Beethoven - free ebook by Romain Rolland

Read as playlist

Beethoven

Romain Rolland

93 chapters

4 hour read

Read as playlist

Selected Chapters

93 chapters

BEETHOVEN

BEETHOVEN

BY ROMAIN ROLLAND TRANSLATED BY B. CONSTANCE HULL WITH A BRIEF ANALYSIS OF THE SONATAS, THE SYMPHONIES, AND THE QUARTETS BY A. EAGLEFIELD HULL MUS. DOC. (OXON). With 24 Musical Illustrations and 4 Plates and an Introduction by Edward Carpenter , Author of Towards Democracy , &amp;c. NEW YORK HENRY HOLT AND COMPANY 1917...

19 minute read

Read Chapter

PREFACE

PREFACE

" I want to prove that whoever acts rightly and nobly, can by that alone bear misfortune." BEETHOVEN. (To the Municipality of Vienna, Feb. 1, 1819.) The air is heavy around us. The world is stifled by a thick and vitiated atmosphere—an undignified materialism which weighs on the mind and heart hindering the work of governments and individuals alike. We are being suffocated. Let us throw open the windows that God's free air may come in, and that we may breathe the breath of heroes. Life is stern.

2 minute read

Read Chapter

INTRODUCTION

INTRODUCTION

By Edward Carpenter It is not very generally recognised that Beethoven was not only a great musician, but a great leader and teacher. He freed the human spirit from innumerable petty bonds and conventions, he recorded the profoundest experiences of life, and gave form and utterance to emotions hardly guessed—certainly not definitely expressed—before his time. Personally I feel I owe much more to Beethoven in these respects than I do to Shakespeare: and though this, of course, may be a purely per

6 minute read

Read Chapter

HIS LIFE

HIS LIFE

He was short and thick set, broad shouldered and of athletic build. A big face, ruddy in complexion—except towards the end of his life, when his colour became sickly and yellow, especially in the winter after he had been remaining indoors far from the fields. He had a massive and rugged forehead, extremely black and extraordinarily thick hair through which it seemed the comb had never passed, for it was always very rumpled, veritable bristling "serpents of Medusa." [1] His eyes shone with prodig

47 minute read

Read Chapter

HIS WILL

HIS WILL

Alone, Alone, Alone. (To Lichnovsky, 21 Sept., 1814) ....

5 minute read

Read Chapter

THE HEILIGENSTADT WILL.[83]

THE HEILIGENSTADT WILL.[83]

For my brothers CARL and —— BEETHOVEN. O ye men who regard or declare me to be malignant, stubborn or cynical, how unjust are ye towards me! You do not know the secret cause of my seeming so. From childhood onward, my heart and mind prompted me to be kind and tender, and I was ever inclined to accomplish great deeds. But only think that during the last six years I have been in a wretched condition, rendered worse by unintelligent physicians. Deceived from year to year with hopes of improvement,

5 minute read

Read Chapter

LETTERS

LETTERS

From an Engraving by Blasius Hoefel after the Drawing by Louis Letronne, 1814. To face page 64....

11 minute read

Read Chapter

I. To Carl Amenda at Wirben in Courland.

I. To Carl Amenda at Wirben in Courland.

( Vienna, June 1, 1800). My dear, my good Amenda, my heartily beloved friend. With deep emotion, with mixed pain and pleasure did I receive and read your last letter. To what can I compare your fidelity, your attachment to me. Oh! how pleasant it is that you have always remained so kind to me; yes, I also know that you, of all men, are the most trustworthy. You are no Viennese friend ; no, you are one of those such as my native country produces. How often do I wish you were with me, your Beethov

3 minute read

Read Chapter

II. To Fräulein Gerardi.

II. To Fräulein Gerardi.

(1798?) Dear Chr. You let me hear something yesterday about a portrait of myself. I wish you to proceed somewhat carefully in the matter. I fear if we return it through F., the disagreeable B. or the arch-fool Joseph might interfere, and then the matter might be meant as a mean trick played on me, and that would be really most annoying. I should have to avenge myself, and the whole populasse does not deserve it. Try to get hold of the thing as well as you can. I assure you that after this I shou

46 minute read

Read Chapter

III. To Frl. Eleonore von Breuning in Bonn.

III. To Frl. Eleonore von Breuning in Bonn.

Vienna, November 2, 1793. Honoured Eleonore, my dearest friend. I shall soon have been in this capital a whole year, yet only now do you receive a letter from me, but you were certainly constantly in my thoughts. Frequently, indeed, did I hold converse with you and your dear family, but, for the most part, not with the tranquility of mind which I should have liked. Then it was that the fatal quarrel hovered before me, and my former behaviour appeared to me so abominable. But the past cannot be u

3 minute read

Read Chapter

IV. To Dr. F. Wegeler in Bonn.

IV. To Dr. F. Wegeler in Bonn.

Vienna, June 29, 1800. My good, dear Wegeler. I am most grateful to you for thinking of me; I have so little deserved it, or sought to deserve it at your hands. And yet you are so very good, and are not kept back by anything, not even by my unpardonable negligence, but always remain a faithful, good, honest friend. That I could ever forget you, and especially all of you who were so kind and affectionate to me, no, do not believe it; there are moments in which I myself long for you—yes, and wish

7 minute read

Read Chapter

V. To Dr. Franz Wegeler in Bonn.

V. To Dr. Franz Wegeler in Bonn.

November 16 (1801 ?) My good Wegeler. I thank you for the fresh proof of your anxiety concerning myself, and all the more as I am so little deserving of it. You want to know how I am, what I am taking; and however unwillingly I may discuss the matter, I certainly like best to do it with you. For the last few months, Vering has ordered herb plasters to be constantly placed on both arms; and these, as you will know, are composed of a certain bark. This is a most unpleasant cure, as, until the bark

4 minute read

Read Chapter

VI. To Capellmeister Hofmeister in Leipzig.

VI. To Capellmeister Hofmeister in Leipzig.

Vienna , 15 th (or something like it), January , 1801. With great pleasure, my dearly beloved brother and friend, have I read your letter. I thank you right heartily for the good opinion you have expressed concerning me and my works, and hope I may prove myself really worthy of it. Please also convey my dutiful thanks to Herr K. for his courtesy and friendly feelings towards me. Your undertakings likewise make me glad, and I hope, if works of art can procure gain, that it will fall to the lot of

3 minute read

Read Chapter

VII. Letter from Wegeler and Eleonore von Breuning to Beethoven.

VII. Letter from Wegeler and Eleonore von Breuning to Beethoven.

Coblentz , 28 December , 1825. My dear old Louis. I cannot allow one of Ries' ten children to leave Vienna without recalling him to your remembrance. If during the twenty-eight years since I left Vienna, you have not received a long letter from me every two months, you must put it down to your own silence after the first letters which I sent you. It should not be so and especially now that we other old people live so entirely in the past and derive our chief pleasure in recollections of our yout

4 minute read

Read Chapter

VIII. To Dr. Franz Wegeler.

VIII. To Dr. Franz Wegeler.

Vienna , 7 th October , 1826. My dear old friend. I cannot tell you how much pleasure your letter and that of your Lorchen gave me. Certainly, a reply ought to have been sent with lightning speed, but I am generally somewhat careless about writing, because I think that the better sort of men know me without this. I often compose the answer in my mind, but when I wish to write it down, I usually throw the pen away, because I cannot write as I feel. I remember all the love which you have constantl

3 minute read

Read Chapter

IX. To Dr. F. G. Wegeler in Bonn.

IX. To Dr. F. G. Wegeler in Bonn.

Vienna, February 17, 1827. Fortunately I received your second letter through Breuning. I am still too weak to answer it, but you may believe me that everything in it is welcome and desirable. My recovery, if I may call it so, is very slow; a fourth operation is to be expected, although the doctors do not say anything about it. I am patiently thinking that every evil has sometimes its good. But now I am astonished to see from your last letter that you have not received anything. From the present

1 minute read

Read Chapter

X. To Sir G. Smart in London.

X. To Sir G. Smart in London.

March 6, 1827. I do not doubt that you, dear Sir, have received through Herr Moscheles my letter of the 22nd of February; but as I have found by chance among my papers, S.'s address, I do not hesitate to write direct to you and recall my request again to your mind. Up to now I cannot look forward to an end of my terrible illness; on the contrary, my sufferings, and with it, my cares, have still increased. On the 29th of February I underwent my fourth operation, and it may be, perhaps, my fate to

54 minute read

Read Chapter

XI. To I. Moscheles in London.

XI. To I. Moscheles in London.

Vienna, March 14, 1827. My dear Moscheles. Some days ago I found out through Herr Lewinger that you inquired in a letter to him of the 10th of February regarding the state of my illness, of which so many different rumours have been spread about. Although I have no doubts whatever that my letter of the 24th of February has arrived, which will explain everything you desire to know, I can but thank you for your sympathy with my sad lot, and beseech you to be solicitous about the request which you k

1 minute read

Read Chapter

XII. To I. Moscheles in London.

XII. To I. Moscheles in London.

Vienna, March 18, 1827. With what emotion I read your letter of the 1st March is not to be described in words. This magnanimity of the Philharmonic Society, with which they anticipated my request, has touched my inmost heart. I, therefore, ask you, dear Moscheles, to be the organ through which I can express my most heartfelt thanks to the Philharmonic Society for their sympathy and help. Tell these worthy men that if God restores me to health, I shall try practically to show my gratitude by work

1 minute read

Read Chapter

XIII. Schindler to B. Schott Sohne, Mainz.

XIII. Schindler to B. Schott Sohne, Mainz.

Vienna, April 12, 1827. I would already have liked to take the liberty of forwarding to you the enclosed document in the name of our Beethoven as his dying request; but after the passing away of our friend, there was so much business to attend to that I found it impossible. Unfortunately, it was not possible to get the document legalised, for that Beethoven would have had to sign it at the law court, which was utterly impossible. Beethoven, however, requested Court Councillor v. Breuning and mys

3 minute read

Read Chapter

On Music.

On Music.

" Il n'y a pas de règle qu'on ne peut blesser à cause de Schöner " (There is no rule which one cannot break for the sake of Beauty ). This expression appears in the original in French except for the last word Schöner . "Music ought to create and fan the fire of the spirit of man." "Music is a higher revelation than the whole of wisdom and the whole of philosophy.... He who penetrates the meaning of my music shall be freed from all the misery which afflicts others." (To Bettina, 1810.) "There is

3 minute read

Read Chapter

On Criticism.

On Criticism.

"In all that concerns me as an artist, no one has ever heard me say that I pay the least attention to what has been written about me." (To Schott, 1825.) "I think with Voltaire that mere fly-stings will not hold back a run-away horse." (1826.) "As for these idiots, one can only let them talk. Their prattling will certainly not make anyone immortal, any more than it will raise to immortality any of those whom Apollo has destined for it." (1801.) THE NINE SYMPHONIES...

25 minute read

Read Chapter

Symphony No. 1 in C major, Opus 21.

Symphony No. 1 in C major, Opus 21.

Dedicated to the Baron van Swieten. Adagio molto—Allegro con brio—Andante cantabile con moto—Minuetto e Trio—Finale. Although this Symphony was originally performed at the first of the composer's personally-arranged concerts in Vienna, on April 2nd, 1800, the sketches for it extend over the preceding five years. Though the symphony is in the composer's first period style, it does not rank amongst the very finest works of this period. The slow introduction starts on a dominant seventh out of the

1 minute read

Read Chapter

2nd Symphony in D, Opus 36.

2nd Symphony in D, Opus 36.

Dedicated to Prince Carl Lichnovsky. Adagio molto—Allegro con brio—Larghetto—Scherzo and Trio—Allegro molto. In the Second Symphony, which is a great advance on the first, the composer's hold of his subject is much firmer and the subjects themselves are more striking. [Listen] The Larghetto is full of lovely curves, and there is some charming conversational work between the wood-wind instruments. The horn passage is the precursor of many fine symphony subjects of a martial nature for the horns.

40 minute read

Read Chapter

3rd Symphony, Opus 35, "Eroica" in E flat.

3rd Symphony, Opus 35, "Eroica" in E flat.

Dedicated to Prince Lobkovitz. Allegro con brio—Marcia funèbre—Scherzo and Trio—Finale. This Symphony was completed in August, 1804, and first performed on April 7th, 1805. The French Ambassador at Vienna had suggested that Beethoven should write a work on the grand scale based on his admiration for Napoleon as the saviour of France from the horrors of the Revolution; and it is a fact that Beethoven actually dedicated this Symphony to Napoleon, but when the news came that the First Consul had de

3 minute read

Read Chapter

4th Symphony in B flat, Opus 60.

4th Symphony in B flat, Opus 60.

Dedicated to Count Oppensdorf. Adagio—Allegro vivace—Adagio—Menuetto—Finale. This happy and serene work has been undeservedly overshadowed by its two towering neighbours. Schumann has called it a slender Greek maiden between two Norse giants. The opening Adagio sounds the only dark mood in the Symphony. [Listen] It is lashed on to the Allegro by some powerful violin scales. [Listen] The flute, oboe and bassoon converse sportively over the second subject. A strange sequential passage in unison up

1 minute read

Read Chapter

5th Symphony in C minor, Opus 67.

5th Symphony in C minor, Opus 67.

Dedicated to the Prince von Lobkovitz and the Count von Rasumovsky. Allegro con brio—Andante con moto—Scherzo and Trio—Finale Allegro. This famous Symphony with its rugged first movement, its lovely Andante , its mysterious Scherzo and its proud, fiery Finale , was first performed together with the so-called Sixth Symphony on December 22nd, 1808. The Pastoral Symphony No. 6 was probably written before the 5th. The first movement opens without introduction with the famous phrase of four unison no

1 minute read

Read Chapter

6th Symphony (Pastoral) in F, Opus 68.

6th Symphony (Pastoral) in F, Opus 68.

Dedicated to Prince von Lobkovitz and Count von Rasumovsky. Pastoral Symphony, or a recollection of country life. More an expression of feeling than a painting. Allegro ma non troppo—Andante molto moto—Allegro—Allegretto. This Symphony, often slighted on account of its so-called realisms and its classification amongst "programme music," is, nevertheless, one of the finest pieces in the whole range of absolute music. The labelling of the various movements by Beethoven—"Joyous sensations roused by

1 minute read

Read Chapter

7th Symphony in A major, Opus 92.

7th Symphony in A major, Opus 92.

Dedicated to Count Moritz von Fries. Poco sostenuto—Vivace—Allegretto—Scherzo—Finale. This Symphony was completed in May, 1812, but was not performed until December, 1813, at a Concert undertaken by Maelzel for the benefit of the wounded soldiers at the Battle of Hanau, October 30th, which Concert also contained Beethoven's Battle Symphony . In form, the Symphony contains nothing unusual. In subject, it is full of romance and colour from beginning to end. Opening with a long introduction, which

1 minute read

Read Chapter

8th Symphony, in F major, Opus 93.

8th Symphony, in F major, Opus 93.

Allegro vivace e con brio—Allegretto—Presto—Allegro vivace. "The little one," as Beethoven affectionately called this symphony, was written during four months of the summer and early autumn of 1812. It is smaller in scale, slighter in texture, than the other symphonies. Erroneously regarded as a return to an earlier style, and labouring for some time under the absurd title of "Ballet-Symphony," it has been somewhat neglected in the past. Without the grandeur of the Fifth or the romance of the Se

59 minute read

Read Chapter

9th Symphony, in D minor, With Final Chorus on Schiller's "Ode to Joy."(Op. 125).

9th Symphony, in D minor, With Final Chorus on Schiller's "Ode to Joy."(Op. 125).

Allegro ma non troppo un poco maestoso—Molto vivace—Adagio molto e cantabile—Choral Finale. It is important to remember, as M. Romain Rolland has reminded us, that this is not a Choral Symphony in the strict sense of the term, but a "Symphony with a Final Chorus." The choral Finale was written by Beethoven in a separate MS., and, as with most of his other final movements, he seems to have expected no closer connection with the preceding three movements than that of general suitability. His origi

2 minute read

Read Chapter

1st Sonata, Op. 2, No. 1, in F minor.

1st Sonata, Op. 2, No. 1, in F minor.

The first Sonata has the usual four movements of the Haydn form: Allegro—Adagio—Menuetto and Trio—Prestissimo . The first and the last are in the usual Sonata form proper. The slow movement follows Mozartian lines. This Sonata is the first of the set of three in this Opus, which are all dedicated to Joseph Haydn, and the fact of such a superscription points to the respect which Beethoven had for the older composer, although he could not find it in his heart to continue with him long as his pupil

1 minute read

Read Chapter

2nd Sonata, Op. 2, No. 2, in A.

2nd Sonata, Op. 2, No. 2, in A.

Allegro vivace—Largo appassionata—Scherzo and Trio—Rondo grazioso. There is a distinct advance in the second Sonata. Although there are still the accepted four movements, the Minuet has now become a Scherzo. This Sonata was probably written shortly after the first, and in it we see how quickly Beethoven took a firm hold of form and design in construction. There is a feeling of considerable power about the first subject, and its short, pithy figures promise well for the development portion, a fac

1 minute read

Read Chapter

3rd Sonata, Opus 2, No. 3, in C major.

3rd Sonata, Opus 2, No. 3, in C major.

Allegro con brio—Adagio—Scherzo—Allegro assai. This, the third of the set of the three early Sonatas dedicated to Haydn, appeared for the first time on March 9th, 1796, when Beethoven was twenty-six years of age. Eugen d'Albert regards this Sonata as essentially a virtuoso piece. This is saying rather much, although he is right in warning the interpreter against any attempts to render it mysterious by hyper-critical subtleties. The first subject of the opening movement is a typical Beethoven one

2 minute read

Read Chapter

4th Sonata, Opus 7, in E flat.

4th Sonata, Opus 7, in E flat.

Allegro molto e con brio—Largo con gran espressione—Allegretto Minore—Rondo. This Sonata which appeared for the first time on October 7, 1797, is dedicated to the Countess Babette von Keglevics. The composer, at the age of twenty-seven was rapidly winning his spurs, but still wrote on the old lines and with the customary four movements. His Minuet however has now become a lively movement and lost all traces of its origin in the stately dance. It is quite likely, however, that the Minuets of Hayd

1 minute read

Read Chapter

5th Sonata, Opus 10, No. 1, in C minor.

5th Sonata, Opus 10, No. 1, in C minor.

Allegro molto e con brio—Adagio molto—Prestissimo. This Sonata is dedicated to the Countess von Brovne, and appeared for the first time on September 26, 1798. It is in three movements—the slow movement in A flat major. There is no Minuet or Scherzo , the Finale instead being instilled with the spirit of the Scherzo . The first movement is the usual development form, the first subject being composed in Beethoven's usual manner of two figures here, (a) upward flight, (b) soft chords. It ends with

1 minute read

Read Chapter

6th Sonata, Opus 10, No. 2, in F major.

6th Sonata, Opus 10, No. 2, in F major.

Allegro—Allegretto—Presto. The tenth Opus, which first appeared on September 26th, 1798, contains three Sonatas, all dedicated to the Countess von Brovne. The Sonata is in three movements—the first a movement of development, the second a Scherzo , and the third a playful Presto . The whole Sonata is cast in happy mood. The mysterious and somewhat eerie feeling of the Minuet being completely dispelled by the happiness of the Trio (which, curiously, enough, Brahms seems to have written over again

55 minute read

Read Chapter

7th Sonata, Opus 10, No. 3, in D major.

7th Sonata, Opus 10, No. 3, in D major.

Presto—Largo e mesto—Menuetto—Trio—Rondo. This Sonata is one of the greatest works of the first period, if not, indeed, the greatest of them all. The first movement is a wonderful evolution from the first four-note figure, the development full of all kinds of strong devices, the stormy episode in the middle based on the rhythm of the opening phrase of the Sonata and the marvellous slow movement full of passion and tenderness, from its opening five-bar phrase to its beautiful close with those ama

59 minute read

Read Chapter

8th Sonata, (Pathétique), Opus 13, in C minor.

8th Sonata, (Pathétique), Opus 13, in C minor.

Grave—Allegro di molto e con brio—Adagio cantabile—Rondo. Published for the first time in 1799, and dedicated to the Prince Carl von Lichnovsky. Although one of the few authentic titles, it is difficult to see the meaning of its bearing of the Sonata as a whole, unless indeed it is applied to the sad and dramatic introduction theme which, indeed, deserves as a leading motive to the first movement being introduced before the development section, and it ends just before the coda. The slow movement

45 minute read

Read Chapter

9th Sonata, Opus 14, No. 1, in E major.

9th Sonata, Opus 14, No. 1, in E major.

Allegro—Allegretto—Rondo. The two Sonatas in this Opus, which is dedicated to the Baroness von Braun, are not very interesting. No. 9 has no slow movement. The meditative feeling having, apparently, crept into the Allegretto , which should again be taken as two bars in one. The Rondo in E is of great beauty and finish. The middle episode has again the feeling of a hunting song. They appeared for the first time in December, 1799....

24 minute read

Read Chapter

10th Sonata, Opus 14, No. 2, in G major.

10th Sonata, Opus 14, No. 2, in G major.

Allegro—Andante—Scherzo. The first movement, in Sonata form, is a remarkable example of the growth of a whole movement from a single germ. The Andante is an air with variations. The form of this is really ternary, although if the second part be repeated, it will throw the theme into five sections, A, B, A, B, A. The first variation places the air in the tenor, the second divides the harmony rhythmically, the third breaks up the harmony into semiquavers. Purists hold that this movement is wrongly

45 minute read

Read Chapter

11th Sonata, Opus 22, in B flat.

11th Sonata, Opus 22, in B flat.

Allegro con brio—Adagio con molta espressione—Minuetto—Rondo. Dedicated to the Countess von Brovne. This Sonata is the finest since the Opus 10, No. 3 in D. It is not so deep in feeling as some of the preceding pieces, and the composer's preoccupation with development somewhat duly prolongs the first movement. It is full, however, of characteristic vigour for its own sake, and the Adagio , long-drawn as it is, possess a great charm. This long-drawn meditative piece is the only case in the Sonata

40 minute read

Read Chapter

12th Sonata, Op. 26, in A flat.

12th Sonata, Op. 26, in A flat.

Andante con variazioni—Scherzo—Marcia funèbre—Rondo. Dedicated to the Prince Carl von Lichnovsky. This Sonata was announced for the first time on March 3rd, 1802. Two of the movements are in slow time—an Air with Variations, and a "Funeral March on the death of a hero." The March is said to have been written as a set-off to the popular one of that day in Paer's opera, Achilles . It is not a lamentation, but rather a tragic elegiac picture set in an impressive frame. One feels the throb of brass,

45 minute read

Read Chapter

13th Sonata, Opus 27, No. 1, in E flat.

13th Sonata, Opus 27, No. 1, in E flat.

Sonata quasi una Fantasia. Andante—Allegro—Andante—Allegro molto e vivace—Adagio con espressione—Allegro vivace. Dedicated to Princess Lichtenstein. This Sonata was first published together with the following one in C sharp minor on March 3rd, 1802. They were both composed in 1801, the happy year of the composer's love for Countess Giuletta Guicciardi. The term Fantasia by no means implies formlessness, but rather a departure from the ordinary Sonata form. The first movement—an Andante , full of

53 minute read

Read Chapter

14th Sonata, Opus 27, No. 2, in C sharp minor.

14th Sonata, Opus 27, No. 2, in C sharp minor.

Adagio sostenuto—Allegretto—Presto agitato. The title page describes the work as for clavecin or pianoforte . The nickname, "Moonlight," given to it by the poet Rellstab, has no authority and only serves very faintly to define the peaceful charm of this sensitive picture, which was more probably inspired by the composer's romantic love for the Countess Giulietta Guicciardi. The direction in Italian, "to be played throughout with the greatest delicacy," is significant, although the term senza sor

1 minute read

Read Chapter

15th Sonata, Opus 28, in D major.

15th Sonata, Opus 28, in D major.

Allegro—Andante—Scherzo—Rondo. Dedicated to Joseph Eiden von Sonnenfels. It was christened by the Hamburg publisher, Cranz, with the name of "Pastoral Sonata." The autograph is dated 1801, and the work is exceeding happy in mood, the last two movements almost boisterously so, the Finale being a mad gallop home. This Sonata has four movements, and it is most probable that it was written before the two Fantasia Sonatas . The first movement opens with a phrase of nine bars over a gentle tapping ton

49 minute read

Read Chapter

16th Sonata, Opus 31, No. 1, in G major.

16th Sonata, Opus 31, No. 1, in G major.

Allegro vivace—Adagio grazioso—Rondo. This Opus contains three Sonatas—a favourite grouping with the composer. Although No. 1 was published in 1802, this Sonata, so simple in technique, has the feeling of having been conceived much earlier. The Adagio , with its elaborate flowery passages of no particular meaning, drops back to the Hummel style, and is developed to a considerable length. The Rondo is bright and sunshiny throughout....

21 minute read

Read Chapter

17th Sonata, Opus 31, No. 2, in D minor.

17th Sonata, Opus 31, No. 2, in D minor.

Allegro—Adagio—Allegretto. One of the most splendid of all Beethoven's Sonatas. The opening movement is full of the most speaking of all Beethoven's sonorous and passionate recitatives. The Adagio is in full binary form. It is very expressive, entirely evolved from a three-note figure, a little Hummelian. The final Allegretto is all spun out from the little four-note germ said to have been suggested to the composer by the cantering of a horse....

23 minute read

Read Chapter

18th Sonata, Opus 31, No. 3, in E flat.

18th Sonata, Opus 31, No. 3, in E flat.

Allegro—Scherzo—Minuet and Trio—Presto con fuoco. In this characteristic work, where we find both a Scherzo and a Minuet, the former in duple time, we again return to four movements. The mood throughout is of unclouded happiness. It is extremely interesting throughout, from the first bar which opens in an original manner with the "added sixth" chord to the Coda which returns to the same idea. The Scherzo is in one of Beethoven's freakish moods, full of capricious turns and fun of all kinds. The

36 minute read

Read Chapter

19th Sonata, Opus 49, No. 1, in G minor and major.

19th Sonata, Opus 49, No. 1, in G minor and major.

Andante—Rondo. This and the following Sonata, although published in 1802, must have been written much earlier; in fact, the theme of the G major Rondo was the original of the Minuet of the Septet ....

13 minute read

Read Chapter

20th Sonata, Opus 49. No. 2, in G major.

20th Sonata, Opus 49. No. 2, in G major.

Allegro ma non troppo—Minuet and Trio. This Sonata contains little of interest, both the Allegro and the Minuet are in the olden style....

9 minute read

Read Chapter

21st Sonata, Opus 53, in C major.

21st Sonata, Opus 53, in C major.

Allegro con brio—Introduzione—Rondo. This fine Sonata, too often made a mere piece of virtuosity, was dedicated to Beethoven's early friend and patron, Count Waldstein. The form is remarkable. A first movement, full of light and colour, and the romantic Molto Adagio forming an introduction to the final Rondo with its magnificent Coda . Beethoven originally intended the famous Andante in F for the slow movement of this Sonata, but finally discarded it in favour of the present slow introduction. T

1 minute read

Read Chapter

22nd Sonata, Opus 54, in F major.

22nd Sonata, Opus 54, in F major.

This remarkable Sonata, which appeared for the first time in April, 1806, is in two movements only—a Tempo d'un Menuetto , in full binary form (more like a Sonata movement than a Minuet), and a Allegretto con moto (somewhat Etude-like), with a Prestissimo Coda in which the hands very easily get tied up. This Sonata is comparatively little known, doubtless on account of its over topping neighbours, the Waldstein and the Appassionata . Bulow metronomed the opening movement at the quite moderate ra

33 minute read

Read Chapter

23rd Sonata, Opus 57, in F minor.

23rd Sonata, Opus 57, in F minor.

(Labelled Appassionata by the publisher Cranz). Assai allegro—Andante con moto with variations—Allegro ma non troppo. This Sonata, which was dedicated to Count Franz von Brunswick, is perhaps the most truly characteristic of all Beethoven's sonatas. The usual portrait of Beethoven with the massive jaws firmly set, the upturned eyes, the visage lined by suffering, the head of a Titan, might be quite appropriately placed here in the volume of the Sonatas, rather than at the beginning; for with the

1 minute read

Read Chapter

24th Sonata, Opus 78, in F sharp major.

24th Sonata, Opus 78, in F sharp major.

Adagio cantabile (4 bars)—Allegro ma non troppo—Allegro vivace. This Sonata was composed in October, 1809 (considerably later than Les Adieux Sonata , which was published in July, 1811) and appeared for the first time in December, 1810. Thus an interval of five years separates it from the Sonata Appassionata . It was dedicated to the Countess von Brunswick, and the piece was a special favourite with the composer. A delightful feeling of happiness pervates the whole piece, and one cannot help fee

55 minute read

Read Chapter

25th Sonata, Opus 79, in G.

25th Sonata, Opus 79, in G.

Presto alla tedesca—Andante—Vivace. This is practically a Sonatina, and calls for little mention. Some authorities regard it as an unfinished sketch, whilst others ascribe it to a considerably earlier date although it was clearly completed in 1809. The term Tedesca means "in the German style," and has reference to the country dance, Ländler . Beethoven employs the term only twice in his published works—here and in the fifth movement of the B flat quartet, Opus 130, where he describes the movemen

43 minute read

Read Chapter

26th Sonata, Opus 81a, in E flat.

26th Sonata, Opus 81a, in E flat.

Adagio—Allegro—Andante espressivo—Vivacissimamente. Styled by Beethoven himself, Les adieux, l'absence, et la retour . (The parting, the absence, and the return). As such it is the finest piece of programme music ever written. It is dedicated to his friend and patron, the Archduke Rudolph, but it is not known definitely that it was connected with the absence of the Archduke himself. The general feeling seems to suggest a more tender attachment. The music is Beethoven at his very best, and is tru

1 minute read

Read Chapter

27th Sonata, Opus 90, in E.

27th Sonata, Opus 90, in E.

Con vivacità a sempre con sentimento ed espressione—Non troppo presto (Rondo). This work, completed on August 16th, 1814, appeared for the first time in June, 1815. It is in two movements, and is one of the first works in which Beethoven gave bi-lingual tempo indications (Italian and German), the other example being Les Adieux Sonata, Opus 81. On one occasion, in 1815, when the Englishman Neate was discussing the meaning of music with Beethoven, the composer admitted somewhat vaguely that he "ne

1 minute read

Read Chapter

28th Sonata, Opus 101, in A major.

28th Sonata, Opus 101, in A major.

Allegretto ma non troppo—Vivace alla Marcia—Adagio ma non troppo—Allegro risoluto. Dedicated to Freund Dorothea Ertmann and performed for the first time as new on February 18th, 1816; it was not published until February, 1817. With this Sonata we reach the third period of Beethoven's works, that in which reflection and philosophy play such a great part. Many passages in some of his latest works reach such a massive spaciousness that they seem to lose all touch of human comprehension. Beethoven w

1 minute read

Read Chapter

29th Sonata, Opus 106.

29th Sonata, Opus 106.

Allegro—Scherzo—Adagio sostenuto—Fugue. The first two movements were finished in April, 1818; the two last were composed in the summer of that year. The Sonata was ready for publication in March, 1819, but did not appear until September, 1819. It carried the sub-title "Sonata for the Hammerclavier." [89] It is dedicated to the staunch friend and patron, the Archduke Rudolph, and is the longest of all Beethoven's sonatas, being about twice as long as the longest of the others. The first movement

1 minute read

Read Chapter

30th Sonata, Opus 109, in E major.

30th Sonata, Opus 109, in E major.

Vivace ma non troppo—Prestissimo—Andante and Variations. Dedicated to Maximiliana Brentano. Written at the age of fifty, it seems possible that he poured into these later instrumental movements much that he felt was beyond the vocal forms of the great Mass in D which was occupying his thoughts at this time. The rhapsodic first movement with its light and happy figures, repeatedly broken in upon by the deeply expressive Adagio phrases; the remarkable uncouth Scherzo with the subject in the bass a

36 minute read

Read Chapter

31st Sonata, Opus 110, in A flat.

31st Sonata, Opus 110, in A flat.

Moderato cantabile—Molto allegro—Arioso dolente—Fuga. The autograph is dated December 25th, 1821, and the work appeared for the first time in August, 1822. Here we find Beethoven in his most exalted mood, and it is significant that whilst the main outlines of the Sonata-form are at the foundation of the piece, he has gone still a step farther in the direction of welding the whole sonata into one piece. The first, the movement of development, is on the usual lines but is handled with great freedo

1 minute read

Read Chapter

32nd Sonata, Opus 111, in C minor.

32nd Sonata, Opus 111, in C minor.

Maestoso—Allegro con brio—Arietta. Although the designation Sonata persists with Beethoven right along throughout all his periods, yet in this last sonata we have left the first ones completely out of sight. The name must be taken merely in its general sense of a piece of high aims; or even in its literal sense, the Italian word meaning simply to play . This Sonata, which was dedicated to the Archduke Rudolph, is practically a Prelude and Fugue, with an Air and Variations. The introduction conta

1 minute read

Read Chapter

1st Sonata, Opus 12, No. 1, in D.

1st Sonata, Opus 12, No. 1, in D.

Allegro con brio—Tema con Variazioni—Rondo. This is the first of a set of three Sonatas published in 1799, and dedicated to F. A. Salieri. It is noteworthy that it was a favourite custom with Beethoven to publish his works in sets of threes; thus, Opus 1, Three Trios for Pianoforte, Violin and Cello; Opus 2, Three Sonatas for Pianoforte; Opus 9, Three Trios for Strings; Opus 10, Three Sonatas for Pianoforte; Opus 30, Three Sonatas for Pianoforte and Violin; Opus 31, Three Sonatas for Pianoforte;

47 minute read

Read Chapter

2nd Sonata, Opus 12, No. 2, in A.

2nd Sonata, Opus 12, No. 2, in A.

Allegro vivace—Andante più tosto Allegretto—Allegro piacevole. Although this Sonata offers no outstanding point of interest, it is to be regretted that it is not more frequently heard. There are one or two places where the sunny sky is slightly overcast, but on the whole, it is a work brimful of youthful happiness. The Andante , somewhat frail, is like the Finale , full of fine melody, and gay with optimistic feelings of youth....

23 minute read

Read Chapter

3rd Sonata, Opus 12, No. 3, in E flat.

3rd Sonata, Opus 12, No. 3, in E flat.

Allegro con spirito—Adagio con molto espressione—Rondo. The tuneful, breezy Allegro contains some brilliant work for the piano. The Adagio seems hardly deep enough to carry its broad time with dignity. The delicate Finale—short, simple, and tuneful—is well rounded off....

15 minute read

Read Chapter

4th Sonata, Opus 23, in A minor and major.

4th Sonata, Opus 23, in A minor and major.

Presto—Andante—Scherzo—Allegro molto. This Sonata, published in 1801, and dedicated to the Count Moritz von Fries, is one of the more serene works of the "first-period" style. Its charms are not readily apparent, but it is full of interest to the serious musician. The subjects of the opening Presto are not very distinguished. The composer seems to have felt this, and has consequently introduced an unusual amount of new matter into the development section. The gentle, placid Andante , with its el

1 minute read

Read Chapter

5th Sonata, Opus 24, in F.

5th Sonata, Opus 24, in F.

Allegro—Adagio molto espressivo—Scherzo—Rondo. This graceful and happy Sonata, also published in 1801 and dedicated, like its predecessor, to the Count Moritz von Fries, is the most popular in the "early-period" style. The first movement is full of serene happiness. The Adagio has a lovely theme, dreamy and languorous as a summer's day. The Scherzo is characteristic, full of fun and oddity; the Rondo, full of good spirits, the chief theme being varied at each return....

23 minute read

Read Chapter

6th Sonata, Opus 30, No. 1, in A.

6th Sonata, Opus 30, No. 1, in A.

Allegro—Adagio molto espressivo—Allegretto con variazioni. This is the first of a set of three Sonatas dedicated to the Kaiser Alexander I. With this Opus the true individuality of Beethoven is manifested. Although the opening of this work is not particularly striking, yet the movement has a clarity of style and delicacy of workmanship together with distinct melodic charm. The theme of the Adagio is of great beauty, caressing in its tenderness. For the Finale , Beethoven turns to his beloved Var

39 minute read

Read Chapter

7th Sonata, Opus 30, No. 2, in C minor.

7th Sonata, Opus 30, No. 2, in C minor.

Allegro con brio—Adagio cantabile—Scherzo—Allegro. This favourite work is one of the great masterpieces of music. The first and last movements sound the clear note of Beethoven's personality—a king here comes to his own. The first movement opens with a veritable quatrain of musical poetry. The gay martial swing of the second subject is remarkable. Stormy episodes follow, and the development section commences with a new idea. Conflict succeeds conflict before the serenity of the exposition return

37 minute read

Read Chapter

8th Sonata, Opus 30, No. 3, in G.

8th Sonata, Opus 30, No. 3, in G.

Allegro assai—Tempo di Minuetto—Allegro vivace. After the stormy power and the serene beauties of the Sonata in C minor (a key which always called forth Beethoven's best) this Sonata appears somewhat colourless. The long-drawn Tempo di Minuetto is a little tedious, whilst the first and last movements, though vigorous and well varied in mood, by no means give us the deep Beethoven of the C minor Sonata. The scoring of many of the passages is unusually thin, and reminiscent of Haydn not at his bes

27 minute read

Read Chapter

9th Sonata, Opus 47, in A.

9th Sonata, Opus 47, in A.

Dedicated to Rudolph Kreutzer. Adagio—Presto—Andante con variazioni—Presto. Though absurdly over-estimated, perhaps on account of Tolstoy's stupid novel, this still remains one of the great masterpieces in music. Commissioned by a Mulatto violinist named Bridgetower, and written, as the original title-page says, "in a specially brilliant style," it was first given at 8 o'clock on a May morning in 1803 in the Augarten at Vienna, with Beethoven at the piano and Bridgetower with the violin. The Son

1 minute read

Read Chapter

10th Sonata, Opus 96, in G.

10th Sonata, Opus 96, in G.

Allegro moderato—Adagio espressivo—Scherzo allegro—Poco Allegretto. This was written in 1810 and dedicated to Beethoven's firm friend and patron, the Archduke Rudolph. Although not really characteristic of the master's latest style, which does not commence until Opus 106, yet it is the most intimate of all the violin sonatas. It stands amongst the very great works and is indeed in some ways superior to the C minor. The Adagio , calm and sublime, is one of the most beautiful things in music. The

53 minute read

Read Chapter

1st Quartet, Opus 18, No. 1, in F.

1st Quartet, Opus 18, No. 1, in F.

Dedicated to Prince Lobkovitz. Allegro con brio—Adagio affettuoso ed appassionato—Scherzo—Allegro. Composed in 1800 at the age of 30, this first set of quartets belongs to the same period as the great C minor Symphony, No. 5. The music of No. 1 is Mozartian in type, very charming, and the scoring is light and graceful. The Adagio is very beautiful, and one can feel in it the future Beethoven. Indeed we almost arrive at maturity in the episode in D flat in the Finale , where Beethoven uses the me

32 minute read

Read Chapter

2nd Quartet, Opus 18, No. 2, in G. major.

2nd Quartet, Opus 18, No. 2, in G. major.

Allegro—Adagio cantabile—Scherzo—Allegro molto quasi Presto. This quartet is even more like Mozart and Haydn than No. 1, except for the fact that Beethoven keeps his music in rather higher registers. The Adagio is not so Beethovenish as the slow movement of No. 1, but it contains an episode marked Allegro. The Finale is full of spirit, but it is not the Beethoven in the "unbuttoned" mood of the later works. There is some effective work for the G string on the 1st Violin, for Paganini had already

29 minute read

Read Chapter

3rd Quartet, Opus 18, No. 3, in D.

3rd Quartet, Opus 18, No. 3, in D.

Allegro—Andante con moto—Allegro—Presto. This beautiful quartet, composed a year later than the first two, already points to the maturity of the second period, especially in the first movement. The Andante opens with a lovely melody for the 2nd Violin on the G string; restraint and broadness in playing should be the player's aim here. Parry refers to the fine balance of form in this Quartet in his article in Groves' Dictionary. The Scherzo is here marked Maggiore—Minore—Maggiore . The Presto is

32 minute read

Read Chapter

4th Quartet, Opus 18, No. 4, in C minor.

4th Quartet, Opus 18, No. 4, in C minor.

Allegro ma non tanto—Scherzo—Menuetto—Rondo. Written in Beethoven's favourite key, C minor, this quartet is remarkable for its melodiousness. It has no slow movement and contains both a Scherzo and a Minuet, the former marked Andante Scherzoso quasi Allegretto and opening in a Fugato style reminiscent of the Andante of the First Symphony. Both this and the Minuet contain the characteristic Sforzandi, especially that on the third beat of triple time. The Prestissimo Coda brings the Finale to a po

24 minute read

Read Chapter

5th Quartet, Opus 18, No. 5, in A.

5th Quartet, Opus 18, No. 5, in A.

Allegro—Minuet—Air and Variations—Allegro. This quartet is chiefly remarkable for its lovely Andante and set of variations on the beautiful theme which has all the natural feeling of a genuine folk-song. The first variation is Fugato ; the second has sparkling triplets for the 1st violin; the third woodland murmurs, whilst the cellos and violas occupy themselves with the melody. The fourth is organ-like in treatment, whilst the final one starts on a boisterous scamper home, which ends, however,

27 minute read

Read Chapter

6th Quartet, Opus 18, No. 6, in B flat.

6th Quartet, Opus 18, No. 6, in B flat.

Allegro con brio—Adagio ma non troppo—Scherzo—La Malinconia—Allegretto quasi Allegro. This favourite quartet, composed in 1800, has five movements; whereas the fourth quartet has no slow movement. The arrangement of the five movements seems to suggest some sort of carefully-arranged "programme;" but woe always overtook the man who dared to attach a definite story to any of the music in these pieces in Beethoven's lifetime. The opening movement, full of vitality, and asks for spiccato bowing. It

53 minute read

Read Chapter

7th Quartet, Opus 59, No. 1, in F.

7th Quartet, Opus 59, No. 1, in F.

No. 1 of the set dedicated to Count Rasumovsky. Allegro—Allegretto Vivace e sempre Scherzando—Adagio molto e mesto—Thème russe con Variazioni. This fine but difficult quartet, sometimes called the Cello Quartet on account of the prominence given to this instrument, was written in 1806. The Count himself is supposed to have played the cello, and the set of variations on the Russian song used for the Finale was a second compliment to Beethoven's noble Russian patron. Beethoven took his theme from

1 minute read

Read Chapter

8th Quartet, Opus 59, No. 2, in E minor.

8th Quartet, Opus 59, No. 2, in E minor.

Allegro—Adagio—Allegretto—Finale. The second quartet of the Rasumovsky set is even more elaborate than the first. The opening movement, though containing some dark, passionate moods akin to the Appassionata Sonata , is nevertheless happy and delicate in tone. Its technical requirements are great. The quartet opens with two strong chords, then a silent bar, which the composer fills in curiously enough in the recapitulation. The lovely long-drawn Adagio in E major is marked by Beethoven con molto

1 minute read

Read Chapter

9th Quartet, Opus 59, No. 3, in C major.

9th Quartet, Opus 59, No. 3, in C major.

Introduzione—Allegro vivace—Andante con moto—Menuetto—Allegro molto (Fuge). This, the third of the Rasumovsky set, was composed in 1806. Starting clean out of the key, a few bars of Andante introduction gradually lean towards C major. The first movement is remarkably clear and lucid in style and finely coloured in harmony. Beethoven is in one of his happiest moods. The exquisite Andante in A minor opens with a pizzicato bass and ends in the same manner. It is a highly finished movement. The Minu

46 minute read

Read Chapter

10th Quartet, Opus 74, in E flat.

10th Quartet, Opus 74, in E flat.

Poco adagio—Allegro—Adagio ma non troppo—Presto—Allegretto con variazione. This remarkable quartet, composed in 1809 and dedicated to the Prince Lobkovitz, is widely known under the title of the Harp Quartet on account of the remarkable pizzicato arpeggios in the opening Allegro. A short introduction is marked sotto voce . The Allegro contains a brilliant cadenza for the Violin—Beethoven's only excursion into the virtuoso field in chamber music. The very beautiful Adagio is Beethoven at his very

44 minute read

Read Chapter

11th Quartet, Opus 95, in F minor.

11th Quartet, Opus 95, in F minor.

Allegro con brio—Allegretto ma non troppo—Allegro assai vivace ma serioso—Allegretto agitato. This quartet is dedicated to Count Zmeskal, Beethoven's willing secretary and man of affairs. Here in this work which stands on the border line between Beethoven's second and third styles, we have the gruff and brooding Beethoven. The somewhat short opening movement is full of intense feeling. The Allegretto is calm and religious, ethereal in tone and contains a fine fugato passage. The third movement,

34 minute read

Read Chapter

12th Quartet, Opus 127, in E flat.

12th Quartet, Opus 127, in E flat.

Dedicated to Count Nicolas von Galitzen. Maestoso—Allegro—Adagio—Scherzando vivace—Finale. Although probably published before his death, this quartet is generally classed with the posthumous ones which represent fully Beethoven's third style. Although all these quartets contain many orchestral effects, yet he never exceeds the limits of the true string quartet style. To say that string quartet writing is only an imperfectly filled-in sketch of orchestral idium is not correct; otherwise, when Bee

1 minute read

Read Chapter

13th Quartet, Opus 130, in B flat.

13th Quartet, Opus 130, in B flat.

Adagio ma non troppo—Allegro—Presto—Andante con moto—Danza alla tedesca—Cavatina—Finale. This quartet, written in 1825, is one of Beethoven's longest, and contains six movements. The opening piece carries its Adagio introduction through all the appearances of the Allegro subject. The second subject is of wonderful beauty. The development section very short. The unusual Presto in B flat minor very succinct; is the nearest approach to Brahms. The Andante is really a Scherzo treated like an Andante

56 minute read

Read Chapter

14th Quartet, Opus 131, in C sharp minor.

14th Quartet, Opus 131, in C sharp minor.

Published in 1827. Adagio—Allegro molto vivace—Allegro moderato—Andante—Presto. Although marked off in separate movements, this quartet is practically one long continuous piece. It opens with a mystic Fugue, organ-like in character and contains several fine enharmonic changes of key. At the Allegro molto vivace the tonality is lifted a semitone. This movement is light in character and simple in texture, almost Mozartian. An air with variations is approached by a recitative and introduction. This

41 minute read

Read Chapter

15th Quartet, Opus 132, in A minor.

15th Quartet, Opus 132, in A minor.

Assai sostenuto—Allegro—Allegro ma non tanto—Molto adagio—Andante—Alla marcia—Allegro appassionata. The opening movement is on the same lines as that of the preceding quartet. Moods change constantly and the development is of the freest kind; there are two parts to the second subject, one a vivacious little figure, two a short singing phrase. The Allegro in A major is in ternary form and takes the place of the Scherzo . Then follows that remarkable movement in the Lydian mode headed "A convalesc

37 minute read

Read Chapter

16th Quartet, Opus 135, in F major.

16th Quartet, Opus 135, in F major.

Allegretto—Vivace—Lento assai—Grave ma non troppo tratto. This quartet is on a much smaller scale. The opening movement, whilst characteristic of the third period, is easily comprehended. The subject of the slow movement is one of Beethoven's most beautiful melodies, and the Finale commences with the famous musical motto— " Must it be? It must be " founded on a little altercation with his cook. The movement is characterised by some very perverse part-writing. These final quartets present many pr

28 minute read

Read Chapter

BIBLIOGRAPHY

BIBLIOGRAPHY

If one wishes to know Beethoven better, reference should be made to the principal biographies and other works on Beethoven, of which we give a brief list:— I.—FOR BEETHOVEN'S LETTERS. Ludwig Nohl. — Briefe Beethovens , 1865, Stuttgart. Ludwig Nohl. — Neue Briefe Beethovens , 1867, Stuttgart. Ludwig Ritter von Koechel. — 83 Original Briefe L.V.B. an den Erzherzog Rudolph , 1865, Vienna. Alfred Schoene. — Briefe von Beethoven an Marie Graefin Erdödy geb. Graefin Niszky und Mag. Brauchte , 1866, Le

4 minute read

Read Chapter

BEETHOVEN'S PORTRAITS.

BEETHOVEN'S PORTRAITS.

1789.— Silhouette of Beethoven at eighteen years. (Beethoven's house at Bonn; reproduced in Frimmel's Biography, page 16). 1791-2.— Miniature of Beethoven by Gerhard von Kügelgen. (In the possession of George Henschel, London; reproduced in "Musical Times" of December, 1892, page 8). 1801.— Drawing by G. Stainhauser , engraved by Johann Neidl. (Reproduced in "Les Musiciens," celebres by Felix Clement, 1878, page 267; Frimmel, page 28). 1802.— Engraving by Scheffner , after Stainhauser. (Beethove

2 minute read

Read Chapter

CLASSIFICATION OF BEETHOVEN'S PIANOFORTE SONATAS. IN ORDER OF STUDY

CLASSIFICATION OF BEETHOVEN'S PIANOFORTE SONATAS. IN ORDER OF STUDY

1. Op. 49, No. 2, in G major. 2. Op. 49, No. 1, in G minor. 3. Op. 14, No. 2, in G major. 4. Op. 14, No. 1, in E major. 5. Op. 79, in G major. 6. Op. 2, No. 1, in F minor. 7. Op. 10, No. 1, in C minor. 8. Op. 10, No. 2, in F major. 9. Op. 10, No. 3, in D major. 10. Op. 13, in C minor ( Pathétique ). 11. Op. 22, in B flat major. 12. Op. 28, in D major ( Pastorale ). 13. Op. 2, No. 2, in A major. 14. Op. 2, No. 3, in C major. 15. Op. 7, in E flat major. 16. Op. 26, in A flat major. 17. Op. 31, No.

1 minute read

Read Chapter

LIST OF BEETHOVEN'S WORKS.

LIST OF BEETHOVEN'S WORKS.

Compiled from Marx and Thayer. I.—COMPOSITIONS WITH OPUS NUMBER Opus 1. Three Trios for pianoforte, violin, and violoncello, in E flat, G major, and C minor; dedicated to Prince Lichnovsky; composed 1791-92. 2. Three Sonatas for piano, in F minor, A major, and C major; dedicated to Joseph Haydn; published 1796. 3. Trio for violin, viola, violoncello, in E flat; composed in Bonn before 1792. 4. Quintet for two violins, two violas, and violoncello, in E flat (from octet for wind instruments, Op. 1

38 minute read

Read Chapter