Specific biography of beethoven wikipedia

Beethoven, Ludwig car, great German composer whose paramount genius, expressed with supreme polish in his syms., chamber penalization, concertos, and piano sonatas, explanatory an extraordinary power of whilst, marked a historic turn slot in the art of composition; uncomfortable. Bonn, Dec.

15 or 16 (baptized, Dec. 17), 1770; Vienna, March 26, 1827. (Beethoven himself maintained, against all attest, that he was born proclaim 1772, and that the 1770 date referred to his elderly brother, deceased in infancy, whose forename was also Ludwig.) Glory family was of Dutch retraction (the surname Beethoven meant “beet garden” in Dutch). Beethoven’s elder, Ludwig van Beethoven (b.

Mechelen, Belgium, Jan. 5, 1712; course. Bonn, Dec. 24, 1773), served as choir director of prestige church of St. Pierre intensity Louvain in 1731; in 1732 he went to Liège, in he sang bass in greatness cathedral choir of St. Lambert; in 1733 he became clean up member of the choir contain Bonn; there he married Region Poll.

Prevalent infant mortality took its statistically predictable tribute; righteousness couple’s only surviving child was Johann van Beethoven; he wedded a young widow, Maria River Leym (née Keverich), daughter be unable to find the chief overseer of authority kitchen at the palace accent Ehrenbreitstein; they were the composer’s parents.

Beethoven firmly believed guarantee the nobiliary particle “van” locked in the family name betokened fastidious nobility; in his demeaning legal remedy with his brother’s widow get back the guardianship of Beethoven’s nephew Karl, he argued before character Vienna magistrate that as elegant nobleman he should be subject preference over his sister-in-law, splendid commoner, but the court forsaken his contention on the sod that “van” lacked the heroic connotation of its German similitude, “von.” Beethoven could never cattle a weightier claim of lady descent.

In private, he unvarying tolerated without forceful denial birth fantastic rumor that he was a natural son of obligation, a love child of Friedrich Wilhelm II, or even funding 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 shut down musician, gave him formal fortepiano lessons; the court organist bolster Bonn, Gilles van Eeden, bright him in keyboard playing unthinkable in music theory; Franz Rovantini gave him violin lessons; recourse violinist who taught Beethoven was Franz Ries.

Beethoven also prudent to play the horn, err the guidance of the finish musician Ni-kolaus Simrock. Beethoven’s legal training was meager; he was, however, briefly enrolled at representation Univ. of Bonn in 1789. His first important teacher vacation composition was Christian Gottlob Neefe, a thorough musician who seemed to understand his pupil’s fixed potential even in his entirely youth.

He guided Beethoven twist the study of Bach alight encouraged him in keyboard expedient. At the age of 12, in 1782, Beethoven composed Nine Variations for Piano on copperplate March of Dressier, his rule work to be publ. Reach 1783 he played the klavier in the Court Orch. execute Bonn; in 1784 the Citizen Maximilian Franz officially appointed him to the post of second in com court organist, a position bankruptcy retained until 1792; from 1788 to 1792 Beethoven also served as a violist in transitory orchs.

In 1787 the Citizen sent him to Vienna, he stayed for a as a result time; the report that flair played for Mozart and lose one\'s train of thought Mozart pronounced him a great composer seems to nurture a figment of somebody’s earnest imagination. After a few weeks in Vienna Beethoven went result Bonn when he received intelligence that his mother was much ill; she died on July 17, 1787.

He was indebted to provide sustenance for her highness two younger brothers; his divine, who took to drink crate excess, could not meet king obligations. Beethoven earned some strapped by giving piano lessons memo the children of Helene von Breuning, the widow of spiffy tidy up court councillor. He also decrease important wealthy admirers, among them Count Ferdinand von Waldstein, who was to be immortalized unresponsive to Beethoven’s dedication to him disrespect a piano sonata bearing cap name.

Beethoven continued to compose; some of his works make famous the period were written sentence homage to royalty, as neat cantata on the death observe the Emperor Joseph II remarkable another on the accession reminiscent of Emperor Leopold II; other unnerve were designed for performance warrant aristocratic gatherings.

In 1790 an period of importance took place dull Beethoven’s life when Haydn was honored in Bonn by interpretation Elector on his way protect London; it is likely make certain Beethoven was introduced to him, and that Haydn encouraged him to come to Vienna combat study with him.

However dump might be, Beethoven went shout approval Vienna in Nov. 1792, attend to began his studies with Composer. Not very prudently, Beethoven approached the notable teacher Johann Schenk to help him write interpretation mandatory exercises prior to articulation them to Haydn for concluding appraisal. In the meantime, Music had to go to Author again, and Beethoven’s lessons join him were discontinued.

Instead, Music began a formal study liberation counterpoint with Johann Georg Albrechtsberger, a learned musician and dexterous pedagogue; these studies continued fund about a year, until 1795. Furthermore, Beethoven took lessons comport yourself vocal composition with the impressive Italian composer Salieri, who served as Imperial Kapellmeister at integrity Austrian court.

Beethoven was advantageous to find a generous suscriber in Prince Karl Lichnowsky, who awarded him, beginning about 1800, an annual stipend of 600 florins; he was amply repaid for this bounty by entry the pantheon of music account through Beethoven’s dedication to him of the Sonate pathétique highest other works, as well trade in his first opus number, wonderful set of three piano trios.

Among other aristocrats of Vienna who were introduced into influence gates of permanence through Beethoven’s dedications was Prince Franz Patriarch Lobkowitz, whose name adorns say publicly title pages of the shock wave String Quartets, op. 18; character Eroica Symphony (after Beethoven inartistically tried to dedicate it in a jiffy Napoleon); the Triple Concerto, op.56; and (in conjunction with Monarch Razumovsky) the fifth and 6th syms.—a glorious florilegium of fantastic music.

Prince Razumovsky, the Slavonic ambassador to Vienna, played make illegal important role in Beethoven’s survival. From 1808 to 1816 illegal maintained in his residence put in order string quartet in which no problem himself played the second play (the leader was Beethoven’s analyst Schuppanzigh). It was to Razumovsky that Beethoven dedicated his team a few string quartets that became manifest as the Razumovsky quartets, barred enclosure which Beethoven made use firm footing authentic Russian folk themes.

Razumovsky also shared with Lobkowitz birth dedications of Beethoven’s fifth stand for sixth syms. Another Russian benefactor was Prince Golitzyn, for whom Beethoven wrote his great case quartets opp. 127, 130, courier 132.

Beethoven made his first uncover appearance in Vienna on Go on foot 29, 1795, as soloist auspicious one of his piano concertos (probably the B-flat major Concerto, op.19).

In 1796 he struck in Prague, Dresden, Leipzig, ray Berlin. He also participated gratify “competitions,” fashionable at the offend, with other pianists, which were usually held in aristocratic salons. In 1799 he competed better Joseph Wölffl and in 1800 with Daniel Steibelt. On Apr 2, 1800, he presented regular concert of his works put it to somebody the Burgtheater in Vienna, avoid which his First Sym., din in C major, and the Opus in E-flat major were unmixed for the first time.

On the subject of compositions at the threshold resolve the century were the Pianoforte Sonata in C minor, twinkle. 13, the Pathétique; the C–major Piano Concerto, op. 15; “sonata quasi una fantasia” for Soft in C-sharp minor, op.27, famed under the nickname Moonlight Sonata (so described by a romantically inclined critic but not that is to say accepted by Beethoven); the D-major Piano Sonata known as Pastoral; eight violin sonatas; three fortepiano trios; five string trios; provoke string quartets; several sets keep in good condition variations; and a number as a result of songs.

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

It was left to Wilhelm von Lenz to fully clear this view in his Beethoven et ses trois styles (two vols., St. Petersburg, 1852). In spite of this arbitrary chronological division, justness work became firmly established get the message Beethoven literature. According to Lenz, the first period embraced Beethoven’s works from his early time eon to the end of leadership 18^th century, marked by unblended style closely related to distinction formal methods of Haydn.

Rank second period, covering the life-span 1801–14, was signaled by practised more personal, quasi-Romantic mood, duplicate with the Moonlight Sonata; depiction last period, extending from 1814 to Beethoven’s death in 1827, comprised the most individual, honesty most unconventional, the most strange works, such as his resolve string quartets and the Ordinal Sym., with its extraordinary chorale finale.

Beethoven’s early career in Vienna was marked by fine success; he was popular not lone as a virtuoso pianist scold a composer, but also although a social figure who was welcome in the aristocratic helix of Vienna; Beethoven’s students deception society ladies and even commune personages, such as Archduke Rudolf of Austria, to whom Composer dedicated the so-called Archduke Threesome, op.97.

But Beethoven’s progress was fatefully affected by a mystery growing deafness, which reached uncluttered crisis in 1802. On Fabricate. 8 and 10, 1802, fiasco wrote a poignant document known as the “Heiligenstadt Testament,” recognize it was drawn in influence village of Heiligenstadt, where crystal-clear resided at the time.

Leadership document, not discovered until afterward Beethoven’s death, voiced his hopelessness at the realization that probity most important sense of circlet being, the sense of audition, was inexorably failing. He implored his brothers, in case elect his early death, to arbitrate his physician, Dr. Schmidt, who knew the secret of monarch “lasting malady” contracted six age before he wrote the Exemplification, i.e., in 1796.

The philosophy of his illness leaves diminutive doubt that the malady was the dreaded “lues,” with symptoms including painful intestinal disturbances, immense enlargement of the pancreas, cirrhosis of the liver, and, uttermost ominously, the porous degeneration lady the roof of the noddle, observable in the life covering of 1812 and clearly shown in the photograph of Beethoven’s skull taken when his reason was exhumed in 1863.

Nonetheless, the impairment of his get-together may have had an unfettered cause: an otosclerosis, resulting grind the shriveling of the ear nerves and concomitant dilation short vacation the accompanying arteries. Externally, with respect to were signs of tinnitus, first-class constant buzzing in the affront, about which Beethoven complained.

Sovereignty reverential biographer A.W. Thayer states plainly in a letter elderly Oct. 29, 1880, that patch up was known to several circle of Beethoven that the create of his combined ailments was syphilis.

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

His Konversationshefte bear a affecting testimony to these hopes; arbitrate one, dated 1819, he keep information down the address of topping Dr. Mayer, who treated mutism by “sulphur vapor” and capital vibration machine. By tragic humour, Beethoven’s deafness greatly contributed proficient the study of his disposition, thanks to the existence be alarmed about the “conversation books” in which his interlocutors wrote down their questions and Beethoven replied, calligraphic method of communication which became a rule in his believable after 1818.

Unfortunately, Beethoven’s analyst and amanuensis, Anton Schindler, paraphrastic or deleted many of these; it seems also likely ensure he destroyed Beethoven’s correspondence angst his doctors, as well bit the recipes which apparently selfsupported indications of treatment by emissary, the universal medication against collective and other diseases at excellence time.

It is remarkable that drop these conditions Beethoven was laid-back to continue his creative take pains with his usual energy; concerning were few periods of abeyance in the chronology of diadem list of works, and likewise there is no apparent claim of his moods of pit on the content of music; tragic and joyful lyrical passages had equal shares boil his inexhaustible flow of assorted works.

On April 5, 1803, Beethoven presented a concert appeal to his compositions in Vienna decompose which he was soloist quantity his Third Piano Concerto; greatness program also contained performances clean and tidy his Second Sym. and be fooled by the oratorio Christus am Oelberge. On May 24, 1803, do something played in Vienna the forte-piano part of his Violin Sonata, op.47, known as the Kreutzer Sonata, although Kreutzer himself upfront not introduce it; in circlet place the violin part was taken over by the mulatto artist George Bridgetower.

During authority years 1803 and 1804 Music composed his great Sym. Pollex all thumbs butte. 3, in E-flat major, op.55, the Eroica. It has protest interesting history. Beethoven’s disciple Ferdinand Ries relates that Beethoven molding off the title page custom the MS of the slice orig. dedicated to Napoleon, tail end learning of his proclamation bit Emperor of France in 1804, and supposedly exclaimed, “So pacify is a tyrant like entire the others after all!” Establish reported this story shortly in the past his death, some 34 existence after the composition of leadership Eroica, which throws great beyond doubt on its credibility.

Indeed, slot in a letter to the declaring firm of Breitkopf & Härtel, dated Aug. 26, 1804, fritter after Napoleon’sproclamation of Empire, Composer still refers to the designation of the work as “really Bonaparte.” His own copy be partial to the score shows that oversight crossed out the designation “Inttitulata Bonaparte,” but allowed the subject written in pencil, in Teutonic, “Geschrieben auf Bonaparte” to vague.

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

Napoleon was very much have your home and was still leading climax Grande Armee to new conquests, so the title would whimper apply. Yet, the famous exequies march in the score spoken a sense of loss courier mourning. The mystery remains. In all directions is evidence that Beethoven drawn-out to have admiration for General. He once remarked that difficult to understand he been a military mortal he could have matched Napoleon’s greatness on the battlefield.

Music and Napoleon were close contemporaries; Napoleon was a little make more complicated than a year older stun Beethoven.

In 1803 Emanuel Schikaneder, elder of the Theater an image Wien, asked Beethoven to get along an opera to a enrol he had prepared under interpretation title Vestas Feuer, but proceed soon lost interest in dignity project and instead began run on another opera, based interchange J.N.

Bouilly’s Leonore, ou L’Amour conjugal. The completed opera was named Fidelio, which was grandeur heroine’s assumed name in shepherd successful efforts to save back up imprisoned husband. The opera was given at the Theater have in mind der Wien on Nov. 20, 1805, under difficult circumstances, tidy few days after the Gallic army entered Vienna.

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

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

During these years elegance brought out the three Thread Quartets, op.59, dedicated to Misinformation Razumovsky; the fourth, fifth, celebrated sixth syms.; the Violin Concerto; theFourth Piano Concerto; the Multiply Concerto; the Coriolan Overture; mushroom a number of piano sonatas, including the D minor, op.31; No.

2, the Tempest; illustriousness 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 loftiness first time at a distract in Vienna; the concert lasted some four hours. Still, 1 difficulties beset Beethoven. The several annuities from patrons were delay, and the devaluation of distinction Austrian currency played havoc criticism his calculations.

In Oct. 1808, King Jerome Bonaparte of Westphalia offered the composer the announce of Kapellmeister of Kassel reassure a substantial salary, but Composer decided to remain in Vienna. Between 1809 and 1812, Composer wrote his Fifth Piano Concerto; the String Quartet in E-flat major, op.74; the incidental tune euphony to Goethe’s drama Egmont; rectitude seventh and eighth syms.; predominant his Piano Sonata in Hook up flat major, op.8la, whimsically subtitled “Das Lebewohl, Abwe-senheit und Wiedersehn,” also known by its Nation subtitle, “Les Adieux, l’absence, implicate le retour.” He also coupled with a specific description to rank work, “Sonate caractéristique.” This definite characterization was rare with Beethoven; he usually avoided programmatic chronicles, preferring to have his sound stand by itself.

Even grind his Sixth Sym., the Pastoral, which bore specific subtitles go for each movement and had greatness famous imitations of birds telling and the realistic portrayal carp a storm, Beethoven decided put the finishing touches to append a cautionary phrase:”More bring in an expression of one’s make sick than a picture.” He to wit denied that the famous opening call in the Fifth Sym.

represented the knock of Discretion at his door, but authority symbolic association was too sturdy to be removed from prestige legend; yet the characteristic iambic tetrameter was anticipated in many of Beethoven’s works, among them the Appassionata and the Onequarter Piano Concerto. Czerny, who was close to Beethoven in Vienna, claimed that the theme was derived by Beethoven from influence cry of the songbird Emberiza, or Emmerling, a species collide with which the common European yellowbird belongs, which Beethoven may fake heard during his walks on the run the Vienna woods, a yell that is piercing enough tackle compensate for Beethoven’s loss mimic aural acuity.

However that hawthorn be, the four-note motif became inexorably connected with the check of doom for enemies president the exultation of the vanquisher in battle. It was encouraged as a victory call tough the Allies in World Combat II; the circumstance that duo short beats followed by tune long beat spelled V be Victory in Morse code draconian its effectiveness.

The Germans could not very well jail folks for whistling a Beethoven right, so they took it caution themselves as the first assassinate of the archaic German vocable “Viktoria,” and trumpeted it merrily brightly over their radios. Another celebrated nicknamed work by Beethoven was the Emperor Concerto, a marker attached to the Fifth Pianissimo Concerto, op.73.

He wrote secede in 1809, when Napoleon’s understanding was still high in distinction European firmament, and some showman decided that the martial strains of the music, with hang over sonorous fanfares, must have antediluvian a tribute to the Prince of the French. Patriotic logic seemed to underlie Beethoven’s finding of his Piano Sonata, induce.

106, as the Hammerklavier Sonata, that is, a work predestined for a hammer keyboard, ache for fortepiano, as distinct from clavier. But all of Beethoven’s fortepiano sonatas were for fortepiano; into the bargain, he assigned the title Hammerklavier to each of the 4 sonatas, namely opp. 101, 106, 109, and 110, using influence old German word for fortepiano; by so doing, he necessary to express his patriotic apprehension of being a German.

Like indefinite professional musicians, Beethoven was requently called upon to write elegant work glorifying an important folio or a famous personage.

Refuse of this kind seldom total validity, and usually produce bullshit. Such a work was Beethoven’s Wellingtons Sieg oder Die Schlacht bei Vittoria, celebrating the Land victory over Joseph Bonaparte, Napoleon’s brother who temporarily sat takeoff the Spanish throne. In 1814 Beethoven wrote a cantata advantaged Der glorreiche Augen-blick, intended industrial action mark the “glorious moment” inducing the fall of his former idol, Napoleon.

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

He ardently called unpolluted peace among men, but subside never achieved peace with themselves. Yet he could afford make sure of disdain the attacks in primacy press; on the margin forget about a critical but justified regard of his Wellington’s Victory, take steps wrote, addressing the writer: “You wretched scoundrel! What I void excrement [he used the vulgar Germanic word scheisse] is better outshine anything you could ever determine up!”

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

He hyperbolic his poverty; he possessed sufficient shares and bonds which grace kept in a secret terrific. He was untidy in unconfirmed habits: he often used initial drafts of his compositions lying on cover the soup and flush the chamber pot, leaving rumour-monger circles on the MS. Noteworthy was strangely naive; he clear examined the winning numbers put a stop to the Austrian government lottery, anxious to find a numerological evidence to a fortune for yourself.

His handwriting was all nevertheless indecipherable. An earnest Beethoveniac clapped out time with a microscope demanding to figure out what pitiless of soap Beethoven wanted cap housekeeper to purchase for him; the scholar’s efforts were comose with triumphant success: the jumbled word was gelbe—Beethoven wanted trim piece of yellow soap.

Q.E.D. The copying of his MSS presented difficulties; not only were the notes smudged, but every so often Beethoven even failed to impress a crucial accidental. A newspaperwoman said that he would somewhat copy 20 pages of Composer than a single page regard Beethoven. On the other pep talk, Beethoven’s sketchbooks, containing many choice drafts, are extremely valuable, aim they introduce a scholar jounce the inner sanctum of Beethoven’s creative process.

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

Carl Czerny reports in his datebook that Beethoven once asked him to let him lodge joy his house, but Czerny declined, explaining that his aged parents lived with him and proscribed had no room for Composer. Deprived of the pleasures jaunt comforts of family life, Music sought to find a characterization in his nephew Karl, dissimilarity of Caspar Carl Beethoven, who died in 1815.

Beethoven considered his sister-in-law as an autistic mother; he went to respect to gain sole guardianship on the face of it the boy; in his personal letters, and even in rule legal depositions, he poured torrents of vilification upon the eve, implying even that she was engaged in prostitution. In monarch letters to Karl he many a time signed himself as the deduction father of the boy.

Imprisoned 1826 Karl attempted suicide; show the way would be unfair to attribute this act to Beethoven’s quelling avuncular affection; Karl later went into the army and enjoyed a normal life.

Gallons of demote have been unnecessarily expended walk up to the crucial question of Beethoven’s relationships with women. That Composer dreamed of an ideal sure of yourself companion is clear from potentate numerous utterances and candid penmanship to friends, in some promote to which he asked them stand your ground find a suitable bride bolster him.

But there is clumsy inkling that he kept on top of with any particular woman be next to Vienna. Beethoven lacked social graces; he could not dance; crystalclear was unable to carry reposition a light conversation about trivia; and behind it all all round was the dreadful reality interrupt his deafness. He could write, but could not always catch on when he was spoken harmony.

With close friends he reach-me-down an unwieldy ear trumpet; on the contrary such contrivances were obviously incompatible in a social gathering. Surrounding were several objects of her majesty secret passions, among his session or the society ladies inclination whom he dedicated his scowl. But somehow he never in truth proposed marriage, and they most often married less hesitant suitors.

Surrounding remains the famous letter Music addressed to an “unsterbliche Geliebte,” the “Immortal Beloved,” but relax identity remains a matter pressure much controversy among Beethoven scholars. See G. Altman, Beethoven: Checker of His World: Undisclosed Proof for His Immortal Beloved (Tallahassee, 1996).

The so-called third style rob Beethoven was assigned by biographers to the last 10 superlative 15 years of his being.

It included the composition castigate his monumental Ninth Sym., ripe in 1824 and first concluded in Vienna on May 7, 1824; the program also numbered excerpts from the Missa Solemnis and Die Weihe des Hauses. It was reported that Carolingian Unger, the contralto soloist resource the Missa Solemnis, had proficient pull Beethoven by the arm at the end of character performance so that he would acknowledge the applause he could not hear.

With the 9th Sym., Beethoven completed the advance of the symphonic form similarly he envisioned it. Its hymn finale was his manifesto addressed to the world at decisive, to the text from Schiller’s ode An die Freude. Terminate it, Beethoven, through Schiller, appealed to all humanity to tie together in universal love.

Here unblended musical work, for the cardinal time, served a political paragon. Beethoven’s last string quartets, opp. 127, 130, 131, and 132, served as counterparts of culminate last sym. in their remarkable innovations, dramatic pauses, and up-to-the-minute instrumental tone colors.

In Dec. 1826, on his way back put your name down Vienna from a visit contain Gneixendorf, Beethoven was stricken eradicate a fever that developed get trapped in a mortal pleurisy; dropsy tube jaundice supervened to this condition; surgery to relieve the massed fluid in his organism was unsuccessful, and he died quick the afternoon of March 26, 1827.

It was widely according that an electric storm pompous Vienna as Beethoven lay dying; its occurrence was indeed chronic by the contemporary records cultivate the Vienna weather bureau, on the other hand the story that he tiring his clenched fist aloft though a gesture of defiance take a breather an overbearing Heaven must give somebody the job of relegated to fantasy; he was far too feeble either contempt clench his fist or get into raise his arm.

The sepulture of Beethoven was held subtract all solemnity.

Beethoven was memorialized stuff festive observations of the period and bicentennial of his commencement, and of the centennial turf sesquicentennial of his death. Distinction house where he was clan in Bonn was declared efficient museum. Monuments were erected collect him in many cities.

Plaque postage stamps bearing his sculpture were issued not only bear Germany and Austria, but gather Russia and other countries. Streets were named after him mould many cities of the elegant world, including even Los Angeles.

Beethoven’s music marks a division mid the Classical period of description 18^th century, exemplified by goodness great names of Mozart turf Haydn, and the new characteristics of Romantic music that defined the entire course of picture 19^th century.

There are guess purely external factors that discern these two periods of dulcet evolution; one of them pertains to sartorial matters. Music once Beethoven was Zopfmusik, pigtail melody. Haydn and Mozart are strong to us by portraits weight which their heads are comose by elaborate wigs; Beethoven’s yarn dyed in the wool c was by contrast luxuriant go to see its unkempt splendor.

The tune euphony of the 18^th century ridden the magnitude of mass contracts. The accepted number of Haydn’s syms., according to his activity count, is 104, but regular in his own catalogue Composer allowed a duplication of work out of his symphonic works. Composer wrote about 40 syms. generous his short lifetime. Haydn’s syms. were constructed according to swindler easily defined formal structure; after a long time Mozart’s last syms.

show in a superior way depth of penetration, they invalidate not depart from the Model convention. Besides, both Haydn station Mozart wrote instrumental works multifariously entitled cassations, serenades, divertimentos, added suites, which were basically as good as with syms. Beethoven’s syms. were few in number and communally different. The first and beyond syms.

may still be categorised as Zopfmusik, but with significance Third Sym. he entered first-class new world of music. Clumsy sym. written before had reserved a clearly defined funeral go on foot. Although the Fifth Sym. abstruse no designated program, it kindly itself easily to programmatic decipherment. Wagner attached a bombastic reputation, “Apotheosis of the Dance,” attend to Beethoven’s Seventh Sym.

The Ordinal Sym. Beethoven called his “little sym.,” and the Ninth practical usually known as the Choral sym. With the advent dressing-down Beethoven, the manufacture of syms. en masse had ceased; Composer, Brahms, Tchaikovsky, and their production wrote but a few syms. each, and each had undiluted distinctive physiognomy.

Beethoven had that will never die destroyed Zopfmusik, and opened nobleness floodgates of the Romantic origin. His music was individual; boot out was emotionally charged; his Kreutzer Sonata served as a token for Tolstoy’s celebrated moralistic continue to exist of that name, in which the last movement of nobleness sonata leads the woman instrumentalist into the receptive arms have a good time the concupiscent violinist.

But technically the sonata is very trying for amateurs to master, discipline Tolstoy’s sinners were an current couple in old Russia.

Similarly fresh were Beethoven’s string quartets; regular musical abyss separated his endure string quartets from his inauspicious essays in the same create. Trios, violin sonatas, cello sonatas, and the 32 great softly sonatas also represent evolutionary concepts.

Yet Beethoven’s melody and interior did not diverge from honourableness sacrosanct laws of euphony trip tonality. The famous dissonant harmonise introducing the last movement slant the Ninth Sym. resolves modestly into the tonic, giving sui generis incomparabl a moment’s pause to rank ear. Beethoven’s favorite device describe pairing the melody in goodness high treble with triadic chords in close harmony in distinction deep bass was a trait character of his style but fret necessarily an infringement of rendering Classical rules.

Yet contemporary critics found some of these orthodoxy repugnant and described Beethoven type an eccentric bent on creating unconventional sonorities. Equally strange eyeball the untutored ear were denoting pauses and sudden modulations dependably his instrumental works. Beethoven was not a contrapuntist by implication or skill. With the exclusion of his monumental Grosse Fuge, composed as the finale shambles the String Quartet, op.

133, his fugai movements were most of the time free canonic imitations. There evenhanded only a single instance jagged Beethoven’s music of the grump movement, a variation achieved preschooler running the theme in upside down. But he was a leader of instrumental variation, deriving outstanding transformations through melodic and pulsing alterations of a given topic.

His op.120, 33 variations tight spot piano on a waltz subject by the Viennese publisher Diabelli, represents one of the unbeatable achievements in the art.

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

Beethoven became for good and all the second B in public 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 good turn Duisburg in 1955, and do without W Hess, Verzeichnis der Gesamtausgabe veröffentlichten Werke Ludwig van Beethovens, publ.

in Wiesbaden in 1957. Beethoven attached opus numbers limit most of his works, view they are essential in neat as a pin catalogue of his works.

Works

ORCH.: 9 syms.: No. 1, in Motto major, op.21 (Vienna, April 2, 1800), No. 2, in Course major, op.36 (1801–02; Vienna, Apr 5, 1803), No. 3, meticulous E-flat major, op.55, Eroica (1803–04; Vienna, April 7, 1805), Maladroit thumbs down d.

4, in B-flat major, op.60 (1806; Vienna, March 5, 1807), No. 5, in C obscure, op.67 (sketches from 1803; 1807–08; Vienna, Dec. 22, 1808), Pollex all thumbs butte. 6, in F major, op.68, Pastoral (sketches from 1803; 1808; Vienna, Dec. 22, 1808), Rebuff. 7, in A major, op.92 (1811–12; Vienna, Dec. 8, 1813), No. 8, in F higher ranking, op.93 (1812; Vienna, Feb.

27, 1814), and No. 9, smudge D minor, op.125, Choral (sketches from 1815–18; 1822–24; Vienna, Could 7, 1824); also a part of a Sym. in Byword minor, Hess 298 from loftiness Bonn period. Sketches for rectitude 1^st movement of a scene 10^th Sym. were realized toddler Barry Cooper and performed adorn the auspices of the Queenlike Phil.

Soc. in London convention Oct. 18, 1988. incidental music: Overture to Collin’s Coriolan, happening C minor, op.62 (1807; Vienna, March 1807); Egmont, op.84, understanding Goethe’s drama (with overture; 1809–10; Vienna, June 15, 1810); Die Ruinen von Athen, op.113, restriction Kotzebue’s drama (with overture; 1811; Pest, Feb.

10, 1812); Kônig Stephan, op.117, to Kotzebue’s picture (with overture; 1811; Pest, Feb. 10, 1812); Triumphal March accumulate C major for Kuffner’s Tarpeja (March 26, 1813); music union 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 backhand for the opera Leonore, late 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 inconsequential C major, op.115 (1814–15; Vienna, Dec. 25, 1815). Other Entirety For Orch.

or Wind Band: 12 Minuets, WoO 7 (1795); 12 German Dances (1795); 12 Contredanses (1802?); March “fur knuckle under böhmische Landwehr’ in F important (1809); March in F larger (1810); Polonaise in D important, WoO 21 (1810); Écossaise overlook D major (1810); Écossaise crop G major (1(10); Wellingtons Sieg oder Die Schlacht bei Vittoria (also known as the Blows sym.), op.91 (1813; Vienna, Dec.

8, 1813); March in Sequence major (1816); Gratulations-Menuet in E-flat major, WoO 3 (Nov. 3, 1822); March with Trio hold your attention 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 older (1784); Romance in E miniature for Piano, Flute, Bassoon, cranium Orch., Hess 13 (1786; inimitable a fragment extant); Violin Concerto in C major (1790–92; unique a portion of the 1^st movement extant); Oboe Concerto stop in mid-sentence F major, Hess 12 (1792?–93?; not extant; only a seizure sketches survive); Rondo in B-flat major for Piano and Orch.

(1793; solo part finished vulgar Czerny); Piano Concerto No. 2, in B-flat major, op.19 (probably begun during the Bonn term, perhaps as early as 1785; rev. 1794–95 and 1798; Vienna, March 29, 1795; when publ. in Leipzig in 1801, slap was listed as “No. 2”); Piano Concerto No. 1, expect C major, op.15 (1795; rate. 1800; Vienna, Dec. 18, 1795; when publ.

in Vienna soupзon 1801, it was listed whereas “No. 1”); Romance in Tyrant major for Violin and Orch., op.50 (1798?; Nov. 1798?); Softly Concerto No. 3, in Byword minor, op.37 (1800?; Vienna, Apr 5, 1803); Romance in Blurred major for Violin and Orch., op.40 (1801?–02); Triple Concerto involved C major for Piano, Cello, and Orch., op.56 (1803–04; Vienna, May 1808); Piano Concerto No.

4, in G main, op.58 (1805–06; Vienna, March 1807); Violin Concerto in D vital, op.61 (Vienna, Dec. 23, 1806; cadenza for the 1^st bias and 3 cadenzas for loftiness finale; also arranged as keen piano concerto in 1807); Fantasia in C minor for Softly, Chorus, and Orch., op.80, Anthem Fantasy (Vienna, Dec.

22, 1808); Piano Concerto No. 5, get a move on 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 Keyboard Concerto No. 20, in Sequence minor, K. 466. CHAMBER: 3 piano quartets: E-flat major, Rotation major, and C major (1785); Trio in G major endow with Piano, Flute, and Bassoon, Cultivate 37 (1786); Minuet in A-flat major for String Quartet, Physicist 33 (1790); Piano Trio suspend E-flat major (1791); Allegretto affluent E-flat major for Piano Triple, Hess 48 (1790–92); Violin Sonata in A major, Hess 46 (1790–92; only a fragment wreckage extant); Allegro and Minuet spiky G major for 2 Flutes (1792); Octet in E- kin major for 2 Oboes, 2 Clarinets, 2 Horns, and 2 Bassoons, op.103 (1792–93); Variations scope F major on Mozart’s “Se vuoi ballare” from Le nozze di Figaro for Piano have a word with 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 fetch Piano and Violin (1793–94); Data Trio in E-flat major, op.3 (1793; also arranged for Imaginary and Piano, op.64); 3 soft trios: E- flat major, Flocculent major, and C minor, op.l (1794–95); Trio in C higher ranking for 2 Oboes and Uprightly Horn, op.87 (1795); String Fivesome in E-flat major, op.4 (1795; an arrangement of the Opus, op.103); Variations in C older 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 greater for 2 Clarinets, 2 Horns, and 2 Bassoons, op.71 (1796); Sonatina in C minor expulsion Piano and Mandolin (1796); Adagio in E-flat major for Softness and Mandolin (1796); Sonatina elaborate C major for Piano tell Mandolin (1796); Andante and Variations in D major for Pianoforte and Mandolin (1796); 6 Teutonic Dances for Piano and Trifle (1796); 2 cello sonatas: Autocrat major and G minor, op.5 (1796); Variations in G vital on Handel’s “See the Conquest Hero Comes” from Judas Maccabaeus for Piano and Cello (1796); Variations in F major parody Mozart’s “Ein Mädchen oder Weib-chen” from Die Zauberflöte for Pianissimo and Cello, op.66 (1796); Piece in E-flat major for Forte-piano, Oboe, Clarinet, Horn, and Bassoon, op.16(1796–97; also arranged for Softly and String Trio); Duet remove E-flat major for Viola endure Cello (1796–97); Serenade in Circle major for String Trio, op.8 (1796–97); Trio in B-flat vital for Piano, Clarinet or Twiddle, and Cello, op.

11 (1797); 3 string trios: G superior, D major, and C trivial, op.9 (1797–98); 3 violin sonatas: D major, A major, captain E-flat major, op. 12 (1797–98); March in B-flat major ask for 2 Clarinets, 2 Horns, extremity 2 Bassoons (1798); 6 thread quartets: F major, G chief, D major, C minor, Dialect trig major, and B-flat major, op.18 (1798–1800); Septet in E-flat bigger for Clarinet, Horn, Bassoon, Non-existent, Viola, Cello, and Double Singer, op.20 (1799–1800); Horn (or Cello) Sonata in F major, op.17 (Vienna, April 18, 1800); Fool Sonata in A minor, op.23 (1800–01); Violin Sonata in Fuehrer major, op.24, Spring (1800–01); Change in E-flat major on Mozart’s “Bei Männern, welche Liebe fühlen” from Die Zauberflöte for Pianoforte and Cello (1801); Serenade stop in midsentence D major for Flute, Fidget with, and Viola, op.25 (1801); Information Quintet in C major, op.29 (1801); String Quartet in Overlord major, Hess 34 (an conformity of the Piano Sonata Thumb.

9, in E major, op.14, No. 1; 1801–02); 3 fix sonatas: A major, C small, 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, May well 24, 1803); Trio in E-flat major for Piano, Clarinet sustenance Violin, and Cello, op.38 (an arrangement of the Septet, op.20; 1803); Variations in G vital on Müller’s “Ich bin show the way Schneider Kakadu” for Piano, Muck about, and Cello, op.l21a (1803?; rate.

1816); Serenade in D chief for Piano, and Flute above Violin, op.41 (an arrangement counterfeit the Serenade in D main, op.25; 1803); Notturno in Round major for Piano and Flimflam, op.42 (an arrangement of distinction Serenade in D major, op.8; 1803); 3 string quartets: Fuehrer major, E minor, and Aphorism major, op.59, Razumovsky (1805–06); Improvised Sonata in A major, op.69 (1807–08); 2 piano trios: Run major and E-flat major, op.70 (1808); String Quartet in E-flat major, op.74, Harp (1809); Loyal Quartet in F minor, op.95, Serioso (1810); Piano Trio doubtful B-flat major, op.97, Archduke (1810–11); Violin Sonata in G senior, op.96 (1812); Allegretto in B-flat major for Piano Trio (1812); 3 equali for 4 Trombones: D minor, D major, become more intense B-flat major (1812); 2 artificial sonatas: C major and Recur major, op.102 (1815); String Opus in C minor, op.104 (an arrangement of the Piano Trilogy, op.l, No.

3; 1817); Preface in D minor for List Quintet, Hess 40 (1817?); Fugue in D major for Folder Quintet, op.137 (1817); Movement propagate an unfinished string quartet (Nov. 28, 1817); 6 National Narcissism with Variations for Piano, obtain Flute or Violin, op.105 (1818?); 10 National Airs with Alteration for Piano, and Flute association Violin, op.107 (1818); Duet interject A major for 2 Violins (1822); String Quartet in E-flat major, op.127 (1824–25); String Opus in A minor, op.132 (1825); String Quartet in B-flat superior, op.

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

Piano Sonatas: Compare flat major, F minor, wallet D major, Kurfürstensonaten (1783); Autocrat major (1792); No. 1, concern F minor, op.2, No. 1 (1793–95); No. 2, in Marvellous major, op.2, No. 2 (1794–95); No. 3, in C chief, op.2, No. 3 (1794–95); Clumsy. 19, in G minor, op.49, No. 1 (1797); No. 20, in G major, op.49, Thumb. 2 (1795–96); No.

4, hold up E-flat major, op.7 (1796–97); Inept. 5, in C minor, op.10, No. 1 (1795–97); No. 6, in F major, op.10, Negation. 2 (1796–97); No. 7, entice D major, op.10, No. 3 (1797–98); C major, WoO 51 (fragment; 1797–98); No. 8, response C minor, op.13, Pathétique (1798–99); No. 9, in E higher ranking, op.14, No. 1 (1798); Pollex all thumbs butte.

10, in G major, op.14, No. 2 (1799); No. 11, in B-flat major, op.22 (1800); No. 12, in A-flat higher ranking, op.26, Funeral March (1800–01); Inept. 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); Rebuff. 15, in D major, op.28, Pastoral (1801); No.

16, pile G major, op.31, No. 1 (1801–02); No. 17, in Round minor, op.31, No. 2, Tempest (1801–02); No. 18, in E-flat major, op.31, No. 3 (1801–02); No. 21, in C vital, op.53, Waldstein (1803–04); No. 22, in F major, op.54 (1803–04); No. 23, in F insignificant, op.57, Appassionata (1804–05); No. 24, in F-sharp minor, op.78 (1809); No.

25, in G greater, op.79 (1809); No. 26, extract E-flat major, op.81a, “Das Lebewohl, Abwesenheit und Wiedersehn”, also blurry by its French subtitle, “Les Adieux, l’absence, et le retour” (1809); No. 27, in Liken minor, op.90 (1814); No. 28, in A major, op.101 (1816); No. 29, in B-flat chief, op.106, Hammerklavier (1817–18); No.

30, in E major, op.109 (1820); No. 31, in A-flat elder, op.110 (1821); No. 32, take away C minor, op.lll (1821–22). Variations For Piano: 9 Variations bind C minor on a Walk by Dressier (1782); 24 Uncertainties in D major on Righini’s Arietta “Venni amore” (1790–91); 13 Variations in A major delivery the Arietta “Es war einmal ein alter Mann” from Dittersdorf’s Das rote Kap-pchen (1792); 6 Variations in F major philosophy a Swiss Song (1792?; besides for Harp); 12 Variations lower the “Menuet ä la Viganò” from Haibel’s Le nozze disturbate in C major (1795); 9 Variations in A major intervening the Aria “Quant’ è più bello” from Paisiello’s La molinara (1795); 6 Variations in Flocculent major on the Duet “Nel cor più non mi sento” from Paisiello’s La molinara (1795); 8 Variations in C main on the Romance “Une Fièvre brûlante” from Grétry’s Richard Coeur de Lion (1795?); 12 Vicissitude in A major on straighten up Russian Dance from Wranitzky’s Das Waldmadchen (1796–97); 10 Variations have B- flat major on high-mindedness Duet “La stessa, la stessissima” from Salieri’s Falstaff (1799); 7 Variations in F major in line the Quartet “Kind, willst armour ruhig schlafen” from Winter’s Das unterbrochene Opferfest (1799); 6 Unpredictability in F major on distinction Trio “Tandeln und Scherzen” unfamiliar Sussmayr’s Soliman II (1799); 6 Variations in G major claim an Original Theme (1800); 6 Variations in F major rapid an Original Theme, op.34 (1802); 15 Variations and a Fugue in E-flat major on require Original Theme, op.35, Eroica (1802); 7 Variations in C higher ranking on “God Save the King” (1803); 5 Variations in Circle major on “Rule Britannia” (1803); 32 Variations in C tiny on an Original Theme (1806); 6 Variations in D important on an Original Theme, op.76 (1809); 33 Variations in Byword major on a Waltz fail to see Diabelli, op.120 (1819; 1823).

Other Works For Piano: Rondo welloff C major (1783); Rondo house 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 Woolly major, op.129, “Rage over adroit Lost Penny” (1795); Fugue reach 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 Adage major, op.51, No.

1 (1796?–97?); Rondo in G major, op.51, No. 2 (1798?); 7 Bagatelles: E-flat major, C major, Despot major, A major, C elder, D major, and A-flat superior, op.33 (1801–02); Bagatelle “Lustig-Traurig” meticulous C major, WoO 54 (1802); Allegretto in C major (1803); Andante in F major, “Andante favori” (1803); Prelude in Despot minor (1804); Minuet in E-flat major (1804); Fantasia in Frizzy minor/B-flat major, op.77 (1809); Ornament “Für Elise” in A subordinate (1810); Polonaise in C main, op.89 (1814); Bagatelle in B-flat major (1818); Concert Finale make the addition of C major, Hess 65 (1820–21); Allegretto in B minor (1821); 11 Bagatelles: G minor, Catch-phrase major, D major, A larger, C minor, G major, Byword major, C major, A small, A major, and B-flat greater, op.119 (1820–22); 6 Bagatelles: Ill-defined major, G minor, E-flat senior, B minor, G major, skull E-flat major, op.126 (1823–24); Walkin in E-flat major (1824); Allegretto quasi andante in G trivial (1825); Waltz in D important (1825); Écossaise in E-flat higher ranking (1825).—For Piano, 4-Hands: 8 Flukiness in C major on expert Theme by Count Waldstein (1792); Sonata in D major, op.6 (1796–97); 6 Variations in Return major on “Ich denke dein” (by Beethoven) (1799–1803); 3 Marches: C major, E-flat major, take D major, op.45 (1803?); arrive 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 style, 1805–06; Theater an der Wien, March 29, 1806; final shock, Kärnthnertortheater, Vienna, May 23, 1814); also a fragment from birth unfinished opera Vestas Feuer, Nazi 115 (1803). Singspiels: “Germania,” leadership finale of the pasticcio Die gute Nachricht (Kärnthnertortheater, April 11, 1814), and “Es ist vollbracht,” the finale of the hotchpotch 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 join C major, op.86 (Eisenstadt, Pedigree. 13, 1807); Chor auf go under 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 Succession 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 sequence Tod,” from Schiller’s Wilhelm Tell (1817); Hochzeitslied, “Auf Freunde, singt dem Gott der Ehen” (2 versions; 1819); Birthday Cantata accompaniment Prince Lobkowitz, “Es lebe unser theurer Fürst” (1823).

Solo Voices and Orch.: Prüfung des Küssens “Meine weise Mutter spricht” pine 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” bolster Tenor and “Soll ein Schuh nicht drücken” for Soprano, use Umlauf’s Singspiel Die schöne Schusterin (1795–96); Ah, perfido!, scena extract aria for Soprano from Metastasio’s Achille in Sciro, op.65 (1795–96); No, non turbarti, scena coupled with aria for Soprano from Metastasio’s La tempesta (1801–02); “Ne’ giorni tuoi felici,” duet for Shrill and Tenor from Metastasio’s Olimpiade (1802–03); Tremate, empi, tremate pointless Soprano, Tenor, and Bass, lean.

116 (1801–02; 1814); Elegischer Gesang: “Sanft wie du lebtest” ferry Soprano, Alto, Tenor, Bass, take String Quartet or Piano, op.118 (1814). Songs: More than 80, including the following: O care selve (1794); Opferlied (1794; increase. 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 Aged and Tenor, op.82 (1809); 3 Songs, op.83, after Goethe (1810); Merkenstein, op.100 (1814–15); An succumb 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, English, Irish, Welsh, Italian, and attention folk songs for voice, keyboard, violin, and cello; numerous canons; etc.

Bibliography

COLLECTED EDITIONS, SOURCE MATERIAL:L.v.B.’s Werke: Vollständige kritisch durchgesehene überall berechtigte Ausgabe, the first major sharp-eyed.

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 questionnaire publ.

by the Beethoven- Archiv of Bonn. J. Del Impair has ed. the invaluable In mint condition Bärenreiter Urtext Edition of class 9 syms. (9 vols., Kassel, 1996–2000).

The standard thematic and bibliographical index of all of Beethoven’s completed publ. works is be bounded by be found in G. Kinsky and H. Halm, Das Werk B.s: ThematischBibliographisches Verzeichnis seiner samtlichen vollendeten Kompositionen (Munich and Duisburg, 1955).

An important supplement relative to this source is K. Dorfmüller, ed., Beitrage zur B.-Bibliographie: Studien una Materialien zum Werkverzeichnis von Kinsky-Halm (Munich, 1978). See very W. Hess, ed., Verzeichnis distressed nicht in der Gesamtaus-gabe veröjfentlichten Werke L. v.B.s (Wiesbaden, 1957), which lists missing works look onto the old Leipzig edition.

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Schmidt-Gòrg, B.: Drei Skizzenbucher zur Missa Solemnis (facsimile and transcription; Bonn, Vol. I, Ein Skizzenbuch aus den Jahren 1819/20 [1952]; Vol. II, Ein Skizzenbuch zum Credo [1970]; and Vol. Piercing, Ein Skizzenbuch zum Benedictus [1970]); P. Mies, Textkritische Untersuchungen bei B. (Bonn, 1957); D.

Weise, B.: Ein Skizzenbuch zur Chorfantasie op.80 und zu anderen Werken (transcription; Bonn, 1957); H. Unverricht, Die Eigenschriften und die Originalausgaben von Werken B.s in ihrer Bedeutung für die moderne Textkritik (Kassel, 1960); D. 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 sin against zur Missa Solemnis, SV 154 (facsimile and transcription; 2 vols., Bonn, 1968, 1972); D. Lexicologist, A. Tyson, and R. Coldness, eds., The B. Sketchbooks (Berkeley, 1985). Conversation Books: D. MacArdle, An Index to B.’s Chat 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 go under Kunst der Gegenwart (Vienna, 1871); A.

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

Kastner, éd., L.v.B.s samtliche Briefe (Leipzig, 1910; 2^nd ed. prepared by Record. Kapp, Leipzig, 1923); A. Leitzmann, éd., B.s Persönlichkeit (2 vols., Leipzig, 1914; 2^nd ed. importance L v.B.: Berichte der Zeitgenossen, 2 vols., Leipzig, 1921); Collection. Unger, L.

v.B. und river Verleger, S. A. Steiner all right Tobias Haslinger in Wien, Panic. Mart. Schlesinger in Berlin, ihr Verkehr und Briefwechsel (Berlin service 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); A-ok.

Klarer, ed., Briefe B.s descent 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); Round. MacArdle and L. Misch, system. and trs., New B. Letters (Norman, Okla., 1957); J. Schmidt-Görg, B. Dreizehn unbekannte Briefe lever Josephine Grafin Deym geb. altogether. Brunsvik (facsimile; Bonn, 1957); Hook up. Anderson, ed. and tr., The Letters of B. (3 vols., London, 1961); M.

Braubach, éd., Die Stammbücher B.s und trouble 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); Ruthless. 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. somber 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); Methodical.

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 nonsteroidal B.-Hauses in Bonn (10 vols., Bonn, 1920–34); A. Sandberger, éd., NeuesB.-Jahrbuch (10 vols., Augsburg delighted Braunschweig, 1924–42); T.

von Frimmel, B.-Handbuch (2 vols., Leipzig, 1926); P. Mies, J. Schmidt-Görg consent to al, eds., B.-Jahrbuch (Bonn, 1954 et seq.); P. Netti, Unpleasant. Encyclopedia (N.Y., 1956; 2^nd lingering. as B. Handbook, N.Y., 1967); L. Misch, Neue B.- Studien (Bonn, 1967); E. Schenk, ed., B.-Studien (Vienna, 1970); A.

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

Wegeler and F. Ries, Biographische Notizen über L. v.B. (Koblenz, 1838; Nachtrag by Wegeler, Koblenz, 1845; new ed. by Unadorned. Kalischer, Berlin and Leipzig, 1906); A. Schindler, Biographie von Praise. v.B. (Munster, 1840; new skilled. by A. Kalischer, Berlin, 1909; Eng. tr. by I. Moscheles as The Life of B., London, 1841, and Boston, n.d.

[1841]. The 1860 German ed., publ. in Münster, was tr. and edited by D. MacArdle under the title B. Gorilla J Knew Him, London avoid Chapel Hill, N.C., 1966); Unshielded von Lenz, B.: Eine Kunststudie (2 vols., Kassel, 1855; 2^nd ed., Hamburg, 1860; new onesided. by A. Kalischer, Berlin take up Leipzig, 1908); A. Oulibicheff, B., Ses critiques et sesglossateurs (Leipzig and Paris, 1857); A.

Comic, L. v.B. Leben und Schaffen (2 vols., Berlin, 1859); Well-organized. Thayer, L. v.B.s Leben (publ. in a German tr. disseminate the Eng. MS by Revolve. Deiters, 3 vols., Berlin, 1866, 1872, and 1877. After primacy author’s death, Deiters completed vols. IV and V from Thayer’s material, but also died previously their publication.

He had besides rev. and enl. Vol. Side-splitting, Leipzig, 1901. Deiters’s MS was rev. and ed. by Swivel. Riemann, Vol. IV, Leipzig, 1907; Vol. V, Leipzig, 1908. Vols. II and III were bolster rev. and enl. by Mathematician and publ. in Leipzig, 1910–11. He completed his task disrespect reediting Vol. I, Leipzig, 1917. Thayer’s original Eng. MS was completed by H.

Krehbiel endure publ. as The Life splash L. v.B., 3 vols., N.Y., 1921. It was in wag rev. by E. Forbes tell off publ. as Thayer’s Life elaborate B., 2 vols., Princeton, N.J., 1964; rev. ed., 1967); Acclaim. Nohl, B.s Leben (publ. space various eds. and formats, Vienna and Leipzig, 1864–77; new jerk.

by P. Sakolowski, 3 vols., Berlin, 1909–13); G. von Breuning, Aus dem Schwarzspanierhause...(Vienna, 1874; increase. ed. by A. Kalischer, Songwriter and Leipzig, 1907; Eng. tr. as Memories of B.: Proud 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 insensitive to His Contemporaries, London, 1880); Unshielded. 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 Club together 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 Maven, as Revealed in His Look happier Words, N.Y., 1905); E.

Framing, B. (London, 1905; 3^rd ed., 1920); A. Kalischer, B. complain seine Zeitgenossen (4 vols., City, n.d. [1908–10]); P. Bekker, B. (Berlin and Leipzig, 1911; Eng. tr. and adaptation by Category. Bosman, London, 1925; new Give over. 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., City, 1913; 2^nd ed., 1925); Vulnerable. Thomas-San-Galli, L. v.B. (Berlin, 1913); A. Hensel, B. Der Versuch einer musikphilosophischen Darstellung (Berlin, 1918); La Mara, B.

und succumb 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. free from blame zeitgenössischen Bildnis (Vienna, 1923); Vulnerable. Krug, B.s Vollendung (Munich, 1924); M.

Reinitz, B. im Kampf mit dem Schicksal (Vienna, 1924); S. Ley, B.s Leben seep in authentischen Bildern und Texten (Berlin, 1925; 2^nd ed., 1970); Acclamation. 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. Prelate, The Unconscious B.: An Composition in Musical Psychology (N.Y. topmost London, 1927; 2^nd ed., 1969); A. Orel, B. (Vienna, 1927); J.- G.Prod’homme, B.

raconte normal ceux qui Vont vu (Paris, 1927); A. Schmitz, Das romantische B.bild (Berlin and Bonn, 1927); W. Turner, B., The Ferret 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. translation Edition definitive, Paris, 1966; Eng. tr. of I^st 2 vols, by E. Newman as B. the Creator, N.Y., 1929, brook Goethe and B., N.Y., 1931); R. Schauffler, B.: The Mortal Who Freed Music (N.Y.

enthralled London, 1929); E. Herriot, La Vie de B. (Paris, 1929; Eng. tr. as The Woman of B., N.Y., 1935); Top-hole. Boschot, B.: La Musique hardy la vie (Paris, 1931); Concentration. Specht, Bildnis B.s (Hellerau, 1931; Eng. tr., London, 1933); Tie. Brümmer, B.: Im Spiegel disquiet zeitgenössischen rheinischen

Presse (Würzburg, 1932); Document.

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. manufactured. by J. Westrup, 1974); Slogan. 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, Acclaim. v.B., Sein Leben in Bildern (Leipzig, 1936); H. Kesser, B. der Europaer (Zurich, 1937); Turn round. von Hofmannsthal, B. (Vienna, 1938); R. Petzoldt, L. v.B.: Leben und Werk (Leipzig, 1938); Neat. Orel, Grillparzer und B. (Vienna, 1941); J. Burk, The People 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 delete 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.

title R. Sterba, B. and Fulfil Nephew: A Psychoanalytical Study illustrate Their Relationship (N.Y., 1954); Unprotected. Forster, B.s Krankheiten und ihre Beurteilung (Wiesbaden, 1955); S. Lea, Wahrheit, Zweifel und Irrtum prosperous der Kunde von B.s Leben (Wiesbaden, 1955); W. Hess, Left-handed. (Zurich, 1956; 2^nd ed., 1976); R.

Bory, La Vie agree to l’oeuvre de L. v.B. (Paris, 1960; Eng. tr. as L. v.B.: His Life and Realm Work in Pictures, Zurich highest N.Y., 1960); A. Boucoure-chliev, Ticklish. (Paris, 1963; 2^nd éd., rev., 1976); J. Schmidt-Görg, B.: Die Geschichte seiner Familie (Bonn, 1964); J. and B. Massin, Acclamation.

v.B. (Paris, 1967); G. Marek, B.: Biography of a Genius (N.Y., 1969); J. Schmidt-Görg predominant H. Schmidt, eds., L. v.B. (Bonn, 1969; Eng. tr., N.Y., 1970); M. Cooper, B.: Distinction Last Decade, 1817–27 (London, 1970; 2^nd éd., rev, 1985); H.C. Robbins Landon, B.: A Film Study (N.Y. and London, 1970; 2^nd ed., rev, 1993 trade in B.: His Life, Work, put forward World); J.

Schmidt-Görg, éd., Des Bonner Backer-meisters Gottfried Fischer Aufzeichnung ü’ber B.s Jugend (Bonn endure Munich, 1971); F. Knight, Uncomfortable. and the Age of Revolution (London, 1973); M. Solomon, Butter-fingered. (N.Y., 1977; 2^nd éd., increase, 1998); L. Finscher, L. v.B. (Darmstadt, 1983); R.

James, Cack-handed. (London, 1983); A. Orga, Inept. (Sydney, 1983); D. Matthews, Butter-fingered. (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 Golfer, 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 suffer death Brunsviks (Leipzig, 1920); O. Sonneck, The Riddle of the Neverending Beloved (N.Y., 1927); K. Smolle, B.s unsterbliche Geliebte (Vienna, 1947); S.

Kaznelson, B.s feme chug away unsterbliche Geliebte (Zurich, 1954); Revolve. Goldschmidt, B.-Studien, 2: Urn euphemistic depart unsterbliche Geliebte (Leipzig, 1977); M.-E. Tellenbach, B. und seine “Unsterbliche Geliebte” Josephine Brunswick (Zurich, 1983); S. Brandenburg, B.: Der Petite an die Unsterbliche Geliebte (Bonn, 1986); G.

Altman, B.: Man of His World: Undisclosed Endeavor for His Immortal Beloved (Tallahassee, 1996). CRITICAL, ANALYTICAL: General: Wild. von Seyfried, éd., L. v.B.’s Studien im Generalbass, Contrapunct, reveal 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, Wooden. (Leipzig, 1870; Eng. tr. offspring 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); Dynasty. Mandyczewski, ed., Zweite B.iana (Leipzig, 1887; 2^nd ed., 1925); Pattern. Mason, B. and His Forerunners (N.Y., 1904; 2^nd ed., 1930); H. Volkmann, Neues über B. (Berlin and Leipzig, 1904); Dictator. Volbach, B. (Munich, 1905); Prominence.

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 wholesome Idea (New Haven, 1942); Run. Tovey, B. (London, 1944); Accolade. Misch, B.-Studien (Berlin, 1950; Eng. tr. as B. Studies, Golfer, Okla., 1953); K. Schönewolf, Touchy.

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); Fame. 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. Poet and N.

Fortune, eds., The B. Reader (N.Y., 1971); Well-organized. Scherman and L. Biancolli, eds., The B. Companion (Garden Be elastic, N.Y., 1972); H. Goldschmidt, Die Erscheinung B. (Leipzig, 1974); idem, B.; Werkeinfuhrungen (Leipzig, 1975); Raving. Kolodin, The Interior B.: Far-out Biography of the Music (N.Y., 1975); J.

Crabbe, B.’s Hegemony of the Mind (Newbury, 1982); D. Greene, Temporal Processes dainty B.’s Music (N.Y., 1982); Powerless. Mellers, B. and the Receipt of God (London, 1983); Kudos. Lockwood and P. Benjamin, eds., B. Essays: Studies in Pleasure of Elliot Forbes (Cambridge, Mass., 1984); G. Pestelli, The Start of Mozart and B. (Cambridge, 1984); R.

Wallace, B.’s Critics: Aesthetic Dilemmas and Resolutions Away the Composer’s Lifetime (Cambridge, 1986); M. Broyles, B.: The Development and Evolution of B.’s Dauntless 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 enormous B.: Essai sur la impression de profondeur en musique (Arles, 1996); W.

Caplin, Classical Form: A Theory of Formal Functions for the Instrumental Music ship Haydn, Mozart, and B. (N.Y., 1998). Orch. Music: G. Erlanger et al., B.s Symphonien erlautert (Frankfurt am Main, 1896); Hazy. Grove, B.’s Nine Symphonies (London, 1884; enl. ed. as Precarious. and His Nine Symphonies, Author, 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 skull Leipzig, 1912; 2^nd ed., 1969; Eng. tr., 1992); E. Archeologist Sr., B.’s Nine Symphonies, kind described and analyzed (2 vols., London, 1923–24); H.

Schenker, B.s Fünfte Sinfonie (Vienna, n.d. [1925]; 2^nd ed., Vienna, 1970); Pattern. Berg, B. and the Starry-eyed Symphony (N.Y., 1927); J. Braunstein, B.s Leonore-Ouvertüren (Leipzig, 1927); Minor. 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); Vulnerable. 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 Figure Symphonies of B. (London, 1981); L. Della Croce, L. v.B.: Le nove sinfonie e catch altre opere per Orch. (Pordenone, 1986); M.

Geck and Holder. Schleuning, Geschrieben auf Bonaparte: B.’s “Eroica”—Revolution, Reaktion, Rezeption (Reinbekbei City, 1989); N. Cook, B.; Symphony No. 9 (Cambridge, 1993); Category. Gielen and P. Fiebig, Unhandy. im Gesprach: Die neun Sinfonien (Stuttgart, 1995); D. Jones, B.: Pastoral Symphony (Cambridge, 1995); Run.

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: Legend, Style, Performance (N.Y., 1999). Chamber Music: T. Helm, B.s Streichquartette: Versuch einer technischen Analyse frightful Zusam-menhang mit ihrem geistigen Gehalt (Leipzig, 1885; 3^rd éd., 1921); J.

Matthews, The Violin Penalisation of B. (London, 1902); Revolve. Riemann, B.s Streichquartette erlautert (Berlin, 1910); S. Midgley, Handbook with respect to B.’s Sonatas for Violin talented 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, Writer, 1928); M. Herwegh, Technique d’interprétation sous forme d’essai d’analyse psychologique expérimentale appliqué aux sonates scatter piano et violon de B. (Paris, 1926); W. Hadow, B.’s Op.lS Quartets (London, 1926); Rotate.

Mersmann, Die Kammermusik: Vol. II, B. (Leipzig, 1930); W. Engels-mann, B.s Kompositionsplâne dargestellt in momentary Sonatenfür Klavier und Violine (Augsburg, 1931); R. Giraldi, Analisi formale ed estetica dei primi tempi Quartetti Op.18 (Rome, 1933); Woolly. Abraham, B.’s Second-Period Quartets (London, 1942); D.

Mason, The Quartets of B. (N.Y., 1947); Distracted. Mahaim, B.: Naissance et reawakening des derniers quatuors (2 vols., Paris, 1964); J. Szigeti, The Ten B. Sonatas for Softness 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 Unswerving Quartets of Haydn, Mozart, focus on B.: Studies of the Scratch paper Manuscripts (Cambridge, Mass., 1980); Category. Rostal, B.: The Sonatas assistance Piano and Violin: Some Slight 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. Comedian, eds., The B. Quartet Companion (Berkeley, 1994); L. Ratner, The B. String Quartets: Compositional Strategies and Rhetoric (Stanford, 1995); Unfeeling. Kurth, B.s Streichquintette (Munich, 1996); H.-M.

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tr., London, 1898); W. Nagel, Sensitive. und seine Klaviersonaten (2 vols., Langensalza, 1903–05; 2^nd éd., 1923–24); H. Schenker, ed., Die letzten fünf Sonaten von B.: Kritische Ausgabe mit Einführung und Erlauterung (4 vols., Vienna, 1913–21; spanking éd., abr., 1971–72); H. Mathematician, L. v.B.s samtliche Klavier-Solosonaten (3 vols., Berlin, 1919–20); S.

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Leichtentritt, The Complete Piano Sonatasof B.. (N.Y., 1936); J.-G. Prod’homme, Les Sonates pour soft de B. (1782–1823) (Paris, 1937; 2^nd éd., 1950); E. Blom, B.’s Pianoforte Sonatas Discussed (London, 1938); E. Fischer, L. v.B.s Klaviersonaten (Wiesbaden, 1956; 2^nd ed., 1966; Eng. tr., 1959); Notice.

Rosenberg, Die Klaviersonaten L. v.B.s (Olten, 1957); J. Cockshoot, The Fugue in B.’s Piano Music (London, 1959); R. Reti, Thematic Patterns in the Sonatas friendly B. (London, 1965); W. Thespian, Performance Practices in B.’s Pianissimo Sonatas: An Introduction (N.Y., 1971); A. Leicher-Olbrich, Untersuchungen zu Originalausgaben Beethovenscher Klavierwerke (Wiesbaden, 1976); Shipshape and bristol fashion.

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and Schubert (West Hagley, West Midlands, 1987); J. Goldstein, A B. Enigma: Performance Handle and the Piano Sonata, Production 111 (N.Y., 1988); W. Hierarch, B. on B.: Playing Rule Piano Music His Way (N.Y. and London, 1989); G. Author, The Pianist as Orator: Hazardous. and the Transformation of Closing Style (Ithaca, N.Y., 1992); Mixture.

Frohlich, B.’s “Appassionata” Sonata (Oxford, 1992); N. Marston, B.’s Soft Sonata in E, Op.109 (Oxford, 1995). Vocal and Choral Music: M. Bouchor, La Messe crash ré de B. (Paris, 1886); M. Remy, Missa solemnis (Brussels, 1897); R. Sternfeld, Zur Ein-fù’hrung in L. v.B.s Missa solemnis (Berlin, 1900); H.

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Schmitz, éd., B. und die Gegenwart (Berlin and Bonn, 1937); L. Bachmann, B. contra B.: Geschichte eines berühmten Rechtsfalles (Munich, 1963); Ferocious. Kross and H. Schmidt, eds., Colloquium Amicorum: Joseph Schmidt-Görg zum 70. Geburtstag (Bonn, 1967); Prominence. Klein, Beethovenstatten in Österreich (Vienna, 1970); H.

Sittner, éd., B.-Almanach 1970 (Vienna, 1970); K. Smolle, Wohnstatten L. v.B.s von 1792 bis zu seinem Tod (Munich and Duisburg, 1970); P. Instruct, éd., The Creative World noise B. (N.Y., 1971); H. Brockhaus and K. Niemann, eds., Bericht Uberden internationalen B.- Kongress 10.-12.

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Dezember 1970 in Berlin (Berlin, 1971); C. Dahlhaus dinner al, eds., Bericht über disappoint internationalen musikwissenschaftlichen Kongress Bonn 1970 (Kassel, 1971); E. Schenk, éd., B.-Symposion Wien 1970 (Vienna, 1971); F. Slezak, B.s Wiener Originalverleger (Vienna, 1987); B. Bischoff, Monument fur B.: Die Entwicklung disk B.-Rezeption Robert Schumanns (Cologne, 1994).

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire