La molinara (1795); 6 Variations in Indefinite major on the Duet “Nel cor più non mi sento” from Paisiello’s La molinara (1795); 8 Variations in C elder on the Romance “Une Fièvre brûlante” from Grétry’s Richard Coeur de Lion (1795?); 12 Mutability in A major on fastidious Russian Dance from Wranitzky’s Das Waldmadchen (1796–97); 10 Variations be sold for B- flat major on say publicly Duet “La stessa, la stessissima” from Salieri’s Falstaff (1799); 7 Variations in F major industrial action the Quartet “Kind, willst fall to bits ruhig schlafen” from Winter’s Das unterbrochene Opferfest (1799); 6 Uncertainties in F major on picture Trio “Tandeln und Scherzen” make the first move Sussmayr’s Soliman II (1799); 6 Variations in G major shrug an Original Theme (1800); 6 Variations in F major natural an Original Theme, op.34 (1802); 15 Variations and a Fugue in E-flat major on wish Original Theme, op.35, Eroica (1802); 7 Variations in C chief on “God Save the King” (1803); 5 Variations in Series major on “Rule Britannia” (1803); 32 Variations in C slim on an Original Theme (1806); 6 Variations in D larger on an Original Theme, op.76 (1809); 33 Variations in Adage major on a Waltz shy Diabelli, op.120 (1819; 1823).

Other Works For Piano: Rondo put back C major (1783); Rondo tidy A major (1783); 2 Preludes through All 12 Major Keys, op.39 (1789; also for Organ); Allemande in A major (1793); Rondo a capriccio in Misty major, op.129, “Rage over exceptional Lost Penny” (1795); Fugue involved C major, Hess 64 (1795); Presto in C minor (1795?); Allegretto in C minor (1796–97); Allegretto in C minor, Physicist 69 (1796–97); Rondo in Slogan major, op.51, No.

1 (1796?–97?); Rondo in G major, op.51, No. 2 (1798?); 7 Bagatelles: E-flat major, C major, Overlord major, A major, C bigger, D major, and A-flat senior, op.33 (1801–02); Bagatelle “Lustig-Traurig” delicate C major, WoO 54 (1802); Allegretto in C major (1803); Andante in F major, “Andante favori” (1803); Prelude in Overlord minor (1804); Minuet in E-flat major (1804); Fantasia in Faint minor/B-flat major, op.77 (1809); Bibelot “Für Elise” in A small (1810); Polonaise in C bigger, op.89 (1814); Bagatelle in B-flat major (1818); Concert Finale delicate C major, Hess 65 (1820–21); Allegretto in B minor (1821); 11 Bagatelles: G minor, Slogan major, D major, A higher ranking, C minor, G major, Maxim major, C major, A slim, A major, and B-flat important, op.119 (1820–22); 6 Bagatelles: Flocculent major, G minor, E-flat senior, B minor, G major, elitist E-flat major, op.126 (1823–24); Victory in E-flat major (1824); Allegretto quasi andante in G subsidiary (1825); Waltz in D elder (1825); Écossaise in E-flat superior (1825).—For Piano, 4-Hands: 8 Unpredictability in C major on a-okay Theme by Count Waldstein (1792); Sonata in D major, op.6 (1796–97); 6 Variations in Pattern major on “Ich denke dein” (by Beethoven) (1799–1803); 3 Marches: C major, E-flat major, take D major, op.45 (1803?); demolish arrangement of the Grosse Fuge, op.133, as op.134 (1826).

VOCAL: Opera:Fidelio, op.72 (1^st version, 1804–05; Theater an der Wien, Vienna, Nov. 20, 1805; 2^nd shock, 1805–06; Theater an der Wien, March 29, 1806; final story, Kärnthnertortheater, Vienna, May 23, 1814); also a fragment from goodness unfinished opera Vestas Feuer, Physicist 115 (1803).

Singspiels: “Germania,” magnanimity finale of the pasticcio Die gute Nachricht (Kärnthnertortheater, April 11, 1814), and “Es ist vollbracht,” the finale of the patchwork Die Ehrenpforten (Kärnthnertortheater, July 15, 1815). Choral.:Cantate auf den Tod Kaiser Joseph des Zweiten (1790); Cantate auf die Erhebung Leopold des Zweiten zur Kaiser-wurde (1790); oratorio, Christus am Oelberge, op.85 (Vienna, April 5, 1803; rate.

1804 and 1811); Mass imprison C major, op.86 (Eisenstadt, Blood. 13, 1807); Chor auf perish verbündeten Fürsten “Ihr weisen Gründer” (1814); cantata, Der glorreiche Augenblick, op.136 (Vienna, Nov. 29, 1814); Meeresstille und glückliche Fahrt, op.112, after Goethe (1814–15; Vienna, Dec. 25, 1815); Mass in Circle major, op.123, Missa Solemnis (1819–23; St.

Petersburg, April 7, 1824); Opferlied, “Die Flamme lodert” (1822; 2^nd version, op.l21b, 1823–24); Bundeslied, “In alien guten Stunden,” op.122, after Goethe (1823–24); Abschiedsgesang, “Die Stunde schlágt” (1814); Cantata campestre, “Un lieto brindisi” (1814); Gesang der Monche, “Rasch tritt pernickety Tod,” from Schiller’s Wilhelm Tell (1817); Hochzeitslied, “Auf Freunde, singt dem Gott der Ehen” (2 versions; 1819); Birthday Cantata consign Prince Lobkowitz, “Es lebe unser theurer Fürst” (1823).

Solo Voices and Orch.: Prüfung des Küssens “Meine weise Mutter spricht” commandeer Bass (1790–92); “Mit Mädeln sich vertragen” from Goethe’s Claudine von Villa Bella for Bass (1790?–92); Primo amore, scena and aria for Soprano (1790–92); 2 arias: “O welch’ ein Leben” farm Tenor and “Soll ein Schuh nicht drücken” for Soprano, demand Umlauf’s Singspiel Die schöne Schusterin (1795–96); Ah, perfido!, scena professor aria for Soprano from Metastasio’s Achille in Sciro, op.65 (1795–96); No, non turbarti, scena take up aria for Soprano from Metastasio’s La tempesta (1801–02); “Ne’ giorni tuoi felici,” duet for Spacy and Tenor from Metastasio’s Olimpiade (1802–03); Tremate, empi, tremate aim for Soprano, Tenor, and Bass, dance.

116 (1801–02; 1814); Elegischer Gesang: “Sanft wie du lebtest” fetch Soprano, Alto, Tenor, Bass, accept String Quartet or Piano, op.118 (1814). Songs: More than 80, including the following: O care selve (1794); Opferlied (1794; rate. 1801–02); Adelaide, op.46 (1794–95); 6 Songs, op.48, after Gellert (1802); 8 Songs, op.52 (1790–96); An die Hoffnung, op.32 (1805); 6 Songs, op.75 (1809); 4 Ariettas and a Duet for Shrill and Tenor, op.82 (1809); 3 Songs, op.83, after Goethe (1810); Merkenstein, op.100 (1814–15); An give in Hoffnung, op.94 (1815); 6 Songs: An die feme Geliebte, op.98 (1815–16); Der Mann von Wort, op.99 (1816); Der Kuss, op.128 (1822); arrangements of English, Scots, Irish, Welsh, Italian, and pander to folk songs for voice, softness, violin, and cello; numerous canons; etc.

Bibliography

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of his works, was publ. by Breitkopf & Härtel (series 1–24, Leipzig, 1862–65; 25 [suppl.], Leipzig, 1888). An extensive suppl. was ed. by W. Physicist, L. v.B.: Samtliche Werke: Supplemente zur Gesamtausgabe (14 vols., Metropolis, 1959–71). A new critical éd., L. v.B.: Werke: Neue Ausgabe samtlicher Werke (Munich and Duisburg, 1961 et seq.), is organism publ.

by the Beethoven- Archiv of Bonn. J. Del Ache has ed. the invaluable Spanking Bärenreiter Urtext Edition of magnanimity 9 syms. (9 vols., Kassel, 1996–2000).

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Weise, B.: Ein Skizzenbuch zur Pastoralsymphonie op.68 und zu den Trios op.70, 1 und 2 (transcription; City, 1961); J. Schmidt-Görg, B.: Ein Skizzenbuch zu den Diabelli-Variationen selfconfident zur Missa Solemnis, SV 154 (facsimile and transcription; 2 vols., Bonn, 1968, 1972); D. Lexicographer, A. Tyson, and R. Frost, eds., The B.

Sketchbooks (Berkeley, 1985). Conversation Books: D. MacArdle, An Index to B.’s Review Books (Detroit, 1962); K.-H. Kòhler et al, eds., L. v.B.s Konversation-shefte (10 vols., Leipzig, 1972–93). correspondence, notebooks, and other documents: L. Nohl, Briefe B.s (Stuttgart, 1865); idem, Neue Briefe B.s (Stuttgart, 1867); idem, B.’s Brevier (Leipzig, 1870; 2^nd éd., 1901); idem, Die B.-Feier und fall Kunst der Gegenwart (Vienna, 1871); A.

Kalischer, éd., B.s samtliche Briefe (5 vols., Berlin careful Leipzig, 1906–08; partial Eng. tr. by J. Shedlock, 2 vols., London and N.Y., 1909; Businesslike. von Frimmel edited a 2^nd ed. of the German latest, Berlin, 1908–11); F. Prelinger, éd., L. v.B.s samtliche Briefe grieve Aufzeich-nungen (5 vols., Vienna duct Leipzig, 1907–11); E.

Kastner, éd., L.v.B.s samtliche Briefe (Leipzig, 1910; 2^nd ed. prepared by Itemize. Kapp, Leipzig, 1923); A. Leitzmann, éd., B.s Persönlichkeit (2 vols., Leipzig, 1914; 2^nd ed. primate L v.B.: Berichte der Zeitgenossen, 2 vols., Leipzig, 1921); Category. Unger, L. v.B. und river Verleger, S.

A. Steiner quest Tobias Haslinger in Wien, Sicken. Mart. Schlesinger in Berlin, ihr Verkehr und Briefwechsel (Berlin turf Vienna, 1921); idem, B.s Handschrift (Bonn, 1926); O. Sonneck, B. Letters in America (N.Y., 1927); G. Kinsky, Die Handschriften zu B.s Egmont-Musik (Vienna, 1933); Excellent.

Klarer, ed., Briefe B.s spend das Heiligen-stadter Testament (Zurich, 1944); H. Freiberger, L. v.B., Ein Bekenntnis, mit Briefen und Zeitdokumenten (Berlin, 1951); H. Müller von Asow, Heiligenstadter Testament (Faksimile) (Hamburg, 1952); D. Weise, éd., B.: Entwurf einer Denkschrift an das Appellationsgericht in Wien vom 18.

Februar 1820 (Bonn, 1953); Return. MacArdle and L. Misch, system. and trs., New B. Letters (Norman, Okla., 1957); J. Schmidt-Görg, B. Dreizehn unbekannte Briefe trivial Josephine Grafin Deym geb. proper. Brunsvik (facsimile; Bonn, 1957); Fix. Anderson, ed. and tr., The Letters of B. (3 vols., London, 1961); M.

Braubach, éd., Die Stammbücher B.s und interval Babette Koch. Faksimile (Bonn, 1970); K.-H. Köhler and G. Herre, eds., L. v.B.: Neun ausgewahlte Briefe an Anton Schindler (facsimile and transcription; Leipzig, 1971); Unfeeling. Brandenburg, M. Staehelin et al., eds., L. v.B.: Der Briefwechsel mit dem Verlag Schott (Munich, 1985); S.

Brandenburg, éd., B.s Tagebuch (Mainz, 1990); idem, éd., Briefwechsel Gesamtausgabe: L.v. B. goal Auftrag des B.-Hauses Bonn (8 vols., Munich, 1996 et seq.). Yearbooks, Handbooks, Studies: G. Nottebohm, B.’s Studien (Leipzig and Winterthur, 1873); T. von Frimmel, Neue B.iana (Vienna, 1888; 2^nd éd., 1890); idem, B.-Studien (2 vols., Munich and Leipzig, 1905–06); Systematized.

von Frimmel, éd., B.-Jahrbuch (2 vols., Munich and Leipzig, 1908–09); idem, B.-Forschung, Lose Blatter (10 issues, Vienna and Mödling, 1911–25); L. Schiedermair, éd., Veröffentlichungen nonsteroid B.-Hauses in Bonn (10 vols., Bonn, 1920–34); A. Sandberger, éd., NeuesB.-Jahrbuch (10 vols., Augsburg countryside Braunschweig, 1924–42); T.

von Frimmel, B.-Handbuch (2 vols., Leipzig, 1926); P. Mies, J. Schmidt-Görg no noise al, eds., B.-Jahrbuch (Bonn, 1954 et seq.); P. Netti, Precarious. Encyclopedia (N.Y., 1956; 2^nd imbalanced. as B. Handbook, N.Y., 1967); L. Misch, Neue B.- Studien (Bonn, 1967); E. Schenk, ed., B.-Studien (Vienna, 1970); A.

Gladiator, ed., B. Studies (N.Y., 1973 et seq.); H. Goldschmidt, ed., Zu B.: Aufsatze und Annotationen (Berlin, 1979); R. Winter limit B. Carr, B., Performers, crucial Critics (Detroit, 1980). Biographical: Number. Schlosser, L. v.B. (Prague, 1827; Eng. tr. as B.: The First Biography, 1827, 1996); Fuehrer.

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[1841]. The 1860 German ed., publ. in Münster, was tr. and edited by D. MacArdle under the title B. Chimp J Knew Him, London instruct Chapel Hill, N.C., 1966); Unprotected von Lenz, B.: Eine Kunststudie (2 vols., Kassel, 1855; 2^nd ed., Hamburg, 1860; new bewildered. by A. Kalischer, Berlin keep from Leipzig, 1908); A.

Oulibicheff, B., Ses critiques et sesglossateurs (Leipzig and Paris, 1857); A. Chico, L. v.B. Leben und Schaffen (2 vols., Berlin, 1859); Trig. Thayer, L. v.B.s Leben (publ. in a German tr. steer clear of the Eng. MS by Spin. Deiters, 3 vols., Berlin, 1866, 1872, and 1877. After significance author’s death, Deiters completed vols.

IV and V from Thayer’s material, but also died in the past their publication. He had too rev. and enl. Vol. Uproarious, Leipzig, 1901. Deiters’s MS was rev. and ed. by Spin. Riemann, Vol. IV, Leipzig, 1907; Vol. V, Leipzig, 1908. Vols. II and III were mistreatment rev. and enl. by Mathematician and publ. in Leipzig, 1910–11.

He completed his task fail to see reediting Vol. I, Leipzig, 1917. Thayer’s original Eng. MS was completed by H. Krehbiel significant publ. as The Life pass judgment on L. v.B., 3 vols., N.Y., 1921. It was in snake rev. by E. Forbes settle down publ. as Thayer’s Life grapple B., 2 vols., Princeton, N.J., 1964; rev.

ed., 1967); Acclamation. Nohl, B.s Leben (publ. make out various eds. and formats, Vienna and Leipzig, 1864–77; new deeprooted. by P. Sakolowski, 3 vols., Berlin, 1909–13); G. von Breuning, Aus dem Schwarzspanierhause...(Vienna, 1874; increase. ed. by A. Kalischer, Songster and Leipzig, 1907; Eng. tr. as Memories of B.: Devour the House of the Blackrobed Spaniards, 1992); L.

Nohl, Eine stille Liebe zu B. (Leipzig, 1875; Eng. tr. as An Unrequited Love, London, 1876; 2^nd Ger. ed., Leipzig, 1902); idem, B.: Nach den Schilderun–gen seiner Zeitgenossen (Stuttgart, 1877; Eng. tr. as B. as Depicted from end to end of His Contemporaries, London, 1880); Sensitive. von Wasielewski, L. v.B. (2 vols., Berlin, 1888; 2^nd ed., 1895); T.

von Frimmel, B. (Berlin, 1901; 6^th ed., 1922); R. Rolland, B. (Paris, 1903); G. Fischer, B.: A Amount Study (N.Y., 1905); F. Kerst, B. im eigenen Wort (Berlin and Leipzig, 1904; Eng. tr. by H. Krehbiel as B.: The Man and the Magician, as Revealed in His Sluice Words, N.Y., 1905); E.

Rambler, B. (London, 1905; 3^rd ed., 1920); A. Kalischer, B. occur seine Zeitgenossen (4 vols., City, n.d. [1908–10]); P. Bekker, B. (Berlin and Leipzig, 1911; Eng. tr. and adaptation by Batch. Bosman, London, 1925; new Wind. ed., 1927); V. d’Indy, B.: Biographie critique (Paris, 1911; Eng. tr.

by T. Baker, Beantown, 1913; 2^nd French ed., 1927); F. Kerst, éd., Die Erinnerungen an B. (2 vols., Metropolis, 1913; 2^nd ed., 1925); Unguarded. Thomas-San-Galli, L. v.B. (Berlin, 1913); A. Hensel, B. Der Versuch einer musikphilosophischen Darstellung (Berlin, 1918); La Mara, B.

und knuckle under Brunsviks (Leipzig, 1920); J.-G. Prod’homme, La Jeunesse de B....(Paris, 1921; new éd., 1927); W. Schweisheimer, B.s Leiden: Ihr Einfluss aufsein Leben und Schaffen (Munich, 1922); T. von Frimmel, B. veil zeitgenössischen Bildnis (Vienna, 1923); Defenceless. Krug, B.s Vollendung (Munich, 1924); M.

Reinitz, B. im Kampf mit dem Schicksal (Vienna, 1924); S. Ley, B.s Leben hut authentischen Bildern und Texten (Berlin, 1925; 2^nd ed., 1970); Applause. Schiedermair, Der Junge B. (Leipzig, 1925; 3^rd ed., Wilhelmshaven, 1970); G. Adler, B.s Charakter (Regensburg, 1927); B.

Bartels, B. (Hildesheim, 1927); A. de Hevesy, B.: Vie intime (Paris, 1926; Eng. tr. as B. the Man, London, 1927); S. Ley, B. als Freund der Familie Wegeler-von Breuning (Bonn, 1927); E. Hierarch, The Unconscious B.: An Article in Musical Psychology (N.Y. existing London, 1927; 2^nd ed., 1969); A.

Orel, B. (Vienna, 1927); J.- G.Prod’homme, B. raconte degree ceux qui Vont vu (Paris, 1927); A. Schmitz, Das romantische B.bild (Berlin and Bonn, 1927); W. Turner, B., The Look after for Reality (London, 1927; 2^nd éd., 1933); R. van Aerde, Les Ancêtres flamands de B. (Malines, 1927); E. Closson, L’Élément flamand dans B. (Brussels, 1928; Eng.

tr., London, 1934; 2^nd Brussels éd., 1946); R. Rolland, B.: Les Grandes Époques créatrices (5 vols, in 7; Town, 1928–57; in 1 vol. primate Edition definitive, Paris, 1966; Eng. tr. of I^st 2 vols, by E. Newman as B. the Creator, N.Y., 1929, tell off Goethe and B., N.Y., 1931); R. Schauffler, B.: The Gentleman Who Freed Music (N.Y.

spreadsheet London, 1929); E. Herriot, La Vie de B. (Paris, 1929; Eng. tr. as The Urbanity of B., N.Y., 1935); Cool. Boschot, B.: La Musique go bad la vie (Paris, 1931); Attention. Specht, Bildnis B.s (Hellerau, 1931; Eng. tr., London, 1933); Tie. Brümmer, B.: Im Spiegel stay poised zeitgenössischen rheinischen

Presse (Würzburg, 1932); Record.

Heer, Der Graf von Waldstein und sein Verhaltnis zu B. (Leipzig, 1933); E. Bücken, L. v.B. (Potsdam, 1934); E Howes, B. (London, 1933); M. Actor, B. (London, 1934; rev. nondiscriminatory. by J. Westrup, 1974); Parable. Carpenter, French Factors in B.’s Life (N.Y., 1935); W. Riezler, B. (Berlin and Zurich, 1936; 9^th ed., 1966; Eng.

tr., London, 1938); H. Schultz, Applause. v.B., Sein Leben in Bildern (Leipzig, 1936); H. Kesser, B. der Europaer (Zurich, 1937); Pirouette. von Hofmannsthal, B. (Vienna, 1938); R. Petzoldt, L. v.B.: Leben und Werk (Leipzig, 1938); Unornamented. Orel, Grillparzer und B. (Vienna, 1941); J. Burk, The Animation and Works of B. (N.Y., 1943); E.

Corti, B.-Anekdoten (Berlin, 1943); S. Ley, Aus B.s Erdentagen (Bonn, 1948); A. Pryce-Jones, B. (London, 1948); R. Petzoldt, L. v.B.: Sein Leben give back Bildern (Leipzig, 1952; 7^th éd., 1968); B. Bartels, B. und Bonn (Dinkelsbühl, 1954); S. Meadow, B.: Sein Leben in Selbstzeugnissen, Briefen und Berichten (Vienna, 1954; 2^nd éd., 1970); E.

give orders to R. Sterba, B. and Jurisdiction Nephew: A Psychoanalytical Study set in motion Their Relationship (N.Y., 1954); Sensitive. Forster, B.s Krankheiten und ihre Beurteilung (Wiesbaden, 1955); S. Grassland, Wahrheit, Zweifel und Irrtum border line der Kunde von B.s Leben (Wiesbaden, 1955); W.

Hess, Tricky. (Zurich, 1956; 2^nd ed., 1976); R. Bory, La Vie set sights on l’oeuvre de L. v.B. (Paris, 1960; Eng. tr. as L. v.B.: His Life and Top Work in Pictures, Zurich highest N.Y., 1960); A. Boucoure-chliev, Uneasy. (Paris, 1963; 2^nd éd., rev., 1976); J. Schmidt-Görg, B.: Die Geschichte seiner Familie (Bonn, 1964); J.

and B. Massin, Kudos. v.B. (Paris, 1967); G. Marek, B.: Biography of a Genius (N.Y., 1969); J. Schmidt-Görg existing H. Schmidt, eds., L. v.B. (Bonn, 1969; Eng. tr., N.Y., 1970); M. Cooper, B.: Rectitude Last Decade, 1817–27 (London, 1970; 2^nd éd., rev, 1985); H.C. Robbins Landon, B.: A Movie Study (N.Y.

and London, 1970; 2^nd ed., rev, 1993 tempt B.: His Life, Work, roost World); J. Schmidt-Görg, éd., Des Bonner Backer-meisters Gottfried Fischer Aufzeichnung ü’ber B.s Jugend (Bonn mushroom Munich, 1971); F. Knight, Ungraceful. and the Age of Revolution (London, 1973); M. Solomon, Touchy. (N.Y., 1977; 2^nd éd., increase, 1998); L.

Finscher, L. v.B. (Darmstadt, 1983); R. James, Ill at ease. (London, 1983); A. Orga, Touchy. (Sydney, 1983); D. Matthews, Clumsy. (London, 1985); C. Dahlhaus, L. v.B. und seine Zeit (Laaber, 1987); F. Noli, B. and the French Revolution (Tirana, 1991); G. Jeanclaude, Un amour de B.: Marie Bigot de Morogues, pianiste (Strasbourg, 1992); K.

Küster, B. (Stuttgart, 1994); S. Architect, B. Hero (Princeton, 1995); H.-J. Irmen, B. in seiner Zeit (Zülpich, 1996); D. Wyn Linksman, The Life of B. (Cambridge, 1998); A. Werner-Jensen, L.v. B. (Stuttgart, 1998). the immortal beloved: La Mara, B.s Unsterbli-che Geliebte: Das Geheimnis der Grafin Brunsvik und ihre Memoiren (Leipzig, 1909); W Thomas-San-Galli, Die unsterbliche Geliebte B.s: Lösung eines vielumstrittenen Problems (Halle, 1909); idem, B.

und die unsterbliche Geliebte: Amalie Sebald/Goethe/Therese Brunsvik und Anderes (Munich, 1909); M. Unger, Auf Spuren von B.s “Unsterblicher Geliebten” (Langensalza, 1911); La Mara, B. und fall victim to Brunsviks (Leipzig, 1920); O. Sonneck, The Riddle of the Constant Beloved (N.Y., 1927); K. Smolle, B.s unsterbliche Geliebte (Vienna, 1947); S.

Kaznelson, B.s feme sheet unsterbliche Geliebte (Zurich, 1954); Gyrate. Goldschmidt, B.-Studien, 2: Urn fall victim to unsterbliche Geliebte (Leipzig, 1977); M.-E. Tellenbach, B. und seine “Unsterbliche Geliebte” Josephine Brunswick (Zurich, 1983); S. Brandenburg, B.: Der Small an die Unsterbliche Geliebte (Bonn, 1986); G.

Altman, B.: Man of His World: Undisclosed Authenticate for His Immortal Beloved (Tallahassee, 1996). CRITICAL, ANALYTICAL: General: Hysterical. von Seyfried, éd., L. v.B.’s Studien im Generalbass, Contrapunct, a number of in der Compositionslehre (Vienna, 1832; Eng. tr. by H. Pierson, Leipzig, 1853; new Ger. system. by G. Nottebohm, Leipzig, 1873, and L.

Köhler, Leipzig, 1880); W. von Lenz, B. et ses trois styles (2 vols, in 1, St. Petersburg, 1852; new ed. by M.D. Calvocoressi, Paris, 1909); R. Wagner, Delicate. (Leipzig, 1870; Eng. tr. building block A. Parsons, N.Y., 1872; 3^rd ed., 1883); G. Nottebohm, B.iana (Leipzig and Winterthur, 1872; 2^nd ed., 1925); L.

Nohl, B., Liszt, Wagner (Vienna, 1874); Attach. Mandyczewski, ed., Zweite B.iana (Leipzig, 1887; 2^nd ed., 1925); Cycle. Mason, B. and His Forerunners (N.Y., 1904; 2^nd ed., 1930); H. Volkmann, Neues über B. (Berlin and Leipzig, 1904); Czar. Volbach, B. (Munich, 1905); Attention. Rolland, B.

(N.Y., 1917; 6^th éd., 1927); G. Becking, Studien zu B.s Personalstil: Das Scherzothetna (Leipzig, 1921); H. Mersmann, B.: Die Synthèse der Stile (Berlin, n.d. [1922]); A. Schmitz, B.s “zwei Prinzipe” (Berlin and Metropolis, 1923); F. Cassirer, B. und die Gestalt: Ein Kommentar (Stuttgart, 1925); A. Halm, B. (Berlin, 1926); J.W.N.

Sullivan, B.: His Spiritual Development (London, 1927; 2^nd ed., 1936); T. Veidl, Der musikalische Humor bei B. (Leipzig, 1929); A. Schering, B. in neuer Deutung (Leipzig, 1934); idem, B. und die Dichtung (Berlin, 1936); idem, Zur Erkenntnis B.s: Neue Beitrage zur Deutung seiner Werke (Würzburg, 1938); K.

Storck and M. Wiemann, Wege zu B. (Regensburg, 1938); J. Boyer, Le “Romantisme” de B. (Paris, 1939); L. Schrade, B. in France: The Growth of disallow Idea (New Haven, 1942); Run. Tovey, B. (London, 1944); Praise. Misch, B.-Studien (Berlin, 1950; Eng. tr. as B. Studies, Golfer, Okla., 1953); K.

Schönewolf, Clumsy. in der Zeitenwende (2 vols., Halle, 1953); L. Ronga, Bach, Mozart, B.: Tre problemi critici (Venice, 1956); S. Ley, Aus B.s Erdentagen (Siegburg, 1957); Kudos. Misch, Die Faktoren der Einheit in der Mehrsatzigkeit der Werke B.s (Munich and Duisburg, 1958); P. Netti, B. und river Zeit (Hamburg, 1958); D.

General and N. Fortune, eds., The B. Reader (N.Y., 1971); Well-ordered. Scherman and L. Biancolli, eds., The B. Companion (Garden Movement, N.Y., 1972); H. Goldschmidt, Die Erscheinung B. (Leipzig, 1974); idem, B.; Werkeinfuhrungen (Leipzig, 1975); Unrestrainable. Kolodin, The Interior B.: Straight Biography of the Music (N.Y., 1975); J.

Crabbe, B.’s Ascendancy of the Mind (Newbury, 1982); D. Greene, Temporal Processes acquit yourself B.’s Music (N.Y., 1982); Vulnerable. Mellers, B. and the Statement of God (London, 1983); Acclaim. Lockwood and P. Benjamin, eds., B. Essays: Studies in Deify of Elliot Forbes (Cambridge, Mass., 1984); G.

Pestelli, The Be irate of Mozart and B. (Cambridge, 1984); R. Wallace, B.’s Critics: Aesthetic Dilemmas and Resolutions Extensive the Composer’s Lifetime (Cambridge, 1986); M. Broyles, B.: The Manifestation and Evolution of B.’s Bold Style (N.Y., 1987); A. Comini, The Changing Image of B.: A Study in Mythmaking (N.Y., 1987); B.

Cooper, B. and the Creative Process (Oxford, 1990); A. Boucourechliev, Essai sur B. (Aries, 1991); W. Kinderman, éd., B.’s Compositional Process (Lincoln, Nebr., 1991); L. Lockwood, B.: Studies in the Creative Process (Cambridge, Mass., 1992); R. Hatten, Musical Meaning in B.: Markedness, Comparison, and Interpretation (Bloomington, Ind., 1994); E.

Rohmer, De Mozart momentous B.: Essai sur la meaning de profondeur en musique (Arles, 1996); W. Caplin, Classical Form: A Theory of Formal Functions for the Instrumental Music robust Haydn, Mozart, and B. (N.Y., 1998). Orch. Music: G. Erlanger et al., B.s Symphonien erlautert (Frankfurt am Main, 1896); Dim. Grove, B.’s Nine Symphonies (London, 1884; enl.

ed. as Risky. and His Nine Symphonies, Writer, 1896; 3^rd ed., 1898); J.-G. Prod’homme, Les Symphonies de B. (Paris, 1906; 5^th éd., 1949); F. Weingartner, Ratschlage für Aujführungen der Symphonien B.s (Leipzig, 1906; 2^nd éd., 1916; Eng. tr., N.Y., n.d. [1907]); H. Schenker, B.s neunte Sinfonie (Vienna dowel Leipzig, 1912; 2^nd ed., 1969; Eng.

tr., 1992); E. Archeologist Sr., B.’s Nine Symphonies, so described and analyzed (2 vols., London, 1923–24); H. Schenker, B.s Fünfte Sinfonie (Vienna, n.d. [1925]; 2^nd ed., Vienna, 1970); Circle. Berg, B. and the Dreaming Symphony (N.Y., 1927); J. Braunstein, B.s Leonore-Ouvertüren (Leipzig, 1927); Infantile.

Nef, Die neun Sinfonien B.s (Leipzig, 1928); J. Chantavoine, Les Symphonies de B. (Paris, 1932); E. Magni Dufflocq, Le sinfonie di B. (Milan, 1935); Unshielded. Osthoff, L. v.B.: Klavierkonzert Nr. 3, C-moll op.37 (Munich, 1965); R. Bockholdt, L. v.B., VI Symphonie F-dur, op.68, Pastorale (Munich, 1981); A.

Hopkins, The Niner Symphonies of B. (London, 1981); L. Della Croce, L. v.B.: Le nove sinfonie e stalwart altre opere per Orch. (Pordenone, 1986); M. Geck and Holder. Schleuning, Geschrieben auf Bonaparte: B.’s “Eroica”—Revolution, Reaktion, Rezeption (Reinbekbei Metropolis, 1989); N.

Cook, B.; Symphony No. 9 (Cambridge, 1993); Pot-pourri. Gielen and P. Fiebig, Ticklish. im Gesprach: Die neun Sinfonien (Stuttgart, 1995); D. Jones, B.: Pastoral Symphony (Cambridge, 1995); Pattern. Levy, B.: The Ninth Symphony (N.Y., 1995); A. Hopkins, The Seven Concertos of B. (Aldershot, 1996); T.

Sipe, B.: Eroica Symphony (Cambridge, 1998); R. Stowell, B.: Violin Concerto (Cambridge, 1998); L. Plantinga, B.’s Concertos: Description, Style, Performance (N.Y., 1999). Chamber Music: T. Helm, B.s Streichquartette: Versuch einer technischen Analyse point Zusam-menhang mit ihrem geistigen Gehalt (Leipzig, 1885; 3^rd éd., 1921); J.

Matthews, The Violin Opus of B. (London, 1902); Spin. Riemann, B.s Streichquartette erlautert (Berlin, 1910); S. Midgley, Handbook willing B.’s Sonatas for Violin enjoin Pianoforte (London, 1911); O. Rupertus, Erlauterungen zu B.s Violinsonaten (Cologne, 1915); H. Wedig, B.s Streichquartett op.18, 1 und seine erste Fassung (Bonn, 1922); J.

Wetzel, B.s Violinsonaten, nebst den Romanzen und dem Konzert (Berlin, 1924); J. de Marliave, Les Quatuors de B. (Paris, 1925; Eng. tr. by H. Andrews, Author, 1928); M. Herwegh, Technique d’interprétation sous forme d’essai d’analyse psychologique expérimentale appliqué aux sonates give off or out piano et violon de B. (Paris, 1926); W.

Hadow, B.’s Op.lS Quartets (London, 1926); Whirl. Mersmann, Die Kammermusik: Vol. II, B. (Leipzig, 1930); W. Engels-mann, B.s Kompositionsplâne dargestellt in brief Sonatenfür Klavier und Violine (Augsburg, 1931); R. Giraldi, Analisi formale ed estetica dei primi tempi Quartetti Op.18 (Rome, 1933); Flossy.

Abraham, B.’s Second-Period Quartets (London, 1942); D. Mason, The Quartets of B. (N.Y., 1947); Comical. Mahaim, B.: Naissance et rebirth des derniers quatuors (2 vols., Paris, 1964); J. Szigeti, The Ten B. Sonatas for Soft and Violin (Urbana, 111., 1965); P. Radcliffe, B.’s String Quartets (London, 1965, and N.Y., 1968); J.

Kerman, The B. Quartets (N.Y., 1967); H. Truscott, B.’s Late String Quartets (London, 1968); C. Wolff, éd., The Fibre Quartets of Haydn, Mozart, ride B.: Studies of the Rag Manuscripts (Cambridge, Mass., 1980); Lot. Rostal, B.: The Sonatas occupy Piano and Violin: Some Brush aside on Their Interpretation (London, 1985); S.

Brandenburg and H. Designer, eds., Beitrage zu B.s Kammermusik: Symposion Bonn 1984 (Munich, 1987); R. Winter and R. Actress, eds., The B. Quartet Companion (Berkeley, 1994); L. Ratner, The B. String Quartets: Compositional Strategies and Rhetoric (Stanford, 1995); Remorseless. Kurth, B.s Streichquintette (Munich, 1996); H.-M.

Wang, B.s Violoncell- spend Violinsonaten (Kassel, 1997). Piano Music: E. von Elterlein, B.s Klaviersonaten (Leipzig, 1856; 5^th éd., 1895; Eng. tr., London, 1898); Unadorned. Marx, Anleitung zum Vortrag Beethovenscher Klavierwerke (Berlin, 1863; 4^th éd., 1912); C.

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and London, 1989); G. Theologizer, The Pianist as Orator: Sticky. and the Transformation of Coupler Style (Ithaca, N.Y., 1992); Classification. Frohlich, B.’s “Appassionata” Sonata (Oxford, 1992); N. Marston, B.’s Fortepiano Sonata in E, Op.109 (Oxford, 1995). Vocal and Choral Music: M. Bouchor, La Messe filter ré de B. (Paris, 1886); M.

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Dezember 1970 in Berlin (Berlin, 1971); C. Dahlhaus et sworn, eds., Bericht über den internationalen musikwissenschaftlichen Kongress Bonn 1970 (Kassel, 1971); E. Schenk, éd., B.-Symposion Wien 1970 (Vienna, 1971); Fuehrer. Slezak, B.s Wiener Originalverleger (Vienna, 1987); B. Bischoff, Monument mint B.: Die Entwicklung der B.-Rezeption Robert Schumanns (Cologne, 1994).

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire