Difference between revisions of "MuseData: Ludwig van Beethoven"

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= Chamber Repertory =
 
= Chamber Repertory =
  
== String Quartets ==
+
== String Quartets and Quintets==
 
Beethoven's string quartets have been perennially popular from his time to our own. They fall into four groups. The early quartets (Op. 18) leave give distinct evidence of the composer's promise and already show his originality. The "Rasoumovsky" quartets Op. 59 (nicknamed for their dedicatee) come from one of Beethoven's most fertile and productive periods. Each is a classic in its own right. Collectively they show enormous strides in Beethoven's development and imagination. Opp. 74 and 95 continue in the same directions.  
 
Beethoven's string quartets have been perennially popular from his time to our own. They fall into four groups. The early quartets (Op. 18) leave give distinct evidence of the composer's promise and already show his originality. The "Rasoumovsky" quartets Op. 59 (nicknamed for their dedicatee) come from one of Beethoven's most fertile and productive periods. Each is a classic in its own right. Collectively they show enormous strides in Beethoven's development and imagination. Opp. 74 and 95 continue in the same directions.  
  
 
What is surprising is that Beethoven composed so few  quartets between 1806 and 1825. He was of course busy composing many other works during the first part of that period. Chamber music was usually written to fulfill a specific commission, and in Beethoven's time typically written to order. The political vicissitudes of Austria, particularly in its battles with Napoleonic France, were periodically inhibiting. Beethoven's personal battle with his progressive hearing difficulties is usually considered the likely explanation for many otherwise inexplicable behaviors.  
 
What is surprising is that Beethoven composed so few  quartets between 1806 and 1825. He was of course busy composing many other works during the first part of that period. Chamber music was usually written to fulfill a specific commission, and in Beethoven's time typically written to order. The political vicissitudes of Austria, particularly in its battles with Napoleonic France, were periodically inhibiting. Beethoven's personal battle with his progressive hearing difficulties is usually considered the likely explanation for many otherwise inexplicable behaviors.  
 
  
 
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Revision as of 23:45, 27 December 2011

Ludwig van Beethoven (1770-1827) brought the symphony, the concerto, and the string quartet to heights not imagined by his musical predecessors or peers. Born in Bonn (Germany), he flourished in Vienna (Austria), where he moved in 1792. Soon famous as a pianist, his compositional style began to change course a decade later, when the first signs of his deafness began to appear. A decade after that (in 1812 and 1813), Beethoven suffered financially from the devaluation of Austrian currency. He also suffered emotionally from the illness of his brother and the resulting prospect (never fully realized) of becoming the guardian of his nephew Karl. Beethoven’s fortunes improved over the next few years, but his hearing continuously declined. The year 1822 saw the completion of what were to be his two final piano sonatas and the Missa Solemnis. The Ninth Symphony was begun in that year. Beethoven remained engaged with writing string quartets almost until his death.

Orchestral Repertory

Symphonies

Beethoven’s works were predominately for instruments, but among them there was immense variety of types and styles, ranging from 29 short piano pieces to his final choral symphony (the Ninth). His orchestral works and string quartets enjoy great currency today. Most of Beethoven’s nine symphonies and seven concertos make stellar contributions to their respective repertories.

Opus Title Composition
date
Publication
date
Data CCARH Score
(PDF)
Op. 21 Symphony No. 1 in C major 1799-1800 1801 sym1    full: 1, 2, 3, 4
Op. 36 Symphony No. 2 in D major 1801-1802 1804 sym2 full: 1, 2, 3, 4
Op. 55 Symphony No. 3 in E major ("Eroica") 1803 1806 sym3 full: 1, 2, 3, 4
Op. 60 Symphony No. 4 in B major 1807 1808 sym4 full: 1, 2, 3, 4
Op. 67 Symphony No. 5 in C minor 1807-1808 1809 sym5 full: 1, 2, 3, 4
Op. 68 Symphony No. 6 in F major 1808 1809 sym6 full: 1, 2, 3, 4, 5
Op. 92 Symphony No. 7 in A major 1811-1812 1816 sym7 full: 1, 2, 3, 4
Op. 93 Symphony No. 8 in F major 1812 1817 sym8 full: 1, 2, 3, 4
Op. 125   Symphony No. 9 in D minor 1822-1824 1826 sym9 full: 1, 2, 3, 4


Apart from No. 6, the “Pastoral”, which has five movements, and No. 9, which accumulates nineteen segments in its construction of a pyramid of sounds and textures, the symphonies are four-movement works beginning and ending with movements in relatively fast tempos. The second movement is typically slow and pensive. The third is a minuet or scherzo employing a common highly patterned structure.

For a range of multimedia tools, printable scores, and re-editable musical data, see “The Nine Symphonies of Beethoven: A Digital Edition” at http://www.ccarh.org/publications/beethoven-symphonies/

The first collected edition of the nine symphonies was published in Leipzig by Breitkopf & Härtel between 1862 and 1865. These are downloadable from the Munich Digitalization Center at the links indicated below:

    No. 1     [1]
    No. 2     [2]
    No. 3     [3]
    No. 4     [4]
    No. 5     [5]
    No. 6     [6]
    No. 7     [7]
    No. 8     [8]
    No. 9     [9]

Concertos

Although Beethoven’s concertos were largely composed within a single decade, several are hallmarks of the repertory. Celebrated for their balance of many musical factors in intricate ways and for the uniqueness of each work, they have been popular from Beethoven’s own time (during which he usually appeared in the first performance) to our own. Concentrated though the period of their composition may be, the piano was beginning to become a more robust instrument than its parent, the fortepiano. It was increasingly capable of a dramatic extensions to dynamic contrast and pitch registers. Beethoven exploited these capabilities in both his concertos and his piano sonatas.

Chamber Repertory

String Quartets and Quintets

Beethoven's string quartets have been perennially popular from his time to our own. They fall into four groups. The early quartets (Op. 18) leave give distinct evidence of the composer's promise and already show his originality. The "Rasoumovsky" quartets Op. 59 (nicknamed for their dedicatee) come from one of Beethoven's most fertile and productive periods. Each is a classic in its own right. Collectively they show enormous strides in Beethoven's development and imagination. Opp. 74 and 95 continue in the same directions.

What is surprising is that Beethoven composed so few quartets between 1806 and 1825. He was of course busy composing many other works during the first part of that period. Chamber music was usually written to fulfill a specific commission, and in Beethoven's time typically written to order. The political vicissitudes of Austria, particularly in its battles with Napoleonic France, were periodically inhibiting. Beethoven's personal battle with his progressive hearing difficulties is usually considered the likely explanation for many otherwise inexplicable behaviors.

 Opus  Title  Date CCARH score
(PDF)
B&H score
(PDF)
Op. 18, No. 1    String Quartet No. 1 in F  Major 1798-1800     full [10]
Op. 18, No. 2 String Quartet No. 2 in G  Major 1798-1800 full [11]
Op. 18, No. 3 String Quartet No. 3 in D  Major 1798-1800 full [12]
Op. 18, No. 4 String Quartet No. 4 in C  Minor 1798-1800 full [13]
Op. 18, No. 5 String Quartet No. 5 in A  Major 1798-1800 full [14]
Op. 18, No. 6 String Quartet No. 6 in B Major 1798-1800  full [15]
Op. 59, No. 1 String Quartet No. 7 in F  Major ("Razumovsky") 1805-6 full [16]
Op. 59, No. 2 String Quartet No. 8 in E  Minor ("Razumovsky") 1805-6 full [17]
Op. 59, No. 3 String Quartet No. 9 in C  Major ("Razumovsky") 1805-6 full [18]
Op. 74 String Quartet in E Major ("The Harp") 1809 [ ] [19]
Op. 95 String Quartet in F  Minor 1816 [ ] [20]
Op. 127   String Quartet No. 12 in E Major 1825 full [21]
Op. 130 String Quartet in B Major 1827 [ ] [22]
Op. 131 String Quartet in C Minor 1827 [ ] [23]
Op. 132 String Quartet in A  Minor 1827 [ ] [24]
Op. 133 Grosse Fuge (to follow No. 130) in B Major 1827 [ ] [25]
Op. 135 String Quartet in F  Major 1827 [ ] [26]

Arrangements

Beethoven was a frequent arranger of his own music. Apparently there was more demand for quartets than there were quartets being produced. In 1802 Beethoven arranged his piano sonata Op. 14, No. 1 as a string quartet in F Major for Baroness Josefine von Braun. A third-party arrangement of the piano trio Op. 1, No. 3 (corrected by Beethoven) appeared in Vienna and London in 1819.

Patronage

The quartets enjoyed the support of three highly discriminating patrons--Prince Lobkowitz for Opp. 18 and 74; Count Rasumovsky for Op. 59, and Archduke Rudolf for the Grosse Fuge Op. 133. Remaining patrons were well placed by less well known: Zmeskall von Domanovecz (Op. 95), Prince Nikolay Golitsïn (Opp. 127, 130, 132), Baron Joseph von Stutterheim (Op. 131), and Johann Wolfmayer (Op. 135).

Editions of Beethoven's Quartets

Like Beethoven's symphonies, Beethoven's string quartets were published between 1862 and 1865 by Breitkopf & Härtel in Leipzig. The rightmost column in the table above gives links to the digitized version of these prints.

String Quintets

Beethoven composed only two string quartets--Op. 29 in C Major (1802) and a posthumous works (also in C Major) that was published in Vienna in 1838. The latter survives only tangentially in a piano transcription.