Beethoven around 1801

No. 23 - March 6,  1799

XII Variation sur le Theme: Ein Mädchen oder Weibchen, pour le Pianoforte, avec un Violoncelle oblige, compose par L. van Beethoven. No. 6 a Vienne chez F. Traeg. (Prix 12 Gr.)

VIII Variations sur le Theme: Mich brennt' ein heißes Fieber, pour le Pianoforte, compose par L. van Beethoven. No. 7. a Vienne chez F. Traeg. (Prix 11 Gr.)

That Herr van Beethoven is a skilled pianist, is known, and if it were not known, one could discern it from these variations.  However, whether he is an as fortunate composer, is a question that, judging from the piece at hand, might be answered with "yes", with more difficulty.  With this, the rev[iever] does not want to say that some of these variations have not pleased and he gladly admits that those on the theme, Mich brennt' ein heißes Fieber turned out better for Hr. B. than M o z a r t ' s did that the latter had written in his youth.  However, with respect to his variations on the first theme, Hr. B. was less lucky, where he, for example, in the modulations, allows himself a jerkiness and hardness that is less than beautiful.  One should particularly pay attention to Var. XII, where he, in broken chords, modulates from F Major to D Major:  

and where he, all of a sudden, after the theme has been heard in this key, returns to F Major in this manner:  

I can look at and listen to such transitions in any way I want, they remain dull and are and remain so all the more, the more pretentious and announced they are supposed to be.  In any event--what I wanted to tell the author of the above pieces not alone and not as the first thing--these days, such a large number of variations are produced, and, unfortunately, also printed, without their authors' knowing what good variations are actually all about.  May I give them some advice, as well as it can be given here, briefly?  Well, he who has intellect and skill at writing something musical that is good, at all--for, without those traits, one merely remains a sounding piece of metal or a sounding bell--he should learn from Jos. H a y d n how to choose his theme.  The themes of this master are, first and foremost, a) simple and easy to grasp, b) beautifully rhythmical, c) not common, and suitable for further melodic and harmonic elaboration.  If one wants to a) have instruction on how such a well-chosen theme should be varied (as far as instruction on something like this can even be given): then one should, first and foremost, study a little work that, as far as I know, has not become well-known, and that certainly not by its merit--Vogler's Judgment of F o r k e l ' s Variation on the English Folk Song  God save the King, Frankfurt, published by Varrentrappu Wenner. One should not consider this treatise a common review:  its equally genial and learned author not only shows what has to be criticized in these variations, not only, how it could be done better, but also, why it could be done better and why it should be done precisely in this way and not in any other.  ---  M. . . .

 

May 1799

The Most Famous Pianists of Vienna

" . . .  After we have, as it should be, featured the ladies first, let us discuss the gentlemen.  Among these, B e e t h o v e n  and  W ö l  f f l  create the most excitement.  The opinions as to the advantages of the one over the other are divided here:  however, it appears as if the larger party is tending towards the latter.  I want to try to point out the characteristics of both, without taking part in the ensuing argument.    B e e t h o v e n  ' s   play is exceedingly brilliant, however, less delicate, and, at times, tends to be somewhat unclear.  He shows himself at his best advantage in free improvisation.  And here, it is really quite extraordinary with what lightness and at the same time firmness in the sequence of his ideas B. instantly varies every theme, and that not only in its figures (with which one ore the other virtuoso is quite lucky and can also create somewhat of a stir) but really  e x e c u t e s.  Since M o z a r t ' s death, who, in this, will always remain the non plus ultra, I have never found this kind of pleasure to the degree in which B. provided it.  In this, Wölffl is inferior to him.  However, Wölffl's advantages are that he, having at his disposal a thorough musical learnedness and true dignity in composition, performs movements that nearly appear impossible to execute, with a lightness, precision and distinctness that is truly amazing:  (of course, in this, the large structure of his hands is an advantage), and his performance is purposeful, everywhere, pleasing and caressing in the Adagio, equally far from the extremes of sparseness and overcrowding--this is why one can not only admire him but also enjoy him.  As is known, he is touring, at present.  That  W ö l f f l, through his unassuming, pleasing behavior, gains over B e e t h o v e n with his sometimes haughty manner--is very natural.  . . . "

 

No. 34 - May 22, 1799

Grand Trio pour le Pianoforte, avec une Clarinette ou Violon et Violoncelle, comp. et dedie a M. la Comtesse de Thun, par L. van Beethoven. Oeuv. XI. a Vienne chez Mollo et Comp. (2 Fl.)

This trio which, in part, is not exactly easy, but still more flowing than many other pieces by this author, makes for a good ensemble on the fortepiano, with the accompanying instruments.  The author, with his unusual harmonic knowledge and love of the more serious movement, could give us many good works that would leave the bland everyday fare by often famous men far behind, if he would only write more n a t u r a l  than forced pieces.  

No. 36 -  June 5,  1799

The Sonate per il Clav. o Fortepiano con un Violino, comp. e dedicate al Sig. Antonio Salieri, dal S. Luigi van Beethoven. Op. 12. (3 Fl. 30 Xr.)

The rev[iever] who, heretofore, has not known the piano works of this author must, after he has worked himself through this quite unique sonata that is burdened with peculiar difficulties, admit that, after his diligent and very strenuous playing of the same, he felt like someone who, with a genius of a friend, meant to walk through an enticing forest, yet is held up by unfriendly thicket very frequently and finally emerges on the other side of it, exhausted and without joy.   It is undeniable, Herr van Beethoven is walking along his own path!  Learned, learned and ever more learned, and no nature, no song!  Well, to be precise, there is only learned mass, without any good method:  an awkwardness for which one feels little interest; a search for strange modulation, a  despising of any natural transition, a piling up of difficulty upon difficulty, so that one loses all patience with it and all joy.   Already another rev[iever]  (M.Z. No. 23) has almost said the same, and rev. has to completely agree with him.--However, this work should not be entirely discarded.  It has its merit and can particularly be useful as a school for already very skilled pianists. There are always those who love the overly difficult in invention and combination, which one could describe as awkward, and if they play these sonatas with all precision, they can, in addition to the pleasure of self-assuredness, also have pleasure in the pieces, themselves.--If Mr. B. were only to deny himself more and walk along the path of nature more, then he could, with his talent and diligence, give us many good works for his instrument which he seems to have mastered so extraordinarily.   

No. 38 - June 19, 1799

X Variations pour le Clavecin sur le Duo: la stessa, la stessima, par L. van Beethoven. No. 8 a Vienne, chez Artaria. (1 Fl.)

With these, one can not be satisfied, at all. How stiff they are and how contrived and what unpleasant passages are in them, in which hard tirades in continuing half-tones against the bass create an ugly relationship and vice versa.  No, it is true, Mr. B. might be able to improvise, but he can not write variations, very well.  

No. 2 - October 9, 1799

Trois Sonates pour le Clavecin ou Pianoforte, comp. et dediee a Mad. la Comtesse de Browne nee de Vietinghoff par Louis van Beethoven. Oeuv. 10. a Vienne chez Jos. Eder. (3 Fl. 30 Xr.)

It can not be denied that Mr. v. B. is a man of genius who has originality and who certainly goes his own way.  Moreover, his unusual thoroughness in the higher art of writing and his own, extraordinary power on the instrument for which he writes, secure him the rank of one of the best composers of piano music and of one of the best pianists of our time.  However, his wealth of ideas, which his rising genius can usually not let go as soon as it gets hold of a topic it considers worthy of elaborating on, often causes him to pile thoughts and ideas upon each other in wild fashion and to, at times, group them in a somewhat bizarre manner in such a way that through it, not very seldom, a dark artificiality is produced that lends itself rather to the disadvantage than to the advantage of the whole.   Imagination, such as B e e t h o v e n  has it in a not common fashion, and that supported by such thorough knowledge, is something very valuable and actually something indispensable for a composer who feels in himself the calling to becoming a great artist and who refuses to write superficial and overly popular works but who, rather, wants to create something that has a strong inner life and that would even invite the connoisseur to play it more often.  Alas, in all forms of art, there can occur an over-burdening that is caused by an urge to create a certain effect too often and also by an urge to display learnedness, as much as there is a kind of clarity and grace that, in spite of all thoroughness and variety of composition (this word is to be taken in its general artistic meaning) that can certainly hold its own.  Rev., who, after having become more accustomed to Hr. v. B e e t h o v e n 's manner, is beginning to value him more than in the beginning, can, therefore, not refrain from expressing the wish--and the work at hand which is much clearer and also more beautiful than other sonatas and piano works by him, although it is not missing anything in thoroughness, reaffirms this wish in him, all the more--that it may please this imaginative and inventive composer, to always let himself be guided by a certain economy in his works, which is always more satisfactory than the opposite.   There are few artists to whom one has to call out:  use your treasures more sparingly and economically!, for, not many of them have an over-abundance of ideas and a skill of combining them!  Therefore, this is less meant as direct criticism addressed at Hr. v. B., but rather as a well-meaning encouragement that, if it admonishes, on the one hand, also contains something honorable, on the other hand.   

As already indicated, this tenth collection, to the rev., appears to be worthy of much praise.  Good invention, serious, manly style (which, as far as the emotional basis is concerned, has some similarity to the emotional character expressed in Phil. Em. Bach's works, if one disregards the peculiar mannerisms of the day which is evading Bach's chopped style to a great degree), ideas that are well-connected, in an orderly fashion, in each part, a well-maintained character, difficulties that are not carried to the extreme, an entertaining management of harmony--raise these sonatas above many.  However, Hr. v. B. has to take care to avoid his, in part, too free writing style, the occurrence of unprepared intervals and his often harsh transitory notes (as, for example, on p. 3 and 43, which only a fast pace can make bearable), and he also should see to it that his movements do not, at times, remind one of organ works. 

However, the rev. wants to point out a beautiful idea that is contained in this work which has brought him a great deal of joy.  After the bass, in the last, very unique Rondo, has brilliantly accompanied a bound passage with sixteenths, this passage arrives in the seventh of A.  The bass takes up the echo of the previous phrase, canonically,   

after which the finale is carried out with a somewhat rough force, in sixteenths, in chromatic style, down and up, and in other figures, while the bass still remains with the previous, short phrases with which the rondo began. 

No. 20 -  February 12, 1800

Grande Sonate pour le Clav. ou F. P., comp. et dediee a son Altesse Monseign. le Prince de Lichnowsky, par Louis van Beethoven. Oeuv. 13. a Vienne chez Hofmeister. (1 Thl. 8 gr.)

Not without justification, this well-written sonata is called 'pathetique', since it certainly has a passionate character.  In the A-flat Major Adagio that should never be played in a dragging style and that is filled with beautifully-flowing melodiousness but also with modulation and good movement, the soul is wrapped in calm and comfort, out of which, however, it is re-awakened, and that in the dual meaning of the word, by the Rondo's first Allegro note, so that the main feeling on which the sonata is based is carried through, which gives it (the sonata) unity and inner life, thus, real aesthetic value.  If one can say something like this of a sonata--provided, as is the case here, that every other requirement of musical art has not remained un-fulfilled--is, obviously, a proof of its beauty.  The only thing that the reviewer would remark of a B e e t h o v e n  who can certainly be inventive, himself and bring something new if he wants, is, although it is not meant as a criticism, but rather only as a wish for more perfection, would be that the theme of the Rondo has too much of a reminiscence in it.  Of what?  The reviewer can not determine that, himself, but the idea is at least not new.

The Viennese public that, as is known, shows much enthusiasm for music and that also warmly supports it, must, indeed, be pleased with the fact that it can call many  excellent artists their own, to which, undoubtedly, Herr van Beethoven belongs of whom we hope that he will enrich us with many more products of his genius and diligence.

No. 24 - 12. März 1800

VIII Variations sur le Cl. ou F.P. sur le Trio: Tändeln und scherzen; de l'opera Soliman, comp. et dediees a Mad. la Comtesse de Browne, nee de Vietinghoff, par Louis van Beethoven, Nr. 10, a Vienne chez Hoffmeister. (16 gr.)

Light and pleasing, without, otherwise, featuring anything extraordinary.  No. 8 as Allegro Vivace has pleasantly imitated phrasing.  This can be said of these variations, and--not more, if one wants to be impartial.  A composer like  B e e t h o v e n  has spoiled us to expect great things.

Julius 1800.

Brief News

"The famous and, at present, perhaps greatest horn player of the world, Herr P u n t o (a native of Bohemia, his actual name is: Stich) is presently in Vienna.  Recently, he gave a musical academy, whereby he, first and foremost, excelled with a Sonata for Forte-piano and Horn, composed by  B e e t h o v e n, and played by the latter and Punto, which pleased so much that, in spite of the new theatre regulations, which forbid the D a  C a p o  and loud applause in the Court theatre, the virtuosos were, nevertheless, moved by loud applause, to start from the top and repeat the work after they had finished.-- . . . "

August 1801

Brief News

"Among the new works being published here, excellent works by B e e t h o v e n  (at Mollo's).  stand out.  Three quartets serve as sufficient proof of his art:  However, they have to be played very often and very well since they are very difficult to execute and are by no means popular." 

No. 35 - 26. May 1802

1) Sonate pour le Pianoforte avec un Violon compos. et ded. a Mons. le Comte Maurice de Fries Chambellan de S. M. I. et R. par Louis van Beethoven. Oeuvr. 23. a Vienne, chez Mollo et Comp. (Pr. 1 Guld. 50 Xr.)

2) Sonate pour le Pianoforte -- (wie oben). Oeuvr. 24.

It gives one much joy when, after one has gone through several  n e w l y  printed piano works and after one has, in most of them, found the same things over and over, only here and there spiced with a tentative new idea, one finally comes across something n e w l y  i n v e n t e d, as these two sonatas are.  Rev. counts them among the best that B. has written, and that really means among the best that are being written at this time.  The original, fiery and daring mind of this composer who, already in his early works, could not be overlooked by a keen observer, who, however, very likely did not find the friendliest reception everywhere, and that for the reason that he approached us in an unfriendly, wild, sinister and bleak manner, is now becoming clearer and clearer and, increasingly, tends to despise all excess, without, however, losing any of his character, and emerges ever more pleasantly.  And certainly, the stricter an artist like B. is against himself on the path of his own development, the less he strives to merely impress and to glorify himself, the more certain he will work to please the better music lovers and, at the same time, also further his own solid reputation.  In addition to strict order, clarity and execution that remains true to itself, these two sonatas excel among those that are known to the Rev. of this composer, also through their cheerful, yet, by no means, superficial Scherzos that are, very prudently, placed in the middle (of each work).  And finally both, and particularly the first one (Oeuvr. 23 a minor), by far not as difficult to execute as many earlier works by Beethoven, and therefore also recommendable to a larger public.  However, they have to be performed with character and with accuracy, and not rushed through superficially. 

No. 40 - 30. Junius 1802

1) Grande Sonate pour le Clavecin ou Fortepiano, composee et dediee a son Altesse Monseigneur le Prince Charles de Lichnowsky par Louis van Beethoven. Oeuvre 26. A Vienne, chez Jean Cappi sur la place St. Michel, No. 5. (Pr. 1 Pl. 40 Xr.)

2) Sonata quasi una Fantasia per il Clavicembalo o Pianoforte, composta e dedicata a sua Altezza la Signora Principessa Giovanna Lichtenstein, nata Langravia Fürstenberg, da Luigi van Beethoven. Opera 27. No. 1. In Vienna presso Giov. Cappi etc. (Pr. 1 Fl. 50 Xr.)

3) Sonata quasi una Fantasia per il Clavicembalo o Pianoforte composta e dedicata alla Damigella Contessa Giulietta Guicciardi, da Luigi van Beethoven. Opera 27. No. 2. In Vienna presso Giov. Cappi etc. (Pr. 1 Fl. 50 Xr.)

These are three compositions for the pianoforte with which Herr v. B. has recently enriched the exquisite collections of educated musicians and of skilled pianists.  Enriched--for they are true enrichment and belong to the few products of the present year that will hardly ever age, and of which, in particular, No. 3 can never age.  Rev. does not want to repeat what has, on another occasion, been said in praise of the newer Beethovenian compositions in this publication, by others and what can completely be applied to the works on hand and what is known to the class of music friends for whom B. writes and who can follow him and enjoy him; to the less refined or also to those to whom music is nothing but light amusement, these works would, indeed, be offered in vain.  Thus, the Rev. is left with nothing but the task of making a few remarks here.  In part, No. 1 appears to be somewhat too artificial.  However, this does not apply, at all, to the truly great, somber and wonderful harmony piece that the author, in order to prepare the player right from the beginning, has titled: Marcia funebre sulla morte d'un Eroe: after all, here, everything difficult and artful belongs to the expression and thus to the main concept.  Whoever complains about difficulties in the ideas or in the execution here, as well as in various passages of No. 2 and almost entirely in No. 3, is like those popular philosophers who want to see every profound lecture presented in the language of polite tea conversation.  In No. 2, the Rev. was very delighted with the first three movements; however, the short Presto at the end of this work has not made a good impression on him and has had about the same effect as the usual roaring finales of large-scale Italian opera arias.  However, of No. 3, nothing can be noted, in particular.  This fantasy is a solid whole from beginning to end, arisen at once out of the entire, profound and deeply moved spirit and then virtually formed out of one piece of marble.  It can hardly be possible that anyone whom nature has not denied an inner feeling for music, will not be moved and gradually lifted higher by the first Adagio (which the author has very aptly accompanied with this description:  Si deve suonare tutto questo pezzo delicatissimamente e senza sordino), and then moved so profoundly by the Presto agitato and then lifted up as high as one can be by piano music.  Completely justifiably, these two main movements are written in the eerie c sharp minor key; the author also has, as far as something like this can be expressed by conventional symbols, left indications as to performance as well as the handling of the piano, thus also his own piano,--the latter of which B., according to the indications and still more visible by the entire layout and presentation of his ideas, understands like hardly any other composer for  t h i s  instrument, and who understands to handle the actual piano as Ph. Em. Bach did.  However, one has to own a really excellent instrument if one wants to be somewhat satisfied with one's own performance of some of his movements--for example, of the entire first movement of No. 3.--That the Rev. does not want to complain about difficulties of execution if they are necessary for the presentation of an important idea, he has already mentioned--and one has to admit to Hr. v. B. that the figures of his compositions that are difficult to execute, and particularly also those of  t h i s  kind, in these compositions, and not, as sometimes those of Clementi, are not without effect; however, Hr. v. B. should not subject the lovers of his compositions too often to passages that can only be executed by extremely large hands.  Study, diligence and toil is what the composer who knows how to compensate for those, can rightfully demand; however, who can, as is written here, add an inch to his reach, even if he tries and would want to do so?--In No. 3, p. 15, line 1, bar 1, there is a printing error that can irritate:  the three quarter-notes of the upper part should not be e, bur rather G sharp; as well, p. 6, line 5, bar 5, the first note of the descant should be D sharp rather than F flat, and p. 8, line 2, bar 2, the double cross before the D sharp in the bass should be crossed out.

November 1802.

Review

Musikalisches Taschenbuch auf das Jahr 1803, herausgegeben von Julius Werden und Adolph Werden, mit Musik von Wilhelm Schneider, Penig, bey F. Dienemann und Comp. (Preis 1 Thal. 16 Groschen).

" . . .  Symphonies, quartets, sonatas and the like are, in general, very well treated, and particularly the achievements of Mozart, Haydn and Beethoven are referred to in an appropriate, dignified manner. . . . "

No. 11 -- 8. December 1802.

--- --- par Louis van Beethoven.  Oeuvr. XXVIII. a Vienne, au Bureau d'Arts et d'Industrie. (Pr. 1 Fl. 45 Xr.)

Beethoven remains true to his character and manner (if one can call a certain way of expressing one's ideas thus); and really, also an artist like B. can do nothing better than remaining true to himself.  However, this character and this manner have already been described in such great detail in this publication, and throughout the entire musical world, this composer already has his honorable public so that the announcer of new works of his is only left with little else but the task of announcing that they are here.  And it would be very good if one would not have to say more with respect to the works of many artists, except in the case of the works of those artists for whom one would first have to build and/or set aside an audience and a public.  After all, what good would come of it if one would praise or criticize details in a work of art--this word to be understood in its true, higher meaning?  Or should such products rightfully be bestowed with this honorable name of which many details offer occasion--also to praise them?  In art, details add up to the whole as it should be, as little as piled-up stones form a rock.  They can be very pleasant and make for an interesting product, but never a perfect work that has to stand its ground through the meaning of the whole and that has to find understanding of the meaning of the whole by those who are meant to enjoy it. 

No. 1 is accompanied by obbligato Violoncello throughout, which, in its long title, should not have remained un-noticed; and whoever wants to play this Violoncello part has to be a master of his instrument.  However, these Variations are not among the most excellent that we have of this master.

No. 2 is truly great, and, especially the first and third movement (the sonata has four movements), very unique, peculiar and adventurous. 

March 1803.

" . . . Beethoven and Abbe Vogler each compose an opera for the Theater an der Wien.  During Holy Week, a Cantata by Beethoven will be given for his benefit.  On this more, in the near future.  . . . "

April 1803.

" . . . Vienna, the 6th of April.  Musically new (with the exception of an Oratorio by Paer that did not please very much) is only the Oratorio by Beethoven, Christ on the Mount of Olives, which was performed yesterday and which received extraordinary applause.  It confirmed my opinion that I had already formed a long time ago, that Beethoven can bring about a revolution in music, like Mozart.  With great strides, he is hurrying towards that goal." 

No. 33 -- 11. May 1803.

VI Variations pour le Pianof., compos. et ded. a Mad. la Princesse Odeschalchi, nee Comt. de Keglevics, p. L. van Beethoven.  Chez Breitkopf et Härtel a Leipsic. Oeuvr. 34. (Pr. 12 Gr.)

It already evokes a favorable pre-disposition towards these Variations that the famous composer who otherwise does not list small pieces of this genre among the numbers of his works, has done so, with these.  And this pre-disposition is completely justified.  The Var. are very beautiful and treated in a special manner that is also different from that of other Variations of  t h i s  author.  An excellent theme and added to it what a mind that is fertile with inventive ideas can express in his man ideas when he allows them to play themselves out freely;--this is what these variations contain.  Of the latter, one can already gain an impression when we present the content here:  Theme: soft, but important, F Major, Adagio cantabile, 2/4 time, Var. completely free-flowing and graceful, D Major, same time, same tempo; Var. 2, B Major, serious, Allegro ma non troppo, 6/8 time, Var. 3, serene, G Major, Allegretto, C time; Var. 4 B-flat Major, friendly, Tempo di Minuetto, 2/4 time; Var. 5, c minor, dignified and strong, Marcia, 2/4 time; transition to the return in F Major, Var. 6 F Major, Allegretto, 6/8 time, cheerful, partly playful; executed finale in a free Adagio molto.  Everything flows thus into each other and forms a beautiful, well-rounded whole.  The Var. are not all too difficult to execute; one should not let oneself be scared off by the many tailed notes, and the feared, overly large stretches that we had also complained about here, in the past, can not be found here.  In the clearly legible print, on p. 4, line 1, the last 16 32nds should be 64ths.

May 1803.

"In his ventures, Hr. N ä g e l i  from Zurich shows himself to be a strictly just man, a warm art lover, and a clever businessman--a not very usual combination. ... Besides Clementi, himself, such men as Cramer, Dussek, Beethoven, Vogler, Haak, Assioli, Steibelt, Weyse, Reicha etc., will enrich his venture with  n e w  compositions. ... "

November 1803.

Trois Sonates pour le Pianoforte avec l'accopagnement d'un Violon, comp. et ded. a S. M. Alexandre l'Empereur de toutes les Russies p. Louis van Beethoven. Oeuv. XXX. No. 1. A Vienne, au Bureau d'(es) Arts et d'Industries. (Pr. 1 Thrl. 4 Gr.)

Whenever something ordinary escapes the intellect of someone of whom one is used to always hear something witty, one is easily inclined to believe that one has not understood him and there there  m u s t, somewhere, in his words, lie well-hidden, a particular point that he intended to make.  This is what this Rev. encountered in this Sonata.  For, even if he did not find anything of this kind here by the composer of so many original and great works, he still did not trust his own judgment for a long time, until, after he had played the work several times, his expectations remained unfulfilled, nevertheless.  From this should, by no means, be concluded that the sonata is everyday fare.  Something like that can hardly flow from the pen or Hr. v. B.  However, that it (this work) is not quite worthy of him, is what the Rev. dares to state and, therefore, relies on Hr. v. B.'s own feeling.  Thus, the first movement does not have the beautiful flow of ideas that one finds so excellently present in his later works.  Therefore, this movement is naturally lacking a certain character with which all Beethoven works usually favorably excel. The third movement, an Allegretto with Variations, did also not turn out quite well.  At least, it should have been easy for Hr. B. to create something of more substance out of the theme.  The 5th Var. proves this sufficiently, although it, in its contrapuntal seriousness, contrasts too much with its sisters.  Rev. is the least satisfied with the gimmickry, with the reduced sevenths and the overdrawn sixths, that is unworthy of Herr Beethoven and that stretches through 13 bars on the last page.  Something like that, thinks Rev., could only happen to Hr. B. in a great hurry in writing or, at the most, in a free fantasy that he wrote down as a favor, and in a not quite fortunate mood.  As a sincere admirer of Mr. B's works, the majority of which is excellent, Rev. would be very sorry--could he not still add to these comments that, in spite of the criticism expressed here, the Sonata still excels among an, unfortunately, great number of new piano sonatas, and that it, particularly for the sake of its  s e c o n d   m o v e m e n t, an Adagio that is very beautiful, kept in a melancholy character, throughout, and quite worthy of the best Beethoven Adagios--deserves to be known more closely.  Moreover, it is, by far, not as difficult to execute as most of his works.

The print would be good if the #, b, and (a further symbol that can not be represented, here) would not be positioned in such a different manner, and if they, in relationship to the notes, would be better visible to the eye. 

INTELLIGENZ-BLATT zur Allgemeinen Musikalischen Zeitung

November.  No. III.  1803.

Warning

"Herr Carl Zulehner, a copy etcher in Maynz, has announced an edition of my complete works for piano and violin instruments.  I consider it my duty to publicly advise all music friends that I have no part, whatsoever, in this edition.  I would never have offered my hand to an edition of my works, an undertaking that I find premature, without consulting with the publishers of the individual works, first, in order to ascertain the correctness that some editions of individual works are lacking.  Moreover, I have to note that this illegal edition of my works can never be completed, since, in the very near future, new works will be published in Paris that Herr Zulehner, a French subject, is not allowed to copy.  With respect to a collection of my works that would be compiled under my own supervision, after their thorough revision, I will make a detailed statement, at another opportunity.

                                                L u d w i g   v a n   B e e t h o v e n."

 

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