24347295 Beethoven Notturno Op 42 Per Viola e Pianoforte

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B e e t h o v e n N o n U R N O V io la a n d P ia n

SCHIRMER 'S LIBRARY

OF MUS ICAL CLASS IC S

Vol. 1975

NotturnoFor V io la and P iano

(BECK)

COPY~IGHT1939, ~ENEWED1967, BYG. SCHI~ME~,INC.



NOTE

Late in 1803, apparently at the solicitation of Franz Anton Hoffmeister, the Leipzig publisher,Beethoven agreed to sell to the firm of Hoffmeister & Kuhnel nearly a dozen compositions, most of whichwere minor or insignificant works. He was obviously in need of money.' That Hoffmeister gladlytook almost anything from the master at this time in the hope of acquiring from him a few choicer itemsfor his catalogue, is evident from the low quality of some of the music he was willing to accept. Al-though this particular lot included the manuscripts of the Romance in G for Violin and Orchestra, theparts for the Prometheus Overture, and the XIV Variations for Piano, Violin, and Violoncello (whichbecame Op. 40,43, and 44 respectively), the bulk of the material was hardly worthy of the great composer.Furthermore, at least three of the works had already been published, and two were arrangements ofearlier compositions.

Of the arrangements, in which we are interested here, the first to appear was the Serenade for Flute(or Violin) and Piano, Op. 41,2 originally the Serenade for Flute, Violin, and Viola, Op. 25; the second,published a short time later.' was the Notturno for Pianoforte and Viola, Op. 42, after the String Trio,Op.8.

Who actually made these arrangements has never been established. Some writers have attributed

them to the composer himself despite the fact that the title pages of both editions read II Arrange ...et revue par l'Auteur".' It is interesting to note that the first thematic catalogue of Beethoven'sworks, published during his lifetirne! lists them as II Arrangee ... par l'Auteur", and that in a similarcatalogue issued by Breitkopf & Hartel (Leipzig, 1851) they are still referred to as arrangements" vomComponisten"; while, in a revision of the latter catalogue made by G. Nottebohm (1868),6 this assertionis flatly contradicted with the statement that the composer merely looked them over and made a fewchanges." Nottebohm based his opinion on the letter to Hoffmeister of September 22, 1803 8, in which,presumably referring to the arrangements of his trios, Beethoven wrote: "The transcriptions" are notmy own but I have looked through them and in places improved them. Therefore, I am not willingto have you state that I made them, for that would be a lie and besides, I could find neither the timenor the patience for such work."!" This view was apparently later taken up by A. W. Thayer, thecelebrated biographer of the composer, in the second volume of his work (1872), for, in his catalogue of1865,11 he was still uncertain about the authorship of the arrangements, at least as far as Op. 41 was

1 With reference to this transaction, Beethoven wrote to Hoffmeister, in a letter dated Vienna, September 22, 1803: "The best thing I can wishyou is prosperity, and I would willingly give you everything as a gift, if by so doing [ could get along. But, only reflect that everyone here aroundme has a post and knows that he has enough to live on, but good Heavens, where would one place a parvum_tale1'llum cum eg o at the ImperialCourt?"

I The new opus numbers were assigned 'by the publisher.I Probably early in January, 1804, or possibly the end of December, 1803.• T he title page for the first edition of Op, 42 is reproduced here from a microfilm copy of the original, which is in the Peters Bibliothek at

Leipzig (No. 10867). Note the reference to the trio as Nouumo, corrected in the later editions. A relatively late re-engraved edition (1858)," ... nouvelle et soigneusement revue", was published under the imprint of C. F. Peters (successor to Hoffmeister & Ktlhnel). The work appearedin score, whereas in the first edition only the two separate parts were printed.

I TMmaiisches Ve,.seich"iss de, Composilionen Ill,. [nst,.u~nklJ musile ... I. Heft Louis van Beethoven ... Leipzig, bei Friedrlich 1 Hofmeister,1819.

• The first edition of thi' revised catalogue, according to Riemann, appeared in 1864. However, no copy can be located. It is extremelydoubtful that the information is correct.r "nicht von [Beethoven] gemacht, sondern nur von ffim durchgesehen und 'stellenweise' verbessert worden."• Unfortunately, the letter from Hoffmeister, to which this is a reply, is lost.• Curiously enough, when this letter was first published in the Ne1U Zeitsch"/lla,. Musik (1837, Vol. 6, p. 83), by C. G. S. B5hme, head of

C. F. Peters, it was remarked that the word "Uebersetzungen" (here translated "transcr iptions") referred to translations for a collection (4volumes) of Italian and German songs or the "Italian and German Ariettas", Op. 82. This is evidently erroneous since the manuscript of oneof the Ariettas is dated 6 years after the letter and the former collection has never been identified. Riemann (German edition of the Thayerbiography) points out that Beethoven not infrequently used the word "Uebersetzungen" to mean arrangements or tranecr ipt ions,

11 1See footnote 15: On arrangements in general, Beethoven had this to say (W.:ene,. Zntu"g, October, 18(0): "Arrangements are nowadays(in our ~lific times) IOmething an author only reluctantly submits to, but the least one can reasonably expect is that the publisher indicate iton the title page so as not to damage the reputation of the author or mislead the public."

U ClwDflOwr'scMs Veneich"iss der Werk., Ludwig 00" But~s. Berlin, Ferdinand Schneider,



oncerned.P In subsequent editions of the Thayer biography," the editors quote the passage from theoffmeister letter in connection with Op. 41 and 42, giving it as conclusive proof that Beethoven author-ed the publication and disavowed all but a small part in the making of the transcriptions.

Wilhelm Altmann!' has conjectured that the viola piece was probably the work of Ferdinand Ries,"pupil of Beethoven, and elsewhere it is suggested that Franz Xaver Kleinheinz was responsible forp. 41,16but whether or not these men or some Viennese hacks were the actual transcribers, it is reason-ly certain that the arrangements were not done by the composer himself.

A study of the Notturno reveals a good deal to support this contention. On close analysis, itpears extremely doubtful that the composer spent much time on this arrangement or that the revisionuld have gone, at most, beyond the correction of a few details. Aside from numerous examples ofd taste, the awkward writing for the keyboard could hardly have met with his approval, had he caredtake the trouble to examine it critically. Neither could he have been pleased (especially since he

ayed the instrument himself) with the colorless treatment of the viola, even in an arrangement osten-

bly nothing more than a piano solo piece with an obbligato viola.part. These very weaknesses maycount for the apparent lack of interest in the arrangement and its disappearance from publishers'talogues after 1890. 17

The present edition represents a completely new adaptation for viola and piano of the Serenade,p.8. Convinced of the remarkable suitability of the music for the purpose, the Editor has gone backBeethoven's original score and endeavored to transcribe it as faithfully as possible in terms of the twostruments, while at the same time attempting to create a balanced piece of chamber music. It is hopedat in its new form the Notturno may prove a useful addition to the violist's limited repertoire.

SYDNEY BECK

11 Op. 42, was, for lOme reason, completely ignored in the first edition of Thayer's Life, 1872. See Footnote 15.11A. W. Thayer-LlUlwi, "all BeetMlJeII's Leben (translated by Dei ters and revised by Riemann, 1910, Vol. 2 , p. 50); Tiu Life of LlUlwi, va.

tlwveJl (edited by H. E. Krehbiel, 1921, Vol . 1, p. 208).,. Cobbett, Cyclopedic S,.rvey of CluJmber Music (1930, Vol. 2, p. 517). Altmann later changed his mind and cited Beethoven as the probable

Tan"er. He conceded, however, the impossibil ity of such an aseumption in the cue of Op. 41. (DU MKSik, 1934, Vol. 26, p. 350.)It In the Biographisclu Noti8ell jiber LlUlwi, va. BeetlwveJl by Wegeler and Ries (1838 ed., p. 93, 94; Kall iecher's reprint , 1906, p. 122, 1l3),says that Beethoven made the arrangements of only four of his worl ta himaelf, and these do not include the Serenade or Notturno. (Thayer'suncertamty may be attributed to the remarka of Ries to whom he refers in his VeneicJllliss of 1865.) He adds: "Many other things wete

ged by me, looked over by Beethoven and .then IOld ~y his brother, Caspar, under Beethoven's name." Ries isnot always reli;able.. However,we know that Caapar had nothing to do With the 8elIUlg of Op. 41 and 42 to Hoffrneisrer, It does not necessari ly follow that Ries did not make

arrangements,liD. W. MacArdle, A Clucklist of BeetlwveJl's Claambn Mwic. (Mtuic & Leuers, Jan., 1946.)"Several edi tioM of the Notturno were p~bl ished durin¥" the 19th century, al l more or leas adhering to the oriJ{!nal arrang_ement. A copy of

1858 Peters edition of the wor" is in the New York Public Library. The Editor owna a copy published by F. P. Dunst, Frankfurt, probablynd 1830, in which there ia no indication that the work is aD arrangement.



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Reproduced through the courtesy of Richard S. Hill of the Library of Congress, Washington, D. C.



NOTTURNOfor Viola and Piano

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International Copyright Secured. Al l Rights Reserved.Warning: Unauthorized reproduction of this publication Is

prohibited by Federal law and subject to criminal prosecution.



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SCH IRMER 'S L IBRARYOF MUSICAL CLASSICS

Vol. 1975

LUDWIG VAN BEETHOVEN

Notturno

Fo r V io la an d P ian o

Revised and edited by Sydney Beck

ISBN 0-7935-2022-3

G. SCHIRMER, Inc.

7777 W. BLUEMOUNO RD. P.O.Box 13819 MILWAUKEE, WI 53213



NOTT'URNOfor Viola and Piano

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24347295 Beethoven Notturno Op 42 Per Viola e Pianoforte

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Transcript of 24347295 Beethoven Notturno Op 42 Per Viola e Pianoforte