Specific biography of beethoven wikipedia

Beethoven, Ludwig van, pronounce German composer whose unsurpassed genius, spoken with supreme mastery in his syms., chamber music, concertos, and piano sonatas, revealing an extraordinary power of introduction, marked a historic turn in authority art of composition; b. Bonn, Dec. 15 or 16 (baptized, Dec. 17), 1770; d. Vienna, March 26, 1827. (Beethoven himself maintained, against all back up, that he was born in 1772, and that the 1770 date referred to his older brother, deceased current infancy, whose forename was also Ludwig.) The family was of Dutch uprooting (the surname Beethoven meant “beet garden” in Dutch). Beethoven’s grandfather, Ludwig forefront Beethoven (b. Mechelen, Belgium, Jan. 5, 1712; d. Bonn, Dec. 24, 1773), served as choir director of excellence church of St. Pierre in Louvain in 1731; in 1732 he went to Liège, where he sang vocalist in the cathedral choir of Put across. Lambert; in 1733 he became efficient member of the choir in Bonn; there he married Maria Poll. Current infant mortality took its statistically faithful tribute; the couple’s only surviving descendant was Johann van Beethoven; he spliced a young widow, Maria Magdalena Leym (née Keverich), daughter of the superior overseer of the kitchen at rendering palace in Ehrenbreitstein; they were class composer’s parents. Beethoven firmly believed delay the nobiliary particle “van” in character family name betokened a nobility; mission his demeaning litigation with his brother’s widow over the guardianship of Beethoven’s nephew Karl, he argued before justness Vienna magistrate that as a noble he should be given preference shield his sister-in-law, a commoner, but nobleness court rejected his contention on probity ground that “van” lacked the lofty connotation of its German counterpart, “von.” Beethoven could never provide a weightier claim of noble descent. In confidential, he even tolerated without forceful disaffirmation the fantastic rumor that he was a natural son of royalty, keen love child of Friedrich Wilhelm II, or even of Frederick the Great.

Beethoven’s father gave him rudimentary instruction comprise music; he learned to play both the violin and the piano; Tobias Friedrich Pfeiffer, a local musician, gave him formal piano lessons; the course of action organist in Bonn, Gilles van Eeden, instructed him in keyboard playing with the addition of in music theory; Franz Rovantini gave him violin lessons; another violinist who taught Beethoven was Franz Ries. Composer also learned to play the distress, under the guidance of the finish musician Ni-kolaus Simrock. Beethoven’s academic tradition was meager; he was, however, for the nonce enrolled at the Univ. of Metropolis in 1789. His first important dominie of composition was Christian Gottlob Neefe, a thorough musician who seemed sort out understand his pupil’s great potential regular in his early youth. He guided Beethoven in the study of Composer and encouraged him in keyboard makeshift. At the age of 12, confine 1782, Beethoven composed Nine Variations mix up with Piano on a March of Dressier, his first work to be publ. In 1783 he played the harpsichord in the Court Orch. in Bonn; in 1784 the Elector Maximilian Franz officially appointed him to the pale of deputy court organist, a identify he retained until 1792; from 1788 to 1792 Beethoven also served monkey a violist in theater orchs. Grasp 1787 the Elector sent him tell between Vienna, where he stayed for adroit short time; the report that significant played for Mozart and that Composer pronounced him a future great creator seems to be a figment human somebody’s eager imagination. After a occasional weeks in Vienna Beethoven went protect Bonn when he received news digress his mother was gravely ill; she died on July 17, 1787. Prohibited was obliged to provide sustenance intolerant his two younger brothers; his curate, who took to drink in nimiety, could not meet his obligations. Composer earned some money by giving fortepiano lessons to the children of Helene von Breuning, the widow of deft court councillor. He also met critical wealthy admirers, among them Count Ferdinand von Waldstein, who was to adjust immortalized by Beethoven’s dedication to him of a piano sonata bearing coronet name. Beethoven continued to compose; tedious of his works of the stint were written in homage to kingship, as a cantata on the wasting of the Emperor Joseph II elitist another on the accession of Sovereign Leopold II; other pieces were intended for performance at aristocratic gatherings.

In 1790 an event of importance took ill-omened in Beethoven’s life when Haydn was honored in Bonn by the Citizen on his way to London; on your toes is likely that Beethoven was not native bizarre to him, and that Haydn pleased him to come to Vienna calculate study with him. However that courage be, Beethoven went to Vienna pop into Nov. 1792, and began his studies with Haydn. Not very prudently, Composer approached the notable teacher Johann Schenk to help him write the needed exercises prior to delivering them give somebody the job of Haydn for final appraisal. In nobleness meantime, Haydn had to go put in plain words London again, and Beethoven’s lessons swing at him were discontinued. Instead, Beethoven began a formal study of counterpoint board Johann Georg Albrechtsberger, a learned minstrel and knowledgeable pedagogue; these studies continuing for about a year, until 1795. Furthermore, Beethoven took lessons in voiced articulate composition with the illustrious Italian doer Salieri, who served as Imperial Kapellmeister at the Austrian court. Beethoven was fortunate to find a generous institutor in Prince Karl Lichnowsky, who awarded him, beginning about 1800, an every year stipend of 600 florins; he was amply repaid for this bounty coarse entering the pantheon of music world through Beethoven’s dedication to him disseminate the Sonate pathétique and other workshop canon, as well as his first 1 number, a set of three keyboard trios. Among other aristocrats of Vienna who were introduced into the enterpriser of permanence through Beethoven’s dedications was Prince Franz Joseph Lobkowitz, whose reputation adorns the title pages of illustriousness six String Quartets, op. 18; rank Eroica Symphony (after Beethoven unsuccessfully reliable to dedicate it to Napoleon); description Triple Concerto, op.56; and (in colligation with Prince Razumovsky) the fifth streak sixth syms.—a glorious florilegium of undistinguished music. Prince Razumovsky, the Russian legate to Vienna, played an important conduct yourself in Beethoven’s life. From 1808 appoint 1816 he maintained in his place a string quartet in which noteworthy himself played the second violin (the leader was Beethoven’s friend Schuppanzigh). Whoosh was to Razumovsky that Beethoven flattering his three string quartets that became known as the Razumovsky quartets, beginning which Beethoven made use of actual Russian folk themes. Razumovsky also mutual with Lobkowitz the dedications of Beethoven’s fifth and sixth syms. Another Slavic patron was Prince Golitzyn, for whom Beethoven wrote his great string quartets opp. 127, 130, and 132.

Beethoven plain his first public appearance in Vienna on March 29, 1795, as songstress in one of his piano concertos (probably the B-flat major Concerto, op.19). In 1796 he played in Praha, Dresden, Leipzig, and Berlin. He too participated in “competitions,” fashionable at integrity time, with other pianists, which were usually held in aristocratic salons. Amplify 1799 he competed with Joseph Wölffl and in 1800 with Daniel Steibelt. On April 2, 1800, he nip a concert of his works personal the Burgtheater in Vienna, at which his First Sym., in C greater, and the Septet in E-flat superior were performed for the first ahead. Other compositions at the threshold countless the century were the Piano Sonata in C minor, op. 13, significance Pathétique; the C–major Piano Concerto, better. 15; “sonata quasi una fantasia” expend Piano in C-sharp minor, op.27, well-known under the nickname Moonlight Sonata (so described by a romantically inclined reviewer but not specifically accepted by Beethoven); the D-major Piano Sonata known gorilla Pastoral; eight violin sonatas; three fortepiano trios; five string trios; six faithful quartets; several sets of variations; coupled with a number of songs.

Fétis was influence first to suggest the division exert a pull on Beethoven’s compositions into three stylistic periods. It was left to Wilhelm von Lenz to fully elucidate this aspect in his Beethoven et ses trois styles (two vols., St. Petersburg, 1852). Despite this arbitrary chronological division, honesty work became firmly established in Music literature. According to Lenz, the final period embraced Beethoven’s works from king early years to the end disregard the 18^th century, marked by systematic style closely related to the unbend methods of Haydn. The second space, covering the years 1801–14, was signaled by a more personal, quasi-Romantic muscle, beginning with the Moonlight Sonata; justness last period, extending from 1814 verge on Beethoven’s death in 1827, comprised magnanimity most individual, the most unconventional, glory most innovative works, such as her highness last string quartets and the Ordinal Sym., with its extraordinary choral finale.

Beethoven’s early career in Vienna was effectual by fine success; he was regular not only as a virtuoso musician and a composer, but also brand a social figure who was be conscious of in the aristocratic circles of Vienna; Beethoven’s students included society ladies unthinkable even royal personages, such as Archduke Rudolf of Austria, to whom Music dedicated the so-called Archduke Trio, op.97. But Beethoven’s progress was fatefully abundance by a mysteriously growing deafness, which reached a crisis in 1802. Adjustment Oct. 8 and 10, 1802, proscribed wrote a poignant document known primate the “Heiligenstadt Testament,” for it was drawn in the village of Heiligenstadt, where he resided at the purpose. The document, not discovered until rearguard Beethoven’s death, voiced his despair dead even the realization that the most surpass sense of his being, the effect of hearing, was inexorably failing. Fiasco implored his brothers, in case drug his early death, to consult rulership physician, Dr. Schmidt, who knew illustriousness secret of his “lasting malady” narrow six years before he wrote ethics Testament, i.e., in 1796. The cause of his illness leaves little obviously true that the malady was the offensive “lues,” with symptoms including painful viscus disturbances, enormous enlargement of the pancreas, cirrhosis of the liver, and, chief ominously, the porous degeneration of picture roof of the cranium, observable uphold the life mask of 1812 deliver clearly shown in the photograph gaze at Beethoven’s skull taken when his intent was exhumed in 1863. However, say publicly impairment of his hearing may fake had an independent cause: an otosclerosis, resulting in the shriveling of grandeur auditory nerves and concomitant dilation tension the accompanying arteries. Externally, there were signs of tinnitus, a constant muttering in the ears, about which Music complained. His reverential biographer A.W. Thayer states plainly in a letter careful Oct. 29, 1880, that it was known to several friends of Composer that the cause of his in partnership ailments was syphilis.

To the end innumerable his life Beethoven hoped to identify a remedy for his deafness middle the latest “scientific” medications. His Konversationshefte bear a pathetic testimony to these hopes; in one, dated 1819, powder notes down the address of ingenious Dr. Mayer, who treated deafness prep between “sulphur vapor” and a vibration apparatus. By tragic irony, Beethoven’s deafness seriously contributed to the study of king personality, thanks to the existence be advantageous to the “conversation books” in which circlet interlocutors wrote down their questions obscure Beethoven replied, a method of message which became a rule in circlet life after 1818. Unfortunately, Beethoven’s observer and amanuensis, Anton Schindler, altered publicize deleted many of these; it seems also likely that he destroyed Beethoven’s correspondence with his doctors, as athletic as the recipes which apparently reserved indications of treatment by mercury, picture universal medication against venereal and annoy diseases at the time.

It is abnormal that under these conditions Beethoven was able to continue his creative snitch with his usual energy; there were few periods of interruption in picture chronology of his list of plant, and similarly there is no discernible influence of his moods of stationary on the content of his music; tragic and joyful musical passages difficult to understand equal shares in his inexhaustible course of varied works. On April 5, 1803, Beethoven presented a concert help his compositions in Vienna at which he was soloist in his Gear Piano Concerto; the program also impassive performances of his Second Sym. enjoin of the oratorio Christus am Oelberge. On May 24, 1803, he insincere in Vienna the piano part elaborate his Violin Sonata, op.47, known introduction the Kreutzer Sonata, although Kreutzer child did not introduce it; in authority place the violin part was working engaged over by the mulatto artist Martyr Bridgetower. During the years 1803 submit 1804 Beethoven composed his great Sym. No. 3, in E-flat major, op.55, the Eroica. It has an telling history. Beethoven’s disciple Ferdinand Ries relates that Beethoven tore off the label page of the MS of prestige score orig. dedicated to Napoleon, fend for learning of his proclamation as Ruler of France in 1804, and allegedly exclaimed, “So he is a despot like all the others after all!” Ries reported this story shortly in the past his death, some 34 years care the composition of the Eroica, which throws great doubt on its trustworthiness. Indeed, in a letter to nobility publishing firm of Breitkopf & Härtel, dated Aug. 26, 1804, long name Napoleon’sproclamation of Empire, Beethoven still refers to the title of the prepare as “really Bonaparte.” His own replicate of the score shows that perform crossed out the designation “Inttitulata Bonaparte,” but allowed the words written cattle pencil, in German, “Geschrieben auf Bonaparte” to stand. In Oct. 1806, like that which the first ed. of the orch. parts was publ. in Vienna, honourableness sym. received the title “Sinfonia eroica composta per festeggiare il sovvenire d’un grand’ uomo” (“heroic sym., composed keep celebrate the memory of a pronounce man”). But who was the unquestionable man whose memory was being renowned in Beethoven’s masterpiece? Napoleon was truly much alive and was still prime his Grande Armee to new conquests, so the title would not learn. Yet, the famous funeral march hostage the score expressed a sense be successful loss and mourning. The mystery evidence. There is evidence that Beethoven extended to have admiration for Napoleon. Recognized once remarked that had he bent a military man he could accept matched Napoleon’s greatness on the field. Beethoven and Napoleon were close contemporaries; Napoleon was a little more elude a year older than Beethoven.

In 1803 Emanuel Schikaneder, manager of the Transitory an der Wien, asked Beethoven hit upon compose an opera to a earmark he had prepared under the designation Vestas Feuer, but he soon departed interest in the project and by way of alternative began work on another opera, home-produced on J.N. Bouilly’s Leonore, ou L’Amour conjugal. The completed opera was name Fidelio, which was the heroine’s seized name in her successful efforts resolve save her imprisoned husband. The oeuvre was given at the Theater unembellished der Wien on Nov. 20, 1805, under difficult circumstances, a few stage after the French army entered Vienna. There were only three performances once the opera was rescheduled for Amble 29 and April 10, 1806; subsequently another long hiatus a greatly revised version of Fidelio was produced copied May 23, 1814. Beethoven wrote match up versions of the Overture for Leonore) for another performance, on May 26, 1814, he revised the Overture promptly more, and this time it was performed under the title Fidelio Overture.

An extraordinary profusion of creative masterpieces noticeable the years 1802–08 in Beethoven’s be in motion. During these years he brought treatment the three String Quartets, op.59, fervent to Count Razumovsky; the fourth, 5th, and sixth syms.; the Violin Concerto; theFourth Piano Concerto; the Triple Concerto; the Coriolan Overture; and a delivery of piano sonatas, including the Succession minor, op.31; No. 2, the Tempest; the C major, op.53, the Waldstein; and the F minor, op.57, honesty Appassionata. On Dec. 22, 1808, climax fifth and sixth syms. were heard for the first time at tidy concert in Vienna; the concert lasted some four hours. Still, financial liability beset Beethoven. The various annuities steer clear of patrons were uncertain, and the slump belittlement of the Austrian currency played despoliation with his calculations. In Oct. 1808, King Jerome Bonaparte of Westphalia offered the composer the post of Kapellmeister of Kassel at a substantial remuneration, but Beethoven decided to remain encompass Vienna. Between 1809 and 1812, Composer wrote his Fifth Piano Concerto; justness String Quartet in E-flat major, op.74; the incidental music to Goethe’s stage production Egmont; the seventh and eighth syms.; and his Piano Sonata in Tie flat major, op.8la, whimsically subtitled “Das Lebewohl, Abwe-senheit und Wiedersehn,” also pronounce by its French subtitle, “Les Valedictory, l’absence, et le retour.” He additionally added a specific description to dignity work, “Sonate caractéristique.” This explicit acting was rare with Beethoven; he for the most part avoided programmatic descriptions, preferring to plot his music stand by itself. Flat in his Sixth Sym., the Pastoral, which bore specific subtitles for wad movement and had the famous imitations of birds singing and the reasonable portrayal of a storm, Beethoven firm to append a cautionary phrase:”More renovation an expression of one’s feelings elude a picture.” He specifically denied range the famous introductory call in rendering Fifth Sym. represented the knock fence Fate at his door, but depiction symbolic association was too powerful examination be removed from the legend; hitherto the characteristic iambic tetrameter was expected in several of Beethoven’s works, centre of them the Appassionata and the Fifteen minutes Piano Concerto. Czerny, who was terminate to Beethoven in Vienna, claimed lose one\'s train of thought the theme was derived by Composer from the cry of the nightingale Emberiza, or Emmerling, a species know which the common European goldfinch belongs, which Beethoven may have heard by his walks in the Vienna jungle, a cry that is piercing ample to compensate for Beethoven’s loss flawless aural acuity. However that may aside, the four-note motif became inexorably serious with the voice of doom have a thing about enemies and the exultation of goodness victor in battle. It was castoff as a victory call by blue blood the gentry Allies in World War II; excellence circumstance that three short beats followed by one long beat spelled Totally for Victory in Morse code numerous its effectiveness. The Germans could wail very well jail people for whistle a Beethoven tune, so they took it over themselves as the labour letter of the archaic German vocable “Viktoria,” and trumpeted it blithely go beyond their radios. Another famous nicknamed make a hole by Beethoven was the Emperor Concerto, a label attached to the 5th Piano Concerto, op.73. He wrote show off in 1809, when Napoleon’s star was still high in the European vault of heaven, and some publicist decided that honesty martial strains of the music, get a message to its sonorous fanfares, must have back number a tribute to the Emperor only remaining the French. Patriotic reasons seemed transmit underlie Beethoven’s designation of his Pianoforte Sonata, op. 106, as the Hammerklavier Sonata, that is, a work intended for a hammer keyboard, or piano, as distinct from harpsichord. But buzz of Beethoven’s piano sonatas were perform fortepiano; moreover, he assigned the epithet Hammerklavier to each of the 4 sonatas, namely opp. 101, 106, 109, and 110, using the old European word for fortepiano; by so observation, he desired to express his chauvinistic consciousness of being a German.

Like indefinite professional musicians, Beethoven was occasionally known as upon to write a work glorifying an important event or a eminent personage. Pieces of this kind rarely achieve validity, and usually produce bluster. Such a work was Beethoven’s Wellingtons Sieg oder Die Schlacht bei Vittoria, celebrating the British victory over Carpenter Bonaparte, Napoleon’s brother who temporarily sat on the Spanish throne. In 1814 Beethoven wrote a cantata entitled Der glorreiche Augen-blick, intended to mark picture “glorious moment” of the fall care his erstwhile idol, Napoleon.

Personal misfortunes, lingering ailments, and intermittent quarrels with band and relatives preoccupied Beethoven’s entire entity. He ardently called for peace middle men, but he never achieved imperturbability with himself. Yet he could bring forth to disdain the attacks in primacy press; on the margin of dexterous critical but justified review of rulership Wellington’s Victory, he wrote, addressing honourableness writer: “You wretched scoundrel! What Comical excrete [he used the vulgar Germanic word scheisse] is better than anything you could ever think up!”

Beethoven was overly suspicious; he even accused illustriousness faithful Schindler of dishonestly mishandling character receipts from the sale of tickets at the first performance of honourableness Ninth Sym. He exaggerated his poverty; he possessed some shares and gyves which he kept in a shrouded drawer. He was untidy in one-off habits: he often used preliminary drafts of his compositions to cover significance soup and even the chamber barque, leaving telltale circles on the He was strangely naive; he tyrannical examined the winning numbers of picture Austrian government lottery, hoping to manna from heaven a numerological clue to a boon for himself. His handwriting was numerous but indecipherable. An earnest Beethoveniac done in or up time with a microscope trying appoint figure out what kind of fever Beethoven wanted his housekeeper to buy for him; the scholar’s efforts were crowned with triumphant success: the double dutch word was gelbe—Beethoven wanted a go through with a fine-tooth comb of yellow soap. Q.E.D. The unfaithful of his MSS presented difficulties; mewl only were the notes smudged, on the contrary sometimes Beethoven even failed to dimple a crucial accidental. A copyist uttered that he would rather copy 20 pages of Rossini than a singular page of Beethoven. On the additional hand, Beethoven’s sketchbooks, containing many selection drafts, are extremely valuable, for they introduce a scholar into the median sanctum of Beethoven’s creative process.

Beethoven challenging many devoted friends and admirers end in Vienna, but he spent most obey his life in solitude. Carl Pianist reports in his diary that Composer once asked him to let him lodge in his house, but Pianist declined, explaining that his aged parents lived with him and he confidential no room for Beethoven. Deprived bank the pleasures and comforts of stock life, Beethoven sought to find pure surrogate in his nephew Karl, logos of Caspar Carl Beethoven, who monotonous in 1815. Beethoven regarded his sister-in-law as an unfit mother; he went to court to gain sole care over the boy; in his undisclosed letters, and even in his canonical depositions, he poured torrents of injure upon the woman, implying even lapse she was engaged in prostitution. Currency his letters to Karl he much signed himself as the true daddy of the boy. In 1826 Karl attempted suicide; it would be foul to ascribe this act to Beethoven’s stifling avuncular affection; Karl later went into the army and enjoyed fastidious normal life.

Gallons of ink have archaic unnecessarily expended on the crucial controversy of Beethoven’s relationships with women. Give it some thought Beethoven dreamed of an ideal philosophy companion is clear from his many utterances and candid letters to callers, in some of which he purposely them to find a suitable wife for him. But there is clumsy inkling that he kept company succeed any particular woman in Vienna. Composer lacked social graces; he could gather together dance; he was unable to bring on a light conversation about trivia; and behind it all there was the dreadful reality of his mutism. He could speak, but could slogan always understand when he was vocal to. With close friends he old an unwieldy ear trumpet; but much contrivances were obviously unsuitable in efficient social gathering. There were several objects of his secret passions, among rule pupils or the society ladies stand your ground whom he dedicated his works. On the other hand somehow he never actually proposed confederation, and they usually married less unassured suitors. There remains the famous sign Beethoven addressed to an “unsterbliche Geliebte,” the “Immortal Beloved,” but her monotony remains a matter of much argumentation among Beethoven scholars. See G. Altman, Beethoven: Man of His World: Slumbering Evidence for His Immortal Beloved (Tallahassee, 1996).

The so-called third style of Composer was assigned by biographers to interpretation last 10 or 15 years lay into his life. It included the strength of his monumental Ninth Sym., arranged in 1824 and first performed retort Vienna on May 7, 1824; leadership program also included excerpts from grandeur Missa Solemnis and Die Weihe nonsteroidal Hauses. It was reported that Carolingian Unger, the contralto soloist in loftiness Missa Solemnis, had to pull Composer by the sleeve at the period of the performance so that agreed would acknowledge the applause he could not hear. With the Ninth Sym., Beethoven completed the evolution of high-mindedness symphonic form as he envisioned peak. Its choral finale was his announcement addressed to the world at necessary, to the text from Schiller’s top An die Freude. In it, Composer, through Schiller, appealed to all mankind to unite in universal love. Intelligence a musical work, for the chief time, served a political ideal. Beethoven’s last string quartets, opp. 127, Cardinal, 131, and 132, served as counterparts of his last sym. in their striking innovations, dramatic pauses, and anecdote instrumental tone colors.

In Dec. 1826, defence his way back to Vienna liberate yourself from a visit in Gneixendorf, Beethoven was stricken with a fever that handsome into a mortal pleurisy; dropsy reprove jaundice supervened to this condition; action to relieve the accumulated fluid now his organism was unsuccessful, and without fear died on the afternoon of Advance 26, 1827. It was widely popular that an electric storm struck Vienna as Beethoven lay dying; its face was indeed confirmed by the coexistent records in the Vienna weather commission, but the story that he convex his clenched fist aloft as smart gesture of defiance to an conceited Heaven must be relegated to fantasy; he was far too feeble either to clench his fist or contempt raise his arm. The funeral selected Beethoven was held in all solemnity.

Beethoven was memorialized in festive observations touch on the centennial and bicentennial of sovereignty birth, and of the centennial topmost sesquicentennial of his death. The homestead where he was born in Metropolis was declared a museum. Monuments were erected to him in many cities. Commemorative postage stamps bearing his outlook were issued not only in Frg and Austria, but in Russia pivotal other countries. Streets were named afterwards him in many cities of description civilized world, including even Los Angeles.

Beethoven’s music marks a division between class Classical period of the 18^th 100, exemplified by the great names think likely Mozart and Haydn, and the creative spirit of Romantic music that defined the entire course of the 19^th century. There are certain purely outward factors that distinguish these two periods of musical evolution; one of them pertains to sartorial matters. Music earlier Beethoven was Zopfmusik, pigtail music. Composer and Mozart are familiar to remorseless by portraits in which their heads are crowned by elaborate wigs; Beethoven’s hair was by contrast luxuriant wrench its unkempt splendor. The music a number of the 18^th century possessed the prominence of mass production. The accepted give out of Haydn’s syms., according to culminate own count, is 104, but uniform in his own catalogue Haydn constitutional a duplication of one of crown symphonic works. Mozart wrote about 40 syms. during his short lifetime. Haydn’s syms. were constructed according to settle easily defined formal structure; while Mozart’s last syms. show greater depth supporting penetration, they do not depart shun the Classical convention. Besides, both Music and Mozart wrote instrumental works multifariously entitled cassations, serenades, divertimentos, and suites, which were basically synonymous with syms. Beethoven’s syms. were few in crowd and mutually different. The first ray second syms. may still be secret as Zopfmusik, but with the Gear Sym. he entered a new false of music. No sym. written previously had contained a clearly defined sepulture march. Although the Fifth Sym. difficult to understand no designated program, it lent strike easily to programmatic interpretation. Wagner immovable a bombastic label, “Apotheosis of nobility Dance,” to Beethoven’s Seventh Sym. Probity Eighth Sym. Beethoven called his “little sym.,” and the Ninth is as a rule known as the Choral sym. Criticism the advent of Beethoven, the build of syms. en masse had ceased; Schumann, Brahms, Tchaikovsky, and their times wrote but a few syms. hose down, and each had a distinctive phiz or phizog. Beethoven had forever destroyed Zopfmusik, increase in intensity opened the floodgates of the Fictitious era. His music was individual; on the same plane was emotionally charged; his Kreutzer Sonata served as a symbol for Tolstoy’s celebrated moralistic tale of that title, in which the last movement indicate the sonata leads the woman instrumentalist into the receptive arms of picture concupiscent violinist. But technically the sonata is very difficult for amateurs nick master, and Tolstoy’s sinners were young adult ordinary couple in old Russia.

Similarly unfamiliar were Beethoven’s string quartets; a harmonious abyss separated his last string quartets from his early essays in honourableness same form. Trios, violin sonatas, spurious sonatas, and the 32 great keyboard sonatas also represent evolutionary concepts. Up till Beethoven’s melody and harmony did groan diverge from the sacrosanct laws break into euphony and tonality. The famous jarring chord introducing the last movement produce the Ninth Sym. resolves naturally bounce the tonic, giving only a moment’s pause to the ear. Beethoven’s pick device of pairing the melody amusement the high treble with triadic chords in close harmony in the extensive bass was a peculiarity of crown style but not necessarily an breaking of the Classical rules. Yet coeval critics found some of these code repugnant and described Beethoven as clean up eccentric bent on creating unconventional sonorities. Equally strange to the untutored provide were pregnant pauses and sudden modulations in his instrumental works. Beethoven was not a contrapuntist by taste contract skill. With the exception of coronate monumental Grosse Fuge, composed as magnanimity finale of the String Quartet, ride. 133, his fugai movements were by and large free canonic imitations. There is sole a single instance in Beethoven’s refrain of the crab movement, a alteration achieved by running the theme din in reverse. But he was a grandmaster of instrumental variation, deriving extraordinary transformations through melodic and rhythmic alterations defer to a given theme. His op.120, 33 variations for piano on a victory theme by the Viennese publisher Diabelli, represents one of the greatest achievements in the art.

When Hans von Bülow was asked which was his pet key signature, he replied that certification was E-flat major, the tonality embodiment the Eroica, for it had triad flats: one for Bach, one form Beethoven, and one for Brahms. Composer became forever the second B perceive popular music books.

The literature on Composer is immense. The basic catalogues arrest those by G. Kinsky and Twirl. Halm, Das

Werk Beethovens: Thematisch-Bibliographisches Verzeichnis seiner sämtlichen vollendeten Kompositionen, publ. in Muenchen and Duisburg in 1955, and afford W Hess, Verzeichnis der Gesamtausgabe veröffentlichten Werke Ludwig van Beethovens, publ. involve Wiesbaden in 1957. Beethoven attached 1 numbers to most of his crease, and they are essential in skilful catalogue of his works.

Works

ORCH.: 9 syms.: No. 1, in C major, op.21 (Vienna, April 2, 1800), No. 2, in D major, op.36 (1801–02; Vienna, April 5, 1803), No. 3, confine E-flat major, op.55, Eroica (1803–04; Vienna, April 7, 1805), No. 4, pound B-flat major, op.60 (1806; Vienna, Strut 5, 1807), No. 5, in Catchword minor, op.67 (sketches from 1803; 1807–08; Vienna, Dec. 22, 1808), No. 6, in F major, op.68, Pastoral (sketches from 1803; 1808; Vienna, Dec. 22, 1808), No. 7, in A older, op.92 (1811–12; Vienna, Dec. 8, 1813), No. 8, in F major, op.93 (1812; Vienna, Feb. 27, 1814), skull No. 9, in D minor, op.125, Choral (sketches from 1815–18; 1822–24; Vienna, May 7, 1824); also a chip of a Sym. in C little, Hess 298 from the Bonn console. Sketches for the 1^st movement endlessly a projected 10^th Sym. were comprehend by Barry Cooper and performed descend the auspices of the Royal Phil. Soc. in London on Oct. 18, 1988. incidental music: Overture to Collin’s Coriolan, in C minor, op.62 (1807; Vienna, March 1807); Egmont, op.84, disparagement Goethe’s drama (with overture; 1809–10; Vienna, June 15, 1810); Die Ruinen von Athen, op.113, to Kotzebue’s drama (with overture; 1811; Pest, Feb. 10, 1812); Kônig Stephan, op.117, to Kotzebue’s show (with overture; 1811; Pest, Feb. 10, 1812); Triumphal March in C main for Kuffner’s Tarpeja (March 26, 1813); music to Duncker’s drama Leonore Prohaska (1815); Overture in C major, op.124, to Meisl’s drama Die Weihe stilbesterol Hauses (Vienna, Oct. 3, 1822).—Further overtures: 4 overtures written for the theatre Leonore, later named Fidelio: Leonore Inept. 1, in C major, op.138 (1806–07; Feb. 7, 1828), Leonore No. 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 pile C major, op.115 (1814–15; Vienna, Dec. 25, 1815). Other Works For Orch. or Wind Band: 12 Minuets, Court 7 (1795); 12 German Dances (1795); 12 Contredanses (1802?); March “fur knuckle under böhmische Landwehr’ in F major (1809); March in F major (1810); Polonaise in D major, WoO 21 (1810); Écossaise in D major (1810); Écossaise in G major (1(10); Wellingtons Sieg oder Die Schlacht bei Vittoria (also known as the Battle sym.), op.91 (1813; Vienna, Dec. 8, 1813); Stride in D major (1816); Gratulations-Menuet speak E-flat major, WoO 3 (Nov. 3, 1822); March with Trio in Catchword major (1822?). BALLET:Ritterballett (1790–91; Bonn, Go on foot 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.: Pianoforte Concerto in E-flat major (1784); Romance in E minor for Piano, Wood, Bassoon, and Orch., Hess 13 (1786; only a fragment extant); Violin Concerto in C major (1790–92; only deft portion of the 1^st movement extant); Oboe Concerto in F major, Physicist 12 (1792?–93?; not extant; only uncut few sketches survive); Rondo in B-flat major for Piano and Orch. (1793; solo part finished by Czerny); Softness Concerto No. 2, in B-flat chief, op.19 (probably begun during the Metropolis period, perhaps as early as 1785; rev. 1794–95 and 1798; Vienna, Foot it 29, 1795; when publ. in City in 1801, it was listed orangutan “No. 2”); Piano Concerto No. 1, in C major, op.15 (1795; rate. 1800; Vienna, Dec. 18, 1795; in the way that publ. in Vienna in 1801, go past was listed as “No. 1”); Attachment in F major for Violin trip Orch., op.50 (1798?; Nov. 1798?); Pianoforte Concerto No. 3, in C tiny, op.37 (1800?; Vienna, April 5, 1803); Romance in G major for Tamper with and Orch., op.40 (1801?–02); Triple Concerto in C major for Piano, Imagined, Cello, and Orch., op.56 (1803–04; Vienna, May 1808); Piano Concerto No. 4, in G major, op.58 (1805–06; Vienna, March 1807); Violin Concerto in Series major, op.61 (Vienna, Dec. 23, 1806; cadenza for the 1^st movement jaunt 3 cadenzas for the finale; extremely arranged as a piano concerto direct 1807); Fantasia in C minor senseless Piano, Chorus, and Orch., op.80, Hymn Fantasy (Vienna, Dec. 22, 1808); Pianoforte Concerto No. 5, in E-flat higher ranking, 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 Piano Concerto No. 20, in D minor, Babyish. 466. CHAMBER: 3 piano quartets: E-flat major, D major, and C main (1785); Trio in G major use Piano, Flute, and Bassoon, WoO 37 (1786); Minuet in A-flat major go for String Quartet, Hess 33 (1790); Keyboard Trio in E-flat major (1791); Allegretto in E-flat major for Piano Triptych, Hess 48 (1790–92); Violin Sonata redraft A major, Hess 46 (1790–92; solitary a fragment is extant); Allegro dominant Minuet in G major for 2 Flutes (1792); Octet in E- uninterrupted major for 2 Oboes, 2 Clarinets, 2 Horns, and 2 Bassoons, op.103 (1792–93); Variations in F major go on with Mozart’s “Se vuoi ballare” from Le nozze di Figaro for Piano very last Violin (1792–93); Rondino in E-flat elder for 2 Oboes, 2 Clarinets, 2 Horns, and 2 Bassoons (1793); Composition in E-flat major for Oboe, 3 Horns, and Bassoon, Hess 19 (1793); Rondo in G major for Pianoforte and Violin (1793–94); String Trio cede E-flat major, op.3 (1793; also frozen for Cello and Piano, op.64); 3 piano trios: E- flat major, Fluffy major, and C minor, op.l (1794–95); Trio in C major for 2 Oboes and English Horn, op.87 (1795); String Quintet in E-flat major, op.4 (1795; an arrangement of the Piece, op.103); Variations in C major examine Mozart’s “La ci darem la mano” from Don Giovanni for 2 Oboes and English Horn (1795); Sextet sky E-flat major for 2 Horns, 2 Violins, Viola, and Cello, op.81b (1795); Sextet in E-flat major for 2 Clarinets, 2 Horns, and 2 Bassoons, op.71 (1796); Sonatina in C slim for Piano and Mandolin (1796); Adagio in E-flat major for Piano refuse Mandolin (1796); Sonatina in C chief for Piano and Mandolin (1796); Andante and Variations in D major demand Piano and Mandolin (1796); 6 Teutonic Dances for Piano and Violin (1796); 2 cello sonatas: F major extract G minor, op.5 (1796); Variations strike home G major on Handel’s “See distinction Conquering Hero Comes” from Judas Maccabaeus for Piano and Cello (1796); Alternation in F major on Mozart’s “Ein Mädchen oder Weib-chen” from Die Zauberflöte for Piano and Cello, op.66 (1796); Quintet in E-flat major for Softly, Oboe, Clarinet, Horn, and Bassoon, op.16(1796–97; also arranged for Piano and Loyal Trio); Duet in E-flat major financial assistance Viola and Cello (1796–97); Serenade constrict D major for String Trio, op.8 (1796–97); Trio in B-flat major infer Piano, Clarinet or Violin, and Invented, op. 11 (1797); 3 string trios: G major, D major, and Catch-phrase minor, op.9 (1797–98); 3 violin sonatas: D major, A major, and E-flat major, op. 12 (1797–98); March advance B-flat major for 2 Clarinets, 2 Horns, and 2 Bassoons (1798); 6 string quartets: F major, G greater, D major, C minor, A main, and B-flat major, op.18 (1798–1800); Set in E-flat major for Clarinet, Whistle, Bassoon, Violin, Viola, Cello, and Understudy Bass, op.20 (1799–1800); Horn (or Cello) Sonata in F major, op.17 (Vienna, April 18, 1800); Violin Sonata calculate A minor, op.23 (1800–01); Violin Sonata in F major, op.24, Spring (1800–01); Variations in E-flat major on Mozart’s “Bei Männern, welche Liebe fühlen” break Die Zauberflöte for Piano and Phony meddle with (1801); Serenade in D major apply for Flute, Violin, and Viola, op.25 (1801); String Quintet in C major, op.29 (1801); String Quartet in F older, Hess 34 (an arrangement of glory Piano Sonata No. 9, in Line major, op.14, No. 1; 1801–02); 3 violin sonatas: A major, C delicate, and G major, op.30 (1801–02); 14 Variations in E-flat major for Pianissimo, Violin, and Cello, op.44 (sketches shun 1792; 1802?); Violin Sonata in Uncut major, op.47, Kreutzer (1802–03; Vienna, Haw 24, 1803); Trio in E-flat larger for Piano, Clarinet or Violin, endure Cello, op.38 (an arrangement of representation Septet, op.20; 1803); Variations in Shadowy major on Müller’s “Ich bin retreat Schneider Kakadu” for Piano, Violin, bid Cello, op.l21a (1803?; rev. 1816); Divertimento in D major for Piano, stake Flute or Violin, op.41 (an settle on of the Serenade in D higher ranking, op.25; 1803); Notturno in D older for Piano and Viola, op.42 (an arrangement of the Serenade in Run major, op.8; 1803); 3 string quartets: F major, E minor, and Proverbial saying major, op.59, Razumovsky (1805–06); Cello Sonata in A major, op.69 (1807–08); 2 piano trios: D major and E-flat major, op.70 (1808); String Quartet tackle E-flat major, op.74, Harp (1809); Faithful Quartet in F minor, op.95, Serioso (1810); Piano Trio in B-flat chief, op.97, Archduke (1810–11); Violin Sonata add on G major, op.96 (1812); Allegretto admire B-flat major for Piano Trio (1812); 3 equali for 4 Trombones: Pattern minor, D major, and B-flat main (1812); 2 cello sonatas: C important and D major, op.102 (1815); Faithful Quintet in C minor, op.104 (an arrangement of the Piano Trio, op.l, No. 3; 1817); Prelude in Round minor for String Quintet, Hess 40 (1817?); Fugue in D major in favour of String Quintet, op.137 (1817); Movement getaway an unfinished string quartet (Nov. 28, 1817); 6 National Airs with Contrasts for Piano, and Flute or Thimblerig, op.105 (1818?); 10 National Airs hang together Variations for Piano, and Flute instance Violin, op.107 (1818); Duet in Top-notch major for 2 Violins (1822); Dossier Quartet in E-flat major, op.127 (1824–25); String Quartet in A minor, op.132 (1825); String Quartet in B-flat older, op. 130 (with the Grosse Fuge as the finale, 1825; Rondo conclusion, 1826); Grosse Fuge in B-flat bigger for String Quartet, op.133 (1825); Rope Quartet in C-sharp minor, op.131 (1825–26); String Quartet in F major, wool. 135 (1826); String Quintet in Catch-phrase major, Hess 41 (1826; extant sliver in piano transcription only). Piano Sonatas: E- flat major, F minor, take D major, Kurfürstensonaten (1783); F elder (1792); No. 1, in F smaller, op.2, No. 1 (1793–95); No. 2, in A major, op.2, No. 2 (1794–95); No. 3, in C larger, op.2, No. 3 (1794–95); No. 19, in G minor, op.49, No. 1 (1797); No. 20, in G vital, op.49, No. 2 (1795–96); No. 4, in E-flat major, op.7 (1796–97); Maladroit thumbs down d. 5, in C minor, op.10, Inept. 1 (1795–97); No. 6, in Monarch major, op.10, No. 2 (1796–97); Inept. 7, in D major, op.10, Clumsy. 3 (1797–98); C major, WoO 51 (fragment; 1797–98); No. 8, in Apophthegm minor, op.13, Pathétique (1798–99); No. 9, in E major, op.14, No. 1 (1798); No. 10, in G chief, op.14, No. 2 (1799); No. 11, in B-flat major, op.22 (1800); Clumsy. 12, in A-flat major, op.26, Burial March (1800–01); No. 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); No. 15, contain D major, op.28, Pastoral (1801); Pollex all thumbs butte. 16, in G major, op.31, Cack-handed. 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, skull C major, op.53, Waldstein (1803–04); Maladroit thumbs down d. 22, in F major, op.54 (1803–04); No. 23, in F minor, op.57, Appassionata (1804–05); No. 24, in F-sharp minor, op.78 (1809); No. 25, take away G major, op.79 (1809); No. 26, in E-flat major, op.81a, “Das Lebewohl, Abwesenheit und Wiedersehn”, also known strong its French subtitle, “Les Adieux, l’absence, et le retour” (1809); No. 27, in E minor, op.90 (1814); Pollex all thumbs butte. 28, in A major, op.101 (1816); No. 29, in B-flat major, op.106, Hammerklavier (1817–18); No. 30, in Hook up major, op.109 (1820); No. 31, coop up A-flat major, op.110 (1821); No. 32, in C minor, op.lll (1821–22). Variations For Piano: 9 Variations in Proverbial saying minor on a March by Dressier (1782); 24 Variations in D greater on Righini’s Arietta “Venni amore” (1790–91); 13 Variations in A major conference the Arietta “Es war einmal ein alter Mann” from Dittersdorf’s Das commit to memory Kap-pchen (1792); 6 Variations in Fuehrer major on a Swiss Song (1792?; also for Harp); 12 Variations completely the “Menuet ä la Viganò” distance from Haibel’s Le nozze disturbate in Maxim major (1795); 9 Variations in On the rocks major on the Aria “Quant’ è più bello” from Paisiello’s La molinara (1795); 6 Variations in G higher ranking on the Duet “Nel cor più non mi sento” from Paisiello’s La molinara (1795); 8 Variations in Adage major on the Romance “Une Fièvre brûlante” from Grétry’s Richard Coeur standalone Lion (1795?); 12 Variations in Regular major on a Russian Dance come across Wranitzky’s Das Waldmadchen (1796–97); 10 Variability in B- flat major on class Duet “La stessa, la stessissima” deprive Salieri’s Falstaff (1799); 7 Variations note F major on the Quartet “Kind, willst du ruhig schlafen” from Winter’s Das unterbrochene Opferfest (1799); 6 Mutation in F major on the Triumvirate “Tandeln und Scherzen” from Sussmayr’s Soliman II (1799); 6 Variations in Dim major on an Original Theme (1800); 6 Variations in F major fenderbender an Original Theme, op.34 (1802); 15 Variations and a Fugue in E-flat major on an Original Theme, op.35, Eroica (1802); 7 Variations in Aphorism major on “God Save the King” (1803); 5 Variations in D chief on “Rule Britannia” (1803); 32 Fluctuation in C minor on an Creative Theme (1806); 6 Variations in Pattern major on an Original Theme, op.76 (1809); 33 Variations in C higher ranking on a Waltz by Diabelli, op.120 (1819; 1823). Other Works For Piano: Rondo in C major (1783); Rondeau in A major (1783); 2 Preludes through All 12 Major Keys, op.39 (1789; also for Organ); Allemande hamper A major (1793); Rondo a capriccio in G major, op.129, “Rage deferment a Lost Penny” (1795); Fugue make a way into C major, Hess 64 (1795); Presto in C minor (1795?); Allegretto appoint C minor (1796–97); Allegretto in Catchword minor, Hess 69 (1796–97); Rondo anxiety C major, op.51, No. 1 (1796?–97?); Rondo in G major, op.51, Thumb. 2 (1798?); 7 Bagatelles: E-flat main, C major, F major, A higher ranking, C major, D major, and A-flat major, op.33 (1801–02); Bagatelle “Lustig-Traurig” squash up C major, WoO 54 (1802); Allegretto in C major (1803); Andante fell F major, “Andante favori” (1803); Prologue in F minor (1804); Minuet disintegration E-flat major (1804); Fantasia in Downy minor/B-flat major, op.77 (1809); Bagatelle “Für Elise” in A minor (1810); Polonaise in C major, op.89 (1814); Ornament in B-flat major (1818); Concert Drain in C major, Hess 65 (1820–21); Allegretto in B minor (1821); 11 Bagatelles: G minor, C major, Series major, A major, C minor, Feathery major, C major, C major, Splendid minor, A major, and B-flat greater, op.119 (1820–22); 6 Bagatelles: G elder, G minor, E-flat major, B slender, G major, and E-flat major, op.126 (1823–24); Waltz in E-flat major (1824); Allegretto quasi andante in G smaller (1825); Waltz in D major (1825); Écossaise in E-flat major (1825).—For Pianoforte, 4-Hands: 8 Variations in C important on a Theme by Count Waldstein (1792); Sonata in D major, op.6 (1796–97); 6 Variations in D vital on “Ich denke dein” (by Beethoven) (1799–1803); 3 Marches: C major, E-flat major, and D major, op.45 (1803?); an arrangement of the Grosse Fuge, op.133, as op.134 (1826). VOCAL: Opera:Fidelio, op.72 (1^st version, 1804–05; Theater come der Wien, Vienna, Nov. 20, 1805; 2^nd version, 1805–06; Theater an time lag Wien, March 29, 1806; final amendment, Kärnthnertortheater, Vienna, May 23, 1814); too a fragment from the unfinished work Vestas Feuer, Hess 115 (1803). Singspiels: “Germania,” the finale of the pastiche Die gute Nachricht (Kärnthnertortheater, April 11, 1814), and “Es ist vollbracht,” position finale of the pasticcio 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); cantata, Christus am Oelberge, op.85 (Vienna, Apr 5, 1803; rev. 1804 and 1811); Mass in C major, op.86 (Eisenstadt, Sept. 13, 1807); Chor auf capitulate 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 Sequence major, op.123, Missa Solemnis (1819–23; Crust. 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 der Tod,” from Schiller’s Wilhelm Tell (1817); Hochzeitslied, “Auf Freunde, singt dem Gott der Ehen” (2 versions; 1819); Birthday Cantata for Lord Lobkowitz, “Es lebe unser theurer Fürst” (1823). Solo Voices and Orch.: Prüfung des Küssens “Meine weise Mutter spricht” for Bass (1790–92); “Mit Mädeln sich vertragen” from Goethe’s Claudine von Stay Bella for Bass (1790?–92); Primo amore, scena and aria for Soprano (1790–92); 2 arias: “O welch’ ein Leben” for Tenor and “Soll ein Schuh nicht drücken” for Soprano, for Umlauf’s Singspiel Die schöne Schusterin (1795–96); Ah, perfido!, scena and aria for Leading from Metastasio’s Achille in Sciro, op.65 (1795–96); No, non turbarti, scena with the addition of aria for Soprano from Metastasio’s La tempesta (1801–02); “Ne’ giorni tuoi felici,” duet for Soprano and Tenor elude Metastasio’s Olimpiade (1802–03); Tremate, empi, tremate for Soprano, Tenor, and Bass, opportunity. 116 (1801–02; 1814); Elegischer Gesang: “Sanft wie du lebtest” for Soprano, Countertenor, Tenor, Bass, and String Quartet assistance Piano, op.118 (1814). Songs: More outweigh 80, including the following: O care selve (1794); Opferlied (1794; rev. 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 Soprano spell Tenor, op.82 (1809); 3 Songs, op.83, after Goethe (1810); Merkenstein, op.100 (1814–15); An die 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); legislation of English, Scottish, Irish, Welsh, European, and other folk songs for receipt, piano, violin, and cello; numerous canons; etc.

Bibliography

COLLECTED EDITIONS, SOURCE MATERIAL:L.v.B.’s Werke: Vollständige kritisch durchgesehene überall berechtigte Ausgabe, distinction first major ed. of his productions, was publ. by Breitkopf & Härtel (series 1–24, Leipzig, 1862–65; 25 [suppl.], Leipzig, 1888). An extensive suppl. was ed. by W. Hess, L. v.B.: Samtliche Werke: Supplemente zur Gesamtausgabe (14 vols., Wiesbaden, 1959–71). A new weighty éd., L. v.B.: Werke: Neue Ausgabe samtlicher Werke (Munich and Duisburg, 1961 et seq.), is being publ. inured to the Beethoven- Archiv of Bonn. Enumerate. Del Mar has ed. the precious New Bärenreiter Urtext Edition of decency 9 syms. (9 vols., Kassel, 1996–2000).

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Abstracts (Detroit, 1973); H. Goldschmidt, éd., Zu B.: Aufsätze und Dokumente (Berlin, 1984); T. Albrecht, L.v. B.: A Provide for to Research (N.Y., 1990); B. Artisan, ed., The B. Compendium: A Impel to B.’s Life and Music (N.Y., 1992); C. Reynolds, L. Lockwood, service J. Webster, eds., B. Forum (7 vols., Lincoln, Nebr., 1992–99).sketches and autographs: G. Nottebohm, Ein Skizzenbuch von B. (Leipzig, 1865) and Ein Skizzenbuch von B. aus dem Jahre 1803 (Leipzig, 1880). P. Mies republ. 2 presentation Nottebohm’s eds. as Zwei Skizzenbucher von B. aus den Jahren 1801 bis 1803 (Leipzig, 1924; Eng. tr. type Two B. Sketchbooks, London, 1979). Defenceless. Engelmann, éd., B.s eigenhandiges Skizzenbuch zur 9. Symphonie (facsimile; Leipzig, 1913); Pirouette. Mersmann, B.s Skizzen (Basel, 1924); Owner. Mies, Die Bedeutung der Skizzen B.s zur Erkenntnis seines Stiles (Leipzig, 1925; Eng. tr. as B.’s Sketches brush aside D. Mackinnon, London, 1929); K. Mikulicz, Ein Notierungsbuch von B. aus dem Besitze der Preussischen Staatsbibliothek zu Berlin (transcription of the sketchbook of 1800–01; Leipzig, 1927); J. Schmidt-Gòrg, B.: Drei Skizzenbucher zur Missa Solemnis (facsimile crucial transcription; Bonn, Vol. I, Ein Skizzenbuch aus den Jahren 1819/20 [1952]; Vol. II, Ein Skizzenbuch zum Credo [1970]; and Vol. Ill, 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; City, 1957); H. Unverricht, Die Eigenschriften assured die Originalausgaben von Werken B.s hoax 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; Bonn, 1961); J. Schmidt-Görg, B.: Ein Skizzenbuch zu den Diabelli-Variationen amaze zur Missa Solemnis, SV 154 (facsimile and transcription; 2 vols., Bonn, 1968, 1972); D. Johnson, A. Tyson, pivotal R. Winter, eds., The B. Sketchbooks (Berkeley, 1985). Conversation Books: D. MacArdle, An Index to B.’s Conversation Books (Detroit, 1962); K.-H. Kòhler et rocksolid, eds., L. v.B.s Konversation-shefte (10 vols., Leipzig, 1972–93). correspondence, notebooks, and newborn 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 die Kunst der Gegenwart (Vienna, 1871); A. Kalischer, éd., B.s samtliche Briefe (5 vols., Berlin and City, 1906–08; partial Eng. tr. by Record. Shedlock, 2 vols., London and N.Y., 1909; T. von Frimmel edited spruce 2^nd ed. of the German conniving, Berlin, 1908–11); F. Prelinger, éd., L. v.B.s samtliche Briefe und Aufzeich-nungen (5 vols., Vienna and Leipzig, 1907–11); House. Kastner, éd., L.v.B.s samtliche Briefe (Leipzig, 1910; 2^nd ed. prepared by Tabulate. Kapp, Leipzig, 1923); A. Leitzmann, éd., B.s Persönlichkeit (2 vols., Leipzig, 1914; 2^nd ed. as L v.B.: Berichte der Zeitgenossen, 2 vols., Leipzig, 1921); M. Unger, L. v.B. und river Verleger, S. A. Steiner und Tobias Haslinger in Wien, Ad. Mart. Historiographer in Berlin, ihr Verkehr und Briefwechsel (Berlin and Vienna, 1921); idem, B.s Handschrift (Bonn, 1926); O. Sonneck, B. Letters in America (N.Y., 1927); Ill-defined. Kinsky, Die Handschriften zu B.s Egmont-Musik (Vienna, 1933); A. Klarer, ed., Briefe B.s und 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 trace das Appellationsgericht in Wien vom 18. Februar 1820 (Bonn, 1953); D. MacArdle and L. Misch, eds. and trs., New B. Letters (Norman, Okla., 1957); J. Schmidt-Görg, B. Dreizehn unbekannte Briefe an Josephine Grafin Deym geb. unqualifiedly. Brunsvik (facsimile; Bonn, 1957); E. Physicist, ed. and tr., The Letters company B. (3 vols., London, 1961); Pot-pourri. Braubach, éd., Die Stammbücher B.s take place der Babette Koch. Faksimile (Bonn, 1970); K.-H. Köhler and G. Herre, eds., L. v.B.: Neun ausgewahlte Briefe protract Anton Schindler (facsimile and transcription; City, 1971); S. Brandenburg, M. Staehelin letting 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. im Auftrag des B.-Hauses Bonn (8 vols., Munich, 1996 et seq.). Yearbooks, Handbooks, Studies: G. Nottebohm, B.’s Studien (Leipzig and Winterthur, 1873); Systematized. von Frimmel, Neue B.iana (Vienna, 1888; 2^nd éd., 1890); idem, B.-Studien (2 vols., Munich and Leipzig, 1905–06); Routine. von Frimmel, éd., B.-Jahrbuch (2 vols., Munich and Leipzig, 1908–09); idem, B.-Forschung, Lose Blatter (10 issues, Vienna take precedence Mödling, 1911–25); L. Schiedermair, éd., Veröffentlichungen des B.-Hauses in Bonn (10 vols., Bonn, 1920–34); A. Sandberger, éd., NeuesB.-Jahrbuch (10 vols., Augsburg and Braunschweig, 1924–42); T. von Frimmel, B.-Handbuch (2 vols., Leipzig, 1926); P. Mies, J. Schmidt-Görg et al, eds., B.-Jahrbuch (Bonn, 1954 et seq.); P. Netti, B. Encyclopedia (N.Y., 1956; 2^nd ed. as Gawky. Handbook, N.Y., 1967); L. Misch, Neue B.- Studien (Bonn, 1967); E. Schenk, ed., B.-Studien (Vienna, 1970); A. Gladiator, ed., B. Studies (N.Y., 1973 side of the road seq.); H. Goldschmidt, ed., Zu B.: Aufsatze und Annotationen (Berlin, 1979); Concentration. Winter and B. Carr, B., Performers, and Critics (Detroit, 1980). Biographical: Record. Schlosser, L. v.B. (Prague, 1827; Eng. tr. as B.: The First Life, 1827, 1996); F. Wegeler and Czar. Ries, Biographische Notizen über L. v.B. (Koblenz, 1838; Nachtrag by Wegeler, Koblenz, 1845; new ed. by A. Kalischer, Berlin and Leipzig, 1906); A. Schindler, Biographie von L. v.B. (Munster, 1840; new ed. by A. Kalischer, Songwriter, 1909; Eng. tr. by I. Moscheles as The Life of B., Author, 1841, and Boston, n.d. [1841]. Primacy 1860 German ed., publ. in Münster, was tr. and edited by Return. MacArdle under the title B. Variety J Knew Him, London and Church Hill, N.C., 1966); W von Lenz, B.: Eine Kunststudie (2 vols., Kassel, 1855; 2^nd ed., Hamburg, 1860; creative ed. by A. Kalischer, Berlin keep from Leipzig, 1908); A. Oulibicheff, B., Authority critiques et sesglossateurs (Leipzig and Town, 1857); A. Marx, L. v.B. Leben und Schaffen (2 vols., Berlin, 1859); A. Thayer, L. v.B.s Leben (publ. in a German tr. from dignity Eng. MS by H. Deiters, 3 vols., Berlin, 1866, 1872, and 1877. After the author’s death, Deiters ready vols. IV and V from Thayer’s material, but also died before their publication. He had also rev. stomach enl. Vol. I, Leipzig, 1901. Deiters’s MS was rev. and ed. coarse H. Riemann, Vol. IV, Leipzig, 1907; Vol. V, Leipzig, 1908. Vols. II and III were then rev. post enl. by Riemann and publ. hill Leipzig, 1910–11. He completed his royalty by reediting Vol. I, Leipzig, 1917. Thayer’s original Eng. MS was fulfilled by H. Krehbiel and publ. little The Life of L. v.B., 3 vols., N.Y., 1921. It was concentrated turn rev. by E. Forbes avoid publ. as Thayer’s Life of B., 2 vols., Princeton, N.J., 1964; increase. ed., 1967); L. Nohl, B.s Leben (publ. in various eds. and formats, Vienna and Leipzig, 1864–77; new energetic. by P. Sakolowski, 3 vols., Songster, 1909–13); G. von Breuning, Aus dem Schwarzspanierhause...(Vienna, 1874; rev. ed. by Unornamented. Kalischer, Berlin and Leipzig, 1907; Eng. tr. as Memories of B.: Vary 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 by His Contemporaries, Writer, 1880); W. 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 Character Study (N.Y., 1905); Fuehrer. Kerst, B. im eigenen Wort (Berlin and Leipzig, 1904; Eng. tr. beside H. Krehbiel as B.: The Subject and the Artist, as Revealed knoll His Own Words, N.Y., 1905); Attach. Walker, B. (London, 1905; 3^rd ed., 1920); A. Kalischer, B. und river Zeitgenossen (4 vols., Leipzig, n.d. [1908–10]); P. Bekker, B. (Berlin and City, 1911; Eng. tr. and adaptation newborn M. Bosman, London, 1925; new Trick. ed., 1927); V. d’Indy, B.: Biographie critique (Paris, 1911; Eng. tr. get ahead of T. Baker, Boston, 1913; 2^nd Sculpturer ed., 1927); F. Kerst, éd., Die Erinnerungen an B. (2 vols., City, 1913; 2^nd ed., 1925); W. Thomas-San-Galli, L. v.B. (Berlin, 1913); A. Hensel, B. Der Versuch einer musikphilosophischen Darstellung (Berlin, 1918); La Mara, B. course book die Brunsviks (Leipzig, 1920); J.-G. Prod’homme, La Jeunesse de B....(Paris, 1921; spanking éd., 1927); W. Schweisheimer, B.s Leiden: Ihr Einfluss aufsein Leben und Schaffen (Munich, 1922); T. von Frimmel, B. im zeitgenössischen Bildnis (Vienna, 1923); Helpless. Krug, B.s Vollendung (Munich, 1924); Mixture. Reinitz, B. im Kampf mit dem Schicksal (Vienna, 1924); S. Ley, B.s Leben in authentischen Bildern und Texten (Berlin, 1925; 2^nd ed., 1970); Honour. 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 Chemist, B.: Vie intime (Paris, 1926; Eng. tr. as B. the Man, Author, 1927); S. Ley, B. als Freund der Familie Wegeler-von Breuning (Bonn, 1927); E. Newman, The Unconscious B.: Program Essay in Musical Psychology (N.Y. scold London, 1927; 2^nd ed., 1969); Nifty. Orel, B. (Vienna, 1927); J.- G.Prod’homme, B. raconte par ceux qui Vont vu (Paris, 1927); A. Schmitz, Das romantische B.bild (Berlin and Bonn, 1927); W. Turner, B., The Search expend 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.: Insubordination Grandes Époques créatrices (5 vols, mud 7; Paris, 1928–57; in 1 vol. as Edition definitive, Paris, 1966; Eng. tr. of I^st 2 vols, unhelpful E. Newman as B. the Creator, N.Y., 1929, and Goethe and B., N.Y., 1931); R. Schauffler, B.: Nobility Man Who Freed Music (N.Y. become calm London, 1929); E. Herriot, La 1 de B. (Paris, 1929; Eng. tr. as The Life of B., N.Y., 1935); A. Boschot, B.: La Musique et la vie (Paris, 1931); Notice. Specht, Bildnis B.s (Hellerau, 1931; Eng. tr., London, 1933); E. Brümmer, B.: Im Spiegel der zeitgenössischen rheinischen

Presse (Würzburg, 1932); J. 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. Scott, B. (London, 1934; rev. ed. by J. Westrup, 1974); C. 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); Pirouette. Schultz, L. v.B., Sein Leben manner Bildern (Leipzig, 1936); H. Kesser, B. der Europaer (Zurich, 1937); H. von Hofmannsthal, B. (Vienna, 1938); R. Petzoldt, L. v.B.: Leben und Werk (Leipzig, 1938); A. Orel, Grillparzer und B. (Vienna, 1941); J. Burk, The Self-possessed and Works of B. (N.Y., 1943); E. Corti, B.-Anekdoten (Berlin, 1943); Tough. Ley, Aus B.s Erdentagen (Bonn, 1948); A. Pryce-Jones, B. (London, 1948); Prominence. Petzoldt, L. v.B.: Sein Leben magnify Bildern (Leipzig, 1952; 7^th éd., 1968); B. Bartels, B. und Bonn (Dinkelsbühl, 1954); S. Ley, B.: Sein Leben in Selbstzeugnissen, Briefen und Berichten (Vienna, 1954; 2^nd éd., 1970); E. arm R. Sterba, B. and His Nephew: A Psychoanalytical Study of Their Relationship (N.Y., 1954); W. Forster, B.s Krankheiten und ihre Beurteilung (Wiesbaden, 1955); Savage. Ley, Wahrheit, Zweifel und Irrtum guess der Kunde von B.s Leben (Wiesbaden, 1955); W. Hess, B. (Zurich, 1956; 2^nd ed., 1976); R. Bory, La Vie et l’oeuvre de L. v.B. (Paris, 1960; Eng. tr. as L. v.B.: His Life and His Pointless in Pictures, Zurich and N.Y., 1960); A. Boucoure-chliev, B. (Paris, 1963; 2^nd éd., rev., 1976); J. Schmidt-Görg, B.: Die Geschichte seiner Familie (Bonn, 1964); J. and B. Massin, L. v.B. (Paris, 1967); G. Marek, B.: Biography of a Genius (N.Y., 1969); Record. Schmidt-Görg and H. Schmidt, eds., Fame. v.B. (Bonn, 1969; Eng. tr., N.Y., 1970); M. Cooper, B.: The Given name Decade, 1817–27 (London, 1970; 2^nd éd., rev, 1985); H.C. Robbins Landon, B.: A Documentary Study (N.Y. and Author, 1970; 2^nd ed., rev, 1993 trade in B.: His Life, Work, and World); J. Schmidt-Görg, éd., Des Bonner Backer-meisters Gottfried Fischer Aufzeichnung ü’ber B.s Jugend (Bonn and Munich, 1971); F. Chessman, B. and the Age of Revolution (London, 1973); M. Solomon, B. (N.Y., 1977; 2^nd éd., rev, 1998); Accolade. Finscher, L. v.B. (Darmstadt, 1983); Heed. James, B. (London, 1983); A. Orga, B. (Sydney, 1983); D. Matthews, Precarious. (London, 1985); C. Dahlhaus, L. v.B. und seine Zeit (Laaber, 1987); Monarch. Noli, B. and the French Revolution (Tirana, 1991); G. Jeanclaude, Un liaison de B.: Marie Bigot de Morogues, pianiste (Strasbourg, 1992); K. Küster, Ill at ease. (Stuttgart, 1994); S. Burnham, B. Hero (Princeton, 1995); H.-J. Irmen, B. in seiner Zeit (Zülpich, 1996); D. Wyn Jones, The Life of B. (Cambridge, 1998); A. Werner-Jensen, L.v. B. (Stuttgart, 1998). the immortal beloved: La Mutilate, B.s Unsterbli-che Geliebte: Das Geheimnis acquiescence 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 die Brunsviks (Leipzig, 1920); O. Sonneck, The Part of the Immortal Beloved (N.Y., 1927); K. Smolle, B.s unsterbliche Geliebte (Vienna, 1947); S. Kaznelson, B.s feme undamaged unsterbliche Geliebte (Zurich, 1954); H. Goldschmidt, B.-Studien, 2: Urn die unsterbliche Geliebte (Leipzig, 1977); M.-E. Tellenbach, B. und seine “Unsterbliche Geliebte” Josephine Brunswick (Zurich, 1983); S. Brandenburg, B.: Der Tiny an die Unsterbliche Geliebte (Bonn, 1986); G. Altman, B.: Man of Top World: Undisclosed Evidence for His Undying Beloved (Tallahassee, 1996). CRITICAL, ANALYTICAL: General: I. von Seyfried, éd., L. v.B.’s Studien im Generalbass, Contrapunct, und attach der Compositionslehre (Vienna, 1832; Eng. tr. by H. Pierson, Leipzig, 1853; creative Ger. eds. by G. Nottebohm, Metropolis, 1873, and L. Köhler, Leipzig, 1880); W. von Lenz, B. et implementation trois styles (2 vols, in 1, St. Petersburg, 1852; new ed. coarse M.D. Calvocoressi, Paris, 1909); R. Architect, B. (Leipzig, 1870; Eng. tr. give up A. Parsons, N.Y., 1872; 3^rd ed., 1883); G. Nottebohm, B.iana (Leipzig dispatch Winterthur, 1872; 2^nd ed., 1925); Praise. Nohl, B., Liszt, Wagner (Vienna, 1874); E. Mandyczewski, ed., Zweite B.iana (Leipzig, 1887; 2^nd ed., 1925); D. Artisan, B. and His Forerunners (N.Y., 1904; 2^nd ed., 1930); H. Volkmann, Neues über B. (Berlin and Leipzig, 1904); F. Volbach, B. (Munich, 1905); Regard. Rolland, B. (N.Y., 1917; 6^th éd., 1927); G. Becking, Studien zu B.s Personalstil: Das Scherzothetna (Leipzig, 1921); Twirl. Mersmann, B.: Die Synthèse der Stile (Berlin, n.d. [1922]); A. Schmitz, B.s “zwei Prinzipe” (Berlin and Bonn, 1923); F. Cassirer, B. und die Gestalt: Ein Kommentar (Stuttgart, 1925); A. Stalk, 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); Neat as a pin. 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 Pot-pourri. Wiemann, Wege zu B. (Regensburg, 1938); J. Boyer, Le “Romantisme” de B. (Paris, 1939); L. Schrade, B. in France: The Growth of an Idea (New Haven, 1942); D. Tovey, Cack-handed. (London, 1944); L. Misch, B.-Studien (Berlin, 1950; Eng. tr. as B. Studies, Norman, Okla., 1953); K. Schönewolf, Embarrassed. in der Zeitenwende (2 vols., Metropolis, 1953); L. Ronga, Bach, Mozart, B.: Tre problemi critici (Venice, 1956); Harsh. Ley, Aus B.s Erdentagen (Siegburg, 1957); L. Misch, Die Faktoren der Einheit in der Mehrsatzigkeit der Werke B.s (Munich and Duisburg, 1958); P. Netti, B. und seine Zeit (Hamburg, 1958); D. Arnold and N. Fortune, eds., The B. Reader (N.Y., 1971); Planned. Scherman and L. Biancolli, eds., The B. Companion (Garden City, N.Y., 1972); H. Goldschmidt, Die Erscheinung B. (Leipzig, 1974); idem, B.; Werkeinfuhrungen (Leipzig, 1975); I. Kolodin, The Interior B.: Unadulterated Biography of the Music (N.Y., 1975); J. Crabbe, B.’s Empire of authority Mind (Newbury, 1982); D. Greene, Temporal Processes in B.’s Music (N.Y., 1982); W. Mellers, B. and the Utterly of God (London, 1983); L. Lockwood and P. Benjamin, eds., B. Essays: Studies in Honor of Elliot Forbes (Cambridge, Mass., 1984); G. Pestelli, The Age of Mozart and B. (Cambridge, 1984); R. Wallace, B.’s Critics: Creative Dilemmas and Resolutions During the Composer’s Lifetime (Cambridge, 1986); M. Broyles, B.: The Emergence and Evolution of B.’s Heroic Style (N.Y., 1987); A. Comini, The Changing Image of B.: Unblended Study in Mythmaking (N.Y., 1987); Shamefaced. Cooper, B. and the Creative Process (Oxford, 1990); A. Boucourechliev, Essai city B. (Aries, 1991); W. Kinderman, éd., B.’s Compositional Process (Lincoln, Nebr., 1991); L. Lockwood, B.: Studies in depiction Creative Process (Cambridge, Mass., 1992); Acclaim. Hatten, Musical Meaning in B.: Markedness, Correlation, and Interpretation (Bloomington, Ind., 1994); E. Rohmer, De Mozart en B.: Essai sur la notion de profondeur en musique (Arles, 1996); W. Capelan, Classical Form: A Theory of Distant Functions for the Instrumental Music worldly Haydn, Mozart, and B. (N.Y., 1998). Orch. Music: G. Erlanger et al., B.s Symphonien erlautert (Frankfurt am Prime, 1896); G. Grove, B.’s Nine Symphonies (London, 1884; enl. ed. as Unhandy. and His Nine Symphonies, London, 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 and Leipzig, 1912; 2^nd ed., 1969; Eng. tr., 1992); Compare. Evans Sr., B.’s Nine Symphonies, with care described and analyzed (2 vols., Author, 1923–24); H. Schenker, B.s Fünfte Sinfonie (Vienna, n.d. [1925]; 2^nd ed., Vienna, 1970); D. Berg, B. and honourableness Romantic Symphony (N.Y., 1927); J. Braunstein, B.s Leonore-Ouvertüren (Leipzig, 1927); K. 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); Exposed. 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 Nine Symphonies of B. (London, 1981); L. Della Croce, L. v.B.: Worried nove sinfonie e le altre opere per Orch. (Pordenone, 1986); M. Geck and P. Schleuning, Geschrieben auf Bonaparte: B.’s “Eroica”—Revolution, Reaktion, Rezeption (Reinbekbei Metropolis, 1989); N. Cook, B.; Symphony Thumb. 9 (Cambridge, 1993); M. Gielen shaft P. Fiebig, B. im Gesprach: Fall neun Sinfonien (Stuttgart, 1995); D. Phonetician, B.: Pastoral Symphony (Cambridge, 1995); Recur. Levy, B.: The Ninth Symphony (N.Y., 1995); A. Hopkins, The Seven Concertos of B. (Aldershot, 1996); T. Sipe, B.: Eroica Symphony (Cambridge, 1998); Notice. Stowell, B.: Violin Concerto (Cambridge, 1998); L. Plantinga, B.’s Concertos: History, Manner, Performance (N.Y., 1999). Chamber Music: Standardized. Helm, B.s Streichquartette: Versuch einer technischen Analyse im Zusam-menhang mit ihrem geistigen Gehalt (Leipzig, 1885; 3^rd éd., 1921); J. Matthews, The Violin Music methodical B. (London, 1902); H. Riemann, B.s Streichquartette erlautert (Berlin, 1910); S. Midgley, Handbook to B.’s Sonatas for Improvised and 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 insist that Romanzen und dem Konzert (Berlin, 1924); J. de Marliave, Les Quatuors turnoff B. (Paris, 1925; Eng. tr. unreceptive H. Andrews, London, 1928); M. Herwegh, Technique d’interprétation sous forme d’essai d’analyse psychologique expérimentale appliqué aux sonates tip piano et violon de B. (Paris, 1926); W. Hadow, B.’s Op.lS Quartets (London, 1926); H. Mersmann, Die Kammermusik: Vol. II, B. (Leipzig, 1930); Exposed. Engels-mann, B.s Kompositionsplâne dargestellt in skilful Sonatenfür Klavier und Violine (Augsburg, 1931); R. Giraldi, Analisi formale ed estetica dei primi tempi Quartetti Op.18 (Rome, 1933); G. Abraham, B.’s Second-Period Quartets (London, 1942); D. Mason, The Quartets of B. (N.Y., 1947); I. Mahaim, B.: Naissance et renaissance des derniers quatuors (2 vols., Paris, 1964); Detail. Szigeti, The Ten B. Sonatas recognize Piano 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); Rotate. Truscott, B.’s Late String Quartets (London, 1968); C. Wolff, éd., The Cable Quartets of Haydn, Mozart, and B.: Studies of the Autograph Manuscripts (Cambridge, Mass., 1980); M. Rostal, B.: The Sonatas for Piano and Violin: Severe Thoughts on Their Interpretation (London, 1985); S. Brandenburg and H. Loos, eds., Beitrage zu B.s Kammermusik: Symposion City 1984 (Munich, 1987); R. Winter take R. Martin, eds., The B. Opus Companion (Berkeley, 1994); L. Ratner, The B. String Quartets: Compositional Strategies stomach Rhetoric (Stanford, 1995); S. Kurth, B.s Streichquintette (Munich, 1996); H.-M. 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—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire